diff options
author | Norbert Preining <norbert@preining.info> | 2019-09-02 13:46:59 +0900 |
---|---|---|
committer | Norbert Preining <norbert@preining.info> | 2019-09-02 13:46:59 +0900 |
commit | e0c6872cf40896c7be36b11dcc744620f10adf1d (patch) | |
tree | 60335e10d2f4354b0674ec22d7b53f0f8abee672 /info/digests/texline/no8 |
Initial commit
Diffstat (limited to 'info/digests/texline/no8')
37 files changed, 5528 insertions, 0 deletions
diff --git a/info/digests/texline/no8/alien.tex b/info/digests/texline/no8/alien.tex new file mode 100644 index 0000000000..c0ceadb52c --- /dev/null +++ b/info/digests/texline/no8/alien.tex @@ -0,0 +1,106 @@ +\def\cmd#1{{$\backslash$\tt#1}} + + +\centerline{\bf What's New with \TeX?} +\medskip +\noindent +This is the first of what will, hopefully, be a regular +feature. Its purpose is to summarise recent developments in \TeX\ and +\TeX-related things, primarily for people who don't receive any of the +network mailings. + +{\bf \TeX\ itself} has now reached version 2.93b following the +discovery of a few bugs during the summer. Most of these are pretty +esoteric, although one could crop up if you use \TeX's \cmd{read} and +\cmd{write} frequently. The most recent \unix\ and VMS distribution +tapes both contain version 2.93b. The |plain| format has also been +updated slightly: anyone who claims to have a genuine \TeX\ 2.93 must +also have version 2.93 of the |plain| format (the version number is +near the bottom of |plain.tex|). \MFb\ is now at version 1.5, since +several of the problems with \TeX\ concerned memory allocation and +were therefore present in \MF\ too. + + +On the \unix\ front, the people at the University of Washington have +managed to produce a sort of {\WEB}-to-C translator. As well as +making \TeX\ and \MF\ more easily available on \unix\ system~V (which, I +am told, has a lousy {\sc pascal} compiler), the C translation +apparently runs over four times faster than the {\sc pascal} on +|bsd|-based systems! + +There has been a spate of large-memory versions of \TeX. Adrian +Clark, now at Essex University, was the first to report a large-memory +($>$64\,Kbyte) \TeX, which he used for typesetting halftone pictures. +(This uses a special font, designed by Knuth, for mapping characters +onto grey-values.) Users of \PiCTeX\ (see below) also require very +big-memory versions, so the \unix\ \TeX-in-C implementation is +normally quite large. + +The {\bf CM font family} has had a small number of tweaks made to it, +none of them being very significant (to the author's untrained eye). +John Sauter of DEC has made some minor (upwards-compatible) changes to +the font definitions which makes them more suitable for white-writing +laser printers such as the DEC~|LN03| (Ricoh print engine). He has +also devised a way of generating any CM font at any design size, +rather than using scaled 10-point (or whatever) fonts. This produces +more attractive characters, particularly when many magnified fonts +would otherwise be used (e.g., with \LaTeX). + +Non-English versions of \TeX\ are proliferating. These generally make +a stab at generating correct hyphenation patterns for the target +language. There are now versions to support most European languages, +as well as Japanese. Non-English fonts are also a topic of interest: +for example, there are now correctly-accented Greek and Turkish fonts. +These may cause problems with some {\dvi} drivers, since they +contain more than 128~glyphs. People have also been experimenting +with other, stranger fonts: Elvish (from {\it Lord of the Rings\/}), +bar-codes and electronic components all cropped up at the \TeX88 +jamboree at Exeter in July. + +The latest version of {\bf \LaTeX} is still 2.09, but dated {\bf +August 1988}; Leslie Lamport has made a few minor fixes. There is now +a large collection of style files for \LaTeX, including IEEE, ACM and +many other journal styles: copies of the collection are kept on-line +for network access at Clarkson University in the U.S.\ and at Aston +University in the U.K. They can also be obtained by conventional +mail, but not from Clarkson or Aston. + +\BibTeX, which maintains bibliographic databases for \LaTeX, appears +to have undergone a pretty major re-write. The most recent version I +know of is 0.99c. Alas, \BibTeX\ style files (|.bst| files) for the +new version are incompatible with those for older versions. The +standard ones (plain, alpha, etc.) have all been converted, as have +most of those submitted to the \LaTeX\ style collections. + +Anyone who has used \LaTeX\ in anger for book production will know the +hassle involved in generating the index. Although \LaTeX\ can +generate the page references for an index and has a suitable +environment for formatting it, the only way to sort the entries was by +hand. Thankfully, this is no longer the case: a few people have +written tools to automate sorting, such as |Idxtex| for VMS systems. +And there now appears to be a program, |makeindex|, which has the +Lamport seal of approval. As yet, I don't know anything about it; +I'll provide details in the next \TeXline. + +One interesting new facility is \PiCTeX, a macro package for drawing +figures and graphs, written by Michael J. Winchura of Chicago +University. It can be used with both |plain| \TeX\ and \LaTeX. +\PiCTeX\ does {\it not\/} work by generating \cmd{special}s for the +{\dvi} driver, unlike most other graphics facilities for \TeX: it +draws curved lines with closely-spaced dots. Although this works, in +principle at least, with {\it any\/} \TeX, it requires lots of memory, +both in \TeX\ and in the {\dvi} driver. The author has used +\PiCTeX\ successfully under both VMS and \unix. But it's unlikely to +work on any PC or Macintosh implementations of \TeX. The only +documentation, incidentally, is the \PiCTeX\ manual, sold by +the \TeX\ Users' Group. + +Finally, anyone who finds designing diagrams for inclusion in \TeX\ or +\LaTeX\ documents somewhat painful could look towards |fig|. This is +a {\it wysiwyg\/} program, rather similar to MacDraw, for SUN workstations. +It, and its accompanying |TransFig| package, can generate \PS, +\TeX, \LaTeX\ |picture| or \PiCTeX\ descriptions of the +interactively-generated figure. And there's a version which drives +|X|-windows, too. +\smallskip +\rightline{\sl Adrian F. Clark (no relation)} diff --git a/info/digests/texline/no8/announce.tex b/info/digests/texline/no8/announce.tex new file mode 100644 index 0000000000..6497638f1a --- /dev/null +++ b/info/digests/texline/no8/announce.tex @@ -0,0 +1,77 @@ +\centerline{\bf Ten Years of \TeX\ and \MFb} +\medskip\noindent + The 1989 \TeX\ Users Group Meeting, to be held at Stanford University + on August 21--23, marks the tenth annual meeting + of TUG. The theme of this meeting is ``Ten Years of + \TeX\ and \MF''. Our concern is + no longer how to get \TeX\ to work, but is now focused on + how \TeX\ should co-exist with other applications such as report + generation and office automation. + The keynote speaker for this year's meeting will be Don + Knuth. He will present his paper about the history of \TeX, + entitled ``The Errors of \TeX''. The 3-day annual meeting + in August will be conducted as the highlight of a 2-week + conference during which courses will be offered in \TeX\ and + \TeX-related subjects.\looseness=-1 +\smallskip +\leftline{\sl Call for Papers} +\noindent + In order to publish a preliminary program announcement in a + timely manner, it is requested that you contact the Program + Coordinator (at the address listed below) not later than + January 30th, informing him of the paper you intend to present, + and with a short abstract of the proposed paper. Papers will + be selected by February 20th, and authors notified as to whether + their paper may be presented or not. The finished abstract + is due by March 27th. The first draft of the paper for the + proceedings will be due by April 24th. The finished paper will + be due shortly after the conference. + + Depending on the number of requests to present a paper, + the conference may have some parallel sessions. Following are + some suggested topics, though papers are not limited to these: + +\item{$\bullet$}\TeX\ from the manager's viewpoint + \item{$\bullet$} Production Uses of \TeX; unusual situations we overcame + \item{$\bullet$} Integration of graphics, half-tones, and scanned images in + \TeX\ output; software, hardware, or methods + \item{$\bullet$} \MF\ fonts: font construction + \item{$\bullet$} Non-\MF\ fonts: availability and how to cope with + them + \item{$\bullet$} \LaTeX: Examples of success with difficult jobs; how to do + them + \item{$\bullet$} \TeX\ and \PS: hardware or software; what is used; + what is needed + \item{$\bullet$} \TeX\ Training: beginning, advanced, manuals; what works, + what doesn't + \item{$\bullet$} \TeX\ Adjuncts: Design, integration of the pieces, user + interfaces, problems + \item{$\bullet$} Using \TeX\ as part of a larger system (such as desktop + publishing); extensions to \TeX; subsets of \TeX + \item{$\bullet$} Call for problems; inherent limitations of \TeX. Why don't + you use \TeX? +\smallskip +\leftline{\sl Calendar} +\def\leaderfill{\leaders\hbox to1em{\hss.\hss}\hfill} +\line{Preliminary Notification \& Abstract\leaderfill January 30} +\line{Papers Selected\leaderfill February 20} +\line{Finished Abstract Due\leaderfill March 27} +\line{First Draft of Paper Due\leaderfill April 24} +\line{Annual Meeting\leaderfill August 21--23} +\smallskip +\leftline{\sl Program Coordinator} +\noindent + Preliminary Notification and Abstracts should be directed to: +{\obeylines +Dean Guenther +Washington State University +Pullman, WA 99164-1220, USA +Phone: 0101-509-335-0411 +Bitnet: |guenther@wsuvm1| +} +\smallskip\noindent +Questions concerning any other aspect of the meeting +(or + conference) should be directed to the TUG Office: 0101-401-751-7760 + or electronic mail: |tug@math.ams.com|. + diff --git a/info/digests/texline/no8/backnumber.tex b/info/digests/texline/no8/backnumber.tex new file mode 100644 index 0000000000..5b2b58b846 --- /dev/null +++ b/info/digests/texline/no8/backnumber.tex @@ -0,0 +1,23 @@ +\centerline{\bf Backnumbers} +\medskip +\noindent +There are a few backnumbers of \TeXline\ lying around on +my shelves. From time to time people ask for them, and +usually I cannot find any. However, I have located the +following: + +\centerline{% +\def\?{\phantom{0}}\vbox{\halign{\hfil#\hfil&#\quad&#\hfil&#\quad&\hfil#\hfil\cr +\omit\it Issue&&\omit\hfil\it Date\hfil&&\omit +\it Quantity\cr +1&&August 1985&&\?1\cr +2&&November 1985&&\?2\cr +3&&April 1986&&14\cr +4&&March 1987&&none\cr +5&&May 1987&&\?2\cr +6&&October 1987&&\?1\cr +7&&February 1988&&\?3\cr}}} + +\noindent I will be happy to dispose of these to anyone who +wants them. + diff --git a/info/digests/texline/no8/bcs.display b/info/digests/texline/no8/bcs.display new file mode 100644 index 0000000000..53ae1fef8c --- /dev/null +++ b/info/digests/texline/no8/bcs.display @@ -0,0 +1,149 @@ +\centerline{\bf BCS Displays Group} +\medskip +\noindent +The programme for the BCS Displays Group meeting +held at the Rutherford Appleton Laboratory ({\sc ral}) on +October 26th sounded rather close to what I would from the +BCS Electronic Publishing Group. The meeting was rather +grandly titled `Interactive Documents: Today and Tomorrow' +and described as an `International State of the Art +Seminar'. + +The first talk was from Angela Scheller on `Graphics in +Document Standards', a popular topic these days, perhaps +as a reaction to the apparent ease with which graphics +are pasted into your average dtp package. Why should they +have all the fun? Here the accent was on `standards' +(real, {\sc iso} standards, not the {\it de facto} ones). +The two document standards which were examined here were +\sgml\ and {\sc oda} (Office Document Architecture). Of +course, there are other `standards' or quasi-`standards' +like telex, telefax\slash facsimile, teletext, {\sc +ccitt} and {\sc ecma}. There is a bit of politicking +going on at the moment between \sgml\ and {\sc oda}, due +partly to their origins (\sgml\ has its origins in +publishing, and {\sc oda} in computer vendors). {\sc oda} +is claimed to be an `open system'. I'm still waiting for +a clear and concise description of {\sc oda}, but the +points I gathered here were that it involved a +hierarchical structure, with defined inter-relationships; +it supported the notion of logical views and layout views +(conceptually orthogonal); and that it allowed +interchange between different systems. When {\sc oda} +handles graphics, it does so with respect to other +standards, in one of three modes: character based, +raster based, and geometric. Obviously~(?) the most +powerful mode is geometric, where {\sc cgm} is considered +the standard. Clearly there are limitations, but most are +due to the degree to which the standards themselves have +evolved: areas like colour\slash grey scale, moving +images, business graphics, 3D, {\sc cadcam} and maps +still need to be incorporated, beside image overlay, +handling of non-rectangular areas, and also `external +references' (e.g.~images from a picture database). + +\sgml\ offers a different approach. While graphics in +{\sc oda} have limited functionality, but are (or should +be) usable in open systems, graphics in \sgml\ have +unlimited functionality, but only within special +applications environments. In \TeX\ we could contrast +this with the \LaTeX\ picture environment (which offers +limited functionality) over all systems (`open'), and the +use of |\special|s, which have unlimited functionality, +but are system specific. One of \sgml's interesting +features is its `let-out' clause, where it can allow part +of a document to be coded in a non-`standard' ({\it sensu +ISO\/}) way. The usual example is maths, where \sgml\ +usually hands over to \TeX, but here the appropriate +example is some alternative graphics language or system. + +John Harris made some interesting observations on `Demand +Printing': his main objective was to give some +explanation of why demand publishing had not mushroomed. +He presented a vision of bookshops which stocked +hundreds\slash thousands of titles which would then be run +off on the local laser printer, stitched, bound, +dust-jacketed, and placed in the customer's hands, all +within a few minutes. At last, \PS\ reared its head. Harris +concentrated on the fact that \PS\ is a common {\it de +facto} standard, pointing out that it was just what the +record industry had been waiting for (alluding +to one of the examples in the {\sl Cookbook\/}). But he +felt that \PS\ offered us too much: text is essentially +orthogonal, and therefore \PS's capability to skew and +rotate text was usually redundant. He argued that \PS\ +solved many problems we didn't know we had. The key +difficulty for demand publishing was speed and cost. +Taking a minimum desirable throughput at 200\,ppm, at +300\,dpi resolution this comes out at about 3\,Mbytes/sec +transmission speed. For bulk printing a 10-fold +improvement was needed. The rip (raster image processor) +could be speeded up, for example by using Transputers +(there is already a \PS\ clone typesetter which uses +Transputers, and is substantially faster than your average +Linotron rip). But technological changes are also needed, +like continuous paper rolls. + +Although I enjoyed the knockabout with \PS, I was left +doubting whether demand publishing was ever +likely to come about, and that even if it did, it +wouldn't make books any cheaper. + +Crispin Goswell of {\sc ral}, gave the paper I had been +waiting for, `\PS\ in the real world'. I'm not convinced +that {\sc ral} is quite my notion of the real world, +but they have done a great deal with \PS. I recall +a BCS-EP meeting some years ago where someone from +{\sc ral} described early encounters with the +language. Goswell has written a public domain display +\PS\ for the Sun workstation which was shown at the +meeting. This facility goes a long way to resolving one of +the persistent problems with \PS\ --- the lack of +screen preview. I find development work with \PS\ a +nightmare. An aside: how is it that \PS\ is wonderful, and +has been embraced by all my user-% + friendly {\it wysiwyg\/} +chums, despite its obvious unfriendliness, while \TeX\ +remains an anathema to them: could it be something to do +with marketing? + +Goswell's talk was extremely competent, and neutral. +Fortunately here was someone who knew enough about \PS\ +to know its strong and weak points. One of the items he +covered was the problem of device independence. In +theory, sending your \PS\ file to a laser printer, then to +a typesetter should only change the resolution --- the +document should look the same, only better. +Unfortunately, as we all (?) know, this is not always the +case. Rules in particular can change their appearance; +memory usage is different in different rips (i.e.