Archive for the ‘typography’ category


An old slant for Labour

08.06.2016

I noticed this on April 28 and Tweeted about it, tagging the New Zealand Labour Party at the time. It still hasn’t been fixed as of today. That’s supposedly Commercial Type’s Stag Bold Italic in the headline, but someone has slanted the italic. Is this a signal that Labour leans to the right more than it’s letting on? Did someone say 1984?

   Still, Stag is a far more inspired, and typographically appropriate, choice than the Futura used by our present government’s political party, after years of Gill Sans. Interestingly, I seem to recall the Labour of Bill Rowling having Futura Italic in its logotype. If only modern-day Labour could get its italic displaying correctly.
   Good typography wins votes. I should know.

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Remarks on the typography of Star Wars

16.12.2015

Star Wars is in my feed in a big way. To get up to speed on the film series, I had to start with the memorable theme by John Williams.

Thanks, Bill and Paul.
   And who better to describe the plot than someone else in the science-fiction world, Doctor Who?

   Seriously though, I hope all friends who are big Star Wars fans enjoy Episode VII. It seems to be getting positive reviews, partly because it appeals to our sense of nostalgia. It hasn’t blown anyone away in the same manner as the 1977 original, but then Disney would be very foolhardy to stray for this sequel. If you are building a brand that was at its height 30 years ago, nostalgia isn’t a bad tool—just ask the team that came up with the 1994 Ford Mustang. J. J. Abrams—the creator of Felicity and What about Brian?, plus some other things—has apparently been a genius at getting just enough from the past.
   One item that is from Star Wars’ past is the opening title, or the crawl. I’ll be interested to learn if they’ve managed to re-create the typography of the original: they were unable to provide perfect matches for Episodes I through III because of the changes in technology and cuts of the typefaces that made it into the digital era. The main News Gothic type is far heavier in these later films. ITC Franklin Gothic was used for ‘A long time ago …’ for I to III; this, too, was originally News Gothic, but re-releases have brought all six films into line to use the later graphic.
   However, it could be argued that even between Episodes V and VI there were changes: News Gothic Extra Condensed in caps for the subtitle for The Empire Strikes Back, switching to Univers for Return of the Jedi. (It seems even the most highly ranked fan wiki missed this.) And, of course, there was no equivalent in the original Star Wars—’A New Hope’ was added in 1981.
   Here’s how it looked in 1977:

And if you really wish to compare them, here are all six overlaid on each other:

   I wasn’t a huge fan in the 1970s: sci-fi was not my thing, and I only saw Star Wars for the first time in the 1980s on video cassette, but I did have a maths set, complete with Artoo Detoo eraser (I learned my multiplication table from a Star Wars-themed sheet) and the Return of the Jedi book of the film. But even for this casual viewer and appreciator, enough of that opening sunk in for me to know that things weren’t quite right for The Phantom Menace in 1999. I hope, for those typographically observant fans, that The Force Awakens gets things back on track.

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Posted in humour, marketing, TV, typography, UK, USA | No Comments »


My first day with Windows 10

17.11.2015

I never expected that the Windows 10 download would ever begin. I had registered for it, but the Windows 10 notification window kept coming up with various excuses, talking about my drivers being out of date, then claiming that because of the automatic log-in, the download would not start. Clicking ‘Tell me more’ never did a thing: that took you to Microsoft’s home page. This went on for months.
   But on a day when I upgraded a new office Mac to El Capitán (and migrated the old data on to it), and reinstalled Lubuntu on another PC which threw a wobbly after being asked to adopt the Cinnamon desktop (which took many hours), Windows 10 decided it was ready after all on my main Windows 7 machine, via Windows Update.
   First signs were promising, with the 2½ Gbyte download coming in five minutes, although the computer stayed on ‘Preparing for the upgrade’ overnight. I had heard that the upgrade process would take an hour or so, not overnight, so something was wrong. Typically I had this trouble with one of the Macs on OS upgrades—one took 18 hours while another took 30 minutes once—but this was new territory for Windows.
   One thing I will say for Windows is that when things go wrong, there is help. One piece of advice, which proved right, was to crash out of the process (using the process manager), and to start it all over again.
   Windows just need a second stab at it, and recommenced the download. This time the ‘Preparing’ window flashed up and was gone, and the hard yards then began. It did wind up taking just over an hour. Getting it on a second attempt isn’t bad, considering I’ve had Mac OS upgrades fail far more times than that.
   First impressions are pretty good though most Windows 7 initiés will tell you that things are a bit harder to find. Don’t believe a soul when they tell you it’s faster to boot up: it isn’t. I’m sure it takes an extra minute compared to 7. Doing some basic things in the File Manager takes more movements of the mouse, to open menus and to click, and the menus aren’t as streamlined once you open the panel to find the functions you used to see at a glance. Little annoying things included Windows 10 forgetting that I had set Cyberfox as my default browser—it really loves Edge, and admittedly, it is a nice, fast program—and the time zone changing without you noticing (I prefer GMT, but Windows kept altering it to NZDT). You have to dig a bit deeper into the menus to make these things stick, such as going through the default programs’ dialogue box, and turning off Windows’ ability to check the time. Having opted for UK English, Cortana refused to work—curiously, it claimed that the installed US English pack was an unsupported language, until I downloaded the same for UK English.


Cortana gives completely the wrong address for me. I wonder if the resident of 39A Aparima Avenue is getting identified as the home of a lot of Windows 10 users.

