Ocean Worlds
Earth isn’t the only ocean world in our solar system. Oceans could exist in diverse forms on moons and dwarf planets, offering clues in the quest to discover life beyond our home planet.
via nasa.gov

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Ocean Worlds
Earth isn’t the only ocean world in our solar system. Oceans could exist in diverse forms on moons and dwarf planets, offering clues in the quest to discover life beyond our home planet.
via nasa.gov
Josh Worth uses pixels to display distances in our solar system.
Click to explore
Typographer’s typefaces
The 25 most admired typefaces by typographers, type designers and letterers.
Selecting the right typeface makes all the difference to effective design and communication. But with over 100,000 font families to pick from it can be a daunting task. There are some excellent guides on how to choose a typeface and helpful methods for pairing typefaces but in order to apply these principles it’s important to be familiar with a broad range of quality typefaces.
Wouldn’t it be great to start with a short list of typefaces, hand-picked by designers in the type industry? In each issue of 8 Faces magazine we asked eight leading designers from the fields of typography, lettering and type design itself: If you could use just eight typefaces, which would you choose?
Over four years and across eight issues we interviewed 64 world-renowned designers1, including; Erik Spiekermann, Jessica Hische, Michael Bierut, Nina Stössinger, Mark Simonson & Seb Lester, plus owners of respected type foundries such as, Font Smith, Type Together and Process Type.
We’ve counted the number of times each typeface was selected and found consensus with the top 25. The top 10 designers’ favourite fonts will be quite familiar to many but hopefully the full list will provide a useful stepping stone to exploring many more.
1. Georgia
Matthew Carter, 1993. Chosen 11 times. Originally designed for clarity on low resolution screens, for Microsoft, it is the counterpart to Verdana, which also appears in this list. Georgia has a large x-height and ascenders that rise above the cap height. It’s a sturdy yet friendly typeface, with a wonderful flowing italic, that features on millions of websites.
“A gorgeous technical achievement.” Jason Santa Maria
2. Gotham
Tobias Frere-Jones, 2000. Chosen 8 times. Famously used for Barack Obama’s 2008 presidential campaign.
“Each character just feels ‘normal’ and ‘right’”. H & FJ
3. FF Scala
Martin Majoor, 1990. Chosen 6 times. FontShop International’s ‘first serious text face’.
“Scala and Scala San are just about perfect.” John Boardley
4. Futura
Paul Renner, 1927. Chosen 5 times. This immortal ‘modern’ typeface with its uncompromising shapes has become the benchmark geometric sans for almost 80 years.
“Paul Renner’s Future characterised his time and influenced many other designers. It was a real modern typeface, not based on existing serif typefaces”. Georg Salden
5. Gill Sans
Eric Gill, 1926. Chosen 5 times. A quintessential British design; though it’s eccentricities make it notoriously tricky to use well. A blend of humanist and geometric shapes.
6. Garamond
(Claude Garamond, c. 1480–1561), Several derivatives of the Parisian punch cutter’s design have been chosen, including; ITC Garamond (Tony Stan), Adobe Garamond & Garamond Premier (Robert Slimbach). Chosen 5 times.
“Garamond was quite the master who appreciated restraint as much as elegance. Of the various roman and italic sizes that he cut, I feel his Vraye Parangonne font (about 18 pt.) best captures the essence of his vision. The subtlety of line and detail are simply remarkable.” Robert Slimbach
7. Caslon (Adobe Caslon)
(William Caslon I, 1722) Carol Twombly, 1990. Chosen 5 times. Gave rise to a printer’s saying ‘When in doubt, use Caslon’. Also a favourite of Benjamin Franklin.
8. Akzidenz Grotesk
H. Berthold, Berthold Type Foundry, 1898. Chosen 4 times. The first widely used sans serif typeface.
“The original grotesque and still the best.” Vincent Connare
9. Alternate Gothic
Morris Fuller Benton, 1903. Chosen 4 times. Designed for the American Typefounders Company (ATF). All three weights are bold and narrow. Currently used on YouTube’s homepage logo.