~your +pages may not print at all), and of course the fonts you +think you have used may not be available. Most \PS\ users +will also have encountered the `preamble' problem --- and +will know that there are lots of different releases of +the \PS\ software for printers, all with different bugs +(Let's ignore the clone problem for now.) + +Looking at \PS\ as a programming language, he pointed out +that it is a plain text language -- you can read it --- +it is complete, and it really is a language, not data. As +a programming language it offers extensibility: Goswell +saw no reason why \PS\ could not offer non-linear font +scaling (a charge often levied against it). But he also +noted that the language did encourage hacking, that it +could be hard to read, and was difficult to debug --- +consequences of the dynamic binding of the language and +the ability to redefine anything whenever you pleased. +Portability was generally good, although there were +problems with manufacturer-specific extensions (as +usual), and with fonts. + +This was very useful, evenly balanced and informative +talk which may have swept away some of the +misunderstandings and misconceptions which surround \PS. + +There were three other talks, from Heather Brown, Wendy +Hall, and J\"urgen Sch\"onhut, but none were \TeX-relevant. +\smallskip +\rightline{\sl Malcolm Clark} + diff --git a/info/digests/texline/no8/bnb.tex b/info/digests/texline/no8/bnb.tex new file mode 100644 index 0000000000..87eaf12ee3 --- /dev/null +++ b/info/digests/texline/no8/bnb.tex @@ -0,0 +1,196 @@ + +\centerline{\bf \TeX\ and TUG Go International} +\centerline{\bf A Trip Report} +\medskip +\noindent +This summer, I had the pleasure of attending two +major \TeX\ meetings --- ``\TeX eter'' and the annual TUG +meeting, in Montr\'eal. Both (particularly Exeter) were +notable for the number of new faces that could be attached +to names, and the quality and content of the technical +programs made it abundantly clear that \TeX\ is no longer +just a computer hobbyist's playground (if it ever was). + +\medskip +\leftline{\bf \TeX88, Exeter} +\smallskip\noindent +Exeter is an old town in the south west of England, on the Exe river. The +university was founded in this century, in the grounds of an old estate +which is also a botanical garden and arboretum. The conference was +most competently arranged by Malcolm Clark and Cathy Booth, with help +from Ewart North. A three-day program was surrounded by short courses +and workshops. + +Before the conference proper, I was kindly permitted to sit in on the +second day of the session on document design. This was led by Paul Stiff, +of the University of Reading. +As we all have heard many times before, it was stressed that the real +purpose of technical (and other) documents is communication, to provide a +means by which an author's ideas can be communicated to a reader. +Anything that gets in the way of that goal is thus poor design, whether or +not the appearance of the document is attractive. (A pleasing appearance +is desirable, but secondary.) +Though there seems to be no ``cookbook'' that one can refer to, keeping in +mind how a document is to be used should prompt its creator to do the +``right'' thing. And looking at many instances of similar documents, +deciding which are most effective at their task of communication and why, +is one of the best ways to develop a sense of appropriate design. + +The conference program consisted of talks on various topics related to \TeX\ +and \MF, with a break on the second afternoon for an excursion on an old +steam train and a cruise up the Dart River. Malcolm Clark presented a +memorable harangue on how \TeX\ users should make their presence better +known in the composition world. + +Several speakers presented their experiences providing \TeX\ production +services. (My favorite quote was: ``Academic publishers have to live +day by day with the lunatic fringe --- they are our authors!'' +from Rod Mulvey, Cambridge University Press.) +Publishers are interested in lower costs, but without sacrificing +quality. With some adustments (e.g., more traditional fonts), \TeX\ is +becoming accepted in this environment. One speaker offered this warning +about working directly with authors --- authors are often willing to +accept the limitations of {\it wysiwyg\/} word processors, but if they +know that the back end of a system is \TeX, they can and will choose +to subvert any style filter provided for them. + +Several papers were presented on experiments with \MF. Two authors +spoke on extracting \MF's spline information for use with other +graphic processors. Victor Ostromoukhov has developed a method for +delivering the splines to \PS, and his demonstration (on a Mac, in +the evening) of letters wrapped around spheres and other ``solid'' +objects was quite captivating. + +Other topics covered by the talks included support for authors (usually, +but not always, in academic environments), language-specific processing +(including the use of non-latin scripts), graphics inclusion in +\TeX\ documents (including two papers on chemistry), \TeX\ and databases, +and a description of the Aston \TeX\ archive. Space prevents inclusion +of the full program in this issue, but the Proceedings will be published +early next year --- I am looking forward to reading them. + +A topic of particular interest, though nowhere was it listed formally on +the program, was how to deal effectively with A4 paper. \TeX, and even +more explicitly, \LaTeX, assume the use of 8\frac1/2${}\times 11''$ paper; +and output drivers assume that the reference point of a page (the +top left corner) is one inch from the top and one inch from the left edge +of the paper. These assumptions are +not ideal for A4 paper ($ \hbox{297\,mm}\times \hbox{210\,mm}$), and much +discussion was devoted to how best to adjust both the dimensions specified +in \TeX\ macro files and \LaTeX\ style files and/or the output drivers' +assumed reference point to compensate for the different dimension systems. +However, one of the philosophical underpinnings of \TeX\ is the ability to +move documents from place to place with the assumption that they will get +the same treatment and presentation. No good answer was found, but it seems +clear that this is an area that could benefit from rethinking, as \TeX\ is +accepted in Europe and other areas of the world even more readily (if +possible) than in North America. + +In the evenings, there was plenty of time to discuss the day's events and +other topics of mutual interest. Several personal computers were set up +in the lounge of the residence hall, and experiments were encouraged. +Chris Rowley and I were ``fingered'' to lead a clinic one evening; +apparently, most of the attendees didn't have many problems, since only +a few came to visit. There was, however, a request for an +open problems session that couldn't be accommodated at Exeter, but should +be seriously considered for inclusion at the next Euro\TeX\ conference. + +After the close of \TeX88 proper, I attended another workshop, on the +hackery of \LaTeX\ style files, led by Sue Brooks. +Once again, the A4 controversy surfaced. When someone asked what was the +\hbox{reason} for the ``one inch'' reference-point, I said that, to the +best of my knowledge, it was arbitrary, to define +some standard to which output device drivers could be written. +\medskip +\leftline{\bf TUG annual meeting, Montr\'eal} +\smallskip\noindent +Montr\'eal is a beautiful city, with a cosmopolitan French flavour unique +in North America. The meeting was held at McGill University, in a new +high-rise building at the edge of the campus. The city surrounding was +evident in many ways, not the least of which was the ubiquitous construction +that seemed at times to be tunneling under the very foundations of the +building where we were meeting. The program was put together by Dean +Guenther (again), Christina Thiele and Shawn Farrell; Shawn also coordinated +the local arrangements. As at Exeter, the main program was preceded and +followed by short courses and workshops. + +The evening before the meeting, almost everyone gathered at Le Festin du +Gouverneur, an eating place set up in Montr\'eal's old fort, where a feast +and entertainment in the style of the 17th century French settlers were +provided. (Picture yourself eating a several-course meal with only a +knife between you and bad table manners.) As the TUG contingent was the +largest of several groups present, the erstwhile Gouverneur was chosen +from our ranks --- none other than Bart Childs. The Master of the Feast +saw to it that the serving wenches were most attentive. It should be +noted, though, that Bart was on hand the next morning in time to +present the annual introduction for new members. A worthy performance. + +The general theme of the meeting was \TeX\ in production environments. +The variety of publications ``produced'' by \TeX\ is truly astounding. +When I was first introduced to \TeX\ it was still the preserve of +computer science students and a few visionary mathematicians and +physicists. {\sc nasa} technical reports, textbooks and computer reference +manuals are natural applications for \TeX; more surprising are the +kennel club yearbooks and TV~Guide, for which the first copies with +feature pages prepared by \TeX\ rolled off the press in May. + +There seemed to be no common hardware or operating environment among the +installations reported on, or even a common approach. What was common, +however, were the reasons that \TeX\ was selected, and the fact that most +production sites have tried to integrate \TeX\ into an existing operation. +One speaker % Mary McCaskill of NASA Langley +described her role as ``managing a system +of hardware, software and people''. These features --- an existing +operation, comprising both skilled people and good resources --- are +characteristic of a production system. + +Two areas in which it was perceived that \TeX\ could be stronger are +fonts and graphics. Ordinarily, only Computer Modern fonts are +delivered with \TeX{}. To install other fonts requires, at the very +least, some effort; however, production users of composition services +are simply accustomed to having a richer selection of fonts. With +respect to graphics, the most available technique is still pasteup, +whether physical or electronic (through the output driver). This was +a design decision by Knuth, and an extension to \TeX\ would be +required to overcome the limitation. + +\medskip +\def\bull{$\bullet$} +\def\1 {\par\noindent{\bull}\ignorespaces} +\noindent +Some sensible recommendations were made by the speakers: +\1 Management {\sl must\/} coordinate all areas involved, and make + them work together. +\1 To be successful, don't scrimp --- make sure the hardware and + software resources are adequate. +\1 User support is important. It isn't sufficient to hand \TB\ to + a prospective user. Training time is an investment that pays off. +\1 User training is best done in a language the users understand. When + training a design staff, use ``typesetter's terms''. +\1 Users will be at different levels; a reasonable support level might + be 1~guru~:\ 5~macro hackers~:\ $n$ ordinary users. +\1 Use or build tools when appropriate. If something happens more + than 5~times, automate it; if you build a tool more than 5~times, + build a tool-builder. +\1 Macros should be designed for optimum data-entry use, as well as to + produce the correct format. +\1 Remember that even \TeX\ has limitations. Instead of simply trying to + implement an old, unsuitable format, consider how a new approach + might be better not only for \TeX, but also for the product. +\1 For a first project, avoid one with a ``drop-dead'' deadline, if possible. +\medskip +\noindent +And several challenges were raised: + +\1 To \TeX\ developers, make \TeX\ part of a {\sl complete\/} publishing + system, including graphics. +\1 \TeX\ should be more cooperative about fine-tuning; a small change + shouldn't lead to possible changes several pages later. +\1 Translation between other competent systems ({\it nroff}, etc.)\ and + \TeX\ should be investigated and implemented. +\medskip +\noindent +Proceedings of both \TeX88 and the TUG meeting will be published. +Both will be available from TUG early in 1989. +\smallskip +\rightline{\sl Barbara Beeton} diff --git a/info/digests/texline/no8/chris.tex b/info/digests/texline/no8/chris.tex new file mode 100644 index 0000000000..a7b08e66cb --- /dev/null +++ b/info/digests/texline/no8/chris.tex @@ -0,0 +1,41 @@ + +\centerline{\bf Leslie's friend says\dots} +\medskip +\noindent +I agree entirely with Leslie Lamport on the relative ease +of changing the handful of parameters in \LaTeX\ +which affect the overall page layout. It is one of the most staightforward +changes to a style file. It is also one of the few which is clearly +and reasonably comprehensively explained in the manual: one warning is, +however, needed here --- anything you read about the parameter |\footheight| +is probably false --- the truth, as Leslie admits in the January 88 version +of the macros, is that |\footheight| is never (!!!) used, although it is +religiously defined in every style file. As far as I know, no correction to the +manual has been issued on this one. + +I also agree with him that, like so many things in the typographic world, +making it easy means that it is easy to produce ``execrable'' results. +So either get yourself a designer you like and can understand, or, and this +is quite feasible for this type of design change, find a similar document +which has been professionally designed (NB: for the same type and size of +font) and which you like, \dots\ and copy it! + +The people/person I disagree with is whoever was the ``professional'' who +produced the designs for the standard Latex styles: I, and my ``professional +advisers'' find them execrablissimo(mi?). + +Modesty does not forbid me to add that if you want a large source of +well-designed (well, professionally designed) A4 format publications on a +variety of topics and a in a wealth of different typographic styles, then you +need look no further than the enormous output of the Open University over the +last 19 years (help, if the OU is that old, I must be due for retirement soon). +\smallskip +\rightline{\sl Chris Rowley} +\smallskip +\leftline{\sl Another editor's note:} +\noindent +Although I have been unable to trace any reference from LL which gives a clue to who +might be responsible for the styles, he does credit Marshall Hendrichs, Lynne +Ruggles and Richard Southall for ``what little I know about typography''. In a recent +\TeXhax\ he +fingered Hendrichs as contributing to the design of the \LaTeX\ book. diff --git a/info/digests/texline/no8/ero.tex b/info/digests/texline/no8/ero.tex new file mode 100644 index 0000000000..71d7b90db0 --- /dev/null +++ b/info/digests/texline/no8/ero.tex @@ -0,0 +1,153 @@ +\magnification\magstep1 +\def\Afour{\hsize=6.25truein\vsize=9.5truein}%A4 page dimensions +\Afour +\font\sc=cmcsc10 +\font\mf=logo10 +\font\mfb=logobf10 +\font\mfsl=logosl10 +\def\MF{{\rm{\mf META}\-{\mf FONT}}} +\def\MFb{{\bf{\mfb META}\-{\mfb FONT}}} +\def\MFsl{{\sl{\mfsl META}\-{\mfsl FONT}}} +\font\big=cmr17 +\font\med=cmbx12 +\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt + \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\SGML{{\sc sgml}} +\let\sgml\SGML +\def\PS{{\sc Post\-Script}} +\def\center#1{\hbox to 5truein{\hfill #1\hfill}} +\newdimen\wide +\newbox\wb +\setbox\wb\hbox{Affiliation\quad} +\wide\wd\wb +\def\leaderfill{\leaders\hrule\hfill} +\def\lbox#1{\line{\hbox to\wide{#1\hfill}\leaderfill}} +\def\shortbox#1{\hbox to 3truein{\hbox to\wide{#1\hfill}\leaderfill}} +\def\square{\leavevmode\boxit{\hbox to 5pt{\vrule width0pt height5pt depth0pt}}\quad} + +\nopagenumbers + +\centerline{\big First Announcement and Call for Papers} +\bigskip +\centerline{\boxit{% +\smallskip +\center{\med 4th Annual Meeting of European \TeX\ Users} +\smallskip +\center{\med\TeX89} +\smallskip +\center{\med September 11--13, 1989, Karlsruhe, FRG} +\smallskip}} + + +\bigskip\noindent +\TeX89, the 4th European \TeX\ Conference, will take place at Karlsruhe +University, FRG, from Monday, September 11th, to Wednesday, +September 13th, 1989. The conference will be organized by +Anne Br\"uggemann-Klein, Department of Computer Science, University +of Freiburg, and Rainer Rupprecht, Computing Center, +University of Karlsruhe. +\bigskip\noindent +Following the tradition of last years' conferences, contributions +are welcome from all areas of \TeX, \MF, and related subjects. +Likely themes might include: +\item{$\ast$}document structures (\LaTeX, \SGML, ODA,\dots) +\item{$\ast$} non-technical \TeX\ (humanities, music, exotic languages,\dots) +\item{$\ast$} other technical areas (chemistry, physics, biology,\dots) +\item{$\ast$} difficult jobs with \TeX, \LaTeX,\dots +\item{$\ast$} graphics and \TeX +\item{$\ast$} \TeX\ training +\item{$\ast$} \TeX\ as part of a larger system (user interfaces, +tools, environments,\dots) +\item{$\ast$} \TeX\ as a production tool +\item{$\ast$} fonts to use with \TeX\ (\MF\ and other systems) +\item{$\ast$} \TeX\ and \PS +\item{$\ast$} Macro packages +\item{$\ast$} public domain \TeX\ vs. commercial \TeX +\bigskip\noindent +Besides traditional paper sessions, discussion groups on special +subjects and exhibitions will be organized. In a special session +at the end of the conference, highlights of the discussion groups +will be presented to the general audience. Conference proceedings +will be published after the conference. +\bigskip\noindent +Various workshops and participatory seminars will be offered +before and after the conference. Proposals for topics and +voluntary tutors are welcome. +\bigskip\noindent +The conference fee will be approximately DM 280,--. The fee includes +registration materials, lunches, social events and a copy of the +conference proceedings. +\bigskip\noindent +A second circular containing a preliminary program will be out +by March 31st, 1989. + + +\eject + + +\baselineskip15pt\parindent0pt + +\centerline{\big RETURN BEFORE FEBRUARY 28, 1989} +\bigskip\vfill +\lbox{Name} +\lbox{Affiliation} +\lbox{Address} +\lbox{} +\lbox{} +\shortbox{Telephone} +\shortbox{email} + +\vfill +Please tick where appropriate: +\smallskip + +\square Please add my name to the \TeX89 mailing list. + +\square I am seriously considering attending the conference. + +\square I would like to present a paper. + +\qquad The title will be: + +\lbox{} +\lbox{} + +\qquad My talk will take $\underline{\qquad}$ minutes. + The abstract (1 page) is included. +\vfill +\square I would like to contribute to or participate in discussion + groups on: + +\lbox{} +\lbox{} +\vfill +\square I would like to offer a workshop before or after the + conference on: + +\lbox{} +\lbox{} +\vfill +\square + I would like to participate in a workshop before or after the + conference on: + +\lbox{} +\lbox{} +\vfill +Send to: +{\obeylines\baselineskip12pt \parindent20pt + Rainer Rupprecht + Rechenzentrum + Universit\"at Karlsruhe + Postfach 6980 + 7500 Karlsruhe 1, FRG +\smallskip + email: RZ32@DKAUNI48 (bitnet) +} +\vfill +\centerline{\big RETURN BEFORE FEBRUARY 28, 1989} + +\end + diff --git a/info/digests/texline/no8/euro.tex b/info/digests/texline/no8/euro.tex new file mode 100644 index 0000000000..5c493e809c --- /dev/null +++ b/info/digests/texline/no8/euro.tex @@ -0,0 +1,44 @@ +\centerline{\bf \TeX89} +\medskip +\noindent +\TeX89, the 4th European \TeX\ Conference, will take place +at Karlsruhe University, FRG, from Monday, September 11th, +to Wednesday, September 13th, 1989. + +Following the tradition of last years' conferences, contributions +are