Archive for the ‘typography’ category

Tesla to a typeface designer, and a big missed target


Now that the quartet has been launched, it’s evident that Tesla’s naming strategy is all wrong. This is what they should be called.

On a related note:


Since I haven’t seen the March 15 video now circulating on OnlyKlans, I mean, Twitter, I can’t use the DIA reporting form. But those who have, should.

If it were a New Zealand website doing the distribution, a warning would have been issued at the least; and I bet it would have been blocked by now. The person running the site would probably have been charged. Basically what our government is signalling is that a foreign fascist sympathizer has greater freedoms than the rest of us. And what the opposition parties are signalling is that that’s OK, too, because here’s a real thing that they can sink their teeth into, but they prefer to gaslight over other stuff.

The Christchurch Call website has not been updated since September.

Anyone in politics who actually has some bollocks?

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November 2022 gallery


Here are November 2022’s images—aides-mémoires, photos of interest, and miscellaneous items. I append to this gallery through the month.

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Posted in cars, culture, France, gallery, humour, interests, internet, marketing, New Zealand, politics, publishing, TV, typography, UK, USA | No Comments »

About me (according to libraries)


I suppose it shouldn’t surprise me that I have a US Library of Congress entry, as a published author, though if I am reading it correctly, it relates to my 2010 mayoral campaign.

Following the links there, I arrived at a Virtual International Authority File but the data there seem to relate to my Wikipedia entries. Disappointing.

Keep going, and there’s an entry at OCLC, a non-profit library collective, also linking to Wikipedia.

But from there I have a WorldCat identity that OCLC manages, and this is where things get a little more interesting.

There’s some 2010 mayoral campaign stuff, five references to academic papers I wrote (nice to see they are ‘held by 2 WorldCat member libraries worldwide’), an early book I wrote, Typography & Branding (though I don’t recall having written it in 2002 as they claim), and a book I didn’t author but am credited in the colophon as the body typeface family’s designer, Mainland Island from Wai-te-ata Press.

I’m flattered that Typography & Branding is held at two Australian locations, the University of Newcastle Auchmuty Library and the Curtin University Library. I hope their students are getting a lot out of this early book of mine.

I admit I like this tag cloud:

Commiserations to my namesake, Jack Yan, on not winning the Toronto mayoral election. I was getting a lot of news hits from Toronto and Ontario, far more than our media here managed back in the day. I also thought he did rather well in the televised debates. We only had one episode of Back Benches in 2010 that wasn’t really a debate. But there was a fun quiz, which I won—some of us know more about this city than others.

In a very crowded field, Jack managed seventh out of 31, with incumbent John Tory holding on to his gig with 62 per cent of the vote.

I hope he has another crack at it if he feels he has something to offer. I found him a really great guy to deal with.

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Type coverage—in 2012


I’m not sure why I didn’t spot these back in 2012. This was very high praise from Cre8d Design, on ‘What is New Zealand’s iconic font?’ So nice to see JY Décennie in there.

Still on type, the fifth Congreso Internacional de Tipografía in Valencia cites yours truly.

Como consecuencia de todos estos cambios, surgen numerosas cuestiones sobre cómo afrontar el uso y la creación de la tipografía en un nuevo contexto, sometido a constantes transformaciones tecnológicas. Para muchos, los modos tradicionales de concebir la tipografía ya no funcionan en el mundo de la pantalla. Así, para el diseñador Jack Yan, la tecnología está cambiando tan rápidamente que la idea de que la tipografía se crea para imprimir está llegando prácticamente a su fin. Los nuevos dispositivos electrónicos empiezan a demandar tipografías específicas y no sólo meras adaptaciones de las ya existentes. Esto implica igualmente un adiestramiento por parte del usuario final, el lector, que no sólo debe familiarizarse con los nuevos dispositivos sino con los nuevos procedimientos asociados a la lectura dinámica.

This is pretty mainstream thinking now (and I would have thought in 2012, too) but also nice to be credited for saying it—I guess I would have first publicly pushed this idea in Desktop in 1996. But designers like Matthew Carter and Vincent Connare were already there …

Amazing what you can find in a Mojeek ego search, as opposed to a Google one.

