Welcome to the wonderful world of typography. My name is Garrett Voorhees, and I'm the senior designer and UX strategist at Chapter 3. We're over in San Francisco, and we do our best to build good-looking websites that, you know, read well, function well, etc. And I have a lot of stuff to cover for you today. All of my slides will be online. I've got a link for you so you can snag the PDF at the end if you're worried about furiously scribbling your notes. And I'll say kind of a lot of what I'm covering today might be things that you already know if you have a background in design or typography, but I can pretty much guarantee there are at least a few things you have not seen before, and we'll dive right in. So I think it's important to kind of set a baseline. Like what is typography? It's basically any arrangement of letter forms, but this takes the form of books, magazines, packaging, way-finding signage, street signs, that tiny text at the end of a prescription drug commercial. But at its core, it's utilitarian. Type exists to communicate a message to you, and that method of communication can be either very simple or very complex. And I feel obligated to give you this warning because once you start to go down the typographic rabbit hole, your brain will forever be changed. I like to kind of think of it as a chronic disease. So everywhere I go, I cannot help but analyze and pick apart, you know, oh, what's that typeface? Oh, interesting that they use this with that. You'll never be able to dine at a restaurant without deeply scrutinizing their menu. So this is your last chance. You can still, like, take the blue pill, walk out the back door. Yeah. So these are a couple shots that I snapped when I was flying through SFO just a few days ago to just kind of illustrate the ubiquitous nature of typography in our world.  Here we've got a whole bunch of different stuff going on, various signs, a defibrillator, restroom, a deli, and they're all kind of treated differently. They're kind of commanding your attention in different ways. And these are things that we don't necessarily stop and think about. You know, we're just kind of digesting this information very quickly and we keep moving. But at some point, some human intentionally laid out this stuff and it was designed, and somebody designed the typeface that it is set in. You see it on packaging. Here, you know, the type is especially designed to kind of grab your eye and communicate a certain tone or a certain feeling. Magazines, all those medicines. This one was kind of interesting to me that you have, you know, this bold statement in all caps in this very traditional serif style. So all of that kind of communicates different things to us. So here's a little exercise test for you. This is going to pan across and just try to kind of keep track in your head of all of the different typographic styles and treatments that are jammed into this space. And this is Times Square in New York, of course. So there are lots of signs for Broadway shows, restaurants, a little bit of street signage. If you look really closely, you can see maybe some text on people's t-shirts. And this is maybe, you know, the extreme example where every possible surface is covered with some sort of messaging, much of which is typographic. So did you count them all? And designer Nicholas Damien's kind of asked this question about Tokyo, like what would the streets of Tokyo look like without all of these logos and slogans, company names, etc.  But it's kind of a good reminder of how prevalent all of this stuff is. So we're going to travel back in time a little bit to about 113 AD in Rome. And this is a picture of the Trajan column, which still stands today. And you might be familiar with the typeface Trajan, which is directly based on these letter forms. And these are basically the inspiration for our Roman capitals or our uppercase alphabet that we see today. It's also since been reappropriated for basically every single movie poster in the last like 25 years. It just kind of goes on and on. And sometimes they might tweak the letter forms a little bit. But if we go a couple centuries later, you can start to see how handwriting influenced early printing, which directly influences the typography that we see today. So this is a Latin Bible handwritten in Belgium in 1407.  And it would take them maybe a year to write out a complete Bible.  You see it in kind of classic heavy metal. Hip hop has used this a lot very commonly. Every newspaper, corona. So this typographic style with the roots in handwriting that dates back, you know, tons of centuries is still something that we see every day. And so a few years later after the Bible that we showed, here is a page from the Gutenberg Bible, 1455. And this is the first kind of significant work that was printed with movable type, meaning that each individual letter was a separate piece of metal and they got arranged in very careful rows. And they would typically arrange kind of an entire page at a time, print off those pages and then reclaim all the letters, rearrange them and do the next page. And you can imagine that's an extremely laborious process. But what I want to point out here is this early metal type is very, very closely imitating the black letter handwriting that we just looked at. So at first, you know, when we were making printed books, the thought was, well, we should just emulate exactly what we had before. And you can see how over time it starts to evolve a little bit. So a few decades later in Italy, you start to see books based on other calligraphic hands. This is cut by Nicholas Jensen. So if you've heard of the typeface Jensen that is directly based on his work, and this is from 1474. And you can see that, you know, rather than the very heavy black letter, kind of almost all caps appearance, the lowercase letters are very similar to what we would expect to see today from Seraph typography. A few centuries later, I'm skipping over a lot. So, you know, you can go back and fill in the rest yourselves. We're in the 1800s. The Industrial Revolution has enabled mass production. And along with mass production, you need to advertise all those things. And so advertising created kind of this catalyst for experimental typography. And at this point, everything was not necessarily metal. Woodcut type was kind of more the norm for something like this. And you can see that there's this huge diversity of styles. This is actually a wanted poster for John Wilkes Booth, who shot Abraham Lincoln. And this is from 1865. So as we scroll down, again, try to count like the number of different styles that are present here. It gets pretty crazy. You know, if you were to see a poster like this today, you would think, whoa, like back off, don't use so many fonts. And so things like our sans-serif typography didn't really emerge until this era, and we'll get into that a little more. And if you've never experienced or witnessed the magic of letterpress, this is kind of the process. You have cases of type with little compartments for each individual letter, and that's actually where we get the name for upper and lower case. The capital letters would be arranged in the uppercase, and the lower case letters would be in the lower case. So you have to pull out each individual letter and arrange them one line at a time. And to set the space between the letters, you insert literal pieces of lead, and the thickness of the lead determines how far apart those lines are spaced. So today that line spacing is also known as letting, which literally refers to the pieces of lead that were placed in between those lines. So then you kind of have your whole lockup after you have your lines composed. You lay it in here, ink the metal, and run a piece of paper through, and it transfers the ink beautifully. The other thing I didn't point out is you have to do it all backwards. All of the words have to be set backwards so that when it prints, it reverses and creates a regular image. Somewhere between letterpress and typewriters and computers and digital type were things like this line-of-type machine. This is from the early 1900s, where you would be typing on a typewriter-like keyboard doing one line at a time, and the machine would do kind of the work for you of pulling the letters that you need. So it would kind of arrange the line. You can pull that off and set it up, type out your next line. And so this is still laborious, compared to today's standards where you can pop open any word-processing application, but still hugely faster than having to pick it all out by hand. So along with all of this, I think it's important to remember the importance of handwriting. And what's been interesting to me is Instagram has become kind of this new platform, as a great place for lettering artists, calligraphers, etc., to kind of keep this spirit alive. So this is work from Seb Lester, and it's not loading. There it goes. So you can look him up on Instagram and he will do little 15-second time lapses of him writing out all of these words in beautiful different hands. So here's a black-letter style again. There's a lot of flourishes and embellishment to it. But again, this kind of centuries-old practice is still very much alive today, kind of in different forms. Here's a nice one. He makes it look just perfectly effortless, but I can guarantee you, there's a lot of subtlety going on in the amount of pressure and release required to create those fine letter forms. So you're probably familiar with serif and sans serif as kind of our major classifications. I think it's important to kind of have a general understanding of what those subclassifications look like. And this more or less goes chronologically. So you have old style, which emerged in kind of the mid-1400s around printing press era. And this is like that Jansen text that we looked at. This happens to be a typeface called Sabon. And this, you know, looks pretty normal. It's fairly low contrast. And what I mean by that is the thinnest part of the letter form and the thickest part of the letter form are not too far apart. If we go, again, a couple centuries later, mid-1700s, we have transitional type. So at this point, we've been doing this for a while. We have finer tools. People are more experienced. And so you have higher contrast. So again, the thinnest parts of the letter forms are thinner, and the thicker parts are probably about the same. But if you can imagine, you know, you have to carve this metal type at the actual size. So if you have, you know, nine point lowercase letters, you have to be carving all of those details very precisely. And the even more extreme progression here is modern style, late 1700s. And this is very high contrast. The serifs tend to be extremely flat. And this is still used a lot for, you know, high fashion perfume ads, et cetera.  