Instead of doing the “Google Maps is the world standard so screw local cultural conventions” thing, Apple seems to be going out of its way to embrace them:
The maps need to be usable, but they also need to fulfill cognitive goals on cultural levels that go beyond what any given user might know they need. For instance, in the U.S., it is very common to have maps that have a relatively low level of detail even at a medium zoom. In Japan, however, the maps are absolutely packed with details at the same zoom, because that increased information density is what is expected by users.
In Japan Yahoo Japan Maps is the gold standard to beat but it looks like Apple Maps is about to get interesting again.
OpenType Variable Font support in focused on browsers and Adobe apps
CSS is the main focus of variable font support
Typo Labs 2018 had some interesting updates on OpenType Variable Fonts (OTVF), where they are now and roadmap directions to the future. The most interesting presentation by far was Jason Pamental’s Variable Fonts and the Future of Typography. One benefit of using variable fonts in our era of multiple digital devices is that maximum readability for any given content can be optimized across devices with optical sizing which doesn’t sound very sexy but pays big dividends.
Apple leverages this with the variable font capability in their San Francisco system font. It’s the thing that makes Dynamic Type dynamic and has existed on macOS since the QuickDraw GX era, Apple’s TrueType GX fonts provided the technology base for OTVF. Pamental stresses that there are many more important benefits to variable fonts than just optical sizing and the future of digital typography needs to incorporate them. I strongly agree with Pamental’s view but I also see problems.
The initial focus for OpenType variable fonts has been CSS web development and optical sizing support is in already in Safari and Chrome with Firefox and Edge joining any day. You can see and play with variable font examples on Axis-Praxis (ignore Arphic’s hideous AR UDJingXiHei font, it’s some Chinese designer’s idea of a Japanese font). So far, so good.
We Have Been Here Before
The real problem is going to be the same problem we had before with OpenType: advanced typography feature fragmentation. I interviewed one of the top Japanese font engineers back in late 2003, Tomihisa Uchida of Iwata Corporation and he explained the problem. At that time Adobe was pushing the Japan market away from the expensive Japanese Postscript printer font model to the dynamic font download model of OpenType Japanese fonts with PDF and InDesign J. What Uchida san said in 2003 is still true today:
I work with newspaper fonts and layout. Newspaper font designs are different because the text is always vertical. Fonts need good layout to look their best.(Japanese) OpenType has fractions, third-width and quarter width glyphs, but most applications are not OpenType-feature aware so it’s a real waste. The result is pretty ugly.
Right now, the only OpenType (Japanese) layout engine out there is InDesign (J)…(this) means you have to use InDesign to access OpenType advanced typography…no matter what kind of fancy fonts you have, they look bad with poor typography.
Advanced Typography Feature Fragmentation in Action
You can see and test this problem for yourself on macOS with the recently revived egword Universal 2 Japanese word processor app and Pages. Hiragino Japanese OpenType fonts bundled with macOS are chockfull of advanced typography features (both AAT and OpenType tables) mentioned by Uchida san and much more: glyph variations, vertical substitutions, extended character sets, etc. The full set is listed in the crusty old macOS Fonts >Typography palette.
Hiragino has many advanced typography features but they don’t work across apps or platforms. Some listed features such as glyph variants are completely broken. Pages accepts some of the Hiragino advanced features but does not offer vertical text layout, a basic Japanese typography requirement because the Pages team only implements the lowest common denominator typography features that work across WebKit, macOS and iOS.
egword Universal 2 has excellent Japanese vertical and horizontal text layout but ignores Typography palette advanced fonts options in favor of its own app palette which only offers a sub-set of Hiragino font features.
The only place to use the whole Hiragino feature shebang is a trip to InDesign Creative Suite J. What’s the matter with you, don’t you have one?
egword Universal 2 ignores the Hiragino font features in macOS Typography palette but deploys a limited subset in its own palette
Pages accepts some Hiragino options offered in macOS Typography palette but glyph variants are broken in macOS Mojave
Variable Fonts and What’s Missing
Where do OpenType Variable Fonts fit in this scenario? What and how are features offered and how does an app present them to the poor user who might want to use them?
The answer is something I have been trying to write about from my very first blog post and revisited last week. 3 years in I think I finally understand it: it’s the QuickDraw GX vision thing. It is not the API or any of the GX technology that westerners got hung up on and missed the big picture. I wrote:
QuickDraw GX, the vision part not the API, was the only major text layout architecture in a major OS I know of that treated all typography from anywhere as one single thing available to all applications. The Steve Jobsian ‘it just works’ for the entire world’s advanced typography.
