Posts tagged ‘design’

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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Posted in design, France, media, publishing, typography, USA | No Comments »

August 2022 gallery


Here are August 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, design, gallery, humour, internet, TV, UK, USA | No Comments »

July 2022 gallery


Here are July 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, design, France, gallery, interests, marketing, media, politics, publishing, technology, UK, USA | No Comments »

Lucire’s holding page prior to launch


Of course I remember there was a holding page prior to Lucire launching on October 20, 1997 at 7 a.m. EST, or midnight NZDT on October 21, 1997. I just didn’t remember what it exactly looked like, till I discovered it at the Internet Archive:


There was no semicolon in JY&A Media, not even then; this must be some Internet Archive bug since I didn’t use & for the HTML entity in those days. Most browsers interpreted a lone ampersand correctly back then. We also tried to save bytes where we could, with the limited bandwidth we had to play with.

Pity the other captures from the 1990s aren’t as good, with the main images missing. I still have them offline, so one of these days …

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Posted in design, internet, media, New Zealand, publishing, technology, Wellington | 1 Comment »

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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Where democratizing technology got the better of us


From the start, I’ve been a supporter of the democratization of design. Everyone has the right to access it, because fundamentally good design is something that makes the world a better place. A lot of websites are founded on this, such as Shopify, which has enough flexibility to give most of the stores we visit a unique look. Wordpress’s templates are generally good lookers that take into account the latest trends. There’s an entire industry out there making templates and skins. And, it has to be said, most social media have reasonably good looking interfaces, so people can feel a sense of pride after they’ve posted that they’ve shared text or a photo that has been presented well.

It’s quite perplexing when you confront some other facts. People will judge the credibility of a website by how good it looks (among other criteria). People can also become addicted to social media, and they’re designed to be addictive. And as design democratizes, it’s only natural that the less educated (and I don’t necessarily mean in a formal sense), those who are not trained to discern fact from fiction, will have access to the same technology and present their work as capably and as attractively as anyone else.

It would be wrong to deny this, just as it would be wrong to deny access to technology or good design because we disagreed with someone’s political views or their beliefs, even ones we might find distasteful. The key must be to bring social awareness and education up to a point that there’s no appeal to engage in behaviour that’s harmful to society at large. By all means, be individual, and question. We should have ways in which this can be done meaningfully—one might argue this is done in the corridors of power, as anyone in a good, functioning democracy can stand for office. But in countries with low trust in institutions, or those infected by forces that want to send nations into corporatist fascism, there has to be something that balances the wild west of the online world, one that has marched so far one way without the structures to support it. We have, in effect, let the technology get the better of us. There is no agreed forum online where tempers can be abated, and because we have encouraged such individualist expression, it is doubtful whether some egos can take it. We have fooled ourselves into thinking our own selfies on social media have the same value as a photo taken by the press for a publication. As such, fewer can lead, because no one wants to play second fiddle.

These are confusing times, though the key must be education. It is often the answer. Keeping education up with the technology so our young people can see and understand the forces at play. Give them a sense of which corporations are wielding too much influence. Teach them how to discern a legitimate story from a fictionalized one. Teach them how the economy really works—not just the theory but how the theory has been hijacked.

This can’t wait till university: it has to be taught as early as possible. If today’s kids are bringing their devices to school, then it’s never too early to make them aware of how some online content is questionable. Tell them just why social media are addictive and why they can’t open accounts on the big sites till they’re 13. In fact, tell them how the social media companies’ bosses actually don’t let their own kids use the services, because deep down they know they’re bad for them.

If they know from a young age why some things are harmful—in the same way we were told that cigarettes were, or to say no to drugs—then hopefully they can steer clear of calls on social networks funded by parties who seek to divide us for their own gain.
There’ll be a delay in having a gallery on this blog this month as a dear friend is helping me migrate our sites off an old AWS instance. He doesn’t wish to be named. But I am deeply thankful to him.

The data have already been shifted off this server. At this rate I will have to repost this on the new box once the domain is set up. Reposting a gallery might just be a bit tricky, so there mightn’t be one for February 2022, depending on when my friend can get to this domain.