   There’s not an awful lot that Cortana can tell you. Most enquiries wind up on Bing, and she’s only really good for the weather and exchange rates (as I have discovered so far). There are a few fun questions you can throw at her, asking if she’s better than Siri, or whether if she’s met Bill Gates, but generally, but we’re far from Knight Rider or replicant technology here. A New Zealand accent presents no problems. One thing she gets very wrong is my location, which is allegedly 39A Aparima Avenue in Miramar. I’m not sure how she arrived at that address, as I don’t live there and I don’t believe I know the person who does.
   It’s not too unpleasant to look at although the mobile-specific features can get a bit annoying. The menus feel too large overall, because it’s all designed from a mobile-first standpoint, while the biggest gripe from me comes with the typography.
   Microsoft has ruined ClearType here in its attempt to make something for mobile first, and most type looks very poor on screen. Fortunately, a Japanese website still hosts the MacType plug-in, which brings the font display closer to what we experience on Mac OS X. It even goes beyond what we were used to in Windows 7, which had been Microsoft’s best use of its ClearType technology to date.


After installing MacType, ITC Legacy Serif looks far more like it does in print.

   You can alter the fonts through the Registry Editor, and I set about getting rid of Arial as always. Windows 10 doesn’t like you removing a system font, so the trick is to replace it with something else called Arial, then remove the original from HKLM\Software\Microsoft\Windows NT\CurrentVersion\Fonts.
   Windows 10 removes your ability to change the icon and menu fonts, and they now have to be changed in the registry, too, at HKCU\Control Panel\Desktop\WindowMetrics, and very carefully.
   After tinkering with those, the display began looking like what I was familiar with, otherwise there was a bit too much Segoe on screen.
   There have so far been no program incompatibilities. As upgrades go, it hasn’t been too bad, and I haven’t been stuck here forever downloading updates. Apple still gets higher marks for its OS upgrade processes (when they work) but given how much data I have on my main Windows machine, and how different each PC is, Microsoft has done a good job. I’m glad the system waited till now, and delivered me a relatively bug-free transition. Software upgrading is one area where I don’t mind not being first.

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A year of random thoughts: 2014 in review

29.12.2014

For the last few years, I’ve looked back at the events of the year in a tongue-in-cheek fashion. (In fact, in 2009, I looked back at the decade.) Tumblr’s the place I look at these days for these summaries, since it tends to have my random thoughts, ones complemented by very little critical thinking. They tell me what piqued my interest over the year.
   These days, I’ve been posting more about the TV show I watch the most regularly, the German Alarm für Cobra 11: die Autobahnpolizei. A good part of my Tumblr, at least, and of Danielle Carey’s, whom I first connected with via this blog, features screen shots and other photographs from it. But Cobra 11 aside—and for those “cultured” Germans who tell me it’s the worst show on their telly, may I remind you that you still make Das Traumschiff?—I still will be influenced by everyday events.
   So what do I spy?
   Sadly, despite my intent in wanting to blog humorously, it turns out that 2014 doesn’t necessarily give us a lot to laugh about. And we’ve had over a year after that Mayan calendar gag, and 13 years after Y2K. It’s still not time to laugh yet.

January
I made a spoof English Hustle poster given all the hype about American Hustle, which seems to have, prima facie, the same idea. It meets with Adrian Lester’s approval (well, he said, ‘Ha,’ which I gather is positive).

   I post about Idris Elba giving a response about the James Bond character. (Slightly ahead of my time, as it turns out.)
   Robert Catto wrote of Justin Bieber’s arrest: ‘So, J. Biebs is arrested for racing a rented Lamborghini in a residential neighbourhood while under the influence (of drugs and alcohol) while on an expired license, resisting arrest, and a bunch of previous stuff including egging a neighbour’s house. With that many accusations being thrown at him, this can only mean one thing.
   ‘The race for Mayor of Toronto just got interesting.’
   I wrote to a friend, ‘If there was a Facebook New Zealand Ltd. registered here then it might make more sense ensuring that there were fewer loopholes for that company to minimize its tax obligations, but the fact is there isn’t. Either major party would be better off encouraging New Zealand to be the head office for global corporations, or encourage good New Zealand businesses to become global players, if this was an issue (and I believe that it is). There is this thing called the internet that they may have heard of, but both parties have seen it as the enemy (e.g. the whole furore over s. 92A, first proposed by Labour, enacted by National).
   ‘Right now, we have some policy and procedural problems preventing us from becoming more effective exporters.
   ‘It’s no coincidence that I took an innovation tack in my two mayoral campaigns. If central government was too slow in acting to capture or create these players, then I was going to do it at a local level.’
   And there are $700 trillion (I imagine that means $700 billion, if you used the old definitions—12 zeroes after the 700) worth of derivatives yet to implode, according to I Acknowledge. Global GDP is $69·4 (American) trillion a year. ‘This means that (primarily) Wall Street and the City of London have run up phantom paper debts of more than ten times of the annual earnings of the entire planet.’

February
The Sochi Olympics: in Soviet Russia, Olympics watch you! Dmitry Kozak, the deputy PM, says that westerners are deliberately sabotaging things there. How does he know? ‘We have surveillance video from the hotels that shows people turn on the shower, direct the nozzle at the wall and then leave the room for the whole day.’
   Sports Illustrated does an Air New Zealand safety video.
   This was the month I first saw the graphic containing a version of these words: ‘Jesus was a guy who was a peaceful, radical, nonviolent revolutionary, who hung around with lepers, hookers, and criminals, who never spoke English, was not an American citizen, a man who was anti-capitalism, anti-wealth, anti-public prayer (yes he was Matthew 6:5), anti-death penalty but never once remotely anti-gay, didn’t mention abortion, didn’t mention premarital sex, a man who never justified torture, who never called the poor “lazy”, who never asked a leper for a co-pay, who never fought for tax cuts for the wealthiest Nazarenes, who was a long haired, brown skinned (that’s in revelations), homeless, middle eastern Jew? Of course, that’s only if you believe what’s actually in the Bible’ (sic). For those who want a response, this blog post answers the points from a Catholic point of view, but the original quote’s not completely off-base.