welcome from all areas of \TeX, \MF, and related subjects. +Likely themes might include: +\item{$\ast$}document structures (\LaTeX, \SGML, ODA,\dots) +\item{$\ast$} non-technical \TeX\ (humanities, music, exotic languages,\dots) +\item{$\ast$} technical areas (chemistry, physics, +biology,\dots) +\item{$\ast$} difficult jobs with \TeX, +\LaTeX,\dots \item{$\ast$} graphics and \TeX +\item{$\ast$} \TeX\ training +\item{$\ast$} \TeX\ as part of a larger system (user interfaces, +tools, environments,\dots) +\item{$\ast$} \TeX\ as a production tool +\item{$\ast$} fonts to use with \TeX\ (\MF\ and other systems) +\item{$\ast$} \TeX\ and \PS +\item{$\ast$} Macro packages +\item{$\ast$} public domain \TeX\ vs. commercial \TeX + +\noindent +Besides traditional paper sessions, discussion groups on special +subjects and exhibitions will be organized. In a special session +at the end of the conference, highlights of the discussion groups +will be presented to the general audience. Conference proceedings +will be published after the conference. + +Various workshops and participatory seminars will be offered +before and after the conference. Proposals for topics and +voluntary tutors are welcome. + +The conference fee will be approximately DM 280,--. The fee includes +registration materials, lunches, social events and a copy of the +conference proceedings. + +A second circular containing a preliminary program will be out +by March 31st, 1989. +\smallskip +\rightline{\sl Rainer Rupprecht} diff --git a/info/digests/texline/no8/fallen.tex b/info/digests/texline/no8/fallen.tex new file mode 100644 index 0000000000..3ab5f23f4d --- /dev/null +++ b/info/digests/texline/no8/fallen.tex @@ -0,0 +1,62 @@ +\centerline{\bf Fallen by the wayside} +\medskip +\noindent +Over the last year or so, many of the commercial \TeX +ware vendors have changed. Some are merely name changes, +but since this lack of continuity is confusing, at best, +and damaging, at worst, it is useful to detail the +metamorphoses. + +The first player to fall was Addison Wesley. AW are still +\DEK's publisher, and continue to publish all the \TeX\ +books. What has changed is their +attachment to software. At one time they supplied both +the {\sc ibm pc} micro\TeX, and the Macintosh +\TeXtures{}. Of these, perhaps the most noticeable loss +was for micro\TeX, since AW `disinvested' at just the +time that the AM fonts were being replaced by the CMs. +After a very long hiatus, ArborText picked up micro\TeX, +and will market it as $\mu$\TeX{}. There appears to have +been a fair amount of development work going on, and +apart from some qualms about supply and support outside +the US, this change is to be welcomed. + +\TeXtures\ had only just reached its `full-release' when +AW returned to books. In any case \TeXpert\ quickly +stepped in; there is at least one other supplier, but she +remains well hidden. + +Shortly after \TeXtures\ reached full release status, +Kellerman \& Smith, who supplied not only \TeXtures, but +also a {\sc vax vms} implementation of the \TeX ware, +parted company, to become Blue Sky Research (the Barry +Smith, \TeXtures\ part) and Northlake Software (the David +Kellerman, {\sc vax vms} part). This came as a surprise +to many of us. + +ArborText themselves had changed their name from TextSet. +If you have a pc version of \TeX, micro\TeX\ or +pc\TeX, you are probably using one of their driver +programs. The probable reason for changing their name was +to avoid confusion with Texet, who are involved in the +same general area of document software. Or rather, {\it +were} in the same general area. Texet folded last year. +Perhaps TextSet\slash ArborText should have waited. + +One other casualty seems to have been {\sl FTL +systems\/}' Mac\TeX{}. Nothing has been heard of them for +some time. They made no appearance at Montreal, nor have +there been any advertisements in \TUGboat{}. McQueen, who +supplied the software in this country have themselves +abandoned all software sales, returning to `real' +printing. + +Even in the Atari world the pattern is repeated. Kettler +{\sc edv}, who were supplying one of the two German Atari +\TeX\ versions folded last year, but the software is now +handled by \TeX sys (who are essentially the people who +implemented the software). + +I suppose this is all inevitable with software, +but it does confuse, and makes the \TeX\ world look a +little unstable from some viewpoints. diff --git a/info/digests/texline/no8/first.tex b/info/digests/texline/no8/first.tex new file mode 100644 index 0000000000..6afd3db6c1 --- /dev/null +++ b/info/digests/texline/no8/first.tex @@ -0,0 +1,66 @@ +\hyphenation{Addison} +\input texline +\def\PCTeX{{\sc pc}\kern-0.1em\TeX} +\def\bi{\item{$\bullet$}} +\def\section#1{\medskip\leftline{\sl #1}\par\noindent\ignorespaces} + +\vsize8.5truein +\input resolution %Bill Noble, Vardas, +\eject +\vsize=9.5truein +\input pole %Janusz Bie\'n, +\bigskip +\input alien %Adrian Clark, +\bigskip +\input bnb %Barbara Beeton, +\bigskip +\input mont.real %Cathy Booth, +\bigskip +\input st.tex %Bijan Djahansouzi +\bigskip +\input larry3 %Stephen Pollock, Larry Siebenmann +\bigskip +\input maria %Maria Tuck +\bigskip +\input oddtypes +\bigskip +\input rept %Carol Hewlett, Sebastian Rahtz +\bigskip +\input roger %Roger Horne +\bigskip +\input fontmemo %Dominik Wujastyk +\eject +\input review +\bigskip +\input sgml-review +\vfill +\bigskip +\input green %Brendan Molloy +\vfill +\eject +\input salton +\bigskip +\input chris %Chris Rowley +\bigskip +\input announce +\bigskip +\input snip +\bigskip +\input fallen +\bigskip +\input backnumber +\bigskip +\input gut %Bernard Gaulle +\vfill +\eject +\input euro.tex +\bigskip +\input bcs.display +\bigskip +\input more.sgml +\vfill\eject +\bigskip +\input late.news +\bigskip +\input thanks +\bye diff --git a/info/digests/texline/no8/fontmemo.refs b/info/digests/texline/no8/fontmemo.refs new file mode 100644 index 0000000000..0ac39320af --- /dev/null +++ b/info/digests/texline/no8/fontmemo.refs @@ -0,0 +1,119 @@ +{\frenchspacing\parindent0pt\parskip\smallskipamount +\def\VL{{\it Visible Language}} +\def\DEK{Donald E. Knuth} +\leftline{\sl References and Reading} +\smallskip +In the Following list, TUG88 is used as an abbreviation for: {\it \TeX\ Users +Group Eighth Annual\/} {\it Meeting:\/} {\it Conference Proceedings\/}, edited +by Dean Guenther (Providence: TUG, 1988). + +Barbara Beeton, `Mathematical Symbols and Cyrillic Fonts Ready for +Distribution', \TUGboat\ {\bf 6} (1985), 59--63. + +Barbara Beeton, `Mathematical Symbols and Cyrillic Fonts Ready for +Distribution (Revised)', \TUGboat\ {\bf 6} (1985), 124--128. + +W. Andrews \& P. MacKay, `The Ottoman Texts Project' in TUG88, 35--52. + +W. Andrews \& P. MacKay, `Turkish Hyphenations +for \TeX' in {\TUGboat\/} {\bf 9} (1988), 12--14. See also the note in +{\TUGboat\/} {\bf 8} (1987), 260. + +Anon, `Alumna Designs First LaserWriter Typeface', {\it Harvard +Extension Newsletter\/} {\bf 8}(2) (Spring 1988). + +C.~Bigelow and K.~Holmes, `The Design of Lucida: an Integrated +Family of Types for Electronic Literacy', in {\it Text Processing and\/} +{\it Document Manipulation\/} edited by J.~C.~van Vliet (Cambridge, 1986), +1--17. + +Jonathan A.~Epstein, `Best Font Forward', {\it Digital Review\/} (July +1986), 82--87. + +Aarno Hohti \& Okko Kanerva, `Generating an APL +Font' {\TUGboat\/} {\bf 8} (1987), 275--278 + +Douglas R.~Hofstadter, `Metafont, Metamathematics +and Metaphysics: comments on Donald Knuth's Article ``The Concept of a +Meta-Font''\,', {\VL\/}, {\bf 16} (1982), 309--338 + +Douglas R. Hofstadter {\it Metamagical Themas}, (New York, +1986). + +\DEK, `The Concept of a Meta-Font', {\VL\/} {\bf 16} (1982), +3--27. + +\DEK, `My First Experience with Indian Scripts', in {\it CALTIS-84:\/} +{\it Special Issue on Calligraphy, Lettering \& Typography of Indian +Scripts\/}, (Proceedings of a Delhi 1984 conference). + +\DEK, `Lessons Learned from Metafont', +{\VL\/}, {\bf 19} (1985), 35--53. + +\DEK, {\it Computer Modern Typefaces\/}, (Reading etc., Addison-Wesley +Publishing,1986), 588pp. + +\DEK, R. Graham \&\ O. Patashnik, {\it Concrete Mathematics}, (Reading etc., Addison-Wesley +Publishing,1989), 250pp. + +\DEK\ \& P.~MacKay, `Mixing right-ro-left texts with left-to-right +texts' {\TUGboat\/}, {\bf 8.1} (1987), 14--25. + + +\DEK, `A Punk +Meta-font', {\TUGboat\/} {\bf 9.2} (1988), 152--168. + +Silvio Levy, +`Typesetting Greek', in TUG88, 27--33. + +Silvio Levy, `Using Greek Fonts with \TeX', {\TUGboat\/} {\bf 9} (1988), + 20--24. + +P. K. Ghosh, Stanford Computer Science Report +965: {\it An Approach to Type Design and Text Composition in Indian +Scripts\/}, (Stanford, 1984). + +Robert Messner `Blackboard Bold' {\TUGboat\/} {\bf 9} +(1988), 19--20. + +Geoffrey K.~Pullum and William A.~Ladusaw {\it Phonetic Symbol Guide\/}, +(Chicago, London, 1986). + +Nobuo Saito `Japanese \TeX', {\TUGboat\/} {\bf 8} (1987), 103--116. + +Nobuo Saito \& K. Kitagawa, `What Should We Do for Japanese \TeX', TUG88, 53--56. + +Nobuo Saito `\TeX: J\TeX', TUG88, 57--68. + +Geoffrey Sampson, +`Is Roman Type an Open-Ended System: A Response to Douglas Hofstadter' +{\VL\/} {\bf 17} (1983), 410--412. + +John Sauter, {\TUGboat\/} 7.3 (1986), 151--152. + +Christina Thiele, +`\TeX, Linguistics, and Journal Production' in TUG88, 5--26. + + +Georgia Tobin,`The ABC's of Special Effects' +in {\TUGboat\/} {\bf 9} (1988), +15--18. + +Georgia Tobin, `Designing for Low-Res Devices', {\TUGboat\/} {\bf 9.2} (1988), +126--128. + +\DW, `The Many Faces of \TeX\ a Survey of Digital {\mf META}fonts', +{\TUGboat\/} {\bf 9.2} (1988), +131--151. Slso see the follow-up article in {\bf 9.3}. + +} + + + + + + + + + + diff --git a/info/digests/texline/no8/fontmemo.tex b/info/digests/texline/no8/fontmemo.tex new file mode 100644 index 0000000000..d5943363d3 --- /dev/null +++ b/info/digests/texline/no8/fontmemo.tex @@ -0,0 +1,1033 @@ +\centerline{\bf Fonts} +\medskip +\noindent +The following article first appeared in \TUGboat\ 9(2) in +August of 1988. A version had previously appeared through +\hax, and at that time I asked \DW, its author, if I could +reprint it in \TeXline. Despite the fact that it has appeared +in \TUGboat, it still seems worthwhile printing it here. +Firstly, Dominik has added an appreciable amount of +material to it, and secondly, not all \TeXline\ readers are +\TUGboat\ readers. Perhaps this article may encourage them +to join TUG and receive the journal. In its original form, +the article ran to about 15--16 pages. It has been ruthlessly +cut. I have omitted some `frivolous' sections, and some where +the work was really `work in progress'. Perhaps more +damaging, I have omitted all the contacts and details of availability. +{\bf Do not contact Dominik to find out how to get these fonts.} +Please. First, consult \TUGboat; or failing that, if you have email access, try +accessing the complete source file, as listed at the end of the article; +and then, when all else fails, ring me. Do not be upset +when my ansaphone takes the message. +\smallskip +\rightline{\sl Malcolm Clark} +\bigskip +\newcount\num +\newcount\subnum +\def\METAfont{meta-font} +\def\section#1{\medskip\global\advance\num by1 +\global\subnum0\noindent{\sl\the\num. #1} \par\noindent\ignorespaces} +\def\subsection#1{\global\advance\subnum by 1\smallskip\leftline{$\bullet$\sl +\enspace\the\num.\the\subnum\enspace#1}\par\noindent\ignorespaces} +\def\subsubsection#1{\par\leftline{\quad$\circ$\sl +#1}\par\noindent\ignorespaces} +\def\verb{} +\centerline{\bf The Many Faces of \TeX} +\medskip +\leftline{\sl Introduction} +\noindent +This article seeks to give a survey of the fonts +currently available for use with \TeX. +Although I have been primarily interested in cataloguing fonts +designed with \MF, I also wanted to include information about any +other fonts that have been successfully used with \TeX, i.e., fonts +with \TeX\ Font Metric files, and a mechanism for the creation of the +appropriate ligatures and kerning pairs, be it within the {\tfm} +file, or by means of a preprocessor. + +I first started compiling this article late in 1987, as a note to +myself and my immediate Indological colleagues. But it seemed little +extra work to include more information in it about other fonts that I +had heard of, and doing this greatly widened its usefulness to \TeX\ +users in general. But you may still detect a slight Indic leaning. + + +People interested in \MF\ should be aware that in addition to +past issues of {\TUGboat\/}, \hax\ and UK\TeX, Don Hosek's network +magazine \TeX MaG has regularly included information about fonts, +and is required reading for \MF ers. Volume 2, issue 5, in +particular, was dedicated to non-English \TeX, and discussed +Icelandic, German, French, ancient Irish, and the problems of +foreign language hyphenation. Earlier issue of \TeX Mag have +also contained technical descriptions of \TeX\ font file formats, +etc. + +This article is made up of information given to me by others, both in +person and through general publication in \TUGboat\/, \hax\ and the +various electronic networks. My sincere thanks to all the contributors. + + +\section{\sl Computer Modern} +\noindent +It may seem odd to start with Computer Modern (CM), the typeface +family that most \TeX\ users use most of the time, since it was +created side by side with \TeX, and is included in all distributions +of \TeX. Nevertheless, I feel that there is an important point to be +made about CM. + +When Knuth developed \MF, one of the central ideas of the whole +project was that of producing {\it parametrized\/} typefaces. +Later on, Knuth explained that the whole inspiration for \MF\ had +arisen from the three ideas of {\it pens, parameters\/} and +{\it programs\/}. Knuth made it clear that he had never +meant to imply that all typefaces could usefully be combined into one +single \METAfont\ (although he did not actually deny the feasibility of +such an endeavor), and again emphasized the desirability of trying to +incorporate variability into a design. + +In view of the vigour with which Knuth has maintained the idea of +parametrization, both in discussion and in the actual implementation +of Computer Modern, it is surprising that there seems to be no example of a new +typeface created from CM by changing its parameters. (Since this article was +written, Knuth's `Concrete Modern', derived from CM, has been used in his new, +jointly-authored book, `Concrete Mathematics' --- this is designed to blend in +with the Euler maths font developed at the AMS: it is not immediately clear +whether this is yet another CM realisation, or a new typeface.) In Knuth's own +hands, CM is utterly plastic, as was demonstrated so startlingly in his article +`The Concept of a Meta-Font' referred to above, and by the inclusion of such +fonts as Computer Modern Funny Roman ({\tt CMFF}), Unslanted Text Italic ({\tt +CMU}), and the delightful CM Fibonacci {\tt CMFIB} in the standard +distributions. But none of us has taken up the challenge, implicit in the 62 +parameters of CM, to produce a new face for general distribution. It would be +very nice, for example, to produce a full set of {\tt CMFIB}, with bold, +slanted, italic, typewriter and other versions. Knuth has said that we should +not blindly copy the old masters, without trying to understand why they produced +what they did. How interesting it might be, then, to try to manipulate the +parameters of CM to produce a different, but recognizable family of faces. And +if the experiment failed, the reasons why it did so would themselves be of great +interest. The first sentences of the Introduction to {\it Computer + Modern Typefaces\/} are: +{\it +``Infinitely many alphabets can be generated by the programs in this +book. All you have to do is assign values to 62 parameters and fire +up the \MFsl\ system; then presto --- out comes a new font of type.'' +} + +\subsection{Non-standard sizes of CM} +John Sauter (1986), reported that he has +re-parameterized CM so that any of the existing Computer Modern +family may be created with any design size. For example, most of +us, when requiring an 11\,pt CM Roman will use {\tt CMR10} at +|\magstephalf|. Apparently this is not satisfactory to the +most discerning, and Sauter's algorithms permit one to generate a +true {\tt CMR11} face. They go further, of course, and permit +the generation of any of the CM faces in any (reasonable) point +size. This is done by algorithms which interpolate or extrapolate +from the values used by Knuth in the \MF\ parameter files for CM. +If a standard value, such as 10\,pt, is chosen, then Sauter's +algorithms will produce CM fonts identical to the standard ones. +The {\tfm}\ files for all sizes match exactly. +Don Hosek notes that some of the fonts may start looking +bad at larger sizes, lacking inter-character space, and so on. + +\subsection{Hosek Pica} +Don Hosek has created a +CM Pica, using the \MF\ code of the typewriter style font, {\tt +CMTT}, of Computer Modern as his point of departure. CM Pica is +more or less a 10\,cpi version of {\tt CMTT} with heightened +ascenders and x-height, similar to the Xerox 1200 {\sc pica} font in +appearance. + +CM Pica is designed as a sop to University authorities, +some publishers' editors and those who insist on having a +typescript manuscript marked up in the traditional manner, i.e., +with a squiggly line under bold characters, and underlining under +characters which would be italicized in print. + +To achieve this, Don created `bold' and `italic' fonts ({\tt +CMPICAB.MF, CMPICATI.MF}) in which each character includes an +under-squiggle, or underline respectively. He also modified the +{\tt ligtable} commands controlling begin- and end-quotes and also +hyphens, so that {\tt ``} and {\tt ''} both become \verb|"|, +while {\tt `} and {\tt '} both become {\tt \char'15} (the single +straight quote symbol at code '015 in {\tt CMTT}). Similarly, on +output, `\verb|--|' becomes `\verb|-|' and `\verb|---|' becomes +`\verb|--|'. + +One can code up a document in normal \TeX\ +fashion and then, by setting the fonts to be Hosek's Pica, it +will print out looking as though it had been typed, with `italic' +text underlined and `bold' text under-squiggled, etc. Merely +reset the fonts to {\tt CMR} (or whatever) and it will be +properly typeset with all the variety of fonts and refinement of +punctuation of which \TeX\ is capable. + +\section{\tt PUNK} +Don Knuth (1988) presented `A Punk +Meta-font'. Perhaps the most +extraordinary part of that article is Don's description of how he +coded the font, extremely rapidly, and with no reference at all +to drawings for the letters from V to Z, producing the \MF\ code +as fast as he could type! This demonstrates a completely new +paradigm of typeface design and creation, which many graphic +designers will find alien, but which evidently works for some +people, at least for smallish projects such as the punk typeface. + +\section{\sl Devan\={a}gar\={\i}} +\noindent +Devan\={a}gar\={\i} is the alphabet used for writing and printing +Sanskrit, Hindi and several other languages of South Asia, both +ancient and modern. + +\subsection{Knuth} +As far as I know, Donald Knuth coded the first Devan\={a}gar\={\i} +character to be created with \MF. This was the single syllable {\it la\/}, +which Matthew Carter gave to Knuth in 1980 as a challenge to test the +capabilities of the then nascent \MF. The smoke proof of the +character, and several interesting remarks about the experience, were +published as Knuth (1984). + + +\subsection{Velthuis} +The only fully worked out version of Devan\={a}gar\={\i} presently +available is that of Frans Velthuis. +Recently Velthuis completed version 1.2 of a +Devan\={a}gar\={\i} \METAfont\ for \TeX. He has written \MF\ code for +all the {\it ak\d{s}aras\/} (syllabic characters) necessary for Hindi, and +most of those for Sanskrit too, although in the latter case some +{\it vir\={a}mas\/} are used. Frans intends to produce a special Sanskrit +version of his font in the future. Also included are the +Devan\={a}gar\={\i} numerals, {\it anusv\={a}ra, vir\={a}ma, da\d{n}\d{d}a,\/} +{\it candrabindu, visarga, avagraha\/}, full stop, and the superscript +abbreviation circle. +A preprocessor, +\hbox{\tt DEVNAG}, available compiled for several systems, or in Pascal or +C, reads your file and converts the Hindi transliteration into +the appropriate codes for Frans's font. The converted file is then +processed by \TeX\ or \LaTeX\ in the normal way, and the resulting +\dvi\ file can be printed using a standard \dvi\ outputprogram. +The portions of Hindi text originally in Roman +transliteration will be printed in Devan\={a}gar\={\i}.