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Posted in culture, design, internet, marketing, media, politics, publishing, social responsibility, technology | No Comments »

Xiaomi’s tiny idiosyncracies


There were a few surprises switching to Xiaomi.
   First up, it asked me to do a voice identification by saying these four words, 小爱同學. Only thing is, it doesn’t understand Cantonese.

   The default weather app was able to give me details based on exactly where I am (location service turned on, and I was given fair warning that it would be). That’s superior to Meizu’s default weather app, and the after-market Android one I downloaded years ago for my old Meizu M2 Note.

   This was a bit disturbing for a Chinese-spec phone: there’s still a Google app in there. I wonder if it sent anything before I restricted it, then deleted it. Permissions included being able to read your contacts’ list. I didn’t agree to Google getting anything.

   It prompted me to turn on the phone finder, even after we had established that I’m in New Zealand and everything was being done in English. Nek minnit:

   I’m finding it remarkable that a 2021 phone does not incorporate the time zone into file dates. I expected this to have been remedied years ago, but I was surprised to see that the photos I took, while the phone was on NZDT, had their timestamp without the UTC plus-13 offset. As a result, I’ve had to set the phone to UTC as I’ve had to do with all prior phones for consistency with my computers’ work files. The plus side: unlike my previous two phones, I can specify UTC rather than a location that might be subject to daylight saving.
   Unlike the M2 Note, but like the M6 Note, it doesn’t remember my preferred mode when it’s being charged by a computer via USB. I have to set it every time. The newer the technology, the more forgetful?
   Otherwise it’s proved to be a very practical successor to the Meizus, MIUI is prettier than Flyme (although I’m missing that skin’s translation features and the ability to select text and images regardless of the program via Aicy), and on the whole it’s doing what I ask of it, even picking 5G in town. Importantly, it receives calls and SMSs, and the battery isn’t swelling up.

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Posted in China, design, technology | No Comments »

December 2021 gallery


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


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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Posted in cars, culture, design, gallery, humour, interests, media, New Zealand, politics, publishing, TV, typography, UK, USA, Wellington | No Comments »

A smooth upgrade to Windows 11 (so far)


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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Refreshing the less oft-seen pages on Lucire’s website


A decade separates these two incarnations of Lucire’s shopping home page. Some Facebook gadgets were added during the 2010s and the magazine cover was updated, but it was woefully out of date and needed to be refreshed.

It’s very unusual for us to go into the less-frequented pages in Lucire and adapt them to a new template before doing a major one such as the fashion index page. But sometimes you go with the creative flow, so it was the turn of the ‘Newsstand’ pages plus the shopping home page, which hadn’t been updated in seven years (and most of it hadn’t been touched for ten).
   Needless to say, on the latter, almost everything was out of date. We’ve removed the links to the shopping directory, which last existed to support the print magazine as it was in the mid-2000s. Since then, we haven’t really had a shopping section in print, and we ceased to update it much online.
   What was disappointing to note, after my lament about the disappearance of so many fashion websites earlier this year, that even more had closed down, so much so that the three ‘Newsstand’ pages have come back down to two (as it was in the 2000s). There are still some that have not been updated in years, but we have maintained the links for historical purposes.
   Poking about the directories did lead me to, a framed page with content for our mobile edition in 2000 that was compatible with Plucker. Long before cellphones became the norm, we were already catering for portable devices. I knew we had a Plucker edition, but had forgotten about the xp directory till tonight.
   The copy on that page reads, ‘Lucire Express was the hand-held version of Lucire, powered by Plucker. With more recent developments in syndication and content management, support for Express has been discontinued.’
   It seemed logical that cellphone browsers would be developed to reduce the content of high-res pages to make them readable, but that is yet to happen (unless one goes into a simplified view mode). To think that programmers found a way to do that in the 2000s. How times have changed, with what appears to be a slowing down of innovation—forcing us to adapt to the technology (developing mobile-friendly themes in-house) rather than the other way round.

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Posted in design, New Zealand, publishing, technology, Wellington | No Comments »