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Table of Contents

READ ME FIRST 4 Basics ................................................................................... 4 Assumptions .......................................................................... 6 What Was New in Version 1.0................................................... 7 What’s New in Version 1.1 ....................................................... 8

INTRODUCTION 10

QUICK START 12

LEARN FONT BASICS 14 Supported Font Types ............................................................14 Where Leopard Stores Fonts ...................................................23 Explore the Unicode Universe ..................................................27

ORGANIZE YOUR FONTS 33 Prepare for the Cleanup..........................................................33 Organize the System Fonts Folder............................................37 Organize the Library Fonts Folder ............................................44 Organize the User Fonts Folder................................................55 Deal with Microsoft Fonts........................................................56 Deal with Adobe-Product Fonts ................................................69 Finish Organizing ...................................................................77

GET ACQUAINTED WITH FONT BOOK 82 Tour the Interface..................................................................82 Understand the Collection List .................................................84 Set Font Book’s Preferences ....................................................86 Learn Other Interface Features................................................87

INSTALL NEW FONTS 92 Get New Fonts ......................................................................92 Before You Install ..................................................................94 Install a Font from the Finder ..................................................97 Other Installation Options .......................................................99

VALIDATE FONTS 108 Find Your Way around the Validation Window ..........................109

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REMOVE FONTS YOU DON’T WANT 113 Use Font Book to Remove Fonts ............................................113 Trim the Excess Font Fat ......................................................116

DISABLE (AND ENABLE) FONTS 122 Disable a Font Family ...........................................................123 Target More, or Less, than a Family .......................................124

ENABLE AUTOMATIC FONT ACTIVATION 128

DEAL WITH DUPLICATES 131 All Duplicates Are Not Created Equal ......................................131 Use Font Book to Handle Duplicates .......................................132

CREATE AND EDIT COLLECTIONS 138 Create a Collection...............................................................138

USE LIBRARIES TO CONTROL YOUR FONTS 141

FIND MISPLACED FONTS 145 Search inside Suitcases ........................................................146 Search for and in Font Files...................................................147 Create a Font Smart Folder ...................................................150

PRINT FONT SAMPLES 154

MASTER FONT MENUS AND FONT FORMATTING 156 Find a Font in a Menu...........................................................156 Get to Your Font Faster ........................................................159 Manage Character Style-Typeface Interactions ........................161

CONTROL CHARACTER ENTRY 167 Turn On the Tools ................................................................168 Use Keyboard Viewer to Find Special Characters ......................169 Use Keyboard Viewer to Type Accented Letters........................171 Learn about Characters in Fonts ............................................175 Utilize Smart-Font Typography ..............................................184 Find and Enter Characters with Character Palette .....................190 Use Alternate Keyboards for Foreign Languages or Other Special Input ..........................................................202

APPENDIX A: SUPPORTED FONT TYPES 212

APPENDIX B: LEOPARD FONT TABLES 213

APPENDIX C: USERS AND ACCOUNTS 216

APPENDIX D: REPLACE THE HELVETICA DFONT 218

ABOUT THIS BOOK 221

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Read Me First Welcome to Take Control of Fonts in Leopard, version 1.1.

This book tells you everything you need to know (and then some!) about fonts on your Mac: what and where they are, how to organize them, how to access the hidden wealth of characters inside some of them, and how to use the Mac OS X font tools—Font Book, Keyboard Viewer, and Character Palette. It demystifies Unicode, explains how to get your font collection under control, and more.

Copyright © 2007, Sharon Zardetto. All rights reserved.

The price of this ebook is $15. If you want to share it with a friend, please do so as you would a physical book. Click here to give your friend a discount coupon. Discounted Mac User Group and class-room copies are also available.

UPDATES We may offer free minor updates to this book. To read new info or learn about any new versions of this book’s PDF, click the Check for Updates link on the cover. On the resulting Web page, you can also sign up to be notified about updates to the PDF via email. If you own only the print copy of the book, email us at tc-comments@tidbits.com to obtain the ebook.

BASICS When reading this book, you may get stuck if you don’t know certain basic procedures or don’t understand Take Control syntax for things such as working with menus or finding items in the Finder. Please note the following:

• Paths: The route you take to a file on your hard drive, whether by looking through columns in a window or by double-clicking your way through folders, is the file’s path. The syntax for paths con-forms to Unix standards, because that’s what underlies Mac OS X.

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The disk’s name is always the first thing in an actual path; since we can assume that the disk is always there, we don’t include its name in the path—but we preserve the slash that would separate it from the next item. So, HardDrive/System/Library/Fonts becomes /System/Library/Fonts.

A path to something in a user’s home directory starts with the drive’s name, followed by Users and then the user’s name. The handy convention, however, is to replace those first three items with ~ (tilde), so HardDrive/Users/Jerry/Library/Fonts becomes simply ~/Library/Fonts. (You’ve probably noticed by now that path text is formatted in special type.)

For something a little further down, or back up, in a path that was just described, or if the beginning of the path is unknown (because, for instance, it varies from one user to another), we use two periods to indicate the missing part of the path: “With Creative Suite 2, you get /Library/Application Support/Adobe/Fonts, and its subfolder, ../Adobe/Fonts/Reqrd/Base.”

• References to Fonts folders: The three basic Fonts folders you have to deal with are informally known as User Fonts, System Fonts, and Library Fonts; their paths are very similar and easy to confuse, so check Table 1, “Paths for Fonts Folders,” (p. 25) to see how you can easily differentiate them.

• Menus: To describe choosing a command from a menu in the menu bar, such as choosing Resolve Duplicates from the Edit menu in Font Book, this book uses the format “Edit > Resolve Duplicates.” When the actual command name changes based on a special situa-tion or selection, there’s a generic reference: if the command would be File > Remove “NewFlier” based on the name of the selection, the description is File > Remove CollectionName.

• Contextual menus: When I refer to accessing a contextual menu, I usually write “Control-click on [whatever] for the contextual menu…”. This is a little ironic since I never Control-click—my main computer is a laptop, and I use a two-finger tap for a contextual menu. You might do the same, or you may be using a mouse that’s programmed to open a contextual menu with a right-click. When-ever you read “Control-click,” use whatever method you like to open a contextual menu.

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• System Preferences: Working with certain aspects of fonts means taking some trips to System Preferences. To get there, choose System Preferences from the menu. Each icon in the Preferences window opens a pane of information. So, if I say “In the International pane of System Preferences” or “in the International preference pane,” you’ll know you have to choose > System Preferences and click on the International icon. Some panes have multiple screens, accessed by clicking the blue buttons in the pane, so the directions might say “…in the Input Menu screen of the International pane…”.

ASSUMPTIONS Yes, I know what they say about “assume” but I’m going to anyway. As long as you know what the assumptions are, we can prevent some misunderstandings:

• You’re working in Leopard: Font management in Mac OS X has changed drastically from one major release to the next; almost nothing in this book applies to versions before Tiger (10.4); it’s written specifically for the Leopard (10.5) system software, and I used version 10.5.5. Things also change with minor updates, so if you have something earlier than 10.5.5, you might find some significant differences when it comes to things like searching for fonts or even working in a Get Info window.

• You have administrative access to your Mac: I do mention, in a few places, the difference having access (or not) might mean to a font situation, but the general assumption is that you’re in charge. (If you’re uncomfortable with, or confused by, the very idea of “administrative access,” Appendix C: Users and Accounts can ease your mind.)

• You’re not using third-party font management software: Wherever I discuss Font Book and its use, I assume that Font Book is your font management software. You can’t have more than one of these utilities running at a time, so if you’re working with a third-party solution but want to try (or go back to) Font Book, you should first disable the third-party manager.

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• You have Microsoft Office and/or Adobe Creative Suite: (or a standalone Adobe program such as InDesign). That’s not to say that you need any of these programs to use this book or that if you use QuarkXPress this book won’t help you. It is merely that I generally use Adobe InDesign and Microsoft Word (in various incarnations) as the non-Apple standards of how fonts are handled in Mac OS X; these programs work very well as the extremes of the sublime-to-ridiculous range.

• You’ll check current compatibility for any software I mention: The tricky part of writing any computer book that men-tions more than one piece of software is the “compatibility leapfrog effect”: a utility that works with Leopard 10.5.2 might not work with the 10.5.3 update, and the utility’s update for 10.5.3 might break under 10.5.5, and so on. So, if you’re interested in any commercial software or shareware that I mention—Suitcase Fusion, PopChar, FontDoctor, WhatEver—please be sure to check that it’s been updated to work with your current Leopard version.

WHAT WAS NEW IN VERSION 1.0 There were many changes from the Tiger edition of this book to ver-sion 1.0 of the Leopard edition, both large and small. The large side:

• Leopard includes new fonts and new versions of old fonts, and it has swapped some fonts between the Library and System Fonts folders (to their more logical locations); it also installs all foreign language fonts by default instead of as an option, just the opposite of Tiger’s approach. Updated tables in Appendix B: Leopard Font Tables (p. 213) identify all the fonts.

The fonts Leopard has in common with Microsoft Office 2004 leapfrogged Office 2004’s versions (which were superior to Tiger’s), leading to a rewrite of the section about organizing your fonts; if you use Office 2004, make sure you check Office 2004 and Leopard’s Multiple-File Fonts (p. 64).

• Font Book has a super new feature that can automatically activate a font if it’s used in a document you’re opening; check out Enable Automatic Font Activation (p. 128). It also prints font samples (finally!), covered in the aptly named Print Font Samples (p. 154).

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On the smaller side, Leopard’s general (not font-specific) changes required modifications of or additions to many sections. For example:

• With the Finder’s icon preview and Cover Flow view, you don’t need to open Font Book to see what a font look likes; see Preview Fonts in the Finder (p. 96).

• Spotlight is not only faster under Leopard, but it also provides new ways of searching, so Find Misplaced Fonts (p. 145) was revised.

I should also note what’s missing from this version compared to the Tiger edition:

• Information about dealing with corrupted font caches—because Leopard doesn’t use font caches, except on a much deeper level, where they rarely become corrupted.

• The Classic environment isn’t supported under Leopard, so infor-mation about updating “legacy” fonts, and running the venerable Font/DA Mover program under Classic to repack suitcases has been dropped. For more details, see my TidBITS article, “Are Your Fonts Ready for Leopard?” at http://db.tidbits.com/article/9255.

WHAT’S NEW IN VERSION 1.1 The changes in this version include:

• Microsoft Office 2008 uses an approach to font storage different from its predecessor, so a new section, Deal with Microsoft Fonts (p. 56), shows you how to organize not only the 20o8 fonts, but also how to get rid of the 2004 leftovers. Also, some Microsoft fonts were updated to match Leopard’s versions, so I made appropriate minor changes to various tables and tips.

• Adobe’s Creative Suite 3 and 4 both take a different font-storage approach from their forebears, so a new section, Deal with Adobe-Product Fonts (p. 69), describes how to not only deal with CS3-4’s font collections, but how to combine either one with CS2’s fonts, which, surprisingly enough, include some fonts that the later versions do not.

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• Since I’m paying so much attention to third-party fonts and how to handle them, it’s only fair that I added advice about dealing with fonts from Apple’s iLife and iWork, in Identify and Winnow iLife/ iWork Fonts (p. 50).

• Minor updates to Leopard have included unannounced changes to some of the little things—such as how Spotlight searches for fonts, so I’ve once again updated Find Misplaced Fonts (p. 145).

• With nearly 30 additional pages of font-handling information added to this edition, something had to give; in fact, several somethings: “Solve Basic Font Problems,” “Synchronize with the Rest of the World,” and “The Zapf Dingbats and Symbol Nightmare.” Because those sections were about solving problems, they’ve been moved into a new companion book, Take Control of Font Problems in Leopard.

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Introduction It’s utterly astonishing that the Macintosh, a computer platform whose initial claim to fame was not just its interface but its use of different fonts, celebrated its almost-20th anniversary with an operating system that totally ignored the importance of fonts, pretending the difficulty—or total inability—to install and manage fonts didn’t matter.

As a Mac fanatic from way back (1984, to be precise), I hate to admit that it took Mac OS X years to get its act together concerning fonts, and that I also totally ignored the issue for as long as I could. I know I felt frustrated; I think I also felt insulted. But that’s well in the past.

Under Mac OS X 10.4 Tiger, fonts became manageable with Font Book, and their Unicode-inspired wealth of characters and advanced typographical features became more accessible. Mac OS X 10.5 Leopard brought a smarter Font Book (with font auto-activation), a sturdier approach to fonts (no more corrupted caches), and another step toward all-round advanced fonts (Mac TrueTypes replaced by Windows TrueTypes).

You’ll find all the basics of font management in this book: what font types are supported, installation, removal, verification of font file integrity, and the Font Book how-to (and why). You’ll learn back-ground details on Unicode and its ripple effect on almost every font-related thing you do, how to manage an unruly collection of fonts, and how to access foreign-language characters and keyboards.

Due to space constraints and timeliness, I don’t review font manage-ment software or round up font-related shareware utilities; instead, I discuss what to look for in font management beyond Font Book, and I highlight a few especially good utilities in context of related topics.

The main mission of this book is self-evident, but there are two minor ones I’d also like to accomplish: to pique your interest regarding char-acters buried in many common fonts and to help you achieve a certain comfort level in dealing with Unicode and glyph IDs for characters. To kill both those birds with one stone (and use an awkward metaphor at

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the same time), where parts of figures need emphasis, I’ve used characters from different fonts to point, circle, label, or otherwise command your attention. In a special caption, I identify these charac-ters by font name and Unicode or glyph ID (or both). It looks some-thing like this picture, though usually more sedate.

Jagged arrow: Apple Symbols U+2189 Dashed arrow: Sand U+2198, GID 350 Circled letters: MS PGothic starting at U+24D0 GID 17543

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Quick Start The material in this book is presented with the mild assumption that you’ll read it linearly, but that doesn’t mean that you have to read it that way. You could, instead, start with font installation techniques, or inputting special characters.

Beginning at the beginning: • Whether you’re a font minimalist with nary a problem, or a font

fanatic with nothing but, covering the basics is a good place to start. Check out the Supported Font Types, and the oh-so-many places you can store them, in Mac OS X Fonts Folders.

• Explore the Unicode Universe, discover the wealth of characters stored in fonts with The Joy of Character-Rich Fonts, get up to speed with the latest font buzzword (and important concepts) in The World According to Glyphs, and learn how to Utilize Smart-Font Typography.

• Whether your font collection is a mess or merely a nightmare waiting to happen, get things in order with Organize Your Fonts, and keep them that way with Stay Organized.

• If you’re struggling with font overlaps between Microsoft Office 2004 and 2008, check Deal with Microsoft Fonts; if you’ve moved to a newer version of Adobe Creative Suite, learn about their font issues in Deal with Adobe-Product Fonts.

Installing and managing fonts: • If you’d like just a minimum introduction to Font Book, jump

to Tour the Interface; if you’d like more than a passing familiarity with this invaluable utility, read Get Acquainted with Font Book.

• For details on specific functions, check out Validate Fonts, Disable (and Enable) Fonts, Create and Edit Collections, and Use Libraries to Control Your Fonts.

• To learn about Leopard’s new Font Book capabilities, check out Enable Automatic Font Activation and Print Font Samples.

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• To learn about installing all types of fonts, with and without Font Book, see Install New Fonts and, of course, Remove Fonts You Don’t Want. To keep track of all the additions to your collection, use the tricks in Font-Tracking Techniques.

• Are duplicate fonts driving you crazy? Deal with Duplicates covers both general and Font Book issues in that area. And if you think that duplicates are… well, duplicates, jump directly to All Duplicates Are Not Created Equal.

Working with fonts and typing special characters: • Font menus are not as straightforward as they seem; iron out the

wrinkles with Master Font Menus and Font Formatting.

• As for typing any of the thousands of special characters available in some fonts:

◊ Start with a survey of “input methods” in Turn On the Tools.

◊ If you need to type accented characters, check out Use Keyboard Viewer to Type Accented Letters and Type More Accents with the U.S. Extended Keyboard.

◊ To learn how to enter (and find!) the zillion other characters in modern fonts, read Find and Enter Characters with Character Palette.

• If you want to type entirely in another language, or with a different “system,” like the Dvorak method, read Use Alternate Keyboards for Foreign Languages or Other Special Input.

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Learn Font Basics We’ve come a long way from the bitmapped fonts on the original Macintosh, which were a miracle in the days of the blocky, one-size-fits-all text on other computers. Along that long way, new font tech-nologies have been developed, praised, accepted as a standard, and then nudged aside by the next new thing.

I’ve broken the topic of learning font basics into three parts. You need to know them all before you can really wrangle your fonts:

• Supported font types: Some fonts are new to Mac OS X, others are on their way out.

• Font locations: Read Where Leopard Stores Fonts. Be sure to read the entire section since the last topic, The Font Access Order, is especially important.

• Unicode: You might be tempted to skip my short treatise, Explore the Unicode Universe, but I’m warning you: you’ll have to come back to it sooner or later!

SUPPORTED FONT TYPES Mac OS X supports an amazingly wide variety of fonts. Here’s the cast, in order of their appearance on the computer scene:

• PostScript Type 1 and Companion Bitmapped Suitcases (next page)

• Multiple Masters

• TrueType (Mac)

• TrueType (Windows)

• OpenType

• dfont

You can find details on all the font types in this section, and see a roundup of all the font specifications in Appendix A: Supported Font Types.

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PostScript Type 1 and Companion Bitmapped Suitcases The first font technology for the Mac, bitmapped fonts describe character shapes using a matrix of dots. Because a matrix pattern is distorted when enlarged or shrunk, different sizes of a font (9 points, 12 points, and so on) had to be designed individually; using a non-designed size led to the famous, dreaded jaggies.

Initially, fonts were not meant to be accessed by mere mortal users, but they were eventually separated from the core system file and given their own file structure, called a suitcase. A suitcase could be limited to a collection of bitmapped font descriptions for different sizes of the same font family, or it could hold several different families.

Bitmapped fonts were originally an independent format, but are now supported only as companions to PostScript Type 1 printer files. (There’s no difference between “companion” bitmaps and regular ones; it’s the presence of the printer file that defines the bitmap as a companion, and therefore supported, font.)

Suitcases only! Prior to Mac OS X, the Mac could handle “loose” fonts—single-font files that were not in a “suitcase” format. Some very old PostScript companion bitmaps might not be the suitcase format that Mac OS X needs. The clue: the name includes a size: “Tekton 12.”

PostScript Type 1 fonts, because they could take advantage of the highest resolution available on any output device, launched the desk-top publishing industry. Instead of a dot-by-dot bitmap to describe a character’s shape, they use mathematically defined outlines that easily scale up or down and remain jaggie-free. But since screen fonts and high-res printer fonts were rendered so differently in those early years, it took two files to support a PostScript font: the outline or printer font for the printer, and the bitmapped font for the screen. We’re still stuck with this double-file approach when it comes to Type 1’s. (Because a suitcase can hold more than one font, you won’t always have a one-to-one relationship between these two file types: a single suitcase might serve as the companion to several printer fonts in the same family.)

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Specs: Bitmapped Suitcase

Filename/extension: A bitmapped font suitcase is usually named after the font family it contains. Some old suitcases have exten-sions such as .bmap or .scr, but the suffixes are as unnecessary now as they were under previous systems.

Icon: Stamped FFIL. Some older files might appear with the possibly nostalgia-inducing suitcase icon.

Finder Kind: Font Suitcase.

Font Book Kind: Although Font Info shows the suitcase file as the location, Font Book otherwise ignores the lowly bitmapped font and reports the Kind as PostScript Type 1. (Font Book’s Info view, shown in Figure 14 (p. 90) displays a font’s Kind that sel-dom matches the Finder’s Kind label.)

Future: Will be supported passively as a companion for the Type 1 printer file for years because it’s so established, but it’s being sup-planted by OpenType.

Specs: PostScript Type 1 Printer Font

Name/extension: The naming convention for a printer font is a simple formula: the first five letters of the font family name, followed by the first three letters of every word after that. So, the printer font for Whedon has the simple name Whedo, while Whedon Script Bold Italic becomes WhedoScrBolIta.

Icon: Stamped LWFN.

Finder Kind: PostScript Type 1 outline font.

Font Book Kind: PostScript Type 1.

Future: Will be supported passively for years because it’s so established, but OpenType is supplanting it.

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FFIL? LWFN? Wondering why these font icons are branded FFIL or LWFN? Mac systems prior to Mac OS X embedded two four-letter codes in every file to identify the parent application and the type of file. These codes made file extensions (like .doc and .txt) unnecessary and gave files an invisible umbilical cord to their creators. FFIL (font file) and LWFN (LaserWriter font) were the file-type codes for font suitcases and printer fonts.

Multiple Masters Adobe’s Multiple Master fonts were PostScript Type 1’s on steroids. You could choose how bold or how italic, or how condensed or extended, you wanted your font to be. The Multiple Master font was, as the name implies, a font that held all the information for the extremes of certain design axes; the variations created from the Master were called instances, and they were stored in the existing font file.

You can’t create instances in Mac OS X—or anyplace else, for that matter, since Adobe dumped the idea years ago. The Multiple Master core font itself can be used, and you can usually access its built-in variations—and sometimes its previously created instances—in Adobe programs (see Use Multiple Master Fonts—If You Must! for details).

Multiple Masters are, at heart, PostScript Type 1’s, so you need two files (suitcase and printer font) to make them work, and they’re generally treated like other PostScript fonts in Mac OS X.

Specs: Multiple Masters

Name/extension: The printer filename uses the Type 1 naming convention (five letters for the font name, followed by three letters for each style descriptor) and adds an MM suffix; the companion suitcase usually has an MM suffix, too.

Icon: The basic font icons for PostScript and bitmapped suitcases.

Finder Kind: PostScript Type 1 outline font and Font Suitcase.

Font Book Kind: PostScript Type 1.

Future: Already past.

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A font by any other icon: Do your icons look more like tiny font samples than the icons shown on the next few pages? See Preview Fonts in the Finder (p. 96).

The MM Exceptions Despite what I said about Multiple Master fonts being passé, there’s a major exception: both Apple and Adobe use basic Multiple Master fonts to render missing fonts in, respectively, Preview and Adobe Reader.

Leopard puts the files HelveLTMM, Helvetica LT MM, TimesLTMM, and Times LT MM in your System Fonts folder. (The “LT” is for Linotype; you should be able to tell from the description of naming conventions in the previous font “Specs” box which file in each pair is the suitcase and which is the printer font.)

Adobe provides AdobeSanMM, Adobe Sans MM, AdobeSerMM, and Adobe Serif MM; early versions of Adobe programs kept these fonts in various folders, but now they’re embedded in the applica-tions, so you may not see them anyplace on your drive.

The fact remains, however, that Multiple Masters are now barely viable for mere mortals.

TrueType (Mac) Apple’s TrueType font technology provided the PostScript advantage of smooth font rendering at any resolution while overcoming its chief drawback: the need for two files. (Actually, the chief drawback from Apple’s point of view was surely the royalties paid to Adobe—$700 per LaserWriter at one point!)

TrueType fonts were not acceptable for graphics professionals: although the technology supported output as meticulous as PostScript, the initial TrueType fonts weren’t as finely crafted as PostScript fonts were, and there weren’t many available. In addition, the pros knew and trusted PostScript fonts and had invested a lot of money in them. But the rest of the Mac world was thrilled with TrueType, which used the same suitcase file format as bitmaps.

Within a year of its release with System 7, TrueType technology was licensed to Microsoft (who apparently had to choose which enemy to sleep with—Apple or Adobe). Although the core technology is the

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same, the platforms implemented it differently, so there are Mac-format TrueType fonts and Windows-format TrueType fonts.

Specs: TrueType (Mac)

Name/extension: Usually just the font family name; no extension.

Icon: Stamped FFIL.

Finder Kind: Font Suitcase.

Font Book Kind: TrueType.

Future: Short; may be dropped by Mac OS XI. Previously the alternative to PostScript Type 1, it will eventually be totally sup-planted by Windows TrueType. (That’s what I said in the Tiger edition of this book, and Leopard’s release only confirmed my suspicions: even basics supplied with the Mac, such as Verdana and Trebuchet, are no longer FFIL suitcase fonts, but .ttf Windows TrueType fonts.)

Bitmapped vs. TrueType Suitcases The icons (FFIL-stamped) and Finder Kind (Font Suitcase) are the same for bitmapped and Mac-format TrueType fonts because they’re both suitcase files. So how can you tell which type of font is in a suitcase file? Well, you can’t, just by looking at it. You can, however, tell the difference by how the suitcase behaves:

• A bitmapped font can’t be installed in Mac OS X unless its PostScript Type 1 partner is available, and, once it’s installed, its Font Book Kind is identified as PostScript Type 1.

• A TrueType font can stand on its own. Font Book identifies an installed TrueType suitcase as TrueType.

TrueType (Windows) Mac OS X supports the Windows format of TrueType. These font files can be used on both platforms with no conversion, and, with the same exact font available on both sides, documents that go back and forth don’t go all wonky. In addition, you can use the zillions of free or inexpensive Windows TrueType fonts on your Mac too.

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Most Windows TrueType fonts have the extension .ttf; some have a .ttc extension, for “TrueType Collection.” A .ttc file is not related to a font collection as defined by Font Book, nor is it a Windows version of the Mac font suitcase: it’s a special space-saving file format used for some foreign language fonts that share certain characters. Because Leopard provides plenty of language-specific fonts, it’s unlikely you’ll ever need, or even see, a .ttc file, but they are supported.

Specs: TrueType (Windows)

Name/extension: The font or family name, with a .ttf or .ttc extension.

Icon: Stamped TTF.

Finder Kind: Windows TrueType font.

Font Book Kind: TrueType.

Future: Long; it will survive the eventual shakedown to two font types—this one and OpenType.

OpenType OpenType isn’t so much a new font technology as it is a new file for-mat, cooked up by Adobe and Microsoft (when the fickle Microsoft decided to sleep with the other enemy). The goal was to develop a sin-gle format that could: replace the Type 1 double-file approach with a single file; use either PostScript or TrueType outline descriptions (see OpenType Comes in Two Flavors); contain additional, more advanced typographic capabilities; provide full Unicode support for extended character sets, as well as deal with other common encoding schemes; and, run on both platforms with no conversion.

Adobe has converted all its Type 1 fonts into OpenType fonts, so you can be sure this is a serious format that will be around for a long time. Specs: OpenType

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Specs: OpenType

Name/extension: Typeface name with extension .otf.

Icon: Stamped OTF. Finder Kind: OpenType font. Font Book Kind: OpenType PostScript. Future: Long and healthy; the new standard.

OpenType Comes in Two Flavors And your Mac likes them both. The OpenType standard lets either a PostScript or a TrueType description be the core of the design:

• Postscript-core OpenType fonts have .otf extensions.

• TrueType-core OpenType fonts can have .otf or .ttf extensions. Most .ttf extensions indicate TrueType, not OpenType fonts, but the .ttf extension is sometimes used for backward compatibility with older PC systems or with older versions of the font.

dfont The dfont format, introduced in Mac OS X, is Mac-only; it’s basically the same as TrueType, with the information re-arranged a little bit to kowtow to Unix, the Mac system’s underlying framework. (The font resources are stored in the data fork—if that doesn’t mean anything to you, don’t worry.) The dfont format is used for only some system-level fonts, and it is not meant as a new font type or standard.

Specs: dfont Name/extension: Family or typeface name with extension .dfont.

Icon: Stamped DFONT. Finder Kind: Datafork TrueType font. Font Book Kind: TrueType. Future: Irrelevant, since it’s a limited-use, system-supplied font.

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Fonts, Families, and Faces Most “regular” Mac users (read: people who don’t do professional graphic design) never needed to know the meaning of typograph-ical terms like family, face, weight, and so on. But with the vast array of fonts included with Mac OS X and some applications, and the way they appear in menus and utilities, you’ll find your way around more comfortably if you have a handle on the basic terminology—even if it has been twisted somewhat over the years away from traditional typesetting and toward the way we format text on computers.

When it comes to computers, the word font has a pretty generic meaning: it’s what you choose from a Font menu—Geneva, Georgia—to get characters of a certain design. Then, if you want text to be bold or italic, you apply the style to the base font; but it’s still, as far as you’re concerned, the same font.

In traditional typesetting, however, font means something much more specific: Lithos-Bold-Italic-14-point is a font. It’s not hard to see how the technology defines (and redefines) terms: if you’re setting type by putting carved letters in a rack, you need the let-ter Y that’s in the Lithos-Bold-Italic-14 box, and it’s obviously a different font from Lithos-Bold-Italic-12, which is in a different box. Lithos is a family, not a font, and the family includes design-related styles, or faces, like Lithos Bold, Lithos Italic, Lithos Extra Bold, and so on.

A font family can consist of a single face, or have a myriad of members far beyond the so-familiar regular, bold, italic, and bold italic. Sometimes a font has variations that you wouldn’t think of as styles: Creative Suite’s Warnock Pro, for instance, includes such members as Caption, Display, and Subhead.

Luckily, we needn’t go as far as traditional typesetting and consider every size a different font. In fact, you’ll find the word font in this book sometimes means the name you choose from a Font menu, and sometimes it refers to the whole family; the actual meaning will be obvious from the context. And although the word style might mean little more to you than bold and italic, it’s sometimes used (instead of face or typeface) to refer to a “family member” such as Optima Bold or Optima Italic; again, the context will define the difference.

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WHERE LEOPARD STORES FONTS Where you put your fonts affects who can access them and in what applications they appear. Font locations also define which ones get used if you have duplicate font files (I explain this ahead, in The Font Access Order.) But first, let’s look at the categories of locations where Leopard lets you store fonts:

• Mac OS X Fonts folders: These folders are described just ahead. (Leopard dropped support of the Classic environment, so that’s one less possible font location!)

• Application Fonts folders: Although Adobe made the most of this approach with its Creative Suite 2 package (and then did something else with CS3), it’s available to any vendor. Consult Application Fonts Folders for more info.

• User libraries: Defined through Font Book, user libraries let you access fonts stored anywhere on your hard drive without their being copied into a Fonts folder; the details are in Use Libraries to Control Your Fonts.

• And anyplace else: Leopard can open any font from anywhere temporarily when it sees that you’re opening a document that contains a font not currently in use. See Enable Automatic Font Activation.

Mac OS X Fonts Folders Every user has at least three Leopard Fonts folders, but Mac OS X can use up to four:

• System: The fonts in /System/Library/Fonts, sometimes referred to as the “system fonts,” are available to every user of the machine. Some are absolutely essential to the operating system because it uses them for menus, dialogs, and other important system-level things; deleting one of the essentials can render your Mac so help-less that it won’t even start up. You need administrator access to add fonts to or delete them from this location.

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“System fonts”: Sometimes the phrase system fonts refers to all the fonts in /System/Library/Fonts; sometimes it’s only the ones your Mac absolutely needs (for its menus and dialogs); and, sometimes it means all the fonts that come with Mac OS X! I’m not trying to confuse you—these definitions are all in common usage. The context usually makes the reference clear.

• Library: The fonts in /Library/Fonts are available to every user. Apple documentation often refers to this as the “local folder,” but that can be confusing in terms of local versus network. We’ll stick with the other common reference for this folder: the Library folder—even though the word “library” is in the pathname of every Fonts folder. (See “Speed-Read Fonts Folder Paths,” below, to learn how to easily differentiate the folders.) You need administrator access to add fonts to or delete them from this location.

• User: The fonts in ~/Library/Fonts are available to only a specific user; Leopard doesn’t put any fonts in this folder.

• Network: If you’re on a network, the server may have a Fonts folder (/Network/Library/Fonts); the fonts in it are accessible to everyone connected to the server.

Font Subfolders Put a subfolder of fonts in any official Fonts folder, and your Mac automatically sees the fonts in the subfolder, too. This includes nested folders in the subfolders, and it doesn’t matter what any of the subfolders are named. This is one of the font-organization tricks I describe in Organize Your Fonts to handle Microsoft Office 2004 fonts. And it’s a trick that Office 2008 uses on installation. (I’m not saying they copied it from me. I’m just sayin’.)

The accessibility of fonts in subfolders is inherited from the parent Fonts folder. So, for instance, fonts in a subfolder of ~/Library/ Fonts are available to only that user.

Speed-Read Fonts Folder Paths When I refer to the Fonts folders by a descriptive name, such as System or User, you’ll likely have an immediate sense of which folder I mean. But their paths all look pretty much alike (because they are pretty much alike). Let’s take a minute to analyze them so it’s easier

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for you to recognize which folder is which without having to decode the pathnames each time you see them. (If you’re unfamiliar with the concept of users and accounts on the Mac, it would be helpful if you jump to Appendix C: Users and Accounts at this point.)

Fonts are one of the many resources the operating system uses on its various levels (system, user, and the in-between shared level). Collec-tions of such resources are generically referred to as libraries, so each of the Fonts folders is inside a Library folder. Since every Fonts folder pathname ends in Library/Fonts, you can ignore the end. You have to read only the beginning of the pathname to know which folder someone’s referring to, as shown in Table 1.

Table 1: Paths for Fonts Folders

Path Description/Mnemonic Name*

~/Library/Fonts That squiggle (it’s a tilde) in front of the name is you. When you see that, you know we’re talking about the User folder.

User

/System/Library/Fonts The first word is System; it’s the stuff that the operating system uses (and shares with you).

System

/Library/Fonts The first word is Library. Like a public library, open to all—all users of the computer share this folder.

Library

* The actual name of each folder is Fonts; this column shows the informal name used throughout this book for easy reference—“put it in the User Fonts folder,” for instance.

Application Fonts Folders I remember the thrill of discovering that, with a few tricks, you could install fonts in an application, or even in a document, so they would appear only when you used those items. I don’t remember what year that was, but it was back in the black-and-white Mac world.

It may not rate as a thrill, but Mac OS X allows an application to have its own Fonts folder. Sometimes these “private” fonts are meant for the user of the program and appear in only that program’s Font menu;

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sometimes they’re used by the program itself for things such as text in pop-ups, or palette titles and labels. But sometimes this approach is disconcerting:

• Lack of adequate documentation leaves users baffled when Font menus change from one application to the next, and formatted text copied in one program doesn’t paste correctly into another.

• Fonts in subfolders inside a private Fonts folders are also available to the application. This is, in general, a good thing, but confusing to the uninformed.

• You can’t use Font Book to add fonts to or delete fonts from an application’s Fonts folder.

• Fonts in these private Fonts folders don’t show up in Font Book even when you choose the All Fonts option; not only can you not preview the fonts, you won’t know if they’re duplicates—and, of course, it’s conceptually confounding to have an All Fonts option that doesn’t show all the fonts you have.

An application’s Fonts folder is a subfolder inside a Mac OS X Application Support folder; lest things be too easy, there are three such folders. The path to a private Fonts folder is /Library/Application Support/VendorOrProgramName/Fonts.

The only major vendor that I know of that takes (or took) advantage of this approach is Adobe, for its initial Creative Suite and CS2 releases, storing a wealth of fonts in Library/Application Support/Adobe/Fonts. The fonts for CS3 are stored directly in the Library Fonts folder. There’s more about dealing with either (or both) of these situations in Deal with Adobe-Product Fonts.

The application is in charge of its font approach: You can’t just create a Fonts folder, put it in the Application Support folder, and—presto!—get fonts in the program’s menu. The application has to be one that uses the these-are-my-fonts approach and actively accesses the private Fonts folder. But if an application has a private Fonts folder, you can move fonts in and out of it manually, and even set up subfolders inside it.

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The Font Access Order With all those Fonts folders scattered across your drive, there are bound to be duplicate fonts, right? Right. When Leopard looks for a font, it goes through the Fonts folders (including their subfolders) in this order:

1. The current application’s Fonts folder

2. User-defined libraries, in reverse creation order (most recent first)

3. User (~/Library/Fonts)

4. Library (/Library/Fonts)

5. Network (/Network/Library/Fonts)

6. System (/System/Library/Fonts)

Tip: The fonts in a subfolder are accessed immediately after those on the main level of a Fonts folder. So, the main-level fonts have priority, but a subfolder in the User Fonts folder is accessed before a subfolder in the Library Fonts folder.

When Leopard finds the font, it stops looking—which means it doesn’t go crazy if you have duplicate fonts available to the system. You, how-ever, might go crazy when you don’t get the font version you wanted or expected, an issue explored in depth in Disable (and Enable) Fonts and Deal with Duplicates, which also describe how to subvert the normal font-access order.

EXPLORE THE UNICODE UNIVERSE What’s a “Unicode font,” and why all the fuss? Unicode isn’t a font technology or format; it’s an encoding scheme, a way of assigning each character a numeric ID. So, a “Unicode font” is more accurately a “Unicode-compliant” font, but the shorthand reference is much easier. All OpenType fonts are Unicode; most Windows TrueType fonts, and newer Mac TrueTypes, are Unicode.

As for the fuss, it’s easier to understand if you know what preceded Unicode.

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In the Beginning Was ASCII Since computers think in numbers, all characters—letters, numbers, punctuation, dingbats—have always been represented internally by numbers. You probably have at least a passing familiarity with the con-cept of ASCII (“ask-key”) codes. The original ASCII standard fit all its characters, as well as some special codes, into a list of 128 numbers (which, because computers always start counting at zero, ends at 127). Luckily, there was an unused bit (a single binary digit) in the binary number pattern used to describe those first 128 characters; through the miracle of binary, using that single bit doubled the number of numbers, to 256 different possibilities.