March
My friend Dmitry protests in Moskva against Russia’s actions in the Crimea. This was posted on this blog at the time. He reports things aren’t all rosy in Russia when it comes to free speech.
   Another friend, Carolyn Enting, gets her mug in the Upper Hutt Leader after writing her first fictional book, The Medallion of Auratus.
   MH370 goes missing.
   And this great cartoon, called ‘If Breaking Bad Had Been Set in the UK’:

April
I call Lupita Nyong’o ‘Woman of the Year 2014’.
   A post featuring Robin Williams (before that horrible moment in August), where he talks about the influence of Peter Sellers and Dr Strangelove on him. I seem to have posted a lot of Robin that month, from his CBS TV show, The Crazy Ones.
   A Lancastrian reader, Gerald Vinestock, writes to The Times: ‘Sir, Wednesday’s paper did not have a photograph of the Duchess of Cambridge. I do hope she is all right.’
   A first post on those CBS TV attempts to create a show about Sherlock Holmes set in the modern day in the US, partnered with a woman: on 1987’s The Return of Sherlock Holmes.

   The fiftieth anniversary of the on-sale date of the Ford Mustang (April 17).
   The death of Bob Hoskins. Of course I had to post his last speech in The Long Good Friday, as well as the clip from Top Gear where Richard Hammond mistook Ray Winstone for Hoskins. They all look the same to me.

May
Judith Collins’ story about what she was doing in China with Oravida collapses.
   Someone points out there is a resemblance between Benedict Cumberbatch and Butthead from Beavis and Butthead.

   Jean Pisani Ferry’s view on the origins of the euro crisis in The Economist: ‘Suppose that the crisis had begun, as it might easily have done, in Ireland? It would then have been obvious that fiscal irresponsibility was not the culprit: Ireland had a budget surplus and very low debt. More to blame were economic imbalances, inflated property prices and dodgy bank loans. The priority should not have been tax rises and spending cuts, but reforms to improve competitiveness and a swift resolution of troubled banks, including German and French ones, that lent so irresponsibly.’

June
British-born Tony Abbott says he doesn’t like immigration, or some such.
   This humorous graphic, made before the launch of the five-door Mini, on how the company could extend its range:

   Sir Ian McKellen says, ‘Did I want to go and live in New Zealand for a year? As it turns out, I was very happy that I did. I can’t recommend New Zealand strongly enough. It’s a wonderful, wonderful place, quite unlike [the] western world. It’s in the southern hemisphere and it’s far, far away and although they speak English, don’t be fooled. They’re not like us. They’re something better than us.’
   Lots of Alarm für Cobra 11 posts.

July
Sopheak Seng’s first Lucire cover, photographed by Dave Richards, and with a fantastic crew: hair by Michael Beel, make-up by Hil Cook, modelled by Chloé Graham, and with some layout and graphic design by Tanya Sooksombatisatian and typography by me.

   Liam Fitzpatrick writes of Hong Kong, before the Occupy protests, ‘Hong Kongers—sober, decent, pragmatic and hardworking—are mostly not the sort of people who gravitate to the barricades and the streets. Neither do they need to be made aware of the political realities of having China as a sovereign power, for the simple fact that postwar Hong Kong has only ever existed with China’s permission. In the 1960s, the local joke was that Mao Zedong could send the British packing with a mere phone call.
   ‘With that vast, brooding power lying just over the Kowloon hills, tiny Hong Kong’s style has always been to play China cleverly—to push where it can (in matters such as education and national-security legislation, where it has won important battles) and to back off where it cannot.’
   It didn’t seem completely prescient.

August
The General Election campaign: National billboards are edited.
   Doctor Who goes on tour prior to Peter Capaldi’s first season in the lead role.
   The suicide of Robin Williams.
   Michael Brown is killed. Greg Howard writes, ‘There was Trayvon Martin in Sanford, Fla., and Oscar Grant in Oakland, Calif., and so many more. Michael Brown’s death wasn’t shocking at all. All over the country, unarmed black men are being killed by the very people who have sworn to protect them, as has been going on for a very long time now …
   ‘There are reasons why white gun’s rights activists can walk into a Chipotle restaurant with assault rifles and be seen as gauche nuisances while unarmed black men are killed for reaching for their wallets or cell phones, or carrying children’s toys.’
   Like so many things, such a statement of fact became politicized in months to come.
   Darren Watson releases ‘Up Here on Planet Key’, only to have it banned by the Electoral Commission. With his permission, I did a spoken-word version.
   Journalist Nicky Hager, who those of us old enough will remember was a right-wing conspiracy theorist, is branded a left-wing conspiracy theorist by the PM because this time, he wrote about National and not Labour. The Deputy PM, Bill English, who commended Hager’s work 12 years ago over Seeds of Distrust, and even quoted from it, remained fairly quiet.
   It wasn’t atypical. I wrote in one post, ‘In 2011, Warren Tucker said three times in one letter that he told PM John Key about the SIS release. Now he says he only told his office but not the PM personally—after an investigation was announced (when the correct protocol would be to let the investigation proceed) …
   ‘Key did not know about GCSB director Ian Fletcher’s appointment (week one of that saga) before he knew about it (week two).
   ‘Key cannot remember how many TranzRail shares he owned.
   ‘Key cannot remember if and when he was briefed by the GCSB over Kim Dotcom.
   ‘Key did not know about Kim Dotcom’s name before he did not know about Kim Dotcom at all.
   ‘Key cannot remember if he was for or against the 1981 Springbok tour.’
   Some folks on YouTube did a wonderful series of satirical videos lampooning the PM. Kiwi satire was back. This was the first:

   Matt Crawford recalled, ‘At this point in the last election campaign, the police were threatening to order search warrants for TV3, The Herald on Sunday, RadioNZ et al—over a complaint by the Prime Minister. Over a digital recording inadvertently made in a public space literally during a media stunt put on for the press—a figurative media circus.’
   Quoting Robert Muldoon in 1977’s Muldoon by Muldoon: ‘New Zealand does not have a colour bar, it has a behaviour bar, and throughout the length and breadth of this country we have always been prepared to accept each other on the basis of behaviour and regardless of colour, creed, origin or wealth. That is the most valuable feature of New Zealand society and the reason why I have time and again stuck my neck out to challenge those who would try to destroy this harmony and set people against people inside our country.’
   And my reaction to the Conservative Party’s latest publicity, which was recorded on this blog, and repeated for good measure on Tumblr: ‘Essentially what they are saying is: our policy is that race doesn’t matter. Except when it comes to vilifying a group, it does. Let’s ignore the real culprits, because: “The Chinese”.’

September
The passing of Richard ‘Jaws’ Kiel.
   John Barnett of South Pacific Pictures sums up Nicky Hager: ‘Hager is a gadfly who often causes us to examine our society. He has attacked both the right and the left before. It’s too easy to dismiss it as a left wing loony conspiracy. We tend to shoot the messengers rather than examine the messages.’
   New Zealanders begin vilifying Kim Dotcom: I respond.
   I blog about Occupy Central in Hong Kong—which led to a television appearance on Breakfast in early October.

October
I’m not sure where this quotation comes from, but I reposted it: ‘A white man is promoted: He does good work, he deserved it.
   ‘A white woman is promoted: Whose dick did she suck?
   ‘A man of color is promoted: Oh, great, I guess we have to “fill quotas” now.
   ‘A woman of color is promoted: j/k. That never happens.’
   Facebook gets overrun by bots: I manage to encounter 277 in a single day. (I eventually reach someone at Facebook New Zealand, who is trying to solicit business for one of the fan pages we have, and point this out. I never hear back from him.) The trouble is Facebook limits you to reporting 40 a day, effectively tolerating the bots. It definitely tolerates the click farms: I know of dozens of accounts that the company has left untouched, despite reports.
   Kim Dotcom’s lawyers file a motion to dismiss in Virginia in United States v. Dotcom and others, and summarize the case so far: ‘Nearly three years ago, the United States Government effectively wiped out Megaupload Limited, a cloud storage provider, along with related businesses, based on novel theories of criminal copyright infringement that were offered by the Government ex parte and have yet to be subjected to adversarial testing. Thus, the Government has already seized the criminal defendants’ websites, destroyed their business, and frozen their assets around the world—all without benefit of an evidentiary hearing or any semblance of due process.
   ‘Without even attempting to serve the corporate defendants per the Federal Rules of Criminal Procedure, the Government has exercised all its might in a concerted, calculated effort to foreclose any opportunity for the defendants to challenge the allegations against them and also to deprive them of the funds and other tools (including exculpatory evidence residing on servers, counsel of choice, and ability to appear) that would equip robust defense in the criminal proceedings.
   ‘But all that, for the Government, was not enough. Now it seeks to pile on against ostensibly defenseless targets with a parallel civil action, seeking civil forfeiture, based on the same alleged copyright crimes that, when scrutinized, turn out to be figments of the Government’s boundless imagination. In fact, the crimes for which the Government seeks to punish the Megaupload defendants (now within the civil as well as the criminal realm) do not exist. Although there is no such crime as secondary criminal copyright infringement, that is the crime on which the Government’s Superseding Indictment and instant Complaint are predicated. That is the nonexistent crime for which Megaupload was destroyed and all of its innocent users were denied their rightful property. That is the nonexistent crime for which individual defendants were arrested, in their homes and at gunpoint, back in January 2012. And that is the nonexistent crime for which the Government would now strip the criminal defendants, and their families, of all their assets.’
   Stuart Heritage thinks The Apprentice UK has run its course, and writes in The Guardian: ‘The Apprentice has had its day. It’s running on fumes. It’s time to replace it with something more exciting, such as a 40-part retrospective on the history of the milk carton, or a static shot of someone trying to dislodge some food from between their teeth with the corner of an envelope.’

November
Doctor Who takes a selfie and photobombs himself.

   Andrew Little becomes Labour leader, and is quoted in the Fairfax Press (who, according to one caption, says his mother’s name is Cecil): ‘I’m not going to resile from being passionate about working men and women being looked after, having a voice, and being able to go to work safe and earn well. That’s what I stand for.
   ‘The National party have continued to run what I think is a very 1970s prejudice about unions … We have [in New Zealand] accepted a culture that if you are big, bold and brassy you will stand up for yourself. But [this] Government is even stripping away protections [from] those who are bold enough to do so.
   ‘I think New Zealanders are ready for someone who will talk bluntly about those who are being left behind. That’s what I’ll be doing.’
   I’m not a Labour voter but I was impressed.
   I advise my friend Keith Adams in Britain, who laments the driving standards there, that in order to have the road toll we have, they’d need to kill another 2,000 per annum. ‘The British driver is a well honed, precision pilot compared to one’s Kiwi counterpart.’

