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.
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.
That #Brexit bill is typeset in Palatino. That was designed by a German. Come on, people, donât you want to use British typefaces? Tell Johnny Foreigner what you think of his fonts!
Strictly speaking, I realize it was Book Antiqua, though as we all know, that’s a Palatino clone.
Since even English types like Baskerville were influenced by what was happening on the Continent, for official use, the UK really needs to go back to Old English. And yes, I realize that suggestion has unpleasant parallels to what was going on in Germany in the 1930s âŠ
There was a great follow-up to my Tweet, incidentally:
I need a "Tell Johnny Foreigner what you think of his fonts!" tee shirt, and I do not even wear clothes with writing on them.
Star Wars is in my feed in a big way. To get up to speed on the film series, I had to start with the memorable theme by John Williams.
Thanks, Bill and Paul.
And who better to describe the plot than someone else in the science-fiction world, Doctor Who?
Seriously though, I hope all friends who are big Star Wars fans enjoy Episode VII. It seems to be getting positive reviews, partly because it appeals to our sense of nostalgia. It hasn’t blown anyone away in the same manner as the 1977 original, but then Disney would be very foolhardy to stray for this sequel. If you are building a brand that was at its height 30 years ago, nostalgia isn’t a bad toolâjust ask the team that came up with the 1994 Ford Mustang. J. J. Abramsâthe creator of Felicity and What about Brian?, plus some other thingsâhas apparently been a genius at getting just enough from the past.
One item that is from Star Warsâ past is the opening title, or the crawl. I’ll be interested to learn if they’ve managed to re-create the typography of the original: they were unable to provide perfect matches for Episodes I through III because of the changes in technology and cuts of the typefaces that made it into the digital era. The main News Gothic type is far heavier in these later films. ITC Franklin Gothic was used for ‘A long time ago ⊒ for I to III; this, too, was originally News Gothic, but re-releases have brought all six films into line to use the later graphic.
However, it could be argued that even between Episodes V and VI there were changes: News Gothic Extra Condensed in caps for the subtitle for The Empire Strikes Back, switching to Univers for Return of the Jedi. (It seems even the most highly ranked fan wiki missed this.) And, of course, there was no equivalent in the original Star Warsâ’A New Hope’ was added in 1981.
Here’s how it looked in 1977:
And if you really wish to compare them, here are all six overlaid on each other:
I wasn’t a huge fan in the 1970s: sci-fi was not my thing, and I only saw Star Wars for the first time in the 1980s on video cassette, but I did have a maths set, complete with Artoo Detoo eraser (I learned my multiplication table from a Star Wars-themed sheet) and the Return of the Jedi book of the film. But even for this casual viewer and appreciator, enough of that opening sunk in for me to know that things weren’t quite right for The Phantom Menace in 1999. I hope, for those typographically observant fans, that The Force Awakens gets things back on track.
JY Pinnacle Italic will be re-released as a Pro version shortly, and above are some of the extra characters we’ve added.
I know the swash k still needs work, and it will be fixed up by the time of release.
Pinnacle always had a decent bunch of ligatures, but if you have the chance to add more thanks to OpenType, then why not?
Hard to believe I originally drew this over 15 years agoâit really doesn’t seem that long ago.
Here’s a glyph inside JY Integrity that never got used beyond the original publicity in the mid-1990s.
Before there was OpenType, there was QuickDraw GX, and I was part of the consortium trying to sort out the character set, along with Allan Haley and others. We were using this newfangled collaboration tool called the internet. Cheekily, I did a gx glyph so we could tout the Integrity family as GX-compatible. It was in the original brochures in 1993 or thereabouts.
As history tells us, QuickDraw GX never took off, but the glyph is still inside the font family. Just for fun, we’ve kept it in the Pro version of the fonts, out later this year. It’s not linked to any alternative sets in OpenType, but it is accessible as part of the character map.
