Archive for the ‘typography’ category


December 2021 gallery

01.12.2021

Here are December 2021’s images—aides-mémoires, photos of interest, and miscellaneous items. I append to this gallery through the month.
 


 

Notes
Roger Moore and Ford Fiesta Mk I, via George Cochrane on Twitter.
   More on the Volkswagen Fox in Autocade.
   More on the Ford Consul Corsair at Autocade.
   The Guardian article excerpt, full story here.
   The devil drives Kia? Reposted from Twitter.
   Audi maths on an A3, via Richard Porteous on Twitter.
   Christmas decoration, via Rob Ritchie on Twitter.
   Back to the ’70s: Holden Sandman used for Panhead Sandman craft beer promotions.
   Georgia–Pacific panelling promotions, 1968, via Wendy O’Rourke on Twitter.
   Ford Cortina Mk II US advertisement via the Car Factoids on Twitter.
   Bridal fashion by Luna Novias, recently featured in Lucire.
   Deborah Grant in UFO, with the VW–Porsche 914, which would have looked very modern at the time.
   Freeze frame from episode 1 of The Champions (1968), with William Gaunt, Stuart Damon and Alexandra Bastedo.
   Our rejected greeting card design, with a picture shot at Oriental Parade, Wellington.
   Ford Taunus GT brochure spread via the Car Factoids on Twitter.
   My Daddy Is a Giant image and UK measures, reposted from Twitter.
   Richard Nixon attempts to appeal to younger voters, 1972. Simple, modernist design using Futura Bold.
   A 1983 Pontiac Firebird Trans Am advertisement.
   Mazda Savanna brochure via George Cochrane on Twitter.
   More on the Renault Mégane E-Tech Electric in Autocade.
   Lucire issue 44 cover, photographed by Lindsay Adler, layout by me.

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A smooth upgrade to Windows 11 (so far)

01.11.2021

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 won’t 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 that’s the office stuff taken care of.
   The taskbar is too darned tall and there’s no way to fix it without a registry hack, something I’m 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 I’m willing to give centred a shot as it reminds me of MacOS.
   Happily, there’s 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 there’ll be little more to report.

PS.: The removal of system fonts (viz. Arial) worked.

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Spacing in French: figuring out how to punctuate professionally

22.09.2021

With the French edition of Lucire KSA now out, we’ve 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 I’m adding to the din, but at least it’s 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 Hart’s 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 doesn’t start with the usual opening guillemets («), but with the closing ones (»). That 1938 Hart’s disagrees, and doesn’t 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. (Hart’s example):

« C’est par le sang et par le fer que les États grandissent », a dit Bismarck.

   Sadly for us, newer Hart’s Rules (e.g. 2010) don’t go into any depth for non-English settings.
   Hart’s in 1938 also says there apparently is no space before the points de suspension (ellipses), which I notice French writers observe.
   Looking at competitors’ 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 I’m happy to read corrections from more experienced professional compositors.

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September 2021 gallery

02.09.2021

Here are September 2021’s images—aides-mémoires, photos of interest, and miscellaneous items. I append to this gallery through the month. It sure beats having a Pinterest.

 
Sources
The 2016 Dodge Neon sold in México. More at Autocade.
   IKCO Peugeot 207. More at Autocade.
   Double standards in New Zealand media, reposted from Twitter.
   The cover of the novelization of Once Upon a Time in Hollywood. Nice work on the use of Americana, which does take me back to the period, but I’m not convinced by this cut of Italian Old Style. I just don’t remember it being used that much.
   Daktari’s Cheryl Miller as the new Dodge model, in her second year, promoting the 1971 Dodge Demon. This was a 1960s idea that was being carried over with minor tweaks into the new decade, and it didn’t work quite as well as the earlier Joan Parker ‘Dodge Fever’ advertisements (also shown here in this gallery).
   House Beautiful cover, January 1970, before all the garishness of the decade really hit. This is still a clean, nicely designed cover. I looked at some from the years that followed on House Beautiful’s website, and they never hit this graphic design high mark again.
   That’s the Car and Driver cover for my birth month? How disappointing, a Colonnade Chevrolet Monte Carlo.
   French typesetting, as posted on the typography.guru forums.
   Read books, humorous graphic reposted from Twitter.
   My reply in the comments at Business Desk, on why it made more sense for me to have run for mayor in 2010 and 2013 than it would in 2022.
   Seven years before its launch, Marcello Gandini had already styled the Innocenti Mini. This is his 1967 proposal at Bertone.
   JAC Jiayue A5. More at Autocade.
   Phil McCann reporting for the BBC, reposted from Twitter.
   Car and Driver February 1970 cover. As a concept, this could still work.

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Title design in 1970: big geometric type rules

11.08.2021

There is something quite elegant about title typography from the turn of the decade as the 1960s become the 1970s.
   There is 1971’s Diamonds Are Forever by Maurice Binder, which apparently is one of Steven Spielberg’s favourites, but I’m thinking of slightly humbler fare from the year before.
   I got thinking about it when watching Kevin Billington’s 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.