And then the Egyptian or slab styles were the kind of exotic weird stuff that was happening in the mid-1800s. These tend to be really chunky rectangular serifs. And they were called Egyptian because that was like the most exotic thing that you could conceive of, you know, back in the 1800s, this far away mystical land of Egypt. And then in the sans serif realm, again, here we're starting at kind of the mid-1800s and going forward. We started with grotesque, which is not to mean hideous, but these often originated in that same era. They were kind of all caps initially before we were still figuring out what sans serif lowercase letters look like, which seems like a strange thing. They seem so obvious to us now. Neo grotesque is just kind of an evolution of that. It came out in around the 1950s. So this was Swiss modern design, kind of pushing refinement of those letter forms into, you know, the ultimate Helvetica here. Geometrics also emerged in kind of the, around the 1930s, 1920s, especially in the Bauhaus movement in Germany. And the idea was that the kind of beauty of geometric forms, you know, should be translated into our letter forms. And this is nothing new, but they kind of formalized it in a lot of ways. So here's the lovely Futura. And then humanist sans serifs also emerged around the early 1900s. And these are based more on kind of early caligraphic forms, but just a little bit simplified. So here, this gives you a pretty good overview. And I think this shows you that progression of contrast, how from old style, transitional, and then modern that contrast gets higher and higher. And then when you get to slabs, they kind of go a little wacky. You can see how they're more similar to the sans serifs in a lot of ways. And it's also important to know just some basic anatomy. We'll breeze through this. A lot of this is very common sense. And a lot of the anatomy of letter forms is based on kind of human anatomy. We like to project ourselves onto everything we possibly can. So the vertical part of a letter is the stem. Curves are bowls. Any kind of contained center space is a counter. If it reaches something like on a lowercase r as well, that's an arm. You already know about the serif. And when you have the ends of letter forms, like the end of a C on either side, those are the terminals. And then even though this is not truly enclosed, we also refer to these as a counter. So the line that your text rests on is your baseline. And the height of the capital letters is appropriately your cap height. You have A senders and D senders. Serifs again. And then the line that's kind of the height of your lowercase letters is your mean line. And then that literal height, that distance, which is typically the height of a lowercase x, is called your x height. Very straightforward. But it's good to have a general knowledge of some of this terminology if you're conversing with other fellow type, chronic type sufferers like myself. The other word that gets thrown around all the time is font. Everybody loves the word font. Admittedly, it's much easier to say than typeface.  But the typeface is actually kind of the artistic concept of that whole family. So if you're referring to Helvetica as a concept, as a design, that is the typeface. And then all of those styles that make up the family are the family, and then the individual style is actually the font. So do with that what you will. But it doesn't help that it's called, it's the font menu in a lot of applications, and it just kind of perpetuates itself. You might have wondered, 12 point, what does that actually mean? So to measure point size, it's the distance from your descenders, the bottom of your descenders to the top of your ascenders. So if you have your traditional school assignment set in 12 point text, you probably know there are ways you can game the system a little bit by choosing a different typeface that is optically larger or smaller. So in this case, all of these words are set at the same point size, but they have different X heights, which creates very huge differences in their optical largeness. And as we were talking about, letting or line spacing is simply the distance from one baseline to the next baseline. And if you're thinking in CSS terms, this is line height. And I don't know why we can't find a standardized term for this, but that's okay. So if you put it all together, you've got your point size, and then you're letting. And in at least the print world, I don't hear this so much anymore. You would refer to this as 12 on 15, or you can express it as 12 slash 15. So that's really like skimming the surface, but if you are looking to kind of dive a little bit deeper, these are a few books that I would wholeheartedly recommend to anybody. They're all very approachable. In fact, the laws of simplicity is not so much about typography as it is. Theories of design that are very relevant to everybody. And the bottom right, the elements of typographic style is really more of a reference book. So if you think that you're going to be working with type more, especially in a print capacity, it's a good book to have just sitting on your shelf handy. If you're looking to just kind of go a little bit deeper, I think the bottom left two options, stop stealing sheep and thinking with type, are probably the ones you would want to pick up first. I'm sure your local library has a copy. So you guys are experts now, so we're going to quiz you in a minute, but you've probably heard some nasty rumors about Ariel over the years. How it's a blatant ripoff of Helvetica. The two-second story is that Microsoft wanted Helvetica but didn't want to pay for it, so they commissioned some folks to basically copy the design, keep the widths of all the letters identical so that if you were to swap them out, it's not going to change your page length and stuff, but change the design just enough so that they could avoid a lawsuit. So I'm going to teach you some of the secrets so you can spot the difference in the wild. This is a great party trick, people love it. The biggest difference you'll notice is Helvetica tends to terminate parallel to the baseline whenever possible, and this speaks to kind of that Swiss modern design, whereas on Ariel, a lot of the terminals will be angled a little bit, and it can be subtle depending on the printed size, but you see this throughout the entire design, they're very consistent. So the same thing on the lowercase R, it's just a little bit of an angle to it. The T is a better giveaway. You can see that that top terminal has a pretty dramatic angle, and the bottom one does too. Same thing on the S. And the cap R is interesting. The capital R in Ariel is one of my least favorite characters ever. It's like they took this beautiful, strong, kind of bold form from Helvetica and just turned it into like a limp noodle. So this one is a dead giveaway. If you see that bold R, then you know it's Helvetica. Same thing on the G. Helvetica has this kind of strong spur at the bottom, whereas Ariel, they just kind of rounded it off. And the Q is another interesting one. Helvetica once again, bold, strong, straight line. Ariel has like a little bit of a wave to it, but sometimes it's a little more subtle. Like at a glance, you might not be able to tell the difference here, and in fact, if you draw some lines, you can see that Helvetica is just a little bit lower wasted. They basically shifted some of those points up a bit in the Ariel design. So in context, it's almost impossible to really tell. So I'm going to test you guys. Just shout it out, anybody. Which one is Helvetica top or bottom? Top. No question that A is a dead giveaway. Top or bottom? Top. Top. Top or bottom? Top or bottom? Yep. How about this one? Honestly, I don't think I could tell you. These are some shapes that are like really, really identical. It's actually the top in this case, but you had like a 50-50 shot. So congratulations. So last I heard, I don't have a source for this, but there are over 300,000, and the number changes constantly. Over 300,000 different typefaces available in our world today, which is kind of a lot.  This is basically the face that I make for a couple hours while I'm like going through this process. But there are kind of a number of basic questions that I can ask myself. And the context of what I'm working on can often help me kind of narrow things down. So one of the big questions, if you just saw this slide out of context, you might think you're at a different conference. So you might think like, do I need a large family? Am I going to be using this only for headlines? Do I need this to serve as my body copy and for subheads and sidebars and this and that? So I want bold weights and light weights and all that stuff. Will it be used for print? That would kind of decide what sort of licensing approach I would take if I knew that I wanted a design that could complement both the website and print materials, I wouldn't necessarily choose something from Google Fonts, for example, although some of them may perform decently in print, they're not necessarily designed for it. How will it display cross-platform? If you're dealing with, you know, your user base is primarily on Windows, you want to make sure that your text is going to be pretty well optimized for it. A lot of times it'll end up unnecessarily crunchy and it can look bad. And we've dealt with this many times with clients where we launch the site, we think it all looks great, and then they come back to us saying like, it looks terrible on our computers, you know, you've got to fix this. Does it convey the right tone? So as we talked about a little bit, you know, every typeface kind of has a different personality and the way that you're using it can influence it a lot, but a lot of times you can kind of look at something and just feel it in your gut, you know, whether it's appropriate for that client and that project. Again, what sort of content would it be used for? So if it's going to be a lot of long-form text, you don't want something with a really tiny x-height or like high-contrast letter forms, for example. What style of numerals? If you're going to be using it for like tabular data, you probably don't want old-style numerals, which we'll talk about a little later, but they look more like lowercase letters where they're kind of variable heights and widths, and that can be tricky when you need tables of data to be aligning with each other. And do I need to support non-Latin characters? If you need, you know, Cyrillic support or Asian language support, that can be a real challenge. So one of the benefits of Arial is that it's on basically every computer and it has an insanely huge character set, which includes Chinese and Japanese and all of these other languages. So that's definitely a consideration. And the other thing I like to do is start setting the word to feel it out. So this is kind of a silly nonsensical word that's often used to evaluate a typeface, but it kind of has enough variation and enough representation from the alphabet that it can be useful to just start to get a feel for it. More commonly, you probably set it in a pangram. So here's the classic quick brown fox jumps over the lazy dog. But all these are phrases that include every letter of our alphabet so that you can kind of see how it's all behaving. I will say Wikipedia used to have an awesome article that collected all of these pangrams, and they took it down not too long ago, but this lovely person at clagnut.com has preserved them for us, which is handy. I think this might be my favorite one. Yeah. And you can make your own, too. Why not? So again, type has a strong effect on our perception. This is a menu from Denny's, the famous restaurant chain. And you can see they're using kind of friendly sans serif typography, lots of color and lots of photography. So if you went to whatever country somewhere in the world and you sat down and their menu looked like this, you'd have a certain expectation for kind of what the food is going to be like, what your overall experience will be. It might be comforting that you see the pictures, you kind of know what you're going to get. And then imagine if you walk into a Denny's and their menu looks like this. You'd think you're on like candid camera or something, like somebody's messing with you. And this is communicating a wildly different tone. These things don't even have dollar signs next to them. It's obviously pretty fancy. There's even today's date at the top of the menu. But these things all kind of clue us in on the experience or whoever designed this menu is trying to convey a certain feeling for you. So which one would you prefer to dine at? And it probably depends on your mood, where you are, how much cash is in your wallet. There are a lot of factors. When I'm