\looseness=1 + + +\subsection{Ridgeway and Schiffman} +Dr.~Thomas Ridgeway, +director of the Center, in consultation with Prof.~Harold Schiffman +of the Department of Asian Languages, has almost completed a fully +vowelled \MF\ for Tamil. It will be tested during the summer, and +should be ready for release in early autumn 1988, together with some +sort of macro package to make it usable from a Latin-letter keyboard. +Characters are arranged in the font in rough alphabetical order, +starting from position zero. + + + +\section{\sl Perso-Arabic} +%\paragraph{Date of information} June 7, 1988. +\subsection{MacKay} +Pierre A.~MacKay (TUG Site Coordinator for \unix-flavoured \TeX) and the +Washington team have been working on an Arabic implementation of \TeX\ +for some years. Their plans are ambitious, and include building a +customized version of \TeX, called \XeT, which has a built-in +capability for handling bidirectional text. + + +\subsection{Goldberg} +%\paragraph{Date of information} February 3, 1988, February 11, 1988. +Early in 1988, Jacques J.~Goldberg +wrote to \hax, giving details of a +package giving the capability of printing Hebrew. He said that an +article was currently being written about the package, for submission +to \TUGboat\ (see also under {Hebrew}). +At the same time he referred to a nearly completed Arabic font. +In early September Goldberg noted that there has been a +lot of progress with the Arabic font. The font consists of: +\item{$\star$} a complete font of 29 characters each at 2 or 4 glyphs +(position dependent, isolated, first, middle, last in word). +\item{$\star$} a preprocessor with customizable mapping of the basic 29 +chars to a--z, A--Z areas of an {\sc ascii} keyboard, that will generate an +intermediary file with which unmodified \TeX\ plus a few macros correctly +composes bidirectional texts. The preprocessor reassigns the correct glyph from +the isolated form glyph depending on the position in word. +\smallskip\noindent +All this will continue to be made available free to the academic +community. + + + +\section{\sl Hebrew} +%\paragraph{Date of information} February 3, 1988. +\subsection{Goldberg} +Jacques J.~Goldberg also gave details of a package giving the +capability of printing Hebrew. He said that an article was currently +being written about the package, for submission to \TUGboat. +The package comprises: +\item{$\star$} a set of fonts at 8, 9, 10, 12, 17 points in regular type, 10 + points slanted and bold, and any magnification on request (1000 + off the shelf). +\item{$\star$} a 100\% portable preprocessor written in C (MSDOS users who do + not have a compiler can get the {\tt .COM} file). +\item{$\star$} a small set of \TeX\ macros. +\item{$\star$} a sample file. + +\noindent +Hebrew words in Roman transliteration are inserted either by typing +first-typed-last-read with the font invoked, which +`displays' in \hbox{natural} reading order, or by typing first-typed-% +first-read as argument of the |\reflect| macro given by Knuth \& +MacKay, 1987. Long Hebrew sequences are typed +in first-typed-first-read order, within delimiters. The preprocessor +copies non Hebrew sequences to an auxiliary file. Hebrew sequences are +parsed into words, and written to the auxiliary file one word at a +time after each word has been reflected. \TeX\ is then invoked on the +file containing the macro package, which itself |\inputs| the +auxiliary files, feeding \TeX\ with either normal English input or +\hbox{|\lines{ }|} adjusted by the macro to the optimal number of Hebrew +words. + +\subsection{Other Developments} +See also the experimental Hebrew font described under the heading +{Georgia Tobin}, and the bitmaps distributed by the {Austin Code Works}. + + +\section{\sl Greek} +%\paragraph{Date of information} January 21, 1988. +\subsection{Levy} +Regular, bold, and typewriter versions of the Greek alphabet have been +coded in \MF\ by Silvio Levy of Princeton, starting from the Greek +character set created by Don Knuth as part of the CM family, but with +all accents, breathings, correct spacing, ligatures, and macros to +implement a convenient Roman transliteration for input. The font is +suitable for both classical and modern Greek. + +Full details and illustrations of the use of the fonts have been given +by Silvio Levy in his two publications (1988a, 1988b). + + + +\subsection{Hamilton Kelly} +Brian Hamilton Kelly created Greek fonts +using \MF. +Brian completed this work before hearing of Silvio Levy's work at +Princeton, but continues to use his own Greek since it does not +require a \dvi\ driver which can read fonts of 256 +characters. +He has now written a small macro package which eases +considerably the selection of the Greek fonts; this is for use +under \LaTeX. He has also +written a short paper, describing what he has generated, and his +future directions. He has recently been refining the character +programs, to make some of the letters more textual in appearance +(for example, the alpha was very wide; fine for maths, but not in +text). + +\section{\sl Cyrillic} +\subsection{MacKay} +%\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre +%MacKay). +Pierre MacKay reports that the Washington team is working on Old +Russian (more or less Old Church Slavonic, but specifically designed +for the Slovo). + +\subsection{MF Slavic Family} +This family of Cyrillic fonts is described under Georgia Tobin. + +\subsection{AMS} +The American Mathematical Society (Beeton, 1985) has developed a post revolution +Cyrillic font, in old \MF79, and a set of macros to implement it +comfortably. Details of the font, with examples of its use, and grids +of the character set were published in \TUGboat. + +\section{\sl Turkish} +%\paragraph{Date of information} June 7, 1988. (P. A. MacKay) +Pierre MacKay informs me that work on properly accented +Roman-letter Turkish fonts in \MF\ has been undertaken at the +University of Washington by himself and Walter Andrews. The accented +characters are developed from CM descriptions, so as to +maintain the maximum possible compatibility with the CM +faces. Andrews and MacKay have published a description of their work +(Andrews and MacKay, 1988). +Pierre also wrote on Turkish hyphenations (MacKay, 1988). + + + +\section{\sl Japanese} +%\paragraph{Date of information} March 11, 1988 +In order to typeset Japanese text it is insufficient merely to have a +Japanese font. There are several problems, including the very large +size of the Japanese character set, which mean that a modified +implementation of the \TeX\ system as a whole is necessary. +Some of the issues concerned in using \TeX\ for typesetting Japanese +were surveyed by Nobuo Saito and Kazuhiro Kitagawa of Keio University, +Yokohama: (Saito \& Kitagawa, 1988). + + +\subsection{ASCII Corporation} +The ASCII Corporation is a microcomputer oriented publishing and +software house that has taken a strong interest in \TeX\ for their own +publishing work, and whose \unix\ support section has produced and +distributes the Japanized version of \TeX. + + +\subsection{J\TeX} +Two articles on J\TeX\ and its fonts have +appeared (Saito, 1987, 1988). +J\TeX\ was developed by Yasuki Saito of Nippon Telephone \& Telegraph +(NTT). His policy has been to attempt to avoid radical changes to +standard \TeX\ as much as possible, but this increased compatibility +has led to problems: since a font can have only 256 characters, the +number of fonts one needs even to support a single real Japanese font +set (33) tends to be quite large, even if one only declares the fonts +corresponding to the various sections of the original font that +include characters that have actually been input into the document. + + +Yasuki Saito has also collaborated with Dai Nippon Printing Co.~to +make their industry standard fonts available. ASCII and SONY are also +negotiating with Dai Nippon to allow similar font sets to become available for +different resolutions of printers, and, if we are lucky, a vector stroke +typeface of high quality that is applicable to various sizes and +resolutions may become available next year. + +Saito's 1988 article includes a section describing the +JIS and DNP Japanese fonts, with illustrations. +J\TeX\ has 240, 300, 400, and 480 dpi fonts available currently. +Please note that 6000+ characters makes for a largish distribution +tape --- the rudimentary set of JIS fonts in an adapted {\tt gf} format +with {\tt tfm}s takes up about 10\,Mbyte of disk space, while the {\tt +pxl}, {\tt gf}, and {\tt tfm} files for the DNP Mincho and Gothic +fonts very nearly fill an entire 2400\,ft magtape at 6250\,bpi! + + +\subsection{Other Developments} +There is a version of Japanese \TeX\ that is likely to become +available from Canon which resembles J\TeX, but it may take a {\it +long} time for the management at Canon to make anything available to +the public domain, so it may not be available until some time next +year. + +Similarly, IBM Japan has a Japanese version based on the Canon +algorithm (which was also the stimulus for the Saito's J\TeX). + +The Bitstream Kanji fonts could almost certainly be integrated into +the above Japanese \TeX\ implementations (see {Bitstream}). + + + +\section{\sl International Phonetic Alphabet} +\subsection{Washington State University} +Dean Guenther informs me that Washington State +University has an IPA font available. It contains 128 popular IPA +characters and diacritics as specified in Pullum \& Ladusaw (1986). + Janene Winter did the \MF\ work on this font. The character +positions were coordinated with help from Helmut Feldweg, +Christina Thiele and some ideas from Brian +MacWhinney and Karen Mullen. + +The font also comes with a set of macros to access the characters +easily. For +example, |\schwa| prints what you would expect. + + +\subsection{Other Developments} +Georgia Tobin (q.\,v.) has an IPA font, created in old \MF79. + +A bitmap IPA font, {\tt ph10}, was created by Jean Pierre Paillet for +use with \TeX\ for typesetting the {\it Canadian Journal of Linguistics\/}. +This font is described, with a printout of the character grid, by +Christina Thiele (1988). +{\tt ph10} is now superseded by the Washington font. + + +Kris Holmes and Chuck Bigelow also report that they have a bitmap IPA +font. See {Lucida}. + +%\paragraph{Date of information} June 7, 1988. + +\subsection{Ridgeway} +A phonetic alphabet has been developed by Thomas Ridgeway for a large +subrange of American Indian languages. The first active projects +using this are in Salish and Navajo. + + +\section{\sl Georgia Tobin} +Georgia Tobin is well known to readers of \TUGboat\ as the editor of, +and chief contributor to, the `Font Forum' section of the journal. +She has been working with \MF\ since 1982, and between 1982 and 1987 +she created several complete families of fonts for use with \TeX. +(Georgia's husband Rick works with her on the fonts.) Much of +her earlier work was done using \MF79, which is now superseded. Only +the bitmaps of these early fonts are available, not the \MF\ sources. + +An important point to notice is that the Roman, Chel and Schoolbook +families described below include math symbol and extensible fonts, +like Knuth's CM, so that these fonts can be used for the full range of +mathematical and technical typesetting as defined in the {\tt plain} +format and \LaTeX. + +Georgia's newer work on Schoolbook, Hebrew, ALA and Special Effects +typefaces, described below, is all done in the current and +stabilized version of \MF, and is therefore much more flexible. Fonts +of these faces can be generated at any reasonable resolution, and for +any marking engine with a defined {\tt mode}. One hopes that Georgia +will find some way of making her \MF\ source code available to bona +fide users of her newer typefaces, without of course jeopardizing her +livelihood. + +\subsection{MF Chel Family} +The Chel (`Computer Helvetica') family of sans-serif fonts was +initially +created by Thom Hickey in \MF79. Chel was +later completed and extensively reworked by Georgia Tobin. In its +finished form, Chel has been described as `lighter and more compact' +than the Computer Modern sans-serif ({\tt CMSS}) which was designed by +Richard Southall and is included in all CM distributions. Chel +comprises fifteen fonts including Chel Book, Slant, Medium Bold, +Slanted Medium Bold, Bold, Slanted Bold, Extra Bold, Slanted Extra +Bold, Math Symbols, Bold Math Symbols, Math Italic, Bold Math Italic, +Math Extensible, Elite, Bold Elite, Pica and Bold Pica. + +\subsection{MF Roman Family} +This family comprises more than nineteen Times Roman style seriffed +fonts, including Roman Text, Slanted Text, Italic, Unslanted Italic, +Medium Bold, Medium Bold Italic, Bold, Bold Italic, Extra Bold, Extra +Bold Italic, Titling (Small Caps), Slanted Titling, Math Symbol, Bold +Math Symbols, Math Italic, Bold Math Italic, Math Extensible, Elite +and Pica. The last two fonts are 12\,cpi and 10\,cpi typewriter style +fonts respectively, and include slanted and emboldened versions. + +\subsection{MF Slavic Family} +The Slavic Family of fonts includes all the fonts necessary for +sophisticated typesetting in Russian. The family includes +Chel-compatible and Roman-compatible versions of Cyrillic in Book, +Slant, Bold and Bold Slant versions, and also an Italic version of the +Roman-compatible face. There are further `additional' fonts +corresponding to each of these categories which contain extra accents +and characters used in typesetting other Slavic languages. + +\subsection{MF Decorative Family} +Also offered is a decorative package of fonts which includes six +typefaces, including Black Letter, a Copperplate Script, Hodge Podge +(including assorted dingbats, pharmacy and planetary symbols, a turtle +and a frog), an Outline Helvetica (upper case), and a Slanted Outline +Helvetica (also upper case), and an Uncial Majuscule which emulates a +medieval manuscript script. + +\subsection{Century Schoolbook: Liber} +Georgia is close to finalizing a first release version of a Century +Schoolbook typeface. This is the first fruits of her work with the +new \MF84. Her goal has been to create a complete Century Schoolbook +style typeface that is clean and legible from very low resolutions +(about 72\,dpi is the lowest so far) to very high, and in point sizes +from 5 to 96 or so. +In \TUGboat\ {\bf 9.2}, Georgia gave more information about the process +of designing the Century Schoolbook typeface she has been working +on. The face is now christened Liber, and the article was +printed in the new face, at a resolution of 300\,dpi. + + +\subsection{MF ALA} +Another project has been the creation of \MF\ fonts which include the +special character set defined as a standard by the American Library +Association (ALA) and used by the Library of Congress and other bodies +influential in the library automation world, such as OCLC. This set +of characters and accents was designed to make possible the +representation, if necessary in a standard Roman transliteration, of +virtually all the world's languages. The characters include items +like upper and lower case thorn, Polish dark {\it el\/} (with a cross bar), +eth, and several other unusual signs and accents. There is even a +{\it candrabindu\/} for Sanskritists! Georgia did this work for the Library +of Congress. The font is available in Text, Bold, Italic, and Bold +Italic. + +\subsection{Hebrew} +Georgia is developing a Hebrew typeface, which is still at an +experimental stage. At the present time it consists of 27 characters, +with more calligraphic molding of the strokes than is shown in +Goldberg's font. However, Georgia has not developed any macros or +preprocessors for inputting Hebrew text in quantities, as Goldberg +has. + +\subsection{Special Effects} +Georgia published `The ABC's of Special Effects' (1988), in which are +demonstrated several fascinating typographical effects that are relatively +simple to produce with clever use of \MF\ macros. The article includes the +\MF\ code illustrating how the effects were produced. + + + +\section{\sl Blackboard Bold} +\subsection{Robert Messer} +Robert Messer published an article (Messner, 1988), in which he generalized a +method used by Knuth in the {\TeXbook\/} to produce such +characters. This is a series of |plain| \TeX\ macros which jiggle the characters +of CM around, using small kerns and the capital I and small rules, to produce a +`poor person's blackboard bold'. + +\subsection{Other Developments} +See also {Custom fonts \& Pandora}, and the {AMSfonts Package} package. + + +\section{\sl APL} +The APL programming language requires many unusual symbol characters, +which often baffle normal typesetting and word processing systems. +Aarno Hohti and Okko Kanerva (1987) have +developed an APL font for use with \TeX. They have `raided' the CM +character set to this end, so the characters should be similar in +weight and style with CM. + + +\section{\sl AMSfonts Package} +The American Mathematical Society has developed several fonts of +symbols and alphabets intended for use in mathematical notation. +Three alphabets, collectively known as Euler, were designed by Hermann +Zapf and implemented in \MF\ at Stanford as part of the \TeX\ project. +They come in both medium and bold weights, and include Fraktur, script +and an upright cursive alphabet, which was intended to minimize +problems with the placement of accents and indices. The Euler fonts +are considered proprietary, and sources +are available only under lease. + +Two fonts of symbols, including a Blackboard Bold alphabet, are also +available. Details of these fonts, including character grids, were +published in Beeton (1985). These fonts are still rendered in +\MF79, which is totally incompatible with the current \MF, so +distribution of the sources is pointless; arrangements are being made +for their re-implementation in new \MF, but the schedule is uncertain. + + +\section{\sl Custom Fonts \& Pandora} +\subsection{Custom Fonts} +If you are desperate for a \TeX\ font that does not yet exist, why not +commission a \MF\ programmer to create it? +Neenie N.