Many fonts used those extra slots for special characters—foreign letters, bullets, mathematical symbols—without regard to what every-one else was doing. So, you could never be sure, as you moved from one font to another, what might be available with Option (Alt on PCs) and Option-Shift, a situation that held an eccentric charm. The second set of 128 characters settled down to a semblance of standardization based on what had already been done (that’s why the bullet character is always Option-8), though few existing fonts bothered re-aligning any nonstandard characters.

Many other encoding standards, and subsets and supersets of standards—even different basic ones for Macs and PCs—have been defined and used over the years. Despite background changes, how-ever, we’ve long had fonts that could easily provide 256 different items in a character set.

Asian in ASCII: Representing the thousands of characters required for basic Japanese and Chinese required some clever gymnastics to overcome the basic 256-character ASCII limit: two successive ASCII codes were used for a single character.

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The More Things Change… The development of the ASCII standard came about 130 years after the most famous, longest-lasting, still-in-use encoding scheme for transmitting textual data: Morse code.

It’s tempting to call Morse code a binary system, since it uses dots and dashes to represent letters. But we’d be stretching the truth, since Morse actually uses three elements in its scheme, with “spaces” (pauses in transmission) to indicate breaks between letters, words, and sentences. But other parallels between Morse and our current computer-based schemes and concerns are so intriguing as to warrant a side trip.

• Because letters use dot/dash patterns of different lengths, Morse assigned shorter patterns to the more frequently used letters: E is a single dot, T is a single dash. For a computer, every letter is exactly the same length: 8 bits. But this most-often-used-is-shortest-cipher approach is exactly the one taken in compression schemes for transmitting computer data. When you compress a text file, for instance, E and T are represented by fewer bits than are Q and Z.

• When telegraphing became the mode of swift communication, telegraph companies charged per word for a message. To save money, five-letter codes were used for common phrases, such as LIOUY for “Why do you not answer my question?” BTW, I don’t know the exact relationship between those letters and the phrase, but I did LOL when I found them. In addition, there were (are!) abbreviations to save input effort, and any IM-ing preteen would be able to translate CUZ, TNX, and UR.

• Hard-working “telegraphists” did a lot of “brass-pounding” on the job, which led to something called “glass arm,” the 19th-century version of carpal-tunnel syndrome, which led to the development of more ergonomic telegraph keys.

• In the Saved the Best for Last and Incredibly Apropos cat-egories: How did Morse determine the letter frequency when assigning dot/dash patterns? In a flash of inspiration (or per-haps just to avoid the tedium of counting letters on printed pages), he went to a local newspaper printer and counted the individual pieces of type in the type boxes.

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Back to Unicode Here in the 21st century, with technology so much more global than it was in, say, 1984, ASCII and its close relatives just can’t cut it any-more: different encodings for various languages make multilingual computing and document exchange essentially impossible. The non-profit Unicode Consortium spent years developing guidelines for an encoding standard that could accommodate all the world’s languages, assigning a number and name to every character. A character’s Unicode ID number, or code point, is usually referred to by a U+ followed by a hexadecimal number: U+2FA6, for example. (See What the Hex?? for information about hexadecimal numbers and “Why Do I Have to Know All This” on the next page.)

Unicode defines over a million characters so far, for commonly used characters in roughly a gazillion languages, including some you never knew existed (Ogham? Lepcha? Gurmukhi??). It also includes all sorts of interesting categories, such as Supplemental Arrows, Letterlike Symbols, and Enclosed Alphanumerics, as well as “private areas”—blocks of ID codes that anyone can use for anything.

Current font technology, however, limits a font to a mere 65,536 different characters (hereinafter referred to as the easier-to-read 65K). So, Unicode IDs are divided into groups, or planes, of 65K characters. Most Roman-based fonts, even when they include multiple foreign language alphabets, limit themselves to the first plane, the Multi-lingual Plain (BMP, or Plane 0—there’s that start-counting-at-zero thing again). But nothing limits a font to characters from only a single plane, and, in fact, some Mac OS X Asian fonts contain characters from multiple planes.

Most fonts use only a tiny percentage of the 65K “slots” available; some have no more characters than they used to, without even filling the Shift and Shift-Option key sets. On the other hand, many newer fonts include characters for several languages, all in one file; this is an initially confusing concept, since we’re used to switching fonts to use foreign language characters. The important thing for a Unicode font is that the available characters are in the right slots, with the correct numeric IDs. Most older fonts have correct ID mapping by default, since the Unicode numbers match the ASCII codes for the first 128 numbers; for some, the second 128 spots also match Unicode standards, except, in many cases, for the Euro symbol.

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It has, perhaps, occurred to you that to take advantage of all these extra characters you need a humongous keyboard or clever software. Mac OS X offers “input keyboards” that provide foreign language and other special input, and tools like Character Palette to help you access all the available characters in a font. (See Turn On the Tools and Find and Enter Characters with Character Palette.)

When the Unicode set isn’t enough: As if a million characters weren’t enough, many fonts provide characters outside the Unicode set; in fact, some Adobe fonts include thousands of characters that aren’t defined by Unicode. (This is covered in The Joy of Character-Rich Fonts and The World According to Glyphs.)

“Why Do I Have to Know All This?” Well, judging from the tone of your question, I guess “For the joy of learning!” isn’t the right answer.

Unfortunately, Mac OS X and computers in general here in the 21st century don’t shield us from their underpinnings as much as we’d like (or as much as they did back in the last century). As you work with various facets of Mac OS X font-handling like Character Palette (the picture below shows one of its help tags), and application-specific solutions like InDesign’s Glyphs palette, you’ll see characters variously identified by Unicode IDs in hexadecimal, with UTF-8 labels, and by references to glyph names and GID numbers. If you plan to use characters beyond the basic alpha-numerics you can see on your keyboard, you’re just going to have to learn some of this stuff. Sorry.

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Is It a Unicode Font? Here’s an easy way to tell if a font is Unicode-compliant: select it in Font Book, set the preview area to Custom (Preview > Custom), and type Option-Shift-2 (this is all described in Get Acquainted with Font Book):

• If you get a euro character like the ones shown below at the left, it’s 99.9 percent certain the font is Unicode compliant.

• If you get the graphic shown below at the right, the font is not a Unicode font.

(This assumes that you’re using U.S. input keyboard, which is a little ironic when the euro symbol is the test. With the British keyboard, for instance, Option-2 produces the euro symbol if it’s part of the font.)

The graphic is brought to you by the LastResort font, whose sole purpose is to step in at times like this—when a character is unavailable. The words at the top and bottom of the frame describe the Unicode category of the unavailable character; in this case, it’s “Currency Symbols.” The numbers in the sides of the frame (20A0 and 20CF in this picture) describe, in hexadecimal, the ID range for the category.

The fact that the character in the middle of the graphic is actually a euro symbol is coincidental to this example. The middle figure is just symbolic of the category, and the euro character is used for the Currency Symbols category. If you had tried to type a missing alphabetic character, an A would be in the middle.

This test isn’t valid for fonts that aren’t expected to have a euro symbol, such as dingbat (small symbols/pictures) or non-Roman fonts (Asian, Arabic, and so on); they can still be Unicode-compliant, with all their characters having correct IDs, without the inclusion of a euro symbol.

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Organize Your Fonts Are you just beginning your Mac OS X font experience and have no idea where to start? Are you drowning in extra fonts that you’ve installed in various places and have no idea how get out from under the mess you now have on your hands?

No matter where you fall on the font-muddle spectrum, the guide-lines and step-by-step procedures in this section get you back on track—and keep you there. I’ll show you how to:

• Get organized: Clean up your current Fonts folders: add missing fonts, delete duplicates, and generally sift through what might already be an out-of-control font collection.

• Back up the clean setup: Just in case things go kerflooey later (see Make Backup Archives).

• Stay organized: Use subfolders and labels to track old and new fonts (read Stay Organized).

PREPARE FOR THE CLEANUP There’s more to organizing your fonts than just dragging them to the right locations—although that’s an important part of it. Cleaning up your three basic Fonts folders—System, User, and Library—is a simple, but multi-step (and I mean multi!), process. Before we get started, here’s a general overview of what you’ll do, although some of the specifics differ depending on the folder you’re working in:

1. Restore each folder to the way Leopard meant it to be: We’ll reinstate missing fonts and offload nonmembers. If you’ve removed fonts and don’t want them back, that’s okay—but you can get them back if you’ve changed your mind.

2. Delete duplicate fonts: Leopard doesn’t supply duplicate fonts, but Microsoft Office 2004 and 2008 duplicate some of the Leopard fonts (and each other’s, in different folders). As for Adobe products, neither Creative Suite 2 nor CS3 duplicates Leopard fonts, but if

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you’ve upgraded from one to the next, you’ll have some duplicate Adobe fonts in different folders.

3. Assess available fonts: You can follow my general “keep or not” guidelines if you’re in a hurry, but I’ll show you an easy way to view the fonts in each folder so you can decide which ones you like enough to keep.

4. Organize the folder contents: We’ll colorize and subfolder-ize the survivors of the previous steps so you can differentiate them from fonts you add later.

The (Minor) Subfolder Problem Mac OS X “sees” the fonts in a Fonts folder’s subfolders, and they show up in Font Book with no problem. But if you reinstall—or perhaps just update—an application that puts fonts into the main level of the Fonts folder, the fonts might be installed there again because the installer won’t see the subfolder’s contents. However, if you keep track of your fonts as described in Stay Organized, you’ll always know which fonts are newly installed in a Fonts folder, and you’ll be able to move them into the proper subfolder (or trash them if they’re just same-version duplicates).

Note the Colorizing Color Scheme Throughout this section, I use color labels in a consistent way so that if you follow the recommendations, you’ll always know a font’s origin even if you move it out of a Fonts folder or subfolder. (Sometimes the colorizing is a temporary tool to help identify fonts during the reorganization—such as for Microsoft 2004 fonts—but you needn’t de-colorize them afterward.)

• Red: Leopard fonts in the Library Fonts folder. (You can’t easily colorize anything in the System Fonts folder, which doesn’t matter because nothing except the Leopard fonts should be in there.)

• Purple: Microsoft 2004 and 2008 fonts.

• Yellow: Microsoft 2004 fonts that conflict with Leopard fonts.

• Green: iLife and iWork fonts.

• Blue: Fonts that come with Adobe products.

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• Orange: First, for fonts of unknown origin that you haven’t yet reviewed—these will go to a special “holding” folder as you clean out your Fonts folders. Afterward—when you review and reinstall these miscellaneous fonts into a Fonts folder—orange fonts will be those in the main levels of the Library and User Fonts folders that you’ve put there on purpose; this makes newly added fonts (added behind your back by an application installation, for instance) easily identifiable.

Understand Font-Recommendation Categories As you organize each of your Fonts folders, you’ll have to decide which fonts you want to keep. To help that process along, I’ve listed the basic fonts for each folder in various tables, and divided them into these categories:

• Absolutely Necessary: The title says it all.

• Recommended: Fonts that are in common use on the Web or in cross-platform documents.

• Suggested: You don’t need them, but you might want them because of their special, useful characters; they’re either picture fonts or non-Roman fonts with a wealth of Roman-based characters (see Asian Font Fun Sampler, p. 210).

• Unnecessary: This categorization is not meant to imply that you wouldn’t want the font; even the most beautiful or useful of fonts can be unnecessary.

None of this advice takes into account that you might need a foreign language font. Presumably, if you need to keep a specific language font, or set of fonts, you’ll know it and consider them “absolutely necessary” when you purge your other fonts. If you aren’t sure which fonts are for which languages, check Appendix B: Leopard Font Tables, which notes the language scripts for each font.

Create Cleanup Folders Here’s how to prepare for your housekeeping chores:

1. Create a temporary folder on the Desktop: In the Finder, click on the Desktop surface itself (instead of working in a window) and choose File > New Folder (Command-Shift-N). Name the folder Font Cleanup.

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2. Create subfolders for the cleanup: Inside Font Cleanup, create the subfolders described here and shown in Figure 1. I’ve preceded the names of these folders with ƒ (that’s the Option-F character, not a lowercase f ) , so you can easily identify them as temporary folders.

• ƒArchives: For compressed archival copies of unneeded fonts, cleaned-up Fonts folders.

• ƒHolding: For “unidentified” fonts (non-Leopard, and not part of the main applications I cover in this Organize section), as well as fonts to assess later rather than during this major clean-up.

• ƒOffloads: For fonts that aren’t going to stay in their current Fonts folders, but should be kept in case you change your mind. We’ll compress them later so they won’t take up much room. Subfolders within this folder should be ƒLibrary and ƒSystem; in addition, if you have iLife, iWork, Microsoft Office 2008, or Adobe Creative Suite, you should create subfolders for them as. (Office 2004 doesn’t need a subfolder for the cleanup because it provides its own backup folder of untouched fonts).

• ƒView: For fonts that you must inspect before deciding whether to keep or remove them.

3. Put the ƒView folder in the sidebar for easy access: Working in a Finder window, drag the folder to the top of the list under the Places category, as shown in Figure 1.

Figure 1: The Font Cleanup folder and its subfolders (the ƒOffloads subfolders you need depend on the applications you have). Drag the ƒView folder into the sidebar (left) so it will be readily available (right) during the cleanup.

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4. Turn off Time Machine: You’ll be moving fonts all over the place, making temporary copies in some cases, and then finally compressing folders of fonts—and there’s no reason to clutter your Time Machine backups with these interim snapshots. Use System Preferences to turn off Time Machine—and don’t forget to turn it back on when the cleanup is finished!

5. Quit most of your applications: Most? Basically, you don’t want to have applications open that have Font menus—especially Font menus that don’t know how to rebuild themselves in response to your shuffling fonts around behind their backs. But you needn’t close everything: Font Book will be open while you work, and, despite my overly cautious advice in previous editions about printing these pages so you could close even the Preview or Adobe Reader, after some heavy-duty experimentation I’ve concluded that neither of those applications minds background font shuffling.

That’s it for the prep work; now you can start organizing.

ORGANIZE THE SYSTEM FONTS FOLDER Leopard installs 36 font files, comprising 24 font families, in the System Fonts folder (/System/Library/Fonts). If you customize your Leopard installation and decline additional fonts, you’ll have 35 font files in the System Fonts folder (the ShogakukanDictionaries font won’t be installed). Treat this folder as sacrosanct: nothing goes in it that Leopard doesn’t put there. You can take some fonts out, but the only things you should put back are the original Leopard fonts.

Because the fonts listed in Table 2 under Absolutely Necessary really are—removing them can keep your Mac from starting up and even require a system reinstall to get it started again—we’re going to start by preventing the accidental removal of these important system fonts:

1. Find and open Font Book (it’s in the Applications folder).

2. Choose Font Book > Preferences (Command-Comma).

3. Check Alert Me If System Fonts Change. (This reference to “system fonts” refers to those crucial to the Mac’s operation, not to just any font in this folder.)

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Redundant “feature”? This “Alert” feature doesn’t always work as Apple’s documentation describes, letting you know when an important need-it-to-see-things-on-the-screen font is being removed from the System Fonts folder. I get that warning even when this option is not checked! But it only takes a minute, it doesn’t hurt anything, and it might help at some point.

You can leave Font Book open if you’re continuing with the cleanup operations, since Font Book is opened for many of the steps.

Idiot-Proofed System Fonts If you’re not familiar with the term “idiot-proof,” don’t be insulted. It’s merely a phrase long in use in the computer world to refer to something that keeps a user from making a serious mistake. Cur-rent versions of Leopard won’t let you remove a super-important font by mistake: if you drag it to the Trash and supply your pass-word, you get this dialog along with a copy of the font magically restored to the folder.

Remove the Non-Leopard Fonts Whether you keep all the Leopard fonts in this folder or offload a few of them to streamline your Font menus, the first thing to do is to get rid of fonts that shouldn’t have been in this folder at all. But working with the System Fonts folder is different from working with any other Fonts folder:

• You can’t add or remove files without an administrative password.

• Dragging something out of the folder doesn’t remove it, but merely puts a copy of it in the target destination. To actually remove a font file, you must move it directly to the Trash, either by dragging it there or by selecting it and pressing Command-Delete. So, to

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remove a font file and keep a copy of it, you need two steps: drag the font to where you want to keep it, and then drag the still-in-the-folder copy directly to the Trash.

Leopard Fonts in the System Fonts Folder These are the fonts that Leopard puts in the System Fonts folder. The parenthetical numbers after font names in the list refer to the files belonging to the font group, so AquaKana (2), for instance, refers to the files AquaKanaRegular.otf and AquaKanaBold.otf. (Items marked with an asterisk appear in the Finder in Asian characters; see Identifying Asian Font Names, p. 43.)

• Apple Symbols • Keyboard

• AppleBraille (5) • LastResort

• AppleGothic • LiHei Pro*

• AquaKana (2) • LucidaGrande

• Courier • Monaco

• Geeza Pro (2) • ShogakukanDictionaries

• Geneva • STHeiti* (2)

• HelveLTMM, Helvetica LT MM • Symbol

• Helvetica • Thonburi (2)

• Helvetica Neue • Times

• Hiragino Kaku Gothic ProN* (2) • TimesLTMM, Times LT MM

• Hiragino Mincho Pro N* (2) • ZapfDingbats

Get rid of the fonts that don’t belong in the System Fonts folder:

1. Sort the folder by Name: In the Finder, navigate to and open /System/Library/Fonts. Choose View > As List and click the Name column header.

2. Select non-Leopard fonts: Using the alphabetical list of fonts (above) as your guide, select any font that’s not on the list. Use the Command-click method of selecting non-contiguous items to pick them out.

You don’t have to select all the fonts before you drag them out as described in the next two steps; you can select and drag a few at a

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time. However, since you have to drag them twice—to two different places—and also provide a password when they go to the Trash, doing one big batch saves time.

3. Move the selected fonts: Drag them to the ƒHolding folder in the Font Cleanup folder on the Desktop.

4. Trash the originals: The original fonts are still selected in Library Fonts folder; drag them to the Trash and type in your password when asked for it.

With the non-Leopard fonts removed from the System Fonts folder, it’s time to consider removing some of the Leopard fonts.

Winnow the Leopard Fonts For help in deciding which Leopard fonts to remove, refer to Table 2 (next page) and follow these suggestions:

• Absolutely Necessary or Recommended: Leave it in place.

• Suggested:

◊ If the possibilities in Asian Font Fun Sampler (p. 210) intrigue you, leave the Suggested fonts in place and delete them individ-ually later through Font Book if you feel they’re cluttering your Font menus.

◊ If you don’t care about their special characters, move the Suggested fonts to the ƒSystem subfolder in the Font Cleanup folder. This makes a copy of the fonts in that folder; you then must drag the originals again, this time directly to the Trash.

Double-dragging: As noted in the beginning of this section, the only way to remove fonts from the System Fonts folder is to drag them directly to the Trash, so you’re stuck with this double-drag procedure.

• Unnecessary: Drag them to the ƒSystem subfolder in the Font Cleanup folder, and then drag the originals again, directly to the Trash.

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Table 2: The System Fonts Folder /System/Library/Fonts Parenthetical numbers after font names refer to files belonging to the font group: AquaKana (2) refers to the files AquaKanaRegular.otf and AquaKanaBold.otf. Also see Understand Font-Recommendation Categories.

Absolutely Necessary AquaKana (2) Geneva HelveLTMM Helvetica LT MM

Helvetica HelveticaNeue Keyboard LastResort

LucidaGrande Monaco Times LT MM TimesLTMM

Recommended APPLE SYMBOLS Courier

SYMBOL Times

ZAPF DINGBATS

Suggested AppleGothic Hiragino Kaku Gothic ProN W3* Hiragino Kaku Gothic ProN W6*

Hiragino Mincho ProN W3* Hiragino Mincho ProN W6*

Unnecessary Apple Braille (5) Geeza Pro (2) LiHei Pro*

ShogakukanDictionaries Thonburi (2)

STHeiti Light* STHeiti Regular*

SMALL CAPS: Picture font Italic: Non-Roman font Blue: Fonts that don’t appear in Font Book or in Font menus; see Figure 2. * Finder shows in Asian characters; see Identifying Asian Font Names (p. 43).

Figure 2: Most of the fonts that don’t appear in Font Book or Font menus are invisible because their “full names,” embedded in their files, begin with a period—a signal to Mac OS X to keep them hidden. You can see a font’s internal “Full name” in the Finder Info window.

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Restore Missing Leopard Fonts As necessary or desired, and using Table 2 as a guide, put any missing Leopard fonts back in the System Fonts folder:

• Of course, if you don’t mind missing a font (and it’s not in the table’s Absolutely Necessary list), you don’t have to restore it.

• If you’re missing anything that you want, read Restore or Add Leopard Fonts, a few pages ahead, which describes how to obtain missing fonts. If the fonts are still on your drive but you don’t remember where, see Find Misplaced Fonts, which describes how to let Mac OS X find them for you.

That’s it for the System Fonts folder; you can close its window and move on to the next chore.

Stubborn system fonts: If you’ve “removed” a system font from /System/Library/Fonts through Font Book, the font file remains in the folder but no longer appears in Font Book. Replace a Removed System Font provides more details.

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Identifying Asian Font Names It’s amazing what an author is called upon to do in order to impart knowledge to the reader. I spent months learning the rudiments of several Asian languages so I could translate font names.

The System and Library Fonts folders have several fonts whose names appear in Asian characters in the Finder. In Font Book and menus (and in this book) you’ll see a full English name (“Hiragino Mincho Pro W3”), while in a Finder Info window you’ll see an abbreviated name (“HiraMinPro-W3”). (The W signifies the weight of the font; the higher the number, the bolder the font face.) Sometimes the English spelling of the font’s name differs between its appearance in the Finder and in a Font menu (#Pilgiche/#Pilgi).

Four other Asian fonts have English names in the Finder but are sometimes identified (in Word 2004, for instance) in Asian characters:

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Restore or Add Leopard Fonts You’ve deleted Leopard-supplied fonts from your System or Library Fonts folders, and now you want them back—or you opted out of installing the extra fonts initially, but now you’d like to have them. Apple still doesn’t make it easy, either by providing basic fonts from its Web site or with an easy install option from an installation disc or update. Here are some of the ways you can go about it:

• Use your archived copies: Unzip the copy of the Fonts folders that you made according to the directions in Make Backup Archives. (You didn’t make them? Read on.)

• Use Time Machine: If your Fonts folders were backed up at any time with the now-missing fonts in them, do a “search- and-restore” mission with Time Machine. (Restore the specific missing fonts, not the folder as a whole; otherwise, you’ll overwrite any fonts you’ve added to the folder since the backup was made.)

• Get replacements from a Mac friend: You’re a licensed user of the software, so it’s not piracy, or trespassing, or anything illegal.

• Delve into Install packages: With the exception of those in /Library/Fonts, fonts on the Install disc are not readily access-ible, but stored in special files called packages (with the file-name extension .pkg). Pacifist (http://www.charlessoft.com/, $20) lets you troll through the Install disk and extract package contents. As you might imagine, there are upward of a zillion packages of information on your Install disc, so use Pacifist’s Find function to search for “Fonts” (use a capital F, and uncheck the Ignore Case option to narrow the scope of the search).

ORGANIZE THE LIBRARY FONTS FOLDER If you’ve been using a Leopard Mac for a while, your Library Fonts folder (/Library/Fonts) is guaranteed to be a mess:

• Leopard installs 125 font files comprising 80 font families in this folder by default. If you customized your installation and chose

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not to install the “additional” fonts, you’ll have 72 files, for 45 families.

• iTunes and iLife also toss their fonts into this folder.

• Microsoft Office 2008 puts its fonts in this folder, politely sequestered in a subfolder.

• Adobe’s exceedingly generous font contribution from CS3 is dumped loose into this folder.

• As exemplified by Microsoft’s and Adobe’s switch to using the Library Fonts folder, and by Apple applications continuing to use it, many vendors now use this folder to hold any fonts installed with their software—and not many are as polite as Microsoft, using a subfolder so you know where they came from.

• If you have a shared Mac, it’s likely you and other users have been using this folder for additional fonts, too.

The Library Fonts Cleanup Procedure Sorting out this folder depends on what software you’ve installed and what fonts you’ve installed yourself (although most user-installed fonts default to the User Fonts folder, you may have redirected them to Library Fonts). Here’s the plan: for each of the following groups, in the order listed, you’ll identify and label the fonts that belong to it, and then decide which ones you’re keeping (they’ll go into special sub-folders where necessary), which ones are being trashed, and which you’re storing elsewhere.

1. The Leopard fonts: See Identify and Winnow the Leopard Fonts, immediately following this list.

2. If you have iLife or iWork: See Identify and Winnow iLife/iWork Fonts, later in this section.

3. If you have Microsoft Office 2008: Because Office 2004 put its fonts in the User Fonts folder and it’s likely you’ll have to deal with that issue as well, Deal with Microsoft Fonts is a separate section. Jump there, follow the directions, and then come back here to continue with the Library Fonts folder cleanup.

4. If you have Adobe Creative Suite: The CS 3 and 4 versions store their fonts loose in the Library folder; if you had—or have—

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an earlier version, you have many of the same fonts in a private Adobe folder. Jump to Deal with Adobe-Product Fonts, follow the directions, and come back here to continue with this folder’s cleanup.

5. If there are other fonts in this folder: When you’ve finished separating any iLife/iWork , Microsoft, and Adobe wheat from the remaining font chaff in this folder, you’ll assess the remaining fonts as to whether you want to keep them, and then label them so that new donations to this folder will always stand out, as described in Identify and Winnow Remaining Fonts.

Is your Mac shared? The fonts in the Library Fonts folder are common to all users of a Mac. The instructions that follow for bringing order to this folder refer to what you like when it comes to “unnecessary” fonts; if you’re sharing your Mac, keep other users’ needs and preferences in mind.

Identify and Winnow the Leopard Fonts Here’s the procedure for working with the Leopard fonts in the Library folder (/Library/Fonts):

1. Select the Leopard fonts in the folder: With the folder open, choose View > As List (Command-2) and click the Name column header to sort the fonts. Then, referring to Leopard Fonts in the Library Fonts Folder (next page), use the Command-click method of selecting non-contiguous items to pick them out.

You needn’t select all the fonts before you apply a label in the next step. You can do a few at a time, which is easier when you have a long list of interspersed Leopard and non-Leopard fonts.

2. Label the selected fonts: Choose File > Label and then select red from the label options; or, Control-click for a contextual menu and choose red from the menu. (See Note the Colorizing Color Scheme.)

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Leopard Fonts in the Library Fonts Folder Here’s an alphabetical list of the fonts that Leopard installs in the Library Fonts folder; parenthetical numbers after font names refer to files belonging to the font group, so AlBayan (2), for instance, refers to the files AlBayan.ttf and AlBayanBold.ttf. (Items marked with an asterisk appear in the Finder in Asian characters; see Identifying Asian Font Names, a few pages earlier.) • #Gungseouche • Copperplate • LiSong Pro*

• #HeadlineA • Corsiva (2) • MarkerFelt

• #Pcmyoungjo • Courier New (4) • Mshtakan (4)

• #Pilgiche • DecoTypeNaskh • Nadeem

• AlBayan (2) • DevanagariMT (2) • NewPeninimMT (4)

• AmericanTypewriter • Didot • NISC18030

• Andale Mono • EuphemiaCAS (3) • Optima

• Apple Chancery • Futura • Osaka (2)

• Apple LiGothic • GenevaCY • Papyrus

• Apple LiSung Light • Georgia (4) • PlantagenetCherokee

• AppleMyungjo • GillSans • Raanana (2)

• Arial (4) • GujaratiMT (2) • Sathu

• Arial Black • Gurmukhi • Silom

• Arial Narrow (4) • Hei • Skia

• Arial Rounded Bold • HelveticaCY • STFangSong*

• Arial Unicode • Herculanum • STKaiti*

• ArialHB (2) • Hiragino Kaku Gothic (4)* • STSong*

• Ayuthaya • Hiragino Maru Gothic (2)* • Tahoma (2)

• Baghdad • Hiragino Mincho Pro (2)* • Times New Roman (4)

• Baskerville • Hoefler Text • Trebuchet MS (4)

• BiauKai • Impact • Verdana (4)

• BigCaslon • InaiMathi • Webdings

• Brush Script • Kai • Wingdings

• Chalkboard (2) • Kailasa • Wingdings 2

• CharcoalCY • Kokonor • Wingdings 3

• Cochin • Krungthep • Zapfino

• Comic Sans MS (2) • KufiStandardGK

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3. Sort the fonts by color: Click the Label column header to sort the fonts, clumping them at the bottom of the window, conveniently alphabetized in the grouping.

No Label column? Choose View > Show View Options (Command-J) to open the palette for window options, and check Label to add the column to your window.

4. Categorize and move the Leopard fonts: Now that you’ve labeled the Leopard-supplied fonts, you can sift through them and decide which ones to keep. None of them is absolutely necessary, but several are highly recommended.

Using Table 3, next page, as your guide, decide which Leopard fonts are staying and which are going, and move them according to your decision:

• Fonts you want: Leave them in place.

• Fonts you don’t want: If the font is in the table’s Suggested or Unnecessary (English) category, move it to the ƒLibrary sub-folder in ƒOffloads in your Font Cleanup folder. If it’s in the Unnecessary (Non-Roman) category, drag it directly to the Trash.

• Fonts you’re not sure about: Drag these to the ƒView folder in the sidebar.

Flip-flopped storage advice: In previous versions of this book, I suggested that you sequester the Leopard fonts in this folder in a subfolder. With the plethora of programs now donating fonts to this (and other) folders, I’ve changed the advice: colorize the Leopard fonts so you’ll always know which ones belong to Leopard (and there-fore which ones don’t come from Leopard), but leave them on the top level.

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Table 3: The Library Fonts Folder /Library/Fonts The parenthetical numbers after font names in this table refer to the number of files belonging to the font family: AlBayan (2) refers to AlBayan.ttf and AlBayanBold.ttf. Also see Understand Font-Recommendation Categories.

Recommended (Common for Web or cross-platform) Arial (4) Arial Black Arial Unicode

Comic Sans MS (2) Georgia (4) Times New Roman (4)

Trebuchet MS (4) Verdana† (4)

Suggested #PCmyoungjo* #Pilgi*

WEBDINGS WINGDINGS

WINGDINGS 2 WINGDINGS 3

Unnecessary (English) AmericanTypewriter Andale Mono Apple Chancery Arial Narrow (4) Arial Rounded Bold Baskerville

BigCaslon Brush Script Chalkboard (2) Cochin Copperplate Courier New (4)

Didot Futura GillSans Herculanum Hoefler Text Impact

MarkerFelt Microsoft Sans Serif Optima Papyrus Skia Tahoma Zapfino

Unnecessary (Non-Roman) #Gungseouche* #HeadlineA* AlBayan (2) AppleMyungjo Apple LiGothic Apple LiSung Light ArialHB (2) Ayuthaya Baghdad BiauKai CharcoalCY Corsiva (2) DecoTypeNaskh DevanagariMT (2) EuphemiaCAS (3) GenevaCY

GujaratiMT (2) Gurmukhi Hei* HelveticaCY Hiragino Kaku Gothic Pro-W3* Hiragino Kaku Gothic Pro-W6* Hiragino Kaku Gothic Std-W8* Hiragino Kaku Gothic StdN-W8* Hiragino Maru Gothic Pro-W4* Hiragino Maru Gothic ProN-W4* Hiragino Mincho Pro-W3* Hiragino Mincho Pro-W6* InaiMathi Kai Kailasa Kokonor

Krungthep KufiStandarGK LiSong Pro* Mshtakan (4) Nadeem NewPeninimMT (4) NISC18030 Osaka (2) PlantagenetCherokee Raanana (2) Sathu Silom STFangSong* STKaiti* STSong* Thonburi

Italics: Non-Roman font SMALL CAPS: Picture font Red: Leopard version better than Office 2004 version. Blue: Fonts not included in customized installation with additional fonts declined. † Needed for Office 2004; see Office 2004 and Leopard’s Multiple-File Fonts (p. 64). * Finder shows Asian characters; see Identifying Asian Font Names (p. 43).

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Assess the Remaining Leopard Fonts Now it’s time to look at the “maybe” fonts—the ones you’ve put into the ƒView folder—and decide which ones can go back to the Library Fonts folder:

1. Open the ƒView folder: Click on it in the sidebar of any Finder window.

2. Open the fonts files: Select all the fonts in the window and choose File > Open (Command-O). Font Book displays a Preview window for every font you’re inspecting.

3. Set the install location: Choose Font Book > Preferences (Command-Comma) and choose Computer from the pop-up menu. This less-than-obvious choice sends installed fonts to the /Library/ Fonts folder, as described in Understand the Collection List.

4. Review each font Preview window: If you like the font, click the Install Font button; if you don’t want it, click the window’s Close button. (For help in dealing with a large number of Preview win-dows, see Expos(é)ing your Fonts.)

5. Empty the ƒView folder: Move all the fonts in it to the ƒLibrary subfolder in ƒOffloads (in the Font Cleanup folder on the Desktop).

Because Font Book installs copies of fonts, this folder includes both the ones you installed and the ones you passed up. If you’re a bit on the obsessive-compulsive side, you can pick out and trash the copies of the installed fonts, but it’s not really worth the effort.

The next step in sorting out the Library Fonts folder is dealing with iLife and/or iWork fonts. If you have those programs, continue to the next topic; otherwise, jump back to The Library Fonts Cleanup Procedure to see which of the other procedures you should do next.

Identify and Winnow iLife/iWork Fonts Different versions of iLife and iWork supply slight different groups of fonts. The fact that some of the fonts overlap (as indicated by italicized font names in the following lists) doesn’t matter: since both packages install the fonts in the same place, you won’t have duplicates as a result of having both software suites. (Presumably, the second one you install overwrites the duplicate font, but the Installer may be smart enough to skip installing an existing font.)

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Identify and Label the Fonts Whether you have only one of these packages, or both, the organiza-tion steps for tracking these fonts in your /Library/Fonts folder are the same, and they are much like the steps given earlier for organizing your Leopard fonts:

1. Select any iLife and iWork fonts in the folder: With the Library Fonts folder open, choose View > As List (Command-2) and click the Name column header to sort the fonts. Then, referring to the list in iLife and iWork Fonts, just ahead, use the Command-click method of selecting non-contiguous items to pick them out.

2. Label the selected fonts: Choose File > Label and then select green from the label options; or, Control-click for a contextual menu and choose green from the pop-up menu. (See Note the Colorizing Color Scheme.)

3. Sort the fonts by color: Click the Label column header to sort the fonts by Label to group the iLife/iWork fonts.

No Label column? Choose View > Show View Options (Command-J) to open the palette for window options, and check Label to add the column to your window.

4. Delete the Arial font: This is already supplied by Leopard, in the System Fonts folder.

5. Move the iLife and iWork fonts: Select all the green fonts (click on the first one in the list and Shift-click on the last) and drag them into the ƒView folder in the window’s sidebar (Figure 3).

Figure 3: Dragging the green iLife and iWork fonts into the ƒView folder. (The red fonts near the bottom of the list are Leopard-supplied fonts, labeled in an earlier procedure.

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iLife and iWork Fonts The font names in the list are a little fluid in that some versions have slightly different names in the Finder (using “True Type” instead of “TT”), and many have slightly different names in Font menus. (Or very different names: AppleCasual, the file name, appears as Apple Casual in many menus, but as simply Casual in most Apple applications! What a… casual naming approach!)

The only problematic font is Arial, which duplicates not only a Microsoft offering, but also one of Leopard’s basic fonts. The rest of the iLife/iWork fonts is strictly a keep-what-you-like matter.

iLife Fonts: • AppleCasual • Cracked

• Arial • Handwriting - Dakota

• BlairMdITC TT • Palatino

• Bordeaux Roman Bold LET Fonts • PortagoITC TT

iWork Fonts: • Academy Engraved LET • Palatino

• Bank Gothic • Party LET

• Blackmoor LET • PortagoITC TT

• BlairMdITC TT • Princetown LET

• Bodoni Ornaments ITC TT • Santa Fe LET

• Bodoni SvtyTwo ITC TT • Savoye LET

• Bodoni SvtyTwo OS ITC TT • SchoolHouse Cursive B

• Bodoni SvtyTwo SC ITC TT • SchoolHouse Printed A

• Bordeaux Roman Bold LET • Snell Roundhand

• Bradley Hand ITC TT-Bold • Stone Sans ITC TT

• Capitals.dfont • Synchro LET

• Jazz LET Fonts • Type Embellishments One LET

• Mona Lisa Solid ITC TT

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Assess and Reinstall Wanted Fonts When you dragged the fonts into the ƒView folder, you removed them from the Library Fonts folder, and so un-installed them. Now it’s time to look at them and see what you’d like to keep, as you may have done with some of the Leopard fonts in the Library Fonts folder:

If you want them, but not now: If you like a font and want to keep it around for occasional easy access, yet don’t want it always cluttering your Font menus, install it with the following steps, and then disable it in Font Book (described in Disable (and Enable) Fonts).

1. Open the fonts: Open the ƒView folder by clicking on it in any window’s sidebar, select all the fonts in it with Edit > Select All, and choose File > Open. Font Book displays a Preview window for every font you’re inspecting.

2. Set the install location: Choose Font Book > Preferences (Command-Comma) and choose Computer from the pop-up menu. This will send installed fonts to the /Library/Fonts folder, as described as described in Understand the Collection List.

3. Review each font Preview window: If you like the font—for either constant or occasional use—click the Install Font button. If you don’t want it, click the window’s Close button. (If you need help dealing with a large number of Preview windows, see Expos(é)ing your Fonts.)

