This is a development proposed for my old street in Rongotai. Since Iâve moved away I havenât a say in what happens there. I can only make some general remarks. And this post is not written from the Luddite position.
Itâs the price of progress that as cities grow, we need more housing, and if it means bowling for old bungalows from the first decades of the 20th century in favour of 14 townhouses, then that is the reality we must face, no matter our feelings of nostalgia. What a shame the green space will be reduced dramatically.
But why, oh why, must there be another development devoid of colour with a planned uniformity that smacks of communism? Donât people deserve to live in colour and in dwellings that have some imagination and individuality from their neighboursâ? Come to think of it, people deserve to have cars in shades beyond black, white and grey, but I’m not sure if all dealers have that memorandum.
I also hope these arenât airtight mould-traps that harm their future residents.
The obvious bright side is more people will have homes in a pretty handy part of Wellington. Another bright side I see here is that with the increase of dwellings on the street from 14 to 24, there might be more neighbourhood children enjoying living in a cul-de-sac.
Itâll be a shock when these developers discover there are more paint colours available than the ones they have chosen. And when certain architects discover there are multiple ways to skin a cat. They might also get a shock to find that bread can come pre-sliced these days. Vive la rĂ©volution!
Archive for the ‘design’ category
The colourless world
14.02.2021Tags: 2021, Aotearoa, architecture, city planning, colour, design, New Zealand, trend, Wellington, Whanganui-a-Tara
Posted in design, New Zealand, Wellington | No Comments »
When fashion magazine websites begin looking the same
08.02.2021
Above: Vogue Koreaâs website follows the ĂŠsthetic of a big lead image and smaller subsidiary ones.
This started as a blog entry but took a tangent about 500 words in, and it was better as an opâed in Lucire. Some of the themes will be familiar to regular readers, especially about Big Tech, but here I discuss its influence on web design trends and standardization. The headline says it all: âWhere have the fun fashion magazine websites gone?â. Browsing in the 1990s was fun, discovering how people coded to overcome the limitations of the medium, and, in my case, bringing in lessons from print that worked. Maybe itâs an age thing, or the fact I donât surf as much for leisure, but in 2021 the sites I come across tend to look the same, especially the ones that were in Lucireâs âNewsstandâ section.
I do know of great sitesâmy friend and colleague Charlie Ward has his one, which does everything you would expect from a great designerâs web presence. So many others look like theyâve bought a template. As to those of us in magazinesâIâd love to see something that really inspired me again.
Tags: 2010s, 2020s, 2021, Charlie Ward, design, designer, editorial design, graphic design, Lucire, publishing, trend, web design, website
Posted in design, internet, media, New Zealand, publishing, technology, Wellington | No Comments »
Branding ourselves in the 2020s: a revamp for JY&A Consulting’s website, jya.co
05.02.2021Last night, I uploaded a revised website for JY&A Consulting (jya.co), which I wrote and coded. Amanda came up with a lot of the good ideas for itâit was important to get her feedback precisely because she isnât in the industry, and I could then include people who might be looking to start a new venture while working from home among potential clients.
Publishing and fonts aside, it was branding that Iâm formally trained in, other than law, and since we started, Iâve worked with a number of wonderful colleagues from around the world as my âA teamâ in this sector. When I started redoing the site, and getting a few logos for the home page, I remembered a few of the old clients whose brands I had worked on. There are a select few, too, that Iâm never allowed to mention, or even hint at. Câest la vie.
There are still areas to play with (such as mobile optimization)âno new website is a fait accompli on day oneâand things I need to check with colleagues, but by and large what appears there is the look I want for 2021. And hereâs the most compelling reason for doing the update: the old site dated from 2012.
It was just one of those things: if workâs ticking along, then do you need to redo the site? But as we started a new decade, the old site looked like a relic. Twenty twelve was a long time ago: it was the year we were worried that the Mayans were right and their calendar ran out (the biggest doomsday prediction since Y2K?); that some Americans thought that Mitt Romney would be too right-wing for their country as he went up against Barack Obamaâwho said same-sex marriage should be legal that yearâin their presidential election; and Prince Harry, the party animal version, was stripping in Las Vegas.
It was designed when we still didnât want to scroll down a web page, when cellphones werenât the main tool to browse web pages with, and we filled it up with smart information, because we figured the people whoâd hire us wanted as much depth as we could reasonably show off on a site. We even had a Javascript slider animation on the home page, images fading into others, showing the work we had done.
