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Pollux writes:
We continue our coverage of the odium aimed at the font everyone loves to hate. No, not you, Take Out the Garbage. I mean of course Comic Sans.
Cameron Chapman, on the blog Six Revisions, writes about why Comic Sans is hated so much, and shows some interesting visual examples of when the font has been used inappropriately. Chapman mentions that Comic Sans has seen wide and inappropriate usage, from a sign for a bone marrow transplant clinic to a grave marker. (continued)
“I have been demanding a Ministry for Typographic Affairs for decades,” graphic designer and typographer Erik Spiekermann writes in his blog. “In vain, obviously.” Well, Mr. Spiekermann, that dream may never come to pass, but I give you a cartoon of a Minister of Typographic Affairs, drawn by a humble Minister of Cartooning Without Portfolio.
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Pollux writes:
The November 30, 2009 cover of The New Yorker gives us the traditional Thanksgiving images of Pilgrim and Turkey. However, in the hands of an experienced artists like George Booth, the relationship between Pilgrim and Turkey is turned upside-down. Booth gives us a “Thanksgiving Skedaddle.” (continued)
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Martin Schneider writes:
It wouldn't be right to let Woody Allen's 74th birthday pass without acknowledgment!
Happy birthday, Woody. May the bon mots keep flowing. (continued)
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…about the future of the printed word, working with Seymour Hersh, Beppe Grillo, the scope of the magazine, and, of course, Dylan. Read it! (continued)
Click on the image for a detailed view! (continued)
Pollux writes:
We can’t expect clear skies in late November, but nevertheless we hope to avoid the special kind of rain cloud that hovers over our pumpkin pies. The November 23, 2009 issue of The New Yorker, which is “The Food Issue,” features a little cloud hovering above the normally cheery sight of a newly-baked pumpkin pie.
Wayne Thiebaud’s “Pumpkin Cloud” is heavy with rain. Perhaps cheery optimists will hope that the “Pumpkin Cloud” will sprinkle extra whipped cream on the pie, in a sort of Big Rock Candy Mountain kind of fantasy, but I see nothing cheery about the image. Thiebaud’s painting reminds me that we’re never entirely free from worries. (continued)