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author | Norbert Preining <norbert@preining.info> | 2019-09-02 13:46:59 +0900 |
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committer | Norbert Preining <norbert@preining.info> | 2019-09-02 13:46:59 +0900 |
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diff --git a/help/comp-fonts-FAQ/Finding_Fonts_for_Internationalization_FAQ b/help/comp-fonts-FAQ/Finding_Fonts_for_Internationalization_FAQ new file mode 100644 index 0000000000..1828a35505 --- /dev/null +++ b/help/comp-fonts-FAQ/Finding_Fonts_for_Internationalization_FAQ @@ -0,0 +1,614 @@ +Path: senator-bedfellow.mit.edu!faqserv +From: mike@vlsivie.tuwien.ac.at +Newsgroups: comp.std.internat,comp.software.international,comp.fonts,comp.windows.x,comp.os.ms-windows.programmer.misc,comp.answers,news.answers +Subject: Finding Fonts for Internationalization FAQ +Supersedes: <internationalization/font-faq_883655130@rtfm.mit.edu> +Followup-To: comp.std.internat,comp.software.international,comp.fonts,comp.windows.x,comp.os.ms-windows.programmer.misc +Date: 30 Jan 1998 11:16:52 GMT +Organization: TU Wien +Lines: 595 +Approved: news-answers-request@MIT.EDU +Expires: 13 Mar 1998 11:15:31 GMT +Message-ID: <internationalization/font-faq_886158931@rtfm.mit.edu> +NNTP-Posting-Host: penguin-lust.mit.edu +Mime-Version: 1.0 +Content-Type: text/plain; charset=ISO-8859-1 +Content-Transfer-Encoding: 8bit +Summary: This FAQ discusses finding fonts for various character sets. +X-Last-Updated: 1997/01/15 +Originator: faqserv@penguin-lust.MIT.EDU +Xref: senator-bedfellow.mit.edu comp.std.internat:7638 comp.software.international:6800 comp.fonts:70480 comp.windows.x:120738 comp.os.ms-windows.programmer.misc:133372 comp.answers:29876 news.answers:122020 + +Archive-name: internationalization/font-faq +Posting-Frequency: monthly +Version: 0.5 + + International Fonts, + Fonts for ISO 8859-X + + + +DISCLAIMER: THE AUTHOR MAKES NO WARRANTY OF ANY KIND WITH REGARD TO +THIS MATERIAL, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES +OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. + +If you have any further information about *free* fonts which may be +useful to others, please use the following URL to add a font to the +FAQ + http://www.vlsivie.tuwien.ac.at/mike/fonts + +Please try to fill out the form as accurately as you can! + +This document only covers fonts which are available free of charge, +via the internet. This is NOT a free advertisement for commercial +font founderies. (So if you are a commercial foundery, don't bother +me about including pointers to your commercial products!) + +Unfortunately archives move a lot, appear or disappear. I cannot keep +track of everything, so please let me know if you find errors. Also, +since the material changes so often, formatting is not always up to +snuff. (This is distributed in the hope that it will be useful, not to +win any editing prizes...) + +1. Which coding should I use for accented characters? +Use the internationally standardized ISO-8859-X character sets to type +accented characters. + +8859-1 is also used by MS-Windows (Actually, MS-Windows +uses UNICODE (ISO 10646) truncated to 8 bit, which gives an equivalent +encoding.), VMS and (practically all) UNIX implementations. MS-DOS +uses a different character set and is not compatible with this +character set. (It can, however, be translated to this format with +various tools. See section 7.) + +ISO 8859-1 supports the following languages: +Afrikaans, Catalan, Danish, Dutch, English, Faeroese, Finnish, French, +German, Galician, Irish, Icelandic, Italian, Norwegian, Portuguese, +Spanish and Swedish. + +(It has been called to my attention that Albanian can be written with +ISO 8859-1 also. However, from a standards point of view, ISO 8859-2 +is the appropriate character set for Balkan countries.) + +ISO 8859-1 is just one part of the ISO-8859 standard, which specifies +several character sets, e.g.: +8859-1 Europe, Latin America +8859-2 Eastern Europe +8859-3 SE Europe +8859-4 Scandinavia (mostly covered by 8859-1 also) +8859-5 Cyrillic +8859-6 Arabic +8859-7 Greek +8859-8 Hebrew +8859-9 Latin5, same as 8859-1 except for Turkish instead of Icelandic +8859-10 Latin6, for Eskimo/Scandinavian languages + +For an overview of these fonts, see +http://www.cs.tu-berlin.de/~czyborra/charsets/ + + + +2. Font conversions + +Most of the font formats discussed here can be converted to the other +formats in this FAQ. For information on how to achieve this check out +the font FAQ posted regularly in comp.fonts and the comp.font www +home page at http://jasper.ora.com:8080/comp.fonts. + + + +3. Availability for the X Window System + +An overview of the ISO 8859-X fonts is available at +http://www.cs.tu-berlin.de/~czyborra/charsets. You can also down-load +these fonts as bdf fonts to install on your X window system. + +8859-1 +X Windows has several ISO 8859-1 character sets in the standard +distribution (those whose names end in iso8859-1). If you are using +X11R5, note that some fonts are labeled as ISO compliant fonts which +they are not. + + +8859-2 +The X11R6 release contains a font for this cxharacter set. More fonts +can be found at URLs +<ftp://ftp.vszbr.cz/pub/X11-fonts/ISO_8859-2> X11 +<ftp://ftp.tarki.hu/pub/font/> various operation systems +<ftp://almos.vein.hu/ssa/kbd_es_font/> mostly Unix/X11 +<ftp://ftp.vma.bme.hu/pub/ssa/kbd_es_font/> (mirror of almos) +<ftp://ftp.tarki.hu/pub/ssa/kbd_es_font/> mostly Unix/X11 + +ftp://ftp.vse.cz/pub/386-unix/linux/Czech/czech-0.12.tar.gz has X +fonts for 8859-2 and Linux support for the Czech language. + + +8859-3 +You can find fonts for 8859-3 at URL +ftp://ftp.stack.urc.tue.nl/pub/esperanto/fonts.dir. Not all the fonts +are Latin-3. At least "adobe3.tar.gz" and "l3-tiparoj.tar.gz" contain +Latin-3 BDF fonts. + +Also, there are fonts at URL +ftp://ftp.vszbr.cz/pub/X11-fonts/ISO_8859-3. + + +8859-4 through 8859-10 +You can find fonts for these character sets at URL +ftp://ftp.vszbr.cz/pub/X11-fonts. + + +8859-5 +Check out the ftp://nic.funet.fi/pub/culture/russian/comp/fonts +(esp. subdirectories .../fonts and .../xwin). It has a host of +Russian fonts. Also, check out the fonts in +ftp://cs.umd.edu/pub/cyrillic/xwin_fonts. This archive contains ISO +8859-5, Koi8 and Alt fonts (Alt is very popular on PCs.). If you use +emacs, russian.el allows you to use one font for the buffer and +another for the display. +More fonts for Cyrillic scripts can be found at +http://www.crec.mipt.ru/russify/index.html + + +8859-6 +ISO 8859-6 fonts (insofar as glyph-encoded fonts can represent an +abstract character set) are available from ftp://leb.net/pub/reader/unix/fonts. + + +8859-7 +a set of Helvetica and Courier fonts can be found at +ftp://ftp.ntua.gr/pub/fonts/X11. + +Additional Unix fonts for Greek are available via +http://www.hri.org/fonts/unix + + +8859-8 +Several fonts for this character set family can be found in the +metamail package. The `metamail' package is available via anonymous +ftp from thumper.bellcore.com in /pub/nsb. These fonts are in bdf +format and can be found in <metamail-root>/src/fonts. You will also +need software which supports right-to-left writing, such as the MULE +system for emacs. Information about MULE can be found on +ftp.vlsivie.tuwien.ac.at in /pub/8bit/MULE. + +Fonts can also be found at +http://ourworld.compuserve.com/homepages/Jonathan_Rosenne/hebfont.htm + + +8859-10 +There are a couple versions of an ISO_8859-10 font for X, the first +version of which was based on the ECMA-144 standard and its depictions +of the characters. The second version of this font was a revision of +the first to improve the appearance of certain accented characters, +and to modify the appearance of some of the Latin-6-specific characters +to reflect their appearances from what printed material the author +could find. + + Both of these BDF font files can be found by anonymous FTP +ftp://ccsun.tuke.sk/pub/ + +These fonts should also end up at the X Consortium ftp server +eventually. + + + +Other Fonts + +Languages Character set Font +Thai TIS620 <MULE-root>/fonts/ETL.tar.gz +Vietnamese VISCII ftp://media.mit.edu/pub/Vietnet/Viscii/Unix/X.tar.Z +Vietnamese VISCII <MULE-root>/fonts/ETL.tar.gz +Arabic MULE-ETL <MULE-root>/fonts/ETL.tar.gz +Persian MULE-ETL <MULE-root>/fonts/ETL.tar.gz +Persian ? ftp://tehran.stanford.edu +IPA MULE-ETL <MULE-root>/fonts/ETL.tar.gz + +MULE-ETL is a MULE-specific character set, IPA stands for +International Phonetic Alphabet. <MULE-root> refers to the root where +you have installed MULE (MULE is a MULtilingual Enhancement to GNU +Emacs). More information on MULE and the MULE package can be found on +ftp://etlport.etl.go.jp/pub/mule. + + + +4. DOS +IBM code page 819 is the same as ISO 8859-1. I believe that 850 is the +code page that has all of the characters in different positions. + +IBM code page 912 is the same as ISO 8859-2, but 852 is the one that +comes with (all versions of) DOS, which has all of ISO 8859-2's +characters in different positions. + + +Alternatively, you can reconfigure your MS-DOS PC to use publicly +available, free ISO-8859-X code pages. Check out the anonymous ftp +archive ftp.uni-erlangen.de, which contains data on how to do this +(and other ISO-related stuff) in /pub/doc/ISO/charsets. The README +file contains an index of the files you need. + + + +5. MS-Windows + +There are different Windows code pages, just as there are different +DOS code pages. The one used for western European languages is 1252, +which is a superset of ISO 8859-1 (1252 makes use of the control +characters from 0x80 to 0x9F). Similarly, 1250 is a superset of ISO +8859-2. (Some characters actually seem to have changed character code +position, so it is not fully compatible!) + +" Unfortunately, there are significant diffrences between ISO 8859-2 +and the Windoze CP1250. While most of the characters are identical, +there are maybe a dozen that appear in different positions in CP1250 +when viewing an iso-8859-2-encoded text, so once cannot say that it is +truly a superset -- some translations still need to be done. + + The problem will be noticed if using, say, Netscape2.x for Windows +and viewing a page which is delivered with ISO-8859-2 MIME charset tagging, +when one has selected a CE (CP1250) font. The present beta versions of +Netscape2.0 do not incorporate translation, nor do they recognize any +Central European MIME charsets other than ISO-8859-2 and an unregistered +Mac charset." + +There are also versions for Arabic, Greek, Hebrew, and Turkish, +corresponding to ISO 8859-6, -7, -8, and -9. (The encoding of +Cyrillic may be non-ISO-8859.) + +Latin-3 +"ftp://ftp.stack.urc.tue.nl/pub/esperanto/fonts.dir/lat3pttf.zip" +contains several TTF fonts in Latin-3, as well as some keyboard +utilities for MS-Windows. + +Greek Fonts +http://www.hri.org/fonts This is part of the Hellenic Resources +Network web site and contains a host of information and free +material(fonts, software) for use with Greek character sets. + +Hebrew fonts (8859-8) +http://www1.snunit.k12.il/heb.html +http://ourworld.compuserve.com/homepages/Jonathan_Rosenne/hebfont.htm + +IPA International Phonetic Alphabet fonts +ftp.sil.org will get you to the Summer Institute of Linguistics, who +have IPA fonts in both T1 and TT. + + +Various fonts +ftp.uni-paderborn.de:/pub/windows/Cica/demo/accentwm.zip + +This is a demo version of Accent. But after installing (and deleting) +the demo you still have four TrueType fonts: East European (Latin 2), +Greek, Cyrillic, Turkish (Latin 5). + + +Geaorgian Fonts +http://www.clinet.fi/~bpg/grfntdoc.html + +Tibetan Font & Keyboard Software for PC's +(Christopher J Fynn <cfynn@sahaja.demon.co.uk>) +My TibKey software (a context sensitive Tibetan Keyboard for +Windows 3.1x and '95), and one of my Tibetan fonts in TrueType +format, along with associated documentation can be found at: + +ftp://coombs.anu.edu.au/coombspapers/otherarchives/ +asian-studies-archives/tibetan-archives/tibet-software/ +tibkey-windows/zipped/TIBKEY.ZIP + +ftp://unix.hensa.ac.uk/mirrors/uunet/doc/papers/coombspapers/ +otherarchives/asian-studies-archives/tibetan-archives/ +tibet-software/tibkey-windows/zipped/TIBKEY.ZIP + +ftp://ftp.niif.spb.su/pub/tibet/software/windows/tibkey10.zip + +This software and font will allow you to enter Tibetan in most +Windows applications. Freeware. + + +Bengali Font +A shareware Bengali TrueType font for Windows, available by FTP is at +URL ftp://ftp.cica.indiana.edu/pub/pc/win3/fonts/sgaon.zip + + +Indic Languages +Roman Fonts with diacritics for transliterating Indic languages +(Hindi, Sanskrit, Nepali, Bengali, etc., etc.): + +1.=== +> I have spent some hours recently making up a CS (Computer +> Sanskrit) version of Adobe's font "Utopia". It is quite a nice +> font, perhaps a little more of a "book-face" than the Bitstream +> Charter that has been available for some time in CS encoding. +> +> The Utopia font is a professionally designed typeface which has +> been officially released by Adobe Inc. for free distribution. +> +> I have made the following files available: +> +> adobe-utopia-font-CS-encoding-PS-10.zip +> adobe-utopia-font-CS-encoding-PS-10.readme +> and +> adobe-utopia-font-CS-encoding-TTF-10.zip +> adobe-utopia-font-CS-encoding-TTF-10.readme +> adobe-utopia-font-CS-encoding-TTF-10.readme +> +> by anonymous ftp from +> ftp.bcc.ac.uk in /pub/users/ucgadkw/indology/software +> +> or via your web browser at URL +> http://www.ucl.ac.uk/~ucgadkw/indology.html +> (follow the links to INDOLOGY supplementary gopher -- software) + +2. === + +> ftp://ftp.shore.net/members/india/ +> +> In the fonts directory you will be able to find Bitstream Charter +> in Postscript (type 1) format, and some Macintosh True Type Fonts with +> all the diacritics for Devanagari. + + + +Pinyin Fonts for Windows +Pinyin TT fonts are availble at +http://www.ucalgary.ca/~pcchang/dchu/font/index.html + + +Egyptian Hieroglyphics +There is a computer-assisted Egyptology centre at the University of +Utrecht's Faculty of Theology. They have a WWW site offering +hieroglyphics fonts for both Mac and PC (TrueType). About 900 glyphs +are included. Their URL is http://131.211.68.206/ccer/ccer.htm + + +Vietnamese +VISCII TrueType/Type1 in ftp://media.mit/edu/pub/Vietnet/Viscii/Win3/ +(vnfont1.zip, vnfont2.zip, t1font1x.exe, pdfot1.zip ...) +ftp://coombs.anu.edu.au/coombspapers/otherarchives/asian-studies-archives/vietnam-archives/viet-lang-software/viet-fonts/mit-viet-fonts/ +ftp://unix.hensa.ac.uk/mirrors/uunet/doc/papers/coombspapers/otherarchives/asian-studies-archives/vietnam-archives/viet-lang-software/viet-fonts/mit-viet-fonts/ + + +Cyrillic +http://www.cica.indiana.edu/cgi-bin/checkftp or +ftp://ftp.cica.indiana.edu +ftp://oak.oakland.edu/win3/fonts +ftp://ftp.techno.ru/pub/msdos/koi8/ +http://sunsite.oit.unc.edu/sergei/cysoft.html +http://www.pitt.edu/~mapst57/rus/russian.html + + +Chinese True Type + +unknown encoding and whether simplified/traditional: +ftp://oanet1.csie.ntu.edu.tw/ntuttf/CHINESE/NTU_FS.ZIP +ftp://oanet1.csie.ntu.edu.tw/ntuttf/CHINESE/NTU_KAI.ZIP +ftp://oanet1.csie.ntu.edu.tw/ntuttf/CHINESE/NTU_LI.ZIP +ftp://oanet1.csie.ntu.edu.tw/ntuttf/CHINESE/NTU_TW.ZIP + +these are traditional Chinese for the Mac encoded in BIG5 +ftp://ftp.nctu.edu.tw//Chinese/ifcss/software/fonts/big5/mac/... + .../NTU_black_medium.sit.bin.gz + .../NTU_funSung.sit.bin.gz + .../NTU_kai.sit.bin.gz + .../NTU_lei.sit.bin.gz + .../NTU_ming_medium.sit.bin.gz + .../NTU_round_heavy.sit.bin.gz + .../NTU_round_medium.sit.bin.gz + .../NTU_thin.sit.bin.gz + +Korean (Hangul) Type 1 font +http://shiva.snu.ac.kr/~setup/index.html +also has a hangul to PS converter (h2ps) + +ftp://ftp.kaist.ac.kr/pub/hangul/font has an extensive set of X11 and +PS fonts. At the same archive, there's another Hangul to PS translator +hpscat in /incoming/hangul and /pub/hangul/print.(KAIST archive is +mirrored at ftp://under3.kisa.org in the US,ftp://ftp.nuri.net in Korea +and ftp://ftp.linguistik.uni-erlangen.de/pub/Hangul in Germany). Hangul +fonts for TeX are available at CTAN archives(e.g ftp://ftp.dante.de and +ftp://ftp.ctan.ac.uk) throughout the world in ~ctan-archive/font/korean +where there are PS,metafont and PK images of several typefaces. 31 sets +of Hangul fonts for TeX are also available at ftp://math-ftp.kaist.ac.kr +(mirrored at ftp://ftp.kaist.ac.kr/pub/hangul/tex/htex ). On top +of that, X11 R5 or later comes with three Hangul fonts in BDF format. + + +Others +Check out the Yamada library on http://babel.uoregon.edu/ + + +6. Printing + +6.1 Adobe PS fonts + +To print text files on Postscript printers, you first have to +translate them to Postscript programs. A number of utility programs +exist which can perform this job. + +A very popular filter to perform this job is a2ps, which support files +in ISO 8859-1 encoding when invoked with the -8 switch. There are a +number of variants fopund on the net which support other encodings, +such as Cyrillic. + +An alternative is to use the GNU enscript (genscript) program, which +supports multiple character sets in one binary. genscript is found +on the GNU mirror next to you. + +Alas, these filters rely on your Postscript fonts containing all the +right characters. While most any font available today supports the +full Latin1 set, East Block users are less fortunate. Most fonts +found in printers do not support all their special characters. Two +solutions exist: + +* you can download a font which does support all the right characters +(the IBM Courier font which is publically available (e.g., in the +X11R6 distributio contains all the required characters) + +* or you can assemble your own special characters. Note that most any +Adobe font contains all the required accents marks, so all you have to +do is tell the printer to put the right accent mark on the right +character.... + +So far, so good. The principle is simple though the job does require +considerable Postscript experience if you have to start from scratch. +Alternatively, you can pick up all the tools you need to assemble your +very own font from ftp://ftp.dcs.ed.ac.uk/pub/jec/programs/ogonkify.tar.gz +which will take care of all the low-level Postscript stuff so that +indeed all you have to say is how to put what accent mark where. + +6.1.1 IPA Adobe Type1 +* IPA fonts can be found on ftp://ftp.sil.org + + +6.2 Printing with MULE +To print various characters supported by Mule, we provide a +program `m2ps' which will be installed automatically while +installing mule (just as etags, emacsclient). `m2ps' +converts Mule's text to PostScript by using BDF files for +getting glyphs of characters. + +This utility allows printing of all character sets supported by either +your X11 distribution or found in the MULE distribution. + + + +7. Latex + +For ISO 8859-1, you should use the inputenv package with the latin1 +option: +\usepackage[latin1]{inputenc} + +If you use pre 2e version of Latex, use isolatin.sty or isolatin1.sty +instead. These are available from URL +ftp://ftp.vlsivie.tuwien.ac.at/pub/8bit. + +The ISO 8859-2 character set (ex-East Block), is supported by +`latin2.sty': latin2.sty is available by ftp from the host +ftp.uni-stuttgart.de as `/pub/tex/macros/latex/contrib/latin2.sty'. + + +If you need a Fraktur font, check out +ftp://ftp.vlsivie.tuwien.ac.at/pub/tex/fraktur which contains a TeX/MF +fraktur font. + +Vietnamese VISCII +At ftp://media.mit.edu/pub/Vietnet/Viscii/Unix/... +(Also contains groff fonts in .../groff_font.tar.Z) + + + +8. ISO 10646 +Everson Mono is a simple, elegant, monowidth font. I designed it +primarily to make glyphs available in support of _all_ the non-Han +characters in the Basic Multilingual Plane of ISO/IEC 10646-1 +(BMP = Unicode, if you prefer), though I hope that users may find +it a pleasant alternative to Courier and Monaco for general +purposes, e-mail, and so forth. I have found it quite legible at +sizes as small as 4 points. It is lighter and a bit looser than +Courier. + +At the present time, these glyphs are available in 8-bit font +modules. However, I have configured the font editor I use (Altsys' +excellent Fontographer) to output TrueType fonts with correct +16-bit hex addresses, and the PostScript fonts with name unique, +unambiguous aliases to 10646. The first half of each fonts is +ASCII (Table 1, Basic Latin); I have had to resort to this +(arguably wasteful) method of encoding because many applications +display a font in its own face, rather than simply by name, +potentially rendering the font name illegible. As 16-bit +compatible technology becomes more available, I will be reencoding +these glyphs to more convenient formats. (On the other hand, you +could consider all these to be micro-subsets of 10646, and since +subsets have to include Table 1, they're all conformant....) + +Everson Mono is also available in all Macintosh character set +formats, suitable for use with Apple's WorldScript technology. + +Everson Mono is available as PostScript and TrueType fonts in +Macintosh and PC formats, and as PostScript fonts in NeXT and Sun +formats. Hand-tooled bitmaps for alphabetic characters are +available in 9-, 10-, and 12-point sizes; hand-tooled 12-point +bitmaps only may be available for some of the symbol characters. + +Everson Mono fonts are available by anonymous ftp at: + +dkuug.dk /CEN/TC304/EversonMono10646 +midir.ucd.ie /mgunn/everson/EversonMono10646 +ftp.nada.kth.se /pub/i18n/ucs/EversonMono10646 + +The most current version will always be on the Danish server. + +As of this announcement (1995-06-05) only the Macintosh (TT/PS), +NeXT (PS), and Sun (PS) formats are available. The PC (TT/PS) +fonts are not yet available because I am still trying to figure +out just how the draconian xxxxxxxx.yyy naming conventions are +supposed to work for all these outline and bitmap files. I will +upload them as soon as I can. After that then each set of new +Everson Mono fonts will be uploaded in all four formats. + +Another Unicode char set is at +ftp://ftp.ifcss.org/pub/software/fonts/unicode/bdf/uni16m.bdf.gz + + +USE +xfed, bdftopcf, mkfontdir, fs, xset fp+ [fontpath], xset fp rehash + +SEE ALSO +http://www.iss.nus.sg/RND/MLP/Projects/MASS/ftp_index.html +ftp://ifcss.org/pub/software/fonts/unicode/bdf/ +http://www.stonehand.com/unicode.html + + +9. Character Set Names +A list of official character set names (for MIME and other internet +purposes) can be found as RFC 1345 on ftp.uu.net. + + + +10. Other sources for fonts +The Multiplingual PC Directory discusses internet font sites under URL +http://www.knowledge.co.uk/xxx/mpcdir/inetsite.htm. The fonts indexed +there come in various fromats, but most can be adapted to whatever is +needed by referring to the conversion methods described in the +comp.fonts FAQ (URL http://jasper.ora.com:8080/comp.fonts). + +The Internet font archive is at +http://jasper.ora.com/Internet-Font-Archive.html + + + +11. Home location +11.1 www +You can find this and other i18n documents under URL +http://www.vlsivie.tuwien.ac.at/mike/i18n.html. + +The comp.fonts home page is at http://jasper.ora.com:8080/comp.fonts. + +11.2 ftp +This document is available via anonymous ftp from +ftp.vlsivie.tuwien.ac.at as /pub/8bit/i18n-fonts. + + +----------------- + +Copyright © 1994,1995,1996 Michael Gschwind (mike@vlsivie.tuwien.ac.at) + +This document may be copied for non-commercial purposes, provided this +copyright notice appears. Publication in any other form requires the +author's consent. (Distribution or publication with a product requires +the author's consent, as does publication in any book, journal or +other work.) + +Dieses Dokument darf unter Angabe dieser urheberrechtlichen +Bestimmungen zum Zwecke der nicht-kommerziellen Nutzung beliebig +vervielfältigt werden. Die Publikation in jeglicher anderer Form +erfordert die Zustimmung des Autors. (Verteilung oder Publikation mit +einem Produkt erfordert die Zustimmung des Autors, wie auch die +Veröffentlichung in Büchern, Zeitschriften, oder anderen Werken.) + +Michael Gschwind, PhD, Institut f. Technische Informatik, TU Wien +snail: Treitlstraße 1-182-2 || A-1040 Wien || Austria +email: mike@vlsivie.tuwien.ac.at PGP key available via www (or email) +www : URL:http://www.vlsivie.tuwien.ac.at/mike/mike.html +phone: +(43)(1)58801 8156 fax: +(43)(1)586 9697 + diff --git a/help/comp-fonts-FAQ/[comp.text.tex]_Metafont:_All_fonts_available_in_.mf_format b/help/comp-fonts-FAQ/[comp.text.tex]_Metafont:_All_fonts_available_in_.mf_format new file mode 100644 index 0000000000..ec0877539e --- /dev/null +++ b/help/comp-fonts-FAQ/[comp.text.tex]_Metafont:_All_fonts_available_in_.mf_format @@ -0,0 +1,947 @@ +Newsgroups: comp.text.tex,comp.fonts,comp.answers,news.answers +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!newsxfer3.itd.umich.edu!news-peer.sprintlink.net!news-sea-19.sprintlink.net!news-in-west.sprintlink.net!news.sprintlink.net!Sprint!newsfeed.direct.ca!news.uunet.ca!gts!lethe!geac!sq!lee +From: lee@sq.com (Liam Quin) +Subject: [comp.text.tex] Metafont: All fonts available in .mf format +Message-ID: <liamfaq-mf1-59@sq.com> +Followup-To: poster +Summary: .mf files are font outlines that you can use with mf to + generate pk or gf format TeX bitmap fonts. +Supersedes: <liamfaq-mf1-58@sq.com> +Reply-To: lee@sq.com (Liam R. E. Quin) +Organization: SoftQuad Inc., Toronto, Canada +Date: Thu, 24 Jul 1997 22:06:30 GMT +Approved: news-answers-request@MIT.EDU +Expires: Sun, 24 Aug 1997 02:49:16 GMT +Lines: 931 +Xref: senator-bedfellow.mit.edu comp.text.tex:118789 comp.fonts:63880 comp.answers:27244 news.answers:108108 + +Archive-name: fonts-faq/metafont-list +Last-Modified: Mar 20 12:37 + +Summary of Metafont Fonts Available (Approximate Digest Format) + +This list includes all known fonts available in metafont format, whether +public domain or not. Archive sites for ftp are listed where known. +There is also a BITNET archive at LISTSERV@UBVM.CC.BUFFALO.EDU. + +Please note that I don't use TeX, and can't answer questions about it. + +Many of the files are listed as being on a ctan archive. +The CTAN servers are + ftp.dante.de (129.206.100.192), and + ftp.tex.ac.uk (128.232.1.87). + +These are mirrored at various places, although I don't have a list; +README.mirrors in CTAN:/tex-archive is a good source. + South African Mirror: ftp.ee.up.ac.za + Please tell me (lee@sq.com) about others. + +There is no North American CTAN archive right now. +Robin Fairbairns sent me the following note on behalf of the CTAN team: + I suggest you try ftp.cdrom.com instead; the CTAN root there is + /pub/tex/ctan; quote site index there doesn't work -- you'll have to + use ftp.tex.ac.uk or ftp.dante.de for that. + + Rest assured that the CTAN team is trying very hard to find an + alternative CTAN site in N America. + + +Note on BLACKBOX: + The blackbox archive has gone, but ftp.bcc.ac.uk is trying + to replace it, so try that machine. + +Finally, too many people have helped with this list to give individual +acknowledgements -- or the file would be twice as large! -- but please +do know that people's help is really appreciated. + +I always welcome additions to this list, although it may take me a while +to add them to the list, I'm afraid. If you don't see your addition after +a couple of months, please feel free to send it again! + +Subject: Contents + + About Metafont International Phonetic Alphabet (IPA) + AMS Irish + APL Japanese + Arabic Klingon + Armenian Korean + ASCII Malayam + Astrological Malvern + Bar Code Mongolian + Blackboard Bold Music + Calligraphic OCR (Optical Character Recognition) + Chess Old English + Chinese Oriya + Cirth Pandora + Committee Pica + Computer Modern Pointing Hands + Concrete Punk + Courier Ransom + Croatian Glagolitic Recycle Symbol + Cyrillic Romanized Indic + Duerer Sanskrit + Devanagari Sauter + Dingbats Script + Euler Soyombo + Fraktur Symbol + Genealogy Tamil + Georgian Telegu + Greek Tengwar + Hebrew Thai + Helvetica Times + Hershey Unitary Beginners' Script + Hindi Vietnamese + Hieroglyphic Waldi Symbol Font + + +Subject: About Metafont + +Metafont is a programming language for describing fonts. It was written +by Donald Knuth and is documented in + Computers & Typesetting/C: The METAFONTbook + Knuth, Donald E. + Addison Wesley, 1986 + ISBN 0-201-13445-4, or 0-201-13444-6 (soft cover) + Library access: Z250.8.M46K58, or 686.2'24, or 85-28675. + +A font written in Metafont is actually a computer program which, when run, +will generate a bitmap (`raster') for a given typeface at a given size, +for some particular device. + +In order to use a metafont format font, you'll need to have metafont, or +a program such as mf2ps. See the comp.fonts FAQ for more information. + + +Subject: AMS + +The American Mathematical Society collection of Metafont fonts contains: +[1] AMS Euler -- a calligraphic font, designed by Herman Zapf for the AMS. + It is designed for mathematical use, not as a text face. The fonts are + Fraktur, Script, Cursive (an upright italic), Math extension. + (see TUGboat Vol.10, No. 1) + Most of the Euler fonts use the plain base, not the cm base. You + should build these using virmf, or at least with a version of Metafont + that does not have cmbase pre-loaded. Any Errors reported when building + some of the samller sizes can be ignored. (see also under Euler) + +[2] AMS extra maths symbols (msam, msbm) + +[3] AMS computer modern extensions -- providing some of the CM fonts at + extra point-sizes. + +[4] AMS Cyrillic (this is the same as University of Washington Cyrillic) + +There is also some documentation. + +You can get them from the AMS directly: +ftp: e-math.ams.org /pub/tex/amsfonts/sources +ftp: e-math.ams.org /pub/tex/amsfonts/doc +Any (infrequent) changes to these fonts happen on e-math first. + +ftp: CTAN in tex-archive/fonts/amsfonts + + +Subject: APL + +Fonts for the APL (A Programming Language) programming language. + +These were described in tugboat (Vol 8 No. 3, pp.275-278) +ftp: power.eee.ndsu.nodak.edu apl-tex-font/27-Jul-90 + +ftp: ctan: tex-archive/fonts/apl/* +ftp: power.eee.ndsu.nodak.edu apl-tex-font/27-Jul-90 + + +Subject: Arabic + +Prof. Klaus Lagally's <lagally@informatik.uni-stuttgart.de> ArabTeX is +a LaTeX extension for high-quality arabic writing. + +ftp: ftp.informatik.uni-stuttgart.de +ftp: ftp.dante.de +ftp: ctan: pub/archive/language/arabtex/mfinput + + +Subject: Armenian + +ftp: ctan: pub/archive/fonts/armenian/* + + +Subject: ASCII + +The `ascii' font is based on the public domain Courier font donated by IBM to +the X Consortium. This font contains the IBM graphics characters, which are +in the first 32 positions, but covers only 7-bit ASCII. It was created by +R. Ramasubramanian, R. W. D. Nickalls and M. A. Reed; see TUGboat Vol 15 No. 2. +[there doesn't seem to be a .mf file for this, though] + +ftp: ctan: tex-archive/fonts/ascii/* + + +Subject: Astrological + +Symbols for the planets and the signs of the zodiac. + +ftp: ctan: tex-archive/fonts/astro + +astrofonts.tar.Z contains several Metafont files from Lars Alexandersson +<larsa@math.chalmers.se>. +ftp: hilbert.maths.utas.edu.au + +See also Waldi Symbols + + +Subject: Bar Code + +Dimitri Vulis's barcode font +ftp: ctan: tex-archive/fonts/barcodes/barcodes.mf + + +Subject: Blackboard Bold + +Used for Real Numbers (R), Natural, Complex, etc. +ftp: labrea.stanford.edu pub/tex/fonts/bbb*.mf + +A set of capitals is included in the AMS symbol fonts (see AMS fonts). +bbold.mf is Alan Jeffrey's blackboard bold font, and contains both +upper and lower case. +ftp: ctan: tex-archive/fonts/bbold/* + +There are serifed Blackbord bold fonts by D. Taupin, containing the full +cm character set in +ftp: ctan: tex-archive/fonts/bbm + +Olaf Kummer <kummer@informatik.uni-hamburg.de> wrote another +Blackboard Bold font, intended to be very close in appearance to the +original Computer Modern fonts. The characters have serifs. + +ftp: ctan: /pub/tex/fonts/doublestroke/* + + +Subject: Calligraphic + +twcal is a calligraphic font with many ligatures and alternate letter-forms, +and includes TeX macros. + +ftp: ftp.dante.de + +Subject: Chess + +ftp: ftp.cs.ruu.nl pub/TEX/chess.tar.Z +by Piet Tutelaers; described in TUGboat. + +Some chess typesetting macros were posted to comp.tex.tex on July 31st 1990. +ftp: ctan: tex-archive/fonts/chess/* + +There is also a font of pieces for chinese chess from +mailto:richer@ERE.UMontreal.CA (Richer Jacques) + + +Subject: Chinese + +Poor Man's TeX generates Chinese Metafont characters +ftp: BLACKBOX (see introduction); cd pub/poorman (??) + +Poor Man's TeX Chinese has been extended to support Big5 format; +pre-generated 300dpi Simplified and Traditional GB fonts are available for ftp. + +ftp: crl.nmsu.edu ; pub/misc/pmtex-1.1.tar.Z +ftp: crl.nmsu.edu ; pub/chinese/fonts/pmt-{300dpi,tfm} + +ChTeX is a set of macros and fonts for typesetting Chinese under TeX. +It only supports PostScript, and requires a modivied dvi2ps. You write +your article with PinYin. +Included are source, fonts, VMS binary for 5.2, DOS binary, etc. There is +also support for X-Windows; contact mliesher@nmsu.edu (Mark Leisher). + +ftp: crl.nmsu.edu ; pub/chinese/{dvi2ps-3.2,ChTeX-1.1}.tar.Z +ftp neon.stanford.edu ; ChTeX.tar.Z + +Subject: Cirth + +This is a Tolkien font based on Anglo-Saxon `Futharc' runes. +Julian Bradfield has versions of both Tengwar [q.v.] and Cirth runes. + +ftp: ftp.dcs.ed.ac.uk export/jcb/Elvish.tar.Z +ftp: (or the individual files instead in the same directory) +Janet-niftp: uk.ac.ed.lfcs user=ftp pass=user80 export/jcb/Elvish.tar.Z +ftp: They are also available for ftp on aston. + +There is also a cirth font by Jo Jaquinta, Trinity College, Dublin: + +ftp: lanczos.maths.tcd.ie jaymin/mf/cirth +mail: info-serv@lanczos.maths.tcd.ie - send a one-line mail message containing +mail: HELP in the text of the message. This may be called "infoserv" now. + + +Subject: Committee + +This was produced during a workshop tutorial given by Donald Knuth. +This is said (by Don Hosek, whom I trust in such things) to be hard-wired +for the APS typesetter... It is described in Tugboat Vol. 5 No. 2 (Nov. 84). + +ftp: ctan: tex-archive/committee/* + + +Subject: Computer Modern + +Computer Modern is Donald Knuth's font family used for his later +`Art of Computer Programming' books. It contains + cmr -- computer modern roman + cmmi -- computer modern maths italic + cmti -- computer modern text italic + cmb -- computer modern bold + cmss -- computer modern sans serif + Cmtt -- computer modern typewriter + cmvtt -- computer modern variable-spaced typewriter +and several variations on each of the above (e.g. bold extended...). +There are also some experimental fonts, such as cmff, a `funny' font, and +cmfib, a font based on Fibonacci numbers. + +These are all included in a standard TeX distribution. + +ftp: ctan: tex-archive/cm/mf/* +There is also a very large and probably very complete collection in +ftp: ctan: tex-archive/fonts/cm/* + +If all else fails, you can try: +ftp: labrea.stanford.edu cd pub/tex/cm + +Many TeX ftp archive sites also give access to the bitmaps (pk files), +although you usually have to get them all at once. + +There is also a reparameterised version of CM by John Sauter, which makes +it easy to generate fonts at desired sizes-- this is especially useful for +non-TeX users. + +ftp: ctan: tex-archive/cm/sauter/* +See also: Sauter + +There is also a Pica typewriter font -- italic and bold come out with +straight and wavy underlines (respectively), however. This is in +ftp: ctan: tex-archive/fonts/cmpica/* + +Versions of these fonts suitable for use with an X Windows previewer (xtex +and SeeTeX) are available from +ftp: UNKNOWN [was foobar.colorado.edu] pub/SeeTeX + +A variant of CMTT with 8-bit characters for the Mac is available for US$20 +from yannis.haralambous@omega.citilille.fr -- this is called MACTT. +Mf source is included. (Note: the price might be out of date!) + + +Subject: Concrete + +This font was designed for Donald Knuth's Concrete Mathematics book. +It looks a little like a cross between American Typewriter and Computer +Modern Roman. There are Roman and Italic faces. + +See Tugboat Vol 10 No. 3, pp. 31-36, "typesetting concrete", by Don. Knuth; +an erratum was published in Tugboat Vol 10 No. 3, p. 342. + +ftp: ctan: tex-archive/fonts/concrete/* + + +Subject: Courier + +See Fonts: ASCII + + +Subject: Croatian Glagolitic + +Darko Zubrinic <darko.zubrinic@etf.uni-zg.ac.mail.yu> described this in +"The Exotic Croatian Glagolitic Alphabet" (TUGboat Vol. 13 No. 4 pp 470--471). +See also Fonts: Cyrillic + + +Subject: Cyrillic + +There are several Cyrillic (Russian-Alphabet) fonts: + Tom Ridgeway's Cyrillic fonts + WN-Cyrillic + ifve (which I'm told has better letterforms than WN but only + covers Russian) + +the wncy* fonts are part of the amsfonts package: +ftp: e-math.ams.org:/ams/amsfonts/sources/cyrillic +ftp: ctan: tex-archive/fonts/ams/amsfonts/sources/cyrillic/* + +There is a mailing list, rustex-l, for discussion of typesetting +Cyrilic-based languages. To subscribe, send mail to listserv@ubvm.bitnet +containing the text + SUBSCRIBE RUSTEX-L <your name here> +or mail Dimitri Vulis, dlv@bwalk.dm.com + +Alexander Harin has put together a set of fonts using the alternative +Russian font encoding, widely used on MS-DOS in Russia. This includes: +[1] *.mf and *.tfm files for cmcyr fonts by A.Samarin and N.Glonti (modified); +[2] Virtual fonts *.vf by A.Harin which have the standard TeX 7-bit encoding + and use the top half of the 8-bit space for the cmcyr fonts in the + alternative encoding, and +[3] style macros. + +the fonts: +ftp: ctan: tex-archive/fonts/cmcyralt + +the LaTeX 2.09 NFSS1 style: +ftp: ctan: tex-archive/macros/latex209/contrib/cmcyralt + +the LaTeX 2e style: +ftp: ctan: tex-archive/macros/latex/contrib/other/cmcyralt + + +Subject: Duerer + +Based on the 16th Century drawings of Albrecht Duerer -- see, for example, +his ``The Painter's Manual'' published in Fac Simile by Abaris Books, and +reprinted in part by Dover as `On the Just Formation of Letters'. +Hoenig's article was in TUGboat Vol 11 No. 14. + +Upper case letters only. + +ftp: ctan: tex-archive/fonts/duerer/* + + +Subject: Devanagari + +(this is a font for use with Sanskrit, Hindi, etc.) +Created by Frans Velthuis <velthuis@hgrrug5.bitnet> in 1987/88: +ftp: ctan: tex-archive/language/devanagari/* + +Also available as part of his Devanagari transliteration package: +ftp: june.cs.washington.edu tex/devnag.tar.Z, or devnag.zip + +You could also try, these, although I don't know if they are the same: +ftp: BLACKBOX (see introduction):/pub/indic/outlines/vnagari.* + + +Charles Wikner <WIKNER@nacdh4.nac.ac.za> SKT Sanskrit font: + +This is a complete Sanskrit font with accents, Vedic anusvaara, +jihvaamuuliiya etc.; i-hooks connect to consonants correctly. Indic languages +other than Sanskrit are not supported. The skt-series of fonts are written +in METAFONT and include feint, normal and bold weights, together with +slant and upright styles. It uses an ANSI-C pre-processor to convert the +encoded input; the same encoding scheme is also used to provide two types of +transliterated output, normal and technical. The font and supporting files +are designed for use with LaTeX2e. + +ftp: ctan: tex-archive/language/sanskrit/* + +PostSript documentation is available together with samples: +ftp: ftp.nacdh4.nac.ac.za/wikner/sktdoc.ps600. + + +See Also: Fonts: Tamil, Romanized Indic + + +Subject: Dingbats + +By Doug Henderson. +ftp: ctan: tex-archive/fonts/dingbat/* +See Also: Washington Symbol Font + +Eberhard Matthes' TeX for MSDOS (emTeX) has an additional font emsy, which +contains a few (5 or so) Dingbats-type characters (e.g. a lock). + + +Fonts: Ethiopian (Amharic, Geez) + +There is an Amharic font in Metafont. See TUGboat vol 10(3), p.352; +You can find it in /tex-archive/lanaguges/ethiopia/ethtex/disk8. +EthTeX is a package that enable users to typeset documents in Ethiopian +Script and Ge'ez in additon to the standard features. + +ftp: ftp.shsu.edu; cd tex-archive/languages/ethiopia/ethtex +ftp.tex.ac.uk; cd tex-archive/languages/ethiopia/ethtex +ftp.dante.de; cd tex-archive/languages/ethiopia/ethtex + + +Subject: Euler + +Designed by Herman Zapf for the American Mathematical Society (the AMS). + +ftp: e-math.ams.org /pub/tex/amsfonts/sources/euler + +See also: AMS + + +Subject: Fraktur + +Yannis Haralambous' Gothic Fonts (described in TUGBoat 12.1) are in +the following directories: +ftp: ctan: tex-archive/fonts/gothic/yfrak +ftp: ctan: tex-archive/fonts/gothic/ygoth +ftp: ctan: tex-archive/fonts/gothic/yinit +ftp: ctan: tex-archive/fonts/gothic/yinitas +ftp: ctan: tex-archive/fonts/gothic/yswab + +See Also: Old English + + +Subject: Genealogy + +`gen' : genealogy symbols, by Don Knuth + +ftp: CTAN systems/knuth/local/cm/gen10.mf + +`drgen' : genealogy symbols, by Denis B. Roegel <Denis.Roegel@loria.fr> + + drgen has no original drawings, but gathers in one + font the symbols from Knuth's `gen' font, plus + some symbols from the `wasy' font (male and female). + +ftp: CTAN: fonts/genealogy + + +Subject: Georgian + +Alan Stanier has written what he describes as a `rough version' of the +mxedruli alphabet, as used in the Georgian Republic. +ftp: ftp.tex.ac.uk; pub/archive/fonts/georgian + +A more plsished version was written by Johannes Heinecke and +is in the same directory (?). + + +Subject: Greek + +Brian Hamilton Kelly's Greek font: +ftp: xydeco.siemens.com greek* + +Sylvio Levy's Greek font: +ftp: CTAN tex-archives/fonts/greek/levy +ftp: CTAN tex-archives/fonts/greek/yannis +ftp: CTAN tex-archives/fonts/greek/kd +(KD is the most comprehensive and is derived from Levy.) + +Also the Sylvio Levy `gr' greek family, for both Modern and Classical Greek. +This includes roman, typewriter and bold, plus TeX macros. + +Brian Hamilton Kelly's cmgr family +Yannis Haramboulos' rgr family + +ftp: UNKNOWN; + +James K. Tauber's Greek Metafont `MELANOS' + +Melanos differs from other Greek Metafonts in that the diacritics are placed +after the letter they apply to, making it easier to use Greek texts based on +the CATSS/CCAT/TLG system of transliteration. CATSS/CCAT/TLG files can be +made compatible with MELANOS by changing "\" to "`" and "|" to "!" +This (0.2) is still an early release with a simple mono-width sans +serif style. + +ftp: tartarus.uwa.edu.au; cd /pub/jtauber/melanos + + +see also Malvern + + +Subject: Hebrew + +A number of Hebrew fonts are available, with and without vowels. Those +include the fonts Jerusalem, TelAviv, OldJaffa and DeadSea, Joel M. Hoffman's +HCLASSIC (joel@exc.com), Jacques Goldberg's REDIS, Shalom fonts and more. + +Some or all of the fonts are available in an 8-bit encoding; the Metafont +files have names ending in "_newcode.mf". These are: +Jerusalem, TelAviv, OldJaffa, DeadSea, redis{8,9,10,12,17}, rediss{8,9,10}. + + +Jerusalem, TelAviv, OldJaffa and DeadSea are the "regular" fonts in most +applications. Jerusalem is the default; DeadSea is a darker font; TelAviv is +a sort of sans-serif font; OldJaffa is a narrow font. + +REDIS (redis*) contains a full set of Hebrew letters in a "sans-serif" +style, and selected punctuation. + +Hclassic, dclassic, hcaption and dcaption have a companion slanted form, and +provide Biblical-style letters along with full vocalization capabilities +(i.e. vowels, called in Hebrew NIKUD). The fonts dclassic and dcaption are a +modified version of hclassic and hcaption, in that they contain, apart from +the original characters and vowels, also digits and special symbols copied +from the font DeadSea. + +Usage is described in the guide classic_guide (available in noa.huji.ac.il +in tex/tex_guides). + +ShalomScript10, ShalomStick10 and ShalomOldStyle10 are three variations of +a Hebrew font with "vowels". Three fonts + vowels are available: +ShalomScript10.mf, ShalomStick10.mf and ShalomOldStyle.mf. +Usage is described in Shalom.readme. + + +Carmel and carmel slanted (crml10, crmlsl10) are bold fonts written by +Dr. Samy Zafrany of the Technion, Haifa, for headers and for emphasized text. + +All of the Hebrew fonts can be found at the archive for Hebrew TeX files: + +ftp: noa.huji.ac.il; cd tex/fonts + + +Subject: Helvetica + +Produced by the Metafoundry and sold commercially. +The Metafoundry is no longer extant, and the sources to these and their other +fonts are not available. Email me if you need more information; Rick Tobin +is on the net, but the connection is unreliable. + +Subject: Hershey + +The Hershey fonts were designed for use by plotters, and published in 1972. +These fonts are of relatively low typographic quality, but are useful on +devices with lower resolution. + +ftp: cs.uoregon.edu +ftp: science.utah.edu + +There may be a Hershey to MF converter at mims-iris.waterloo.edu called +xhershey. Ken Yap wrote it and `played around with a few novelty fonts +before deciding the Hershey quality wasn't worth it,' he tells me. + +Subject: Hindi + +See Also: Fonts: Devanagari, Sanskrit, Tamil + +Subject: Hieroglyphic + +Created by Serge Rosmorduc (rosmord@inf.enst.fr). +ftp: ftp.tex.ac.uk; directory /tex-archive/fonts/hieroglyph + + +Subject: International Phonetic Alphabet (IPA) + +Used by linguists, and also in some dictionaries. It's designed to go +with Computer Modern. From WSU. +The csli version has been extended by Emma Pease (emma@csli.stanford.edu) to +include hooked D, B and K, and probably more. + +ftp: ctan: tex-archive/fonts/tsipa/doc/* +ftp: ctan: tex-archive/fonts/wsuipa/* +ftp: cougar.csc.wsu.edu; directory: text1.wsuipa +ftp: csli.stanford.edu; file: Phonetic.tar.Z + +There is a mailing list for linguists who use TeX: ling-tex-request@ifi.uio.no + + +Subject: Irish + +Ivan A Derzhanski's Irish fonts: +ftp: ftp.dante.de in /soft/tex/fonts/eiad; read file Leigh_me first. + +Jo Jaquinta's (half-?) Uncial +ftp: clr.nmsu.edu in CLR/multiling/gaelic/fonts/half-uncial.tar.gZ +ftp: ftp.cc.utexas.edu in source/tex/fonts/uncial + + + +Subject: Japanese + +Metafont for 61 Japanese fonts is available from many sources, including: + +ftp: SIMTEL (tenex) tex/jemtex2.zip +ftp: wuarchive (binary) file mirrors/msdos/tex/jemtex2.zip +ftp: utsun (binary) file TeX/jawatex/* + +Pregenerated Kanji fonts at 300dpi are available -- +ftp: crl.nmsu.edu ; pub/japanese/fonts/pmt-{tfm,300dpi}/* +See Also: Fonts, Chinese + + +Subject: Klingon + +This is a font from the television series `Star Trek', metafonted by +Khoros sutai-Makpai +c/o Karl Guenter Wuensch +hz225wu@unidui.uni-duisburg.de +(this account is shared with Micaela "Stayka" Pantke, +so don't be alarmed if the mailer inserts her address) + +ftp: ftp.dante.de /pub/soft/tex/fonts/klinz/* + +Subject: Korean + +Poor Man's TeX (see under Fonts: Chinese) has been extended to support Hangul. +Pregenerated fonts only are available: +ftp: crl.nmsu.edu ; pub/korean/pmtex-korean-fonts.tar.Z + +See Also: Fonts, Chinese + +Subject: Malayam + +Malayalam-TeX is a package to typeset Malayalam with TeX (*), in both the +traditional and reformed script. There's a free and a commercial version. +The demo includes pk fonts at 300dpi, but not the .mf files. The commercial +package costs DFL 75, which doesn't sound very much. + +ftp: archive.cs.ruu.nl:/pub/TEX/FONTS/MalayalamTeX-v1.0.tar.Z + + +Subject: Malvern + +A sans-serif font by P. Damian Cugley (Damian.Cugley@comlab.ox.ac.uk). +The latest version is 1.2 (October 1994). +This family contains a sans-serif Greek alphabet, using +conventions based on Levy's original Greek fonts and Dryllerakis' GreekTeX. +The package includes support files for LaTeX 2e, LaTeX 2.09 and plain TeX. + +ftp: CTAN: tex-archive/fonts/malvern + + +Subject: Mongolian + +Infosystem Mongolei distributes "Soyombo for LaTeX", together with an +introduction to the Soyombo script still sometimes used in Mongolia. + +http://userpage.fu-berlin.de/~corff/im/Soyombo/overview.Soyombo.html + + +Subject: Music + +MuTeX is a basic music package for TeX. It seems to be the same as mtex, +but with documentation in English rather than (or as well as) German. + +ftp: stolaf.edu /pub/MuTeX.tar.Z /pub/MuTeX_doc.Z +ftp: suned.zoo.cs.yale.edu [128.36.21] +ftp: cs.ubc.edu src/MuTeX/MuTeX.tar.Z (slow) +ftp: wuarchive.wustl.edu: /mirrors/msdos/tex/mutex.arc + +In Europe, +ftp: ftp.cs.ruu.nl in subdirectory pub/TEX +ftp: mtex.tar.Z (sources, including metafont sources and documentation) +ftp: mtexfonts.tar.Z (300dpi pk files) +These are also available in Europe by mail-server. Send mail to +mail-server@cs.ruu.nl with HELP in the subject and the body and probably +the .signature as well :-) + +MUSICTEX is another package with some more fonts, but French documentation +ftp: 130.84.128.100 username-MUSICTEX password=ANY +[I don't think this archive exists anymore..... -- Lee] + +This may or may not be the same as MusicTeX: +ftp: qed.rice.edu pub/musictex.tar.Z + + +Subject: OCR (Optical Character Recognition) + +OCR A (this is not the font for printing on cheques) +ftp: ctan: tex-archive/fonts/ocr-a/* + + +Subject: Old English + +Note On Terminology: + Old English is a language spoken by the Anglo-Saxons in Britain up + until the first half or so of the 12th century. It is used to refer + to fonts used for setting the Old English language. + The term `Old English' is also used to mean the Black Letter fonts + used by mediaeval scribes, and called Gothic. Unfortunately, some + American typefounding companies use `Gothic' to mean `sans-serif'. + Both the Anglo-Saxon character sets and the ornamental Black Letter + fonts are listed here. + +Julian Bradfield's font for typesetting Old English in TeX -- this supplies +extra characters for Computer Modern. The extra characters are eth, Eth, +Thorn, thorn, yogh, Yogh and Polish ogonek. There are two styles of thorn, +but I note that there is no wynn. You may have to create an empty file, or +rename a file -- I forget exactly what I had to do. Some of these characters +can also be found in the International Phonetic Alphabet font as well, but +Julian's are much more convenient for working with Old English. + +Yannis' Fraktur fonts include ygoth, which can be used as +an Old English Black Letter. + +ftp: ctan: tex-archive/fonts/gothic/ygoth + + +Subject: Oriya + +Sabita Panigrahi is working on Oriya (one of the modern Indian scripts), +but this is not yet available. + +Subject: Pandora + +This is a little like Palatino, annd includes a sans-serif variant. +It is not yet of production quality, unfortunately. + +ftp: gatekeeper.dec.com; cd tex82/MFcontrib/metafonts/pandora +ftp: ctan: tex-archive/fonts/pandora/* +mail: (N. N. Billawa) sun!metamarks!nm +mail: (Tom Tatlow) tatlow@dash.enet.dec.com or tom@math.mit.edu + +Subject: Pica + +There is also a Pica typewriter font -- italic and bold come out with +straight and wavy underlines (respectively), however. +ftp: ctan: tex-archive/cmpica/* + + +Subject: Pointing Hands + +Various manual extremities, designed by Georgia Tobin +ftp: ctan: tex-archive/fonts/hands/* + +Subject: Punk + +A punK hAndWritten fOnT... +For writing on walls, perhaps. The lower case is simply a smaller +version of the upper case. +ftp: ctan: tex-archive/fonts/punk/* + +Subject: Ransom + +This isn't a Metafont font, but you can get the gf, pk and tfm files at +10.300 size from: +ftp: ctan: tex-archive/fonts/ransom/* + +Subject: Recycle Symbol + +ftp: ctan: tex-archive/fonts/ransom/* + +Subject: Romanized Indic + +The font wnri by Tom Ridgeway can be found on +ftp.bcc.ac.uk:/public/users/ucgadkw/indology + +See Also: Fonts: Devanagari + + +Subject: Sanskrit +(see Fonts: Devanagari; Fonts: Romanized Indic) + + +Subject: Sauter + +This is a rework of Computer Modern by John Sauter. The outlines are the +same, as far as I know, but it is much easier to generate the various fonts. + +ftp: ctan: tex-archive/cm/sauter/* + + +Subject: Script + +Ralph Smith's formal script - rasmith@ucsd.edu +See TeXhax 92 #16. +ftp: ctan: tex-archive/fonts/rsfs/* + +Subject: Soyombo + +See Mongolian, above. + + +Subject: Symbol + +There are varions fonts with special symbols, including: +A recycling symbol: +ftp: ctan: tex-archive/fonts/recycle/* + +The stmary symbol font: +ftp: ctan: tex-archive/fonts/stmary/* + + + +Subject: Tamil + +(Tamil is an Indian script) +An unfinished version of Washington Tamil is available from the University +of Washington, and is included on their Unix TeX distribution in directory: +TeX3.14/MFcontrib/metafonts/washington/tamil together with supporting software. +ftp: BLACKBOX (see introduction) pub/wntml + +Avinash Chopde's (avinash@acm.org) ITRANS package (a pre-processor for TeX) +supports Hindi, Marathi, Sanskrit (Devanagari), Tamil, Telugu, Bengali. +It includes a PostScript (Type 3) font for Devanagari, and a Metafont Tamil +font (wntml). +ftp: Unix: cs.duke.edu in dist/sources/itrans32.tar.Z +ftp: MS/DOS: oak.oakland.edu pub/msdos/tex/itrans32.zip +ftp: PostScript printer ready docs are in itransps.tar.Z or itransps.zip. + +T. Govindaraj (tg@chmsr.gatech.edu) has created a Palladam Tamil font; +ftp: isye.gatech.edu nights & weekends only +Bala Swaminathan's Thiruppaavai files are also there. + + +See Also: Devanagari, Oriya + + +Subject: Telegu + +(Telegu is an Indian script) +Andhra Pradesh, Lakshmankumar Mukkavilli and Lakshmi Mukkavilli's TeluguTeX +includes a Telugu font in MF format and also a transliteration scheme for TeX. + +ftp: ctan: tex-archive/languages/telugu/ +ftp: ftp.cs.ruu.nl:/pub/TEX/FONTS/TeluguTeX.tar.gz + + +Subject: Tengwar + +There are at least two Tengwar fonts, +Mike Urban's: +ftp: ctan: tex-archive/fonts/tengwar/* + +Julian Bradfield <jcb@lfcs.edinburgh.ac.uk> also has both Tengwar and a +prototype version of Cirth runes. +See Fonts: Cirth for details. + +Subject: Thai + +There are at least three Thai fonts around. The rmit font is a little tricky +to make, as it needs to be in a directory called ``thai2'', because it +refers to files called "../thai2/name". USL makes easily. +The third Thai font is by Dr. Robert Batzinger and associates at the United +Bible Societies in Southeast Asia. I know no more than this. + +ftp: ctan: tex-archive/fonts/thai/rmit/* +ftp: ctan: tex-archive/fonts/thai/usl/* + +Subject: Times + +Formerly produced by the Metafoundry, which is no longer operating. +Pk (binary) files may be available commercialy; Georgina Tobin works as a +Metafont consultant and has since done more work on Times. +See Also: Fonts: Helvetica + +Subject: Unitary Beginners' Script + +I know very little about this, sorry. +ftp: tex-archive/fonts/va + + +Subject: Vietnamese + +This test package includes tfm and pk fonts at 10 point roman and italic. +I understand that you need TeX 3.0 or later to use this, and drivers that +cope with fonts containing more than 128 characters. + +ftp: BLACKBOX (see introduction) cd /pub/testviet +Since testviet is unavailable, you should probably look at viet-std instead: + +A large collection of Vietnamese Mf (and PK) fonts is available; these fonts +follow the Viet-Std VISCII 1.1 font encoding specification. + +ftp: media.mit.edu, directory /pub/Vietnet/Viscii/Tex, files +ftp: vncmr.pk.tar.Z and vncmr.mf.tar.Z; the encoding report is +ftp: under /pub/Vietnet/Viet-std. + +Subject: Waldi Symbol Font + +A (compatible) superset of the standard LaTeX symbol font designed by Roland +Waldi, at the University of Karlruhe in Germany. + +ftp: forwiss.uni-passau.de; pub/unix/text/TeX/dhdurz1/wasy.zoo +ftp: ftp.cs.ruu.nl; ATARI-ST/tex/wasy.arc + + +End of Font List + +$Id: mf1.faq,v 1.68 97/03/20 12:37:28 lee Exp $ + + + +-- +Liam Quin | lq-text freely available Unix text retrieval +liamquin at interlog.com | FAQs: Metafont fonts, OPEN LOOK UI, OpenWindows + | xfonttool (Unix xfontsel in XView) ++1 416 594 9646 (home) | the barefoot programmer diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_Amiga_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Amiga_Info new file mode 100644 index 0000000000..49ef248971 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Amiga_Info @@ -0,0 +1,334 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: Amiga Info +Supersedes: <font-faq-13_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:18 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 311 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-13_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48310 comp.answers:20524 news.answers:79245 + +Archive-name: fonts-faq/part13 +Version: 2.1.5 + +Subject: 8. Amiga Information + + Daniel Amor contributes the following sections: + + Font Concepts + ============= + + The Amiga is able to use two different concepts of fonts. First of all + there are the bitmap fonts. These fonts are created by drawing a letter + pixel for pixel onto the screen. The advantage is that they look good + at small sizes, but are not very good for printout. Also they don't + look very good when you change their size. Therefore you have to + recreate the font for each size. Second there are the vector fonts. + They are created by curves which are stored as mathematical formula. + This has the advantage that changing the sizes does not effect the + output. But this only applies for larger sizes and print-outs. Vector + fonts also use less memory. + + Amiga Font Formats + ================== + + 1. Agfa IntelliFont (suffix: .type or .lib) is the native font format + on the Amiga. You can use it in any application and it can be + converted to the standard bitmap format using the system + utilities `IntelliFont' (OS 3.x) or `Fountain' (OS 2.x). + + 2. Postscript Type 1 fonts can be used within many applications, it + can be used in every word processor and DTP program. There are + two versions of the Type 1 format: Binary and ASCII (suffix: + .pfb & .pfa). The Amiga software uses the Binary format, but you + can easily convert them with TypeSmith or some PD software + products (z.B. PFB2PFA) . In Addition to the files mentioned + above, there are the metrics files with the suffixes .afm or + .pfm. They contain information about the size (width) of the + letters and most programs expect this file to be in the same + directory as the font file. + + 3. Postscript Type 3 fonts (suffix: .ps or nothing) are not often + used on the Amiga, but some applications do support this font + format (e.g. PageStream). There are also some download + utilities from PD sources available. + + 4. Truetype fonts (suffix: .ttf) are not very common on the Amiga, + there is one word processor supporting this format (Wordworth + 3.0). Due to the lower quality of the format, Amiga users tend + to use higher quality for their DTP, DTV and word processing... + There are also two formats: Mac & Windows available. The Amiga + software is able to use the Windows format. + + 5. DMF fonts is the privat format of PageStream (suffix: .dmf), since + PageStream is the market leader in DTP programs on the Amiga, so + this format is very common! + + 6. Bitmap fonts (suffix: .font and numbers in a directory by the name + of the font, sometimes .otag when converted from IntelliFont) + were used in the OS 1.x, but have been replaced by the superior + IntelliFont Format in OS 2.0. Under 2.0 or higher you still are + able to use the bitmap fonts for small sizes, but for printouts + you should use the IntelliFont format or any other vector font + format mentioned above. + + 7. Colour Bitmap fonts (same suffixes as Bitmap Fonts, but the + numbers have in addition a C, e.g. 35C) are