Times have changed. A lot of what we can offer, we could express more succinctly. People seem to want greater simplicity on websites. We can have taller pages because scrolling is normal. As a trend, websites seem to have bigger type to accommodate browsing on smaller devices (having said that, every time we look at doing mobile versions of sites, as we did in the early 2000s, new technology came along to render them obsolete)âall while print magazines seem to have shrunk their body type! And we may as well show off, like so many others, that weâve appeared in The New York Times and CNNâplaces where Iâve been quoted as a brand guy and not the publisher of Lucire.
But, most importantly, we took a market orientation to the website: it wasnât developed to show off what we thought was important, but what a customer might think is important.
The old headingsââHumanistic branding and CSRâ, âBranding and the lawâ (the pages are still there, but unlinked from the main site)âmight show why weâre different, but theyâre not necessarily the reasons people might come to hire us. They still canâbut we do heaps of other stuff, too.
I might love that photo of me with the Medinge Group at la SorbonneâCELSA, but Iâm betting the majority of customers will ask, âWho cares?â or âHow does this impact on my work?â
As consumer requirements change, Iâm sure weâll have pages from today that seem irrelevant, in which case weâll have to get on to changing them as soon as possible, rather than wait nine years.
Looking back over the years, the brand consulting site has had quite a few iterations on the web. While I still have all these files offline, it was quicker to look at the Internet Archive, discovering an early incarnation in 1997 that was, looking back now, lacking. But some of our lessons in print were adoptedâpeople once thought our ability to bring in a print ĂŠsthetic was one of our skillsâand that helped it look reasonably smart in a late 1990s context, especially with some of the limited software we had.
The next version of the site is from the early 2000s, and at this point, the websiteâs design was based around our offline collateral, including our customer report documents, which used big blocks of colour. The Archive.org example I took was from 2003, but the look may have dĂ©buted in 2001. Note that the screen wouldnât have been as wide as a modern computerâs, so the text wouldnât have been in columns as wide as the ones in the illustration. Browsers also had margins built in.
We really did keep this till 2012, with updates to the news items, as far as I can make outâit looks like 2021 wasnât the first time I left things untouched for so long. But it got us work. In 2012, I thought I was so smart doing the table in the top menu, and you didnât need to scroll. And this incarnation probably got us less work.
Thereâs still a lot of satisfaction knowing that youâve coded your own site, and not relied on Wordpress or Wix. Being your own client has its advantages in terms of evolving the site and figuring out where everything goes. Itâs not perfect but thereâs little errant code here; everythingâs used to get that page appearing on the site, and hopefully you all enjoy the browsing experience. At least itâs no longer stuck in the early 2010s and hopefully makes it clearer about what we do. Your feedback, especially around the suitability of our offerings, is very welcome.
Tags: 1990s, 1997, 2000s, 2001, 2003, 2010s, 2012, 2020s, 2021, Aotearoa, branding, design, entrepreneurship, history, Internet Archive, JY&A Consulting, market orientation, Medinge Group, New Zealand, trend, trends, web design
Posted in business, design, internet, marketing, New Zealand, technology, Wellington | 1 Comment »
Autocade reaches 22 million, while Rachel Hunter appears in Lucire
16.01.2021As I begin this blog post, Autocade has just crossed the 22 million page-view barrier, at 22,000,040. I had estimated we would get there on Sunday, and as itâs just ticked over here in New Zealand, I was right.
We have 4,379 models in the database, with the Bestune B70, in its third generation, the most recent model added. Iâm grateful itâs a regular carânot yet another crossover, which has been the usual story of 2020 whenever I added new models to the site.
As crossovers and SUVs were once regarded as niche models, historical ones werenât put up in any great haste, so I canât always escape them just by putting up models from the past. However, there are countless sports and supercars to go up, so maybe Iâll need to add them in amongst the SUVs to maintain my sanity and happiness. These high-riding two-box vehicles are incredibly boring subjects stylistically.
Itâs a stroke of luck, then, to have the B70: Bestuneâs sole saloon offering now in amongst an entire range of crossovers. The saloons are the niche vehicles of 2020â1. Itâs a stylish motor, too: Cadillac looks for a middle-class price. Admittedly, such close inspirations havenât deserted China altogether, but this is, in my mind, no worse than Ford pretending its 1975 US Granada was a Mercedes-Benz for the masses. Itâs not going to get GMâs lawyers upset. And unlike the Granada, the B70 is actually a fairly advanced car, with refinement now on par with a lot of joint-venture models coming out of China.
