Microsoft Office for Mac is a suite of applications that includes Word for creating text documents and Excel for making spreadsheets. Information in this article applies to Microsoft Office version 2011 running on Macs with the OS X 10.8 operating system. It may vary slightly or significantly with other.
Contents. Terminology In professional typography, the term typeface is not interchangeable with the word (originally 'fount' in British English, and pronounced 'font'), because the term font has historically been defined as a given alphabet and its associated characters in a single size. For example, 8-point Caslon Italic was one font, and 10-point Caslon Italic was another. Historically, fonts came in specific sizes determining the size of characters, and in quantities of or number of each letter provided. The design of characters in a font took into account all these factors. As the range of typeface designs increased and requirements of publishers broadened over the centuries, fonts of specific (blackness or lightness) and (most commonly regular or as distinct to, as well as condensed) have led to font families, collections of closely related typeface designs that can include hundreds of styles. A font family is typically a group of related fonts which vary only in weight, orientation, etc., but not design.
For example, is a font family, whereas Times Roman, Times Italic and Times Bold are individual fonts making up the Times family. Font families typically include several fonts, though some, such as, may consist of dozens of fonts. The distinction between font and typeface is that a font designates a specific member of a type family such as roman, or, while typeface designates a consistent visual appearance or style which can be a 'family' or related set of fonts.
For example, a given typeface such as may include roman, bold, and italic fonts. In the era, a font also meant a specific point size, but with digital scalable outline fonts this distinction is no longer valid, as a single font may be scaled to any size. The first 'extended' font families, which included a wide range of widths and weights in the same general style emerged in the early 1900s, starting with 's (1902–1913), with an initial design by Bertram Grosvenor Goodhue, and many additional faces designed. Later examples include,. Some became superfamilies as a result of revival, such as,; while others have alternate styling designed as compatible replacements of each other, such as,.
PT Serif (above) and PT Sans (below) from the, showing the similarities in letter structure. Began to emerge when foundries began to include typefaces with significant structural differences, but some design relationship, under the same general family name. Arguably the first superfamily was created when Morris Fuller Benton created Clearface Gothic for ATF in 1910, a sans serif companion to the existing (serifed) Clearface. The superfamily label does not include quite different designs given the same family name for what would seem to be purely marketing, rather than design, considerations:, Black and Futura Display are structurally unrelated to the Caslon and Futura families, respectively, and are generally not considered part of those families by typographers, despite their names.
Additional or supplemental intended to match a main typeface have been in use for centuries. In some formats they have been marketed as separate fonts. In the early 1990s, the introduced the idea of expert set fonts, which had a standardized set of additional glyphs, including, and additional superior letters, and not found in the main fonts for the typeface.
Supplemental fonts have also included alternate letters such as, and alternate character sets, complementing the regular fonts under the same family. However, with introduction of font formats such as, those supplemental glyphs were merged into the main fonts, relying on specific software capabilities to access the alternate glyphs. Since Apple's and Microsoft's operating systems supported different character sets in the platform related fonts, some foundries used expert fonts in a different way. These fonts included the characters which were missing on either Macintosh or Windows computers, e.g. Fractions, ligatures or some accented glyphs. The goal was to deliver the whole character set to the customer regardless of which operating system was used. The size of typefaces and is traditionally measured in; point has been defined differently at different times, but now the most popular is the Desktop Publishing point of ¹⁄₇₂ in (0.0139 in or 0.35 mm).
When specified in typographic sizes (points, kyus), the height of an em-square, an invisible box which is typically a bit larger than the distance from the tallest to the lowest, is scaled to equal the specified size. For example, when setting at 12 point, the em square defined in the Helvetica font is scaled to 12 points or ⅙ in (0.17 in or 4.3 mm).
Yet no particular element of 12-point Helvetica need measure exactly 12 points. Frequently measurement in non-typographic units (feet, inches, meters) will be of the cap-height, the height of the capital letters. Font size is also commonly measured in millimeters (mm) and qs (a quarter of a millimeter, kyu in romanized Japanese) and inches. Israeli typographer examines Hadassah Hebrew typeface sketches.
The sequence was shot in his study in (near Jerusalem) in 1978. Type foundries have cast fonts in alloys from the 1450s until the present, although wood served as the material for some large fonts called wood type during the 19th century, particularly in the. In the 1890s the mechanization of typesetting allowed automated casting of fonts on the fly as lines of type in the size and length needed. This was known as continuous casting, and remained profitable and widespread until its demise in the 1970s. The first machine of this type was the, invented. During a brief transitional period (c.
1950s–1990s), photographic technology, known as, utilized tiny high-resolution images of individual glyphs on a film strip (in the form of a film negative, with the letters as clear areas on an opaque black background). A high-intensity light source behind the film strip projected the image of each glyph through an optical system, which focused the desired letter onto the light-sensitive phototypesetting paper at a specific size and position. This photographic typesetting process permitted optical, allowing designers to produce multiple sizes from a single font, although physical constraints on the reproduction system used still required design changes at different sizes; for example, and spikes to allow for spread of encountered in the printing stage. Manually operated photocomposition systems using fonts on filmstrips allowed fine between letters without the physical effort of manual typesetting, and spawned an enlarged type design industry in the 1960s and 1970s. By the mid-1970s, all of the major typeface technologies and all their fonts were in use: letterpress; continuous casting machines; phototypositors; computer-controlled phototypesetters; and the earliest digital typesetters – bulky machines with primitive processors and CRT outputs. From the mid-1980s, as digital typography has grown, users have almost universally adopted the American spelling font, which has come to primarily refer to a containing scalable outline letterforms ( digital font), in one of several common formats.
Some typefaces, such as, are designed primarily for use on. Digital type.
Comparison between printed (top) and digital (bottom) versions of. Digital type became the dominant form of type in the late 1980s and early 1990s. Digital fonts store the image of each character either as a in a, or by mathematical description of lines and curves in an outline font, also called a. Bitmap fonts were more commonly used in the earlier stages of digital type, and are rarely used today. These bitmapped typefaces were first produced by Casady & Greene, Inc. And were also known as Fluent Fonts.
Fluent Fonts became mostly obsolete with the creation of downloadable PostScript fonts, and these new fonts are called Fluent Laser Fonts (FLF). When an outline font is used, a (in the application software, operating system or printer) renders the character outlines, interpreting the vector instructions to decide which pixels should be black and which ones white. Rasterization is straightforward at high resolutions such as those used by and in high-end publishing systems. For, where each individual pixel can mean the difference between legible and illegible characters, some digital fonts use to make readable bitmaps at small sizes. Digital fonts may also contain data representing the metrics used for composition, including pairs, component creation data for accented characters, glyph substitution rules for Arabic typography and for connecting script faces, and for simple everyday like fl. Common font formats include, and, while is still used by and its variants.
Applications using these font formats, including the rasterizers, appear in Microsoft and Apple Computer, products and those of several other companies. Digital fonts are created with font editors such as, RoboFont, Glyphs, 's TypeTool, FontLab Studio, Fontographer, or AsiaFont Studio.
Typeface anatomy. Main article: Typographers have developed a comprehensive vocabulary for describing the many aspects of typefaces and typography. Some vocabulary applies only to a subset of all. Serifs, for example, are a purely decorative characteristic of typefaces used for European scripts, whereas the glyphs used in Arabic or East Asian scripts have characteristics (such as stroke width) that may be similar in some respects but cannot reasonably be called serifs and may not be purely decorative. Serifs Sans serif font Serif font Serif font with serifs highlighted in red Typefaces can be divided into two main categories:.
Comprise the small features at the end of strokes within letters. The printing industry refers to typeface without serifs as sans serif (from French sans, meaning without), or as grotesque (or, in, grotesk). Great variety exists among both serif and sans serif typefaces. Both groups contain faces designed for setting large amounts of body text, and others intended primarily as decorative. The presence or absence of serifs represents only one of many factors to consider when choosing a typeface.