~Billawala advertises her services as a \MF\ consultant in +{\TUGboat\/}. She is responsible for creating the fine calligraphic +capitals that are part of the Computer Modern typeface family (in the +{\tt CMSY} fonts). + +\subsection{Pandora} +Neenie, a designer, has also created a new typeface called Pandora, +which is part of a larger research project concerning the possibility +of breaking the elements of typeface design down into general reusable +components such as serifs (and terminal endings), bowls, circular +shapes, arms and so on. Pandora is the result of setting the +parameters for these components to one particular set of values, but +many others could be chosen. In this sense, Pandora explores further +the `parametrization' which is at the heart of Knuth's endeavor with +\MF. Neenie is writing a Stanford Computer Science +Report about this, called {\it Meta-Marks: Preliminary Studies for a +Pandora's Box of shapes\/} (to appear). + +The Pandora typeface is intended to be a `bread and butter' text face +and has been generated in seriffed, sans-serif and fixed width +versions. The character set of Pandora coincides with {\tt CMR} and +{\tt CMTT}, etc., and thus it does not include the math symbol +characters and extensibles. + + +\subsection{Blackboard Bold \& Outline} +Neenie is also working on a Blackboard Bold, to be compatible with +Times Roman, for the AMS, and an outline font. + + + +\section{\sl Bitstream Font Family} +%\paragraph{Date of information} March 10, 1988 +One of the most exciting developments in the area of Roman +alphabet typeface availability for \TeX\ has been the recent +announcement by Personal \TeX\ Inc., of the PTI Font Interface Package +(FIP). This is an MS DOS program which converts the outline typefaces +of the Bitstream typeface library into {\tt pxl} (and then {\tt pk}) +fonts, with associated {\tt tfm} files, for use with \TeX\ in a manner +analogous to the use of the use of the Computer Modern fonts. + +Since the Bitstream typeface outline files for any given font contain +more than the 128 characters usual in a \TeX\ font, the extra +Bitstream characters can be +generated in a second, complement font. The Bitstream fonts generated +by the FIP contain the same characters as {\tt CMR10}. However, +equivalents of the math italic, math symbol and extensible fonts of +the CM family are not provided, so the Bitstream fonts are for use in +typesetting predominantly textual matter. (One could, of course, mix +the fonts, using Bitstream for the text and CM for the mathematics.) + + +The Bitstream typeface library advertised by Personal \TeX\ at present +includes the following typefaces, each consisting of a regular, an +italic, a bold and a bold italic face: +Baskerville, +Bitstream Charter, +Bitstream Cooper Light, +Century Schoolbook, +Courier, +Dutch (i.e., Times Roman), +Futura Book, +Futura Light, +Futura Medium, +Goudy Old Style, +ITC Avant Garde Gothic, +ITC Bookman Light, +ITC Galliard, +ITC Garamond Condensed, +ITC Garamond, +ITC Korinna, +ITC Souvenir Light, +Letter Gothic, +News Gothic, +Prestige, +Serifa, +Swiss (i.e., Helvetica), +Swiss Condensed, +Swiss Light, +Zapf Calligraphic (i.e., Palatino), +Zapf Humanist (i.e., Optima), +and a selection of Headline faces including +Bitstream Cloister Black, +Broadway, +Cooper Black, and +University Roman. + + + +The creation of the font bitmaps is done using what +Bitstream calls `smart outlines'. Typographic rules are stored with +the typeface outlines and are applied at the time of bitmap +generation, using artificial intelligence algorithms (originally +implemented on Symbolics 3600 Lisp workstations) to tailor significant +features of the font to its point size, and the resolution and marking +characteristics of the printing device. Some typographically +significant features that are so treated are the stem weight, +x-height, cap height, side bearings, and baseline alignment. So a 6 +point Bitstream font is not a mere linear reduction of some larger +design size, just as {\tt CMR6} is not simply a small {\tt CMR10}. +This is very significant for the high quality of the fonts at small or +large sizes, and goes some of the way towards meeting the argument +made by Knuth in the \TeXbook\ (p.16), against scaling fonts much +beyond their design size. + + + + +\section{\sl Lucida} +Lucida is the name of one of the typefaces designed by Kris Holmes and +Chuck Bigelow. Its main design aim is that it be legible and +beautiful at low as well as high resolutions, and it is probably the +first original typeface family produced for digital printers and +displays. (Another font with some similar design goals is +Matthew Carter's Bitstream Charter.) By low resolution, Holmes and +Bigelow mean laser printers and computer screens. The font has been +discussed in Epstein (1986), Bigelow and Holmes (1986) and Anon (1988). +The second of these articles is itself printed in the Lucida typeface. +It goes into detail about the design concepts of Lucida, with +illustrations. + +The Lucida family includes the following eight fonts: Roman, Italic, +Bold, and Bold Italic, in both seriffed and sans-serif styles. Lucida +has been called a `super family' because of the wide range of +characters and fonts it provides, including compatibility with the +full CM character set. Unusual features of Lucida fonts include the +fact that the italic sans-serif is a true cursive style, rather than a +slanted \hbox{Roman}, and that there are alternate sets of capitals, +one heavier in weight, for English and French typographers, and one +lighter, for Germanic texts which use extensive capitalization, and +therefore need de-emphasized capitals. + +The screen `versions' of Lucida are at such low resolution +(75--100\,dpi) that they cannot be regarded as straight reproductions of +their higher resolution counterparts. They are therefore called +Pellucida, to suggest that the designs are related to Lucida, but +optimized for `pel' based screen displays. + +\subsection{Adobe} +Chuck Bigelow informed me in April 1988 that Adobe Systems is dealing +with the release of several Lucida typefaces for use with \TeX. + +The following faces have already been released by Adobe as +downloadable PostScript fonts on both Mac and PC disks: +Lucida Roman (seriffed), + Italic, + Bold, + Bold Italic, + Sans Roman (sans-serif), +Sans Italic, + Sans Bold, and + Sans Bold Italic. + + +The following will be released soon: + \TeX\ Math Italic, + \TeX\ Math Symbol, + \TeX\ Math Extension, and + Sans Typewriter. + +The Math fonts have the same character sets as shown in +appendix F of the \TeXbook. The Lucida Sans Typewriter has another +union of Adobe's standard set, this time with the \TeX\ text +typewriter set, shown in figure 3 in the same appendix. + + +\subsection{Imagen} +Chuck Bigelow also noted that the Imagen Corporation currently offers +various Lucida typefaces, and an upgrade to the full \TeX\ character +set will be released in July 1988. These will include the +Lucida seriffed family, the +Lucida Sans family, and the +Lucida Sans Typewriter family. Imagen will produce the \TeX\ Math +fonts if there is demand from their users. Imagen Lucida will be +available in outline format for their {\sc UltraScript} (\PS\ clone) +and {\sc ddl} language printers, and for their im{\sc press} printers. The Imagen +fonts should be metrically compatible with the Adobe fonts. They are +made from exactly the same outline data. + +\subsection{Compugraphic} +Bigelow informs me that Compugraphic Corporation has +licensed the Lucida seriffed family (roman, italic, bold, bold italic) +and the three basic \TeX\ math fonts (math italic, math symbol, math +extension) for their 8600 and 9600 typesetters, and perhaps the 8400 +as well. + + +\subsection{Some others} +Atari is to bundle the Lucida donts with its \PS\ clone upgrade for +its laser printer, the {\sc slm} 804. Imagen will +also be supplying the Lucida math fonts for Atari systems later +this year. The Lucida fonts will also be bundled with UltraScript +(a \PS\ clone) from {\sc qms}. + + Bigelow \& Holmes +are also working on outline versions of several of the additional +fonts shown in Knuth's Volume E of {\it Computers and + Typesetting\/}, and fonts analogous to the Euler family, including +Bold Greek, +Bold Script, +Bold Symbol font, +Small Capitals, as well as a +Chancery, +lower-case Script, +Fraktur, +Hebrew, and others. +Light and Demibold versions of both seriffed and sans-serif families +are also in progress, as well as the `Bright' versions used in +Scientific American. However, these must await a distributor like +Adobe or Imagen to reach the market. + + + + +\section{\sl Icelandic} +%\paragraph{Date of information} March 10, 1988, from \hax\ 1988, +%issue 22. +Jorgen Pind reported in \hax\ +that he is running an unmodified \TeX\ with new fonts and formats +(including hyphenation) which cater for Icelandic. + Pind +had written a full account of his work on Icelandic \TeX\ which +appeared in Don Hosek's \TeX Mag, 2(5). + + + + + +\section{Hershey Fonts} +Just as I had begun wondering about the Hershey fonts, Jim +Seidman asked about them in \hax\ 1988, issue 70. + +\subsection{Guthery} +Dean Guenther answered in issue +73 that Scott Guthery, has the Hershey +fonts with {\tfm}s for a nominal fee. + +\subsection{Kesner} +A few weeks later, \hax\ 1988, issue 90, carried a letter from +Oliver Kesner, also in answer to Seidman's +query, describing his own work converting Hershey fonts for use +with \TeX. +The character set includes, besides several Roman +typefaces, Greek, Russian, German Fraktur, and a variety of +graphic symbols, Hiragana, +Katakana, and 623 Kanji characters. + + +\section{Logic Diagrams} +Rick Simpson created a font called {\tt +milstd.mf} for drawing electrical +symbols. He included the \MF\ source code for the font, and in +the following issue of UK\TeX, a small set of \TeX\ macros were +published, for making the logical symbols easier to use within +plain \TeX\ or \LaTeX. The font consists of the following 25 +symbols: slanting line at 45-degree angle for marking busses in +logic diagrams; |and|, |nand|, |or|, |nor| gates, facing to the right, +down, left and up; buffer and inverter, each facing to the right, +down, left and up. + +\section{Music} +UK\TeX\ 1988, issues 28 and 29, carried an exchange of +information recently, concerning the use of \TeX\ to typeset +music. This very challenging application has been receiving some +attention, and the work to date was announced in the Music +Research Digest. Thence it found its way to UK\TeX. Phillip +T.~Conrad provided summaries of the work of Dunne and +J\"{u}rgensen, that of Schofer and Steinbach, and of his own. + +\subsection{Dunne and J\"{u}rgensen} +Dunne and J\"{u}rgensen conducted research at the University of +Western Ontario; they defined the concept of i-marks and p-marks. +I-marks are invariant marks, the kind of marks that can be put +into a font and typeset easily with \TeX. P-marks are +parameterized marks whose shape and size varies according to +certain parameters. The only p-marks \TeX\ is capable of +typesetting are the horizontal and vertical rules. Dunne and +J\"{u}rgensen use \PS\ to augment the capability of \TeX\ +with a special version of {\tt dvi2ps}. + + +\subsection{Schofer and Steinbach} +There is a thesis written by Angelika Schofer and Andrea +Steinbach at the Institut f\"{u}r Angewandte Mathematik at the +Rheinische Friedrich-Wilhelms-Universit\"{a}t at Bonn, entitled +{\it Automatisierter Notensatz mit \TeX}. + +Schofer and Steinbach operated from the assumption that a font of +beams and slurs is in fact feasible; they appear to have +generated just such a font, and they use plain \TeX\ alone. +Their system appears to `understand' some form of +music-description language, and to apply music-setting rules +automatically. The music is printed with \TeX\ by means of the +special fonts. + + +\subsection{Conrad} +Phillip T. Conrad noted that he is currently (August 1988) +finishing a Master's thesis, which presents a prototype system for typesetting +music notation with \TeX, building on the previous work at the Ohio State + University of Gourlay et al. + +\section{\sl Miscellaneous} +\subsection{{\tt SPRITE.STY}} +If you use \LaTeX, and you only need one or two extra characters, an +ingenious and very easy way to generate them has been devised by +Martin Costabel. It is a \LaTeX\ style called {\tt SPRITE}, and the +code and documentation were published in issue 1.8 +of \TeX Mag. More recently a newer version was published in \hax. +It included a macro for use in |plain| \TeX. Essentially, {\tt SPRITE} is a macro +that allows you to define your own symbols in a quick and dirty way. Define the +character as a dot pattern on your screen enclosing it by + |\sprite| and |\endsprite| commands. If you just need +one special character or some cute little symbol whatever is necessary for a +professional solution, this may produce acceptable results. + + +Using {\tt SPRITE.STY} one `draws' the character to be defined as a +pattern of characters on a grid. The figure below shows how {\it schwa\/} is +done. +\begintt +\def\schwa{\FormOfSchwa\kern1pt} +% Only necessary if \kern... is wanted +\sprite{\FormOfSchwa}(16,24)[0.4em,1ex] +% Resolution ca. 200x340 dpi. +:.......BBBBBBBBBB.......|char'174 +:....BBBB........BBBB....|char'174 +:..BBB.............BBBB..|char'174 +:.BB.................BBB.|char'174 +:.B...................BBB|char'174 +:.....................BBB|char'174 +:.....................BBB|char'174 +:.....................BBB|char'174 +:BBBBBBBBBBBBBBBBBBBBBBBB|char'174 +:BBB..................BBB|char'174 +:BBB..................BBB|char'174 +:BBB.................BBB.|char'174 +:.BBB...............BBB..|char'174 +:..BBBB...........BBBB...|char'174 +:....BBBBB.....BBBBB.....|char'174 +:.......BBBBBBBB.........|char'174 +\endsprite +\endtt +To use this character in your document, all you have to do is +use the command |\schwa|. This method uses a lot of \TeX's +memory, and is only suitable for characters which are used rarely, say +a few times on a page. + +\subsection{Austin Code Works} +The Austin Code Works has a large collection of bitmap fonts that work +with \TeX, and which were originally created at SAIL (Stanford +Artificial Intelligence Lab). +Because these fonts are not coded in up-to-date \MF, what you get is +what you get, i.e., you cannot change the size or resolution of the +fonts. I believe they are all (or most) 200\,dpi fonts. Bear in mind +that although you might get, say, a Hebrew font, there are no +accompanying macros to implement it at the keyboard level. + +The 137 KST fonts +include Hebrew, Greek, Old English, Old German, Cyrillic, hand (sign +alphabet), and Tengwar alphabets in addition to the Roman alphabet in +a large number of styles. +The also fonts include such essentials as single character fonts for the +Stanford and MIT logos (separate fonts for each, naturally), two views +of Snoopy, two views of Starship Enterprise, three fonts of chess +pieces, several sans-serif fonts, and what looks as if it might be a +very tiny Arabic font. + +\subsection{HP2TEX (HP Font Conversion)} +%\paragraph{Date of information} March 11, 1988. +In February 1988, a file {\tt HP2TEX} appeared +on Usenet. It included the Turbo Pascal 3.0 +source code and a compiled DOS version of {\tt HP2TEX}, a program to +read a Hewlett Packard soft font and generate two files useful to +\TeX\ users, a {\tt PL} and a {\pxl} file. + + + + +\subsection{Old English} +\subsubsection{Henderson} +Doug Henderson has implemented \MF\ on the PC/AT family of personal +computers, and is also responsible for generating the high resolution +bitmaps of several of the non-standard fonts illustrated in recent +issues of \TUGboat\/, such as the APL and Greek fonts. + +He has created a few characters like the Old English characters thorn +(upper/lower case) and eth (upper/lower case). These will probably be the first +in a series of ad-hoc characters created for various folks in need. For now, +they are compatible with {\tt CMR10}. + + + +\subsubsection{Ridgeway and Barnett} +%\paragraph{Date of information} June 7, 1988, Pierre MacKay +A font to supplement the basic Latin alphabet of Computer Modern with +Old English characters will be released in Autumn of this year by the +University of Washington Humanities and Arts Computing Center. +Macros for direct input and translators from various Personal +Computer editor files will accompany the release. + + +\section{\sl The PostScript Question} +This article does not deal with the availability of \PS\ fonts, +because it would double its length to do so, and because the author +has never used a \PS\ device, and really would not know what he was +talking about. Suffice it to say that instead of sending a bitmap to +the printer, a \PS\ output file sends the printer instructions +on how to construct character bitmaps at the time of printing. These +\PS\ bitmaps are created in a manner analogous to running \MF, +in that the characters are encoded in a high level language, which +gives the outline, filling or stroke routines for creating glyphs. +Like \TeX\ {\tfm} files, \PS\ fonts have their own font metric files, +called {\tt afm} (Adobe Font Meric) files. With a bit of +tinkering, it is perfectly feasible to use \PS\ fonts in a \TeX\ +document. + +\medskip +\input fontmemo.refs +\medskip +\leftline{\sl Updates} +\noindent +For those with access to the academic computer networks, I post +information about revisions of this article to \hax\ and UK\TeX\ +from time to time. This way, people will know +whether there is enough new stuff for it to be worth downloading the +whole article afresh. To those with access to the Aston (UK\TeX) +archive the files are stored in the directory |public.score.texhax| as +|wujastyk.txh| and |wujasty2.txh|. +\smallskip +\rightline{\sl\DW} diff --git a/info/digests/texline/no8/green.tex b/info/digests/texline/no8/green.tex new file mode 100644 index 0000000000..c365feaa60 --- /dev/null +++ b/info/digests/texline/no8/green.tex @@ -0,0 +1,70 @@ +\centerline{\bf Book Review} +\medskip +\noindent +{\it +PostScript Language Program Design, +Adobe Systems Incorporated, 226pp, +Addison-Wesley Publishing Company, +{\sc isbn:} 0 201 14396 8.