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Windows 11 22H2 arrives; now for the usual post-upgrade tweaks


Windows 11 22H2 arrived for me yesterday, and the first order of business, as always, was to sort out the typography. This earlier post is roughly right: make the registry hacks, then change the properties of the fonts in C:\Windows\WinSXS (namely by giving them administrator access) before deleting them. However, I needed one extra step to get them out of C:\Windows\Fonts, and that was to boot up in safe mode and delete them from 7Zip. Only then could I change the properties and say farewell to the dreaded Arial.

You still can’t type most characters above ASCII 128 in Notepad—a crazy state of affairs introduced during Windows 11’s time—though I managed to get the pound sterling sign to work (even though there might be less need to type it now thanks to the UK government). I guess no one uses the euro symbol at Redmond, or goes to a café (forget about any accented characters).

We’ll see if Explorer still rotates photos by itself—but as I’ve replaced it with One Commander for most of my file management, it will be a while before I will find out.

The new icons look good, and the new Maps seems to work reasonably well. Mostly I just care that my usual programs are fine and Windows’ font substitutes don’t do anything silly.

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When the oldest looks the freshest


Here are three Elle covers that I uploaded to last month’s gallery, from 1991, 2007 and 2022. Which looks the most modern?

To me, it’s the 1991 US one. The Futura Light type is calm, it all looks rather balanced, and the photograph is well lit and composed. From memory, it was commended by the Society of Publication Designers in New York but I have to check my old annuals.

Go to 2007 and there’s just too much clutter, and the custom type looks uncomfortable, especially the bolder cut. The 2022 cover sits somewhere in between, but it feels like it’s the dawn of desktop publishing with different sizes and weights, and type inside circles.

Granted, I’m not comparing apples with apples, as the 21st-century covers are for the French market, and the 2022 cover isn’t strictly for Elle but the Elle Corps summer special. Makes you wonder what timelessness is, and if such a thing even exists. Many of the old covers for Lucire that I art-directed were meant to be timeless, too, but how they have dated! Is it about calm, a lack of clutter, and a sensible, restrained use of type? Or does that in fact date things, and we’re just at a moment in time when the 1991 cover’s trends have come round again?

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Here’s the latest book I worked on: Panos: My Life, My Odyssey out May 26


[Originally posted in Lucire] Toward the end of next week, Panos Papadopoulos’s autobiography, Panos: My Life, My Odyssey, comes out in London, with an event in Stockholm following. This is an intimate memoir about Panos’s rise, from childhood poverty in Greece to the ‘king of swimwear’ in Scandinavia. Not only do I have an advance copy, I collaborated with Panos on it.

I’m fascinated by autobiographies. When I was a teenager, I read Lee Iacocca’s one, written with William Novak. I presume Novak interviewed Iacocca, or he worked with some additional notes, and ghosted for him. Whatever the case, it remains an engaging read, and I replaced my well worn paperback with a hardcover one a few years ago, when I spotted it at a charity fair. More recently I bought Don Black’s autobiography, The Sanest Guy in the Room, and enjoyed that thoroughly.

Panos and I probably had a similar arrangement to Iacocca and Novak, whereby I interviewed and prompted him for some stories, and I wrote from copious notes that he gave me. There’s an entire chapter in there that’s based on his reflections about the time he bought into a football team in Sweden, that he wrote in great detail himself soon after the events took place. Somehow over 10 months of 2021—though the idea has been floating around for many years before—Panos and I created this eminently readable tale, the sort of autobiography I would like to read.

Of course we start in Greece in 1958, and how a young lad, who begins working at age five alongside his mother as she cleaned an office, finds poverty a torment, and vows to get himself out of it. He also cannot tolerate injustice, and attempts to expose pollution, workplace accidents, and corruption—only to find himself and his parents harassed. By his late teens, after taking an interrail journey to northern Europe, he finds an opportunity to study in Sweden.