Typefaces with serifs are often considered easier to read in long passages than those without. Studies on the matter are ambiguous, suggesting that most of this effect is due to the greater familiarity of serif typefaces. As a general rule, printed works such as newspapers and books almost always use serif typefaces, at least for the text body. Web sites do not have to specify a font and can simply respect the browser settings of the user.
But of those web sites that do specify a font, most use modern sans serif fonts, because it is commonly believed that, in contrast to the case for printed material, sans serif fonts are easier than serif fonts to read on the low-resolution computer screen. Proportion. See also: and Most share the notion of a: an imaginary horizontal line on which characters rest. In some scripts, parts of glyphs lie below the baseline. The descent spans the distance between the baseline and the lowest descending glyph in a typeface, and the part of a glyph that descends below the baseline has the name. Conversely, the ascent spans the distance between the baseline and the top of the glyph that reaches farthest from the baseline. The ascent and descent may or may not include distance added by accents or diacritical marks.
In the, and (sometimes collectively referred to as LGC) scripts, one can refer to the distance from the baseline to the top of regular lowercase glyphs as the, and the part of a glyph rising above the x-height as the. The distance from the baseline to the top of the ascent or a regular uppercase glyphs (cap line) is also known as the cap height.
The height of the ascender can have a dramatic effect on the readability and appearance of a font. The ratio between the x-height and the ascent or cap height often serves to characterize typefaces. Typefaces that can be substituted for one another in a document without changing the document's text flow are said to be “metrically identical” (or “metrically compatible”). Several typefaces have been created to be metrically compatible with widely used proprietary typefaces to allow the editing of documents set in such typefaces in digital typesetting environments where these typefaces are not available. For instance, the open-source and have been designed as metrically compatible substitutes for widely used fonts.
Optical sizing During the metal type era, all type was cut in metal and could only be printed at a specific size. It was a natural process to vary a design at different sizes, making it chunkier and clearer to read at smaller sizes. Many digital fonts are offered in a range of styles for different sizes, especially designs sold for professional printing use by companies such as. The art of designing fonts for a specific size is known as.
Others will be offered in only one style, but optimised for a specific size. Designs intended to be printed small may feature larger lower-case letters, chunkier stroke weights and thicker serifs, while fonts intended for display may be more slender. Optical sizes are particularly common for serif fonts, since the fine detail of serif fonts can need to be bulked up for smaller sizes.
Typefaces may also be designed differently considering the type of paper on which they will be printed. Designs to be printed on absorbent paper will be more slender as the ink will naturally spread out as it absorbs into the paper, and may feature: areas left blank into which the ink will soak as it dries.
These corrections will not be needed for printing on high-gloss cardboard or display on-screen. Fonts designed for low-resolution displays, meanwhile, may avoid pure circles, fine lines and details a screen cannot render. Proportional (left-side) and tabular (right-side) numeric digits, drawn as lining figures. Most typefaces, especially modern designs, include a complementary set of numeric digits. Numbers can be typeset in two main independent sets of ways: lining and, and proportional and tabular styles. Most modern typefaces set numeric digits by default as lining figures, which are the height of upper-case letters., styled to match lower-case letters, are often common in fonts intended for body text, as they are thought to be less disruptive to the style of running text.
They are also called lower-case numbers or text figures for the same reason. The horizontal spacing of digits can also be proportional, with a character width tightly matching the width of the figure itself, or tabular, where all digits have the same width.
Proportional spacing places the digits closely together, reducing empty space in a document, and is thought to allow the numbers to blend into the text more effectively. As tabular spacing makes all numbers with the same number of digits the same width, it is used for typesetting documents such as price lists, stock listings and sums in mathematics textbooks, all of which require columns of numeric figures to line up on top of each other for easier comparison. Tabular spacing is also a common feature of simple printing devices such as and date-stamps. Characters of uniform width are a standard feature of so-called, used in programming and on typewriters. However, many fonts that are not monospaced use tabular figures.
![]()
More complex font designs may include two or more combinations with one as the default and others as alternate characters. Of the four possibilities, non-lining tabular figures are particularly rare since there is no common use for them. Fonts intended for professional use in documents such as business reports may also make the bold-style tabular figures take up the same width as the regular (non-bold) numbers, so a bold-style total would appear just as wide as the same sum in regular style. Style of typefaces. The three traditional styles of serif typefaces used for body text: old-style, transitional and Didone, represented by,. Serif, or Roman, typefaces are named for the features at the ends of their strokes. And are common examples of serif typefaces.
Serif fonts are probably the most used class in printed materials, including most books, newspapers and magazines. Serif fonts are often classified into three subcategories: Old Style, Transitional, and (or Modern), representative examples of which are, and respectively. Old Style typefaces are influenced by early Italian lettering design. Modern fonts often exhibit a bracketed serif and a substantial difference in weight within the strokes.
Though some argument exists as to whether Transitional fonts exist as a discrete category among serif fonts, Transitional fonts lie somewhere between Old Style and Modern style typefaces. Transitional fonts exhibit a marked increase in the variation of stroke weight and a more horizontal serif compared to Old Style. Slab serif designs have particularly large serifs, and date to the early nineteenth century. The earliest slab serif font, Antique, later renamed Egyptian, was first shown in 1815 by the English typefounder Vincent Figgins. Roman, italic, and oblique are also terms used to differentiate between upright and two possible slanted forms of a typeface.
Italic and oblique fonts are similar (indeed, oblique fonts are often simply called italics) but there is strictly a difference: italic applies to fonts where the letter forms are redesigned, not just slanted. Almost all serif faces have italic forms; some sans-serif faces have oblique designs. (Most faces do not offer both as this is an artistic choice by the font designer about how the slanted form should look.) Sans-serif typefaces. Main article: Sans serif (lit. Without serif) designs appeared relatively recently in the history of type design. The first, similar to slab serif designs, was shown in 1816 by William Caslon IV. Sans serif fonts are commonly but not exclusively used for display typography such as signage, headings, and other situations demanding legibility above high readability.
The text on electronic media offers an exception to print: most web pages and digitized media are laid out in sans serif typefaces because serifs often detract from readability at the low resolution of. Many have minimal variation in stroke width, creating the impression of a minimal, simplified design.
A well-known and popular sans serif font is 's, popularized for desktop publishing by inclusion with 's LaserWriter laserprinter and having been one of the first readily available digital typefaces., popularized by Microsoft, is a common Helvetica substitute. Other fonts such as, and have also remained popular over many decades. Blackletter typefaces. Main article: Gaelic fonts were first used for the in 1571, and were used regularly for Irish until the early 1960s, though they continue to be used in display type and type for signage. Their use was effectively confined to Ireland, though Gaelic typefaces were designed and produced in France, Belgium, and Italy.
Gaelic typefaces make use of letterforms, and early fonts made use of a variety of abbreviations deriving from the manuscript tradition. Early fonts used for the, also using insular letterforms, can be classified as Gaelic typefaces, distinct from or typefaces. Various forms exist, including manuscript, traditional, and modern styles, chiefly distinguished as having angular or uncial features.
Monospaced typefaces. Main article: Monospaced fonts are typefaces in which every glyph is the same width (as opposed to variable-width fonts, where the w and m are wider than most letters, and the i is narrower). The first monospaced typefaces were designed for typewriters, which could only move the same distance forward with each letter typed. Their use continued with early computers, which could only display a single font. Although modern computers can display any desired typeface, monospaced fonts are still important for, terminal emulation, and for laying out tabulated data in documents; they may also be particularly legible at small sizes due to all characters being quite wide. Most monospaced fonts are sans-serif or slab-serif as these designs are easiest to read printed small or display on low-resolution screens, though many exceptions exist.
CJK typefaces. Main article: CJK, or Chinese, Japanese and Korean typefaces consist of wide-ranging sets of glyphs.
