There is something quite elegant about title typography from the turn of the decade as the 1960s become the 1970s.
There is 1971ās Diamonds Are Forever by Maurice Binder, which apparently is one of Steven Spielbergās favourites, but Iām thinking of slightly humbler fare from the year before.
I got thinking about it when watching Kevin Billingtonās The Rise and Rise of Michael Rimmer, which has Futura Demi tightly set (it is the 1970s) but arranged in an orderly, modernist fashion, aligned to the left on a grid. Nothing centred here; this is all about a sense of modernity as we entered a new decade.
It certainly didnāt stay like thisāas the decade wore on I canāt think of type being so prominent in title design on the silver screen. Great title design is also something we seem to lack today in film. I helped out in a minor way on the titles for the documentary Rescued from Hell, also using Futura, though I donāt know how much was retained; given the chance it would be nice to revisit the large geometric type of 1970.
This was the back of Mum’s 1985 tax assessment slip from the IRD. Helvetica, in metal. The bold looks a bit narrow: a condensed cut, or just a compromised version because of the machinery used?
Not often seen, since by this time phototypesetting was the norm, though one reason Car magazine was a good read was its use of metal typesetting until very late in the game. I know there are many reasons the more modern forms of typesetting are superior, least of all fidelity to the designed forms, but there’s a literal depth to this that makes me nostalgic.
Which club is the better one to belong to? The ones who have bent the curve down and trying to eliminate COVID-19, or the ones whose curves are heading up? Apparently Air New Zealand’s boss thinks the latter might be better for us.
From Stuff today, certain ābusiness leadersā talk about the New Zealand Governmentās response to COVID-19.
We have Air New Zealand boss Greg Foran saying that elimination was no longer a realistic goal for us, and that we should live with the virus.
This is despite our country having largely eliminated the virus, which suggests it was realistic.
No, the response hasnāt been perfect, but Iām glad we can walk about freely and go about our lives.
Economist Benje Patterson says that if we donāt increase our risk tolerance, āWe could get to that point where weāre left behind.ā
When I first read this, I thought: āArenāt we leaving the rest of the world behind?ā
Is Taiwan, ROC leaving the world behind with having largely eliminated COVID-19 on its shores? It sure looks like it. How about mainland China, who by all accounts is getting its commerce moving? (Weāve reported on a lot of developments in Lucire relating to Chinese business.) The Kingdom of Saudi Arabia has adopted policies similar to ours with travel and quarantine, and Iāve been watching their infection figures drop consistently. Theyāre also well on their way to eliminating the virus and leaving the world behind.
We are in an enviable position where we can possibly have bubbles with certain low-risk countries, and that is something the incoming government after October 17 has to consider.
We are in a tiny club that the rest of the world would like to join.
Let’s be entirely clinical and calculating: how many hours of productivity will be lost to deaths and illnesses, and the lingering effects of COVID-19, if we simply tolerated the virus? Work done by Prof Heidi Tworek and her colleagues, Dr Ian Beacock and Eseohe Ojo, rates New Zealandās democratic health communications among the best in the world and believes that, as of their writing in September, we have been successful in executing the elimination strategy.
Some of our epidemiologists believe the goal can be achieved.
I just have to go with the health experts over the business “experts”.
Iām not sure you could be described as a ābusiness leaderā if you are a business follower, and by that I mean someone who desires to be part of a global club that is failing at its response to COVID-19. GDP drops in places like the UK and the US are far more severe than ours over the second quarterāweāre a little over where Germany is. Treasury expects our GDP to grow in Q3, something not often mentioned by our media. As Europe experiences a second wave in many countries, will they show another drop? Is this what we would like for our country?
Iāve fought against this type of thinking for most of my career: the belief that āNew Zealand canātā. That we canāt lead. That we canāt be the best at something. That because weāre a tiny country on the edge of the world we must take our cues from bigger ones.
Bollocks.
Great Kiwis have always said, āBollocks,ā to this sort of thinking.
Of course we can win the Americaās Cup. Just because we havenāt put up a challenge before doesnāt mean we canāt start one now.
Of course we can make Hollywood blockbusters. Just because we havenāt before doesnāt mean we canāt now.
Heck, letās even get my one in there: of course we can create and publish font software. Just because foreign companies have always done it doesnāt mean a Kiwi one canāt, and pave the way.
