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Font Embedding NowMay 07, 2009
Currently one of the biggest stumbling blocks to embedded type on the web is of a legal nature rather than any genuine technological barrier. Most of the major browsers have now implemented the @font-face property, and between sIFR and Cufón there are also alternatives for providing non-standard typefaces to browsers that haven't caught up yet.
So the technology that allows us to embed custom fonts is more or less here, but the licensing debate rages on. Richard Rutter and Simon Klein have written a great pair of posts summarizing the concerns some foundries have with embedding, while countless other opinions have come out in favour of both addressing and ignoring these concerns.
But this is really for the foundries and the browsers to figure out. What you or I think should happen probably isn't going to change the outcome of the debate; only overall trends in the market have a hope of doing that. So it seems to me that if we want font embedding to take off sooner rather than later, a change in our own methods and expectations is in order. And maybe a little voting with our pocketbooks.
Designers — myself included — are hoping for a wide open playing field; that's not going to happen yet. What we can have, however, is a larger field than the one we've been playing on. There are countless free fonts out there that have commercial-usage licenses which allow for embedding. Yeah, a lot of them (if not most) suck. But there are resources like FontSquirrel and the webfonts.info wiki that are collecting some of the better ones, and the list is only going to increase over time.
If I were to start using font embedding now by, say, designing sites that use only those fonts I know to allow embedding, it opens up my options and causes me to start seriously considering embedding as a legitimate tool in my toolbox. The available typefaces may be limiting, but they're bound to be a step up from Georgia and Arial everywhere. If enough designers are doing the same, and font embedding becomes a fairly common practice on the web, the foundries may see that they're effectively being ignored by this medium. Perhaps then we'll start seeing some actual change.
I'm going to try it. Let's see what happens.
(This article was set in Museo Sans, a typeface by Jos Buivenga using the Cufón library. There are clearly some problems with the latter, as noted in the comments below; I doubt I'll be setting full pages using Cufón, probably more like just headers. However, I decided to make an exception for this article for the sake of playing with it a bit.)
The fact that you present the text of your article using Cúfon on FF3.5b4, thus preventing me from selecting any of your text and copy/pasting… well, worries me.
Not to mention the *410* canvas elements on the page.
When these "enhancements" start worsening the experience/usability, that's where I draw the line.
Honestly, I'd prefer to see it set in Calibri or other sans-serif typeface…
Now, if the browser supports it, of course, I have nothing against it.
I think the companies will stand to make the most money if they allow embedding and maybe charge a percentage more for the fonts that have a web license; it's better than having them outright stolen and to make nothing… your plan seems like a sensible way to encourage that business model.
> I'm going to try it. Let's see what happens.
I'm with you, Dave. Viva la Revolución!
Also, Museo Sans looks pretty great set as body copy. I had not seen it used in such a way.
@André - I used Cufón which has known limitations at this moment in time. @font-face suffers none of what you mentioned above, however it's not as cross-browser friendly at the moment.
So I made a choice and rendered this entire article using Cufón instead of @font-face. Would I do that on a client site? No. But I'd certainly be willing to live with those limitations for a header or three.
I'm curious though, did you actually have a reason for selecting text on this article, or were you just making a point?
And, if it renders quickly, what exactly is the problem of 410 Canvas elements?
To be honest, I was more put off by needing to include the entire jQuery library just to have a selector engine present for Cufón's use, another limitation.
Has to be worth a shot. Font management and typography seems to hold some attention at the moment, so it's a good time to push things a little.
This works fine on my mobile safari anyway.
Wow, whatever method you chose here sucks. Image replacement? Really? Talk about killing accessibility and functionality for the sake of a purely egotistical change.
Boy, Museo and Museo Sans are beautiful typefaces aren't they?
I for one am for anything that improves type on the web. Whether that means support from the browser, or support hacked-on by other methods. I used to use sIFR3 but found it difficult and bulky. Now trying Cufon and loving it so far–but I wish it had support for line-height (in IE), selectable text, and better control of links/hovers.
There's no perfect solution yet. We may never get one. But at least it's improving, slowly, whether the browsers and foundries all want to jump on board or not.
My reason for selecting text: I want to.
The browser, and virtually every other application that runs on my computer, allows this functionality. Your site isn't that special for me not to get annoyed by taking this option away from me.
I read this originally in my feed reader (which let me highlight the text, btw tvym) and only came to the site to see what the font looked like. I couldn't stand to get past the first paragraph.
Ahhh here come the haters. Nothing gets the curmudgeons out quicker than taking away their god-given right to select your text, copy it, and paste it on something owned or operated by someone else.
[spits out the haterade]
Interestingly, you can highlight the text and paste elsewhere. The issue seems to be that you get no visual indicator of the fact that something is being highlighted.
Sounds good to me. That's definitely a great point, that though it won't be the widest playing field, it'll be *wider* at least. And sites like FontSquirrel and webfonts.info are a nice help.
Hmmm… I never actually considered Cufon a viable solution for body text. Compared to real font rasterizers, plain old canvas outlines kind of suck: there's no hinting, no subpixel rendering and no gamma correction. The result is a piece of text that looks blurry, uneven and hard to read. And I'm used to OS X's renderer, which is already blurrier than most.
There's not much we could do about the lack of hinting, and we'd need to move to solid canvases to address the other two (and it would probably be a lot slower). So even after a lot of tweaking and hacking, we end up with something that will look 'off' to most visitors.
At the very least, you should treat Cufón as a fallback for browsers that do support font embedding. Safari has done it since version 3, and Firefox 3.5 isn't that far away anymore.
While I wholeheartedly support better font embedding, this article renders and scrolls extremely slowly in IE8 and as the above commenter mentioned, no copy-paste either… you may be enhancing the typography and visual appeal, but that seems to detract from usability pretty heavily. Bit of a catch-22.
Right on, Dave. As with the web standards movement, the best way for us to seriously introduce these ideas into the mainstream is to start using them in our own designs and projects.
And on the topic of Cufón and its handful of *minor* issues: this is one area where IE6/7/8 may help get the word out — as long as problems only exist in fringe browsers for now, there's no reason not to use it, even for client projects.
I did, actually. I wanted to copy/paste the content of the article to post to a Webdesign mailing-list we have at work. I don't like to post just the link… I paste highlights of the article with (of course) a link to the source. So yeah, it did get in the way.
I also have a stupid habit of selecting the text while reading, karaoke style.. but that's a whim. :)
Right, the +400 elements didn't freeze up my dual-core unibody macbook, but it'd be interesting to see a less-capable machine trying to cope with the effort. Still, I'm with you… for headings, I'd buy it. Full text, I'd prefer graceful degradation any day of the week.
Still, I admire your will to push the envelope. But I'd stick with the @font-face where it's supported and wait for others to keep up. (on full article text, at least)
Well, I see some problems:
1) I can't select text in the article. It's like in the older Flash-only sites. I can live with it. A header can live with it, too. But main columns in a website, with large blocks of text? Hmm… Not so sure it's that user-friendly.
2) Resize text in Firefox 3.0.4/WinXP: Select View -> Zoom -> Zoom text only, then try to enlarge the text (ctrl + +). Text doesn't scale. It's fine for a header, but not for main content, again. Not so user-friendly or accessible. On the other hand, if you do not use 'zoom text-only' option, then text scales fine. Or almost. It looks blurry, much blurrier than the surrounding text (which is standard).
There are probably some more minor problems, but still, I think that: This is fine as an experiment. But maybe browsers are not that mature (yet) as to make this a nice, stable, accessible and usable reality…
Just my $ 0.02:)
I'm in Safari 4 beta on mac and it works just fine. Selecting the words is weird, not like on the @font-face sample you link to, which works wonderfully except for the wacky font-rendering… (another war).
So, I'm up in the air on the issue.
I want both.
However, if @font-face becomes a commonplace solution, I personally would prefer that there be an agreed upon way of toggling the designification. Undoubtedly, a weary-eyed junior designer may utilize Sand or Gil Sans Ultra Bold Extra Condensed Small Caps with unrecognizable ligatures perhaps even in a extreme negatively letter-spaced: way. In cases like this, and i think we can agree that there's no doubt it will happen… somewhere, an easy-on-the-eyes option needs to be in place… for everyone.
Getting foundries, designers and browser manufacturers to see eye-to-eye may well be a 100-years war. EULAs are EULAs, and I want to respect them.
Great article, and yes, it looks great here! Nice!
@Michel - regarding 1, as covered in previous comments, the text is selectable but you don't get a visible indication that it has been selected. This is a problem with Cufón at this moment in time.
Regarding 2, try coming to the page with already-resized text. The larger text size is respected, it just doesn't respond dynamically. sIFR used to have this same problem too.
Again, if I'd used @font-face instead of Cufón none of these would be an issue.
@Luke Dorny - that's what user style sheets are for, naturally. I'd probably be more inclined just to turn off CSS completely if faced with the negative letter-spaced Sand scenario.
It's a fairly valid point though; normal users don't have the ability to override legibility trainwrecks inflicted by inexperienced designers.
(Though, same was true for colour selection back in the 90's, and the web seems to have self-corrected; I'd expect a similar cycle for fonts)
In re my initial Twitter response … I think that the solution is simple: some sort of "Revert Text" option that undoes the rendering so that the text becomes selectable and obeys font sizing. You get the best of both worlds – your initial presentation is preserved, and it's up to the individual to break it.
