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TrueType is an outline font standard developed by Apple in the late 1980s as a competitor to Adobe's Type 1 fonts used in PostScript.It has become the most common format for fonts on the classic Mac OS, macOS, and Microsoft Windows operating systems. The primary strength of TrueType was originally that it offered font developers a high degree of control over precisely how their fonts are. Free Outline Fonts. « previous 1 2 3 4 5 6 7 8 9.33 34 next ». 2Peas RP Mosaics Download. Category Mac OS fonts. Please contact us or report DMCA via email: contact@sharefonts.net. Looking for Mac fonts? Click to find the best 66 free fonts in the Mac style. Every font is free to download!

TrueType is an outline fontstandard developed by Apple in the late 1980s as a competitor to Adobe's Type 1 fonts used in PostScript. It has become the most common format for fonts on the classic Mac OS, macOS, and Microsoft Windows operating systems.

The primary strength of TrueType was originally that it offered font developers a high degree of control over precisely how their fonts are displayed, right down to particular pixels, at various font sizes. With widely varying rendering technologies in use today, pixel-level control is no longer certain in a TrueType font.

History[edit]

TrueType was known during its development stage, first by the codename 'Bass' and later on by the codename 'Royal'.^[2] The system was developed and eventually released as TrueType with the launch of Mac System 7 in May 1991. The initial TrueType outline fonts, four-weight families of Times Roman, Helvetica, Courier,^[3] and the pi font 'Symbol' replicated the original PostScript fonts of the Apple LaserWriter. Apple also replaced some of their bitmap fonts used by the graphical user-interface of previous Macintosh System versions (including Geneva, Monaco and New York) with scalable TrueType outline-fonts. For compatibility with older systems, Apple shipped these fonts, a TrueType Extension and a TrueType-aware version of Font/DA Mover for System 6. For compatibility with the Laserwriter II, Apple developed fonts like ITC Bookman and ITC Chancery in TrueType format.

All of these fonts could now scale to all sizes on screen and printer, making the Macintosh System 7 the first OS to work without any bitmap fonts. The early TrueType systems — being still part of Apple's QuickDraw graphics subsystem — did not render Type 1 fonts on-screen as they do today. At the time, many users had already invested considerable money in Adobe's still proprietary Type 1 fonts. As part of Apple's tactic of opening the font format versus Adobe's desire to keep it closed to all but Adobe licensees, Apple licensed TrueType to Microsoft. When TrueType and the license to Microsoft was announced, John Warnock of Adobe gave an impassioned speech in which he claimed Apple and Microsoft were selling snake oil, and then announced that the Type 1 format was open for anyone to use.

Meanwhile, in exchange for TrueType, Apple got a license for TrueImage, a PostScript-compatible page-description language owned by Microsoft that Apple could use in laser printing. This was never actually included in any Apple products when a later deal was struck between Apple and Adobe, where Adobe promised to put a TrueType interpreter in their PostScript printer boards. Apple renewed its agreements with Adobe for the use of PostScript in its printers, resulting in lower royalty payments to Adobe, who was beginning to license printer controllers capable of competing directly with Apple's LaserWriter printers.

Part of Adobe's response to learning that TrueType was being developed was to create the Adobe Type Manager software to scale Type 1 fonts for anti-aliased output on-screen. Although ATM initially cost money, rather than coming free with the operating system, it became a de facto standard for anyone involved in desktop publishing. Anti-aliased rendering, combined with Adobe applications' ability to zoom in to read small type, and further combined with the now open PostScript Type 1 font format, provided the impetus for an explosion in font design and in desktop publishing of newspapers and magazines.

Apple extended TrueType with the launch of TrueType GX in 1994, with additional tables in the sfnt which formed part of QuickDraw GX. This offered powerful extensions in two main areas. First was font axes (morphing), for example allowing fonts to be smoothly adjusted from light to bold or from narrow to extended — competition for Adobe's 'multiple master' technology. Second was Line Layout Manager, where particular sequences of characters can be coded to flip to different designs in certain circumstances, useful for example to offer ligatures for 'fi', 'ffi', 'ct', etc. while maintaining the backing store of characters necessary for spell checkers and text searching. However, the lack of user-friendly tools for making TrueType GX fonts meant there were no more than a handful of GX fonts.