} +\smallskip +\noindent +PostScript Language Program Design is designed to +be a companion volume to Adobe's {\it PostScript Reference Manual\/} +and {\it PostScript Cookbook\/}. The blue covered {\it Cookbook\/} gave a +tutorial covering the main features of \PS\ followed +by a number of example programs, while the red covered +{\it Reference Manual\/} is just that. + + + +The green covered {\it PostScript Language Program Design} takes this a stage +further. It is designed for people who are writing large applications that will +generate \PS\ output. It describes how to write efficient \PS\ and says +what to avoid in order to reduce the time taken to print the final document. The +book assumes that the reader already knows \PS. This is particularly +apparent in the examples which often contain commands that are not described in +the text. For this reason the ``Red'' book is a essential companion when reading +``Green'' book. Unlike the ``Red'' or ``Blue'' books {\it PostScript Language +System Design} does not include a summary of all \PS\ commands which would +enable the book to stand on its own: this would be useful addition to future +editions. + + + +{\it PostScript Language Program Design} is organised into two parts. The first +part deals with how \PS\ works. It treats each feature of the language in +more detail than the ``Red'' book and is quite hard reading but very useful. The +second part of the book deals with techniques. There are chapters on writing +printer emulators as well as on the best way to handle graphics and text from +within large applications. There are also chapters on how to structure generated +\PS\ programs, and how to ensure that they are bug free. In general this +second part is a lot easier to read than the first part of the book. + + + +This book has been produced using a desk top publishing package and this, +unfortunately, shows. There are large gaps between words (very wide indeed +during the Preface). There are signs that it had been written in one order, and +then reordered using an editor. There are several sections that appear out of +place: a glaring example is a paragraph that appears to be introducing Chapter 4 +occurs about halfway through Chapter 3! It is also the only book I have ever seen +to have a reference to the index within the index! These are only very minor +points, and should not detract from the books usefulness, but it is a pity that +a book which describes how to write good \PS, and hence professional +looking documents and books, should not take the care to ensure that its own +layout is correct. + + + +This book is likely to be very useful to anyone writing a \PS\ rear end for +a large application, and this is the audience it is aimed at. It may also be of +some use to those who write small \PS\ programs and who are interested in +the deeper workings of \PS. But for those who just need a working +knowledge then the ``Red'' and ``Blue'' books should be sufficient. The one thing +{\it PostScript Language Program Design} is not is a simple introduction to +\PS. Anyone requiring such an introduction should turn to the ``Blue'' +{\it Cookbook\/} or to {\it Understanding PostScript Programming\/} by David A. +Holzgang (Sybex). +\smallskip +\rightline{\sl Brendan Molloy} + diff --git a/info/digests/texline/no8/gut.tex b/info/digests/texline/no8/gut.tex new file mode 100644 index 0000000000..f2ca23b1f7 --- /dev/null +++ b/info/digests/texline/no8/gut.tex @@ -0,0 +1,17 @@ +\centerline{\bf Call for papers} +\medskip +\noindent +GUTenberg's next meeting will be held at Paris on May +16th--17th 1989. (GUTenberg is the \TeX\ Users Group of French speaking people). +The main topic is: ``How can graphics be included within \TeX\ output?'' +This topic starts with graphics made in \TeX\ (like \PiCTeX), +continues with the |\special| \TeX\ command and ends with \MF, +\PS, etc. This is a very large subject opened to all aspects +of graphics\slash methods and all micro\slash mini\slash maxi computers. +The official language is French but English speakers are welcome. + Deadline for submitting an abstract: Christmas 88. +Other deadlines will be sent after abstract acceptance. +Please, send abstracts directly to me: +|ucir001@frors31.bitnet| + \smallskip +\rightline{\sl Bernard Gaulle (GUTenberg president)} diff --git a/info/digests/texline/no8/larry3.tex b/info/digests/texline/no8/larry3.tex new file mode 100644 index 0000000000..8b7ad0e413 --- /dev/null +++ b/info/digests/texline/no8/larry3.tex @@ -0,0 +1,293 @@ +\centerline{\bf The uphill struggle of \TeX} +\medskip\noindent +The following article is a translation of a piece by Laurent Siebenmann +which originated as a paper delivered to a gathering of the French \TeX\ user +group GUTenberg (Groupe des Utilisateurs de \TeX) and which is to appear in +the Gazette of the French Mathematical Society. + +I am proud to say +that the author himself concurs with my translation. In fact, he could very +well have written it himself in English. + +Even so, both of us +had difficulty with a few translations. For example, what should the +English title of this piece be? In French it was ``Evolution en amont de +\TeX''. Should this be rendered as ``The uphill struggle of \TeX'' or more +felicitously as ``The progressive evolution of \TeX''. There are also some +wonderful French phrases which acquire colour by virtue of linguistic +confusions to which the French themselves are probably immune. Take for +example ``dactylographe chevronn\'e''. For me, this conjures up the image of +a she-goat. However, nothing so ungallant is intended; and I think that the +translation can only be ``seasoned typist''. + +The piece serves +to show just how vigorously \TeX\ is progressing ``on the continent''. +\smallskip +\rightline{\sl Stephen Pollock} +\bigskip +\rm\def\tem#1{\par\noindent#1\enspace\ignorespaces} +\def\bull{\par\noindent$\bullet$\ignorespaces} +\centerline{\bf The evolution of the \TeX\ user interface} +\medskip +\leftline{\sl Preprocessors for Mathematics Texts} +\noindent +The task of transforming a manuscript into a printed document of high +quality is particularly difficult whenever mathematics are involved. Since +Donald Knuth conceived \TeX\ partly for the purpose of resolving this +notorious problem --- which was directly affecting his own books --- it will +probably be of interest to the participants of the Gutenberg Seminar +(including the non-mathematicians) to hear that a variety of solutions are +now on offer. In fact, the ideas which are being pursued have a wide range +of application. However, the specific preprocessors which I am going to +itemise here, and, in particular, my own Sweet-teX, do not, at present, +have the applicability outside the realm of mathematics that \TeX\ has. +These preprocessors are specialised tools whose uses are largely confined +to the tasks which they perform to the greatest advantage. + + At present there +are two well-established classes of preprocessors for mathematical +manuscripts: +\smallskip\noindent +\frenchspacing +{\sl Category I:} Text-Orientated Preprocessors +\bull STRATEC: a +preprocessor for the Victor(``Sirius'') by D. Foata, J.J. Pansoit and Y. Roy, +Laboratoire de Typographie Informatis\'ee, 7, rue R. Descartes, Univ. L. +Pasteur, 67084-Strasbourg, France; Tel (16)-88-41-63-45. A +long-awaited version for the IBM PC has recently appeared as well as a +version (unexpected) for the Macintosh. See [TSD1] +\bull Easy\TeX\ for +the IBM PC, by a team from Milan: E. Crisanti, Alberto Formigoni and P. La +Bruna; Te.CoGraf. snc, via Pacini 11, I-20131 Milan, Italy. This +preprocessor has a twin in Category II. +\bull Sweet-teX is +a preprocessor for the Macintosh by Laurent Siebenmann, Math\'ematique, +Bat. 425, Univ. de Paris-Sud, 91405-Orsay, France; Tel (1)-69-41-79-49. +Available for the classic Mac and the Mac Plus; versions planned for the +Mac II and the Mac SE. French version and English version. See [Sieb] +\bull Mathor, for the +IBM PC, Novedit, avenue Hoggar, ZI Courtaboeuf, 91 Les Ulis, France. Tel +(1)-69-07-36-88. +\bull Easy\TeX\ (bis!), +for the Macintosh, written by O. Pironneau and distributed by Numerica, 23 +Boulevard de Brandebourg, BP 215, 94203 Ivry-sur-Seine, France. A desk +accessory which works with the MacWrite word processor. +\bull Grife, for the +IBM AT and the Sun, by Vincent Quint and Ir\`ene Vatton, INRIA et +Laboratoire de G\'enie Informatique, BP 53X, 3801-Grenoble : Tel +(16)-76-51-48-59. See [TSD], [FQA]. Grife is not yet widely available; but +it is the only processor which aims to be a fully-featured ``dream system''. +\bull ChiWriter, for +the IBM PC, by the American Cay Horstmann; available in France from +Churing, 20 rue Condorcet, Paris 9. Tel (33-1)-40-15-07-47. ChiWriter is +a mathematical word processor which has recently been equipped with a +\TeX\ code generator. +\bull Publishing +companion 1.03 for WordPerfect (and others?) for the IBM PC, K-talk +communications, 3920 Olentangy River Rd., Columbus, Ohio 43214, USA, tel +(614)-459-9711. +\bull \TeX mate for +the IBM PC, by A. Lannes, Tr\'ema PAO, 18 Place Margnac, 31520 Toulouse. +\smallskip +\leftline{\sl Category II: Equation Editors} +\noindent +An equation editor offers an interactive environment for constructing +mathematical formulae in isolation. The formul\ae\ created in this way are +inserted subsequently into the mathematical article. (See also [Pal] and +the advertisements in Notices of the AMS, Jan. 1988.) +\bull Easy\TeX, for the IBM PC. See Category I. +\bull MathWriter, +Cooke Publications, PO Box 448, Ithaca, NY14852, USA. Tel +(607)-272-2708. +\bull MathType, +Design Science, 6475-B E. Pacific Highway, Suite 392, Long Beach, +CA9080. Tel (213)-433-0605. +\bull Formulator, by +Bob Pollard, Icon Technology Ltd., 9, Jarrom Street, Leicester LE2 7DH, +England. +\nonfrenchspacing +\medskip +I have listed only those preprocessors which are (or are claimed to be) in +service and which, during the composition of a document, display on the +screen something resembling the final printed text. The list is already +considerable and, doubtless, it is incomplete. + +The preprocessors of Category I are not homogeneous. One can begin by +distinguishing those which are word processors in their own right. This is +the case for Mathor and Grife. By contrast, STRATEC Sweet-teX and +easy\TeX\ (Mac) are grafted onto preexisting word processors; which serves +to make them inexpensive and adaptable. (Sweet-teX works with any word +processor for the Mac using standard menu resources.) Next one can +distinguish the sub-category of preprocessors which exploit the concept +of ``high-level formatting''. This is true of Sweet-teX and Grife. In +contrast, this concept is largely neglected by Easy\TeX\ (Mac) and Mathor. + +In Category I, one +sees a Latin dominance, which has a large French contingent, whilst in +Category II one sees an Anglo Saxon dominance. This should improve +international trade in both directions; for the two types are +complementary and, moreover, they can collaborate easily in the same +manuscript without any special programming to integrate them. + + Suppose that, in +using the Type I preprocessor, one encounters an excessively complicated +formula. One might format it with the Type II formula processor (which is +often a desk accessory on the Macintosh) and proceed to transfer it into the +Type I manuscript using the clipboard to give visual continuity to the document. +To guarantee the correct insertion of the formula in the version of the +document formatted by \TeX, one could, for example, type, at the +appropriate insertion point, the command |\input Formula.tex| and then +give the name |Formula.tex| to the \TeX\ code generated by the Type II +preprocessor. This presupposes that the Type I preprocessor accepts \TeX\ +code whenever one wishes, and that it will ignore the corresponding +graphical object. + + I must admit that I +have not tried all of these preprocessors; and therefore my intention is to +make people aware of their potentialities rather than to conduct a detailed +assessment of them. +\medskip +\leftline{\sl What one may expect of a \TeX\ Preprocessor?} + +\bull A device to help in learning \TeX{}. It is no longer necessary to +memorise accurately a long list of \TeX\ commands. STRATEC and Easy\TeX\ (Mac) are +both good tools for learning. + + (My own +Sweet-teX is inferior in this respect because its high level formatting, +which is put into effect by a system of signposts or Icons, itself demands +some practice. Moreover, to enable it to collaborate with several +different word processors, Sweet-\TeX\ has hitherto employed a system of +invisible characters, which have proved hazardous for beginners. To +overcome this problem, I have recently constructed an enhanced version +which exploits the internal file structure of MacWrite). + +\bull A way of preparing \TeX\ files which is significantly faster. The +speed advantage of preprocessors is not manifested for all typists nor for all +articles; but it does seem to me that it is overwhelmingly confirmed when +complicated mathematical articles are being processed by professional +typists. + +\bull A working environment for the mathematician which, under favourable +conditions, can also become an environment for drafting and even for +research. This is likely to work best when the screen image is convincing +and the effort involved is modest. + +\bull A better environment for correcting and polishing \TeX\ files. Even +typists who learn to write the \TeX\ code of complicated articles with +fluency tend to tear their hair when it comes to corrections; because the +effort of decoding (ie. of reading) \TeX\ is an exacting task. By contrast, +with a preprocessor, one can often, in making corrections, rely upon a +display of the mathematical formulae which is infinitely more readable. + +\bull Versatility in formatting. One can hope to be able freely to change +the version of \TeX\ (Plain, \AmSTeX\ , \LaTeX\dots) and even to be able to quit +\TeX\ altogether to the extent that the article can be typed entirely in the +language of the preprocessor. This will certainly require, for each version +of \TeX\ , a specialised configuration of the transcoding mechanism. (At +present, Sweet-teX is adapted to plain \TeX\ and to \AmSTeX.) + +\bull A more effective use of the (rare and expensive) talents of the +\TeX perts. A \TeX pert printer can supervise the work of a large number of +(less expensive) typists trained only in the use of the preprocessor, and he +can busy himself in proofreading their work in order to make corrections +and to enhance it with snippets of pure \TeX\ . The readability of the display +generated by the high-level formatter is the crucial factor here. For the +benefit of professional typesetters, I should emphasise that such a system +allows a master printer effectively to supervise the work of his +apprentices and to guarantee its quality. + +\bull A compatibility between \TeX\ and the conventional way of typing +papers destined for journals printed in the traditional manner. Few +typists can be expected to work simultaneously in the more than one style +of technical publishing. It is too much to ask of them. Sweet-teX, Mathor +and Grife attempt to achieve this compatibility by offering a document +preparation style which is essentially the same for both \TeX\ and +traditional printing. + +To summarise, there exist several new user interfaces for \TeX\ which, for +the first time, are compatible with the traditional methods of technical +typing. I predict that, in consequence, the seasoned professional typists +within our scientific institutions will progressively take over an large +proportion of the \TeX\ installations. As for commercial printers, it is to be +expected that they will replace their current keyboarding systems by +up-market preprocessors such as Grife. + +\medskip +\noindent{\sl What the Preprocessors Can Expect from the Mathematics Community?