Tea tasting at song
Tea tasting is the process in which a trained taster determines the quality of a particular tea. Due to climatic conditions, topography, manufacturing process, and different clones of the Camellia sinensis plant (tea), the final product may have vastly differing flavors and appearance. These differences can be tasted by a trained taster in order to ascertain the quality prior to sale or possibly blending tea.
A tea taster uses a large spoon and noisily slurps the liquid into his/her mouth – this ensures that both the tea and plenty of oxygen is passed over all the taste receptors on the tongue to give an even taste profile of the tea. The liquid is then usually spat back out into a spitoon before moving onto the next sample to taste. The flavor characteristics and indeed leaf color, size and shape are graded using a specific language created by the tea industry to explain the overall quality. Generally speaking, once the quality has been tasted/graded, each tea company places a value on it based on market trends, availability and demand.
Oolong Tea
Oolong is a traditional Chinese tea produced through a unique process including withering under the strong sun and oxidation before curling and twisting. Most oolong teas, especially those of fine quality, involve unique tea plant cultivars that are exclusively used for particular varieties. The degree of oxidation can range from 8 to 85%, depending on the variety and production style. Oolong is especially popular with tea connoisseurs of south China and Chinese expatriates in Southeast Asia, as is the Fujian preparation process known as the Gongfu tea ceremony.
Several subvarieties of oolong, including those produced in the Wuyi Mountains of northern Fujian, such as Da Hong Pao, are among the most famous Chinese teas.
Different varieties of oolong are processed differently, but the leaves are formed into one of two distinct styles. Some are rolled into long curly leaves, while others are ‘wrap-curled’ into small beads, each with a tail. The former style is the more traditional of the two in China.
A brief history of the 45
Singles have been issued in various formats, including 7-inch, 10-inch and 12-inch vinyl discs. The most common form of the vinyl single is the 45 or 7-inch, the names are derived from its play speed, 45 rpm and the standard diameter 7-inch.
The 7-inch 45 rpm record was introduced in 1949 by RCA as a smaller, more durable and higher-fidelity replacement for the 78 rpm shellac discs. The first 45 rpm records were monaural, with recordings on both sides of the disc. As stereo recordings became popular in the 1960s, almost all 45 rpm records were produced in stereo by the early 1970s.
The most common form of the vinyl single is the 45.
Although 7 inches remained the standard size for vinyl singles, 12-inch singles were introduced for use by DJs in discos in the 1970s. The longer playing time of these singles allowed the inclusion of extended dance mixes of tracks. In addition, the larger surface area of the 12-inch discs allowed for wider grooves (larger amplitude) and greater separation between grooves, the latter of which results in less cross-talk. Consequently, they “wore” better, and were less susceptible to scratches. The 12-inch single is still considered a standard format for dance music, though its popularity has declined in recent years.
Depending on its type, in addition to the song itself, a single may include remixes of the song, additional songs, a music video for promoting the single, and a collectible poster.
The right typeface can make all the difference
In traditional typography, a font is a particular size, weight and style of a typeface. Each font was a matched set of metal type, one piece (called a “sort”) for each glyph, and a typeface comprised a range of fonts that shared an overall design.
In modern usage, with the advent of digital typography, font is frequently synonymous with typeface. In particular, the use of “vector” or “outline” fonts means that different sizes of a typeface can be dynamically generated from one design.
Font Characteristics
In addition to the character height, when using the mechanical sense of the term, there are several characteristics which may distinguish fonts, though they would also depend on the script(s) that the typeface supports. In European alphabetic scripts, i.e. Latin, Cyrillic and Greek, the main such properties are the stroke width, called weight, the style or angle and the character width.
Different fonts of the same typeface may be used in the same work for various degrees of readability and emphasis.John Smith / Art Director
The regular or standard font is sometimes labeled roman, both to distinguish it from bold or thin and from italic or oblique. The keyword for the default, regular case is often omitted for variants and never repeated, otherwise it would be Bulmer regular italic, Bulmer bold regular and even Bulmer regular regular. Roman can also refer to the language coverage of a font, acting as a shorthand for “Western European.”
Photo by Heydays
A design philosophy
Philosophy of design is the study of assumptions, foundations, and implications of design. The field is defined by an interest in a set of problems, or an interest in central or foundational concerns in design. In addition to these central problems for design as a whole, many philosophers of design consider these problems as they apply to particular disciplines (e.g. philosophy of art). Although most practitioners are philosophers, several prominent designers and artists have contributed to the field. Graphic design has seen many changes and influences. But foundations remain the same. Society heavily pressures graphic design to assimilate to the era. The history or foundation for graphic design has influence from what was depicted to the author during that time. The foundation of letters, that can be designed specifically for communication.