Much of the technology in TrueType GX, including morphing and substitution, lives on as AAT (Apple Advanced Typography) in macOS. Few font-developers outside Apple attempt to make AAT fonts; instead, OpenType has become the dominant sfnt format.

Adoption by Microsoft[edit]

To ensure its wide adoption, Apple licensed TrueType to Microsoft for free.^[4] By 1991 Microsoft added TrueType into the Windows 3.1 operating environment. In partnership with their contractors, Monotype Imaging, Microsoft put a lot of effort into creating a set of high quality TrueType fonts that were compatible with the core fonts being bundled with PostScript equipment at the time. This included the fonts that are standard with Windows to this day: Times New Roman (compatible with Times Roman), Arial (compatible with Helvetica) and Courier New (compatible with Courier). One should understand 'compatible' to mean two things: first, that the fonts are similar in appearance, and second — and very importantly — the fonts have the same character widths, and so can be used to typeset the same documents without reflowing the text.

Microsoft and Monotype technicians used TrueType's hinting technology to ensure that these fonts did not suffer from the problem of illegibility at low resolutions, which had previously forced the use of bitmapped fonts for screen display. Subsequent advances in technology have introduced first anti-aliasing, which smooths the edges of fonts at the expense of a slight blurring, and more recently subpixel rendering (the Microsoft implementation goes by the name ClearType), which exploits the pixel structure of LCD based displays to increase the apparent resolution of text. Microsoft has heavily marketed ClearType, and sub-pixel rendering techniques for text are now widely used on all platforms.

Microsoft also developed a 'smart font' technology, named TrueType Open in 1994, later renamed to OpenType in 1996 when it merged support of the Adobe Type 1 glyph outlines.

TrueType today[edit]

Macintosh and Microsoft Windows[edit]

TrueType has long been the most common format for fonts on classic Mac OS, Mac OS X, and Microsoft Windows, although Mac OS X and Microsoft Windows also include native support for Adobe's Type 1 format and the OpenType extension to TrueType (since Mac OS X 10.0 and Windows 2000). While some fonts provided with the new operating systems are now in the OpenType format, most free or inexpensive third-party fonts use plain TrueType.

Increasing resolutions and new approaches to screen rendering have reduced the requirement of extensive TrueType hinting. Apple's rendering approach on macOS ignores almost all the hints in a TrueType font, while Microsoft's ClearType ignores many hints, and according to Microsoft, works best with 'lightly hinted' fonts.

Linux and other platforms[edit]

The FreeType project of David Turner has created an independent implementation of the TrueType standard (as well as other font standards in FreeType 2). FreeType is included in many Linux distributions.

Until May 2010, there were potential patent infringements in FreeType 1 because parts of the TrueType hinting virtual machine were patented by Apple, a fact not mentioned in the TrueType standards. (Patent holders who contribute to standards published by a major standards body such as ISO are required to disclose the scope of their patents, but TrueType was not such a standard.)^[5] FreeType 2 included an optional automatic hinter to avoid the patented technology, but these patents have now expired so FreeType 2.4 now enables these features by default.^[6]

Technical notes[edit]

Outlines[edit]

The outlines of the characters (or glyphs) in TrueType fonts are made of straight line segments and quadratic Bézier curves. These curves are mathematically simpler and faster to process than cubic Bézier curves, which are used both in the PostScript-centered world of graphic design and in Type 1 fonts. However, most shapes require more points to describe with quadratic curves than cubics. This difference also means that it is not possible to convert Type 1 losslessly to the TrueType format, although in practice it is often possible to do a lossless conversion from TrueType to Type 1.^[7][8]

Hinting language[edit]

TrueType systems include a virtual machine that executes programs inside the font, processing the 'hints' of the glyphs. These distort the control points which define the outline, with the intention that the rasterizer produce fewer undesirable features on the glyph. Each glyph's hinting program takes account of the size (in pixels) at which the glyph is to be displayed, as well as other less important factors of the display environment.

