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July 20, 2011

Gregor Mendel

Gregor Mendel

People have known for centuries that children resemble their parents. In the middle of the 19th century, however, an obscure monk discovered something remarkable: One could mathematically predict which traits parents would hand down to their offspring. This discovery revolutionized agriculture. It lent credence to some fairly sickening plans for weeding out "undesirables" in the human population. It also shed light on the process of evolution.

http://www.strangescience.net/biopics/pea.gif
From The Monk in the Garden by Robin Marantz Henig, from the Clutius Botanical Collection
 
 

Born to a farming family in 1822, Gregor Mendel had no aptitude for agriculture, despite how much his research would affect the field later. He lived in Moravia (what is today the Czech Republic), in a society that preserved remnants of feudalism. Farmers were compelled to labor a few days every week for local landowners, getting only four days a week to farm their own land. As a youth, Mendel frequently took to his sickbed for weeks — even months — at a time, apparently not much looking forward to his future. His luck changed when a teacher recognized his sharp mind. Mendel eventually enrolled at Olomuc University, but finances interrupted his studies. Though he probably never felt a strong spiritual calling, he joined the Augustinian order, thereby escaping his financial worries. The monastery provided an environment that encouraged learning and experimentation, and here Mendel stayed for the rest of his life.

He fulfilled various duties as an Augustinian, including visiting the sick. When his superiors saw how much those visits troubled him, he was relieved of that responsibility. He taught science for years, but because he never passed the requisite exams for a teacher's certificate, he always had to work as a substitute. He proved best suited to science.

Before turning his attention to peas, where he would make his most important discoveries, Mendel bred mice, but the local bishop apparently preferred that Mendel find a more genteel area of study. Peas proved practical; they were cheap, took up little space and produced offspring quickly. So for years, Mendel carefully tended his pea plants, meticulously counting and classifying their offspring. No one knows exactly how many pea plants Mendel grew, but in the 1930s, one historian calculated that he may have grown more than 5,000 plants in 1859, and more than 6,000 in 1860. "We can also suspect that pea soup made a tiresomely frequent appearance on the menu of the monastery of St. Thomas," modern historian Peter Atkins has observed.

While Mendel worked, controversy raged around Darwin and Wallace's newly published theory of natural selection, but Mendel didn't participate. Instead he hammered out the mathematical principles of inheritance. Darwin, like many of his contemporaries, believed that parents' traits were mixed to middle ground in their offspring. Mendel astutely studied simple either/or characteristics such as purple or white flowers, and discovered that they are passed to offspring intact, although at different rates (often a 3:1 ratio). He also made the clever deductions that some traits can reappear generations later, after seeming to disappear, and that different characteristics are inherited independently of each other. Contrary to popular opinion, Mendel didn't discover genes, much less "dominant" and "recessive" genes. Instead, he used these terms to describe the appearance of a character, or what we now consider gene expression. After years of working with peas, Mendel moved on to other crops to verify his findings. In 1866, he published his results: "Experiments on plant hybrids" in the transactions of the Natural History Society of Brünn.

Although Mendel ordered 40 reprints of his paper, the whereabouts of only a handful are now known. Darwin was reportedly on the recipient list and, so the story went, didn't even cut the pages (necessary in those days to open papers) to read Mendel's work — an assertion that has been disputed. Only one scientist ever bothered to respond to Mendel's paper, and he responded with what would ultimately prove to be unfortunate advice, at least when viewed through the prism of later discoveries. Karl (or Carl) von Nägeli, of the University of Munich, had previously experimented with hawkweed, a plant that follows an obscure asexual reproductive method. Mendel started experimenting with hawkweed, and began to question his findings from studying peas. He finally gave up all experimentation when he became abbot of the monastery, though he continued to dabble in ornamental horticulture.