“Very well designed and drawn. It’s a standard that I strive for in my own work” Mark Simonson
10. Baskerville
John Baskerville, 1757. Chosen 4 times. Baskerville designed his own type to improve his printed works and better the dominant fonts of William Caslon. His typefaces were both admired (notably by Giambattista Bodoni and Benjamin Franklin) and criticised by his competitors.
Baskerville made variations of his typeface for use at different sizes (now referred to as ‘optical sizes’). Some modern interpretations of Baskerville have been reproduced following the designs of a specific size, resulting in several distinct versions.
11. Helvetica
Max Miedinger with Eduard Hoffmann, 1957. Chosen 4 times. Helvetica needs no introduction as the planet’s most famous typeface—it even inspired a very good film.
“You can say, ‘I love you,’ in Helvetica. And you can say it with Helvetica Extra Light if you want to be really fancy. Or you can say it with the Extra Bold if it’s really intensive and passionate, you know, and it might work.” Massimo Vingelli
12. Metro
William Addison Dwiggins, 1930. Chosen 4 times. Designed out of a dissatisfaction with the san serifs of the time like Futura.
13. ITC Franklin Gothic
Morris Fuller Benton, 1902. Chosen 4 times. Created for the American Type Founders Company and named after Benjamin Franklin.
14. Meta Serif
Erik Spiekermann, Christian Schwartz and Kris Sowersby, 2007. Chosen 4 times. The serif companion to Eric Spiekermann’s influential sans serif, FF Meta. Also designed to work well with FF Unit and FF Unit Slab.
15. Trade Gothic
Jackson Burke, 1948/1960. Chosen 4 times. Michael Bierut described it as “The ultimate ‘I don’t give a damn” typeface. No style, no nuance, just blunt, in-your-face, straightforward attitude.”
16. Adelle
José Scaglione and Veronika Burian, 2009. Chosen 3 times. Adelle is a slab serif typeface conceived for intensive editorial use, mainly in newspapers and magazines but its personality and flexibility make it very adaptable.
“Adelle Sans manages to capture one of the most desired of human emotions: cheerfulness.” Nadine Chahine
17. Caecilia
Peter Matthias Noordzij, 1990. Chosen 3 times. A humanist rather than geometric slab serif, aiding its legibility.
“A friendly slab serif that’s more contemporary in its structure. Its large, flexible, family that always sets a really nice approachable tone whenever I use it.” Frank Chimero
18. Chaparral
Carol Twombly, 2000. Chosen 3 times. A “hybrid slab-serif” text face that mixes the legibility of 19th Century designs with 16th century panache.
19. DIN
Albert-Jan Pool, 1995. Chosen 3 times. This clean geometric sans is based on the German standard typeface, DIN 1451, used for official documents and street signs etc. DIN stands for Deutsches Institut für Normung (German Institute of Standardisation). The font was added to the MoMA Design Collection in 2011.
20. Hoefler Text
Jonathan Hoefler, 1991. Chosen 3 times. Designed for Apple to demonstrate advanced type technologies it reintroduced type design traditions once central to fine printing like ligature sets, engraved capitals, ornaments and arabesques.
21. Quadraat
Fred Smeijers, 1992. Chosen 3 times. An original typeface Combining Renaissance elegance with contemporary ideas on construction and form. Named after Smeijers’ design studio in Arnhem, of the same name.
“In my opinion one of the most significant type designs of the nineties” Yves Peters
22. Sabon
Jan Tschichold, 1964. Chosen 3 times. An oldstyle serif typeface based on Garamond. A distinguishing feature of Sabon is the same width occupied by characters in the Roman and Italic styles, and the Regular and Bold weights.
23. Sentinel
Jonathan Hoefler & Tobias Frere-Jones, 2009. Chosen 3 times. “For everyone who’s ever wished Clarendons had italics”. Three of our interviewees had. A slab serif with copious weights suitable for both text and display. Based on the original Clarendon designs by the Fann Street Foundry in Clerkenwell, London
24. Verdana
Matthew Carter, 1996. Chosen 3 times. It was created specifically to address the challenges of on-screen display. Verdana’s large x-height, wide proportions, generous letter-spacing and large counters are key to its legibility at small sizes.