Although incapable of receiving input and producing output as normally understood in programming, the TrueType hinting language does offer the other prerequisites of programming languages: conditional branching (IF statements), looping an arbitrary number of times (FOR- and WHILE-type statements), variables (although these are simply numbered slots in an area of memory reserved by the font), and encapsulation of code into functions. Special instructions called delta hints are the lowest level control, moving a control point at just one pixel size.

The hallmark of effective TrueType glyph programming techniques is that it does as much as possible using variables defined just once in the whole font (e.g., stem widths, cap height, x-height). This means avoiding delta instructions as much as possible. This helps the font developer to make major changes (e.g., the point at which the entire font's main stems jump from 1 to 2 pixels wide) most of the way through development.

Creating a very well-hinted TrueType font remains a significant amount of work, despite the increased user-friendliness of programs for adding hints to fonts. Many TrueType fonts therefore have only rudimentary hints, or have hinting automatically applied by the font editor, with results of variable quality.

Embedding protection[edit]

The TrueType format allows for the most basic type of digital rights management – an embeddable flag field that specifies whether the author allows embedding of the font file into things like PDF files and websites. Anyone with access to the font file can directly modify this field, and simple tools exist to facilitate modifying it (obviously, modifying this field does not modify the font license and does not give extra legal rights).^[9][10] These tools have been the subject of controversy over potential copyright issues.^[11][12]

Font formats[edit]

TrueType Collection[edit]

TrueType Collection (TTC) is an extension of TrueType format that allows combining multiple fonts into a single file, creating substantial space savings for a collection of fonts with many glyphs in common. They were first available in Chinese, Japanese, and Korean versions of Windows, and supported for all regions in Windows 2000 and later.

Classic Mac OS included support of TTC starting with Mac OS 8.5. In classic Mac OS and macOS, TTC has file type ttcf.

Emoji[edit]

Mac for everest. Apple has implemented a proprietary extension to allow color .ttf files for its emoji font Apple Color Emoji.

File formats[edit]

Basic[edit]

A basic font is composed of multiple tables specified in its header. A table name can have up to 4 letters.

A TrueType Collection file begins with a ttcf table that allows access to the fonts within the collection by pointing to individual headers for each included font. The fonts within a collection share the same glyph-outline table, though each font can refer to subsets within those outlines in its own manner, through its 'cmap', 'name' and 'loca' tables.

A .ttf extension indicates a regular TrueType font or an OpenType font with TrueType outlines, while a .ttc extension is reserved for TTCs. Windows end user defined character editor (EUDCEDIT.EXE) creates TrueType font with name EUDC.TTE.^[13] An OpenType font with PostScript outlines must have an .otf extension. In principle an OpenType font with TrueType outlines may have an .otf extension, but this has rarely been done in practice.

In classic Mac OS and macOS, OpenType is one of several formats referred to as. IANA. 2017-10-12. Retrieved 2017-10-17.

External links[edit]

Apple's Macintosh computer supports a wide variety of fonts. This support was one of the features that initially distinguished it from other systems.

Fonts[edit]

System fonts[edit]

The primary system font in OS X El Capitan and above is San Francisco. OS X Yosemite used Helvetica Neue, and preceding versions largely employed Lucida Grande. For labels and other small text, 10 pt Lucida Grande was typically used. Lucida Grande is almost identical in appearance to the prevalent Windows font Lucida Sans, and contains a larger variety of glyphs.

MacOS ships with multiple typefaces, for multiple scripts, licensed from several sources. MacOS includes Roman, Japanese and Chinese fonts. It also supports sophisticated font techniques, such as ligatures and filtering.

Many of the classic Macintosh typefaces included with previous versions remained available, including the serif typefaces New York, Palatino, and Times, the sans-serif Charcoal and Chicago, Monaco, Geneva and Helvetica. Courier, a monospaced font, also remained.^[1]

In the initial publicly released version of Mac OS X (March 2001), font support for scripts was limited to Lucida Grande and a few fonts for the major Japanese scripts. With each major revision of the OS, fonts supporting additional scripts were added.