also very common on + the Amiga, they are mainly used for DTV applications, like the + Video Toaster and Scala. + + Frequently Requested Amiga Fonts + ================================ + + 1. First place to look for fonts is the AMINET archive. This is the + biggest archive of Amiga software and there you will find also + quite a lot of fonts. The Aminet consists of many mirrors + around the world. Here are some of them: + + 1. ftp.wustl.edu, + + 2. ftp.luth.se, + + 3. ftp.eunet.ch, + + 4. ftp.uni-paderborn.de, + + 5. ftp.doc.ic.ac.uk. + + Just log in as ftp and go to the directory + + /pub/aminet/text/font. + + 2. Another good ftp server to look is the CICA-server: + + 1. ftp.cica.indiana.edu + + To this server are also some mirrors around the world available. + + 3. Also a good place to look for is the following WWW server: + + 1. http://www.ora.com/homepages/comp.fonts/ifa + + 4. Another good place is the Fresh Fonts I CD-ROM, there you will + almost certainly find some nice fonts. The CD is available from + + 1. Fred Fish / Amiga Library Services (orders@amigalib.com) + + 2. Stefan Ossowski / Schatztruhe GmbH + + The CD is for free when buying another CD from that company. + + You can also access the HTML pages on the CD under the following + address: + + 1. http://macke.gris.informatik.uni-tuebingen.de:4711/~damor/ + + Commercial Font Sources + ======================= + + Commercial fonts can be obtained from a number of different companies, + including the large font houses: Adobe, Font Haus, Font Company, + Bitstream, and Monotype. At these companies, fonts cost about $40 for a + single face, and must be purchased in packages. Adobe, Bitstream, and + Monotype also sell pre-designated type collections for slightly lower + prices. + + There are also a lot of PD reseller who have a vast quantity of fonts, + check out your local Amiga magazin for more information. + + Please consult the vendor list for a more complete list of vendors. + + Non-Latin fonts on the Amiga + ============================ + + Due to the really bad information policy by C= there was actually no + information about non-latin fonts. But still it is possible to use them, + without difficulty. You just have to get yourself some additional + files. First of all you need the non-latin font files. There is a + large selection of them on the Fresh Fonts CD-ROM mentioned above. In + order to use the non-latin font files, you have to get yourself the + appropriate keymap file, this will remap the keys on the keyboard to + the appropriate letters of the foreign alphabet, e.g. in order to use + a Russian font, you should set the russian keymap file in the + preferences (via PREFS/INPUT). + + Not only that you can write with a non-latin alphabet, you can also + localize your workbench. How about a Greek workbench or a Hebrew + workbench? Have a look into the AMINET archive (mentioned above) for + these files! + + In addition to this you can easily use Hebrew & Arabic in any word + processor incl. writing from right-to-left! This can be easily done + by setting the kerning value to negative values (like this the cursor + moves left and not right) and moving the characters into the negativ + part! You can get fonts from me with this feature! + + Amiga Font Installation + ======================= + + The installation of Postscript, DMF and Truetype fonts is described by + the application that use them. Please refer to the manuals of the + software packages. + + The installation of IntelliFonts is very easy. Just start `IntelliFont' + (OS 3.x) or `Fountain' (OS 2.x) and follow the guidelines from within + the program. + + In order to install bitmap fonts, either copy them to the logical device + FONTS: or assign the directory with your bitmap fonts: + + ASSIGN Fonts: <your_directory> ADD + + Right after this you can start your application and use them. When using + non-latin fonts, don't forget to set the appropriate keymap file! + + Amiga Font Utilities + ==================== + + 1. IntelliFont + + IntelliFont is the system program by OS 3.x which lets you install + Agfa IntelliFonts and converts them to bitmap fonts. The program + is located in the drawer `SYS:System/'. For more information + read your Workbench 3.x manual. + + 2. Fountain + + Is the preceding program to IntelliFont and comes with the now + obsolete OS 2.x. Please read the section about Fountain in your + Workbench 2.x manual. + + 3. PFB2PFA + + This neat little utility lets you convert Postscript Binary files + to Postscript ASCII files. This is needed in order to use DOS & + Amiga Adobe Type 1 fonts on the Mac! + + 4. CacheFont + + This great program caches the fontlist for you, in order to save a + huge amount of time. The program looks for all fonts available + on the system and creates a special cache-file on disk. + + 5. TypeSmith + + This is the best font converter on the Amiga, besides this + function it is also a full blown font editor (see below) :-). + The program is able to convert between: + + 1. Truetype + + 2. DMF + + 3. Adobe (Type 1 & 3) + + 4. IntelliFont + + 5. Bitmap (Amiga, Adobe, DMF) + + Making Outline Fonts + ==================== + + This is very, very difficult. Many people imagine that there are + programs that will simply convert pictures into fonts for them. This is + not the case; most fonts are painstakingly created by drawing curves + that closely approximate the letterforms. In addition, special rules + (which improve hinting, etc.) mandate that these curves be drawn in + specific ways. Even designing, or merely digitizing, a simple font can + take hundreds of hours. + + The easiest way of learning how to create fonts, is to have a look at + existing fonts and try to change some letters. + + Given that, there are two major programs used for font design on the + Amiga, TypeSmith 2.5 ($150) and FontDesigner ($100). These programs + will allow you to import scanned images, and then trace them with + drawing tools. The programs will then generate Adobe type 1, 3, + TrueType, AGFA Intellifont, DMF and Bitmap fonts for either the + Amiga, the Macintosh or the IBM PC. They will also generate automatic + hinting. They also open previously constructed outline fonts, + allowing them to be modified, or converted into another format. + + As far as I know, there are no shareware programs that allows you to + generate outline fonts. + + There are also two programs for creating bitmap fonts. Personal Fonts + Maker and Calligrapher. The second one has not been updated for several + years, but it still is a good tool to work with. The first Program was + created by adding some features to a good bitmap paint program + (Personal Paint). + + There are some shareware tools to create bitmap fonts which you can + convert to outline (vector) fonts with TypeSmith. + + Problems and Possible Solutions + =============================== + + 1. Pagestream does not recognize your newly installed font. + + This happens when you have two fonts with the same ID. The + solution is to load such a font into a font editor and enter a + new ID for one of the fonts. Still it might happen that you + choose another one, that has already been used by! + + 2. Your application does not find the IntelliFont. + + This happens when you haven't set the locigal device FONTS: to + your drawer. You can change this by typing the following + command into your SHELL or add this line to your + `S:User-Startup' file: + + ASSIGN Fonts: <your_drawer> ADD + + 3. You're using a non-latin font and the wrong characters appear when + typing. + + This happens when you forget to set the appropriate keymap file. + Enter the Prefs directory and start the program `INPUT'. There + you can choose your keymap file. + + Adobe Type 1 fonts for the Amiga + ================================ + + Darrell Leland contributes the following information: + + There are now three high end DTP packages for the Amiga that can + directly or indirectly use Adobe Type 1 Fonts or AGFA Compugraphic + fonts. The best of the lot in both my and Amiga World's opinions is + SoftLogik's Pagestream, currently in version 2.2 but about to go to + version 3.0. Pagestream can take Adobe fonts in MS-DOS format directly + with no format conversion needed. All you have to do is get them on an + Amiga format disk, which is very easy using the new version of + Commodore's Workbench operating system. Pagestream has import modules + for MacWrite, Adobe Illustrator, and every other format in the universe + (seems like). It is generally a very stable and well behaved program + with a lot of features. I haven't had a chance to see 3.0 yet, but they + are claiming it's going to be a real killer. We shall see. It does color + seps, twists and rotates fonts, etc. Pagestream's job has been made + easier with Commodore's (about time) release of their own Postscript + printer drivers and Preferences postscript printer control tools. + + SoftLogik also sells a program called Typesmith, which is (at last!) a + structured font maker/editor for the Amiga. Typesmith will work with + both formats mentioned above plus SoftLogik's own font format, which I + get the impression they are discontinuing in favor of Postscript. They + also sell ArtExpression, a very nice structured drawing package that + does everything I can think of. I understand SoftLogik has also been + getting several Mac and PC font makers to make Amiga fonts for them too. + They even have a program system that allows programs to publish to other + programs, sort of like in Mac System 7.0. They are lisencing it out to + any Amiga developer who pays a paltry sum to lisence it. + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_Atari_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Atari_Info new file mode 100644 index 0000000000..4e7152e40a --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Atari_Info @@ -0,0 +1,157 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: Atari Info +Supersedes: <font-faq-14_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:24 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 134 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-14_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48311 comp.answers:20525 news.answers:79246 + +Archive-name: fonts-faq/part14 +Version: 2.1.5 + +Subject: 9. Atari ST/TT/Falcon Information + + Erlend Nagel contributed the following information about the Atari + ST/TT/Falcon. + +Subject: 9.1. SpeedoGDOS + + SpeedoGDOS is similar to ATM. + + Fonts included with SpeedoGDOS 4.x + ================================== + + 14 fonts are included with SpeedoGDOS 4.x. + + Bitstream Cooper Black, Dutch 801 Roman, Dutch 801 Bold, Dutch 801 + Italic, Dutch 801 Bold Italic, Monospace 821, More Wingbats SWC, Park + Avenue, Swiss 721, Swiss 721 Bold, Swiss 721 Italic, Swiss 721 Bols + Italic, Symbol Monospaced, and VAG Rounded + + Fonts included with SpeedoGDOS 5.x + ================================== + + 24 fonts are included with SpeedoGDOS 5.x. All fonts included with + SpeedoGDOS 4.x plus the following: + + American Garamond Roman, American Garamond Bold, American Garamond + Italic, American Garamond Bold Italic, AD LIB Regular, Allegro Regular, + Amelia Regular, and Cataneo Bold + +Subject: 9.2. Atari File Formats + + Atari Font formats + ================== + + The standard Atari OS in ROM does not support any type of fonts. To use + different fonts in applications, either the application has to have + built-in support for some font format, or an add-on program is needed. + This add-on program is called a GDOS, a Graphical Device Operating + System. There are many different versions of GDOS. + + The earliest versions of GDOS supported only GEM bitmap fonts (*.FNT). + These versions include GDOS, AMC-GDOS (Atari), G-plus (Codehead) and + Font-GDOS (Atari again). Font-GDOS (available for free) added caching + to the font-manager, so not all fonts need to reside in memory at the + same time. + + FontGDOS and FSM-GDOS were develloped in parallel and are both + successors of Atari-GDOS (1.x). The FSM stands for Font Scaling + Manager and allowed vector fonts to be used. FSM-GDOS was only + included with Wordflair II and G-Man. FSM-GDOS also still supported GEM + bitmap fonts. The font format is the QMS/Imagen format. + + After FSM-GDOS, Atari introduced SpeedoGDOS 4.0, using Speedo font + scaling technology licensed from Bitstream. 14 fonts are included with + this version (see 1.15). SpeedoGDOS 4.0 and 4.1 can use GEM bitmap, + Atari encrypted and commercially encrypted Speedo fonts. As of version + 4.2 also the publicly available X11 Speedo fonts can be used. + SpeedoGDOS offers improved speed and reliability over FSM-GDOS, as well + as track- and pair-kerning. + + Recently Compo Software introduced SpeedoGDOS 5.x which supports GEM + bitmap, Speedo, Truetype and Type 1 fonts. Included are 22 Speedo fonts + (see 1.15). + + For more information about the GDOS format, consult the GDOS FAQ: + ftp://ftp.cs.tu-berlin.de/pub/atari/Gdos/gdosi??e.txt. The "??" is the + version number; as of 01 Mar 95, the versions are: 24 in English and 25 + in German. A LaTeX version of the German edition is also available. + + Also recently introduced was NVDI 3.0 by Behne & Behne, which supports + GEM bitmap, Speedo and Truetype fonts. The biggest difference when + compared to SpeedoGDOS 5.x is the improved speed, because NVDI is + written in Assembler instead of C. Only 2 fonts are included with NVDI + 3.0. + + These fonts are transparent to programs. There are a few other options + that require support by the program using the fonts. Two major font + formats are supported in this way on the Atari, namely + Signum!2/Signum!3 fonts and Calamus fonts. + + The Signum!2 font format is a bitmapped font format supported by many + wordprocessors and some drawing packages. Amazing print quality on + 9-needle printers. Many high quality designs are available in Signum!2 + and Signum!3 format (Mostly German), especially for some special + languages like Polish. There are also many PD fonts available in this + format. + + The Calamus (*.CFN) format was introduced by DMC, in their Calamus DTP + program that uses soft-RIPping. The Calamus font format has no hinting + since it is meant to be used on very high resolution type setting + machines. Also supported by Digital Art's (DA's) software. Many + professional designs are available in this format, as well as a lot of + PD fonts. + + Atari Font Format Extensions + ============================ + + File formats specific to the Atari platform: + + * .E24 + + Bitmapped Signum!2 screen font. + + * .L30 + + Bitmapped Signum!2 printer font for Laser and Deskjet printers. + + * .OTL + + Vector font table used by FSM-GDOS. + + * .P9 + + Bitmapped Signum!2 printer font for Hi-Res 9-needle printers + (214*196 dpi). + + * .P24 + + Bitmapped Signum!2 printer font for 24-needle printers. + + * .QFM + + Vector font used by FSM-GDOS. + +Subject: 9.3. Frequently Requested Atari Fonts + + Some fonts, including a few Speedo fonts are available from various + archives. The most important Atari archive is atari.archive.umich.edu. + + Most fonts can be had from PD/Shareware distributors around the world... + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_Diffs_from_last_posting b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Diffs_from_last_posting new file mode 100644 index 0000000000..1f5eb8b481 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Diffs_from_last_posting @@ -0,0 +1,231 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: Diffs from last posting +Supersedes: <font-faq-diffs_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:46 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 208 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-diffs_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48315 comp.answers:20529 news.answers:79250 + +Archive-name: fonts-faq/diffs +Version: 2.1.5 +Diffs-from: comp.fonts FAQ v2.1.4 +Diff-tool: diff -c2 + +diff -c2 v2.1.4/font-faq.1 v2.1.5/font-faq.1 +*** v2.1.4/font-faq.1 Sat Nov 25 12:49:00 1995 +--- v2.1.5/font-faq.1 Wed Aug 14 07:39:04 1996 +*************** +*** 2,11 **** + ---------------------------------------------------------------------- + The comp.fonts FAQ +! Version 2.1.4. +! November 25, 1995 + Compiled by Norman Walsh + + Copyright (C) 1992-95 by Norman Walsh <norm@ora.com>. The previous +! version was 2.1.3. + + Portions of the OS/2 section are Copyright (C) 1993 by David J. +--- 2,11 ---- + ---------------------------------------------------------------------- + The comp.fonts FAQ +! Version 2.1.5. +! August 13, 1996 + Compiled by Norman Walsh + + Copyright (C) 1992-95 by Norman Walsh <norm@ora.com>. The previous +! version was 2.1.4. + + Portions of the OS/2 section are Copyright (C) 1993 by David J. +*************** +*** 145,162 **** + + This FAQ is a work in progress. If you have any suggestions, I would be +! delighted to hear them. + + This FAQ is maintained in TeXinfo format. A Perl script constructs the +! postable FAQ from the TeXinfo sources. TeX DVI, PostScript, Emacs Info, +! plain text, and HTML versions of this FAQ are available from +! jasper.ora.com in /pub/comp.fonts/FAQ. A "Gopher" server is also +! maintained at shsu.edu which can provide interactive access to the FAQ. + +! The FAQ is also available from The comp.fonts Home Page on the World +! Wide Web: + +! http://jasper.ora.com/comp.fonts + +! This is also the site for The Internet Font Archive. + + The posted version of the FAQ is organized in a quasi-digest format so +--- 145,164 ---- + + This FAQ is a work in progress. If you have any suggestions, I would be +! delighted to hear them. After many months of inactivity, I hope to +! begin a major update on the FAQ. Please send in your comments. And +! thanks for being patient. + + This FAQ is maintained in TeXinfo format. A Perl script constructs the +! postable FAQ from the TeXinfo sources. The FAQ is also available from +! The comp.fonts Home Page on the World Wide Web: + +! http://www.ora.com/homepages/comp.fonts/ + +! This is also the site for The Internet Font Archives. + +! TeX DVI, PostScript, Emacs Info, plain text, and HTML versions of this +! FAQ are available from the web at +! http://www.ora.com/homepages/comp.fonts/FAQ.html. FTP access to these +! archives has been temporarily suspended. + + The posted version of the FAQ is organized in a quasi-digest format so +diff -c2 v2.1.4/font-faq.13 v2.1.5/font-faq.13 +*** v2.1.4/font-faq.13 Sat Nov 25 12:49:06 1995 +--- v2.1.5/font-faq.13 Wed Aug 14 07:39:07 1996 +*************** +*** 95,99 **** + 3. Also a good place to look for is the following WWW server: + +! 1. http://jasper.ora.com/Internet-Font-Archive.html + + 4. Another good place is the Fresh Fonts I CD-ROM, there you will +--- 95,99 ---- + 3. Also a good place to look for is the following WWW server: + +! 1. http://www.ora.com/homepages/comp.fonts/ifa + + 4. Another good place is the Fresh Fonts I CD-ROM, there you will +diff -c2 v2.1.4/font-faq.16 v2.1.5/font-faq.16 +*** v2.1.4/font-faq.16 Sat Nov 25 12:49:07 1995 +--- v2.1.5/font-faq.16 Wed Aug 14 07:39:08 1996 +*************** +*** 10,15 **** + Subject: 11.1. How do I convert AFM files to PFM files + +! You can get afm2pfm and pfm2afm files from jasper.ora.com in the +! directory /pub/pfm2afm. + + Subject: 11.2. PS2PK +--- 10,15 ---- + Subject: 11.1. How do I convert AFM files to PFM files + +! You can get afm2pfm and pfm2afm files from +! http://www.ora.com/homepages/comp.fonts/FAQ-tools.html. + + Subject: 11.2. PS2PK +*************** +*** 304,315 **** + + If you are using ftp, you will need either the name of the host or the +! Internet number. For example, to connect to jasper, listed as ftp: +! jasper.ora.com [198.112.208.14] you will need to type something like + +! ftp jasper.ora.com + + If that doesn't work, try using the number: + +! ftp 198.112.208.14 + + If that doesn't work, on Unix systems you can use nslookup (it's +--- 304,315 ---- + + If you are using ftp, you will need either the name of the host or the +! Internet number. For example, to connect to ftp.ora.com, listed as +! ftp: ftp.ora.com [198.112.208.11] you will need to type something like + +! ftp ftp.ora.com + + If that doesn't work, try using the number: + +! ftp 198.112.208.11 + + If that doesn't work, on Unix systems you can use nslookup (it's +diff -c2 v2.1.4/font-faq.3 v2.1.5/font-faq.3 +*** v2.1.4/font-faq.3 Sat Nov 25 12:49:02 1995 +--- v2.1.5/font-faq.3 Wed Aug 14 07:39:04 1996 +*************** +*** 405,410 **** + + [ed: additional bibliographic information appears in the file +! "Additional-bibliography" on jasper.ora.com:/comp.fonts. I have not +! yet had time to integrate this bibliographic information into the FAQ] + + Subject: 1.19. Font Encoding Standards +--- 405,411 ---- + + [ed: additional bibliographic information appears in the file +! "Additional-bibliography" on +! http://www.ora.com/homepages/comp.fonts/FAQ.html. I have not yet had +! time to integrate this bibliographic information into the FAQ] + + Subject: 1.19. Font Encoding Standards +diff -c2 v2.1.4/font-faq.7 v2.1.5/font-faq.7 +*** v2.1.4/font-faq.7 Sat Nov 25 12:49:04 1995 +--- v2.1.5/font-faq.7 Wed Aug 14 07:39:05 1996 +*************** +*** 455,460 **** + distributed in PC format, however. Again, the font will have to + be reencoded for Windows. Appropriate AFM files for this font can +! be obtained from: jasper.ora.com:/pub/norm/comp.fonts. The file +! is called IBM-Courier-PC8-SymbolSet-AFMs.zip. + + Many of these mac fonts are available in files that are either entitled +--- 455,460 ---- + distributed in PC format, however. Again, the font will have to + be reencoded for Windows. Appropriate AFM files for this font can +! be obtained from: +! http://www.ora.com/homepages/comp.fonts/FAQ-tools.html. + + Many of these mac fonts are available in files that are either entitled +diff -c2 v2.1.4/font-faq.8 v2.1.5/font-faq.8 +*** v2.1.4/font-faq.8 Sat Nov 25 12:49:04 1995 +--- v2.1.5/font-faq.8 Wed Aug 14 07:39:06 1996 +*************** +*** 50,55 **** + font will have to be reencoded for Windows. Appropriate AFM files + for this font can be obtained from: +! jasper.ora.com:/pub/norm/comp.fonts. The file is called +! IBM-Courier-PC8-SymbolSet-AFMs.zip. + + Lee Cambell suggests the following alternative: +--- 50,54 ---- + font will have to be reencoded for Windows. Appropriate AFM files + for this font can be obtained from: +! http://www.ora.com/homepages/comp.fonts/FAQ-tools.html. + + Lee Cambell suggests the following alternative: +*************** +*** 262,269 **** + + REFONT +! refont14.zip in /pub/norm/mac-font-tools on jasper.ora.com + + BMAP2AFM +! bm2af02.zip in /pub/norm/mac-font-tools on jasper.ora.com + + XBIN converts Mac "BinHex"ed files back into binary format. BinHex is +--- 261,270 ---- + + REFONT +! refont14.zip from +! http://www.ora.com/homepages/comp.fonts/FAQ-tools.html + + BMAP2AFM +! bm2af02.zip from +! http://www.ora.com/homepages/comp.fonts/FAQ-tools.html + + XBIN converts Mac "BinHex"ed files back into binary format. BinHex is diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(1_6) b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(1_6) new file mode 100644 index 0000000000..63c2297721 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(1_6) @@ -0,0 +1,1183 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: General Info (1/6) +Supersedes: <font-faq-1_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:08 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 1161 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48298 comp.answers:20512 news.answers:79233 + +Archive-name: fonts-faq/part1 +Version: 2.1.5 + + Frequently Asked Questions About Fonts + ---------------------------------------------------------------------- + The comp.fonts FAQ + Version 2.1.5. + August 13, 1996 + Compiled by Norman Walsh + + Copyright (C) 1992-95 by Norman Walsh <norm@ora.com>. The previous + version was 2.1.4. + + Portions of the OS/2 section are Copyright (C) 1993 by David J. + Birnbaum. All rights reserved. Reproduced here by permission. + + Permission is granted to make and distribute verbatim copies of this + document provided the copyright notice and this permission notice are + preserved on all copies. + +Subject: Table of Contents + + 1. General Information + 1.1. Font Houses + 1.2. What's the difference between all these font formats? + 1.3. What about "Multiple Master" fonts? + 1.4. Is there a methodology to describe and classify typefaces? + 1.5. What is the "f" shaped "s" called? + 1.6. What about "Colonial" Typefaces? + 1.7. What is "Point Size"? + 1.8. Where can I get ... fonts. + 1.9. Where can I get fonts for non-Roman alphabets? + 1.10. What about fonts with the International Phonetic Alphabet (IPA) s... + 1.11. How can I convert my ... font to ... format? + 1.12. Are fonts copyrightable? + 1.13. Typeface Protection + 1.14. File Formats + 1.15. Ligatures + 1.16. Built-in Fonts + 1.17. Glossary + 1.18. Bibliography + 1.19. Font Encoding Standards + 1.20. PostScript + 1.21. TrueType + 1.22. Unicode + 1.23. Can I Print Checks with the MICR Font? + 1.24. Rules of Thumb + 1.25. Acknowledgements + 1.26. A Brief Introduction to Typography + 1.27. A Brief History of Type + 1.28. The Role of National Orthography in Font Design + 1.29. Interesting Fonts + 1.30. Pronounciation of Font Names + 1.31. What is it? + 1.32. Equivalent Font Names + 1.33. Digital Type Design Tools + 1.34. Type Design Firms + 1.35. What does `lorem ipsum dolor' mean? + 2. Macintosh Information + 2.1. Macintosh Font formats + 2.2. Frequently Requested Mac Fonts + 2.3. Commercial Font Sources + 2.4. Mac Font Installation + 2.5. Mac Font Utilities + 2.6. Making Outline Fonts + 2.7. Problems and Possible Solutions + 2.8. Creating Mac screen fonts + 3. MS-DOS Information + 3.1. Frequently Requested MS-DOS fonts + 3.2. MS-DOS Font Installation + 3.3. What exactly are the encodings of the DOS code pages? + 3.4. MS-DOS Font Utilities + 3.5. Converting fonts under MS-DOS + 3.5.1. Converting Mac Type 1 fonts to MS-DOS format + 3.5.2. Converting PC Type 1 and TrueType fonts to Mac format + 3.5.3. Converting PC Type 1 fonts into TeX PK bitmap fonts + 3.5.4. Converting TeX PK bitmaps into HP LaserJet softfonts (and vice... + 3.5.5. TrueType to HP LaserJet bitmap softfonts (HACK!) + 3.6. MS-DOS Screen Fonts (EGA/VGA text-mode fonts) + 4. OS/2 Information + 4.1. Preliminaries + 4.2. Fonts under DOS + 4.3. Windows + 4.4. Differences between Windows and OS/2 + 4.5. Installation under Windows and Win-OS/2 + 4.6. FontSpecific PostScript Encoding + 4.7. AdobeStandardEncoding + 4.8. AdobeStandardEncoding under Windows (and Win-OS/2) + 4.9. AdobeStandardEncoding under OS/2 + 4.10. Consequences for OS/2 users + 4.11. Advice to the user + 4.12. OS/2 2.1 and beyond + 5. Unix Information + 6. Sun Information + 6.1. Fonts Under Open Windows + 6.1.1. Does OpenWindows support Type 1 PostScript fonts? + 6.1.2. Improving font rendering time + 6.1.3. Making bitmap fonts for faster startup + 6.1.4. Converting between font formats (convertfont, etc.) + 6.1.5. Xview/OLIT fonts at 100 dpi + 6.2. Where can I order F3 fonts for NeWSprint and OpenWindows? + 7. NeXT Information + 7.1. Tell me about NeXTstep fonts + 7.2. Tell me more about NeXTstep fonts + 7.3. Porting fonts to the NeXT + 7.4. Font availability + 7.5. Why can I only install 256 fonts on my NeXT? + 8. Amiga Information + 9. Atari ST/TT/Falcon Information + 9.1. SpeedoGDOS + 9.2. Atari File Formats + 9.3. Frequently Requested Atari Fonts + 10. X11 Information + 10.1. Getting X11 + 10.2. Historical Notes about X11 + 10.3. X11 Font Formats + 10.4. X11 Font Server + 10.5. Fonts and utilities for X11 + 11. Utilities Information + 11.1. How do I convert AFM files to PFM files + 11.2. PS2PK + 11.3. TeX Utilities + 11.4. MFPic + 11.5. fig2MF + 11.6. GNU Font Utilities + 11.7. Font Editors + 11.8. The T1 Utilities + 11.9. Where to get bitmap versions of the fonts + 11.10. Converting between font formats + 11.11. Getting fonts by FTP and Mail + 11.12. MetaFont to PostScript Conversion + 11.13. How to use Metafont fonts with Troff + 11.14. PKtoBDF / MFtoBDF + 11.15. PKtoPS + 11.16. PKtoSFP / SFPtoPK + 11.17. PostScript to MetaFont + 11.18. Mac Bitmaps to BDF Format + 12. Vendor Information + +Subject: 1. General Information + + Many FAQs, including this one, are available by anonymous ftp from + rtfm.mit.edu in the directory pub/usenet/news.answers. Each posted + section of the FAQ is archived under the name that appears in the + "Archive-name" header at the top of the article. If you are unable to + access rtfm.mit.edu via ftp, you can get the FAQs via email. Send the + message "help" to mail-server@rtfm.mit.edu. + + This FAQ is a work in progress. If you have any suggestions, I would be + delighted to hear them. After many months of inactivity, I hope to + begin a major update on the FAQ. Please send in your comments. And + thanks for being patient. + + This FAQ is maintained in TeXinfo format. A Perl script constructs the + postable FAQ from the TeXinfo sources. The FAQ is also available from + The comp.fonts Home Page on the World Wide Web: + + http://www.ora.com/homepages/comp.fonts/ + + This is also the site for The Internet Font Archives. + + TeX DVI, PostScript, Emacs Info, plain text, and HTML versions of this + FAQ are available from the web at + http://www.ora.com/homepages/comp.fonts/FAQ.html. FTP access to these + archives has been temporarily suspended. + + The posted version of the FAQ is organized in a quasi-digest format so + that it is easy to find the questions you are interested in. All + questions that appear in the table of contents can be found by searching + for the word "Subject:" followed by the question number. + + The "TeXinfo" distribution from the Free Software Foundation contains a + program called "Info" that can be used to read the Info version of the + FAQ in a hypertext manner. The "TeXinfo" distribution can be obtained + from prep.ai.mit.edu in the /pub/gnu directory. At the time of this + writing, texinfo-2.16.tar.gz is the most recent version. Info files + can also be read in hypertext form by GNU Emacs. + + Future versions of the FAQ will make more use of the hypertext + capabilities provided by the Info format. At present, the FAQ is + organized as a simple tree. A plain ASCII, postable version of the FAQ + will always be maintained. + + All trademarks used in this document are the trademarks of their + respective owners. + + Standard disclaimers apply. + +Subject: 1.1. Font Houses + + This section will be expanded on in the future. It contains notes about + various commercial font houses. + + Adobe Systems, Inc. + =================== + + Adobe Systems Incorporated develops, markets, and supports computer + software products and technologies that enable users to create, display, + print, and communicate electronic documents. Adobe licenses its + technology to major computer and publishing suppliers, and markets a + line of type and application software products. + + Compugraphic + ============ + + See "Miles, Agfa Division" + + designOnline(tm) + ================ + + Home of Alphabets, Inc., designOnline is the online resource for + design. The majority of the interactivity is happening on [their] + FirstClass server, currently available by dialup and across the + Internet. + + Miles, Agfa Division + ==================== + + Compugraphic which was for a while the Compugraphic division of Agfa, + is now calling itself "Miles, Agfa Division" (yes, the Miles drug + company), since CG's off-shore parent Agfa has been absorbed by Miles. + So typographically speaking, Compugraphic, CG, Agfa, A-G ag, and Miles + all refer to the same company and font library. Their proprietary fonts + are still CG Xyz, but the name is Miles Agfa. + + Quadrat Communications + ====================== + + Quadrat Communications is a digital type foundry based in Toronto, + Ontario, Canada. [David Vereschagin] began creating and designing type + a few years ago, intrigued by the new possibilities presented by + Altsys's Fontographer software. [His] first project was the plain style + of Clear Prairie Dawn, a sans serif text face, which took three years + to complete. As well as designing [his] own faces, [he's] also + available for the creation of custom faces. + +Subject: 1.2. What's the difference between all these font formats? + + This question is not trivial to answer. It's analogous to asking what + the difference is between various graphics image file formats. The + short, somewhat pragmatic answer, is simply that they are different + ways of representing the same "information" and some of them will work + with your software/printer and others won't. + + At one level, there are two major sorts of fonts: bitmapped and outline + (scalable). Bitmapped fonts are falling out of fashion as various + outline technologies grow in popularity and support. + + Bitmapped fonts represent each character as a rectangular grid of + pixels. The bitmap for each character indicates precisely what pixels + should be on and off. Printing a bitmapped character is simply a + matter of blasting the right bits out to the printer. There are a + number of disadvantages to this approach. The bitmap represents a + particular instance of the character at a particular size and + resolution. It is very difficult to change the size, shape, or + resolution of a bitmapped character without significant loss of quality + in the image. On the other hand, it's easy to do things like shading + and filling with bitmapped characters. + + Outline fonts represent each character mathematically as a series of + lines, curves, and 'hints'. When a character from an outline font is + to be printed, it must be 'rasterized' into a bitmap "on the fly". + PostScript printers, for example, do this in the print engine. If the + "engine" in the output device cannot do the rasterizing, some front end + has to do it first. Many of the disadvantages that are inherent in the + bitmapped format are not present in outline fonts at all. Because an + outline font is represented mathematically, it can be drawn at any + reasonable size. At small sizes, the font renderer is guided by the + 'hints' in the font; at very small sizes, particularly on + low-resolution output devices such as screens, automatically scaled + fonts become unreadable, and hand-tuned bitmaps are a better choice (if + they are available). Additionally, because it is rasterized "on + demand," the font can be adjusted for different resolutions and 'aspect + ratios'. + + Werenfried Spit adds the following remark: + + Well designed fonts are not scalable. I.e. a well designed 5pt font is + not simply its 10pt counterpart 50% scaled down. (One can verify this + by blowing up some small print in a copier and compare it with large + print; or see the example for computer modern in D.E. Knuth's TeXbook.) + Although this fact has no direct implications for any of the two + methods of font representation it has an indirect one: users and word + processor designers tend to blow up their 10pt fonts to 20pt or scale + them down to 5pt given this possibility. Subtle details, but well... + + LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh + Screen Fonts, and GEM .GFX files are all examples of bitmapped font + formats. + + PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts, TrueType + fonts, Sun F3, MetaFont .mf files, and LaserJet .SFS files are all + examples of outline font formats. + + Neither of these lists is even close to being exhaustive. + + To complicate the issue further, identical formats on different + platforms are not necessarily the same. For example Type 1 fonts on + the Macintosh are not directly usable under MS-DOS or Unix, and + vice-versa. + + It has been pointed out that the following description shows signs of + its age (for example, the eexec encryption has been thoroughly hacked). + I don't dispute the observation and I encourage anyone with the + knowledge and time to submit a more up to date description. + + It has further been suggested that this commentary is biased toward + Kingsley/ATF. The omission of details about Bitstream (and possibly + Bauer) may be considered serious since their software lies inside many + 3rd-party PostScript interpreters. + + The moderators of this FAQ would gladly accept other descriptions/ + explanations/viewpoints on the issues discussed in this (and every + other) section. + + [Ed Note: Liam R. E. Quin supplied many changes to the following + section in an attempt to bring it up to date. Hopefully it is a better + reflection of the state of the world today (12/07/92) than it was in + earlier FAQs] + + Henry Schneiker <reachable electronically?> wrote the following + description of the differences between several scalable font + technologies: + + ((( semi-quote ))) + + There has been a lot of confusion about font technologies in recent + times, especially when it comes to Type 1 versus Type 3 fonts, "hints," + PostScript compatibility, encryption, character regularizing, kerning, + and the like. + + * Encryption (eexec) + + All fonts produced with Adobe's font technology are protected + through data encryption. The decryption is provided by the `eexec' + (encrypted execute) PostScript operator and, until recently, was + only present in Adobe's licensed PostScript. + + Adobe has published the details of the Type 1 font format in the + `Black Book', Adobe Type 1 Font Format (version 1.1), Adobe + Systems Inc., 1990. The encryption was mainly used because of + font copyright problems; unencrypted fonts can also be used, but + these tend to use an efficient binary encoding, also in documented + the Type 1 book, and so are still not readable PostScript. + + * Type 1, Type 3, and Type 5 font formats + + There are generally three font formats used in Adobe PostScript + printers: Type 1, Type 3, and Type 5. Type 1 fonts are Adobe's + downloadable format. Type 3 fonts are third-party downloadable + format. Type 5 fonts are the ROM-based fonts that are part of your + printer. + + There is no functional difference between a Type 1, Type 3, or + Type 5 font. A Type 3 font can do anything a Type 1 or Type 5 font + can do. The only real difference between them is where the + `BuildChar' routine comes from. For Type 1 and Type 5 fonts it's + built into the printer. For Type 3 fonts it's built into the font. + In other words, anything a Type 1 font can do a Type 3 font can + also do. + + [Ed note: the reverse is not true. Type3 fonts can do things that + Type1 fonts cannot. But they aren't hinted...] + + When PostScript is asked to generate a character, PostScript looks + in the font's dictionary for FontType. If FontType is 1 or 5 + PostScript executes an internal routine that knows how to + interpret the font data stored in CharStrings. If FontType is 3 + PostScript executes the routine BuildChar from the font's + dictionary to interpret the font data (often stored in + CharStrings). + + However, each BuildChar routine is written to read data formatted + in a method convenient to the vendor. Adobe, Altsys, Bitstream, and + Kingsley/ATF all format their font data differently and, hence, + have different BuildChar routines. + + [Ed note: relative hard disk efficiency of Kingsley vs. Adobe fonts + deleted on 12/07/92] + + Type 5 fonts are special in that they often include hand-tuned + bitmaps for the commonly used sizes, such as 10- and 12-point. + Other sizes are generated from the outlines in normal fashion. + + Don't confuse Type 1, Type 3, and Type 5 fonts with Bitstream's + Type A, Type B, Type C, and Type F. They are not the same and + serve only to confuse the issue. + + * Resolution `hints' + + When a character is described in outline format the outline has + unlimited resolution. If you make it ten times as big, it is just + as accurate as if it were ten times as small. + + However, to be of use, we must transfer the character outline to a + sheet of paper through a device called a raster image processor + (RIP). The RIP builds the image of the character out of lots of + little squares called picture elements (pixels). + + The problem is, a pixel has physical size and can be printed only + as either black or white. Look at a sheet of graph paper. Rows and + columns of little squares (think: pixels). Draw a large `O' in the + middle of the graph paper. Darken in all the squares touched by the + O. Do the darkened squares form a letter that looks like the O you + drew? This is the problem with low resolution (300 dpi). Which + pixels do you turn on and which do you leave off to most accurately + reproduce the character? + + All methods of hinting strive to fit (map) the outline of a + character onto the pixel grid and produce the most + pleasing/recognizable character no matter how coarse the grid is. + + [Ed note: deleted some paragraphs that are no longer true. Times + change...] + + * Optical Scaling + + Optical Scaling modifies the relative shape of a character to + compensate for the visual effects of changing a character's size. + As a character gets smaller, the relative thickness of strokes, + the size of serifs, the width of the character, the + inter-character spacing, and inter-line spacing should increase. + Conversely, as a character gets larger, the relative thickness, + widths, and spacing should decrease. + + Contrast this with linear scaling, in which all parts of a + character get larger or smaller at the same rate, making large + characters look wide and heavy (strokes are too thick, serifs are + too big) while small characters look thin and weak. + + * Kerning + + As applied to PostScript fonts, kerning refers to kern pairs. A + kern pair specifies two characters (e.g., A and V) and the + distance to move the second character relative to the first. The + typical use of a kern pair is to remove excessive space between a + pair of characters. However, it may also be used to add space. + + * PostScript clones + + There are currently several printer manufacturers on the market + with PostScript clones. To be viable, a PostScript clone must + comply with the `red book' (PS Language Reference Manual). + + In order to avoid paying royalties to Adobe, and because Adobe's + Type 1 font format was originally proprietary, many PostScript + interpreters use some other font format. Sun uses F3, and some + other vendors use Bitstream's Speedo format, for example. The + only real problem this causes is that the widths of characters + (the `font metrics') may vary from Adobe's, so that programs that + assume the Adobe character widths will produce poor quality + output. Bitstream fonts used to be particularly bad in the early + days, but they and most or all of the other vendors have solved + those problems. + + * Apple TrueType [Ed note: formerly "Royal (`sfnt')"] format and + System 7 + + Apple's new System 7.0 supports a new format of outline font that + will allow high-quality characters of any size to be displayed on + the screen. TrueType stores font outlines as B-spline curves + along with programmed resolution hints. B-spline curves are faster + to compute and easier to manipulate than the Bezier curves used in + PostScript. + + Adobe is not going to support Apple's new format by converting the + Adobe/Linotype library to B-spline format. There are two reasons + for this: First, there is no support for font encryption (yes, the + hooks are there, but nothing is implemented). Second, Adobe does + not want to dilute PostScript and its font library. However, the + Macintosh is too big a market to simply turn away from. Therefore, + Adobe will provide its Font Manager to display its own fonts on + the Mac screen. Apple ships Adobe's ATM for this purpose. + + ((( unquote ))) + +Subject: 1.3. What about "Multiple Master" fonts? + + Multiple Master Fonts are an extension to the Adobe font format. + providing the ability to interpolate smoothly between several "design + axes" from a single font. Design axes can include weight, size, and + even some whacko notions like serif to sans serif. Adobes' first + Multiple Master Font was Myriad - a two-axis font with WEIGHT (light to + black) on one axis, and WIDTH (condensed to expanded) along the other + axis. In the case of Myriad, there are four "polar" designs at the + "corners" of the design space. The four designs are light condensed, + black condensed, light expanded, and black expanded. + + Given polar designs, you can set up a "weight vector" which + interpolates to any point within the design space to produce a unique + font for a specific purpose. So you can get a "more or less condensed, + somewhat black face". + + Multiple Master Fonts can be used on any PostScript printer. Multiple + Master Fonts need a new PostScript operator known as makeblendedfont. + The current crop of Multiple Master Fonts supply an emulation of this + operator so the printer doesn't need this operator. + + A short tutorial on Multiple Master Fonts and makeblendedfont appears + in PostScript by Example, by Henry McGilton and Mary Campione, + published by Addison-Wesley. + + Danny Thomas contributes that there are a few PostScript interpreter + (version)s which have bugs that appear with the emulation of the + makeblendedfont operator used to support Multiple Master fonts. There + weren't many exhibiting this problem, though it may have happened even + with one Adobe interpreter. + +Subject: 1.4. Is there a methodology to describe and classify typefaces? + + There is a standard, Panose, but it is mostly ignored by typographers + (not because it's bad, just because they don't need it). The Panose + system is documented, among other places, in the Microsoft Windows 3.1 + Programmer's Reference from Microsoft Press. + + The ISO also has a scheme, but it is not Panose. + + At least one book by a respected authority, Alexander Lawson, Printing + Types: An Introduction, describes another, less rigorous system [ed: of + his own], which is exposited in "An Introduction" and used without + exposition in his later "Anatomy of a Typeface". + + There is another book, Rookledges International Typefinder, which has a + very complete system that uses tell-tales of individual glyphs as well + as overall style to index most known faces right in the book. + + J. Ben Leiberman has another book on type face description. + + Terry O'Donnell adds the following comments: + + The current ISO system was initiated (I believe) by Archie Provan of + RIT--a successor to Mr. Lawson. Whereas in typographic practice or + teaching--only a high level classification is necessary - times have + changed and the current ISO system aims to accomplish something beyond + the high level. A major goal is to aid software to help users make + selections. For example, a naive user might ask for all fonts on a font + server which have a Roman old style appearance. Another goal would be + to help users with multi-lingual text: a user creating a document in + English using e.g. Baskerville wants to know what Arabic or Japanese + language font on his system/file server would harmonize well with the + Baskerville. It is not all in place yet--but the more detailed ISO + classes--and the current addition of non-latin typefaces--are an + attempt to address this issue. + + A second goal is to help with the font substitution problem. Neither + ISO or Panose address the metrics issues in font substitution--but both + might aid software in picking the nearest style of available available + fonts. + +Subject: 1.5. What is the "f" shaped "s" called? + + Both the "f" with half a crosbar (roman) and the integral sign (italic) + are called long-S. + +Subject: 1.6. What about "Colonial" Typefaces? + + Why does colonial printing have that "Colonial" feel? + ===================================================== + + Colonial type was either very roughly treated by moist salt air on the + crossing and in colonial port cities, or was copied locally by tacky + techniques (such as driving used foundry type into soft lead to make + very soft deformable matrices), and the paper was very rough, which + abrades both the serifs and the hairlines. So except for the best work + done with new, european types, the serifs were much smaller, even + broken off, than the original founder/punchcutter intended. Thins + could be abraded by rough paper to nothingness, esp after humid salt + air had leached the hardener out of the alloy. + + Peter Honig contributes the following alternative explanation of the + roughness of colonial types: + + The roughness of early fonts was caused by several factors: Type was + quite expensive and was used for many years (even if somewhat damaged). + Also, printing presses would only be set up to print one side of one + folio at a time, so you would not need to set more than a couple of + pages at once. This meant that the printer did not need as many copies + of each character, however, each character got used very frequently. + The early casting techniques did not produce as perfect or consistant + examples as we have today. That is, the face of a character might not + be quite planar with the page, or its sides might not be quite + parallel. Lastly, the inks of the past were not as advanced those of + today. + + What fonts are good for mock-colonial uses? + =========================================== + + For example, what fonts have the following features: old-style figures + (non-lining numbers), the long s character, slightly irregular shapes + (a la type produced by colonial printers), and a decent complement of + ligatures. And what about free or cheap faces like this? + + I don't know if any exist with all of 1-5. As I believe you get what + you pay for, especially in fonts, I haven't looked at free and + cheap-copy fonts. + + Microsoft's expansion set for their Win3.1 optional fonts has Garamond + Expert & Expert Extensions, which has a good complement of ligatures + and I think I remember it having the long ess too. I forget about + OSFigs; it should tho'. Monotype's metal faces "16th Century Roman" + and "Poliphilus" may be available in digital; if so, they imitate early + presswork with early and are very close to what one wants. + + "A commercial supplier [not yet sampled] is Image Club Graphics in + Calgary (1-800-661-9410). It is called Caslon Antique. It is supplied + as both roman and italic, together, for $25. They advertise in + MacWorld/MacUser/MacBlah. I am unable to tell from abcDEF123 if the + numerals are old-style, but I think not. Ligatures? long-S? Not yet + known. Guillemots, though, are there. ... Letraset, circa 1977, + showing a Caslon Antique with modern numerals, no ligatures, and only + UKPounds and German ss extensions." [Ike Stoddard] + + NB: Caslon Antique is not a Caslon per se: "The last Caslon to mention + is that ubiquitous but unrelated Caslon Antique, which possesses no + similarity whatsoever to the original. This old reprobate was + introduced by Barnhart Brothers of Chicago under the name Fifteenth + Century. Its negative reception lasted until about 1918, when, with a + simple name change to Caslon Antique, it became the most commonly + selected type for reproductions of colonial American printing. It is + now seen in everything from liquor advertisments to furniture + commercials" [Lawson, 1990,Anatomy] + + Miles Agfa (Compugraphic) has always had a Caslon Antique; I don't know + if it is available for TrueType or Type 1, but Agfa has been doing + TrueType bundles at reasonable prices. [wdr] + + Peter Honig contributes the following suggestions: + + Name Year Irreg. Long S OSfig Comment --- + --- ----- ----- ---- ------ + + * Poliphilus A cleaned-up reproduction of type from 1499. It's only + slightly irregular and does not contain the long S, but does have + old style figures. From Italy, founded by Francesco Griffo. + + * Old Claude An exact reproduction of Garamond from 1532. It is + irregular and does not contain the long S, but it does have old + style figures. From France, founded by Claude Garamond. + + * Blado An exact reproduction of type from 1539. It is irregular + and does not contain the long S, but it does have old style + figures. From Italy, founded by Antinio Blado (designed by + Ludovico delgi Arrighi). + + * Van Dijck An exact reproduction of type from the 1660s. It is + irregular and does not contain the long S, but it does have old + style figures. From Holland, founded by Van Dijck. + + * Adobe Caslon A cleaned-up reproduction of type from the 1720s. It + isn't irregular but it does contain the long S, old style figures, + and several ligatures. From England, founded by William Caslon. + + Blado, Poliphilus, and Van Dijck are available from Monotype. Adobe + Caslon is available from Adobe. Old Claude is available from Letter + Perfect. In my opinion, Old Claude is font that is worthy of close + attention. Although it lacks the long S, it is VERY accurately + reproduced. Although Adobe Caslon is not irregular, it has a great set + of authentic ornaments from the Renaissance and Baroque. It is also the + only set that I am aware of, that has the long S and its ligatures. + + [Bill Troop notes: I do not believe that Monotype ever had a font called + 16th Century Roman. You are thinking of a private face created by Paul + Hayden-Duensing for his private press based on old Italian punches. It + is very rough indeed, but I can assure you no Colonial printer had a + typeface as stylish. + + Poliphilus does indeed exist in digital form, and is fairly faithful, + but again is far too stylish to give the proper feel of US Colonial + printing. Nor is Antique Caslon, so called, anything to do with the + Caslon types used by American printers-except those who used this bogus + type at the end of the 19th century. + + Monotype Bell is a faithful copy of a font that was actually used in + the US, but it is far more modern than the Caslon types. Nobody has yet + done a really authentic Caslon, and it is a curious fact, but none of + the Caslon revivals, in any of metal, photo, or digital formats, has + ever been based on the best Caslon sizes. I have been toying with such + a revival. + + Monotype Van Dijk can hardly be called a faithful copy of a metal font; + the outlines are far more regular, for instance, than what Monotype did + for Bell. In addition, the less interesting forms of the lower case f + and f-ligatures were chosen for the digital version, and the alternate + f was not supplied. That makes it a very uninteresting font to use in + digital form. In addition, the italic has been unbelievably badly + spaced in the digital version. (Harry Carter complained about the + spacing in the 13pt Roman in the metal version.) + + For anyone wishing to recreate the feel of early-to-mid 18th century + printing, a battered, sensitive revival of Caslon would be desirable. + The Giampa version is interesting, but is based on a poor model. ] + + What fonts could a colonial printer have had? + ============================================= + + According to D.B.Updike in the classic reference "Printing Types: Their + History, Forms & Use", he indicates that most colonial work was with + types of the Caslon Old Style fonts and cheap copies of same in the + 18th C. Before that, it would have been the older Dutch & English + faces, almost always lagging English tastes. If you can find the + Oxford Fell types, they are classic Dutch-as-used-by-englishmen. + Anything with a Dutch moniker and the Oldstyle adjective is probably + ok; Van Dijck if you find it, say (died 1673). + + Ben Franklin recommended Caslon faces. But these were not available in + England before 1720, first full broadside in 1734. Lawson declares that + the first printing of the Declaration of Independance was in Caslon. + + Wilson's Scotch Modern was the "modern" font that surfaced in quantity + in america. If the Scotch Roman your vendor has is sort-of like-Bodoni + but nicer than his Bodoni, that's it. It wasn't available until late + 1700s, though. + +Subject: 1.7. What is "Point Size"? + + This article was constructed from a posting by William D. Ricker from + Sep 1992. + + In general terms, point size is a relative measure of the size of a + font. It used to have a more concrete meaning in the "old days" of + typeography. + + In the world of Photo-typesetters and digital fonts, the distance from + the top of the tallest ascender to the bottom of the longest descender + is only an approximate lower bound on the point size of a font; in the + Old days, it was almost always a firm lower bound, and there was warning + on the exception. + + Point-size is the measure of default or minimum inter-baseline + distance; inter line distance in absense of leading, a/k/a "set solid". + If you don't know if the text was set solid or leaded, you can't tell + the point-size with a measuring glass unless you know if the type design + includes built-in space betweed adjacent, set-solid lines. + + Exceptions to the points size equals ascender to descender size rule: + + * In metal, there was usually a little room between the highest and + lowest corners of the face and the body size, so that the Matrix + was completely molding the face and not relying on the mold-body + to form a vertical side to the printing face--since a bevel or + beard is desirable for impression and strength. + + * If the designer of a face thinks it should always be set leaded, + s/he may choose to include the minimal leading in the design, in + which case it is included in the base point size, and no capital, + lowercase-ascender, or lowercase-descender will get very near the + edges. + + * In some faces the capitals are taller than the ascenders, and + others vice versa. (Vertical sticks on capitals are called stems, + not ascenders.) A minimum point size estimate would normally be + the height of the font's "envelope", to borrow from + Avionics/Aeronautics. + + * The point size of a "Titling Face" may not include descenders; in + which case the Q's tail hangs off the body as a vertical kern. + Such a face in metal usually has "Titling" in the name, although + sometimes the fact that only capitals are available is all the + hint given. + + ([William D. Ricker's] metal font of Ray Shaded, cast on a Monotype + Display caster, has "vertical kerns" if you will: the hanging + shaded tail of the Q and some punctuation below the 24pt body, + because it has no lower-case. It might be better described as + being 36/24, thirty-six point type cast on a twenty-four point + body, since the cap A is about the height and density of a + Ultrabold 36pt A in many other fonts. It would be called 36/24 + Caps if a lowercase had been cast on a 36 point body, but since + only UC was ever cut, as UC-only titling, it was standardly issued + and refered to as a 24 point titling--much to the confusion of + non-cognoscenti.) + + * The Continental Point, a/k/a the Didot point, (and its Pica Em + equivalent, the Cicero) is just a hair longer. 