working with clients, this kind of translates to a mood boarding process. So what I often do, and these are examples from a client we worked with, I will take some basic elements, header styles, a little bit of body text, maybe a couple UI elements and create a pretty simple lockup here. So this gives me an overview of like the tone. And then I'll kind of iterate and do a couple variations using different typeface combinations. And this is a good way to kind of get your clients involved and getting some reactions. So they were able to look at this and they naturally kind of gravitate towards one option or another. And sometimes it's a combination of options that ends up kind of going forward. But the important thing here is that you're not investing a lot of time in designing it at this point. You're thinking about the overall tone and kind of the system that you'll be creating. So here you can see these three header styles. And I will say that the second two are really, really similar. And the reason I included Gotham and ProximaNovo was to kind of start talking to them about font licensing because they're available through different services. And we'll get into that. So what happens if you're browsing the web and you see some beautiful typeface in the wild if you're savvy, you can kind of inspect element and like pick apart the CSS a little bit and try to find the family name. But I recently discovered this tool, which is super handy. FontFaceNinja, they have a Chrome, Safari, and bookmarklet Chrome and Safari extensions. And you can basically hover over any text on any site and it will tell you what the family is, what size it's set at, the letting, et cetera. And if you click on that text, it then gives you a little space at the top of the window where you can type in a few words in that typeface and kind of test it out, which is really handy. And also most web font providers will offer you some way to kind of test things out. You can type a few words. Hello, Drupalcon.  To figure out whether it's going to work for you. Or when you see type in the wild, and by the wild I mean not on the web, and you can't identify it, this is also a great site if you're not familiar. You can upload a photo of your text, you should probably crop it down to like a couple words, and it does its best to approximate, you know, what typeface it is or similar typefaces that you might want to consider. But if you do want to just try things out online, this is another good option. Everything on Google Fonts is available on here for free, and they have some paid models that include libraries from other font foundries. But this gives you kind of some basic page elements that you can then modify, you can change like the background color, size, spacing, all that kind of basic CSS parameters. And it's a good way to feel like how that the text will function in more of like a long form context. Also, if you have like a Creative Cloud subscription and use Typekit, you can access Typekit's full library in Photoshop, but if you're not using Photoshop, like I happen to use Sketch, it doesn't really help. So if you've ever tried to license Fonts for print or the web, it can be a little bit of a nightmare. It used to be a lot worse when certain font formats were only Mac or PC compatible. So we're past kind of a lot of those bumps in the road. But these days we get to deal with different browsers and supporting all of them. I'm going to breeze through a little more history for you here. Prior to Digital Type, Type was more or less a physical thing. It was pieces of metal or wood or what have you. And PostScript, which came out in 1984, like a long time ago, was developed by Adobe and basically expresses these letter forms as mathematical equations. So they're outlines rather than being kind of a physical filled thing. So they use Bezier curves, which we still see today in Illustrator and Photoshop and anytime you see a pen tool. And this worked great, like people went crazy for it. PostScript was embedded in every printer. Adobe was making a ton of money off of this. And around 1991 or a little before, Apple started developing their own kind of competitor called TrueType. So this is the same concept. They used a slightly different Bezier curve style, but they're basically the same thing, although not compatible with each other. And this came out in 1991 along with Mac OS 7. But if you haven't seen kind of the way that Bezier curves are typically built, these are the handles on that Helvetica S. So you can see that each point, and there are relatively few points for the kind of complex curve that's created here, has handles that are pulled out. The distance that those handles travel indicates kind of the intensity of the curve. So if you open up, you know, whatever text and illustrator create outlines from it and kind of pick apart those individual nodes on the letter form, you can see that, you know, there's a lot of really beautiful detail that goes into crafting these letter forms. There's some nice kind of mathematical, cool stuff to look at. The kind of contrast to PostScript and TrueType were also bitmap fonts, which are still around today, but you don't see them as much. So these are a few system fonts from the original Mac OS. And the tricky part about bitmaps is that each individual size has to be created by hand. So, you know, a given size is basically a certain arrangement of pixels. So consequently, you know, you wouldn't have every size from 0 to 100. There's typically a smaller subset. And if you ever played, you know, any number of video games, you see bitmap text all over the place. So this is kind of like Super Nintendo era stuff. But, you know, it looks pretty good. It's not, it doesn't have the same kind of smooth aesthetic that vector outlines do. And then OpenType was kind of the bringing together of TrueType and PostScript. Around 97, Microsoft and Adobe worked on this. And OpenType can house either PostScript or TrueType outlines. But the real value is that it brought along all of these typographic features that we're just starting to be able to leverage in our CSS. So the big one is like ligatures, for example. The FFL in Waffle is like a little bit wonky. If you were handwriting this in, you know, in calligraphy, you would probably have those letters kind of touching or interacting a little bit better. So in OpenType, you're able to automatically substitute in custom-designed glyphs. So in this case, you know, there's a specific glyph that is FFL as like one big shape. And whenever it sees that combination of letters, it just swaps it in and you have more typographic goodness. Zapfino is a great example of a lot of these features because it has like five different versions of this lowercase k. And as you're typing, it will dynamically substitute different alternates for those letter forms. So you can kind of see it in action here. And watch how, you know, as I continue to type, it does some pretty dramatic switches so that like FTH is, I believe, not necessarily a special glyph in this case, but some cool stuff. And then I mentioned numerals before. This also allows you to include tabular or lining numerals, which are kind of those cap height ones that you might be used to seeing. And also have old-style numerals, which you might want to use for, you know, something a little fancier. And you can kind of dynamically switch between the two. Again, like in CSS today, you can kind of call for these things, but it's not 100% supported across browsers. And speaking of, if you've had to implement any web fonts and care about cross-browser compatibility, you might have looked at something like this, which can be a little bit of a headache, but we will break it down for you. You can see this is calling actually like six different font files.  And you have to call, like, six font files. It's kind of silly. But you have EOT, WAF, TTF, and SVG. And this is kind of the two-second breakdown for you. WAF is the future. TrueType is the past, but it still is well-supported, so you should still use it. SVG and EOT are kind of out the door for text. SVG originally was the only way you could load custom fonts on, like, iPhones, but this was, you know, iPhone 1 and 2 era. And that's no longer the case. And Embedded OpenType was kind of a failed attempt by Microsoft to make their own web font format. They even submitted it to the W3C, and it got rejected. And so that's still supported, but only in Internet Explorer. And these days, Internet Explorer supports WAF and TrueType, so those are kind of the way to go. Related, the joys of licensing. This is a conversation you should have with your clients sooner than later whenever possible. It's good to kind of understand how much your client is willing to spend on custom typography. And it's also important to kind of make the case that, you know, investing a little bit can go a long way as we've seen. So these are kind of the two major buckets that you typically see web fonts offered in. You have subscription services where you pay, you know, X dollars a month. It ends up costing 50 to 120 dollars a year, which for your average client is like a drop in the bucket. They often have monthly page view limits, meaning, you know, once you serve up a certain number of pages, they might cut you off or you have to upgrade your plan. But usually those start at like 250,000 page views and go up, so if you're working with a client that has more than those page views, they're probably expecting to pay for this anyway. The convenience and flexibility here is that rather than committing to, you know, one particular family or a couple styles, you have access to their full library of typefaces, which is often huge. So Typekit is probably the most common example of this. They have, you know, thousands of typefaces in their collection. And often the fonts are also hosted on their servers, which can be a good or a bad thing, depending on how much control you want. The pay-as-you-go option, by contrast, is typically purchased like per individual style or, you know, bundles for a given family. And you're basically buying a license for a certain number of page views. This usually starts, again, at 250,000 and goes up from there. They require you to usually put a tracking code on your site so they can keep track of those page views. But you can often host those fonts yourself. So this is a good option when you know exactly what you want.  And I don't want to spend a lot of time on this, but these are a few of the typefaces that I give my seal of approval to, I suppose. They're ones that I've worked with before, perform well. Some of the highlights, I guess you could say, but all of these services have such huge offerings that, you know, it's really worth exploring a little more. These can be a good starting point. So Typekit has some good ones. Heffler and Co., their cloud typography service, has some really high quality ones including Gotham, which you see all over the place. And even Google Fonts has some really reliable, solid options. I tend to lean towards some of these sans serifs a little bit more. The cool thing too is in the case of Source Sans Pro and Fira Sans, they've put the source code on GitHub. And everything that's on Google Fonts is published under the SIL Open Font License, which means you can freely manipulate them, redistribute them, et cetera. Include them in your software and all that stuff. So that Open Font License is also something that you can use yourself if you are ever in the position to publish your own typeface. It's a great way to get other people involved in your project. You can put it out there and let other people expand the family, add new weights, add support for other languages. It can be included in open source operating systems. It's a good tool to just educate students about type design, get some feedback, contribute to the growing body of font sources, 300,000 and counting. And so if you've ever tried to dig into Google Fonts, it can be a little bit tricky to find the good stuff. So recently, there's this project called 100daysoffonts.com.  