Using Open Type Fonts

Carl Shank • September 29, 2023

Using Open Type Fonts*

Most modern fonts are what we call "Open Type" fonts (See my Blog Post "More About Fonts"). The advantages of Open Type fonts are mainly fourfold — (1) they have a larger glyph limit (usually about 65,000 glyphs). This is an advance over the traditional 256 glyphs in a standard Type 1 or TrueType font. (2) They are cross platform fonts, thus able to be used in both Mac and Windows applications. (3) They offer support for both PostScript Type 1 and True Type outlines. (4) They support advanced typographic features. More on this later.


Open Type fonts can contain many thousands of characters and multiple alphabets, such as Latin, Greek, and Cyrillic; or kanji, kana, and romaji for Japanese use). OpenType fonts can also include typographic refinements such as true small caps, different styles of figures, and extensive sets of ligatures and alternates, as well as complete sets of accented characters and diacritical marks. Different applications have differing levels of support for all the OpenType features.However, not all programs can support all Open Type features, as shown by the Windows fraction 3/16 in Microsoft Word in the Windows font Book Antiqua Sample below.


Open Type options built into advanced programs, such as Adobe InDesign and Photoshop CC include several features, that can be turned on in the "Character" menu under InDesign (See Sample Below) —


Ligatures — Ligatures are typographic combinations of two or more letters into a single character (See Sample Below). There are three types of Ligatures, Standard, Discretionary and Historical. You are most likely familiar with Standard Ligatures, such as the combination of "f" plus "l" in fl or "f" plus "f" plus "i" in ffi. Discretionary ligatures are decorative in nature, adding a unique visual element to text that does not affect its readability nor functionality (See Sample Below). Historical Ligatures maintain old-fashioned letter combinations, used for centuries by typographers, such as the combination œ ("o" plus "e") seen in medieval manuscripts. Actually, this lexical ligature is called an "ethel" and typographically required for deliberate archaism and for academically correct quotation from older English sources, as well as in some French phrases, such as hors d'œuvre.


Contextual Alternates Contextual alternates are ligatures that are applied to individual characters based on the letters around them (their context). Contextual alternates can also be applied to entire words in certain contexts, for example, words frequently used in titles (such as "of" and "the"). When contextual alternates are enabled for a font, they are used instead of the standard ligatures in those contexts defined by the font designer. In Microsoft Word, contextual alternates can be found in the Open Type Features group, "Advanced" tab, on the "Font" dialogue.


Discretionary Ligatures — Discretionary ligatures are designed to be ornamental and not specifically designed for readability. They are not common in use. Texts usually borrow some of their elements as accents.


Swashes — (See Example Below) A swash is a typographical flourish, such as an exaggerated serif, terminal, tail, entry stroke, etc., on a glyph. The use of swash characters dates back to at least the 16th century, as they can be seen in Ludovico Vicentino degli Arrighi's La Operina, which is dated 1522.


Stylistic Alternates — Stylistic alternates, or simply "alternates,"  usually placed in one of the stylistic set features ( ss01 - ss20 ), are usually simple one-to-one substitutions (no context) and, of course off, by default. The user can enable them.


Titling Alternates — These are specially-designed capitals that are intended for display usage. Titling characters differ from their text counterparts in that their scale, proportion and design details have been altered to look best at larger sizes.


Ordinals — In common (rather than mathematical) usage, ordinals are superscripted letters following a number, such as in 1st, 2nd and 3rd. They are used in other languages as well, for example, the Spanish and Portuguese "a" and "o" ordinals. (See Sample Below)


Fractions — Fractions can be divided into three categories–basic, extended and arbitrary. Basic fractions are ¼, ½ and ¾, and are standard in many fonts in all formats. Extended fractions are found in many, but not all, OpenType fonts, and usually include 1/8, 3/8, 5/8, 7/8, and sometimes 1/3 and 2/3. Arbitrary fractions include anything and everything else, such as 18/256. (See Sample Below and my Blog on "About Well Defined Fractions")


Choosing Glyphs

A glyph is a single representation of a character. Every font has a Unicode character map that links (abstract) character IDs with how to display that character, using the default glyphs. A single character can have multiple glyphs (alternates), and a single glyph can represent multiple characters (ligatures). (See Sample Below)


Open Type in Microsoft Word

Those who use Microsoft Word will note that Word has limited Open Type support and uses. What are generally available, if the font in question has them, are Stylistic Alternates, Contextual Alternates and Standard and Discretionary Ligatures. Thus, the fl ligature, for example, can be accessed in Word (See Example Below). If the Open Type font has fractions that go beyond the normal fractional glyphs, they will also be available in Word documents. Most likely, however, fractions that are real typographic fractions are limited in Word usage.