You know the drill to track Autocadeâs growth:
March 2008: launch
April 2011: 1,000,000 (three years for first million)
March 2012: 2,000,000 (11 months for second million)
May 2013: 3,000,000 (14 months for third million)
January 2014: 4,000,000 (eight months for fourth million)
September 2014: 5,000,000 (eight months for fifth million)
May 2015: 6,000,000 (eight months for sixth million)
October 2015: 7,000,000 (five months for seventh million)
March 2016: 8,000,000 (five months for eighth million)
August 2016: 9,000,000 (five months for ninth million)
February 2017: 10,000,000 (six months for 10th million)
June 2017: 11,000,000 (four months for 11th million)
January 2018: 12,000,000 (seven months for 12th million)
May 2018: 13,000,000 (four months for 13th million)
September 2018: 14,000,000 (four months for 14th million)
February 2019: 15,000,000 (five months for 15th million)
June 2019: 16,000,000 (four months for 16th million)
October 2019: 17,000,000 (four months for 17th million)
December 2019: 18,000,000 (just under three months for 18th million)
April 2020: 19,000,000 (just over three months for 19th million)
July 2020: 20,000,000 (just over three-and-a-half months for 20th million)
October 2020: 21,000,000 (three months for 21st million)
January 2021: 22,000,000 (three months for 22nd million)
Not a huge change in the rate, then: for the past year we can expect roughly a million page views every three months. The database has increased by 96 model entries, versus 40 when I last posted about the million milestones.
In other publishing news, Jody Miller has managed to get an interview with Rachel Hunter. Her story is on Lucire today, and Iâm expecting a more in-depth one will appear in print later in 2021. Itâs taken us 23 years (not that we were actively pursuing): itâs just one of those things where it took that long for our paths to cross. Both Rachel and Lucire are Kiwi names that are arguably more noticed abroad than in our countries of birth, and I suppose itâs like two compatriots who travel to different countries. You donât always bump into one another.
I end this blog post with Autocadeâs views at 22,000,302.
Tags: 2020, 2021, Aotearoa, Autocade, Bestune, car, celebrity, China, FAW, interview, JY&A Media, Lucire, modelling, New Zealand, publishing, Rachel Hunter, supermodel
Posted in cars, China, design, New Zealand, publishing, USA | 1 Comment »
How to delete Windows 10 system fonts for real, not just remove registry references to them
13.08.2020My last post implied that I ego-surfed and found a Wikipedia chat entry about me, but thatâs not the case. I was searching for information on how to remove a system-protected font from Windows 10, and seeing as I often post solutions to obscure technical issues on here, I had hoped I recorded my how-to last time. The libel posted by some Australian Wikipedia editor came up during that search.
Once upon a time, Microsoft didnât care if you removed system fonts, but at some point, it began protecting Arial, whose design, for reasons Iâve gone into elsewhere, Iâve always considered compromised. There was one stage where you could replace Arial with something else called Arial, and as I had a licence for a very, very old Agfa version of Helvetica (do people remember CG Triumvirate?!), I decided to modify its file name to fool Windows into thinking all was well.
The last time Windows did an updateâversion 1909âI had to resort to a safe-mode boot and taking control of the font files as admin, but I really could not remember the specifics. The problem is that when you install the ânewâ Arial, the existing roman one is used by quite a few applications, and you donât really replace itâyour only solution is to delete it.
With version 2004, safe mode is quite different, and the command prompt and Powershell commands I knew just didnât cut it. I realize the usual solution is to go into the registry keysâIâve used this one for a long, long timeâand to remove or modify the references to the offending fonts at HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\Fonts. Iâve also used the HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\FontSubstitutes key to make sure that Helvetica does not map on to Arial (in fact, I make sure Arial maps on to Helvetica). Neither actually works in this case; they are ignored, even bypassed by certain programs. And, really, neither deletes the file; they just attempt to have Windows not load them, something which, as I discovered, doesnât prevent Windows from loading them.
By all means, use these methods, but be prepared for the exception where it doesnât work. The claim that the methods âdeleteâ the fonts is actually untrue: they remain in C:\Windows\Fonts.