Make a Subfolder The only iLife and iWork fonts left in your Library Fonts folder are the ones you want to keep, so all you have to do is isolate them in a special subfolder:

1. In the Finder, open the Library Fonts folder (/Library/Fonts) in List view.

2. Make a new folder, iLife&Work, inside the Library Fonts folder. You can drag the new folder into the sidebar temporarily to make it easier to move fonts into it.

3. In the Library Fonts folder, click the Label header to group the green iLife/iWork fonts.

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4. Select all the green fonts by clicking on the first one in the group and Shift-clicking on the last.

5. Drag the selected fonts into the iLife&Work folder.

6. If you put the folder in the sidebar for easy access, you can drag it out of the sidebar now.

Your ƒView folder still holds every font you put in it, because Font Book installs copies of fonts into Fonts folders. Move these fonts to the ƒiLifeWork subfolder in your Cleanup Fonts folder on the Desktop.

Jump back to The Library Fonts Cleanup Procedure from here to see which of the other procedures you should do next.

Identify and Winnow Remaining Fonts By now, your Library Fonts folder should have:

• Leopard fonts colored red on the main level of the folder.

• iLife and iWork fonts, if you have them, in a subfolder.

• Microsoft Office 2008 fonts, if you have them, in their original subfolder.

• Adobe Creative Suite fonts in a subfolder you created, for some or all of the CS2 or CS3 fonts if you’ve decided to keep them in the Library Fonts folder.

Your ƒView folder in the Font Cleanup folder should be empty at this point; you can check by clicking on it in the sidebar of any Finder window.

If you have loose fonts left in the main level of the Library Fonts folder other than the red Leopard fonts, now it’s time to attend to them. Working in /Library/Fonts:

1. Sort the fonts by color: This puts all the Leopard fonts at the bottom of the window.

2. Select everything but the Leopard fonts and the subfolders: Click on the first item in the window, and Shift-click on the last one before the Leopard fonts. Next, Command-click on any subfolders in the window to deselect them, leaving only the loose, non-Leopard fonts selected.

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3. Label the selected fonts: Choose File > Label to apply orange to all of them.

4. Move the fonts: Drag the selected (orange) fonts into the ƒHolding folder in your Desktop Font Cleanup folder—we’ll deal with them when all the main folders, and the big font collections, are straightened out.

If you’ve followed the list in The Library Fonts Cleanup Procedure, you’re ready to move on to the next topic, which deals with the User Fonts folder.

ORGANIZE THE USER FONTS FOLDER Mac OS X doesn’t put any fonts in your User Fonts folder. Most fonts in ~/Library/Fonts come from two sources: Microsoft Office 2004 (which donates a generous 77 items) and you—if you installed any fonts with an intuitive double-click on the Desktop, they probably wound up in this folder.

To sort out your User Fonts folder:

1. If you have Microsoft Office 2004 installed on your Mac, go to Deal with Microsoft Fonts, next page, and follow the directions in For Office 2004. Then, return here and proceed with Step 2 to handle any other fonts in the folder.

2. Working in ~/Library/Fonts, select all the loose fonts and drag them to your ƒHolding folder.

Microsoft fonts: If you’ve “subfoldered” the Microsoft fonts from a previous step, Command-click on that subfolder to deselect it after selecting everything with Edit > Select All so it’s not dragged to ƒHolding.

Since all these fonts are those you put in the User Fonts folder, we’ll get to reviewing them as part of the final stage of the overall cleanup.

3. Skip ahead a few pages to Make Backup Archives. (This assumes you’ve followed the previous cleanup directions for the System Fonts and Library Fonts folders.)

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DEAL WITH MICROSOFT FONTS If you have Microsoft Office 2004, you have a collection of Microsoft fonts in the main level of your User Fonts folder. If you have Office 2008, you have a subfolder of Microsoft fonts in your Library Fonts folder. And, if you had 2004 and upgraded to 2008, you’ll have both font collections, with a lot of duplicate fonts. In addition, each version provides duplicates of Leopard-supplied fonts. Sounds like you have some work to do!

• If you have only Office 2004: You have to get rid of Leopard-Office duplicates, keep a few necessary-for-Office items, and put the fonts you want to use in a subfolder. See “For Office 2004,” below.

• If you have Office 2008: You have to deal with the Leopard-Office duplicates and sort through the Microsoft collection to see what you want to keep. If you previously had Office 2004, you’ll have to get rid of the fonts that came with it, because they’ll still be hanging around in another folder. See For Office 2008.

For Office 2004 Microsoft 2004 offers two problems along with its set of fonts. The fonts that duplicate Leopard fonts are less advanced, with Leopard’s providing more characters and Unicode compatibility, so it’s not just a matter of leaving them around and letting Font Book or the Mac OS handle the duplication choice. And, there are some fonts—among the duplicates, of course!—that Microsoft Office requires for displaying information in its Reference Tools panel and as its default Normal-style font.

Office 2008? If you have Microsoft Office 2008 and the 2004 version was never installed on your Mac, you can skip this section entirely and go to For Office 2008. If you’ve upgraded from 2004 to 2008, read the introduction in For Office 2008; the first instruction after it will send you back here, to “Identify the Microsoft Fonts,” (next page), so you can get rid of your old Microsoft fonts.

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Identify the Microsoft Fonts Plucking out the Microsoft Office 2004 fonts from your User Fonts folder is tedious, but well worth the time:

1. Put the User Fonts folder in the sidebar: We’re going to copy fonts into to it, overwriting the existing Microsoft fonts, and this makes it easy to access:

a. Navigate to ~/Library/Fonts in any Finder window.

b. Drag the window’s proxy icon from the title bar (drag the icon, not the title) and put it at the top of the Places list (Figure 4).

Figure 4: Put the User Fonts folder in the sidebar by dragging its proxy icon from the title bar into the sidebar directly beneath the Places category title.

2. Label the Office 2004 fonts: Working in the Microsoft Fonts folder (/Applications/Microsoft Office 2004/Office/Fonts), choose Edit > Select All, and then choose File > Label, and pick purple.

These are not the fonts you’ve been using; this is the Office secret stash, copied into each user’s ~/Library/Fonts folder the first time he runs an Office application.

3. Label the Leopard duplicates: Still working in the Microsoft fonts folder, select the duplicate fonts and apply a yellow label to them.

Office 2008 upgrade? If you’re here because you’ve upgraded to Office 2008 and I sent you to these steps to deal with the old 2004 fonts, skip this step—don’t apply a yellow label to anything. But do go on to Steps 4 and 5.

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You can Command-click to select these fonts at the same time when they’re not contiguous, and then apply the color to all of them at once:

• Andale Mono • Comic Sans • Verdana

• Arial • Georgia • Wingdings

• Arial Black • Impact • Wingdings 2

• Arial Narrow • Tahoma • Wingdings 3

• Arial Rounded Bold • Times New Roman • Brush Script

• Trebuchet

Now all the Microsoft font files are colorized in their “home” folder, with the “duplicate” fonts—the ones Leopard also provides in equal or better versions—in yellow. We’re going to use them to apply color to the copies already in your User folder, making it easy to pick out the Microsoft fonts from all the others. As a convenient side effect, all the Microsoft fonts will be where they belong (for now), in the User Fonts folder, so if you deleted some of them in a fit of “there are too many fonts in here!” pique, you’ll get them back.

And, although later we’ll be deleting the “yellow” fonts from the User Fonts folder, they’re now labeled in the Microsoft folder so that the next time a Microsoft installation feels the need to install fonts (in another account, for instance), you’ll know which ones are duplicating your Leopard fonts.

4. Copy the fonts to the User Fonts folder: Select all the fonts with Edit > Select All (Command-A). Hold down the Option key and drag all the fonts from the Microsoft folder to your User Fonts folder in the sidebar.

Warning! It’s very important that you use the Option key, because this drags copies of the font files, leaving the originals in place. If you miss, and actually move all the fonts out of the Microsoft folder, use Edit > Undo (Command-Z) to move all the fonts back to the Microsoft folder and try again.

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Since Office has already installed these fonts in your User Fonts folder, the Finder alerts you to the fact that the fonts you’re copying into ~/Library/Fonts are already there and asks if you want to copy over the existing files (Figure 5).

Check Apply To All and click Replace.

Figure 5: Tell the Finder to replace all the previous font files in your User folder with the newly colored versions from the Microsoft Office Fonts folder.

The colored versions of your font files replace the previous files, so now each Microsoft-supplied font is tagged with purple or yellow in your User Fonts folder.

5. Move to the User Fonts folder and remove it from the sidebar: Click the Fonts folder in the sidebar to show its contents (because that’s where the next set of instructions begins), and then drag it out of the sidebar because you don’t need it there anymore.

Office 2008 upgrade? If you’re here because you’ve upgraded to Office 2008 and had to handle the leftover 2004 fonts, you can now return to The Upgrade Cleanup.

Sift through the Microsoft Fonts Now we’ll winnow the Microsoft fonts in your User Fonts folder and organize the ones that are left. In the User Fonts folder:

1. Sort the fonts by label: In List view, click the Label column head to put all the purple and yellow Microsoft fonts together at the bottom of the window.

No View button? Click the toolbar button ( ) in the upper right of the window to display the toolbar.

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No Label column? Choose View > Show View Options (Command-J) to open the palette for window options, and check Label to add the column to your window.

2. Handle the fonts that Leopard also supplies:

a. Move all the yellow-labeled fonts to the Trash except for Verdana.

b. Select the Verdana font file, and Choose File > Compress “Verdana.”

c. Trash the original Verdana file, leaving the compressed copy in the User Fonts folder for a Microsoft emergency—which is explained in Office 2004 and Leopard’s Multiple-File Fonts (p. 64).

3. Consider the remaining Microsoft fonts:

a. Create a folder inside your User Fonts folder. Name it MicrosoftFonts, and drag it into the sidebar so it’s easy to reach.

b. Drag the Microsoft fonts you know you want to keep into the new subfolder: If you’re a font fanatic (of the non-professional ilk), put all the fonts into the MicrosoftFonts subfolder. Otherwise, move only the fonts you’re sure you want into this new subfolder. Table 4 (next page) along with these notes, will help you sort through them:

• Put the compressed Verdana font into the new subfolder.

• If you use Word’s Equation Editor, or want to view documents created with it, put MT Extra in the new subfolder.

• Since you can’t assess the Asian fonts without installing them and checking their character sets, do as I suggested in regard to the System Fonts folder: if you like the samples in Asian Font Fun Sampler (p. 210), keep the Asian fonts in the Suggested category of Table 4; otherwise, consider them unwanted.

c. Drag the Microsoft fonts you know you don’t want (based on Table 4’s recommendations and your attitude towards Asian font character repertoires) to the Trash.

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Table 4: Microsoft Office 2004 and 2008 Fonts Also see Understand Font-Recommendation Categories.

Suggested Calibri• Cambria•

Lucida Sans Unicode• MONOTYPE SORTS

Meiryo• MS PGothic

MS PMincho

Unnecessary Abadi MT Condensed Extra Bold Abadi MT Condensed Light Andale Mono Arial Arial Black Arial Narrow Arial Rounded Bold Baskerville Old Face Batang.ttf Bauhaus 93 Bell MT Bernard MT Condensed Book Antiqua Bookman Old Style BOOKSHELF SYMBOL 7• Braggadocio Britannic Bold Brush Script Calisto MT• Candara• Century Century Gothic Century Schoolbook Colonna Comic Sans MS Consolas• Constantia• Cooper Black Copperplate Gothic Bold Copperplate Gothic Light

Corbel• Curlz MT Desdemona Edwardian Script ITC Engravers MT Eurostile Footlight Light Franklin Gothic Book• Franklin Gothic Medium• Garamond Georgia Gill Sans Ultra Bold Gill Sans MT•* Gloucester MT Extra Condensed Goudy Old Style Gulim Haettenschweiler Harrington Impact Imprint MT Shadow Kino Lucida Blackletter Lucida Bright Lucida Calligraphy Lucida Console• Lucida Fax Lucida Handwriting Lucida Sans Lucida Sans Typewriter Marlett•

Matura Script Capitals Mistral Modern No. 20 Monotype Corsiva MS Gothic.ttf MS Mincho.ttf MS Reference Sans Serif• MS Reference Specialty• MT Extra†† News Gothic MT Onyx Perpetua• Perpetua Titling MT PMingLiU Playbill Rockwell Rockwell Extra Bold SimSun Stencil Tahoma Times New Roman Trebuchet MS Tw Cen MT• Verdana† Wide Latin WEBDINGS• WINGDINGS** WINGDINGS 2 WINGDINGS 3

Red: Leopard better than Office 2004/2008 version Blue: Leopard and Office 2708 versions equal

SMALL CAPS: Picture font Italic: Non-Roman language scripts

• Office 2008 only. † Needed (any version) for Office 2004; see Office 2004 and Leopard’s Multiple-File Fonts. †† Needed for the Equation Editor. * Leopard version is Gill Sans (no MT in name). ** Wingdings is used in the Office 2004 Help system for the symbol; a “z” is used if font

is missing. However, Leopard’s Wingdings font is sufficient for this purpose.

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At this point, the Office 2004 fonts you’re sure you want are in the MicrosoftFonts subfolder, and some others are in the Trash. What to do next depends on whether that covers all the Microsoft fonts:

• If you moved all the Microsoft fonts into the subfolder, you’re finished with the Office 2004 font shuffle (although Office 2004 and Leopard’s Multiple-File Fonts, p. 64, is still required reading). You can remove the MicrosoftFonts folder from the sidebar and return to wherever you came from last, or consult The Library Fonts Cleanup Procedure to find your next cleanup task.

• If you have purple fonts loose in the User Fonts folder at this point, continue with the next procedure so you can decide if you want to keep them.

Assess the Remaining Microsoft Fonts If you didn’t put all the Microsoft fonts into the subfolder, here’s how to evaluate the ones that the ones you’re not sure of:

1. Move the fonts: Open your User Fonts folder and drag all the purple fonts left in its main level into the ƒView folder in the sidebar.

The ƒView folder? I’m assuming you started with the initial information in Prepare for the Cleanup, which describes creating this folder and putting it in the sidebar.

2. Open the fonts: Click on the ƒView folder in the sidebar, select the fonts in the window with Edit > Select All, and choose File > Open.

Font Book opens, if necessary, with a Preview window for each font. (If you need help managing a large number of Preview windows, see Expos(é)ing your Fonts.)

3. Set the install location: Choose Font Book > Preferences and choose User from the pop-up Install menu.

4. Review each font: For each Preview window, if you like the font, click the Install font button; if you don’t want it, click the window’s Close button.

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Installed fonts are put in ~/Library/Fonts, since that’s what you set as the default location.

Validation problems: If anything is wrong with a font you’re trying to install, Font Book presents a Validation window describ-ing the problem. Consult Find Your Way around the Validation Window if you encounter one during this process.

5. Segregate the Microsoft fonts: Back in ~/Library/Fonts, sort the fonts by label, and select all the purple fonts by clicking on the uppermost one and Shift-clicking on the last. Drag them into the MicrosoftFonts subfolder, which should be in your sidebar.

You can now drag the MicrosoftFonts folder out of the sidebar.

6. Delete all the fonts left in the ƒView folder. All the purple fonts you put in are still there, because Font Book put copies of the installed fonts back into the User Fonts folder. You can trash all of these because the originals are still in the Microsoft Office font folder.

That’s it for the Microsoft fonts! (What else could there possibly be?) You’re also finished with the User Fonts folder, so you can close its window. Let me remind you again, however, that Office 2004 and Leopard’s Multiple-File Fonts, next page, is still required reading, and then you’re free to return to Organize the User Fonts Folder if you jumped to this section from there.

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Office 2004 and Leopard’s Multiple-File Fonts Microsoft Office 2004 needs some version of Verdana in order to display definitions in its Reference Tools window, but this can get a little tricky.

Leopard replaced Tiger’s Verdana suitcase file with four TrueType files (one for each face). This can confuse Office applications, which occasionally insist on a single Verdana suitcase file; without it, definitions aren’t displayed in Reference Tools.

After several—no, many—combinations of replacing the original, old Verdana, moving it and the new Verdanas in and out of their Fonts folders, disabling and re-enabling them in Font Book, and quitting and restarting Word, suddenly Word gave in and displayed text in Reference Tools using only the new Verdana files. I can’t find an easy, reproducible, dependable pattern. (And the Thesaurus area still must be collapsed and re-expanded occasionally before it shows anything, but that seems to be a window-refreshing issue, and it happens no matter which font you keep active.)

If you can’t get Office applications to show text in Reference Tools, leave a useable (that is, not compressed) version of the Office-supplied Verdana in your User Fonts folder, and make sure it’s that version that’s enabled in Font Book so Word can use it (see Disable Duplicates). If you’ve already trashed the single-file Verdana, you’ll find the original in /Applications/Microsoft Office 2004/Office/Fonts.

Times New Roman is another font that’s been updated to the one-file-per-face status in Leopard, advancing beyond the Office-supplied single-file TrueType version. Because Times New Roman is the default Normal font used in Word documents, you might run into problems with not only documents that use Times New Roman, but also those that left the “underlying” style defined as Times New Roman even though the text was manually formatted to some other font. In this case, however, don’t give in and dredge up the old Times New Roman: redefine your styles to get rid of Times New Roman.

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For Office 2008 Office 2008 provides all the fonts that Office 2004 did, some in improved versions (that means more characters in the font’s reper-toire), and the 18 additional fonts shown here. (Most of these are multiple files in the folder; Calibri, for instance, includes Calibri.ttf, Calibri Bold.ttf, and so on.)

• Bookshelf Symbol 7 • Franklin Gothic Medium

• Calibri • Gill Sans MT

• Calisto MT • Lucida Console

• Cambria • Marlett

• Candara • MS Reference Sans Serif

• Consolas • MS Reference Specialty

• Constantia • Perpetua

• Corbel • Tw Cen MT

• Franklin Gothic Book • Webdings

But 2008 takes an entirely different approach to fonts installation from its previous version: it considerately puts its fonts inside a sub-folder in /Library/Fonts, instead of loose in the User Fonts folder. So, you won’t have to go through any gymnastics to identify and segregate them, although you still might want to get rid of some to cut down on font clutter, and you’ll need to deal with the Microsoft-Leopard overlaps.

Office 2008 also does two other special things when it installs its fonts:

• Font Book collection: It creates a special collection inside Font Book that includes all its fonts (see Create and Edit Collections). Since Word 2008’s Font menu provides a special submenu for Font Book collections, this makes it easier to get to the Microsoft fonts when you have a long Font menu.

• Upgrade issue: If you’ve upgraded from Office 2004, the 2008 installation moves some 2004 fonts from the User Fonts folder to a Fonts Disabled folder. It seems to move the fonts that have been updated since the 2004 release, yet ignore most of the duplicates provide by both packages. We’ll deal with this in The Upgrade Cleanup, next.

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The Upgrade Cleanup If you’ve upgraded to Office 2008, the first thing you should do is trash all the 2004 fonts, which means you must identify them inside your User Fonts folder, where they were installed when you ran Office 2004. It’s a slightly roundabout process, described in the last section (and referenced in Step 1 here), but much faster than picking through a list of fonts in the Fonts folder:

Did you already sequester your Microsoft fonts? If you used a previous edition of this book and followed the “Organize” directions, your Microsoft 2004 fonts are already in a subfolder in your User Fonts folder. If so, you don’t have to follow the directions here: just drag that subfolder to the Trash.

1. Label the fonts: Follow the steps in Identify the Microsoft Fonts to color all the Microsoft fonts in your User Fonts folder purple for easy identification. Skip Step 3, which labels a subset of the fonts yellow.

2. Sort the fonts: With all the purple fonts in the Users Fonts folder, sort it by the Label column to put all the Microsoft fonts at the bottom.

3. Trash the old fonts: Select the purple fonts by clicking on the first one and Shift-clicking on the last, and drag them all to the Trash.

4. Trash the fonts that Microsoft moved: Office 2008 moves some redundant and/or outdated fonts to ~/Library/Disabled Fonts during installation. Drag that folder to the Trash.

5. Trash the originals: The fonts in /Applications/Microsoft Office 2004/Office/Fonts—the source for the ones installed into your User Fonts folder—are no longer needed, so you can free up some 85 MB of space by trashing it.

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If You Use Both Versions Office 2008 doesn’t require any special fonts to run, although you need MT Extra if you use the Equation Editor. If you continue to use Office 2004 occasionally—for, say, Word’s macro capabilities—you can still safely get rid of all the 2004 fonts because 2008 installs everything Office 2004 might still need.

Winnow the Office 2008 Font Collection Cut down on the number of fonts in the Microsoft subfolder inside /Library/Fonts by first getting rid of the ones that overlap the Leopard fonts, and then deciding which of the others you don’t want.

These are the fonts that Office 2008 and Leopard have in common. In many cases, the Leopard fonts are more advanced; in some cases, they are the same versions. In any case, you can get rid of all of them; select them and drag them to the Trash.

• Andale Mono • Comic Sans MS • Trebuchet MS

• Arial • Georgia • Verdana

• Arial Black • Gill Sans MT • Webdings

• Arial Narrow • Impact • Wingdings

• Arial Rounded Bold • Tahoma • Wingdings 2

• Brush Script • Times New Roman • Wingdings 3

Now you can assess which of the rest of the fonts you want to keep:

1. Label the fonts: Open /Library/Fonts/Microsoft, choose Edit > Select All, and then File > Label to apply purple to all the fonts.

2. Deselect the “keepers”: Consider keeping the following fonts in the folder by Command-clicking on them to deselect them:

• Calibri, Cambria: These are default document fonts on the Windows side of the world, so you’ll increase cross-platform compatibility if you keep them open on your system. Mac Office applications also use these as default fonts.

• Monotype Sorts: A good substitute for Zapf Dingbats.

• Lucida Sans Unicode, Meiryo, MS PGothic, MS PMincho: All have large repertoires with many useful characters (see Asian Font Fun Sampler, p. 210, even though Lucida is not an Asian font).

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3. Move the non-“keepers”: Drag the still-selected fonts into the ƒView folder in the sidebar.

The ƒView folder? I’m assuming you started with the initial information in Prepare for the Cleanup, which describes creating this folder and putting it in the sidebar.

4. Open the fonts: Click on the ƒView folder in the sidebar, select the fonts in the window with Edit > Select All and choose File > Open.

Font Book opens, if necessary, with a Preview window for each font. (If you need help managing a large number of Preview windows, see Expos(é)ing your Fonts.)

5. Set the install location: Choose Font Book > Preferences and choose Computer from the pop-up Install menu to direct fonts back to the Library Fonts folder if you install them.

6. Review each font: For each Preview window, if you like the font, click the Install font button; if you don’t want it, click the window’s Close button.

7. Segregate the Microsoft fonts: Back in /Library/Fonts, sort the fonts by label, and select all the purple fonts by clicking on the uppermost one and shift-clicking on the last. Drag them back into the Microsoft subfolder.

8. Move the fonts from the ƒView folder. Select them all by clicking on ƒView in the sidebar and then using Edit > Select All. Drag them to the ƒOffice08 subfolder in your Desktop Font Cleanup folder.

That’s it for now (we’ll deal with the ƒOffice08 folder later). If you’ve been working on cleaning up your Library Fonts folder, jump back to The Library Fonts Cleanup Procedure to see which of the other proce-dures you should do next. If you’ve been working on your User Fonts folder, return to Organize the User Fonts Folder.

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DEAL WITH ADOBE-PRODUCT FONTS Adobe Creative Suite 2 puts its fonts in a private font folder (/Library/ Application Support/Adobe/Fonts), while CS3 and CS4 puts fonts loose in the Library fonts folder. Whether you have either or both of these programs, you’re not stuck with the default font storage system—but before we worry about that, let’s deal with the fonts themselves.

It’s an almost foregone conclusion that you’ll want to keep almost every Adobe font that comes with Adobe packages—I’ve never met anyone who uses, say, InDesign, and doesn’t want a big font collection—but I’ll take you through assessing the provided fonts to keep or set aside according to your tastes. Since this might require “filtering” them through Font Book—the easiest way to see each font sample—there’s some labeling and folder-shuffling necessary before you can look at the fonts.

An Empty ƒView: The ƒView folder should be empty before you do any of the Adobe font cleanup; if it has any fonts in it, you’ve skipped a step in the last series of cleanup steps you followed.

Label and Gather the Adobe Fonts Before you get started, you should have the Font Cleanup folder and its subfolders created, with the ƒView folder in the sidebar (see Prepare for the Cleanup). In addition:

• Create a folder on the Desktop named FontsCS and drag it into the sidebar of any Finder window for easy access. (It’s important to begin the name with “Fonts” because, later, you’ll want it to come alphabetically after a standard Fonts folder in a list.)

Which of the following topics you need next depends on which version(s) of Creative Suite you’ve installed:

• For CS3/4-Upgrade Users: You’ve installed one or both of these programs, but also used an earlier version (CS or CS2).

• For CS/CS2 Users: You’ve installed one or both of these versions, but you’ve never installed CS3 or CS4.

• For CS3/4 Users: You’ve installed one or both of these versions, but you never used either of the earlier versions.

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For CS3/4-Upgrade Users If you’ve installed CS3 or Cs4 after using CS2 or the original Creative Suite, you have the older fonts in one place, and the CS3/4 fonts in another, so the first thing to do is combine them into a single folder.

Follow the directions in For CS/CS2 Users, next, to move the older fonts from the Adobe Fonts folder to the ƒView folder. Then go on the following topic, For CS3/4 Users, to move the fonts from the Library Fonts folder to the ƒView folder, and unlock and label them.

Because there’s some overlap in the fonts in various versions of the programs and you want to keep the newer ones, you’ll be shown at the appropriate point in the second topic how to let them overwrite the older ones.

For CS/CS2 Users If you have the original (unnumbered) Creative Suite or CS2, your Adobe fonts are neatly sequestered in /Library/Application Support/ Adobe/Fonts, but that doesn’t mean you have to leave them there—or use all of them.

Here’s the first round of steps for handling these fonts:

1. Open the folder: Go to /Library/Application Support/Adobe/ Fonts.

2. Get rid of the font caches: Adobe puts temporary lists of recently used fonts in this folder, none of which need to be kept.

a. In List view, click the Kind column, which fortunately puts all the fonts caches (named AdobeFnt.lst with numbers as necessary for multiple files) at the bottom of the list (Figure 6).

b. Select and delete all the cache files.

Figure 6: Select the font caches and remove them.

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3. Select and label the remaining fonts:

a. Use Edit > Select All to select everything in the folder.

b. Scroll to, and Command-click on, the folder Reqrd to deselect it (Figure 7).

c. Choose Edit > Label and select blue.

Figure 7: Select all the fonts and Command-click to deselect the Reqrd folder (left); choose Edit > Label and select blue, colorizing the selected fonts (right).

4. Move the labeled fonts: With all the fonts selected (and the Reqrd folder not selected):

• If you haven’t installed CS3 or CS 4, and you want to keep all the fonts in use: drag them into the FontsCS folder in the sidebar and jump to Put the Fonts….

• If you haven’t installed CS3 or CS 4, and you want to review the fonts: drag them into the ƒView folder in the sidebar and jump to Assess the Fonts.

• If you also have installed CS3 or CS4, drag all the fonts into the ƒView folder—even if you’re sure you want to keep them, because there may be more advanced versions supplied by the later pro-grams. Move on to “For CS3/CS4 Users,” next.

For CS3/4 Users If you’re using CS3 or CS4 without ever having used the original Creative Suite or CS2, this topic is for you. It’s also for you if you’re using CS3/4 after having one of the earlier programs, but only if you’ve already followed all the direction in the previous topic, For CS/CS2 Users.

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Upgraded from CS3 to CS4? Since CS3 and CS4 handle their fonts the same way, there’s nothing special you have to do if you’ve made that upgrade.

The initial steps needed to sequester and review the Adobe font collection is a pain in the mouse, because CS3/4 (that’s how I’m referring to both these programs from now on unless I mean one of them specifically) dumps its fonts, loose, into the Library Fonts folder, so you have to start by cherry-picking them out of the crowd.

I can’t give you a definitive list of which fonts you have: it changes based on the CS package (Production Premium, Design Premium, and so on) you have, and whether you registered the software (which gives you a download of another font), and so on.

Use the list here as a guide, along with this tip: if it’s an OpenType font (with the extension .otf), and especially if it has Pro in its title, it’s almost certainly a Creative Suite donation to your Library Fonts folder.

• ACaslonPro • CooperBlackStd • MinionPro

• AGaramondPro • EccentricStd • MyriadPro

• ArnoPro • GaramondPremrPro • NuevaStd

• BellGothicStd • GiddyupStd • OCRAStd

• BickhamScriptPro • HoboStd • OratorStd

• BirchStd • KozGoPro • PoplarStd

• BlackoakStd • KozMinPro • PrestigeEliteStd

• BrushScriptStd • LetterGothicStd • RosewoodStd

• ChaparralPro • LithosPro • StencilStd

• CharlemagneStd • MesquiteStd • TektonPro

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1. Move the fonts: Working in the /Library/Fonts folder, drag the Adobe fonts from the folder into the ƒView folder in your sidebar.

Note that the font list gives only the main family name and you may find up to 32 (!) files related to it—ArnoPro, for instance includes the files ArnoPro-Caption, ArnoPro-DmbdDisplay, and so on.

If you’ve used early versions of CS: You should already have followed the directions in the previous topic, so the ƒView folder has all the older fonts in it. Do replace existing fonts. Check the Apply To All checkbox, and then click Replace (Figure 8) so if any of the CS/CS2 fonts are older versions, you won’t be using them instead of a more advanced version of the font.

Figure 8: Replace the CS/CS2 fonts with any newer duplicates from CS3/4 when you combine the fonts.

2. Label the fonts: Unfortunately, the CS3/4 fonts are locked, so labeling them requires extra steps:

a. Select the CS3/4 fonts:

• If you have only CS3/4: Click the ƒView folder in the sidebar and choose Edit > Select All.

• If you have older fonts in the folder: Click the ƒView folder in the sidebar, sort it by Label to separate the older fonts (already labeled) from the new ones, and select the new ones by clicking on the first one and Shift-clicking on the last to select them all.

b. Hold down the Option key and choose File > Show Inspector. (The command appears only if the Option key is down.)

c. In the Inspector window that opens, expand the Sharing & Permissions area if necessary, and click the Lock icon in the lower right corner (#1 in Figure 9).

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Numbers: Monotype Sorts, U+F0AC, U+F0AD, U+F0AE

Figure 9: 1) Unlock the files. 2) Set the admin privilege. 3) Choose the blue label.

d. Supply your password in the dialog that appears.

e. With the Name/Privilege options unlocked, select Read & Write from the Admin row (#2 in Figure 9).

f. In the General area of the Inspector window (expand it if necessary), click on the blue choice next to Label (#3 in Figure 9).

You must change the label from within this palette, because the status of the file automatically changes back to Read Only as soon as you close the palette—which means you can’t apply the color label with the standard File > Label command.

Whether you have only CS3/4, or also had CS/CS2, all your Adobe fonts are now blue.

g. Close the Inspector window.

Now continue with “Assess the Fonts,” below.

Assess the Fonts Now it’s time to decide which of the Adobe fonts you want to keep. If you haven’t already, create a new folder named FontsCS and drag it into the sidebar of any Finder window for easy access. Then follow one

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of the procedures below, depending on whether you want to just keep all the fonts or review them individually.

To keep all the fonts: 1. Copy the fonts: Click on ƒView in a Finder window’s sidebar,

select all the fonts in it, and Option-drag them into the FontsCS folder in the sidebar.

Option-dragging makes a copy of the fonts so you can make an archive file of the CS fonts that will be complete even if you later remove some from your “working” folder.

Keep almost all the fonts: To keep all the Adobe fonts except the Asian fonts, delete the font files that start with the names KozGoPro and KozMinPro.

2. Empty the ƒView folder: Go back to the ƒView folder, select all the fonts in it and move them to the ƒAdobe subfolder in your Desktop Font Cleanup folder.

3. Jump ahead to Put the Fonts….

To review each font: 1. Open the fonts: Click on the ƒView folder in the sidebar, select

the fonts in the window with Edit > Select All and then choose File > Open.

Font Book opens, if necessary, with a Preview window for each font. Fortunately, font files that belong to the same family share a Preview window, so, for instance, the more than 20 files for Myriad Pro open in only a single window.

2. Set the install location: Choose Font Book > Preferences and choose Computer from the pop-up Install menu to direct installed fonts to the Library Fonts folder.

Yes, you’ll have to move them again from there, but this is the only way to review them, and since they’re labeled, it’s easy to pick them out of the Library folder.

3. Review each font: For each Preview window, if you like the font, click the Install Font button; if you don’t want it, click the window’s Close button.

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Not so required: Unlike CS/CS2, which used fonts in the Reqrd subfolder of Adobe’s application Fonts folder, the CS3/4 programs will run without any specific fonts installed anywhere. Other than a brief “but some items may not look correct without certain fonts” teaser in Adobe information, I couldn’t find specifics about “necessary” fonts for CS3/4; and, I ran the component programs with all the Adobe fonts removed, and had no problem. In delving into the innards of CS3/4 programs, I found that the fonts formerly in the “Reqrd” folder for previous Creative Suite versions are now embedded in the applications themselves. So, it seems that the newer versions are self-sufficient. I’ve also discovered that I can run the earlier applications with the OpenType Myriad Pro family active from any folder, without its being in the Reqrd folder—Myriad Pro was the deal-breaker, whose absence kept early CS programs from running.

4. Segregate the Adobe fonts: Back in /Library/Fonts, sort the fonts by label, and select all the blue fonts by clicking on the uppermost one and Shift-clicking on the last. Drag them into the FontsCS folder in the sidebar.

5. Move the fonts from the ƒView folder: Click on ƒView in the sidebar and then choose Edit > Select All. Drag them to the ƒAdobe subfolder in your Desktop Font Cleanup folder.

Put the Fonts… You now have a FontsCS folder that has all the Creative Suite-supplied fonts in it that you want to keep in use. Where to put that folder depends on where you want the fonts to be available:

• In Adobe programs only: Put the FontsCS folder in Adobe’s private font folder (/Library/Application Support/Adobe/Fonts). CS2 fonts start out here, but you can create the folder for CS3/4 fonts if that’s how you’d like the fonts handled.

• In all your programs: Put the FontsCS folder in /Library/Fonts.

• Some here, some there: You can put some of the Adobe fonts in the private application folder (even if you have to make one because you started with CS3/4 and not an older version) so they appear in

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only Adobe programs, and others in the FontsCS folder inside /Library/Fonts so they show up in all your menus.

The Best of Several Worlds You can have your Adobe font collection available in some of your applications some of the time; the best solution is to make your FontsCS folder a Font Book library: put it in the folder /Library, with, not in, your Library Fonts folder, and create a library as described in Create an Adobe Fonts Library. You can switch the entire font collection on or off as a group whenever you want them in your Font menus.

FINISH ORGANIZING While the basic organizing is now finished, you still have to archive the fonts you’ve put aside, get rid of all the temporary folders you’ve used, and plan ahead so you never have to do this again!

Make Backup Archives Now that you’ve organized your fonts, you should back up the two categories of fonts you’ve established: your organized Fonts folders, and the offloaded fonts that you’re not using but might want to restore later.

1. Make archival Fonts folders: In the Finder, select each of these folders in turn, and choose File > Compress FolderName:

• /System/Library/Fonts

• /Library/Fonts

• ~/Library/Fonts

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The archive that’s created in each case defaults to the name Fonts.zip, since that’s the name of each folder. As soon as the compressed copy is created, select and rename it (LibraryFonts.zip, and so on) so you know which Fonts folder it holds.

2. Gather the archives: Drag each archival file into the ƒArchives subfolder.

3. Archive the offloads: Use File > Compress to make an archive for each of the ƒOffloads subfolders:

• ƒSystem: This holds the “rejects” from /System/Library/Fonts.

• ƒLibrary: This holds the “rejects” from /Library/Fonts, from both the Basic and Additional Leopard fonts.

• ƒAdobe, ƒiLifeWork, and ƒOffice08: These hold fonts from various software packages you’ve installed. If any of the folders is empty, just throw it away.

4. Gather the archives: Move the archival files from the previous step into ƒArchives.

5. Put away the ƒArchives folder: Pick a good, out-of-the-way spot on your drive.

Clean Up from the Cleanup Let’s review the fate of each of the four Desktop folders you made:

• ƒArchives: You moved this someplace on your drive for long-term storage.

• ƒView: This should be empty of all fonts. Trash it.

• ƒOffloads: You archived all the fonts and subfolders inside, and moved the archive files elsewhere, so this can go to the Trash.

• ƒHolding: This holds all the non-Leopard, non-big-font-donator fonts you had in your Fonts folders. You can reinstall them, of course, but not until you:

◊ Select them all and label them with orange, so that when you reinstall any of them into a Fonts folder, you’ll know that they’re fonts that you’ve inspected and chosen to install—and you’ll be

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able to differentiate them from “accidental” or hasty font installations later (see Font-Tracking Techniques).

◊ Learn at least a little more about Font Book, in Get Acquainted with Font Book.

◊ Review your installation method options, described in Other Installation Options.

◊ Know where the fonts should be installed, summarized in Table 5 (p. 95).

Warning! The fonts in ƒHolding at this point are not essential to the running of your Mac, Microsoft Office, or Adobe CS2 or CS3. But you may have specialized fonts that are essential for the oper-ation of some of your other applications. Don’t throw out any fonts in fHolding until you are absolutely sure you don’t need them. A touch of paranoia wouldn’t hurt: instead of trashing all the fonts that you think you don’t need, put them aside them and let them sit around for a while—a few months would not be too long!