First Asian fonts use brush calligraphy glyphs during Tang Dynasty. Later Song style (宋体字) use thick vertical stroke and thin horizontal stroke developed for wood block printing. Modern computer fonts include all of the ASCII, European Roman glyphs and Cyrillic glyphs and often Persian, Hebrew and Arabic. Most uniquely, however, their native character set's glyphs are designed to fit within a square. This is somewhat similar to monospaced type faces, but allows for vertical, horizontal, right-to-left and left-to-right orientation. They also include a set of Extended Latin characters with glyphs and metrics redesigned for the square in addition to the standard variety.
This commonly results in complex, often conflicting rules and conventions of mixing languages in type. Main article: With CJK typefaces, Mincho style tends to be something like Serifs for the end of stems, and in fact includes Serifed glyphs for Extended Latin and Cyrillic sets within a typeface. Gothic With CJK typefaces, Goth style tends to be something like Sans Serifs with squarish, cut off end-caps for the end of stems, and in fact includes Sans Serif glyphs for Extended Latin and Cyrillic sets within a typeface. Maru With CJK typefaces, Maru style tends to be something like Sans Serifs with rounded end-caps for the end of stems, and in fact includes Rounded Sans Serif glyphs for Extended Latin and Cyrillic sets within a typeface. Display type.
's typeface, printed on a large sign Display type refers to the use of type at large sizes, perhaps 30 points or larger. Some typefaces are considered useful solely at display sizes, and are known as display faces. Most effect typefaces are display types.
Common features of display type include tighter default letter spacing, finer details and serifs, slightly more condensed letter shapes and larger differences between thick and thin strokes; many of these are most visible in serif designs. Many display typefaces in the past such as those intended for posters and newspaper headlines were also only cut in capitals, since it was assumed lower-case would not be needed, or at least with no italics. This was true of many early sans-serif fonts.
In the days of metal type, when each size was cut individually, display types were often cut that were adjusted for display use. These modifications continued to be made even after fonts started to be made by scaling using a pantograph, but began to fade away with the advent of phototypesetting and then digital fonts, which can both be printed at any size. Premium digital fonts used for magazines, books and newspapers do often include display variants, but they are often not included with typefaces bundled with operating systems and desktop publishing software. Comparison between the typeface and its display variant, Perpetua Titling (above). The display type has slimmer stroke width and taller letters. Decades into the desktop publishing revolution, few typographers with metal foundry type experience are still working, and few digital typefaces are optimized specifically for different sizes, so the misuse of the term display typeface as a synonym for ornamental type has become widespread; properly speaking, ornamental typefaces are a subcategory of display typefaces.
At the same time, with new printing techniques, typefaces have largely replaced hand-lettering for very large signs and notices that would once have been painted or carved by hand. Script typefaces. Main article: Script typefaces imitate handwriting. They do not lend themselves to quantities of, as people find them harder to read than many serif and sans-serif typefaces; they are typically used for logos or invitations. Historically, most lettering on logos, displays, shop frontages did not use fonts but was rather custom-designed by signpainters and engravers, so many emulate the styles of hand-drawn signs from different historical periods. The genre has developed rapidly in recent years due to modern font formats allowing more complex simulations of handwriting. Examples include (a quite simple design from 1937) and (a much more complicated digital design).
Mimicry typefaces. Main article: A reverse-contrast type is a typeface in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet printing, the horizontal lines are the thickest. Reverse-contrast types are rarely used for body text, and are particularly common in applications such as headings and posters, in which their unusual structure may be particularly eye-catching. First seen in London in 1821, they were particularly common in the mid- to late nineteenth century in American and British printing and have been revived occasionally since then. They effectively become designs because of the serifs becoming thick, and are often characterised as part of that genre. In recent times, the reverse-contrast effect has been extended to other kinds of typeface, such as designs.
Effect typefaces. Three typefaces designed for headings, offering a clear contrast to body text Some typefaces have a structure that suggests a three-dimensional letter, such as letters carved into stone. An example of this is the genre known as 'inline', 'block' 'outline' or 'shadowed' typefaces.
This renders the interior of glyphs in the background color, with a thin line around the edges of the glyphs. In some cases, the outline shows the glyph filled in with the foreground color, surrounded a thin outline mirroring the edges separated by a small gap.
(This latter style is often used with 'college' typefaces.) Colorized block lettering is often seen in carefully rendered. A 'shadow' effect can also be either designed into a typeface or added to an existing typeface. Designed-in shadows can be stylized or connected to the foreground. An after-market shadow effect can be created by making two copies of each glyph, slightly offset in a diagonal direction and possibly in different colors. Can also be dynamically created by rendering software. The shadow effect is often combined with the outline effect, where the top layer is shown in white with black outline and the bottom layer in black, for greater contrast. An example typeface with an 'inline' effect is, where the shadowed version is more widely distributed than the regular design.
Small print typefaces Some typefaces are specifically designed to be printed at small sizes, for example in telephone directories or on newsprint paper. And, commissioned for telephone directories, are notable examples of this. Small-print designs often feature a large, and a chunky design.
Some fonts used at such sizes may be members of a larger typeface family joining members for normal sizes. For example, the family contains some designs intended for small print use, as do many families with optical sizes such as. In the metal type era, typefaces intended to be printed small contained, small indentations at the junctions of strokes that would be filled up with ink spreading out, maintaining the intended appearance of the type design. Without ink traps, the excess ink would blob and ruin the crisp edge. At larger sizes, these ink traps were not necessary, so display faces did not have them. They have also been removed from most digital fonts, as these will normally be viewed on screen or printed through inkjet printing, laser printing, offset lithography, electrophotographic printing or other processes that do not show the ink spread of letterpress.
Ink traps have remained common on designs intended to be printed on low-quality, absorbent paper, especially and telephone directories. A Latin text used in a sample of Texts used to demonstrate typefaces A sentence that uses all of the alphabet (a ), such as ', is often used as a design aesthetic tool to demonstrate the personality of a typeface's characters in a setting (because it displays all the letters of the alphabet). For extended settings of typefaces graphic designers often use nonsense text (commonly referred to as ), such as or text such as the beginning of 's. Greeking is used in typography to determine a typeface's, or weight and style, and to demonstrate an overall typographic aesthetic prior to actual type setting. Non-character typefaces. Specimens of printed floral borders from an 1897 type foundry specimen book. The process of printing typefaces has historically been far simpler than commissioning and engraving custom illustrations, especially as many non-text features of printed works like symbols and borders were likely to be reused by a printer in future.
Non-character typefaces have therefore been created for elements of documents that are not letters but are likely to be reused regularly. These include: Ornamental typefaces Ornamental (also known as novelty or sometimes display) typefaces are used to decorate a page.
Historically complex interlocking patterns known as were common in fine printing, as were floral borders known as evoking hand-drawn manuscripts. In the metal type era, type-founding companies often would offer pre-formed illustrations as fonts showing objects and designs likely to be useful for printing and advertisements, the equivalent of modern and stock photographs. As examples, the specimen of 1897 offered designs including baseball players, animals, Christmas wreaths, designs for, and emblems such as for government printing. The practice has declined as printing custom illustrations and colour printing using processes such as has become cheaper, although illustration typefaces are still sold by some companies. For the historical definition of display typeface. Symbol typefaces.
Main article: Emoji are pictograms that can be used and displayed inline with text. They are similar to previous symbol typefaces, but with a much larger range of characters, such as symbols for common objects, animals, food types, weather and emotions. Originally developed in Japan, they are now commonly installed on many computer and smartphone operating systems.
Following standardisation and inclusion in the standard, allowing them to be used internationally, the number of Emoji characters has rapidly increased to meet the demands of an expanded range of cultures using them; unlike many previous symbol typefaces, they are interchangeable with the ability to display the pictures of the same meaning in a range of fonts on different operating systems. The popularity of emoji has meant that characters have sometimes gained culture-specific meanings not inherent to the design. Both colour and monochrome emoji typefaces exist, as well as at least one animated design. Music typefaces Typefaces that include musical notes and other needed symbols have been developed to print. Intellectual property. Typefaces are born from the struggle between rules and results.
