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.
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.
Usual funny stuff from Wikipedia, this time on de-Googling.
If they’re Wikipedia’s “first”, then I beat the lot of them, and I wasn’t even the first to use this term. From 2010:
There’s a whole series of posts from 2010 where I deal with this—surely it was obvious to anyone in tech that Google posed a real threat with their behaviour back then?
It’s bittersweet to get news of the Chevrolet Corvette from what’s left of GM here in New Zealand, now a specialist importer of cars that are unlikely to sell in any great number. And we’re not unique, as the Sino-American firm pulls out of entire regions, and manufactures basically in China, North America, and South America. Peter Hanenberger’s prediction that there won’t be a GM in the near future appears to be coming true. What’s the bet that the South American ranges will eventually be superseded by Chinese product? Ford is already heading that way.
Inconceivable? If we go back to 1960, BMC was in the top 10 manufacturers in the world.
Out of interest, I decided to take four years—1990, 2000, 2010, and 2020—to see who the top 10 car manufacturers were. I haven’t confirmed 1990’s numbers with printed sources (they’re off YouTube) and I don’t know exactly what their measurement criteria are. Auto Katalog 1991–2 only gives country, not world manufacturer, totals and that was my most ready source.
Tables for 2000 and 2010 come from OICA, when they could be bothered compiling them. The last is from Daily Kanban and the very reliable Bertel Schmitt, though he concedes these are based on units sold, not units produced, due to the lack of data on the latter.
2000
1 GM
2 Ford
3 Toyota
4 Volkswagen
5 DaimlerChrysler
6 PSA
7 Fiat
8 Nissan
9 Renault
10 Honda
2010
1 Toyota
2 GM
3 Volkswagen (7,341,065)
4 Hyundai (5,764,918)
5 Ford
6 Nissan (3,982,162)
7 Honda
8 PSA
9 Suzuki
10 Renault (2,716,286)
If Renault’s and Nissan’s numbers were combined, and they probably should be at this point, then they would form the fourth largest grouping.
2020
1 Toyota
2 Volkswagen
3 Renault Nissan Mitsubishi
4 GM
5 Hyundai
6 Stellantis
7 Honda
8 Ford
9 Daimler
10 Suzuki
For years we could predict the GM–Ford–Toyota ordering but I still remember the headlines when Toyota edged GM out. GM disputed the figures because it wanted to be seen as the world’s number one. But by 2010 Toyota is firmly in number one and GM makes do with second place. Ford has plummeted to fifth as Volkswagen and Hyundai—by this point having made its own designs for just three and a half decades—overtake it.
Come 2020, with the American firms’ expertise lying in segment-quitting ahead of competing, they’ve sunk even further: GM in fourth and Ford in eighth.
It’s quite remarkable to me that Hyundai (presumably including Kia and Genesis) and Honda (including Acura) are in these tables with only a few brands, ditto with Daimler AG. Suzuki has its one brand, and that’s it (if you want to split hairs, of course there’s Maruti).
Toyota has Lexus and Daihatsu and a holding in Subaru, but given its broad range and international sales’ strength, it didn’t surprise me that it has managed to have podium finishes for the last three decades. It’s primarily used its own brand to do all its work, and that’s no mean feat.
I’m surprised we don’t see the Chinese groups in these tables but many are being included in the others’ totals. For instance, SAIC managed to shift 5,600,482 units sold in 2020 but some of those would have been counted in the Volkswagen and GM totals.
I won’t go into the reasons for the US manufacturers’ decline here, but things will need to change if they don’t want to keep falling down these tables. Right now, it seems they will continue to decline.
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.
Being self-employed my whole adult life, I haven’t exactly been let go from actual employment, but there have been some gigs, paid and unpaid, that came to an end without me expecting it.
I’ve never been sore about losing them, but I don’t agree with the way they were done.
Gig 1. Did a quarterly task for these folks, which soon became a monthly one. Lasted 14 years and was either the longest-serving or second-longest-serving in that capacity. Let go in a group email.
Gig 2. Voluntary one, told that I wouldn’t be needed because the organization was going in a new direction. I wouldn’t be replaced because of this new format. Found out later that there was no new format and I was replaced. Would it have hurt to tell the truth? After all, I replaced the previous person, and I would have been fine with them needing a fresh face. It’s not as though I made any money off them!
Gig 3. Another voluntary one. Hadn’t heard anything but then I usually didn’t till pretty late in the game. Except this time I had to chase them up, given how late things got. When do you need me? Found out I was replaced and that the decision had been made months earlier. I was the last to know. Offered some inconsequential consolation, but no apology. Ironically this happened as my influence in this particular area grew substantially overseas, so the help I could have given them was immense, so bad luck and bad timing to that mob. Bridges burned.
I’ve let a few people go in the past—one had so many allegations against him (theft, sexual harassment) that with hindsight I wonder why we took so long. Given the anonymous (and ineffective and illogical) letters he’s sent to some of my most loyal colleagues, I think he’s still sore. Others had to be let go when the financial winds blew against us. But I’m pretty sure they all knew why.
The only mysterious one from our companies was one person who claimed I cut him off and stopped using his writing services. It was a complete lie—he just vanished. At one point we re-established contact. We agreed to put it down to an email glitch (although this person regularly phoned me and stopped doing so, but in the interests of moving on, I let it go). Years later, he did it again—just disappeared. He told a mutual friend of ours the same lie, that I ceased to have anything to do with him. I relayed the above story to that friend but I could see she didn’t believe me—till he did it to her a few years later!