Stay Organized Your font collection is shipshape now, but it won’t stay that way—unless you never install another font or application on your Mac. If you don’t expect to be quite that parochial, you can avoid another pull-it-all-apart and put-it-back-together session by practicing some simple font-management techniques:

• Keep track of old and new fonts: As you add fonts to your system, label them or put them in subfolders. When you know where your fonts came from, and which are the newest additions, it’s easier to pinpoint problems.

• Check if applications install fonts: Always look in Library Fonts (/Library/Fonts) and User Fonts (~/Library/Fonts) after installing software. If you’ve kept up with font-tracking techniques, new fonts in these folders will stand out. Label or subfolder them to differentiate them from the next batch of newcomers.

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Application Fonts folders: Applications that install fonts in their own folders (see Application Fonts Folders) don’t mess up your Mac OS X Fonts folders, but they can cause duplication of some fonts. This is seldom a problem because the application in question is the only one that can access those fonts and it gives them priority over any other copies on your Mac.

• Make occasional backups: Make archives of /Library/Fonts and ~/Library/Fonts at intervals so that if you have a font problem and need a quick fix, you can try returning to an earlier version of your collection.

What about Time Machine? You might think that Leopard’s Time Machine would be the perfect vehicle (H.G. Wells pun intended) for getting back to an earlier version of a perfectly working font collection.

But it’s going to be difficult to know at what point your fonts were working if you’re looking through your timeline at a few different Fonts folders and font libraries. All things considered, making occasional archival backups of your working Fonts folders is the quicker, better approach.

Font-Tracking Techniques Font problems, whose likelihood increases by some esoteric math-ematical relationship as you add fonts, are easier to pinpoint if you keep track of where your fonts came from using either of the techniques described here. They each have their pros and cons, and your best bet is to use different ones in different situations. (If you’ve followed the previous directions for cleaning up your folders, you’ve already seen how using these techniques can help font organization.)

• Use color labels: Labeling groups of fonts with color is a great, though limited, way of categorizing them. The colors pop out—and uncolored files stick out like the proverbial sore thumb. You can sort by Label in a window to group fonts you’ve colorized.

On the other hand, the colors have no intrinsic meaning, and it’s hard to remember which color means what.

• Use subfolders: Take advantage of the fact that Mac OS X automatically accesses subfolders of fonts in any Fonts folder. You

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can set up subfolders for any grouping of fonts—by characteristics, project, client, and so on. Keep these points in mind:

◊ Don’t use subfolders in /System/Library/Fonts because you shouldn’t do anything in this folder.

◊ In the font access order, fonts in a subfolder are accessed immediately after those in the parent folder.

◊ In Font Book, the subfolder fonts appear in the same library (in the Collection list) as those in the parent folder; the only way you’ll know they’re in a subfolder is if you check the location in the Info view.

◊ Fonts inside subfolders can be removed from within Font Book, since they appear in the Font list like all other installed fonts.

◊ You can’t install a font into a subfolder through Font Book; you must manually move fonts into subfolders. Or, as we did in several places while organizing your fonts, you can install the fonts into the main level of a Fonts folder with Font Book, and later move them into their subfolder in the Finder; as long as there are no other loose, or unlabeled loose, fonts in the Fonts folder, it’s easy to gather the newly installed ones into a subfolder.

◊ Using multiple subfolders increases the likelihood of your installing duplicate fonts—you can wind up with copies of the same font in the main Fonts folder and in one or more of its subfolders. Keep track of the duplicates, and which copy is being used, through Font Book. (See Deal with Duplicates.)

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Get Acquainted with Font Book Font Book is Leopard’s font-management utility. Its obvious raison d’être is to install and remove fonts without your having to run around to all the Fonts folders. But it does more than just installation chores: it checks fonts for corruption, indicates and resolves duplicates, displays font character sets, copies designated fonts into a separate folder to accompany a document to a printer, and generally helps you wade through the hundreds of fonts you’ll have just by installing a Microsoft or Adobe application or two.

To do anything beyond blindly installing a font, you need to know at least the basics of Font Book, which are covered in this section. I cover other Font Book capabilities later in related topics, such as Disable (and Enable) Fonts, Enable Automatic Font Activation, Use Font Book to Handle Duplicates, Create and Edit Collections, and Use Libraries to Control Your Fonts.

TOUR THE INTERFACE It’s easy to get started in Font Book, because its surface behavior and interface are predictable. But that friendly surface belies both its versatility and its—let’s be kind and call it quirkiness—in some behaviors and interface elements.

Font Book is in your Applications folder, and opens automatically when you double-click on (the right kind of) font file; if you do a lot of font wrangling, keep it in your Dock for easy access.

The descriptions here refer to numbered items in Figure 10, on the next page:

1. The Collection list: This list shows standard and user libraries above the line (a) and actual collections below it (b); click an item to display its fonts in the Font list. Disabled items (c) are dimmed and marked Off. (The Collection list is further dissected in Understand the Collection List.)

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2. The Font list: Click a font name to see a sample in the preview area. Duplicate fonts are marked with a dot (d); disabled fonts are dimmed (e) and marked Off. Click on the triangle to expand or collapse a list of a font’s typefaces (f). Double-click on a font name to open a separate Preview window for it.

Circled numbers: MS PGothic starting at U+278A, GID18037

Circled letters: MS PGothic starting at GID 20059

Figure 10: Font Book’s basic-looking interface belies both its versatility and its power.

Note: Typefaces listed under a family name are ganged together even if they’re from different files in the same or different Fonts folders. So, in Figure 10, the Baskerville typefaces could be from two separate files: one in the User Fonts folder that has four basic faces (Bold, Bold Italic, Italic, and Regular) and another one in the Library Fonts folder that has only SemiBold and SemiBold Italic.

3. The preview area: This area provides three types of samples, and an Info view, all through the Preview menu. The sample views are Sample, the alphanumeric set shown in the figure; Repertoire, the entire character set; and Custom, a type-it-yourself option. In Sample and Custom views, there’s a Size menu (g) and slider (h).

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Show or hide the preview: You can lop off this entire section with Preview > Hide Preview (Command-Option-I).

4. The Action menu: The commands in this menu ( ) are context-sensitive; all are also in the regular menus, along with their keyboard equivalents.

5. Search: Leopard’s Font Book has dropped the drop-down category menu for searches in favor of a “search everything” approach.

6. The Collection list button: This button ( ), creates a new collection—the items below the line.

7. The Font list button: The equivalent of File > Add Fonts ( ).

8. The Disable button: This Disable button ( ) toggles to the Enable button ( ); they act on the font(s) selected in the list.

9. Font count: This is the number of fonts currently showing in the Font list, including disabled ones. Since the list reflects the currently selected library or collection, it’s a quick way of seeing how many fonts you have in any category.

10. Selected font name and size: This may seem redundant, but the font name may have scrolled out of view in the middle column, and the size isn’t always displayed in the preview area, so it’s handy.

UNDERSTAND THE COLLECTION LIST Font Book’s interface is not always a thing of beauty, and the Col-lection list (Figure 11) is one of its more obvious flaws. Despite the title, it lists actual collections only in the lower area, below the line. Above the line, it lists two kinds of libraries: default and user-defined. (Collections and libraries are described in Create and Edit Collections and Use Libraries to Control Your Fonts.)

These are the components of a typical Collection list:

• All Fonts: This library lists all the fonts available through Font Book. This does not include fonts in application Fonts folders, such as /Library/Application Support/Adobe/Fonts.

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• English: New in Leopard, this default library displays all the fonts that primarily support the language you chose when installing the operating system. An English library consists of mainly Latin-based based typefaces. (Presumably, this was added because Leopard installs all the foreign language fonts by default, and this is a quick way to see the fonts you can use to type in your mother tongue.)

Figure 11: The Collection list can be confusing, as the actual col-lections are listed only below the line, while several types of libraries are listed above the line. Mac OS X default libraries are listed first (English is new in Leopard), followed by user-defined libraries in an alphabetical list (Newsletter in this picture).

• User: This library holds the fonts in ~/Library/Fonts.

• Computer: This library includes the fonts from both /System/ Library/ Fonts and /Library/Fonts. If you find this confusing, it’s not you—it is confusing: you can’t install into /System/Library/ Fonts from within Font Book, and this library doesn’t represent a specific folder, as do the items immediately above and below it.

The important thing to remember is that if you put a font into the Computer library, whether by dragging it there or by making it the default installation location (see Set Font Book’s Preferences, next page), the fonts are sent to /Library/Fonts.

• Network: This library appears in the list if you’re on a network and have networked fonts set up; it refers to the folder /Network/ Library/Fonts.

• User-defined libraries: These are listed alphabetically, and they are reordered as new ones are created; they all get the same F icon as shown for the Newsletter library in Figure 11. The list doesn’t reflect the order in which the libraries are accessed in case of duplicate fonts; they’re accessed in reverse order of creation.

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• Collections: Finally the list reaches the eponymous items, which are listed alphabetically below the divider line. Font Book starts with a half-dozen default collections, but you can add as many as you want.

All in the Family What is it that makes “related” fonts a family? Why are Arial and Arial Black separate families (with separate listings in Font Book and in Font menus), while Hoefler Text has Black listed as just one of its typefaces?

It depends on the font’s internal information as to its family name, one of the many things a font designer defines besides the shape of characters. (Font Book’s Info view lists Family names.)

SET FONT BOOK’S PREFERENCES Leopard’s Font Book preferences offers four options, twice as many as Tiger’s—and one of the additions is extremely welcome. Here’s how to set them initially:

1. Choose Font Book > Preferences to open the Font Book Preferences window (Figure 12).

Figure 12: The choices in the Default Install Location pop-up menu depend on what’s available in Font Book; the menu includes default and user-defined libraries.

2. Choose User from the Default Location pop-up menu. (Table 5, p. 95, can help you decide if you should choose something besides this best-for-most-users location.)

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3. Check Validate Fonts Before Installing. This verifies a font file’s “health.”

4. Check Automatic Font Activation and Ask Me Before Activating. There’s lots more about this new feature in Enable Automatic Font Activation, but this is the best starting default.

5. Check Alert Me If System Fonts Change.

The Leopard Font Activation Dialog If you’ve already run into this dialog when you’ve opened a document—or you do before you’ve learned all about this new facet of Leopard font-handling—just click Allow, or jump ahead to Enable Automatic Font Activation to learn more about it.

LEARN OTHER INTERFACE FEATURES Knowing a little more about Font Book’s capabilities and interface can help you work more efficiently, even if you don’t want to be an expert. Here are some tips:

• Use the Search feature: The Search feature in Leopard’s Font Book has changed considerably as a result of deletion of the Search field’s submenu—no more search categories such as Name, Style, and Language. All searches apply to everything about a font, which is sometimes a problem. If you want to find, for instance, fonts with black (bolder-than-bold) faces, you type black in the Search field. You get fonts with Black in their names, such as Arial Black, which might not be so bad, since it’s a heavy face and that’s what you’re looking for. But you’ll also wind up with , and blackletter is a type of design style that has nothing to do with stroke weight.

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Other free-form search problems: The search function still looks through everything about a font, not just the family and face names, even though you can’t specify search categories. Search for “Type 1” and you’ll get any font whose info includes “type” (as in “OpenType” or “TrueType” and the digit 1 (as in, say, a copyright from any time in the 20th century!).

• Select multiple items quickly: You can select more than one font in the list with the usual Mac approach: Shift-click for contigu-ous selections, Command-click for noncontiguous ones. This makes it easy to operate on more than one font at a time, whether you’re dragging them into a collection, printing samples, or… you get the idea. (You can also select multiple items in the Collection list.)

• Use multiple Preview windows: To check on the differences between certain fonts before using or activating them, you can open a Preview window for each one. Or, open separate Preview windows for different typefaces in the same family to see the difference between bold and semibold, or condensed and ultracondensed.

• Get information from help tags: You don’t always have to open lists or select collections or fonts to get information about them; instead, let help tags give you the details (Figure 13).

Figure 13: Hover over a name in either the Collection or Font list and you’ll see a help tag that provides useful information, such as the number of fonts in a Collection list or faces in a font.

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• Find a font file in the Finder: Select a font, use File > Reveal in Finder (Command-R), and you jump right to the file in the Finder. This is a clever and hard-working command: choose a PostScript Type 1 font, and both its files are selected; select a family name and all the separate typeface files for a family are selected. If you start with several different fonts selected in the Font list, they’ll all be selected in the Finder, even if that requires multiple open windows.

• Copy fonts without finding them in the Finder: Use Font Book’s Export function to make copies of fonts used in a project so you can send them along with your documents—you don’t have to go digging through your Fonts folders. You can export a collection, a library, or individually selected fonts: just select the items you want and choose File > Export Fonts. The name you type in the Save dialog is used for the folder that will hold the copies; you’ll get a subfolder inside it for each exported font.

• Use keyboard shortcuts:

◊ Right and Left arrow keys: Expand and collapse the typeface list of selected fonts when the Font list is active.

◊ Tab and Shift-Tab: Use these keys to move from one element to another in the Font Book window. The basic tab order includes the Collection list, the Font list, and the Search field; if the Size menu is showing, it’s included. When the Custom preview is displayed, you can tab into it to type—but you can’t tab out again, because pressing Tab types a tab in the preview.

When the Mac OS X Full Keyboard Access feature is activated (through the Keyboard & Mouse preference pane), it adds Font Book’s Action menu ( ) and the , , and buttons to the tab order.

◊ Up and Down arrow keys: These keys move you in an activated Collection list, Font list, or Size menu. Page Up and Page Down also work in both lists, and you can type a few letters to jump to a list item.

◊ Return or Enter: Opens the Preview window for selected fonts when the Font list is active; activates a selected collection or library name for editing when the Collection list is active, and deactivates it after editing.

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• Use Font Info: The Info view (Preview > Font Info or Command-I) shows lots of handy information, like the selected font’s type. But the two most convenient items are the Version and Location of the selected font. When you have duplicate fonts, you can compare version numbers before you decide which to disable or remove. The location helps you decide, too; in Figure 14, the location is /Library/Fonts. (For more details on handling duplicate fonts, see Deal with Duplicates.)

Arrows: Sand U+2198; GID 350 and U+2192; GID 343

Figure 14: The Info view shows not just important information, such as the version and file location, but also interesting info, like this description of the development of the Times font. Old Mac hands may remember that the New York bitmapped font was misnamed because someone thought “Times” referred to the New York Times, not the London Times.

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Font Book Replacements For the majority of general users, Font Book is flexible and powerful enough to take care of font-management chores. Leopard’s version has addressed the single most pressing need: automatic activation of fonts when a document opens. But for professionals, it still falls short in two important areas:

• Poor handling of overlapping collections/libraries: In Font Book, turning off a collection turns off all its fonts even if they also belong to another, still-active collection.

• Unable to handle thousands of fonts at a time: It’s not that Font Book can’t handle the volume—I put in well over 2000 fonts and it didn’t choke. But its interface isn’t conducive to handling extra-large font collections.

This book isn’t the venue for reviewing the “big three” font-management software packages. If you want to try one, you should check current reviews (in print and online) and the latest feature sets (in those reviews or at the vendors’ Web sites) for these programs:

• Suitcase Fusion 2: Extensis, $100. http://www.extensis.com/en/products/suitcasefusion2/

• FontAgent Pro: Insider Software, $100. http://www.insidersoftware.com/FA_pro4_osx.php

• Linotype FontExplorer X: Linotype, free. It’s hard to believe this full-featured program is still free; I was sure they were going to woo us with a freebie and then slap a price tag on it! http://www.linotype.com/2104-2493-2104/fontexplorerx.html

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Install New Fonts Leopard isn’t overly generous with its font supply, and although Microsoft Office adds quite a few and Adobe programs bring a truckload, you’ll want to add new fonts at least once in a while— or perhaps with alarming frequency.

This section describes what you should do before you install fonts, the various ways you can perform the installation, and addresses the overwhelmingly important issue of where to find new fonts.

GET NEW FONTS Install what fonts? From where? Some users are drowning in unwanted fonts; others just can’t get enough. If you’re in the market, you don’t have to spend a cent to add to your font collection. You may be disappointed that I’ve squeezed information about finding free fonts down to this little segment. But it’s much worse for me: no more “But I’m working. No, really!” excuse for whiling away a few hours perusing the beauty of zillions of typefaces. But, after all, let’s face it: you don’t need a book to help you find fonts the way you would have before the Web—you can just search in Google for “free fonts” to find lots of offerings.

Many free-font sites are eyesores, with blinking banners and obnox-iously intrusive ads; lots of the hits you’ll get on a Google search are sites that simply list other font sites (including those that list other sites that list…). In order for my countless hours of research not to go to waste (and to save you some trolling time), I offer a list of my favorites—in no particular order—wherein I’ve forgiven an annoying ad or two that doesn’t otherwise interfere with the overall interface:

• http://www.dafont.com/ • http://www.eternalfonts.com/

• http://www.fontgarden.com/ • http://www.dingbatpages.com/

• http://www.highfonts.com/ • http://www.1001fonts.com/

• http://www.bancomicsans.com/

• http://www.simplythebest.net/fonts/

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If you’re going to buy fonts, here are some guidelines to keep in mind:

• Watch the font count: The banner screams Only $7.00 per font! so you choose four, and your total comes to… $126? Three of those “fonts” had the standard four typefaces, and one of them had six, so you actually bought 18 “fonts.” It all depends how you define font, and by traditional standards, a typeface is a font (see Fonts, Families, and Faces). Seven dollars per font family, now that’s a bargain! Shame on the font vendors who don’t make that clear for the less savvy customers, but they’re not doing anything illegal.

• Buy OpenType, not Type 1: Adobe is converting, or has con-verted, their entire Type 1 library to OpenType; other houses may be slow to follow suit, but buy an OpenType version of whatever you need whenever possible instead of PostScript Type 1.

• Buy Windows TrueType, not the Mac version: If you cringe when you read this, go back and read the section on Supported Font Types and maybe you’ll feel better.

• Insist on Unicode compliance: Okay, it’s not as if you get to tell the vendor “No, I want it in Unicode, please”; in fact, you may be surprised at how few fonts are even described as Unicode-compliant (or not). If you don’t know, find out; if doesn’t comply, try to find a similar font elsewhere that does.

Be extra careful about any font that creates special characters— dingbats, mathematical symbols, phonetics, fractions—by simply replacing the standard alphanumeric characters (so the computer thinks you’re typing an A, but the font is supplying a flower): it will cause trouble. Don’t buy it; stick to Unicode-compliant versions whenever possible.

• Try before you buy: Some fonts have trial versions with grayed-out or missing characters; a trial run is a great way to check out the character set, Unicode compliance, and overall whether the font is really what you want.

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A Great Place to Shop I called three graphic designers I know and asked: if you were to buy fonts on the Web, where would you shop? And all three gave the same answer: MyFonts (http://www.myfonts.com/). It’s a one-stop shop, providing downloadable fonts from many foundries with a wide array of search tools to help you find the kind of font you need. You can even upload a scan of a font that you saw in print to have it identified, and sign up for a newsletter or two about the latest in font design.

BEFORE YOU INSTALL Don’t rush headlong into font installation; a little preparation can save you time, and grief, later. Before you install any fonts, you should:

• Organize your existing fonts: Follow the directions earlier in Organize Your Fonts to clean up your Fonts folders before you add new fonts.

• Back up your Fonts folders: Although you needn’t back up the folders prior to every font installation, you should make archival copies of your “pure” Fonts folders before you add lots of your own fonts (as described in Make Backup Archives), and at occasional intervals if you have a large font collection that you’d rather not rebuild from scratch if something goes wrong (see What about Time Machine?).

• Repack old suitcases: Old suitcase files—TrueType or bitmapped PostScript companions—might have more than one family inside. Beware of Multi-Family Suitcases describes the issues involved, and Repacking Legacy Suitcases describes how you might go about this.

• Use a font-tracking scheme: Keeping track of the most recently installed fonts, or where they came from, is an invaluable trouble-shooting technique; as a bonus, your fonts are more easily organized. Stay Organized describes how to track your fonts.

• Learn the rudiments of Font Book: You really should learn at least the basics of the interface, because Font Book opens when you install a font and you should know what you’re looking at! (That’s why Get Acquainted with Font Book came before this section.)

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• Set a default location for your fonts: Use the guidelines in Table 5 to choose the default destination for your fonts; you’ll be able to change the default at any time, or override it for specific fonts. Set Font Book’s Preferences explains how to set the default location.

• Choose an installation approach: Review Table 6 (p. 100). Or just forge ahead and Install a Font from the Finder.

Table 5: Where to Install Your Fonts (folder paths are at end of table)

Situation Font usage is… Store them in… Comments

One user Mild or wild User Fonts or Library Fonts

When it’s just you, either location works; pick one and stick to it

A few additional fonts for fun

Library Fonts: So fonts can be shared

Everybody likes playing with new fonts

Shared, home (with multiple accounts)

One user wants lots for fun or profit

User Fonts Minimizes Font menu clutter for others

Library Fonts: For extras everyone wants

Avoids needing multiple copies of the same font, easier maintenance

Shared, office (with multiple accounts)

Moderate: every user needs some extra fonts in com-mon; a few use lots of fonts

User Fonts: For individual choices

Minimizes font menu clutter for all users

Graphics pro

Intense • Adobe Fonts: For use in Adobe applications

• User Fonts: For other often used fonts

• User-defined libraries: For “tem-porary” fonts

See: • Application Fonts

Folders • Use Libraries to Control

Your Fonts • Deal with Adobe-

Product Fonts Network Varies with

users • Network Fonts: For

shared fonts • Library Fonts: For

fonts shared on a specific Mac

• User Fonts: For individual use

Library Fonts: /Library/Fonts User Fonts: ~/Library/Fonts

Network Fonts: /Network/Library/Fonts Adobe Fonts: /Library/Application Support/ Adobe/Fonts

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Preview Fonts in the Finder You don’t need Font Book to see what a font looks like before you install it; Leopard provides several sneak-peak options.

For a quick two-letter sample:

• In the Finder, set the font’s folder window to Icon view (View > as Icons), open the Options palette (View > Show View Options), and check Show Icon Preview; you can also enlarge the icons via the Options palette. (Some older fonts won’t change LWFN or suitcase icons to font-sample icons.)

• Set the font’s window to Cover Flow view and check out the

samples flipping by; you don’t have to change the view options to Show Icon Preview beforehand. Most fonts that won’t display standard preview icons can still show samples in Cover Flow.

For a small full-alphabet sample of a font, try either of these:

• Select the font file and choose File > Get Info; expand the Preview area with the disclosure triangle if necessary.

• Set the font’s Finder window to Column view, select the font, and in the rightmost column, expand the Preview if necessary.

For large full-alphabet samples:

• Select the font file(s) and choose File > Quick Look (or press the Space bar). The Quick Look window can be resized, and for multiple fonts, you can switch to the slideshow. (Start in slideshow mode by pressing Option so the menu command changes to File > Slideshow.)

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INSTALL A FONT FROM THE FINDER With all the background tasks—and a Font Book tour (Get Acquainted with Font Book)—out of the way, you can proceed to installing your fonts. Once you know the ins and outs of font installation, you can use whatever technique suits you best; I cover the entire gamut ahead, in Other Installation Options, and round up the pros and cons of different installation techniques in Table 6 (p. 100). But the easiest way to install a font or two (or three) is with a double-click from the Finder:

1. Quit any running programs with Font menus that don’t accom-modate font changes on the fly. Adobe programs can stay open, Microsoft programs cannot. This is not just an issue of whether an application’s Font menu acknowledges the font changes; changing the font lineup behind an application’s back can make it crash when you go back to it. You can leave this PDF open in Adobe’s various PDF-reading programs and in Apple’s Preview.

Apple Applications and Font Changes It seems that Apple programs can accommodate font changes while they’re open, but if the Font Panel is open in the program, you must close and then reopen it to refresh the font list.

2. In the Finder, double-click the font file.

Font Book opens in the background, and a Preview window appears so you can see the font (Figure 15). (You can cancel the installation at this point by closing the Preview window.)

Change the default installation location: To check or change the default install location, choose Font Book > Preferences while the Preview window is open. See Set Font Book’s Preferences if you need more details.

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Figure 15: Font Book’s Preview window lets you view all the faces in a font file before installing it. The Not Installed note (lower left) tells you this font isn’t installed yet. If you open a Preview window from within Font Book, the note says Installed.

3. Click the Install Font button.

This triggers a quick validation of the file’s integrity; if it passes muster, a copy is placed in the default Fonts folder (the one selected in Font Book Preferences), and the Font Book window appears.

In case of failure: If the font fails validation, Font Book’s Validation window opens with a report. Find Your Way around the Validation Window explains its details.

Track or trash the original: Since Font Book puts a copy of your font file into the Fonts folder no matter which of its install methods you use, the original is left sitting where it started. Where you should put it depends on where it came from; in most cases, you can simply trash the original because you have a copy in a Fonts folder now— but keep in mind that if you delete the font from Font Book later, it’s moved to the Trash, and you might wind up with no copy at all.

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Unlocking Font Icons You may find that you can’t copy or install some older suitcased fonts because they’re locked; the padlock on the icon is a dead giveaway. To unlock the file, select it in the Finder, choose File > Get Info, and uncheck Locked.

Opening Multiple Files in a Family You can select and open many font files at the same time, and you’ll get many Preview windows opening in Font Book. It’s not always one per font file, nor is it always one per font family—it depends on the type of font you’re installing, and what you select to open. If, for instance, you have the four files whose icons are shown below—four different faces in the same font family—and you double-click on one of them, you’ll get a Preview window for just that face, and clicking the Install button installs only that face. If, however, you select all the files and then double- click on one of them or use File > Open (Command-O), a single Preview window opens with a menu that lets you see each face (Figure 15), and clicking Install will install all four typefaces.

OTHER INSTALLATION OPTIONS With the basics of font installation under your belt, you can explore additional ways to install fonts to see what suits your situation and work habits. Table 6 (next page) provides an overview of the pros and cons of your options, as well as links to explanations of the procedures.

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Table 6: Font Installation Methods

Pros Cons Recommended for… With Font Book

Double-click on Desktop (Install a Font from the Finder) • Quick, easy • Font preview • Can see suitcase contents

• Validation • Makes copy of font

• Tedious for multiple-font installs

• One font, or a few, at a time • When you’re not sure what’s in a suitcase file

• When you want to see a font sample before installing

Add Font command or button (Installation Alternatives within Font Book) • Validation • Makes copy of font • Bypass the default install location

• No font preview • No suitcase preview • Tedious for multiple-font installs unless it’s an entire folder

• Many fonts at once • When you know what’s in a suitcase

Drag from Finder into Font Book (Installation Alternatives within Font Book) • Validation • Makes copy of font • Bypass the default install location

• No font preview • No suitcase preview • Easy to drop on the wrong spot

• Many fonts at once • When you know what’s in a suitcase

• Installing a whole folder (see Install a Folder of Fonts)

• Creating user libraries

Drag from Finder into Font Book (Installation Alternatives within Font Book) • Validation • Makes copy of font • Bypass the default install location

• No font preview • No suitcase preview • Easy to drop on the wrong spot

• Many fonts at once • When you know what’s in a suitcase

• Installing a whole folder (see Install a Folder of Fonts)

• Creating user libraries

Create a library (Use Libraries to Control Your Fonts) • Fonts remain in original location

• Validation

• No font preview • No suitcase preview

• When fonts are used on short-term basis

Without Font Book

Drag into a Fonts folder (Work Directly with Fonts Folders) • The only way to add fonts to Application Fonts folder

• No validation • Fonts are not copied, originals are moved

• Keeping fonts organized with subfolders

• Using Application Fonts folders • Manipulating system fonts

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Installation Alternatives within Font Book Font Book’s three alternative install options all skip the Preview window, let you bypass the default install location, and still validate fonts before installation:

• File > Add Fonts: Choose this command for the Open dialog and add a font file to the currently selected library or collection.

• The Font list Add button : The button is simply an alternative to using File > Add Fonts.

• Drag a font into Font Book from the Finder: This technique lets you ignore both the default install folder and the current item in the Collection list because you can drop the icon directly on any item in the list (Figure 16); you can also drop it into the Font list.

If a user-defined library is selected when you use the Add command, or if you drop a file into the library, the font is not copied to any Fonts folder, but remains in its original location; that’s the nature of user-defined libraries, as I explain in Use Libraries to Control Your Fonts.

Figure 16: Dragging a font file directly into a Collection list item bypasses both the default install location and the current Collection item (Computer, in this picture).

Installation Destinations For some install procedures, it’s obvious where the fonts are going: for instance, use an Add command with the User library selected, or drag a font into that library, and you’ve installed the font in ~/Library/Fonts. But other items, including All Fonts and collections, don’t represent single, specific locations. Where do fonts wind up when you drag them to these locations? The setup is logical, if not obvious, as you can see in Table 7.

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English is not a destination: Although Font Book seems to let you drag a font into the English library—the name highlights as other libraries and collections do when you drag something into them—nothing happens with the font. English is a read-only library.

Table 7: Font Destinations Target Result

All Fonts Default install folder

English (nothing)

User ~/Library/Fonts

Computer /Library/Fonts

User-defined library Font file remains in original location

Collection Default install folder

Font list Current item in the Collection list

Install a Folder of Fonts Say you have an entire folder of fonts that you want to install, but you don’t want to handle them individually; you don’t even want to open them from the Finder in a batch because you’ll get a Preview window in Font Book for every last one of them. As long as you want every font in the folder installed—including fonts in its subfolders—you can “install” the folder in either of two ways:

• With Add: Use Font Book’s Add command or button and, while you’re in the Open dialog, with the folder selected—not any of its contents—click the Open button.

Warning! This Mac OS X capability of opening a folderful of documents from an Open dialog can be pretty scary when, from years of habit, you select a folder and hit the Open button to open the folder to look inside, and—whoops!—you’ve opened everything in the folder instead. Imagine what happens if you have, say, your drive selected in the dialog and you trigger the Open button: all the fonts on your drive are installed into whatever’s selected in your Collection list. (Did I learn this from accidental experience? Nope, even worse: I did it on purpose to see what would happen.)

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Font Book may take a few seconds, or even minutes, to complete the installation because it’s validating all the fonts; you’ll see the in-progress gear spinning away. (See Validate Fonts.)

Expos(é)ing Your Fonts If you open many font files at once, or preview a whole library of installed fonts, the Preview windows overlap, showing only the frontmost sample. Tile the windows so you can scan the font sam-ples with Exposé’s All Windows feature, and then click on one to bring it to the top of the pile. (Set or change the trigger for this in the Exposé & Spaces system preference pane.)

Close All Preview Windows without Quitting Font Book

When you have lots of Preview windows open and want to close them without installing or removing the fonts, it would be nice if you could use Font Book’s Close All command (by holding down Option as you open the File menu). But Close All also closes Font Book’s main window, which, because Font Book is a one-window application, quits the program, too. So: minimize Font Book’s main window (bring it to the front first, if necessary, with Window > Font Book). Once it’s safely in the Dock, Close All closes all the Preview windows without quitting Font Book, and then you can retrieve its main window from the Dock.

Install Postscript Type 1 Fonts Installing a PostScript Type 1 font isn’t much different from installing other fonts. Use any of the basic installation methods for Type 1 fonts, keeping these additional points in mind:

• To install with a double-click: When working from the Finder, you can double-click either the suitcase or a printer file.

• Choose from the Open dialog: When you use the Add command or button in Font Book, only the suitcase file shows as selectable in the Open dialog, but both files are moved to the install destination when you open the suitcase.

• To install the font by dragging it into Font Book: Drag the suitcase, not a printer file; all the files are still copied to the correct folder.

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• One suitcase, many printer files: There’s seldom a one-to-one relationship between suitcases and printer files; a suitcase usually holds several different typefaces for a family, while each typeface has its own printer file. So, your TektonPro suitcase might serve as the companion to the printer files TektoPro, TektoProBol, TektoProIta, and TektoProBolIta.

• Keep the files together: Font Book can sometimes install PostScript Type 1 fonts when the suitcase and printer files aren’t in the same folder, but you should keep them together or you might lose track of the originals.

• PostScript fonts in the Preview window: When you open a Preview window during or after installation, the typefaces shown are only the ones with both printer files and bitmapped versions. Unpaired printer files are ignored; however, while unpaired bit-mapped fonts in the suitcase aren’t displayed, they are installed, leading to potential problems, as described next.

Beware of Multi-Family Suitcases The suitcase font files that come with Leopard and current software are neatly packed with only a single TrueType family, although they may include many typefaces. But older suitcases from previous systems or other font sources may contain more than one family, or even have bitmap fonts mixed in with the TrueTypes.

Double-clicking a multi-family suitcase opens multiple Preview win-dows in Font Book, and using the Validate File command on it displays a list of fonts. But neither technique displays a bitmapped font that doesn’t have an available Type 1 printer file; so, if you see a bunch of Preview windows or a long validation list, don’t be fooled into thinking you’ve seen all the contents of a suitcase file.

These multi-family suitcases, although usable, present several practical problems:

• You can’t install a single family from the suitcase, since the suitcase file is moved into a Fonts folder, making all its fonts available. When the suitcase’s multiple Preview windows open in Font Book, clicking the Install button in one of them often closes the others; if there are a dozen or so windows, you may have to click Install in three or four of them before they all go away.

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• You can’t remove a single family after the font’s installed—they’re all deleted at once because the single file gets moved to the Trash.

• TrueType fonts in multiple-family suitcases can’t be disabled reliably; although marked as disabled in Font Book, they sometimes show up in font menus anyway.

• There’s no indication in Font Book that these fonts are tied together by being in a single file, which makes it harder to avoid problems when you mean to disable or delete only one of them.

• Any bitmapped fonts in the suitcase—ones without their PostScript Type 1 chaperones—go along for the ride. There they are, semi-installed, you might say, which can lead to problems. For one thing, they were never validated—since they came in under the radar— so they might be corrupted. For another, if a bitmapped font name matches a PostScript Type 1 font you’re using, the accidental bitmap might be accessed instead of the companion bitmap you think is being used—and they might have different designs, despite their identical names. What fun!

In all, the only valid use of a multi-family font suitcase is as a com-panion to PostScript Type 1 fonts when you’d be using the “extended” family all at the same time, installing and removing them together: a suitcase, for instance, that contains the bitmaps for Futura, Futura Light, and Futura Condensed.

However, since Mac OS X doesn’t provide any way to access a suitcase’s contents, you might be stuck with a multi-family suitcase that you just have to install, even if only temporarily, no matter the consequences. Go ahead, if you must, but get newer versions of the fonts—or cleaner versions of the suitcase files—as soon as you can.

Repacking Legacy Suitcases I was hoping Leopard might give us a break and allow us to get inside old font suitcase files to shuffle their contents around, but no such luck; and, since Leopard doesn’t support the Classic environment, you don’t even have the option I described in the Tiger edition of this book: working in the old Font/DA Mover under Classic.

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FontDoctor (http://www.morrisonsoftdesign.com/, $70), also bundled with the Font manager Suitcase Fusion 2 (http://www.extensis.com/ en/products/suitcasefusion2/ ), is a utility that fixes corrupt font files, and also includes a suitcase manipulation function. On the surface, it doesn’t seem to handle single-font files either—the Open button is “Open Font Suitcase File,” but you can open a non-suitcased font and then move it into a suitcase.

If you repack suitcases, these are the guidelines:

• Everything goes into a suitcase; single-font files can’t be used, although single-font suitcases are fine.

• Separate bitmapped from TrueType fonts, keeping them in different suitcases even if they have the same font family name.

• Get rid of bitmapped fonts entirely if they are not companions for PostScript files.

• Limit a suitcase to a single family, with all its typefaces. (The exception: related families—I think of them as “cousins”—that will always be used or disabled at the same time, such as Nick, NickCondensed, and NickNarrow.)

• Name the suitcase after the family it contains.

Work Directly with Fonts Folders There’s nothing to stop you from dealing directly with various Fonts folders instead of going through Font Book, but here’s what you give up by skipping the Font Book route:

• Easy access to buried Fonts folders.

• Validation of font files. Font Book’s validation is less than rigorous, but it’s better than none.

• The first line of defense against incorrect file types: Font Book just won’t install bitmapped fonts without their printer files, non-suitcased fonts, or some older Type 1’s that don’t function reliably.

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Despite the Font Book advantages, you might want to, or have to, go directly to folders when:

• You want your fonts organized in subfolders inside a Fonts folder.

• You’re dealing with application Fonts folders, which Font Book doesn’t access.

• You want to manipulate system fonts, and really remove them from the /System/Library/Fonts folder instead of just from Font Book’s Font list. (See Replace a Removed System Font.)

When you install fonts directly into any folder that Font Book accesses, validate the fonts before or after with the Validate Font command, described in the next section.

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Validate Fonts Corrupted font files are an old, familiar problem to Mac users. They were corruptible because they were “writeable”—the system opened the files not just for use but also to change ID numbers in an effort to avoid conflicting IDs. That approach, fortunately, fell by the Mac OS X wayside, with font files now strictly read-only. Font corruption reported under Mac OS X is almost solely of old files.

Validation is simply Font Book’s way of checking font files for internal problems. It doesn’t fix the problems; it merely reports them.

Font Book provides three ways of validating fonts:

• Automatic validation: Triggered when you install a font through Font Book, automatic validation is why installing more than a few fonts at a time can cause Font Book to seemingly seize up for any-where from a half minute to several minutes: you’ll see the “in progress” gear spin as Font Book churns away at validating each and every font you just dragged in from that font CD.