Yet all of these were considered the province of foreigners until someone stood up and said, āBollocks.ā
Once upon a time we even said that we could have hybrid cars that burned natural gas cheaply (and switch back to petrol when required) until the orthodoxy put paid to that, and we wound up buying petrol from foreigners againāprobably because we were so desperate to be seen as part of some globalist club, rather than an independent, independently minded and innovative nation.
Then when the Japanese brought in petrolāelectric hybrids we all marvelled at how novel they were in a fit of collective national amnesia.
About the only lot who were sensible through all of this were our cabbies, since every penny saved contributes to their bottom line. They stuck with LPG after 1996 and switched to the Asian hybrids when they became palatable to the punters.
Through my career people have told me that I canāt create fonts from New Zealand (even reading in a national magazine after I had started business that there were no typefoundries here), that no one would want to read a fashion magazine online or that no one would ever care what carbon neutrality was. Apparently you canāt take an online media brand into print, either. This is all from the āNew Zealand canātā camp, and it is not one I belong to.
If anybody can, a Kiwi can.
And if we happen to do better than others, for Godās sake donāt break out the tall poppy shit again.
Accept the fact we can do better and that we do not need the approval of mother England or the United States. We certainly donāt want to be dragged down to their level, nor do we want to see the divisiveness that they suffer plague our politics and our everyday discourse.
Elimination is better than tolerance, and I like the fact we didnāt settle for a second-best solution, even if some business followers do.
Those who wish to import the sorts of division that the US and UK see today are those who have neither imagination nor a desire to roll up their sleeves and do the hard yards, because they know that spouting bullshit from positions of privilege is cheap and easy. And similarly I see little wisdom in importing their health approaches and the loss of life that results.
Iām grateful for our freedom, since it isnāt illusory, as we leave the rest of the world to catch up. And I sincerely hope they do.
My last post implied that I ego-surfed and found a Wikipedia chat entry about me, but thatās 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 didnāt care if you removed system fonts, but at some point, it began protecting Arial, whose design, for reasons Iāve gone into elsewhere, Iāve 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 updateāversion 1909āI 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 ānewā Arial, the existing roman one is used by quite a few applications, and you donāt really replace itāyour only solution is to delete it.
With version 2004, safe mode is quite different, and the command prompt and Powershell commands I knew just didnāt cut it. I realize the usual solution is to go into the registry keysāIāve used this one for a long, long timeāand to remove or modify the references to the offending fonts at HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\Fonts. Iāve 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, doesnāt prevent Windows from loading them.
By all means, use these methods, but be prepared for the exception where it doesnāt work. The claim that the methods ādeleteā 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 modeāso 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 fontsā directory even after āmyā 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 donāt 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 canāt 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. Iām 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: donāt delete stuff that the system really, really needs, including an icon font that Windows uses for rendering its GUI.
Using Google as a last resortāexcept 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.
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 Iāve never heard of in any of my years in the type design business.
Now, you can argue whether Iām 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.
Iāve no beef with him outside of this, but considering that I was the first typeface designer in this country to work digitallyāso much so that Joseph Churchward, who is indisputably notable, came to me 20 years ago to see if we could work togetherāthere were no āgraphic designer employeesā 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 couldnāt 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 youāre 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 didnāt 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 didnāt know how to solve design problems, then the kerning on the highway signsā 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 canāt begin to fathom. Latin, Cyrillic and Greek. Iāve tested every single font weāve 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 Iām not notable, then Iām 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 Iām generally proud of, save for a few hiccups along the way.
I hadn’t expected this reply Tweet to get so many likes, probably a record for me.
I knew my parents couldnāt afford The Lettering Book, so I went without, which forced me to create my own typeface designs. Later I became the first digital typeface designer in this country.
It is true. That book was NZ$4Ā·99 in 1979, when it was offered through the Lucky Book Club at school, at a time when many books were still priced in cents. Some kids in the class got it, and I admit I was a bit envious, but not having a book in an area that interested you can drive creativity. While my parents didn’t make a heck of a lot in the 1970sāwe flatted and didn’t own our own car at this pointāthey would have splashed out if I really insisted on it. After all, they were sending me to a private school and their sacrifice was virtually never going out. (I only recall one night in those days when my parents had a “date night” and my maternal grandmother looked after meāand that was to see Superman II.) But when you grow up having an understanding that, as an immigrant family that had to largely start from scratch in a new country, you have a rough idea of what’s expensive, and five bucks for a book was expensive.