15 Ciceros=16 + Picas, 15 Didots=16 Points. So type which is imported or cast + from imported matrices has been, and still is, cast on the next + size larger body in anglo-american points. So an 11D/12 or 12D/14 + type will look larger than a similar 12pt font but smaller than a + simlar 14pt font, by about a point of fixed built-in leading that + the designer didn't intend. What happened when these faces were + converted to photo and digital composition, I don't know. (I + could find out.) Probably some were scaled to American sizes + proportionally from the european masters, some copied from the + American castings with built-in leading to ease conversion, and + some were probably done both ways at different conversion houses. + + Net result: unless you know it's Adobe Times Roman or whatever and just + want to know what point size & leading options were, you can't measure + the size with a definition and an optical micrometer. The defnition is + embodied/manifested in the typesetting "hardware", even if it is + software, not the product. + + Knuth's Assertion + ================= + + What about Knuth's assertion that point size is "a more-or-less + arbitrary number that reflects the size of type [a font] is intended to + blend with"? + + That statement is true only in the context of MetaFonts. MetaFonts + (and this definition) are perfectly adequate for Knuth's purposes but + not fully descriptive of all of typography. And definitely not + conformant to established usage. + + This is not meant to condemn heterodoxy, but just to warn that while the + ASCII markup notations in Knuth's "Second Great Work" [TeX and MetaFont] + are even more widely disseminated than his wonderful coinage of + mathematical notations in "The First Great Work" [The Art of Computer + Programming, volumes I, II, and III], MetaFont has not been accepted as + an encoding for all useful fonts for the future, and the defintions of + font characteristics in MetaFont context must be taken with a large + grain of salt when used with fonts outside the MetaFont font-generation + paradigm. + + Knuth's quotation, when applied to a (non-MetaFont) font designer, + overstates the arbitrariness of the design choice; the designer was + stating in the old days that you'd need a saw, a file, or a caster with + his matrices if you wanted to use negative leading to set his type + closer than he wanted to see it set; and today, in Photo/digital + composition, the designer is either indicating the opinion of the + original metal-head or his own design advice as to what the minimum + distance between adjacent baselines should be. + + Also, point size is very poor predictor of blending, except in a + mechanical sense in terms of not-overflowing the same rectangles. Some + faces to blend in the same line with 12 point type will need to be + 10/12 or 14/12, due to differences in the way they fill the space. + (The overall leading should fit the body type.) Harmony and contrast of + overall color, shape, style, etc. are much more important considerations + for blending than body-size. (For two types to work together, there + must be sufficient harmonies between them to work together and + sufficent contrasts to be easily distinguished. See Carl Dair's books.) + + If one wants to understand usage of typographical terms in the general + milieu, the Chicago Manual of Style's appendix on Typesetting for + Authors is a good capsule presentation of history and terminology; if + one wants the nitty-gritty on how digital type does, or at least + should, differ and be treated differently from just copies of metal, + see Richard Rubinstein, Digital Typography, MIT Press. On type in + general, consult D.B. Updike in a library (out of print), or + A(lexander) S. Lawson (who covers electronic type in his latest + revision!). + +Subject: 1.8. Where can I get ... fonts. + + Before I go any farther, let me extol the virtues of the Archie servers. + If you need to find something on the net, and you have any idea what it + might be called, Archie is the place to go. In North America, telnet to + "archie.rutgers.edu" and login as "archie". There are many other + servers around the world, any Archie server can give you a list of other + servers. There are better documents than this to describe Archie and + you should be able to find them from the above starting point. If you + have trouble, feel free to ask norm (via Email please, no need to + clutter comp.fonts with a query about Archie ;-). + + In addition to the telnet option, several archie clients exist including + a very nice X11 implementation (Xarchie). + + * Adobe Type 1 Fonts in MS-DOS/Unix Format: + + ftp.cica.indiana.edu:/pub/pc/win3/fonts + + ftp.cica.indiana.edu:/pub/pc/win3/fonts/atm + + archive.umich.edu:/msdos/mswindows/fonts + + * Adobe Type 1 Fonts in Mac Format: + + mac.archive.umich.edu:/mac/system.extensions/font/type1 + + sumex-aim.stanford.edu:/info-mac/font + + * Adobe Type 3 Fonts in Mac Format: + + mac.archive.umich.edu:/mac/system.extensions/font/type3 + + * TrueType fonts in MS-DOS Format: + + ftp.cica.indiana.edu:/pub/pc/win3/fonts/truetype + + * TrueType fonts in Mac Format: + + mac.archive.umich.edu:/mac/system.extensions/font/truetype + + * TeX PK/PXL/GF fonts: + + The TeX community has its own support groups that can provide + better answers to this question. The canonical list of MetaFont + fonts is posted occasionally to comp.text.tex. The comp.text.tex + newsgroup (or the Info-TeX mailing list, if you do not have access + to news) are good places to start. Email norm if you need more + specific information. + + * LaserJet bitmap fonts: + + wuarchive.wustl.edu:/mirrors/msdos/laser + + Also on other simtel20 mirrors... + + If you know of other archive sites (the above list is no where near + complete) or other formats that are available on the net, please let us + know. + + The sites above represent places where shareware and public domain fonts + are available. Many, many typefaces are not available in shareware + form. And many shareware faces are less than adequate for a variety of + reasons, particularly at small sizes. It seems to be the consensus of + the comp.fonts community that "you get what you pay for." If you need a + professional quality font, you should probably buy it from a + professional. + + The list of font vendors in Appendix A (annotated with information about + non-Roman alphabets) was contributed by Masumi Abe. Masumi was Adobe's + Manager of Typographic Marketing for Asia. He has since left Adobe. + + Many font CDs are now available which offer many fonts for a low + cost/font. + +Subject: 1.9. Where can I get fonts for non-Roman alphabets? + + As mentioned above, the list of font vendors is annotated with + information about non-Roman alphabets. Commercially, Masumi suggests + that Linguists' Software is the current [ed: as of 7/92] leading + supplier of non-Roman fonts. + + Ian Tresman contributes: + + The Multilingual PC Directory is a source guide to multilingual and + foreign language software, including fonts, for PCs. Over a hundred + different languages are included, from Arabic to Hieroglyphics to Zulu. + A 1200 word description is available from the publishers, Knowledge + Computing, email: 72240.3447@compuserve.com. + +Subject: 1.10. What about fonts with the International Phonetic Alphabet (IPA) symbols? + + I summarized Scott Brumage's recent post for the FAQ: + + Shareware or free (PostScript Type 1 and/or TrueType): + ====================================================== + + * TechPhon + + Seems to lack some characters and has no zero-offset characters + (for accents). + + * PalPhon + + A phonetic font which you can get by anonymous ftp from + mac.archive.umich.edu. It is called PalPhon. There are actually + two fonts: the basic PalPhon and one with additional accents and + symbols called PalPi. The package includes some documents on using + the fonts as well. + + * SIL-IPA + + SIL-IPA is a set of scalable IPA fonts containing the full + International Phonetic Alphabet with 1990 Kiel revisions. Three + typefaces are included: + + * SIL Doulos (similar to Times) + + * SIL Sophia (similar to Helvetica) + + * SIL Manuscript (monowidth) + + Each font contains all the standard IPA discrete characters and + non-spacing diacritics as well as some suprasegmental and + puncuation marks. Each font comes in both PostScript Type 1 and + TrueType formats. The fonts are also available for Microsoft + Windows. + + These fonts were designed by the Printing Arts Department of the + Summer Institute of Linguistics, Dallas, Texas. + + Shareware or free (TeX): + ======================== + + METAFONT sources of the phonetic symbols developed by + Tokyo-Shoseki-Printing and Sanseido are available. The font contains + all of IPA (Internatioanl Phonetic Alphabet) symbols. + + You can get phonetic symbols METAFONT (named TSIPA) from + + ftp.foretune.co.jp:/pub/tools/TeX/Fonts + + The IP address for ftp.foretune.co.jp is 133.123.1.2. + + Commercial: + =========== + + Linguist's Software Adobe (ITC Stone Phonetic [#255], Times Phonetic + [#278]) + + This is Info file compfont.info, produced by Makeinfo-1.55 from the + input file FAQ.texinfo. + +Subject: 1.11. How can I convert my ... font to ... format? + + Conversion from one bitmapped format to another is not generally too + difficult. Conversion from one scalable format to another is very + difficult. Several commercial software packages claim to perform these + tasks, but none has been favorably reviewed by the comp.fonts community. + + Converting Between TrueType and Adobe Type 1 Formats + ==================================================== + + This section was constructed from postings by Primoz Peterlin and Bert + Medley in Sep 1993. + + There are several commercial tools that will convert between these + formats. There are no shareware or free tools that will do the job. + See also "Why do converted fonts look so bad?". + + FontMonger by Ares Software + --------------------------- + + Performs conversion between Adobe Type 1, Adobe Type 3 and TrueType + formats in both PC-DOS and Mac flavours, as well as simple glyph + editing. Currently at version 1.0.7, patches available via CompuServe. + Available for Mac and MS Windows. Commercial product, price \$60-80. + + Alltype by Atech Software + ------------------------- + + Performs font conversion. A stable product, being on a market for a + while. Available for PC-DOS/MS Windows only. Commercial product. + Atech is supposedly leaving the business. + + Fontographer by Altsys Co. + -------------------------- + + Comprehensive package, allowing creation of fonts as well as conversion + between formats. Available for Mac and MS Windows. Commercial + product, price cca. \$270 (PC version). + + Metamorphosis by Altsys Co. + --------------------------- + + Available for Mac. Commercial product. More info needed. + + Converting Between Other Scalable Formats + ========================================= + + Many of the programs in the preceding section claim to be able to + convert between other formats as well. And there are probably other + commercial programs as well. However, as several people have noted, + conversion from one scalable format to another is a bad idea. If the + original font was well hinted, the converted font will not be. Of + course, if the original was poorly hinted, maybe it won't matter much. + + In an effort to settle a long-running and oft-asked question, I'll be + blunt: as of today [6/93], THERE ARE NO NON-COMMERCIAL PROGRAMS WHICH + WILL CONVERT FROM ONE SCALABLE FORMAT TO ANOTHER. Not from TrueType to + PostScript Type 1, Type 3, Type 5, or any other scalable PostScript + format. Not from PostScript Type 1 to TrueType. Not to or from + Intellifont. Not to or from Sun F3 format. + + For specific conversions, check the platform specific parts of the FAQ. + Most of the conversions discussed require platform specific tools. + + Here is a summary of the conversions discussed (and the section in + which they appear): + + Mac Type 1 PostScript + To PC Type 1 PostScript (MS-DOS). To TrueType (commercial). + + PC Type 1 PostScript + To Mac Type 1 PostScript (Mac, commercial). To TrueType + (commercial). To TeX PK (MS-DOS). + + TrueType + To Type 1 PostScript (Mac and MS-DOS, commercial). To HP LaserJet + bitmaps (MS-DOS, hack!). + + TeX PK + To HP LaserJet bitmap softfonts (MS-DOS). + + HP LaserJet bitmap softfonts + To TeX PK (MS-DOS). + + In addition, Adobe ships a copy of Adobe Font Foundry with all of its + fonts which can convert Type 1 fonts into HP LaserJet softfonts. + + Why Do Converted Fonts Look So Bad? + =================================== + + This section was constructed from postings by Mark Hastings and David + Glenn in Aug 1993. + + With all commercially available conversion tools, converting fonts + between scalable formats almost always results in a font inferior to + the original. (The rare case where a converted font is not inferior to + the original occurs only when the original is a cheap knock-off, and + the automatic hinting of the conversion program is better than + automatic hinting used in the original!) + + David Glenn contributes the following analysis: + + There are a few probable [reasons why converted fonts, especially screen + fonts, look inferior to the original]. First off, any font that's + converted uses a converting algorithm which will make an exact copy at + best. Because no currently available converter even comes close to + copying faithfully the manual tweaks and hinting in a font file, you + often end up with poor screen fonts and poor output. The only reason + that printed output from the converted font looks markedly better than + the screen font is that the printed output is at a higher resolution. + The converter achieves better results on the higher resolutions because + hinting is less important at higher resolutions. Screen fonts are + incredibly complex to make well. You have very few pixels to represent + a very aesthetic and distinct design. That's why at small sizes almost + all typefaces look alike--how do you represent a graceful concave side + on the letter "L" for Optima with only 12 pixels in height and one in + width? You can't. And that's why most fonts look similar at 10pt, + unless they're hand hinted by typograhers. + + One thing that may come into play when fonts are converted between + platforms, for example between PC/Windows format and Mac format, is that + fonts are hinted down to a certain number of pixels per em. On a Mac + screen (72 dpi) there is a one-to-one correspondence between the ppem + and the point size of a font. Under windows, the usual VGA screen is + 96dpi and fonts that look good at 8 or 9 pt under windows might look + like crap on a Mac 'cuz the fonts weren't hinted below 10 or 11ppem. + Also, the conversion programs may have made the appearance worse at + some sizes than others. + + Whenever you convert fonts from one platform to the other keep in mind + that: + + * Your license with the type foundry may or may not allow this. + + * The font may or may not have the correct character sets in it. + + * The TT font file may or may not have all the tables necessary. + + * Your converter may make it so ugly that you don't want to use it... + + Smoothing Bitmaps + ================= + + This section was constructed from postings by Jason Lee Weiler and + Piercarlo Antonio Grandi + + Enlarging bitmapped images is easy, but enlarging them without creating + very jagged edges is much more demanding. There are several + possibilities. + + * If you are interested in programming your own solution, the + comp.graphics FAQ will provide pointers to a number of resources + that can get you started. + + * If the bitmaps are in a standard format, the 'xv' tool (an X11 + picture viewing tool) includes magnify and smooth functions that + may perform adequately. + + * Commercial tools like Adobe Illustrator, Corel Draw, and many + others include tracing functions that can translate some bitmaps + into acceptable outlines (which can be enlarged without + jaggedness). + + * The GNU Font Utilities include a tracing tool that may be helpful. + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(2_6) b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(2_6) new file mode 100644 index 0000000000..2d6e85aa0a --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(2_6) @@ -0,0 +1,1143 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: General Info (2/6) +Supersedes: <font-faq-2_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:14 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 1120 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-2_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48299 comp.answers:20513 news.answers:79234 + +Archive-name: fonts-faq/part2 +Version: 2.1.5 + +Subject: 1.12. Are fonts copyrightable? + + This topic is hotly debated at regular intervals on comp.fonts. Terry + Carroll. provides the following analysis of current [ed: as of 6/92] + legislation and regulation regarding fonts and copyrights in the United + States. Terry is "Editor in Chief" of Volume 10 of the Santa Clara + Computer and High Technology Law Journal. Members of the comp.fonts + community are encouraged to submit other materials that add clarity to + the issue. + + It has been pointed out that this section deals primarily font copyright + issues relevant to the United States and that this situation is not + universal. For example, in many parts of Europe typeface designs are + protectable. + + "First, the short answer in the USA: Typefaces are not copyrightable; + bitmapped fonts are not copyrightable, but scalable fonts are + copyrightable. Authorities for these conclusions follow. + + Before we get started, let's get some terminology down: + + A typeface is a set of letters, numbers, or other symbolic characters, + whose forms are related by repeating design elements consistently + applied in a notational system and are intended to be embodied in + articles whose intrinsic utilitarian function is for use in composing + text or other cognizable combinations of characters. + + A font is the computer file or program that is used to represent or + create the typeface. + + Now, on to the legal authorities: + + Volume 37 of the Code of Federal Regulations specifies this about the + copyrightability of typefaces: + + "The following are examples of works not subject to copyright and + applications for registration of such works cannot be entertained: . . . + typeface as typeface" 37 CFR 202.1(e). + + The regulation is in accordance with the House of Representatives report + that accompanied the new copyright law, when it was passed in 1976: + + "The Committee has considered, but chosen to defer, the possibility of + protecting the design of typefaces. A 'typeface' can be defined as a + set of letters, numbers, or other symbolic characters, whose forms are + related by repeating design elements consistently applied in a + notational system and are intended to be embodied in articles whose + intrinsic utilitarian function is for use in composing text or other + cognizable combinations of characters. The Committee does not regard + the design of typeface, as thus defined, to be a copyrightable + 'pictorial, graphic, or sculptural work' within the meaning of this bill + and the application of the dividing line in section 101." H. R. Rep. + No. 94-1476, 94th Congress, 2d Session at 55 (1976), reprinted in 1978 + U.S. Cong. and Admin. News 5659, 5668. + + It's also in accordance with the one court case I know of that has + considered the matter: Eltra Corp. V. Ringer, 579 F.2d 294, 208 USPQ 1 + (1978, C.A. 4, Va.). + + The U.S. Copyright Office holds that a bitmapped font is nothing more + than a computerized representation of a typeface, and as such is not + copyrightable: + + "The [September 29, 1988] Policy Decision [published at 53 FR 38110] + based on the [October 10,] 1986 Notice of Inquiry [published at 51 FR + 36410] reiterated a number of previous registration decisions made by + the [Copyright] Office. First, under existing law, typeface as such is + not registerable. The Policy Decision then went on to state the + Office's position that 'data that merely represents an electronic + depiction of a particular typeface or individual letterform' [that is, a + bitmapped font] is also not registerable." 57 FR 6201. + + However, scalable fonts are, in the opinion of the Copyright Office, + computer programs, and as such are copyrightable: + + "... the Copyright Office is persuaded that creating scalable typefonts + using already-digitized typeface represents a significant change in the + industry since our previous [September 29, 1988] Policy Decision. We + are also persuaded that computer programs designed for generating + typeface in conjunction with low resolution and other printing devices + may involve original computer instructions entitled protection under the + Copyright Act. For example, the creation of scalable font output + programs to produce harmonious fonts consisting of hundreds of + characters typically involves many decisions in drafting the + instructions that drive the printer. The expression of these decisions + is neither limited by the unprotectable shape of the letters nor + functionally mandated. This expression, assuming it meets the usual + standard of authorship, is thus registerable as a computer program." 57 + FR 6202." + +Subject: 1.13. Typeface Protection + + [This article first appeared in TUGboat 7:3 (October 1986), pp. 146-151. + Reproduced with permission.] + + Preamble + ======== + + The main question of typeface protection is: "Is there anything there + worth protecting?" To that the answer must certainly be: "Yes." Typeface + designs are a form of artistic and intellectual property." To + understand this better, it is helpful to look at who designs type, and + what the task requires. + + Who makes type designs? + ----------------------- + + Like other artistic forms, type is created by skilled artisans. They + may be called type designers, lettering artists, punch-cutters, + calligraphers, or related terms, depending on the milieu in which the + designer works and the technology used for making the designs or for + producing the type. + + ("Type designer" and "lettering artist" are self-explanatory terms. + "Punch-cutter" refers to the traditional craft of cutting the master + image of a typographic letter at the actual size on a blank of steel + that is then used to make the matrix from which metal type is cast. + Punch-cutting is an obsolete though not quite extinct craft. Seeking a + link to the tradition, modern makers of digital type sometimes use the + anachronistic term "digital punch-cutter". "Calligrapher" means + literally "one who makes beautiful marks". The particular marks are + usually hand-written letters, though calligraphers may design type, and + type designers may do calligraphy.) + + It usually takes about seven years of study and practice to become a + competent type designer. This seems to be true whether one has a Ph.D. + in computer science, a high-school diploma, or no academic degree. The + skill is acquired through study of the visual forms and practice in + making them. As with geometry, there is no royal road. + + The designing of a typeface can require several months to several years. + A family of typefaces of four different styles, say roman, italic, bold + roman, and bold italic, is a major investment of time and effort. Most + type designers work as individuals. A few work in partnership (Times + Roman(R), Helvetica(R), and Lucida(R) were all, in different ways, the + result of design collaboration). In Japan, the large character sets + required for a typeface containing Kanji, Katakana, and Hiragana induce + designers to work in teams of several people. + + Although comparisons with other media can only be approximate, a + typeface family is an accomplishment on the order of a novel, a feature + film screenplay, a computer language design and implementation, a major + musical composition, a monumental sculpture, or other artistic or + technical endeavors that consume a year or more of intensive creative + effort. These other creative activities can be protected by copyright + or other forms of intellectual property protection. It is reasonable + to protect typefaces in the same way. + + The problem of plagiarism + ------------------------- + + A lack of protection for typeface designs leads to plagiarism, piracy, + and related deplorable activities. They are deplorable because they + harm a broad range of people beyond the original designers of the type. + First, most type plagiarisms are badly done. The plagiarists do not + understand the nature of the designs they are imitating, are unwilling + to spend the necessary time and effort to do good work, and + consequently botch the job. They then try to fob off their junk on + unsuspecting users (authors, editors, and readers). Without copyright, + the original designer cannot require the reproducer of a type to do a + good job of reproduction. Hence, type quality is degraded by + unauthorized copying. + + Secondly, without protection, designs may be freely imitated; the + plagiarist robs the original designer of financial compensation for the + work. This discourages creative designers from entering and working in + the field. As the needs of typography change (on-line documents and + laser printing are examples of technical and conceptual changes) new + kinds of typefaces are required. Creative design in response to such + needs cannot flourish without some kind of encouragement for the + creators. In a capitalist society, the common method is property rights + and profit. In a socialist (or, in the past, royalist) society, the + state itself might employ type artists. France, as a monarchy and as a + republic, has had occasional state sponsorship of typeface design over + the past 400 years. The Soviet Union has sponsored the design of new + typefaces, not only in the Cyrillic alphabet, but also in the other + exotic scripts used by various national groups in the Soviet Union. + + Those who would justify plagiarism often claim that the type artists do + not usually receive a fair share of royalties anyway, since they have + usually sold their designs to some large, exploitive corporation. It + is true that type designers, like many artists, are often exploited by + their "publishers", but plagiarism exacerbates the problem. Plagiarism + deprives the designer of decent revenues because it diverts profits to + those who merely copied the designs. Plagiarism gives the manufacturer + yet another excuse to reduce the basic royalty or other fee paid for + typeface designs; the theme song is that the market determines the + value of the design and cheap rip-offs debase the value of a face. For + those interested in the economic effects of piracy, it is clear that + plagiarism of type designs ultimately hurts individual artists far more + than it hurts impersonal corporations. + + Kinds of protection for type + ---------------------------- + + There are five main forms of protection for typefaces: + * Trademark + + * Copyright + + * Patent + + * Trade Secret + + * Ethics + + Trademark + ......... + + A trademark protects the name of a typeface. In the U.S., most + trademarks are registered with the U.S. Patent and Trademark Office. + The R in a circle (R) after a trademark or tradename indicates U.S. + registration. The similarly placed TM indicates that a trademark is + claimed, even if not yet officially registered. However, a trademark may + be achieved through use and practice, even without registration. Owners + of trademarks maintain ownership by use of the trademark and by + litigation to prevent infringement or unauthorized use of the trademark + by others. + + As a few examples of registered typeface trademarks, there are Times + Roman (U.S. registration 417,439, October 30, 1945 to Eltra + Corporation, now part of Allied); Helvetica (U.S. registration 825,989, + March 21, 1967, also to Eltra-Allied), and Lucida (U.S. reg. 1,314,574 + to Bigelow & Holmes). Most countries offer trademark registration and + protection, and it is common for a typeface name to be registered in + many countries. In some cases the registrant may be different than the + originator. For example, The Times New Roman (Times Roman) was + originally produced by the English Monotype Corporation. In England and + Europe, most typographers consider the design to belong to Monotype, + but the trademark was registered by Linotype (Eltra-Allied) in the + U.S., as noted above. + + Trademark protection does not protect the design, only the name. + Therefore, a plagiarism of a design is usually christened with a + pseudonym which in some way resembles or suggests the original + trademark, without actually infringing on it. Resemblance without + infringement can be a fine distinction. + + Some pseudonyms for Times Roman are: "English Times", "London", Press + Roman, "Tms Rmn". Some for Helvetica are "Helios", "Geneva", + "Megaron", "Triumvirate". So far, there seem to be none for Lucida. + There are generic typeface classifications used by typographers and type + historians to discuss styles, trends, and categories of design. + Occasionally these apparently innocuous classification systems are + employed by plagiarists to devise generic pseudonyms, such as "Swiss + 721" for Helvetica, and "Dutch 801" for Times Roman. It is not certain + whether this usage of a generic classification is more for + clarification or for obfuscation. In general, the proper tradename is a + better indicator of identity, quality, and provenance in typefaces than + a generic name. Some people believe that the same is true for other + commodities such as wine, where taste is important. + + A trademark usually consists of both a proprietary and a generic part. + For example, in the name "Lucida Bold Italic", "Lucida" is the + proprietary trademark part and "Bold Italic" is the generic part. The + generic word "type" is usually understood to be a part of the name, + e.g. "Lucida Bold Italic type". Sometimes a firm will append its name + or a trademarked abbreviation of it to the typeface name, to achieve a + greater degree of proprietary content, e.g. "B&H Lucida Bold Italic". + + A related matter is the use of the name of a type's designer. A firm + that ethically licenses a typeface will often cite the name of the + designer-- e.g. Stanley Morison (with Victor Lardent) for Times Roman, + Max Miedinger (with Edouard Hoffmann) for Helvetica, Charles Bigelow + and Kris Holmes for Lucida. Although a person's name is not usually a + registered trademark, there are common law restrictions on its use. + The marketing of plagiarized type designs generally omits the names of + the designers. + + Although Trademark is an incomplete kind of protection, it is used + effectively (within its limitations) to prevent the theft of type names. + Certain traditional typeface names, usually the surnames of illustrious + designers like Garamond, Caslon, Baskerville, Bodoni, and others have + become generic names in the public domain. Trademark protection of + such names requires the addition of some proprietary word(s), as with + these hypothetical creations, "Acme New Garamond", or "Typoluxe + Meta-Baskerville". + + Copyright + ......... + + Copyright of typefaces can be divided into two parts: copyright of the + design itself; and copyright of the font in which the design is + implemented. In the U.S., typeface designs are currently not covered by + copyright. This is a result of reluctance by the copyright office to + deal with a complex field; by lobbying against copyright by certain + manufacturers whose profits were based on typeface plagiarism; by a + reluctance of Congress to deal with the complex issues in the recent + revision of the copyright law. + + The reluctance of Americans to press for typeface copyright may have + been influenced by a feeling that typeface plagiarism was good for U.S. + high-tech businesses who were inventing new technologies for printing, + and plagiarizing types of foreign origin (Europe and England). If the + situation becomes reversed, and foreign competition (from Japan, + Taiwan, and Korea) threatens to overcome American technological + superiority in the laser printer industry, then American firms may do + an about-face and seek the protection of typeface copyright to help + protect the domestic printer industry. Such a trend may already be seen + in the licensing of typeface trademarks by Adobe, Hewlett-Packard, IBM, + Imagen, and Xerox in the U.S. laser printer industry. + + In Germany, where typeface design has always been a significant part of + the cultural heritage, and where typefounding has remained an important + business, there are more than one kind of copyright-like protections for + typefaces. Certain long-standing industrial design protection laws have + been used to protect typeface designs in litigation over royalties and + plagiarisms. Further, there is a recent law, the so-called + "Schriftzeichengesetz" enacted in 1981, that specifically protects + typeface designs. New designs are registered, as is done with + copyright in most countries. This law only protects new, original + designs. It is available to non-German designers and firms. Therefore, + some type firms and designers routinely copyright new designs in West + Germany. This gives a degree of protection for products marketed in + Germany. Since multinational corporations may find it cheaper to + license a design for world-wide use rather than deal with a special case + in one country, the German law does encourage licensing on a broader + scale than would initially seem to be the case. + + France, like Germany, has ratified an international treaty for + protection of typefaces. This 1973 Vienna treaty will become + international law when four nations ratify it. So far, only France and + West Germany have done so, and thus a design must be protected + separately in each country. Even when the treaty becomes law, it will + take effect only in those countries that have ratified it. The treaty + was principally the work of the late Charles Peignot, a French + typefounder, and John Dreyfus, an English typographer and typographic + scholar. Presently, typefaces may be registered for protection in + France under a 19th century industrial design protection law. + + In the U.S., there continues to be some movement for typeface design + protection. A proposed bill that would protect the designs of useful + articles, like type, has been in committee for a few years. It seems to + be going nowhere. + + Digital (as opposed to analog) fonts may be protected by copyright of + digital data and of computer programs. It has been established that + computer software is copyrightable. Therefore, software that embodies a + typeface, e.g. a digital font, is presumably also protected. There is + some objection to this kind of copyright, on the grounds that the + ultimate output of the program or the result of the data (i.e. a + typeface design) is not copyrightable. However, the current belief + expressed by the National Commission on New Technological Use of + Copyrighted Works is that software is copyrightable even if its function + is to produce ultimately a non-copyrightable work. Hence, typefaces + produced by Metafont or PostScript(R), two computer languages which + represent fonts as programs, are presumably copyrightable. Typefaces + represented as bit-map data, run-length codes, spline outlines, and + other digital data formats, may also be copyrightable. Some firms do + copyright digital fonts as digital data. % The copyright office is + currently reviewing %this practice to determine if it is acceptable. + + Note that the designs themselves are still not protected in the U.S. A + plagiarist could print out large sized letters (say, one per page) on an + Apple LaserWriter, using a copyrighted PostScript digital font, and then + redigitize those letters by using a scanner or a font digitizing program + and thus produce a new digital font without having copied the program or + digital data, and thus without infringing the copyright on the font. The + quality of the imitation font would usually be awful, but it wouldn't + violate copyright. Of course, the plagiarist would usually need to + rename the font to evade trademark infringement. [As I write these + words, I have the guilty feeling that I have just provided a recipe for + type rip-off, but others have obviously thought of just such a + scheme--John Dvorak has even proposed something like it in one of his + columns.] + + Design Patent + ............. + + The designs of typefaces may be patented in the U.S. under existing + design patent law. Many designs are patented, but type designers + generally don't like the patent process because it is slow, expensive, + and uncertain. Nevertheless, some types do get patented, and it is a + form of potential protection. Note that this is Design Patent--the + typeface doesn't have to be a gizmo that does something, it merely has + to be unlike any previous typeface. The drawback here is that most + attorneys and judges are not aware that there are more than two or + three typefaces: say, handwriting, printing, and maybe blackletter. + Therefore, litigating against infringement is an educational as well as + a legal process. It is easy to see that typeface theft is more subtle + than knocking over a liquor store; it may not be illegal and the + returns may be greater. + + Protections like design patent are available in many other countries, + but there is not an international standard (to my knowledge) so the + situation must be examined on a country by country basis. + + Invention Patent + ................ + + Methods of rendering typefaces can be patented as mechanical or + electronic inventions. For example, the old hot-metal Linotype + machinery was protected by various patents, as was the IBM Selectric + typewriter and type ball. IBM neglected to trademark the typeface + names like Courier and Prestige, so once the patents had lapsed, the + names gradually fell into the public domain without IBM doing anything + about it (at the time, and for a dozen years or so, IBM was distracted + by a major U.S. anti-trust suit). Most students of the type protection + field believe that those names are probably unprotectable by now, + though IBM could still presumably make a try for it if sufficiently + motivated. + + There is currently a noteworthy development regarding a patent for + outline representation of digital type as arcs and vectors, with special + hardware for decoding into rasters. This patent (U.S. 4,029,947, June + 14, 1977; reissue 30,679, July 14, 1981) is usually called the Evans & + Caswell patent, after its inventors. It was originally assigned to + Rockwell, and in 1982, Rockwell sued Allied Linotype for infringement. + Allied settled out of court, having paid an amount rumored to be in the + millions. Rockwell sold the patent, along with other typographic + technology, to Information International, Inc. (III), which then sued + Compugraphic for infringement. According to the Seybold Report, a + respected typographic industry journal, Compugraphic recently settled + out of court for 5 million dollars. Although many experts believe the + patent to be invalid because of several prior inventions similar in + concept, it nevertheless seems to be a money-maker in corporate + litigation. The Seybold Report has speculated on which firms III would + litigate against next. Among the candidates suggested by the Seybolds + was Apple for its LaserWriter, which uses outline fonts. Since the + entire laser printer industry and the typesetting industry is moving + toward outline font representation, Apple is certainly not alone. The + Seybolds further speculate on whether the difference between + character-by-character CRT typesetting and raster-scan laser typesetting + and printing would be legally significant in such a case. Ultimately, + some firm will hold out for a court judgement, and the matter will be + decided. %Although the Evans & Caswell patent doesn't have much to do + with %typeface copyright per se, it does make many font vendors nervous. + + Trade Secret + ............ + + Given that typeface designs have relatively little copyright protection + in the U.S., they are often handled as trade secrets. The secret must + apply to the digital data or programs only, because the images + themselves are ultimately revealed to the public as printed forms. It + is much more difficult to reconstruct the formula of Coca-Cola from its + taste than it is to reconstruct the design of Helvetica from its look + on the page. The exact bitmap or spline outline of a digital font is + usually not reconstructable from the printed image, although CRT screen + fonts at usual resolutions (60-120 dots per inch) may be reconstructed + by patient counting and mapping of bits off a screen display. Typeface + licenses often contain stipulations that the digital data will be + encrypted and confidential. Just as a firm will protect the secret of + a soft drink recipe, so a type firm will protect the exact nature of + its digital data. + + Ethics + ...... + + Some typographers are motivated by higher principles than greed, + profit, expediency, and personal interest. Idealists afflicted with + concepts of ethical behavior and a vision of typography as a noble art + may find it distasteful to use plagiarized types. Some graphic + designers insist on using typefaces with bona-fide trademarks, both to + ensure that the type will be of high quality, and to encourage + creativity and ethics in the profession. A consequence of plagiarism + that is sometimes overlooked is a general erosion of ethics in an + industry. If it is okay to steal typeface designs, then it may be okay + to purloin other kinds of data, to falsify one's resume, to + misrepresent a product, and so forth. Most professional design + organizations attempt to promote ethical standards of professional + behavior, and personal standards may extend to avoidance of plagiarism. + + The Association Typographique Internationale (ATypI) is an international + organization of type designers, type manufacturers, and letterform + educators. Its purpose is to promote ethical behavior in the industry, + advancement of typographic education, communication among designers, and + other lofty aims. Members of ATypI agree to abide by a moral code that + restricts plagiarism and other forms of depraved behavior (pertaining to + typography). These are noble goals, but some members (especially + corporate members) of ATypI, confronted with the pressures and + opportunities of commercial reality, nevertheless plagiarize typefaces + of fellow members, the moral code notwithstanding. Since ATypI is a + voluntary organization, there is very little that can be done about + most such plagiarism. Some years back, a world-famous type designer + resigned %the noted type designer Hermann Zapf from the ATypI Board of + Directors in protest over the organization's flaccid attitude toward + plagiarists among its ranks. He has since agreed to sit on the board + again, but criticism of the organization's inability to prevent type + rip-offs by its own members, not to mention by non-members, continues + to be heard. Moderates in ATypI believe that a few morals are better + than none. It is not clear whether their philosophical stance derives + from Plato, Hobbes, or Rousseau. + + Given the general attitude of users toward copyrighted video and + software, it is doubtful that ethical considerations will hinder most + end-users' attitude to plagiarized type fonts. A desire to have the + fashionable "label" or trademark may be a greater motivation toward the + use of bona-fide fonts than an ethical consideration. + + Further reading + --------------- + + "The State of the Art in Typeface Design Protection", Edward Gottschall, + Visible Language, Vol. XIX, No. 1, 1985 (a special issue on "The + Computer and the Hand in Type Design"--proceedings of a conference held + at Stanford University in August, 1983). + + Der Schutz Typographischer Schriftzeichen, by Guenter Kelbel. Carl + Heymans Verlag KG, Cologne, 1984. (A learned account, in juridical + German prose, of the significance of the Vienna Treaty of 1973 and the + West German Schriftzeichengesetz of 1981.) + + Disclaimer + ---------- + + These notes were originally prepared at the request of Brian Reid, for + informal distribution. They are based on the author's review of + available literature on the subject of typeface protection, and on + personal experience in registering types for trademark, copyright, and + patent. However, they are %While they result from careful research, no + claim is made for accuracy; not legal advice. If one is contemplating + protecting or plagiarizing a typeface, and seeks legal opinion, it is + advisable to consult an attorney. The term "plagiarize" (and words + derived from it) is used here in its dictionary sense of "to take and + use as one's own the ideas of another" and does not mean that the + practice of typeface plagiarism is illegal, as that is determined by + the laws of a particular country. + + The author is a professor of digital typography as well as a + professional designer of original digital typefaces for electronic + printers and computer workstations. He therefore has an obvious bias + toward the inculcation of ethical standards and the legal protection of + artistic property. Other commentators might have a different + perspective. + +Subject: 1.14. File Formats + + Many different kinds of files are available on the net. These files + contain many different kinds of data for many different architectures. + Frequently, the extension (trailing end) of a filename gives a good + clue as to the format of its contents and the architecture that it was + created on. + + In order to save space, most files on the net are compressed in one way + or another. Many compression/decompression programs exist on multiple + architectures. + + Multiple files and directories are often combined into a single + `archive' file. Many archive formats perform compression automatically. + + File Format Extensions + ====================== + + * .tar + + Unix `tape archive' format. Tar files can contain multiple files + and directories. Unlike most archiving programs, tar files are + held together in a wrapper but are not automatically compressed by + tar. + + * .Z + + Unix `compress' format. Compression doesn't form a wrapper around + multiple files, it simply compresses a single file. As a result, + you will frequently see files with the extension .tar.Z. This + implies that the files are compressed tar archives. + + * .z .gz + + GNU zip format. GNU zip doesn't form a wrapper around multiple + files, it simply compresses a single file. As a result, you will + frequently see files with the extension .tar.z or .tar.gz. This + implies that the files are compressed tar archives. Do not confuse + GNU Zip and PKZip or GNU Zip and Unix compress, those are three + different programs! + + * .hqx + + Macintosh `BinHex' format. In order to reliably transfer Mac files + from one architecture to another, they are BinHex encoded. This + is actually an ascii file containing mostly hexadecimal digits. + It is neither a compression program nor an archive format. + + * .sit + + Macintosh `Stuffit' archive. + + * .cpt + + Macintosh `Compactor' archive. + + Like the .tar.Z format that is common among Unix archives, + Macintosh archives frequently have the extensions .sit.hqx or + .cpt.hqx indicating a BinHex'ed archive. + + * .arc + + PC `arc' archive. This is an older standard (in PC terms, at + least) and has gone out of fashion. + + * .zip + + PC `zip' archive. This is the most common PC archive format today. + + * .arj + + PC `arj' archive. + + * .zoo + + PC `zoo' archive + + * .lzh + + PC `lha/lharc' archive. + + * .uue + + `UUencoding' format. In order to reliably transfer binary data + across architectures (or through email), they are frequently + uuencoded. This is actually an ascii file. It is neither a + compression program nor an archive format. + + Font Formats + ============ + + Just as the are many, many archive formats, there are many different + font formats. The characteristics of some of these formats are + discussed below. Once again, the file extension may help you to + determine the font type. (On the Mac, the resource TYPE field is + (probably) a better indicator). + + * PostScript Type 1 Fonts: + + Postscript Type 1 fonts (Also called ATM (Adobe Type Manager) + fonts, Type 1, and outline fonts) contains information, in outline + form, that allows a postscript printer, or ATM to generate fonts + of any size. Most also contain hinting information which allows + fonts to be rendered more readable at lower resolutions and small + type sizes. + + * PostScript Type 3 Fonts: + + Postscript type 3 fonts are an old outline font format that is not + compatible with ATM. Most developers have stopped using this + format except in a few special cases, where special type 3 + characteristics (pattern fills inside outlines, for example) have + been used. + + * TrueType Fonts: + + Truetype fonts are a new font format developed by Microsoft with + Apple. The rendering engine for this font is built into system 7 + and an init, the Truetype init, is available for system 6 (freeware + from Apple). It is also built into MS Windows v3.1. Like + PostScript Type 1 and Type 3 fonts, it is also an outline font + format that allows both the screen, and printers, to scale fonts to + display them in any size. + + * Bitmap Fonts: + + Bitmap fonts contain bitmaps of fonts in them. This a picture of + the font at a specific size that has been optimized to look good + at that size. It cannot be scaled bigger without making it look + horrendously ugly. On the Macintosh, bitmap fonts also contain + the kerning information for a font and must be installed with both + type 1 and type 3 fonts. Their presence also speeds the display + of commonly used font sizes. + + Font Format Extensions + ====================== + + * .afm + + Adobe Type 1 metric information in `ascii' format (human parsable) + + * .bco + + Bitstream compressed outline + + * .bdf + + Adobe's Bitmap Distribution Format. This format can be converted + to the platform specific binary files required by the local X + Windows server. This is a bitmap font format distributed in ASCII. + + * .bez + + Bezier outline information + + * .cfn + + Calamus Font Notation. Vector font format, without hinting, but + with greater accuracy when compared to Type 1 fonts. Used by a.o. + Calamus (Atari, Windows NT), a DTP program with Soft RIP. + + * .chr + + Borland stroked font file + + * .ff, .f3b, .fb + + Sun formats. More info when I know more... + + * .fli + + Font libraries produced by emTeX fontlib program. Used by emTeX + drivers and newer versions of dvips. + + * .fnt + + Bitmapped GEM font in either Motorola or Intel format. + + * .fon + + An MS-Windows bitmapped font. + + * .fot + + An MS-Windows kludge for TrueType fonts. The fot file points to + the actual TrueType font (in a ttf file). + + * .gf + + Generic font (the output of TeX's MetaFont program (possibly + others?)) + + * .mf + + TeX MetaFont font file (text file of MetaFont commands) + + * .pfa + + Adobe Type 1 Postscript font in ASCII format (PC/Unix) I believe + that this format is suitable for directly downloading to your + PostScript printer (someone correct me if I'm wrong ;-) + + * .pfb + + Adobe Type 1 PostScript font in "binary`' format (PC/Unix) Note: + this format is not suitable for downloading directly to your + PostScript printer. There are utilities for conversion between + PFB and PFA (see the utilities section of the FAQ). + + * .pfm + + Printer font metric information in Windows format + + * .pk + + TeX packed bitmap font file (also seen as .