• File > Validate File: Choose this to check fonts that are not installed; you can choose a single font file, or an entire folder (which includes the subfolders in the checkup).

• File > Validate Font: This command is for already-installed fonts; select one or more in the Font list before you use it.

Why would you need either “manual” Validate command, when Font Book automatically validates fonts on installation? If you install fonts by dragging them directly into folders, bypassing the automatic valida-tion, you can check them beforehand with Validate File, or afterward with Validate Font. Validating in advance saves time, not so much for the install-and-then-remove-a-bad-font drill, but because once the fonts are installed, it’s time-consuming to pick them out of the Font list for validation. In addition, I’ve found that the Validate commands sometimes flag a questionable font that passes the auto-matic validation procedure.

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FIND YOUR WAY AROUND THE VALIDATION WINDOW With automatic validation, you won’t see anything if the fonts pass inspection. With either of the Validate commands, the Font Validation window opens even if everything’s okay (Figure 17).

Figure 17: The results of validating a group of installed fonts.

The pop-up menu winnows the list of fonts; in a serious lapse of parallelism, Warnings refers to the Minor problems description at the bottom of the window, and Errors to Serious problems. The Remove Checked button is available when the fonts in the list are installed; if you’ve validated fonts that are not installed, the button is Install Checked.

Inside the Validation window:

• Use the triangles to expand the hierarchy: a font or suitcase name expands to its families, which expand to their faces, which expand to validated items (somewhere between 4 and 15 of them, depend-ing on the font).

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• Choose All, Warnings, or Errors from the pop-up menu to filter a long list, as described in Figure 17, on the previous page.

• Use the Search field to winnow a list to commonly named items if you’re working with a large folder of fonts.

A font that fails validation is marked in the window as having minor or serious problems (Figure 18):

• Minor problems… proceed with caution: What does this mean—you should type verrry slooowly when using the font? You shouldn’t totally ignore the warning; getting a fresh copy of the font in question would be prudent. But go ahead: use it if you need it, and consider it your chief suspect if you start having problems soon afterward. I have found several times that a “minor problem” font, though listed in Font Book, didn’t appear in Font menus; other flagged fonts work with no problems at all.

• Serious problems…. Do not use this font: You should probably take this warning seriously. But the first font that gave me this dire warning was an old version of Fang Song.dfont. I can’t say that I actually used this Chinese font, but I did play with it for weeks on two machines after finding the validation problem, and had no problems at all. If you get this result for a non-Roman font, it’s possible the font is actually fine, and you should try using it if you need it. (Your mileage may vary.)

In all, Font Book’s validation procedure is somewhat like airport security—it’s supposed to be important, it often looks like it’s doing something, but it’s of questionable effectiveness.

And have you noticed that I haven’t said anything about actually fixing problem fonts? That’s because there’s nothing to say—Font Book doesn’t fix broken fonts. The $70 FontDoctor, available separately (http://www.morrisonsoftdesign.com/) and also bundled with the font manager Suitcase Fusion, claims to fix corrupt fonts. Font Agent Pro, another Font Book replacement, also has font-fixing features. (Both those font managers, and why you might want something besides Font Book, are described in Font Book Replacements.)

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Figure 18: The number of items validated for a font differs from one font type to another. In these examples, a font in the list has failed validation with minor (yellow warnings, left) or major (red warnings, right) problems.

Warning? All through Tiger’s reign, it was clear that Font Book didn’t always do a great job of validating fonts automatically when they were installed. I purposely installed many problem fonts, mul-tiple times, and Font Book often blithely installed fonts that were reported as corrupted before or afterward with the Validate File or Validate Font command. I haven’t found that to be the case with Leopard’s Font Book, even after a year of use. However, as time goes by there are fewer “unclean” fonts being passed around that would ring the validation alarms. So, if you install a font (or two, or a hundred) and immedi-ately start having problems, a corrupted font should be at the top of your suspect list even if Font Book says they’re all healthy.

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Bad-Font Detection Here are two things you won’t see very often: a heavy-duty font problem dialog and Font Book displaying the LastResort font.

Under Tiger, I had set up a user library of all the Adobe applica-tion fonts, with no problem until I opened Font Book weeks later and got the Bad Font Detected dialog shown here for one of the Adobe fonts. I was puzzled: does font checking happen when you open Font Book? Experimentation showed that as Font Book hit this font during its opening “roll call,” it couldn’t prepare the preview area sample, and that’s when it realized there was a problem. And that’s what led to the LastResort font showing up.

The same exact font file opened in Leopard’s Font Book with no problem. On the other hand, some questionable fonts (“Minor problems have been found”) under Tiger were totally rejected by Leopard (“Serious problems…do not use”), so it’s not as if Leopard is just better at handling iffy font files.

Note that Font Book, with Adobe Ming Standard Acro selected in the Font list, is identifying LastResort as the current font (at the bottom of the window) and displaying it in the preview area. Ming was so corrupted it couldn’t be used, so LastResort jumped in. See Is It a Unicode Font? for an explanation of those framed A’s along the top of the preview area.

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Remove Fonts You Don’t Want In this section, I discuss the two pressing issues of font removal: how to remove fonts (immediately following), and which ones to remove (in Trim the Excess Font Fat).

USE FONT BOOK TO REMOVE FONTS To remove a font, select it in Font Book’s Font list, and press Delete or choose File > Remove FontName. The font file is (usually) moved to the Trash, so if you don’t want it erased the next time you empty the Trash, you must drag it out and store it someplace. This isn’t so draconian when you consider that a copy of the font file was placed in the target folder during installation, with the original left in place. But, as I mentioned in the installation section of this book, you should keep track of whether or not you’ve stored originals someplace or deleted them after you’ve installed them. For system-installed fonts, you have to be more careful because there’s no easy way to get fresh copies (read Restore or Add Leopard Fonts).

Removing vs. Disabling: When you don’t want to use a font, and won’t want to use it again in the foreseeable future, you remove it. When you want it hanging around for easy access or a recurring project but don’t want it cluttering your Font menus in the meantime, you can disable it instead, a topic I cover in Disable (and Enable) Fonts.

I said the font file is “usually” moved to the Trash, because there are exceptions:

• A system font—one in /System/Library/Fonts—is removed only from Font Book’s Font list; the font file is not removed from the folder. (See Replace a Removed System Font in regard to this and the next bullet item.)

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• If you don’t have administrative privileges, removing something from the Computer library in Font Book (regardless of whether the font’s in /System/Library/Fonts or /Library/Fonts) removes it from the Font list, but the font file remains in its folder.

• A font from a user-defined library remains in its original location— which is only fair, since a copy of it was never placed in any Fonts folder in the first place. (See Use Libraries to Control Your Fonts.)

Even when a deleted “font” is sent to Trash, which font files are deleted—and the effect on some of your other installed fonts— depends on what you’ve selected in the Font list and what kind of file(s) are related to the selection:

• PostScript Type 1 fonts: Removing a PostScript font moves the suitcase (FFIL) file and all the printer (LWFN) files to the Trash.

• Suitcases: If you remove a font that’s in a suitcase (a TrueType font or a bitmapped font companion for a Type 1), the entire suit-case is trashed, taking all the fonts inside it—one of the gotchas of using suitcases with more than one family inside.

• Individual typefaces: You can use the Remove command on a selected typeface (instead of a family). If the typeface is a separate file, only that typeface is removed; if all the faces are in the same file, the entire family is removed.

• Families: Most OpenType and many newer TrueType fonts have separate files for each typeface; selecting the family name and deleting it puts all the related files in the Trash.

• Duplicate fonts: If you select the family name of a font with duplicates and remove it, all the copies showing in the Font list are removed. So, if All Fonts is selected in the Collection list, every copy of a duplicated font is removed; if Computer is selected, copies in both /System/Library/Fonts and /Library/Fonts are removed; if User is selected, only the copy in ~/Library/Fonts is deleted.

• Libraries: Deleting a user-defined library from the Collection list removes the library and its list from Font Book, removing the fonts in the library from use. The font files themselves, however, remain wherever you’ve been keeping them because they were never

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installed in a Fonts folder. (See Use Libraries to Control Your Fonts.)

• Collections: Deleting a collection from the Collection list won’t remove any fonts at all, since a collection is merely a convenient way of looking at a subset of installed fonts. (See Create and Edit Collections.)

Font removal from Fonts folders: You can remove a font directly from its Fonts folder; its absence is reflected in Font Book’s list almost immediately. But Font Book deletion is a better option because you can see whether you still have a copy of that font available in a different Fonts folder, and, in the case of PostScript fonts or OpenType families with separate typeface files, you won’t have to select the multiple files yourself.

Un-Remove the Remove Warning! As you can imagine, during the course of writing this book I gave Font Book quite a workout, adding and removing many fonts many times. I got tired of the confirmation dialog “Are you sure you want to remove this font?” making every font removal a two-step process. So, I finally checked Do Not Ask Me Again in the dialog. It wasn’t long before I selected a font and, as I hit Delete, realized I had selected the wrong font in the list. But Delete was already pressed, and, with no confirmation dialog, it was too late.

And then came one of those annoying little interface problems. The Do Not Ask Me Again checkbox is only in the confirm dialog; since the dialog doesn’t show up after you turn it off, you can’t uncheck the checkbox to turn the warning back on. If you’ve already made the same mistake (or do so in the future despite this warning), the solution is to quit Font Book and delete ~/Library/Preferences/com.apple.Fontbook.plist.

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TRIM THE EXCESS FONT FAT General users needn’t strip their systems of extraneous fonts—to a general user the fonts won’t be extraneous. Pros and font fanatics, however, need to keep unnecessary fonts to a minimum, both to avoid problems and because the sheer number of fonts can become over-whelming to manage.

A “necessary” font, however, is often in the eye of the beholder, so for a complete list of the fonts included in the Leopard and Microsoft Fonts folders, with recommendations as to which ones you might want to keep (or not) for various reasons, see Organize Your Fonts and Table 2 (p. 41), Table 3 (p. 49), and Table 4 (p. 61). While that section gives specific directions for cleaning up your Fonts folders, it doesn’t provide much in the way of “why” details. This section describes why you need certain fonts (or not), on a folder-by-folder basis, and gives you the opportunity to lighten your font load if you didn’t do the thorough cleanup described earlier. Table 15 in Appendix B: Leopard Font Tables rounds up the fonts you should preserve.

The System Fonts Folder Leopard’s System Fonts folder (/System/Library/Fonts) is pretty mean and lean, but you can make it even leaner. Table 2 (p. 41) categorizes all its contents; this section covers two important categories.

Do not remove these font files: • Keyboard.dfont • Helvetica LT MM • Monaco.dfont

• LastResort.dfont • HelveLTMM • Geneva.dfont

• AquaKanaRegular.otf • Times LT MM • LucidaGrande.dfont

• AquaKanaBold.otf • TimesLTMM • Helvetica.dfont

• HelveticaNeue.dfont

Okay, the MM (Multiple Masters) fonts are used only for the Preview application’s font rendering and aren’t crucial, but remove any of the others at the risk of dire consequences. Not plagues-of-Egypt dire— but close, if you’re on a tight deadline. At best, you’ll have menus and dialogs with garbled text; at worst, your Mac might not start up at all and require a system reinstall. Don’t disable these fonts, either, since that often causes the same problems as removing them. (Read Life without Helvetica, a few pages ahead.)

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The fonts in the first two columns don’t even appear in menus or in Font Book (see Figure 2, p .41). The ones in the last column are difficult or impossible to remove through Font Book or directly from the System Fonts folder. Font Book marks these fonts with a lock icon, warns you if you try to delete them, and then either outright ignores the fact you want them deleted or removes them from the Font Book list without removing them from the Fonts folder. (See Replace a Removed System Font.) If you drag any of the fonts in the last column (or Keyboard or LastResort) out of the System Fonts folder, they’ll magically reappear—that’s how important they are.

But sometimes Helvetica’s got to go! Professionals work Helvetica to death (and perhaps beyond), and Helvetica Neue seems almost as popular. But they don’t want to use these dfonts, which are often substituted—against the user’s will—for a PostScript or OpenType version of the font. Learn how to get rid of these reappearing fonts in Appendix D: Replace the Helvetica dfont, an excerpt from Take Control of Font Problems in Leopard.

Keep these commonly used fonts: In addition to the absolute necessities, keep these fonts because they are common on the Web and in cross-platform documents:

• Courier • Times • Symbol • Zapf Dingbats

Consider keeping these for the special characters: If you decide to keep a few Asian fonts for their extra characters (consult Asian Font Fun Sampler, p. 210), these are the ones to keep, since they provide a good variety of weights (degrees of boldness), and serif and sans serif fonts. (They’re shown in the Finder in Asian char-acters; see Identifying Asian Font Names, p. 43)

• AppleGothic • Hiragino Mincho ProN W3*

• Hiragino Kaku Gothic ProN W3* • Hiragino Mincho ProN W6*

• Hiragino Kaku Gothic ProN W6*

Replace a Removed System Font If you’ve used Font Book to remove a font from the System Fonts folder, reinstalling it is tricky: although the font name disappears from Font Book’s Font list, the font file remains in its folder—and how do

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you install a font where it already exists? (And where do you get it from?) Also, Font Book can’t install into /System/Library/Fonts; items put in Font Book’s Computer library go to only /Library/Fonts.

Here’s how to get a “removed” system font back in play:

1. In the Finder, open /System/Library/Fonts.

2. Drag the font file in question out to the Desktop.

A copy appears in the target spot, while the original stays in place.

3. Drag the font file back into the /System/Library/Fonts folder.

This triggers a dialog saying you can’t do it because the folder can’t be modified, but don’t worry, because it can be.

4. Click the Authenticate button.

A dialog tells you there’s already an item by that name in the folder.

5. Click Replace.

6. Provide your password and click OK.

Life without Helvetica When Mac OS X says Helvetica is a necessary font, it really really really means it! Without this essential font, menus, dialogs, and all sorts of other things will implode. This picture shows the Font Info view with and without Helvetica available. (You guess which is which!) It’s not just Font Book that will get messed up: this affects menus, dialogs, and documents.

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The Library Fonts Folder The Library Fonts folder (/Library/Fonts) is where Leopard puts nonessential fonts; so, by their very definition, all the fonts can be removed. But that doesn’t mean you should get rid of them all:

• Keep common Web fonts: These fonts are ubiquitous on the Web because they’re cross-platform and (with the exception of Times New Roman) easy to read on the screen:

• Comic Sans • Georgia • Trebuchet MS

• Times New Roman • Verdana

If you have Office 2004, you might need to keep both the system’s Verdana and the Microsoft-supplied one; see Office 2004 and Leopard’s Multiple-File Fonts (p. 64).

• Keep common cross-platform fonts: Arial and Arial Black may be overused, but you’ll probably need them if you exchange documents with PC users. And Arial Unicode is bound to become a new cross-platform standard; it has only one face (no bold or italic) but is chock-full of characters, including circled numbers and letters, dingbats, and so on. If you have Office 2008, keep Calibri and Cambria around because they’re the defaults for many docu-ments in Office 2007 in Windows.

• Delete (most of) the foreign language fonts: Unlike Tiger, which required you to “opt in” for additional fonts, Leopard installs by default nearly 50 foreign language fonts you don’t need and won’t use (unless you’re special, and you know if you are). While I recommend you keep a few of them for their extra characters (see Asian Font Fun Sampler, p. 210), keeping all of them merely clutters your Font menus.

Table 3 (p. 49) notes which of these fonts should stay and which of them should go.

The other Library fonts: Table 3 provides a complete list of the fonts Leopard installs in the Library Fonts folder, along with more detailed advice to help you decide which ones you might want to keep.

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• Watch for application-installed fonts: Applications often install fonts into this folder; they’re still typically expendable but you should check the application’s documentation. Deal with Adobe-Product Fonts discusses how to handle CS3’s font population in this folder, and Deal with Microsoft Fonts describes how to handle Office 2008’s subfolder of fonts.

• Mind your manners: If you’re on a multi-user Mac, keep in mind that this is the folder all users share; be polite and politic about removing these fonts.

The User Fonts Folder Leopard doesn’t put any files in ~/Library/Fonts; for most people, the bulk of User fonts comes from Microsoft Office. While you can remove all of them because they’re not essential to Office operations (Office needs Verdana, but Leopard supplies a copy—see Office 2004 and Leopard’s Multiple-File Fonts, p. 64), you may not want to. In Deal with Microsoft Fonts, I explain how to juggle all the Microsoft fonts, and how to handle the duplicates from Leopard and Microsoft. Even if you didn’t totally reorganize your fonts as described in Organize Your Fonts, you should review the specifics about the Microsoft font collection. And, if you upgraded to Office 2008, you can get rid of all the Microsoft fonts in this folder (read The Upgrade Cleanup).

Leopard’s better than Microsoft: I mean, the fonts are (well, sometimes I mean more than that, but not right now). When it came to the fonts supplied by both Tiger and Microsoft Office 2004, in most cases the Microsoft fonts were later, superior versions. The Leopard versions leapfrogged ahead, so those are the ones you want to keep. Some of the Office 2008-supplied fonts have matched the Leopard versions, but many are the same older ones as were in 2004, and none are better than the Leopard versions. Table 4 (p. 61) notes which fonts are the winners in the “who’s better” contest.

The other fonts in this folder are, presumably, the ones you put there, so they can be removed, too, assuming that you have copies someplace, should you ever wish to put them back.

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Dump Duplicates I describe how to handle the duplication in commonly installed fonts—those that come with Leopard and Microsoft Office (either or both versions) and the overlaps between the Adobe CS/CS2 and the CS3/ CS4 packages in Deal with Microsoft Fonts and Deal with Adobe-Product Fonts.

When it comes to fonts you’ve installed from other sources, the issues involved in deciding which version(s) of a duplicate font to remove are the same as those when considering which ones to disable; I cover these in All Duplicates Are Not Created Equal. Keep in mind, however, that disabling a duplicate means it’s still around if you change your mind (or your needs), which is not the case for fonts you’ve deleted.

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Disable (and Enable) Fonts Disabling a font makes it unavailable to applications without your having to remove it from a Fonts folder, letting you easily activate it again when you want to use it. (If you’re never going to use it again, you can remove it.)

There are three reasons for disabling fonts:

• To shorten Font menus by turning off fonts you use infrequently.

• To force the operating system to use a specific version of a duplicate font so you can get at its special features or coordinate with another computer that will be using your document.

• On multi-user Macs, to “get rid of” fonts you don’t use without actually removing them from a shared Fonts folder, so other users can still access them. (Fonts are disabled on a per-user basis.)

This section covers the basics of disabling (or deactivating, or turning off) fonts; I cover how to Deal with Duplicates ahead.

Warning! Do not disable any font that can’t be removed because the operating system uses it (see The System Fonts Folder).

Offload Instead of Disable If you keep hundreds of fonts disabled at a time because your font collection is so vast, and you keep them disabled for long intervals, you’re better off removing those fonts and putting them back when you need them. The more fonts you have, the longer Font Book takes to open (a few dozen, or even a hundred won’t make much difference, but hundreds will). More importantly, dis-abled fonts eat up memory. Off-loading isn’t as time-consuming as it sounds, since you can keep your fonts in subfolders that can be dragged in and out of your Fonts folders. (Or, you might find that libraries serve your situation well: check Use Libraries to Control Your Fonts.)

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DISABLE A FONT FAMILY Say you installed an Adobe CS2 application and then decided you wanted to use some of its fonts in your other programs. Entranced by the possibilities of 32 typefaces in Warnock Pro, you copied its files into your User Fonts folder; you were quickly disenchanted when you found that the Font menu in Word 2004 lists each face separately. Or you may have 32 Arno Pro typefaces from CS3 showing up in Word 2004 because they’re stored in an automatically accessible Fonts folder. And even if you’re using Word 2008 with its Font submenus, the submenu is a mile long because of all the different categories of faces in fonts like these.

You want to temporarily turn off the generous font—in this example, I use Warnock Pro—so it clutters your menu only when you’re using it. Here’s what to do:

1. Quit Microsoft Word if it’s open. Disabling or enabling fonts is analogous to removing or installing them, and many applications, including Word, choke if you change the font lineup while they’re open.

2. In Font Book, select All Fonts or Users in the Collection list.

3. Select Warnock Pro in the Font list.

4. Click or choose Edit > Disable “Warnock Pro” Family.

When you disable a selected font family, it also disables all the typefaces currently included in the list.

5. In the confirmation dialog (“Are you sure…”), click the Disable button.

Backwards buttons?! In an uncomfortable piece of design, the button beneath the font list shows the current state of a selected font, so when it has a check mark ( ) it’s the Disable button, and when it’s a blank square ( ), it’s Enable. The situation becomes ridiculous when multiple fonts of mixed states are selected.

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Notice that the items you’ve just disabled are marked with Off in the Font list (Figure 19).

Figure 19: After being disabled, Warnock Pro is dimmed and marked with Off, and the button beneath the Font list changes to an Enable button. The blank-square button is the Enable button; the inset checkmark variation is the Disable button.

Enabling a disabled font is almost identical to disabling it except that you use the Edit > Enable “Font Name” Family command or the button at the bottom of the font list for Step 4, and there’s no confir-mation dialog (Step 5).

Tip: Two troubleshooting procedures—starting up in Safe Mode and cleaning up font caches—makes Font Book forget which of its fonts have been disabled, so you’ll have to go to Font Book and turn things off again if you’ve used Safe Mode or dumped fonts caches.

TARGET MORE, OR LESS, THAN A FAMILY You can disable or enable any font selection:

• A family, as just described above.

• Individual typefaces within a family, even if all the faces are in a single file. This may sound like an odd, you’ll-never-need-it approach, but the example immediately following shows a not-so-odd scenario for it.

• An entire Font Book collection (collections are described in Create and Edit Collections.)

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The reasons for disabling any of these groupings are the same as for disabling a family, as described earlier: to shorten Font menus or override the default copy of a font in case of duplicates when you don’t want to remove a font because you’ll want to access it at a later time.

Disable Part of a Font Family Let’s go back to the Warnock Pro situation that I discussed in the previous example. You’ve decided that you want keep one of its variants—Caption—in your menus but turn off the others (Regular, Display, and Subhead) except for special projects.

Because there are so many typefaces, it’s easier to turn them all off and then turn the Caption faces back on. So, you turn them all off as described previously, and then notice that the Caption typefaces, scattered throughout the typeface list, would require quite a bit of tedious Command-clicking to select individually. But you can use the Font Book search function to select them:

1. In Font Book, select All Fonts or the library that contains the Warnock fonts.

2. In the Search field at the upper right, type warnock caption.

The Font list shows the Warnock Pro family name with only its Caption typefaces listed beneath it (Figure 20).

Figure 20: Searching for warnock caption finds all the variants of the font’s Caption typefaces. Using the Enable button while the family name is selected activates only the listed typefaces.

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3. With the family name Warnock Pro selected, click the Enable ( ) button or choose Edit > Enable “Warnock Pro” Family.

This reactivates all the typefaces currently listed under Warnock Pro—all the Caption variants.

One face at a time: While you can disable an individual typeface, I’d be hard pressed to think of a scenario where you might want to do so. If you do have such a scenario, however, your disabled typeface disappears from service. In programs like InDesign, it won’t show up in the font’s submenu; in Word, applying, say, bold to a font whose bold face is disabled produces Word’s faux bold (see Watch Out for Faux Styles) instead of the real one.

Disable a Collection, Library, or User Library An advantage of working with Font Book’s font groupings—the built-in libraries, user-defined libraries, and collections—is the convenience of disabling an entire group of fonts at once, simply by selecting Edit > Disable GroupName. (Would it have killed them to put in another dis-able button, under the Collection list?)

What’s are these groups? If you’re not familiar with Font Book user libraries or collections, you’ll find all the information you need in Create and Edit Collections and Use Libraries to Control Your Fonts.

But Font Book is a little idiosyncratic when it comes to groups and disabled fonts, and it also treats items above the line in the Collection list (Font Book libraries and user-defined libraries) differently from collections in some cases:

• Disabling a group turns off all the fonts in it, even if those fonts also belong to another group. This sounds reasonable, but it’s not the way most of us work: we might want to turn off Client A’s collection because the project’s done for now, but still need to work with Client B’s 13collection—some of which are now turned off, too, because they were common to the other collection. You wind up having to disable Client A’s collection and then enable either the Client B collection or specific fonts in it—that is, if you remember that the font also exists in the other collection. This situation applies to Font Book libraries, user-defined libraries, and collections both

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separately and interactively; that is, disabling a collection disables those fonts that belong to either kind of library, too.

• Once a collection is disabled, turning on some, or even all, of the fonts in it directly (without enabling the collection specifically) doesn’t change the collection’s disabled status: its name remains dimmed and labeled Off, even though some of its fonts are on (Figure 21).

The reverse is also true for collections: disabling some, or even all, of the fonts in a collection won’t change its status from enabled to disabled. (Would it be so hard to indicate when some of a collection is on and some off?)

For a disabled Font Book library or a user-defined library, however, turning all its fonts on or off in the Font list does change the library’s status in the Collection list.

Figure 21: Just because a collection is marked disabled (Condensed, in this picture), that doesn’t mean all its fonts are disabled.

When a group’s enabled/disabled status doesn’t match its contents, it’s harder than it should be to straighten out the problem. If, for instance, a collection thinks it’s disabled even though its fonts are not, the only command available when you select the collection is Enable. If you want the fonts disabled, you either have to “enable” the collection (which changes the available command to Disable) and then disable it, or select all the fonts and disable them directly to match the collec-tion’s purported status.

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Enable Automatic Font Activation The best new font feature in Leopard is, without a doubt, the capability to activate a font on the fly. Open a document formatted with a font not currently in use—whether it’s not installed, not in a Fonts folder, or simply disabled, and Leopard scours your drive and other attached volumes for the missing font. If Leopard finds it, it asks if you’d like the font activated. If you agree, the font becomes available in the current program, for all its documents, until you quit the program.

While this feature can be disabled, why would you want it to be? If you’ve never experienced the incredible convenience of this approach with another font manager, you have no idea what you’re missing!

I’d like to continue waxing poetic about font activation without interruption, because it really is terrific. But it would be more terrific if it were more dependable. Somewhere around Mac OS X 10.5.3 (10.5.5 is current as I write this), activation turned flakey. Sometimes it works, sometimes not so much. I can’t even blame third-party products (such as everyone’s favorite whipping boy, Microsoft Word), because even Text Edit sometimes gets confused about asking to activate fonts. So, the rest of this section explains how it’s supposed to work, not necessarily the way it’s actually working now—because, what with hope springing eternal, perhaps the next Leopard update will straighten things out.

The details: Information about how this feature doesn’t work is in the companion volume to this book, Take Control of Font Problems in Leopard. I also wrote about it in a TidBITS at http://db.tidbits.com/ article/9655 posted in June 2008. The only things that have changed since that article are that, while it referred to Mac OS X 10.5.3 as the current version in which the bug still existed, I’m now at 10.5.5 and the bug still hasn’t been fixed; and, the iLife ’08 versions of Pages and Keynote politely list the missing fonts.

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Turn on automatic font activation in Font Book’s preferences:

1. Choose Font Book > Preferences.

2. Check Automatic Font Activation.

3. Check Ask Me Before Activating.

Once you’re used to this feature, if you want it on all the time and “invisible,” you can uncheck Ask Me Before Activating. But the option lets you know when the feature’s kicking in, and allows you to keep a font from being activated, too—handy when it’s some weird font you were trying out and forgot you ever used and then left sitting in a dusty corner of your hard drive.

With “Ask Me” as the preference, each time you open a document containing an inactive font, you’ll get the dialog shown in Figure 22.

Figure 22: The font activation dialog.

What to do in this dialog depends on what you want to accomplish:

• Allow: Click this to add the font to the application’s Font menu. It remains there as long as the application is open.

• Don’t Allow: Preventing the font from being installed results in any text formatted in that font being changed to the default font for that document or application.

• Do Not Ask Me Again: Leave this unchecked! Leaving this dialog with it checked sets the choice permanently so the appli-cation handles non-active fonts that way (Allowed or Not Allowed) from then on. Forever. And ever.

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Warning! There seems to be no way to reverse this decision. You’ll never see this dialog again, for any font, for the application you’re working in, so you’ll never be able to change how the application handles non-active fonts. Changing your Font Book preference to disable or enable automatic activation has no effect; the application will either always or never activate fonts based on your action in this dialog. Trashing Font Book’s preferences file doesn’t reset the application’s attitude, either.

• Show in Finder: This is convenient when the dialog identifies a font that you realize you want to install more permanently—you don’t have to go search for it.

(Another) Warning! There have been several times that I’ve used the Don’t Allow button without the Do Not Ask Again option for a particular document only to find that I’m never asked again for that document, or for the font in question, inside the applica-tion (TextEdit, in this instance), even though other documents, and other missing fonts, still trigger the auto-activation dialog.

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Deal with Duplicates Theoretically, the existence of duplicate fonts should make no difference: the operating system grabs the first one in the access order and ignores the rest. And, of course, you may wonder why it matters at all: aren’t they, after all… duplicates?

ALL DUPLICATES ARE NOT CREATED EQUAL Font Book and Leopard define duplicate fonts as those sharing a name—which has nothing to do with the filename, but refers to the real name stored internally in the font file. This less-than-rigorous definition is the crux of many problems. Ostensible duplicates can be:

• Different types: OpenType, PostScript Type 1, Mac TrueType, Windows TrueType, dfont—it may not make any difference to you on your system, but if you’re sharing fonts or documents, you may have to match the destination’s font-handling capability. Windows TrueType and dfonts don’t work on pre-Mac OS X Macs; PCs can’t use Mac TrueTypes; a print shop might use only PostScript fonts.

• Different versions: Older font versions may not be Unicode-compliant; newer font versions may offer more characters. One version—not necessarily the newer one—might have more typefaces than another. Newer versions may have multiple files where the older one had a single file (as with Tiger’s single Verdana file versus Leopard’s Verdana, Verdana Bold, Verdana Italic, and Verdana Bold Italic). And, once again, matching the version of a font on the destination computer could be an overriding concern.

• Different designs: Fonts with the same name but from different designers or foundries may be noticeably different in some design factors, which can change the look of your document. Or the designs might be subtly different, especially in the font metrics that define the letter spacing; these small differences can add up across a line of text so that a word gets bumped down to the next line, which changes the next line, and the next—your entire layout can implode.

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Font Book’s Info view provides all the information you need to differentiate duplicates for these three aspects—type, version, and designer/foundry. When you want to check if one version has more characters than another, use the Repertoire view and compare the character sets; the characters are always in the same order, so you can look at just the last part of the set.

And why can’t you just get rid of duplicates and have only one copy of each font? The reasons are built into the descriptions above, but all have to do with your Mac’s connections to the outside world through font or document exchange: sometimes you need one of the duplicates, sometimes another. Of course, if the scenarios described above for why you’d care about keeping duplicates don’t apply to you, then you can get rid of duplicates instead of shuffling them in and out as needed—but make sure you keep the version that best meets your needs.

How to Tell If a Font Is Chock Full of Characters In Font Book it is easy to see the relative size of a font’s entire character set. Choose Preview > Repertoire, and click on various fonts in the Font list. The size of the scroller is tied to the number of characters in the font: the smaller the scroller in the scroll bar, the more characters there are in the font.

USE FONT BOOK TO HANDLE DUPLICATES You may think that if you have three fonts that are the same, they’re all duplicates, but that’s not Font Book’s approach. Font Book con-siders only active (non-disabled) fonts as possible duplicates. More importantly, it treats the copy that’s currently in use as the “original,” and doesn’t deem it a duplicate even if other copies are installed. Active copies of the “original” are duplicates; inactive copies don’t enter the equation. So, if you have three copies of Arial, one of which is disabled, Font Book says you have only one duplicate Arial: one is in use, one is disabled, and the active but not-in-use copy is the duplicate.

Terminology: As described in Disable (and Enable) Fonts, Font Book lets you activate, or enable, a font so that it’s available for use—even if it’s not actually in use at any given time. To keep the Mac from using a font, you disable, or inactivate, it.

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The “original” font (that’s my description—not a Font Book term!) is the one that’s highest in the access-order hierarchy, discussed in The Font Access Order but worth a quick repeat here. The system looks for fonts in this order:

1. The current application’s Fonts folder. (Remember that fonts in an application’s Fonts folder don’t show up in Font Book, so Font Book won’t indicate duplicates you have in, say, an Adobe Fonts folder.)

2. User-defined libraries, in reverse creation order (most recent first)

3. ~/Library/Fonts (User fonts)

4. /Library/Fonts (Library fonts)

5. /Network/Library/Fonts (Network fonts)

6. /System/Library/Fonts (System fonts)

Subverting this access order is the main reason for disabling duplicate fonts, since their mere existence is not always reason enough to turn them off.

In Font Book, duplicate fonts are marked with a dot (Figure 23), so it’s the unmarked fonts and typefaces that are currently in use.

Figure 23: Duplicate fonts are marked with a dot in the Font list. If the family is collapsed, the family name is marked (top); when you expand the list, the typefaces belonging to the duplicate font files are individually marked.

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Disable Duplicates When you want to use a specific duplicate font, you have to disable the copies higher in the font-access hierarchy; in practical terms, that means you disable all copies except the one you want to use. Unfortu-nately, because Font Book lets you disable individual typefaces, it also requires that you disable them individually—if you choose the Disable command while the family name is selected, every copy of every type-face is disabled. So, you have to select typefaces individually when you’re disabling or enabling them. Figure 24 shows an example of forcing a lower-order font into use by disabling the current one.

Three or more copies? When you have three or more copies of a font in your font list, using the method described in Resolve Dupli-cates within a Family is quicker than this approach.

Figure 24: Two copies of Arial Narrow are available; the faces without dots are the ones in use (left). Command-click the active typefaces to select them (middle). After using the Disable command, the faces previously in use are disabled (right).

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Don’t Trust the Duplicate List Order The picture here shows a triple Arial listing in Font Book: a copy each in the User and Library Fonts, and one in a user-defined library. Note that in each of the four typeface groupings (divided by the red lines in this picture), different ones are marked as duplicates. In each case, however, the unmarked face—the one in use—is the one in the User Fonts folder. Font Book doesn’t list the typefaces in the same order!

Stay aware of this interface glitch, or you could be burned if you accidentally disable or remove the wrong duplicate.

Arrows: AppleGothic U+21E2; GID 2321

Use the Resolve Duplicates Command Font Book provides a quick way to disable all the copies of a font that are not being used with its Resolve Duplicates command. (It doesn’t seem this should be necessary, since they’re not being used, but some applications, like Word, are sometimes sensitive to non-disabled duplicates.) You can use the Resolve Duplicates command in three ways, and I detail each of these options next.

Resolve Unused Duplicates in a Family Resolving the duplicates in a font family disables the copies not in use:

1. Select All Fonts in the Collection list. (The Resolve Duplicates com-mand works only on the fonts showing in the Font list, so they all must be displayed for the command to work properly.)

2. In the Font list, select the font’s family name.

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You can leave the typeface list expanded or collapsed.

3. Choose Edit > Resolve Duplicates.

While the net effect of this operation (Figure 25) is the same as dis-abling one set of typefaces, it’s much easier because you don’t have to select the faces individually in order to disable them.

Figure 25: The dotted faces are duplicates, so they’re not in use (left). After using the Resolve Duplicates command with the family name selected, the duplicate fonts are disabled (right).

Resolve All Duplicates in the Font List To resolve all your duplicates in fell swoop (although the last font copy left standing is the one already uppermost in the font-access hierarchy and not necessarily the best version of a font):

1. Select All Fonts in the Collection list.

2. Tab to or click in the Font list and choose Edit > Select All.

3. Press the Left arrow key to collapse the list to just the family names.

This step is very important if you don’t want all your copies turned off. (That’s all the copies—not just the duplicates!)

4. Choose Edit > Resolve Duplicates.

Warning! The Resolve Duplicates command disables all selected typefaces in an expanded font family. So, if you select all in the Font list and don’t collapse the families, you’ll be disabling every version of any font that has multiple copies, as if you had disabled them all.

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Resolve Duplicates within a Family Resolve Duplicates, when used normally, leaves the already-current copy of a font still in charge. But there’s a special way to use it that changes which font is left in use; it’s handy when you have more than two copies of a font installed. (When you have only two copies of a font, this procedure is no faster than using the Disable command to turn off one copy, as described earlier.)

The key is to select the typefaces you want to use, rather than the ones you want to disable:

1. Select All Fonts in the Collection list to include all your duplicates in the list.

2. Select the target font in the Font list, and expand it so you can see all the typefaces.

3. Select the typefaces belonging to the font version you want to use. Make sure you select typefaces from the same file.

4. Choose Edit > Resolve Duplicates.

This disables all typefaces except the ones you’ve selected (Figure 26).

Figure 26: To change the active font for a family with more than two copies (left), select the faces you want to use (middle) and Resolve Duplicates. All but the selected faces are turned off (right).

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Create and Edit Collections A Font Book collection is a group of installed fonts with something in common. You get to define the commonality: it could be as simple as Handwriting Fonts, as general as Sans Serif Fonts, or as unique as Ivory-billed Woodpecker Weekly Newsletter Fonts. The collec-tion itself is just a list, an arbitrary subset of installed fonts.

Collections are for convenience in dealing with fonts:

• When considering just what font to use for a project, you can browse through a subset instead of your entire list.

• You can disable and enable an entire group of fonts at once.

• You can export the collection instead of individually selecting fonts for an export set.