It seems like a number of commenters are missing the forest for the trees. The point (as I understand it) of having the article rendered as cufon is not that cufon is the future of font embedding. Far from it. The point is to demonstrate what an article could look like if rendered with a font that is unlikely to be installed on the user's machine. A glimpse into the future if you will. Instead, you're complaining that the crystal ball isn't letting you select the text.
We want font embedding and it's almost here. As Microsoft begins its journey into IE9, I think pressure needs to be made NOW to come up with a solution.
@Jonathan Snook - thanks, you just explained my thinking better than I have so far.
Hi Dave,
As a 'creative' who gets paid for your artistic work, I am surprised that you have less of a 'moral stance' regarding the use of @font-face today. Oh sure, you recommended using licensed and 'free' fonts, but sadly the technology (designed by engineers with no consideration to artists) sees no difference between those and licensed art, and is a blatant offer to steal.
If I were to suggest that the best way to improve the artistic look of a website was to outright steal not only your design ideas, but your actual graphic creations, would you still feel that all was OK with this notion?
In actual fact, I think that creatives should stand shoulder-to-shoulder with other creatives and *REFUSE* to use @font-face until such time as an equitable solution can emerge that protects the font-foundries today - most of which are not huge mega-conglomerates ensconced in shiny towers, but rather small design shops that are simply trying to pay their bills, just like you. The alternative is to simply drive those poor artists out of business - stifling the creative drive that allows new type-faces to emerge, for the betterment of all designers.
It's always refreshing to see a non-standard typeface on the web. I'm looking forward to when I don't notice it.
@John Foliot - Invitation to steal? Stifling creatives? Over the top rhetoric. You're not exactly winning me over here.
Since you're attempting to relate this by making it personal, let me give you a real life personal example. People buy the icons I sell on this very site and include them in their app/site/whatever. They could choose to do so as unmodified PNG files; that would make them ripe for the picking by others who haven't paid. I can and do ask them to take steps to prevent this, by saving them as dithered GIFs or whatever, but I have no more control than that. I sleep well enough at night, and people keep buying them. Works for me.
Part of the reason I used Cufón here, and have subsequently taken slack for all the accessibility implications caused by that choice in the comments above, is because I'm uncomfortable throwing an unprotected TTF/OTF file on my server for precisely those reasons.
If you've read the article by Richard Rutter I linked, you'll see it proposes some possible solutions for the fundamental standoff between typographer's rights to protection and the web's need for openness. People are thinking about this from both angles. Both sides have to give though; the foundries need to let go of some control, and the browsers need to provide a way of allowing more control. I don't think @font-face is the best choice for that, nor do I think Microsoft's proprietary EOT format is, either.
We just don't have that halfway point. Right now we have nothing. The foundries and the browsers need to work together and figure out how to allow this. That's what I'm in favour of.
I love what you're preaching here, Dave. Focusing on fonts that allow embedding won't suddenly cause us to enter a new age where typography falls from the skies like mana, but if widely enough adopted as a practice it'll make a signal that foundries need to start coming to the table with a more open attitude towards allowing some method of embedding or face a loss of profits.
I would love it if Cufon was spruced up to fix the text sizing and selection issues, as it seems like a really great tool for fast, rich cross-browser font support. (And hey, it works for non-Flash browsers!)
The foundries that will go out of business first are the ones that refuse to recognise what a huge chunk of the creative industry is asking for – a way to put more fonts on the web. I think it's pretty easy to draw a parallel to what's happening with record companies and movie downloading to see that when the industry refuses to respond to customer demand they see their sales drop off… I don't think DRM solves anything, as the people likely to use something illegally will just find a way around it anyway; it just prolongs an unsound business model a little longer.
As a designer who pretty much only does web sites (excepting the odd business card etc for some of my web clients), I buy a hundred or couple hundred dollars worth of fonts every year; if I can put that toward companies that support web fonts, I gladly will, because they're offering a solution to a problem I'm facing now, ie. clients wanting something that looks professional and unique.
This is what web design community needs, more people with guts that start using new tools and less people that complain about the web lack of fonts and do nothing about it. Congratulate to you, Dave, you had have me see the future through your cristall ball, using Snook´s words :)
Hmm try disabling CSS (using FF web dev toolbar) It seems that each word is repeated twice. I believe one instance is the canvas element and the other is plain text. Just something I randomly noticed.
Dave I know you just trying to make a point with this post much like Eric Meyer did with his "in need of a layout system" post. It's good to have discussions about this.
@John Froliot
I think by using @font-face it`s an invitation for designers to get creative.
Not only that, like with ALL industries technology changes and one will just have to adapt. You are suggest that technology be trifled just so designers can pay their bills and make an income, right? No, heck no..then there would be no innovation. You mention being 'creative'? Why can't the designers of type faces just get creative in marketing their typefaces adequately? Just adapt already. I am not going to pay $500 for a font, but for $50..I definitely would. Lower your prices and increase demand, you will make the same, if not more than you would right now. I know what you're thinking, but please don't give me that 'quality costs' crap either. With the CSS standards IMPROVING, someone should really take advantage of the potential font market.
@John Foliot: I appreciate your desire to stand up for the font foundries.
As a developer and designer on the web since '95, it's hard to think that anything relating to the web wouldn't be implemented using an open and accessible format. Any closed format has ultimately moved towards an open format. Of course, HTML, JavaScript and CSS are wide open for the taking. So is image embedding. Flash has been getting pressure from the SVG and Canvas camps. Video, previously requiring custom installers and protected streams, have been moving to a vendor-independent embedding using open-source formats.
Why would font embedding not follow the same course? As a moral stance, I think Dave has the right idea: support those who are willing to enable their fonts to be embedded. And if they are commercial fonts, let's show them that we are willing to pay for them.
Throwing up barriers will only serve to frustrate everybody and still doesn't help foundries one bit. Why would I pay for a font when I can't use it in the one place that I design for: the web.
So you can't make money on your product because you can't control its distribution. Ugh. How many industries have to have this conversation. So the music industry falters (read doesn't make as much money as they used to, don't be fooled) and Apple rakes it in with Itunes.
Get it together! Its called a subscription based font repository. Or something!
This is how it has to go. Either change your business model, work with the industry you supply to create a workable technical model for distibution and usage of font-faces for the web or simply fade into some massive regulatory and legal position like the music industry has been pursuing. (and you see how successful they have been lately) Because its already here. And its going to happen.
Here is the truth of the matter. If you don't change, the world will change around you. Welcome to the 21st century everyone.
Technical issues, finances and accessibility aside, this is like water for my very thirsty eyes… ahhhh!
Thanks for taking this first step Dave. It seems that designers and developers have been hesitant to implement font embedding.
A few months ago I wrote (http://bradt.ca/archives/font-linking-type-foundries-and-drm/) about this situation and its strikingly similarity to the music industry and MP3 fiasco. The foundries will either take an early proactive approach or (like the music industry) a late reactive approach. For developers and designers though, it doesn't really matter. Font embedding is here and developers are free to take full advantage without waiting for the foundries.
Beautiful. I can't believe people are short sighted enough to complain about the text selection, when this is obviously just an example of what the web might look like in ten years.
About using font faces on the web: if it can be displayed on a webpage, it has to be publicly accessible. It's an impossible task to try to make something that is both viewable by the internet public, but yet somehow protected from them from it at the same time.
Adding drm is not the answer and would slow adoption. It's a fact of life, if it wants to live online, if it can be displayed on my screen, then it needs to be accessible from my computer.
@Font-face should be set up in browsers so that the font can be displayed on the website it's embedded in, but it's not permanently saved on the user's computer. If that's the case, then how is using a licensed font on a website any different than using that font on print design?
Foundries could add new license provisions for people using them for web embedding if they wish.
@Font-face is in no way a bad thing for typographers. In fact, it opens up more doors for revenue generation. Companies need to embrace industry change, or they fall by the wayside.
Sure, some people might use their unlicensed system fonts to embed, but how is that any different than them using those fonts to create type on a graphic, and putting the graphic on the web?
Heck, there could even be a new font format that's specifically for web embedding, which prevents use as a system font. It's up to the font developers.
Dave, Jonathan,
The fact that you and others are willing to do the honorable thing is not the issue. I believe that many will in fact do so. The problem is that once you use a font-face that *you* paid license for, others are free to grab it and use it for whatever reason and the creator has no compensation. I've been hanging around on the web for a while too guys, and played with EOT (and Bitstream, for Netscape) way back when in the v4 browsers, so I understand (or at least appreciate) in many ways the issues.
Dave, I read Tal Lemming's article a few days back, and have passed that URL on to my circle already. He makes some great and I believe workable points, and he too freely admits that if somebody really wants to steal a font they will, but let's not make it too easy shall we? To date, I do not believe that Richard's ideas (which are suspect to me anyway) have even been considered - in many ways the horse has already left the stable.
For example, he boldly states: "Font foundries could license their fonts for embedding and serve those fonts only to registered websites, using their own hosted system or via a trusted third party." Uhm sorta wrong. Any script kiddy worth his salt (and exactly the target audience for theft) will simply look at the CSS file, find the @font-face declaration (complete with relative or absolute URL), grab that path, insert into address bar and presto - download the file. IT REALLY IS THAT EASY, and as a test a while back a bunch of my colleagues and I did just that, using a licensed font. Sure enough, I could grab it in an blink and start using it in any program I chose - one truism that Mark Pilgrim noted (in his highly offensive blog posting).