And it's a good kind of showcase of the variety that is available on there totally for free. So I think this is a good place to go if you're looking for some inspiration. You know, maybe you see this and you're like, that tone is perfect for this project I'm working on. And they're pretty varied. They've done a nice job. And it's ongoing. I think they're only around day 30 or something out of 100. The League of Moveable Type is another cool crew that publish all of their fonts under the open font license as well. You've probably seen a lot of their work. A lot of these are also on Google Fonts, but they've basically, over the last couple years, they've put it together some really nice designs. And again, they're all available for free. So related to type and especially kind of in this web context are what I like to call the illities, which include legibility, readability, usability, and accessibility. And type is a critical part of all of these things. We'll go into kind of like a high-level overview, although each of these could easily be their own week-long seminar and you just skim the surface. But basically legibility is how easily you can actually discern letter forms. So the difference between Helvetica or a super ornate script face is going to create different legibility. So my favorite examples of intentional illegibility are these wonderful black metal logos. So if you know this band, no cheating, but can anybody tell me what this says? You want to venture a guess? Very good. Yeah, so if you spend a few minutes, you can kind of like pick this apart and figure out where everything is. Sometimes the letters are rotated, but these are like extreme cases of stylized illegibility. This one's a little bit easier. Any guesses? Borkenagar. So you can see the B-O-R. You can kind of see the K.  But this one's probably the easiest. Any thoughts? Dark Throne. So it's interesting how once you know what the word is, it sort of like emerges. And our very own Casey White from Chapter 3 put together one for the Chapter 3. You can expect to see these on our t-shirts next year at Drupalcon. But looking at more reasonable words, there's even a huge difference in legibility between this array that you see here. So if you were to ask me, I'd say those two are probably the most legible in this set. The left column is all sans serif. The right column is all serif. And particularly that bottom left sans serif has kind of these little curves at the bottom of the L's, which helps you to visually differentiate them from other letter forms that have straight strokes like that. And up at the top, you have Georgia. And it just has like a pretty large X-height, not very high contrast. The spacing is relatively even. So then what then is readability besides a cat-reading Tolstoy? This is how easily you can read a given piece of text. So this basically requires legibility and then builds up from it. It's like adding the maximum comfort, whereas you might be able to make out a word and it could be legible, but it won't be readable until you've kind of optimized a few parameters. So if you look at these two pieces of text, pretty clearly the bottom one is going to be easier to read on the top. The letting is really tight. The line length is really long. It's set smaller. And on the bottom, this is a biased example. But the other big factor is the literal contrast. I don't even know if you can read this. Can you even read this? So the key factors for readability are, again, things like text size, the letting and the line spacing, the line length, the contrast, the alignment, which is something we don't often think about, but we read left to right. So left aligned text with a ragged right edge is more comfortable for us to read than if you have right aligned text and your eye has to scan to kind of figure out where the beginning of the next line is. And a little bit separate from typography is the literal vocabulary or the syntax that you use can also impact readability. You can think of this as like the reading level of a given piece of text. And then this is maybe my favorite slide. Usability is basically how easy it is to use something. So this is, you know, everything around you in the physical space and on computers. And usability, again, is a topic for a whole other talk. So this is the high level.  And this is one of my favorite examples. So here's a case where the usability of this kind of parking garage machine was improved by some of its users. Apparently, the original interface was confusing enough that somebody had to add all these little signs to kind of make clear what all of these things mean. I think there's a lot that we can learn from this. Accessibility, if you can't quite make it out, this is a person on the London Tube reading his smartphone with a magnifying glass, in addition to his pair of glasses that he's already wearing. And in the context of typography, I'm talking mostly about text contrast here, but the great Tim Berners-Lee inventor of the World Wide Web believed from the beginning that it's essential that the web is something that can be accessed by anybody regardless of disability. And again, text contrast is my primary concern here. So you can see that the text block on the right has a higher contrast than on the left. And there are standards for this. So at the bottom, webaim.org has a nice contrast checker. There are a million of these out there. And it's a good method. You should test what your background color is and your foreground color, and that will give you a ratio. And you want to target four and a half to one for small text, three to one for large text. There's also a stricter AAA rating that you can shoot for. But I think it's really important to remember that you can't control the viewing conditions of your end user, so you might set something that looks super beautiful. It's really subtle and elegant, and it looks great on your screen at your desk, indoors under controlled lighting. But what about somebody viewing that site on their phone in direct sunlight or somebody whose monitor is old and the brightness is all wonky? You have no control over those things. So keeping these ratios in mind is really valuable and important. And again, social inclusion. Good accessibility includes other things like making sure your pages can be easily read read by a screen reader, including alt text for your images, just being generally mindful of your page weight, so you're not demanding that somebody sucks down 30 megabytes of junk to load your homepage, that sort of thing. So for type on the web, I want to talk about just some minor trends. You might have noticed that there's kind of this trend of large, very generous body text for articles on sites like Medium or a list apart. And this is no coincidence. As we have kind of better tools to create custom typography, designers will be optimizing kind of content for readability. And so this speaks directly to it. Text size is not, again, the only factor. This was an article on Resident Advisor. And what I thought was interesting, once I went down to the comments section, there were two people that specifically called out the letting. This guy's like, yeah, you seriously need to increase the letting on the body copy.  Could you increase the, you know, the line height on the paragraphs? It's a bit hard to read. So these are instances where these users were consciously aware of these things, but more often it's a subconscious thing. You just kind of feel it, or it's like uncomfortable. You don't want to finish the article. And, you know, when it's done right, it can feel effortless. And that's what we want to target. So similar to the Tokyo examples that I showed you guys earlier, I thought it'd be kind of interesting to strip out all the text from a few websites and just see how those perform. Because text is really the core of how we communicate. There are lots of sites that are dedicated to visual or oral communication, but text is still at the core. So here's just a few fun ones. You know, the core structure is kind of there, but we are completely reliant on text. Here's our Drupalcon hashtag from a few days ago. So Twitter becomes just like totally useless, except for a couple photos of somebody's food.  And then I want to kind of close with a side note how all of these issues are also very relevant to the world of gaming. And I see a lot of parallels between, you know, the higher quality typography on the web and higher quality typography in gaming. So I've been talking for an hour, so... Basically, higher resolution screens enable higher quality typography. Think about, you know, the jump from a pre-retina screen to your retina screen on your iPhone. Everything looks so much nicer. So over the years, you know, we have this general trend of an increase in resolution, like with computers or any other technology. And you can see that the full screen is basically the resolution that we're at now. So we're like magnitudes finer than we were decades ago. And 4K is kind of like the next evolution that's coming, who knows when. And that's 3840 by 2160, which is gonna be awesome when it happens. So if you think about, like, this is kind of what typography looked like in games, circa 96 bitmap text. It is legible, moderately readable, but, you know, you're not reading, like, books on there. And then here's an example from just last fall. This is Assassin's Creed Unity. We now have embedded fonts. They're being rendered, you know, smoothly. They're designed in a way that you can read them comfortably from your screen, even though they're relatively small by comparison.  Here we're on, you know, HDTVs sitting 10 feet away from your screen on the couch. This was another interesting one from a game called Bloodborne that came out a few months ago. And this is the loading screen. This text was, like, very readable, comfortable from your couch. But it's not all good. Here is Dragon Age Inquisition, and their loading screens have this all-capped text with a drop shadow against, like, a graphical background. And, you know, anybody could tell you that this is not comfortable to read. There's some missed opportunities here. And same thing elsewhere in the game. Sometimes the text is constrained to kind of these narrow boxes. The line length gets cramped. The thing to keep in mind is that, you know, these issues are pretty universal. They're not just on the web or just in print or just on our phones. And then finally, typography has gotten even better in kind of these immersive worlds. Grand Theft Auto 5 has a ton of examples of in-game signage that has been very carefully designed. All of these flyers and signs and, you know, fictional brands for things are pretty well-realized and look surprisingly good. There's even kind of a functional metro map and, like, this whole system diagrammed out in this virtual world. So what's important to remember is basically that type is all around you. And if you don't stop and look around once in a while, you could miss it. Thank you, guys. So all my slides are online here. tinyurl.com slash Drupalcon type. It's a fairly hefty, like, 38 megabyte PDF, but I didn't want to sacrifice image quality too much. But that has everything in here. Feel free to get at me on Twitter. I'm at GTVRHS. And I'll hang around if you have questions and stuff, but I think we're a little bit over, so... I'll just take questions one-on-one. And thank you all for coming. I really appreciate you guys choosing to come and learn about this. Hopefully you got something interesting out of it.