• In applications that use the Font panel (mostly Apple applications), a collection serves as a way to winnow the list of fonts you’re select-ing from, making it easier to get to the one you want. (Font Book collections and Font panel collections are spiritually connected on some higher plane, so creating or editing collections in one affects the list in the other.)

CREATE A COLLECTION Let’s say that you often create fliers that need a variety of weights and widths in the type, but you never remember which of your fonts have condensed faces, which have bolder-than-bold faces, and so on, and you’re tired of scrolling and clicking through your entire font collection when looking for type ideas.

Here’s how to make a more limited browsing list for a specific style using Font Book’s Search feature:

1. Click the plus ( ) button beneath the Collection list or choose File > New Collection (Command-N).

2. Name the new collection Condensed.

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3. Click on All Fonts in the Collection list.

4. Type condensed in the Search field.

You’ll get quite a few fonts from your Leopard set, such as American Typewriter, Bernard MT, and Helvetica Neue. The family names are in the Font list with only their condensed faces listed. (If you can’t see the full names, drag the right edge of the Font list column, to make the column winder.)

5. Now, decide if you want your collection to include only the con-densed faces of the fonts found in the search, or if you want the entire family of any font with a condensed face:

• If you want only the condensed faces: Select all the fonts in the Font list (or be a little more choosy and select some of them) and drag them into your Condensed collection.

Since only the condensed faces were found, only the condensed faces are put into the collection (see the back image in Figure 27, next page).

• If you want the entire families:

a. Tab to or click in the Font list, and choose Edit > Select All.

b. Press the Left Arrow key to collapse all the family names.

c. Click the Clear button ( ) in the Search field.

This shows the entire All Fonts list again, with your found fonts still selected.

d. Drag one of the still-selected, found fonts into your new collection; all the other selected fonts will come along.

(If you can’t see a selected font, scroll the Font list and be very careful not to click on anything else or you’ll lose the selected fonts.

The differing results of these two options are shown in Figure 27.

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Figure 27: Back: The results, in Font panel, of a standard style-based search turned into a collection. Front: The results of a “collapsed Font list” style-based search.

You don’t have to create collections from the results of a search: you can cherry-pick through the Font list and drag the fonts you want into a collection at any time, singly or in groups, regardless of where the font files reside. And, a font can belong to more than one collection; it might, for instance, belong in both Sans Serif and My Favorites—because a collection is nothing more than a list.

To delete a font from a collection, select the collection in the Collection List and then select the font in the Fonts list; press Delete, or choose File > Remove FontName. This doesn’t remove the font from Font Book; it only removes its name from the collection.

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Use Libraries to Control Your Fonts Although Mac OS X offers many Fonts folders, you don’t have to use any of them for fonts you add to your trove: you can store your fonts anywhere and make them available for use by creating libraries in Font Book.

The distinction between a library and collection is not always clear to users, but it’s actually simple: a collection refers to a subset of your installed fonts, while the library is a group of installed fonts.

There are many advantages to working with user-defined libraries:

• The fonts are not installed in any Fonts folder; no copies are made—the originals, still in their original location, are accessed for use in Font menus and documents.

• When you remove a font from a library, or a library from Font Book, nothing is moved to the Trash—everything stays right where it is.

• In case of duplicates, the fonts in a library take precedence over everything except an application’s Fonts folder, so you can be sure (okay, most of the time—there’s always the application’s folder) that the fonts you installed through a library are the ones being used by your programs.

• You needn’t make a collection, or a multiple selection from the Font list, in order to export the fonts you used on a job; if you have them all in a folder to start with, they’ll be ready to send to the other user.

Using font libraries is particularly convenient when you need a group of fonts for a short-term project or a recurring one, such as a monthly newsletter. You don’t have to clutter your menus with the fonts any longer than absolutely necessary, and removing and reinstalling groups of fonts is a breeze.

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Say you have a group fonts in a folder named FlierFonts:

1. In Font Book, choose File > New Library (Command-Option-N).

2. Give the Library a name, such as Flier.

3. Drag the FlierFonts folder from the Finder into the Flier library in the Collection list (Figure 28).

Figure 28: Create a library (left), and then drag a folder of fonts from the Finder into the library (right).

Or, use this one-step procedure:

• Drag the folder of fonts into the Collection list immediately above the divider line, making sure not to drop it into an existing item. The automatically created library takes the name of the folder. (This is the procedure I use in Create an Adobe Fonts Library.)

Your folder of fonts is still in its original location, and nothing has been copied: Font Book knows to look in the original location for the font files. This works whether you create a library from a folder, as in this example, or you drag individual fonts into an existing library or into the User library above the divider in the Collection list. And no matter how a font gets into a library, you can move it in the Finder, and Font Book keeps it in the library, tracking its new location.

No live folder link: If you create a library from a folder of fonts, there’s no live link to that folder: putting fonts in the folder doesn’t add them to the library.

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Here are a few more useful things to know about libraries:

• Once you’ve created a library, you can add fonts to it at any time, using any of Font Book’s install methods; you can even set a library as the default install location with Font Book > Preferences.

• Although a user-defined library can include fonts from various locations on your drive, maintain your sanity by limiting a library to fonts in the same folder. Not all the fonts have to be included all the time—you can add and remove them from the Font Book library without moving them in and out of the folder—but avoid creating a library from fonts in different locations.

• Keep multiple library folders organized by making a special folder to hold them all, keeping it in your Documents folder, on the Desktop, or in the Dock for easy access.

• Because no copies are made when libraries are used, removing a font from a library, or a library from Font Book, doesn’t send anything to the Trash; all items stay in their original locations.

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Create an Adobe Fonts Library The fonts that come with Adobe Creative Suite 2 don’t show in Font Book because they’re stored in an application Fonts folder. So, you can’t browse the fonts in Font Book to see what you might like to use, nor can you identify duplicates between the Adobe fonts and your other fonts (which can lead to using one version of a font in, say, Word, which may get substituted when you import the document into InDesign). With CS3’s polite sub-foldering of its fonts in the Library Fonts folder, you have a different problem: Font menus a half-mile long even in applications where you don’t need that font collection showing up.

The solution is to put your Adobe-donated fonts from CS2 or CS3, or both, in a separate folder (as described in Deal with Adobe-Product Fonts), and use that folder to create a Font Book library.

1. Create the FontsCS folder as described in Assess the Fonts. (That section assumes you’ve followed the immediately pre-vious directions regarding moving the CS2 or CS3 fonts, or combining them if you have both packages.)

2. Place the folder in /Library (see The Best of Several Worlds).

3. Drag the folder directly into Font Book’s collection list, above the line, so it creates a Library. (It will use the folder’s name.)

You can turn these fonts on and off as a group to keep Font menus under control when you don’t need the fonts. As a bonus, any Apple program that uses the Font panel shows this library so you can list its fonts separately, and Word 2008 puts the library as an entry in its Font menu, with all the fonts in a submenu.

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Find Misplaced Fonts Leopard’s Spotlight is incredibly speedy, even on older Macs. But that’s no reason not to focus your search more closely when you’re looking for fonts on your multi-gigabyte drive. In this section, I cover three different techniques for finding a lost font. You can:

• Look for fonts inside suitcase files (described on the next page).

• Find any type of font file that matches a partial or full font name, regardless of the file’s name (see Search for and in Font Files).

• Create an automatically updated list of all the “loose” fonts everywhere on your computer—the ones not in a Fonts folder (see Create a Font Smart Folder).

Spotlight Excludes Fonts Folders by Default A Finder search ignores things inside Library folders. Normally, this is a good thing: there are many Library folders, and they hold roughly a gazillion little files that programs use, and that change quite often.

But all your Fonts folders are inside Library folders (/System/ Library/Fonts, /Library/Fonts, and ~/Library/Fonts—even application-specific Fonts folders such as /Library/Application Support/Adobe/Fonts), so they won’t come up in a basic search. You might like this if you want to search just through your non-installed fonts (although you’ll find user-defined library fonts in a regular search, since those fonts are unlikely to be stored in Library folders.)

However, the Spotlight technology at the heart of the Mac search engine does index Library folder contents, and you can include those items in a search with the technique described in Step 5 in Create a Font Smart Folder, the last font-search procedure in this section. You can add the technique to any other font search you do to include your Fonts folders.

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Including fonts in a search: If you’re not finding any fonts at all in a Finder search, check your Spotlight settings in System Preferences: under Search Results, make sure Fonts is checked so they’re included in searches.

SEARCH INSIDE SUITCASES Say you have a printer font named SnellRouScr, but you don’t know where the companion bitmapped font is because of the way you named your old suitcases. Must you open a bunch of suitcases and check their contents until you find your font in the haystack? Not at all:

1. Start your search:

• If you have an idea of where the target suitcase is, start in that folder’s window. Use Command-F to go into Find mode and select the folder’s name in the location bar near the top of the window.

• Otherwise, start with any open Finder window and use Command-F to go into Find mode (if there’s no window open, Command-F opens a new one). In the window’s location bar, set the search scope to This Mac.

Searching on an external drive: The “This Mac” setting looks on your internal drive; see Search a Different Volume, next page, if you want to look beyond it.

2. Leave the type of search to the default “Contents.”

3. In the criterion bar just beneath the location bar, choose Kind from the first menu, Other from the second menu, and type suitcase in the text field (Figure 29).

(Typing suit is enough, really, since no other filetypes match—but it seemed silly to tell you to type that!)

4. Type the name of the font you’re looking for in the Search field at the upper right.

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And… bingo! You’ll find the suitcase(s) holding fonts by that name, no matter what the suitcase’s name (Figure 29).

Figure 29: This Spotlight search found the Snell font inside many suit-cases; some icons are different because they are old fonts with custom icons. The path to the suitcase is at the bottom of the window.

Search a Different Volume To search a disk other than your internal one, before you press Command-F, expand the Devices category in the sidebar of any window and click on the volume you want searched. After you use Command-F, your choices in the location bar include This Mac and the volume you selected; click on the volume name in the location bar before specifying your search criteria.

SEARCH FOR AND IN FONT FILES You might benefit from doing a slightly wider-ranging font search, one that doesn’t grab only suitcases but is still limited to fonts. The following method rounds up all related files in a font family because it looks inside all font files, not just suitcases, for the font name you provide. (Various font names—the PostScript name, the full name, and the family name, for instance—are all embedded in font files.)

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To carry out a search, follow these steps:

1. Use Command-F in any Finder window to go into Find mode, and set the appropriate location for the search; leave the default search mode of Contents selected in the location bar.

2. In the criterion bar, choose Kind from the first pop-up menu, Other from the second pop-up, and type font in the text field.

Spotlight underwent incremental (and unheralded) changes with some of Leopard’s updates. Somewhere around Mac OS X 10.5.3 (I think that’s when it happened—that’s the problem with unher-alded changes), a “Kind” search began searching in the file’s Kind as reported by the Finder. Every font type has the word “font” in it: Font suitcase, PostScript Type 1 outline font, TrueType font, Windows TrueType font, and Datafork TrueType font, so searching for font in the Kind definition snags every type of font.

Non-font files found? A few filetypes other than fonts use “font” in their Kind description. See Avoid Non-Font Files, next page.

3. In the search field in the upper right of the window, type the name of the font you’re looking for (or as much as you can remember).

The result of this search (shown in Figure 30) is a list of any kind of font file with your font’s name in or on it.

Figure 30: This search for Laudatio finds all the printer files, as well as suitcases, because the full font name is embedded in each PostScript file.

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Avoid Non-Font Files When you do a Kind search, Spotlight includes any file whose Kind has the search phrase in it, which is why using “font” gets you all the different kinds of fonts—they all have the word “font” in their Kinds.

Occasionally, however, you may find that something other than a font has that word in its Kind description. My “font” search includes nearly 200 files with the word “FontLab” in its Kind: FontLab codepage file, FontLab encoding file, FontLab binary file, and FontLab text file.

If you have non-font files showing up (sort your found list by Kind and scroll to quickly scan the list), here’s how to exclude them from the search (especially if you’re creating a font smart folder, as described next):

1. Start the search as just described previously (Figure 30, previous page).

2. Check the Kinds listed for the non-font files to see what they have in common with each other, and especially what they don’t have in common with real font file.

In my case, “FontLab” is in all the non-font files, and, of course, in none of the font files; so, this is my exclusion criterion. It’s possible you’d need to define more than one exclusion criterion to filter out all the non-font files—if, for instance, you have files with the Kind “Fontographer.”

3. Option-click the Add button ( ) at the right of the criteria bar.

Option-clicking opens up a special criteria bar for Boolean searches, which lets you exclude certain items from the search. You’ll get two criteria bars: one to specify how the additional criteria should interact with the already entered one(s), and a subordinate bar to define the additional criteria.

4. In the first new criteria bar, change the default Any in the first pop-up menu to None, so the criterion is “If None of the following are true.”

(continues)

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(continued)

5. In the second new bar, choose Kind from the first pop-up menu, Other from the second pop-up, and type your exclusion criterion in the text box as shown in this picture.

6. If you have more than one exclusion criteria, click the Add

button ( ) of the bottommost criteria bar (don’t Option-click now—you don’t want to get two new bars to define another level of interaction); set the new bar to “Kind is Other [exclusion criterion].”

Your non-font files are now excluded from the found list.

CREATE A FONT SMART FOLDER Finally, let’s look at a neat font-management trick: a sort of never-ending search procedure. It lets you track every font file on your hard drive, installed or not, so you can see what you have “stored,” what you have multiples of, and so on. It provides an easily accessible list that’s immediately updated whenever you add or remove fonts, and it shows where the font resides.

1. Working in the Finder, choose File > New Smart Folder (Command-Option-N).

A new Finder window opens, already in Find mode.

2. In the location bar, click on This Mac to set the scope of the search.

It doesn’t matter if you choose Contents or File Name in the location bar. Leave the Search field in the upper right corner blank.

External-volume searches: If you want to track fonts on different volumes, you have to do each volume separately. See Search a Different Volume.

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3. Click the Add ( ) button in the location bar to create a criteria bar.

4. In the criteria bar, which defaults to Kind is, choose Other from the second pop-up, and type font in the field.

Non-font files found? A few filetypes other than fonts use “font” in their Kind description. See Avoid Non-Font Files, a page or so earlier.

5. To include your installed fonts in this search:

a. Click the Add ( ) button for another criteria bar.

b. Choose Other from the first menu.

c. In the dialog that appears, type system in the Search box to narrow the list (sy is probably enough), select System Files in the list, and click OK.

d. Choose Include from the second menu.

Specifying the inclusion of “system files” in a search means that items in Library folders (and their subfolders) will show in the list of results.

If you don’t want your Fonts folders included in the search—if, for instance, you just want to look through uninstalled fonts—skip this step.

6. Click the Save button at the top right of the window (Figure 31).

7. Name the folder; leave the default location at Saved Searches, keep Add To Sidebar checked, and click Save.

Putting it in the sidebar is the way to go for quick, frequent access; it will appear at the bottom of the Search For category.

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Figure 31: Add a “System files include” criterion (second criteria bar, background) to include your Fonts folders in the search. Save smart folder searches (background and bottom, left) to create a “hot” list of your fonts. When the smart folder is added to the side-bar, it appears in the Search For category (bottom right). A click on any item in the smart folder shows its location by displaying the full path at the bottom of the window.

When it comes to using your fonts smart folder:

• Browse through your fonts with the window set to Cover Flow view (Figure 32). You’ll see two-letter font samples that will help you quickly choose a font that has the “feel” you’re looking for.

• Check out a full alphabet sample by selecting one or more fonts and clicking the Quick Look button (or pressing the Space bar). If you select multiple fonts for this, you can use the Quick Look slideshow feature to browse through the samples.

• Identify the location of a font by selecting it and checking the path shown at the bottom of the window. If you want to open the font’s folder, double-click on the last folder in the path.

• Install a font listed in the smart folder by double-clicking on it; Font Book will open as it always does if you double-click a font. (If you’ve opted to include already-installed fonts in the smart folder, check

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the folder path at the bottom of the window to make sure you’re dealing with a non-installed font.)

• The Leopard version I’m using as of this writing (10.5.5) has a bug that keeps fonts from being sorted by name in smart folders. Jump to a specific font by typing the first few letters of its name.

Figure 32: A font smart folder in Cover Flow view.

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Print Font Samples Leopard’s version of Font Book added a long-overdue way to print font samples.

As a bonus for our patience over the years, Font Book provides three different types of reports (Figure 33):

• Catalog: This is meant for, well—a catalog of all your fonts, or subsets of them. It prints a sample of letters and numbers for each of the fonts you choose; you can set the font size and choose a title for each typeface or for each family (choose family!).

• Repertoire: Be careful with this one, since it prints a grid of every glyph in the fonts you choose—and some fonts have thousands! You can set the glyph size, and the header includes a glyph count.

• Waterfall: This traditional font-sample option prints lines of alphanumerics in ever-increasing size. You can choose to include font details (family name, kind, and so on) for each font.

Figure 33: Font Book’s font sample reports. Left to right: Catalog, Repertoire, and Waterfall.

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Printing a sample is straightforward:

1. In Font Book, select the fonts you want printed.

You must select them in the Font list; if you want to print a library or collection, click on its name in the Collection list, and then click in the Font list and choose Edit > Select All (Command-A).

You can select a sample of a single font, or any combination of fonts by Shift-clicking or Command-clicking them in the list.

2. Choose File > Print (Command-P).

If the Print dialog is collapsed, expand it to its full size by clicking the expansion arrow to the right of your printer’s name.

3. With Font Book selected in the Print Options pop-up menu, choose a report from the Report Type pop-up menu.

4. Set options for the report type you’ve chosen (font or glyph size, for instance, as in Figure 34).

Figure 34: Selecting Repertoire as the report provides a slider to control the glyph size.

Since Leopard’s Print dialog includes a document preview, you can flip through the pages to see what you’re getting. Be sure to check the number of pages (noted below the preview), in case it’s ready to print more than you expect.

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Master Font Menus and Font Formatting Just pick a font from a menu and type, right? Not always: Font menus differ from one application or utility to another, not only in the fonts they list but the order in which they list them. In addition, applying a character style often interacts with typeface selection.

You’d think locating a font in an alphabetical menu or list would be easy. And, in fact, if you’re looking for something simple like Arial or Georgia, it is easy. But sometimes a font may be in an unexpected location in a menu, or seem to be missing. Or, your font selection might not format text the way you expect it to. In this section, I provide the background information you need to understand how Font menus work and solve problems.

FIND A FONT IN A MENU To find some fonts—even a font with a name seemingly as simple as Adobe Jenson—you’ll have to get used to how specific applications list them, or you’ll waste a lot of time hunting for the font you want. Com-mon programs, and even Apple utilities, take different approaches:

• Font Book seems to list items alphabetically in its Font list—until you look past Zapfino and see a second group of alphabetized fonts, starting with fonts identified by foundry or company—Adobe, Apple, Monotype, and so on—followed by those whose names begin with #. The Font panel (used in most Apple applications) uses this approach, too.

• Character Palette’s Glyph view uses a single, all-encompassing alphabetical list in its menu, with the #-prefixed fonts at the top and the foundry-specific fonts included in their alphabetical slots.

• Word 2004/2008 and InDesign use initial alphabetical lists fol-lowed by groups of foreign language fonts. But they don’t agree on the alphabetization in the main group (the general issue is whether to include foundry or company names: Adobe Jenson might be

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listed as such, or as Jenson), what constitutes a foreign language font, in what order to list groups, or even how many foreign characters to use in a foreign font’s name.

What’s a “menu”? For the most part, when I talk about Font “menus,” I mean anyplace you encounter a list of selectable fonts: submenus, toolbar menus, the Font panel, and pop-ups in utilities or dialogs.

Short of overriding your applications’ font organization approach, the best you can do with this situation is familiarize yourself with the habits of the programs you use the most. Table 8 shows how Font Book, Character Palette, InDesign, and Word 2004 handle some standard and foreign language fonts.

Table 8: “Alphabetization” Examples in Font Menus and Lists

Font Font Book* Character Palette InDesign† Word 2004/2008†

Adobe Jenson second group, under A

under A under J under A

Monotype Corsiva

second group, under M

under M under C under M

Apple LiSung second group, under A

under A language, under A

language, under A, listed as Apple LiSung Light in 2004, in Asian characters in 2008

Ayuthaya under A under A under A language, under A #PilGi second group,

before A before A language,

before A language, listed in Asian characters

Hiragino Kaku Gothic Pro 4

under H under H language, under H

language, listed in Asian characters

* Second group: alphabetized list after main group. † Language: segregated in group with other fonts from same language.

And here’s a tip that’s not worth a special box: if you don’t see your font right away in a menu, keep looking! When you’re really sure it’s not there, these are the most likely causes:

• The font you’re looking for is in a folder that doesn’t allow you access: in an application’s Fonts folder (see Application Fonts

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Folders) and you’re not in that application, or in another User Fonts folder on a multi-user Mac.

• The font is disabled; see Disable (and Enable) Fonts.

• The font is not a supported type; read Supported Font Types.

• One of the components of a PostScript Type 1 font is missing; see PostScript Type 1 and Companion Bitmapped Suitcases.

• The font is corrupted; replace it.

Where Do Word’s CE and CY Fonts Come From? If you’ve done a basic Leopard installation, you got a lot of foreign language fonts, including Charcoal CY, Geneva CY, and Helvetica CY, in your /Library/Fonts folder and in your menus.

But even if you’ve customized your installation and blocked the extra foreign language fonts from being installed, you’ll find other CY (Cyrillic) and CE (Central European) fonts in Word’s Font menu—and you’ll have a devil of a time figuring out where they came from. They’re not in other font menus, they’re not listed in Font Book, and you won’t find font files with those names in any of your Fonts folders.

The additional CY, and all the CE, fonts are each part of a parent dfont, as noted in this list. (Only some older programs, like Word X and AppleWorks, need these fonts.) The italicized fonts in the list have their own font files, as you can see by their names; the others are embedded in dfonts, mostly in required system fonts.

Listing in Font Menu From Font File

Charcoal CY ................................................... CharcoalCY.dfont

Courier CE..................................................... Courier.dfont

Geneva CE .................................................... Geneva.dfont

Geneva CY .................................................... GenevaCY.dfont

Helvetica CE .................................................. Helvetica.dfont

Helvetica CY .................................................. HelveticaCY.dfont

Lucida Grande CE, Lucida Grande CY................. LucidaGrande.dfont

Monaco CE, Monaco CY ................................... Monaco.dfont

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GET TO YOUR FONT FASTER Ever-scrolling Font menus and lists are time-consuming at best, crazy-making at worst. Cut them down to size or use some navigational tricks (or both).

The easiest, quickest (and free) way to keep your Font menus stream-lined is to get rid of fonts you don’t use. Whether you remove them completely or disable them temporarily, fewer fonts mean shorter, easier-to-navigate Font menus. (See Remove Fonts You Don’t Want.)

When you want to keep lots of fonts around, the shortest distance between your mouse and a font can be a system of typeface submenus keyed to your Font Book collections, provided by a utility such as You Control: Fonts, which puts its own hierarchical menu in the menu bar (http://yousoftware.com/, $20).

Kudos to Microsoft: Okay, that’s not a phrase I use often. But Microsoft Office 2008 incorporated not only the family-with-typeface submenu approach into its Font menus—something long appreciated in most Adobe products—it also made Font Book collections into Font menu entries with submenus for their contents. (In fact, Office 2008 is so proud of itself in this arena that it automatically creates a Microsoft Fonts collection in Font Book.)

Use Keyboard Shortcuts Some programs have shortcuts for font selection, but for any appli-cation with fonts available from the menu bar (even from a submenu), you can use these under-appreciated, system-level keyboard menu controls:

1. Press Control-F2 to activate the menu bar; this also selects the menu.

Default keyboard controls: Control-F2 is the default “Move focus to menu bar” command defined in the Keyboard & Mouse preference pane. If it’s not working for you, click the Keyboard Shortcuts button in that pane and look under Keyboard Navigation in the list of shortcuts.

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2. Type enough letters to identify the menu you want (fo or fon for Font, for instance, depending on other menus present); or, use the Right and Left arrow keys to move through the menu names.

3. Open the menu with Return, Enter, the Space bar, or the Down arrow key.

To close a menu when nothing is selected in it, use Return, Enter, Esc, or the Space bar.

4. If the fonts are in a submenu, type a few letters to get to the sub-menu’s name, or press the Down arrow key to get there; then press the Right arrow key to open the submenu.

5. Type enough letters to jump to the font you want; if you’re close, use the Up or Down arrow key to move up or down in the menu.

6. Press Return, Enter, or the Space bar to choose the font and close the menu.

If you change your mind at any point about using a menu, press Esc to cancel the whole thing.

That’s a lot of steps, but they go quickly for a decent typist.

Tip: Almost every Font menu—from the menu bar in applications, in pop-up menus in dialogs or special windows such a Character Palette—lets you type once a menu is open so you can jump to a font. No more 2-mile scroll for Zapfino! Just click open the menu and then type a letter or two to get the font you want.

If you’re in a program that uses the Font panel, Apple’s Font menu replacement… well, it sometimes seems like a step backward in inter-face design because of its mouse-only approach, but you can avail yourself of some keyboard shortcuts. These basic keyboard shortcuts are always available:

• Activate the Font panel for keyboard control: Click in the Size or Search field; otherwise, your keystrokes pass through to the document window.

• Move from one element to another with Tab and Shift-Tab: The tab order includes: the Collections, Family, and Typeface columns; the Size field and Size list; and the Search field.

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If your tab order has many more elements: If you have Full Keyboard Access turned on in the Keyboard Shortcuts screen of the Keyboard & Mouse preference pane, tabbing includes almost every control, and using the Space bar “clicks” buttons and arrow keys to slide or spin controls.

• Select something in a list with the Up and Down arrow keys: But that’s it—no typing a few letters to select a collection or font name.

The Search Shortcut You can shorten the list of fonts in the Font panel by typing a few letters in the Search field at the bottom of the window. But the letters aren’t treated as the first letters of the font’s name, or even necessarily part of the font’s name: type black for Blackmoor, for instance, and you’ll get Arial Black, Lucida Blackletter, and fonts such as Optima and Hoefler Text because they include black typefaces.

MANAGE CHARACTER STYLE-TYPEFACE INTERACTIONS Maybe you’ve never thought about what really happens when you apply a bold style to plain text—that you are specifying a typeface in the font. Maybe you’ve been well aware of that all along, or perhaps it’s just beginning to dawn on you as you peruse Font Book’s hierarchical Font list or find yourself clicking on a font family name and then a typeface name in Apple’s Font panel.

No matter how or when you reached this point, here is where you learn how to access a specific typeface in the font you’re using. This is important so that you can:

• Get to the typeface you want quickly and easily.

• Understand why bold and italic styling can’t be applied to some fonts in certain programs.

• Understand why some font formatting is lost when you paste text, or import documents, between applications.

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Specify a Typeface When There’s No Submenu Programs take one of two approaches to listing fonts:

• Hide the basic typefaces behind a single menu entry: This was the original Apple method, and is the Microsoft approach in Word 2004. To get at a typeface, you select the font and then apply styles—bold, italic, or both.

• Gang the family members together in a submenu: This has long been available in layout software, and in all Adobe programs; Word 2008 has seen the light in this regard and provides this fea-ture. Apple’s Font panel uses this approach—in a somewhat clunky way—with its Font and Typeface lists. You usually select a typeface directly, but applying bold, italic, or both to existing text also changes the typeface.

No submenus in Word 2008? If your Font menu displays font names in the standard menu font, most of the submenus won’t work: you must have the fonts listed in their own typefaces to get the submenus to work reliably. To turn this on this option, choose View > Customize Toolbars and Menus and check the Show Typefaces in Font Menus checkbox at the bottom of the dialog.

In a program with no typeface submenus, it’s easy to access the nuclear family of faces—regular, italic, bold, and bold italic. But what about something like the Leopard Baskerville font with its six faces: the four basics plus Semibold and SemiBold Italic? Word 2004 has a quandary: how do you let a user choose from two different bold weights (with or without italics) when the only way she can get even the standard bold face is by applying the bold style to the base font?

Word 2004 may not be pretty, but it’s not stupid, either. It breaks the family members into two groups: Baskerville and Baskerville Semibold. As shown in Figure 35, the first item lets you get at any of the four basic faces, while the second provides access to the other two typefaces in the family.

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Figure 35: The six faces of Baskerville shown in Font Book (left) are reflected in two listings in the Word menu (right). The four basic faces (red dots) are rolled into one menu entry, as usual, while the other two (purple squares) are available from the second menu choice.

More typefaces mean more groupings and less predictability. Your Helvetica Neue (that’s German for new, pronounced “noyeh”) has ten faces. Word 2004 once again lumps the nuclear family of four into a single menu item; it represents the other six faces with four additional listings. Figure 36 shows how the menu listings interact with style commands.

Figure 36: The ten faces of Helvetica Neue listed in Font Book (left) are combined into five listings in Word 2004 (right). You access the four basic faces (red dots) through the first menu item. The next two menu items represent single typefaces. The last two menu choices provide two faces each: the named face and the italic variation you get when you apply the italic style.

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Only two character styles work for typeface selection: The only character styles that interact with typeface selections are bold and italic—due to a combination of legacy formatting procedures and the ubiquitous use of the typeface styles. You can’t, for instance, use Word’s Condensed style or InDesign’s font tracking to change American Typewriter to American Typewriter Condensed.

Using “Sort of” Bold or Italic Typefaces The apply-a-style-and-get-a-typeface method works for faces other than bold and italic under specific circumstances. If a family has no bold typeface, but has a weight heavier than the regular one, like a semibold or black variant, applying a bold style almost always gives you that heavier face. Similarly, for a font without an italic face but with something comparable, like Oblique, applying the italic style usually substitutes the analogous typeface.

Asian Font Typeface Weights The letters and numbers used to identify Asian fonts (the picture below shows Font Book’s listings) are easy to decode. The letter W followed by a number indicates the weight (boldness): a higher number is a heavier face. Other faces are identified by letters alone, but still describe weights, as for Kozuka Bold, Extra Light, Heavy, Light, Medium, and Regular.

Watch Out for Faux Styles In font-savvy applications like InDesign, applying a bold style to a base font that doesn’t have a bold typeface (or a substitutive face like semibold) gives you… nothing. The font stays at the plain base font because there’s no bold typeface available.

Try the same thing in Word (2004 or 2008), and you get… a bold typeface. Sort of. Word creates a “faux” bold by superimposing copies

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of the text, offsetting each by just a few pixels. This means you can even “bold,” or thicken, fonts that are already semibold or black. So, Baskerville Semibold with bold styling becomes a little darker, and Helvetica Condensed Black with bold styling becomes even blacker (though less condensed, since the offset copies spread the text horizon-tally). The same kind of thing happens if you use italic styling on a font that doesn’t have an italic face: you get a fake italic that slants all the letters, forgoing the hand-tooled changes to certain letters that are a part of a true italic face, as described in Figure 37.

Figure 37: The real Georgia typefaces (top) and Word’s faux versions (bottom). The faux bold is lighter, and has extra spacing between letters, and wider spaces between the bold words (because the space is also “bolded”). In the italic face, note the entirely different letter shapes for the lowercase g and the a in the real version, and that the faux italic is more slanted overall than the real one.

Why care whether you’re using a faux style or a real typeface?

• The aesthetics of it all: You don’t have to be a purist to see that many faux typefaces aren’t as nice as the real ones. But if you’re working solely in Word and need bold for a heading, or italic for emphasis, you might not care if they’re real typefaces. The faux stylings aren’t acceptable to a professional (they may, in fact, trigger severe anaphylactic shock), but they’re serviceable. Besides, judici-ously applied faux bold styling can thicken dingbats a little (like the right group of these characters from Monotype Sorts), which might be just what you need to better match them to surrounding text.

• Faux styles are application-specific: If you work in Word and then paste or import into InDesign or Quark, the faux stylings are lost entirely (and, okay, good riddance) because those programs deal strictly with genuine typefaces.

And that brings us to: How can you tell if a program is slipping in a faux style, since the real ones are hidden behind a family name? If you can’t tell by looking—and often that’s difficult—check the list of available typefaces in Font Book or Character Palette’s glyph view.

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Don’t Trust Word’s Font Dialog The Font format dialog in Word 2004 and 2008 seems to list typefaces, but don’t be fooled: it always offers the four basic character styles, regardless of whether they’re available. This picture shows American Typewriter selected, but this font has no italic or bold italic faces.

Use Multiple Master Fonts—If You Must! Tiger provided a rather scattershot approach to its support of Multiple Master fonts (see Multiple Masters)—or at least, there was a wide variety of results in different programs. Leopard seems to have changed something fundamental in its Multiple Master font handling, because while there’s still a wide variety of results, they are different results now, regarding what base fonts and user-defined instances are shown or can be used—and that sometimes depends on the font itself.

Some programs will list the base fonts and let you use them (bold, condensed, and so on); others list them but no matter what you select, you get the same thing. Still others may show you many variations on the font but selecting a variation gives you only a base font (a bold, extremely condensed font ignores the condensed variation and gives you only bold, for instance).

In general, there seems to be more trouble accessing very old (as opposed to just “old”) Multiple Master fonts in any program, which may be a function of its age (there’s often trouble with old PostScript fonts) rather than its Multiple Master format. In the last edition of this book, I said you should find replacements for any Multiple Master fonts as soon as possible. If you read that edition, let me say this: I told you so!

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Control Character Entry Character entry? Isn’t that what we used to call “typing”? Yes, but how can you “type” characters that may (or may not) be accessible from your keyboard—assuming you can even find the one you want out of the many hundreds packed into every font?

Luckily, you don’t have to learn the myriad of text-entry options Mac OS X provides if you have a few targeted needs. Start with Turn On the Tools so you have Keyboard Viewer and Character Palette at your beck and call, and then jump to your particular topic:

• If you can’t remember where basic characters like • ™ © √ ≥ ≠ ¢ are—or if you didn’t know you could easily type them in any font—read Use Keyboard Viewer to Find Special Characters.

• If you type almost entirely in English but need basic accented letters so you can meet Chloë at the café for a tête-à-tête mañana, read Use Keyboard Viewer to Type Accented Letters. If you use less com-mon accented Roman-based letters, such as (I don’t even know what to call those characters, but you’ll recognize them if you need them), you’ll find that information there, too.

• When you’re ready to dive into the wealth of characters modern fonts provide, start with Learn about Characters in Fonts and The World According to Glyphs. With that information under your belt (or even without it), read Find and Enter Characters with Character Palette to see how you can get at those characters, since so many of them can’t be typed. If you have only an idea of the character you want—a pointing figure, say, or a circled letter—Find Characters with the Search Function shows you how to find it.

• If you want to type special ligatures or fractions without using Character Palette, Utilize Smart-Font Typography shows you how to do it in amenable programs. And if you’re wondering what dif-ference ligatures or fancy fractions make, or why there are special “small caps” characters when you can just create them with character formatting, read The Joy of Character-Rich Fonts.

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TURN ON THE TOOLS Mac OS X provides several tools to help handle the input problems resulting from two issues: not all the characters are printed on your keys (where the heck is that © character?), and many fonts have char-acters that can’t be typed from the keyboard. The three basic tools are:

• Keyboard Viewer: This utility, which should be blushing in embarrassment at how little it has changed in 20 years from the old Key Caps utility, lets you see which character a key combination produces.

• Character Palette: This provides access to the hundreds of characters that you can’t type from the keyboard. Use it to both browse through character sets and to insert a character in your document.

• Input keyboards: These let you type in foreign languages and with nonstandard methods like the Dvorak keyboard arrangement.

You can access all these system-wide text tools from the Input menu, which you’ll find at the right side of your menu bar—it’s “title” is a flag, keyed to the operating system language. If you don’t have an Input menu, turn it on:

1. In the International system preference pane, click Input Menu button.

2. Check Character Palette and Keyboard Viewer in the list.

3. At the bottom of the window, check Show Input Menu In Menu Bar.

The Input menu (Figure 38) should now be in your menu bar.

Asian Characters Input The cast of characters (so to speak) in Asian languages is so vast as to make typing solely from the keyboard impossible, and entering items from Character Palette unmanageable. Mac OS X provides special input methods for these languages; I’m not covering them in this book, but you can check out the basics at several Web sites, including http://www.yale.edu/chinesemac/.

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Figure 38: Checking Show Input Menu In Menu Bar creates a menu; checking items in the list populates the menu, which includes a shortcut back to the International preference pane.

Character Palette access: Character Palette is also available from several places besides the Input menu; in the Finder, Text Edit, and Font Book, and in other programs that strictly follow Apple guidelines, Edit > Special Characters (Command-Option-T) opens Character Palette. (Apparently the guidelines don’t call for direct choices like “Edit > Character Palette.”) This command works whether or not you’ve added the Input menu to the menu bar. If you have an Input menu but haven’t checked Character Palette in the preference pane’s list, using the Show Special Characters command not only opens Character Palette, but also adds it to the menu.

USE KEYBOARD VIEWER TO FIND SPECIAL CHARACTERS Since the dawn of the Mac, we’ve been able to access up to four char-acters from each key on the keyboard: with and without the Shift key, with Option, and with Option-Shift. Many of the Option and Option-Shift characters—especially the ones you’re likely to use often—are easy to remember because some thought went into their placement: there’s often a relationship between at least one of the characters printed on a key and the hidden Option or Option-Shift character.

You can check out the entire Option and Option-Shift character sets, and look up the characters you can’t remember, with Keyboard

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Viewer. Open it from the Input menu, and hold down Shift, Option, or Option-Shift to see the characters those modifiers produce.