Squeezing a square about 1% helps it look more like a square; to appear the same height as a square, a circle must be. The two strokes in an X aren't the same thickness, nor are their parallel edges actually parallel; the vertical stems of a lowercase alphabet are thinner than those of its capitals; the ascender on a d isn't the same length as the descender on a p, and so on. For the rational mind, type design can be a maddening game of drawing things differently in order to make them appear the same. & In, the held that typeface designs are not subject to. However, in the USA novel and non-obvious typeface designs are subject to protection. Digital fonts that embody a particular design are often subject to copyright as.
The names of the typefaces can be. As a result of these various means of legal protection, sometimes the same typeface exists in multiple names and implementations. Some elements of the software engines used to display fonts on computers have or had associated with them.
In particular, patented some of the for TrueType, requiring alternatives such as to use different algorithms until Apple's TrueType hinting patents expired in May 2010. Although typeface design is not subject to copyright in the United States under the 1976 Copyright Act, the in (No. C95-20710 RMW, N.D. January 30, 1998) found that there was original authorship in the placement of points on a computer font's outline; i.e., because a given outline can be expressed in myriad ways, a particular selection and placement of points has sufficient originality to qualify for copyright.
Some western countries, including the United Kingdom, extend copyright protection to typeface designs. However, this has no impact on protection in the United States, because all of the to which the U.S. Is a party (such as the, the, and ) operate under the principle of, under which a country is obligated to provide no greater or lesser protection to works from other countries than it provides to domestically produced works. See also. Young, Margaret Levine; Kay, David C.; Wagner, Richard (2004).
McGrew, Mac. American Metal Typefaces of the Twentieth Century (second edition).
New Castle, DE: Oak Knoll Books, 1993: 85–87. Graham, Lisa. Basics of Design: Layout & Typography for Beginners. New York: Delmar, 2002: 184. Apple's Retrieved on 2009-06-21. Retrieved 2013-09-21.
Retrieved 2009-02-22. Cullen, Kristin. Layout Workbook: A Real-World Guide to Building Pages in Graphic Design, Jul 2005: 92. Multilingual Computing and Technology.
Multilingual Computing, Incorporated. Retrieved 2017-06-26. Henderson, L.R.; Mumford, A.M. (20 May 2014). Mumford, Anne M.; Skall, Mark (7 Mar 2013).
Springer Science & Business Media. Raggi, Emilio; Thomas, Keir; van Vugt, Sander (17 Dec 2011). Schaller, Christian (10 October 2013). Retrieved 26 June 2017. Esfahbod, Behdad; TAGOH, Akira; Steffens, Jan; Crozat, Frederic. Retrieved 1 May 2016. Willis, Nathan (19 June 2012).
Retrieved 26 June 2017., Fedora. Frere-Jones, Tobias. Frere-Jones Type. Retrieved 1 December 2015. Reynolds & Koeberlin.
Retrieved 24 May 2015. Hoefler & Frere-Jones. Retrieved 6 October 2015. Retrieved 4 August 2014. Strizver, Elaine. Monotype Imaging. Retrieved 4 August 2014.
Hoefler & Frere-Jones. Retrieved 4 August 2014. Butterick, Matthew. Butternick's Practical Typography. Saller, Carol. Retrieved 4 August 2014.
Bergsland, David. Design & Publishing Center. Retrieved 4 August 2014. Hoefler & Co. Retrieved 29 July 2018. Hoefler & Frere-Jones.
Retrieved 27 September 2014. The Font Bureau, Inc. Retrieved 23 December 2013. Carter, Day, and Meggs.
Typographic Design: Form and Communication. Third Edition. Hoboken, NJ: John Wiley and Sons, 2002: 34. Carter, Day, and Meggs. Typographic Design: Form and Communication.
Third Edition. Hoboken, NJ: John Wiley and Sons, 2002: 35. Williams, Robin. The Non-Designer's Type Book. Berkeley, CA: Peachpit Press, 1998: 16. The Irish character in print: 1571–1923. New York: Barnes & Noble.
First printed as offprint 1924 in Transactions of the Bibliographical Society, 4th Series, Vol. 4, March 1924.).
McGuinne, Dermot. Irish type design: A history of printing types in the Irish character. Blackrock: Irish Academic Press., 2000-06-19. Spolsky, Joel. Joel On Software. Retrieved 15 July 2015.
Joseph Needham, Science & Civilisation in China, Vol. 5 Part 1, Paper & Printing, pg 224-226., 2010-05-31. Retrieved 3 October 2014. Mark Simonson Studio blog. Retrieved 26 December 2014. Shaw, Paul. Retrieved 21 September 2015.
Chachra, Deb. Retrieved 1 October 2014. Shaw, Paul.
Print Magazine. Retrieved 1 October 2014. Barnes & Schwarz. Retrieved 10 August 2015. Lawson, Alexander (1990). Anatomy of a typeface (1st ed.).
Boston: Godine. Peters, Yves. Retrieved 15 August 2015.
Microsoft Typography. Retrieved 12 July 2015. Johnson, Henry Lewis (1991). Decorative ornaments and alphabets of the Renaissance: 1,020 copyright-free motifs from printed sources. New York: Dover Publications.
Hoefler & Frere-Jones. Retrieved 17 August 2015. Plomer, Henry R. Mansfield Center, CT: Martino Pub. Retrieved 17 August 2015.
Johnson, Henry Lewis (1923). Boston, MA: Graphic Arts Company.
Retrieved 17 August 2015. Papaelias, Amy.
Retrieved 20 March 2016. Retrieved 17 August 2015. Hoefler & Frere-Jones. Retrieved 17 August 2015. Blagdon, Jeff (March 4, 2013). Retrieved November 6, 2013. Adam Sternbergh (November 16, 2014).
Kurita, Nakano, Lee. Archived from on June 10, 2016. Retrieved August 16, 2015. CS1 maint: Multiple names: authors list. Negishi, Mayumi. Retrieved August 16, 2015. Retrieved August 18, 2015.
Unicode Consortium. Retrieved June 17, 2015. Hern, Alex. Retrieved August 15, 2015. Jewell, Hannah. Retrieved August 15, 2015. Santos & Jones.
The Atlantic Wire. Retrieved August 15, 2015. El Khoury, Rita (December 11, 2014). Android Police. Retrieved January 15, 2015. Retrieved 21 January 2015. Frere-Jones, Tobias.
Frere-Jones Type. Retrieved 17 April 2016. Frere-Jones, Tobias. Frere-Jones Type.
Retrieved 17 April 2016., 579 F.2d 294 (4th Cir. 1978). Terrence J. Carroll, 10 Santa Clara Computer & High Tech. 139, 172 (1994). Carroll at 168, n.180. Registrability of Computer Programs That Generate Typefaces, 57 Fed.
May 22, 2010, at the., BNA.com. Carroll at 169. Butterick, Matthew (2014),. Pohlen, Joep (2011), Taschen. Garfield, Simon (2010), Just My Type: A Book About Fonts, Profile. Bringhurst, Robert (2012⁴), The Elements of Typographic Style, Hartley & Marks Check date values in: year=.
Jaspert, W. P.; Berry, W. Turner; (1953, 1958, 1962, 1970, 1983, 1986, 1990, 1991, 1993, 2001, 2008.
The Encyclopedia of Typefaces. London: Blandford Press. External links Wikimedia Commons has media related to. Look up in Wiktionary, the free dictionary. Named parts of a letter:., comp.fonts FAQ.
This article deals with font usage in El Capitan 10.11.x through Mojave 10.14.x. Its main purpose is to show you where fonts are located on your system and which can be safely removed. The idea is to keep your font list as small as possible to avoid font conflicts (font conflicts are explained in Section 13). This article will benefit prepress operators and graphic designers the most, but can clear up font issues for most general users as well.