Awesome. Welcome to yet another 12pm tutorial. This tutorial will teach you how to use FreeGate, an anti-censorship tool produced by Dynamic Internet Technology. FreeGate is a stand-alone piece of software that connects you to the internet through Dynoweb, which uses a system of peer-to-peer proxy connections in order to grant users access to information that has been blocked in their area. 12pm Tutorials has another video tutorial that focuses on Dynoweb that you can check out at bit.ly-b-h-k-w-t-p FreeGate is a simple piece of software that simply needs to be downloaded and ran in order to function. Put FreeGate on a USB flash drive and you can take it with you and use it at any computer. Now that you know what FreeGate is, let me show you how to use it. First, we need to download FreeGate. So open up your web browser and go to www.dit-inc.us If this is your first time on the DIT website, go ahead and take a look around before we continue. Once you're done looking around, click on the our products link on the left hand side of the screen. Now click on the FreeGate link. Go ahead and read the information if you would like, and then click download the latest FreeGate client software. This page will give you some different download options. Click on download professional edition and save it to your computer. Once the file finishes downloading, close your browser and go find your file. Go ahead and double click the icon now. What you see here is the user interface. The tabs here will present you with different information and options. The one you might want to take a look at first is settings. I'm going to leave all these like they are, but feel free to set anything as you see fit. As a side note, you can go to the settings tab and set the FreeGate browser to close automatically when you exit the program. You can also set FreeGate to automatically delete your browsing history when you close the program. I suggest using these two features for extra security. Now that we're connected, I'm going to go to the Internet Explorer browser that FreeGate opened for me. This browser can be used safely to access websites and information that may be blocked where you are accessing the Internet from. In order to exit the FreeGate program, click on the X or click exit. FreeGate should ask if you want to keep the Internet Explorer windows open, or if you want to close them. I'm going to close them. Now you know how to use FreeGate.


students. So, this presentation is a continuation of the earlier presentation that we have seen on glycolytic pathway. So, this presentation will give a clear outline regarding the total energy yield from glycolysis of glycolytic pathway. So, we have already studied that during anaerobic oxidation or during anaerobic conditions the end product produce will be lactate and during aerobic conditions the end product produce will be pyruvate. So, during anaerobic condition what happens is that here one molecule of glucose this glucose will be converted to lactate from pyruvate. So, glucose get converted to pyruvate and pyruvate thereby gets converted to another product called as lactate in anaerobic conditions. So, here we are looking into the energy yield two molecules of ATP is produced two molecules of ATP is produced in the overall pathway when one molecule of glucose is converted to lactate. Here four molecules of ATP are synthesized look at this reaction the reaction number seven and the reaction number ten here the reaction number seven one three bisphosphoglycerate is converted to three phosphoglycerate. So, this conversion it is catalyzed by the enzyme one three bisphosphoglycerate kinase similarly phosphoenol pyruvate is converted to pyruvate the presence of the enzyme pyruvate kinase. So, as an overall four molecules of ATP is synthesized by means of two substrate level phosphorylation, but if you are looking into the energy utilization here you can see the step one and also in the step three when glucose gets converted to glucose 6-phosphate one molecule of ATP is utilized the presence of the enzyme hexokinase. Similarly when fructose 6-phosphate is converted to fructose one six bisphosphate here also one ATP molecule is utilized because it is a enzyme phospho-fractopinase. So here two molecules of ATP utilization and here four molecules of ATP production. So as a whole total there will be the production of four molecules and there will be the utilization of two molecules. So the total yield we can say that it is two ATP molecules that is four molecules of ATP is produced minus two molecules of ATP is utilized. So the total energy yield by anaerobic oxidation of this glucose is two molecules of ATP. Now the second condition that is when the oxygen is available in plenty what happens the glucose will be converted to pyruvate. So during this conversion of this glucose to pyruvate what happens here one of the major step of this conversion of this glucose to pyruvate is that it produces NADH molecules. Two NADH molecules are produced by the action of the enzyme glyceraldate 3-phosphate dehydrogenase on the substrate glyceraldate 3-phosphate. Thereby glyceraldate 3-phosphate keeps converted to 1-3-bisphosphate glycerate. So this produced NADH molecules that is this produced two NADH molecules they can enter the mitochondrial electron transport chain for complete oxidation. So each NADH molecule it can provide three ATP's. So when two NADH molecule is completely oxidized that can generate six ATP molecule. So this step can generate six ATP molecules that is as it is producing two NADH molecules. So that's when oxygen is available in surplus the net gain of energy from glycolysis pathway is 8 ATP's. That means six ATP from this step then two ATP's from this step another two ATP's from this step. So total six plus two plus two that is 10 minus two molecules of ATP is utilized in this reaction number 1 and 3. So 10 minus 2 it is 8. So in aerobic oxidation or in aerobic conditions the total ATP is produced are 18 number and in anaerobic condition the total ATP produced it is 2 in number. Now what happens to this pyruvate that's generated by means of aerobic oxidation this pyruvate it can later be oxidative EVD carboxylated to acetyl CoA and this acetyl CoA it can enter into the TCA cycle. So if you are looking into the complete oxidation of glucose through glycolysis combined with this citric acid cycle it will be producing a total number of 38 ATP molecules. With that we conclude our session on the energy in the glycolytic pathway and in the next class we will be seeing gluconeogenetics. Thank you very much.


So let's go to Richard Wolff. We got a video of him. He's on David Paxman's show. We know David Pakman, right? Pretty well. It's actually on Kyle Kalinsky's show who's showing a segment from the Dave Pakman show. So they left us cooperating to get Richard Wolff in front of us, many people as possible. All right, so let's, oh, I need my headphones. Let's put this on. Let's listen to Richard. We probably won't get by more than a couple of seconds before I have to stop him because of all the falsehoods he is speaking. Here we go. Whoops, oh, I'm pressing the wrong button in the wrong place. Why in the world were we unprepared? We had companies that can produce masks and gloves and ventilators and all of that, but they didn't do it. And I know why. I'm an economist. What I study, it isn't profitable. No company wants to produce masks by the millions, store them in warehouses around the country where the population is concentrated, make sure that they are clean, make sure that they don't deteriorate, replace those that do, watch the whole thing. And then you never know when the next virus will be. Will you have to sit on all of this for two years, for six years, for 20 years? So it's not profitable. It's not a wrap. So no. So the first example is, well, we weren't prepared. We didn't have PPE, we didn't have masks, we didn't have all these things. All these things that he says should have been produced by the private sector because the private sector has the manufacturing, has all that, of course, he doesn't believe a private sector should even exist. But wait a minute. In the world in which we live, not my capitalist utopia and not his capitalist hell, in the world in which we live, who is responsible for those things? Whoops. Who has actually positioned itself to be responsible for these things? Who takes on the responsibilities of so-called public health and dealing in public health crises? Who has said, don't worry, we got this. We are responsible for providing all this stuff. It's not the private sector. The private sector's not taking on that responsibility. You're right, there's no profit in it. Not the way the market's structured today. So who has? Well, government has. Governors said, we, the central planners, the brilliant central planners, the ones that Richard Wolff would like to hand over the entire freaking economy too. Not just one sector, the entire thing too. No, no, we, the central planners, will take care of providing. We have strategic reserves. We have warehouses. We can take care of providing PPE. We don't want the private sector to do this. Indeed. We will dictate what hospitals invest in. We will dictate how many hospital beds are available. We will dictate how much PPE hospitals can buy because we don't want them to be wasteful because if they buy too much or they expand too large or if they have too many hospital beds, then what is going to happen? Cost of healthcare will go up and we, the government, will have to bear those costs and we, the government, will be blamed for it. So how can you blame? What dishonesty, what naked dishonesty is to blame? Private industry for the clear cut failure of government. Now, we could discuss what would happen in a free market. That is how these provisioning would happen in a free market. But the idea that once the government has taken over the entire space in which you function, i.e. provisioning for healthcare, particularly something like a pandemic, private industry should still provide it, should still, you know, have stores. I mean, that's absurd and Richard Wolff knows that.  So it's just, now what would happen in a free market? So who would have an incentive in a free market where, and the true capitalism where the government was not storing PPE and masks and all these other things? Who would actually provide this stuff? How would it come into being? Well, first, hospitals would be much better prepared because there is profit in being prepared because when, if you're prepared, more patients come to you during a crisis, you treat them better, you get paid, you're not providing a service for free. So hospitals, indeed, good hospitals like the Cleveland Clinic and other hospitals had plenty of reserved beds. They had emergency plans to take over motels, to take over other buildings that were vacant and turn them into emergency hospitals. Indeed, the private sector, the hospitals would truly behave like private enterprises where well, you know, had the capacity to deal with this virus very well. And if you add to that, if you add to that, the fact that once the demand was real, once it was clear that there was demand, what happens under capitalism? Well, if demand is high for face masks, let's say, and the supply is limited, what happens? Prices go up. If prices go up, what incentive does that create? It creates incentive to produce a lot more. And if you produce a lot more, then that's how you solve the problem of shortage of supply. And indeed, even under COVID, even though prices were controlled, even though they didn't have full pricing power, manufacturers converted lines from cosmetics to what do you call it, hand sanitizers. They converted lines from making dresses to making masks. They converted lines from making all kinds of other stuff to making surgical masks and what do you call it, N95 masks or whatever they call it. So the private sector responded brilliantly and provided almost instant supply in spite of the fact that the government did not allow and hospitals did not allow, and I mean the medical system did not allow, which is run by the government, from the pricing system to work appropriately. So we got shortages where we shouldn't have had shortages. But in capitalism, you don't get shortages. Prices adjust and supply adjusts in an emergency. Plus hospitals, insurance companies have huge incentives when the government is out of the way to store healthcare provisioning for times of emergency. Any businessman will tell you if you think long term, these are the kind of choices you make and these are the kind of investments you make and the businesses that don't make these kind of choices, they're the ones who go bankrupt, they're the ones who get sued during an emergency and they disappear. And the market reinforces the long term plan. It reinforces those who would actually plan for the future, provision for the future, have supplies ready. So Christian, thank you for the support. Appreciate that. So don't give me that. Don't take the fact, I mean it's so dishonest when the government is set up to do this. Tells the world it's going to do it. Has reserves that it's responsible for and they're not enough. They're badly allocated, they're badly distributed and then for a socialist economist to blame the private sector. Really. And by the way, when he says, I'm an economist, I know why this happened. Really? He's like a pseudo economist. If he was a real economist, how could he be a socialist?  