The History
The field needs more depth, in a sense graphic design needs to find itself, all while evolving at the same time. It’s debatable how the background of graphic design needs to be shared. There’s the discussion of different designers, and their notable works. Portrayals of how the physical art has changed and been inspired by past all while embracing the future.
Graphic Design as a field is young. There is not enough information about how it came to be. There is subtle information about society accepting messages being put in front of them. There’s not enough information given to design students about where the concept for graphic design comes from, or at least an understanding about the original forms of communications that used more than words, or why typography has such a large impact.
Herman Miller’s Design Philosophy
In the 1948 Herman Miller sales catalog, George Nelson laid out his view of the company’s design philosophy. These five simple statements echoed the education that Gilbert Rohde had provided for the company in the preceding decades.
- What you make is important.
- Design is an integral part of the business.
- The product must be honest.
- You decide what you will make.
- There is a market for good design.
This simple set of statements has defined a company’s product philosophy for many, many years. It’s no coincidence that Herman Miller has remained a contemporary, sustainable, design-driven business.
Above the clouds
Fremont Peak is a summit in the Gabilan Range, one of the mountain ranges paralleling California’s central coast. The peak affords clear views of the Salinas Valley, Monterey Bay, the southern part of the Santa Clara Valley, and surrounding mountain ranges. It is located on Rocky Ridge, 11 miles northeast of Salinas, California.
The peak is the site of Fremont Peak State Park which was established with 188 acres in 1936. Today the park has camping and picnic facilities, and is favored by astronomers for its clear views unsullied by artificial light. The Fremont Peak Observatory Association maintains a 30-inch diameter f/4.8 Newtonian “Challenger” telescope which was built by telescope maker Kevin Medlock in the early 1980s. The peak is also the site of the transmitters for television stations such as KSBW and KCBA and for radio stations such as KDON-FM.
Path to the peak.
Previously called Gavilan Peak, it is now named for John C. Frémont, an American explorer and a Captain in the U.S. Army Corps of Topographical Engineers at the time. In 1846, he and a crew of 60 armed surveyors mounted the peak to assess its military value. The peak commands the inland approach from Monterey. As a response to the threat, local Mexican authority General José Castro ordered Frémont and his men to leave California. In defiance, Frémont built a crude stockade and raised a modified American flag above the peak (or, according to some sources, on a lower peak nearby). The U.S. Consul in Monterey, Thomas O. Larkin supported Castro’s decision to evict Frémont, and his men were duly ordered out of the area. Frémont took providence from a windy night which blew down the makeshift flagpole to hasten himself and his men from the peak. The peak is now registered as California Historical Landmark #181.
Dieter Rams 10 principles of design
Rams began studies in architecture and interior decoration at Wiesbaden School of Art in 1947. Soon after in 1948, he took a break from studying to gain practical experience and conclude his carpentry apprenticeship. He resumed studies at Wiesbaden School of Art in 1948 and graduated with honours in 1953 after which he began working for Frankfurt based architect Otto Apel. In 1955, he was recruited to Braun as an architect and an interior designer. In addition, in 1961, he became the Chief Design Officer at Braun until 1995.
Rams introduced the idea of sustainable development and of obsolescence being a crime in design in the 1970s. Accordingly he asked himself the question: is my design good design? The answer formed his now celebrated ten principles.
Good design:
- Is innovative – The possibilities for progression are not, by any means, exhausted. Technological development is always offering new opportunities for original designs. But imaginative design always develops in tandem with improving technology, and can never be an end in itself.
- Makes a product useful – A product is bought to be used. It has to satisfy not only functional, but also psychological and aesthetic criteria. Good design emphasizes the usefulness of a product whilst disregarding anything that could detract from it.
- Is aesthetic – The aesthetic quality of a product is integral to its usefulness because products are used every day and have an effect on people and their well-being. Only well-executed objects can be beautiful.
- Makes a product understandable – It clarifies the product’s structure. Better still, it can make the product clearly express its function by making use of the user’s intuition. At best, it is self-explanatory.
- Is unobtrusive – Products fulfilling a purpose are like tools. They are neither decorative objects nor works of art. Their design should therefore be both neutral and restrained, to leave room for the user’s self-expression.
- Is honest – It does not make a product appear more innovative, powerful or valuable than it really is. It does not attempt to manipulate the consumer with promises that cannot be kept.
- Is long-lasting – It avoids being fashionable and therefore never appears antiquated. Unlike fashionable design, it lasts many years – even in today’s throwaway society.
- Is thorough down to the last detail – Nothing must be arbitrary or left to chance. Care and accuracy in the design process show respect towards the consumer.
- Is environmentally friendly – Design makes an important contribution to the preservation of the environment. It conserves resources and minimizes physical and visual pollution throughout the lifecycle of the product.
- Is as little design as possible – Less, but better – because it concentrates on the essential aspects, and the products are not burdened with non-essentials. Back to purity, back to simplicity.
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