Mendel's main interest in studying genetics may have been simply to better understand hybridization (an interest Nägeli would have shared), rather than develop a general theory. Yet it's naive to think that he was just a humble monk who never hoped for fame. In fact, he did hope for recognition, but the only recognition he enjoyed during his lifetime was as a local meteorologist. Although he was said to remark, not long before his death, "My time will come," it's hard to know whether he really believed his own words. He died in 1884 never knowing how much his findings would change history. Mendel's work was cited in a few papers in the late 19th century, but it wasn't until the dawning of the 20th, motivated in part by a priority dispute about publication, that other scientists took note of the 19th-century experimenter.

After Mendel died, his original manuscript, "Experiments on Plant Hybridization," alternated between celebrity and obscurity perhaps even more than his theory. Around 1911, a teacher fished the paper out of a wastebasket in the Brünn Natural History Society's library. After being returned to the society's files, the manuscript spent time in the briefcase of a German botany professor. The paper went missing altogether under Soviet occupation, then turned up decades later in the possession a later-generation Augustinian monk and descendant of one of Mendel's sisters. Other Mendel descendants were overjoyed to take possession of the paper — until the same Augustinian monk allegedly learned that he'd be evicted from the cloister if he didn't hand the manuscript over to his fellow monks. A New York Times article in 2010 reported that the ministry of science in Baden-Württemberg was also involved in the dispute. Dynastic and monastic tensions notwithstanding, Mendel might have been mollified that his manuscript was finally prized.

For more information:
The Monk in the Garden by Robin Marantz Henig
Gregor Mendel by Simon Mawer
DNA: The Secret of Life by James D. Watson
"Mendel and Modern Genetics: The Legacy for Today" by Garland E. Allen in Endeavour Magazine, June 2003 issue
Evolution by Edward J. Larson
Evolution by Linda Gamlin
The Mismeasure of Man: The Definitive Refutation to the Argument of the Bell Curve by Stephen Jay Gould
Galileo's Finger by Peter Atkins
A Guinea Pig's History of Biology by Jim Endersby
Making Modern Science by Bowler and Morus
The Science Book edited by Peter Tallack
A Family Feud Over Mendel’s Manuscript on the Laws of Heredity (http://www.nytimes.com/2010/06/01/science/01mendel.html)
"The 100 Events" Life Magazine Special Issue Fall, 1997

Gregor Mendel People have known for centuries that children resemble their parents. In the middle of the 19th century, however, an obscure monk discovered something remarkable: One could mathematically predict which traits parents would hand down to their offspring. This discovery revolutionized agr ...»See Ya

July 19, 2011

SVG 1.1 2nd Edition

Latin fonts Arabic counterparts

Latin fonts seek Arabic counterparts for an intimate design revolution
By Kaelen Wilson-Goldie

Review

BEIRUT: For years, art directors, graphic designers and the writers and editors who occasionally poke their noses into the debate have been engaged in huge philosophical brawls over tiny technical details. For ages, they have been willing to throw down over the merits of serif versus sans-serif typefaces - whether or not letters should carry little decorative flourishes, or serifs, like the rightward kick on a lowercase a, the leftward angle on a lowercase d or the miniscule hat that caps a capital letter such as J.

Some find serif typefaces timeless, elegant and easy on the eyes for sustained reading. Others find sans-serif typefaces fresher, breezier and more contemporary. (One typeface designer says a serif font is a classy, well-dressed woman while a sans-serif font is a tragic fashion victim). The different text treatments and legibility issues online versus in print have only complicated these admittedly dorky discussions even more.

If you can take all of that without falling asleep then you are sure to find the book "Typographic Matchmaking: Building Cultural Bridges with Type Design," which was feted with a launch party, lecture and exhibition in Beirut last month, an invigorating read. One of the most interesting debates to emerge in the book - which was edited by Huda Smitshuijzen Abi Fares, an established graphic designer and expert on Arabic typology, and chronicles the experiences of five Dutch-Arab design teams that spent two years devising new Arabic fonts to match existing Latin fonts - is whether or not serifs apply to Arabic type at all.