The two are mutually exclusive. National capitalist profit driven calculation to make. So the companies didn't and we didn't have the ventilators, the gloves, the masks and all the rest. And there's no shorthand way of saying it. Private capitalism and the public health don't work well together. The United States has four and a half. Why? Why doesn't public health and private capitalism work? It works brilliantly together. And need the hospitals or private hospitals. And if they were less regulated, they would have had more capacity. And need the masks that you did get and most people didn't die because of a lack of masks. Most people didn't die because of a lack of PPE. They died because politicians made lousy decisions like sending them back to nursing homes. That's why they died. It's because it was a virus that was new and the treatment was uncertain. That's why they died. They didn't die because lack of PPE. Put it this way, most people didn't. So on the contrary, we got tons of PPE. We got tons of respirators even. Once the government stepped out of the way, once government were allowed to actually produce and create and build, there's no shortage of PPE right now. There's no shortage of ventilators. So the whole thing is just ludicrous to associate this with capitalism as a problem. Capitalism would solve this problem. Indeed, where the vaccine's coming? Where the new treatment's coming? Where did this new treatment Trump just got? The antibody treatment coming. And there are hundreds of companies working on this all over the world, motive and profit motive. Now, sadly, a lot of the money to fund all this is coming in through government and distort the market dramatically. And it's going to favor some treatments over others, some vaccines over others. If the market had worked, we would have gotten better, faster treatments for this than otherwise. Yeah, I mean, the companies are working on this with slowing us down. With slowing us down is the FDA. I mean, how come Trump got the antibody treatment? And I can't. I get COVID, I want the antibody treatment. But no, you have to be special because the FDA is the gatekeeper. F% of the world's people. And we have 25% of the world's COVID cases. So 4.5% of the world people, 25% of the COVID cases, or even deaths, I don't know what the number is. Why? Because of the private sector failed? Or because our government failed dramatically? Did our doctors fail? Did our hospitals fail? Is it because of a shortage of PPE? No. It's 100% because our government failed. And because it's a, you know, deadly disease that for some reason was more deadly in the U.S. But most of the reason for it is because of government policies. And COVID deaths. We're a rich country. Because of capitalism, by the way. We're rich only. Because of whatever element of capitalism exists in our country and has existed for the last 200 years. A statistic that screams something fundamental is wrong. Yeah, something fundamental is wrong. The role of government in our marketplace is way too large. The role of government in our healthcare system is way too large. And there's a consequence. When governments do better, like they did in Taiwan, South Korea, even Germany, things go better. When governments do badly like they did in the U.K. and the United States and other places, things go badly. I mean, holding everybody else constant. Other issues as well. But yeah. I mean, COVID is an example of government failure. Not a failure of capitalism. Sorry, Pope. I mean, I don't know. Popes are supposed to be infallible. Look how fallible they really are. Unbelievable. In a society with our capability has such a record. In the European countries, it wasn't done. Unemployment in Italy during the- So no, you switched on employment now. But note that in European countries death rates in some countries are higher, some countries are lower, but generally death rates in the same ballpark. European companies have done as badly under COVID as we have in spite of the fact that they have in the U.K. they have a a national health service, NHS. And yet they did just as badly as our hybrid mostly government run health care system did in the United States. Thank you. Really appreciate that. Let's see what the question is. It looks like it's related. Great to listen to you as the health care is slowly nationalized. It's important to do shows and explain why everything bad in health care is a result of government regulations. For example, why hospitals don't publish prices for procedures, drug prices every year. I agree completely. And later in the show we're going to talk about insulin and drug pricing. Again, I talked about that a little while ago. We're going to talk about it again because I think it's people have people don't present it right. Even free market people don't present it right. And it really, really, really fits me. All right. Let's see where we say shifting to the economy. He's shifting to economic response. Again, this is all under the framework of capitalism failed. Higher COVID period was less than it was a year before that when there was no COVID. German unemployment went from 5% roughly in March to 6% roughly now. In short, in every major European country they did not do what the United States did. They didn't throw tens of millions of people out of work throwing them on unemployment. Adding to their losses of unemployment the unspeakable anxiety of wondering whether they'll ever have a job again. So no so we have more unemployment than Germany. Why does Germany have less unemployment? Why did Germany has unemployment not skyrocket? Because Germany basically put everybody for the period of COVID under government payroll. Everybody. And yet Germany spent less on stimulus as a percent of GDP than the United States did. I think other than Japan we have spent the most on bailing out everybody than any other country. Now it is true the Europe's welfare system Europe's unemployment system. Europe's system for redistributing wealth is far more efficient than the American system. How is any of this related capitalism? We distribute huge amounts of money. We bail out companies, we bail out businesses, we bail out individuals. In every respect we acted like socialists. Granted not very efficient socialists. But socialists nonetheless. So our unemployment is higher because we recognize the fact that people are not working. In Germany they don't count the people as not working because the government is basically paying companies to pay their employees. So nobody got fired. But they're all under government dole. So imagine if we took everybody who's on welfare in the United States right now everybody who's getting an employment insurance right now and counted them as employed because they're employed by the government, they're getting a check. I mean again the dishonesty of how these people use numbers and this will be a theme is just disgusting horrible. The job they lost would be there when they went back looking for it. Which we all know millions of them won't we already know that and so they're all wondering is the roulette wheel going to come down and point on me to add anxiety to the worries about the illness to the worries about Let's not have anxiety. We've got a pandemic raging around the world. Let's not worry about anxiety. Let's just print up what is needed to reduce everybody's anxiety so that they become all of them wards of the state because that would reduce the anxiety. We know that people who live off the welfare state have no anxiety. They live happily ever after. So let's make them all wards of the state. Anxiety will come down and the fact that in the future there's no economic growth the fact that in the future taxes will go up dramatically on them, on their children, on the grandchildren the fact that we are digging ourselves a whole of debt that who knows the only way to pay it back is by eliminating economic growth in the future Yeah, let's sacrifice the future. Talk about you mentioned earlier the fact that capitalists don't plan long term who does? Politicians Yeah, politicians plan long term. They're so good at it. So good at it. So let's pin up lots of money today not worry about the future because we're planning long term. Right.  That's a government decided they can't go to school. I should have gone to school. In Europe the reaction was so much better. The Europe Why is there so much? Why is there just as much death in Europe as there's, whoops, I skipped and why is it the GDP in the United States actually dropped less than in Europe? Not by a lot, but less Europe from economic perspective put aside unemployment GDP dropped a lot more than in the United States, but of course he won't mention that because Europe is much closer to his socialist heaven than we are even though we're quite close to would be there when they went back looking for it and so they're all wondering is the roulette wheel going to come down and point on me and let me tell you why in Europe the reaction was so much better. Much better, huh? The European leaders, whether they're right-wing, left-wing or in the middle, they know the following Labour Union Socialist parties, Communist parties they're much stronger in Europe than they are in the United States and that's been true for a long time everyone there knows if you had dared throw tens of millions of working people out of their jobs out of the security of their jobs they wouldn't have gone home to watch TV Well, but this is why Labour Union is illegal in the United States last I looked anybody could join a Labour Union there's no restriction on having Labour Unions there's no legal barriers to having Labour Unions if Labour wants it the reason we don't have Labour Unions in the United States is that Labour figured out that they're better off without them Labour figured out that they're better off without them that's why Labour Unions would be declining steadily dramatically over the last 50 years because we do better without them and you will note as a consequence of that the US economy is bigger richer he started out by saying how rich we are richer than any European country I've mentioned the fact that European countries if they were states would be number 40 or number 40 something in relative wealth so yeah they have unions so they have to coddle their so-called workers and the consequence of that is slow economic growth they drive smaller cars they have less savings they're not as rich as we are their middle