December
Julian Assange on Google, and confirmation that the company has handed over personal data to the US Government. He calls Eric Schmidt ‘Google’s secretary of state, a Henry Kissinger-like figure whose job it is to go out and meet with foreign leaders and their opponents and position Google in the world.’
   The Sydney siege and the tragic deaths of Katrina Dawson and Tori Johnson.
   The killing of NYPD officers Rafael Ramos and Wenjian Liu. The NYPD doesn’t look very white to me, but a murderer used the death of Eric Garner as an excuse to murder a Dad and a newlywed.
   My second post on those CBS TV attempts to create a show about Sherlock Holmes set in the modern day in the US, partnered with a woman: on 1993’s 1994 Baker Street.

   Craig Ferguson hosts his last Late Late Show. And more’s the pity: he’s one of the old school, never bitter, and never jumped on the bandwagon attacking celebrities.

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Posted in business, China, culture, Hong Kong, humour, interests, internet, media, New Zealand, politics, publishing, TV, typography, UK, USA | 2 Comments »


What to do when Firefox for Windows Vista displays no text

28.12.2014

During the six hours wasted with Ubuntu today (13 would no longer upgrade, so I removed it and decided to start afresh with 14—big mistake, since it would not let me use the same hard drive), I had to open up my five-year-old Windows Vista laptop and upgrade my Firefox. After all, what were the odds that Mozilla would cock up its flagship browser on two OSs? After all, it’s fine on Mac OS X and Linux.
   As it turns out, pretty high. Just as in Windows 7, Firefox for Windows Vista displays no text. And unlike Windows 7, which was solved by switching on hardware acceleration, Windows Vista proved a bit of a bugger to fix.
   During the months where I was trouble-shooting, and after my last post, one of the more knowledgeable Mozilla volunteers admitted that there is a fault with the Cairo rendering engine in Firefox: ‘This means that (at least in your case) the issue is most likely specific to the cairo drawing backend. Good to know, thanks.’
   It is still definitely related to the 2011 bug I filed where PostScript Type 1 fonts were incompatible with Firefox due to something breaking that time.
   Firefox for Windows Vista’s bug, as far as I can make out, is down to Type 1 fonts being incompatible with the browser, even though they are compatible with nearly everything else on the OS. This is slightly different from the Windows 7 fault, as I still have PostScript Type 1 fonts on that computer, but Firefox simply ignores those when specified in a stylesheet in favour of what it can load under hardware acceleration (usually the default).
   Despite my updating some of the system fonts that were particular to my Vista set-up to OpenType (which Firefox might have trouble with sometimes, too), that did not fix it. Firefox requires you to delete fonts off your system.
   On some websites, including Facebook, Helvetica is specified before Arial in stylesheets. If your Helvetica (not Neue Helvetica) is PostScript Type 1—and it probably would be on a Windows machine—Firefox will detect it, and return blank spaces.
   This is still a daft state of affairs with Cairo. Here’s how (to my very basic layman’s mind, and obviously to the minds of everyone at Adobe and a bunch of other places) how a program should deal with fonts:

* Is it installed on the system? Yes.
* Use it.

Firefox seems to adopt this approach:

* Is it installed on the system? Yes.
* Let’s ignore the ones our programmers dislike in favour of the ones our programmers like, which would only be certain TrueType fonts, and to heck with the people who have licensed other fonts and installed them in good faith. Let’s punish anyone who decided to carry over older software. Let’s also fail selected OpenType fonts such as the italics in Source Sans Pro for no apparent reason. [PS.: If the first font family is incompatible, let’s display nothing. On a stylesheet, if one does not work, we won’t load the second one, but we will try to load the system font even if that is incompatible, too.]

   When it comes to stylesheets, neither OS makes much sense. Normally a program would go through each font specified, and display in the first one available. I don’t understand the rationale but Firefox will skip the ones in the stylesheet even when installed, even when compatible, and opt for system fonts or those specified as defaults in the program.
   All of this is counter-intuitive, and if it weren’t for what must be my OCD, I’d never have found out, and have given up to use another browser.
   Not that IE11 is much good:

Loading up the next ASCII character makes little sense, either.
   Firefox isn’t unique in mucking up type on Windows. Back in the days of versions 1 and 2, I avoided it because it was incapable of displaying ASCII characters above 128 in the same font. This still afflicted Opera, the last time I saw it in 2010. Chrome wasn’t much better: it will pick one character and display that in a different font or fail on the font-face spec in HTML. For years, Internet Explorer would only let you use TrueType.
   I don’t fully understand why Windows browsers must behave differently—no doubt it’s to do with Flash or HTML 5 or something connected with rendering—but it is very annoying when every other program I have gets this right.

