Posts tagged ‘typography’

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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Posted in branding, internet, New Zealand, politics, technology, typography, USA, Wellington | No Comments »

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

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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October 2022 gallery


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

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Laying out French articles in HTML takes a long time


Above: Some French text in Lucire.
Regular Lucire readers will have seen a number of articles run in English and French (and one in Japanese) on our main website. Typographically, the French ones are tricky, since we have to distinguish between non-breaking spaces and non-breaking thin spaces, and as far as I know, there is no code for the latter in HTML. Indeed, even with a non-breaking space, a browser can treat it as it would a regular space.

So what’s our solution? Manually, and laboriously, putting in <NOBR> tags around the words that cannot be broken. It’s not efficient but typographically, it makes the text look right and, unless we’ve missed one, we don’t have the problem of guillemets being left on a line by themselves without a word to attach to.

The language is set to fr in the meta tags.

Among our French colleagues, I have seen some go Anglo with their quotation marks and ignoring the traditional French guillemets. Others omit any thin spaces and, consequently, adopt the English spacing rules with punctuation. For some reason, I just can’t bring ourselves to do it, and maybe there is an easier way that we haven’t heard of. I hope nos lecteurs français appreciate the extra effort.

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Posted in business, design, interests, internet, media, publishing, technology, USA, Wellington | No Comments »

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 »

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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Posted in internet, technology, typography | No Comments »

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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Posted in cars, culture, design, France, gallery, humour, marketing, media, publishing, TV, typography, UK, USA | No Comments »

Some surprises on day one with the Xiaomi Redmi Note 9 5G


Top: Decent enough specs for the Xiaomi Redmi Note 9 5G. Above: Very respectable download speeds (in the header) as the phone updates 71 apps.

My Xiaomi Redmi Note 9 5G is here, and it’s proved better than the reviews suggested.
   First up, kudos to the seller, YouGeek on Aliexpress, who not only double-checked to see that I wanted the Chinese version, but was considerate enough to send me, without any prompting, a New Zealand power adapter. The wrapping was the most secure I’ve ever seen from any Aliexpress vendor, like a hefty transparent Michelin man.
   DHL did the delivery two days ahead of schedule, which pleased me no end.
   The phone itself surprised me. I imagined 6·53 inches would be too big and 199 g too heavy, but neither has come to pass. It’s marginally taller than the outgoing Meizus but not ridiculously so, and as I have large hands, the width is fine. I haven’t noticed the weight increase, either.
   The blue finish, which isn’t available on the export Note 9T 5G, is probably the best colour of the three on offer, and frankly I don’t care if the back is plastic or metal. As long as it keeps the bits inside, it’s fine.
   What also isn’t on offer for export is precisely these specs: MediaTek Dimensity 800U running at a maximum of 2·4 GHz, 6 Gbyte of RAM, and 128 Gbyte of internal storage. The model code is M2007J22C.
   Other surprises: it’s Android 11 (security update, October 1, 2021) running MIUI 12·5. Now, whether it was straight out of the box, I can’t swear to, since it prompted me to do an update not too long after I switched on and logged in.
   It did try to get me to give a voice print to unlock its features by saying four Chinese words. Naturally I said them, but it seems Xiaomi doesn’t recognize Cantonese! The fingerprint scanner wasn’t that easy to set up—it took numerous attempts before it recognized my finger—but I got there, and now it’s programmed, the home screen does launch quickly.
   The first order of business was to take myself off ad personalization (so easy, they even take you to the screen during set-up), then download Bromite as the browser, to stop using the clumsy default; and replace Sogou keyboard with Microsoft Swiftkey. The rest was getting the apps to mirror the old phones’, which was pretty simple thanks to various APK sites such as APK Pure. The only one that did not function at all (a blank screen after the logo) was Instagram, but you expect Facebook, Inc. products to be buggy. An Uptodown download of a version from June 2021 solved that.
   Despite what other reviewers found, I discovered that the watermark on the photos was switched off by default. I’ve seen the grand total of one advertisement on the default apps, so the notion that Xiaomi is heavily ad-driven doesn’t seem to be the case with mine. There is a possibility that the combination of Chinese spec, English language, and a New Zealand IP address isn’t one that advertisers want to reach. There are far fewer app notifications than I got on the Meizus.
   After updating the OS, there were 71 apps that also needed the same treatment. Those came down at lightning speeds, even on wifi, at over 20 Mbyte/s.
   I’ve synced my messages, call logs and contacts, though surprisingly the phone could not work out that the New Zealand 02 numbers were the same as +64 2, and those had to be manually added. The old Meizu M2 Note had no such trouble back in 2016.
   The default typeface choice in MIUI is much easier on the eyes than the default Android fonts.
   Interestingly, the default music player here also fails to pick up local music on an SD card, rendering it useless, much like Meizu’s (are they copying one another, to have the same bug?). Once again, it was InShot’s Music Player to the rescue, and it works fine here. Sadly, I do have to relink a lot of the album covers.
   Screenshots aren’t as intuitive, as the volume control invariably appears if you do the power–volume switches’ combination, but a screenshot feature in the pull-down menu does the job.
   The battery life is interesting, as I’ve used it for about six hours since it was charged up to 100 per cent, and it fell to 65 per cent in that time. That tells me the 5,000 mAh is good for 18 hours of sustained usage, which included setting up, Bluetooth-linking it to the car and the M2 Note, running apps, using Here Maps for some navigation, and using some mobile data. I haven’t viewed any videos yet, and I don’t play any games. I’ll be interested to see how it fares on a more regular day: earlier reviews had led me to believe it could last over a day. I’m sure it can without the heavy use I’ve put it through in its first six hours.
   I understand that with the pace of change in China, this phone, launched this week one year ago, is already obsolete, but as far as I’m concerned, I hope I’m future-proofed for another six years—that’s how long the M2 lasted before things like its short battery life and inability to receive some calls became an issue. (And this was despite the M6 Note having come into service from 2018 with a short break to get serviced at PB.) It’s been a very pleasing first six hours, without the stress of having to put on a Chinese OS myself, and continuing to be Google-free.

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Posted in China, design, internet, New Zealand, technology | 1 Comment »