summaryrefslogtreecommitdiff
path: root/help/comp-fonts-FAQ
diff options
context:
space:
mode:
authorNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
committerNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
commite0c6872cf40896c7be36b11dcc744620f10adf1d (patch)
tree60335e10d2f4354b0674ec22d7b53f0f8abee672 /help/comp-fonts-FAQ
Initial commit
Diffstat (limited to 'help/comp-fonts-FAQ')
-rw-r--r--help/comp-fonts-FAQ/Finding_Fonts_for_Internationalization_FAQ614
-rw-r--r--help/comp-fonts-FAQ/[comp.text.tex]_Metafont:_All_fonts_available_in_.mf_format947
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_Amiga_Info334
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_Atari_Info157
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_Diffs_from_last_posting231
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(1_6)1183
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(2_6)1143
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(3_6)1050
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(4_6)1027
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(5_6)1421
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_General_Info_(6_6)442
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_MS-DOS_Info629
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_Macintosh_Info756
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_NeXT_Info538
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_OS_2_Info420
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_Sun_Info176
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_Unix_Info84
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_Utilities542
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_Vendor_List835
-rw-r--r--help/comp-fonts-FAQ/comp.fonts_FAQ:_X11_Info250
20 files changed, 12779 insertions, 0 deletions
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.
+