###pk where ### is a + number) + + * .pl + + TeX `property list' file (a human readable version of .tfm) + + * .ps + + Frequently, any PostScript file. With respect to fonts, probably + a Type3 font. This designation is much less `standard' than the + others. Other non-standard extensions are .pso, .fon, and .psf + (they are a mixture of type 1 and type 3 fonts). + + * .pxl + + TeX pixel bitmap font file (obsolete, replaced by .pk) + + * .sfl + + LaserJet bitmapped softfont, landscape orientation + + * .sfp + + LaserJet bitmapped softfont, portrait orientation + + * .sfs + + LaserJet scalable softfont + + * .spd + + Vector font in Speedo format. + + * .tdf + + Vector font type definitions for Speedo fonts. + + * .tfm + + TeX font metric file. Also an HP Tagged Font Metric file. + + * .ttf + + An MS-Windows TrueType font. + + * .vf + + TeX virtual font which allows building of composite fonts (a + character can be composed of any sequence of movements, characters + (possibly from multiple fonts) rules and TeX specials) + + * .vpl + + TeX `property list' (human readable) format of a .vf + +Subject: 1.15. Ligatures + + A ligature occurs where two or more letterforms are written or printed + as a unit. Generally, ligatures replace characters that occur next to + each other when they share common components. Ligatures are a subset + of a more general class of figures called "contextual forms." + Contextual forms describe the case where the particular shape of a + letter depends on its context (surrounding letters, whether or not it's + at the end of a line, etc.). + + One of the most common ligatures is "fi". Since the dot above a + lowercase 'I' interferes with the loop on the lowercase 'F', when 'f' + and 'i' are printed next to each other, they are combined into a single + figure with the dot absorbed into the 'f'. + + An example of a more general contextual form is the greek lowercase + sigma. When typesetting greek, the selection of which 'sigma' to use + is determined by whether or not the letter occurs at the end of the + word (i.e., the final position in the word). + + * Amanda Walker provides the following discussion of ligatures: + + Ligatures were originally used by medieval scribes to conserve + space and increase writing speed. A 14th century manuscript, for + example, will include hundreds of ligatures (this is also where + "accents" came from). Early typefaces used ligatures in order to + emulate the appearance of hand-lettered manuscripts. As + typesetting became more automated, most of these ligatures fell + out of common use. It is only recently that computer based + typesetting has encouraged people to start using them again + (although 'fine art' printers have used them all along). + Generally, ligatures work best in typefaces which are derived from + calligraphic letterforms. Also useful are contextual forms, such + as swash capitals, terminal characters, and so on. + + A good example of a computer typeface with a rich set of ligatures + is Adobe Caslon (including Adobe Caslon Expert). It includes: + + Upper case, lower case, small caps, lining numerals, oldstyle + numerals, vulgar fractions, superior and inferior numerals, swash + italic caps, ornaments, long s, and the following ligatures: + + ff fi fl ffi ffl Rp ct st Sh Si Sl SS St (where S=long s) + + [Ed: Another common example is the Computer Modern Roman typeface + that is provided with TeX. this family of fonts include the ff, + fi, fl, ffi, and ffl ligatures which TeX automatically uses when + it finds these letters juxtaposed in the text.] + + While there are a large number number of possible ligatures, + generally only the most common ones are actually provided. In + part, this is because the presence of too many alternate forms + starts reducing legibility. A case in point is Luxeuil Miniscule, + a highly-ligatured medieval document hand which is completely + illegible to the untrained eye (and none too legible to the + trained eye, either :)). + + * Don Hosek offers the following insight into ligatures: + + Ligatures were used in lead type, originally in imitation of + calligraphic actions (particularly in Greek which retained an + excessive number of ligatures in printed material as late as the + 19th century), but as typefaces developed, ligatures were retained + to improve the appearance of certain letter combinations. In some + cases, it was used to allow certain letter combinations to be more + closely spaced (e.g., "To" or "Vo") and were referred to as + "logotypes". In other cases, the designs of two letters were merged + to keep the overall spacing of words uniform. Ligatures are + provided in most contemporary fonts for exactly this reason. + + * Liam Quin makes the following observations: + + The term ligature should only be used to describe joined letters in + printing, not letters that overlap in manuscripts. + + Many (not all) accents came from the practice of using a tilde or + other mark to represent an omitted letter, so that for example the + Latin word `Dominus' would be written dns, with a tilde or bar over + the n. This is an abbreviation, not a ligature. + + Most ligatures vanished during the 15th and 16th Centuries. It was + simply too much work to use them, and it increased the price of + book production too much. + + [Ed: there is no "complete" set of ligatures.] + + This is Info file compfont.info, produced by Makeinfo-1.55 from the + input file FAQ.texinfo. + +Subject: 1.16. Built-in Fonts + + * PostScript printers (and Adobe Type Manager) with 13 fonts have: + + Courier, Courier-Bold, Courier-BoldOblique, Courier-Oblique, + Helvetica, Helvetica-Bold, Helvetica-BoldOblique, + Helvetica-Oblique, Symbol, Times-Bold, Times-BoldItalic, + Times-Italic, Times-Roman + + * Postscript printers with 17 fonts have: + + Courier, Courier-Bold, Courier-BoldOblique, Courier-Oblique, + Helvetica, Helvetica-Bold, Helvetica-BoldOblique, Helvetica-Narrow, + Helvetica-Narrow-Bold, Helvetica-Narrow-BoldOblique, + Helvetica-Narrow-Oblique, Helvetica-Oblique, Symbol, Times-Bold, + Times-BoldItalic, Times-Italic, Times-Roman + + * Postscript printers with 35 fonts have: + + All of the above, plus the following: + + ZapfChancery-MediumItalic, ZapfDingbats, AvantGarde-Book, + AvantGarde-BookOblique, AvantGarde-Demi, AvantGarde-DemiOblique, + Bookman-Demi, Bookman-DemiItalic, Bookman-Light, + Bookman-LightItalic, NewCenturySchlbk-Bold, + NewCenturySchlbk-BoldItalic, NewCenturySchlbk-Italic, + NewCenturySchlbk-Roman, Palatino-Bold, Palatino-BoldItalic, + Palatino-Italic, Palatino-Roman + + * HP LaserJet printers (II, IIP) + + Courier 10, Courier 12, LinePrinter 16.66, ... + + * HP LaserJet printers (III, IIIP) + + All of the above, plus the following: + + Scalable Times Roman and Scalable Univers using Compugraphic's + Intellifont hinted font format. + + * HP LaserJet IV printers + + All of the above, plus the following scalable (Intellifont) faces: + + Courier, Courier Bold, Courier Italic, Courier Bold Italic, CG + Times, CG Times Bold, CG Times Italic, CG Times Bold Italic CG + Omega, CG Omega Bold, CG Omega Italic, CG Omega Bold Italic + Coronet, Clarendon Condensed Univers Medium, Univers Bold, Univers + Medium Italic, Univers Bold Italic Univers Medium Condensed, + Univers Bold Condensed, Univers Medium Condensed Italic, Univers + Bold Condensed Italic Antique Olive, Antique Olive Bold, Antique + Olive Italic Garamond Antiqua, Garamond Halbfett, Garamond Kursiv, + Garamond Kursiv Halbfett Marigold, Albertus Medium, Albertus Extra + Bold Arial, Arial Bold, Arial Italic, Arial Bold Italic Times New, + Times New Bold, Times New Italic, Times New Bold Italic Symbol, + Wingdings, Letter Gothic, Letter Gothic Bold, Letter Gothic Italic + + * SPARCPrinters + + The basic 35 fonts plus four scaled faces of each of Bembo, Gill + Sans, Rockwell, Lucida, Lucida Bright, Sans and Typewriter, giving + a total of 57 fonts, all in the F3 format. + +Subject: 1.17. Glossary + + [ I ripped this right out of the manual I wrote for Sfware. If you have + comments, improvements, suggestions, please tell me... ] + + anti-aliasing + [ed: this is an 'off-the-cuff' definition, feel free to clarify it + for me ;-) ] + + On low-resolution bitmap devices (where ragged, ugly characters + are the norm) which support more than two colors, it is possible + to provide the appearance of higher resolution with anti-aliasing. + Anti-aliasing uses shaded pixels around the edges of the bitmap + to give the appearance of partial-pixels which improves the + apparent resolution. + + baseline + The baseline is an imaginary line upon which each character rests. + Characters that appear next to each other are (usually) lined up so + that their baselines are on the same level. Some characters extend + below the baseline ("g" and "j", for example) but most rest on it. + + bitmap + A bitmap is an array of dots. If you imagine a sheet of graph paper + with some squares colored in, a bitmap is a compact way of + representing to the computer which squares are colored and which + are not. + + In a bitmapped font, every character is represented as a pattern of + dots in a bitmap. The dots are so small (300 or more dots-per-inch, + usually) that they are indistinguishable on the printed page. + + character + (1) The smallest component of written language that has semantic + value. Character refers to the abstract idea, rather than a + specific shape (see also glyph), though in code tables some form + of visual representation is essential for the reader's + understanding. (2) The basic unit of encoding for the Unicode + character encoding, 16 bits of information. (3) Synonym for "code + element". (4) The English name for the ideographic written + elements of Chinese origin. + + download + Downloading is the process of transferring information from one + device to another. This transferral is called downloading when the + transfer flows from a device of (relatively) more power to one of + (relatively) less power. Sending new fonts to your printer so that + it "learns" how to print characters in that font is called + downloading. + + font + A particular collection of characters of a typeface with unique + parameters in the 'Variation vector', a particular instance of + values for orientation, size, posture, weight, etc., values. The + word font or fount is derived from the word foundry, where, + originally, type was cast. It has come to mean the vehicle which + holds the typeface character collection. A font can be metal, + photographic film, or electronic media (cartridge, tape, disk). + + glyph + (1) The actual shape (bit pattern, outline) of a character image. + For example, an italic 'a' and a roman 'a' are two different glyphs + representing the same underlying character. In this strict sense, + any two images which differ in shape constitute different glyphs. + In this usage, "glyph" is a synonym for "character image", or + simply "image". (2) A kind of idealized surface form derived from + some combination of underlying characters in some specific + context, rather than an actual character image. In this broad + usage, two images would constitute the same glyph whenever they + have essentially the same topology (as in oblique 'a' and roman + 'a'), but different glyphs when one is written with a hooked top + and the other without (the way one prints an 'a' by hand). In + this usage, "glyph" is a synonym for "glyph type," where glyph is + defined as in sense 1. + + hints + When a character is described in outline format the outline has + unlimited resolution. If you make it ten times as big, it is just + as accurate as if it were ten times as small. + + However, to be of use, we must transfer the character outline to a + sheet of paper through a device called a raster image processor + (RIP). The RIP builds the image of the character out of lots of + little squares called picture elements (pixels). + + The problem is, a pixel has physical size and can be printed only + as either black or white. Look at a sheet of graph paper. Rows and + columns of little squares (think: pixels). Draw a large `O' in the + middle of the graph paper. Darken in all the squares touched by the + O. Do the darkened squares form a letter that looks like the O you + drew? This is the problem with low resolution (300 dpi). Which + pixels do you turn on and which do you leave off to most accurately + reproduce the character? + + All methods of hinting strive to fit (map) the outline of a + character onto the pixel grid and produce the most + pleasing/recognizable character no matter how coarse the grid is. + + kerning + (noun): That portion of a letter which extends beyond its width, + that is, the letter shapes that overhang - the projection of a + character beyond its sidebearings. + + (verb): To adjust the intercharacter spacing in character groups + (words) to improve their appearance. Some letter combinations + ("AV" and "To", for example) appear farther apart than others + because of the shapes of the individual letters. + + Many sophisticated word processors move these letter combinations + closer together automatically. + + outline font/format + See 'scalable font' + + point + The (more or less) original point system (Didot) did have exactly + 72 points to the inch. The catch is that it was the French + imperial inch, somewhat longer than the English inch, and it went + away in the French revolution. What most people now think of as + points were established by the United States Typefounders + Association in 1886. This measure was a matter of convenience for + the members of the Association, who didn't want to retool any more + than they had to, so it had no relationship to the inch. By that + date, people realized that the inch was an archaic measure anyway; + the point was set to be 1/12 of a pica, and an 83-pica distance + was made equal to 35 centimeters. (Talk about arbitrary!) + + Thus the measure of 72.27/in. is just an approximation. Of course, + when PostScript was being written, it was necessary to fit into an + inch-measured world. For the sake of simplicity PostScript defined + a point as exactly 1/72". With the prevalance of DTP, the + simplified point has replaced the older American point in many + uses. Personally, I don't see that it matters one way or the + other; all that counts is that there's a commonly-understood unit + of measurement that allows you to get the size you think you want. + That is, after all, the point ;) + + scalable font + A scalable font, unlike a bitmapped font, is defined mathematically + and can be rendered at any requested size (within reason). + + softfont + A softfont is a bitmapped or scalable description of a typeface or + font. They can be downloaded to your printer and used just like + any other printer font. Unlike built-in and cartridge fonts, + softfonts use memory inside your printer. Downloading a lot of + softfonts may reduce the printers ability to construct complex + pages. + + symbol set + The symbol set of a font describes the relative positions of + individual characters within the font. Since there can only be 256 + characters in most fonts, and there are well over 256 different + characters used in professional document preparation, there needs + to be some way to map characters into positions within the font. + The symbol set serves this purpose. It identifies the "map" used + to position characters within the font. + + typeface + The features by which a character's design is recognized, hence + the word face. Within the Latin language group of graphic shapes + are the following forms: Uncial, Blackletter, Serif, Sans Serif, + Scripts, and Decorative. Each form characterizes one or more + designs. Example: Serif form contains four designs called Old + Style, Transitional, Modern, and Slab Serif designs. The typeface + called Bodoni is a Modern design, while Times Roman is a + Transitional design. + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(3_6) b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(3_6) new file mode 100644 index 0000000000..e10e39ce48 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(3_6) @@ -0,0 +1,1050 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: General Info (3/6) +Supersedes: <font-faq-3_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:20 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 1027 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-3_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48300 comp.answers:20514 news.answers:79235 + +Archive-name: fonts-faq/part3 +Version: 2.1.5 + +Subject: 1.18. Bibliography + + Editors note: the following books have been suggested by readers of + comp.fonts. They are listed in no particular order. I have lost the + citations for some of the submissions. If you wrote a review that + appears below and you aren't credited, please let norm know. + + I have decided that this is the best section for pointers to other font + resources (specs and other documents, for example). These appear after + the traditional bibliographic entries. As usual I will happily accept + entries for this section. As of 9/92, the only files listed are the + TrueType font information files available from Microsoft. + + Bill Ricker contributed the following general notes: + + The Watson-Guptill, Godine, and Dover publishers all have many + typography titles. Godine and Dover tend to be excellent; W-G tends + toward 'how-to' books which are good for basics and juried Annuals of + job work. + + Hermann Zapf and his Design Philosophy, Society of Typographic Arts, + Chicago, 1987. + + On Stone -- The Art and Use of Typography on the Personal Computer, + Sumner Stone, Bedford Arts, 1991. + + Of the Just Shaping of Letters, Albrecht Durer, isbn 0-486-21306-4. + + First published in 1525 as part of his theoretical treatise on applied + geometry, "The Art of Measurment". + + Champ Flevry, Geofroy Troy. + + First published in 1529 Troy attempts, in this book, to design an ideal + Roman alphabet upon geometrical and aesthetic principles. + + The Alphabet & Elements of Lettering, Frederic W. Goudy, isbn + 0-486-20792-7. Revised 1942 edition. + + This very interesting book looks at the history of letter shapes as + well font design. + + The Mac is Not a Typewriter, Robin Williams, Peachpit Press. + + A good, clear explanation of what typography is, and how to get it from + your computer. Mac-specific, but full of excellent general advice. I + think there's also a PC version. Available at most computer bookstores + + Rhyme and Reason: A Typographic Novel, Erik Spiekermann, H. Berthold AG, + ISBN 3-9800722-5-8. + + Printing Types (2 vols), Daniel Berkely Updike, Dover Press. + + Affordable edition of the most readable history of type, lots of + illustrations. + + Notes: Both the Dover and Harvard U. P. editions were 2 volumes. The + Dover editions were paperback and the Harvard hardback. It appears + that the Dover edition is out of print. Collectible HUP editions are + not cheap although later HUP editions may be had. Most libraries have + later HUP and Dover editions. If someone knows of a source, please + pass it along. + + The Art of Hand Lettering, Helm Wotzkow, Dover Press, reprint from 1952. + + Looking Good In Print, Roger C. Parker, Ventana Press, ISBN: + 0-940087-32-4. + + Well, as a beginner's book, [it] isn't bad. I can't say that I agree + with the author's tastes all the time, but he at least gives some good + examples. Also there are some nice _Publish_-style makeovers. Don + Hosek <dhosek@ymir.claremont.edu> + + Book Design: A Practical Introduction, Douglas Martin, Van Nostrand + Reinhold, New York: 1989. 206pp. + + Along with Jan White's book (see below), this provides a fairly + complete guide to book design. Martin's book is somewhat more + conservative in outlook and also reflects his UK background. Don Hosek + <dhosek@ymir.claremont.edu> + + Digital Typography: An Introduction to Type and Composition for Computer + System Design, Richard Rubinstein, Addison-Wesley, Reading, + Massachusetts: 1988. 340pp. + + An interesting, technological approach to typography which is worth + reading although not necessarily always worth believing. A not + insubstantial portion of the text is dedicated to representing type on + a CRT display and Rubinstein devotes some time to expressing + characteristics of typography numerically. Don Hosek + <dhosek@ymir.claremont.edu> + + Graphic Design for the Electronic Age, Jan V. White, Watson-Guptill + Publications, New York: 1988. 212pp. + + A good handbook for document design. In a well-organized approach, + White covers the principles for laying out most of the typographics + features of a technical document. White is a bit overeager to embrace + sans-serif types and in places his layout ideas seem a bit garish, but + it's still a quite worthwhile book. Don Hosek + <dhosek@ymir.claremont.edu> + + Xerox Publishing Standards: A Manual of Style and Design, Watson-Guptill + Publications, New York: 1988. 400pp. + + Overall, a disappointing book. It is divided into four sections of + widely varying intent: "Publishing Process," "Document Organization," + "Writing and Style" and "Visual Design." None of them is really + adequate for the task and all are highly centered on the Xerox method + for publishing. As a guide to Xerox' process, it succeeds, but as a + manual for general use, it falls far short. In print. Don Hosek + <dhosek@ymir.claremont.edu> + + Methods of Book Design (3rd edition), Hugh Williamson, Yale University + Press, New Haven: 1983. 408pp. + + It is a bit out-of-date as regards technology, but on issues relating + purely to design it is comprehensive and definitive. Well, I suppose + it could be argued that printing technology influences design - e.g. + some types look fine in metal but lousy in digital imagesetting - and + therefore a book that is out-of-date in technology can't really be + "definitive" in matters of design either. In any event, _Methods_ is + more than adequate for a beginner's needs. My paper-bound copy (ISBN + 0-300-03035-5) was \$13.95; cheap at twice the price! Cameron Smith + <cameron@symcom.math.uiuc.edu> + + The Thames & Hudson Manual of typography, Rauri McLean, Thames & Hudson + + An excellent book if you start getting more interested in type. Look + for Rauri McLean's other books after this one... Liam R.E. Quin + <lee@sq.com> + + Typography and Why it matters, Fernand Baudin. + + There is no better introduction than [it]. It's not a primer on + subjects such as "what does Avant Garde look like," or "This is a good + font for books." It is a good primer on the things you need to know + before the rest should be considered. He's a lovely writer, to boot. + + [My copy is at work, so I may have munged the title-look up Baudin in + "Books in Print" and improvise :-)] + + Ari Davidow <ari@netcom.com> + + Better Type, Betty Binns + + It's definitely not a lightweight beginner's introduction, but I've + found [it] to be indispensable. It's a large-format hardcover, but you + can find it remaindered for cheap if you look around. The book goes + into great detail about how factors like line spacing, line length, + point size, and design of typeface (evenness of stroke weight, + x-height, etc.) affect readability. When you've gotten the basics out + of the way and want to learn more about the fine nuances of type color, + this book is an absolute must. David Mandl <dmandl@bilbo.shearson.com> + + Printing Types: An Introduction..., S. Lawson, (revised) 1990 + + I'd also recommend Alexander S. Lawson's books especially /Printing + Types: An Intro.../ (revised), 1990, which includes electronic types + now. Bill Ricker <wdr@world.std.com> + + Tally of Types, Stanley Morrison, Cambridge University Press. + + A keepsake for CUP on the Monotype fonts he'd acquired for them when he + was Type Advisor to both Brit.Monotype & CUP (Cambridge University + Press, Cambs.UK), which discusses his hindsight on some of the great + revival fonts and some of the better new fonts. Bill Ricker + <wdr@world.std.com> + + Chicago Manual of Style, University of Chicago Press, 1982; + ISBN 0-226-10390-0. + + The chapter on Design and Typography is most directly relevant, but + there are a lot of hints scattered all through the Chicago Manual on + making your words more readable and your pages more attractive. Stan + Brown <brown@ncoast.org> + + X Window System Administrator's Guide (O'Reilly X Window System Guides, + volume 8), O'Reilly + + It gives advice about setting up fonts, etc. Liam Quin <lee@sq.com> + + How Bodoni intended his types to look Bodoni, Giambattista. Fregi e + Majuscole Incise e Fuse de ... Bodoni, Harvard University Library + (repr). + + Inexpensive collectible, reproduced as a keepsake by the Houghton + Library at Harvard. [wdr] + + The Elements of Typographic Style, Robert Bringhurst, Hartley & Marks + 0-88179-033-8 pbk \$15, Z246.B74 1992 0-88179-110-5 cloth, \$25. + + A typography for desktop publishers who want to absorb some style. + Informed by the historical european tradition and the desktop + advertising, tempered by oriental yin-yang and examples. A page-turner + with repeat-read depth. + + The only book I've seen that discusses page proportions that admits + there are more than three ways that describes how to find one that + feels good for your page. [wdr] + + Hermann Zapf on the cover-blurb: "All desktop typographers should study + this book. ... I wish to see this book become the Typographers' Bible." + + Printing It, Clifford Burke, Ballantine, 0-345-02694-2. + + Manual for the hobby letterpress printer. [wdr] + + Twentieth Century Type Designers, Sebastian Carter, Taplinger, 1987. + + Discusses the talented adaptators of old faces to machine caster and + film/laser, as well as the designers of new works. Indexed? [wdr] + + Design with Type, Carl Dair, University of Toronto Press, 0-8020-1426-7. + + In print again (or still?); the ISBN above may be stale. + + A great introduction to the issues of practicality and taste that + confront the users of type. A prized possession. I only regret that the + book does not include among the excerpts from his Westvaco pamphlets + the Seven Don'ts of Typography. [wdr] + + Typography 6: The Annual of the Type Directors Club, Susan Davis, ed., + Watson-Guptill, 0-8230-5540-x. + + Specimens of Type Faces in the U.S. G.P.O., John J. Deviny, director., + US G.P.O. + + Practice of Typography: Plain Printing Types, Theodore Low De Vinne, + Century Co./DeVinne Press. + + One of the earlier critical studies, in four volumes of which this is + my personal favorite, and still a classic reference. If one wants to + understand 18th and 19th century typography in context, this writer + lived the transition from eclectic to standard sizes, and comments + with taste. [wdr] + + An Essay on Typography, Eric Gill, Godine, 0-87923-762-7. + + The Alphabet and Elements of Lettering, Frederic W. Goudy, Dorset Press + (Marboro Books), 0-88029-330-6 + + Lovely. A wonderful way to learn Goudy's taste. + + Stanley Morison Displayed, Herbert Jones, Frederick Muller Ltd / W, + 0-584-10352-2. + + Lovely. A wonderful way to learn Morrison's taste. + + Printing Types: An Introduction..., Alexander S. Lawson et. al., Beacon + 1971,?Godine? 1990; (2nd Ed includes electronic types now) + + "Good introduction to comparisons of typefaces, with a detailed history + and a key family or face of each general category. Denounces rigid + indexes of type faces." [wdr] + + Anatomy of a Typeface, Alexander Lawson, Godine, 0-87923-333-8, + Z250.L34 1990 + + Deep description of the authors' favorite exemplar and its influences + and relatives in each type category. It follows, without explicating, + the category system developed in the prior book. [wdr] + + Types of Typefacs and how to recognize them, J. Ben Lieberman, + Sterling, 1968 + + "This isn't very good really, but it does give lots of examples of the + main categories." [Liam] [Old bibliographies praised this one, but I + haven't seen it so I can't comment.- wdr] + + Tally of Types (& other titles), Stanley Morrison, Cambridge U. Press. + + A keepsake for CUP on the Monotype fonts he'd acquired for them when he + was Type Advisor to both Brit. Monotype & CUP (Cambridge University + Press, Cambs.UK), which discusses his hindsight on some of the great + revival fonts and some of the better new fonts. [wdr] + + Rookledge's International Type Finder 2nd, Perfect, Christopher and + Gordon Rookledge, Ed Moyer Bell Ltd / Rizzoli, 1-55921-052-4, + Z250.P42 [1st Ed was NY: Beil 1983] + + "Lg. trade pb. Indexed by stylistic & characteristic features. Shows + A-Z, a-z, 0-9 in primary figures, whether lining or ranging. + Particularly distinctive sorts are marked for ease of comparison. + Separate tables collect the distinctive characters for assistance in + identifying a sample." [wdr] + + English Printers' Ornaments, Henry R. Plomer, Burt Franklin + + Paragraphs on Printing, Bruce Rogers, [Rudge] Dover, 0-486-23817-2 + + Digital Typography: An Introduction to Type and Composition for + Computer System Design, Richard Rubinstein, Addison-Wesley, Reading, + Massachusetts: 1988. 340pp. + + For people who are disappointed with how the type looks on the laser, + this book explains the subleties of that medium and of the screen that + others miss. This is a study of the Human Factors of computer + typographic systems. [wdr] + + The Case for Legibility, John Ryder, The Bodley Head, 0-370-30158-7, + Z250.A4 + + The Solotype Catalog of 4,147 Display typefaces, Dan X. Solo, Dover, + 0-486-27169-2, Z250.5.D57S654 19 + + "Working catalog of a specialty Graphics Arts shop. They use + proprietary optical special effects techniques to get Desktop + Publishing effects, and more, without the laser-printer grain. Great + listing of 19th Century Decorated Types - probably the largest + collection in the world. Prices to order headlines from them are NOT + cheap however. Their services are for professional or serious hobby + use only. Solo's previous Dover books show some number of complete + alphabets of a general peculiar style; this one shows small fragments + of his entire usable collection, important as an index. (According to + private correspondence, they have more faces that have not yet been + restored to usable condition.) Not well indexed, but indexed." [wdr] + + Stop Stealing Sheep & find out how type works, Erik Spiekermann & E.M. + Ginger., Adobe Press, 1993 + + Introductory, motivational. If you wonder why there are so many type + faces in the world, this is the book for you! [Liam] [The title refers + to the old joke: "A man who would letterspace lowercase would also + steal sheep." [wdr]] + + The Art & Craft of Handmade Paper, Vance Studley, Dover, 0-486-26421-1, + TS1109.S83 1990 + + Letters of Credit, Walter Tracey, Godine Press + + "I can't recommend this too highly. It's not as introductory as the + Sheep Book, but conveys a feeling of love and respect for the letter + forms, and covers a lot of ground very, very well." [Liam] + + Printing Types: Their History, Forms & Use, Daniel Berkely Updike, + Harvard University Press, reprint by Dover. + + The standard reference. Tour-de-force history of type and type-styles. + A trifle conservative in its biases, but typography is conservative for + good reason: readability. Check the addenda for his final words on + newer faces. [wdr] + + 1. I believe the Dover edition to be 3 vols Pbk; both the collectable + and later Harvard U.P. editions were two vols hbk. + + 2. I am informed by my bookseller & Books In Print that the Dover + edition is out of print. *sigh* If a source be known, let me know. + Collectible HUP eds are not cheap, although later HUP eds may be had. + Most libararies have later HUP or Dover eds. [wdr] + + Modern Encyclopedia of Typefaces, 1960-90, Lawrence W. Wallis, Van + Nostrand Reinhold, 0-442-30809-4, Z250.W238 1990 + + "Gives examples of most typefaces, almost all digital, designed & + distributed in the last 30 years. Cross indexed by foundry and + designer, and sources and looks-likes. Some historical bits. Shows + full a-z,A-Z,0-9, a few points (punctuation); and 0-9 again if both + lining and oldstyle supplied. Only complaint is that it omits small + caps even from what few fonts have 'em and the accented characters, of + which most have some but too few. List \$25." [wdr] + + About Alphabets: Some Marginal Notes on Type Design, Hermann Zapf, MIT + Press, 0-262-74003-6 + + Hermann Zapf & His Design Philosophy, Hermann Zapf, Society of + Typographic Arts, Chicago + + "Anything about, by, or vaguely connected with Hermann Zapf is probably + worth reading several times :-)" [Liam] + + Manuale Typographicum, Hermann Zapf, MIT Press, 0-262-74004-4 + + There are two books of this title (portrait and landscape); this is + the only mass-market edition of either. Both are Zapf's selections of + interesting typographical quotations in his inimitable display + typography. [wdr] + + Microsoft Windows 3.1 Programmer's Reference, Microsoft Press. + + Documents the Panose system of typeface classification. Probably + contains a general discussion of TrueType under MS Windows 3.1. + + Introduction to Typography, 3rd ed, Faber, London, 1962. + + A very good introduction for any beginner. Also discusses things like + illustrations and cover design, although not in great detail. + + Simon was a purist, as the editor of the 3rd edition remarks. He did + not mention phototypesetting in his original edition, but some + observations on its uses and abuses have since been added. Anders + Thulin <ath@linkoping.trab.se> + + Eve Damaziere contributes: + + Twentieth Century Type, Lewis Blackwell, Calmann & King, London (GB), + 1992. Chez Flammarion (1993 - 256 p.) pour l'edition francaise (french + edition). + + It's a very intelligent account of the history of type in our century, + and its links to art, technics and politics (history). Lots of + pictures, too. At the end of it, a "description and classification of + types", from the 15th century up to now : the author follows the + classification of Maximilien Vox (1952), a french graphist. + + [ed: additional bibliographic information appears in the file + "Additional-bibliography" on + http://www.ora.com/homepages/comp.fonts/FAQ.html. I have not yet had + time to integrate this bibliographic information into the FAQ] + +Subject: 1.19. Font Encoding Standards + + What is a character set? + ======================== + + A character set is a collection of symbols in a specific order. Some + common character sets are ASCII and ISO Latin 1. + + What is an encoding vector? + =========================== + + The term "encoding vector" is most frequently heard in the context of + PostScript fonts. An encoding vector embodies a particular character + set, it is simply the list of all the characters in the character set + in the order in which they occur. + + Most font technologies limit a particular encoding to 256 characters; + an Adobe Type 1 font, for example, may contain an arbitrary number of + characters, but no single encoding vector can contain more than 256. + + Some common encodings are: + + * Adobe Standard Encoding - the default encoding of many PS Type1 + fonts + + * Apple Standard Encoding - the default encoding on a Mac + + * US ASCII - seven bit ASCII + + * ISO Latin-1 - an eight bit multi-national character + set encoding + + * Cork Encoding - the TeX community's eight bit standard + + * FC - an eight bit encoding for African + languages + + * TeX text - the TeX community's seven bit defacto + standard (CMR) + + Where can I get them? + ===================== + + You can get tables showing the layout of many standard character sets + from the Kermit distribution (via anonymous ftp from + watsun.cc.columbia.edu in /kermit/charsets. + +Subject: 1.20. PostScript + + What About PostScript UNIQUEIDs? + ================================ + + This section was constructed from a posting by Johannes Schmidt-Fischer + in Jun 1993. + + All PostScript Type 1 fonts should contain a UniqueId. This is a + number which should be, as the name suggests, unique (at least among + the fonts that you download to the printer at any given time). + + There are many PostScript fonts on the 'Net which have identical + UniqeIds. If two of these fonts are downloaded to the same printer at + the same time, attempts to use either font may cause the wrong + characters to be printed. + + In a nutshell, the reason that the wrong characters may be printed is + that the printer may be storing the rendered glyphs in its font cache, + addressed by UniqueID. So, if two fonts, /Foo and /Bar, both have + UniqueID=5 and /Foo's 10pt "A" is currently in the cache, a request for + /Bar's 10pt "A" will cause the wrong character to be printed. Rather + than rendering /Bar's "A" from its (correct and unambiguous) outline, + the printer will note that the cache contains a 10pt "A" for font 5 and + will copy it from the cache (resulting in /Foo's "A" printing for /Bar). + + Adobe's "Red Book" contains a detailed discussion of this topic. + + Can a Type 1 Font Be Shaded? + ============================ + + David Lemon contributes: + + There are three ways to get grey into a font. The first is to make a + series of Type 1 fonts, each of which will be used for a single shade + of grey (or other color). The user then sets copies of the characters + on top of each other, selecting each and setting it to the shade + desired. It's a bit inconvenient (and won't work in a word processor) + but it gets full resolution, good hinting and gives the user lots of + control. This is the approach Adobe has used in its "chromatic" fonts + (as in Adobe Wood Type 3 and Copal) and is viable for both Type 1 and + TrueType formats. + + As an alternative, the designer can approximate shades of grey in the + characters by using many little dots (a sort of halftone effect) or + lines (as in cross-hatching). This leads to pretty complex characters, + which may choke some rasterizers, and won't hint well. As with the + first method, this is viable (more or less) for both Type 1 and + TrueType. + + The third method is more direct but limited. In this approach, the + designer/producer creates the shades of grey in a font-editing program. + The limitation is that such a font must be written in Type 3, which is + a generalized PostScript format (Type 1 and TrueType recognize only + solid shapes). Such a font won't be supported by ATM, so your screen + display will suffer and you'll be restricted to PostScript printers. On + the plus side, your greys will be rendered at the full resolution of + the printer you use. + +Subject: 1.21. TrueType + + George Moore announces the following information regarding TrueType + fonts: + + "I am pleased to announce that there is now one central location for all + official Microsoft TrueType information available on the Internet. The + 9 files listed below are available for anonymous ftp access on + ftp.microsoft.com in the /developr/drg/TrueType-Info directory. The + most important of those files is the TrueType Font Files + Specifications, a 400 page book which describes in excruciating detail + how to build a TrueType font. Other information is also available in + the same directory and other files will be added from time to time. + + For those people who do not have ftp access to the Internet can find the + same information available for downloading on Compuserve in the + Microsoft developer relations forum (GO MSDR) in the TrueType library. + + Please be aware that the TrueType specifications is a copyrighted work + of Microsoft and Apple and can not be resold for profit. + + TrueType developer information files on ftp.microsoft.com: + + 1. ttspec1.zip, ttspec2.zip, and ttspec3.zip + + The TrueType Specification: + + These three compressed files contain the "TrueType Font Files + Specifications", a 400 page book complete with illustrations which + details how to construct a TrueType font from scratch (or build + a tool to do so), the TrueType programming language, and the + complete format of each sub-table contained in the .TTF file. + These documents are stored in Word for Windows 2.0 format and + require Windows 3.1 for printing. See the "readme.doc" (in + ttspec1.zip) for printing instructions. Requires 2.5MB of disk + space after uncompression. + + This manual is a superset of the similar specifications from Apple + and has added information specific to Windows that is not + present in the Apple version. + + 2. ttfdump.zip + + An MS-DOS executable which will dump the contents of a TrueType + font out in a human-readable fashion. It allows you to dump the + entire font, or just specific sub-tables. This tool, combined + with the specifications above, allows very effective debugging + or exploration of any TrueType font. For example, to dump the + contents of the 'cmap' (character code to glyph index mapping) + table, enter: + + ttfdump fontname.ttf -tcmap -nx + + Entering "ttfdump" with no options will give you a help message. + + 3. ttfname.zip + + Example C source code on how to parse the contents of a TrueType + font. Although this particular example will open up the file + and locate the font name contained within the 'name' table, it + could be readily adapted to parse any other structure in the + file. This compressed zip file also contains many useful + include files which have pre-defined structures set up for the + internal tables of a TrueType font file. This code may be + useful for developers who wish to parse the TrueType data stream + returned by the GetFontData() API in Windows 3.1. + + 4. tt-win.zip + + A 31 page Word for Windows 2.0 document which is targeted for the + Windows developer who is interested in learning about some of the + capabilities TrueType adds to Windows 3.1. Contains many + illustrations. + + 5. embeddin.zip + + A text file which describes all of the information necessary for a + Windows developer to add TrueType font embedding capabilities to + their application. Font embedding allows the application to + bundle the TrueType fonts that were used in that document and + transport it to another platform where the document can be + viewed or printed correctly. + + 6. tt-talk.zip + + The TrueType Technical Talks 1 and 2. These text files describe + some of the things that are happening with TrueType behind the + scenes in Windows 3.1. The first document walks the reader + through all of the steps that occur from when the user first + presses the key on the keyboard until that character appears on + the screen (scaling, hinting, drop out control, caching and + blitting). The second talk describes one of the unique features + of TrueType called non-linear scaling which allows the font + vendor to overcome some of the physical limitations of low + resolution output devices. + + 7. lucida.zip + + This text file contains useful typographic information on the 22 + Lucida fonts which are contained in the Microsoft TrueType Font + Pack for Windows. It gives pointers on line-layout, mixing and + matching fonts in the family and a little history on each + typeface. This information was written by the font's designers, + Chuck Bigelow & Kris Holmes." + +Subject: 1.22. Unicode + + [ed: This is a summary of the Unicode info I've gleaned from the net + recently, the whole Unicode issue needs to be addressed better by the + FAQ...someday... someday...I'll get to reorganize the whole thing] + + What Is Unicode? + ================ + + Charles A. Bigelow notes: + + The authors of the Unicode standard emphasize the fact that Unicode is a + character encoding, not a glyph encoding. This might seem like a + metaphysical distinction, in which characters have some "semantic" + content (that is, they signify something to literates) and and glyphs + are particular instantiations or renderings of characters--Plato talked + about this kind of stuff--but in practice it means that most ligatures + are not represented in Unicode, nor swash variants, nor figure variants + (except for superior and inferior, which are semantically distinct from + baseline figures), and so on. + + For further information, consult The Unicode Standard: Worldwide + Character Encoding Version 1.0, Vol. 1 (alphabets & symbols) and Vol 2. + (Chinese, Japanese, Korean characters), by The Unicode Consortium, + Addison Wesley Publishing Co, 1991, ISBN 0-201-56788-1, 0-201-60845-6. + + What is the Unicode Consortium? + =============================== + + The Unicode Consortium is an international body responsible for + maintaining the Unicode standard. Their email address is + <unicode-inc@unicode.org> + + To obtain more information on Unicode or to order their printed material + and/or diskettes contact: + + Steven A. Greenfield + + Unicode Office Manager + + 1965 Charleston Road + + Mountain View, CA 94043 + + Tel. 415-966-4189 + + Fax. 415-966-1637 + + Unicode Editing + =============== + + James Matthew Farrow contributes: + + I use `sam' for all by text editing. It is X editor based on an editor + for the blit called jim. Papers describing sam as well as a + distribution of sam itself are available for ftp from research.att.com. + The sam there is a Unix port of the Plan 9 version. Plan 9 is a full + unicode operating system, even around before NT! The libraries sam is + built upon therefore support 16 bit wide characters. The graphics + library, supplied with it at present does not. However they may be + planning to distribute a new version which does soon. The library just + plugs in replacing the library that comes with sam. No modification is + necessary. Character are stored using the utf-2 encoding. + + All of the files I had before I started working with sam were 7 bit + ascii so no conversion was needed. Now I have ditched xterm in favour + of 9term: a terminal emulator in the style of 81/2 (the Plan 9 + interface). This lets me type Unicode characters on the command line, + as part of filenames, in mail, wherever and most Unix utilities cope + without modification. This is about to be released. I'm looking for + beta testers. ;-) + + Is a special keyboard required? + ------------------------------- + + No. ASCII Characters are typed as normal. Common characters above + 0x7f are typed using two letter abbreviations. The table is similar to + the troff special character codes, e.g, Alt-12 gives you a 1/2, Alt-'e + gives you e acute, Alt-bu a bullet and so on. This table is hardwired + into the library at present but is trivial to change. Other codes are + accessed by typing their hex value, for instance the smiley is + Alt-X263a (0x263a being a smiley character in the Unicode character + set). + + Is roman-to-Unicode conversion available? + ----------------------------------------- + + All normal 7 bit ascii characters are encoded as themselves so no + translation is needed. There are conversion routines in the library + (runetochar and chartorune) which will do the conversion and it should + be pretty simple to convert files already in another format. You would + have to write something to do the transliteration yourself. A small + patch to the system would let you enter different language `modes' for + text entry. + + Are there PostScript or TrueType fonts available? + ================================================= + + Apparently there is a version of the Lucida fonts by Bigelow and Holmes + which support Unicode. This is the information I have on them. + + [ed: quoting another source] + + [Windows NT] will ship with a Unicode TrueType font containing + approximately 1,500 characters. The font is called "Lucida Sans + Unicode" and was specifically designed by Bigelow and Holmes for + Microsoft to contain the following Unicode sets: + + ASCII + Latin 1 + European Latin + Extended Latin + Standard Phonetic + Modifier Letters + Generic Diacritical + Greek + Cyrillic + Extended Cyrillic + Hebrew + Currency Symbols + Letterlike Symbols + Arrows + Mathematical Operators + Super & Subscript + Form & Chart Components + Blocks + Geometric Shapes + Miscellaneous Technical + Miscellaneous Dingbats + + The bitmap fonts which comes with the utf version of the libXg graphics + library (the library upon which sam is built) support a sparse subset + of the full character set. That is, only a few of them have glyphs at + present. A font editor such as xfedor would let you add more. The list + of those currently available is pretty much as the above list. + + I use 9term and sam as a matter of course now and have for several + months. I enjoy the convenience of putting special characters and + accented characters in my mail as well as being able to do some + phonetic work all in the one terminal/editor suite. + +Subject: 1.23. Can I Print Checks with the MICR Font? + + This comes up all the time: standard ordinary laser toner is magnetic + and will be read by the banks. The gotcha is that standard laser toner + rubs off in the *very* high-speed sorting equipment that are used, and + this makes read rates drop low and the banks will hate you. + + I researched check printers for a customer, and was surprised to find + this. The Troy(tm) printers he bought are basically stock Ricoh + engines that have slightly tighter paper handling (for registration), + plus they add a proprietary Teflon-type powder coating on the output + path to coat the checks. + + I saw some examples of checks printed with and without this special + coating after running through something like 40 passes through check + processing equipment, and the one without the coating was a mess. These + require special handling that the banks do *not* like. Apparently, + they go after companies that issue these kinds of checks with special + processing fees. + +Subject: 1.24. Rules of Thumb + + It is difficult to set out guidelines for font usage, because almost + any rule can be brilliantly broken under the right circumstances. + + * General guidelines: + + * Never lose track of the kind of work you're doing. An effect + that would ruin a newsletter might be just the thing for a + record cover. Know when you can safely sacrifice legibility + for artistic effect. + + * Keep in mind the final reproduction process you'll be using. + Some effects (like reversed type, white on black) can be hard + to read off an ordinary 300-dpi laser, but will work if + finals are done on a high-resolution printer, such as a + Linotronic. Will the pages be photocopied? Offset? Onto rough + paper, shiny paper? All these factors can and should + influence your choice of fonts and how you use them. + + * Running some comparative tests is a good idea. Better to blow + off a few sheets of laser paper now than to see a problem + after thousands of copies are made. + + * No one can teach you font aesthetics; it must be learned by + example. Look at beautiful magazines, posters, books with + wide eyes, so that you can see how it's done. Examine ugly + printed matter critically and consider why it's hard to read. + + * Good rules of thumb: + + * If you need a condensed font, find one that was designed that + way, rather than scaling an existing font down to a + percentage. Any scaling distorts a font's design; excessive + scaling interferes with legibility - this goes for widening + as well as narrowing. Extended faces do exist, although they + aren't as common as condensed ones. + + * Many people feel that bold or italic type, or type in ALL + CAPS, is more legible: "This is the most important part of + the newsletter, let's put it in bold." In fact, legibility + studies show that such type is actually harder to read in + bulk. Keep the text in a normal style and weight, and find + another way to emphasize it - box it, illustrate it, run it + in color, position it focally. + + * Too much reverse type - white on black - is hard on the eyes. + It can be a nice effect if used sparingly. Don't reverse a + serif font, though - its details will tend to fill in. Stick + to reversing bold sans-serifs, and remember to space them out + a bit more than usual. + + * It is always safest to use a plain serif font for large + amounts of text. Because Times is widely used, it doesn't + mean it should be avoided. Fonts like Palatino, Times, + Century Old Style are deservedly popular because people can + read a lot of text set in such faces without strain. + + Don't expect anyone to read extensive text set in a condensed + font. + + * As point size gets bigger, track tighter, and (if the + software allows) reduce the spacebands as well. A spaceband + in a headline size (anything over 14 point) should be about + as wide as a letter "i". + + * If you only have a few large headlines, hand-kerning the + type, pair by pair, can make the end result much more + pleasing. Besides, working with fonts this closely makes + them familiar. + + * Column width and justification are major elements in design. + The narrower the column, the smaller the type can be; wide + rows of small type are very hard to read. Often it's a better + idea to set narrow columns flush left rather than justified, + otherwise large gaps can fall where hyphenation isn't + possible. + + * Use curly quotes. + + * Don't put two spaces at the end of a line (. ) instead of (. + ) when using a proportionally spaced font. + + This is Info file compfont.info, produced by Makeinfo-1.55 from the + input file FAQ.texinfo. + +Subject: 1.25. Acknowledgements + + The moderators would like to express their gratitude to the whole + community for providing insightful answers to innumerable questions. In + particular, the following people (listed alphabetically) have + contributed directly to this FAQ (apologies, in advance, if anyone has + been forgotten): + + Masumi Abe <abe@keleida.com> + + Glenn Adams <glenn@metis.COM> + + Daniel Amor <daniel.amor@student.uni-tuebingen.de> + + Borris Balzer <borris@boba.rhein-main.DE> + + Charles A. Bigelow <bigelow@cs.stanford.edu> + + David J. Birnbaum <djbpitt@pitt.edu> + + Tim Bradshaw <tim.bradshaw@edinburgh.ac.UK> + + Morgan S. Brilliant <???> + + Arlen Britton <arlenb@mcad.edu> + + Stan Brown <brown@ncoast.org> + + Scott Brumage <brumage@mailer.acns.fsu.edu> + + Lee Cambell <elwin@media.mit.edu> + + Terry Carroll <tjc50@juts.ccc.amdahl.com> + + Gerd Castan <G.Castan@physik.uni-stuttgart.de> + + Ari Davidow <ari@netcom.com> + + Eve Damaziere <bortzmeyer@cnam.fr> (c/o Stephane Bortzmeyer) + + Lawrence D'Oliveiro <ldo@waikato.ac.nz> + + Pat Farrell <pfarrell@cs.gmu.edu> + + James Matthew Farrow <matty@cs.su.oz.au> + + Stephen Friedl <friedl@mtndew.Tustin.CA.US> + + Peter J. Gentry <peter@utas.artsci.utoronto.ca> + + Yossi Gil <yogi@techunix.technion.ac.IL> + + Timothy Golobic <an314@cleveland.Freenet.EDU> + + Kesh Govinder <govinder@ph.und.ac.za> + + Piercarlo Antonio Grandi <pcg@decb.aber.ac.uk> + + Robert Green <rag5@cornell.edu> + + Rick Heli <Rick.Heli@Eng.Sun.COM> + + Jeremy Henderson <jeremy@castle.ed.ac.uk> + + Henry ??? <henry@trilithon.COM> + + Gary <Gocek.Henr801C@Xerox.COM> + + Berthold K.P. Horn <bkph@ai.mit.edu> + + Peter Honig <peterh@macsch.com> + + Don Hosek <dhosek@quixote.com> + + Bharathi Jagadeesh <bjag@nwu.edu> + + Chang Jin-woong <jwjang@krissol.kriss.re.kr> + + Darrell Leland <dleland@nmsu.edu> + + David Lemon <lemon@adobe.com> + + Jon <jgm@cs.brown.EDU> + + ??? <vkautto@snakemail.hut.FI> + + ??? <robertk@lotatg.lotus.COM> + + Otto Makela <otto@jybox.jyu.fi> + + David Mandl <dmandl@bilbo.shearson.com> + + Kate McDonnell <C_MCDON@pavo.concordia.ca> + + George Moore <georgem@microsoft.com> + + Robert Morris <ram@claude.cs.umb.EDU> + + Stephen Moye <SMOYE@BROWNVM.brown.edu> + + Erlend Nagel <error@stack.urc.tue.nl> + + Terry O'Donnell <odonnell@mv.us.adobe.COM> + + Rick Pali <Rick_Pali@f328.n163.z1.jammys.net> + + Sean Palmer <sean.palmer@delta.com> + + Jon Pastor <pastor@VFL.Paramax.COM> + + PenDragon <REGY116@cantva.canterbury.ac.nz> + + Stephen Peters <speters@us.oracle.COM> + + Bill Phillips <wfp@world.std.com> + + Thomas W. Phinney <75671.2441@compuserve.com> + + Jim Reese <Jim.Rees@umich.edu> + + Bill Ricker <wdr@world.std.com> + + Liam Quin <lee@sq.com> + + Henry Schneiker <?> + + Tom Scott <tims@megatek.com> + + Bill Shirley <bshirley@gleap.jpunix.COM> + + Cameron Smith <cameron@symcom.math.uiuc.edu> + + Daniel S. Smith <dsmith@jericho.mc.com> + + Frank F. Smith <ffs1@cornell.edu> + + Werenfried Spit <SPIT@vm.ci.uv.ES> + + Anthony Starks <ajs@merck.com> + + Ike Stoddard <stoddard@draper.com> + + Danny Thomas <vthrc@mailbox.uq.oz.au> + + Anders Thulin <ath@linkoping.trab.se> + + Ian Tresman <72240.3447@compuserve.com> + + Bill Troop <biltroop@ix.netcom.com> + + Erik-Jan Vens <E.J.Vens@icce.rug.nl> + + Amanda Walker <amanda@visix.com> + + Jason Lee Weiler <weilej@nuge110.its.rpi.edu> + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(4_6) b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(4_6) new file mode 100644 index 0000000000..ccc090f2f2 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(4_6) @@ -0,0 +1,1027 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: General Info (4/6) +Supersedes: <font-faq-4_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:26 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 1004 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-4_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48303 comp.answers:20517 news.answers:79238 + +Archive-name: fonts-faq/part4 +Version: 2.1.5 + +Subject: 1.26. A Brief Introduction to Typography + + Space, time, and bandwidth are too limiting to provide a complete + introduction to typography in this space. I'd be very willing to make + one available for anonymous ftp, if you want to write one, but I'm not + going to write it-I have neither the time nor the expertise. However, + the following description of Times, Helvetica, and Courier will suffice + for a start. For more information, several books on typography are + listed in the bibliography. + + Comments by Laurence Penney: + ============================ + + Laurence Penney offers the following description of Times, Helvetica, + and Courier: + + Times is a typeface designed in the 1930s for the Times newspaper in + London and is now used widely in books, magazines and DTP. Its design + is based on the typographical principles evolved since Roman times + (upper case) and the 16th century (lower case). It is called a + TRANSITIONAL typeface, after the typefaces of the 17th century which it + resembles. Like all typefaces designed for typesetting large + quantities of text, it is proportionally spaced: the i takes about a + third the width of an M. Personally I don't like Times too much and + prefer the more elegant Garamond and Baskerville, but these will + probably cost you money... Note: The Transitionals came after the Old + Styles (like Garamond) and before the Moderns (like Bodoni). + + Helvetica is an example of a SANS-SERIF typeface. These first appeared + in the late 19th century in Germany and flourished in the 1920s and + 30s, when they were regarded as the future of typography. It's more a + geometric design than the humanist design of Gill Sans, but less + geometric than Avant Garde and Futura. To my mind it lacks elegance, + and Adrian Frutiger's Univers shows how this kind of typeface should be + done. (Just compare the B, R, Q, a, g of Univers and Helvetica to see + what I mean - and don't you just love Univers's superbly interpreted + ampersand ?!) Helvetica is one of the few fonts that is improved by its + BOLD version. + + Another interesting approach to sans-serif is Optima, by Hermann Zapf, + which keeps the stroke-weight variations which sans-serifs usually + reject. Use sans-serif fonts for the same applications as Times, above, + but where you're less concerned with elegance, and more with a + functional appearance - they're generally reckoned to be slightly less + legible than good serifed fonts. They're also very suitable for display + work. + + Courier is a typeface derived from typewriter styles. It should ONLY be + used when you want to simulate this effect (e.g. when writing letters + Courier usually appears "friendlier" than Times). Like all typewriter + fonts, it is MONOSPACED (characters all have the same width) and is + thus suitable for typesetting computer programs. However there are + nicer looking monospace fonts than Courier (which has oversize serifs), + that still remain distinct from the text fonts like Times and + Helvetica. A good one is OCR-B, designed by Frutiger. Note that + monospaced fonts are less economical on space than proportional fonts. + + [ed: Following the original posting of this message, Laurence Penny and + Jason Kim discussed the issue privately. The following summary of + their discussion may serve to clarify some of the more subtle points. + My thanks to Laurence and Jason for allowing me to include this in the + FAQ.] + + ----------------------------- + + LP-1> The Transitionals came after the Old Styles (like Garamond) and + before the Moderns (like Bodoni). + + JK> Not necessarily true! Ideologically, yes, but not chronologically. + I believe, for example, that Bodoni predates New Century Schoolbook or + some such typeface. + + LP-2> What I meant by "X came after Y" was "the first examples of X + appeared after the first examples of Y" - it's called precis. Some + people still make steam trains, but you can still say "Steam engines + came before diesels." This is chronological, not ideological in my book. + + ----------------------------- + + LP-1> Another interesting approach to sans-serif is Optima, by Hermann + Zapf, which keeps the stroke-weight variations which sans-serifs + usually reject. Use sans-serif fonts for the same applications as + Times, above, but where you're less concerned with elegance, and more + with a functional appearance - they're generally reckoned to be + slightly less legible than good seriffed fonts. They're also very + suitable for display work. + + JK> Slightly? I have several textbooks typeset by utter fools and they + are a pain in the ass (and eyes) to read! Please don't encourage anyone + to use Optima (or any sans serif fonts for that matter) "for the same + applications as Times," which, need I remind you, was designed for + *newspaper* work!! + + LP-2> OK, maybe I was a little over-generous to Univers, Helvetica, + etc., but I think variation is extremely important in typography. Have + you ever read the British magazine "CAR" ? That uses Helvetica light (I + think) in a very legible and attractive way, IMO. I agree, though, + Optima is crappy for text, but it's a very valuable experiment and + looks beautiful when printed in high quality for titling, etc. And yes, + *books* in Helvetica are generally awful. + + ----------------------------- + + JK> Serifs have been scientifically shown to be a *lot* easier on the + reader, as they guide the eyes along the lines. + + LP-2> In all tests I've seen the serifs have always won the day, but + only with certain seriffed fonts, and fonts like Univers aren't far + behind. The "tracking" advantage for serif fonts is reduced when you're + talking about narrow newspaper/magazine columns. + + ----------------------------- + + JK> You wrote a pretty short and partial history of type. Why ignore + the roots of type (blackletter) as well as the climax (moderns-give an + explanation) and subsequent 'post-modern' revivals? + + LP-2> I was just talking about the place the 3 most common DTP types + hold in the history of typography, and a few associated pitfalls. It + wasn't meant as a "history of typography" at all. Please feel free to + provide such a history yourself. + + JK> I think any short list of specific faces is incomplete without + mention of Palatino, the most popular Old Style revival in existence. + + LP-2> Do you? To my mind Palatino is grossly over used. You must agree + it looks bad for dense text. It isn't a proper "oldstyle revival" at + all, more of a "calligraphic interpretation" of it. Zapf designed it as + a display face, and wasn't too concerned about lining up the serifs + (check out the "t"). And it just *has* to be printed on 1200dpi devices + (at least) to look good in small sizes. OK then, maybe a short list is + incomplete without a caution NOT to use Palatino... + + JK> Also, if this is meant to be a "quick history/user guide for those + fairly new to using fonts on desktop publishing systems," then I would + recommend more directions about the proper uses of certain faces (e.g., + Goudy for shaped text, Peignot for display *only*) and styles (e.g., + italics for editorial comments, all-caps for basically nothing). + + LP-2> Okay, okay. I was only sharing a few ideas, not trying to write a + book. Surely you agree that the 3 typefaces I chose are by far the most + commonly used and abused these days? I don't think a discussion of + Goudy or Peignot fits in very well here, unless we're hoping to make a + very wide-ranging FAQL. Regarding styles: first, italics are used + principally for *emphasis* (rather than bold in running text); second, + all good books have a few small caps here and there, don't they? - all + mine do... + + JK> Sorry if I come across as critical. I think the idea of making a + FAQL is a good one, as is your effort. We just have to make sure it + doesn't give any newbies the wrong impressions and further perpetuate + the typographical morass we're facing today. + + LP-2> Sorry if I come across as defensive, but I stand by what I said + and object to the suggestion that I am "perpetuating the typographical + morass". (I don't know if you really intended this - apologies if you + didn't.) + + Comments by Don Hosek: + ====================== + + Don Hosek offers the following additional notes: + + The "Times" in most printers is actually a newer version of the font + than Monotype's "Times New Roman" which it is originally based on. + Walter Tracy's _Letters of Credit_ gives an excellent history of the + face which was based on Plantin and in the original cutting has metrics + matching the original face almost exactly. Another interesting note + about the face is that it is almost a completely different design in + the bold: this is due to the fact that old-styles are difficult to + design as a bold. Incidentally, the classification of Times as a + transitional is not firm. It likely is placed there by some type + taxonomists (most notably Alexander Lawson) because of the bold and a + few minor features. Others, myself included, think of it as a old + style. The typeface listed in the Adobe catalog as Times Europa was a + new face commissioned in 1974 to replace the old Times (whose 50th + birthday was this past October 3rd). + + Hermann Zapf is not particularly pleased with any of the + phototypesetting versions of Optima. As a lead face, Optima is very + beautiful. His typeface "World", used in the World Book Encyclopedia is + one recutting for photocomp which improves the font somewhat. He is on + record as saying that if he had been asked, he would have designed a + new font for the technology. + +Subject: 1.27. A Brief History of Type + + Thomas W. Phinney contributes the following discussion of the history + of type(1): + + Foreword + ======== + + It is difficult to cover all the developments and