It should be noted that this article is written around the assumption that you are using English as your primary language. The minimum required fonts will be very different for other languages. To view the older version of this article and access information back to OS X, 10.3, click. If you find this article useful, please consider making a donation via.
Contributions to user account [email protected] Thank you. Click to download a PDF version of this article. I first want to mention the notation of file locations. By 'notation' I am referring to the path name. This should help novice computer users and those unfamiliar with standard notation to learn how to navigate to the folders mentioned throughout this article. I can't tell you exactly what the path to your home account looks like (since I don't know your short user name), so here are some handy notes of reference.
A file specification is the entire path from the root of the volume it resides on to the end of the file name. For example, here is the file specification for the Terminal application: /Applications/Utilities/Terminal This is known as a hierarchical file specification in geek terminology, but it's called a canonical filename for short. / The beginning forward slash (as in the example to the Terminal application) of a file specification is always the root level of your boot volume. / The tilde-forward slash pair is always your home directory (folder), i.e., the home folder of the current user login session. So in most cases, the path to the Fonts folder in your home user account would be /Library/Fonts/. Which, if you start by double clicking the icon of the boot drive on the desktop, the path can also be presented as /Users/ youruseraccount /Library/Fonts/. The following words: program, application or app all have the same meaning.
I use them interchangeably throughout this article. This section examines each of the various macOS releases (El Capitan 10.11.x through Mojave 10.14) and provides the recommended minimum list of the fonts to be stored in the System folder for that particular release of the operating system in order for it and most third party applications to run properly. These lists also include the fonts most needed for the web, iLife and iWork. The fonts listed should always be active on your Macintosh for macOS and should not be removed. Note that this first part of Section 1 covers only fonts required in the /System/Library/Fonts/ folder. There is also a root /Library/Fonts/ folder with its own set of required fonts, which will be addressed in the second half of Section 1. From the font lists below, the San Francisco font set is used throughout the system font display purposes.
This set, and the fonts HelveticaNeueDeskInterface.ttc and LucidaGrande.ttc must be present for the Finder and OS installed application menus to work. All other fonts in the /System/Library/Fonts/ folder (that are not included in the lists below by release level) can be removed. You will need Administrative access to delete fonts from this folder. It is advised to save them for future use. Create a new folder on your hard drive and copy them there first. If there are any removed fonts you want to use for a project at a later date, they can always be activated with, or other font manager.
There are many fonts you can still remove from the /System/Library/Fonts/ folder. See section 6 on how to permanently remove Apple's supplied versions of Helvetica and Helvetica Neue in El Capitan, 10.11 if this is important for you. El Capitan 10.11 through Mojave 10.14 added System Integrity Protection to the OS, making it yet more difficult to remove unneeded fonts, but it can still be done. Other than those fonts the OS absolutely requires to function, when it comes to the fonts you prefer to have on your system there is no right or wrong list. My idea of required fonts is based on years in prepress. So like most shops, the number of fonts throughout the system is kept to a minimum in the effort to make sure you will never have a conflict with the fonts a client sends with their project. Actually, the prepress and full service printers I've worked and freelanced for usually have a much shorter list than even those presented here.
Sometimes the barest minimum of fonts they can get away with and still have the OS function. Such shops normally have no unnecessary software installed on their work stations; just what's needed to get production work done. This bare minimum setup has some advantage, but you will then be missing many fonts commonly used on the web.
What then happens is that your browser ends up substituting the missing fonts with whatever font is available. The result is that web pages will display so badly at times that it can be difficult (or even impossible) to navigate them. The bare minimum setup also lacks many fonts that Apple supplied applications require to operate. So for most users having only the bare minimum fonts on your system is not recommended. You can find many different web sites telling you what the minimum font installation for each macOS release should be. Each site has its own reasons for including some fonts that I do not, and others don't include fonts I think should be active. My main decision making was to run every application the OS ships with and many major third party applications, seeing what wouldn't work if a particular font were missing.
The end result is the list of fonts you find here. It's a compromise between the Spartan set most prepress shops use, and what a more fully functional OS needs along with proper display of web pages. Special Notes About Section 1 - Presented in no particular order as each OS release changes the rules a bit. Hopefully each is organized into its own paragraph, but no promises.
Readers who have followed this article for some time will note that Times and Symbol have been added to the required font lists. They were excluded before since this article was originally intended as a guide for prepress, when the article was also much shorter in length. So the lists have been modified to represent what the majority of macOS users should have in their /System/Library/Fonts/ folder, rather than the leaning towards the needs of prepress. For that reason, Courier has been added back into the minimum font lists for the System folder.
As with Times and Symbol, remove Courier if it interferes with your need to use a PostScript version. Users should be aware that not all font managers, and possibly other utilities, will list font names exactly as you see them here. For example, Suitcase Fusion's interface lists Keyboard and Helvetica Neue Desk UI as having a period preceding their names (those come from the font's internal names). Font Book also hides some fonts in its listings from the user in Snow Leopard and later, such as LastResort and Keyboard.
But you shouldn't be removing those fonts anyway. If you haven't already, purchase Adobe's or Linotype's new OpenType PostScript Helvetica fonts if you prefer, or require PostScript fonts for your output. They do not conflict with Apple's Helvetica fonts, so you don't have to fight with the OS supplied fonts as to which ones are active. Use Type 1 PostScript when you have to accurately reproduce a standing older project (see section 6 if this applies to you). One thing to be aware of when you disable Apple's Helvetica.ttc and HelveticaNeue.ttc, is that you are disabling quite a few fonts.
This is because a.ttc is a suitcase which can contain any number of individual fonts. The following list is based on High Sierra. Helvetica: Regular, Bold, Bold Oblique, Light, Light Oblique, Oblique Helvetica Neue: Regular, Bold, Bold Italic, Italic, Light, Light Italic, Medium, Medium Italic, Thin, Thin Italic, UltraLight, UltraLight Italic, Condensed Black, Condensed Bold Beginning with El Capitan, Apple had almost released Helvetica and Helvetica Neue back to the user. Adobe, Microsoft and possibly other third party vendors have not. See the minimum font list for El Capitan for more information. In High Sierra, it appears Apple has stopped using Helvetica and Helvetica Neue for the OS entirely.
Apple's Grapher program is not something normally used in prepress, which relies on the fonts Times and Symbol. As clients frequently use other versions of Times and Symbol, the Apple supplied versions can be excluded from the lists below if you need them out of the way. See section 3 for more on Grapher. A note on the MM fonts in the /System/Library/Fonts/ folder. Since Lion, the Mac OS has continued to install these Multiple Master fonts. Also since Lion, a Terminal command named has existed, which attempts move all third party fonts out of the System, main Library, and the active user account Fonts folders. Run with the -n option, it pretends to go through the steps without actually doing anything; though it still does create the folder Fonts (Removed) in the main /Library/, the /System/Library/ and the active user account folders.
When the Terminal command is run, it produces this 'error' message: These fonts are not part of the default system install. They would have been removed to 'Fonts (Removed)': /System/Library/Fonts/HelveLTMM /System/Library/Fonts/TimesLTMM The message is wrong since a default install of El Capitan through Mojave will install these files. Font Book runs the Unix command fontrestore under the option Restore Standard Fonts. When run, it does indeed remove the MM fonts.
Proof enough for me they're dead. For this reason, they are no longer included in the list of required fonts in El Capitan or later. The initial purpose for these fonts was to duplicate the Adobe Reader's built in MM fonts for use in Preview. These MM fonts no longer exist in the Adobe Reader, and it appears Apple has followed suit, but hasn't cleaned up the OS installers. It should also be noted that this command does not restore all fonts installed by macOS you may have removed from the System or root Library folders. What is does restore are System and root Library fonts you may have removed that also exist in the hidden Recovery partition.