class is poorer than our middle class and we don't have capitalism at which we did they would have gone into the streets and they would have shut down those economies way more totally than any pandemic could and everyone there knew it so here was the deal in fact there's Labour Unions in Europe really strike and they really strike because they're afraid they're afraid of what happened in the United States they have many many more legal protections in Europe than Labour Unions in the US have but they're also afraid of pissing off the populace Israel used to have the most powerful economic force in Israel used to be the Labour Union it used to be the largest employer in the country it used to be a socialist paradise where the workers owned the means of production it used to strike all the time and it got to the point where the politics because of that voters voted in politicians who actually broke up the union and destroyed it or weakened it dramatically in terms of its power and Labour Unions in Europe are afraid of that terrified of exactly that the government will help you in your business but you cannot fire anyone that's right so that was that was Richard Wolff just the ludicrous nature of the whole thing Jennifer asked if Pakman agrees with him I think he agrees with a lot of it he doesn't agree completely but Pakman is definitely on the left he's not a socialist he's not quite as left as Richard Wolff would be but Kalinsky from whose show I actually ran this is more of a leftist in that sense so the left blames everything wrong on capitalism every problem is blamed on capitalism and they have to invent stuff they have to make stuff up first of all they have to the fact that we don't live on capitalism they have to attribute failures of government to failures of markets and then they make up their stats what we need today what I call the new intellectual would be any man or woman who is willing to think meaning any man or woman who knows that man's life must be guided by reason by the intellect not by feelings, wishes, wins or mystic revelations a man or woman who values his life and who does not want to give in to today's cult of the stare cynicism and impotence and does not intend to give up the world to the dark ages and to the role of the collectivist brought all right before we go on reminder please like the show we've got 163 live listeners right now 30 likes that should be at least 100 I figure at least 100 of you actually like the show maybe they're like 60 of the Matthews out there who hate it but at least the people who are liking it you know I want to see a thumbs up there you go start liking it I want to see that go to 100 all it takes is a click of a thing whether you're looking at this and you know the likes matter it's not an issue of my ego it's an issue of the algorithm the more you like something the more likes it so you know and if you don't like the show give it a thumbs down let's see your actual views being reflected in the likes but if you like it don't just sit there help get the show promoted of course you should also share and you can support the show at your own book show dot com slash support on Patreon or subscribe star for the work for the value hopefully you're receiving from this and of course don't forget if you're not a subscriber even if you just come here to troll or even if you're here like Matthew to defend marks then you should subscribe because that way you'll know when to show up you'll know what shows are on when they're on you'll get notified so yes like share share subscribe support there you go easy do one or all of those please


Hey guys, it's Nate, AKA The Foot Accountant. Welcome back to the channel. We need to talk about the new week and league rewards that are coming out today. It looks like we got a new pack in the code just last night and I wanna talk about what that card looks like. I'm gonna show you what that card looks like and talk about what kind of cards we could be seeing released as the new week and league rewards, the new stuff that we should be getting in the team of the week packs, I think, and then our red player picks as well. Since there are no more actual real-life football games being played for most of the world because of the virus issues and stuff like that, EA looks like they have come up with a new sort of thing that they're gonna do for awards. And I kinda, we'll talk about this a little bit more, but this is the card design, look, right? As you can tell, it looks like a mix between a team of the week card with kind of like the gold design and the gold dust kind of in the background like the team of the weeks have, and then of course the player moments design. It looks like a cross between both of those. And I'm really curious to see what they do with this. I'm gonna share with you some of my ideas and feel free to share your own in the comments down below. But you still have the player moments reel up here at the top, right? It's kind of like the movie reel. And we've seen that this year with the regular player moments card design, which has been in foot now since Black Friday, but this card design is like a combination of both of those, right? So if we go back to foot, this is the player moments card design that we all really know. And of course, it's more of like the blue green with the yellow, but you can tell kind of like the waves through the middle of that card. It's very similar, that new card design. It's very similar to this player moments card and a normal team of the week card in foot. So I wanna talk about a few of the things that we could see related to this and what could this really mean? Again, I wanna take a look at the card just to kind of get you guys used to this. I think this is honestly what EA is gonna be doing since they're putting this into the code on a Tuesday night headed into Wednesday. They normally announced team of the weeks on Wednesday. So I think this is our new squad. They're gonna be at players that come out tomorrow, probably released at 6 p.m. UK as normal. A new set of players that are gonna be with this card design, and that's going to be the team of the week for rewards, for stuff that we will get in red player picks and team of the week packs and stuff like that. They're replacing team of the weeks with this. And the fact that we're getting a whole new card design, I'm actually a little bit excited for this and I'm kind of optimistic at least because before I was just thinking that EA would be going through the old team of the weeks and just kind of picking out people that they wanted to re-release. That's what I thought we were gonna be getting. Re-release content from older special cards. But the fact that we have a totally new card design interests me a lot because we might be getting new cards with new upgrades or possibly old informs that are maybe getting upgraded with this new version of the card. Again, it's up to EA's discretion who they put into these teams. Kind of like it always is with team of the week, but now they can literally put anybody in. I'm sure they're gonna have some rules. They're gonna have some guidelines that they set forth with this. But again, this is kind of, we're gonna be basing our ideas of what we know with team of the week cards, what we know with player moments cards. I think there's gonna be called like a flashback or a moments team of the week moments, flashback moments, like I don't understand exactly, but we're gonna talk through some ideas today. Now, some people have already talked about what they think these cards are gonna be. They think, some people think it's gonna be older team of the week cards that are gonna, it's basically gonna be like a flashback to a certain performance that they had earlier in the year that maybe they didn't get an inform for. But now EA is gonna use this as an opportunity to give them a performance upgrade based on a past game that they had that was very good. And what are some cards that have had good games in the past that haven't gotten informs? Think about guys like Lewandowski or guys like Immobilay. I know they're not maybe the most hyped up FIFA players or FIFA cards on this game, but Lewandowski has had an incredible year. Immobilay has had an incredible year. Jamie Vardy has had a really incredible year for Lester with this year's games. Those cards could be getting upgrades. Like, let me go find a Vardy or whatever. Like Jamie Vardy has a headliners card. Think it's in this set right here. Jamie Vardy only has a couple of specials, right? Where's he at? Jamie Vardy right here. If they give Jamie Vardy a moments card, he's leading the Premier League in goals as of the season, which is clearly suspended, 19 goals. This could be the type of guy that maybe gets another inform as a flashback player moments, flashing back to a time earlier in the year where he had a great game and didn't get an inform for it. That's where I could see this going. Again, kind of like a flashback to earlier in the year. The other thing that I'm really curious about is could this just be a reason for EA to give a random card, a special card? And you know what they've been doing with, like, in foot. In foot, we get these player moments SBCs for really random stuff. Like this Hector Bellerin, he earned a player moments card for celebrating his goal line clearance versus Swansea. So for a goal line clearance, this man gets a player moments card. Now I know that was probably a big game. I'm not really good at my Premier League history.  But we have some other player moments cards in here and you can tell when you read the descriptions of these cards that have been released into the game. Some of their descriptions are just really random, right? Are these cards gonna be getting flashback upgrades based on like a moment, right? So like this Ramos was celebrating his volley. Leroy Sane was celebrating the size of goal versus Liverpool. Eden Hazard was celebrating a solo league goal against West Ham. So think of some guys that you might, that could get special card upgrades with these new cards for like a performance, like a moment in time earlier than in this year where they had an insane run. And of course, somebody brought this up tonight at my stream, Chun Min Sun with his amazing solo run goal, which is I think a candidate for Premier League goal of the year. What if he gets one of these new cards? He could get a 91 rated, you know, flashback moments or flashback moments team of the week, whatever these are called. That could be the type of card that we see with this new card design and that's what we could see released in the game. Again, right now it's all theory until we get more information from EA telling us exactly what is going on. But I guess we can kind of make some assumptions and think along the lines, think critically and think analytically based on what we know from foot and what we've seen already in team of the weeks. Of course we've had team of the weeks one through 26 up until now and now they're gonna be changing into something different. So I guess the fact again that I see EA putting out a new card design, which I know I've shown you this a bunch, but this card design, the fact that we have one, it's a new one and they're putting it in the code. This kind of hypes me up and makes me optimistic because there's a possibility for something new and this kind of shows me that EA is putting effort into this and not only just re-releasing content. Now the other option is maybe this is just a new SBC and EA is actually just gonna be re-releasing content and putting other versions of cards in team of the week. They could really spice up a team of the week by putting in like future stars and stuff like that and maybe that's part of what they'll do with the team of the week. We really just don't know. We really just do not know with these cards until we see what comes out today on foot and I would expect for the normal 3 p.m. UK release of information related to these new cards and what they're going to be. How is this gonna impact the market? That's the next biggest question. How is this going to impact the market? Well, I feel like it's gonna impact the market just like a normal, regular team of the week would, right? When you have a new team of the week coming out, you basically have, let's say, let's say Neymar gets a team of the week, right? People are gonna be selling this version of Neymar. Neymar is actually a really great example because he has a couple different cards. So if a new team of the week Neymar came out, 94 rated, right? Because he's got this 93. 