movements of + typography in a short space. My separation of evolving technologies + from the development of typefaces is an artificial one--designs and the + technology used to create them are not truly separable--but perhaps it + is conceptually useful. + + Where names of typefaces are used, I attempt to use the original name: + there are often clones with very similar names. + + I shall update, clarify and correct this essay periodically, and will be + happy to credit contributors. I can be e-mailed on CompuServe at + 75671,2441 (Internet: 75671.2441@compuserve.com). + + Type Technology--The Four Revolutions + ===================================== + + Gutenberg (ca. 1450-1480) & The Impact of Printing + -------------------------------------------------- + + Before the printing press, books were produced by scribes (at first, + primarily based in monasteries, although by the 12th century there were + many lay copiers serving the university market). The process of writing + out an entire book by hand was as labor-intensive as it sounds (try it + some time): so much so that a dozen volumes constituted a library, and a + hundred books was an awe- inspiring collection. + + This remained true until the invention of movable type, the perfection + of which is attributed to Johannes Gutenberg (although the Chinese had + it several centuries earlier, and a Dutch fellow named Coster may have + had some crude form a decade earlier). Gutenberg, although a man of + vision, did not personally profit from his invention. He worked for over + a decade with borrowed capital, and his business was repossessed by his + investors before the first mass-produced book was successfully + printed--the Gutenberg Bible of 1454, printed in Mainz by Fust and + Schoeffer. + + Gutenberg's basic process remained unchanged for centuries. A punch made + of steel, with a mirror image of the letter is struck into a piece of + softer metal. Molten metal is poured into this, and you get type. The + type is put into a matrix to form the page of text, inked, then pressed + into paper. + + Within several decades typesetting technology spread across Europe. + The speed with which it did so is impressive: within the first fifty + years, there were over a thousand printers who set up shops in over two + hundred European cities. Typical print runs for early books were in the + neighborhood of two hundred to a thousand books. + + Some of these first printers were artisans, while others were just + people who saw an opportunity for a quick lira/franc/pound. The modern + view of a classical era in which craftsmanship predominated appears + unjustified to scholars: there has always been fine craft, crass + commercialism, and work that combines both. + + To those who have grown up with television, radio, magazines, books, + movies, faxes and networked computer communications it is difficult to + describe just how much of a revolution printing was. It was the first + mass medium, and allowed for the free spread of ideas in a completely + unprecedented fashion. The Protestant Reformation might not have + occurred, or might have been crushed, without the ability to quickly + create thousands of copies of Luther's Theses for distribution. + + Many groups sought to control this new technology. Scribes fought + against the introduction of printing, because it could cost them their + livelihoods, and religious (and sometimes secular) authorities sought to + control what was printed. Sometimes this was successful: for centuries + in some European countries, books could only be printed by government + authorized printers, and nothing could be printed without the approval + of the Church. Printers would be held responsible rather than authors + for the spread of unwanted ideas, and some were even executed. But this + was a largely futile struggle, and most such restraints eventually + crumbled in the western world. + + Industrial Revolution: Steam, Line-casting & Automated Punch-cutting (start 1870-95; end 1950-65) + ------------------------------------------------------------------------------------------------- + + Amazingly, the printing press and the science of typecutting had only + minor refinements from the late 1500s to the late 1800s. Towards the + end of this period, the industrial revolution brought major innovations + in printing technology. Rotary steam presses (steam 1814, rotary 1868) + replaced hand- operated ones, doing the same job in 16 per cent of the + time; photo-engraving took over from handmade printing plates. + + Typesetting itself was transformed by the introduction of line-casting + machines, first Ottmar Mergenthaler's Linotype (1889), and then the + Monotype machine. Essentially, line-casting allowed type be chosen, + used, then recirculate back into the machine automatically. This not + only introduced a huge labor savings in typesetting, (again, on the + order of the 85% reduction in printing time), but also rendered + obsolete the huge masses of metal type created by the previously + existing type foundries. + + While typesetting and printing speeds increased phenomenally, so did the + speed of punchcutting. In 1885, Linn Boyd Benton (then of Benton, Waldo + & Company, Milwaukee) invented a pantographic device that automated the + previously painstaking process of creating punches. His machine could + scale a drawing to the required size, as well as compressing or + expanding the characters, and varying the weight slightly to compensate + for the larger or smaller size-- this last being a crude form of the + "optical scaling" done by skilled typographers making versions of the + same font for different sizes. In optical scaling, the thickest strokes + retain the same relative thickness at any size, but the thinnest + strokes are not simply scaled up or down with the rest of the type, but + made thicker at small sizes and thinner at large display sizes, so as + to provide the best compromise between art and readability. + + The economic impact of all these advances on the type industry cannot be + overstated. For example, in the United States, the majority of type + foundries escaped a bankruptcy bloodbath in 1892 by merging into a + single company, called American Type Founders (ATF). Ultimately + twenty-three companies merged into ATF, making it far and away the + dominant American type foundry. + + Also around this time, the "point" measurement system finally reached + ascendancy. In the earlier days of printing, different sizes of type had + simply been called by different names. Thus, "Brevier" was simply the + British name for 8-point type of any style. Unfortunately, these names + were not standardized internationally; 8-point type was called "Petit + Texte" by the French and "Testino" by the Italians. Such a naming + system also allowed wonderful confusion, such as "English" referring + both to blackletter type, and a 14-point size; "English English" was + thus a 14-point blackletter! + + Pierre Simon Fournier had first proposed a comprehensive point system in + 1737, with later refinements, but what was ultimately adopted was the + later version developed by Francois Ambroise Didot. This put + approximately 72 points to the inch (and now exactly 72 points to the + inch on most computer- based typesetting systems). + + Photocomposition (Intertype et. al., start 1950-60, end 1975-85) + ---------------------------------------------------------------- + + The first photocomposition devices (the French "Photon" and Intertype's + Fotosetter) made their debuts as early as 1944, but didn't really catch + on until the early 1950s. Typeface masters for photocomposition are on + film; the characters are projected onto photo-sensitive paper. Lenses + are used to adjust the size of the image, scaling the type to the + desired size. In some senses this technology was an "improvement," + allowing new freedoms, such as overlapping characters. However, it + also pretty much eliminated optical scaling (see 2.2, above), because + in the rush to convert fonts to the new format, usually only one design + was used, which was directly scaled to the desired size. + + Digital (start 1973-83) + ----------------------- + + The earliest computer-based typesetters were a hybrid between the above- + mentioned photocomposition machines and later pure digital output. They + each had their own command language for communicating with output + devices. Although these machines had advantages, they also had + problems. None of these early command languages handled graphics well, + and they all had their own formats for fonts. However, some of these + devices are still in service as of 1995, for use in production + environments which require more speed and less flexibility (phone + books, newspapers, flight schedules, etc.). + + In the late 1980s PostScript gradually emerged as the de facto standard + for digital typesetting. This was due to a variety of reasons, + including its inclusion in the Apple Laserwriter printer and its + powerful graphics handling. When combined with the Macintosh (the + first widely used computer with a what-you-see-is-what-you-get display) + and PageMaker (the first desktop publishing program), the seeds were + all sown for the current dominance of computer-based typesetting. + + Most high-end typesetting still involves printing to film, and then + making printing plates from the film. However, the increasing use of + high- resolution printers (600-1200 dots per inch) makes the use of + actual printing presses unnecessary for some jobs. And the next step + for press printing is the elimination of film altogether, as is done by + a few special systems today, in which the computer can directly create + printing plates. + + Today, although PostScript predominates, there are a variety of + competing page description languages (PostScript, HP PCL, etc.), font + formats (Postscript Type One and Multiple Master, Truetype and Truetype + GX) computer hardware platforms (Mac, Windows, etc.) and desktop + publishing and graphics programs. Digital typesetting is commonplace, + and photocomposition is at least dying, if not all but dead. Digital + typefaces on computer, whether Postscript or some other format, are + generally outline typefaces, which may be scaled to any desired size + (although optical scaling is still an issue). + + There has been considerable economic fallout from all this in + typography. Although some digital type design tools are beyond the + price range of the "average" user, many are in the same price range as + the mid- to high-end graphics and desktop publishing programs. This, + combined with the introduction of CD-ROM typeface collections, has + moved digital type away from being an expensive, specialized tool, + towards becoming a commodity. As a result of both this and the brief + photocomposition interregnum, the previously established companies have + undergone major shakeups, and even some major vendors, such as American + Type Founders, have failed to successfully make the digital transition, + and gone bankrupt instead (although at this time ATF appears to be + undergoing a resurrection). More recently, even major digital type + foundries have-dare one say foundered?-on the shoals of ubiquitous + cheap typefaces (even a licensing deal with Corel Corp seems to have + been insufficient to save URW). + + Although there is a new accessibility of type design tools for hobbyists + and professional graphic artists, the decreasing value of individual + typefaces has resulted in a decrease in the number of working type + designers per se (both independents and company-employed). + + Type Forms Through the Centuries + ================================ + + One must keep in mind that although typefaces may have come into use at + a particular point in time, they often continued in general use far + beyond that time. Even after the rise of old style typefaces in the + late 1500s, the blackletter type was commonly used for setting text for + several centuries (well into the 1900s in Germany). With later + interpretations of earlier forms being relatively common, the *style* + of a given typeface may belong to a quite different period from that of + the typeface itself! Further, many typefaces have very complex + histories: a type could have been originally designed in metal at one + time, reworked by someone else later, made into a phototypesetting face + by another person, and then later created in digital form by yet + another designer--who might have been working off of any of the above + as the basis of their work. + + The classification system used here (old style, transitional, modern, + sans serif, slab serif, etc.) has the virtues of being both simple and + widely used. However, the precision and artistic accuracy of this + system is perhaps dubious: see Robert Bringhurst's Elements of + Typographic Style or his article in the first issue of Serif magazine + for a more thorough system. + + In discussing the differences between type, one must refer to a number + of technical terms. For illustrations of these terms, see also the + downloadable graphics file TYPHS_72.GIF or TYPHS300.GIF. The numbers + refer to the dots per inch of the graphic when scaled to a full page: + 72 dpi is a low resolution suitable for screen viewing, while 300 dpi + is better-suited to laser printing. With any luck, both should be + available for FTP or download from the same site as this file. If so, + you would be well advised to refer to these pictures for illustrations + of both these terms and the differences between different categories of + typefaces. If you are a newcomer to typography, some sort of visual + reference is essential to understand the differences between fonts + explained here. Your options include: the aforementioned graphics + files; type samples from a book, manual or font vendor's catalog; or + simply viewing or printing out the fonts you have available on your + computer system, if you have a reasonable variety. + + Definitions + ----------- + + Contrast: The degree of difference between the thick and thin strokes in + a font (if any). + + Stress (axis): The angle at which contrast occurs, usually ranging from + vertical to a somewhat back-slanted diagonal. This can best be noted by + looking at, for example, the letter "O" and noting if the bottom left is + thicker than the top left, and the top right is thicker than the bottom + right. If this difference exists, the letter has diagonal stress. If + the two halves of the "O" are a mirror image of each other, with the + sides thicker than the top/bottom, then the letter has vertical stress. + If the top and bottom of the "O" are the same thickness as the sides, + there is neither contrast nor stress. + + Serifs: Those "finishing strokes" or "fillips" going off the ending + lines of a letter. For example, when the number "1" or the letter "i" + are drawn with a bar across the bottom, the two halves of the bar are + serifs. If the serif is joined to the letter by a slight flaring out, + it is said to be "bracketed." + + Early Letterforms + ----------------- + + Although writing itself can be traced back to several millennia B.C., to + Egyptian hieroglyphics and Sumerian cuneiform inscriptions, modern + letter forms have their most immediate heritage in Roman inscriptions + from around 50- 120 AD, such as the one on the base of Trajan's Column + in the Roman Forum (114 AD, digital version by Twombly for Adobe, 1989). + + Although early Latin writing was heavily influenced by these chiseled- + in-stone letterforms, over the centuries it evolved into a variety of + other shapes, including uncials and the related Carolingian script. It + is through this period of the sixth to tenth centuries that we see the + development of the lower case (minuscule) letter as a different shape + from the upper case (capital). + + Type forms similar to what we now think of as "normal" letter shapes + evolved from the Carolingian (or Caroline) minuscule. The Carolingian + letters are so-called because of their adoption by the Emperor + Charlemagne (late 10th century) as a standard for education. Digital + revivals of these exist, such as Carol Twombly's Charlemagne (1989). + + By the fifteenth century, italics also existed, in the form of a cursive + script which had developed in Rome and Florence. However, italics at + this time were a completely separate entity from the upright + letterforms, as they remained in the early days of printing. + + Blackletter + ----------- + + The first printed types exemplify what most people think of as medieval + or "old English" lettering, with ornate capitals, roughly diamond-shaped + serifs, and thick lines. As a group, these typefaces are called + "blackletter." They evolved from the Carolingian by a gradual movement + towards narrowing and thickening of lines. + + The general sort of blackletter used by Gutenberg in his first Bible is + called textura (a shareware digital version of Gutenberg's bible face is + available, called "Good City Modern"). The other sorts of blackletter + are fraktur, bastarda and rotunda. Probably the most common blackletter + revival typefaces in use today are Cloister Black (M.F. Benton, 1904, + from J.W. Phinney) and Fette Fraktur. + + It is worth noting that although these typefaces seem very hard to read + to us today, this is due as much to familiarity as to any objective + lesser clarity. Fraktur was in use in Germany well into the 1900s, + though it was gradually being superseded by Roman typefaces. The Nazis + at first fostered a return to Fraktur, then outlawed it as a "Jewish + typeface" in 1940. + + Studies from mid-century found that people can read blackletter with a + speed loss of no more than 15%. However, there is subjectively more + effort involved. Blackletter is today most appropriate for display or + headline purposes, when one wants to invoke the feeling of a particular + era. + + Old Style Typefaces: Centaur, Bembo, Jenson, Garamond, Caslon + ------------------------------------------------------------- + + E.P. Goldschmidt, as explained by Stanley Morison, claimed that "the + supersession of black-letter was not due to any 'technical advance,' it + was the visible expression of a changed attitude of mind." The + Renaissance was typified by an obsession with things "classical," in + the Greco-Roman sense, which had major implications for typography. The + neo-classical letterforms were somewhat more condensed than the + Carolingian shapes, but much rounder and more expanded than the + blackletter. + + Old style type is generally considered "warm" or friendly, thanks to + its origins in Renaissance humanism. The main characteristics of old + style typefaces are low contrast with diagonal stress, and cove or + "bracketed" serifs (serifs with a rounded join to the stem of the + letter). The earliest (Venetian or Renaissance) old style typefaces + (originally 15th-16th Century) have very minimal contrast, and a sloped + cross-bar on the lower-case "e." One such is Bruce Rogers' Centaur + (1916), based on Jenson. Similarly, Monotype's Bembo (1929) is based on + the work of Francesco Griffo, circa 1499. + + Italics at this point were still independent designs, and were generally + used completely separately; a whole book could be set in italics. + Probably the most famous italic of the period is Arrighi's (1524), + which may be seen today as the italic form of Centaur. Likewise, the + italic form of Bembo is based on the italic of Tagliente (also 1524). + + Later or baroque old style type (17th Century) generally has more + contrast, with a somewhat variable axis, and more slope of italic. The + most common examples are the types of Garamond and Caslon, many variant + revivals of which exist in digital form. + + Transitional Type: Baskerville, Fournier + ---------------------------------------- + + "Transitional" type is so-called because of its intermediate position + between old style and modern. The distinguishing features of + transitional typefaces include vertical stress and slightly higher + contrast than old style typefaces, combined with horizontal serifs. The + most influential examples are Philippe Grandjean's "Romain du Roi" for + the French Crown around 1702, Pierre Simon Fournier's work circa 1750, + and John Baskerville's work from 1757 onwards. Although today we + remember Baskerville primarily for his typeface designs, in his own + time people were much more impressed by his printing, which used an + innovative glossy paper and wide margins. + + Later transitional types begin to move towards "modern" designs. + Contrast is accentuated, and serifs are more flattened. Current + examples of such are based on originals from approximately 1788-1810, + and are dominated by British isles designers, such as Richard Austin + (Bell, 1788), William Martin (Bulmer) and Miller & Richard (Scotch + Roman). + + For currently available examples of transitional type, there are many + types which bear Baskerville's name, descending from one or another of + his designs. Less common today is P.S. Fournier's work, although + several versions of it are available in digital or metal form. Although + Scotch Roman has been a very common face in metal type usage since + Monotype's 1920 revival, it is not a common digital face. Bell, on the + other hand, is included in a Microsoft Font Pack, and Bulmer has + received more attention since its revival by Monotype in late 1994. + + Modern Type: Didot, Bodoni, Walbaum + ----------------------------------- + + "Modern" typefaces are distinguishable by their sudden-onset vertical + stress and strong contrast. Modern serifs and horizontals are very thin, + almost hairlines. Although they are very striking, these typefaces are + sometimes criticized as cold or harsh, and may not be quite as readable + for very extensive text work, such as books. + + A number of designers, perhaps semi-independently, created the first + modern typefaces in the late 1700s and early 1800s. One of the first, + and ultimately the most influential, was Giambattista Bodoni, of Parma, + Italy. Ironically, historians of type often relate the development of + the "modern" letterforms to a then-current obsession with things + Roman--in this case the strong contrast and sharp serifs of classical + Roman inscriptions. Although similar interests + + Today, the most common "modern" typefaces are the dozens of + reinterpretations of Bodoni's work (which itself evolved over time). + One of the most successful reinterpretations is the 1994 ITC Bodoni by + Stone et. al., featuring three different optical sizes. Although little + is seen of Didot, a reinterpretation by J.E. Walbaum (ca. 1800) sees + occasional use. + + Sans Serif & Slab Serif + ----------------------- + + These type forms made their first appearances around 1815-1817. Both are + marked by simpler letterforms with (usually) relatively uniform stroke + weight, lacking significant contrast, often geometric in underlying + design. + + The earliest forms of sans and slab typefaces tended to be heavy, often + monolithic, display faces, but there quickly evolved a wide range of + styles. Although the earliest designs are not much used today, their + descendants are common enough. + + Sans Serif (a.k.a. Gothic or Grotesque) + ....................................... + + Sans serif letters have no serifs, as the name suggests. The low + contrast and absence of serifs makes most sans typefaces harder to + follow for general reading. They are fine for a sentence, passable for + a paragraph, but are difficult to use well in, say, the text of a book. + The terminology of sans serif types can be confusing: essentially, + gothic or grotesque are both generic names for sans serif (although + Letter Gothic, confusingly, is more of a slab serif type). + + In sans serif faces, the italics are often, although not always, simply + a sloped (mechanically obliqued) version of the roman letters, making + them totally subordinate to the roman. + + By far the most common sans is Helvetica (1951, Miedinger), despite + being abhorred by many typographers. Helvetica does have the advantage + of coming in a huge range of weights and widths, which makes it + versatile, and its ubiquitous character makes it easy to match. Other + general-purpose sans serifs include Univers (Frutiger, 1952+), Arial + (Monotype), Franklin Gothic (M.F. Benton, 1903) and Frutiger (Frutiger, + 1975). + + Sprouting from the Art Deco movement in the 1920s and 30s (see Art + Deco), radical geometrical shapes began to be used as the basis for + sans serif designs. + + There are a few other common sans faces which do not fall cleanly into + the above categories. Eric Gill's 1928 Gill Sans has an almost + architectural quality, and its greater contrast and humanistic design + makes it better-suited than most sans serif typefaces to setting bodies + of text. The same can perhaps be said of a number of late 20th Century + humanistic sans faces (see below) + + Slab Serif (Egyptian) + ..................... + + These faces have block-like rectangular serifs, sticking out + horizontally or vertically, often the same thickness as the body + strokes. There is some debate about the origin of slab serif + typefaces: did they originate by somebody adding serifs to a sans face, + or were they conceived independently? + + But even if they had a separate genesis as a family, it is certainly the + case that many of the most common and popular slab serif forms have been + created by adding slab serifs to sans faces by the same designer (e.g. + Adrian Frutiger's 1977 Glypha from his Univers, Herb Lubalin's 1974 + Lubalin Graph from his Avant Garde). Other slab serif faces include + Berthold City (Trump, 1930), Memphis (Weiss, 1930), Serifa (Frutiger, + 1968) and Silica (Stone, 1990). + + The Clarendons or Ionics are an offspring of the slab serif typefaces in + which the serifs are bracketed. These are often used in newspaper work, + because their sturdy serifs hold up well under adverse printing + conditions. The most famous member of this sub-family is Century + Schoolbook (M.F. Benton, 1924-35). + + Decorative & Display Type + ------------------------- + + Fat Faces + ......... + + The "Fat Face" types were an offshoot of the moderns, intended for + display purposes (that is, to be attention-getting for use in large + sizes, particularly advertising). The first such types appeared from + 1810-1820. They further exaggerated the contrast of modern typefaces, + with slab-like vertical lines and extra emphasis of any vertical + serifs, which often acquired a wedge shape. Bodoni Ultra, Normande and + Elephant are all examples of fat face types which are closely based on + early to mid-19th Century originals, and are available in digital form. + + Wood Type + ......... + + Wood type answered some of the needs of display advertising during the + industrial revolution. It derives its name from the fact that instead of + being made of metal, the type is carved from wood, cut perpendicular to + the grain. It is distinguished by strong contrasts, an overall dark + color, and a lack of fine lines. It may be unusually compressed or + extended. Many wood types have an "Old West" feel, because they are most + strongly associated with America in the 1870-1900 period. Some of the + wood types most widely available today are those in an Adobe pantheon + released in 1990, which includes Cottonwood, Ironwood and Juniper + (Buker, Lind & Redick). + + Script, Brush, Italic & Freehand + ................................ + + Script typefaces are based on handwriting; but often this is handwriting + with either a flexible steel nib pen, or a broad-edged pen, and is thus + unlike modern handwriting. + + Some common scripts based on steel nib styles include Shelley (Carter, + 1972), Coronet (Middleton, 1937-38), and Snell Roundhand (Carter, 1965, + based on Snell ca. 1694). + + Script faces based more on the broad-edged tradition include the + contemporary Park Avenue (Smith, 1933). + + There are also monoline scripts, which lack significant contrast in the + letter strokes. One such is Freestyle Script. + + Brush typefaces look as if they were drawn with that instrument, which + most of them were, at least in the original design from which the + metal/film/digital face was created. Some of them resemble sign-painting + lettering, such as Balloon (Kaufmann, 1939), Brush Script (Smith, + 1942), and Dom Casual (Dom, 1952). + + Brushwork can also be the basis for script, as with Present Script + (Sallaway, 1974) and Mistral (Excoffon, 1953) + + Although modern typography typically relegates the italic to a second- + class citizenship subordinate to the roman, there are still some italic + typefaces designed as such in their own right. The best known is + doubtless Zapf Chancery (Zapf, 1979). Others include Medici Script + (Zapf, 1974) and Poetica (Slimbach, 1992). + + Art Nouveau + ........... + + The late Victorian era, from 1880 to World War I, was characterized by + this ornamental style of art, with its organic, asymmetrical, intricate + and flowing lines. This "Art Nouveau" (French, meaning "new art") + produced similarly distinctive typography, which saw a revival during + the 1960s. + + There are a fair number of digital revivals of art nouveau faces, + although few are widely used. Some of the more common digital art + nouveau typefaces are Arnold Boecklin (Weisert, 1904), Artistik, + Desdemona, Galadriel and Victorian. + + Art Deco + ........ + + If Art Nouveau was about finding beauty in organic intricacy, Art Deco + was perhaps about finding beauty in geometric simplicity. First + appearing in the 1920s and 30s, Art Deco made a comeback in the 1970s + and 80s as well. + + Almost by definition, Art Deco meant sans serif type. The most common + such face is Avant Garde (1974, Lubalin), which is striking but hard to + read at length. A more graceful geometric sans is Futura (Renner, + 1927-39). There are also more quirky faces in this category, such as + Kabel (Koch, 1927-30). A recent popular Art Deco display face is ITC + Anna (1991?). + + Synthesis + --------- + + Many of the most interesting typefaces of the twentieth century does not + fit any of the above categories, or at least not easily. The reason is + that they reflect not merely a single style, but cumulative experience, + and the merger of different styles. This is perhaps true even of that + most mundane of typefaces, Times New Roman (Lardent/Morison, 1931), + which has old style, transitional and modern elements. + + Synthesis and Serif Type + ........................ + + Although there are many practitioners of this synthesis, the most famous + is Hermann Zapf. His Palatino (1948) and Zapf Renaissance (1987) are + modern typefaces with the spirit of Renaissance letterforms. Melior + (1952), Zapf Book (1976), and Zapf International (1977) all reflect an + obsession with the super-ellipse, a rectangulated circle, as the basis + for letter shapes. + + There have also been many modern revivals of old style which, while + close to old style in spirit, are not direct revivals of a specific + original, and show modern influences in the proportions or + lettershapes. These include the Granjon-inspired Galliard (Carter, 1978) + and Minion (Slimbach, 1989). + + Synthesis and Sans Serif Type + ............................. + + After 1950, many designers began to explore a wide range of starting + points as the basis for sans serif designs. Aldo Novarese's Eurostile + (1964-5) takes sans serif forms and distorts them towards square and + rectangular shapes. Zapf's 1958 Optima is a masterful blend of sans + serif shapes with Roman and calligraphic influences. Shannon (Holmes & + Prescott Fishman, 1981) is a sans serif based on celtic manuscript + proportions. Several designers have reinterpreted ancient Greek + lettering for a modern sans serif alphabet: most popularly Carol + Twombly's Lithos (1989), and most recently Matthew Carter's Skia GX + (1994). Koch's Neuland (1930?) has a rough-hewn strength. Hans Eduard + Meier's Syntax (1969) is one of the earliest sans typefaces which + clearly echo renaissance roman letterforms. More recent sans faces + often draw on a humanistic background, from Spiekerman's Meta to + Vereschagin's Clear Prairie Dawn. + + "Grunge" Typography + ................... + + The most recent typographic wave is one which has sometimes been called + grunge typography, after the musical movement originating in Seattle. + Although it is far too early to judge the ultimate impact of grunge, I + see the form as the merger of the industrial functionalist movement + called Bauhaus (contemporary with Art Deco, named after the + architectural school) with the wild, nihilistic absurdism of Dadaism. + Grunge, like many typographic/artistic movements before it, is a + rebellion; but this rebellion denies not only the relevance of anything + previous, but sometimes even the relevance of legibility itself, in the + belief that the medium *is* the message. + + As grunge type designer Carlos Segura of T-26 says, "Typography is + beyond letters. Some fonts are so decorative, they almost become + 'visuals' and when put in text form, they tell a story beyond the + words-a canvas is created by the personality of the collection of words + on the page." + + Grunge typefaces and typography are seen in magazines such as RayGun. + Some examples of grunge typography are the work of Barry Deck (Template + Gothic, Cyberotica, Truth), Nguyen's Droplet, Goren's Morire and Lin's + Tema Cantante. + + Sources + ======= + + Published Sources: + ------------------ + + Although much of this information is based on prior knowledge, I also + actively consulted the following publications: + + Bauermeister, Benjamin. A Manual of Comparative Typography. Van + Nostrand Reinhold Co., New York, NY: 1988. ISBN 0-442-21187-2. + + Bringhurst, Robert. The Elements of Typographic Style. Hartley & + Marks, Vancouver, BC: 1992. ISBN 0-88179-033-8. The modern classic in + the field. + + Byers, Steve. The Electronic Type Catalog. Bantam Books, New York: + 1991. ISBN 0-553-35446-9. + + Eisenstein, Elizabeth L. The Printing Press as an Agent of Change. + Cambridge University Press, New York: 1979. ISBN 0-521-29955-1. + + Harper, Laurel. "Thirstype: Quenching a Type Craving" in How: the + Bottomline Design Magazine, vol. 10, #1, Jan-Feb 1995. Although not + usually a thrilling magazine, had several pieces on typography in this + issue (see Segura, below). + + Letraset Canada Limited. Letraset Product Manual. Letraset, Markham, + Ontario, Canada: 1985. + + Meggs, Philip B. "American Type Founders Specimen Book & Catalog 1923" + in Print Magazine, vol. 48 #1, Jan-Feb 1994. Contains some interesting + info on the effects of industrialization on the type industry. + + Sutton, James & Bartram, Alan. An Atlas of Typeforms. Percy, Lund, + Humphries & Co., Hertfordshire, UK: 1968. ISBN 1-85326-911-5. + + Morison, Stanley & Day, Kenneth. The Typographic Book: 1450-1935. + University of Chicago Press, Chicago: 1963. + + Segura, Carlos & Nelson, Lycette. "Typography in Context: Never Take a + Font at Face Value" in How: the Bottomline Design Magazine, vol. 10, + #1, Jan-Feb 1995. + + Tracy, Walter. Letters of Credit: a View of Type Design. David R. + Godine Co.: 1986. + + Updike, Daniel Berkeley. Printing Types: Their History, Forms & Use. + Harvard Press: 1962. + + Zapf, Hermann. "The Expression of Our Time in Typography" in Heritage + of the Graphic Arts. R.R. Bowker Company, New York: 1972. ISBN + 0-8352-0213-5. + + Personal Contributions: + ----------------------- + + In addition to written sources, which are identified above, I would like + to thank the following for their helpful comments and corrections (any + errors are, of course, my responsibility): Robert Hemenway, Mary Jo + Kostya, and Dan Margulis + + ---------- Footnotes ---------- + + (1) Version 1.02 14 Apr 1995 + + This is Info file compfont.info, produced by Makeinfo-1.55 from the + input file FAQ.texinfo. + +Subject: 1.28. The Role of National Orthography in Font Design + + This article was constructed from postings by Anders Thulin, Charles A. + Bigelow, and "fieseler" from Jan 1994. + + An open question: what role does national orthography play in the + asthetics of a given font? + + Given that uppercase letters occur more frequently in German than in + English, are German font designs better for typesetting German (because + the designer is more concious of the relationship between capitals and + lowercase)? Similarly, are French designs better for typesetting French + because the designer is more atuned to the appearance of accents? + + Speaking of accents, there are apparently fonts in which the dots over + the "i" and "j" are not at the same height as the dieresis over + accented vowels. (Does anyone have an example of this?) Surely this is + an error that a designer accustomed to working with accented letters is + unlikely to make? + +Subject: 1.29. Interesting Fonts + + There's no end of interesting fonts, so this is really just a catch-all + category. + + Highway Gothic + ============== + + Kibo (James Parry) provides the following discussion of Highway Gothic: + + Highway Gothic is The Font Company's name for their interpretation of + the font used on most official road signs in the United States. (The + Font Company added a lowercase to most styles.) + + I don't think it has an official name. There is a government + publication which shows the fonts (revised in the seventies to make the + heights metric); I got a copy of it once, from a library specializing in + transportation, and digitized Series E(M) (normal-width bold caps with + lowercase, the only USDOT font with lowercase) for a special project. I + don't think the specs have changed since the seventies. + + Besides E(M) with lowercase, there is a slightly lighter alphabet + without lowercase, and three condensed styles. I recall there was also + a set of really distorted letters for use in painting vehicle lanes, + plus a few symbols for bike paths etc. The alphabets included letters + and digits only--any periods or hyphens you see on signs are apparently + unofficial. + + Where can I get extravagant initial caps? + ========================================= + + Don Hosek writes: + + I doubt that most decorated initials can be made to work in the type 1 + format because of their complexity. Color only makes things worse. + + One of the best choices for medieval and renaissance decorated alphabets + hasn't been mentioned yet: BBL Typographic (they have an ad on p. 39 of + Serif 1). A demo disk is available for \$10, B&W alphabets are \$50 each + and full color alphabets are \$60. + + BBL Typographic + 137 Narrow Neck Road + Katoomba, NSW 2780 + AUSTRALIA + 011-61-47-826111 + 011-61-47-826144 FAX + + also distributed by: + + Medieval & Renaissance Texts & Studies + LN G99 + State University of New York + Birmingham, NY 13902-6000 + + I know the work only from the Serif ad, but it's gorgeous there (even + nicer in color, although they decided not to spend the extra money for + color in their ad... only a select few in Katoomba & Claremont have seen + the ad in full color). Of course Serif-related disclaimers apply. + + Jon Pastor contributes: + + Check out the Aridi initials, color EPS initials, available on the + Monotype CD (and, presumably, on the Adobe CD as well, although they + don't advertise this; Monotype did, in a recent mailing). + + To which Don Hosek amends: + + The Aridi initials are part of the Type Designers of the World + collection and are available on the MT CD but not the Adobe CD. Adobe + has their own line of decorated initials available on their CD. Also + see the catalogs from FontHaus, FontShop and Precision Type. + + If you want something really unique, why not hire a calligrapher. It + may be cheaper than you think. + + Robert Green adds: + + Although they might not be on the Adobe CD, the Fall 1994 Font & + Function advertises an Adobe "Initial Caps" collection of decorative + initial caps designed by Marwan Aridi. + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(5_6) b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(5_6) new file mode 100644 index 0000000000..6cfb952e80 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(5_6) @@ -0,0 +1,1421 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: General Info (5/6) +Supersedes: <font-faq-5_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:33 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 1398 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-5_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48302 comp.answers:20516 news.answers:79237 + +Archive-name: fonts-faq/part5 +Version: 2.1.5 + +Subject: 1.30. Pronounciation of Font Names + + Below each of the following font names, a suggested English + pronounciation is given. This information was collected from a + (relatively) long discussion on comp.fonts. If you disagree, or have + other suggestions, please let me know. + + Arnold Boecklin + =============== + + "Ar" as in car, "nold" as in "old" with an "n" on the front. "Boeck" + is tricker. The "oe" is actually an umlaut "o" in German, and the + closest sound to most English speakers is an "er". So try "Berklin" if + you want to come close to the original. Otherwise, just say "Boklin", + with a long o, like in "boat". + + Benguiat + ======== + + Ben-Gat. This according to an ITC brochure. + + Courier + ======= + + I would pronounce Courier not like Jim Courier, but the French way: + Ku-rie, where "Ku" is pronounced like "coo", only short, and "rie" is + pronounced "ree-eh". + + Didot + ===== + + Stressed at the last syllable. "Dee-DOOH" (not nasal). + + Fette Fraktur + ============= + + "Fet" as in "get" with a "te" that rhymes with "way". "Frak" rhymes + with "mock", and "tur" with "tour". + + Fenice + ====== + + Feh-nee'-chey + + Garamond + ======== + + "Gara-": Use a french "r" instead of an english one. Both "a"s are + pronounced like the "u" in the word "up". "-mond": the last syllable is + stressed, and you don't pronounce the "n" and "d", but the whole "ond" + is a nasal "o". Hold your nose closed and say "Ooh", then you get the + right sound. The "ant" in "Avant-Garde" is very similar to this sound, + it is a nasal situated between "a" and "o". + + Helvetica + ========= + + Hell-veh'-ti-ka + + Koch Roman + ========== + + Pronounced like scottish `Loch', but with K instead of L. + + LaTeX + ===== + + Lamport lists lah'-tech, lah-tech', lay'-tech and lay'-tecks as valid + on p.4. Last I talked to him he'd settled into lay'-tech which has + always been my pronunciation as well. Somewhere, I heard that LL does + explicitly rule out L.A.-tech, but he's from northern California which + explains a lot. + + Mos Eisley + ========== + + moss eyes-lee + + Novarese + ======== + + No-vahr-ay'-zay + + Palatino + ======== + + pa-la-TEEN-oh + + Peignot + ======= + + There's some contention here, suggested pronouncations: + + pay-nyoh' + + "P" like "P" in `Post", "ei" like "a" in "fan", "gn" like "n" in "noon" + plus "y" in "yes", "ot" - long, closed "o" (I don't know English + examples), stressed. + + "P" like "P" in `Post", "ei" like "a" in "many", "gn" like "n" in + "noon" plus "y" in "yes", "ot" - long, closed "o" (I don't know English + examples), stressed. + + Sabon + ===== + + Sah-bon' + + TeX + === + + Rhymes with Blech, (as in "Blech, that tasted awfull!") + + Veljovic + ======== + + Vel'-yo-vitch + + Zapf + ==== + + Like "tsapf". The "a" is pronounced like a short version of the well + known tongue-depresser vowel "aaahhh". Perhaps a better English analogy + would be the "o" in "hop" or "hops". + +Subject: 1.31. What is it? + + This section identifies common names for several glyphs. + + The "@" Character + ================= + + The "at" sign or "commercial at" sign. In the past, it has also meant + "each" or "each at". Consider the following example supplied by Clive + Burton: + + Unit Extended + Qnty Unit Item Price Price + 12 reams bond paper @ 5.50 66.00 + + Here' "@" means each at or simply each. + + PostScript calls this the "at" sign. + + The "#" Character + ================= + + This mark has several common names: 'hash', 'hatch', 'pound sign', and + 'octothorp' among them. The name "pound sign" is an Americanism that + causes some confusion in countries that use the pound for currency. + + It was also noted that the # is a medieval abbreviation for Latin + "numerus" - it is a cursive 'n' with a horizontal slash through it, + much modified and abstracted. + + One possible derivation of the name "octothorp" was provided by Charles + Bigelow: + + ... old English "thorp" meant 'hamlet' or 'village' (I'm not sure + of the difference, except maybe hamlet is smaller, as its apparent + diminutive suffix would suggest), and is derived from a much older + Indo-European word *treb- for 'dwelling', which turns out to mean + 'beam' or 'timber' in Latin "trabs", winding up as "trave" in + Anglo-Latin, like "architrave" - the beam resting on a column, or + "trab-" as in "trabecula" - a small supporting beam or bar. As + Voltaire said, etymology is a science in which the vowels count + for nothing and the consonants for very little. + + So, maybe "octothorp" means "8-beams", which makes a kind of sense + if we take the 8 projections to be the thorps, or trabs or traves. + Though it's only a "quadrathorp" if we think that the beams + connect. + + Another explanation has it that the octothorp is a "thorp" surrounded + by eight cultivated fields. + + Both of these etymologies received some skepticism amongst the readers + who commented on comp.fonts. + + PostScript calls this the "numbersign". + +Subject: 1.32. Equivalent Font Names + + Morgan S. Brilliant, Jon Pastor, and Frank F. Smith have each + contributed to the following list of equivalent font names. + + The following table shows trade/common names and the equivalent names + used by other vendors. The vendor or trademark holder's name is shown + in parenthesis following each typeface name. + + Aachen Bold (Letraset) + Aardvark (Corel) + + Activa (Bitstream, Inc.) + Kuenstler 480 + + Ad Lib + Adelaide (Corel) + + Adsans (Linotype AG and/or its subsidiaries) + Humanist 970 + + Akzidenz Grotesk (H. Berthold AG) + Gothic 725 + + Albertus (Monotype Corporation plc) + Flareserif 821 + + Aldine 401 (Monotype Corporation plc) + Bembo + + Aldine 721 (Monotype Corporation plc) + Plantin + + Algerian (S. Blake) + Algiers (Corel) + + Allegro + Alto (Corel) + + Amelia (VGC) + Amy (Corel) + + Americana (ATF) + Amherst (Corel) + + Antique Olive (Fonderie Olive) + Incised 901 + + Arnold Bocklin + Arabia (Corel) + + Arquitectura (IC) + Architecture (Corel) + + Avant Garde (ITC) + Avalon (Corel) + + Badloc (IC) + Bedrock (Corel) + + Balloon (ATF) + Bassoon (Corel) + + Bamboo (ATF) + Bard (Corel) + + Bauhaus (ITC) + Bahamas (Corel) + + Bauhaus Heavy (ITC) + BahamasHeavy (Corel) + + Bauhaus Light (ITC) + BahamasLight (Corel) + + BeeBopp (IC) + Beehive (Corel) + + Bembo (Monotype Corporation plc) + Aldine 401 + + Benguit (ITC) + Bangkok (Corel) + + Bernhard Tango (VGC) + BallroomTango (Corel) + + Bisque (VGC) + Brisk (Corel) + + Bitstream Arrust Black BT (Bitstream) + Bitstream Arrus Black BT (WordPerfect) + + Block (H. Berthold AG) + Gothic 821 + + Bodoni Campanile (Ludlow Industries (UK) Ltd.) + Modern 735 + + Bodoni Poster + Bodnoff (Corel) + + Book Jacket (VGC) + Brochure (Corel) + + Bookman (ITC) + Brooklyn (Corel) + + Broadway (ATF) + Bravo (Corel) + + Broadway Engraved (ATF) + BravoEngraved (Corel) + + Brody (ATF) + Briquet (Corel) + + Brush 445 (H. Berthold AG) + Palette + + Brush 738 + Bison + + Brush Script (ATF) + Banff (Corel) + + Busorama (ITC) + Bosanova (Corel) + + Buster (Letraset) + Busker (Corel) + + Cable (Linotype AG and/or its subsidiaries) + Geometric 231 + + Calligraphic 421 (Linotype AG and/or its subsidiaries) + Codex + + Calligraphic 810 (Linotype AG and/or its subsidiaries) + Diotima + + Carolus Roman + Carleton (Corel) + + Carta (Adobe) + GeographicSymbols (Corel) + + Cartoon + Cancun (Corel) + + Cascade (Linotype AG and/or its subsidiaries) + Freehand 471 + + Cascade Script (Adobe) + Castanet (Corel) + + Casino (IC) + Carino (Corel) + + Caslon (ATF) + Casablanca (Corel) + + Caslon Antique (ATF) + CasablancaAntique (Corel) + + Caslon Open Face + CasperOpenFace (Corel) + + Caslon Openfacce (Bitstream) + Caslon Openface (WordPerfect) + + Centaur (Monotype Corporation plc) + Venetian 301 + + Century Old Style + CenturionOld (Corel) + + Champagne (IC) + Campaign (Corel) + + Charlemagne (Adobe) + Charlesworth (Corel) + + Choc (Letraset) + Chalk (Corel) + + Choc (Fonderie Olive) + Staccato 555 + + City (H. Berthold AG) + Square Slabserif 711 + + Codex (Linotype AG and/or its subsidiaries) + Calligraphic 421 + + Comic Book (IC) + Cosmic (Corel) + + Comic Book Two (IC) + CosmicTwo (Corel) + + Cooper Black + Cupertino (Corel) + + CopperPlate Gothic (VGC) + CopperPot (Corel) + + Coronet (Ludlow Industries (UK) Ltd.) + Ribbon 131 + + Cottonwood (Adobe) + Cottage (Corel) + + Croissant (Letraset) + Crescent (Corel) + + Decorative 035 (Tetterode Nederland (Lettergieterij Amsterdam)) + Profil + + Delphin + Dauphin (Corel) + + Diotima (Linotype AG and/or its subsidiaries) + Calligraphic 810 + + Dom Casual + DawnCastle (Corel) + + Dutch 801 (Linotype AG and/or its subsidiaries) + Times Roman + + Dutch 801 (Montype Corporation plc) + Times Roman + + Electra (Linotype AG and/or its subsidiaries) + Transitional 521 + + Elektrik (VGC) + Eklektic (Corel) + + Englische Screibschrift (H. Berthold AG) + English 157 + + English 157 (H. Berthold AG) + Englische Screibschrift + + Enviro (Letraset) + Envision (Corel) + + Eras (ITC) + Erie (Corel) + + Eras Black (ITC) + ErieBlack (Corel) + + Eras Contour (ITC) + ErieContour (Corel) + + Eras Light (ITC) + ErieLight (Corel) + + Estro (ATF) + Expo (Corel) + + Eurostile (Adobe) + Euromode (Corel) + + Eurostile (Linotype AG and/or its subsidiaries) + Square 721 + + Exotic 350 (Linotype AG and/or its subsidiaries) + Peignot + + Fairfield (Linotype AG and/or its subsidiaries) + Transitional 551 + + Fette Fraktur (ITC) + Frankenstein (Corel) + + Firenze (ITC) + Florence (Corel) + + Flareserif 821 (Monotype Corporation plc) + Albertus + + Formal Script 421 (Bitstream, Inc.) + Mermaid + + Formal Script 421 (Linotype AG and/or its subsidiaries) + Ondine + + Franfurt (TFCo) + FrankHighlight (Corel) + + Frankfurt (TFCo) + FrankHighlight (Corel) + + Franklin Gothic (ITC) + FrankfurtGothhic (Corel) + + Franklin Gothic Heav (ITC) + FrankfurtGothicHeavy (Corel) + + Freehand 471 (Linotype AG and/or its subsidiaries) + Cascade + + Freehand 521 (Ludlow Industries (UK) Ltd.) + Mandate + + Freehand 575 + Jefferson + + Freehand 591 + Bingham Script + + Freestyle Script (Letraset) + Freeport (Corel) + + Fritz Quadrata (ITC) + France (Corel) + + Frutiger (Linotype AG and/or its subsidiaries) + Humanist 777 + + Futura 2 (FTNSA) + Fujiyama2 (Corel) + + Futura Black (Bauer) + FujiyamaBlack (Corel) + + Futura Cnd Extra Bol (FTNSA) + FujiyamaExtraBold (Corel) + + Futura Cnd Extra Bold (FTNSA) + FujiyamaExtraBold (Corel) + + Futura Cnd Light (FTNSA) + FujiyamaLight (Corel) + + Futura Condensed (FTNSA) + Fujiyama (Corel) + + Gallia + Galleria (Corel) + + Garamond (ITC) + Gatineau (Corel) + + Garamond, American + Garamond No. 3 + + Garamond, Classic (Linotype AG and/or its subsidiaries) + Sabon + + Garamond, Elegant (Linotype AG and/or its subsidiaries) + Granjon + + Garamond, Italian (Officine Simoncini s.p.a.) + Simoncini Garamond + + Garamond, Original (Linotype AG and/or its subsidiaries) + Stempel Garamond + + Geometric 231 (Linotype AG and/or its subsidiaries) + Cable + + Geometric 415 (Linotype AG and/or its subsidiaries) + Metro + + Geometric 706 (Linotype AG and/or its subsidiaries) + Neuzeit Grotesk + + Geometric SlabSerif 703 Light (Bitstream) + GeometricSlabSerif703Light (WordPerfect) + + Geometric Slabserif 703 (Linotype AG and/or its subsidiaries) + Memphis + + Geometric Slabserif 712 (Monotype Corporation plc) + Rockwell + + Geometric Slabserif 712 (Bitstream, Inc.) + Slate + + Gill Sans (Monotype Corporation plc) + Humanist 521 + + Gill Sans Ultra Bold (Monotype) + GillbertUltraBold (Corel) + + Glasnost (C&G) + Czar (Corel) + + Glyphic Series (VGC) + Glacier (Corel) + + Gold Rush (ATF) + GoldMine (Corel) + + Gothic 725 (H. Berthold AG) + Akzidenz Grotesk + + Gothic 821 (H. Berthold AG) + Block + + Goudy Old Style + GoldenOldStyle (Corel) + + Granjon (Linotype AG and/or its subsidiaries) + Garamond, Elegant + + Graphik (IC) + Griffon (Corel) + + Graphik Shadow (IC) + GriffonShadow (Corel) + + Hairpin (VGC) + Harpoon (Corel) + + Hammersmith (Bitstream, Inc.) + Humanist 521 + + Hanseatic (Linotype AG and/or its subsidiaries) + Swiss 924 + + Harlow (Letraset) + Hollow (Corel) + + Hebrew (Letraset) + Alefbet (Corel) + + Helv. Cnd. Black (Linotype) + SwitzerlandCondBlack (Corel) + + Helv. Cond. Light (Linotype) + SwitzerlandCondLight (Corel) + + Helvetica + Arial (Microsoft) + + Helvetica (Linotype AG and/or its subsidiaries) + Swiss 721 + + Helvetica (Linotype) + Switzerland (Corel) + + Helvetica Black (Linotype) + SwitzerlandBlack (Corel) + + Helvetica Condensed (Linotype) + SwitzerlandCond (Corel) + + Helvetica Inserat (Linotype) + SwitzerlandInserat (Corel) + + Helvetica Light (Linotype) + SwitzerlandLight (Corel) + + Helvetica Narrow (Linotype) + SwitzerlandNarrow (Corel) + + Hobo + HomewardBound (Corel) + + Honda (ITC) + Heidelberg (Corel) + + Humanist 521 (Monotype Corporation plc) + Gill Sans + + Humanist 521 (Bitstream, Inc.) + Hammersmith + + Humanist 777 (Linotype AG and/or its subsidiaries) + Frutiger + + Humanist 970 (Linotype AG and/or its subsidiaries) + Adsans + + Incised 901 (Fonderie Olive) + Antique Olive + + Incised 901 (Bitstream, Inc.) + Provence + + Industrial 736 (Societea Nebiolo) + Torino + + Informal 011 (Linotype AG and/or its subsidiaries) + Neuland + + Ionic No. 5 (Linotype AG and/or its subsidiaries) + News 701 + + Ironwood (Adobe) + Ireland (Corel) + + Juniper (Adobe) + Jupiter (Corel) + + Kabel Bold + KabanaBold (Corel) + + Kabel Book (ITC) + KabanaBook (Corel) + + Kaufmann (Kingsley/ATF) + Koala (Corel) + + Korinna (ITC) + Korinthia (Corel) + + Kuenstler 480 (Bitstream, Inc.) + Activa + + Kuenstler 480 (Linotype AG and/or its subsidiaries) + Trump Medieval + + Kunstler Script (Linotype) + Kastler (Corel) + + L.C.D. (Letraset) + LiquidCrystal (Corel) + + Lapidary 333 (Monotype Corporation plc) + Perpetua + + Letter Gothic + Monospaced (Corel) + + Linoscript (Linotype) + Linus (Corel) + + Linotext (Linotype) + Lincoln (Corel) + + Lithos (Adobe) + Lithograph (Corel) + + Lithos Light (Adobe) + LithographLight (Corel) + + Machine (ITC) + Motor (Corel) + + Mandate (Ludlow Industries (UK) Ltd.) + Freehand 521 + + Melior (Linotype AG and/or its subsidiaries) + Zapf Elliptical 711 + + Memphis (Linotype AG and/or its subsidiaries) + Geometric Slabserif 703 + + Mermaid (Bitstream, Inc.) + Formal Script 421 + + Mermaid (Bitstream) + Merlin (Corel) + + Metro (Linotype AG and/or its subsidiaries) + Geometric 415 + + Micr (IC) + Keypunch (Corel) + + Mistral (M.Olive) + Mystical (Corel) + + Mistral (Fonderie Olive) + Staccato 222 + + Modern 735 (Ludlow Industries (UK) Ltd.) + Bodoni Campanile + + Monospace 821 + Helvetica Monospaced + + Neuland (Linotype AG and/or its subsidiaries) + Informal 011 + + Neuland + Newfoundland (Corel) + + Neuzeit Grotesk (Linotype AG and/or its subsidiaries) + Geometric 706 + + New Baskerville (ITC) + Nebraska (Corel) + + New Century Schoolbo + NewBrunswick (Corel) + + New Century Schoolbook + NewBrunswick (Corel) + + New Yorker (IC) + NewOrder (Corel) + + New Yorker Engraved (IC) + NewOrderEngraved + + News 701 (Linotype AG and/or its subsidiaries) + Ionic No. 5 + + Nuptial Script + Nuance (Corel) + + Ondine (Linotype AG and/or its subsidiaries) + Formal Script 421 + + Optima (Linotype) + Ottawa (Corel) + + Optima (Linotype AG and/or its subsidiaries) + Zapf Humanist 601 + + P.T.Barnum (Bitstream) + BigTop (Corel) + + Paintbrush (IC) + Palette (Corel) + + Palatino (Linotype) + PalmSprings (Corel) + + Palatino (Linotype AG and/or its subsidiaries) + Zapf Calligraphic + + Palette (H. Berthold AG) + Brush 445 + + Paper Clip (VGC) + Pipeline (Corel) + + Parisian (Kingsley/ATF) + Paragon (Corel) + + Park Avenue (ATF) + Paradise (Corel) + + Peignot (Linotype AG and/or its subsidiaries) + Exotic 350 + + Peignot (Linotype) + Penguin (Corel) + + Peignot Light (Linotype) + PenguinLight (Corel) + + Pepita (Monotype) + Pepper (Corel) + + Perpetua (Monotype Corporation plc) + Lapidary 333 + + Plantin (Monotype Corporation plc) + Aldine 721 + + Plaza (Letraset) + Playwright (Corel) + + Ponderosa (Adobe) + Posse (Corel) + + Post Antiqua (H.Berthold AG) + ProseAntique (Corel) + + Poster Bodoni + Bodoni-WP (WordPerfect) + + Present Script (Linotype) + President (Corel) + + Princetown (TFCo) + Indiana (Corel) + + Princetown (TFCo) + IndianaSolid (Corel) + + Profil (Tetterode Nederland (Lettergieterij Amsterdam)) + Decorative 035 + + Provence (Bitstream, Inc.) + Incised 901 + + Pump Triline (Letraset) + PowerLine (Corel) + + Quicksilver (D.Morris) + Quantum (Corel) + + Revival 565 + Berling + + Revue (Letraset) + Renfrew (Corel) + + Ribbon 131 (Ludlow Industries (UK) Ltd.) + Coronet + + Rockwell (Monotype Corporation plc) + Geometric Slabserif 712 + + Sabon (Linotype AG and/or its subsidiaries) + Garamond, Classic + + Simoncini Garamond (Officine Simoncini s.p.a.) + Garamond, Italian + + Slate (Bitstream, Inc.) + Geometric Slabserif 712 + + Slogun (ZSoft) + Shogun (Corel) + + Sonata (Adobe) + MusicalSymbols (Corel) + + Souvenir (ITC) + Southern (Corel) + + Square 721 (Linotype AG and/or its subsidiaries) + Eurostile + + Square Slabserif 711 (H. Berthold AG) + City + + Squire (M.Neugebauer) + Scribe (Corel) + + Staccato 222 (Fonderie Olive) + Mistral + + Staccato 555 (Fonderie Olive) + Choc + + Stempel Garamond (Linotype AG and/or its subsidiaries) + Garamond, Original + + Stencil + Stamp (Corel) + + Stop (Nebiolo) + Scott (Corel) + + Surf Style (ITC) + Surreal (Corel) + + Swiss 721 (Linotype AG and/or its subsidiaries) + Helvetica + + Swiss 911 + Helvetica Compressed + + Swiss 921 + Helvetica Inserat + + Swiss 924 (Linotype AG and/or its subsidiaries) + Hanseatic + + Symbol (ITC) + GreekMathSYmbols (Corel) + + Symbol (ITC) + GreekMathSymbols (Corel) + + Tekton (Adobe) + Technical (Corel) + + Thor (VGC) + Viking (Corel) + + Thunderbird + ThunderBay (Corel) + + Tiffany (ITC) + Timpani (Corel) + + Tiffany Heavy (ITC) + TimpaniHeavy (Corel) + + Time (Linotype) + Toronto (Corel) + + Times Roman (Linotype AG and/or its subsidiaries) + Dutch 801 + + Times Roman (Monotype Corporation plc) + Dutch 801 + + Torino (Societea Nebiolo) + Industrial 736 + + Traffic (T.Hultgren) + Trafalgar (Corel) + + Transitional 521 (Linotype AG and/or its subsidiaries) + Electra + + Transitional 551 (Linotype AG and/or its subsidiaries) + Fairfield + + Trump Medieval (Linotype AG and/or its subsidiaries) + Kuenstler 480 + + Umbra (Kingsley/ATF) + Umbrella (Corel) + + Univers (Linotype AG and/or its subsidiaries) + Zurich + + Univers Black (Linotype) + USABlack (Corel) + + Univers Light (Linotype) + USALight (Corel) + + University Roman (Letraset) + Unicorn (Corel) + + Uptight (ITC) + Uptown (Corel) + + VAG