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Posted in internet, technology, typography | No Comments »


Firefox, Waterfox, Cyberfox displaying no text? Do the opposite of what you are told

24.12.2014

After months of avoiding the latest Mozilla Firefox because it would display no text, installing, removing, and reinstalling an older version of Waterfox just so I could do some work, and experimenting over the last day with Cyberfox, which included editing fonts, looking at GFX settings, editing the registry, and doing an awful lot of research, I have now fixed the problem of having no text in these browsers.
   As I discovered years ago, the trick is to do the exact opposite of what the experts suggest.
   When trying to set up the office network in the mid-2000s, the only way I could get it going was to do the exact opposite of expert advice, by making sure the speed on every device did not match.
   Tonight, the solution was as simple as pie. Almost every piece of advice I had received when reporting this issue was: turn off hardware acceleration. It was already turned off, so, logically, I kept looking at other things. It got to the point where I was advised by Loic, one of the helpful guys on the Mozilla forums who had hitherto walked me through possible solutions, ‘As you are able to reproduce it, could you use the tool mozregression to find a possible regression range, it will help to narrow the underlying regression.’
   Software people think I am a lot smarter than I really am, and I had to admit to the writer that I am a layman and I had no idea what he was talking about.
   The correct solution, if you want Firefox, Waterfox and Cyberfox to display text where there was none, is to turn on hardware acceleration.
   You can imagine my feeling right now: a sense of satisfaction knowing that I am running the latest, most secure browser and that I overcame this rather serious bug, with the usual disappointment in realizing that I trusted again in expert advice that wasted time for a lot of people, including those kind developers on the Mozilla forums, and Alex, the guy behind Waterfox, who were trying to find a solution for me. I simply do not know enough about computers and software beyond what I have to do to make a living.
   The concluding remark from one of the guys, Nicolas, on the Mozilla thread was, ‘This means that (at least in your case) the issue is most likely specific to the cairo drawing backend. Good to know, thanks.’
   I hope documenting this bug has helped someone out there. Merry Christmas!

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Cyberfox day two, or, the day it, too, stopped displaying text

24.12.2014

Rather than repeat the story in new words, here is a draft of the post that was sent to Cyberfox’s support forum.

The short story: Cyberfox no longer displays text as of this morning after working well for its first evening yesterday after installation for the first time. Glyphs that are not from a @font-face linked font will not show, so if a page is calling fonts from the system, the browser displays blank text. Nothing happened overnight. I switched the machine off, and when I switched it on again, Cyberfox exhibits this behaviour.
   The long story: in 2011, Firefox had a bug which meant there was no backward compatibility with PostScript Type 1 fonts (https://bugzilla.mozilla.org/show_bug.cgi?id=628091). This is very similar to that except the text areas are blank, rather than filled with squares or hex codes.
   About two Firefox versions ago (I am guessing v. 32), the browser stopped showing text. I switched to Waterfox, which lasted one more version before it, too, stopped showing text. I downloaded Cyberfox last night and was truly pleased that here was a Firefox-based browser that actually worked. Text displayed as normal, and these were my Type 1, TrueType and OpenType fonts. To top it off, Cyberfox’s rasterizer and the way it handled sub-pixel rendering was superior to that of the other two browsers (see my blog post at http://jackyan.com/blog/2014/12/switching-to-cyberfox-after-waterfox-and-firefox-stopped-displaying-text/ for two screen shots of the type). Naturally, I was over the moon and made Cyberfox my default.
   Just to be on the safe side, I turned off hardware acceleration as when I posted the above bug to Mozilla Support, I was told that that could be a culprit. I made no change to OMTC.
   Today, as mentioned, Cyberfox has become just another Firefox where no text is displayed. But the really weird thing is that the typography, for the type that does show, is identical to Firefox and Cyberfox: the superior rendering is gone.
   Also, I’ve since altered the font family I use as a default for Windows displays to OpenType (I work in fonts), so there should no longer be an backward-incompatibility issue. Nvidia updated one of its drivers today, so I let that happen, and confirmed that all my drivers are up to date.
   Reinstallation (while keeping profile data) actually fixes everything: the type is back, rasterized more sharply,
   I was using Australis as the theme but have since gone back to classic.
   I’d be grateful for any light you can shed on this as I’m keen to stay within the Firefox 64-bit family. Whatever makes Cyberfox display better than the other two immediately after installation (though not after a reboot) solves this major problem of no type appearing.

   The different rendering method is the fix. The questions are: why does Cyberfox render type differently if it’s Mozilla Firefox-based? And why does rebooting my computer change this setting?

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Switching to Cyberfox, after Waterfox and Firefox stopped displaying text

23.12.2014

Since the Firefox for Windows updates in November, I’ve had a big problem with the Mozilla browser, and the Waterfox 64-bit version based on it: they won’t display text. I had to downgrade to Waterfox 32.0.3 for the last month or so, but it’s begun crashing more and more regularly (from once a day to thrice today—I visit largely the same sites, so why does software “decay” like this?).

   On the latest incarnations of Firefox and Waterfox, linked fonts work, but the majority of system fonts vanished from the browser. And, for once, I’m not alone, if Bugzilla is any indication. It is probably related to a bug I filed in 2011.
   I’ve had some very helpful people attend to the bug report—it’s great when you get into Bugzilla where the programming experts reside—but sadly, a lot of the fixes require words. And, unfortunately, those are the things that no longer displayed in Firefox, not even in safe mode.
   As many of you know, there’s no way I’d switch to Chrome (a.k.a. the ‘Aw, snap!’ browser) due to its frequent crashes on my set-up, and its memory hogging. There’s also that Google thing.
   After some searching tonight, I came across Cyberfox. It’s not a Firefox alternative that comes up very often. Pale Moon is the one that a lot of people recommend, but I have become accustomed to Firefox’s Chrome-like minimalism, and wanted something that had a Firefox open-source back end to accompany it. Cyberfox, which lets you choose your UI, has the familiar Firefox Australis built in.
   I made the switch. And all is well. Cyberfox forces you to make a new profile, something that Waterfox does not, but there isn’t much of an issue importing bookmarks (you have to surf to the directory where they are stored, and import the JSON file), and, of course, you have to get all your plug-ins and do all your opt-outs again. It also took me a while to program in my cookie blocks. But the important thing is: it displays text.
   You’d think that was a pretty fundamental feature for a web browser.
   The text rendering is different, and probably better. I’ve always preferred the way text is rendered on a Macintosh, so for Cyberfox to get a bit nearer that for some fonts is very positive. It took me by surprise, and my initial instinct was that the display was worse; on review, Firefox displayed EB Garamond, for example, in a slightly bitmapped fashion; Cyberfox’s antialiasing and subpixel rendering are better.