Designers Peter Bilak and Tarek Atrissi, who collaborated on an Arabic extension of the Fedra font family, concluded early on that serif and sans-serif styles held no place in the history or tradition of Arabic type.

"The only way to make Arabic compatible with serif typefaces is to increase the contrast of the stroke modulation," they write. As such, they were able to match their new Arabic font to both Fedra Serif A and Fedra Sans.

Designers Fred Smeijers and Lara Assouad-Khoury, on the other hand, meticulously translated the rounded serifs of the Fresco font to an Arabic counterpart by inverting them.

"Typographic Matchmaking" is an exhaustive record of a pilot project spearheaded by Abi Fares and the Khatt Foundation Center for Arabic Typography. In an introduction dubbed "Arabic Type in the Age of Digital Production" that knowingly builds on the approximation of Walter Benjamin's famous and oft-

cited essay "The Work of Art in the Age of Mechanical Reproduction," Abi Fares notes that the low cost and high speed of information exchange engendered by globalization, be it a force for good or bad, has introduced the pressing need for fonts capable of supporting multiple scripts, and has at the same time exposed Arabic fonts as vastly underdeveloped alongside their Latin counterparts.

Building font families in which Latin and Arabic scripts can be seamlessly interchanged is vital for bilingual (or trilingual) cities in the Arab world, whether for signage, advertising, branding or designing publications that speak more than one language. Right now, bilingual books, journals and magazines, whether in Arabic and French or Arabic and English, pose huge logistical challenges. Not only is the cost of translation high (and the precision of language elusive), the physical layout of pages is also significantly frustrated when different fonts are required.

But the ambitions of "Typographic Matchmaking" are more than mechanical. According to Abi Fares, Arabic calligraphers "have distanced themselves from the realities of contemporary Arab visual culture, and their work has become confined to art exhibitions rather than to applied design ... Calligraphy is still venerated as Islamic art's highest achievement and typography is seen as a mere commercial necessity with little aesthetic refinement and value." The "Typographic Matchmaking" project aims to encourage the design of digital Arabic fonts that preserve the Arab and Islamic world's cultural identity while allowing talented young typographers to mess around, subvert and manipulate that culture from within. Addressing the current shortage of Arabic fonts, their lack of variety and their incompatibility with both contemporary technology and current design discourse is, for Abi Fares, a step toward forging a mature design culture - and with it a more powerful, positive image of Arab culture in the world.

Two years ago, Abi Fares recruited five Dutch typeface designers and matched them with talents from across the Arab world. The book delves into the working process between Bilak and Atrissi, Smeijers and Assouad-Khoury, Martin Majoor and Pascale Zoghbi, Lucas de Groot and Mouneer al-Shaarani and Gerard Unger and Nadine Chahine. Some of the teams worked better than others. Each tackled a different set of design issues. All, at the end of the day, came up with fonts that are included on a CD tucked into the back cover of the book, with end user license agreements outlining the terms of use for those who buy a copy of "Typographic Matchmaking."

To illustrate the project's long-term potential - and the fonts' practical applications for those blinded by the book's descriptions of x-heights, ascenders, descenders, counterforms, glyphs, strokes and the maddening level of complexity wrought by the fact that Arabic type requires four versions of each letter depending on where it is positioned in a word - Abi Fares teamed up with the arts organization Xanadu to organize the Beirut launch party at Art Lounge on December 15. Fifteen Lebanese artists were invited to use the "Typographic Matchmaking" fonts to create artworks that reflect their vision of Beirut. (These works are a necessary antidote to the book's cover, which is surprisingly dull and visually unappealing.)

Of course, for all the technical jargon, "Typographic Matchmaking" does offer fascinating insight into how typeface designers work. One traveled to Cairo to photograph the city's vernacular visual culture. Another conducted comprehensive research on the historical use and development of Maghrebi and geometric Kufi styles versus more fluid Naskh calligraphy. All of them offer a humbling portrait of how painstaking typeface design can be.