The critical difference was the GX vision of the world’s advanced typography and layout as one unified common fundamental thing that just works and is available everywhere seamlessly across the OS and all apps. All this advanced typography stuff doesn’t work unless it is one unified thing. Apple is the only company in the world that owns both the software and hardware across personal computer and mobile platforms so it comes down to 2 points.
One: If Apple can’t come up with an advanced typography vision again, OpenType Variable Fonts will suffer the same advanced typography feature fragmentation fate that OpenType advanced typography has suffered from all along: it will live in the Adobe app ghetto which is fine for the designers who live and work there, but it never leaves that world. It will be ignored by most of the developer community because they can’t figure it out on their own when different advanced typography features are fragmented and scattered across OS platforms and frameworks (UIKit, AppKit, Core Text, WebKit). And when app developers ignore it font developers are much less inclined to support OTVF, especially Japanese and Chinese font developers who have exponentially larger development costs than Roman based font developers.
When that happens typography remains stuck at the lowest common denominator feature set but users will never know the difference, or have the opportunity to find out. The end result is that after all this time, 22 years later and counting, fancy fonts still look bad with the poor typography we end up getting. That’s sad.
Two: Only Apple can give us world savvy advanced typography and layout as a one thing OS vision model for the rest of us. That might be too much to ask for in this era where open web standards dictate what kinds of, ahem, western centric advanced typography we get, but if Apple can’t do it, nobody can.
One thing has remained constant in Apple’s long strange text layout architecture odyssey from QuickDraw GX to ATSUI to Core Text: with any big change advanced typography is the first casualty. Priorities change, this is natural, but what often happens is a reset back to the basics with advanced typography features restored over time according to new priorities.
This is especially true for the higher level text frameworks built on the underlying text architecture as Apple constantly rejiggles priorities of what advanced typography features belong at the high level vs. what stays in the deep dark scary Core Text. Developers stick with what they know instead of adding new text features, so the typography experience of most apps, regardless of platform, remains blah and ‘western centric’.
This is about to get worse as Apple figures out what bits of UIKit (TextKit calling) are going to join macOS and screw hold hands with AppKit.
Take vertical layout for example. Japan is the last major market that requires it as China, Korea and other Asian countries sold out their rich typography culture and history for western created digital typography technologies that always treated non-western typography as an outliner, never a true equal. Japanese developers had to fight to get basic vertical text support in EPUB v2 and it still sucks getting vertical text EPUB to display or print in WebKit or any web based thing for that matter. Yes, after all this time the World Wide Web is still the Roman Wide Web.
QuickDraw GX, the vision part not the API, was the only major text layout architecture in a major OS I know of that treated all typography from anywhere as one single thing available to all applications. The Steve Jobsian ‘it just works’ for the entire world’s advanced typography. Since then Apple has broken typography features into different bits assigning them to different frameworks: bidirectional layout goes up in the high level, real vertical layout remains down there in Core Text.
AppKit has some high level vertical layout features but nobody uses them, Apple included (ahem Pages), because UIKit and WebKit don’t offer the same. One veteran Japanese font engineer explained the challenges: “UIKit doesn’t support real vertical text layout, the Japanese punctuation and glyph spacing is all wrong. The easier thing for an app developer to do is bundle a display only Japanese vertical font just for displaying vertical text in the app. Go ask the programmers at Monokakido, I’m sure that’s what they have to do with their iOS Japanese dictionary apps.” And so it goes.
It’s not just text layout either. How do OpenType Variable Fonts fit into this picture? How will developers deploy them and users interact with them? The crusty old macOS advanced typography font feature palette model is so passé it’s painful to look at, let alone use. So nobody uses it, I doubt they ever did.
The GX advanced typography vision thing, or any vision thing for that matter, would be a welcome guide map. Apple had it once, let’s hope they find it again. Otherwise it will be a bumpy ride. Again.
After a 10 year absence the best macOS Japanese word processor app has finally returned. egword Universal 2.1 is available for download from the Mac App Store in Japan. The price is ¥7,800 with a special offer of ¥3,800 until April 30.
egword Universal was a major re-write of the original Japanese DTP workhorse app and the world’s first macOS word processor built top to bottom with the then brand new CoreText framework in 2007 featuring the very best Japanese typography. Norihito Hirose of MONOKAKIDO bought the rights to his program in late 2017 and has been hard at work bringing the code up to date.