It’s not “the rest is history”, as Panos works in kitchens, washing dishes and peeling potatoes. He also finds gigs as a prison guard, a parole officer, a rest home carer, and a substitute teacher.

His first taste of fame is for a postgraduate sociology paper, where he examines the importance of clothing in nighttime disco settings, which captures the imagination of major newspapers and TV networks.

Finding dissatisfaction and frustration working in health care for the city of Göteborg, he seized upon an idea one day when spying just how drab the beaches were in Sweden: beautiful bodies covered in monochrome swimwear.

Injecting colour on to the beaches through his Panos Emporio swimwear label wasn’t an overnight success, and Panos elaborates on his story with the sort of passion you would expect from a Greek native, capturing your attention and leaving you wanting more.

He reveals his secrets about how he lifted himself out of poverty, creating a company given a platinum rating in Sweden, an honour reserved only for the top 450, out of half a million limited-liability companies there.

Read about how he managed his first sales despite doubts from the entire industry, how he secured Jannike Björling—then Sweden’s most sought-after woman, photographed constantly by the paparazzi—as Panos Emporio’s model, and how he followed up with securing Victoria Silvstedt, just as she was about to become world-famous posing for Playboy.

By 1996, 10 years into his label’s journey, and with the release of the Paillot (still offered in the Panos Emporio range today), the press dubbed him ‘the king of swimwear’, but he wasn’t done yet.

More high-profile models followed, and there’s even an encounter with Whitney Houston, revealed for the first time in the book. There are royal encounters, with former King Constantine II, and Sweden’s HM King Carl XVI Gustaf and HM Queen Sofia. HSH Princess Stéphanie almost makes it into the book.

There are touching moments, too, such as his heartfelt recollection of his friendship with Jean-Louis Dumas, the chairman of Hermès, and his wife Rena.

We’ve known each other for over 20 years, and from the start he complimented me on my writing, so I have a feeling he wanted me for this task for some time. We’ve both had to start businesses from scratch, and we did them away from our countries of birth. Additionally, he knew I grew up amongst Greeks so I had more than an average insight into his culture. We’ve talked about it numerous times, maybe as far back as 2016, when Panos Emporio celebrated its 30th anniversary. I’m very grateful for that. There were obviously stories I knew, since I interviewed him about them over the years, but plenty I did not, and they form the bulk of this 320 pp. book, published by LID Publishing of London, and released on May 26. A party in Stockholm follows on May 31.
Technically, the process was an easy collaboration as Panos and I shared notes and written manuscripts back and forth, and I had the privilege to lay it out and edit the photos as well. The whole book was typed out on WordPerfect, which gave an almost perfect re-creation of how the copyfitting would go in InDesign, unlike Word—for a while others doubted I could fit the contents into the agreed page length, since they couldn’t see it in the same format that I did. Martin Majoor’s FF Nexus Serif is used for the body text. And, while hardly anyone probably cares about such things, I managed to deliver it so the printer could do the book without wasting paper with the right page impositions. I know what it’s like to have printing bills.

My Life, My Odyssey was the working title, but it seems LID liked it enough to retain it for the final product. I wanted to retitle it Panos: Who Designs Wins, but the experts in charge of sales preferred the working title. ‘Who designs wins’ appears on the back cover, so it’s still getting out there!

Caroline Li, LID’s designer, did the cover, and I followed her lead with the headline typeface choice; and Martin Liu, who I’ve known from Stefan Engeseth’s many books, published and coordinated. I’m grateful to the watchful eye and coordination of Aiyana Curtis, who oversaw the production stage and did the first edit; she also engaged the copy editor and proofreader, who turned my stubborn Hart’s Rules-compliant text into LID’s house style.

I see from her résumé that Aiyana had done some work here in Aotearoa, and Caroline and Martin, like me, have Hong Kong roots, so we all probably had some things in common that made the process easier. It was particularly easy to understand Caroline’s design approach, and as someone who had done mock covers while we were trying out potential photos, I will say hers is infinitely superior to mine. Similarly, I understood Martin’s business approach from day one.