25. Fedra Serif
Peter Bilak, 2003. Chosen 3 times. A highly original text typeface. Shaped by a unique blend of technological considerations while maintaining hand-written forms.
“A beautifully crafted typeface. A very nice, contemporary example of technical quality and carful design.” José Scaglione and Veronika Burian
26. Feijoa
Kris Sowersby, 2007. Chosen 3 times. Aiming to create a feeling of softness, Feijoa has an almost complete absence of straight lines. Feijoa successfully avoids the sense of coldness that Kris had felt with some previous digital typefaces.
“Those gently curved straights and rounded corners lend the design a beautiful organic, almost calligraphic quality. Yet there is nothing frivolous to the typeface, it all is functional and looks very self-assured.” Yves Peters
27. Officina
Erik Spiekerman,1990. Chosen 3 times. A paired family of serif and sans serif faces, originally designed as a typeface for business correspondence but found a much wider, trendier audience.
1. Interviewees: Erik Spiekermann, Jessica Hische, Ian Coyle, Jason Santa Maria, Jos Buivenga, Jon Tan, Bruce Willen and Nolen Strals, Martin Majoor, Ale Paul, Stephen Coles, Tim Brown, Nick Sherman, Rich Rutter, Veronika Burian, and José Scaglione, Ellen Lupton, Frank Chimero, Steve Matteson, Mark Caneso, Vincent Connare, Yves Peters, Jason Smith, and Phil Garnham, John Boardley, Craig Mod, Kris Sowersby, Doug Wilson, Nadine Chahine, David Březina, and Silas Dilworth and Neil Summerour, Jonathan Hoefler,Tobias Frere-Jones, Mark Simonson, Trent Walton, Keetra Dean Dixon, Peter Bilak, Gerry Leonidas, and Mark MacKay, Simon Walker, Dan Rhatigan, Seb Lester, Nina Stössinger, Grant Hutchinson, Mike Kus, and Eric Olson and Nicole Dotin, Michael Bierut, Tomáš Brousil, Georg Salden, Hannes von Döhren, Phil Baines, Ken Barber, Rudy VanderLans and Zuzana Licko, Elliot Jay Stocks, Jeremy Leslie, Jan Middendorp, Robert Slimbach, Steven Heller, Fiona Ross, Erica Jung and Ricardo Marcin.↩
Cover graphic, words & data analysis: Jamie Clarke
Image graphics (1-2, 4-21): Stefan Weyer, 8 Faces Magazine.
Correction, 27th August 2014. Three versions of Baskerville were chosen: Baskerville (twice), Baskerville 1757 and Berthold Baskerville. These have been combined and Baskerville added at number 10.
The correct scientific response to something that is not understood must always be to look harder for the explanation, not give up and assume a supernatural cause.
David Attenborough (via science-junkie)
Quantum Tunneling Allows “Impossible” Chemical Reactions to Occur in Space
New research has revealed that chemical reactions previously thought to be ‘impossible’ in space actually occur ‘with vigor,’ a discovery that could ultimately change our understanding of how alcohols are formed and destroyed in space – and which could also mean that places like Saturn’s moon Titan, once considered too cold for life to form, may have a shortcut for biochemical reactions.
A team at the University of Leeds, UK recreated the cold environment of space in the laboratory and observed a reaction of the alcohol methanol and an oxidizing chemical called the ‘hydroxyl radical’ at minus 210 degrees Celsius. They found that not only do these gases react to create methoxy radicals at such an incredibly cold temperature, but that the rate of reaction is 50 times faster than at room temperature.
They also found that this faster than expected reaction can only occur in the gas phase in space, that a product is formed (CH3O) – and that it can only form via a phenomenon they call ‘quantum tunneling.’…
The tunneling phenomenon is based on the quirky rules of quantum mechanics, which contend that particles do not tend to have defined states, positions and speeds, but instead exist in a haze of probability. This means that although a given particle might have a strong probability of being on one side of a barrier, there is still a very small chance of it actually being found on the other side of it – in effect allowing it to occasionally ‘tunnel’ through a wall that would otherwise be impenetrable…
Put simply, [they say] that the research shows that organic chemistry can occur in space, here converting an alcohol into an alkoxy radical – which can then go on to form a carbonyl group such as formaldehyde. “So we are showing that one functional group can be converted to another despite the cold conditions of space. Reactions that were discounted in space because it was too cold may now occur – owing to the tunneling,”…
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#Бbtn is #MIT licensed Open Source html/css button collection . It's easy to add your project and also easy to customise. It's ultra light without any compression (bbtn.css is about 5kb). I wish you like it.