As an adultāeven when I was a young man starting out in my careerāI did not regret not having this book.
Someone in the thread asked if I ever wound up buying it. I never did: as a teenager I managed to get my hands on a very worn Letraset catalogue, which ultimately proved far more interesting. But it is good to know that, thanks in large part to my parents’ and grandmother’s sacrifices, and those in my partner’s family who helped her in her earlier years, we could afford to buy this book if anyone in our family asks for it.
Were we fleeing anything when we came to Aotearoa? We left Hong Kong in 1976 because my parents were worried about what China would do to the place. In other words, what’s happening now is what they hoped for me to avoid. They called it, in the 1970s. And here I am.
It took two months but I finally got there.
Vivaldi now displays type normally though the browser interface is slightly messed up. But Iāll take good type display, thanks. On the MacType forums, a user in China called wmjordan was in the same boat but had found a solution. In their words:
For the recent version of Vivaldi 2.10, 2.11, you need to create a shortcut, and modify the command line, append the "--disable-lcd-text" parameter behind the executable name, and MacType will work on the web page content window. The "--disable-features=RendererCodeIntegrity" parameter is recommended by snowie2000.
I used the latter method, but the type was still quite poor for me. I had to do one more thing: start Vivaldi in Windows 8 compatibility mode.
Itās messed up the top of the browser a little but itās a small price to pay to have everything readable again.
Snowie2000, the main dev for MacType, says a registry hack is their preferred workaround, at github.com/snowie2000/mactype/wiki/Google-Chrome#workaround-for-chrome-78.
It turns out that Chrome 78 (and presumably Chromium 78, too) did indeed have a change: āStarting from Chrome 78, Chrome began to block third-party DLLs from injection. But they provided a way to disable the protection either from the command line or by policy.ā
I was right to have investigated which version of Vivaldi represented the change earlier (it was 2.9, which equated to Chromium 78). After testing wmjordanās suggestions out on 2.9, I upgraded to 2.11, and it was still fine. Opera GX is still the more resolved browser (works as it should out of the box) but there are some aspects of Vivaldi that Iām familiar with after two-and-a-half years (to the day). Looks like Iāll be going back to it for my main browsing, but I know Iāve found another great browser along the way, and Iāve updated my Firefox, too.
That was confusing. Yesterdayās blog post was representative of my thinking: given that certain people were upset when Chromium took away the Directwrite toggle in 2016, and type rendering on Chromium-based Vivaldi deteriorated significantly for me with v. 2.10 (it turns out v. 2.9 was the turning-point), then did Chromium only switch fully to Directwrite for me earlier this year? Luckily I wrote a caveat: āThereās a possibility that what I saw from 2017 actually was Directwrite, and whatever theyāre using now is yet another technology that no one has made any note of.ā
Snowie2000, one of the developers of MacType, suggested I try Cent Browser, arguably the only Chromium browser that still has a Directwrite toggle: you could still disable it in favour of GDI.
Cent Browser by default is marginally better than what I was seeing on Edge, Vivaldi 2.10 and others, but once I turned Directwrite off, I saw a very different display, with far heavier type.
Cent Browser, Directwrite switched off
Cent Browser, default
Edge
It wasnāt what I expected to see, and without taking issue with those who support GDI rendering in Chromium, it lacked fidelity (at least for me) with what the type looked like in print. I can see clearly why it has its adherents: it is superior to the default. But, in other words, what I experienced on Vivaldi between 2007 and January 2020 was using Directwrite, and whatever is going on now is using something else, or ignoring other settings on my PC.
Yesterday I theorized that if the change happened between Chromium 77 and 78, then I should see that in the source browser. I installed a v. 77 from the repository. As you know, these are stand-alone and can run without a full installation. What I saw was the inferior rendering, so the āswitchā didnāt happen then. It may have happened, as I was told on the Vivaldi forums, with Chromium 69, something I am yet to confirm.
Therefore, whatever Chromium is doing isnāt something thatās been documented, to my knowledge, except for here. And Opera and Opera GX, if they are based on Chromium 79, seem not to be afflicted by this bug. Or they are interacting with other programs I have in order to keep the type rendering faithful, with decent hinting and contrast.
The question is: what is causing the far inferior type display on Chromium today?
