The Windows 11 upgrade arrived on my desktop machine before my laptop, which was a surprise. Also surprising is how uneventful the whole process was, unlike Windows 10, which led me to become a regular on the Microsoft Answers forums.
A few tips: (a) do back everything up first; and (b) do take screenshots of the pinned items in your start menu. The former goes without saying; the latter is important since those pins wonât be preserved with the upgrade.
The download-and-install took some time and when I restarted the PC, it actually loaded Windows 10 again! Only when I restarted from there did Windows 11 do the full upgrade process, which was relatively painless.
First impressions: WordPerfect and Eudora appear to work, and MacType has loaded for the programs, including my Vivaldi browser. So thatâs the office stuff taken care of.
The taskbar is too darned tall and thereâs no way to fix it without a registry hack, something Iâm not yet willing to do. I suppose I could hide it but Windows can be flaky, and you just never know when its presence (and a right-click to the Task Manager) is going to be needed.
Muscle memory over years (decades) means that I still want to go to the bottom left-hand corner for my icons, but Iâm willing to give centred a shot as it reminds me of MacOS.
Happily, thereâs not much more to report. The icons look nicer to me and the change is positive, and the redone UI fonts have a bit more character (pun unintended). The only registry hack I intend to do is for the sake of decent typography. Hopefully thereâll be little more to report.
With the French edition of Lucire KSA now out, weâve been hard at work on the second issue. The first was typeset by our colleagues in Cairo (with the copy subbed by me), but this time it falls on us, and I had to do a lot of research on French composition.
There are pages all over the web on this, but nothing that seems to gather it all into one location. I guess Iâm adding to the din, but at least itâs somewhere where I can find it.
The issue we had today was spacing punctuation. I always knew the French space out question marks, exclamation marks, colons, and semicolons; as well as their guillemets. But by how much? And what happens to guillemets when you have a speaker who you are quoting for more than one paragraph?
The following, which will appear in the next issue of Lucire KSA in French, and also online, is demonstrative:
In online forums, it appears the spaces after opening guillemets and before closing guillemets, question marks, exclamation marks and semicolons are eighth ones. The one before the colon, however, is a full space, but a non-breaking one.
I should note that the 1938 edition of Hartâs Rules, which was my first one, suggests a full space around the guillemets.
When quoting a large passage of text, rather than put guillemets at the start of each line (which would be hard to set), the French do something similar to us. However, if a quotation continues on to a new paragraph, it doesnât start with the usual opening guillemets («), but with the closing ones (»). That 1938 Hartâs disagrees, and doesnât make this point, other than one should begin the new paragraph with guillemets, which I deduce are opening ones.
If the full stop is part of the quotation then it appears within the guillemets; the full stop is suppressed if a comma follows in the sentence, e.g. (Hartâs example):
« Câest par le sang et par le fer que les Ătats grandissent », a dit Bismarck.
Sadly for us, newer Hartâs Rules (e.g. 2010) donât go into any depth for non-English settings. Hartâs in 1938 also says there apparently is no space before the points de suspension (ellipses), which I notice French writers observe.
Looking at competitorsâ magazines gives no clarity. I happened to have two Vogue Paris issues in the office, from 1990 and 1995. The former adopts the same quotation marks as English, while the latter appears to have been typeset by different people who disagree on the house style.
This is my fourth language so Iâm happy to read corrections from more experienced professional compositors.
There is something quite elegant about title typography from the turn of the decade as the 1960s become the 1970s.
There is 1971âs Diamonds Are Forever by Maurice Binder, which apparently is one of Steven Spielbergâs favourites, but Iâm thinking of slightly humbler fare from the year before.
I got thinking about it when watching Kevin Billingtonâs 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 didnât stay like thisâas the decade wore on I canât 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 donât 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 âbusiness leadersâ talk about the New Zealand Governmentâs 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 hasnât been perfect, but Iâm glad we can walk about freely and go about our lives.
Economist Benje Patterson says that if we donât increase our risk tolerance, âWe could get to that point where weâre left behind.â
When I first read this, I thought: âArenât we leaving the rest of the world behind?â
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? (Weâve 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 Iâve been watching their infection figures drop consistently. Theyâre 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 Zealandâs 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”.
Iâm not sure you could be described as a âbusiness leaderâ 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 quarterâweâre 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?
Iâve fought against this type of thinking for most of my career: the belief that âNew Zealand canâtâ. That we canât lead. That we canât be the best at something. That because weâre a tiny country on the edge of the world we must take our cues from bigger ones.
Bollocks.
Great Kiwis have always said, âBollocks,â to this sort of thinking.
Of course we can win the Americaâs Cup. Just because we havenât put up a challenge before doesnât mean we canât start one now.
Of course we can make Hollywood blockbusters. Just because we havenât before doesnât mean we canât now.
Heck, letâs even get my one in there: of course we can create and publish font software. Just because foreign companies have always done it doesnât mean a Kiwi one canât, and pave the way.
Yet all of these were considered the province of foreigners until someone stood up and said, âBollocks.â
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 againâprobably 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 petrolâelectric 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 canât 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 canât take an online media brand into print, either. This is all from the âNew Zealand canâtâ 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 Godâs sake donât 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 donât 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 didnât 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.
Iâm grateful for our freedom, since it isnât 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 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.
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.
I hadn’t expected this reply Tweet to get so many likes, probably a record for me.
I knew my parents couldnât 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$4·99 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 1970sâwe flatted and didn’t own our own car at this pointâthey 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 meâand 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 adultâeven when I was a young man starting out in my careerâI 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.