Firefox and Waterfox on Windows 7
Firefox_Screenshot_2014-12-23T14-14-06.693Z

Cyberfox on Windows 7
Firefox_Screenshot_2014-12-23T14-13-23.809Z

Here’s where the above text is from.
   Gone is the support for the old PostScript Type 1 fonts (yes, I still have some installed) but that’s not a big deal when almost everything is TrueType and OpenType these days.
   The fact Cyberfox works means one of two things: (a) Cyberfox handles typography differently; or (b) as Cyberfox forces us to have a new profile, then there is something in the old profiles that caused Firefox to display no text. That’s beyond my knowledge as a user, but, for now, my problems seem to be solved—at least until someone breaks another feature in the future!

PS.: That lasted all of a few hours. On rebooting, Cyberfox does exactly the same thing. All my text has vanished, and the rendering of the type has changed to what Firefox and Waterfox do. No changes to the settings were made while the computer was turned off, since, well, that would be impossible. Whomever said computers were logical devices?
   Of yesterday’s options, (a) is actually correct—but how do we get these browsers behaving the way they did in that situation? In addition, the PostScript Type 1 fonts that the browser was trying to access have since been replaced.

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A tribute to Massimo Vignelli

29.05.2014

The below ran in Lucire today, though it is equally suited to the readers of this blog.


RIT

Massimo Vignelli, who passed away on May 27, was a hero of mine. When receiving the news shortly before it hit the media in a big way, from our mutual friend Stanley Moss, this title’s travel editor and CEO of the Medinge Group, I posted immediately on Facebook: ‘It is a sad duty to note the passing of Massimo Vignelli, one of my heroes in graphic design. When I was starting out in the business, Massimo was one of the greats: a proponent of modernism and simple, sharp typography. His influence is apparent in a lot of the work done by our brand consultancy and in our magazines, even in my 2013 mayoral campaign graphics. A lot of his work from half a century ago has stood the test of time. There was only one degree of separation between us, and I regret that we never connected during his lifetime. The passing of a legend.’
   This Facebook status only scratches the surface of my admiration for Vignelli. There have been more comprehensive obits already (Fast Company Design rightly called him ‘one of the greatest 20th century designers’), detailing his work notably for the New York subway map, and—curiously to me—glossing over the effect he had on corporate design, especially in the US.
   Vignelli, and his wife Lella, a designer in her own right and a qualified architect, set up the Vignelli Office of Design and Architecture in Milano in 1960, which had clients including Pirelli and Olivetti. In 1965, they moved to New York and Vignelli co-founded Unimark International (with Ralph Eckerstrom, James Fogelman, Wally Gutches, Larry Klein, and Bob Noorda), where he was design director. It was the world’s largest design and marketing firm till its closure in 1977.
   The 1960s were a great time for Vignelli and his corporate identities. He worked on American Airlines, Ford, Knoll, and J. C. Penney, and the work was strictly modernist, often employing Helvetica as the typeface family. Vignelli was known to have stuck with six families for most his work—Bodoni was another, a type family based around geometry that, on the surface, tied in to his modernist, logical approach. However, there were underlying reasons, including his belief that Helvetica had an ideal ratio between upper- and lowercase letters, with short ascenders and descenders, lending itself to what he considered classic proportions. The 1989 WTC Our Bodoni, created under Vignelli’s direction by Tom Carnase and commissioned by Bert di Pamphilis, adheres to the same proportions.
   Although my own typeface design background means that I could not adhere to six, there is something to be said for employing a logical approach to design. American corporate design went through a “cleaning up” in the 1960s, with a brighter, bolder sensibility. Detractors might accuse it of being stark, the Helveticization of American design making things too standard. Yet through the 1970s the influence remained, and to my young eyes that decade, this was how professional design should look, contrary to the low-budget work plaguing newspapers and books that I saw as I arrived in the occident.
   When the Vignellis left Unimark to set up Vignelli Associates in 1971 (and later Vignelli Designs in 1978), their stamp remained. The MTA launched Vignelli’s subway map the following year, and like the London Underground map by Harry Beck in 1931, it ignored what was above ground in favour of a logical diagram with the stops. Beck was a technical draftsman and the approach must have found favour with Vignelli, just as it did with those creating maps for the Paris Métropolitain and the Berlin U-bahn.
   New Yorkers didn’t take to the Vignelli map as well as Londoners and Parisians, and it was replaced in 1979 with one that was more geographically accurate to what was above ground.
   In 1973, Vignelli worked on the identity for Bloomingdale’s, and his work endures: the Big Brown Bag is his work, and it continues to be used by the chain today. Cinzano, Lancia and others continue with Vignelli’s designs.
   Ironically, despite a rejection of fashion in favour of timelessness, some of the work is identified with the 1960s and 1970s, notably thanks to the original cut of Helvetica, which has only recently been revived (a more modern cut is commonplace), and which is slightly less popular today. Others, benefiting from more modern layout programs and photography, look current to 2010s eyes, such as Vignelli Associates’ work for the Museum of Fine Arts, Houston.
   The approach taken by Lucire in its print editions has a sense of modernism that has a direct Vignelli influence, including the use of related typeface families since we went to retail print editions in 2004. Our logotype itself, dating from 1997, has the sort of simplicity that I believe Vignelli would have approved of.
   Vignelli was, fortunately, fêted during his lifetime. He received the Compasso d’Oro from ADI twice (1964 and 1998), the AIGA Gold Medal (1983), the Presidential Design Award (1985), the Honorary Royal Designer for Industry Award from the Royal Society of Arts (1996), the National Lifetime Achievement Award from the Cooper–Hewitt National Museum of Design (2003), among many. He holds honorary doctorates from seven institutions, including the Rochester Institute of Technology (2002). Rochester has a Vignelli Center for Design Studies, whose website adheres to his design principles and where educational programmes espouse his modernist approach. It also houses the Vignellis’ professional archive.
   He is survived by his wife, Lella, who continues to work as CEO of Vignelli Associates and president of Vignelli Designs; their son, Luca, their daughter, Valentina Vignelli Zimmer, and three grandchildren.