The final manuscript was done in October 2021 and we’ve spent the last few months doing production, shooting the cover, and preparing for the launch, where LID’s Teya Ucherdzhieva has ably been working on a marketing plan. Panos himself, never one to do things by halves, has thrown himself into doing the launch, and it promises to be an excellent event.
For those who’d like to get their hands on a copy, Amazon UK and Barnes & Noble are retailing Panos: My Life, My Odyssey, and a US launch is slated for October (Amazon and other retailers will have it in their catalogues).

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Opera GX wins over Firefox in typography; Über’s still a lemon


I’ve had both Firefox and Opera GX running as replacements for Vivaldi, which still crashes when I click in form fields, though not 100 per cent of the time. It’s running at about 50 per cent, so the fix they employed to deal with this issue is only half-effective.

I see Firefox still doesn’t render type as well. This is a matter of taste, of course, but here’s one thing I really dislike, where I’m sure there’s more agreement among typophiles:


No, not the hyphenation, but the fact the f has been butchered in the process.

The majority of people won’t care about this, but it’s the sort of thing that makes me choose Opera GX over Firefox.
Due to a temporary lapse in good judgement, I attempted to install Über again, this time on my Xiaomi. Here are the Tweets relating to that:

Evidently no one at Über has ever considered what it would be like if someone actually read the terms and conditions and followed through with some of the instructions in the clauses.

After getting through that, this is the welcome screen:

This is all it does. There’s nothing to click on, and you never move past this screen.

This is less than what I was able to achieve on my Meizu M6 Note when I tried Über on that—at least there it was able to tell me that Über is not available in my area (Tawa—and yes, I know Über is lying).

This has nothing to do with not having Google Services as my other half has a non-Google Huawei and is able to get the program working.

For me, it’s three out of three phones over six years where this program does not work—and frankly I’m quite happy taking public transport rather than waste my time with this lemon. Maybe one day they will get it working for all Android phones, but I won’t hold my breath.

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Vivaldi 5.2’s bugs: time to go back to Opera GX?


Above: Vivaldi appears for less than a second; each entry then disappears. One of the bugs from last night.
Vivaldi updated last night, and nearly instantly shut down.

Sadly, there’s a bug which shuts the program down the moment you hit a form field (filed with them, and they are working on it), and I found that ZIP archives would not download properly. Getting rid of a Spotify tab somehow got me around the first bug, but I know others have not been so lucky.

In the meantime, I discovered downgrading did not work—Vivaldi wouldn’t even start—while upgrading back to 5.2 didn’t solve that problem. I’d see Vivaldis in the task manager for a second but they’d then vanish.

Removing the sessions from the default folder helped me start the program again, but I lost my tabs; fortunately I was able to restore those, in order to duplicate each and every one on my old browser, Opera GX.

I had duplicated tabs onto other browsers reasonably regularly, and I could have retrieved a fairly recent set from my laptop, but it’s always good to have the latest.

Right now I’m deciding whether to stick with Vivaldi while its techs work on the problems, or return to a stable Opera GX, which I last used as my regular browser briefly in 2020.

The type display is still really good, without my needing to add code to get the browser working with MacType.

However, I like Vivaldi and what they stand for, which is why I stuck with it for so long. According to this blog, I’ve been using it reasonably faithfully since September 2017. And I have become very used to it over any other Chromium-based browser.
Some of you may have noticed that this website is finally on https, years after that became the norm. There was one line in the code that wasn’t pointing at the correct stylesheet when this blog loaded using SSL. That was finally remedied yesterday (I hard-coded the stylesheet link into the header PHP file). I’m no expert on such matters but it’s now loading a certificate I got at Let’s Encrypt, and it seems to be working.

One of the changes in the stylesheet that controls the indents and the paragraph spacing does mean some of the line spacing in earlier posts is now off. This happened on the Lucire website, too, but it was one of those things I had to do to make posts going forward look a bit better.

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March 2022 gallery


Now we are on the new server, here are March 2022’s images—aides-mémoires, photos of interest, and miscellaneous items. I append to this gallery through the month.

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