Changing Text Size, Font, and Background In this lesson for the Books app on the Mac, I look at how to change the theme, or background, the font size, and the font of a book you are reading. Changing Text Size, background, and Font To change any of these options, you first show the toolbar by moving your cursor to the top of the book.

When the toolbar appears, click on the two A’s. When you do this, all the options will appear. Click on the larger and smaller ‘A’ to change the size. You can also select the background color of your book and the font for the book. See this Lesson Action To see this lesson in action, take a look at the video above.

For other uses, see. Helvetica, Eduard Hoffmann Date released 1957 Design based on Helvetica or Neue Haas Grotesk is a widely used developed in 1957 by Swiss with input from Eduard Hoffmann.

Helvetica is a or realist design, one influenced by the famous 19th century typeface and other German and Swiss designs. Its use became a hallmark of the that emerged from the work of Swiss designers in the 1950s and 60s, becoming one of the most popular typefaces of the 20th century. Over the years, a wide range of variants have been released in different weights, widths and sizes, as well as matching designs for a range of non-Latin alphabets.

Notable features of Helvetica as originally designed include a high, the termination of strokes on horizontal or vertical lines and an unusually tight spacing between letters, which combine to give it a dense, compact appearance. Developed by the Haas'sche Schriftgiesserei of, its release was planned to match a trend: a resurgence of interest in turn-of-the-century 'grotesque' sans-serifs among European graphic designers, that also saw the release of by the same year.

Hoffmann was the president of the Haas Type Foundry, while Miedinger was a freelance graphic designer who had formerly worked as a Haas salesman and designer. Miedinger and Hoffmann set out to create a neutral typeface that had great clarity, no intrinsic meaning in its form, and could be used on a wide variety of signage. Originally named Neue Haas Grotesk (New Haas Grotesque), it was rapidly licensed by Linotype and renamed Helvetica in 1960, being similar to the for Switzerland,. A directed by was released in 2007 to coincide with the 50th anniversary of the typeface's introduction in 1957. A 1969 poster by Robert Geisser exemplifying the 'Swiss' style of the 1950s and 60s: solid red colour, simple images and neo-grotesque sans-serif type, avoiding all-caps.

This design appears to use Helvetica or a close imitation. The main influence on Helvetica was the popular Akzidenz-Grotesk from; Hoffman's scrapbook of proofs of the design shows careful comparison of test proofs with snippets of Akzidenz-Grotesk.

Its 'R' with a curved tail resembles Schelter-Grotesk, another turn-of-the-century sans-serif sold by Haas. Wolfgang Homola comments that in Helvetica 'the weight of the stems of the capitals and the lower case is better balanced' than in its influences. Attracting considerable attention on its release as Neue Haas Grotesk ( Nouvelle Antique Haas in French-speaking countries), Stempel and adopted Neue Haas Grotesk for release in, the standard typesetting method at the time for, and on the international market. In 1960, its name was changed by Haas' German parent company to Helvetica (meaning Swiss in ) in order to make it more marketable internationally. It comes from the Latin name for the of what became Switzerland. Intending to match the success of, Arthur Ritzel of Stempel redesigned Neue Haas Grotesk into a larger family.

The design was popular: suggests that Helvetica 'began to muscle out' Akzidenz-Grotesk in from around summer 1965, when Amsterdam Continental, which imported European typefaces, stopped pushing Akzidenz-Grotesk in its marketing and began to focus on Helvetica instead. It was also made available for systems, as well as in other formats such as dry transfers and plastic letters, and many phototypesetting imitations and knock-offs were rapidly created by competing phototypesetting companies. In the late 1970s and 1980s, Linotype licensed Helvetica to and then and, guaranteeing its importance in digital printing by making it one of the core fonts of the page description language. This has led to a version being included on Macintosh computers and a metrically-compatible clone, on Windows computers.

The rights to Helvetica are now held by, which acquired Linotype; the Neue Haas Grotesk digitisation (discussed below) was co-released with Font Bureau. Characteristics.

Helvetica's tight apertures contribute to a regular, dense design. tall, which makes it easier to read at distance. quite tight spacing between letters.