I get that DRM is a sticky issue (those that know me also know I left the record industry a decade ago after spending 20 years in that business, so I have a keen awareness there too), but until the browsers afford some semblance of artistic protection to the font foundries there is a real problem.
The browser manufacturers want developers to use this new feature (@font-face was first proposed by Håkon Wium Lie [CTO of Opera]), but the artistic community needs to insist that the browser developers do something to at least acknowledge the commercial value of the art in question, and the right of the artist to be compensated.
Dave, you said yourself: "I don't think @font-face is the best choice for that, nor do I think Microsoft's proprietary EOT format is, either. We just don't have that halfway point. Right now we have nothing. The foundries and the browsers need to work together and figure out how to allow this. That's what I'm in favour of." *THAT's* why I am suggesting that the artist not use @font-face today - it's a voting with your feet issue, and if the majority of artists *DO* use @font-face, the the browser engineers will point and say "see, it's OK, we don't need to do anything more" (or something less eloquent).
"(or something less eloquent)." Missed the following:
I think the point is that the web has come along way in it's relatively short existence and continues to improve on so many levels that make it more usable, more accessible, and more visually appealing. In many ways it surpasses our print counterparts, but in the typography area we're light years behind.
We recognize and respect the copyright issues, we just want to advance the dialog and the search for a solution. This is an issue that requires participation from all parties.
Nice discussion, I have one question about Cufón. Why when I disable CSS canvas elements show up and duplicate every word is text? This can be a serious problem with Screen Readers or other devices.
This page runs like crap on my iPhone. Never use cufon for body text, ever.
I think people keep missing the point of having a limited font set. If you bring font embedding to the web it's going to be like the September that never ends… all over again.
@John Foliot:
// #c044911
To *refuse* to use @font-face?? An equitable solution can emerge that protects the font-foundries today?
What do you mean by 'a solution that will protect the font-foundries'? Sort of a special digital copyright-protection mechanism, such as is used to protect copyrighted DVDs with movies, games, etc.? Well, that simply won't happen. You can copy all sorts of protected DVDs, and you can also copy software, which is often protected in a much more complicated and expensive way (activation, registration, etc.). Also, as a rule of thumb, /the more is protected a certain piece of software, the more it is copied everywhere/! :)
So, to blame @font-face to be the killer machine of today's font-foundries? I wouldn't do so… (Plus, fonts can be easily copied by 100 other ways, you don't need a designer to use @font-face in a specific website, to be able to find that font, if you would like to).
I respect copyright, but I am not sure that we need another kind of 'activate-this/digitally-lock-that' kind of protection for fonts… This will rather make the Web harder to use, not easier… (Just like activation mechanisms did not improve Adobe software, just made it more expensive.)
Just my two cents here…
@Dave S.:
// #c044906
On a more personal note, I'd be happy to see more fonts on the Web – but implemented in a quite standard, usable & accessible way.
I tested 1) and yes, I can actually mark a part of the article, copy it and then paste it elsewhere. I just don't see the marked part highlighted in any way… Maybe you should post a second part to your post, with another font, which will better illustrate your point? ;-)
As for 2), I have tested it, too, and indeed, the way you suggested me to try it, it works. And that's nice! :) Still, would be much better, if the browser would allow me right away to change the size of the text…
I am not sure that the technology is yet that mature to be ready to be pushed to the main content of the websites we make today. It's close, though, and I appreciate that you took the extra step to show it to us and raise the discussion! :-)
@Jonathan Snook:
// #c044909
I see the trees *and* the forest. At least, I hope so! ;-) I just saw (at first glance) that there are still some problems with font embedding /now/, even if you come with quite a modern browser to the page which uses it. And would be nice to fix these problems, before we make the jump to using @font-face just like we use font-family… :)
@John Foliot, how does the @font-face declaration differ from the img-tag, which has been in HTML for basically forever? Photographers and graphics artists are still making a living, I believe.
I guess I am just too dense to understand why typefaces should be given special "protection" simply because they're late to the party.
Right. I did miss the point… I thought the point was to give font-face to those who support it and for others use Cúfon or sIFR or whatever.
From that point-of-view, indeed, it was a delight reading the article with a non-common typeface.
@Pedro Couto e Santos: (hi there)
Let's see how people end up using this. But I think it's an absolutely necessary step in the evolution of webdesign. If people take it too far, that's their own problem, isn't it? Why should we sacrifice a whole industry of professionals just because some will go over the top?
@Phil Ricketts - the page looks fine on my iPhone (3G, v2.2.1) - exactly the same as it does in my browser. Exactly.
OK, that's really strange:
Firefox 3.0.4/WinXP: If I disable CSS styles, I see every word in the article repeated. But it's not only that. I thought that if I disable images in the browser, the "repeating words problem" will disappear (because I think what I see is images). But this didn't fix the problem, for some strange reason. Maybe because images are generated by Firefox locally…
In any way, for me it looks like the technology is not quite there yet… Close, but not there. But it's always interesting to experiment! :)
Quoted from John Foliot:
Any script kiddy worth his salt (and exactly the target audience for theft) will simply … download the file.
You're focusing on the wrong people - the "target audience for theft" is not your target audience for sales.
You will not sell a script kiddie a $500 font or a $5 font.
But designers will spend money on a font, and web designers are a huge population of unsatisfied potential customers who want to buy fonts but can't.
Creating obstacles for script kiddies doesn't have much impact on your revenue, but it does burn goodwill with actual customers, and it prevents potential customers from paying you money.
Goodwill, honesty, and openness will only go so far as business strategies. But if you're supplying a desired product for a competitive price, professionals will be more than happy to compensate you for it. It's not that we don't want to support other creative professionals, rather, font vendors aren't letting us get close for fear we'll bring some script kiddies with us.
And let's face it. Any script kiddie worth his salt can find a torrent with a thousand premium fonts in less time than it took me to write this comment.
JavaScript will continue to act as a stepping stone between 'initial idea' and 'final solution' - both with this issue and others.
By many that is seen as a 'negative', whereas I feel it's great to see developers trying to push the boat and be inventive when faced with obstacles.
OK, these solutions aren't 'ideal', but then neither is the web as a whole. Shall we pull the web until the perfect solution is created? No. Exactly :P
BTW, I use facelift on the headings on my blog - anyone else use it and have an opinion on it over cufon etc.?
I meant to say this but forgot:
Font vendor revenue from script kiddies is zero. Potential revenue from script kiddies is zero.
Revenue from web designers is zero. Potential revenue is much, much, MUCH higher. Untapped.
I can't wait to get font's usable on the web. This article shows how beautiful pages could be.
As has been pointed out, there's no point in me, right now, caring one iota about the work of font foundries, because even if I love their work and buy it - I can't use it on the web.
It's like being a car dealership and refusing to allow the car you designed and built to be driven on the roads, even by the people that bought it, in case someone steals it. Rendering the whole thing pointless.
The foundries need to step up and change. Otherwise they'll just get side-lined on the web as people with talent publish somewhere else for an open audience ready and waiting with cash.
Hi Dave,
As a 'creative' who gets paid for your artistic work, I am surprised that you have less of a 'moral stance' regarding the use of IMG today. Oh sure, you recommended using licensed and 'free' images, but sadly the technology (designed by engineers with no consideration to artists) sees no difference between those and licensed art, and is a blatant offer to steal.
If I were to suggest that the best way to improve the artistic look of a website was to outright steal not only your design ideas, but your actual graphic creations, would you still feel that all was OK with this notion?
In actual fact, I think that creatives should stand shoulder-to-shoulder with other creatives and *REFUSE* to use IMG until such time as an equitable solution can emerge that protects the stock photography and clip art houses today - most of which are not huge mega-conglomerates ensconced in shiny towers, but rather small design shops that are simply trying to pay their bills, just like you. The alternative is to simply drive those poor artists out of business - stifling the creative drive that allows new images to emerge, for the betterment of all designers.
@André (hello there),
That's beside the point. Why do designers want all the fonts in the world? To make a better page or to parade their ego?
Delivery of content in a tight, beautiful form should be made for the consummer (the reader), not for showing how cool you are.
I don't think Museo Sans is particulary more readable than Arial, so, what purpose does it serve in this arcticle other than 'showing off'?
Not that it doesn't look good, it does. But so would Arial.
It's just a point of view, it does not invalidate the need to push forward the boundaries of web tech. It doesn't mean I don't like fonts (I love them!), it's all just a matter of principle.
From my limited experience with Cufon, the "double text" is the intersection of the original text and the Canvas elements used to render the text in the new font. cufon inserts CSS to hide the original text. Everything else is live in the DOM, so without CSS you'll see all elements (both the Canvas elements and the original text.)
Canvas, for those of you unfamiliar with it, is the bee's knees.
It will be interesting to see what will happen with the @font-face property - why would the font foundries and designers want to give their work away to the masses for free? Look at the state of the music and film industry - piracy is rife. I can't help but think the whole licensing approach needs turning on it's head. The solution will eventually come, just what will it be?
