Ask a designer: Why switching fonts wont save the US government millions

You may have heard: simply changing the font used for reports from Times New Roman to Garamond could mean big savings for the US government. Not if you ask a type designer

This weekend, CNN put 14-year-old Suvir Mirchandani on camera to talk about a study he conducted that found US federal and state governments could save 30% on printing costs with a simple solution: switch the fonts used to print reports from the bulkier Times New Roman to the thinner Garamond.

Mirchandani’s study is certainly impressive for a middle schooler: after all, it made it into the Journal for Emerging Investigators, an outlet for the work of middle and high school scientists. But as the feelgood story of a 14-year-old saving the government a pile of money began to trend online, experts in type began to raise eyebrows.

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Why Natural Supplements Will Be Banned & Replaced With Toxic Drugs

By Natural Foods Diet – Natural Health Information

There is a big concern that natural supplements will be banned and replaced with toxic drugs. This is because the FDA is requiring any supplement sold to go through highly expensive clinical trials. Most natural supplement companies can’t afford this type of testing, but, drug companies easily can. Keep an eye out for this! …read more

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Adolescence, repression and power: Mike Kelley returns to LA

Largest retrospective of the late artist’s work to date has opened at Geffen, part of Moca, and reveals his considerable influence on the city’s art scene

Highland Park is a gentrifying Latino community six miles north of downtown Los Angeles, where artist Mike Kelley kept a studio, splitting his time between the city and the manicured lawns and citrus trees of South Pasadena a few miles away. Figueroa Street, where he worked, is a boulevard of car repair shops, bodegas and liquor stores, reminders of its gangland past, and maybe the artists earlier days as a rebel on the streets of LA.

Mike Kelley comes home with the largest ever retrospective of his work at LAs Geffen Contemporary, part of the Museum of Contemporary Art (Moca), just a few miles from where he lived and died (starting 31 March through 28 July). Beginning in Amsterdams Stedelijk Museum, nearly a year after his suicide in January 2012, it traveled to Paris Pompidou Centre and then to New Yorks Moma PS1 before finally finishing where it all began. The Moca exhibit adds three major works and numerous drawings not included in earlier shows.

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Architecture report calls for shift in UK planning culture

Review led by Sir Terry Farrell calls for teaching of architecture in schools and a more proactive planning system

The architect Sir Terry Farrell has called for architecture to be taught in schools, the listing of buildings to be decided by popular support, and the introduction in every town of “urban rooms” where planning can be debated over 3D models.

Launching his review of architecture and the built environment, commissioned last year by the culture minister Ed Vaizey, Farrell said the 200-page document should “be a catalyst for change and the start of a big conversation about our built environment, making it a major public issue like health and food”.

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Don't be dazzled: why redecorating first world war ships is so cowardly

Two battleships are to be repainted by contemporary artists in the ‘dazzle’ camouflage of 1914-18. Isn’t this a disturbingly celebratory way to remember a monstrous war?

The first world war, it was just like the Olympics. It brought so many people together. Admittedly, they came together to die “like cattle”, as the poet Wilfred Owen put it a bit grumpily but what a moving occasion nonetheless. It deserves to be marked by another Cultural Olympiad.

Perhaps I am exaggerating the happy-clappy banality of the cultural events planned to mark this year’s centenary of the first world war’s outbreak, but a remark actually made by Maria Miller, secretary of state for culture, media and sport, at the launch is not far off: “The first world war had such a great deal of culture associated with it from the poets to visual artists “

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Phyllida Barlow at Tate Britain review: 'In every way tremendous'

Magnificent and exhilarating, Barlow’s slapstick sculptures have taken over the Duveen galleries, and they prove that all the world’s a stage. Wow, writes Adrian Searle

Defying gravity: Barlow’s Tate Britain takeover in pictures
Phyllida Barlow interview: ‘Just going to art school doesn’t make you famous’

Mad, and madly ambitious, Phyllida Barlow’s dock is far and away the largest work the artist has made. It is also her most ambitious in terms of its variety and ramshackle complexity. Both sculpture and journey, dock develops over the full 100-yard length of Tate Britain’s Duveen Sculpture Court. It reaches for the roof, falls to the floor, jostles and elbows its way through the space. It is in every sense tremendous.

One thing leads to another, and another, through plantations of wooden scaffolding and skeletal structures of reclaimed timber. I experience the seven distinct works that make up dock as a succession of movements and passages, gags and routines. You expect someone to come round the corner and douse you with a bucket of water. This is sculpture as horseplay. It is as if someone had employed a team of circus clowns to build the set of some wildly ambitious opera.

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Phyllida Barlow: 'Just going to art school doesn't make you famous'

She’s taught everyone from Martin Creed to Rachel Whiteread, but it’s only now, at 70, that Barlow is getting her dues as an artist. As her Tate Britain commission opens, she talks about collapsing towers, unhealthy praise and the joy of making bad art

In the middle of Tate Britain’s Duveen Galleries, with their arches and columns and barrel-vaulted ceilings, Phyllida Barlow is standing, hard hat in hand, looking faintly bewildered. There is the sound of drilling, wood being stacked, materials unfurled, as men stand around, arms folded, attending to the rigging of a sculpture. One is inside a large cardboard column, which stands in absurd contrast to the grandeur of the galleries. Barlow’s commission for the Duveens, entitled dock, involves seven enormous sculptures; these include a collection of polystyrene boxes covered in a cement wash and suspended from the ceiling.

I ask Barlow if she enjoys directing such a large team. “No,” she says. “I find it very demanding. It makes me extremely self-conscious.” Having 10 people waiting for her command is “absolutely horrendous”, she adds, and when someone asks if a sculpture is in the right position, “the only thing I’m thinking is, ‘I haven’t a clue.'”

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Source: Phyllida Barlow: ‘Just going to art school doesn’t make you famous’