This is a very incomplete set. Some will come back, but most won't. The command also removes fonts which are not part of the macOS original installation. As such, it 'restores' the /System/Library/Fonts/ folder, the /Library/Fonts/ folder to a state which only includes the fonts provided with macOS. The active user account Fonts folder gets emptied out. To make your user account Library folder permanently visible, open your user account by double clicking the icon of the house within the Users folder. It must be the active folder in the Finder in order for this to work.
The fastest way to get to this folder is to be on the desktop (so Finder is shown as the active app next to the Apple logo at the upper left) and press Command+Shift+H. Then choose View Show View Options, or press Command+J.
There will be a check at the bottom labeled Show Library Folder. If the correct user account folder is not open and selected, you will not see this check box. Required fonts in the /System/Library/Fonts/ folder. The following lists, arranged by the release level of Apple's desktop OS, are the minimum recommended fonts.
They represent the minimum number of fonts that allow all macOS supplied apps, and most third party apps to work. The latter being limited to what I can test. Always save copies of all installed macOS fonts before proceeding. If there are apps you use that will not launch after reducing your fonts to these lists, enable the copied fonts one at a time with your font manager (or just temporarily move or copy them into the Fonts folder of your user account) and test the app again. Keep adding until the app launches successfully.
Permanently add that font back to the system. As an example, some of the Adobe CS6 and CC 2018 apps will not launch if Helvetica is missing. Or, parts of them will not display properly. Such testing is sometimes more involved than that. For instance, the early release of Microsoft Office 2016 would not reliably launch unless HelveticaNeue.dfont was specifically in the /System/Library/Fonts/ folder. Any time you manually remove fonts, you should clear the font cache files from the system.
Remove all fonts first, then see section 17 for instructions. The method using Terminal at the bottom of that section is the easiest. If you use Font Book, you should reset its database (section 7) In the attempt of being verbose, the System font lists were getting rather lengthy. To greatly shorten them, I've condensed the San Francisco fonts to one line. All fonts that start with SF in the /System/Library/Fonts/ folder stay.
![]()
macOS, 10.14 Mojave Apple has again expanded the number of San Fransisco fonts in macOS. There are now 79 in Mojave. The required fonts for Mojave are the same as High Sierra, plus the new, additional SF fonts. Apple continues the orphanage of a handful of its own supplied fonts. Those currently being Athelas.ttc, Iowan Old Style.ttc, Marion.ttc, Seravek.ttc and SuperClarendon.ttc. As before, you can use these fonts in any third party app, but they will not appear in any app written and supplied by Apple. The fix is the same as in High Sierra.
You must retrieve the same named fonts from Yosemite and replace those installed by Mojave. To remove fonts from the /System/Library/Fonts/ folder in Mojave,. With SIP disabled, you can put the system fonts you don't want in the trash and empty it. No need to first restart the Mac before the OS will let you do that. Re-enable SIP when you've finished removing the fonts. Or, you can startup to another bootable drive and remove system fonts from the non-startup drive without disabling SIP at all.
Only your admin credentials are required. There's an issue now with most font managers, including Font Book. If you try to reactivate copies of any removed fonts from the /System/Library/Fonts/ folder with your font manager, most will not appear in its list of imported fonts. You may also get a message about not having permission to read the fonts. This only happens with fonts you've removed from the System folder, and only with some, but not all font managers.
Font Book, Suitcase Fusion and FontExplorerX Pro all have problems with these fonts. FontAgent is unaffected. Fortunately, there's a simple solution. If you do need any fonts previously in the System folder activated, you can manually place them in the Fonts folder of your user account. The minimum fonts recommended for Mojave in the /System/Library/Fonts/ folder are: Apple Color Emoji.ttc AppleSDGothicNeo.ttc Avenir.ttc Courier.dfont Geneva.dfont Helvetica.ttc HelveticaNeue.ttc HelveticaNeueDeskInterface.ttc Keyboard.ttf LastResort.otf LucidaGrande.ttc Menlo.ttc Monaco.dfont PingFang.ttc SF (all San Fransisco fonts) Symbol.ttf Times.ttc ZapfDingbats.ttf ヒラギノ角ゴシック W3.ttc Fonts updated in 10.14.2 Apple Color Emoji.ttc Helvetica.ttc HelveticaNeue.ttc HelveticaNeueDeskInterface.ttc Menlo.ttc macOS, 10.13 High Sierra I like easy. This version of the macOS turned out to be like that.
The minimum fonts are almost the same as Sierra. There are quite a few more San Francisco fonts than previous. In Sierra, there were 33. In High Sierra, there are now 58. An early update to High Sierra changed something that affected the display of emojis in Messages. Possibly a framework installed for the Safari 11.0.1 update. Whatever the cause, Messages now requires the fonts AppleSDGothicNeo.ttc and ヒラギノ角ゴシック W3.ttc to display emojis.
Otherwise, all you get is the question mark in a box from the font LastResort. These two fonts have been added to the minimum font list for the System folder. The five (now six) fonts that will not work properly in El Capitan or Sierra (Athelas.ttc, Charter.ttc, Marion.ttc, Seravek.ttc and SuperClarendon.ttc) continue to be a problem in High Sierra.
The issue was momentarily fixed in Sierra, but they went missing again as of 10.12.2. These five fonts remain in limbo with High Sierra.
Iowan Old Style.ttc has joined this list in High Sierra. When I first tested the original five known problem fonts upon High Sierra's initial release, renaming the fonts still worked.
One of the recent updates to High Sierra caused renaming the fonts to stop working. It made me wonder if removing the buried.ATSD and.fontinfo data still worked. I booted into Recovery mode to turn SIP off, then removed all of the info data for those fonts. Not after a restart, clearing font caches, or renaming the fonts on top of removing the data info.
None of Apple's apps will recognize these six fonts as being on the system. Microsoft Office, Adobe's and everybody else's software does. Just not Apple's. At this time, the only fix is to copy these fonts from Yosemite and completely replace the High Sierra versions. That is, if you need to use these six particular fonts in Pages, TextEdit, or whatever Apple software you're using.
10.13.4 updated quite a few fonts, one of which was Charter.ttc. That font now works everywhere. However, Apple continues to ignore the other five that don't work. You still need to pick up Athelas.ttc, Iowan Old Style.ttc, Marion.ttc, Seravek.ttc and SuperClarendon.ttc from Yosemite if you want to use them in any of Apple's supplied apps. Here's one I didn't think I'd ever see, and is something press and prepress shops in particular will love!
Though I can't fully guarantee this, it looks like Helvetica and Helvetica Neue are now completely unhooked from the OS. Removed from the System folder, there wasn't a single OS supplied app that wouldn't launch, or behave incorrectly with them gone. I would have to assume the OS and all Apple supplied apps now use San Francisco for all display purposes. Experiment as you wish with this possibility if you're of the group that has to wrestle with the OS versions of Helvetica and Helvetica Neue conflicting with your older Type 1 PostScript versions.
All of the Adobe CC 2018 apps I have installed launched without either font set active. But, Premiere Pro displayed boxed question marks (from the system font, LastResort) where the timer numbers should be. So it is obviously using either Helvetica or Helvetica Neue. Office 2016 surprised me. Given the fact it wouldn't even launch in its earlier point release versions if Helvetica Neue was missing; Word, Excel, PowerPoint and Outlook all launched and behaved as if nothing were wrong.
This is all moot for most users. Helvetica and Helvetica Neue are used rather extensively on the web. And other than people like me who have to work around these fonts in prepress, there isn't a good reason to remove them. So, I've left Helvetica and Helvetica Neue as required fonts. Apple has just about killed off their proprietary.dfonts in favor of OpenType. There are only three.dfonts left in High Sierra. Courier, Geneva and Monaco.
Even the fonts in /Library/Application Support/Apple/Fonts/ are now all.ttf or.ttc. The only three that aren’t are in the Deprecated folder.
To remove fonts from the /System/Library/Fonts/ folder in High Sierra,. With SIP disabled, you can put the system fonts you don't want in the trash and empty it. No need to first restart the Mac before the OS will let you do that. Re-enable SIP when you've finished removing the fonts.