This is a total aside, Dave, but you mentioned loading all of jQuery for the selector engine in one of your comments. John Resig has spun the selector engine off into a stand-alone unit which you can get at http://sizzlejs.com/.
You had me @font-face :-)
But seriously, it is nice to see some people take the first step.
Hi, Pedro,
I'm not sure I buy your assertion that a designer uses "special" fonts just to show off.
Type is part of design and aids in the way text conveys meaning. Not all fonts have the same rhetorical value, and so the text might call for something something more appropriate than Arial (or Georgia or whatever).
At this point it's still wise not to rely on @font-face & tools like sifr or cufón for body text; the old standbys will probably have to do. But you can do amazing things with those old standbys, as Jim Coudal and many others have demonstrated.
And to make sure I'm clear: I don't think Dave is showing off here, just pushing the envelope. Which should be commended, since without this kind of advocacy, we might not get the tools we need to really use the best font for the job at hand.
To answer your question about text-selection, I select every piece of text I read online that is longer than 2-lines or so. I'm a sighted user, but a lazy reader, so I use Mac OS X text-to-speech. The computer reads the web to me and I follow along. I know its an uncommon user behavior and not the end of the world to read your one article.
I get your point and definitely a agree that demonstrating an appetite for font embedding is a great way to motivate a resolution to this decade-old stand-off between foundry EULAs and browser tech.
Lots of fun activity over night. I'm going to cherry-pick a few of the replies above and respond:
@Jonathan Snook and @Nathan both make very good points above about web technology needing to be open, and the contradiction of trying to protect it at the same time.
@Infernocloud - such a format exists, and has for over a decade. It's Microsoft's proprietary EOT format, and it's the precise reason why Microsoft isn't on board with @font-face like every other browser out there. They believe they're sticking up for the distribution rights of type designers. They've even submitted EOT to the W3C: http://www.w3.org/Submission/2008/SUBM-EOT-20080305/
@John Foliot - While I agree that some token form of protection isn't a bad thing, I also agree with the above response from Harlan Lewis. You're focusing on the wrong crowd; professional designers spend thousands of dollars on Adobe software that isn't exactly hard to find for free elsewhere.
@Juarez P. A. Filho and @Michel - your points are well taken, but again, they're simply limitations and glitches with Cufón. It doesn't work nearly as elegantly as @font-face will. I might be willing to live with the problems for now, for the sake of some nicer headers, but reiterating the clarification in the original article, I doubt I'll use Cufón for body copy because of these problems. (And screen readers will not read the canvas elements. Try it.)
@Pedro Couto e Santos - Come on. Using typefaces other than Arial = designer ego? Lets follow that line of reasoning to its logical conclusion, shall we; line-height is a result of desginer ego, pleasing colour schemes are a result of designer ego, well-crafted white space is a result of designer ego. Lets take them all away and go back to 1994. Hello, useit.com.
I noticed you're using drop shadows on your site. Show off.
I use Sifr on one of my personal websites where design has to be perfect match with rest of the website and I only use it for h1 tags. I am bit paranoid when it comes to search engines and non web fonts.
Oh, I noticed that the font looked great, as I started reading. Halfway through, I randomly dragged the mouse, and saw the tell-tale block-select with the overlapping edges.
It looks good!
I really hate it when a product works fine, except for one little accessibility issue that everyone misinterprets, and suddenly everyone hates it. Firefox is the only browser that can't see the selection, but it's suffering tremendously because of that. Because some text isn't highlighted.
In chrome, it takes just a bit more CPU to select, and IE8 takes up all of a core just looking at it.
Other than that, though, it's pretty fine. It would need to overcome resizing issues, of course.
I guess web fonts are the current "in" topic.
Here's a question: Have you ever made your own font? I'm wondering if making one's own font would make it more personal, and thus less likely to be stolen.
I really can't imagine actually using the Coca Cola font anywhere, for example.
I always use my full collection of typefaces when I'm designing and will continue to do so. That is a creative decision that has nothing to do with the state of technology or licensing disputes. The whole reason to license a typeface is to add it like an arrow to your quiver, ready to use in any design challenge that comes up.
You solve the HTML 4 font linking disaster by including generic substitutes, not by designing with those generic substitutes. If you designed using only those generic substitutes, you sabotaged your last decade of design work only because HTML 4 font linking failed.
When having a conversation about font licensing, it's important to remember that we already had this conversation in 1998-99 before HTML 4, and HTML 4 does indeed have font embedding. The font embedding in HTML 5 is not new; it's just improved to the point where it's now practical to use.
It's also important to remember that Flash has had font embedding since Flash 2 in 1997, and that PDF has had font embedding for about that length of time also. And that digital print tools have font embedding and they're even embedded in printers also.
The fact that HTML is only now getting a practical working system for font embedding is not the start of a new round of licensing talks. It is our opportunity to quietly (as if with our tails between our legs) replace all the font-photos that litter the Web with actual text headings set in that particular font, as they should have been made in the first place. It's an opportunity to replace the generic blandness of Web type with pages that express themselves at like a 1985 print level at least. We should all be ashamed of the past lost decade of typography, especially the foundries. Since HTML 4 font embedding failed we have seen the CD and DVD replaced with MP4 … I have no sympathy for foundries who have not yet recognized that the Web is humanity's primary publishing medium. Their fonts exist to be on the Web first and foremost … Flash and PDF and print are accessories to the Web. If you publish in paper, it now costs more than 50% of your budget just to buy the paper. That is not sustainable and not practical and that is why newspapers are disappearing. So if there is to be such a thing as "Century Schoolbook" going forward, we'd better get to using it on the Web.
The part of the font licensing debate that really bothers me is the idea that in order to publish a designer's catalog of work on the Web you are supposed to re-acquire all of the fonts that were used? That all of our work is in hock to the font foundries because we paid them for their fonts in the past? Because I paid for and used Helvetica instead of a free "Swiss", I have to do an audit and pay the people that I paid for Helvetica all over again? That is patently absurd, and good luck selling that to a world that has come to think that whatever chunky letterforms Microsoft can generate are just fine.
So use fonts. Use all your fonts. The current state of the Web is embarrassing compared to other mediums.
I'm assuming all those those commentators who are "standing up" for the foundries have never ever purchased an image from a stock photo site like iStock photo?
A short while ago you had to buy incredibly expensive cd's to get quality stock photos but they have all since disappeared due to these types sites offering a quality product for a much more affordable price.
If you have used one of these sites haven't you ripped the photographers off in the same way you purpose is going to happen to the foundries?
Because of these sites the graphics/images/photos/illustrations on most sites, print material etc. has been enriched as has the user experience. Not to mention many photographers make a very nice living off of these sites as their work is exposed to millions of designers not just the handful that can afford to buy the cd.
The same is true for the music, film and news industries. They are all finally doing something about it. There is a reason that iTunes sells the most music and soon the most movies too.
Yes something more needs to be done to protect the foundries typefaces which is exactly what Dave says, but lets make that happen soon.
Foundries use the web to sell their products isn't about time to start allowing the web showcase those beautiful products?
I wanted to zoom in this site, but your article font looks horrible with zooming. :(
Dave, the whole article is unreadable - the text is so much antialiased, I am unable to read it clearly. Not talking about no option to select it etc. This harms basic usability, which is strange and I wouldn't expect this from a leading designer.
PS: On Ubuntu Linux, latest FF.
Though the point has already been made here, I'll summarize it:
@font-face is by no means different from the img tag we've been using all those years. The img tag hasn't thrown photographers into deep poverty and stifled photo-graphical creativity. The current @font-face implementation won't do any harm to the font foundries too, much to the contrary, as the img tag and the stock photography market it has spanned clearly demonstrate.
@Dave S. - Though I'm too very much concerned about the accessibility issues that arise from your use (or abuse) of Cúfon I do admire your initiative and think I'll be using it (Cufón, or some other alternative) in some headings and such from now on.
Dave, thanks for your linking to my article. Since writing it I'm most glad to see Cufón make its appearance.
Although Cufón and its implementation is far front perfect—as illustrated by the many concerns raised within the comments—it should be considered a talking point to ignite discussion amongst those who set type on the web. As the eventual users of any technical outcome to this debate and also one of the largest posible untapped consumers of fonts we should hold a larger sway in this discussion and more of us should pay attention to it.
Thus I wanted to pass along kudos for your article above and its use for setting the body copy with Cufón because it has evidently started a discussion and teasingly illustrates a glimpse of what good type could be on the web.
I cannot select text in your image-based "article"; this font embedding technology is as useful as a HTML blinking marquee and even more irritating.
I really like the combination Kilian Valkhof put together here http://kilianvalkhof.com/2009/css-xhtml/combining-cufon-and-font-face/ where cufon is used as a fallback for @font-face, the latter itself a fallback in case the user doesn't have the font installed.
@Thiago Cavalcanti:
Yeah the img tag point has been made but the analogy has so many flaws that's quite useless.
Photos and imagery are always been reproducible and reusable, since… well, the invention of photography.
It's pretty much implied that whenever you give permission to reproduce a photo of yours in any work, that reproduction is in the wild, and can easily be reused by unscrupolous users.
Font faces are a tool for setting text, and as such they're never been reusable from the work they're used in. They can be recreated from that but it's unpratical even in the digital age.