The other methods that do not work are altering the equivalent keys under WOW6432node (which get intercepted and directed from the 32-bit keys anyway), using an elevated command prompt to delete the files (at least not initially), or doing the same from safe mode (which is very different now, as safe mode is in the same resolution and the Windows\Fonts folder displays as it does in the regular modeâso you cannot see the files you have to remove). You cannot take ownership of the font files through an elevated Powershell (errors result), nor can you do this from safe mode. Nothing happens if you delete FNTCACHE.DAT from the system32 directory, and nothing happens if you delete ~fontcache files from the Local directory.
What was interesting was what kept calling arial.ttf in the fontsâ directory even after âmyâ Arial was loaded up. The imposter Arial loaded in most programs, but for the Chromium-based browsers (Vivaldi, Edge), somehow these knew to avoid the font registry and access the font directly. This was confirmed by analysing the processes under Process Monitor: sure enough, something had called up and used arial.ttf.
This Wikihow article was a useful lead, getting us to delete the fonts under the Windows\WinSxS folder, and showing how to take ownership of them. I donât know if altering these ultimately affected the ones inside Windows\Fonts, but I followed the instructions, to find that the original Arial was being accessed by three programs: Vivaldi, Keybase, and Qt Qtwebengineprocess. I shut each one of these down and removed the Arial family.
Reboot: it was still there. Then it hit me, and I posted the solution in the Microsoft Answers forum (perhaps inadvertently prompting a Microsoft programmer to make things even harder in future!). Another user had told me it was impossible, but I knew that to be untrue, since it had been possible every other time.
The solution is pretty simple: since you canât see the full Windows\Fonts directory with Windows Explorer, then I needed another file manager.
Luckily, I had 7zip, which I opened as an administrator. It allowed me to go into the folder and view all its contents, not just the fonts called up under HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\Fonts, which we know is not an accurate representation of the fonts being used by the system. From there I could finally delete the offending four fonts without changing the ownership (which makes me wonder if the Wikihow advice of changing the owner under Windows\WinSxS wound up affecting the Windows\Fonts files). Once again, I had to close Keybase, Vivaldi and Qt Qtwebengineprocess.
It took from c. 4 p.m., when my desktop PC updated to v. 2004 (my laptop had been on it for many weeks; soon after its release, in fact) to 2 a.m., with a break in between to cook and eat dinner. Iâm hoping those hours of having typographic OCD helps others who want to have a font menu where they determine what they should have. Also, user beware: donât delete stuff that the system really, really needs, including an icon font that Windows uses for rendering its GUI.
Using Google as a last resortâexcept this search, which I did again as an illustration, now displays in CG Triumvirate rather than Arial. Normally, Google is a big Arial user (Arial and sans-serif are in the CSS specs) and Chromium browsers are all too happy to circumvent the registry-registered fonts and go straight into your hard drive.
Tags: 2020, Agfa, Chromium, Compugraphic, fonts, Helvetica, Microsoft, Microsoft Edge, Microsoft Windows, Monotype, software, typeface, typefaces, typography, Vivaldi
Posted in design, technology, typography | No Comments »
More Wikialityâand this time it’s about me!
13.08.2020Goes to show how seldom I ego-search.
Hereâs something a Wikipedian wrote about me in a discussion in 2010:
Jack Yan is not a notable typeface designer. He has never laid a hand on mouse or trackball to operate a font editing application. He tells some graphic designer employees of his what he wants them to draw with software, and has them do all the work of drawing and solving all the design problems involved in creating and designing a typeface and its fonts. As a professional typeface designer myself, Yan’s involvement in type design and font production does not qualify him as a typeface designer. Not even close.
The user is called James Arboghast, whom Iâve never heard of in any of my years in the type design business.
Now, you can argue whether Iâm notable or not. You might not even like my designs. But given that Arboghast has such a knowledge of our inner workings, then maybe it would suggest that I am?
Based on the above, which is libellous, let me say without fear of committing the same that, in this instance, Mr Arboghast is a fantasist and a liar.
Iâve no beef with him outside of this, but considering that I was the first typeface designer in this country to work digitallyâso much so that Joseph Churchward, who is indisputably notable, came to me 20 years ago to see if we could work togetherâthere were no âgraphic designer employeesâ around who had the skills. At least none that I knew of when I was 14 years old and deciding which bitmaps to light up on an eight-by-eight grid.