To access these features in Word,  (1) Select your text and go to to Format > Font and select the Advanced tab. (2) For Stylistic Alternates, click on the dropdown menu under “Stylistic Sets” and choose one of the sets. Keep in mind that not all fonts will have 20 stylistic sets. (3) To enable contextual alternates, check the box toward the bottom. Ligatures — If you click on the dropdown beside Ligatures you’ll be able to choose from Standard ligatures, Historical and Discretionary, and so forth. (See Sample Below)


To access Open Type glyphs in other text programs, you have to use what is called PUA Unicode-mapping. Unicode has been around for several decades, but it didn’t come into the limelight until 2000 when Adobe and Microsoft jointly adopted Unicode for font encoding. Today, Unicode is the default character encoding for nearly all computer technologies.Unicode is a common character set that is supported on the Windows, Apple, and Unix platforms. It assigns a unique number (called a code point) to each character of the world’s major languages, plus mathematical symbols, common decorative symbols like checkboxes, diacritical marks, punctuation, and other characters. Unicode supports more than 900,000 code points which means it can handle more than 900,000 characters or glyphs. That’s a huge increase from legacy TrueType and PostScript fonts which had only 256 code points.


Consequently, using Unicode, a typist can access characters such as true prime (U 2032), double prime (U 2033) and true quotes. For Windows users,  (1) Open the Windows Character Map App; (2) Set the Font to the desired one in the list; (3)  At the bottom, check [ ] Advanced View; (4) Set “Group by:” to Unicode Subrange; (5) At the bottom of the list, select “Private Use Characters." You can also use a glyph finder app like "PopChar" (https://ergonis.com/popchar $29.99)


For Mac users, (1) Open the FontBook app;  (2) To copy characters, go to Preview / View > Repertoire; (3) Select and copy (CMD + C) the desired character; (4) You can then paste (CMD + V) the character(s) into the text field of your open program (such as Microsoft Word.) Or, you can use an app, like PopChar or Ultra Character Map (https://x04studios.com/ultracharactermap.html $9.99 for Mac)


The point is that Open Type has a myriad range of use and features open to the general and specialized user of open type fonts. Enjoy getting to know and use them in your documents!


(*Much of this article and the back splash for this blog are adapted from the Creative Market blog, https://support.creativemarket.com/hc/en-us/articles/360037478813-Using-Fonts-with-Special-Features-OpenType-#opentype) Swiss Army knife is from SkyVectors.