For that, the internet availability of imagery has never been such a shattering new issue, also considering that in most of its web incarnations, as linked in img tags, a photo is much less reusable than in its printed form - I mean, would you use a 400x300 heavily compressed jpeg in client work?
While with @font-face, the regularly licensed copy of the content producer would be available in its pristine form, fit to be used for any work by the unscrupolous grabber.
All this, without considering the very different nature of the product and market.
Photos are one-shots (erm…), producing them requires of course talent, craft and often much time and money, but in the end it's by definition a fraction-of- a-second work.
A talented photographer can produce tons of imagery to put for sale, and the market has an never ending huge demand for new imagery.
Besides that, the actual selling of stock photos is just one way among many for a photographer to generate income. He can be contracted for sets, make exhibithions, publish books etc etc ect.
Font faces requires a whole lot of time to be crafted, and any single copy bought by a content producer is used for a huge lot of work. Font authors have basically no other mean for a living than the selling of their fonts, and the market is by orders of magnitude smaller than the photo market…
There's always demand for new fonts, but it's safe to say that an average content producer could buy and use a couple of hundred fonts in his career, while he could use a couple of hundred photos in one month of work…
I mean I know there's bittorrent and all the stuff, but as a font author wouldn't you be scared that the mechanism for providing custom fonts for website would imply to offer an unprotected copy of that font on any website that displays it?
It would be like Adobe accepting plainly that to display flash content on a site you'd have to host and link an unprotected copy of Flash CS4 on your site…
It's a technical issue that absolutely need to be worked out for the advance of web publishing, but saying "wtf isn't it just like img href?" it's just naive and worthless.
Though certainly not great in terms of functionality (selecting the text etc.) I think Museo Sans is great for improving readability of the text and far from an ego trip as some have ventured. Unfortunately for body text at this time I think Cufon's benefits do not outweight its faults.
I've used all the various technologies over the last year or so, and none of them has done the job properly. I used a PHP image rendering engine, which worked, but lacked the nice anti-aliasing / sub-pixel rendering available for native fonts. I tried sIFR, but I find it a bit painful to generate the proper fonts for it, especially since it requires TTF and pretty much everything I had access to was OTF. Plus (at least for me) it rendered briefly in one font, then switched to another font, which caused an ugly visual glitch.
@font-face actually worked quite well, but at the time it periodically crashed Safari, so I ended up ditching it. Totally agree though that the issues are legal at this point. It would be nice for some font creators to add licenses to their fonts that would allow them to be used on the internet for free.
@Erik Vorhes, @Dave S., if you read Dowding, Tschichold and Bringhurst, you'll find references to what I mean: the use of typography for advancement of the ego.
Using pretty fonts to have people say 'oh look at the pretty fonts' rather than using fonts to serve the text is what I'm referring to.
But I'm being theoretical not literal and I certainly don't think this particular article is an example for such usage of type.
I thought that, since the text discusses the widespread of font variety on the web, I could add my 2 cents about what could go wrong with it.
I see typography as a conservative art form and I believe people are already butchering type on the web enough as it is (ridiculously small text, hugely long measures, horrible word-spacing due to idiotic use of justification where it doesn't belong).
Having said that, I'm all for the advancement of web typography and I welcome new thought and solutions.
PS: my site is a blog with grossly exaggerated graphics, so yes, it's a bit of a silly show off. :-)
I'm actually AGAINST font embedding!!!
The actual font family choosing constrain allow us (the readers) to get used to a small set of fonts (lucida, helvetica-arial, georgia, verdana) and read quickly any text on any web page.
If people gets the freedom to use any font… well…you know.. in no time we will all be reading comic sans.. or even worst "dafont" fonts.
You will remember this when your eyes hurts.
If font embedding where only available for h1 & h2.. well.. I could agree with that. But for p. No thanks. This could be really worst than the "skip intro" fiasco.
I have a habit of selecting text while I am reading. And this really freaked me out :)
The same reason why I hate reading NY Times. Double-clicking something in the text opens up a dictionary.
I would only ever use sifr on small sections of text, for example h1's.
"I'm curious though, did you actually have a reason for selecting text on this article, or were you just making a point?"
mm like posting about it somewhere, like quoting it and spreading your ideas, like adding it as description in the bookmarks, oh well who cares being rude with your users is always more fun isn't?
For the record, I also wanted to highlight the text. The contrast between the text and the background hurts my eyes when reading articles, so I tend to highlight it to (a) be able to look away and easily know where I've got up to, and (b) it reduces the contrast and makes it easier on my eyes. So there are genuine reasons for highlighting text, other than because "I want to".
There are most certainly downsides to SIFR, like highlighting text. However, it's a case of whether you sacrifice usability for aesthetics? If you do use SIFR, I believe it should only be on small section of text for now. Your site is one of the first I have seen that has used it on all the text throughout your entire site, I hope that this doesn't cause too many problems for your users.
I've used sIFR for a while now and its got it drawbacks, but I think that when someone sorts out a cloud solution whereby you link to a font on a remote server, and pay a small fee to do so… life will be better for all. Fonts will the become a cost of the job and passed on to the client.
We've just got to wait for the industry to standardise the borwser technology and for older browsers to finally curl up their toes and die!
Good article - CUFON - I kind of like it, and its real fast…
Oh and I can copy and paste just fine - safari 4!


text:
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subset: commoncrawl


text:
You knew he was gonna have to come up with something, and Harold Camping didn't disappoint. He now says the Rapture will take place Oct. 21: http://news.yahoo.com/s/ap/20110524/ap_on_re_us/us_apocalypse_saturday
So now we have to put up with another five months of his crap. Guess PT Barnum was right when he said "There's a sucker born every minute."
Wouldn't it be nice if he reimbursed those who spent their money on his behalf, especially the guy in New York state who went through his retirement savings - $140K - to promote his theories.
Yeah, I know, don't hold your breath...
Views: 115
He will continue to raise funds to spread the word of our impending doom. Sadly, people will still dig deep for the cause, despite the many (and we know there will be) "errors in calculation".
Hmm... he mentions in the link that May 21st was in fact judgement day and at this moment everyone in the world has been judged. Since basically you can't save anyone anymore, he is not interested in promoting the Oct 21st message. If that's true, then it sounds like the guy really believes this stuff, rather than just being some scam-artist.
Makes me wonder though, if everything is "set" salvation-wise, what happens to babies born between now and Oct 21st?
On a related note, if everything is "set" salvation-wise, what reason is there to be 'good' now? Folks going to Heaven have a place reserved due to past goodness, and folks going to Hell might as well live it up since it's too late now.
As I said when The Rapture DIDN'T happen, as I saw on a Mad Magazine sticker back in the 70s:
The End of the World is coming - it's just late, like everything else!!!
© 2019 Atheist Nexus. All rights reserved. Admin: The Nexus Group. Powered by


text:
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text:
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text: On Thu, Apr 02, 2009 at 10:11:07AM -0400, Prentice Bisbal wrote: > Or it could be because they make motherboards that convert 12 VDC to 5 > VDC on the motherboard. All Itanium and some other x86 boxes take a single 48V input to the mobo. I talked to a mobo designer once and he claimed that there was no power savings to be had doing this. Beats me, mon. -- greg


text:
First Restaurant Set to Open at Sanford Complex
It looks like you'll soon be able to take the Beef 'O' Brady's Nuclear Wing Challenge in Sioux Falls. The national restaurant chain is coming to the Sanford Sports Complex in northwestern Sioux Falls.
The theme of Beef 'O' Brady's is a family-friendly, sports-themed restaurant with an Irish twist. The menu features wings, burgers, sandwiches and salads, along with a variety of entrees, including specialty fish and chips.
Janet Eining, who also owns Cellular Only stores, and the Original Pancake House is the Sioux Falls franchise.
Word is a mid-September opening is planned. This is around the same time the Pentagon and the nearby Fairfield Inn & Suites hotel plan to open.
I would like to formally extend a Hot Wing Challenge to our friend Janet. You, Me, Wings, 15 minutes. Who ever loses buys first aid for the winner. Ya in!?


text:
Quincy Music Theatre brings the updated 2001 version of "Godspell" to area audiences as its last production of this season. Modernized, vibrant and enchanting, the show has a rock opera score based on the gospels of Matthew and Luke. It opens this Friday evening for two weekends, April 20-22 and April 27-29.
If you currently subscribe or have subscribed in the past to the Gadsden County Times, then simply find your account number on your mailing label and enter it below.
Click the question mark below to see where your account ID appears on your mailing label.
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text:
Mexican-American War, also called Mexican War, Spanish Guerra de 1847 or Guerra de Estados Unidos a Mexico ("War of the United States Against Mexico"), war between the United States and Mexico (April 1846–February 1848) stemming from the United States' annexation of Texas in 1845 and from a dispute over whether Texas ended at the Nueces River (Mexican claim) or the Rio Grande (U.S. claim). The war—in which U.S. forces were consistently victorious—resulted in the United States' acquisition of more than 500,000 square miles (1,300,000 square km) of Mexican territory extending westward from the Rio Grande to the Pacific Ocean.
What was the Mexican-American War?
What did the Mexican-American War have to do with Manifest Destiny?
Was there opposition to the Mexican-American War within the United States?
What did the U.S. gain by winning the Mexican-American War?
How did the Mexican-American War increase sectionalism in the United States?