Zapfino[edit]

Zapfino is a calligraphic typeface designed by and named after renowned typeface designer Hermann Zapf for Linotype.^[2][3] Zapfino utilizes advanced typographic features of the Apple Advanced Typography (AAT) 'morx' table format and is included in OS X partially as a technology demo. Ligatures and character variations are extensively used. The font is based on a calligraphic example by Zapf in 1944. The version included with macOS is a single weight. Since then, Linotype has introduced 'Linotype Zapfino Extra' which includes the additional 'Forte' weight with more options and alternates.

Several of the GX fonts that Apple commissioned and originally shipped with System 7.5 were ported to use AAT and shipped with Mac OS X 10.2 and 10.3. Hoefler Text, Apple Chancery and Skia are examples of fonts of this heritage. Other typefaces were licensed from the general offerings of leading font vendors.

LastResort[edit]

The LastResort font is invisible to the end user, but is used by the system to display reference glyphs in the event that glyphs needed to display a given character are not found in any other available font. The symbols provided by the LastResort font place glyphs into categories based on their location in the Unicode system and provide a hint to the user about which font or script is required to view unavailable characters. Designed by Apple and extended by Michael Everson of Evertype for Unicode 4.1 coverage, the symbols adhere to a unified design. The glyphs are square with rounded corners with a bold outline. On the left and right sides of the outline, the Unicode range that the character belongs to is given using hexadecimal digits. Top and bottom are used for one or two descriptions of the Unicode block name. A symbol representative of the block is centered inside the square. The typeface used for the text cutouts in the outline is Chicago, otherwise not included with macOS. LastResort has been part of Mac OS since version 8.5, but the limited success of Apple Type Services for Unicode Imaging (ATSUI) on the classic Mac OS means that only users of macOS are regularly exposed to it.

Lucida Grande[edit]

Of the fonts that ship with macOS, Lucida Grande has the broadest character repertoire. This font provides a relatively complete set of Arabic, Roman, Cyrillic, Hebrew, Thai and Greek letters and an assortment of common symbols. All in all, it contains a bit more than 2800 glyphs (including ligatures).

In macOS v10.3 ('Panther'), a font called Apple Symbols was introduced. It complements the set of symbols from Lucida Grande, but also contains glyphs only accessible by glyph ID (that is, they have not been assigned Unicode code points). A hidden font called .Keyboard contains 92 visible glyphs, most of which appear on Apple keyboards.

Font management[edit]

Hollow Fonts For Mac

System 6.0.8 and earlier[edit]

Originally, the Macintosh QuickDraw system software supported only bitmapped fonts. The original font set was custom designed for the Macintosh and was intended to provide a screen legibility. These system fonts were named after large cities, e.g. New York, Chicago, and Geneva. (See Fonts of the Original Macintosh.)

Bitmapped fonts were stored as resources within the System file. A utility called Font/DA Mover was used to install fonts into or remove fonts from the System file. Fonts could be embedded into Macintosh applications and other file types, such as a HyperCard stack. Unused fonts were stored in a suitcase file.

The ImageWriter printer supported a higher resolution mode where bitmap fonts with twice the screen resolution were automatically substituted for 'near letter quality' printing. (For example, a 24-point bitmapped font would be used for 12-point printing.) This feature was sometimes called two-times font printing. Some later Apple QuickDraw-based laser printers supported four-times font printing for letter quality output.

With the introduction of the LaserWriter and support for PostScript-compatible printers, the Mac system software initially supported outline fonts for printing only. These outline fonts could be printed in letter quality at any size. PostScript fonts came with two files; a bitmap font was installed into the System file, and an outline font file was stored in the System Folder. Some of the bitmapped 'city' fonts were automatically replaced by PostScript fonts by the printer driver. Commercial typefaces such as Times and Helvetica began to be distributed by Apple, Adobe Systems and others.

The Adobe Type Manager (ATM) system extension allowed PostScript outline fonts to be displayed on screen and used with all printers (PostScript or not). This allowed for true WYSIWYG printing in a much broader set of circumstances than the base system software, however with a noticeable speed penalty, especially on Motorola 68000-based machines.