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I designed this logo for an advertisement company called King Reklam.
The Photoshop file format is over 23 years old, yet it remains one of the most opaque file formats out there. PSDs are very widely used, yet Adobe has never produced an easy way for developers to work with the format. Indeed, some developers have gone mad trying to parse PSDs. We know the…
This logo is designed for UAV Team called NEUpteron at Near East University.
If things go wrong, don't go with them.
Roger Babson
Do the right thing, Wait to get fired.
I stumbled upon this bit of wisdom in Team Geek: A Software Developers Guide to Working Well with Others, and it resonated. It comes from Google engineer Chade-Meng Tan:
Do the right thing, wait to get fired.
New Google employees (we call “Nooglers”) often ask me what makes me effective at what I do. I tell them only half-jokingly that it’s very simple: I do the Right Thing for Google and the world, and then I sit back and wait to get fired. If I don’t get fired, I’ve done the Right Thing for everyone. If I do get fired, this is the wrong employer to work for in the first place. So, either way, I win. That is my career strategy.
This requires you to have confidence in your judgement, to assume authority and responsibility, to make decisions, to take risks – in other words to do what you have been hired to do!
You’ve got to recognize that companies are schizophrenic. They build process, and rules, and structure and they ask you to follow them:
“Employee evaluation is done this way…”
“The rules on conferences attendance are as follows…”
“Products are to be QA’d and deployed in this manner…”
“New projects require the approval of the following people…”
In general these rules are better than the alternative – no guideposts or structure. They help new managers and teams to function effectively. They push employees to do things in a good way.
But greatness rarely happens by following rules, process and structure. That is why companies also want to find employees ready to take risks, make decisions, try new things, move fast and even break things.
This means recognizing when the process is too heavyweight – and a simpler alternative is better in this case. It means making the call to assume some technical debt or operational risk because getting this new product/feature out to some real customers for feedback now is most important. It means approving an over-budget trip for a particular employee to a conference they’re passionate to attend. It means setting aside some time to work on your idea for a new tool that will help the support team to diagnose customer problems. It also means slowing down to refactor something – even if it means hurting your reputation for getting things done quickly. You do this because it’s the right thing for your team, your company, and/or your customers.
When you break rules, and do what you think is the right thing you are taking a risk. Sometimes this will pay off, sometimes it wont. It’s ok to fail – but try hard not to fail repeatedly at the same thing or for the same reasons. Know when you’re taking a risk, and learn from the outcomes. The best engineers and managers I’ve known have all been willing to break rules and take risks. You should too.
Easy Sticky Footer
This is about how to make footer stick to the bottom of the page. It's easy. First of all you have to add this css code in to your stylesheet.
/*sitcky footer*/ html, body {height: 100%;} #wrap {min-height: 100%;} #main {overflow:auto; padding-bottom: 35px;} /* must be same height as the footer */ #footer {position: relative; margin-top: -35px; /* negative value of footer height */ height: 35px; clear:both;} /*Opera Fix*/ body:before { content:""; height:100%; float:left; width:0; margin-top:-32767px; } /*---------------------------------------------------*/
Then add this html code in to your template. Open them right after the <body> tag and close them right before the #footer. So it should wrap your content but not the footer.
<div id="wrap"> <div id="main"> <!-- Your page content without footer goes here. --> </div><!-- main --> </div>
Yes you are doing it good, we are about to finish. Now you must wrap your footer with #footer
<div id="footer"> <!-- Your footer code goes here. --> </div>
Now you have sticked the footer to the bottom of the page!
Don't forget to replace #wrap's padding and #footer's margin-top with height of your footer.
Free flat designed FLAME Logo... You can use it at any project you want. [link]
In the end The Varna Template is finished and It's free. Want to download?
If you're not part of the solution, you're part of the problem.
African Proverb