An rather than style, a common feature of almost all grotesque and neo-grotesque typefaces. Wide capitals of rather uniform width, particular obvious in the wide 'E' and 'F'. square-looking 's'.

bracketed top flag of '1'. rounded off square tail of 'R'. concave curved stem of '7'. two-storied 'a' (with curves of bowl and of stem), a standard neo-grotesque feature, and single-storey 'g'. Helvetica can’t do everything.it can be really weak in small sizes. Shapes like ‘C’ and ‘S’ curl back into themselves, leaving tight '—the channels of white between a letter’s interior and exterior. The lowercase ‘e,' the most common letter in English and many other languages, takes an especially unobliging form.

These and other letters can be a pixel away from being some other letter. Like many neo-grotesque designs, Helvetica has narrow, which limit its legibility onscreen and at small print sizes.

It also has no visible difference between upper-case 'i' and lower-case 'L', although the number 1 is quite identifiable with its flag at top left. Its tight, display-oriented spacing may also pose problems for legibility. In situations where this matters, other designs intended for legibility at small sizes above all, such as, or or a such as, which makes all letters quite wide, may be more appropriate. Usage examples. 1964 poster for Helvetica is among the most widely used sans-serif typefaces.

Versions exist for, and alphabets. Faces have been developed to complement Helvetica. Helvetica is a popular choice for commercial, including those for (including ),. Used Helvetica as the system typeface of until 2015. Helvetica has been widely used by the; for example, federal income tax forms are set in Helvetica, and used the type on the.

Helvetica is also used in the. The also uses Helvetica as its identifying typeface, with three variants being used in, and encourages its use in all federal agencies and websites. A hand-cut master used in the 1983 release of Helvetica Neue.

In the, Helvetica is legally required to be used for health warnings on tobacco products such as e.g. Helvetica is commonly used in transportation settings. New York City's (MTA) adopted Helvetica for use in signage in 1989. From 1970 to 1989, the standard font was Standard Medium, an American release of Akzidenz-Grotesk, as defined by New York City Transit Authority Graphic Standards Manual. The MTA system is still rife with a proliferation of Helvetica-like fonts, including, in addition to some old signs in Medium Standard, and a few anomalous signs in Helvetica Narrow. Helvetica is also used in the, the, Philadelphia's, and the. Used the typeface on the 'pointless arrow' logo, and it was adopted by Danish railway company for a time period.

In addition, the former state-owned operator of the developed its own Helvetica-based font, which was also adopted by the and the. The typeface was displaced from some uses in the 1990s to the increased availability of other fonts on digital systems, and criticism from type designers including and, both of whom have criticised the design for its omnipresence and overuse. Majoor has described Helvetica as 'rather cheap' for its failure to move on from the model of Akzidenz-Grotesk. Used Helvetica Neue as its corporate typeface until 2017, spending over $1m annually on licensing fees. It switched in 2017 to the custom family, concluding that a custom open-source typeface would be more distinctive and practical, as it could be freely distributed and installed without rights issues. Media coverage.

An early Helvetica specimen in the asymmetric Swiss modernist style, showing tight spacing in the poster style of the period. An early essay on Helvetica's public image as a font used by business and government was written in 1976 by Leslie Savan, a writer on advertising at the. It was later republished in her book The Sponsored Life. In 2007, Linotype GmbH held the Helvetica NOW Poster Contest to celebrate the 50th anniversary of the typeface. Winners were announced in the January 2008 issue of the LinoLetter. In 2007, director released a documentary film, (Plexifilm, DVD), to coincide with the fiftieth anniversary of the typeface.

In the film, graphic designer said, 'Helvetica was a real step from the 19th century typeface. We were impressed by that because it was more neutral, and neutralism was a word that we loved. It should be neutral. It shouldn't have a meaning in itself. The meaning is in the content of the text and not in the typeface.' The documentary also presented other designers who associated Helvetica with authority and corporate dominance, and whose rebellion from Helvetica's ubiquity created new styles. From April 2007 to March 2008, the in displayed an exhibit called '50 Years of Helvetica'.

In 2011 the displayed an exhibit called Helvetica. A New Typeface?

The exhibition included a timeline of Helvetica over the last fifty years, its antecedents and its subsequent influence, including in the local area. Variants. Helvetica Arabic Designed by Lebanese designer, it is a version with Arabic script support. Only OpenType TTF font format was released. The family includes three fonts in three weights and one width, without italics (45, 55, 65). (Neue) Helvetica Thai (2012) Thai font designer of Cadson Demak Co. Created Thai versions of Helvetica and Neue Helvetica fonts.