"American blood on American soil": Polk and the prelude to war
Mexico severed relations with the United States in March 1845, shortly after the U.S. annexation of Texas. In September U.S. Pres. James K. Polk sent John Slidell on a secret mission to Mexico City to negotiate the disputed Texas border, settle U.S. claims against Mexico, and purchase New Mexico and California for up to $30 million. Mexican Pres. José Joaquín Herrera, aware in advance of Slidell's intention of dismembering the country, refused to receive him. When Polk learned of the snub, he ordered troops under Gen. Zachary Taylor to occupy the disputed area between the Nueces and the Rio Grande (January 1846).
On May 9, 1846, Polk began to prepare a war message to Congress, justifying hostilities on the grounds of Mexican refusal to pay U.S. claims and refusal to negotiate with Slidell. That evening he received word that Mexican troops had crossed the Rio Grande on April 25 and attacked Taylor's troops, killing or injuring 16 of them. In his quickly revised war message—delivered to Congress on May 11—Polk claimed that Mexico had "invaded our territory and shed American blood on American soil."
Spot Resolutions and Civil Disobedience: American opposition to the war
Congress overwhelmingly approved a declaration of war on May 13, but the United States entered the war divided. Democrats, especially those in the Southwest, strongly favoured the conflict. Most Whigs viewed Polk's motives as conscienceless land grabbing. Indeed, from the outset, Whigs in both the Senate and the House challenged the veracity of Polk's assertion that the initial conflict between U.S. and Mexican forces had taken place in U.S. territory. Further, legislators were at odds over whether Polk had the right to unilaterally declare that a state of war existed. Principally at issue was where the encounter had actually taken place and the willingness of Americans to acknowledge the Mexican contention that the Nueces River formed the border between the two countries. Active Whig opposition not only to the legitimacy of Polk's claim but also to the war itself continued well into the conflict. In December 1846 Polk accused his Whig doubters of treason. In January 1847 the by-then Whig-controlled House voted 85 to 81 to censure Polk for having "unnecessarily and unconstitutionally" initiated war with Mexico.
Among the most-aggressive challenges to the legitimacy of Polk's casus belli was that offered by future president Abraham Lincoln, then a first-term member of the House of Representatives from Illinois. In December 1847 Lincoln introduced eight "Spot Resolutions," which placed the analysis of Polk's claim in a carefully delineated historical context that sought to
obtain a full knowledge of all the facts which go to establish whether the particular spot of soil on which the blood of our citizens was so shed was, or was not, our own soil at that time.
Ultimately, the House did not act on Lincoln's resolutions, and Polk remained steadfast in his claim that the conflict was a just war.
Abolitionists saw the war as an attempt by the slave states to extend slavery and enhance their power with the creation of additional slave states out of the soon-to-be-acquired Mexican lands. One abolitionist who agreed with that interpretation was author Henry David Thoreau, who was incarcerated in July 1846 when he refused to pay six years' worth of back poll taxes because he felt the U.S. government's prosecution of the war with Mexico was immoral. Although he spent only a single night in jail (his aunt, against his wishes, paid the taxes, thus securing his release), Thoreau documented his opposition to the government's actions in his famous book-length essay Civil Disobedience (1849), insisting that if an injustice of government is
of such a nature that it requires you to be the agent of injustice to another, then, I say, break the law. Let your life be a counter friction to stop the machine.
Invasion and war
When war broke out, former Mexican president and general Antonio López de Santa Anna (the vanquisher of the Texan forces at the Alamo in 1836) contacted Polk. The U.S. president arranged for a ship to take Santa Anna from his exile in Cuba to Mexico for the purpose of working for peace. Instead of acting for peace, however, on his return, Santa Anna took charge of the Mexican forces.
Following its original plan for the war, the United States sent its army from the Rio Grande, under Taylor, to invade the heart of Mexico while a second force, under Col. Stephen Kearny, was to occupy New Mexico and California. Kearny's campaign into New Mexico and California encountered little resistance, and the residents of both provinces appeared to accept U.S. occupation with a minimum of resentment. Meanwhile, Taylor's army fought several battles south of the Rio Grande, captured the important city of Monterrey, and defeated a major Mexican force at the Battle of Buena Vista in February 1847. But Taylor showed no enthusiasm for a major invasion of Mexico, and on several occasions he failed to pursue the Mexicans vigorously after defeating them. In disgust, Polk revised his war strategy. He ordered Gen. Winfield Scott to take an army by sea to Veracruz, capture that key seaport, and march inland to Mexico City. Scott took Veracruz in March after a siege of three weeks and began the march to Mexico City. Despite some Mexican resistance, Scott's campaign was marked by an unbroken series of victories, and he entered Mexico City on September 14, 1847. The fall of the Mexican capital ended the military phase of the conflict.
Ultimately, infection and disease took many more U.S. casualties than combat did. At least 10,000 troops died of illness, whereas some 1,500 were killed in action or died of battle wounds (estimates of the war's casualties vary). Poor sanitation contributed to the spread of illness, with volunteers—who were less disciplined in their sanitary practices than regular troops were—dying in greater numbers than the regulars. Yellow fever was particularly virulent, but other diseases—such as measles, mumps, and smallpox—took their toll too, especially on troops from rural environments whose immunities were less developed than those of their urban compatriots.
Treaty of Guadalupe Hidalgo and the war's legacy
Polk had assigned Nicholas Trist, chief clerk in the State Department, to accompany Scott's forces and to negotiate a peace treaty. But after a long delay in the formation of a new Mexican government capable of negotiations, Polk grew impatient and recalled Trist. Trist, however, disobeyed his instructions and on February 2, 1848, signed the Treaty of Guadalupe Hidalgo. According to the treaty, which was subsequently ratified by both national congresses, Mexico ceded to the United States nearly all the territory now included in the states of New Mexico, Utah, Nevada, Arizona, California, Texas, and western Colorado for $15 million and U.S. assumption of its citizens' claims against Mexico.
Zachary Taylor emerged as a national hero and succeeded Polk as president in 1849. The war reopened the slavery-extension issue, which had been largely dormant since the Missouri Compromise. On August 8, 1846, Rep. David Wilmot of Pennsylvania attempted to add an amendment to a treaty appropriations bill. The Wilmot Proviso—banning slavery from any territory acquired from Mexico—was never passed, but it led to acrimonious debate and contributed greatly to the rising sectional antagonism. The status of slavery in the newly acquired lands was eventually settled by the Compromise of 1850, but only after the nation had come perilously close to civil war. When the Civil War came in 1861, many of the most-noteworthy generals on both sides had profited from their battle experience in the Mexican-American War, including Confederate Generals Robert E. Lee, Thomas ("Stonewall") Jackson, James Longstreet, George Pickett, Albert Sidney Johnston, Lewis Armistead, and P.G.T. Beauregard, as well as Union Generals Ulysses S. Grant (who later called the Mexican War "one of the most unjust ever waged by a stronger against a weaker nation"), George Gordon Meade, George H. Thomas, and Joseph Hooker.
In Mexico the war discredited the conservatives but left a stunned and despondent country. It also reinforced the worst stereotypes each country held about the other. Normalization of relations after the war proceeded slowly.