"Type design is a private endeavor with a very public appearance," writes Nadine Chahine, who developed BigVesta Arabic with her former professor Gerard Unger (the Vesta and BigVesta Arabic fonts were used in Abu Dhabi recently for an exhibition in the Emirates Palace about the plans for Sadiyaat Island's cultural district). "The final result is like any relationship: It always needs more work, and it'll never be perfect."

"Typographic Matchmaking: Building Cultural Bridges with Typeface Design," edited by Huda Smitshuijzen Abi Fares, is published by the Khatt Foundation with BIS Publishers in Amsterdam. For more information, please check out www.khtt.net

Latin fonts seek Arabic counterparts for an intimate design revolution By Kaelen Wilson-Goldie Review BEIRUT: For years, art directors, graphic designers and the writers and editors who occasionally poke their noses into the debate have been engaged in huge philosophical brawls over tiny technical d ...»See Ya

Top 10 Arabic Design Clichés

Articles & Blog on Arabic Type, Typography and Design

The Top 10 Arabic Graphic Design Clichés

By Tarek Atrissi

The graphic design scene is still relatively a budding profession in the Arab world. The domain has significantly developed over the past decade by raising various creative challenges in developing innovative regional design. Many have succeeded in creating solid and influential design, yet a lot of work has been redundant and repetitive, introducing and establishing some obvious clichés that started to be seen everywhere. Here is our selection of the most redundant design choices to be seen in Arabic design, and hopefully to be avoided from now on.


1- Gold, Gold, Gold...

There is a significant obsession with Gold in the Arab world, from the actual metal to any representation of it. But really, how bling can your color choice be? Gulf air went all the way, turning its fleet into flying golden pieces. They had all their planes painted gold. It is not really clear why gold became a color so popular and associated with the Arab world, but it seems related to the ongoing quest of representing luxury. What better way to do so than a literal reference to the material highly valued since prehistoric times. Golden logos, golden screen graphics, golden signage and golden interiors, clients seems to favor this choice and designers seem to find in it an easy way out. Pantone metallic 871 C stands high then on the cliché list.


2- Ali Baba Typography

This is the typography that hope to illustrate a mix of ancient Arabia with a touch of more current oriental representation. The result is a big no-no: Latin typography that is built from Arabic letters, that is text that seems Arabic, but that is actually not. No example is better to illustrate this cliché trend than the logo of Abu Dhabi, and the custom typography done for it. The concept of the brand of Abu Dhabi is to create an identity that will stand still all the way until 2030. Tough task when its branding seems like a cliché in our current times, let alone 20 years ahead.


3- I want that one



to haunt designers. Let me explain - clients appreciate the success of certain brands and appreciate the accomplishment of their identities and so start asking for similarities. Literal ones. The brief then simply becomes summarized as a request to design “another Al Jazeera logo” or “a replica of the Emirates airline logotype.” A frustrating situation when the client becomes, with the cooperation of the designer, shopping around for logos “off the shelf” and crossing the thin dangerous line between being inspired by good work and reproducing alike solutions.


4- The Camel


The first time I saw a camel was in a European zoo, despite growing up in an Arab country. Contrary to all belief, there are no camels wondering the streets of all Arab countries. Using and abusing the iconography of a camel in the Arab world is like using a windmill to represent the Dutch, German, and Belgian cultures! It is simply weak and inapplicable to the large geographic area of the Arab world. Nothing against the Camel, but graphically it is simply overused. Wait overused is an understatement even; it has been raped as a concept and left dry. Notable runner-ups in the cliché animal categories are the Falcon, the horse and the Oryx.


5- The Palm Tree


 

Not many arguments are needed to show that the palm tree was turned into an ultimate cliché element. After all, an entire island was built with the shape of a palm tree. The golden palm trees of Dubai airport were not enough of course, and the palm had to be made into a landmark visible from outer space!