The design uses loopless terminals in Thai glyphs, which had also been used by Wongsunkakon's previous design, Manop Mai (New Manop). Neue Helvetica World (2017) Designed by Nadine Chahine, Linotype Design Studio, Monotype Design Studio and Edik Ghabuzyan, it is a version of Neue Helvetica with support of Latin, Cyrillic, Greek, Arabic, Hebrew, Thai, Armenian, Georgian and Vietnamese scripts for total 181 languages, and complete support of Unicode block u+0400. Published in November 2017 by Linotype, it was released in Truetype and OpenType CFF formats. Neue Helvetica eText (2011) It is a version of Neue Helvetica optimised for on-screen use, designed by Akira Kobayashi of Monotype Imaging.

Changes from Neue Helvetica include more open spacing. Unlike Helvetica, the capitals are reduced in size so the lower-case rise above them, a common feature associated with text typefaces. The family includes eight fonts in four weights and one width, with complementary italics (45, 46, 55, 56, 65, 66, 75, 76).

OpenType features include numerators/denominators, fractions, ligatures, scientific inferiors, subscript/superscript. Neue Haas Grotesk (2010) 's digitisation for is based on the original Helvetica drawings and uses the typeface's original name.

It was released with an article on the history of Helvetica by Professor Indra Kupferschmid. Unlike earlier digitisations, Schwartz created two different for and display sizes, which have different spacing metrics giving tighter spacing at display size and looser spacing to increase legibility in text.

The release includes a number of features not present on digitisations branded as Helvetica, such as separate punctuation sets for upper- and lower-case text, 'modernist' cedilla designs styled to match the comma and reduced-height numbers to blend into extended text. Three weights of the text optical size are bundled with in the user-downloadable 'Pan-European Supplemental Fonts' package.

Writing for Typographica, described the release as better than any previous digital release of Helvetica: 'As someone who’s worked with Helvetica, I can vouch for the fact that it’s never looked better.My sole criticism of the face is its ungainly name, which I’m regrettably certain will limit its visibility and hence its uptake. 'Neue Haas Grotesk' makes it sound like a second cousin of Akzidenz Grotesk that’s just stumbled in from the hinterlands.

But no, it is the rightful heir to the Helvetica throne. It should carry the Helvetica name.

Users include and the. It originated from an abandoned redesign plan for the newspaper. The release does not include condensed weights or Greek and Cyrillic support.

Comparison of Helvetica, and., a humanist design not based on Helvetica, is shown for comparison. As one of the most iconic typefaces of the twentieth century, derivative designs based on Helvetica were rapidly developed, taking advantage of the lack of copyright protection in the font market of the 1960s and 70s onwards. Some of these were straight clones, simply intended to be direct substitutes.

Many of these are almost indistinguishable from Helvetica, while some add subtle differences. Substitute Helvetica designs that have survived into or originated during the digital period have included 's Arial, Compugraphic's CG Triumvirate, ParaType's Pragmatica, 's Swiss 721, 's and 's Europa Grotesk. Berthold itself responded to Helvetica's popularity with Akzidenz-Grotesk Buch, effectively a Helvetica clone. Besides Helvetica imitations, Helvetica was available in custom derivatives with unusual special-order characters for many years, notably a straight-legged 'R' and round-topped 'A'. Uses a custom derivative, 'CNN Sans', which has a '1' with a base. Nimbus Sans (later URW) under the leadership of produced a modification of Helvetica called.

This is an extremely large font family with optical sizes spaced for different sizes of text and other variants such as stencil styles. Florian Hardwig has described its display-oriented styles, with tight spacing, as more reminiscent of Helvetica as used in the 1970s from cold type than any official Helvetica digitisation.

Arial and MS Sans Serif 's, created for IBM and also used by Microsoft, is indistinguishable by most non-specialists. Matthew Carter, who was a consultant for IBM during its design process, describes it as 'a Helvetica clone, based ostensibly on their ' (Monotype's old 1920s sans-serif family, popular in British trade printing in the metal type period, and itself based on the Bauer family). Differences include:. Helvetica's strokes are typically cut either horizontally or vertically.

This is especially visible in the t, r, f, and C. Arial employs slanted stroke cuts, following Monotype Grotesque.

Helvetica's G has a spur at bottom right; Arial does not. The tail of Helvetica's R is more upright whereas Arial's R is more diagonal. The number 1 of Helvetica has a square angle underneath the upper spur, Arial has a curve.