Learn More in these related Britannica articles:
Mexico: The age of Santa Anna: Texas and the Mexican-American WarAfter the downfall of Iturbide, Mexican politics revolved for some time about the enigmatic personality of the charismatic Antonio López de Santa Anna, who seemingly had few fixed ideological or political beliefs. Allied with the Federalists, Santa Anna was first chosen president in…
United States: Westward expansion…any means to secure the Mexican territories of New Mexico and upper California, Polk used a border incident as a pretext for commencing a war with Mexico. The Mexican-American War was not widely acclaimed, and many congressmen disliked it, but few dared to oppose the appropriations that financed it.…
railroad: The transcontinental railroadThe Mexican War, by adding California, Arizona, and New Mexico to the American domain, complicated the matter greatly. North-South sectionalism intruded when it was appreciated that west of the Missouri any rail project would require a combination of federal and private efforts, the American practice. In…
rocket and missile system: The 19th century…to be made for the Mexican War, 1846–48. Although some were fired, they were not particularly successful. Rockets were used in a limited way in the American Civil War (1861–65), but reports are fragmentary, and apparently they were not decisive. The U.S. Ordnance Manual of 1862 lists 16-pound Hale rockets…
Los Angeles: Spanish colonial outpostDuring the Mexican-American War (1846–48), southern California was the site of numerous armed skirmishes. When the war ended, California was a province of the United States; in 1850 California joined the union as a state and the city of Los Angeles officially became American. For a brief…
More About Mexican-American War24 references found in Britannica articles
Assorted References
- major reference
- Battle of Buena Vista
- effect on transcontinental rail proposal
- Treaty of Guadalupe Hidalgo
- use of rockets
history of
- Nuevo León
- In Nuevo León
United States
- Los Angeles
- Texas
opposiiton by
- Lincoln


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This is an exclusive arrangements for brass quartet (2) of MEDIUM skill level from the original composition by Miscellaneous. This title is available as instant sheet music download. Contents: angels we have heard on high,away in a manger,carol of the birds,god rest ye merry gentlemen,good king wenceslas,hark the herald angels sing,i heard the bells on christmas day,it came upon the midnight clear,o come o come immanuel,o come o come emmanuel, o holey night,o holly night,pat a pan,pat-a-pan,sussex carol,we gather together to ask the lord blessing,o holy night
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text: I don't know g98, but could it be of any help considering NBD (http://www.xss.co.at/linux/NBD/) or ENBD (http://www.it.uc3m.es/~ptb/nbd/)? Also for some other uses in beowulf clusters? Anyone good experiences with them? Bye, Gianluca ----- Original Message ----- From: "Ken Chase" <math at velocet.ca> To: <beowulf at beowulf.org> Sent: Thursday, January 23, 2003 9:17 PM Subject: Re: diskless node + g98? > On Thu, Jan 23, 2003 at 10:29:31AM -0800, Martin Siegert's all... > > On Thu, Jan 23, 2003 at 11:43:29AM -0600, lmathew at okstate.edu wrote: > > > Beowulf list readers: > > > > > > I have a Beowulf cluster (12 diskless nodes, 1 fileserver/master) with > > > 26 processors (total) that is configured to run computational simulations > > > in both parallel and serial (pretty standard for this list). I am > > > interested in utilizing my cluster to run a series of serial g98 > > > calculations on each node. These calcualtions (as many of you know) > > > require a "scratch" space. How can this scratch space be provided to a > > > diskless node? Here are a few options that I have identified. > > > > I am running a 96 node (192 processor) cluster as a multi-purpose > > research facility for a university. I have a lot of g98 jobs running > > on that cluster. All of my nodes have /tmp on a local disk with 15GB of > > scratch space. > > We started with no local disk on our clusters for G98, and it really depends > on a bunch of things (as always). > > At the time, they werent giving hardrives away in cereal boxes, so we didnt > put them in every node. Our per node cost was only 2x the cost of a drive > at the time. > > So we could buy N nodes with N disks, or we could buy N*1.5 nodes and put > everything on a big nfs server (granted, the NFS server was already available > at no cost to the cluster, which doenst make this a fair comparison). > > We would normally lose 10-20% of performance for the types of jobs we were > running waiting for 'slow' (12 MB/s across 100Mbps) scratching to occur. > (We found the jobs would want to scratch at that speed for about 5-15% of > their runtime, so sharing 6 nodes per 100Mbps works fine for total > throughput on 100Mbps networks). > > 2 things: > > 1) 1.5N * 0.9 = 1.35 diskless throughput vs 1N for putting drives in. > > 2) 1.5N * 0.9 + 1.5N * 0.1 = 1.5 N vs 1N > > (2) stems from the fact that while processes are in NFSIO state, we can > actually run other jobs on that same node in the meantime, and recover the CPU > otherwise lost. (In our situation there are *ALWAYS* large low priority jobs > that have to run for a long time around for us to slam onto a node at idle > priority level 20 (freebsd idle priority ROCKS), so we can do this.) Perhaps > all your jobs are at equal priority so you cant do this. Or perhaps you run > linux so you must give up 5% of your CPU for nice 19'd jobs and thrash your > cache and get hammered on context switches. So this might not work for some. > Idle priority solves this when you have any job that can use 100% of the cpu > for LONG PERIODS OF TIME (anything over a second is a VERY LONG TIME on a > cpu)). > > But, since hardrives are at worst 1/4 the cost of a node (regardless > of what kinds of nodes you use) this all might require a reanalysis of > the situation. (As always, tho, as RGB and I keep repeating, people keep > leaving the $ signs out of their 'performance' calculations.) > > In fact, for a specific number of nodes on a cluster we built last year, the > upgrade was to put drives on half the nodes. (A superlinear moore's law on > hardrive sizes/$ from the last year has helped alot to underline how important > *WAITING* to purchase and install parts of your cluster can be! $50USD for > 40Gb drives?! haha!) This allows us to run frequency scan jobs on g98 much > faster on those nodes. It really depends on what kinds of jobs you run under > G98 as well, and what models of theory you use. Frequency and scan jobs are > the worst for thrashing scratch - just buy a hardrive per node. > > But use it only as scratch - manage the cluster from a share NFS root for > sure. > > > > 1). Mount a LARGE ram drive? (1GB in size if possible??) > > Almost certainly not good enough: most of the g98 jobs that I see on > > my cluster need more than 1GB of scratch space. > > ram drives dont work so well because they have fixed size. plus, ram > is more expensive than disk. A better solution: swap-backed ramdisk. > > We swap over the network as required (g98 runs in wired core), and its > extremely fast (in fact, I find it faster than whatever method g98 uses to > write its scratch files). And, you dont need to hammer the network til you > run out of ram. Perfect solution. > > However, linux's swap backed ramdisk stuff is far less mature than FreeBSD's > md device. We have had alot of success with it on fbsd >4.5 > > 512 Megs of ram on these boards when the jobs really only want (and only > seem to take, even when forced) 128 or 256 megs means small scratch files > can be dealt with quick, and only when they get large do you go to the network. > > > > 2). Install hard disk drives in each of the slave nodes? (unattractive) > > By far the best solution. > > Yes, by far the FASTEST PERFORMANCE PER NODE. I have a box of extra $ signs > for your calculations here if you'd like to use them. Then we can all do a > FASTEST AGGREGATE THROUGHPUT PER DOLLAR calculation. (Doesnt anyone care > about this? Why? Are we all building ASCI colour superclusters by using > backhoes to dig into our gravel pit full of money?) > > > > 3). Use a drive mounted via NFS/PVNFS? (large amount of communication) > > Very bad. I first (because I did not know anything about g98) had g98 > > configured such that it would write its scratch files to the user's home > > directory over NFS. This did not only drive the performance of the g98 > > towards 0, but what is worse it made life miserable for everybody on the > > cluster (NFS timeouts, etc.). > > We found no NFS timeouts. We designed things properly with g98 scratching in > mind. The NFS server has 4 raid 0 striped drives that are specifically setup > to handle this scratch work. No problems at all, once everyone was warned "we > have Nx1.5 nodes *BECAUSE* we have no disk, so do not bitch that you only see > 90% cpu usasge for your jobs! submit another low priority job and soak it up > if you really care." -- worked well. > > Furthermore, since you are running jobs singly per node, total throughput of > all nodes is obviously very important to you (you have sequential jobs you > mentioned but obviously you dont have just 1 node - you have parallel streams > of work to perform across your # of nodes). So in this case, if there's any > way you can split streams up into more than the 26 cpus you have and > prioritize them differently, then you can soak up the extra cpu you have > left over from not having disks. > > At least that was the philosophy behind it all when disks were alot more > than they are now. Again, they're so cheap, it might not make sense anymore. > As I said, get out the $ signs and do the math. It makes less sense with > faster and more expensive nodes. (The ratio of node cost per disk cost is > a key part of the calculation). > > Another solution we're actually using on that cluster that now has the drives > is, since its been hard to hammer into people's heads to use SPECIFIC nodes > for SPECIFIC types of jobs (following the concept of a 'cluster tuned > specifically for the jobs it runs), we've just mounted every odd node with > disk onto every even diskless node. So you only have 1 nfs client per node, > and it gets full 100Mbps performance. Yes, it uses a bit of CPU on the disk'ed > node, but its worth it in the long run. > > THe big loss of hardrives is that we've probably instantly doubled the > failure rate of any component on the cluster - more to go wrong now. :( > > > > Has anyone encountered this? If so...what was the workaround that was > > > implemented? I am open to any suggestions and comments. :) > > Can do 1 disk per n nodes if you want, but it makes sense to raid 1 them to > avoid downtime/bitching. Maintenance on a raid 1 can wait hours or days > (weeks?) before being critical. And, with a few simple scripts that can > chomp .log outputs from g98 and restart jobs where they left off, without > paying the 3-10% performance hit for the 'checkpoint' feature in g98, which > hammers the disk even harder, downtime hardly matters anymore anyway as > long as the node comes back up eventually - you dont lose all work to date > on that node. (This works extremely well with my feelings about designing > clusters that *CAN* have nodes fail without major impact, allowing one to > use very cheap parts without any throughput loss.) > > > I am going to stick my head out here: configuring a multi-purpose > > cluster with diskless nodes is a misconfiguration. Only if you know > > that you'll never run a job with significant I/O on your cluster > > you could consider going diskless. Otherwise: stay away from that. > > No, just get out your $ signs and do appropriate calculations. Just be > a bloody hardnosed cold realist and calcuate the numbers. Look at total > throughput per dollar from each design. > > I even did some GNUplots of disk usage vs CPU usage as well as network > bandwidth used (MRTG) to win the cluster contract that had no local scratch. > Yes it was slower per node, but we had far more nodes to more than make up for > it. (And as I keep saying, the extra cpu that's idle can be reabsorbed.) > > > (you could install a high-performance file server on your cluster - we > > actually have a Netapp NFS server - but for g98 your network becomes > > the bottleneck. Furthermore, this is definitely more expensive than > > installing local disks ...) > > It can become a bottleneck at really large numbers of jobs, yes, thats quite > true. The bottleneck is transactions on disk per second, not the raw disk > bandwidth. I'd suggest a disk array per 20-30 CPUs for what we do, but its > hard to compare what we do with what your doing. > > [ Besides, even if the disk is being hammered, until the disk usage > reaches a plateau (such that its hammered equally all the time) *AND* the > performance loss is not worth the extra nodes (regardless of soaking up > CPU with other jobs that may (or not) hit disk), it may still be worth it. > Again, it depends on your applications - if you have other non g98 jobs > to run that hardly touch disk at all, you're laughing here - you'll always > be able to soak up extra cpu caused by slow disk or network. ] > > G98 has many different job parameters and uses the disk in very different > ways. It _REALLY DEPENDS_. Run your tests now on a few nodes and then plot > your results vs dollars spent. > > /kc > > > Just my $0.02 > > > > > > > > Martin > > > > ======================================================================== > > Martin Siegert > > Academic Computing Services phone: (604) 291-4691 > > Simon Fraser University fax: (604) 291-4242 > > Burnaby, British Columbia email: siegert at sfu.ca > > Canada V5A 1S6 > > ======================================================================== > > _______________________________________________ > > Beowulf mailing list, Beowulf at beowulf.org > > To change your subscription (digest mode or unsubscribe) visit http://www.beowulf.org/mailman/listinfo/beowulf > > -- > Ken Chase, math at velocet.ca * Velocet Communications Inc. * Toronto, CANADA > _______________________________________________ > Beowulf mailing list, Beowulf at beowulf.org > To change your subscription (digest mode or unsubscribe) visit http://www.beowulf.org/mailman/listinfo/beowulf


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The people of the State of Virginia, by their delegates assembled in Convention at Wheeling, do ordain as follows:
1. A Governor and Lieutenant-Governor for the State of Virginia shall be appointed by this Convention to discharge the duties and exercise the powers which pertain to their respective offices by the existing laws of the State, and to continue in office until their successors be elected and qualified.