Rounded + Vogue (Corel) + + Venetian 301 (Monotype Corporation plc) + Centaur + + Vivaldi (VGC) + Vivienne (Corel) + + Zapf Calligraphic (Linotype AG and/or its subsidiaries) + Palatino + + Zapf Chancery (ITC) + ZurichCalligraphic (Corel) + + Zapf Dingbats (ITC) + Dixieland (Corel) + + Zapf Elliptical 711 (Linotype AG and/or its subsidiaries) + Melior + + Zapf Humanist 601 (Linotype AG and/or its subsidiaries) + Optima + + Zurich (Linotype AG and/or its subsidiaries) + Univers + + Zurich (Linotype AG and/or its subsidiaries) + Univers + + Some fonts are published by several vendors using the same name. This + table shows the typeface name and the vendors that supply it. Generally + this means that one vendor licensed the face from another. + + Augsburger Initials + The Font Bureau, Inc., Microsoft + + Baskerville Old Face + URW, Microsoft + + Bell MT + Monotype, Microsoft + + Bell MT Bold + Monotype, Microsoft + + Bell MT Italic + Monotype, Microsoft + + Bernhard Modern BT + Bitstream, WordPerfect + + Bernhard Modern Bold BT + Bitstream, WordPerfect + + Bernhard Modern Bold Italic BT + Bitstream, WordPerfect + + Bernhard Modern Italic BT + Bitstream, WordPerfect + + Bitstream Arrus BT + Bitstream, WordPerfect + + Bitstream Arrus BT Bold + Bitstream, WordPerfect + + Bitstream Arrus BT Bold Italic + Bitstream, WordPerfect + + Bitstream Arrus BT Italic + Bitstream, WordPerfect + + BitstreamArrus Black BT Italic + Bitstream, WordPerfect + + Blackletter 686 BT + Bitstream, WordPerfect + + Braggadocio + Monotype, Microsoft + + BriemScript + Gunnlaugur SE Briem, Microsoft + + Britannic Bold + URW, Microsoft + + Brush 738 BT + Bitstream, WordPerfect + + Castellar + Monotype, Microsoft + + Centaur + Monotype, Microsoft + + CommonBullets + Corel, Corel + + Contemporary Brush + Filmotype, Microsoft + + Contemporary Brush B + Filmotype, Microsoft + + Desdemona + The Font Bureau, Inc., Microsoft + + Eckmann + URW, Microsoft + + Edda + The Font Bureau, Inc., Microsoft + + Elephant + Carter & Cone Type Inc., Microsoft + + Elephant Italic + Carter & Cone Type Inc., Microsoft + + Engravers' Gothic BT + Bitstream, WordPerfect + + Eurostile + URW, Microsoft + + Eurostile Bold + URW, Microsoft + + Futura Bold + URW, Microsoft + + Futura Medium + URW, Microsoft + + Futura Oblique + URW, Microsoft + + GeometricSlabSerifLight Italic + Bitstream, WordPerfect + + Gill Sans Ultra Bold + Monotype, Microsoft + + Gradl + The Font Bureau, Inc., Microsoft + + Harrington + The Font Bureau, Inc., Microsoft + + Humanist 521 Condensed BT + Bitstream, WordPerfect + + Humanist 521 Condensed Bold BT + Bitstream, WordPerfect + + Humanist 521 Light BT + Bitstream, WordPerfect + + Humanist 521 Light Italic BT + Bitstream, WordPerfect + + Impact + Monotype, Microsoft + + Keystroke + Corel, Corel + + Kids + Corel, Corel + + Memorandum + ITC, Corel + + Mistral + URW, Microsoft + + New Caledonia + Linotype-Hell AG, Microsoft + + New Caledonia Bold + Linotype-Hell AG, Microsoft + + New Caledonia Italic + Linotype-Hell AG, Microsoft + + Old English Text MT + Monotype, Microsoft + + Onyx + Monotype, Microsoft + + Onyx BT + Bitstream, WordPerfect + + OzHandicraft BT + Bitstream, WordPerfect + + Parade + Filmotype, Microsoft + + Peignot Medium + URW, Microsoft + + Playbill + URW, Microsoft + + Ransom + The Font Bureau, Inc., Microsoft + + Ransom Bold + The Font Bureau, Inc., Microsoft + + Ransom Bold Italic + The Font Bureau, Inc., Microsoft + + Ransom Italic + The Font Bureau, Inc., Microsoft + + Ribbon 131 BT + Bitstream, WordPerfect + + Shelley Volante BT + Bitstream, WordPerfect + + Stencil + URW, Microsoft + + Stop + URW, Microsoft + + Swiss 721 Black Extended BT + Bitstream, WordPerfect + + Wide Latin + URW, Microsoft + + Wingdings 2 + Bigelow & Holmes, Inc., Microsoft + + Wingdings 3 + Bigelow & Holmes, Inc., Microsoft + + The following table summarizes typeface names for which no equivalent + name is known. The vendor is listed for each font. Many of these + fonts are builtin to the HP LaserJet line of printers. + + AdineKirnberg + shareware + + Albertus Extra Bold + Hewlett-Packard + + Albertus Medium + Hewlett-Packard + + American-Uncial-Normal + shareware + + Antique Olive + Hewlett-Packard + + Antique Olive Bold + Hewlett-Packard + + Antique Olive Italic + Hewlett-Packard + + Broadway-WP + WordPerfect + + BroadwayEngraved-WP + WordPerfect + + CG Omega + Hewlett-Packard + + CG Omega Bold + Hewlett-Packard + + CG Omega Bold Italic + Hewlett-Packard + + CG Omega Italic + Hewlett-Packard + + CG Times + Hewlett-Packard + + CG Times Bold + Hewlett-Packard + + CG Times Bold Italic + Hewlett-Packard + + CG Times Italic + Hewlett-Packard + + Century-WP + WordPerfect + + Clarendon Condensed + Hewlett-Packard + + CommercialScript-WP + WordPerfect + + CooperBlack + WordPerfect + + Coronet Italic + Hewlett-Packard + + Eurostile-WP + WordPerfect + + Garamond Antiqua + Hewlett-Packard + + Garamond Halbfett + Hewlett-Packard + + Garamond Kursiv + Hewlett-Packard + + Garamond Kursiv Halbfett + Hewlett-Packard + + Hobo-WP + WordPerfect + + Letter Gothic + Hewlett-Packard + + Letter Gothic Bold + Hewlett-Packard + + Letter Gothic Italic + Hewlett-Packard + + Marigold + Hewlett-Packard + + MurrayHill-WP + WordPerfect + + OldEnglish-WP + WordPerfect + + OldTown-WP + WordPerfect + + Stencil-WP + WordPerfect + + Symbol + Microsoft + + Times New Roman + Microsoft + + Univers + Hewlett-Packard + + Univers Italic + Hewlett-Packard + + Univers Bold + Hewlett-Packard + + Univers Bold Italic + Hewlett-Packard + + Univers Condensed + Hewlett-Packard + + Univers Condensed Bold + Hewlett-Packard + + Univers Condensed Bold Italic + Hewlett-Packard + + Univers Condensed Italic + Hewlett-Packard + + Wingdings + Microsoft + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(6_6) b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(6_6) new file mode 100644 index 0000000000..7fc133c16a --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(6_6) @@ -0,0 +1,442 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: General Info (6/6) +Supersedes: <font-faq-6_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:39 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 419 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-6_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48301 comp.answers:20515 news.answers:79236 + +Archive-name: fonts-faq/part6 +Version: 2.1.5 + +Subject: 1.33. Digital Type Design Tools + + This article was constructed from a posting by Charles A. Bigelow in + Jun 1994 and a posting by Clive Bruton in Jan 1995. + + How do the various digital type designing tools compare? + ======================================================== + + Charles A. Bigelow contributes: + + Kris Holmes and I use Ikarus and IkarusM, on the Macintosh, for most of + our work. We also use Fontographer from time to time. Both are good + tools. We have not tried TypeDesigner. We have tried FontStudio, but + don't use it. + + IkarusM and Fontographer user interfaces are different (modulo the Mac + interface). IkarusM displays all "on-curve" points, treating the curves + as Hermite splines, which it converts to Beziers when making Type1 or + Type3 fonts, and to quadratic B-splines when making TrueType fonts. + On-curve points are helpful because they are intuitively more like what + a naive user would expect--to change a curve, change a point on its + contour. Fontographer uses bezier on-curve and off-curve control + points. While these take a little more getting used-to, experienced + users have no problems manipulating curves by moving around the + off-curve control points. + + Fontographer uses curve fitting of scanned input and/or mouse + manipulation of points to get started on outlines. IkarusM uses + graphics tablet input from drawn (or photographed) artwork or mouse + manipulation to get started. + + Both provide auto-hinting capabilities (IkarusM just included this in + version 3.0), but I haven't compared the quality of hinting between the + applications. Both provide automatic kerning capabilities, but again I + haven't compared the quality carefully. IkarusM itself doesn't do + kerning, but version 3.0 comes with Kernus, a separate auto-kerning + system. + + Fontographer has more "goodies" in terms of the the different kinds of + output of fonts and screen fonts for different platforms (indeed, we + prefer it for making BDF bitmaps for UNIX platforms), and in the "finer + points" so to speak, of manipulating control points, whereas IkarusM + has more internal accuracy of resolution and more geometric symmetry + manipulation tools. + + Fontographer has auto-tracing capability, for fitting outlines to + scanned images, whereas IkarusM needs a separate program, LinusM to do + that. However, LinusM adds several capabilities that Fontographer does + not provide. + + I have forgotten the current list price for Fontographer (sorry, but + I'm sure a Fontographer user or someone from Altsys can provide it; is + it around \$250 - \$300?). IkarusM + Kernus + LinusM is around \$900, + but one should check with the URW office in Nashua, NH, to be certain + of that figure and of what is included. + + There are many other differences between the programs, and perhaps other + users will want to point them out. + + Which would I choose? Well, I have them both. Kris Holmes and I have + produced over 75 typefaces with Ikarus, though some of those were with + Ikarus on VAX or Sun. We are comfortable with Ikarus and feel that it + provides the highest level of precision and control, which for our + professional purposes is what we most value. Nevertheless, we find + Fontographer to be very good tool and continually buy the updates and + test it and use it for various things when we feel that it is superior + to Ikarus in particular respects. The best thing would be to test them + both, but unfortunately, one's preference for one or the other might + not manifest itself until one has gained more experience. + + Disclaimer: We pay the standard prices and purchase our copies of + IkarusM and Fontographer and their upgrades, figuring that font tool + developers deserve to be paid for their work, just like font designers. + Bigelow & Holmes has font licensing arrangements with URW, the + developers of Ikarus, but we are not paid by them. + + What about FontStudio? + ====================== + + [Editors note: This seems like valuable information for the FAQ, which + is why I've included it in a mostly wholesale fashion as Clive posted + it. In general, I'm not a big fan of anonymous contributions, but in + this case I've chosen to look the other way ;-). In particular, I've + made no attempt to disambiguate the personal pronouns in this section!] + + Clive Bruton contributes the following: + + I will now do a mini compendium of all my comments as FontStudio's chief + promoter, along with all the other people who support my view. + + Sorry to those who are not credited, but others wish to remain + anonymous. + + The following snippets are not necessarily in chronological order, names + have been changed to protect the guilty! + + Is FontStudio Still Being Marketed? + ----------------------------------- + + Well it's one of those questions isn't it, it is certainly advertised in + the UK and as far as I know still supported by Letraset UK, but as you + have probably seen in comp.fonts there has been some debate over the + relative merits of FontStudio vs Fontographer, my arguement suitably + backed-up by ...., and there is certainly some doubt over its imediate + future. + + Personally I'd like to see it re-launched, if only because the market + needs some stimulation in order to produce ground-breaking products, and + one App/Vendor (Fontographer/Altsys) doesn't make for healthy + competition, as we've seen with Quark getting fat and lazy over their + upgrades for XPress with no perceived threat from PageMaker (that should + change real soon). + + However it (FS) retails in the UK for \$195.00 as opposed to + Fontographers \$295.00, the current version is 2.0, as it has been for + over two years, but then again there have been no bug fixes for it, no + need! + + I am sure that you could buy it in the US via Letraset directly, if you + wanted to. As far as marketing goes, I have just received a software + brochure from Camalot (UK software vendor) that partly showcases the + full Letraset range, and FontStudio is in there with the rest. + + If you can't get it in the States, I'm sure I can arrange for it to be + shipped to you. + + What About Bitmap Generation? + ----------------------------- + + FontStudio's advantage is that they call the ATM API to get + ATM-generated bitmaps. Fontographer generates their own--and the + results are much heavier and more messy. + + Yes, you're right, I did know, FS has 3 options on this, its own + generation, which like Fontographers are rather heavy, ATM's which are + just about perfect, and True Type, which from memory--since I only + tried it a couple of times--tend to be a bit quirky. + + FontStudio is Better [than Fontographer]? + ----------------------------------------- + + Could you elaborate on that? Why do you suppose that FontStudio + disappeared, and Fontographer is still around? Not being belligerent or + challenging you, since I'm totally unfamiliar with FontStudio--but + Altsys is not exactly a Goliath compared to Letraset, in terms of the + size of the company or the depth of its pockets, and I'm curious why + such a good product from a big font vendor disappeared. + + I'll chime in here if that's OK. I'm very glad FontStudio came along; + Fontographer was resting on its laurels until it got serious + competition. Many people prefer FontStudio's drawing interface (which is + like Illustrator's) to Fontographer's (which is, unsurprisingly, like + Freehand's). There are other parts to the interface debate as well, like + zoom factors, dialog complexity, and so forth, although much of it may + be a matter of taste. + + XXXXXXXXXXXXXXX was one of FontStudio's beta sites, and they used a lot + of our advice, so it's not accidental that our designers still tend to + use it until it's time to move the fonts over to the SPARCs. I use it + when I'm playing with designs at home. + + It looks like Letraset didn't know how to promote what it had. It's + worth noting that they'yre divesting themselves of their other graphics + apps, not just FontStudio. At any rate, the biggest hurdle was that + Fontographer had a four-year head start, capturing the hearts of nearly + everyone who was serious about making fonts. Nobody wants to relearn an + app, so the competition has to be darned good to get people to switch. + It has happened (witness XPress vs PageMaker) but it's not easy. + Another problem was that Letraset didn't develop FontStudio, they + bought it. They and the developers (now Ares, the FontMonger people) + didn't get along well, and that led to a painfully slow upgrade + process. Altsys got themselves in gear, and started adding features + right & left, outdoing FontStudio on nearly every count (technically, + not necessarily in terms of user experience). + + I can only agree with what XXX has said above, plus... + + Just some more background info on FontStudio/Letraset. Unfortunately + Letraset never seemed to get the knack of selling software, some + examples of this are, Letraset were originally the distributors of Adobe + products in the UK - a job that is now carried out by Principal, they + also had a full complement of other Mac software - which seems to have + reverted to its authors or disappeared alltogether, it has recently + released the first commercially available Plug-In for Illustrator, a + derivative of LetraStudio, to allow the creation of pespective and + envelope effects - who knows about this? + + Back to the FontStudio/Fontographer debate, I have tried to use + Fontographer, but as discussed above, the interface is just awful (as an + aside, does anyone like FreeHand 4.0's interface?), FontStudios use of + colour, pop-up menus, and general look and feel is completely at home + alongside XPress and Illustrator, where as Fontographer, well... isn't! + + All the buzzers and bells are there in Fontographer, but can you really + take seriously a program that won't allow you to draught your own + bitmaps! (Yeah I have heard about ATM, that's not the point). + + Also, and I won't lay the blame solely at the door of Altsys, whenever + I get asked to sort out a problem font, it's always been created with + Fontographer. Now whether that is down to Altsys Fontographer (AF) + trying to things that aren't exactly kosher (like using even/odd rule + instead of winding), or the skill of the digitisers who did the work + I've never been able to fathom, but it's usually fixed by importing into + FontStudio (FS) and re-saving. + + I hope that Ares do something with FS, otherwise sooner or later I am + going to need a new program (I have found a minor screen draw problem + when used with System 7.5, I've yet to try it on a PowerMac [anyone + wants me to, I can send you results]), I have already looked around, and + seem a lot more likely to buy Ikarus M than AF, it's really that bad. + + I would also like to comment on XXX's point about XPress/PageMaker, I + hope that Adobe can make a real killer of PM, and reverse that trend, + XPress>PM that'll be the way to go! + + Just to take Xpress' name in vain again (I don't hate the program, just + the smug bastards that want to charge me \$190.00 to get a native + version, and only a native version - Adobe has got the right attitude + there!) "XPress" is to "Word for Windows", what "FontStudio" is to + "Fontographer". + + QED. Maybe not! + + If all those in favour send me a *YAY* (addressed to + typonaut@d-supp.demon.co.uk) and someone sends me e-addresses for Ares + and Letraset, then I will forward them your support, who knows Altsys + may even decide to pack the whole Fontographer game in, and Adobe can + relaunch FontStudio! + +Subject: 1.34. Type Design Firms + + Although it has been a long time coming, it seems only natural that the + comp.fonts FAQ should provide a brief summary of what the various type + design firms are producing. + + Carter & Cone Type, Inc. + ======================== + + This description was constructed from postings by Don Hosek, Erik-Jan + Vens, and David Lemon in Sep, 1993. + + Carter & Cone Type Inc. + 2155 Massachusetts Avenue + Cambridge, MA 02140 + 617-576-0398 or 800-952-2129 + 617-354-4146 FAX + + We begin with Carter & Cone not because I think they should be first, + but because I already have a few articles about them (I probably saved + the articles more because they were about Galliard, which I have a + fondness for, than anything else). Please contribute summaries about + other foundries (even the foundries themselves are encouraged to + contribute, althought I'd appreciate it if the advertising overtones + were kept to a dull roar ;-). + + Galliard + -------- + + [Editors note: With appologies to C&C, I have the following snippet: + + >> the designer. He's in business for himself now as half of Carter & + >> Cone (800 952 2129 voice), and he's worked Galliard over yet again. + >> Should be cool. Support your local type designer. + + Which half of C&C does this refer to?] + + Don Hosek says: + + The specimen sheets arrived in the mail today (along with the newest + Font & Function). Carter & Cone has three faces: ITC Galliard [CC] + which is a family of 11 fonts. The bad news is that assignments of + characters into expert sets and basic fonts is non-standard (the basic + font is missing fi and fl). The good news is that the fonts are quite + inexpensive. The whole set can be purchased for \$150. The font is a + single weight only (if bold is strictly necessary, Bitstream Galliard + Bold is consistent in height and can be mixed. On the other hand, + designers need to learn to avoid the crutch of bold face on their + pages). It is possible to purchase just those parts of the package + which are needed. Those able to mix fonts on their own might be able to + get a decent selection for less than \$150. + + Sophia + ------ + + Don continues, + + The second font is Sophia which is a kind of quirky all-caps display + face. It features a number of upper case ligatures [!] and has a kind + of Greek-Turkish feel to it (not suprising, really: the face is based + in 6th c. Constantinople letterforms). When I first saw this, I didn't + like it, but it does grow on one. The price on this is \$60. + + Mantinia + -------- + + Finally, Don concludes, + + The third font is Mantinia which is a more traditional display roman + with some interesting features: e.g., more uppercase ligatures and an + alphabet with superior caps in place of lower case (the La of LaTeX + could be typeset without kerns or raises using this alphabet). Again, + this took some growing on one, but I'm more accepting of this (and can + even imagine using it for real work). The price on this is \$60. + +Subject: 1.35. What does `lorem ipsum dolor' mean? + + `Lorem ipsum dolor' is the first part of a nonsense paragraph sometimes + used to demonstrate a font. It has been well established that if you + write anything as a sample, people will spend more time reading the + copy than looking at the font. The "gibberish" below is sufficiently + like ordinary text to demonstrate a font but doesn't distract the + reader. Hopefully. + + Rick Pali submits the following from Before and After Magazine, Volume + 4 Number 2.: + + [quote] + + After telling everyone that Lorem ipsum, the nonsensical text that + comes with PageMaker, only looks like Latin but actually says nothing, I + heard from Richard McClintock, publication director at the + Hampden-Sydney College in Virginia, who had enlightening news: + + "Lorem ipsum is latin, slightly jumbled, the remnants of a passage from + Cicero's _de Finibus_ 1.10.32, which begins 'Neque porro quisquam est + qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit...' + [There is no one who loves pain itself, who seeks after it and wants to + have it, simply because it is pain.]. [de Finibus Bonorum et Malorum, + written in 45 BC, is a treatise on the theory of ethics very popular in + the Renaisance.] + + "What I find remarkable is that this text has been the industry's + standard dummy text ever since some printed in the 1500s took a galley + of type and scambled it to make a type specemin book; it has survived + not only four centuries of letter-by-letter resetting but even the leap + into electronic typesetting, essentially unchanged except for an + occational 'ing' or 'y' thrown in. It's ironic that when the + then-understood Latin was scrambled, it became as incomprehensible as + Greek; the phrase 'it's Greek to me' and 'greeking' have common semantic + roots!" + + [unquote] + + One Example of Lorem Ipsum Dolor + ================================ + + Lorem ipsum dolor sit amet, consectetaur adipisicing elit, sed do + eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad + minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip + ex ea commodo consequat. Duis aute irure dolor in reprehenderit in + voluptate velit esse cillum dolore eu fugiat nulla pariatur. Excepteur + sint occaecat cupidatat non proident, sunt in culpa qui officia + deserunt mollit anim id est laborum Et harumd und lookum like Greek to + me, dereud facilis est er expedit distinct. Nam liber te conscient to + factor tum poen legum odioque civiuda. Et tam neque pecun modut est + neque nonor et imper ned libidig met, consectetur adipiscing elit, sed + ut labore et dolore magna aliquam makes one wonder who would ever read + this stuff? Bis nostrud exercitation ullam mmodo consequet. Duis aute + in voluptate velit esse cillum dolore eu fugiat nulla pariatur. At vver + eos et accusam dignissum qui blandit est praesent luptatum delenit + aigue excepteur sint occae. Et harumd dereud facilis est er expedit + distinct. Nam libe soluta nobis eligent optio est congue nihil impedit + doming id Lorem ipsum dolor sit amet, consectetur adipiscing elit, set + eiusmod tempor incidunt et labore et dolore magna aliquam. Ut enim ad + minim veniam, quis nostrud exerc. Irure dolor in reprehend incididunt + ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud + exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat. + Duis aute irure dolor in reprehenderit in voluptate velit esse + molestaie cillum. Tia non ob ea soluad incommod quae egen ium improb + fugiend. Officia deserunt mollit anim id est laborum Et harumd dereud + facilis est er expedit distinct. Nam liber te conscient to factor tum + poen legum odioque civiuda et tam. Neque pecun modut est neque nonor + et imper ned libidig met, consectetur adipiscing elit, sed ut labore et + dolore magna aliquam is nostrud exercitation ullam mmodo consequet. + Duis aute in voluptate velit esse cillum dolore eu fugiat nulla + pariatur. At vver eos et accusam dignissum qui blandit est praesent. + Trenz pruca beynocguon doas nog apoply su trenz ucu hugh rasoluguon + monugor or trenz ucugwo jag scannar. Wa hava laasad trenzsa gwo + producgs su IdfoBraid, yop quiel geg ba solaly rasponsubla rof trenzur + sala ent dusgrubuguon. Offoctivo immoriatoly, hawrgasi pwicos asi + sirucor.Thas sirutciun applios tyu thuso itoms ghuso pwicos gosi + sirucor in mixent gosi sirucor ic mixent ples cak ontisi sowios uf Zerm + hawr rwivos. Unte af phen neige pheings atoot Prexs eis phat eit sakem + eit vory gast te Plok peish ba useing phen roxas. Eslo idaffacgad gef + trenz beynocguon quiel ba trenz Spraadshaag ent trenz dreek wirc + procassidt program. Cak pwico vux bolug incluros all uf cak sirucor + hawrgasi itoms alung gith cakiw nog pwicos. Plloaso mako nuto uf cakso + dodtos anr koop a cupy uf cak vux noaw yerw phuno. Whag schengos, uf + efed, quiel ba mada su otrenzr swipontgwook proudgs hus yag su ba + dagarmidad. Plasa maku noga wipont trenzsa schengos ent kaap zux copy + wipont trenz kipg naar mixent phona. Cak pwico siructiun ruos nust + apoply tyu cak UCU sisulutiun munityuw uw cak UCU-TGU jot scannow. + Trens roxas eis ti Plokeing quert loppe eis yop prexs. Piy opher + hawers, eit yaggles orn ti sumbloat alohe plok. Su havo loasor cakso + tgu pwuructs tyu InfuBwain, ghu gill nug bo suloly sispunsiblo fuw + cakiw salo anr ristwibutiun. Hei muk neme eis loppe. Treas em wankeing + ont sime ploked peish rof phen sumbloat syug si phat phey gavet peish + ta paat ein pheeir sumbloats. Aslu unaffoctor gef cak siructiun gill bo + cak spiarshoot anet cak GurGanglo gur pwucossing pwutwam. Ghat dodtos, + ig pany, gill bo maro tyu ucakw suftgasi pwuructs hod yot tyubo + rotowminor. Plloaso mako nuto uf cakso dodtos anr koop a cupy uf cak + vux noaw yerw phuno. Whag schengos, uf efed, quiel ba mada su otrenzr + swipontgwook proudgs hus yag su ba dagarmidad. Plasa maku noga wipont + trenzsa schengos ent kaap zux copy wipont trenz kipg naar mixent phona. + Cak pwico siructiun ruos nust apoply tyu cak UCU sisulutiun munityuw + uw cak UCU-TGU jot scannow. Trens roxas eis ti Plokeing quert loppe + eis yop prexs. Piy opher hawers, eit yaggles orn ti sumbloat alohe + plok. Su havo loasor cakso tgu pwuructs tyu. + + [This version was found on CompuServe. It differs from other versions I + have seen in print, increasingly so as you go along. It almost looks + computer-generated, doesn't it?] + + This is Info file compfont.info, produced by Makeinfo-1.55 from the + input file FAQ.texinfo. + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_MS-DOS_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_MS-DOS_Info new file mode 100644 index 0000000000..aa5039f6e6 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_MS-DOS_Info @@ -0,0 +1,629 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: MS-DOS Info +Supersedes: <font-faq-8_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:49 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 606 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-8_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48306 comp.answers:20520 news.answers:79241 + +Archive-name: fonts-faq/part8 +Version: 2.1.5 + +Subject: 3. MS-DOS Information + + The easiest way to get outline fonts under MS-DOS is with Microsoft + Windows 3.x or OS/2 2.x. + + Microsoft Windows 3.0 with Adobe Type Manager (ATM) and OS/2 2.0 + support PostScript Type1 fonts. + + Microsoft Windows 3.1 supports TrueType fonts natively. + + Bitmap fonts are available in a variety of formats: most formats are + designed with the printer in mind and not the display since (prior to + graphical environments like Windows, GEM, and OS/2) the majority of + work under MS-DOS was done with a character-based interface. + +Subject: 3.1. Frequently Requested MS-DOS fonts + + Many fonts are available at various archives. The biggest font archive + for MS-DOS format fonts is ftp.cica.indiana.edu. Note: you can use any + Mac format Type1 font on your PC by converting it to PC format with the + free/shareware as described below. + + The following fonts are in Type 1 format for MS-DOS. Some are also + available in TrueType format. + + * Hebrew + + ShalomScript, ShalomOldStyle, ShalomStick + + * Japanese + + Shorai + + * Star Trek + + Crillee, TNG monitors + + * IBM OEM Line Drawing Characters + + Try Adobe PrestigeElite or Adobe LetterGothic. They have all the + characters you want, but the `line draw' characters are unencoded + -- you will need tools to reencode the outline font itself and + make a new PFM metric files. + + Or try IBMExtended from Impramatur Systems in Cambridge, Mass. It + already is encoded using IBM OEM encoding (some DOS code page). + + The IBM version of Courier distributed freely under the X11 + Consortium also contains the appropriate characters. Again, the + font will have to be reencoded for Windows. Appropriate AFM files + for this font can be obtained from: + http://www.ora.com/homepages/comp.fonts/FAQ-tools.html. + + Lee Cambell suggests the following alternative: + + Line Drawing characters are also available on ftp sites as + gc0651.exe which is a self-expanding archive. It is on cica (and + mirrors thereof). From the text file that comes with it, it looked + like it was distributed by Microsoft. I printed some text in the + normal A-z range and it looked identical to the truetype Courier + font distributed with Windows. Perhaps it is an upgrade to that + font. I didn't try the linedraw glyphs, so I can't say how they + look. + +Subject: 3.2. MS-DOS Font Installation + + If you have any information that you feel belongs in this section, it + would be greatly appreciated. + + * Windows + + * Pat Farrell contributes the following description of font + installation under Windows. + + Installing Fonts into Windows: + + This only covers Windows 3.1 with ATM. Font is a four-letter + word in Windows versions prior to 3.1 due to the distinctions + between screen fonts and printer fonts. The upgrade price of + Windows 3.1 is justified by the integration of TrueType into + the package and the inclusion of useful fonts for all + printers. + + Commercial fonts usually have installation instructions with + their manuals. The approach may differ from the method used + for PD and shareware fonts. + + To install PD and shareware fonts in Windows 3.1: + + 1. Copy the fonts onto a suitable scratch area (i.e. a + floppy, or any temporary area of your hard disk. + + 2. Execute "Control Panel" by double-clicking on the icon + in the Windows Program Manager's "main" group. + + 3. Double-click on the Fonts icon. + + 4. Double-click on the "Add" button. + + 5. Select the scratch directory holding the new fonts. + + 6. A list of the fonts will be displayed. You can manually + select the fonts you like, or you can use the + "Select All" button. + + 7. Make sure the "Copy Fonts to Windows Directory" + check-box is checked. This will copy the fonts + from the scratch area to your Windows directory. + + 8. Click on the "Ok" button. + + * Special notes for Windows applications: + + Word for Windows (W4W) stores font/printer information in its + own initialization files. After you add new fonts, you have + to tell W4W that the printer can use the new fonts. Do this + by selecting "Printer Setup" from the W4W main "File" menu + item, click on the "Setup" button, and then click on two "Ok" + buttons to back out of the setup mode. + + * Note concerning Windows 3.1 upgrade: + + There are two upgrade packages available from Microsoft for + Win3.1. There is the standard version which contains + TrueType support, and about six font families (Times New + Roman, Arial, Courier, Symbols, Wingdings, etc.). It costs + something like $50 (US). The second version contains a number + of TrueType fonts that includes equivalents for the 35 + standard Postscript fonts. This adds an additional $50, which + is a pretty good value. However, if you plan on buying + Microsoft's PowerPoint, it includes the same additional + fonts/typefaces. So you can save money by not buying the + fonts twice. + + * More about Windows + + * [Q:] Why are don't the TrueType fonts that come with + Microsoft products (Word-for-Windows, PowerPoint, + Windows 3.1 TrueType Font Pack, etc.) display and + print properly on my system? + + * [A:] The font matching algorithm in Win3.1 is fairly + simplistic. If you install lots of TrueType fonts, + the algorithm can get confused. In this case, "lots" + is more than 50 or so. + + * According to Luann Vodder who supports Microsoft Word on + CompuServ: + + "There is a procedure which Windows must go through when an + application requests a font. Each font contains a list of + attributes such as Family, FaceName, Height, Width, + Orientation, Weight, Pitch, etc. When an application + requests a font, it fills out a logical font for Windows + containing the necessary attributes, then starts going + through a font mapping algorithm to determine which of the + installed fonts most closely matches the requested (logical) + font. Penalties are applied against fonts whose attributes + do not match the logical font, until the fonts with the + fewest penalties are determined. If there is a "tie", + Windows may need to rely on the order of the fonts in the + WIN.INI file to determine the "winner". + + If the fonts you want are in your WIN.INI file, and show up in + Windows' Control Panel, then try moving them higher in your + WIN.INI file with a file edittor such as SYSEDIT." + + * Kesh Govinder suggested the following warning: + + CAUTION: While many Windows 3.1 users would like to have many + TrueType fonts at their disposal (and they are many available + in the PD) a word of caution. A large number (>50) TT fonts + will slow down your windows startup time. This occurs as + every installed font is listed in the win.ini file, and + Windows has to go through the entire file before starting up. + While this may not affect most users, it will especially + affect users of CorelDraw!, so be warned. + + * Other Programs + + It is an unfortunate fact that almost all MS-DOS programs do things + differently. Your best bet is to read the manual that comes with + the program you want to use. + +Subject: 3.3. What exactly are the encodings of the DOS code pages? + + DOS uses `code pages' for `IBM OEM' encoding of fonts. There are six + code pages supplied with DOS 5.0: + + 437 (English) + 850 (Multilingual - Latin I) + 852 (Slavic - Latin II) + 860 (Portugal) + 863 (Canadian French) + 865 (Nordic) + + (The character code range 0 - 127 is the same in all code pages). + + The problem is that MS idea of how to define what a code page is, is to + show a low resolution print out of the glyphs! Which is fine for the + letters of the alphabet, numerals and the obvious punctuation marks, + but worthless for accents (is it `cedilla' or `ogonek'? is it `caron' + or `breve'?) and many other characters. For example, 249 is a small + dot, while 250 is a slightly larger dot. Is one of these supposed to + be `bullet' (which already occurs at 7)? Or is one of them maybe + supposed to be `middot' or `dotcentered'? Is 228 supposed to be + `Sigma' or `summation'. Is 225 supposed to be `beta' or `germandbls'? + Etc etc + + And what is the character that looks like `Pt' in code position 158? + + Anyway, surely there is a table somewhere that defines precisely what + these encodings are supposed to be. That is, a table that gives for + each code number the name and/or a description of the character. + +Subject: 3.4. MS-DOS Font Utilities + + * PS2PK + + PS2PK allows you to convert PostScript Type1 fonts into bitmap + fonts. The bitmap files produced are in TeX PK format. + + * PKtoSFP + + PKtoSFP allows you to convert TeX PK fonts into HP LaserJet + softfonts. + + * PFBDir/PFBInfo + + PFBDir and PFBInfo format and display the "headers" in a binary + Type1 font. + +Subject: 3.5. Converting fonts under MS-DOS + +Subject: 3.5.1. Converting Mac Type 1 fonts to MS-DOS format + + Converting Macintosh Type1 fonts into PC Type1 fonts can be done using + purely free/shareware tools. I've outlined the procedure below. Make + sure you read the "readme" files that accompany many fonts. Some font + authors specifically deny permission to do cross-platform conversions. + + The tools you need + ================== + + XBIN + xbin23.zip in /pub/msdos/mac on oak.oakland.edu (or other + mirrors) + + UNSIT + unsit30.zip in /pub/msdos/mac on oak.oakland.edu + + UNSITI + unsiti.exe in /pub/onset/util on ftp.std.com + + Peter Gentry indicates that this program can extract SIT + archives that use the newer compression techniques that unsit + doesn't recognize. + + UNCPT + ext-pc.zip in /pub/pc/win3/util on ftp.cica.indiana.edu + + REFONT + refont14.zip from + http://www.ora.com/homepages/comp.fonts/FAQ-tools.html + + BMAP2AFM + bm2af02.zip from + http://www.ora.com/homepages/comp.fonts/FAQ-tools.html + + XBIN converts Mac "BinHex"ed files back into binary format. BinHex is + the Mac equivalent of UUencoding, it translates files into ascii + characters so that mailers can send them around without difficulty. It + also aids in cross platform copying too, I'm sure. BinHexed files + generally have filenames of the form "xxx.yyy.HQX". + + UNSIT explodes "Stuffit" archives. Stuffit archives generally have + filenames of the form "xxx.SIT". UNSIT will ask if you want to + seperate resource and data forks. Yes, you do. There has been some + confusion about whether or not you want headers. I'm inclined to + conclude that it can be made to work either way. Personally, I say no. + + UNCPT explodes "Compactor" archives. The ext-pc implementation is + called "extract" and does not require windows (even thought it's in the + windows section on cica). Compactor archives generally have filenames + of the form "xxx.CPT". + + REFONT converts Mac type1 fonts into PC type1 fonts. It also converts + Mac TrueType fonts to PC TrueType format. And vice-versa. + + BMAP2AFM constructs AFM files from the metric information contained in + Mac screen fonts (.bmap files). The screen font files do not have any + standard name (although they frequently have the extension .bmap). The + screen fonts have file type "FFIL" which, in combination with some + common sense, is usually sufficient to identify them. + + I've listed the tools that I've used and the sites that are reasonable + for me to retrieve them from. It's probably a good idea to check with + archie for closer sites if you're not in North America. These tools + run under MS-DOS. XBIN and UNSIT can also be run under Unix. + + How to do it? + ============= + + Collect the Mac fonts from the archive or BBS of your choice. Most of + these files will be in BinHexed format. As a running example, I'm + going to use the imaginary font "Plugh.cpt.hqx". When I download this + font to my PC, I would use the name "PLUGH.CPX". The actual name you + use is immaterial. + + Run XBIN on PLUGH.CPX. This will produce PLUGH.DAT, PLUGH.INF, and + PLUGH.RSR. The data fork of the Mac file (the .DAT file) is the only + one of interest to us, you can delete the others. + + If the original file had been "Plugh.sit.hqx", we would be using the + UNSIT program. Since I chose a .cpt file for this example, I'm going + to run UNCPT. + + Run UNCPT on PLUGH.DAT. You want to extract the AFM file (if present), + the documentation or readme file (if present), and the Type1 outline + file. The AFM and README files will be in the data fork of the archive + file. The Type1 outline will be in the resource fork. The AFM and + README files have Mac "TEXT" type. The Type1 outline file has "LWFN" + type. I'm not trying to describe this part in a step-by-step fashion. + Use the docs for UNCPT and UNSIT as a guide. If you got this far you + probably won't have much difficulty. If you do, drop me a line and + I'll try to help. + + If the font does not contain an AFM file, extract the screen font. + Screen fonts frequently have the extension .bmap and are "FFIL" type + files. Use Bmap2AFM to construct an AFM from the screen font. If the + archive _does_ contain an AFM file, it's safe to bet that the author's + AFM will be better than the one created by Bmap2AFM. + + Finally, run REFONT on the Type1 outline that you extracted above. The + result should be an appropriate PC type1 outline. REFONT will create a + PFM file for you from the AFM file, if you desire. + + Remember to register your shareware... + + Other comments + ============== + + vkautto@snakemail.hut.FI makes the following observations: + + * UNCPT is easier to use than UNSIT + + * UNCPT has to be run twice. I usually do it like this + + extract *.cpt -f + + extract *.cpt -f -r + + * When using "unsit30" you probably want the outline file with the + MacHeader and the others without it. I think that REFONT + requires it but I am not sure. + + * REFONT works usually ok. You want a PFA (ASCII) file which is + directly usable on NeXT (you may need to convert carriage-returns + to newlines but I am not sure if it is necessary). + + The biggest problem is with the .afm files that are completely + missing or generated by the tools that don't do their job + properly. + + * BMAP2AFM requires some extra files (ie. other than bmap2afm.exe) to + work properly. + +Subject: 3.5.2. Converting PC Type 1 and TrueType fonts to Mac format + + Refont + ====== + + Refont (version 1.4) can convert (in both directions) between PC and Mac + formats of Type1 and TrueType fonts. Note: it _cannot_ convert + _between_ formats, only architectures. The procedure described above + outlines how to convert a Mac archive into PC format so that you can + get at the data. Presumably, the process can be reversed so that you + can get at the data on the Mac side as well. Unfortunately, I don't + have a Mac so I can't describe the process in detail. + + Font Manipulation Package + ========================= + + The Y\&Y Font Manipulation package can convert PFA/B files into Mac + format and AFM files into Mac screen fonts. + +Subject: 3.5.3. Converting PC Type 1 fonts into TeX PK bitmap fonts + + The release of PS2PK by Piet Tutelaers is a godsend to those of us + without PostScript printers. PS2PK converts PC/Unix format Type 1 fonts + into TeX PK files. Used in conjunction with the AFM2TFM utility for + creating TeX metric files, this allows almost anyone to use Type 1 + PostScript fonts. PS2PK is distributed under the GNU License and has + been made to run under MS-DOS with DJGPP's free GNU C compiler. The PC + version requires a 386 or more powerful processor. Check with Archie + for a source near you. + + Note: if TeX PK files are not directly usable for you, there seems to + be a fair possibility that LaserJet softfonts would be useful. If so, + check below for instructions on converting TeX PK files to LaserJet + softfonts. + +Subject: 3.5.4. Converting TeX PK bitmaps into HP LaserJet softfonts (and vice-versa) + + There is some possibility that someone will yell 'conflict of interest' + here, but I don't think so. I wrote the following utilities: + + PKtoSFP: convert TeX PK files to LaserJet (bitmapped) softfonts + + SFPtoPK: convert LaserJet (bitmapped) softfonts to TeX PK files + + But they are completely free, so I don't gain anything by "advertising" + them here. These are MS-DOS platform solutions only. If you know of + other solutions, I would be happy to list them. + + This is Info file compfont.info, produced by Makeinfo-1.55 from the + input file FAQ.texinfo. + +Subject: 3.5.5. TrueType to HP LaserJet bitmap softfonts (HACK!) + + If you have the tools, the following suggestion does work, but it isn't + easy and it hasn't been automated. To be honest, I haven't really + tested it. + + If you are using Windows 3.1, get a LaserJet printer driver (you don't + need the printer, just the driver). Using the LaserJet driver, direct + output to a file and print a simple file containing all the letters you + want in the softfont in the font that you are converting. When the + print job has completed, the output file will contain, among other + things, a LaserJet softfont of the TrueType font you selected. If you + know the LaserJet format, you can grab it out of there. + + I didn't say it was easy ;-) + + This method will not work with ATM [ed: as of 7/92] because ATM does + not construct a softfont; it downloads the whole page as graphics. + + Here is an overview of the LaserJet bitmap softfont format. It should + help you get started. If you have any questions, ask norm. If anyone + wants to write better instructions... ;-) + + Many details are omitted from this description. They are thoroughly + discussed in the HP Technical Reference for each model of laser printer. + I recommend purchasing the Tech Ref. If you have additional questions + and do not plan to purchase the Tech Ref (or do not wish to wait for its + arrival), you can ask norm. + + An HP LaserJet softfont can occur almost anywhere in the output stream + destined for the printer. In particular, it does _not_ have to be + wholly contiguous within the output file. In fact, fonts can be + "intermixed" at will. The following "pieces" make up a font: + + A begin font descriptor command (followed by the descriptor) and a + series of begin character descriptor commands (followed by their + associated data). When a new character descriptor is encountered, it + is added to the current font (which may change between descriptors). + + In the discussion that follows, the following notational conventions + are followed: + + Key elements are surrounded by quotation marks. The quotation marks + are not part of the element. Spaces within the element are for clarity + only, they are not part of the element. All characters (except ESC and + #, described below, are literal and must be entered in the precise case + shown). + + ESC means the escape character, ASCII character number 27 decimal. + + # means any decimal number. The meaning of the number is described in + the commentary for that element. + + * What is a font descriptor? + + A font descriptor begins with a font descriptor command and is + followed immediately by the data for the descriptor. Font + descriptors define data global to the font. In general, more + recent printers are less strict about these parameters than older + printers. + + * What is the font descriptor command? + + "ESC ) s # W" + + In this command, # is the number of bytes in the descriptor. The + first element of the descriptor indicates how many of these bytes + should be interpreted as the font descriptor (the remaining bytes + are commentary only-to the printer, at least). This area is + frequently used for copyright information, for example, although + some systems insert kerning data into this area. + + * What is the font descriptor data? + + The data is: + + UI Font descriptor size + UB Descriptor format + UB Font type + UI Reserved (should be 0) + UI Baseline distance + UI Cell width + UI Cell height + UB Orientation + B Spacing + UI Symbol set + UI Pitch + UI Height + UI xHeight + SB Width Type + UB Style + SB Stroke Weight + UB Typeface LSB + UB Typeface MSB + UB Serif Style + SB Underline distance + UB Underline height + UI Text Height + UI Text Width + UB Pitch Extended + UB Height Extended + UI Cap Height + UI Reserved (0) + UI Reserved (0) + A16 Font name + ?? Copyright, or any other information + + UI = unsigned integer, SI = signed integer, UB = unsigned byte, SB + = signed byte, B = boolean, and A16 =sixteen bytes of ASCII. + + After the font name, ?? bytes of extra data may be inserted. These + bytes pad the descriptor out to the length specified in the begin + font descriptor command. + + Note: integers are always in big-endian order (MSB first). + + * What is a character descriptor? + + A character descriptor describes the character specific info and + the layout of the bitmap. Newer printers can accept compressed + character bitmaps. + + * What is a character descriptor command? + + "ESC * c # E" + + The # is the length of the descriptor, in bytes. + + * What is the character descriptor data? + + UB Format + B Continuation + UB Descriptor size + UB Class + UB Orientation + SI Left offset + SI Top offset + UI Character width + UI Character height + SI Delta X + ?? Character (bitmap) data. + + Although older printers cannot accept characters that include + continuations, newer printers can. If the "continuation" field is + 1, the character bitmap data begins immediately after that byte and + the remaining fields _are not_ present. + + * Ok, now I understand the data, what do I look for in the output + stream? + + ESC * c # D + defines the font number (remember the number). + + ESC ) s # W + defines the font descriptor (as described above). + + ESC * c # E + specifies the character code (the #, in this case). + The next character descriptor maps to this position in + the font. Characters do not have to appear in + any particular order. + + ESC ( s # W + defines the character descriptor (as described above). + + Remember, these can occur in any order. Experimentation with the + particular driver you are using may help you restrict the number of + different cases that you have to be prepared for. + + Please report your experiences using this method to norm (both to + satisfy his own curiosity and to help improve the FAQ). + +Subject: 3.6. MS-DOS Screen Fonts (EGA/VGA text-mode fonts) + + Editors note: the following description was mercilessly stolen from + comp.archives on 02SEP92. It was originally Yossi Gil's + posting. + + FNTCOL14.ZIP contains more than 200 text mode fonts for EGA/VGA + displays. It includes fonts in different sizes for Hebrew, Greek, + Cyrillic, math symbols and various type styles including smallcaps and + script. + + It is available at borg.poly.edu:/pub/reader/dos/fntcol14.zip + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_Macintosh_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Macintosh_Info new file mode 100644 index 0000000000..7e32790be4 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Macintosh_Info @@ -0,0 +1,756 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: Macintosh Info +Supersedes: <font-faq-7_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:44 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 733 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-7_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48304 comp.answers:20518 news.answers:79239 + +Archive-name: fonts-faq/part7 +Version: 2.1.5 + +Subject: 2. Macintosh Information + +Subject: 2.1. Macintosh Font formats + + Bitmap Fonts + ============ + + Bitmap fonts: on the Macintosh, bitmap fonts also contain the kerning + information for a font and must be installed with both type 1 and type + 3 fonts. Their presence also speeds the display of commonly used font + sizes. + + PostScript Type 1 + ================= + + Postscript Type 1 fonts can be installed on the Macintosh only by using + accompanying bitmapped fonts. + + PostScript Type 3 + ================= + + Postscript Type 3 fonts are installed on the Macintosh in the same way + that Type 1 fonts are. + + TrueType + ======== + + Truetype fonts: no bitmapped font is necessary with this type, though + commonly used sizes are often supplied. + + QuickDraw GX + ============ + + This section was constructed from postings by Charles A. Bigelow, Peter + Moller, David Opstad, and Michael Wang from Sep 93. + + What is it? + ----------- + + QuickDraw GX (QDGX) is the new Mac OS engine for handling screen + presentation. It has many advantages over older engines, among them the + ability to get ligatures, swashes etc. on the fly. QDGX is also a + 16-bit font format that allows for example users in Korea to run their + machines in their native tounge as well as write. + + How is it related to Unicode? + ----------------------------- + + Although QDGX is a 16-bit encoding, it is "orthogonal" to Unicode + Unicode, to use a jargon term. A TrueType font, GX or otherwise, can be + encoded using the Unicode standard, but that isn't necessary. However, a + TrueType font, and especially a GX font, can contain glyphs for which + there is no unique Unicode encoding, e.g. the 'fi' ligature, or a swash + 'a' with a trailing curlicue. TrueType GX fonts, however, contain + additional information and structure that allows the QDGX system to + properly substitute variant glyphs for certain characters in the text. + For the above examples, QDGX will, if requested, look for the sequence + 'f' + 'i' and substitute the 'fi' ligature, or look for 'a' at the end + of a line and substitute the glyph 'a-trailing curlicue'. + + It is really quite charming to see this happen, and it makes the font + [...] a clever, trained circus dog that does tricks than a simple font. + The GX fonts begin to show an additional personality beyond the image of + the glyphs. In fact, the font can contain a state machine that controls + the substitution process--in effect, a computer program. There is + provision for another state machine controlling kerning as well, to get + around the problems that can arise with simple pair-based kerning. + + David Opstad contributes the following: + + The bidirectional text reordering algorithm defined in Unicode is fully + implemented in GX (in fact, during our testing of GX we uncovered some + problems with the Unicode specification!) Also, and most unfortunately, + since Unicode is the product of an international committee process there + were certain compromises that were made in the design, so there really + are Unicode character codes for certain ligatures and contextual forms + (e.g. the "Basic Glyphs for Arabic Language" codes starting at U+FE70). + Note, however, that GX does not use these; we do Arabic contextual + processing the same way we do Roman contextual processing. Indeed, it + is this uniformity of approach that is, I believe, one of GX's main + strengths. + + One of my greatest hopes (that keeps me going after having worked on + getting GX done for over five years now) is that we're going to see a + real renaissance of fonts and creativity in font designs. GX finally + gets us back to the elegance of calligraphy, with the repeatability and + precision of the computer. + + What about rotation? + -------------------- + + QDGX supports full 3X3 transformations (including perspective) on all + objects in the graphics system, including text. Anti-aliasing is not + included in GX 1.0, but we're looking at it for future versions. + + Is QDGX limited to TrueType fonts? + ---------------------------------- + + Michael Wang contributes: + + Just to clarify, the component of QuickDraw GX that deals with font + features like automatic ligature substitution is called the Line Layout + Manager (which I'll abbreviate as LLM), and LLM features are + independent of scaler technology. In other words, a Type 1 font can + have all of the LLM features that a TrueType font can have under + QuickDraw GX. + + In fact, Apple and Adobe bundle a GX version of ATM with the QuickDraw + GX release along with a Type 1 GX version of Tekton Regular which + includes lots of additional glyphs and supports most of the LLM + features. If you are a Macintosh developer, there are beta GX versions + of ATM and Tekton that you can play around with on the QuickDraw GX + 1.0b1 release that is part of the WWDC CD. + + Lawrence D'Oliveiro contributes: + + One implication of GX for font installation is that Type 1 fonts no + longer come in "bitmap" vs "screen" versions that live in separate + files: under QuickDraw GX, they live in "sfnt" resources, and install no + differently from TrueType fonts. + + As of 1 Mar 95, QuickDraw GX 1.0.1 is the current release. + +Subject: 2.2. Frequently Requested Mac Fonts + + Greek Fonts + =========== + + This section was constructed from a posting by John Amanatides in Jan + 1995. + + There are three ways to get Greek out of a Mac. Approach one is to + simply use the Symbol font; this solution is the easiest but Symbol + doesn't have accents and you cannot easily exchange files with friends + in Greece. Approach two is go all the way and install Apple's Greek + system software on your Mac. It would make it identical to a machine + sold in Greece and is really only an option for the diehards. Approach + three is to just get a Greek keyboard driver and Greek typefaces. This + article talks mostly about approach three while it does also mention the + others. + + First some background. Until the early '80s the Greek alphabet included + quite a lot of different diacritical marks. Thus if you are interested + in classical Greek you will need to get a polytonic version of the + typeface. Modern Greek now only uses accents, simplifying the use of + the alphabet and this is normally what you will get when you ask for a + Greek typeface. + + There are several encodings of the Greek alphabet. ISO-8859-7 is the + most standard. It is an 8-bit encoding that uses the regular 7-bit + ASCII standard in the lower 128 positions and Greek in the upper 128. + Unfortunately, Apple did not use it (sigh). Apple's encoding is + slightly different in the upper 128 positions. All modern Greek + typefaces for the Mac seem to use this encoding and if you use it you + can exchange files with your friends in Greece (and use Greek + dictionaries!). If you are interested in classical Greek things become + a little trickier. I don't know if there is a standard but Linguist's + Software's (see below) encoding seems to be the most popular. + + Sources of Greek Fonts for the Mac + ---------------------------------- + + Apple + ..... + + You can go all the way with Apple and get their Greek system software + but getting it is non-trivial. In North America the only way to get it + seems to be to get the "Apple Developer Mailing" from APDA. Designed + for developers, you get a CD mailed to you monthly. The CD contains + the most recent worldwide Mac system software along with a lot of other + stuff. It costs \$250 US and you get updates for a year. The Greek + system software contains TrueType versions of GrCourier, GrHelvetica, + GrTimes and several bitmap versions of some of Apple's other typefaces + along with the Greek keyboard driver. + + APDA 800-282-2732 US + 800-637-0029 Canada + 716-871-6555 + + A second place to get Greek system software is in Greece. Apple's + distributor is: + + Rainbow Computer S.A. + Elia Eliou 75 + Neos Kosmos, Athens + Greece 117 44 + 30-1-9012892 Voice + 30-1-9012540 FAX + + Just because you have the Greek system software doesn't mean you have + to install the whole system; you can just take the Greek typefaces and + the Greek keyboard driver and use them with your current system + software. + + Note: Linguists' Software (see below) also market version 6.0.3 of the + Greek operating system. + + Linotype-Hell + ............. + + Linotype sells a variety of Type1 Greek typefaces in both modern and + polytonic versions and in a variety of weights/styles: Times, + Helvetica, Baskerville, New Century Schoolbook and Souvenir. The + easiest way to purchase them is to get Linotype's CD of locked + typefaces (a new one is coming out in Dec. '94). The CD costs \$49 US + and comes with 4 free fonts. A Greek keyboard driver comes with the + typefaces. Linotype can be reached at: + + Linotype-Hell Company + 425 Oser Avenue + Hauppage, NY, 11788 + USA + 800-633-1900 + 516-434-3616 FAX + + These typefaces are also distributed by FontShop (see below) Note: the + new CD works on both a Mac and a PC and when you unlock a typeface you + unlock for both systems. + + FontShop + ........ + + FontShop is an international chain of stores which supplies a wide + variety of typefaces to both professionals and the rest of us. Their + North American address is: + + FontShop Canada Limited + 510 Front Street West + Toronto, Ontario + Canada M5V 3H3 + 800-363-6687 + 416-348-0916 FAX + + Monotype + ........ + + Monotype offers two Greek typefaces on their locked CD: Times New Roman + Greek and Arial Greek. Each typeface comes in four weights/styles. + Their CD lists for \$49 and you get 8 free fonts (just enough for both + of their Greek typefaces :-). You can reach Monotype at: + + Monotype Typography Inc. + Suite 2630, 150 South Wacker Drive + Chicago, IL, 60606 + USA + 800-MONOTYP (800-666-6897) + 312-855-9475 FAX + + These typefaces are also distributed by FontShop. Note: you get a 5 CPU + license. + + Linguist's Software + ................... + + Linguist's Software has typefaces for over 250 world languages and + gives several options for those interested in Greek. First, you can + purchase the Greek operating system for the Mac version 6.0.3. This + includes GrTimes and GrHelvetica (Type 3) as well as several bit-mapped + system fonts. Second, you can purchase their modern Greek typefaces + Olympus and Philippi (Times and Helvetica clones) in four + weights/styles and in both Type1 and TrueType along with a keyboard + driver for System 7. Finally, they have their own TrueType and Type1 + typefaces in the LaserGreek package. These are of particular interest + to Greek scholars since they include extra diacritics for ancient/N.T. + Greek. This package now includes a Uncail typeface. LaserGreek: \$99; + Modern Greek + keyboard driver: \$99; LaserGreek + GreekOS: \$139; + LaserGreek + Modern Greek + keyboard driver: \$139. + + Linguist's Software + PO Box 580 + Edmonds, WA 98020-0580 + USA + 206-775-1130 + 206-771-5911 FAX + + Ecological Linguistics + ...................... + + Ecological Linguistics also provides typfaces for a wide variety of + world languages. They have a polytonic version of Times (GreekTimes) + in their GreekClassical package and monotonic versions of Times and + Helvetica (GkTimes, GkHelvetica) in four weights/styles in their + GreekModern package. Both the GreekClassical and GreekModern packages + are \$60 US each and come with a keyboard driver. + + Ecological Linguistics + P.O. Box 15156 + Washington, D.C., 20003 + U.S.A. + 202-546-5862 + + MacCampus + ......... + + MacCampus of Germany provides Greek and other Eastern European + typefaces. The Greek typefaces come in two flavors: those that are + based on the modern Greek keyboard layout and those based on the Symbol + font layout. MacCampus provides a keyboard driver so that you can use + the former type on non-Greek Macs. + + The typefaces available are: + + Modern Greek (Greek layout): Olympia (Helvetica clone) and Tiryns + (Times clone) in 4 weights/styles + + Classical Greek (extra diacritics, Symbol layout): Agora Times, + Parmenides (light, sans-serif) + + MacCampus + C. Kempgen + An den Weihern 18 + D-96135 Stegaurach + Germany + (0951) 296739 + (0951) 296425 FAX + + MacCampus typefaces are distributed by FontShop. + + Font World + .......... + + Another Greek typeface distributor is Font World. They also sell a + variety of Eastern European typefaces. They provide a package of + keyboard drivers for a variety of different world languages. The + modern Greek typefaces are: FW Palace GK (Palatino?), FW Baskerfield + GK, FW Peace GK (sans serif) & condensed version, FW Pithos GK + (Lithos?), FW Stencil GK, FW Textbook GK, FW Tourist GK (Souvenir) and + FW World GK (Times?). They come in a variety of weights/styles and go + for about \$100-\$200. + + Font World, Inc. + 2021 Scottsville Road, + Rochester, NY 12623 + USA + 716-235-6861 + 716-235-6950 FAX + + SkepsiS + ....... + + SkepsiS is a Greek publishing company that is heavily into Macs. They + have created and sell several nice typefaces in several weights/styles: + Corfu (New Century Schoolbook?), Ithaca (Souvenir?), Rhodes + (University?), Mykonos (Courier?), Paros (Antique Olive?), Samos + (modern serif), GtcFutura (Futura?), Naxos (Eurostile?), Ios (?) The + cost for a package containing the above is 60,000 drachmas. + + SkepsiS Ltd + El. Benizelou 184 + T.K. 176 75, Kallithea + Athens, Greece + 30-1-952-2086 + 30-1-952-2088 FAX + + Magenta + ....... + + Magenta is a Greek company that sells typefaces for Macs and PCs. + Their catalog lists over 70 typefaces with names like MgBodoni, + MgOptima, MgAvantGarde, etc in a variety of weights/styles. Most are + modern Greek but they also have a few classical typefaces. Each + typeface family goes for about 8,500 drachmas. + + Magenta Ltd + Antimaxou 17 + 115 28 Athens + Greece + 30-1-722-9292 phone/FAX + + Note, I have tried to contact Magenta recently and have gotten no + response. + + Fronteiras + .......... + + Fonteiras is a German company that produces non-roman typefaces. They + have 26 Greek typefaces, display and text, both polytonic and + monotonic. Some of the families include clones of Dynamo, Stencil, + Broadway, Revue, Futura Black, Lithos, Industria, Insignia, Palatino, + Helvetica, Times, etc. Packages go for about \$150-\$200 US and include + a Greek keyboard driver. The monotonic typfaces have kerning tables and + some have real italics. (Most other vendors only have obliques.) + + Fronteiras + Luisenstr. 22 + D-60316 Franfurt + Germany + 49-069-4980498 phone/FAX + 100443.1305@compuserve.com + + Freeware/Shareware + .................. + + There is a free classical Greek typeface called Ismini that is available + on the net at: + + mac.archive.umich.edu:mac/system.extensions/font/type1/ismini.cpt.hqx + + Unfortunately, I don't think it uses the same encoding as Linguist's + Software. + + Other Fonts + =========== + + Many fonts are available at various archives. The king of Macintosh + font archives is mac.archive.umich.edu. On mac.archive.umich.edu, the + fonts are located in the following folders: + + /mac/system.extensions/font/type1 + /mac/system.extensions/font/type3 + /mac/system.extensions/font/truetype + + The following fonts are in Type 1 format for the Macintosh. Some are + also available in TrueType format. + + * Tamil + + Paladam, T. Govindram + + * Hebrew + + ShalomScript, ShalomOldStyle, ShalomStick, Jonathan Brecher + + * Japanese + + Shorai (Hirigana, with application) + + * Star Trek + + StarTrekClassic, Star TrekClassicMovies, StarTrekTNGCrille, + StarTrekTNG Titles, TNG monitors, StarFleet, Klinzai (Klingon font) + + * Command-key symbol + + Chicago (TrueType or bitmap, key: Ctrl-Q), Chicago Symbols + (Type3, key: 1), EncycloFont (Type3, key: d) + + * Astrologic/Astronomic symbols + + Hermetica (Type1), InternationalSymbols (Type 3, Mars and Venus + only), MortBats (Type3), Zodiac (bitmap) + + * IBM OEM Line Drawing Characters + + Try Adobe PrestigeElite or Adobe LetterGothic. They have all the + characters you want, but the `line draw' characters are unencoded + -- you will need tools to reencode the outline font itself and + make a new PFM metric files. + + Or try IBMExtended from Impramatur Systems in Cambridge, Mass. It + already is encoded using IBM OEM encoding (some DOS code page). + + The IBM version of Courier distributed freely under the X11 + Consortium also contains the appropriate characters. It is + distributed in PC format, however. Again, the font will have to + be reencoded for Windows. Appropriate AFM files for this font can + be obtained from: + http://www.ora.com/homepages/comp.fonts/FAQ-tools.html. + + Many of these mac fonts are available in files that are either entitled + xxxx.sit or xxxx.cpt. xxxx.sit files are Stuffit archives. xxxx.cpt + files are Compact Pro archives. StuffitLite (shareware $25) and Compact + Pro (shareware $25) are available at the standard ftp sites. + Uncompressors for these programs (free) are also available at the + archive sites. Check the utilities/compression utilities folders. + +Subject: 2.3. Commercial Font Sources + + Commercial fonts can be obtained from a number of different companies, + including the large font houses: Adobe, Font Haus, Font Company, + Bitstream, and Monotype. At these companies, fonts cost about $40 for a + single face, and must be purchased in packages. Adobe, Bitstream, and + Monotype also sell pre-designated type collections for slightly lower + prices. + + Image Club sells a wide selection of fonts for about $50 for a 4 font + family. + + Other, cheaper companies sell fonts of lesser quality, including + KeyFonts, which sells a set of 100 fonts for $50 and Casady & Green's + Fluent Laser Fonts, a set of 79 fonts for $99. Casady & Greene also + sells Cyrillic language fonts in Times, Bodoni, and Helvetica sell for + about $40 for each 4 font family. + + Foreign language fonts, ranging from Egyptian hieroglyphics to Cyrillic + can be obtained from Ecological Linguistics. + + Please consult the vendor list for a more complete list of vendors. + +Subject: 2.4. Mac Font Installation + + * System 7 + + Install the fonts by opening the suitcase containing the bitmap + file and dropping the fonts into your system suitcase, located + inside your system folder. You will need to quit all other + applications before doing this. For a TrueType font, the icon for + the font will have a stack of "A"s in it, instead of just one. + Dropping it into your system suitcase will make all sizes of the + font available. For Postscript type 1 fonts, you also need to + place the printer font in the extensions folder in your system + folder. If you are using ATM you need to place these fonts in the + root level of your system folder (not inside another folder). + Using Suitcase, a font management utility, you can avoid + cluttering your system folder with printer fonts. + + You can make new suitcases of fonts (generally not needed, but + used by those who use Suitcase) by using Font DA mover. It + operates the same as in system 6, except that the most recent + version must be used. + + * System 6 + + Bitmap fonts can be installed using Font DA mover to move the + fonts, located inside suitcases, into your system. You will need + to restart your computer to make these fonts available. Printer + fonts must be placed in the system folder, not inside any other + folder. + + Truetype fonts can be used with system 6 if you get the Truetype + init. Then the fonts can be installed in your system with Font DA + mover. Suitcase can also be used under system 6. + +Subject: 2.5. Mac Font Utilities + + * SUITCASE + + Suitcase is a nifty little system extension that lets you avoid + having to install fonts into your system. In system 6, it means + that you can avoid restarting your system every time you want to + install a new font. + + In system 7, Suitcase lets you avoid quitting all applications + before making fonts available. Some programs, like Quark Xpress + will automatically update their font list when you open a new + suitcase, allowing much more flexibility in opening and closing + font suitcases and making different sets of fonts available. + + Suitcase appears in your Apple menu in both system 7 and 6 and + allows you to open suitcases, as though they were files, thus + making the fonts contained in them accessible to programs. + + In addition, when suitcase is installed, printer fonts can be + stored with the bitmap suitcases they correspond to, instead of + having to drop them into your system folder. + + The most recent version of Suitcase is compatible with TrueType. + Suitcase is about $54 from the mail order places. + + * Carpetbag + + A shareware program with functionality equivalent to Suitcase. + + * MASTER JUGGLER + + Does similar things + + * ATM + + Adobe Type Manager is an Init and Control panel allows accurate + screen display, at any size of PostScript type 1 fonts. It's + function is replicated with Truetype (but for different outline + font format). With it installed, you can print fonts of any size + to non-PostScript printers. When using ATM, printer fonts must + either be stored with the bitmap files opened with suitcase (when + using Suitcase), or they must be stored in the root level of the + system folder (with System 7.0, printer fonts must be stored in + the Extension folder if you are not using Suitcase). ATM is now + available, with the System 7.0 upgrade, as well as directly from + adobe with 4 Garamond fonts. + + ATM is not built into System 7.1 as previously expected. With + System 7.1, printer fonts must be stored in the Fonts folder if + you are not using Suitcase. + + If you are using version 7.x prior to 7.1, the following hack + allows you to have a Font folder (if you don't use Suitcase): + + Open the second 'DCOD' resource from the ATM 68020/030 file. Do an + ASCII search for the string "extn" and change it to "font" (it's + case sensitive). Save, close, and Reboot. + + This process should work for 68000 machines using the proper ATM + file instead. + + * Super ATM + + This is a utility that will create fonts, on the fly, that match + the metrics of any Adobe-brand fonts you don't have. It does a + remarkably good job of mimicry because it uses two "generic" + Multiple Master typefaces, serif and sans serif to simulate the + appearance of the missing typefaces. (There is a 1.4 megabyte + database file that allows Super ATM to simulate the fonts that + aren't there.) You also get Type On Call (a CD-ROM), which has + locked outline fonts, and unlocked screen font for all but the + most recent faces in the Adobe Type library. + + * TTconverter + + A shareware accessory available at the usual archives will convert + Truetype fonts for the IBM into Macintosh format. + + * reAdobe + + Converts text (PFA) format PostScript Type 1 fonts into Mac format. + + * unAdobe + + Converts Mac format PostScript Type 1 fonts into text (PFA) format. + + * Microsoft Font Pack + + If you work with a mixture of Macs and PCs running Windows 3.1, + this is a good deal; 100 TrueType fonts compromising the Windows + 3.1 standard set and the two Font Packs for Windows. This includes + various display fonts, the Windows Wingdings font, and the Lucida + family. + + A variety of programs, for example, Font Harmony, etc. will allow you + to change the names and ID numbers of your fonts. + + Fontmonger and Metamorphosis will let you convert fonts among several + formats (type 1 and 3 and Truetype for the Mac and PC), as well as + letting you extract the font outlines from the printer fonts. + +Subject: 2.6. Making Outline Fonts + + This is very, very difficult. Many people imagine that there are + programs that will simply convert pictures into fonts for them. This is + not the case; most fonts are painstakingly created by drawing curves + that closely approximate the letterforms. In addition, special rules + (which improve hinting, etc.) mandate that these curves be drawn in + specific ways. Even designing, or merely digitizing, a simple font can + take hundreds of hours. + + Given that, there are two major programs used for font design on the + Macintosh, Fontographer ($280) and FontStudio ($400). These programs + will allow you to import scanned images, and then trace them with + drawing tools. The programs will then generate type 1, 3, TrueType and + Bitmap fonts for either the Macintosh or the IBM PC. They will also + generate automatic hinting. They also open previously constructed + outline fonts, allowing them to be modified, or converted into another + format. + + As far as I know, there are no shareware programs that allow you to + generate outline fonts. + +Subject: 2.7. Problems and Possible Solutions + + 1. Another font mysteriously appears when you select a certain font + for display. + + This is often the result of a font id conflict. All fonts on the + Macintosh are assigned a font id, an integer value. When two fonts + have the same id, some programs can become confused about the + appropriate font to use. Microsoft word 4.0 used font id's to + assign fonts, not their names. Since id's can be different on + different computers, a word document's font could change when it + was moved from one computer to another. Other signs of font id + problems are inappropriate kerning or leading (the space between + lines of text). Some font ID problems can be resolved by using + Suitcase, which will reassign font ID's for you, as well as saving + a font ID file that can be moved from computer to computer to keep + the id's consistent. Font ID problems can also be solved with + several type utilities, which will allow you to reassign font + id's. Most newer programs refer to fonts correctly by name + instead of id number, which should reduce the frequency of this + problem. + + 2. When using a document written in MSWord 5.0, the font mysteriously + changes when you switch from your computer at home to work, or + vice versa. + + This is the result of a bug in MSWord 5.0. The MSWord 5.0 updater, + which can be found at the info-mac archives at sumex (in the demo + folder), will fix this bug. + +Subject: 2.8. Creating Mac screen fonts + + Creating Mac screen fonts from Type 1 outlines + ============================================== + + Peter DiCamillo contributes the following public domain solution: + + BitFont is a program which will create a bitmapped font from any font + which can be drawn on your Macintosh. In addition to standard + bitmapped fonts, it works with Adobe outline fonts when the Adobe Type + Manager is installed, and works with TrueType? fonts. BitFont will + also tell you how QuickDraw will draw a given font (bitmapped, ATM, or + TrueType) and can create a text file describing a font and all its + characters. + + BitFont was written using MPW C version 3.2. It is in the public + domain and may be freely distributed. The distribution files include + the source code for BitFont. + + Berthold K.P. Horn contributes the following solution. + + This is a commercial solution. A font manipulation package from Y&Y + includes: + + AFMtoPFM, PFMtoAFM, AFMtoTFM, TFMtoAFM, AFMtoSCR, SCRtoAFM, TFMtoMET, + PFBtoPFA, PFAtoPFB, MACtoPFA, PFBtoMAC, REENCODE, MODEX, DOWNLOAD, + SERIAL, and some other stuff I forget. + + To convert PC Type 1 fonts to Macintosh use PFBtoMAC on the outline + font itself; then use AFMtoSCR to make the Mac `screen font' + (repository of metric info). You may need to use PFMtoAFM to first make + AFM file. + + To convert Macintosh font to PC Type 1, use MACtoPFA, followed by + PFAtoPFB. Then run SCRtoAFM on screen font to make AFM file. Finally, + run AFMtoPFM to make Windows font metric file. + + Y&Y are the `TeX without BitMaps' people (see ad in TUGboat): + + Y&Y makes DVPSONE, DVIWindo, and fonts, for use with TeX mostly, in + fully hinted Adobe Type 1 format. + + Y&Y, Inc., 45 Walden Street, Concord MA 01742 USA + + (800) 742-4059 + + (508) 371-3286 (voice) + + (508) 371-2004 (fax) + + Mac Screen fonts can be constructed from outline fonts using + Fontographer, as well. + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_NeXT_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_NeXT_Info new file mode 100644 index 0000000000..e59e68039f --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_NeXT_Info @@ -0,0 +1,538 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: NeXT Info +Supersedes: <font-faq-12_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:12 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 515 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-12_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48309 comp.answers:20523 news.answers:79244 + +Archive-name: fonts-faq/part12 +Version: 2.1.5 + +Subject: 7. NeXT Information + + If you have any suggestions for this section, please forward your + suggestions to norm. + +Subject: 7.1. Tell me about NeXTstep fonts + + NeXTstep fonts are Adobe Type 1 fonts stored in ASCII (PFA) format. + There are several rules about how fonts must be installed before they + work. + + I'd like to thank Henry for rewriting this section. + + Basic Format + ============ + + NeXTstep fonts live in one of three folders: + + /NextLibrary/Fonts + Contains system fonts. In general, you will not install any + new fonts here. + + /LocalLibrary/Fonts + Contains fonts which are accessible to every user on a system + or a network. + + ~/Library/Fonts + (where ~ is your home folder) means fonts which are private to + a specific user. + + A NeXTstep font is actually a folder containing various components of + the font. Components are: + + * the outline font file - REQUIRED + + * the font metrics (AFM) file - REQUIRED + + * one or more screen font (bitmap) files - OPTIONAL + + Font Folder and Font Filename Requirements + ========================================== + + The name of the folder containing a font and the name of the font file + itself must follow strict rules - the names can NOT be any old name you + like. For a font to work correctly, the base folder and font filename + MUST BE THE SAME as the name of the outline font. This is usually the + same as the value of the FontName field in the AFM file or the value of + the /FontName key in the actual font itself. Suppose you have a font + called Headhunter. The Headhunter font must live within a folder called + + Headhunter.font + + within one of the three folders mentioned above. Within the + Headhunter.font folder, you must have the two files + + Headhunter ( the outline file ) + Headhunter.afm ( the AFM file ) + + If you have a bitmap file for Headhunter, it must live in a file + + Headhunter.bepf ( the bitmap file ) + + Variations such as Bold, Italic, etc., should be their own font files + in their own folder. So if you have a font called Headhunter-Bold, you + need to create a folder called + + Headhunter-Bold.font + + within one of the three folders mentioned above. Within the + Headhunter.font folder, you must have the two files + + Headhunter-Bold ( the outline file ) + Headhunter-Bold.afm ( the AFM file ) + + If you have a bitmap file for Headhunter, it must live in a file + + Headhunter-Bold.bepf ( the bitmap file ) + + For NeXTstep 1.0 ONLY, you also need to take the following steps: + ----------------------------------------------------------------- + + * If they do not already exist, create the following folders: + + * ~/Library/Fonts/outline + + * ~/Library/Fonts/afm + + * ~/Library/Fonts/bitmap + + * In each of these folders, create a symbolic link to the + corresponding component file in each font. + + For NeXTstep 2.0 and up: + ------------------------ + + The font description is taken from the font folder itself, so you don't + need to do this. It may be beneficial to simply create these folders + and put nothing in them, but I'm not sure it matters. + + Certain "old" applications which haven't upgraded to the NeXTstep 2.0 + scheme of fonts may depend on these folders being present. + + The last step is to get the system to recognize the new font(s). You + may have noticed the existence of three files in the Fonts folder: + .fontdirectory, .fontlist, and .afmcache. These are files the system + looks at to see which fonts exist. + + The easiest way to update them is to simply start up an application and + open the font panel. It should recognize that the update time stamp on + the Fonts folder has changed, and update the files accordingly. It is + probably a good idea to simply delete the three above files beforehand. + + You should get a message window saying "incorporating information on + new fonts. Please wait (this may take xx seconds)". Your new fonts + should be available now. + + If this does not work, you can update them manually. Open up a Terminal + shell and go to your Fonts folder. At the prompt, type two commands: + + buildafmdir + cacheAFMData afm (the parameter is the <afm dir>) + + The new fonts will not work if the cacheAFMData command is not run, and + since it is an undocumented command, it is a common culprit. + + [ed: the cacheAFMData step may not be required in 3.0 OS] + + I believe this is true. Looks like the PasteBoard Services runs + cacheAFMData in 3.0. + + You should now be able to see and preview your fonts in the font panel. + + If you are still having problems with your font, such as the << + Unusable font >> message, consult NeXTAnswers. There are some useful + suggestions for debugging faulty fonts there. It is also always + helpful to look at existing fonts to see how they are installed. + + One note on the NeXTAnswers. Supposedly there are only a few discrete + values which are allowed to appear in the weight field of the font: + "Ultra Light", "Thin", "Light", "Extra Light", "Book", "Regular", + "Plain", "Roman", "Medium", "Demi", "Demi-Bold", "Semi-Bold", "Bold", + "Extra Bold", "Heavy", "Heavyface", "Black", "Ultra", "UltraBlack", + "Fat", "ExtraBlack", and "Obese". However, I have a few fonts where + this is not the case ("standard" is a common entry) and have had no + problems as of yet. But it would probably be wiser to be on the safe + side. + + See below for a definitive list. + + This is Info file compfont.info, produced by Makeinfo-1.55 from the + input file FAQ.texinfo. + +Subject: 7.2. Tell me more about NeXTstep fonts + + Outline files should be in PFA or hexadecimal ASCII format. The font + name should be taken either from the outline (font) file or the AFM + file. In both case the name is given after the word "FontName" at the + beginning of the file) + + As a matter of fact, fonts don't strictly HAVE to be in all hexadecimal + ASCII format. The eexec portion of the font can be in binary if you + wish, and in fact some Mac->NeXTstep or PFB->NeXTstep font converters + simply strip off the Mac/PFB storage format headers and leave the + binary sections as binary. + + However, if you wish to send such a font across a serial channel to a + PostScript printer, you will need some way to unpack the binary eexec + portion to seven-bit ASCII before sending the font. + + Converted Fonts After Conversion + -------------------------------- + + After conversion they are just like any other freeware or shareware + font that you can get in NeXTstep-format from the archives. That's just + outline and AFM files but no bitmapped screen fonts. So small point + size means poor resolution on screen but they most of should print OK + if they are any good ( = usually made with Fontographer). + + About Conversion Utilities + -------------------------- + + NeXTstep utilities + .................. + + * unfont + + You can find a package, named something like + pcATMfont2NeXT.tar.Z, from NeXT archives (cs.orst.edu) + that converts PC fonts to NeXT format (PFB -> PFA). + + The most useful tool for me has been "unfont" which + converts the .pfb (binary outline) font to ASCII outline + font. + + I usually use it like this + + $ unfont new_font.pfb >NewFont + + If the conversion was successful all I have to after that is + maybe to rename the font correctly and move the outline file + in the correct .font folder. + + * Opener.app + + Opener seems to be a very useful application since it can + open several kinds file packages on NeXTstep that are + common on other platforms. E.g. ".sit", ".hqx", ".zoo", + ".zip", ".z", etc. + + I haven't used it a lot but looks very promising. + + * T1utils-1.1 + + This is collection of command-line programs that manipulate + PS Type 1 fonts and one of them can also do the PFB->PFA + conversion (t1ascii?). + + Basic unarchiving of Mac and PC files. + + On your Unix machine: + + xbin + Converts .hqx to: + .data + Rename and transfer to PC (or use opener.app on NeXT?) + + .info + Discard + + .rsrc + Discard + + unzip + Converts .zip to: + .inf + Discard + + .wfn + Discard + + .pfm + Discard (unless it can generate a better AFM file) + + everything else + Transfer to NeXT On a PC: + + xbin + Converts .hqx to: + .data + Rename and transfer to PC (or use opener.app on NeXT?) + + .info + Discard + + .rsrc + Discard + + extract -f ... + Converts .cpt to: + file with no extension + This is usually the outline font. Refont and transfer to + NeXT. + + .afm + Transfer to NeXT. + + .pfm + Discard (unless it can generate a better AFM file) + + .bma + Discard if you have an AFM file. + + unsit30 -eb ... + Converts .sit to: + file with no extension + This is usually the outline font. Refont and transfer to + NeXT. + + .afm + Transfer to NeXT. + + .pfm + Discard (unless it can generate a better AFM file) + + .bma + Discard if you have an AFM file. + + refont + Converts outline formats from Mac to NeXT format (PFA). + + pkunzip + Converts .zip to: + .inf + Discard + + .wfn + Discard + + .pfm + Discard (unless it can generate a better AFM file) + + everything else + Transfer to NeXT On a NeXT + + Opener.app + Converts archive formats (.sit, .hqx, .zip) to NeXT format. + + unfont + Converts PFB files to NeXT format. + + afm + Converts AFM files to NeXT format AFM files (CR/LF hackery) + + Installation + ------------ + + There are scripts (installfont) available that can handle the + installation process but here is how you do it manually. + + * .font + + After all that you have to create the .font folder, move the + outline and .afm files there and start fighting with the strangely + formatted .afm file. The most common problems are font name + mismatch between outline and AFM files (family name is incorrect + or too long, etc) and missing fields (ex. no ItalicAngle entry) in + the AFM file. + + * buildafmdir AND cacheAFMData + + buildafmdir puts its complains to Console but cacheAFMData put + them on stdout or stderr (ie. Terminal Window). + + PARSE ERRORS ----------- "Parse error 10000011 ..." comes from + mismatch between of CharMetrics declared in the .afm and actually + found. I haven't been able to figure out the other strange parse + errors. + + buildafmdir in the 3.0 release has the limitation of not being + able to install more that 255 fonts in any one font folder. This + is supposed to be fixed in 3.1. + + * The Dreaded <<Unusable Font>> Message + + <<Unusable Font>> appears in the font panel when you have run + buildafmdir and it finds things it thinks are wrong with the AFM + file. Errors can also be generated by parsing routines inside the + PasteBoard Services. + + <<Unusable Font>> almost NEVER has anything to do with the font + itself, since buildafmdir doesn't actually look inside the font. + Errors in the font due to faulty conversion will likely show up at + the time the PostScript server actually attempts to define the + font or render characters from the font. + + The only error I have ever seen from a converted font was the + results of a naive Macintosh to PFA converter, which didn't + understand that the POST resources in a Macintosh format Type 1 + font do not have to be in order, nor do the POST resources all + have to be contiguous - they can be interspersed with other + resources. The results were that a comment resource ended up in + the middle of the eexec section of the font and the PostScript + interpreter threw out lots of errors. + + <<Unusable Font>> almost ALWAYS occurs because there is something + wrong with the AFM file you installed. Here is a partial list of + problems that can occur with AFM files: + + * Carriage-return characters (^M) at ends of lines. + + This happens when you get incomplete translations from PC + files, which use carriage-return-line-feed combinations at + ends of lines. + + Solution: edit away the carriage returns. Make sure the + lines are terminated only by line-feed characters. + + * Spaces or tabs at ends of lines. + + Fixed in NeXTstep 3.1. + + * Missing fields. + + NeXTstep DEMANDS that certain fields be present in the AFM + file. Required fields are: FontName, FullName, FamilyName, + Weight, EncodingScheme, and ItalicAngle. If any of these + fields are missing, you will get the <<Unusable Font>> + message. + + Solution: fill in the required fields. + + * Incorrect Weight field. + + buildafmdir accepts only a certain set of values for the + Weight field. Acceptable values are: "Ultra Light", "Thin", + "Light", "Extra Light", "Book", "Regular", "Plain", "Roman", + "Medium", "Demi", "Demi-Bold", "Semi-Bold", "Bold", "Extra + Bold", "Heavy", "Heavyface", "Black", "Ultra", "UltraBlack", + "Fat", "ExtraBlack", and "Obese". + + * Character information count mismatches. + + AFM files contain several sets of information which are + introduced by a "Startxxxxx nnn" line where the xxxxx is the + name of the section (such as StartCharMetrics) and nnn is the + purported number of lines of information of this type to + follow. Sad to say, many many AFM files supplied by vendors + and others are such that the actual number of lines of data + do not match the number stated on the Startxxxxx line. When + this error occurs in the AFM file, buildafmdir emits a Parse + Error message to the console and the font will be marked + unusable. The parse error messages from buildafmdir is of + the form: + + Parse error nnnnnnnn xx yy + + where nnnnnnnn is the error number, xx is the number of lines + of information claimed to exist, and yy is the number of + lines actually read. The nnnnnnnn are are: + + 10000011 mismatch in the StartCharMetrics section + 10000012 mismatch in the StartTrackKern section + 10000013 mismatch in the StartKernPairs section + 10000014 mismatch in the StartComposites section + 10000015 mismatch in a composite character specification + + I have converted many fonts from the Berkeley Macintosh User + Group CD ROM and fully half of the supplied AFM files are + incorrect. + + * Other AFM file errors. + + Parse error numbers 10000001 through 10000010 means some kinds of + syntax errors in the AFM data file. Any of these errors mean that + the AFM file is truly hosed. + +Subject: 7.3. Porting fonts to the NeXT + + Porting PC/Unix Type 1 Fonts + ============================ + + You must have the .pfb and .afm files + + A PC Adobe font is stored in binary format, so the first step is to + convert it to ascii. + + There are a couple of utilities out there which can do this. I think + t1utils can do it, and there is a nice utility called pcATMfont2Next + which has a couple of tools to do this (unfont and pfb2ps). Look for + the file pcATMfont2Next.tar.Z; it is available on many ftp sites. + + Also, since NeXTstep run on Unix, there is the customary problem of + converting the CRs (carriage returns) that PCs use to the LFs + (Linefeeds) that Unix uses. The easiest way to do this is to use tr to + delete the octal for the CR character from both the .afm and outline + file. The command to do this is: + + tr -d '\015' < inputfile > outputfile + + The unfont program will do this automatically when it converts the .pfb + file, but pfb2ps does not. I'm not sure if t1utils' utility does or not. + + Once you have the outline file, you can go ahead and install it by the + process outlined above. + + Otto J. Makela (otto@jyu.fi) posted a terrific cshell script to + comp.fonts, which automates just about everything for you. It converts + the .pfb to ASCII format, extracts the name from the FontName field, + creates the font folder, copies in the component files with the correct + name, and runs buildafmdir and cacheAFMData when done. A newer version + of this script is now available from the standard NeXT step archives + (Sonata, etc.). + + Porting Mac Type 1 Fonts + ======================== + + A variety of programs and scripts exist to convert Macintosh format + Type 1 fonts to UNIX format. Their ability to do a complete job + varies. Common traps which naive font converters fall into are: + + * not dealing with Macintosh POST which are out of order. + + * not dealing with Macintosh POST which are interspersed with other + resources. + + * not dealing at all with POST Type 4 resources where the font + program starts in resource fork of the file but the remainder of + the data is in the data fork. + + Most naive converters we've looked at have this problem. This + means that most Type 3 fonts won't convert at all. + + * not dealing with MacBinary headers. + +Subject: 7.4. Font availability + + [ The archive site at sonata.purdue.edu seems to have disappeared. ] + +Subject: 7.5. Why can I only install 256 fonts on my NeXT? + + Included to NS3.0 there's a new 'buildafm'-routine (for non-NeXTers: + 'buildafm' is a shell script which announces a new font to the + computer) at /usr/bin/buildafmdir. The new one only allows to install + about 256 fonts. Running the new 'buildafmdir' to install a new font + surpresses every font above this number. Workaround: Re-install the + 'old buildafmdir' from NS2.1 at /usr/bin/buildafmdir and everything + should be fine! + + (thanks to: Rob Parkhill and d'Art Computers/Germany d'art) + + [ed: and my thanks to Borris Balzer for sending this to me] + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_OS_2_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_OS_2_Info new file mode 100644 index 0000000000..745535ca00 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_OS_2_Info @@ -0,0 +1,420 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: OS/2 Info +Supersedes: <font-faq-9_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:34:55 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 397 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-9_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48305 comp.answers:20519 news.answers:79240 + +Archive-name: fonts-faq/part9 +Version: 2.1.5 + +Subject: 4. OS/2 Information + + [ed: Except as otherwise noted, the entire OS/2 section of the + comp.fonts FAQ List is derived from the "Draft OS/2 Font FAQ" posted by + David J. Birnbaum.] + + This section if the FAQ is Copyright (C) 1993 by David J. Birnbaum. + All Rights Reserved. Reproduced here by permission. + + [ed: Since this section of the FAQ is wholly derived from David's + document, some sections contain information repeated elsewhere in the + comp.fonts FAQ.] + + David Birnbaum's Introduction + ============================= + + 4 June 1993 + + A couple of weeks ago I posted an inquiry to comp.fonts, + comp.os.os2.misc, and the OS2-L ListServ concerning some apparent + peculiarities in the way OS/2 handles font files. These "peculiarities" + actually reflect regular, systematic differences in OS/2, Windows, and + DOS font handling, which are not conveniently described in end-user + documentation. This posting is intended to spare others some of the + confusion I encountered as a result of this paradigm shift. + + This is the first (draft) distribution of this document and corrections + and suggestions are welcome. I am grateful to Henry Churchyard, Marc L. + Cohen, Bur Davis and Kamal Mansour for helpful discussions; they are + not, of course, responsible for any misinterpretation I may have + inflicted on their comments. + +Subject: 4.1. Preliminaries + + Character: an informational unit consisting of a value (usually a byte) + and roughly corresponding to what we think of as letters, numbers, + punctuation, etc. + + Glyph: a presentational unit corresponding roughly to what we think of + as letters, numbers, punctuation, etc. + + Character vs glyph: Glyph and character are not necessarily the same; + the character <a> may be mapped to a Times Roman Lower Case <a> glyph + in one font and to a Helvetica Lower Case <a> glyph in another font. + Change of glyphs normally means a change in style of presentation, + while change in characters normally means a change in information. + There are gray areas and the definitions provided above are general, + approximate, and imprecise. + + Character set: an inventory of characters with certain assigned values. + ASCII is a 7-bit character set that specifies which "character cell" + (byte value) corresponds to which informational unit. + + Code Page: essentially synonymous with character set. + + Font: A collection of glyphs. A specific font may be isomorphic with a + specific character set, containing only glyphs corresponding to + characters in that set, with these glyphs mapped to the same byte + values as the characters they are intended to represent. PostScript + fonts often contain additional (unmapped) characters. Most importantly, + PostScript fonts may sometimes be remapped by an operating environment, + which is what leads to the disorienting cross-environment mismatch that + spurred my original posting. + + Fonts may be bitmapped or outline in format; a bitmapped format + corresponds to a particular size and weight for a particular device or + device resolution, while a single outline font is used to generate + multiple sizes as needed. Within an outline font system, different + weights (bold, semibold, italic, etc.) may be encoded as separate font + resources (separate outline files used to generate the glyphs) or may + all be generated from a single outline (slanting characters to make + "italics," fattening them for "bold," etc.). + +Subject: 4.2. Fonts under DOS + + I used a large assortment of fonts under DOS for intricate multilingual + work. My setup at that time consisted of a library of bitmapped fonts + that could be sent to my HP LaserJet II printer, as well as a set of + fixed-size, fixed-width screen fonts that were supported by my Hercules + Graphics Card Plus (not the same as Hercules Graphics; the "Plus" + included an ability to store 3072 screen glyphs and display any of + these together, while standard character-mode displays were normally + limited to 256 or 512 such entities). + + Using XyWrite as a word processor, I would enter a "Mode" command to + change fonts and character sets simultaneously; this would make + different sets of screen glyphs available at the keyboard and would + insert a font-change command for my printer into the text stream. The + "Mode" and font-change commands were not displayed on the screen. The + result was not WYSIWYG, since I was limited to fixed-width screen + display and since I had far more printer glyphs available than the 3072 + limit imposed by my video card; I used a brightness attribute to + indicate bold, I used the same screen font for different sizes of + printer fonts, etc. This worked and worked well, in that I could see + (for example) Russian, Greek, English, Polish, and other characters + simultaneously on the screen and I could print documents combining them. + + Architecturally, what was going on was that the character sets (code + pages) and fonts were entirely isomorphic and were hard- coded. If I + put a particular Russian letter into cell 246 of my screen and printer + fonts, that character was always there, and any strategy that would let + me access this cell (remapped keyboards, numeric keypad) was guaranteed + always to find the same character. + +Subject: 4.3. Windows + + I recently began using PostScript fonts in Windows with AmiPro as my + word processor. These fonts came with printed cards indicating the + glyph mappings; I could look at the card and it would tell me that a + specific character lived in cell 246, and if I entered Alt-0246 at the + numeric keypad that glyph would appear on the screen. If I loaded the + font into Fontographer for Windows, these glyphs would be arrayed in + cells according to the map provided by Adobe with the fonts. + Fontographer also revealed that these fonts had other, "unmapped" + glyphs assigned to cells above 255. + + Given what appeared to be a hard correspondence among what I saw in + Fontographer, what was printed in Adobe's maps, and what was displayed + when I entered something at the keyboard, I naively assumed that + PostScript fonts were operating much like my bitmapped fonts under DOS. + There were some obvious differences, the primary one being that glyphs + of different sizes were all drawn from the same font resource files + under PostScript, but it appeared as if a glyph lived in a certain cell. + +Subject: 4.4. Differences between Windows and OS/2 + + This assumption was incorrect; PostScript fonts can be subdivided into + two types, one of which observes hard and invariant encodings similar + to those that apply to my bitmapped fonts, while the other represents a + completely different font mapping strategy. This difference became + apparent only when I attempted to share PostScript fonts between + Windows and OS/2 and got some unexpected results. + + A PostScript font under Windows involves two files, a PFB (PostScript + Font Binary) file, which contains the PostScript instructions needed to + draw each glyph and some mapping information, and a PFM (Printer Font + Metrics) file, which encodes width and kerning information. A + PostScript font under OS/2 also uses the same PFB file, but instead of + the PFM file it uses an AFM (Adobe Font Metrics) file. The AFM and PFM + files contain much of the same basic information (although the AFM file + is somewhat more complete); the most important differences are in + format (AFM is plain text, PFM is binary) and use (OS/2 uses AFM, + Windows uses PFM). + +Subject: 4.5. Installation under Windows and Win-OS/2 + + The OS/2 2.0 Font Palette tool (see below for changes to be introduced + with 2.1) by default installs fonts (both PFB and AFM files) into the + "\os2\dll" directory. Win-OS/2 by default installs PFB files into + "\psfonts" and PFM files into "\psfonts\pfm". These defaults can be + changed; since OS/2 and Win-OS/2 use the same PFB files, the user can + save disk space by allowing these to be shared (through installing into + the same directory, e.g., install OS/2 fonts into the "\psfonts" + directory instead of "\os2\dll".) Note that fonts must be intalled and + removed through the Font Palette; if you copy, move, or delete a font + file without using the Font Palette, the system configuration files are + not updated and all hell breaks loose. + + Deleting fonts from Win-OS/2 causes the system to update the win.ini + file to remove references to the font, but does not delete any files + physically. Deleting fonts from the OS/2 Font Palette updates the + os2.ini configuration file and physically deletes the AFM and PFB files + from the disk. This means that if you are sharing PFB files between + OS/2 and Win-OS/2, you can delete a Win-OS/2 font without hurting + native OS/2 operations, since the PFB reamins installed where OS/2 + thinks it is. But if you delete an OS/2 font using the Font Palette, + the PFB file is erased from the disk even though the win.ini file is + not updated, so that Win-OS/2 thinks it is still there. + +Subject: 4.6. FontSpecific PostScript Encoding + + Every PFB file contains an "encoding vector"; this is a plain text line + embedded near the head of the PFB file. Encoding vectors are of two + types: AdobeStandardEncoding and everything else. Adobe usually uses + the label "FontSpecific" for fonts that are not encoded according to + AdobeStandardEncoding, and I use it as a cover term here for any such + font. + + If you look at the readable plain text information at the head of a + FontSpecific type font, it includes a range of text that begins: + + /Encoding 256 array + + followed by a bunch of lines, each of which includes a number (which + corresponds to a cell in the font layout) and the name of the glyph + that lives in that cell. The unreadable binary data below this array + specification lists the name of each glyph and the PostScript + instructions for how the glyph is to be drawn. There may be PostScript + code for drawing glyphs that are not included in the mapping array, but + only glyphs mentioned in the array specification are available to + applications. + + FontSpecific type fonts are comparable to the bitmapped fonts I used + under DOS. Each character physically is assigned to a specific cell + within the font file and operating environments are not allowed to + remap these. The glyph in cell 246 will be the same in both Windows and + OS/2. + +Subject: 4.7. AdobeStandardEncoding + + AdobeStandardEncoding is a specific mapping of certain glyphs to + certain cells; in this respect it resembles FontSpecific encoding. + Because it is standardized, the array is not spelled out in the PFB + file; the line + + /Encoding StandardEncoding def + + tells Adobe Type Manager (ATM, either the Windows and Win-OS/2 version + or the native OS/2 version) that the encoding is "standard," and the + environments are expected to know what this standard is without having + the array spelled out in each font file. + + Although AdobeStandardEncoding is a real mapping, there is an + importance difference between it and various FontSpecific mappings: + operating environments are expected to remap AdobeStandardEncoding + fonts according to their own requirements. That is, although + AdobeStandardEncoding does assign glyphs to cells, no operating + environment actually uses these assignments and any environment remaps + the glyphs before rendering them. Confusion arises because Windows and + OS/2 remap such fonts in different ways. + +Subject: 4.8. AdobeStandardEncoding under Windows (and Win-OS/2) + + An AdobeStandardEncoding font under Windows is remapped according to a + character map (code page) that MicroSoft calls Windows ANSI (can other + code pages be installed in Windows?). This determines which character + resides in which cell and the font is remapped so that glyphs and + characters will correspond. Since Fontographer for Windows is a Windows + application, it displays glyphs not in the cells in which they live + according to AdobeStandardEncoding, but in the cells to which they get + reassigned under the remapping to Windows ANSI. There is nothing + explicit in the PFB file that associates these characters with the + specific cells in which they appear under Windows. + +Subject: 4.9. AdobeStandardEncoding under OS/2 + + OS/2 operates within a set of supported code pages; two system- wide + code pages are specified in the config.sys file and an application is + allowed to switch the active code page to any supported code page (not + just these two). DeScribe, for example, currently operates in code page + (CP) 850, which includes most letters needed for western European Latin + alphabet writing. CP 850 does not contain typographic quotes, en- and + em-dashes, and other useful characters. It does contain the IBM + "pseudographics," which are useful for drawing boxes and lines with + monospaced fonts. + + When the user inputs a value (through the regular keyboard or the + numeric keypad), the application checks the active CP, looks up in an + internal table the name of the character that lives in that cell within + that CP, and translates it into a unique number that corresponds to one + of the 383 glyphs supported by OS/2 (the union of all supported code + pages). This number is passed to PM-ATM (the OS/2 ATM implementation), + which translate the glyph number into the glyph name that PostScript + fonts expect and searches the font for that name. The system never + looks at where a glyph is assigned under the AdobeStandardEncoding + array; rather, it scans the font looking for the character by name and + gives it an assignment derived from the active code page. This is the + remapping that OS/2 performs on AdobeStandardEncoding type fonts. + + As a result, a situation arises where, for example, <o+diaeresis> is + mapped to cell 246 under Windows ANSI but to cell 148 under CP 850. + Using the identical PFB file, this glyph is accessed differently in the + two operating environments. + +Subject: 4.10. Consequences for OS/2 users + + If your font has a FontSpecific encoding, there are no unexpected + consequences; the same glyphs will show up at the same locations in + both Windows (Win-OS/2) and native OS/2. Regardless of what the active + code page is, if the font has a FontSpecific encoding OS/2 goes by cell + value; a specific glyph is hard-coded to a specific cell and OS/2 will + give you whatever it finds there, even if what it finds disagrees with + what the active code page would normally predict. In other words, + FontSpecific encoding means "ignore the mapping of the active code page + and rely on the mapping hard-coded into the font instead." + + If your font has an AdobeStandardEncoding encoding, the following + details obtain: + + 1) The same PFB file may have glyphs that are accessible in one + environment but not another. For example, if DeScribe thinks it is + operating in CP 850, there is no access to typographic quotes, even if + those do occur in the PFB file and even if Windows can find them in the + same exact font file. DeScribe could switch code pages, but if the + application isn't set up to do so (and DeScribe currently isn't), those + characters are absolutely inaccessible to the user. + + 2) If the active code page includes a character that isn't present in + the font, OS/2 has to improvise. For example, AdobeStandardEncoding + fonts do not normally include the IBM pseudographics, yet the user who + inputs the character value for one of these sends the system off to + look for it. As described above, OS/2 first checks the active font for + the glyph name that corresponds to that character and, if it finds it, + displays it. If the glyph isn't found, OS/2 looks to the system Symbol + font. This is not reported back to the user in DeScribe; if I have + Adobe Minion active (AdobeStandardEncoding, no information anywhere in + the font files for pseudographics) and input a pseudographic character, + DeScribe tells me it is still using Adobe Minion, even though it has + fetched the character it displays and prints from the Symbol font, a + different font resource file. + +Subject: 4.11. Advice to the user + + OS/2's code page orientation provides some advantages, in that it + separates the character set (code page) mapping from the encoded font + mapping. The main inconvenience isn't a loss of function, but a + disorientation as users become accustomed to the new paradigm. + + If you need a glyph that you know is in your PFB file but that isn't in + the active code page (and if you can't change code pages within your + application), you can't get at it in OS/2 without tampering with the + font files. To tamper, you can use font manipulation tools to + redesignate the PFB file as FontSpecific ("Symbol" character set to + Fontographer). If you then map the glyphs you need into one of the + lower 256 cells (with some limitations), they will be accessible in all + environments. The Fontographer manual does not explain what the + "Symbol" character encoding label really does, it just tells you not to + use it except for real symbol fonts. In fact you should use it for any + font that will not correspond in inventory to the code page supported + by your application, which means any non-Latin fonts. + + You do not have to recode all your fonts, and you wouldn't normally + want to do so, since Fontographer hinting is not nearly as good as + Adobe's own hand-tuning and regenerating a font regenerates the hints. + All you have to do is make sure you have one FontSpecific type font + installed that includes your typographic quotes, etc. for each typeface + you need. Within DeScribe, you can then write a macro that will let you + switch fonts, fetch a character, and switch back, thereby allowing you + to augment any group of fonts with a single, shared set of typographic + quotes (or whatever) that you put in a single FontSpecific font. + Alternatively, OS/2 also supports CP 1004, which does contain + typographic quotes and other characters used for high-quality + typography, but the user may not be able to convince an application to + invoke this code page if it was not designed to do so. + + You can have any number of FontSpecific fonts installed, which means + that there is a mechanism for dealing with unsupported character sets + (code pages). + + You can also tinker with the font files to try to trick the operating + system. For example, using Fontographer or other utilities, you can + change the name assigned to a glyph description within the PFB file. If + you want to use AdobeStandardEncoding and you want to see a specific + glyph at a specific cell when DeScribe thinks it's using CP 850, you + have to make sure that the name assigned to the description of that + glyph is what DeScribe expects to find. OS/2 doesn't care whether, say, + <o+diaeresis> really looks like <o> with two dots over it, as long as + it bears the right name. + + This second approach is obviously far more complex and provides much + more opportunity for error. Its advantage is that OS/2 does not support + case conversion and sorting (other than in machine order) for + unsupported code pages, since these operations depend on character + names. Keeping supported names from supported code pages while changing + the artwork is one way to maintain order and case correspondences while + increasing the range of glyphs actually supported. I have not + experimented with this approach, since the use I would get out of the + adding functionality (over the FontSpecific encoding approach) is not + worth the amount of effort required. + +Subject: 4.12. OS/2 2.1 and beyond + + OS/2 2.1 will change some aspects of font handling. First, OS/2 2.0 + GA+SP has a bug that can cause OS/2 to crash when an AFM file with more + than 512 kern pairs is read. This is fixed in 2.1. (This bug is + separate from a design limitation in MicroSoft Windows that causes + large kern tables to be read incorrectly. This problem is still under + investigation; watch this space for a report.) + + Fonts in 2.1 will be installed by default into the "\psfonts" directory, + so that they will normally be shared with Win-OS/2 fonts. (The user will + still be able to specify a directory; all that will change is the + default). The user will also be able to instruct the Font Palette not to + delete font files when fonts are uninstalled, so as to avoid clobbering + a Win-OS/2 font by removing it from native OS/2 use through the Font + Palette (although the default will still be to delete the physical font + files). + + OS/2 will stop using AFM files and will replace these with OFM files, a + binary metrics file (different from PFM) that OS/2 will compile from + the AFM file during font installation. This will speed font loading, + since the system will not have to parse a plain text metrics file. + Additionally, the OS/2 PostScript printer driver used to install its + own, large font files, but will now use the OFM and PFB files, thereby + saving 50k-200k of disk space per