Successful Layout & Design

By Carl Shank April 7, 2026
The King James Bible (KJV), commissioned by King James 1 in 1604 and published in 1611, has been a profound Bible translation and masterpiece of beauty through the ages. It has been one of the most influential English translations of the Bible. Its history combines politics, religion, and literary achievement in early modern England. It has an elevated, poetic style that influenced many later writers. It has been prized for its literary beauty, historical continuity and memorability in public reading and worship (ChatGPT).
By Carl Shank April 6, 2026
Responding to AI and Digital Babylon H. Carl Shank April 4, 2026 Austin Gravley, a former Social Media Manager of The Gospel Coalition, and now the Director of Youth Ministry at Redeemer Christian Church in Amarillo, TX, is writing a book on AI and the digital revolution taking place. He compares this Digital Babylon and its captivity and its exiles to Christians living under the overwhelming influence of an active anti-Christian developing AI. Piecing together his comments with those of many others on the advancing scene of AI on our lives, several themes come to mind. First, AI is not God. While there are some in the Silicon Valley who might wish or see AI as a unifying, ontological force that can shape or rule our lives — the Super Machine —others remind us that this is only technology. And as advanced as AI is and becomes, God is still sovereignly in control of it and our lives. Jason Thacker, professor of philosophy and ethics at Southern Seminary and Boyce College, writes — “We must engage these issues, rather than respond after their effects are widely felt. But we don’t have to face today or tomorrow with fear. God is sovereign and his Word is sufficient for every good work, so we are able to walk with confidence as we apply his Word to these challenges with wisdom and guided by his Spirit.” ( The Age of AI: Artificial Intelligence and the Future of Humanity , Zondervan, 2020) A recent storm that darkened my community and scuttled Internet services reminded me of that. Even AI data centers, growing to over 3,000 in 2025 nationwide, are not immune to power disruptions and total blackouts. AI pundits may claim to have control procedures to keep the Internet and AI running cannot promise it to be so. We need to keep this in mind in the Digital Babylon age, as was needed to be kept in mind by Israel in the Babylonian Empire age in biblical times. Babylon went through many iterations, but will be defeated by God at the end of the day, as noted in Revelation. Digital Babylon will experience the same demise. This is not prediction, just Bible truth. We as believers need to hold on to such truth. Second, AI is still technology. Indeed, advanced and advancing technology, but not human. Matthew Schultz in a recent mereorthodoxy.com article notes— “Technology has existed since the Garden and is an integral component of our cultural mandate. We should also remember that one of the core distinctions between the Creator and his creatures is that we never create matter but merely (!) rearrange it. This becomes clear whether we consider an ancient farmer in Mesopotamia irrigating a plot of soil, a medieval peasant in Northumbria weaving a basket from flax, or a young musician in London taking the raw outputs of machine sound, adjusting its pitch, volume, and length, and incorporating it into a DAW loop. While there are all sorts of important distinctions and qualifications between pre- and post-industrial craft, there is no metaphysical distance between the two.” ( Artificial Intelligence Is A Technology , Feb. 26, 2026). AI may be the harbinger of a new Industrial Age, but though changes will be major and sometimes severe, the human side of the equation cannot be discounted or counted out. Part of my retired status as a pastor and theologian is that of a typographer restoring old type faces and doing a deep dive into the history of type. Two historical typographical truths stand out. Although the Renaissance age brought movable type from Gutenberg and others into the machine age, the typographical flair of those ancient scribes with pen-drawn exquisite type remained a stylistic standard. The second note is that with the Industrial Age, while affecting the quantity and speed of type development and printing, master type craftsmen rebelled against machine driven type for more organic typefaces. This was seen, for instance, in the type movement spawned by William Morris (1834–1896). William Morris was an Arts & Crafts designer who founded the Kelmscott Press (1891), reviving hand craftsmanship in printing. His work influenced the twentieth century private press and type revival movements. Lettering became a vehicle for breaking convention. Led by figures such as Morris, there was a decided reaction against industrialization, seeing machine-made goods as dehumanizing and ugly. Handcraftmanship, honesty in materials and utility fused with beauty made up much of what was called the Arts & Crafts Movement. That movement was rooted in medieval guild ideals and morality in design. (For an expanded history of type development, see “Advances in Typography: A Historical Sketch — Three Parts” in the blogs by CARE Typography, www.caretypography.com , Nov. 8, 2025, Nov. 18, 2025 and Nov. 20, 2025) Third, AI affects everyone everywhere. Austin Gravely, a former Social Media Manager of The Gospel Coalition, raises and answers the query — “’So what?’, you may think. ‘I’m not an Internet technician. I’m not a fan of AI. I’m not planning to change how I use the Internet. Why does any of this matter to me?’ To put it bluntly: you are naive if you think these disruptions won’t directly affect you, or indirectly affect you through the effect they will have on others. If the iPhone, social media, and AI have taught us anything, it is that you are impacted by these events regardless of whether you participate in them or not.” ( The State of the Internet: 2026 , mereorthodoxy.com, March 30, 2026) He goes on to say — “A changing Internet will change you. It will change you in ways you can see and in ways you can’t. It will change those you live with, work with, play with, build with, and fight with. It will change what is possible, probable, permissible, and prohibited in your life, your vocation, your church, your neighborhood, and any other physical space the Internet touches.” I recall my 99 year old mother who passed away a couple of years ago in a nursing facility. She was one of those survivors of the Great Depression and World War Two who dismissed the first moon landing and had her flat screen TV removed from her room for fear the government was watching. She lasted for nine years in the same private room in a modern nursing center. She was attended by doctors and nurses and staff who used AI on their computers and other care devices. She even had a modern digital phone removed from her room and refused to learn it. While she personally rebelled against her AI driven machine age, she could not escape those who used such technology for her care. We cannot isolate ourselves from AI and its advancing development, no matter how isolated we try to be. Fourth, AI can be either a blessing or a curse. Again, Matthew Schultz notes — “Our task is not to develop a unique theology of AI but to catechize our members into a people who can wield this technology without becoming captive to its internal logic. Like alcohol, artificial intelligence will become a test of character, a dangerous good that divides the foolish from the wise.” He says “Yet the greatest danger is both more pervasive and less obvious: AI is much more likely to be deployed as a multiplicative layer that allows ever more efficient micro-targeting of digital services and physical products by industries that already profit from compulsive behavior. The advent of hyper-personalized, real-time engagement strategies will require legislative safeguards, especially if AI leads to video advertisements generated in real time for an exhaustively mapped individual profile.” We must seek to “humanize” AI and employ it “humanly.” We must resist the phenomenological bent toward unbelief in AI development and pressures. We must once again learn to think critically and pervasively and biblically about AI. Our young people must be taught prescriptive critical thinking practices, rather than unwittingly and ignorantly giving in to what their phones and computers spit out. Church and ministry pastors must pastor rather than let AI bots plan, prepare and even give their sermons. We must learn to smartly negotiate with the “Magnificent Seven”— Apple, Microsoft, Alphabet, Amazon, Meta, Nvidia and Tesla — rather than blindly following their lead. Convenience and speed must not be allowed to overtake and overcome careful, sustained and critical thinking and acting. “To give language to this change, we must take the best of Christian thinking regarding the social and political imaginary and apply it to the economic imaginary of life under the glowing shores of Digital Babylon, and that kind of work cannot be done with quick hot takes. It will take slow, deep, and thoughtful meditation to apply the riches of Christian thought to making sense of the companies that got us here and where they are taking us.” (Austin Gravley, The State of The Internet: 2026 ) I am both excited and wary of AI. I have learned to be much more cautious about social media and the videos and photos and information they give. Much of it has been and is being AI produced and tweaked. Spammers use AI technology to wrest thousands of dollars from unsuspecting senior citizens. Schools are requiring students to turn off their cell phones or “bag” them until after school hours because of the insidious nature of AI generated stuff. I value more and more of a face-to-face approach in teaching and learning and mentoring others. And we must adopt a state of “believing is seeing” rather than a non-Christian scientifically sanctioned “seeing is believing” approach to truth and justice.
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