Discuter:Polices Apple

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As a company that arguabion to the typefaces used in its marketing, operating systems and industrial design. It has also been a leading player in font technology development, and controls several patents important to the implementation of high-quality typeface rendering on computers.

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[modifier] Corporate fonts and brand identity

For at least 18 years, Apple's corporate font was a custom variant of the Garamond font, called Apple Garamond. It was used alongside the famous rainbow-apple logo, for product names on computers, in countless ads and printed materials and on the company website. Since 2001, Apple has gradually shifted towards using Myriad Pro in its marketing.

[modifier] Motter Tektura

Prior to the first Macintosh, Apple used a typeface called Motter Tektura, designed by Otmar Motter of Voralberger Graphic in 1975 to accompany the Apple logo with a bite taken out of it. At the time, the typeface was considered new and modern.

The type merged well with the Apple logo; The minuscle 'a' of "apple computer inc.", appeared to come out of the bite. One modification to the typeface was that the dot over the 'i' was removed.

According to the logo designer, Rob Janoff, the typeface was selected for its playful qualities and techno look, in line with Apple's mission statement of making high-technology accessible to anyone.

In the early 1980s, the logo was simplified by removing "computer inc." from the logo.

[modifier] Apple Garamond

At the time of the introduction of the Macintosh in 1984, Apple adopted a new corporate font called Apple Garamond. It was a narrow variation of the classic Garamond typeface. Specifically, ITC Garamond (created by Tony Stan in 1977) was condensed to 80% of its normal width. Presumably, Apple felt that the existing ITC Garamond Condensed, at 64%, was too narrow. Bitstream condensed the font and subtly adjusted the stroke widths and performed the hinting required to create a TrueType font which was then delivered to Apple as "apgaram."

Apple Garamond was used in most of Apple's marketing.
Apple Garamond was used in most of Apple's marketing.

In cases when the Apple logo was accompanied by text, it was always set in Apple Garamond. Aside from the company name, most of Apple's advertising and marketing slogans such as "Think different." used the font as well.

This typeface was virtually synonymous with Apple for almost two decades and a large part of Apple's excellent brand recognition. It was not only used in conjunction with the logo, but also in manuals, ads and to label products with model names.

Many typographers consider ITC Garamond in general, and Apple Garamond in particular, to be poorly designed typefaces. A common viewpoint is that the algorithmic scaling distorted the typeface.

[modifier] Myriad Pro

Myriad Pro is a sans-serif typeface used in Apple's modern marketing.
Myriad Pro is a sans-serif typeface used in Apple's modern marketing.

In 2002, Apple gradually started using Myriad Pro Semibold in its marketing. As new revisions of its products were released, the text on them changed from the serif Apple Garamond to the bold sans-serif Myriad.

While Myriad is used the most, for titles and eye-catching slogans, some text is set in Helvetica Neue.

[modifier] Other fonts used in Apple's marketing

In the marketing of the Newton PDA, Apple chose to experiment with Gill Sans instead of the regular Apple Garamond. Gill Sans Regular was used in the logo, for the model name on the computer, the keyboard and in advertisment materials, though it was not used as a screen font (except for as part of the Newton logo).

[modifier] Fonts of the original Macintosh

With one exception, the fonts included with the original Macintosh were designed by Susan Kare, who also was responsible for most of the other details of the user interface.

The Macintosh was unique for its ability to use characters of different widths, often referred to as proportional fonts. Previously, most computer systems were limited to using monospace, requiring for example 'i' and 'm' to be exactly the same width. True outline fonts had yet to make an entrance in the personal computer arena, at least for screen use, so all the original Mac's typefaces were bitmaps.

[modifier] Naming

After designing the first few fonts, the team decided they needed a adopt a naming-convention. First, they settled on using the names of stops along the Paoli, Pennsylvania commuter train line: Overbrook, Merion, Ardmore, and Rosemont. Later, under pressure from management, specifically Steve Jobs, the naming-convention of using the names of world cities was chosen.

[modifier] Variants

Image:Mac font variants.png

A number of different 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.

[modifier] List

  • Cairo was a bitmap dingbat 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.
  • Geneva (sans-serif) is designed for small point sizes and prevalent in all versions of the Mac user interface.
  • London (blackletter) was an Old English-style font.
  • Los Angeles (script) was a thin font that emulated handwriting.
  • Monaco (sans-serif, monospaced) is a fixed-width font well-suited for 9–12 pt use.
  • New York (serif) was a Times Roman-inspired font.
  • San Francisco was a whimsical font where each character looked as if it was a cut-out from a newspaper.
  • Venice (script) was a calligraphic font designed by Bill Atkinson.

[modifier] Important fonts for the classic Mac OS

[modifier] Fonts in Mac OS X

The primary system font in Mac OS X (all versions) is Lucida Grande. For labels and other small text, 10 pt Lucida Grande is typically used. Lucida Grande is almost identical in appearance to the prevalent Windows font Lucida Sans, but contains a much richer variety of glyphs.

Mac OS X ships with a number of high-quality typefaces, for a number of different scripts, licensed from several sources. According to Apple, Mac OS X "includes over $10,000 worth of high quality Roman, Japanese and Chinese fonts". It also supports sophisticated font techniques, such as ligatures and filtering.

Image:LastResort samples.png
Sample glyphs from the LastResort font.

The LastResort font is a font that is invisible to the end user, but is used by the system to display reference glyphs in the event that real 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 Michael Everson of Everson Typography, the symbols adhere to a unified design. The glyphs are square with rounded corners with a bold outline. In 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. By Everson's design, the typeface used for the text cut-outs in the outline is Chicago, otherwise not included with Mac OS X. The LastResort font has been part of Mac OS since version 8.5, but the limited success of ATSUI on the classic Mac OS means that only users of Mac OS X are regularly exposed to it.

Of the fonts that ship with Mac OS X, Lucida Grande has the broadest repertoire. This font provides a relatively complete set of 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), many of which were added by Michael Everson to the original repertoire.

In Mac OS X 10.3 ("Panther"), a font called Apple Symbols was introduced. It complements the set of symbols from Lucida Grande.

In the initial publicly released version of Mac OS X (March 2001), script support was limited to what was provided by Lucida Grande and a few fonts for the major Japanese scripts.

Image:Zapfino ligature demo.png
Demonstration of the full-word ligature for the name of the Zapfino typeface.

Zapfino is a calligraphic typeface designed by and named after renowned typeface designer Hermann Zapf for Linotype. Zapfino utilizes the most advanced typographic features of the OpenType 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 Mac OS X contains only one of the 6 weights sold by Linotype.

Font 10.0 10.1 10.2 10.3
American Typewriter • • • •
Apple Symbols •

[modifier] Fonts used in other devices

In 1993, Apple's Human Interface Group designed the typeface Espy Sans specifically for on-screen use. It was first used for the Newton OS GUI and later integrated into Apple's ill-fated eWorld online service.

Apple's eWorld also used a larger bold condensed bitmap font eWorld Tight for headlines. The metrics of eWorld Tight were based on Helvetica Ultra Compressed.

When released in 2001, Apple's iPod music player reused the bitmap Chicago font from the original Macintosh GUI. Later versions of the iPod drew from the larger character repertoire of the TrueType Chicago, adding a number of characters not present in the bitmap Chicago, such as Greek and Cyrillic. Even though the screen supports grayscale, the characters were not anti-aliased.

The iPod mini, with a slightly smaller screen than the iPod, uses the typeface originally designed for the Newton, Espy Sans.

[modifier] Font management and capabilities

[modifier] System 6.0.8 and earlier

In early versions of the system, fonts were stored in the System file. A utility called Font/DA Mover was used to transport fonts out and in of the system file. While not supported by the standard System 6, a TrueType system extension provided support for outline fonts. Printer fonts should be installed directly in the System Folder.

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

[modifier] System 7 – Mac OS 9

Image:Mac font icons.png

TrueType was supported starting with System 7. Fonts were still stored in the System suitcase, but could now be installed using drag-and-drop. To install new fonts, one had to quit all running applications.

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.

Rules for storing printer fonts varied greatly between different system, printer and application configurations. Typically, they had to be stored directly in the System Folder, or in the Extensions Folder.

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 data-fork suitcases. At the same time, support was added for TrueType collection files, conventionally with the filename extension ".ttc".

System versions 7 to 9 supported a maximum of 128 font suitcases.

[modifier] Mac OS X

Mac OS X supports a wide variety of font formats. It supports most of the font formats used on earlier systems, where the fonts were typically stored in the resource fork of the file. In addition to the data-fork version of TrueType and the Adobe/Microsoft OpenType fonts, OS X also supports Apple's own data-fork-based font format, called data-fork suitcases with the filename extension ".dfont". The system also supports the instances created using the Multiple Master 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.

Mac OS X includes a software rasterizer that supports PostScript, thus eliminating the need for the Adobe Type Manager Light program.

Support for bitmap and QuickDraw GX fonts was dropped in Mac OS X.

[modifier] Third-party font managers

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 for managing font sets. For example, they allowed enabling or disabling fonts on-the-fly, and storing fonts outside of their normal locations.

[modifier] Font technology

[modifier] TrueType

[modifier] Apple Advanced Typography

Apple Advanced Typography (AAT) is a set of extensions to TrueType which cover much of the same ground as OpenType, developed independently but concurrently with the Adobe/Microsoft format (ca. 1995), and is the successor to their little used Quickdraw GX font technology. It also incorporates concepts from the Multiple Master font format, which allows multiple axes of traits to be defined and an n-dimentional number of glyphs to be accessible within that space. Apple is currently in the process of incorporating all of OpenType within the AAT spec, making AAT a superset of OpenType and allowing for a very rich feature set, though this makes some of the original AAT specifications redundant. AAT features do not alter the underlying characters, but do affect their representation during glyph conversion. Features exclusive to AAT currently include:

  • Several degrees of ligature control
  • Kashida justification and joiners
  • Cross-stream kerning (required for Nastaliq Urdu, for example)
  • Independently controllable substitution of:
    • Old style figures
    • Small caps and drop caps
    • Swash variants
    • Alternative glyphs

Whilst OpenType offers all of the above to some extent, it's an all or nothing affair in most cases, or granularity of control is otherwise restricted by comparison. AAT font features are not supported on platforms other than Mac OS 8, 9 and X.

[modifier] Hinting technology

[modifier] Subpixel rendering

[modifier] References

[modifier] External links