   Similarly the opening title for Alvin Rakoff’s Hoffman, starring Peter Sellers and Sinéad Cusack. For the most part it’s Kabel Light on our screens, optically aligned either left or right. It’s a shame Matt Monro’s name is spelled wrong, but otherwise it’s nice to see type logically set with a consistent hierarchy and at a size that allows us to appreciate its forms. Monro belts out the lyrics to one of my favourite theme songs, ‘If There Ever Is a Next Time’, by Ron Grainer and Don Black, and the title design fits with them nicely.


   It certainly didn’t stay like this—as the decade wore on I can’t 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 don’t know how much was retained; given the chance it would be nice to revisit the large geometric type of 1970.

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Helvetica in metal, 1985

03.03.2021

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.

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If you’re in the ‘New Zealand can’t’ camp, then you’re not a business leader

04.10.2020


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 ‘business leaders’ talk about the New Zealand Government’s 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 hasn’t been perfect, but I’m glad we can walk about freely and go about our lives.
   Economist Benje Patterson says that if we don’t increase our risk tolerance, ‘We could get to that point where we’re left behind.’
   When I first read this, I thought: ‘Aren’t we leaving the rest of the world behind?’
   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? (We’ve 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 I’ve been watching their infection figures drop consistently. They’re 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 Zealand’s 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”.
   I’m not sure you could be described as a ‘business leader’ 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 quarter—we’re 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?
   I’ve fought against this type of thinking for most of my career: the belief that ‘New Zealand can’t’. That we can’t lead. That we can’t be the best at something. That because we’re a tiny country on the edge of the world we must take our cues from bigger ones.
   Bollocks.
   Great Kiwis have always said, ‘Bollocks,’ to this sort of thinking.
   Of course we can win the America’s Cup. Just because we haven’t put up a challenge before doesn’t mean we can’t start one now.
   Of course we can make Hollywood blockbusters. Just because we haven’t before doesn’t mean we can’t now.
   Heck, let’s even get my one in there: of course we can create and publish font software. Just because foreign companies have always done it doesn’t mean a Kiwi one can’t, and pave the way.
   Yet all of these were considered the province of foreigners until someone stood up and said, ‘Bollocks.’
   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 again—probably 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 petrol–electric 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 can’t 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 can’t take an online media brand into print, either. This is all from the ‘New Zealand can’t’ 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 God’s sake don’t 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 don’t 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 didn’t 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.
   I’m grateful for our freedom, since it isn’t illusory, as we leave the rest of the world to catch up. And I sincerely hope they do.

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How to delete Windows 10 system fonts for real, not just remove registry references to them

13.08.2020

My last post implied that I ego-surfed and found a Wikipedia chat entry about me, but that’s 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 didn’t care if you removed system fonts, but at some point, it began protecting Arial, whose design, for reasons I’ve gone into elsewhere, I’ve 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 update—version 1909—I 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 “new” Arial, the existing roman one is used by quite a few applications, and you don’t really replace it—your only solution is to delete it.
   With version 2004, safe mode is quite different, and the command prompt and Powershell commands I knew just didn’t cut it. I realize the usual solution is to go into the registry keys—I’ve used this one for a long, long time—and to remove or modify the references to the offending fonts at HKEY_LOCAL_MACHINE\SOFTWARE\Microsoft\Windows NT\CurrentVersion\Fonts. I’ve 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, doesn’t prevent Windows from loading them.
   By all means, use these methods, but be prepared for the exception where it doesn’t work. The claim that the methods ‘delete’ 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 mode—so 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 fonts’ directory even after “my” 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 don’t 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 can’t 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. I’m 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: don’t delete stuff that the system really, really needs, including an icon font that Windows uses for rendering its GUI.


Using Google as a last resort—except 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.

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More Wikiality—and this time it’s about me!

13.08.2020

Goes to show how seldom I ego-search.
   Here’s something a Wikipedian wrote about me in a discussion in 2010:

Jack Yan is not a notable typeface designer. He has never laid a hand on mouse or trackball to operate a font editing application. He tells some graphic designer employees of his what he wants them to draw with software, and has them do all the work of drawing and solving all the design problems involved in creating and designing a typeface and its fonts. As a professional typeface designer myself, Yan’s involvement in type design and font production does not qualify him as a typeface designer. Not even close.

   The user is called James Arboghast, whom I’ve never heard of in any of my years in the type design business.
   Now, you can argue whether I’m 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.
   I’ve no beef with him outside of this, but considering that I was the first typeface designer in this country to work digitally—so much so that Joseph Churchward, who is indisputably notable, came to me 20 years ago to see if we could work together—there were no ‘graphic designer employees’ 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 couldn’t 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 you’re 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 didn’t 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 didn’t know how to solve design problems, then the kerning on the highway signs’ 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 can’t begin to fathom. Latin, Cyrillic and Greek. I’ve tested every single font we’ve 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 I’m not notable, then I’m 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 I’m generally proud of, save for a few hiccups along the way.

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When not having something drives creativity

23.07.2020

I hadn’t expected this reply Tweet to get so many likes, probably a record for me.

   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 1970s—we flatted and didn’t own our own car at this point—they 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 me—and 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 adult—even when I was a young man starting out in my career—I 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.

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