There were still no such people around when I began drawing stuff for submission to ITC, or when I began drawing stuff that I digitalized myself on a hand-held scanner. I certainly couldnât afford employees at age 21 when I asked my Mum to fork out $400 to buy me a really early version of Fontographer. And there were still no such people around when I hand-kerned 1,000 pairs into my fonts and did my own hinting. Remember, this was pre-internet, so when youâre a young guy in Wellington doing this work in isolation, you had to know the skills. I might even have those early drawings somewhere, and not that long ago I found the maths book with the bitmap grid.
If I didnât know about the field then I certainly would have been found out when the industry was planning QuickDraw GX and I was one of the professional typeface designers advising on the character sets, and if I didnât know how to solve design problems, then the kerning on the highway signsâ type in this country would not comply with NZS. (The kerning is terrible, incidentally, but government standards are government standards. It was one of those times when I had to turn in work that I knew could be far, far better.) I’d also have been seriously busted by my students when I taught the first typeface design course in New Zealand.
Every single retail release we have has been finished by me, with all the OpenType coding done by me. All the alternative characters, all the ligatures, all the oldstyle numerals and accented characters in languages I canât begin to fathom. Latin, Cyrillic and Greek. Iâve tested every single font weâve released, whether they are retail or private commissions.
The only time a team member has not been credited in the usual way was with a private commission, for a client with whom I have signed an NDA, and that person is Jasper Luki, a very talented young designer with whom I had the privilege to work at the start of his career in the 2010s.
The fact that people far, far more famous than me in the type field around the world, including in his country, come to me with contract work might suggest that, if Iâm not notable, then Iâm certainly dependable.
And people wonder why I have such a low opinion of Wikipedia, where total strangers spout opinions while masquerading as experts. The silver lining is that writing the above was a thoroughly enjoyable trip down memory lane and a career that Iâm generally proud of, save for a few hiccups along the way.
Tags: 2010, fonts, JY&A Fonts, typeface, typeface design, typeface designer, Wikipedia
Posted in design, New Zealand, technology, typography, Wellington | 1 Comment »
How Jaguar Land Rover can still win its Land Rover Defender IP case against Ineos
09.08.2020I havenât read the full judgement of the Land Rover Defender case, where Jaguar Land Rover sought to protect the shape of the original Defender under trade mark law, to prevent Ineos from proceeding with the Grenadier.
According to Bloomberg, as reported in Automotive News, âThe judge upheld the findings by the IP Office that while differences in design may appear significant to some specialists, they âmay be unimportant, or may not even register, with average consumers.ââ
On the face of it, this would appear to be a reason for upholding JLRâs claimâbut the Indian-owned Midlands car maker seems to have muddled the cause of action it was supposed to have taken.
Iâve already taken issue with its inability to protect the L538 Range Rover Evoque shape in China under that countryâs laws, and while that judgement was eventually overturned in JLRâs favour, the company could have saved itself a great deal of stress had it filed its registration in time. It had been ignorant of Chinese law and wasted time and resources pursuing Ford Motor Company affiliate Landwind for its Range Rover Evoque clone, the X7. I sense Landwind could have afforded the ultimate fine.
Here I think arguing copyright might have been a better method. The Land Rover Station Wagon shape hails from 1949, and with 75 yearsâ protection, the company is covered till 2024. You donât need to show a registration, and the onus of proof, once objective similarity is found, is on the defendant. That test of objective similarity, unlike that in trade mark, is not based on what the average consumer thinks, but on what specialists think. And the scenes Ă faire doctrine has been adopted by precedent in the UK.
Maybe that was the game plan all along: to fail here, and to proceed using copyright later. Iâm sure the plaintiff knows this. Now, armed with the judgementâs findingsâthat the differences are insignificantâ Jaguar Land Rover can pursue a copyright claim using these as evidence.
To me, the Grenadier is sufficiently similar. Some point to the Puch G as another source of inspiration but I canât see it. And since a court has ruled that they canât see it, either, then Jim Ratcliffe and Ineos had better not break out the champagne just yet.
Tags: 2020, car, car design, car industry, copyright, copyright law, Ineos, intellectual property, IP, Jaguar Land Rover, Jim Ratcliffe, Landwind, law, Tata, UK
Posted in business, cars, design, India, UK | No Comments »