94 rated Neymar comes out, whether it's left wing, whether it's center attack in mid, this card will probably drop because people sell it because they wanna go get the new one. That's what happens when a new team of the week comes out. The lower level special cards for that same player usually tend to drop. What's gonna happen to that card is it's gonna drop, the new one's gonna come out, it's gonna be impacts or whatever, right? So I do expect some cards. I expect there to be a little bit of panic today heading into these cards being released when the new cards come out because people really, we have no idea what's going on when people don't know what's going on and they have the availability. A lot of you guys are watching this video.  You've seen the pack design. People are tweeting about it. People are talking about it, making concept cards. But it's all unknown until we actually get the content. There is panic when people don't know what's going on. At least this year we've seen a lot. People sell cards because they're worried. They sell cards because they're worried that they're gonna lose coins and that they're going to lose some of their hard-earned coins on FIFA Ultimate Team. And that's why you see some of these things of panic selling. So I do think you could see a little bit of panic today. Watch the market. Watch for some out-of-packs special cards, shapeshifters, other promo cards, and see if they just get too low. But the other end of the scenario here is what cards could go up tomorrow if we get new moments, team of the week cards. A guy like Neymar. Let's say that he gets a new inform, right? We're just looking at Neymar again. Neymar is a 94-rated player of the month and 93 team of the week. Since this Neymar right here is already a 95, supposedly it's gonna stay one ahead of the inform. If Neymar gets a 94 inform, however, this card will upgrade to a 96. And that could cause this headliner, live item, to possibly go up in price, which I think it absolutely would go up in price. He's right, 3.8, 3.9 mil right now. Neymar gets a team of the week, moments card. This guy goes to a 96 and he goes up in price. Same thing with Lewandowski as I talked about. Had some incredible games this year. There's a high possibility that a guy like Lewandowski could get himself another one of these cards. And this, wow, this card's dropped off a lot, which makes sense because these are not live items anymore. How much is this Lewandowski 700K? 700,000 coins for this card. 710 for the headliner Lewa. Let's say Lewa gets a 94 rated inform or the new team of the week moments card. This guy would go to a 96 and then all of a sudden he becomes worth more. So that's one thing that you can sincerely take a look at and be ready for today when we see these new cards drop is be familiar with the price of live items that can be upgraded by informs. Ones to watches can be upgraded and headliners can be upgraded. Keep a careful eye and think in the back of your mind what cards have headliners and what cards have ones to watch is because let's say they get one of those new cards, boom, this version or the ones to watch gets upgraded and then you have a card that is going up in price because of that. So that's the main thing I want to talk about is watch out for the live items that could get upgraded because a lot of them are stupid cheap right now. A lot of these live items have dropped a ton because they're no longer playing real life games. Like, look at this Salah. This Salah was two million coins at one point right here, 2.05 and he's just been dropping down especially in the last week with all the shutdown. 1.3 mil he's gone down to basically just under 1.1 mil and that's kind of the trend for all of these live items because they just keep dropping because of course no games are being played in real life. So if anybody gets into this new set of cards, this new team of the week stuff just keep a careful eye on some of these live items because they could actually shoot up in price and then once to watches as well, the live items right now are going on. But again, if you see panic selling on other areas of the market, right? Like let's talk about shape shifters again. Shape shifters are still used in a lot of people's squads and if it looks like, which it does right now, these are not going to get re-released. If you still see panic on some of these, that might be a scenario or a situation where you take some action. This in Babu card fluctuates like crazy, right? This is just kind of like general knowledge and foot card trading based on fluctuations. This guy fluctuated all the time because he's a very desirable card in this game, especially with the Bundesliga links. Right now he's 340K, he hit a low of 317 earlier today. That's very, very flippable. There's definitely some profit in there that you could make from this card on the daily fluctuation. So maybe this guy tomorrow morning, you see him at like 300,000 coins, you're like, yo, that's kind of cheap. I think there should be a rebound of that. So again, just watch the panic today as we're heading into the 3PM UK. I think we should get an announcement. That's when they normally announced Team of the Week and then 6PM UK announcing the rest. Another thing you might just be careful for is watch on the icons. Just be careful with some of these icons and see if they do anything price-wise. If there are some really, if they really, really hype up these new cards and they do something crazy with them, there is a possibility that some of the icons could take a hit in price just because these are some of the most expensive cards in the game. And if they introduce a cool new concept mid-week, then that could be something to watch out for. But I honestly just think, again, that this card design and that this right here is basically just gonna be a way for EA to drop new cards on FIFA 20 and basically make a Team of the Week and make things to play for. Again, they have this new card design and I feel like they're gonna have to do new informs and new stuff from it. Again, this makes me hyped up because we can tie this back to real world events that happened earlier in this year. Maybe they'll use some of these cards for Champions League moments, for Europa League moments. Of course, we don't have, I don't think we have like a UCL. Remember last year we had that purple and with white stars card design? It was like a UCL SBC card, I forget what the exact name of it was, but maybe they'll throw some of the UCL moments that probably won't be happening in the next few months because those games have been canceled or suspended at the least into cards like this. So again, I think it's gonna be based on some sort of moment or some sort of performance, moment or performance based on this highlight reel and based on what the card kind of resembles. But I'm pretty pumped for it. And I would save your packs. I don't know if I would open your packs for this promo, like the stuff that's coming out today. Again, it just depends on how they juice it, right? I don't think they would put like a full promo team into packs on a Wednesday. So I wouldn't have the craziest of high hopes. And that's why I feel like, I feel like they're gonna re-release some stuff, right? Like maybe some of the lower tier informs, I don't think they're gonna go through every single week and release a team of 23 cards. Is that how many we have in a team the week? I don't expect a new set of 23 cards every week that is tying back to one specific moment for each of those players. I feel like they're going to re-release some other past special cards, other informs or other cards in this game. So maybe a guy like this, Lala gets re-released and then you might see his price drop. So that is another scenario where I do think if you do have some lower tier special cards, not that it's really a place where you wanna sell those cause these aren't worth a ton anyway, but I would just be careful with your special cards. And don't feed into any panic selling that might be happening as you log into the game and as you maybe see some informs going down. Even like this Mbappe card, I haven't seen too much panic with this card yet because of his upcoming player of the month, but who says that it's not coming, right? 2.395 mil right now for this card isn't too low, but you never know what kind of panic you're gonna see depending on when this stuff drops. So just be careful with that. And if you're scared, you could take some coins. I expect a promo this weekend. I think we will get a promo this weekend either like a foot birthday or maybe carnival. We haven't had a carnival yet. So we'll just see what happens. I do expect a promo this weekend, but I don't think this has really anything to do with it. We'll see what they come out with. We'll see how hyped they make it. We'll see how they, you know, what kind of players they put in.  And it makes sense. They kind of need to put something out that's decent with these new card designs and make something special of it to try to keep people interested and keep people involved with foot champions because that keeps people on their game. Like right now everybody is just grinding the icon swaps so they can get the icon pack or get their tokens or whatever they want. But EA of course wants to give decent rewards via team of the week and via stuff that is in packs so that people want to spend money in open packs and of course stay on the game to get those cards as rewards as well. So those are my thoughts on today's card design and on what could be coming with this card right here and supposedly today with a new team of the week. So if you enjoyed this video, always smash your thumbs up on it. If you have any ideas or thoughts on this comment them down below in the comments and of course subscribe to the channel if you're new. It's been Nate, The Foot Accountant. I'll catch you guys later. Peace out.


Like when I first get on them I try to you know we ride several horses every day and so I try to come out here though first thing I'd like for them to just walk around and and just chill out a little bit I don't want them to come out here and think that they're going straight to work I want them to just come out here and kind of have a clear mind if I can and but the main thing I'm looking for is whenever I pick my hand up I want them to and put my feet on them I'd like for them to just get soft in their face and feel their rib cage come up under me because I feel like a horse and in order for them to go stop and load up like we're wanting to their back has to stay around and their withers need to stay up a little more and so that's what I want to feel whenever I'm around them around here and and I'll once they walk around and get soft then I'll trot a few circles on them and and just press my legs on them softly once I feel them soft in the face then I'll release and then I'll maybe go a few strides and then I'll just pull them in the ground back a few steps turn them to the outside and then release again and then I want them to hunt that inside of that circle with their nose just wanting her to get across here and create a pocket for this cow draw and then let that cow pull her through the turn every chance I get I'm gonna try to just let her read now she's starting to hunt that stuff and draw good I'm gonna be looking for a place to quit here she's starting to think more that's good