2. A Council, to consist of five members, shall be appointed by this Convention to consult with and advise the Governor respecting such matters pertaining to his official duties as he shall submit for consideration, and to aid in the execution of his official orders. Their term of office shall expire at the same time as that of the Governor.
3. The Delegates elected to the General Assembly on the twenty-third day of May last, and the Senators entitled, under existing laws, to seats in the next General Assembly, who shall qualify themselves by taking the oath or affirmation hereinafter set forth, shall constitute the Legislature of the State, to discharge the duties and exercise the powers pertaining to the General Assembly. They shall hold their offices for the terms for which they were respectively elected. They shall assemble in the city of Wheeling on the ____ day of ____ and proceed to organize themselves, as prescribed by existing laws, in their respective branches. A majority in each branch of the members qualified as aforesaid shall constitute a guarantee to do business. A majority of the members of each branch that qualified, voting affirmatively, shall be competent to pass any act specified in the twenty-seventh section of the fourth article of the Constitution of the State.
4. The Governor, Lieutenant-Governor, members of the Legislature, and all officers now in the service of the State, or of any county, city or town thereof, or hereafter to be elected or appointed for such service, including the Judges and Clerks of the several courts, Sheriffs, Commissioners of the Revenue, Justices of the Peace, officers of city and municipal corporations, and officers of militia and volunteers of the State not mustered into the service of the United States, shall each take the following oath or affirmation before proceeding in the discharge of the several duties:
I solemnly swear (or affirm) that I will support the Constitution of the United States, and the laws made in pursuance thereof, as the Supreme law of the land, any thing in the Ordinances of the Convention which assembled at Richmond on the 13th day of February, 1861, to the contrary notwithstanding; and that I will uphold and defend the Government ordained by the Convention which assembled at Wheeling on the 11th day of June, 1861, and the Legislature, Governor and all other officers thereof in the discharge of their several duties as prescribed by the last mentioned Convention.
5. If any elective officer who is required by the preceding section to take said Oath or Affirmation, fail or refuse so to do, it shall be the duty of the Governor, upon satisfactory evidence of the fact, to issue his writ declaring the office to be vacant, and providing for a special election to fill such vacancy, at some convenient and early day to be designated in said writ of which due publication shall be made for the information of the persons entitled to vote at such election, and such writ may be directed, at the discretion of the Governor, to the Sheriff or Sheriffs of the proper County or Counties, or to a special Commissioner or Commissioners to be ordered by the Governor for the purpose. If the officer who fails or refuses to take such oath or affirmation be appointed otherwise than by election, the writ shall be directed to the appointing power, requiring it to fill the vacancy.


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ericfritzen needed a new stationery design and created a contest on 99designs.
A winner was selected from 66 designs submitted by 9 freelance designers.
LatestUpdate Marketing
Hi. My name is Eric and I'm starting a home based business where I am going to help real estate agents in my area with their online marketing.
Please visit my website (under construction):
I'm looking to brand myself and my company as young, hip, stylish, and smart.
Real estate agents who need help with their online marketing efforts. I plan to do website customization and social media marketing.
Please focus all of your efforts on making an outstanding business card.
I already have a great logo that I just had designed here on 99Designs.com which I have attached. Included are Adobe Illustrator files and .jpgs.
Company: LatestUpdate Marketing (no space between "Latest" & "Update")
Email: email@example.com (please format it like this)
Phone: 1.518.441.2934 (I like it formated this way, but it doesn't have to be)
Website: http://www.LatestUpdateMarketing.com (I like it formated this way, but it doesn't have to be)
My card will be the standard 3.5" x 2.5" American business card.
I am going to have it printed at http://UPrinting.com and need a resolution of 300DPI.
I looking to have a business card that makes people stop and say:
"Wow, that's an awesome business card!"
I want something really creative that uses my new logo.
My logo was designed for an all black background and I know I want a full color (black or combination) background on my card.
I also like cards I've seen that have the logo as a large background image (somewhat transparent, usually on white background).
Please come up with something that matches my logo and is "hip", "stylish", and "exciting".
I want to express that I am a creative marketing company to clients who are used to "traditional" and "boring".
Please do what you feel is best as a professional designer and have fun.


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Ricker Polsdorfer, MD
It is possible to develop chronic urinary incontinence with or without the risk factors listed below. However, the more risk factors you have, the greater your likelihood of developing urinary incontinence. If you have a number of risk factors, ask your doctor what you can do to reduce your risk.
Although there are many different causes of incontinence, the risk factors listed here pertain to the most common types of incontinence.
The following conditions increase your risk of developing incontinence:
The risk of incontinence generally increases with age.
Women are more likely to develop
stress incontinence. Men are more likely to develop
related to obstruction and over-filling.
Minassian VA, Stewart WF, Wood GC. Urinary incontinence in women: variation in prevalence estimates and risk factors.
Obstet Gynecol.
2008;111(2 Pt 1):324-331.
Miu DK, Lau S, Szeto SS. Etiology and predictors of urinary incontinence and its effect on quality of life.
Geriatr Gerontol Int.
Urinary incontinence in men. EBSCO DynaMed Plus website. Available at:
http://www.dynamed.com/topics/dmp~AN~T900624/Urinary-incontinence-in-men. Updated December 13, 2016. Accessed May 17, 2017.
Urinary incontinence in women. EBSCO DynaMed Plus website. Available at:
http://www.dynamed.com/topics/dmp~AN~T900573/Urinary-incontinence-in-women. Updated May 15, 2017. Accessed May 19, 2017
Last reviewed May 2017 by
EBSCO Medical Review Board
Adrienne Carmack, MD
Please be aware that this information is provided to supplement the care provided by your physician. It is neither intended nor implied to be a substitute for professional medical advice. CALL YOUR HEALTHCARE PROVIDER IMMEDIATELY IF YOU THINK YOU MAY HAVE A MEDICAL EMERGENCY. Always seek the advice of your physician or other qualified health provider prior to starting any new treatment or with any questions you may have regarding a medical condition.
Copyright © EBSCO Publishing. All rights reserved.


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Eye Candy for Sailors, Part 15
With our visit to Singapore in our wake, I must say it's an amazing place. Despite being a big city, it's immaculately clean and shows off a surprising amount of greenery. Here are some of the highlights of our visit.
A view of the city.
The Hindu temple.
Good eats.
A big cat naps at the "Night Zoo".
Somebody's made a new friend.


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Melanie Fiona - You Stop My Heart (Valentines Day Version)
Special version of Melanie Fiona's single You Stop My Heart, available now on The Bridge!
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Supreme Galactic Eminence; Master of Time, Space and Dimension; Lord of All He Surveys; Omnipotent Omnipresent; Last King of Sealand; Grand Herald of the Letter 'M'; Dark Overlord of the Universe; Brobdingnagian Emperor of the Lilliputians; Cybernetic Ghost of Christmas Past from the Future; Larger than Most in More Ways Than One; Stalwart Defender of the Meek; Nemesis of the Number Four; Lord of the ThunderCats; Wielder of the Mighty Stalactite of Justice; Guardian of Canadian Athletes; Warden of Doc White's House and Just a Darn Good Fellow, Esquire.
Desero's Failed Attempts at Something That Should be Cool
We have a lot of talented artists who frequent these forums. This is the place for them to show off their stuff.
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Desero's Failed Attempts at Something That Should be Cool
Did you know you can't hurt a Minotaur with Corn?
Apparently, they are immune to Maze.
Apparently, they are immune to Maze.
- Cosmic Entity
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Re: Desero's Failed Attempts at Something That Should be Cool
Curler! I mean...Bulwark! Or is it Connor Crete? Anyway you slice it...pretty cool Desero.
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