Or, you can startup to another bootable drive and remove system fonts from the non-startup drive without disabling SIP at all. Only your admin credentials are required. To enable or disable SIP, you can: 1) Restart and hold down the Command+R keys to boot into Recovery Mode. 2) Restart and hold down the Command+Option+R keys to boot into Internet Recovery Mode. 3) Start up to a bootable USB flash drive you have created using a full installer of El Capitan or later. Use the OS version that matches what you have installed on your Mac. Plug in the flash drive, restart the Mac and immediately hold down the Option key.
Choose your flash drive from the menu of available startup drives with either the mouse or keyboard. Once at the main work screen, launch Terminal from the Utilities menu. Enter the command: csrutil disable You should get a message that System Integrity Protection has been successfully disabled. Then enter the command: reboot You can now remove fonts from the /System/Library/Fonts/ folder while booted to Sierra or later.
The OS will behave the same as in Yosemite and earlier. Put the fonts you want to remove in the trash, enter your admin password when prompted, and then empty the trash. El Capitan is different. It won't let you empty the trash until you restart the Mac.
Only after you've emptied the trash can you re-enable SIP. As of High Sierra 10.13.4, you can no longer remove any OS installed app that are on the startup drive using the Finder. With SIP enabled, the OS tells you the app is required by the OS. With SIP disabled, you used to be able to remove any apps by placing them in the trash and entering your admin password. You now get a slightly different message saying the item can't be deleted. This leaves two options: 1) Boot to another drive or partition so you can delete whatever you want from the non-startup drive.
Only your admin password is required to complete the action. 2) With SIP disabled, use Terminal to delete unwanted apps. Mainly, Font Book for the purpose of this article. The command to remove Font Book is noted in section 7. With SIP disabled, this change does not affect the removal fonts in the System folder.
Only your admin password is required. It's not a good idea to leave System Integrity Protection disabled. The idea of it is to protect system folders from malware that already exists (mostly in the form of adware at this time), and is beginning to become more prominent in macOS. With SIP enabled, such software will not be able to install to critical system folders. If they do (such as kernel extensions), the software will not be allowed to run. SIP also protects apps installed by macOS from injection of unwanted code.
Once you have pared down your fonts in the /System/Library/Fonts/ folder and deleted them, startup according to one of three above methods again. Only this time in Terminal, enter: csrutil enable You should get a message that System Integrity Protection has been successfully enabled. Then enter the command: reboot. This section describes other fonts you may need available at all times depending on the software you use.
Geneva I have found no reference that requires Geneva, but it's best to leave it as it has long been a standard font for the Macintosh OS. Helvetica Some of the macOS supplied applications that will not launch if Helvetica is missing are mentioned in Apple Knowledge Base article. While not listed in that particular article, iChat is another application which requires Helvetica, as does iCal.
If you've seen the message, 'Internal Error' when starting iChat, you're missing Helvetica. Some Adobe CS/CC apps will not launch if Helvetica is missing.
Mail in High Sierra still has a dependency on one of the Helvetica fonts. It will launch and display normally if Helvetica is missing, but if you do a Search, the Results listing will fall back to LastResort.
Helvetica Neue The Office 2016 apps will not launch if Helvetica Neue is missing (earlier point releases only, now fixed). There's no good reason to remove the macOS supplied versions of Helvetica or Helvetica Neue unless you work in prepress, advertising, design, etc., where you must be able to use a different version of these type faces (see section 6).
If you don't, leave them be. IPhoto 7 and iLife 08 both require the presence of Helvetica Neue.
Mail also requires MarkerFelt, or the Notes portion of the application won't open. Notes has been separated as an individual app from Mail starting in Mountain Lion 10.8. Times If you are using the Monaco (X-Rite) GamutWorks application, it requires Times to function. This can be the Times.dfont supplied with macOS, an OpenType or a Type 1 PostScript version. But it must be Times. Times New Roman or any other variation of the Times typeface will not work.
This is actually outdated information since GamutWorks is PowerPC only software. Apple's Grapher application also requires Times.
Like Monaco's GamutWorks, it must specifically be Times. In addition, Grapher also requires Symbol. Without Times, Grapher will not launch, instead giving you a message that there was a problem with the application. If you have Times open but not Symbol, Grapher will launch but then erroneously tell you there is a font conflict, when in reality it's just that Symbol is missing.
Symbol MailMate requires Symbol. Zapf Dingbats iTerm2 requires Zapf Dingbats. ヒラギノ角ゴ ProN W3 If you are using DxO Optics Pro, even if English is set as your language, it will fail to launch if this font is missing. Apple Gothic In macOS, the Messages app will not launch if Apple Gothic is missing. Suitcase Fusion: All information for older versions of Suitcase can be found in the old article link.
This information refers to Suitcase Fusion 8. To manually reset Suitcase Fusion, go to the /Library/Extensis/Suitcase Fusion/ folder, remove the file Suitcase Fusion.fontvault and restart your Mac. You can also replace this file in Suitcase's preferences. Click 'New Vault' and choose the same location, which will appear by default. Say yes to replace the current vault. Preserving fonts in the vault for Suitcase Fusion: A warning with the above method for resetting all versions of Suitcase Fusion.
If you have Suitcase set to store fonts you activate in its vault and you delete its database, they will all disappear with it. If you always activate fonts in place and never use the vault, then removing the database is safe to do at any time with any version of Suitcase Fusion. If you are using the vault and need to reset any version of Suitcase Fusion, follow these steps first to save the fonts stored in the vault. 1) Your sets will be listed in the left pane under the 'Font Library' heading. Highlight the first set and then Shift+click on the last set to select all. Press Command+D. It will ask you where you want to save your fonts.
Navigate to an existing folder or create a new one. Choose your target folder and press the Choose button. Suitcase will save full copies of the vault fonts to that folder. They will also be saved in subfolders by the same name of all sets you had them separated. 2) Quit Suitcase. 3) Go to your user account and remove the vault database noted above.
Relaunch Suitcase Fusion. 4) Go to the folder you had saved your vault fonts to and drag and drop the subfolders of fonts into the Suitcase application.
This will add them back to the vault and recreate your sets by the same names you were using before. If you work in a professional prepress environment, then this section will be important to you. Do you need to remove Apple's Helvetica fonts?
I note this since not everyone reading this section may be clear on why you would want or need to do this. Apple made the unfortunate decision to give their Helvetica fonts the exact same internal names as the long standing Type 1 PostScript fonts from Adobe and Linotype.
This creates a fixed font conflict that can be definitively resolved only by removing Apple's fonts from the system. This does not affect the newer OpenType Helvetica fonts available from Adobe and Linotype as they do not have the same internal names, and can therefore peacefully coexist with Apple's versions. Since it can be imperative to use the exact same version of a font that was used to create a project, the conflict with the older Type 1 Helvetica fonts makes it necessary to remove Apple's fonts. This all started long before OS X/macOS. Apple's Helvetica fonts have always conflicted with the Type 1 versions; but back in OS 9 and earlier, no one cared. Apple wasn't using their Helvetica versions in the interface or any of its applications, so it wasn't a problem to remove Apple's Helvetica fonts from the hard drive and put your Type 1 fonts in their place. Then came OS X and Apple decided to start using Helvetica rather extensively in its applications design, forcing it to become a required font.
For the typical home user, there is no need to replace the supplied.dfont,.ttf or.ttc versions of Courier, Helvetica or Helvetica Neue. The information in this section is intended for advanced users.
If you have no need to use older Type 1 PostScript or other older conflicting versions of Helvetica, Helvetica Neue or Courier, then please disregard these instructions. This avoids the possibility of your Mac becoming unusable by accidentally removing critical system fonts. For El Capitan, Helvetica is only used for Notes, but is required for other third party apps. Helvetica Neue can be removed. In all following cases, if you use Font Book and have manually removed Apple's Helvetica fonts, you must also reset Font Book's database. A damaged or orphaned Font Book database can also cause other font managers to be unable to activate or deactivate fonts, even if the Font Book application is not on the hard drive.