} +\bull A greater social awareness on the part of mathematicians who are +experts in \TeX! Following the lead of those rare colleagues who have +authored a collection of macros for \TeX\ , it behoves them to question +whether, instead of coding their own manuscripts in \TeX\ , their time would +be better spent in guiding typists in the use of a \TeX\ system allied to a +preprocessor. My colleagues are often quite proficient as \TeX\ typists; but, +in view of their superior salaries, I often ask myself whether their +undeniable talents for abstraction would not be better employed in another +task which is a bit more subtle and a lot more pressing: namely to acquire +a knowledge of how to maintain such a system. Fortunately there exists, +to support such activity, an excellent little manual --- in French --- which is +about to be published [S\'er]. Also, fraternal assistance is now available via +GUTenberg [GUT] which is the French \TeX\ user group. + +\bull A greater rigour on the part of mathematicians in the way they present +their articles. Only by grasping a complete and correct grammatical +structure can a typist settle questions of formatting. The advent of \TeX\ +has abridged many traditional steps on the way to printed mathematics; +the remaining ones require and deserve additional care and attention. + +\bull Training for typists involved with \TeX. Occasionally a typist who +starts with a preprocessor will become, by stages, a seasoned \TeX pert +typesetter. + +\bull A greater appreciation of good typography on the part of scientific +administrators, allied with a concern for quality/price ratios. One +wonders what the typography of the Bourbaki seminar volumes etc. will be +like a few years hence. These are publications which are often the highest +mathematical quality, but which are still, in the main, produced with +typewriters. + +\medskip +{\leftline{\sl References}\frenchspacing\parindent0pt\parskip3pt + +[TSD1] Proceedings of the First European Conference on \TeX\ for Scientific +Documentation, Como, Italy, Addison-Wesley, 1985. + +[TSD2] \TeX\ for Scientific Documentation, Springer Lecture Notes in +Computer Sci. 236, Ed. J. D\'esarmenien. + +[FQA] R. Furuta, Vincent Quint, Jacques Andr\'e, Interactively editing +structured documents, Electronic Publishing 1, (April 1988), 19-44, +Pergamon Press. + +[Pal] R. Palais, Mathematical Text Processing (last article), Notices Amer. +Math. Soc. (Mar., 1988), pages 391-396. + +[Sieb] L. Siebenman, Towards Wider Use of \TeX\ Typesetting: A pre-\TeX\ +Manifesto, Notices Amer. Math. Soc. 33 (Aug., 1986), pages 597-607. + +[S\'er] R. S\'eroule, Le Petit Livre de \TeX, (in preparation), Laboratoire de +Typographie Informatis\'ee, 7 rue R. Descartes, Univ. L. Pasteur, +67084-Strasbourg, France. + +[GUT] GUTenberg: Groupe francophone des Utilisateurs de \TeX{}. The group's +electronic message board has recently been inaugurated at the E.N.S., 45 +rue d'Ulm, Paris V.} +\smallskip +\rightline{\sl Laurent Siebenmann} + + + + + + + + + + + + + + + + + diff --git a/info/digests/texline/no8/late.news b/info/digests/texline/no8/late.news new file mode 100644 index 0000000000..c61e9d84e3 --- /dev/null +++ b/info/digests/texline/no8/late.news @@ -0,0 +1,24 @@ +\centerline{\bf Late News} +\medskip +\noindent +After Stephen Pollock had sent me the translation of Larry +Siebenmann's article, Larry sent me an update. Briefly, +he had included uncovered no less than three more of +his {\sl Category I: Text-Oriented Preprocessors}, namely: +\frenchspacing +\item{$\bullet$} The Publisher: for the Sun and IBM PC from +ArborText, 535 William Street, Suite 300, Ann Arbor MI +48103; Tel (313) 996 3566. This will shortly be provided +with an {\sc sgml} editor. +\item{$\bullet$} {\sc Multitext}: for the IBM PC, by Eric Amar, +Math\'ematiques Pures, Univ. de Bordeaux 1, 22405, +Talence; Bitnet |ericama@frbox11|. A recent enhancement +to a scientific text processor of the same name. +\item{$\bullet$} a{\sc text}: for the IBM PC, by Patrice Assouad, +Math\'ematique, Univ. de Paris-Sud, 94105-Orsay; Tel 6941 +6082. Based on the word processor known as +P-mate. +\nonfrenchspacing + +\noindent He also notes that Grife is able to handle {\sc +sgml} encoded material. diff --git a/info/digests/texline/no8/maria.tex b/info/digests/texline/no8/maria.tex new file mode 100644 index 0000000000..a9ba010e4d --- /dev/null +++ b/info/digests/texline/no8/maria.tex @@ -0,0 +1,138 @@ +\centerline{\bf\TeX\ as a Feminist Issue} +\medskip\noindent +I work in the Polytechnic of Central London's Computer Centre as an +Applications Programmer and I've been wrestling with \TeX\ since early 1986, +long enough to have been taken over by the \TeX\ world, to have become +unhealthily obsessed. For me, working in computing is a feminist issue. +Not only is computing dominated by men but it's seen as a {\it science} +and so a male preserve in all senses. But that is not why I believe \TeX\ +is a feminist issue. \TeX\ seems capable of changing the world in a way +that particularly affects women. + +Look about at the academic \TeX\ community. At first glance it appears that +\TeX\ is by men and for men. How many women do you notice contributing to the +distribution lists? I am on \hax\ and {\sc uk}\TeX\ and I do find +myself scanning for female names amongst the Peters, Grahams, Michaels and +Phils, not to mention Malcolms. Barbara Beeton is of course a heroine but +apart from her I seem to remember about four women on \hax\ and +one on {\sc uk}\TeX. This is not to say that women are not reading the lists. +List contributions often seem to be a particularly macho affair; try not +to mail a question without pointing out why you think the question should +never have arisen and what you would do to fix it. I know this is an +exaggeration but the tone of many of the contributions shows me that they +are most unlikely to have been written by women. + +Count the women on the \TeX\ Users Group Steering Committee and Site +Coordinators list. There are only three (or possibly two if Rilla is a male +name) out of the total of twenty eight. Sebastian Rahtz commented in the +last issue of \TeX line that at the Seattle TUG Meeting men discussed {\tt +dvi} driver standards and women discussed standards of macros. I was +surprised and pleased to hear that women dominated any of the discussions, +(and not at all surprised by which standards they were interested in). + +Installing \TeX\ in 1986 was a tricky business. The distribution tape that +I got assumed that you knew not only what \TeX\ was but also {\IniTeX, +\WEB, \Tangle, {\sc Vir\TeX} and so on. Pointers were given to where files were +without any description of why you might need them. At one point, having +decided I wanted to know a little about \TeX\ before I rushed out and bought +a laser printer, I tried to get Andrew Trevorrow's \DVItoVDU program going. +I kept notes on the problems I encountered. These started: + +\item{1}What, which, where pixel files? +\item{2}Looks like I need \MF\ to create them (from reading {\tt pxl.inf} +file). +\item{3}No documents on \MF, try {\sc TUGboat}. +\item{4}Cannot find \MF\ program in source or executable. +\item{5}Seem to have some documentation in \TeX\ format, but can't preview it +because no pixel files \dots + +\noindent +All this seems laughable now, but I really was going spare then. If I hadn't +gone and spoken to William Black at Oxford I don't think I'd have got anywhere. +That combined with my programming abilities of course and knowledge of the +VMS operating system. My initial problems may seem irrelevant to feminism but +if the only way to get a system running is through programming ability and +contacts in the \TeX\ world women are going to be at a disadvantage. There +are less of them and certainly far less qualified in Computer Science. + +Where \TeX\ really becomes a feminist issue is over the problem of who uses +\TeX\ and how. \TeX\ exists to format text. Traditionally the people who +enter text onto computers and the people who type text out on word-processors +and typewriters are {\it women}. Hundreds of women in offices all over the +world sitting over keyboards using their hard-won typing and layout skills to +produce mountains of paper. Now what has happened? Suddenly a tool exists +(and this applies to all sorts of desktop publishing software as well) +that not only is esoteric and needs skill to use, but also allows +far greater control over and quality in the output, and {\it men} start to enter +their own text! Male research students typing their own theses instead of +paying typists, male lecturers typing their own notes, male writers typing +their own books. And of course they are most likely to be male because +we're talking about {\it scientific} typesetting here. + +My first reaction to this is great joy. It's about time the boring job +of copy-typing disappeared. A work's author is likely to take more care +over its appearance and correctness than anyone else. Why should tasks +be subdivided into interesting and boring parts, and the majority of the +boring parts handed to women? But this being a male dominated society we +live in, things are not so simple. What will happen to the displaced typists? +Surely they too should have the opportunity to use \TeX? And of course +once the novelty of \TeX\ has worn off the boring bits are handed back to +the women. We get highly paid programmers and designers to write the macros +and build up the style sheets and then the typists get to use them without +a proper explanation of how \TeX\ works or what they can do to manipulate +the results themselves. + +In our Computer Centre our head's first reaction to \TeX\ was very +enthusiastic. Having seen a demonstration that I gave and printed out a +letter for himself using the standard letter macro, he decided that we should +offer a `typesetting service' on a small scale to the rest of the Poly. +We would undertake to produce pretty laser printed output from people's +rough drafts. The person to do all the work was a woman who is employed +here as a data-entry clerk. She duly started to learn \TeX\ and was enjoying +it. Picking the different typefaces and learning tricks of layout are far +more satisfying (and I'm sure less bad for the health) than typing in files +of meaningless numbers. She has never done any programming and the approach +was new and intriguing for her. But when it became clear to our head that even +after a week she could not produce fancy ruled tables he decided not to pursue +the matter. I did suggest that she be sent on a \TeX\ training course, +but it would have cost more than we get for our whole Applications Programming +team annual training budget. + +I give this story as an example of the problems lying in the way of any +individual woman trying to use \TeX\ to her advantage rather than letting +\TeX\ lead to a decrease in demand for her skills. It is difficult. Even +those women who can get to a training course may find it inappropriate. +The Advanced \TeX\ course that I went on last year was addressed to +programmers. The opening remarks were about structured programming and +the format of dvi files, neither of which are extremely relevant to a very +skilled technical typist. + +What I would like to see happen is \TeX\ being made more accessible to +everyone. By this I mean the whole of \TeX{}. I don't think people necessarily +need protecting from complexity, that often make things less flexible and +less interesting. I would like recognition to be given to the skills of +typists, they often know far more about what makes good layout than we +programmers, and can type a lot better. Electronic publishing is recognised +as taking skills out of the hands of printers and I would like to see those +skills given to a wide range of people, not just concentrated in the hands +of a few men once again. Care should be taken by those responsible for +introducing new technologies to make sure that their effects are beneficial, +it doesn't do to just let things loose on the world and see what happens. +Things are not equal. + +Practical steps to be taken are: +\item{$\bullet$}make the distribution tapes self explanatory, +\item{$\bullet$}carry on with the work on standardisation which can only make things +easier for newcomers, +\item{$\bullet$}design training courses both with and for non-computer people, +\item{$\bullet$}watch out around you for who is being taught what, and try +to stop obvious injustices, +\item{$\bullet$}have a feminist revolution. +\smallskip +\noindent +Meanwhile; is anyone else interested in this issue? I would be very interested in hearing from women +using \TeX\ to know what you think about the way that \TeX\ is presented +and taught. +\smallskip +\rightline{\sl Maria Tuck} + diff --git a/info/digests/texline/no8/mont.real b/info/digests/texline/no8/mont.real new file mode 100644 index 0000000000..1622dc53bc --- /dev/null +++ b/info/digests/texline/no8/mont.real @@ -0,0 +1,476 @@ +% +\centerline{\bf The 9th Annual \TeX\ Users Group Meeting} +\medskip +\noindent +The Montreal meeting, held at McGill University in the centre of cosmopolitan +Montreal was was the first TUG meeting to be held outside the {\sc usa}. +There was no campus housing, so delegates were liberally sprinkled +amongst various downtown hotels. Lunch and dinner were not an integral part of +the proceedings, so I didn't get the same sense of atmosphere and contact as at +European meetings. The only real opportunities were at coffee breaks --- when +grotesque chocolate croissants were on offer, or the afternoon breaks +when we were converted to health-giving fruit juices. Everyone would + disperse in small groups for lunch and dinner. + +The TUG meeting programme did in any event contain other +opportunities for social contact --- although the +pre-conference dinner on the Sunday night rather +restricted conversation to be with those sitting +immediately next to you --- all of us wrestling with +eating food in the style of Old French Canada +in 1691, armed with only a knife. The cocktails +before the dinner were more informative, but +involved a lot of peering at lapel badges in mere 10 point +CMR, to try and put faces to the famous (and not so +famous) \TeX\ notables. + +The best opportunity for social advancement with a range of \TeX ies +was the wine and cheese party hosted by Lance Carnes of Personal \TeX\ Inc. +That was on the Monday night after we had all had a chance to sample the +daytime talks and get into the swing of the conference. + +There were in all around 160 people attending the conference. There were only +a handful from Europe --- 1 from Finland, 1 from Holland, and 2 from the {\sc +uk}. If you count Israel as `European', that makes 5 in total. +The rest were North American, bar 1 from Thailand, 1 from Australia, +and a contingent of 4 from Japan. + +The main theme of the conference was `\TeX\ in the Production +Environment'. Nearly the whole of the first day (Monday) +was devoted to this topic --- 10 presentations in all. +This theme was further subdivided into 3 `slightly +arbitrary' topics of `In-House Systems', `Case Studies' and +`\TeX nical Solutions'. Taking these 10 talks as a whole, +the main pointers that emerged in relation to \TeX\ and +Production were: +{\parindent10pt\parskip0pt +\bi Integration --- +the pros and cons of integrating \TeX with older\slash other\slash current +text production systems. +\bi +Management --- +the need for good management to co-ordinate the computing and publishing +sides, with teamwork essential to manage a system of software, hardware +and people. +\bi +Macros --- +everyone was writing their own local macros. +\bi +Databases --- +the adaptability of \TeX\ to provide a useful link with a range of databases. +Advance planning essential to provide all the hooks: \TeX\ only used at the +end of a very long process. +\bi +Schedules --- +the effect on and analysis of production schedules: +choosing appropriate documents to process through \TeX. +\bi +Fine Tuning --- +the disproportionate time taken in fine tuning the layout. +\bi +Training --- +the great need for good training in \TeX. + +} + +\section{\TeX\ in Production: In-House Systems} +There were 5 speakers talking on in-house systems for document production. +Mary McCaskil from {\sc nasa} described the setting up of their system --- +starting with dedicated word processors and culminating in the present set-up +involving \TeX\ input from IBM-PCs, Macs and Sun workstations, +with preview on the Suns, laser proofing on Lasergrafix and typesetting +on Autologic. She did some analysis of production schedules, and found +it much quicker if figures and illustrations are pasted in by hand, +rather than automated. + +Time required to produce 1 page of {\it draft} output with 1--4 equations +per page: +$$\vbox{\halign{#\hfil\quad&\hfil# minutes\cr +Text (typeset) & 22\cr +Tables (typeset) & 73\cr +Figures (captions \& pasting) & 5\cr +Corrections (2 cycles) & 16\cr +}}$$ +(This compared to 1 hour per page for a manual, as cited by Eric Jul of OCLC.) + +She regarded the overall advantages of \TeX\ as being: +quick training, +satisfactory productivity, +outstanding typography and +device independence. +And concluded that management {\it must} co-ordinate computing and +publishing, with teamwork essential to manage a system of software, +hardware and people. + +The second talk came from Tom Renfrow, also of {\sc nasa}, but from a different +division. He described the +production of technical manuals and other documentation, +all based very much on the use of databases and locally +written macros. He stressed +the need for advance planning when building databases, so +all the hooks are there, and that \TeX\ only makes an +appearance at the very end of the long process. His +system allowed very long documents (around 600 pages) to +be turned around within a week --- and this included lots +of graphics and tables, all of which were automatically +included and automatically numbered, with +cross-referencing of section numbers (up to 15 levels of +sections). + +This talk was followed by one given by David Ness of TV +Guide. Again they found \TeX\ very adaptable for use with +large amounts of database information. Their system pulls +out macro definitions from the database relevant to +particular documents, such as docket numbers, date or time +modified, or status. Tools in the database can provide +summaries of all documents by purpose\slash date etc. The +system also remaps macro definitions, sorts the numbers +and manipulates the data. + +The fourth