6- All inclusive logos

When the entire strategy behind a brand has to be visible within the logo mark, a storyboard turns into a logo. All-inclusive logos could surprisingly contain a lot of narrative elements, and subsequently drive away from abstraction or from the modernist logo design practice. Some of these logos are not necessarily visually badly designed (thought most of them are), but the literal illustration of a story in the form of a trademark seems to be an unfortunate flow of visual communication practice in the context of visual identities.


7- Arabic type crimes.

 

Obvious wrong choices in Arabic typography could be an elaborate category with its own subcategories. But the most obvious clichés in Arabic type usage is probably building Arabic words out of deconstructed, rotated, and scaled Latin letters from popular Latin fonts. This became a trend that started in the Gulf, and has been adopted around he Arab world, unfortunately. Poor selection of appropriate Arabic fonts for specific projects is often a problem as well. This can range from choosing overused Arabic fonts to being influenced by well-marketed or known fonts that actually do not measure up to the publicity promoting them. Or even the effort of going all the way to develop a custom Arabic typeface that turns out to be of poor quality. In short, the failure of these fonts is usually due to the lack of necessary or proper typographic research prior to making decisions with regards to Arabic type. Or simply forgetting that good typography is never the result of a rushed design process


8- Exotic by force

Some elements are used almost by force to set an Arabic mood that seems more “exotic” than authentic. Arabesque patterns can be a simple example: They are part of the rich Arabic visual culture, yet when the most common and overused basic arabesque pattern is stuck as the ornamental background or main element of a project, it shows nothing but a failed attempt to localize a certain graphic language. Arabesque patterns are complex and a field to be investigated on its own. Using it without any real effort to explore its possibilities falls in the same trap of making design choices that convey a preconceived faulty reflection of an exotic image of the Arab world. The same patterns are overused again and again. The above example, a signage in a shopping mall, is a double-trouble example. A repetitive pattern choice used in the most inappropriate context, making the legibility of the text on the sign very difficult.


9- Islamic 2.0

 

The rich and diverse heritage of visual culture in the Arab world can sometime be used in a traditional way that risks to look old fashioned. It is natural that even very classic elements tend to be reinterpreted in a contemporary context. Doing that in the most obvious way seems to be one of the most common clichés, what we call traditional 2.0 (or even Islamic 2.0). An example of this would be taking the most classic calligraphic (and ornamental) styles and coloring them with computer generated flashy gradients.


10- Popular repetitive




Popular visual culture can always have its own charm- yet there is a specific popular design language that is far from following any design or layout rational and that is a combination of computer layout abilities, cheap advertising form, and loud commercial character. Nothing illustrates this more than the most common mass CD cover designs widely visible across the region. They are just a group of chaotic random messy designs.

They say clichés become clichés for a reason. The fact is today that these repetitive solutions are overused and have worn thin and will take us further from creating any innovative and sustainable design solutions much need in the region.

 

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3 comments posted

Gold
It is so true about the Gold!
By Marwa N.H on 16th April, 2011 at 8:15 PM
Number 11
Overall, excellent insights and commentary; however, I beg to differ with numbers 4 and 5. Camels and palms are ubiquitous in Saudi Arabia and, while not unique to the peninsula, certainly are strong icons to the rest of the world. A week does not pass that I don't see camels and after two years I am still dazzled at each sighting.

I would add a new one: the be-thobed Saudi male of late 20s with outstretched arms, as though to suggest "the world can be yours" (particularly favored in banking and telecoms ads).

By Wordsmithy on 4th June, 2011 at 6:43 AM
oriental-ezem
Hahaha, couldn't agree more! I suppose it all stems from our own sense to be orientalists. It's kind of like biting on your own flesh!

Entertaining article, but you can get some good out of these cliches sometimes!

By omar on 21st June, 2011 at 9:58 AM

Articles & Blog on Arabic Type, Typography and Design The Top 10 Arabic Graphic Design Clichés By Tarek Atrissi The graphic design scene is still relatively a budding profession in the Arab world. The domain has significantly developed over the past decade by raising various creative challenges in d ...»See Ya