After the release of System 7, Apple added System 6 support for TrueType outline fonts through a freely available system extension, providing functionality similar to ATM. Apple provided TrueType outline files for the bitmapped 'city' system fonts, allowing letter quality WYSIWYG printing.

A reboot was required after installing new fonts unless using a font management utility such as Suitcase, FontJuggler or MasterJuggler.

System 7 – Mac OS 9[edit]

A highly touted feature of System 7 was integrated TrueType outline font support, which received industry support from Microsoft. Fonts were still stored in the System file but could be installed using drag-and-drop. To install new fonts, one had to quit all applications.

Despite this, ATM and PostScript Type 1 fonts continued to be widely used, especially for professional desktop publishing. Eventually Adobe released a free version of their utility, called ATM Light.

In System 7.1, a separate Fonts folder appeared in the System Folder. Fonts were automatically installed when dropped on the System Folder, and became available to applications after they were restarted. Font resources were generally grouped in suitcase files. However, rules for storing printer fonts varied greatly between different system, printer and application configurations until the advent of the new Fonts folder. Typically, they had to be stored directly in the System Folder or in the Extensions Folder.

Outline Fonts For Mac

System 7.5 added the QuickDraw GX graphics engine. TrueType GX supported ligatures and other advanced typography features. However little software supported these features and PostScript remained the standard.

Starting with Mac OS 8.5, the operating system supported data fork fonts, including Windows TrueType and OpenType. In addition, Apple created a new format, called>.dfont. PostScript variant.

Fonts in the /System/Library/Fonts folder and the /Library/Fonts folder are available to all users. Fonts stored in a user's ~/Library/Fonts folder are available to only that user. Previously, up to OS X 10.4, both Mac OS 9 applications running in the legacy Classic Environment and native applications could access fonts stored in the Mac OS 9 system folder

macOS includes a software rasterizer that supports PostScript. Thus eliminating the need for the Adobe Type Manager Light program. The built-in text editing supports advanced typesetting features such as adjustable kerning and baseline, as well as a few OpenType features.

Support for QuickDraw GX fonts was dropped in macOS in favor of TrueType fonts using AAT features. Bitmap fonts are only used on screen if there is a corresponding vector form (which is always used in printing).

Since OS X v10.3 (Panther), a utility called Font Book has been included with the operating system allowing users to easily install fonts and do basic font management.

Third-party font managers[edit]

As desktop publishing took off and PostScript and other outline font formats joined the bitmap fonts, the need for unified font management grew. A number of third parties have created tools, such as Suitcase, for managing font sets. For example, they allowed enabling or disabling fonts on-the-fly, and storing fonts outside of their normal locations. Some even allow the use of Windows .ttf font files natively on systems prior to macOS.

Font technology[edit]

TrueType and PostScript[edit]

TrueType is an outline font standard developed by Apple in the late 1980s, and later licensed to Microsoft, as a competitor to Adobe's Type 1 fonts used in PostScript, which dominated desktop publishing.

The outlines of the characters in TrueType fonts are made of straight line segments and quadratic Bézier curves, rather than the cubic Bézier curves in Type 1 fonts. While the underlying mathematics of TrueType is thus simpler, many type developers prefer to work with cubic curves because they are easier to draw and edit.

Font Design Mac

While earlier versions of the Mac OS required additional software to work with Type 1 fonts (as well as at least one bitmap copy of each Type 1 font to be used), macOS now includes native support for a variety of font technologies, including both TrueType and PostScript Type 1.

Microsoft, together with Adobe, created an extended TrueType format, called OpenType. Apple, however, continued to develop TrueType. A Zapf table, for example, maps composite glyphs to characters and vice versa and adds other features. The table was named after typeface creator Hermann Zapf with permission.^[3]

These are all Mac operating systems, starting with the most recent. Mac system maintenance. When a major new macOS is released, it gets a new name, such as macOS Catalina.

QuickDraw GX[edit]

Free Fonts For Mac Computers

QuickDraw GX was a complete overhaul of the Macintosh graphics system, including the font system, which was rolled out for System 7.5 in 1995. QuickDraw GX fonts could be in either TrueType or PostScript Type 1 formats and included additional information about the glyphs and their purpose. Advanced features, such as ligatures, glyph variations, kerning information and small caps, could be used by any GX enabled application. Previously, they had typically been reserved for advanced typesetting applications.

QuickDraw GX was a complete overhaul of the Macintosh graphics system, including the font system, which was rolled out for System 7.5 in 1995. QuickDraw GX fonts could be in either TrueType or PostScript Type 1 formats and included additional information about the glyphs and their purpose. Advanced features, such as ligatures, glyph variations, kerning information and small caps, could be used by any GX enabled application. Previously, they had typically been reserved for advanced typesetting applications.

Microsoft was refused a license to GX technology and chose to develop OpenType instead. GX typography and GX technology as a whole never saw widespread adoption. Support for GX was dropped in later versions.

AAT covers much of the same ground as OpenType. It incorporates concepts from the Multiple Master font format, which allows multiple axes of traits to be defined and an n-dimensional number of glyphs to be accessible within that space. AAT features do not alter the underlying characters, but do affect their representation during glyph conversion.

Outline Fonts For Mac

AAT is supported in IBM's open source ICU library, which implements support for AAT fonts under Linux and other open source operating systems.

Hinting technology[edit]

Hinting is the process by which TrueType fonts are adjusted to the limited resolution of a screen or a relatively low resolution printer. Undesired features in the rendered text, such as lack of symmetry or broken strokes, can be reduced. Hinting is performed by a virtual machine that distorts the control points that define the glyph shapes so that they fit the grid defined by the screen better. Hinting is particularly important when rendering text at low effective resolution: that is, with few pixels per character.

Hinting is part of the TrueType specification, but Apple held three patents in the United States relating to the process:

• US 5155805 'Method and apparatus for moving control points in displaying digital typeface on raster output devices' (filed May 8, 1989)
• US 5159668 'Method and apparatus for manipulating outlines in improving digital typeface on raster output devices' (filed May 8, 1989)
• US 5325479 'Method and apparatus for moving control points in displaying digital typeface on raster output devices' (filed May 28, 1992)

Until they expired, Apple offered licensing of these patents. Microsoft had access to Apple's TrueType patents through cross-licensing. These patents have proven problematic to developers and vendors of open source software for TrueType rendering, such as FreeType. To avoid infringing on the patents, some software disregarded the hinting information present in fonts, resulting in visual artefacts. FreeType developed an automatic hinting engine, but it is difficult to beat the explicit hinting guidelines provided by the typeface designer. The problem of lacking hinting could also be compensated for by using anti-aliasing, although a combination of the two produces the best result.

Subpixel rendering[edit]

OS X/macOS uses subpixel rendering. Version 10.2 introduced subpixel rendering of type and Quartzvector graphics. This feature is enabled using the System Preferences panel 'General' (10.2) or 'Appearance' (10.3), by setting the font smoothing style to 'Medium — best for Flat Panel'. OS X 10.4 introduced an 'Automatic' setting which transparently chooses either 'Medium' or 'Standard,' depending on the type of main display. The quality of the rendering compared to Microsoft's ClearType and FreeType is contested, and is largely a matter of reader preference. However, Apple's approach differs from that of ClearType and FreeType in that TrueType hinting instructions are discarded for all but the smallest type sizes. This results in more consistency of rendering on Mac OS at the expense of allowing type designers a level of fine tuning through hints.

Fonts of the original Macintosh[edit]

Outline Fonts For Machine Embroidery

Approximately 12 fonts were included with the classic Mac OS (versions 1–9). With the sole exception of Bill Atkinson's Venice typeface, the fonts included with the original Macintosh were designed by Susan Kare, who also designed most of the Macintosh's original icons.

The Macintosh was an early example of a mainstream computer using fonts featuring characters of different widths, often referred to as proportional fonts. Previously, most computer systems were limited to using monospaced fonts, requiring, for example, i and m to be exactly the same width. Vector-based fonts had yet to appear in the personal computer arena, at least for screen use, so all the original Mac's typefaces were bitmaps. Fonts were available in multiple sizes; those sizes installed on a system would be displayed in the font menu in an outline style.

From System 1 through Mac OS 7.6, the default system fonts for Mac OS were Chicago for menus and window titles and Geneva for Finder icons, and they could not be customized. The fonts for Finder icons became customizable starting in System 7. It is accessible in the 'Views' control panel. In Mac OS 8 and Mac OS 9, the default system font was changed to Charcoal menus and window titles, but it could be customized in Preferences.

Naming[edit]

After designing the first few fonts, the team decided to adopt a naming convention. First, they settled on using the names of stops along the Paoli, Pennsylvania, commuter rail line: Overbrook, Merion, Ardmore, and Rosemont. Steve Jobs had liked the idea of using cities as the names, but they had to be 'world class' cities.^[4]

Variants[edit]

Variants of each font were algorithmically generated on-the-fly from the standard fonts. Bold, italic, outlined, underlined and shadowed variations were the most common, though some applications also included subscript and superscript.

Outline, shadow and underline are not always supported by modern software and fonts.

Apple logo[edit]

Apple's fonts and the Mac OS Romancharacter set include a solid Apple logo. One reason for including a trademark in a font is that the copyright status of fonts and typefaces is a complicated and uncertain matter. Trademark law, on the other hand, is much stronger. Third parties cannot include the Apple logo in fonts without permission from Apple.^{[citation needed]} Apple states in the MacRoman to Unicode mapping file that:

On regular US QWERTY keyboards, the logo character can be typed using the key combination Shift Option K (⇧⌥K). In MacRoman, the Apple logo has a hex value of 0xF0. The Apple logo has not been assigned a dedicated Unicode code point, but Apple uses U+F8FF () in the Private Use Area.

Note that the logo does have a unique PostScript name in the Adobe Glyph List - /apple, mapping to F8FF.

List[edit]

• Athens (slab serif)
• Cairo was a bitmapdingbat font, most famous for the dogcow at the z character position.
• Chicago (sans-serif) was the default Macintosh system font in System 1–7.6. Also seen on LCD screens of earlier iPod models.
• Geneva (sans-serif) is designed for small point sizes and prevalent in all versions of the Mac user interface. Its name betrays its inspiration by the Swiss typeface Helvetica. Nine point Geneva is built into Old World ROM Macs.
• London (blackletter) was an Old English–style font.
• Los Angeles (script) was a thin font that emulated handwriting.
• Mobile was a bitmapdingbat font. Before System 6, it was known as Taliesin.
• Monaco (sans-serif, monospaced) is a fixed-width font well-suited for 9–12 pt use. Ten point Monaco is built into Old World ROM Macs.
• New York (serif) was a Times Roman–inspired font. The name alluded to the inspiration, even though the Times for which Times Roman was created was that of London, not New York.
• San Francisco was a whimsical font where each character looked as if it was a cutout from a newspaper, creating an intentional ransom note effect.
• Toronto (slab serif) was a geometric design. It was removed from System 6 and later.
• Venice (script) was a calligraphic font designed by Bill Atkinson.

See also[edit]

References[edit]

1. ^'Fonts supplied with Mac OS'. Microsoft. 2001-05-29. Retrieved 2008-07-17.
2. ^Strizver, Ilene (2015-06-29). 'Hermann Zapf, ITC & Apple: The History of ITC Zapf Chancery & ITC Zapf Dingbats'. CreativePro.com. Retrieved 2017-05-27.
3. ^ ^ab'The TrueType Font File - The Zapf table'. TrueType Reference Manual. Apple Computer, Inc. 2000-09-14. Retrieved 2017-07-25.
4. ^'World Class Cities'. Folklore.org. Retrieved 2008-07-17.

External links[edit]

• 'Mac OS 7.x, 8.x 9.x: Fonts Included With Major System Releases'. Apple Inc. 2002-06-11. Retrieved 2008-07-17.