installed font outline. + + IBM's long-term goal is to replace the 383-entity inventory of + supported glyphs with Unicode. This is very much a long-term goal and + there is not even a hint of when it might become available. It has its + own problems, stemming from the fact that Unicode is essentially a + character standard and glyph and character inventories may differ is + assorted ways, but it will be a significant step in the proverbial + right direction. + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_Sun_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Sun_Info new file mode 100644 index 0000000000..dc39d65580 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Sun_Info @@ -0,0 +1,176 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: Sun Info +Supersedes: <font-faq-11_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:06 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 153 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-11_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48307 comp.answers:20521 news.answers:79242 + +Archive-name: fonts-faq/part11 +Version: 2.1.5 + +Subject: 6. Sun Information + + Someone mailed a file of Sun-related font tips. Unfortunately, I cannot + find the file. If you have any suggestion for this section (or if you + are the person that mailed me the other list), please forward your + suggestions to norm. + + [ Note: much of this information is obsolete, based on the + SunOS4/Solaris2.1 server. The Solaris 2.3 and later servers are based + on the standard X11R5 server but with Display PostScript added, so you + can do Type 1 in the "normal" way (fontdir+mkpsres) ] + +Subject: 6.1. Fonts Under Open Windows + + The following information regarding fonts under Open Windows was donated + by Liam R.E. Quin from the Open Windows FAQ. + +Subject: 6.1.1. Does OpenWindows support Type 1 PostScript fonts? + + Type 1 fonts are supported starting with the NeWSprint 2.0 and Solaris + 2.0 (OpenWindows 3.0.1) releases. + + There are also 57 F3 format fonts supplied with OpenWindows which are + fully hinted. Documentation on the F3 font format and the F3 font + interpreter, TypeScaler, is available from Sun. + +Subject: 6.1.2. Improving font rendering time + + Although the Sun type renderer (TypeScaler) is pretty fast, it's not as + fast as loading a bitmap. You can pre-generate bitmap fonts for sizes + that you use a lot, and you can also alter and access the font cache + parameters. If you have a lot of memory you might want to increase + the font cache size. + + $ psh -i + Welcome to X11/NeWS Version3 <--- psh will say this at you + currentfontmem = % type this line ... + 300 % ... my server was using 300 Kbytes + 1024 setfontmem + % Just to check: + currentfontmem = + 1024 + + See pp. 328ff of the NeWS 3.0 Programmer's Guide. You need to say psh + -i so that the PostScript packages are loaded - see the psh man page. + + You could also add the following line to your $HOME/.openwin-init file + to perform this task every time you start OpenWindows: + + echo 1024 setfontmem | psh -i > /dev/null 1>&2 + +Subject: 6.1.3. Making bitmap fonts for faster startup + + Sun supports the F3 scalable outline format. These descriptions are + stored in .f3b files. The makeafb program is used to create a bitmap + font at a particular size which is stored in a .afb file, which is an + Adobe ASCII format for font bitmaps. X11/NeWS really prefers a binary + format though for speed and other reasons, so convertfont is used to + "compile" the font into a font binary or .fb file. + + Once this is done, X11/NeWS needs to understand the relationship between + the .f3b file and all the bitmaps which are based on it. Thus, the + bldfamily program makes these correlations and stores the data in the + font family or .ff file. + + bldfamily also builds a global list of all fonts stored in the working + directory, writing the results out to the file Families.list. If one + wishes to create font aliases, these can be added to the Synonyms.list + file by hand and bldfamily will then add them to Families.list for you. + X11/NeWS uses Families.list to construct the font list it advertises + to applications. + + To go from F3 to BDF, use makeafb to generate a bitmap font in .afb + format. Then use one of convertfont's many options to change to this + to .bdf format and from there it should be clear. + + $ mkdir $HOME/myfonts + $ cd $HOME/myfonts + $ makeafb -20 -M $OPENWINHOME/lib/fonts/Bembo.f3b + Creating Bembo20.afb + $ convertfont -b Bembo20.afb + Bembo20.afb->./Bembo20.fb + Chars parameter greater than number of characters supplied. + $ ls + Bembo20.afb Bembo20.fb Synonyms.list + $ bldfamily + * Bembo ./Bembo.ff (Encoding: latin) + cat: ./Compat.list: No such file or directory + $ xset +fp `pwd` + $ xset fp rehash + + If you want the server to see your new font directory every time, add + this directory to your FONTPATH environment variable in one of your + start-up files, e.g. .login or .profile. + +Subject: 6.1.4. Converting between font formats (convertfont, etc.) + + You can also use F3 fonts with an X11 server, by converting them to a + bitmap (X11 bdf format) first. Your license restricts use of these + fonts on another machine, and unless you have NeWSPrint you shouldn't + use them for printing. Having said all that... you can use makeafb + and convertfont to generate bdf files that you can compile with + bdftosnf or bdftopcf. + + Use mftobdf (from the SeeTeX distribution) to convert TeX PK fonts to + X11 BDF format, which you can then use with either X11 or OpenWindows. + +Subject: 6.1.5. Xview/OLIT fonts at 100 dpi + + There aren't any. More precisely, the various text fonts, such as + Lucida Typewriter Sans, are available at 100 dpi, and in fact are + scalable under OpenWindows. The glyph fonts used to be bitmaps, which + don't scale very well, but starting with OpenWindows 3.2, the OpenLook + UI glyph fonts are provided in scalable format as well. + +Subject: 6.2. Where can I order F3 fonts for NeWSprint and OpenWindows? + + 600 F3 fonts are available for unlocking from Printer's Palette, a CD + available with NeWSprint 2.0. + + In addition, F3 fonts are available from the following sources: + + Linotype AG Linotype Company + Mergenthaler Allee 55-75 425 Oser Avenue + 6236 Eschborn Germany Hauppague, NY 11788 + 49/(61 96) 4031 (800) 336-0045 + FAX 011/49/6196-982185 FAX 516-434-2055 + attn: F3 Font Production attn: F3 Font Production + + Monotype Plc. Monotype Typography + Salfords Redhill RH1 5JP 53 W. Jackson Boulevard Suite 504 + England Chicago, IL 60604 + 44/(737) 765959 (800) 666-6893 + FAX 011/44/737-769243 FAX (312) 939-0378 + attn: F3 Font Production attn: F3 Font Production + + U R W U R W + Harksheider Strasse 102 One Tara Boulevard Suite 210 + D2000 Hamburg Germany Nashua, NH 03062 + 49/(40) 606050 (603) 882-7445 + 49/(40) 60605148 (603) 882-7210 + attn: F3 Font Production attn: F3 Font Production + + Bigelow & Holmes Autologic + P. O. Box 1299 1050 Rancho Conejo Boulevard + Menlo Park, CA 94026 Newbury Park, CA 91320 + 415/326-8973 (800)235-1843, or (805)498-9611 in CA + FAX (415) 326-8065 FAX (805) 499-1167 + attn: F3 Font Production attn: F3 Font Production + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_Unix_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Unix_Info new file mode 100644 index 0000000000..a2b9c6295f --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Unix_Info @@ -0,0 +1,84 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: Unix Info +Supersedes: <font-faq-10_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:00 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 61 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-10_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48308 comp.answers:20522 news.answers:79243 + +Archive-name: fonts-faq/part10 +Version: 2.1.5 + +Subject: 5. Unix Information + + See also the 'utilities' section for more information. Most of the + utilities described in that section run under Unix. + + The bulk of this section was contributed by Johannes Schmidt-Fischer in + Jun 1993. + + Unix Font Formats + ================= + + Most printers attached to Unix hosts are PostScript printers. As a + consequence, most Unix users are also using PostScript fonts. If you + are not using a PostScript printer, you need a front-end, like + GhostScript, to convert the PostScript into a format compatible with + your printer. + + There is no Unix specific Postscript Type 1 format. The most often used + (and most easily usable) format is Adobe's PFA format. The other often + used format is PFB format. The PFB format is more compact (by about + 50%), but in order to use it you need make sure that your font + downloading tools are prepared to convert PFB to PFA on fly. + + Postscript Type 3 fonts are no problem, they can be handled the same + way as Type 1 fonts. + + Most Unix tools expect to get character metric information from AFM + files. You may have difficulty using fonts collected off of the 'Net + if they do not include AFM files + + Font Installation + ================= + + Application + ----------- + + It depends. (Well, what did you expect me to say? ;-) + + Printer using an ExitServer + --------------------------- + + Convert PFB fonts into PFA format if necessary and then send them to + printer inside a wrapper like so: + + %!PS-Adobe-2.0 ExitServer Job + serverdict begin 0 exitserver % 0: substitute your password + ... % font in PFA-format + %%EOF + + Or include them directly in your print job: + + %!PS-Adobe-2.0 + ... % font in PFA-format + ... % other initialisation + %%Page: 1 i % beginning of your job... + ... % ... + %%EOF + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_Utilities b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Utilities new file mode 100644 index 0000000000..576662e47c --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Utilities @@ -0,0 +1,542 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: Utilities +Supersedes: <font-faq-16_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:35 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 519 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-16_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48313 comp.answers:20527 news.answers:79248 + +Archive-name: fonts-faq/part16 +Version: 2.1.5 + +Subject: 11. Utilities Information + + I have just started collecting information about font utilities. I + will gladly add any information that you can pass my way. Please send + your submissions to norm. + + I would appreciate it if you could include a paragraph or so of + description and the appropriate site/filename for retrieval. + +Subject: 11.1. How do I convert AFM files to PFM files + + You can get afm2pfm and pfm2afm files from + http://www.ora.com/homepages/comp.fonts/FAQ-tools.html. + +Subject: 11.2. PS2PK + + PS2PK is a utility for converting Type1 postscript fonts into TeX PK + files. The source code is distributed and it has been compiled for + both *nix boxes and MS-DOS based machines. + + Here is the original announcement: + + Ps2pk-1.2 available + ------------------- + (June 1992) + + Version 1.2 of ps2pk is now available on: + ftp.urc.tue.nl (address: 131.155.2.79) + directory: /pub/tex + files: ps2pk12.README ( 1k) This file + ps2pk12.tar.Z (391k) Sources + ps2pk386.zip (232k) MSDOS executables + utopia.tar.Z (342k) Adobe Utopia font family + courier.tar.Z (207k) IBM Courier font family + + For people having difficulties in handling UNIX `.tar.Z' format I + have made some UNIX tools (only executables) available in: + directories: /pub/unixtools/dos + /pub/unixtools/vms + + See the system specific TARZ file for some help. + + Ftp.urc.tue.nl can not handle E-mail requests. But sites are free + to put the ps2pk12 stuff on any server that can. + + When do you need ps2pk? + ======================= + + Ps2pk is a tool that converts a PostScript type1 font into a corres- + ponding TeX PK font. The tool is especially interesting if you want to + use fully hinted type1 fonts in your DVI previewer (instead of the + unhinted type1 fonts currently used in GhostScript) or on a printer + that has no PostScript interpreter. + + In order to use the ps2pk generated fonts your driver and previewer need + to support virtual fonts. The reason is that PostScript fonts and TeX + fonts do have a different font encoding and handle ligatures in a + different way. With virtual fonts the PostScript world (encoding + + ligatures) can be mapped to the old style TeX world on which the current + plain macro packages still are based (despite the fact that TeX3.0 can + handle 8bits). + + It is also possible to use the ps2pk generated PK fonts directly + +Subject: 11.3. TeX Utilities + + There are many TeX font utilities. For TeX related questions, I direct + you to comp.text.tex or the Info-TeX mailing list. I will happily list + any utilities here that the comp.fonts public feels should be present. + I am listing MetaFont because it is the obvious font-specific component + of TeX and PKtoSFP because it allows anyone to use PS2PK to create + LaserJet softfonts. + + Liam R. E. Quin is the original author of the MetaFont section. It has + been hacked at a bit by norm to make it fit the tone of the comp.fonts + FAQ. Assume that norm is responsible for any errors, not Liam. + + MetaFont + ======== + + About MetaFont: + --------------- + + Metafont is a programming language for describing fonts. It was + written by Donald Knuth and is documented in + + Computers & Typesetting/C: The METAFONTbook + Knuth, Donald E. + Addison Wesley, 1986 + ISBN 0-201-13445-4, or 0-201-13444-6 (soft cover) + Library access: Z250.8.M46K58, or 686.2'24, or 85-28675. + + A font written in MetaFont is actually a computer program which, when + run, will generate a bitmap (`raster') for a given typeface at a given + size, for some particular device. + + What do you need in order to use the fonts: + ------------------------------------------- + + You cannot print the MetaFont fonts directly (unless you want a listing + of the program, that is). Instead, you must generate a bitmap font and + use that to print something. + + If you are using TeX, the sequence of steps is something like this: + + MF to MetaFont to GF + Convert a MetaFont program into a bitmapped font. Also produces a + TFM file. + + MF to MetaFont to TFM + Covnert a MetaFont program into a TFM file. Also produces a + GF bitmapped font. + + GF to GFtoPK to PK + Convert a GF bitmapped font into a compressed PK font. + + TEX + TFM to TeX to DVI + Produce a device independent output file. + + DVI + PK to dvi driver to output format + Produce a device-specific output file (or preview). + + The above steps are idealized. In reality, you have to make sure that + the fonts get installed in the correct places and you may have to + adjust description files, etc. The friendly folks on comp.text.tex can + probably get it staightened out for you if you can't find a local guru. + + If you are not using TeX, it's almost impossible to predict. At some + point in the above sequence, you'll insert some other conversion + program and proceed differently. Here, for example, is how you might + use TeX fonts with WordPerfect and a LaserJet printer. + + PK to PKtoSFP to SFP + Convert a TeX PK file into an HP LaserJet softfont. + + SFP to SFP2Auto to TFM + Make HP AutoFont Tagged Font Metric file. + + SFP + HP AutoFont TFM to PTR to Installed in WP + Install the new font in WordPerfect. + + Use WordPerfect as you normally would. + +Subject: 11.4. MFPic + + MFpic is a macro package for including pictures in TeX documents. The + idea behind this package is to have Metafont do the actual drawing, and + store the pictures in a font that TeX can include in the document. The + macros have been designed so that the user should never have to learn + Metafont to use these macros--the TeX macros actually write the + Metafont file for you. + +Subject: 11.5. fig2MF + + Briefly, fig2MF uses the mfpic macros to create formatted, commented MF + code from the fig graphics language. This means that programs like xfig + can be used as interactive font creation tools. I wrote fig2MF so that + I could portably illustrate TeX documents, but I suppose one could use + it to design letterforms as well. + + The package consists of a single C source code file, modified mfpic + macros, documentation, and sample fig files. It is available at the + shsu archives. + +Subject: 11.6. GNU Font Utilities + + Here is a brief description of the programs included: + + * imageto extracts a bitmap font from an image in PBM or IMG format, + or converts the image to Encapsulated PostScript. + + * xbfe is a hand-editor for bitmap fonts which runs under X11. + + * charspace adds side bearings to a bitmap font. + + * limn fits outlines to bitmap characters. + + * bzrto converts a generic outline font to Metafont or PostScript. + + * gsrenderfont renders a PostScript outline font at a particular + point size and resolution, yielding a bitmap font. + + * fontconvert can rearrange or delete characters in a bitmap font, + filter them, split them into pieces, combine them, etc., etc. + + * imgrotate rotates or flips an IMG file. + + We need volunteers to help create fonts for the GNU project. You do not + need to be an expert type designer to help, but you do need to know + enough about TeX and/or PostScript to be able to install and test new + fonts. Example: if you know neither (1) the purpose of TeX utility + program `gftopk' nor (2) what the PostScript `scalefont' command does, + you probably need more experience before you can help. + + If you can volunteer, the first step is to compile the font utilities. + After that, contact me [ed: Karl Berry] (karl@gnu.ai.mit.edu). I will + get you a scanned type specimen image. The manual explains how to use + these utilities to turn that into a font you can use in TeX or + PostScript. + + You can get the source by ftp from any GNU archive site. + + You can also order tapes with GNU software from the Free Software + Foundation (thereby supporting the GNU project); send mail to + gnu@prep.ai.mit.edu for the latest prices and ordering information, or + retrieve the file DISTRIB from a GNU archive. + + This is Info file compfont.info, produced by Makeinfo-1.55 from the + input file FAQ.texinfo. + +Subject: 11.7. Font Editors + + * Editors for BDF fonts + + There is a bdf font editor that comes with HP/Apollo workstations. + It's called 'edfont'. It's not the best but it works. + + Gary reports: + + The standard X distribution for X11R5 contains "xfed", which + allows you to play with BDF fonts. "xfedor" has a more elaborate + user interface, and is available on most contrib directories. + + The last time I tried: + + "xfedor" couldn't handle BDF files with more than 256 characters. + + "xfed" aborts if the BDF file contains a COMMENT line with no other + text. The workaround is to edit the BDF file, to put text after + the word COMMENT. A single blank space is sufficient. For some + reason, the standard BDF files included in the X release contain + blank spaces on the otherwise empty COMMENT lines. It was + probably easier to add the space to the COMMENT lines of every BDF + file than it was to fix the lex code for xfed. :-) + + * Editors for PK fonts + + The GNU font utilities include an X-based editor called Xbfe which + edits bitmapped fonts under X. + + Eberhard Mattes' emTeX includes PKedit. + +Subject: 11.8. The T1 Utilities + + This is a snippet from the README file for I. Lee Hetherington's + t1utils package: + + t1utils is a collection of simple type-1 font manipulation programs. + Together, they allow you to convert between PFA (ASCII) and PFB + (binary) formats, disassemble PFA or PFB files into human-readable + form, reassemble them into PFA or PFB format. Additionally you can + extract font resources from a Macintosh font file (ATM/Laserwriter). + +Subject: 11.9. Where to get bitmap versions of the fonts + + There are archives containing the bitmaps of many of these fonts at + various sizes and resolutions. The fonts must have been generated for + the correct print engine: e.g. write-white or write-black. The + archives generally hold only the sizes used by TeX. These are + `magstep' sizes, and are not exact point sizes. It is probably better + to generate them from the Metafont sources yourself if you can. + + The best place to look for raster fonts was almost certainly: + mims-iris.waterloo.edu + + but it isn't any more, the fonts have all gone. Let me know if you + find them elsewhere. Most people seem to have moved to using + PostScript fonts or Bitstream ones instead now. + + Some other sites are: + + ftp.cica.indiana.edu + mac.archive.umich.edu + ftp.shsu.edu + ftp.tex.ac.uk + ftp.dante.de + + The occasional posting of ftp sites to comp.misc and comp.archives + lists these and several other sites. + +Subject: 11.10. Converting between font formats + + Conversions to and from pbm and pk format were posted to comp.text.tex + and to alt.sources on the 9th of August, 1990 by Angus Duggan. The + program is pbmtopk, and there are also at least two patches. + + Chris Lewis' psroff package includes a program to go from pk both to + the HP LaserJet and to PostScript. + + John McClain <ophelp@tamvenus.bitnet> has some conversion programs for + various graphics formats to/and from pk files. + + A PC program, CAPTURE, turns HPGL files into PK format, US$130 from + Micro Programs Inc., 251 Jackson Ave., Syosset, NY 11791 U.S.A. + + Metaplot can take pen-plotter files and prouce metafont files. Note: + Pat Wilcox is no longer at Ohio State. + + Kinch Computer Company sell .pk fonts derived from PostScript fonts. + Kinch Computer Co., 501 S. Meadow St.Ithaca, NY 14850 U.S.A. + telephone: +1 607 273 0222; fax: +1 607 273 0484 + +Subject: 11.11. Getting fonts by FTP and Mail + + If you are using ftp, you will need either the name of the host or the + Internet number. For example, to connect to ftp.ora.com, listed as + ftp: ftp.ora.com [198.112.208.11] you will need to type something like + + ftp ftp.ora.com + + If that doesn't work, try using the number: + + ftp 198.112.208.11 + + If that doesn't work, on Unix systems you can use nslookup (it's + usually /usr/etc/nslookup) to find the host number - it might have + changed. Type the entire host name, and after a few seconds nslookup + will give you the address. Of course, if you have nslookup installed, + the first form will probably work... + + Once you have connected, you will need to go to the appropriate + directory, lists its contents, and retrieve the files. + + Most of the machines listed here run Unix, and you use "ls" and "cd" to + list files and to change directories. On machines that run VMS, you + will have to put square brackets around directory names, like [this]. + + Remember that although Metafont sources are text files, pk fonts are + not ASCII, and you will have to use binary mode for them. In general, + use text mode for README files and *.mf files, and binary mode for + other font files. Files ending in .Z are compressed binary files - you + will need to use binary mode, and then uncompress the files when you + get them. + + There is an ftp-by-mail BITNET service, BITFTP, for BITNET users. + + Before getting large files by mail, please remember to get permission + from all intervening sites. Ask your site administrator, who can send + mail to Postmaster at each site on the way if necessary. + +Subject: 11.12. MetaFont to PostScript Conversion + + There are (I believe) three programs that perform this task. At least + one of them is called "mf2ps". If you have any more information about + these tools, please let me know. + + Chang Jin-woong reports that he found the "mf2ps" package with Archie. + It is written by Shimon Yanai <yanai@israearn.bitnet> and Daniel M. + Berry <dberry@cs.technion.ac.il>. The source programs are written in + Pascal. + + MetaFog, a commercial conveter by Richard Kinch, is available on request + to TrueTeX owners. + +Subject: 11.13. How to use Metafont fonts with Troff + + If, when you run troff, you get the message `typesetter busy', you have + the original Ossanna-troff, also called otroff. Chris Lewis has a + package which will let you use TeX fonts with troff - it's called + psroff, and comes with documentation. + + ftp: gatekeeper.dec.com (16.1.0.2) pub/misc/psroff-3.0 + ftp: ftp.cs.toronto.edu [128.100.1.105] pub/psroff-3.0/* + + If, when you run troff, you get something like this: + + x T 300 + x res 300 1 1 + + you have ditroff. This is sometimes called titroff or psroff. In this + case, you will probably need to do the following: + + 1. convert the font to your printer's format + + 2. generate a width table for the font + + 3. add the font to the DESC file for the appropriate device + + 4. arrange for troff to download the font + + 5. tell troff about the font by running `makedev DESC' in the + right place. + + If, when you run troff, you get something like this: + + X hp(SCM)(CM)(AF)(AD) 300 1 1 + Y P default letter 2550 3300 0 0 90 90 2460 3210 + + you have sqtroff: + + 1. convert the font to your printer's format + + 2. generate a width table for the font + + 3. add the font to the DESC file for the appropriate device + + 4. put the font in the appropriate raster directory + + 5. tell sqtroff about the font by running `sqmakedev DESC' or + `sqinstall'. + + In each case, you should be able to get help from your vendor. + + Note that Chris Lewis' psroff package has software to make width tables + for troff from pk files. + +Subject: 11.14. PKtoBDF / MFtoBDF + + From the SeeTeX distribution, programs to help previewers under X11. + They convert TeX PK files into X11 BDF fonts (which can be further + converted into one or more server native formats). + +Subject: 11.15. PKtoPS + + Included in the psroff distribution, this utility converts PK fonts + into PostScript fonts (bitmaps, I presume). If you have any more + information about these tools, please let me know. + +Subject: 11.16. PKtoSFP / SFPtoPK + + Convert fonts from TeX PK format to HP LaserJet softfont (bitmap) + format. + +Subject: 11.17. PostScript to MetaFont + + ps2mf started out as a way of creating bitmaps via MF for TeX. Only, + when I had just finished it, Piet Tutelaers came with ps2pk. This was a + far superior way runtime-wise. He uses the IBM X11-R5 fontutilities + library, which is extremely ugly code. But, it works. So, to generate + bitmaps, I suggest everyone use ps2pk. + + To generate a MF outline description, ps2mf is *the* tool. Yannis + Haralambous has just started a project where he wants to create + meta-ized fonts for MF from Postscript descriptions. ps2mf does the + basic conversion. This project wants to revive the use of MF for it is + a truly beautiful program with enormous possiblities. + + The following information comes from the README file for ps2mf: + + This is pfb2mf. It is a copyleft program. See the file COPYING for more + details. I suggest that for the translation of Type-One to readable + PostScript you use I. Lee Hetherington's Type-1-Utils. You can find + these somewhere on obelix.icce.rug.nl in pub/erikjan. + + If you find any bugs, please do report. + + If you have any complaints, please do report. + + Now for some info about the different stages. This package contains + four programs: + + * pfb2pfa + + * pfa2chr + + * chr2ps + + * ps2mf + + pfb2pfa + ======= + + pfb2pfa will decompress an IBM (!) Postscript type 1 fontfile into + readable and downloadable hexadecimal data. + + The resulting file still contains two layers of encryption: + + * eexec encryption + + * charstring encryption + + pfa2chr + ======= + + pfa2chr will do an eexec-decryption of a readable hexadecimal font file + to a fontfile with encrypted charstrings. + + chr2ps + ====== + + chr2ps will perform a charstring-decryption of a font file with + encrypted charstrings to fontfile with postscript commands for type 1 + fonts. + + With a "-" as filename, these programs will read from <stdin> and write + to <stdout>. This way you can pipe the results, as in: + + pfb2pfa garmnd - | pfa2chr - - | chr2ps - garmnd + + This will create a garmnd.ps from garmnd.pfb without explicitely + creating the intermediate files. + + These previous stages can be replaced by (when using Lee Hetherington's + type-1-utils): + + t1disasm garmnd.pfb garmnd.ps + + ps2mf + ===== + + This last stage will convert to a MetaFont program with the use of the + corresponding .afm file and a mapping configuration file. It can + convert to an ordinary form with Bezier controlpoints. It can also + generate a curl specification. For this last option specifify -C. + +Subject: 11.18. Mac Bitmaps to BDF Format + + I [ed: who?] have posted a program which I hacked together for + extracting all NFNT and FONT resources from a MacBinary form of a + standard Mac file and dumping the fonts as Adobe BDF files. It has only + been compiled and tested on a Sun system to date. It can be fetched + from METIS.COM, /pub/mac2bdf.c. + + I wrote this tool to be able to use Mac Bitmaps under X Windows and + OpenWindows (which take Adobe BDF format files). + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_Vendor_List b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Vendor_List new file mode 100644 index 0000000000..b862f72394 --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_Vendor_List @@ -0,0 +1,835 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: Vendor List +Supersedes: <font-faq-17_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:40 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 812 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-17_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48314 comp.answers:20528 news.answers:79249 + +Archive-name: fonts-faq/part17 +Version: 2.1.5 + +Subject: 12. Vendor Information + + Type/Font Vendors + ================= + + The following list is based on information from Masumi Abe, Norm Walsh + and many others. I (Don Hosek) have been calling vendors and attempting + to make sure information is up to date. I have removed a number of + vendors who do not sell fonts. Fonts bundled with applications (e.g., + the bitmap fonts which are part of Quicken) are not considered enough + to merit inclusion in the list. Also, a number of the vendors on the + list actually were selling various printing software but no fonts per + se and were likewise removed. Finally, some companies seem to have + disappeared, most likely gone out of business. I've indicated the + verification date of any information which appears on the list. I would + appreciate aid in contacting those companies which are listed as + unverified (particularly companies outside the US). Please send updates + and corrections to me at dhosek@pitzer.edu + + Achtung Entertainment TrueType (shareware) for Macs, 300+ + 508 N. College Ave. #215 fonts. HyperCard demo disk $3.00 + Bloomington, IN 47404 (refundable/order) + no phone number + + ADH Software (Mac) + P.O. Box 67129 + Los Angeles, CA 90067 + + Adobe Systems Incorporated : Type 1 (Mac, PC) + 1585 Charleston Rd. : Originals, designs licensed from + P.O. Box 7900 : Linotype, Monotype, Berthold, and + Mountain View, CA 94039-7900 : others + (415) 961-4400 + (800) 344-8335 + Verified: 16 Feb 1994 + + Agfa Division, Miles Inc. : Type 1 Truetype, (PC, Mac), + 90 Industrial Way : Intellifont (PC), Compugraphic + Wilmington, MA 01887 : typesetter fonts. Originals, + (800) 424-TYPE : fonts licensed from Adobe. + (508) 657-0232 + FAX: (508) 657-8568 + Verified: 17 Feb 1994 + + Allotype Typographics : Downloadable Fonts (Mac) + 1600 Packard Rd. Suite #5 Kadmos (Greek) + Ann Arbor, MI 48104 Czasy & Szwajcarskie + (313) 663-1989 Demotiki + + Alphabets, Inc. : Type 1, TrueType (PC, Mac) + P.O. Box 5448 : New and licensed designs + Evanston, IL 60204-5448 + (800) 326-8973 + (708) 328-2733 + Verified: 9 Feb 1994 + + Alphatype Corp. + 220 Campus Dr., Suite 103 + Arlington Heights, IL 60004 + (708) 259-6800 + + Altsys Corporation, : FONTastic Fonts, + 269 West Renner Road, : Fontographer Fonts (Mac) + Richardson, + Texas 75080. + (214) 680-2060. + + Artworx Software Co. (Mac) + 1844 Penfield Rd. Hebrew Typefaces + Penfield, NY 14526 + (716) 385-6120 + (800) 828-6573 + + Architext, Inc. (HP/IBM) + 121 Interpark Blvd. Suite 1101 + San Antonio, TX 78216 + (512) 490-2240 + + Asiagraphics Technology Ltd. (Mac) + 9A GreatMany Centre Chinese, Japanese, Korean, Thai + 109 Queen's Road East + Wanchai, Hong Kong + (5) 8655-225 + Fax: (5) 8655-250 + Modem: (5) 865-4816 + + Autologic, Inc. (Mac) + 1050 Rancho Conejo Blvd. + Newbury Park, CA 91320 + (805) 498-9611 + + Azalea Software, Inc. + PO Box 16745 + Seattle WA 98116-0745 USA + 800 48-ASOFT 206 932.4030 206 937.5919 FAX + azalea@igc.org + + Bear Rock Technologies, + 4140 Mother Lode, + Shingle Springs, + California 95682-8038. + (916) 672-0244 + + Berthold of North America + 7711 N. Merrimac Avenue + Niles, IL 60648 + (708) 965-8800 + + Bitstream, Inc. + Athenaeum House + 215 First St. + Cambridge, MA 02142 + (617) 497-6222 + (800) 237-3335 + + A representative of Bitstream sent the following correction to me. + + Bitstream offers: + + **1100 PostScript Type 1 fonts for the Mac & PC. (These can + be ordered direct from Bitstream or thru several resellers.) + ** Bitstream Type Treasury - the Bitstream Type Library for + the Mac (Type 1 format) on CD ROM. + + ** Bitstream Type Essentials-a series of 4 Typeface Packages + for PC & Mac that were selected to work well for different + jobs (Letters, Memos & Faxes; Newsletters, Brochures & + Announcements; Spreadsheets, Graphs & Presentations; + Headlines). + + **Bitstream Typeface Packages for the PC - 52 packages (most + with 4 faces each) that include a total of over 200 faces, + with mutiple font formats in each package (Bitstream Speedo, + Type 1, Bitstream Fontware) + + ** Bitstream TrueType Font Packs 1 & 2 for Microsoft Windows + ** Bitstream PostScript Font Packs 1 & 2 for the PC ** + Bitstream FaceLift for Windows ** Bitstream FaceLift for + WordPerfect - both are font scaling/font management + utilities. + + ** Bitstream MakeUp for Windows - a type manipulation/ + special effects program. + + ** Bitstream Li'l Bits - a new product line of novelty fonts + in TrueType format for Windows 3.1. The first release began + shipping last week and includes The Star Trek Font Pack, The + Flintstones Font Pack and The Winter Holiday Font Pack. + + We offer OEM customers an extensive range of non-latin type + (as you have noted in the current listing), but these faces + are not currently available to individual end-users. + + We also offer font-scaling and rasterizing technology to OEM + customers. + + Blaha Software/Janus Associates : Big Foot (Mac) (HP/IBM) + 991 Massachusetts Ave. + Cambridge, MA 02138 + (617) 354-1999 + + Blue Sky Research : Type 1 (Mac) + 534 SW Third Avenue, #816 : Computer Modern in PostScript + Portland, OR 97204 + (800) 622-8398 + + Carter & Cone + + Casady & Greene, Inc. : Fluent Fonts, Fluent Laser Fonts (Mac) + 26080 Carmel Rancho Blvd. #202 Russian/Ukranian/Bulgarian/Serbian + P.O. Box 223779 Cyrillic, Greek, Hebrew, Kana, Polish + Carmel, CA 93922 Glasnost + (408) 484-9228 + (800) 331-4321 -------------no longer valid + (800) 851-1986 (California)-no longer valid + + Caseys' Page Mill (Mac) + 6528 S. Oneida Court + Englewood, CO 80111 + (303) 220-1463 + + Castle Systems : (Truetype, Type1) (Mac, IBM) + 1306 Lincoln Avenue : Revivals of art deco faces, + San Ragael, CA 94901-2165 : calligraphy, variations of + (415) 459-6495 : existing designs + + Century Software (MacTography) font developer for MacTographyc + 702 Twinbrook Parkway : LaserFonts (Mac) + Rockville, MD 20851 + (301) 424-1357 + + Callifonts + P.O. Box 224891 + Dallas, TX 75222 + (214) 504-8808 + + Coda Music Software + 1401 E. 79th St. + Mineapolis, MN 55425-1126 + (612) 854-1288 + (800) 843-1337 + + Compugraphic Corporation (Mac) (HP/IBM) + Type Division + 90 Industrial Way + Wilmington, MA 01887 + (800) 622-8973 (U.S.) + (800) 533-9795 (Canada) + + Computer EdiType Systems (HP/IBM) + 509 Cathedral Parkway, Ste. 10A + New York, NY 10025 + (212) 222-8148 + + Computer Peripherals, Inc. : JetWare (HP/IBM) + 2635 Lavery Ct. #5 + Newbury Park, CA 91320 + (805) 499-5751 + + Computer Prod. Unlimited (Mac) + 78 Bridge St. + Newburgh, NY 12550 + (914) 565-6262 + + Coniglio Communications + 124 Woodside Green #2B + Stamford, CT 06905-4918 + (203) 975-8111 + coniglio@aol.com; citycenter@aol.com + + Conographic Corp. (Mac) (HP/IBM) + 17841 Fitch + Irvine, CA 92714 + (714) 474-1188 + + Corel Systems Corp. (HP/IBM) + 1600 Carling Ave. + Ottawa, Ontario, CANADA KIZ 7M4 + (613) 728-8200 + + Data Transforms (HP/IBM) + 616 Washington St. + Denver, CO 80203 + (303) 832-1501 + + Devonian International software Co. (Mac) + P.O. Box 2351 Cyrillic + Montclair, CA 91763 + (714) 621-0973 + + Digi-Fonts (HP/IBM) + 528 Commons Drive Greek, Cyrillic + Golden, Colorado 80401 + (303) 526-9435 + Fax: (303) 526-9501 + + Digital Type Systems (DTS) (HP/IBM) + 38 Profile Circle + Nashua, NH 03063 + (603) 880-7541 + + Dubl-Click Software, Inc. : World Class Fonts (Mac) + 9316 Deering Ave. + Chatsworth, CA 91311 + (818) 700-9525 + + Ecological Linguistics (Mac) + P.O. Box 15156 Cyrillic, Greek + Washington, DC 20003 + (202) 546-5862 + + The Electric Typographer : Type 1 and TrueType (Mac & PC) + 2216 Cliff Dr. : Original designs + Santa Barbara, CA 93109 + (805) 966-7563 + Verified: 9 Feb 1994 + + EmDash : EmDash Fonts (Mac) + P.O. Box 8256 + Northfield, IL 60093 + (312) 441-6699 + + The Font Company + 12629 N. Tatum Boulevard + Suite 210 + Phoenix, AZ 85032 + (602) 996-6606 + + The Font Factory (HP/IBM) + 2400 Central Parkway + Ste. J-2 + Houston, TX 77092 + + FontCenter (HP/IBM) + 509 Marin St., #121 + Thousand Oaks, CA 91360 + (805) 373-1919 + + Font FunHouse CD-ROM (PC/Mac) + Wayzata + PO Box 807 + Grand Rapids, Minnesota 55744 + (800) 735-7321 + + FontHaus North America (United States) + 1375 King's Hwy East + Fairfield, CT 06430 + (800) 942-9110 or (203) 367-1993 + (203) 367-1860 Fax + + FontHaus UK (Faces Ltd.) + 44-127-638-888 + 349 Yorktown Road + College Town, Camberley + Surrey GU15 4PX + UK + + FontHaus Australia (Lasermaster Aus. Pty. Ltd.) + 61-3-747-9301 + #31 Rosina Drive + Melton, Victoria 3337 + Australia + + FontHaus France (Signum Art) + 33-1-48-89-6046 + Fax: 33-1-48-89-6045 + 94 avenue Victor Hugo + 94100 Saint Maur des Fosses + France + + FontHaus Germany (Elsner & Flake) + 49-40-39-88-3988 + Friedensallee 44 + 22765 Hamburg + Germany + + FontHaus Sweden (FontBolaget) + 46-8-16-81-00 + Tulegatan 15 A + 113 53 Stockholm + Sweden + + FontHaus is a manufacturer of typefaces and a licensed reseller for + Adobe, Monotype, Bitstream, Elsner+Flake, Giampa Textware, + Treacyfaces, Panache Graphics, and others around the world. + + FontHaus discounts most Adobe fonts up to 40% off list price, and + have CD-ROM discs available so you can buy individual fonts instead + of entire families. All their fonts are available in Macintosh Type + 1; most are also available in PC format; and a growing number are in + TrueType format. In addition, some type manufacturers support other + platforms through thier CD-ROM font libraries (i.e. Monotype for Mac, + PC, or NeXT). Contact them regarding availability for the fonts and + formats you want. + + FontHaus ships internationally and also has several agents overseas, + although these agents may not have everything available as the main + office here in the US. + + Rhyscon Systems (Canada) + PO Box 245 Clarkson PO + Mississauga Ontario L51 3Y1 + 416 278 2600 + 416 278 3298 Fax + + TypoGabor (France) + 5, rue de 8 Mai 1945 + 92586 Clichy (Paris) + 33 1 4739 6600 + 33 1 4739 0638 Fax + + Elsner+Flake Fontinform GmbH (German) + Friedensallee 44 + D-22765 Hamburg + 49 40 3988 3988 + + Signus Limited (Britain) + South Bank TechnoPark + 90 London Road + London SE1 6LN + 71 922 8805 + 71 261 0411 Fax + + Font Bolajet (Sweden, Finland, Norway) + Kungstengaten 18 + 113 57 Stockholm + 46.8.16.81.00 + + Font World (Mac) + 2021 Scottsville Rd. Cyrillic, Hebrew + Rochester, NY 14623-2021 + (716) 235-6861 + + Genny Software R&D (Mac) + P.O. Box 5909 + Beaumont, TX 77706 + (409) 860-5817 + + Gradco Systems Inc. + 7 Morgan + Irvine, CA 92718 + (714) 770-1223 + + Handcraftedfonts Co. + Box 14013 + Philadelphia, PA 19122-0013 + Tel/Fax: 215-634-0634 + + Our fonts are licensed to Monotype Typography, ITC DesignPalette, + International TypeFounders, Precision Type and Phil's Fonts. + + Hewlett-Packard (HP/IBM) + P.O. Box 15 + Boise, ID 83707 + (208) 323-6000 + + ICOM Simulations, Inc. + 648 S. Wheeling Rd. + Wheeling, IL 60090 + (312) 520-4440 + (880) 877-4266 + + Image Club Graphics, Inc. : (Mac & PC) + 729-24th Ave. SE + Calgary, AB + T2G 5K8 + Canada + (800) 661-9410 + (403) 262-8008 (Canada) + + Image Processing Systems :Turbofonts (HP/IBM) + 6409 Appalachian Way, Box 5016 + Madison, WI 53705 + (608) 233-5033 + + Invincible Software (Mac) + 9534 Burwick + San Antonio, TX 78230 + (512) 344-4228 + + Kabbalah Software + 8 Price Drive + Edison, NJ 08817 + (908) 572-0891 + (908) 572-0869 Fax + + Hebrew fonts for PC and Mac. While I am part owner, so I am biased, + we have been reviewed in the October 27 1992 issue of PC Mag as + having high-quality fonts. + + Keller Software (HP/IBM) + 1825 Westcliff Dr. + Newport Beach, CA 92600 + (714) 854-8211 + + Kensington Microware Ltd. (Mac) + 251 Park Ave. S + New York, NY 10010 + (212) 475-5200 + + Kingsley/ATF Type Corp. (Mac) + 200 Elmora Ave. + Elizabeth, NJ 07202 + (201) 353-1000 + (800) 289-TYPE + + Laser Technologies International : Lenord Storch Soft Fonts + 15403 East Alondra Blvd. (HP/IBM) + La Mirada, CA 90638 + (714) 739-2478 + + LaserMaster Corp. : LM Fonts (HP/IBM) + 7156 Shady Oak Rd. + Eden Prairie, MN 55344 + (612) 944-9330 + (800) LMC-PLOT + Fax: (612) 944-0522 + + LeBaugh Software Corp : LeFont (HP/IBM) + 2720 Greene Ave. + Onaha, NE 68147 + (800) 532-2844 + + Letraset USA : LetraFont (Mac) + 40 Eissenhower Dr. + Paramus, NJ 07653 + (201) 845-6100 + (800) 634-3463 + + Linguists' Software, Inc. (Bitmap, Type 1, Truetype) (Mac, IBM) + P.O.Box 580 Fonts for numerous alphabets. Not all + Edmonds, WA 98020-0580 fonts available in all languages. + (206) 775-1130 They support ~50 languages. + Fax: (206) 771-5911 + Verified: 16 Feb 1994 + + Linotype Company (Mac) + 425 Oser Ave. + Hauppauge, NY 11788 + (800) 842-9721 (US) + (516) 434-2706 (FAX) + + MacTography + 326-D North Stonestreet Ave. + Rockville, MD 20850 + (301) 424-3942 + + Megatherium Enterprises : Mac The Linguist 2 (Mac) + P.O. Box 7000-417 + Redondo Beach, CA 90277 + (310) 545-5913 + + Metro Software, Inc. (HP/IBM) + 2509 N. Cambell Ave., Ste. 214 + Tucson, AZ 85719 + (602) 299-7313 + + Microcosm + 819 Devon Court + San Diego, CA 92109 + 619-488-4462 + 619-488-3087 fax + email: Tom Wright <wright@siggraph.org> + + Provides fonts for resale to (mostly Unix & MS-DOS) software companies + & hardware comapnies in its own portable file format together with + portable C font rendering code. Pricing plans include royalty-free + option & end-user site licenses. Standard Type-1 & TrueType formats + also supplied. Font files from your artwork available too. + + Modern Graphics :Organic Fonts (Mac) + P.O. Box 21366 + Indianapolis, IL 46221 + (317) 253-4316 + + Monotype Typography Inc. + Suite 504-53 West Jackson Blvd. + Chicago, IL 60604 + (312) 855-1444 + (800) MONOTYPE + + Network Technology Corp. : LaserTEX Font Library (HP/IBM) + 6825 Lamp Post Lane + Alexandria, VA 22306 + (703) 765-4506 + + Nippon Information Science Ltd. (NIS) (Mac) + Sumire Bldg. 4F + 5-4-4 Koishikawa + Bunkyo-ku, Tokyo 112 + Japan + (03) 945-5955 + + Olduvai Corporation : Art Fonts (Mac) + 7520 Red Road, Suite A + South Miami, FL 33143 + (305) 665-4665 + (800) 822-0772 (FL) + + Page Studio Graphics : PIXymbols (Mac) + 3175 N. Price Rd. #1050 + Chandler, AZ 85224 + (602) 839-2763 + + Paperback Software : KeyCap Fonts + 2830 9th St. + Berkeley, CA 94710 + (415) 644-2116 + + PenUltimate Fonts : Vernacular type for Mac and PC + 14101 Walters Rd. #805 : Custom font design + Houston, TX 77014 + Houston, TX 77014 + E-Mail: PenUltimte@aol.com Send $2 for catalog + + Prosoft (HP/IBM) + 7248 Bellair Ave., P.O. Box 560 + North Hollywood, CA 91605 + (818) 764 3131 + + Qume Corp. (HP/IBM) + 2350 Qume Dr. + San Jose, CA 95131 + (800) 223-2479 + + Ragnarok Font Line: Scriptorium Font Library + POB 140333 120+ original calligraphic, display + Austin, TX 78714 and art font designs. SASE for catalog. + (512) 472-6535 $15 for 12 font sampler disk. Specify + Macintosh or PC preference when ordering. + + R.M.C. : PrintR fonts (HP/IBM) + 12046 Willowood Dr. + Woodbridge, VA 22192 + (703) 494-2633 + + Richard Beatty Designs : Type 1 and TrueType (PC, Mac) + 2312 Laurel Park Highway : 45 fonts decorative elements + Hendersonville, NC 28739 : 270 alphabets, 50 original + (704) 696-8316 : rest translated from lead and + Verified: 9 Feb 1994 : phototype. Goudy a specialty + + S. Anthony Studios : Fonts Vol. 1 + 889 DeHaro Street + San Francisco, CA 94107 + + Scholar's Press : (Mac) + P.O. Box 15399 : 2 Greek fonts + Atlanta, GA 30333-0399 + (404) 727-2320 + FAX: (404) 727-2348 + Verified: 9 Feb 1994 + + Scriptorium Font Library + (See Ragnarok) + + SoftCraft, Inc. + 16 North Carrol St., Suite 220 + Madison, WI 53703 + (608) 257-3300 + FAX: (608) 257-6733 + Verified: 9 Feb 1994 + + Software Complement : (TrueType, Type 1) (Mac, IBM, Next) + 8 Penn Ave. : Designer of fonts for Cassidy & Greene + Metamoras, PA 18336 : Custom logos and signatures. + (717) 491-2492 + FAX: (717) 491-2443 + Applelink: SOFTCOMP + CompuServe: 70244,3214 + Verified: 16 Feb 1994 + + Straightforward : ZFont (HP/IBM) + 15000 Halldale Ave. + Gardena, CA 90249 + (310) 324-8827 + + SWFTE International (HP/IBM) + Box 5773 + Wilmington, DE 19808 + (800) 237-9383 + + SystemSoft America, Inc. : Kanji + P.O. Box 4260 + Vero Beach, FL 32964 + + Typographics Ltd. : Typo + 46, Hehalutz St. + Jerusalem 96222 + Israel + + U-Design, Inc. : TrueType, Type1 (Mac & PC) + 270 Farmington Avenue : Originals, licensed designs clones + Hartford, CT 06105 + (203) 278-3648 + BBS: (203) 525-5117 + FAX: (203) 278-3003 + Verified: 9 Feb 1994 + + The Underground Phont Archive (TrueType,Shareware) + 395 Kaymar Dr. + Amherst, NY 14228 + USA. + + Varityper, Inc. : (Mac) + 11 Mt. Pleasant Ave. + East Hanover, NJ 07936 + (800) 631-8134 (US except NJ) + (201) 887-8000 ext. 999 (NJ) + + VS Software : HP Bitmaps (PC) + P.O. Box 6158 : CG, ITC and original fonts + Little Rock, AR 72216 + (501) 376-2083 + Verified: 9 Feb 1994 + + Weaver Graphics : HP Bitmaps (PC only), + 5165 S. Hwy A1A : Adobe Type 1, Truetype (PC and Mac) + Melbourne Beach, FL 32951 : Mostly clone fonts, some originals + (407) 728-4000 + Fax: (407) 728-5978 + Verified: 9 Feb 1994 + + Wu Corp. : FeiMa (Mac) Chinese wordprocessor + 46 West Avon Rd. + Avon, CT 06001 + (203) 673-4796 + + Y&Y, Inc. : Type 1 format, Mac, PC, Unix + 45 Walden Street : Computer Modern, Lucida Bright + Concord, MA 01742 : AMS, LaTeX/SliTeX, MathTime + (800) 742-4059 : Lucida Sans Typewriter etc + (508) 371-3286 + Fax: (508) 371-2004 + 71172.524@compuserve.com + + ZSoft Corp. : Soft Type + 450 Franklin Rd. Suite 100 + Marietta, GA 30067 + (404) 428-0008 + Fax: (404) 427-1150 + + Clip Art Vendors + ================ + + This section was submitted by Dmitry S. Simanenkov in Aug, 1993. + + Although not directly related to type, a list of clip art vendors seems + to compliment the list of type/font vendors. + + 3G Graphics, Inc. eps borders, simbols for MAC + 114 Second Ave.South, Suite 104 + Edmonds, WA 98020 + (206) 774-3518 + (206) 771-8975 + + ArtBytes Hi-Fi Borders for security + Ozerkova 51-2-13 paper, stock, certificate etc. + Peterburg bitmap & eps, CorelDraw + 198903 IBM & MAC + Russia + simon@dc1.phys.samson.spb.su + + ArtBeats + 20083 + San Bernardino, CA, 92406 + (800) 444-9392 + (714) 881-1200 + + Best Impression + 3844 W. Channel Islands Blvd. + Suite. 234 + Oxnard, CA 93035 + (805) 984-9748 + + Dynamic Graphics, Inc. + Designers Club, Creative Art + 6000 N. Forest Park Dr. + Peoria, IL 61656-1901 + (800) 255-8800 + (309) 688-8800 + (309) 688-5873 + + FM Waves + 70 Derby Alley + San Francisco, CA 94102 + (800) 487-1234 + (415) 474-7464 + + Grafx Associates Borders + 12811 + Tucson, AZ 85732-2811 + (800) 628-2149 + + Kinetic Presentation, Inc. + 250 Distillery Commons + Louisville, KY 40206 + (502) 583-1679 + + Metro Image Base, Inc. + 18623 Ventura Blvd + Suite 210 + Tarzana, CA 91356 + (800) 525-1552 + (818) 881-1997 + + Micrografx, Inc. + 1303 Arapaho Rd. + Richardson, TX 75081 + (800) 733-3729 + (214) 234-1769 + + Migraph, Inc. + 200 S.333 Rd. Suite 220 + Federal Way, WA 98003 + (800) 223-3729 + (206) 838-4677 + + Multi-Ad Service, Inc. + 1720 W. Detweiller Dr. + Peoria, IL 61615 + (800) 447-1950 + (309) 692-1530 + + Qualitas Trading Co. + 6907 Norfolk Rd. + Berkley, CA 94705 + (510) 848-8080 + + RT Computer Graphics + 2257 Calle Cacique + Santa Fe, NM 87505 + + Stephen & Associates + 8681 N. Magnolia Ave Suite E + Santee, CA 92071-4456 + (619) 562-5803 + + Studio Advertising Art + 43912 + Las Vegas, NV 89116 + (800) 453-1860 + (702) 641-7041 + + Sun Shine CD-ROM, Visual Delights + 4351 + Austin, TX 78765 + (512) 453-2334 + diff --git a/help/comp-fonts-FAQ/comp.fonts_FAQ:_X11_Info b/help/comp-fonts-FAQ/comp.fonts_FAQ:_X11_Info new file mode 100644 index 0000000000..41c5906cda --- /dev/null +++ b/help/comp-fonts-FAQ/comp.fonts_FAQ:_X11_Info @@ -0,0 +1,250 @@ +Path: senator-bedfellow.mit.edu!bloom-beacon.mit.edu!news.mathworks.com!zombie.ncsc.mil!newsgate.duke.edu!news-feed-1.peachnet.edu!paperboy.wellfleet.com!news3.near.net!amber.ora.com!not-for-mail +From: norm@ora.com (Norman Walsh) +Newsgroups: comp.fonts,comp.answers,news.answers +Subject: comp.fonts FAQ: X11 Info +Supersedes: <font-faq-15_817479312@ora.com> +Followup-To: poster +Date: 14 Aug 1996 10:35:29 -0400 +Organization: O'Reilly and Associates, Inc. +Lines: 227 +Sender: norm@ruby.ora.com +Approved: news-answers-request@MIT.Edu +Distribution: world +Expires: 27 Sep 1996 14:34:08 GMT +Message-ID: <font-faq-15_840033248@ora.com> +References: <font-faq-1_840033248@ora.com> +Reply-To: norm@ora.com (Norman Walsh) +NNTP-Posting-Host: ruby.ora.com +Summary: This posting answers frequently asked questions about fonts. + It addresses both general font questions and questions that + are specific to a particular platform. +X-Web-Homepage: http://www.ora.com/homepages/comp.fonts/ +Xref: senator-bedfellow.mit.edu comp.fonts:48312 comp.answers:20526 news.answers:79247 + +Archive-name: fonts-faq/part15 +Version: 2.1.5 + +Subject: 10. X11 Information + + This section needs a lot of work. At the time of this release, I'm not + in a position to write it so I'm leaving it basically blank. Even if + you don't have time to write it, if you know what should be in this + section, please forward it to norm. + +Subject: 10.1. Getting X11 + + The standard location for X software is ftp.x.org. + +Subject: 10.2. Historical Notes about X11 + + The X Window System has been in widespread use through releases 3, 4, + and now 5 of X Version 11. + + Fonts weren't really treated by the X Consortium very well until X11 + release 5 (X11R5). In X11R3 and X11R4, the default format used by the X + servers was called SNF (server normal format). Basically the font was + formatted on disk in such a way that the X server could quickly read and + use it (it was basically a memory-dump). The important element of the + SNF format is that it was not a portable format: it depended on the + architecture of the machine running the server (little endian vs. big + endian, for example) and as a consequence you needed different directory + structures for different systems on your network. On top of that, + several systems vendors implemented their own font format, making font + portability even more difficult. + + With X11R5, two things changed: the font service protocol was defined as + a standard and interoperable way for an X server to obtain fonts + (independent of their format, origin, or current location on disk) and + the default format for storing fonts was changed from SNF to PCF + (Portable Compiled Font). PCF is a format originally developed by DEC. + Its primary advantage is that it is not architecture dependent. That + is, if you compile a font to PCF format on different systems, then you + may end up having two different PCF files, but each system will be able + to read the other's file correctly. + +Subject: 10.3. X11 Font Formats + + There are many different font formats that can play a role in an X11 + system configuration. The following table summarizes some of the + common formats: + + * BDF + + The Bitmap Distribution Format (BDF) is the standard format for + distribution of fonts. It is an ASCII format so it can easily be + edited it with your favourite editor or E-mailed to other users. + As the name suggests, it stores bitmap fonts only. + + Another virtue of the BDF format is that most font format + converters convert to or from this format. Means if you want to go + from format A to format B, neither of which is BDF, then you are + likely to convert A to BDF, then BDF to B. + + The BDF format is defined by Adobe. A document describing the + format is available by ftp from Adobe's file server at + "ps-file-server@adobe.com". It is also available in the standard X + distribution. Look under ../X11R4(5)/mit/hardcopy/BDF. This + document is also reproduced in any text describing the X standard. + + * SNF + + The Server Normal Format (SNF) is an older format for bitmap + fonts. The format is X Server and host dependent. This means that + if you have two SNF files, their actual format may be different. + Also, if you have an "snftobdf" utility, it may not be able to + read font files from other systems. Convert to BDF format before + you move it off the host system. + + Snftobdf is one utility that can generate a BDF file from a SNF + file. It was part of the X11R4 contrib release. To compile under + X11R5, you need some of the X11R4 snf include files. + + * PCF + + The Portable Compiled Font (PCF) format is a binary format for + bitmap fonts. The binary contains sufficient information to be + readable by other systems. + + * PHIGS + + These fonts are only applicable in PEX environments. PHIGS fonts + don't really have any relationship to the normal X font mechanism. + + * DWF + + The DECWindows Fonts (DWF) are bitmap fonts. + + * Intellifont + + These are HP scalable fonts. + + * PFA/PFB + + These are Adobe Type 1 PostScript fonts. + + They can be used in X11R5 based X servers and font servers because + IBM has donated a renderer for this format to the X Consortium. + The renderer can be found on the X11R5 contrib, and on ftp.x.org. + + * Speedo + + This is a format from Bitstream, Inc. Bitstream has also donated a + font renderer to the X Consortium, and a couple of fonts. + + I have been told that in order to use commercial fonts from + BitStream, you must patch the renderer somewhat to make it use the + right decryption code for the font. + + * FB + + These are Sun X11/NeWS format bitmap fonts used by the Sun + OpenWindows system. + + You can use "convertfont" which comes with OpenWindows to convert + to/from BDF. + + * F3/F3B + + This is the scalable Sun Folio format, also used by OpenWindows. + + You can use "convertfont" to convert to (not from) BDF. + +Subject: 10.4. X11 Font Server + + X11 Release 5 + ============= + + With X11 Release 5, the X Consortium has created a network-based + standard font protocol. As a user of the X Window System, you have an X + server on your desktop, which does the interface between the hardware + (screen, mouse, keyboard), and the X network protocol. This X server + needs fonts. Before X11R5, the only way it could get to those fonts + was to make font directories readable for the X server on that host, + either by NFS-mounting or by copying. + + With the X Font Service protocol, you just tell your X server that it + must use the services of a font server, which is a daemon process + sitting on a host on your network. The font server is a program which + talks a standardized protocol on the network, and which is capable of + reading several font formats. + + The font server sources are modular, such that it is easy to add a + renderer for an additional font format to the existing code. This is + obviously also the intention: the X Consortium provides the core + technology, and supposes that all systems vendors will add font + renderers for their proprietary formats to the code, and then ship that + to their customers. + + If you have a multi-vendor environment, then you are supposed to run a + font server on every host that carries the font files. Then all of the + X servers on your network can put all the fonts they need in their font + path. Automatically, IBM fonts will be requested from the font server + on an IBM host, DEC fonts from a DEC host, etc. + + Other benefits of using font server technology include the ability of + the font server to implement caching, provide for fault-tolerant setup, + etc. + + A final example of the good use of the font server is the combination + of a font server with a Type 1 font renderer. As mentioned above, IBM + donated a Type 1 font renderer which can easily be built into the X + font server. As the Type 1 font format, and the ATM format are the same, + it is perfectly possible to use commercial ATM fonts with the X Window + System. See also /contrib/fonts/lib/font/Type1/ in the X11 + distribution. + + X11 Release 6 + ============= + + The X11R6 font server is very similar to the X11R5 server described + above. Under X11R6, the font server has been renamed to xfs and the + Type 1 rendering engine is now incorporated into the base + distribution--it is no longer a contributed package. + +Subject: 10.5. Fonts and utilities for X11 + + Here's a quick list of possible steps to get from "what you got" to X: + + * Mac format bitmaps: + + No idea. If you know how to read a Mac format bitmap file on some + other platform, please tell norm. + + * PC format bitmaps: + + Conversion to BDF is possible from TeX PK format and LaserJet + softfont format. Other conversions are also within the realm of + possibility. Feel free to ask norm for more information if you + have a specific conversion in mind. + + * TeX PK format bitmaps: + + PKtoBDF gets us directly to BDF format from here. + + * Mac format postscript: + + Under MS-DOS, conversion to PC format postscript allows the font to + be accessed with PS2PK (under *nix or MS-DOS). See above for TeX + PK to X conversions. + + * PC/Unix format PostScript + + Conversion to TeX PK with PS2PK allows you to get to BDF + (indirectly). + + * XtoBDF, getbdf, FStoBDF + + XtoBDF and getbdf are two public-domain applications which are + capable of asking an X server to give them all it knows about a + given font. They then print the BDF representation of that font on + stdout. + + You can use these if you have an X server that can read some font + file, but nothing else can. + + FStoBDF is distributed with X11R5. + + If you use one of these programs, you may actually be converting a + scalable font into a bitmap font, but converting a bitmap font to a + scalable one is not currently possible. + |