It can even prevent fonts from activating that you manually place in a Fonts folder. So whether you use Font Book or not, you must delete/reset its database after manually removing fonts from the system. See section 7 under 'Resetting Font Book's database' for more details. If you have already removed Font Book and reset its database, you do not need to repeat these steps.
Removing Helvetica fonts in El Capitan through Mojave. Copy Helvetica.dfont and HelveticaNeue.dfont to another location (these are.ttc fonts in High Sierra) and then remove them from the /System/Library/Fonts/ folder. You will need to, or start up to another bootable drive/partition. Suitcase Fusion and Helvetica fonts. Suitcase can automatically circumvent the Apple Helvetica fonts. 1) You can then delete the Font Book application if you wish (and actually, should). 2) Clear all font cache files and restart.
See section 17 for more on font cache removal. 3) In Suitcase Fusion's preferences, make sure the radio button for 'Activate the requested font' is on. Also, have the check box on for 'Notify if a conflict occurs'. You should always know when a font you're activating is turning another one off that you may need for a current project (this check box has disappeared in Suitcase Fusion 8). Now you can leave Apple's Helvetica fonts right where they are in the System folder. When you open a conflicting Helvetica font (normally a Type 1 version) it will pop up a box that fonts you are opening conflict with the System fonts.
Continue and Suitcase Fusion automatically deactivates the system fonts in favor of the Helvetica fonts you just turned on. When you deactivate your Helvetica fonts, the Apple Helvetica system fonts are turned back on for you.
I have double and triple checked this in various applications, turning Type 1 fonts on and off while I had a document open. Activate your Type 1 Helvetica fonts and the Apple fonts disappear from the available font menus. Deactivate the Type 1 versions and the Apple fonts are once again back.
Same with the Helvetica Neue fonts. If you'd rather be completely sure rather than relying on Suitcase's system to work, you may still want to remove Apple's fonts from the system folder and manually activate them from a different location when you don't need another version of Helvetica active. General information for third party programs.
Microsoft Office 2016 used to have various issue if Helvetica Neue was absent, or was simply not the OS installed version. Version 15.39 and later don't require the presence of Helvetica Neue at all. The Adobe apps aren't fussy. You can completely disable Apple's version of Helvetica and enable a Type 1 PostScript version.
So that at least is nice for prepress and other users of Type 1 PostScript fonts. You can have the T1 PS fonts open for a project and still have all of your Adobe apps work. MacOS uses a folder priority to locate and open fonts. This list is in order from highest priority to lowest. /Library/Fonts/ /Library/Fonts/ /Network/Library/Fonts/ /System/Library/Fonts/ /System Folder/Fonts/ (the OS 9 Fonts folder) (Source: Apple Knowledge Base article ). Fonts activated from Suitcase or other third party font manager not located on the Mac in any of the above folders are given the least priority overall.
You can see then that a version of Helvetica activated by your font manager will be superseded by any version of Helvetica located in any of the previously listed folders. In order to use your PostScript fonts activated by your font manger, all like named versions must be removed from the higher priority folders. (Suitcase Fusion can bypass this limitation and override the system fonts). MacOS's Font Book has preferential treatment here. By that, I mean fonts you activate using Font Book will get a higher priority over other font managers as it uses the folders listed above to activate and deactivate fonts.
This, if you're using the default method of adding fonts in Font Book. They are copied to the Fonts folder of your user account.
As you can see in the list above, that folder has the highest priority. The advantage of Font Book (besides being free) is that by knowing these rules, you can try to quickly force preference of one font over another of the same name by placing the font in a Fonts folder that has a higher priority, although you should always avoid knowingly doing this.
A font conflict will almost always prevent either font from showing up in any application if both are active. Font Book in El Capitan, 10.11 The preferences have been simplified.
There is no longer an alert for system font changes. Font Book preferences in Mavericks though El Capitan Font Book in Sierra, 10.12 through Mojave, 10.14 And now even Automatic font activation has been removed from the preferences.
Testing with both a Collection and a Library set confirms that auto activation has been removed from Font Book. Any fonts I disabled that were used in a test document were not turned back on when I opened the file again.
Font Book preferences in Sierra through Mojave Resetting Font Book's database At times, Font Book's database can become corrupt. Usually from opening too many fonts, or fonts that are damaged. When you activate fonts with Font Book using the original method, not only are all fonts you've ever activated copied to the Fonts folder chosen in its preferences, but those fonts are also added as entries in its database (Library sets do not copy the fonts, but still do become entries in the database).
Font Book uses this database to keep track of which fonts are active and which are not. The more there are, the longer it takes for your Mac to start up as Font Book must compare each font to the information in the database during startup to determine if a given font should be on or off. If the database becomes damaged, it can take a very long time for your Mac to start up to the desktop. If it's really mangled, your Mac may not finish booting at all.
Another symptom of a damaged database is not being able to activate or deactivate fonts from Font Book's interface. Manually removing fonts from your system will also 'damage' Font Book's database, so to speak. Font Book does not correct itself when you manually remove fonts that are listed in its database; not even after a restart.
It then contains links to non existent fonts which causes the program to behave in the same manner as a corrupt database. You'll find that you cannot activate or deactivate certain fonts, or any at all. El Capitan through Mojave each have their own methods for resetting Font Book. To reset Font Book completely in El Capitan, 10.11.x through Mojave, 10.14.x, do one of the following. 1) Restart your Mac and immediately hold down the Shift key when you hear the startup chime to boot into Safe Mode.
Keep holding the Shift key until macOS asks you to log in (you will get this screen on a Safe Mode boot even if your Mac is set to automatically log in). Let the Mac finish booting to the desktop and then restart normally. This will clear Font Book's database and the cache files for the user account you logged into in Safe Mode. 2) Quit Font Book. Open the Preferences folder in your user account, put the following two files in the trash and restart: com.apple.FontBook.plist com.apple.FontRegistry.user.plist The file com.apple.FontBook.plist keeps track of Font Book's general preferences and activated fonts, whether as a standard or library collection. Com.apple.FontRegistry.user.plist keeps track of deactivated fonts.
This method of resetting Font Book is faster than the first, where you have to restart twice. Removing Font Book As noted in section one, you really, really don't ever want more than one font manager on your hard drive at a time.
So, if you don't use Font Book, it should be removed. You also need to remove its database. Leaving Font Book's database on the drive can interfere with other font managers, even if the Font Book application itself isn't running, or no longer exists on the hard drive. MacOS will read this database (if it exists) during startup, or when logging into another account. Based on what that database says, macOS will fight to keep fonts active that the database says are supposed to be active, thus possibly preventing your preferred font manager from operating correctly. Apple has protected both the Applications and Utilities folders for any program installed by the OS. This makes it a bit more difficult to remove Font Book, but not impossible.
If you try to trash Font Book from the desktop, the OS states Font Book can't be modified or deleted because it's required by macOS. Don't take this message to mean Font Book is now an immutable part of the OS. El Capitan through Mojave say this about anything it installed when you try to them delete from the Applications or Utilities folders.
It's hard to believe that Chess, Photo Booth, Stickies, or quite a few others are 'required' by the OS. It will run just fine without them. 1) Follow steps 1 or 2 above under Resetting Font Book's database.
The goal here is to remove Font Book's database. 2) Clear all font cache files from the system and restart. The Terminal method for this is explained at the very end of section 17.
Do not launch Font Book after this, or you'll just have to repeat these two steps. In order to remove Font Book, you will have to either temporarily, or start up to another drive.
The latter is much easier since anything on a drive or partition that is not the startup drive can be removed without disabling SIP. You just need your admin credentials. If you disable SIP and restart to the same drive you want to remove Font Book from, use either of these steps: 1) Open the Terminal application in the Utilities folder. Highlight and copy the following blue.
Comments are closed.
|
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |