• • t h e v}i~~,~~t~%)fJ:;;.~,,,~~Y\";:i;:r;;,, <\x;}2::.(';.:;·.. :.,:;;::\· ~ '.:~ ··~'.i" T B 0 0 K Typographic Tips, Techniques and Resources .o PEACHPIT PRESS E R F E R T F E N T 0 N "<...... ()\'.}~c- "'=-J THE ERFERT FENTON 0 Peachpit Press Berkeley, California THE MACINTOSH FONT BOOK © 1989 by Erfert Fenton Peachpit Press 1085 Keith Avenue Berkeley, California 94708 415/527-8555 All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher. For information, contact Peachpit Press, Inc. Notice of Liability: The information in this book is distributed on an "As Is" basis, without warranty. \Vhile every precaution has been taken in the preparation of this book, neither the author nor Peachpit Press, Inc. shall have any liability to any person or entity with respect to any liability, loss, or damage caused or alleged to be caused directly or indirectly by the instructions contained in this book or by the computer software and hardware products described herein. Trademarks: Throughout this book trademarked names are used. Rather than put a trademark symbol in every occurrence of a trademarked name, we state that we are using the names only in an editorial fashion and to the benefit of the trademark owner with no intention of infringement of the trademark. Library of Congress Cataloging-in-Publication Data Fenton, Erfert The Macintosh Font Book Includes index 1. Desktop publishing 2. Macintosh (Computer)­ Programming. 3. Printing-Data processing-Specimens. 4. Type and type-founding-Data processing. 5. Printing, Practical-Layout-Data processing. I. Title. Z286.D47F46 1989 686.2'2 88-34539 ISBN 0-938151-05-3 098765432 Printed and bound in the United States of America Ackri.owledgments ...................................................................v How This Book Was Made .............................. ~ ................... vii Introduction ........................................................................... ix 1 Typographic Terminology................................................ 1 2 Building a Typeface Library........................................... 17 3 Font lnstallation ............................................................. 53 4 FontManagement .......................................................... 75 5 Type Tips ........................................................................ 95 6 Creating and Enhancing Typefaces ............................. 131 7 Printing Options .......................................................... 15 5 iii APPENDICES A Vendor Information ..................................................... 171 B Specialty Fonts ............................................................. 185 C Foreign-Language Faces .............................................. 187 D Alternate Typeface Names ........................................... 189 E PostScript Service Bureaus .......................................... 191 F PostScript Typefaces .................................................... 209 Glossary-............................................................................... 24 3 Bibliography ........................................................................ 2 51 Index ................................................................................... 2 53 iv ACKNOWLEDGMENTS incere thanks are due to the many people who took the time to share Stheir knowledge of Macintosh fonts and typography in general. These include Liz Bond, Steve Brecher, Brian Blackwelder, Ned Bunnell, Robin Casady, Louise Domenitz, Earl Douglas, Robert Eckhardt, Jim Felici, Kathy Forsythe, Paul Husband, Harry Marks, Lon Poole, Sumner Stone, and Kevin Wandryk. I'd also like to thank Debra Turner and Karen Teague for the many hours they spent on design and layout, Jim Heid for his technical comments, Bill Freais for his copy-editing expertise, and Jack Davis for contributing sev­ eral illustrations. I'm indebted to John Ward at FingerPrint for making sure the Lino copy printed without a hitch. And I'd like to thank Jay Fenton for attempting to cook dinner every now and then (not an easy feat for a computer nerd!). Last, but not least, I'd like to thank Ted Nace for his encouragement. Erfert Fenton Book Design & Typography: Debra Turner+ Associates Imagesetting: FingerPrint v HOWTHSBOOK WAS MADE i:is is a book about Macintosh fonc;. It was produced entirely on an IBM I~C. Just kidding. Of course it was produced on a Macintosh. To be more precise, the manuscript was typed in Claris's MacWrite on a Macintosh Plus. The figures were created in Adobe Illustrator 88, Aldus FreeHand, and Silicon Beach's SuperPaint. Screen dumps for many of the :figures were made with Keith Esau's Camera utility and Mainstay's Capture. Clip art for several of the figures came from T /Maker's ClickArt EPS Illustrations. The text and artwork were laid out in Quark XPress, and page proofs were printed on Apple's LaserWriter IINT. Finally, the completed pages were printed at a resolution of 1270 dots per inch on a PostScript-compatible Linotronic L300 laser imagesetter. Almost all of the pages were printed in their entirety from Quark XPress, although we had to employ manual pasteup on a few pages that contained dozens of typeface samples. The book's text is set in Adobe's Janson. The chapter titles, headings, and figure captions are set in Adobe's Helvetica Light, compressed with Quark XPress. vii any books have been written about desktop publishing, the process of Mlaying out and printing documents with a personal computer. These books offer advice on almost every aspect of publishing: word process­ ing, page layout, graphics, typesetting, and printing. But desktop publishing is a complex subject. Because of the scope of these books, few are able to devote more than a chapter to the fundamental building-blocks of any publi­ cation: typefaces. In addition, in their attempts to cover both Macintosh- and IBM PC-based publishing, many desktop publishing texts resort to generali­ ties rather than computer-specific tips. Macintosh-based typography is a rich enough subject to warrant an entire book. After all, it was the Macintosh-LaserWriter combination that gave rise to desktop publishing. Ever since the LaserWriter's introduction in 1985, developers have been turning out a steady stream of Mac typefaces and type-related programs. If you're a Mac-based publisher, you need to know not only what typefaces are available, but how to use them effectively. You can no longer expect to impress people by cranking out a word-processor document on your LaserWriter; these days, you have to know the ins and outs of type in order to make your creations look professionally published, not just "desktop published." This book provides a centralized source of information on Macintosh typefaces, covering everything from the mechanics of installing and manag­ ing a font collection to tips on choosing faces that work well together in a design. In addition to discussing the typefaces themselves, the book describes numerous utilities that enable you to organize, edit, and even create Macintosh typefaces. ix ABrief History of Macintosh Typefaces By now many people take the Mac for granted, little realizing that several innovative Mac features - which have since been copied by other computer and software manufacturers - put professional publishing capabilities into the hands of personal computer owners. The Mac's screen-as-page metaphor is one such innovation. Instead of the eerie glow of green or amber char­ acters on a black monitor, the Mac displays black text on a white background, emulating the look of a printed page. In addition, the characters aren't displayed in a generic computer font, but rather in letterforms that approx­ imate the look of actual typefaces. Not only are the letters' shapes and sizes displayed on the Mac's screen, but so are stylistic variations such as boldface and italics. Another great leap forward was the Mac's ability to lay out an entire page of text and graphics on the screen. Publishers no longer have to print galleys of text and manually paste in graphic elements such as rules, boxes, and illustrations. Aldus Corporation's pioneering PageMaker and the similar programs that followed it have made digital page layout a reality for personal computer owners. But it was Apple's LaserWriter that provided the key to professional publishing. The LaserWriter includes a set of built-in fonts that, when print­ ed at the relatively high resolution of 300 dots per inch, look almost as good as typeset text. The fonts were developed with PostScript, a programming language developed by Adobe Systems and built into the LaserWriter. PostScript isn't confined to the LaserWriter, however. Several high-resolu­ tion typesetters use PostScript as well, allowing you to create a document on a Mac and print typeset-quality pages. About This Book This book discusses PostScript fonts. Although there are hundreds of excellent bit-mapped fonts (the kind you see on the Mac's screen), they aren't covered here, since this book focuses on typeset-quality publications. Much of the material presented here is aimed at newcomers to publishing, but even experienced Mac publishers should be able to learn a new trick or two. Chapter 1 introduces basic typographical terms, in order to give beginning publishers some background. Chapter 2 defines some of the major type categories and gives tips on