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.
When I ran for office, there was often a noticeable difference between how I was treated by locally owned media and foreign- owned media. There are exceptions to that rule—The New Zealand Herald and Sky TV gave me a good run while Radio New Zealand opted to do a candidates’ round-up in two separate campaigns interviewing the (white) people who were first-, second- and fourth-polling—but overall, TVNZ, Radio New Zealand with those two exceptions, and the local community papers were decent. Many others seemed to have either ventured into fake news territory (one Australian-owned tabloid had a “poll”, source unknown, that said I would get 2 per cent in 2010) or simply had a belief that New Zealanders were incapable and that the globalist agenda knew best. As someone who ran on the belief that New Zealand had superior intellectual capital and innovative capability, and talked about how we should grow champions that do the acquiring, not become acquisition targets, then those media who were once acquisition targets of foreign corporations didn’t like what they heard.
And that, in a nutshell, is why my attitude toward Stuff has changed overnight thanks to Sinéad Boucher taking ownership of what I once called, as part of a collective with its Australian owner, the Fairfax Press.
The irony was always that the Fairfax Press in Australia—The Age and The Sydney Morning Herald—were positive about my work in the 2000s but their New Zealand outpost was quite happy to suggest I was hard to understand because of my accent. (Given that I sound more like an urban Kiwi than, say, the former leader of the opposition, and arguably have a better command of the English language than a number of their journalists, then that’s a lie you sell to dinosaurs of the Yellow Peril era.) A Twitter apology from The Dominion Post’s editor-in-chief isn’t really enough without an erratum in print, but there you go. In two campaigns, the Fairfax Press’s coverage was notably poor when compared with the others’.
But I am upbeat about Boucher, about what she intends to do with the business back in local ownership, and about the potential of Kiwis finally getting media that aren’t subject to overseas whims or corporate agenda; certainly Stuff and its print counterparts won’t be regarded as some line on a balance sheet in Sydney any more, but a real business in Aotearoa serving Kiwis. Welcome back to the real world, we look forward to supporting you.
My thanks to Sydney-based photographer Robert Catto for linking me to this one, especially near the festive season.
It is funnier than the one I took in Sweden many years ago, which in pun-land could be racist:
The sad thing is, at some point, the majority will not get the top joke.
I have a ringtone on my phone for SMSs, namely Derek Flint’s ringtone from In Like Flint.
If I mention In Like Flint, in my circles there’d be about one person every two years who’ll get what I mean.
Twenty years ago, everyone would have said, ‘Who’s Derek Flint? That’s Austin Powers’ ringtone!’
Today, some of my younger readers will ask, ‘Who’s Austin Powers?’
So far, only a tiny handful of people get my reference when I say, ‘Dear guards, Jeffrey can be taken off suicide watch. Signed, Epstein’s mother.’
No, what Epstein did to his victims—children—is no laughing matter.
However, I don’t think I’m alone in needing humour as an anchor for my sanity when the news is abhorrent.
One mayoral candidate recently asked me for my advice. I won’t name who it is, since I want those who contact me to know I’ll keep their communications in confidence.
Now, the first thing to do is to get a time machine and ask me the same question 18 months earlier.
But I can only provide tips for coming third in Wellington:
• have forward-thinking policies;
• appeal to thinking voters of all ages;
• resonate with younger voters who are most affected by them;
• frighten the establishment with common sense.
I can’t advise how to win since I didn’t. Presumably it is to do the opposite of my approach?
• Use rose-coloured glasses;
• appeal to non-thinking voters of all ages;
• resonate with older voters more likely to vote;
• suck up to the establishment.
This is with the greatest respect to many previous winners, who actually didn’t do all these things. But they make for a couple of fun Tweets.
I repeat the call to administer the Voigt-Kampff test to all candidates.
Given the topic of this post, some of you will know exactly why this still, from the 1978 Steve McQueen movie An Enemy of the People, is relevant. If you don’t know, head here.
Admittedly, I was getting far more hits on this blog when I was exposing Facebook and Google for their misdeeds. Of course I have less to report given I use neither to any degree: Facebook for helping clients and messaging the odd person who’s still on it (but not via Messenger on a cellphone), and Google as a last resort. I shall have to leave all this to mainstream journalists since, after a decade on this blog, it’s all finally piqued their interest.
It also seems that my idea about pedestrianizing central Wellington, which appeared in my 2010 mayoral campaign manifesto (which I published in 2009) has finally reached the minds of our elected mayors. Auckland has a plan to do this that’s hit the mainstream media. I notice that this idea that I floated—along with how we could do it in stages, giving time to study traffic data—never made it into The Dominion Post and its sister tabloid The Wellingtonian back in 2009–10. Either they were too biased to run an idea from a candidate they “predicted” would get a sixth of the vote one actually got, or that foreign-owned newspapers suppress good ideas till the establishment catches up and finds some way to capitalize on it. Remember when their only coverage about the internet was negative, on scammers and credit card fraud? Even the ’net took years to be considered a relevant subject—no wonder old media are no longer influential, being long out of touch with the public by decades.
To be frank, my idea wasn’t even that original.
If you are on to something, it can take a long time for conventional minds to come round.