You can type directly in your document while Keyboard Viewer is open, or click on its keys to enter a displayed character, but your best bet is to learn what key combinations produce the characters you use often, and come up with some clever mnemonics so you’ll remember them. Table 9 provides some examples of easy-to-remember patterns for common symbols.

Table 9: Common Option & Option-Shift Characters

Seen Hidden Comment Plain Shift

Option

Opt-Shift

2 @ ™ € Both begin with T; trademark is two letters

3 # £ ‹ # and £ are both “pound” signs

4 $ ¢ › (American) money

8 * • ° Basically round characters

r R ® ‰ R’s

v V √ ◊ V-shaped bottoms

- _ – — Hyphen, underline, minus sign, em dash

= + ≠ ± (You do the math)

, > ≥ ¯ Greater than, greater than or equal to

. < ≤ ˘ Less than, less than or equal to

/ ? ÷ ¿ What’s the question?

Keyboard symbols: Lucida Grande. Shift: U+21E7, GID 943. Option: U+2325, GID 950

U.S.-centric key combos: The key combinations in Table 9 and described elsewhere throughout this section hold for only the U.S. keyboard. If you use a different input keyboard (described in Use Alternate Keyboards for Foreign Languages or Other Special Input) or a different Mac OS X system language, even some common characters can be in different places.

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USE KEYBOARD VIEWER TO TYPE ACCENTED LETTERS The Mac has always provided an easy way to type a letter with one of five common accent marks for use in words like déjà vu, naïve, rôle, and El Niño through the use of dead keys: keys that don’t produce any-thing until you hit a second key. All of the dead keys are Option-key combinations. To type an accented letter:

1. Type the Option key combination that produces the accent.

The dead keys are only half-dead in Mac OS X, so you’ll see the accent in your text, with a squiggly line under it or some type of highlighting (depending on the program) to signify you have to type another letter. The accents and their key combinations are:

grave accent: Option-~

acute accent: Option-e

umlaut/dieresis: Option-u

circumflex: Option-i

tilde: Option-n

2. Type the letter that’s going with the accent. (Accenting is restricted to certain letters—you can’t just put an umlaut on a capital X because you feel like it.)

So, all you have to do is type Option-e for the acute accent, and then the e, and you get é. Behind the scenes, your application has substi-tuted the single Unicode accented e character for the two you typed.

Using dead keys is, in fact, just a clever way to type characters that are otherwise unavailable from the keyboard. (You could enter an é in other ways—through Character Palette, for instance, or with a foreign language keyboard—but why bother when this method is so easy?)

Dead keys in early Mac systems: In the old days, the accented-letter trick worked because the accents were specially designed to superimpose themselves on the next character you typed. As a result, it took two backspaces to delete the accented letter because it was composed of two characters.

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When you need one of these accents but can’t remember the key com-bination, Keyboard Viewer can help. It shows both the accent keys and the accentable letters, as shown in Figure 39. If you keep Keyboard Viewer open while you’re typing, you can click its keys to enter the accents and letters in your document:

1. Press the Option key. Keyboard Viewer highlights the accent keys.

2. With Option down, type (or click on) one of the accent keys.

3. Release the Option. Keyboard Viewer shows the letters that can be combined with the accent. (They’re easy to miss because they’re only slightly bolded, blending in with the rest of the letters.)

4. Type (or click) one of the accented letters to enter it in your document.

Tip: To type an accent by itself, type a space after using the Option-accent key combination.

Circles: #PilGi U+25CC; GID 1215

Figure 39: Using Keyboard Viewer to see accented letters: The accent keys highlight when you press Option (left), and the available accented letters show up when you type one of the accent keys (right), which shows the accented letters after pressing Option-E. (I added the red circles—Keyboard Viewer is not as enthusiastic about showing you the accented letters.)

When accented characters don’t show: The accented letters usually appear in Keyboard Viewer (as shown in Figure 39) only if you’re working with editable text. In Safari, for instance, unless the URL or Google field is active, clicking an orange key in Keyboard Viewer doesn’t display accented letters when you release Option. On the other hand, if you’re in the Finder and you’re not actually typing anything, you’ll still be able to see the accented letters even though you’re not entering text anywhere.

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Leopard’s Keyboard Viewer Change Keyboard Viewer no longer has a Font menu that lets you choose from among your installed fonts. It’s now the Font Mapping menu, and your choices are limited to Standard and the short list of PiFonts (picture fonts) that Mac OS X considers suitable for that label. (Microsoft Office 2008 adds Bookshelf Symbol 7, Marlett, MS Reference Specialty, and MT Extra to the list shown here.)

The Standard choice displays letters where they’re supposed to be in fonts that follow the rules for the language you’ve chosen as your input language (See Understand Alternate Keyboards).

Unfortunately, Keyboard Viewer is totally useless if you’re using any picture font not listed—such as, oh, say the seldom-used, little-known Zapf Dingbats.

Type More Accents with the U.S. Extended Keyboard Roman-based languages use many more accents than the five basics that Mac dead keys have always provided. In keeping with the Unicode lots-of-characters spirit, Mac OS X provides 19 dead-key accents with the special U.S. Extended input keyboard. (I explain input keyboards in more detail in Use Alternate Keyboards for Foreign Languages or Other Special Input.) Here’s how to activate it:

1. Go to the Input Menu screen of the International preference pane.

Shortcut: Choose Open International from the Input menu.

2. In the list of keyboards, check U.S. Extended, and close the Preferences window.

Shortcut: Click on the Name column title to sort the keyboard names in reverse alphabetical order so the U.S. keyboards are closer to the top of the list.

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3. Choose the U.S. Extended keyboard from the Input menu.

Its menu bar icon differs from the standard U.S. keyboard by the little add-on U for Unicode.

If you choose a keyboard from the Input menu while Keyboard Viewer is open, it may not register the change (look in its title bar to see what keyboard it thinks it is). Sometimes just choosing the same item again from the Input menu makes Keyboard Viewer catch up; sometimes you might have to close and reopen it for it to display the new input keyboard.

Now you can use Keyboard Viewer to access the larger selection of accents and accentable letters the same way you use it for basic accents with the standard U.S. keyboard: press Option to see the accents, click or type the one you want, and then click or type the letter you need (Figure 40).

Not all your fonts will have all the accented characters you see in Keyboard Viewer. If you choose one that’s not in your current font, it’s entered in your document in a different font—one that actually contains the character. (This phenomenon is explained in Type in a Foreign Language without Changing Fonts.)

Circles: InaiMathi U+25CC; GID 277

Figure 40: Hold down Option (left) to see available accents high-lighted in orange. Click or type one of the accents and then release Option to see the available accented letters (right, after the cedilla—the third key in the bottom row—was clicked while the Option key was down). Finally, click or type the desired character.

Why not always use the Extended keyboard? Because it giveth with one key and taketh away with the other. With all those accents given over to the Option key, you’ve lost standard Option characters like the √ on Option-V.

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Apply After-the-Fact Accents In some applications, and with certain fonts (yes, that’s vague, but with so many variables the best I can give you is a “more often than not”), you can type a letter first and then use an Option-Shift-accent combination to add the accent when you have the U.S. Extended Keyboard active. So, in TextEdit, for instance, you can choose Helvetica, type n and then press Option-Shift-U, and wind up with a dieresis over the n (this is needed to properly spell Spin̈al Tap). See http://homepage.mac.com/thgewecke/ diacritics.html for a list of the Option-Shift combinations you can use for applying accents this way.

LEARN ABOUT CHARACTERS IN FONTS Most of this section qualifies as background information, but don’t think that means you don’t really need to know it! It helps you make the most out of 21st-century fonts because it:

• Explains the glyph approach to font characters: You’ll learn the necessary terminology and yet another way characters are given ID numbers.

• Describes how characters that lack Unicode IDs are handled: You’ll see why characters sometime change when fonts do, and why some characters might just disappear when you move them to another program.

• Shows why you should care about alternate characters: Genuine Small Caps are better; so are designed fractions, and superscripts and subscripts.

The World According to Glyphs A glyph, in fontspeak, is a single entity of a particular shape. You can refer to an uppercase A as a letter or a character, but there’s only one such animal; it does, however, come in many different designs, or shapes. All of the characters shown in this picture are A’s, but the picture uses 13 different glyphs.

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A glyph doesn’t always represent a single character. It can be a double-letter ligature, a triple-character fraction, or a multiple-letter Roman numeral. (The Zapfino font has a separate, single glyph for the word Zapfino.) No matter how many characters seem to be in a glyph, it is always a single entity in a font; it might take multiple keystrokes to generate it, but a single backspace will delete it (like the accented letters covered in Use Keyboard Viewer to Type Accented Letters).

The Unicode system provides for a single instance of a character in each script (written language): there is one capital A in Unicode, and its ID is U+0041. A font, on the other hand, can have multiple repre-sentations of a single character: alternate capital A’s, standard and Small Caps versions, and so on. A font can also contain glyphs that have no relationship to any Unicode character.

Since every character you see and store on a computer must be represented by some sort of numeric ID, and so many glyphs fall outside the range of defined Unicode characters, there’s a whole ’nother identification system, in addition to Unicode: the glyph ID (GID). Each glyph in a font has a GID, even if it also has a Unicode ID. There’s no standardization for this: the GIDs for three alternate A’s in one font won’t match those for alternate A’s in another, and a fancy flourish in one font is unlikely to have a counterpart in another.

Even the most basic of characters across fonts don’t necessarily have the same IDs: the question mark might have a GID of 34 in one font, 36 in another, and 1141 in a third. This doesn’t affect your usage at all because each question mark still has a Unicode ID of 003F. But it can become a problem when you’re using non-Unicode characters: an alternate A in one font might have a GID that’s assigned to the @ symbol in another.

Because a GID reference is not always the best guide to what a character is supposed to be, some non-Unicode characters include additional information about “who” they are. If a non-Unicode char-acter is related to a defined Unicode character—as is the case with alternate capitals, for instance—it is “mapped” back to that Unicode ID. Then, if using a character’s GID might not make sense (as when the font changes), or in the absence of the capability to interpret a GID, a program can use the fallback mapping and turn an alternate capital A into a plain old A in whatever font is being used.

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Did you catch that “absence of the capability to interpret a GID” in the last paragraph? Some applications don’t handle GIDs at all, pretending they just don’t exist. Word, for instance, knows nothing about GIDs. (In the interest of fairness, however, let’s note that even Photoshop is not as glyph-savvy as InDesign.)

But “handling GIDs” is a rather vague phrase, and the “handling” is not always the same. Apple and Adobe programs take rather insular attitudes in regard to font technologies—they just don’t fully interpret each other’s core technologies (see Fonts with Smarts, a few pages ahead). As a result, the success of font format changes and copy/paste (or import) operations sometimes depends on whether you’re using Apple TrueTypes (including dfonts, a variety of TrueType) or Adobe OpenTypes in Apple or Adobe programs.

GID Interpretation: Apple Fonts in Apple Programs Enter Zapfino’s four different capital A’s in a glyph-savvy program such as TextEdit, and then change them into a font that doesn’t have four different A’s, like Verdana. You get four Verdana A’s, all the same.

This happens because TextEdit gives precedence to a character’s Unicode ID; with no Unicode ID available, it uses the fallback Unicode mapping for the alternate A’s, ignoring their GIDs completely. This is an intelligent move, because if you had used an alternate A for a fancy drop cap, you’d like it replaced by another A, and not just whatever character happened to have a matching GID in the new font.

Try copying the original four Zapfino A’s from the TextEdit, paste them into Word (any version), and you get four Zapfino A’s—but they’re all the same Zapfino A.

Because Word doesn’t understand glyph IDs for alternate letters, it does the best it can with the Zapfino A’s: it gives you four of them, using the Unicode ID for the first, and the fallback information for the others—which is all the same U+0041 for the letter A (Figure 41).

So far, so good!

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Figure 41: Apple font, Apple program. In TextEdit, changing the four Zapfino A’s to Verdana results in four identical Verdana A’s because the fallback Unicode ID of 0041 is given precedence over GIDs. Pasting the Zapfino A’s into Word gives you four Zapfino A’s; once again, the fallback Unicode IDs are used (Word can’t see the GIDs, anyway).

GID Interpretation: Apple Fonts in Adobe Programs Now try the same the exercise in InDesign, and you get entirely dif-ferent results. Enter the four Zapfino A’s, change the font to Verdana, and you get A"#$; change it to Adobe Jenson Pro, and you get A$%&. Paste the Zapfino A’s into Word, and you wind up with a single A.

There’s a method behind this seeming madness. The madness is that InDesign can’t seem to read the underlying fallback mappings for the alternate A’s, and so treats them as if they had no Unicode IDs at all.

Now, for the method: InDesign uses the Unicode ID for the first A, which it can see, and the GIDs for the other letters, which it thinks have no Unicode IDs. In all three fonts (Zapfino, Verdana, Jenson), the first A is Unicode ID U+0041, so the first character remains an A in every font. The GID of the second A in Zapfino is 5; in Verdana, GID 5 is assigned to the straight quotes, and in Jenson, it’s the dollar sign. Similarly, the third and fourth Zapfino A’s have GIDs that are assigned to entirely different characters in the other two fonts (Figure 42).

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When it comes to pasting the A’s into Word, the only Unicode ID copied from InDesign is for the first A; since Word doesn’t handle GID-only characters, it “sees” only the first A when you paste.

Figure 42: Apple font, Adobe program. InDesign uses the Unicode ID for the first A but the GID instead of the fallback Unicode mapping for the others. As a result, changing the font changes the three later characters, and, in Word, they simply disappear.

GID Interpretation: Adobe Fonts in Adobe and Apple Programs Both previous examples started with an Apple font, Zapfino. It seems that TextEdit behaves properly, accessing fallback Unicode IDs when needed to preserve the sense of the original input, and that InDesign drops the ball when it comes to font changes and copy/pastes.

But there’s more to this situation than the previous examples might indicate: start the exercise in TextEdit with the two capital A’s in Adobe’s Caflisch Script Pro, and you’ll see the “vice-versa effect.” InDesign behaves properly when you paste in the characters, correctly reading the fallback Unicode ID for the alternate A’s, providing two A’s in whatever font you choose, and copying out two A’s to be pasted into Word. TextEdit, on the other hand, gets confused if you start out with an Adobe font. Change the two Caflisch A’s to another font, and it doesn’t know what to do about the second A. In earlier versions, it sub-stituted a question-mark “unknown” character ( ) for the second A; by Mac OS 10.5.4, it switched to using the more proper approach for a

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confused font character, a Unicode placeholder (see Is It a Unicode Font?). Copy the two Caflisch A’s from TextEdit to Word, and only a single A is pasted in.

So it’s not that one vendor’s programs behave better than another’s: it’s that neither completely “understands” the other’s font technology (see “Fonts with Smarts,” below).

What you can do about this: Nothing—if by “doing” you want to make things work differently. But you can avoid these problems no matter which programs and which fonts you use by choosing a font for a project before you do a lot of work on it—which is the smart way of doing it regardless of ID glitches.

Fonts with Smarts Modern fonts are quite intelligent. They can make intelligent char-acter substitutions based on context—tying together a double-g into a fancy ligature, for instance, or differentiating between an s that starts a word and one that ends it. (See Utilize Smart-Font Typography.)

Mac TrueType fonts (and dfonts) that come with Mac OS X use AAT—Apple Advanced Typography (formerly known as QuickDraw GX, so you might see it referred to as GX/AAT)—for these feats. Windows TrueType and OpenType fonts use OpenType Layout Tables, invented by Adobe and Microsoft.

Mac OS X couldn’t use any of the smart OpenType features until Tiger, and it still addresses them in only a limited fashion. How-ever, since AAT can’t be used on other platforms, or even by Microsoft and Adobe applications on the Mac, it’s fairly predictable which approach will become the standard.

In the meantime, we just have to put up with certain font features and certain programs not playing together as well as we’d like—basics are always available, but the fancy stuff won’t always work.

The Joy of Character-Rich Fonts I’ve mentioned several times that fonts can have non-Unicode characters in them; this isn’t exactly true, since every character has a Unicode number. More accurately, fonts can include non-defined characters; that is, there are “slots” in the Unicode ID scheme that

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aren’t defined to contain an A (slot 41), or a Clockwise Top Semicircle Arrow (slot 8,631) but are left empty for “private use”; in fact, there are over 6000 free slots in the first 65K of IDs. They are totally undefined and can be used for anything the font designer cares to plug in.

Nothing’s more fun (typographically speaking) than finding that a font is jam-packed with all sorts of useful alternate characters. These extra characters can include multiple glyphs for letters and numbers, genuine Small Caps, special ligatures, and so on. The major types of special alphanumeric glyphs, and why they’re better than the ones faked from standard characters, are described here. (Professionals will recognize many of these descriptions as the additional characters that were once available in special Adobe fonts called Expert Sets. These sets included a base font and several coordinating sets of swashy alternate capitals, “old style” numbers, and Small Caps; now all these characters can be included in a single font.)

Alternate Letters When it comes to alternate letters, initial and final letters with great swashes come to mind. Some OpenType fonts contain multiple alter-nates for every letter—enough to both satisfy picky designers and almost guarantee unsightly combinations by amateurs (remember ransom-note layouts in the San Francisco font?).

Standard (left) and alternate capital letters (right) in Papyrus.

Alternate Numbers Alternate numbers usually means you have a choice between mono-spaced numbers that end neatly on the baseline (even proportional fonts almost always have monospaced numbers) and elegant “old style” numbers that have proportional spacing and ascenders and descenders on certain numerals.

Standard (left) and Old Style (right) numbers, which are usually smaller than the standard ones; these are from the same font, in the same point size.

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Small Caps When a font doesn’t have genuine Small Caps included, the style is created on the fly from two different point sizes, resulting in mixed stroke weights. In addition to the example here, you can see the effect in many of the headings in this book, which uses a font that doesn’t have a Small Caps set available.

The stroke difference in faked Small Caps is very obvious in some fonts (left). In others (middle), the stroke weight is less significant, but the relative heights and overall spacing are ungainly compared to the designed one (right).

All Caps When it comes to All Caps, real designers prefer designed All Caps over just pressing Caps Lock and getting capitals because of the better punctuation positions and overall spacing.

The designed All Caps letters (right) have the leading interrogatory placed correctly, better spacing between words, and better overall letter spacing.

Ligatures Ligatures are letters tied together in type for easier reading (or for good looks); you’re so used to seeing them in printed materials like newspapers that you don’t notice them. The most common ligatures are for fi and fl, since they make particularly awkward partners when the letters aren’t altered. (And, of course, there’s the fj ligature for when you’re writing about fjords.) Some fonts offer dozens of ligatures—sometimes even alternates for the same pairs of letters.

Left: The f-i and f-l combinations without ligatures (left) and with them (right). Right: Separate s and t characters and their fancy ligatured version; standalone g and ligatured double-g.

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Superscript and Subscript When numbers or letters are superscripted or subscripted by your application, you wind up with characters whose strokes are much thinner in comparison to the main font; adjusting the characters to the proper height—even if you know what that is—can be an exercise in frustration. Designed superscript and subscript numbers and letters coordinate with the font’s main characters and are placed at the proper height.

In each example, the smart-font version is at the right. (The first example is a famous, if misspelled, Web site.)

Fractions So many people settle for typing fractions like this: 1/8. It’s not great, but it’s easy to read unless it’s accompanied by an integer: 1 1/8 or 1-1/8. You can superscript the numerator and make the denominator smaller, but their weights will be too light and that slash is just too vertical. Built-in fractions are the answer (although this isn’t strictly a rich-font feature—almost every font has some basic fractions).

Built-in fractions are obviously superior to the roll-your-own variety; the number on the right is the designed glyph.

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Yet Another Character ID Scheme I didn’t want to bother you with this, but you may run across it while using Character Palette: yet another way of identifying char-acters. The picture here shows the Character Palette help tag for an adorable little snowman. (Snowmen actually have their own Unicode ID, although snowwomen don’t.)

The bottom line in this help tag? It’s not your eyes, it’s not a typo: it’s CID, not GID. That’s for character ID, a scheme that Adobe came up with in the mid-90s to solve the problem of Asian fonts having so many characters that they needed double-byte numbers to identify them. (This was before the two major computer plat-forms wholeheartedly embraced the Unicode approach. See Explore the Unicode Universe and What the Hex??)

To keep track of tens of thousands of font characters, Adobe set up files of “character maps” that coordinated with information in the font and assigned a character ID (the CID); from there, an application could find the character based on the CID.

What does this mean for you? Just that sometimes you’ll see a character identified with a CID—sometimes only a CID, in which case it’s unlikely you can use the character in any but an Adobe program. It also explains why you may find a folder named CMAPS in an Adobe support folder: it holds the CID mapping files.

UTILIZE SMART-FONT TYPOGRAPHY If you read about Keyboard Viewer earlier in this section, you’ve seen how it helps you find and enter characters you can’t type easily, and an upcoming section, Find and Enter Characters with Character Palette, shows how Character Palette lets you get at every character a font contains. But wouldn’t it be more… technologically advanced… if you could just type away and get the special glyphs you need in context of the surrounding text?

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Well, you can, sometimes. But before I show you how that works, consider the not-so-advanced old method of inserting ligatured letters. If a font includes the common fi and fl ligatures, you can type them with Option-Shift-5 and Option-Shift-6; likewise, the æ can be typed æsthetically using Option-". These are each single glyphs, and once they’re inserted, a single backspace removes them.

Layout programs like QuarkXPress and the late PageMaker provided “automatic” ligatures many years ago: type the two letters and the program would replace them with the single ligature character, much the way most programs replace straight quotes (") with curly ones (“).

But OpenType fonts provide a whole new level of ligature access: just type the standard letters (f followed by i, for instance) and the proper ligature is inserted in the document. But backspacing deletes a single letter at time, and when you delete one of the letters, the remaining one reverts to its standalone shape. This happens because the substitution is not a single-glyph ligature like the one you enter with Option-Shift-5; instead, special glyphs for each of the component letters are being used, and they’re separate characters.

You need three things to realize this typographic potential:

• Mac OS X.

• Fonts designed with appropriate characters and special substitution rules. The rules are along the lines of: “If the glyph right before/after me is the same as I am, then switch to…” and “If I’m at the beginning/end of a word…” and “If I’m next to a T, then…”.

• An application that can interpret the built-in font rules.

Applications that handle special substitutions usually offer them as piecemeal options: you can turn on common ligatures, or fancy ones, or special fractions, and so on, exclusive of one another. Some substitution options are turned on as defaults, so you may not realize you have a choice (or that they’re not just automatic).

Ligatures in Word 2008

Although Word doesn’t understand GID-only characters, described in The World According to Glyphs, it does support many automatic ligatures for fonts that have them.

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TrueType/OpenType smart substitutions: The following examples for ligatures and fractions all use Apple fonts in TextEdit, so you can try them out. Most OpenType fonts have many more smart substitutions available, long accessible in Adobe programs. Mac OS X began letting you get at some of these built-in OpenType features while using other programs starting with Mac OS X Tiger.

Type Common Ligatures The specifics of accessing special typographic features vary from one program to another. Here’s how to turn on typographic features in Apple programs and to type common ligatures:

1. With a TextEdit document open, choose Format > Font > Show Fonts (Command-T). Use Baskerville for this example, and set a large-ish font size—about 36 points—so you can clearly see the ligature results.

2. Choose Typography from the Font panel’s Action menu—the gear ( ) at the lower left. The controls in the Typography palette vary with the font you’ve chosen—they depend on what’s available in the font.

3. In the Typography palette, expand the Ligatures section (the only one available for Baskerville) and check Common Ligatures.

4. Type f followed by i.

Watch the f change, its top stretching over to shelter the i and the crossbar reaching out to touch it; the i doesn’t have its usual dot because it’s attached to the f (Figure 43).

If you backspace once, you’ll erase the i, and the f reverts to its standard glyph.

Figure 43: With ligatures activated in the Typography panel, TextEdit replaces the primary character glyphs with alternates when they’re typed next to each other.

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At right, Baskerville’s primary f, i, and l glyphs, the non-ligatured pairs, and the ligature substitutes (the last pair in each row).

Type Special Ligatures Leopard’s Zapfino font is especially rich in typographic options and is perfect for experimentation in features beyond common ligatures.

Here’s how to include fancy ligatures in your text:

1. With a TextEdit document open, choose Zapfino in the Font panel.

2. From the Font panel’s Action menu ( ), choose Typography.

Zapfino’s built-in typography options far outnumber the Baskerville ones, as you’ll see when the Typography panel opens to list them all.

3. Expand the Ligatures section if necessary, and check Special Ligatures.

4. Type the word stress.

The s and t as standalone letters are one design, as you can see in Figure 44, but type them next to each other and they both change; the e changes subtly when you type the following s, which differs from both the first and the last s in the word.

Figure 44: Letters change automatically as you type in Zapfino with the Special Ligatures option active.

Type Editable Fractions The smart-font technology that gives you automatic ligatures also provides automatic fraction formatting.

With many fonts in many applications, if you type 1/2, a is sub-stituted; you can tell it’s a single glyph because a single backspace erases it. But with well-defined fonts, you can build any kind of frac-tion at all, and edit any of its constituent numbers. Here’s how to type amazing fractions in TextEdit:

1. With a TextEdit document open, choose Zapfino in the Font panel.

2. From the Font panel’s Action menu ( ), choose Typography.

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3. Expand the Vertical Position section and click Contextual Fractions.

4. Type 14/212.

Zapfino is “watching” for numbers typed on both sides of a slash, so when you type the first 2, the fraction formats itself, as shown in Figure 45. You can continue typing a larger denominator, past the first 2, because the fraction is being built on the fly; it’s not a substituted glyph.

5. Backspace once and watch the fraction change to 14/21.

Since the fraction isn’t a single glyph, you can edit it; you could even erase just the 4 and the formatted fraction would change to 1/212.

Figure 45: The first “fraction,” (left), was typed without Contextual Fractions active. When it’s active, typing numbers on each side of a slash (in red rectangle), signals a fraction, which is automatically formatted—even the slash changes to be shorter and less vertical. You can edit any part of the fraction: insert a space between the numerator’s 1 and 4 to get the final number at right.

Smart Fonts Aren’t Just for Looks All the examples provided here as benefits of smart font capa-bilities have to do with looking good, typographically speaking. But the benefits of smart fonts go far beyond looks. Many lan-guages have complex scripts that require different letter shapes for certain circumstances. A simple example is Hebrew, which has five letters that take different forms if they’re the last letter of a word. With a smart Hebrew font, you wouldn’t have to press any special key combination to get the final-letter form; you could just type the regular letter and the font would substitute the final form if it’s at the end of a word.

The benefits increase as the language script gets more complex; languages like Arabic and Hindi have characters whose shapes, and sometimes positions, depend on the characters that come before and after them.

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Font Fun Sampler Spend some time browsing through the character sets of the fonts you own (in Font Book’s Repertoire view or Character Palette’s Glyph view) to see what’s available besides standard letters and numbers. Here are samples (in reverse alphabetical order because I grew up with a last name beginning with Z) of some of the gems you’ll find. And if you like these, check out the treasure trove buried in Asian fonts—see Asian Font Fun Sampler (p. 210).

Zapfino Times New Roman Papyus

• Zapfino goes beyond that tired, staid pointing hand, and provides an adorable mouse.

• Times New Roman (version 3.65 from Microsoft Office, not the Leopard-supplied one) offers Roman, Hebrew, and Arabic alphabets, building blocks for boxes, and these readily recognizable symbols.

• Papyrus is well on its way to being overused; enjoy its alternate capitals while you still can.

Lucida Grande Apple Symbols Hoefler Text • Lucida Grande is ubiquitous on Mac OS X, with its multiple language

scripts, but it also has Mac OS symbols, arrows, dingbats, rounded-rectangle enclosed numbers, and not-so-run-of-the-mill fractions.

• Apple Symbols has a rich, albeit cutesy, character set that includes building blocks, a gazillion arrows, full chess sets (white and black), cards, dice, music, weather, and business/office items.

• Hoefler Text: Hoefler Ornaments, formerly a separate font, has been rolled into the Text version. You’ll need Character Palette to enter the ornaments, but you’ll especially like the swirly glyphs meant to be combined into rows of patterns.

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FIND AND ENTER CHARACTERS WITH CHARACTER PALETTE Some programs provide ways for you to enter characters beyond the ones you can type, like InDesign and its Glyph table; in most cases the application-specific tool is the best approach when you know which character you want and what font you want to use. But Apple’s system-wide solution, Character Palette, is always available from the Input menu (if you’ve activated it, as I describe in Turn On the Tools). It’s not overly friendly: there’s a lot in it, but none of it is intuitive. It’s invaluable, however, for viewing font character sets and inserting characters into documents.

Character Palette offers four views for different ways of working (Figure 46). They differ not only in the way they present characters, but also in which characters are displayed: some views show only Unicode characters, others show a font’s entire repertoire, including non-Unicode glyphs. Table 10 provides a roundup of the the views; it’s followed by details about working in each view.

Table 10: Character Palette Views

View Shows Glyphs… Glyph Order Use For Generic views* Category† …included in

Unicode Unicode categories

Browsing by character type; looking at a specific character in many font variations

Code Tables …included in the selected encoding scheme

Selected encoding scheme

Browsing Unicode set; inserting special character when you know its Unicode or other encoding

Font-specific views PiFonts …in selected font,

including those beyond Unicode

Unicode ID Nothing; use Glyph view instead

Glyph …in selected font, including those beyond Unicode

Glyph ID Browsing and selecting from character set of specific font

* Generic views can show glyphs only if they exist in an installed font. † The five language-specific views and All Characters.

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Circled numbers: Hiragino MinchoPro, starting at U+24F5

Figure 46: The Character Palette interface:

1. View menu: The first five menu choices, for specific language scripts, are subsets of the sixth choice, All Characters.

2. View area: Changes based on the View menu choice.

3. Character grid: Glyphs are arranged according to the view chosen.

4. Character Info: This collapsible section includes the character well and a list of related characters.

5. Font Variation: This collapsible section is not available in views like Glyph, where you work with a specific font.

Find a Character in a Category View Using a category view is a good way to become familiar with what kinds of characters are available in many Unicode fonts. It’s also a great way to find a specific character when you know generally what you want, like a circled number or geometric shape. You start with the general category, find a specific character, and then select the actual glyph from the fonts you have installed. For example, try these steps:

1. Choose All Characters from Character Palette’s View pop-up menu.

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2. In the left pane, expand the Symbols category by clicking its triangle.

3. Click on the Arrows subcategory.

Scroll through the character grid to view the various arrows and arrow-like characters. You’ll see some gray boxes in the grid; these are placeholders for Unicode characters that Character Palette can’t find in your installed fonts, so it can’t display them.

4. Select the right-pointing hand that’s in the middle of the fourth row. Figure 47 shows what you should see at this point.

Figure 47: The View menu’s All Characters choice is one of the Category views. (The By Radical tab is for use with Asian languages.)

5. Expand the Character Info section by clicking on its triangle.

As shown in Figure 48, this area displays the character well holding a gratifyingly large version of your selected character, and the Related Characters list. Related characters aren’t always available, but when they are, you can click on one to make it the current selected character.

Figure 48: The character well is at the left. (Not all characters have Related characters.)

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6. Expand the Font Variation section by clicking on its triangle.

This section is your best friend when you’re looking for just the right version of a character you’ve selected: you’ll see the current character in every font that contains it. For the pointing hand, you can select from fat or skinny hands, with or without cuffs, and so on, as shown in Figure 49.

Unicode-only views: Since Category views show only Unicode characters, you won’t see some of the best pointing hands available, in the Zapfino font, because they aren’t Unicode characters and have only GIDs. (See The World According to Glyphs.)

Figure 49: The Collections pop-up menu lists Font Book collections; selecting one narrows the scope of the font samples.

Browse the Unicode Repertoire in Code Tables View The default Code Tables view displays the same set of characters as the Category views—Unicode characters—but presents them in Unicode ID order. Use Code Tables view to familiarize yourself with the breadth of the Unicode repertoire, or to find a character whose Unicode ID you already know. To get started, try this example:

1. Choose Code Tables from the View pop-up menu.

2. Scroll through the list at the top of the window and select Letterlike Symbols in the Title column.

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The hex numbers in the leftmost column identify the first ID assigned to a block of characters; the entire block is highlighted in blue to the left of the character grid. (See What the Hex??, next page, for more about hex numbers.)

If you use this view to look at a specific character whose Unicode ID you already know, you can scroll through this list while watching the numbers instead of the category names; or, you can scroll through the character grid to get to the area with that ID.

Missing scrollbars: If scrollbars are missing from any area in Character Palette, resize it vertically until they reappear.

3. In the grid, click on the symbol that looks like a backward euro sign.

There’s nothing in the Related list for this character, but its name, Unicode ID, and UTF-8 encoding are all identified beneath the panel (Figure 50). (I picked this character as a sample in case you’ve ever wondered what a scruple actually looks like—which I’m mentioning here in case you can’t read the tiny print in the picture.)

As in the Category views, the Font Variation section shows how the character appears in various fonts.

Figure 50: The Unicode option in Code Tables view. There are other encoding views besides Unicode; the only non-Asian one is the charm-ingly named ISO-8859-1, described in ISO and UTF-8 Encodings.

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What the Hex?? Unicode uses hex, or hexadecimal, numbers as IDs because hex is compact and relates especially well to binary patterns (binary being the computer’s natural counting method). Our counting system is base 10: it uses ten different digits from 0 to 9, and each “place” in a number represents a power of 10. The number 429 is 4 hundreds, 2 tens, and 9 ones. When a place “overflows” beyond 9, it changes to a zero and the next digit to the left gets 1 added to it: 429 becomes 430.

Hexadecimal numbering is based on 16, so each place stands for a power of 16. In hex, a 429 is 4 two-hundred-fifty-sixes, 2 sixteens, and 9 ones. The problem with hex, and any base beyond 10, is that we don’t have numerals to represent anything higher than 9. So, we substitute the letters A through F for the numbers 10 through 15 (including the zero, that gives 16 different “numerals”). If you add 1 to the hex number 429, it becomes 42A—the next digit doesn’t change until the rightmost place “overflows” after the F is used, when 42F goes to 430.

So, when a Character Palette help tag shows that the selected character has a Unicode ID of 2299, the next character’s ID is not 2300, but 229A (and the next one’s 229B, and so on).

ISO and UTF-8 Encodings If you’re wondering what the ISO-8859-1 encoding choice in Code Tables view refers to, or what those UTF8 codes in Character Palette’s pop-ups are, this is the sidebar you need.

Remember all that stuff at the start of this book about encodings and In the Beginning Was ASCII? The IS0-8859-1 standard was the first that subsumed the 128-character ASCII group and defined a full 256-character set. Also referred to as Latin-1, it’s what the Windows character set (WinLatin1 or Windows-1252) was based on. It’s an old setup, and for the most part, the char-acter IDs match those in Unicode.

(continues)

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(continued)

UTF-8 encoding is a little more complicated. The underlying Unix environment for Mac OS X—like most other computer systems, applications, and communications—expects character codes to be a single byte (8 bits), delivered in a two-digit hex number (see What the Hex??, just previously) called an octet. But 8-bit numbers top out at 255, and Unicode identifies over a million characters; it takes more than 20 bits, or a 6-digit hexadecimal number, to represent the top Unicode ID number.

The solution: 8-bit UCS (Universal Character Set) Transformation Format, or UTF-8, a way to represent Unicode numbers in octets. The number of octets needed depends on how high the Unicode ID is: a single octet can describe the first 128 characters—the original ASCII set; two or three octets can describe the rest of the 65K characters in the first Unicode plane; and four octets are needed to describe the characters in additional planes. The UTF-8 encoding scheme is so clever, in a Zen-like self-referential way, that a character’s code includes a way to determine how many octets are being used to describe the character.

So, UTF-8 encodings don’t assign new codes to characters; they merely represent a character’s Unicode ID. The acute-accent e (é), for instance, is represented by C389 in UTF-8. If you were just translating that hex number into decimal, it would be 50,153. But it’s not supposed to be calculated into decimal: it gets trans-formed into the hex value 00E9 (decimal 233), the Unicode ID for the acute-accent e.

The majority of our English communications—in email, on Web pages—still use the original 128 characters, all of which are described by a single UTF-8 octet, so, in a serendipitous side effect, the characters we use the most are transmitted more quickly than those further on in the code set.

Pick a Font-Specific Character in Glyph View If you use Character Palette for browsing or inserting characters in a specific font, Glyph view is the one you’ll use most because it lets you view a font’s entire repertoire, including the glyphs that aren’t in the Unicode set.

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Say you liked the Papyrus alternate capitals shown in Font Fun Sampler (p. 189) and want to see how many letters have alternates:

1. Choose Glyph from the View pop-up menu.

2. Choose Papyrus from the Font pop-up menu.

If Condensed is showing in the typeface menu (to the right of the Font menu), change it to Regular.

3. Scroll through the character grid until you see the glyphs you want.

As in the other views, there’s a Character Info area with the character well and the related characters; there’s no Font Variations section, since you’ve already picked a specific font.

Figure 51: The Glyph view for Papyrus.

Finding a character in Character Palette wouldn’t do you much good if you couldn’t do anything with it. There are several ways to insert the current character into your document; when an application balks at one method it often cooperates with another. To insert the selected character:

1. Set the desired font in your document.

Despite the “Insert with Font” button name, Character Palette font information seldom overrides that of your document. (See Really Insert with Font.)

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2. Use any of these methods to insert the character; the “click” options insert the character at the current document insertion point, while dragging lets you drop the character anywhere in the document:

• Click the Insert with Font button.