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The religiosity of the superbrands

10.02.2014


Another friend asked the Windows laptop v. Macbook question on her Facebook today.
   You can predict what happens next. The cult came by. As with the last time a friend asked the same question.
   The cult always comes and proclaims the superiority of the Apple Macintosh. And it is a blinding proclamation, of messianic proportions, where one must behold the perfection and divinity of said technology. There is always one person who posts multiple times in an effort to convert you—bit like how one religion’s missionaries do those ten visits in an effort to get you to join. I think they might operate on a similar counting system.
   As someone who uses Mac, Windows and Linux regularly (Mac and Windows daily, Ubuntu twice weekly) and usually enters into the conversation with ‘At the end of the day, it’s just a computer,’ I find it unsettling.
   How unsettling?
   Basically, as unsettling as my atheist friends would find someone imposing religion on them. Their stance usually is: hey, good on you if it works for you. If it makes you a better person, great. But I’d rather you not preach about it to me.
   The proclamations are usually so one-sided that they leave holes for attack. ‘They are better’ is not really good evidence, and ‘a six-year-old machine can still run the latest OS’ is only dependent on the RAM. The existence of Windows crapware and a clogged-up registry are more the function of the user rather than the platform. I also level a lot of the blame on Windows’ clunkiness on Microsoft Office: I don’t use it, and I am happier for it. (In fact, Office may be the worst thing to happen to the more Windows OSs, as they let down what I regard as a pretty stable platform.)
   I don’t dislike the Mac ecosystem. I use it daily, though the hard grunt I’ll do on my Windows 7 machine. I love the way the Mac handles graphics and sound. Without speccing up my Windows machine, I wouldn’t have the same quality. Apple’s handling of type is better than Microsoft’s Cleartype, in my opinion.
   I like how the platforms now communicate readily with each other.
   But I have problems with the wifi dropping out on a Mac, though this happens less often after Mavericks came out. However, it’s on the Mac forums as one of those unsolved issues that’s been going on for four years without a resolution. InDesign, at least for us, crashes more often on Mac than on Windows. (Your mileage may vary.) Some programs update more easily on Windows—take my 79-year-old Dad, who would prefer clicking ‘Update’ when a new Flash arrives more than downloading a DMG file, opening it, and dragging an icon to the Applications. It’s harder to learn this stuff when you are nearly 80. And don’t get me started on the IBM PC Jr-style children’s keyboards. They sucked in the 1980s and there’s not much reason they don’t suck today. (I replace the Imac chiclet keyboards with after-market ones, though of course that’s not a realistic option if you are getting a Macbook.)
   Sure, these are minor issues. For each one of these I can name you Windows drawbacks, too, not least how the tech can date if you don’t buy expensively enough to begin with, and how you can still find innovations on an older Mac that Microsoft simply hasn’t caught up with. And even with some of the newer monitor-and-computer desktop units out there, none of them are as neatly designed and beautifully modernist as an Imac.
   The biggest problem I have with the Mac world is this. As I told my friend: ‘Any time I post about Windows going wrong, the Mac cult always surfaces and cries, “You should buy a Mac!” as though they were stalking my social networks. Any time I post about Macs going wrong … the cult hides away. You see, you are shattering the illusion that the machines are perfect.’ It’s been like this for years.
   It is and it isn’t a problem. It doesn’t sway me when I use the technology. But it’s hard for me, or anyone who sees through the fact that these are just computers, to want to be associated with that behaviour.
   The more level-headed Mac users—a few have helped me on social networks when I raise an issue, though they are far fewer than the ‘Buy a Mac!’ crowd—probably don’t want to be seen to be part of some élite, either.
   I should be more tolerant of this given my qualifications in branding. Good on Apple for creating such fervour. This is held up to us as something we should achieve with our own brands, with the traditional agencies usually naming Apple at number one. Kevin Roberts and Saatchi used to go on about ‘lovemarks’. It’s great that people see a bunch of bits as something so personal, so emotionally involved. Google is in the same boat—go to the forums and tell the senior support people there that their by-the-book, Google-is-right, you-must-be-doing-something-wrong answer is incorrect. You will simply be ignored, because it doesn’t fit into their world and their belief system.
   In both cases, I wonder if there is such a thing as overbranding: where consumers love something so much that it goes beyond comprehension, into the creepy stage. Some might call these ‘superbrands’, but there is an uncomfortable element of religiosity to it. I’m not so sure whether this is the function of branding—and we thus come back to what we wrote at the Medinge Group in 2003, where we proposed in Beyond Branding that brands really centred around humanism, integrity and transparency.
   I don’t recall anything about fervour.

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