Jiro is the picture of craftsmanship and dedication and runs his restaurant as such, whether apprentices prepare egg sushi 200 times before meeting the standard or octopus is massaged for 50 minutes for tenderness. Even service is meticulously executed. Jiro places sushi in front of patrons and watches them carefully, modifying portion size and even placement to suit right or left-handed diners. But beyond any of that, I was impressed with the relationships he has with his food providers. Because sourcing the highest quality ingredients is the foundation for Jiro’s craft, he recognizes and trusts each provider as the expert in his particular field—tuna, rice, shrimp, etc. The relationship is symbiotic; each must excel or neither will succeed. I think this mirrors the web designers’ relationship to type designers. I don’t think anyone can deny that for our work on the web to be any good at all, we must have quality typefaces. Without them we are powerless. Over the past 5 years, the importance of this relationship has become increasingly apparent.

Before web fonts took off, I never gave font selection much thought. where to buy smoked eel ukI chose from my web safe options (Georgia, Verdana, Helvetica, etc.) and moved on. mac sushi kiss finishNow that we have thousands of options whose quality varies greatly, I realize just how important it is to support type designers, enabling the creation of more, high-quality fonts and therefore better websites. sushi online bestellen leverkusenThe type designer’s role is instrumental to the success of our work.yo sushi takeaway exeter Fostering this relationship clearly starts with respect. yo sushi franchise opportunities

In the same way that Jiro trusts experts to provide him with the best materials so we should appreciate and value those devoted to the creation of quality web fonts. sushi garden menu north burnabyThe more I work with web fonts, the more I learn about how difficult it is to make great ones. sushi online vina del marTime spent on letterforms, tracking, kerning pairs, and rendering makes or breaks a font. If quality takes time it also takes money, and I am personally happy to pay a fair price for such an invaluable resource. Every time we obtain a font without a license, or perhaps even gripe about a fair price, we’re shooting ourselves in the foot. If we want great web fonts, we must support their creation. When web type designers succeed, so do we.Like a spiritual sequel to Jiro Dreams of Sushi, Original Copy sings a dirge for aging artists unfulfilled.

Directed by Georg Heinzen and Florian Heinzen-Ziob, this documentary captures a small corner of the world in a moment of change, with all the heart and melancholy that can possibly be wrung out of the shared human experience.Sheikh Rehman is an artist. More specifically, he paints large-scale movie posters for a rundown theater in the heart of Mumbai. Rehman’s posters capture romantic moments of action, love, and heroism, his near-photorealistic eye augmented with expressionistic and impressionistic vision. (“They ask me why I painted the girl pink,” he cheerfully recounts. “No human being is pink. But it makes her even more beautiful!”)As Rehman and his crew work on their latest poster, pulling beautiful images piece by piece out of the blank canvas, the film also follows the ins and outs of some of the other employees and goings on of the movie theater where the poster will eventually be installed. Times are very tough, and Heinzen and Heinzen-Ziob find small, telling moments of the human struggle that capture those hardships in microcosm.

Some documentaries will wow you with some crazy narrative, with the twists and turns of reality that no fiction can equal. Original Copy isn’t one of those, preferring instead to be a matter of fact, slice-of-life experience. And it benefits greatly from its choice of central subject.S. Rehman, as he is professionally known, is a fascinating individual, a curious mix of deadpan cynic and yearning romantic. Working on his paintings with longtime friends, he can be nasty, biting, and short-tempered in one moment, open-hearted and loving in the next. When he paints, he fixes on the canvas as if it is the only thing in the world, weaving colors together with a master’s easy touch. Rehman can conjure life and mood with a single brush-stroke, and the failure of others to catch up to or appreciate that genius is one of the sadder threads of the film.And Original Copy is no stranger to sadness. It’s not a wallow, not a pity party; but the film is shot through with the melancholy that Rehman, his team, and their employers deal with day to day.

While we never stray from the theater and see the home lives of the various characters, references abound that paint a picture of the pressures and losses that have made these people who they are. The theater owner admits that life around movies has warped the way she views events, including the death of her daughter. We’re told the story of how Rehman’s young apprentice has lost his vibrant joy since his father passed and he has been left the man of his household.And then there’s S. Rehman himself. Again, we never see him far from his canvas, almost never see him when he’s not mid-process. But as the movie progresses, more and more of his outside life creeps into the film. How his father was an incredibly talented artist but never had financial success and his work is now unheralded. How his sons took no interest in his work and now he must build a surrogate family instead. How his grown sons and extended family look down on him and his profession, how the world as a whole seems to be nudging him out the door and undercutting whatever value he places in his art.