Sometimes the button is titled just Insert, and both versions are dimmed more often than not because so many of the glyphs you see in Character Palette can’t be used in certain applications (as described in The World According to Glyphs).

• Click on the character well or drag the character from it.

• Double-click on the character in, or drag it from, any area that displays it: the character grid, the Related list, the Font Variation area.

Really Insert with Font Character Palette’s Insert With Font button doesn’t always do what it says, even when the selected character is an “insertable” glyph. To increase the chances of its working, set the font you want in your document, too.

If you’re dragging a character from Character Palette, taking it from the well means it will be formatted with the font that’s in use at the spot where you drop it in a document; dragging the character from the Font Variation area almost always brings the font formatting with it no matter where you drop it in your document.

Find Characters with the Search Function Character Palette lets you search for characters in three different ways:

• By Unicode ID: Say you want to get at the dotted-circle character used in the Keyboard Viewer picture in Figure 39; the caption notes that its Unicode ID is U+25CC. Use 25CC for the search (the Search field doesn’t understand the U+ part), and it finds a dotted circle in the Geometrical Shapes group.

• By a typed or pasted character: You don’t have to go through views or character grids to select a character to see its variations in other fonts. Type the character (a bullet, say, with Option-8) directly into the Search field, and Character Palette displays all

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the bullet characters from all your fonts: you’ll see tiny ones, fat ones, and even splotchy blobs from some of the less formal fonts.

• By Unicode name: While it’s unlikely that you know the Unicode names for characters you want, partial-name searches usually work very well, and using a descriptive name almost always comes up with something.

Say you want to add a checkbox—already checked—as a graphic element in a document. You assume (rightly) that at least one of your fonts has such a character, so all you have to do is find it:

1. Set Character Palette’s View menu to All Characters.

You can start in any view, but the character grid in All Characters is arranged by “similarity,” so it’s the best to use when you’re looking at shapes—you’ll see items similar to the one that showed up from your search.

2. Click in the Search field (at the bottom of the window), type check, and press Return.

A list pops up with several suggestions and samples of checkmarks and other items with “check” in their names, as you can see in Figure 52.

Use the Return key: Character Palette starts looking for the search item as soon as you start typing (the way Spotlight works in the Finder). You needn’t press Return for the search to work, but you do need it to “deactivate” the Search field. If the field remains active, clicking on a character to enter it into your document enters it into the Search field instead!

3. Choose “Ballot Box With Check” from the list.

Selecting something from this list is occasionally an exercise in frustration: the list disappears suddenly or treats you as if you’d clicked on a different item. Your best bet is to use the Up and Down arrow keys to select the item you want and then press Return or Enter. Figure 52 shows the result of this search.

Experimenting with Character Palette’s search feature familiarizes you not only with what it can do, but also with Unicode names (Is it

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a circled digit or an enclosed number?) and font repertoires. Try these search words to sample the possibilities: life, bullet, dash, asterisk, sesame, heart, earth.

Figure 52: Searching for “check” in Character Palette provides a list of six Unicode symbols with that word in their names (inset). Select-ing one from the list shows you what it looks like in various fonts. You may find blanks instead of some characters if you have no installed fonts with that character available.

Character Palette Tips The more you use Character Palette, the more you’ll benefit from knowing these small but useful details:

• Included fonts: Character Palette is limited to the active fonts in Font Book: disabled fonts, and any fonts in application-specific Fonts folders, are not included in searches or the pop-up Font menu in Glyph view.

• Open Font Book from within Character Palette: Use the Manage Fonts command in the Action ( ) menu. (The Open Font Book command was apparently unavailable.)

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• Decode character grid numbers: Some Character Palette views use a grid to identify a character’s code in decimal or in hexadecimal. In either case, you derive the ID by combining the numbers labeling the rows and columns (Figure 53).

Figure 53: Decimal-number grid (left); the selected character’s ID is 21. Hex-number grid (right); the selected character’s ID is 00F1.

• Help tags offer differing information: Character Palette seems a little erratic when it comes to the information it shows in its pop-ups (Figure 54). Sometimes there’s both a Unicode ID and a glyph ID, and sometimes there’s only one or the other; the UTF-8 encoding, when it’s included, varies from one to four pairs of hex numbers.

But it’s not being capricious: sometimes a character has just a GID. Only those with Unicode IDs can have UTF-8 encodings, and lower Unicode IDs need fewer UTF-8 digits. And sometimes it can’t show a GID because you’re in a view that shows a “generic” character that has a different GID in each font where it’s available.

You might occasionally see a CID number (that’s C, not G!) in a help tag; that possibility is limited to Adobe PostScript Asian-language fonts (see Yet Another Character ID Scheme.)

Figure 54: Different characters, different help-tag information.

• Be careful about Unicode ID references: Character Palette pop-ups always use hex numbers. Some programs—Word’s Symbol palette, for instance, as shown in Figure 55—may refer to a Unicode ID with a decimal number in an effort to confuse you.

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Figure 55: Word reports the symbol’s Unicode ID as 8776 (left), but Character Palette (right) says it’s 2258. The apparent discrepancy results because Word uses a decimal number while Character Palette uses a hex number: 8776 in decimal is the same as 2258 in hex. This is a good reason to always use the U+ prefix, which indicates not only that it’s a Unicode ID but also that it’s a hex number. (See What the Hex??)

Easier Character Entry with PopChar X Character Palette is overwhelming not only in the features it provides but also in its size: even at its smallest, it takes over a laptop screen or bites a chunk out of a regular screen, floating on top of everything and getting in your way. But what else can you do if you need to go through a character set to find something special and Keyboard Viewer is so lame?

PopChar X, a €30 utility (€5 less with the coupon at the back of this book) from Ergonis Software, has been around just this side of forever. Its tiny menu nestles unobtrusively in the menu bar; click on it and the characters in the selected font are arrayed according to your choice of Unicode groupings, alphanumerics, or accented characters. Choose a character, and it’s inserted into your document. Its price tag may seem a little hefty at first for a “tiny” utility, but it could be well worth the investment if you input non-standard characters on a regular basis; try the partially disabled demo version to decide if it’s worth the price (http://www.macility.com/products/popcharx/).

USE ALTERNATE KEYBOARDS FOR FOREIGN LANGUAGES OR OTHER SPECIAL INPUT Let’s get this out of the way right up front: I’m no xenophobe. I know that what’s a foreign language to me is native to someone else. For any user, all but a few of the languages and keyboards in Mac OS X are foreign. Since I’m using a Mac with an English—more specifically,

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a U.S. operating system, everything else is, by definition, foreign. (Not that there’s anything wrong with that.)

Alternate keyboards (or input keyboards or keyboard layouts or, sometimes, just keyboards) alter your typed input so your keypresses are translated into something other than what you usually type with each key. You might use an alternate keyboard to:

• Type characters not available via your standard keyboard: You can’t use Character Palette to enter more than an occasional foreign language character unless you put aside a full day to write a letter home; Option character sets and dead keys provide only standard, Latin-based accented letters. When you want to type in a foreign language, you need to be able to really type, and foreign language input keyboards let you do that.

• Match your input to a foreign hardware keyboard: Whether you are practicing for a move, or learned on another system and want to continue using it, you can make your (presumably American) Mac keyboard respond as if it were from someplace else.

• Use a rearranged keyboard layout to suit your typing habits: Of course, this mainly refers to the Dvorak layout for more ergonomic typing, but that’s not the only alternate layout in the world.

Understand Alternate Keyboards Prior to Mac OS X, many foreign alphabet fonts were simply fonts with appropriately arranged characters. Pressing Shift-A generated a numeric code that was passed along to the application, which said to itself “Okay, a 41… let’s see, that’s an A, so I’ll display an A.” If you had chosen a Greek font, the internal dialog remained the same, but alpha was displayed because the font was designed with the alpha in A’s spot. In a Hebrew font, code 41 retrieved aleph, and in Cyrillic fonts an ef— but these were just funny-looking A’s as far as the system was concerned.

(Mac OS 9 provided special language kits, and “keyboard layouts” for more intensive foreign language typing, but the older approach I just described—the only one used for many years—still worked under OS 9 and many users never saw a need to switch to something that, while more sophisticated, was also more complicated.)

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With the shift to Unicode, this approach presents a problem. The code for A is still 41 (U+0041) but many characters formerly accessed with the Shift-A combination now have different IDs: alpha is U+0391 aleph is U+05D0, ef is U+0424.

What you need is something that translates your press of Shift-A into the correct code for the character you really want, in the context of the language you’re using. And that’s exactly what you have with Mac OS X input keyboards, software that interprets the signal coming in from the hardware keyboard, translating the keypress according to the input keyboard you’ve chosen. With a U.S. keyboard active, pressing Shift-A generates a code that’s interpreted as U+0041, the Unicode ID for A; select a Ukrainian keyboard, and pressing Shift-A ultimately generates U+0424, the Unicode ID for the Cyrillic ef. (Figure 56.)

Figure 56: Using an input keyboard, or keyboard layout, from the Input menu is like putting an overlay on your hardware keyboard that lets you type characters other than the ones printed on the keys. This picture shows which Unicode IDs are generated by pressing Shift-Q and Shift-A when various input keyboards are in use.

An input keyboard isn’t just an interpreter; it’s also a specific arrange-ment of characters commonly used in a language. Usually, the setup matches the hardware normally used where that language is spoken. (That’s why there are both American and British keyboards, even though we speak the same language. More or less.) Sometimes the keyboard offers access to the characters most often used in a language but arranged to help native English speakers type more easily, like the QWERTY options for Armenian and Hebrew. And sometimes an input keyboard has nothing to do with a foreign language, as with the Dvorak keyboard arrangement for more efficient typing.

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Access an Alternate Keyboard Once your Input menu is activated (described in Turn On the Tools), it’s easy to access a new keyboard:

1. From the Input menu, choose Open International.

This is a shortcut to the International preference pane.

2. Scroll through the list of keyboards and check the one(s) you want to use.

3. Choose the keyboard from the Input menu.

The Input menu’s “title” changes to the flag that represents the chosen keyboard, and Keyboard Viewer’s “Standard” keys reflect the basic keyboard mapping for the language (Figure 57).

Figure 57: Keyboard Viewer shows the result of activating a Ukrainian keyboard.

Select a Keyboard from the Keyboard You don’t have to go to the Input menu (a long trip on some big, wide screens) to choose a keyboard. Command-Space sends you back to your previous input keyboard, which effectively toggles you back and forth between two keyboards in the list—an extremely handy shortcut when you’re bouncing back and forth between languages to intersperse your basically English text with a few bon mots in, say, Russian.

Option-Command-Space cycles through all the keyboards listed in your Input menu.

However, to make this a trouble-free procedure, be sure to read the sidebar Clash of the Keyboard Shortcuts, ahead a few pages.

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Type in a Foreign Language without Changing Fonts Mac OS X lets you type in many foreign languages without ever switching to a language-specific font, and sometimes without even switching keyboards:

• For Roman languages: You don’t have to change fonts or input keyboards to type in Spanish or French or any language that uses the Latin alphabet. All the characters you need to type Répéter cela en français s’il vous plaît are readily available—in every font you have—without switching fonts or keyboards. (Typing these kinds of accents was covered in Use Keyboard Viewer to Type Accented Letters.)

But if you’re typing more than a few phrases here and there, you may not want to fuss with dead keys and multiple keystrokes to access accented characters. Switching keyboards lets you type the accented characters specific to a language more easily, since they’ll be right up top instead of buried, as shown in Figure 58. (Okay, the French AZERTY instead of QWERTY might cause more problems than it solves, but you get the idea.)

Figure 58: The French keyboard puts frequently used accented characters on unshifted keys (the top row changes to numbers with the Shift key).

• For non-Roman languages: As long as you change to an input keyboard that specifies the characters you want to type, you don’t have to change fonts—you can let Mac OS X find the appropriate characters for you. Say you want to type:

“The Hebrew spelling for shalom is .”

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Here’s the no-muss, no-fuss way to do it (assuming you’ve installed a Hebrew keyboard in the Input menu):

1. Type the English part of the sentence in some standard font, like Verdana.

2. Choose the Hebrew keyboard from the Input menu.

3. Type the four characters for Shalom.

Never mind, for the moment, that since you’re inserting this in an English sentence you may have to type left to right (depending on the application you’re in), which is backward for Hebrew; that’s not the point. The point is: you haven’t changed fonts but the Hebrew letters appear.

As the great writer Arthur C. Clarke said, any sufficiently advanced technology is indistinguishable from magic! This particular magic works because you used a Hebrew input keyboard, so your applica-tion received codes for Hebrew letters. The characters don’t exist in your current font, Verdana, so Mac OS X looks through your active fonts to find one that contains the letters you’re trying to type. When it finds one, it substitutes that font for those letters. The system font Lucida Grande, which has alphabets for many different languages, is usually the pinch hitter. (If no available font has the characters you typed, you’ll get boxes instead.)

And, sure enough, if you select those letters, you’ll see they’re in Lucida Grande (or possibly Times New Roman since it also contains the Hebrew alphabet). Try to apply a different font, and you can’t: the letters stubbornly (or cleverly) remain in the automatically applied font. You can change the font only if the new one also includes the Unicode Hebrew characters.

So, with automatic substitution available, why specify a font when you switch to a non-Roman language? For the same reason you change fonts when you’re typing in English: for the look.

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Clash of the Keyboard Shortcuts In case you haven’t noticed, the Interface Police skipped their Cupertino patrol several times during Mac OS X development.

The default keyboard shortcuts to move to the previous keyboard in the Input menu or to cycle through all its keyboards are Command-Space and Command-Option-Space. The default keyboard shortcuts to activate the Finder’s Spotlight menu bar option or its window are Command-Space and Command-Option-Space. Really. (And this didn’t change in Leopard. Really!)

To use a shortcut to change Input keyboards, you must change the key combo for one or the other of these pairs. The Spotlight shortcuts can be changed in the Spotlight preference pane, but both can be altered in the Keyboard Shortcuts screen of the Keyboard & Mouse preference pane.

Roll Your Own Keyboard Since keyboards trigger Unicode IDs for characters, wouldn’t it be nice if you could make your own keyboard so you could easily type ancient Sumerian characters by generating the correct codes? Well, you can, with the free Ukelele, from SIL Software.

First, let me say that my spellchecker is annoyed that this utility isn’t named Ukulele. Next, let me say that’s the only thing wrong with this program. All you have to do is drag characters from Character Palette onto a keyboard layout in Ukelele; you can stick to basics or venture into multilevel dead keys. Ukelele makes the keyboard, and you stick it in ~/Library/Keyboard Layouts. On your next login, your new keyboard is listed in the Input Menu tab of the International preference pane (http://scripts.sil.org/cms/ scripts/page.php?site_id=nrsi&id=ukelele ).

Keyboards don’t have to be for foreign languages; the image above shows part of one created with Ukelele that uses the circled letters available in several Leopard-supplied Asian fonts.

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Watch Out for Keyboard Commands on Foreign Keyboards When you’re using a keyboard that, like the French one, doesn’t have a Q in the expected place (from a U.S. perspective) or keyboards for non-Roman languages that don’t have a Q at all, what happens when you press your usual Command-Q for Quit? If the foreign keyboard is designed with the native English-speaking computer user in mind, the program quits as usual, and other common keyboard sequences, like the ones for Cut, Copy, and Paste, also work as expected.

You’re familiar with how a modifier key changes what the alpha-numeric keys do: press Shift and get capitals, press Option and get special characters, and so on. The Command key is also a modifier, and a keyboard can be designed so that the character set available with the Command key is the basic Roman alphabet no matter what the typeable keys produce. So, as shown in Figure 59, pressing Command while using a Hebrew QWERTY keyboard temporarily “rewires” the keys to the Roman alphabet so pressing Command-Q still generates the code that means “Quit.”

Figure 59: The QWERTY Hebrew keyboard uses Roman letters when you press Command; this is no good for typing since the sequence doesn’t get passed through to your application or document, but it’s what you need to use Command-S for Save.

The French input keyboard, on the other hand, with its AZERTY key arrangement (shown in Figure 58) doesn’t change when you press Command; pressing Command-Q on your American hardware is interpreted as Command-A, so you get a Select All instead of Quit!

Make sure you use Keyboard Viewer to check where your Command keys are when you switch to a foreign keyboard (just hold down

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Command while Keyboard Viewer is open). Improperly designed input keyboards, including most homegrown ones, may have no Command character set at all, requiring you to either use menus or switch keyboards to execute certain commands.

Warning! Log-out lockout with a foreign keyboard: If you use a foreign keyboard, make sure you log out, shutdown, or restart with the U.S. keyboard selected, not the foreign one. At log in, the system uses whichever keyboard was active when you logged out, so your password is typed with the characters from that keyboard. If you’re lucky, the foreign keyboard will at least let you access the characters you need—if you know where they are. (It could be as easy as a British keyboard needing Option-3 instead of Shift-3 for the # sign. But it won’t be.) This book’s companion, Take Control of Font Problems in Leopard, has more advice on solving this problem. It’s easy to log out with a foreign keyboard mistakenly activated: the keyboard command for logging out is Command-Shift-Q, and the one for changing the keyboard is Command-Space. It’s easy to hit Command-Space with the thumb that’s going simply for the Command key—you might not even notice the keyboard’s switched.

Asian Font Fun Sampler Have you ever felt limited by the Zapf Dingbats circled numbers, which end at ten? How would you like circled numbers up to one hundred, including zero, and options for leading zeroes on single-digit numbers? How about numbers in double circles or rounded rectangles—all in white-on-black and black-on-white versions? How about upper and lowercase Roman numerals? And arrows: hollow, filled, squiggly, angled, curved, dotted, dashed…? All these characters are in a single Asian font: Hiragino Kaku Gothic Pro (included in a standard Leopard installation), which also includes fractions way beyond the usual: fifths, sixths, sevenths, eighths, tenths, elevenths(!), and twelfths.

(continues)

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(continues)

Other Leopard Asian fonts include the nifty characters shown below. (If you bypassed installing them initially, Restore or Add Leopard Fonts tells you how to add them.) Each is only a tiny sampling of what you’ll find in the font. If you view the repertoires in Font Book or Character Palette, make sure you scroll past all the Asian characters because some of the best items are at the end of the character list.

#GungSeo #Pilgi • #GungSeo: Some of its 80 arrows; most styles come in four

orientations.

• #Pilgi: Some of its varied enclosed letters and numbers, and a few of its 170 or so arrows.

#PCMyungjo Hiragino Mincho Pro • #PCMyungjo: Its dagger collection and some of many dingbats.

• Hiragino Mincho Pro: Enclosed letters and numbers galore, shapes, symbols, and old-fashioned fractions.

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Appendix A: Supported Font Types

Table 11: Specs for Supported Font Types in Mac OS X

Name or

Extension Description Finder Kind

Font Book Kind Comment

PostScript Type 1 font (two files required) Bitmapped suitcase

.bmap or .scr (optional)

Companion to PostScript Type 1

Font Suitcase

(Shows as PostScript Type 1)

Used only as PostScript companion font

Printer font (Type 1) 5-letter family name plus 3 letters for each style

Outline font; needs bitmap FFIL companion

PostScript Type 1 outline font

PostScript Type 1

Needs companion bitmap file

Multiple Master fonts: Basically the same as PostScript Type 1 and companion; both FFIL and LWFN files usually have “MM” in their names.

TrueType (Mac)

Font family name

TrueType fonts in a suitcase file

Font Suitcase

TrueType

TrueType (Windows)

Font family name; .ttf or .ttc extension

Cross-platform

Windows TrueType font

TrueType

OpenType

Font family name; .otf extension

Outline font; cross-platform

OpenType font

OpenType PostScript

Replacing PostScript Type 1 fonts

dfont

.dfont TrueType variation; Mac-only format

Datafork TrueType font

TrueType No separate resource fork, all info in data fork

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Appendix B: Leopard Font Tables This appendix includes Table 12, the default fonts in the System Fonts folder (below); Table 13, the default fonts in the Library Fonts folder (next page); and Table 14, a roundup of Leopard fonts that should be kept because they are absolutely necessary or because they are in common use.

Parenthetical numbers after font names refer to the files belonging to the font group: AquaKana (2), for instance, refers to the files AquaKanaRegular.otf and AquaKanaBold.otf.

Table 12: The System Fonts Folder These fonts are installed by default in /System/Library/Fonts.

Font Language Script Font

Language Script

AppleBraille (5) Keyboard Apple Symbols LastResort AppleGothic Korean LiHei Pro* Chinese AquaKana (2) Japanese LucidaGrande Courier Monaco Geeza Pro (2) Arabic ShogakukanDictionaries† Japanese Geneva STHeiti* (2) Chinese HelveLTMM, Helvetica LT MM Symbol

Helvetica Thonburi (2) Thai Helvetica Neue Times Hiragino Kaku Gothic ProN* (2) Japanese TimesLTMM, Times LT MM

Hiragino Mincho Pro N* (2) Japanese ZapfDingbats

Green = Fonts that don’t appear in Font Book or in Font menus; see Figure 2 (p. 41). * Shown in the Finder in Asian characters; see Identifying Asian Font Names (p. 43). † Not included if you customize Leopard installation and decline additional fonts.

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Table 13: Leopard Fonts in the Library Fonts Folder These fonts are installed by default in /Library/Fonts.

Font Language Script Font

Language Script

#Gungseouche Korean DevanagariMT (2) Indic #HeadlineA Korean Didot #Pcmyoungjo Korean EuphemiaCAS (3) UCAS #Pilgiche Korean Futura AlBayan (2) Arabic GenevaCY Cyrillic AmericanTypewriter Georgia (4) Andale Mono GillSans Apple Chancery GujaratiMT (2) Indic Apple LiGothic Chinese Gurmukhi Indic Apple LiSung Light Chinese Hei Chinese AppleMyungjo Korean HelveticaCY Cyrillic Arial (4) Herculanum Arial Black Hiragino Kaku Gothic (4)* Japanese Arial Narrow (4) Hiragino Maru Gothic (2)* Japanese Arial Rounded Bold Hiragino Mincho Pro (2)* Japanese Arial Unicode Hoefler Text ArialHB (2) Hebrew Impact Ayuthaya Thai InaiMathi Tamil Baghdad Arabic Kai Chinese Baskerville Kailasa Tibetan BiauKai Chinese Kokonor Tibetan BigCaslon Krungthep Thai Brush Script KufiStandardGK Arabic Chalkboard (2) LiSong Pro* Chinese CharcoalCY Cyrillic MarkerFelt Cochin Mshtakan (4) Armenian Comic Sans MS (2) Nadeem Arabic Copperplate NewPeninimMT (4) Hebrew Corsiva (2) Hebrew NISC18030 Chinese Courier New (4) Optima DecoTypeNaskh Arabic Osaka (2) Japanese Purple = Fonts not included if you customize installation and decline additional fonts. * Shown in the Finder in Asian characters; see Identifying Asian Font Names (p. 43).

(continues)

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Table 13: The Library Fonts Folder (continued)

Font Language Script Font

Language Script

Papyrus Tahoma (2) PlantagenetCherokee Cherokee Times New Roman (4) Raanana (2) Hebrew Trebuchet MS (4) Sathu Thai Verdana (4) Silom Thai Webdings Skia Wingdings STFangSong* Chinese Wingdings 2 STKaiti* Chinese Wingdings 3 STSong* Chinese Zapfino

Purple = Fonts not included if you customize installation and decline additional fonts. * Shown in the Finder in Asian characters; see Identifying Asian Font Names (p. 43).

Table 14: Do Not Remove These Fonts

Font Location Reason

Absolutely Necessary AquaKanaBold AquaKanaRegular Geneva Helvetica* Helvetica Neue*

Keyboard LastResort LucidaGrande Monaco

/System/Library/Fonts The operating system needs them.

Helvetica LT MM HelveLTMM

Times LT MM TimesLTMM

/System/Library/Fonts Preview uses them for font rendering.

Recommended Courier Times

Symbol Zapf Dingbats

/System/Library/Fonts

Comic Sans Georgia Trebuchet

Times New Roman† Verdana† Wingdings†

/Library/Fonts

Common Web and cross-platform fonts.

* Can be replaced by another version of Helvetica/Helvetica Neue in any Fonts folder. † Microsoft Office 2004 users: see Office 2004 and Leopard’s Multiple-File Fonts (p. 64)

and the footnote in Table 4 (p. 61).

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Appendix C: Users and Accounts If you’ve ignored the whole user account thing up until now and feel prac-tically illiterate when you run into Fonts folder pathnames, or references to using a different account to test your font problems, relax: it’s simpler than you think.

Mac OS X is designed as a shared system, serving the needs—and preserving the privacy—of more than one user, whether the users are various employees or a few family members. If you’re the sole user, you have to put up with some nonsense that’s a result of the shared-Mac approach, with multiple places to store (and misplace) things, folders that seem to have the same names, and the concept of having an account on your Mac—an account with an administrator, who, in all likelihood, is you. You run into the surface issue of this approach every time you install software and you’re asked for an administrative password (and doesn’t that make you feel important?).

For most practical purposes, you can think of a Mac as starting with a single user account, a setup for a single user. Each user account has an owner, the person who has a password to use it. At least one user account has administrator privileges; the owner of an account with these privileges is allowed to make system-wide changes on the Mac that can affect all the accounts on it—like installing applications or updating system software. The first user account that’s set up on your Mac OS X machine automatically has administrator privileges. So, if you’re the only user, you have an account with administrator privileges. (You are the boss of you.)

The multi-user mindset of the operating system results in a hierarchy of resources and privileges:

• System stuff: These are things the Mac needs to keep humming—everything from starting up to putting a dialog on the screen to opening an application when you double-click a document.

• Communal stuff: Things that every user account can access, like applications, which are normally installed only once, in one place, and shared by everyone.

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• User stuff: Things that are private to each user, such as documents (obviously) and environmental things like the Desktop background and preference settings.

If your Macintosh is set up with only one user account, you won’t see much difference between the system stuff (which, for the most part you get to ignore), the communal stuff (because you’re the commune), and the user stuff. But the operating system still observes the separa-tion of system, commune, and user. If you do share your Mac with a spouse, child, or coworker, it may already have multiple accounts and you might be familiar with the effects of those separations.

How does this relate to fonts? For starters, there’s a Fonts folder for the system stuff, another one for the communal stuff, and another for the user (for each user on a multiple-account Mac). And if you’re on a network, there might be a network Fonts folder for everyone to share—no big deal. See? The multiple-Fonts-folders approach makes sense now that it’s in context, right? That was four Fonts folders described in two sentences, and you’re not even breaking a sweat.

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Appendix D: Replace the Helvetica dfont This is an excerpt from Take Control of Font Problems in Leopard.

Leopard supplies dfont versions of five stalwart standbys of the publishing business: Helvetica, Times, Courier, Symbol, and Zapf Dingbats, as well as a sixth very popular font, Helvetica Neue. If you’re a professional, you’ll want your PostScript or OpenType versions of these fonts to have supremacy over the system-supplied dfonts. For most of the stalwarts, this isn’t a problem because the dfont and PostScript names are different (such as Times PS for the PostScript version) and so don’t usually cause substitution headaches. But, oh, those Helveticas…!

You’ll want to remove Helvetica and Helvetica Neue from /System/ Library/Fonts, but you’ve probably already discovered this is not a simple issue. For one thing, removing anything from the System Fonts folder takes a special technique, as described in Remove the Non-Leopard Fonts. For another, dragging Helvetica or Helvetica Neue to the trash, as described in that entry, is a seemingly impossible mission: drag it to the Trash, and you get a dialog telling you that an essential system font is being restored to the Fonts folder, and, yup… there it is, miraculously reappearing in a few seconds.

And, finally, a supremely important issue: Helvetica is essential to your operating system. Luckily, any version of Helvetica will do, as long as it’s in a Mac OS X Fonts folder (not an application Fonts folder). When you’re replacing the system Helvetica, you have to replace it right away—think Indiana Jones swapping the bag of sand for the golden idol. In fact, put the new version in before you take the system version out; so many things go wrong when Helvetica is gone that it’s difficult or impossible to get anything done (see Life without Helvetica).

The mission, however, is only seemingly impossible, because you can circumvent the instant-replace response, which is controlled by font copies in a special folder named ProtectedFonts.

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Warning! This is serious stuff you’re going to do here. Removing the instant-replace capability and then removing the System’s Helvetica—and then accidentally disabling or removing your other Helvetica—is a recipe for disaster. So, be careful out there, and be sure to make the “insurance copy” of Helvetica described in the following procedure!

Another warning! When you replace the dfont Helvetica or Helvetica Neue with another version, the new version must contain the four basic typefaces: regular, bold, italic, and bold italic.

The instructions here refer to only the Helvetica dfont, but use the same procedure for Helvetica Neue (you can do them both at the same time):

1. Make Helvetica insurance:

a. Go to /System/Library/Fonts, select Helvetica.dfont, and choose File > Compress.

The zipped copy appears on the Desktop.

b. Drag the compressed copy into the System Fonts folder. You’ll be told you can’t, but click the Authenticate button in that dialog and provide your password in the next.

In case of emergency: If you “lose” or otherwise remove your substitute Helvetica, navigate to the System Fonts folder, double-click on this zipped version to get the font back, and restart your Mac.

2. Remove Helvetica from the ProtectedFonts folder:

a. Navigate to the folder:

/System/Library/Frameworks/ApplicationServices.framework/Versions/A/Frameworks/ATS.framework/Versions/A/Resources/ProtectedFonts

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Get to the folder easily: If you are reading this book in PDF format, copy the folder path above, go to the Finder, choose Go > Go to Folder, and paste the path into the dialog, making sure to remove any extra spaces—look especially for one after Resources. Then click the Go button.

b. Select Helvetica.dfont and drag it to the Trash. As with fonts from the System Fonts folder, you must send it directly to the Trash, and provide a password before it’s removed from the folder.

3. Install your replacement Helvetica: Put your new Helvetica in the System Fonts folder (/System/Library/Fonts).

Why the System Fonts folder? Because if you start up in Safe Mode as a troubleshooting procedure, only the fonts in the System Fonts folder can be seen—and Helvetica must be available.

4. Remove the system Helvetica: Drag Helvetica.dfont from /System/Library/Fonts directly to the Trash, supplying your password when requested.

5. Restart your Mac.

Think different: The ubiquitous Helvetica stands out from this lineup in another way: it causes more problems than any other font in computer history. Helvetica’s troubled history is due to its very popularity, which resulted in dozens of versions being produced (cheaper! better!), which caused hundreds of font substitution prob-lems (reflow! reprint!), which led to thousands of headaches (oy! ow!). But, come on, stop relying on Helvetica (yes, I’m talking to you font professionals): it’s 50 years old, it’s tired.

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About This Book Thank you for purchasing this Take Control book. We hope you find it both useful and enjoyable to read. We welcome your comments at tc-comments@tidbits.com. Keep reading in this section to learn more about the author, the Take Control series, and the publisher.

ABOUT THE AUTHOR When Sharon Zardetto wrote her first computer book, her sons were not even in preschool; now they’re both out of college. She used to write Mac books as Sharon Zardetto Aker, and she meant to drop the “Aker” part of her name when they got out of high school, but she was too busy—this and Take Control: The Mac OS X Lexicon were the first two books under her new, though original, name.

Sharon has a long Macintosh history, starting with a 1984 Mac (128K of memory, 400K floppy disks), and articles in the earliest issues of Macworld and the premiere issue (and every one thereafter, for many years) of MacUser. Her nearly a thousand magazine articles over the years include a regular MacUser column on portable computing. Her 20 or so books include many editions of The Macintosh Bible, as well as The Mac Almanac—whose especial claim to fame is having been part of an answer on the Jeopardy board—on TV, not the play-at-home version. (The correct question was: “What is a computer?” Really!)

After an almost 5-year hiatus from writing, during which she designed and programmed databases, and created online educational material for pharmaceutical firms, she decided to dive back in with Take Control ebooks. You can send her email about this title at sharon@ takecontrolbooks.com; she can’t promise a response to every email, but does promise to read every one.

On the personal side of things, Sharon notes that she met her husband in an Apple Computer store. (Double-sided floppies had also just been introduced.)

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THANK YOU First, to everyone who helped on the original edition of this book, because their generously donated time and effort lives on in this one. That’s when I blamed—I mean, thanked—Tonya and Adam Engst, who convinced me to write a book about fonts when what I wanted to do at the time was write about FileMaker. Thanks with no blame at all went to my first-round readers: Marilyn Rose, Jerry Szubin, and Rich Wolfson; all the Control Freaks for their time and efforts, with extra to Joe Kissell and especially to Tom Gewecke for his above-and- beyond correspondence; Lea Galanter for her professional nitpickiness.

For the first version of this Leopard edition, there was a somewhat secret society of writers and reviewers, since only those who were NDA’d (under non-disclosure agreement with Apple) for Leopard could look at the material. So, special thanks to the Control Freaks and Irregulars subset who took time to read through the manuscript.

SHAMELESS PLUGS Sharon has more Macintosh information than she knows what to do with, and much of it doesn’t fit our Take Control line. Check out the beginnings of her own lines of ebooks, 33 Things and Minifestos, at http://www.33thingsbooks.com/. In addition, as she finished this book and its companion volume, Sharon started putting together a site and blog for Mac tips and techniques (along with some commentary on issues). Check them out at http://www.mactipster.com/ and http://mactipster.wordpress.com/, where you can not only collect information, but contribute it, too.

But she and her friend Andy Baird did hammer out something that was not quite the usual Take Control material into a Take Control book: Take Control: The Mac OS X Lexicon.

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ABOUT THE PUBLISHER Publishers Adam and Tonya Engst have been creating Macintosh-related content since they started the online newsletter TidBITS, in 1990. In TidBITS, you can find the latest Macintosh news, plus read reviews, opinions, and more (http://www.tidbits.com/).

Adam and Tonya are known in the Mac world as writers, editors, and speakers. They are also parents to Tristan, who thinks ebooks about clipper ships and castles would be cool.

PRODUCTION CREDITS Take Control logo: Jeff Tolbert

Cover design: Jon Hersh

Editor in Chief and template master: Tonya Engst

Publisher and Grep automation master: Adam Engst

Production powered by Mark Knopfler and Emmylou Harris. A tip of the hat to a particular Irregular who helped make this a better book, and a big thank you to Julie, who made swans.

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Copyright and Fine Print

Take Control of Fonts in Leopard

ISBN: 1-933671-26-2 Copyright © 2008, Sharon Zardetto. All rights reserved.

TidBITS Publishing Inc. 50 Hickory Road

Ithaca, NY 14850 USA http://www.takecontrolbooks.com/

Take Control electronic books help readers regain a measure of control in an oftentimes out-of-control universe. Take Control ebooks also streamline the publication process so that information about quickly changing technical topics can be published while it’s still relevant and accurate.

This electronic book doesn’t use copy protection because copy protection makes life harder for everyone. So we ask a favor of our readers. If you want to share your copy of this ebook with a friend, please do so as you would a physical book, meaning that if your friend uses it regularly, he or she should buy a copy. Your support makes it possible for future Take Control ebooks to hit the Internet long before you’d find the same information in a printed book. Plus, if you buy the ebook, you’re entitled to any free updates that become available.

Although the author and TidBITS Publishing Inc. have made a reasonable effort to ensure the accuracy of the information herein, they assume no responsibility for errors or omissions. The information in this ebook is distributed “As Is,” without warranty of any kind. Neither TidBITS Publishing Inc. nor the author shall be liable to any person or entity for any special, indirect, incidental, or consequential damages, including without limitation lost revenues or lost profits, that may result (or that are alleged to result) from the use of these materials. In other words, use this information at your own risk.

Many of the designations used to distinguish products and services are claimed as trademarks or service marks. Any trademarks, service marks, product names, or named features that appear in this title are assumed to be the property of their respective owners. All product names and services are used in a an editorial fashion only, with no intention of infringement of the trademark. No such use, or the use of any trade name, is meant to convey endorsement or other affiliation with this title.

This title is an independent publication and has not been authorized, sponsored, or otherwise approved by Apple Inc. Because of the nature of this title, it uses terms that are trademarks or registered trademarks of Apple Inc.; to view a complete list of the trademarks and the registered trademarks of Apple Inc., you can visit http://www.apple.com/legal/trademark/appletmlist.html.

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Featured Titles Now that you’ve seen this book, you know that Take Control books have an easy-to-read layout, clickable links if you read onscreen, and real-world info that puts you in control. Click any book title below or visit our Web catalog to add more ebooks to your Take Control collection!

Take Control of Font Problems in Leopard (Sharon Zardetto): If you’re suffering from mysterious font problems in Leopard, help is at hand! On the cover of this ebook, click Check for Updates; you may find a discount for this ebook on the resulting Web page. $10

Take Control: The Mac OS X Lexicon (Andy Baird and Sharon Zardetto): In this definitive guide, you’ll find over 500 of the most important Macintosh- and Internet-related terms. $15

Take Control of MobileMe (Joe Kissell): This ebook helps you make the most of the oodles of features provided by a $99-per-year MobileMe subscription. $10

Take Control of Syncing Data in Leopard (Michael Cohen): Is your data stuck on your Mac? Learn how to sync it with another Mac, iPhone, iPod, mobile phone, or PDA! $10

Take Control of Users & Accounts in Leopard (Kirk McElhearn): Find straightforward explanations of how to create, manage, and work with—and among—user accounts. $10

Take Control of Easy Backups in Leopard (Joe Kissell): Devise a rock-solid backup strategy so you can restore quickly and completely, no matter what the catastrophe. $10.

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