The Q glyph in Helvetica has a straight cross mark, while the cross mark in Arial has a slight curve. The design was created to substitute for Helvetica: Arial (and many other clones of the period) are metrically identical to the PostScript version of Helvetica, so that a document designed in Helvetica could be displayed and printed correctly without IBM having to pay Linotype for a Helvetica license on its printers.

Microsoft's 'Helv' design, later known as ', is a sans-serif typeface that shares many key characteristics to Helvetica, including the horizontally and vertically aligned stroke terminators and more-uniform stroke widths within a glyph. Free Helvetica substitute fonts , a version of URW's Nimbus Sans spaced to match the standard Linotype/PostScript version of Helvetica, was released under the in 1996, and donated to the project to create a free PostScript alternative. It (or a derivative) is used by much open-source software such as as a system font.

A derivative of this family known as 'TeX Gyre Heros' has been prepared for use in the scientific document preparation software., a free font descending from URW Nimbus Sans L, which in turn descends from Helvetica. It is one of free (GPL) fonts developed in GNU FreeFont project, first published in 2002.

Is a metrically equivalent font to Arial developed by at and published by under the SIL Open Font License. It is used in some GNU/Linux distributions as default font replacement for Arial. Oracle funded the additional development of Liberation Sans Narrow in 2010. Google commissioned a variation named for. Much more loosely, was developed by Christian Robertson of as the system font for its operating system; this has a more condensed design with the influence of straight-sided geometric designs like.

A Helvetica Flair specimen sheet Designed by Phil Martin at Alphabet Innovations, Helvetica Flair is an unauthorised phototype-period redesign of Helvetica adding and -inspired capitals with a lower-case design. Considered a hallmark of 1970s design, it has never been issued digitally. It is considered to be a highly conflicted design, as Helvetica is seen as a spare and rational typeface and swashes are ostentatious: font designer Mark Simonson described it as 'almost sacrilegious'. Martin would later claim to have been accused of 'typographic incest' by one German writer for creating it. Helvetica Flair was one of several derivative fonts created by Martin in the 1970s (and a particularly legally questionable one, since it was directly named 'Helvetica'). Martin also drew 'Heldustry', a fusion of Helvetica with, and 'Helserif', a redesign of Helvetica with, and these have both been digitised.

Shatter LET (1973). Shatter Designed by Vic Carless, Shatter assembles together slices of Helvetica to make a typeface that seems to be in motion, or broken and in pieces. It was published by after jointly winning their 1973 competition to design new fonts. Writing in 2014, Tim Spencer praised the design for its ominous effect, writing that it offered 'glitch-like mechanical aggression and cold, machine-induced paranoia. It attacked the Establishment’s preferred information typography style with a sharp edge and recomposed it in a jarring manner that still makes your eyes skitter and your brain tick trying to recompose it.

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Intel r 82852 driver for mac. Shatter literally sliced up Swiss modernist authority.' Top: Coolvetica, based on Helvetica modifications such as Helvetica Flair: note curved designs of t and y as well as the narrow letter spacing commonly seen in pre-digital Helvetica. In the digital period, Canadian type designer has released several digital fonts based upon Helvetica. The most widely known and distributed of these is Coolvetica, which Larabie introduced in 1999; Larabie has stated he was inspired by Helvetica Flair, Chalet and similar variants in creating some of Coolvetica's distinguishing glyphs (most strikingly a swash on capital G, a lowercase y based on the letterforms of g and u, and a fully curled lowercase t), and chose to use set a tight default spacing optimised for use in.

Larabie's company Typodermic offers Coolvetica in a wide variety of weights as a commercial release, with the semi-bold as freeware taster; as of 2017, the semi-bold remains Larabie's most popular font. Larabie has also taken inspiration from Helvetica in some of his other designs, including Movatif and GGX88. Local Gothic Inspired by noticeboards using stencilled or plastic letters from a variety of sources, created the font 'Local Gothic', which randomly mixes capitals in the loose style of several popular American display capital fonts, Helvetica Bold among them. Sans forgetica is an unofficial version of Helvetica sans-serif intended as a learning aid. Popular culture In 2011, one of 's jokes centered on the use of Helvetica.

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If a user attempted to search for the term 'Helvetica' using the search engine, the results would be displayed in the font.