PS.: Trials on Chromium 68 and 69āthey’re the same (i.e. poor type display). This may have gone on for quite some time.āJY
After considerable searching, the bug that I reported to Vivaldi, and which they cannot reproduce, appears to be one that the general public encountered back in 2016, when Chromium took away the option to disable its Directwrite rendering. I donāt know why Iāve only encountered it in 2020, and as far as I can tell, my experience is unique.
Itās a good position to be inānot unlike being one of two people (that I know of) who could upload videos of over one minute to Instagram without using IGTVāthough itās a mystery why things have worked properly for me and no one else.
When I switched to Vivaldi in 2017, I noticed how the type rendering was superior compared with Firefox, and it was only in January this year when it became far inferior for me. Looking at the threads opened on type rendering and Chromium, and the screenshots posted with them, most experienced something like this in 2016āa year before I had adopted Vivaldi. If my PC worked as theirs did, then I doubt I would have been talking about Vivaldiās superior display.
There’s a possibility that what I saw from 2017 actually was Directwrite, and whatever they’re using now is yet another technology that no one has made any note of.
Iāve posted in the Vivaldi and MacType forums where this has been discussed, as my set-up could provide the clue on why things have worked for me and not others. Could it be my font substitutions, or the changes Iāve made to the default display types in Windows? Or the fact that I still have some Postscript fonts installed from the old days? Or something so simple as my plug-ins?
Tonight I removed Vivaldi 2.11 and went to 2.6. I know 2.5 rendered type properlyāBembo on the Lucire website looks like Bembo in printāso I wondered if I could narrow down the precise version where Vivaldi began to fail on this front. (As explained earlier, after 2.5, no automatic updates came, and I jumped from 2.5 to 2.10.)
It was 2.9 where the bug began, namely when Vivaldi moved from a Chromium 77 base to a 78 one. This is different to what Ayespy, a moderator on the Vivaldi forums, experienced: version 69 was when they noted a shift. Yet Opera GX, which works fine, has a browser ID that claims itās Chrome/79.0.3945.130 (though I realize they can put whatever they like here). Brave, Chrome and Edge look awful.
We can conclude that not all Chromium browsers are created equally (goes without saying) but I understand that the rendering isnāt something that each company (Vivaldi, Opera, etc.) has fiddled with. Therefore, something Iām doing is allowing me to have better results on Opera, Opera GX and Vivaldi versions up to 2.8 inclusive.
I wonder if itās time to return to Firefox after an absence of two years and five months. After getting the new monitor, the higher res makes Firefoxās and Opera GXās text rendering fairly similar (though Chrome, Vivaldi and Edge remain oddly poor, and Vivaldiās tech people havenāt been able to replicate my bug). Thereās a part of me that gravitates toward Firefox more than anything with a Google connection, and I imagine many Kiwis like backing underdogs.
Here are some examples, bearing in mind Windows scales up to 125 per cent on QHD.
Vivaldi (Chrome renders like this, too)
Opera GX (and how Vivaldi used to render)
Firefox
Opera renders text slightly more widely than Firefox, but the subpixel rendering of both browsers is similar, though not identical. Type in Firefox arguably comes across with slightly less contrast than it should (especially for traditionally paper-based type, where I have a good idea of how itās āsupposedā to look) but Iām willing to experiment to see if I enjoy the switch back.
In those 29 months, a lot has happened, with Navigational Sounds having vanished as an extension, and I had to get a new Speed Dial (FVD Speed Dial) to put on my favourite sites. FVD uninstalled itself earlier today without any intervention from me, so if that recurs, Iāll be switching to something else. I donāt like computer programs having a will of their own.
A lot of my saved passwords no longer work, since I change them from time to time, and it was interesting to see what Firefox remembered from my last period of regular use. Iāll have to import some bookmarks, tooāthat file has been going between computers since Netscape.
The big problem of 2017āFirefox eating through memory like crazy (6 Gbyte in a short time)ācould be fixed now in 2020 by turning off hardware acceleration. Itās actually using less right now than Opera GX, and thatās another point in its favour.
I also like the Facebook Container that keeps any trackers from Zuck and co. away.
I did, however, have to get new extensions after having resided in the Vivaldi and Opera space for all that time, such as Privacy Badger.
If I make Firefox the default I know Iāll have truly switched back. But that Opera GX sure is a good looking browser. I might have to look for some skins to make common-garden Firefox look smarter.