talk was by Laurie Mann (female) from Stratus +Computers. They produce families of computing manuals --- +such as on Fortran, Basic or PL/1 --- whereby each manual +has the same source text, such as the description of a +subroutine, but macros will automatically insert the +appropriate computer language name (as in Fortran) +together with examples of use, and correct number of +parameters to commands. The |\languagecase| macro for +example has arguments for each of 6 supported languages, +and can also be used to `turn on' all 6 languages, such as +for a review. This she terms `single sourcing' resulting +in fewer unique files per manual. + +The final talk on in-house systems was from Jean Pollari +from Rockware International, describing government +standard documentation. Again the stress was on lots of +locally written macros to simplify text input, and the +need for training in \TeX. + +\section{\TeX\ in Production: Case Studies} +The conference then moved on to 3 case studies of \TeX\ +in Production. These ranged from Eric Jul of OCLC who +described the problems of integrating \TeX\ with +older\slash other text production systems. Training was +again of paramount importance, plus the need to +differentiate between documents that would\slash could be +produced in \TeX, and those that are better produced by +other systems --- as determined by the effect on +production schedules. He regarded 1 hour per page to +produce a manual as acceptable, but there was a +disproportionate amount of time occupied by one person +fine tuning the layout or editing the text. + +At the other end of the scale of case studies was Robert +Harris from Kennel Club Yearbooks, whose main problems +stemmed from mistakes made in matching up the photograph +with the correct pedigree entry. But again he stressed +how well \TeX\ was suited for documents using information +extracted from databases. + +In between these two talks was the third case stude --- by James Mooney --- +on his experiences with textbook production. He regarded +\TeX\ as having far greater control than \LaTeX\ (in fact +\LaTeX\ was barely mentioned in the conference as a whole, +although it did boast the largest Birds of a Feather +group). James Mooney used separate sets of macros for +draft printouts, as compared to the typeset version of the +textbooks. The draft versions had simpler layouts and +extra spacing for reviews. His main problems related to +correction and fine tuning --- he found it hard to process +only selected pages, and that minor changes could disrupt +following pages even if the page break hadn't been +altered. He concluded that \TeX\ should become more +co-operative and allow itself to be fine tuned more easily +--- he found it particularly difficult to amend \TeX's +vertical spacing, and floating inserts were occasionally +out of sequence. + +\section{\TeX\ in Production: \TeX nical Solutions} +The two final sessions on \TeX\ in Production related to +`\TeX nical Solutions'. +David Ness from TV Guide re-emerged to describe how they +had solved problems such as filling an exact number of +pages with text, or piecing streams of text together with +an output routine. They solved one particular |\parshape| +problem by using APL to write \TeX\ to produce very long +|\parshape| commands. Their approach attempted to convert +content driven typesetting into layout driven typesetting, +again using an elaborate live database. They regarded +\TeX\ as an ``assembly language program for text''. + +The final speaker on \TeX\ in Production was the sole +Australian representative --- he described how and why a +trade typesetter chose \TeX\ in preference to newer DTP +systems or older single supplier typesetting systems. He +listed the commercial advantages of \TeX\ as a front end +as: {\parindent10pt\parskip0pt +\bi +Quality --- +provides high quality typesetting and captures some of the old craft. +\bi +Maths --- +excellent for mathematical typesetting (the best). +\bi +Hardware Adaptability --- +availability on a wide variety of computers, and from a wide range of +suppliers. Users can start with a cheap MS-DOS system and work up to +larger systems without losing any of the old work. +\bi +Drivers --- +various typesetter drivers, plus 300\,dpi. Arbortext +drivers for Compugraphic, Autologic and PostScript +(Linotronic). +\bi +Documentation --- +good quality\dots +\bi +TUG --- for information sharing. +\par} +The rest of the TUG meeting contained more varied talks on \TeX, plus +the usual exhibitor presentations. + +\section{\TeX\ Training} +There were two talks specifically on training in \TeX\ --- the one by +Berkeley Parks of Washington State University +concentrated on tips to get started --- ranging from +progressively moving the |\bye| command lower down the +file to isolate errors, to innovative uses of |\halign| +for complex mathematical layouts. + +The other training talk was by Alan Wittbecker, the new TUG employee with +the unenviable task of constantly travelling America teaching a succession +of 2, 3 and 5 day courses. He listed several factors as important for new +users to gain productivity: +{\parindent10pt\parskip0pt +\bi +relevance of the commands to users' needs. +\bi +simplicity --- ease of understanding +\bi +efficiency --- a typist should understand the command --- simple and mnemonic. +\bi +consistency --- produce the same quality from different versions of \TeX. +\bi +quality (standards) --- portable between devices, style file changes, macros. +\par} +This brought in the more general topic of applying standards to all TUG +courses, so that having completed a course a student is known to have covered +certain sets of commands and topics, irrespective of where he or she was +taught. Alan provided a suggested syllabus for each of the 5 day beginning, +intermediate and advanced \TeX\ courses. Comments were invited. +Doug Henderson also provided a similar list for the Metafont course. + +As a TUG course instructor myself, I had some initial +comments and queries. It wasn't clear as to the +flexibility of the syllabus for, say, a 5 day intensive +beginning\slash intermediate course as compared to two +separate 5 day courses. The timescale would inevitably +mean omitting some of the topics --- it would therefore be +useful to differentiate `essential' from `additional' +topics in each course. There was also very little maths +covered in either the beginning or intermediate courses, +whereas this is frequently the initial impetus for people +wanting to learn \TeX. From my experience, students regard +the maths as very straightforward as compared to the +intricacies of text-type layouts. As well as providing +more maths, it is obvious that the courses should be +tailored to people's needs, particularly if it is an +in-house course. I was also surprised to find several +topics in the proposed syllabus that were not |plain| \TeX, +such as Stephan's |\hboxr| command, which could easily +cause confusion. + +Another teaching proposal was a `self-test' --- a series +of questions to help the wavering student to decide which +level of expertise he or she was at, before booking for +the appropriate course. + +The one talk in the whole conference that specifically +referred to \LaTeX\ was by Shawn Farrell of McGill +University (the local organiser), who suggested ways of +choosing between \TeX\ and \LaTeX. The usual advantages +and disadvantages of each was cited, and he concluded that +there was a place for both \TeX\ and \LaTeX\ for the right +user. Inevitable maybe. + +\section{Non-English \TeX} +Two other main topics were covered in the conference --- +Non-English \TeX\ and \TeX\ and \sgml. I unfortunately had +to miss the Japanese contingent talking about Mathematics +Textbook Publishing with Japanese \TeX. However Jacques +Goldberg's talk on Semi-\TeX\ was very amusing, talking +about the problems of mixing right to left Hebrew with +left to right maths. He runs his system on IBM-PCs and +VAXes. On the VAX he has set up the DEC VT keyboard so it +can switch between Hebrew and English on screen, but not +display both at once. He mentioned the \XeT\ program which +needs changes to \TeX\ and the \dvi\ drivers. He suggested +writing a \dvi\ t\dvi\ DVI convertor to allow any existing +driver to take \XeT\ output. He is also still working on an Arabic \TeX. + +Michael Ferguson then described his Multilingual \TeX\ +yet again, followed by Kauko Saarinen who listed his +experiences with \TeX\ in Finland --- largely to do with +keyboard character deficiencies, especially in relation to +\LaTeX. + +\section{\TeX\ and \SGML} +Moving on to \TeX\ and \SGML, Stephan Bechtolsheim +described his modifications to the {\sc emacs} editor to safely +edit \TeX\ files and translate \SGML\ into \TeX. The mods +included error checking to prevent the more trivial +mistakes, prior to running the file through \TeX. He uses +{\sc lisp} to program in such features as inserting pairs of +braces with the cursor positioned in between, or easily +checking the nested braces for such functions as +superscripts of superscripts. Inevitably there are +problems in that the editor is fairly complex and uses a +lot of CPU time. It doesn't run on PCs, but other +alternative editors (called epsilon and joe) will +apparently soon be available for PCs (joe will also be +available on the Mac, and is free). + +Lynne Price ran over the basics of using \SGML\ and \TeX\ +to produce user documentation. Her main aims are +markup minimisation and automatic error checking. + +\section{\TeX nical Support} +The final talks of the conference were a varied bunch, +banded together under the heading `\TeX nical Support'. +Ken Yap, +talking about \dvi\ previewers, described possible +alternatives to the typical low-res 80\,dpi screen +preview. These included generating fonts at the required +screen resolution using Metafont, and bit sampling where +sub-samples of printer fonts are used for the screen +(e.g.~reduce each 4$\times$4 pixel block to 1~pixel). +This cuts down on the number of additional font files +required, but needs CPU intensive raster processing. Other +partial remedies included abandoning the idea of full +pages on screen, or using higher resolution screens at say +160\,dpi, or grey scale fonts, where brightness is traded +for resolution. The only `full' solution was a proper +hi-res screen. The main problems with previewers as a +whole were seen to be how to preview printer resident +fonts, and that printer |\special|s weren't previewable. + +Robert Kruse from Nova Scotia then outlined some Software +for Technical Book Production --- comparing the author's +perspective (flexibility, simplicity, minimal logical +markup) with that of the publisher (design, copy editing +and markup, co-ordination, page makeup and typesetting), +and also with the macro programmers' perspective (the need +to accommodate flexibility, modular macros, consistent +syntax, robustness). He suggested a Pre\TeX\ +pre-processor to simplify \TeX\ for the author, such that +quotes would automatically be converted, and the italic +correction automatically inserted. + +Mike Schmidt then described his CAP\TeX, or industrial +strength \TeX, which is a menu-driven control program with +access to a spell checker, index filter etc, and specific +to technical publishing in larger organisations such as in +the aircraft industry. Features include font controls, +predefined table templates and structures, control over +figures and graphs, mulit-column layouts and automatic +generation of tables of contents and indexing. The system +assumes many technical writers and therefore uses minimum +markup and enforceable document styles. It uses |plain| +\TeX\ and is 99\% structure oriented. For a slight +variation on a theme, the \TeX\ files were read {\it into} +a database. + +The last speaker was Paul Muller with \FASTeX\ --- an integrated front end +to \TeX\ that uses an editor with {\sc ascii} input and output, together +with a \TeX-compatible macro system, and typesets with simultaneous +screen preview. + +\section{Exhibitor Presentations} +Exhibitor presentations included a description of TEXT1 +from Washington State +University --- a package of macros including indexing and +table-of-contents. It is available +on IBM-PCs, but must surely be usable elsewhere. They also +have availably the International Phonetic Alphabet, as +advertised in TUGboat. + +Barry Smith, of Blue Sky Research, assured everyone +that \TeX{\sc tures} was under stable +ownership, and that new developments were proceeding +apace. He is moving into the graphic arts field by +providing an interactive {\it back} end to \TeX{\sc tures}, +whereby typeset text can be skewed or rotated through an +interface with Adobe Illustrator --- a sort of back end +automatic paste-up on screen. He is also extending into +colour printing on dot matrix, and full colour separation +on the typesetter. Lucida fonts are also in the offing +(including maths) plus all the 75 CM typefaces as +PostScript outlines --- although the results at 300\,dpi +are apparently not as good as Metafont. + +Mr \PCTeX, the charismatic Lance Carnes, described the very complete selection of +software available for \TeX\ from Personal \TeX\ Inc. There are now over 60 +products --- drivers, macro packages, Metafont 1.3 and an interface to +Bitstream fonts (over 30 typeface families). He compared +maths output using Bitstream Times with Computer Modern maths. +He also announced the PTIView Previewer. +Personal \TeX\ Inc.\ also now have a phototypesetter --- a Chelgraph +IBX2000 all the way from England. It provides 2000\,dpi, onto paper or film, +and can set any Metafont or bitmapped character. They have developed their +own driver and will provide a typesetting service from October, with 300\,dpi +laser proofs also available. + +Richard Kinch of Kinch Computer Co.\ swept the field by giving away +complete copies of his Turbo\TeX --- a Pascal translation to C for the IBM-PC, +portable to Unix. It has a virtual memory subsystem added onto the DOS +implementation and used a swap file on disc or the RAM drive. + +Bob Kaister of K-Talk Communications described Publishing Companion, +which translates Word Perfect to \TeX. Other convertors are now also +available for other word processors as an add-on. I believe Ewart North of +Uni\TeX\ sells +this in the U.K. K-Talk also sell Math Editor for the PC for +{\it wysiwyg} equation generation, which outputs a \TeX\ file. + +Stephan Bechtolsheim then did a wonderful job of selling himself: his master +work, `Another Look at \TeX', has now reached 975 pages, in two volumes, and +still growing. In the absence of a publisher he sells the book at \$57. + +Arbortext also came up with some new announcements. +Publisher version 1.0 was released in November 1987. +Version 2.0 is now due (August\slash September 1988). +It boasts faster performance, copy and paste between the document and +Sun Windows, a re-engineered editor and higher compatibility with `raw' \TeX. +It has \TeX\ and \LaTeX\ modes (??), with equation\slash table\slash +graphics editors, as well as integration with \SGML. +Other possible Publisher platforms should be announced this Autumn --- +this could include Apollo, DEC, HP, Mac II and OS/2. +Arbortext have also taken on Micro\TeX\ from Addison Wesley. They intend +using Micro\TeX\ to build a second generation product under a new name --- +$\mu$\TeX. +This will include a module for an editor (based on {\sc emacs}), \TeX\ and +Preview, with simplified keyboard mappings and a streamlined installation +program. + +\section{TUG European Co-ordinator} +Ray Goucher had nominated Malcolm for +the new post of European Co-ordinator, which was agreed in committee. +I had been requisitioned to +take his place at the committee meetings in his absence. +The actual functions of the post +still aren't clear, but are to be discussed between Malcolm and Ray. +In essence the post revolves around acting as a focus for improved two-way +communications between America and Europe, and stimulating TUG awareness +and membership in Europe --- acting as a representative and platform for +European views, whilst keeping tabs on all European \TeX\ activities. + +\section{The 1989 TUG Meeting} +And now for next year\dots\ \ Dates for the 10th Anniversary TUG meeting +have now been finalised. The meeting will be at Stanford (where else) +on August 21st--23rd 1989, with the usual courses before and afterwards. +This meeting will be the 10th annual meeting of TUG. The keynote +speaker will be Donald Knuth, who will present a paper entitled ``The +Errors of \TeX''. Be there. +\smallskip \rightline{\sl Cathy Booth} + + diff --git a/info/digests/texline/no8/more.sgm b/info/digests/texline/no8/more.sgm new file mode 100644 index 0000000000..525ecb3d97 --- /dev/null +++ b/info/digests/texline/no8/more.sgm @@ -0,0 +1,108 @@ + +\centerline{\bf More SGML} +\medskip +\noindent +The \sgml\ Users Group has regular meetings, +often held at the British Standards Institute in +London. This is a rather pleasant venue, since the +building in Green Street (just off Park Lane) is rather +old, with all sorts of fancy ceilings +and ornamentation --- just the thing to distract and +amuse. The Users Group meetings are (to my mind) rather +sparsely attended (usually no more than 20--30), but it +is always fascinating to see what \sgml\ is up to. I want +to comment on presentations made at two meetings: one held +on September 12th, and the other held on December +2nd. + +The relevant paper at the earlier meeting was from Eric +van Herwijnen of the Data Handling Division at {\sc +cern}, Geneva. He was concerned with promoting +the use of \sgml\ in an environment which +boasted a wide range of computing equipment, +from personal machines through Suns and VAXes to +Crays. He presented a checklist which was designed to +help identify those documents which ought to be coded in +\sgml: +\item{$\bullet$}will the document be kept after it has been +read? +\item{$\bullet$}will the document be updated later? +\item{$\bullet$}does the document have a complicated +structure? +\item{$\bullet$}is the document longer than a few +pages? +\item{$\bullet$}will the document be added to a +database? +\item{$\bullet$}does the document have to follow the +{\sc cern} house style? +\item{$\bullet$}does the user already know \sgml\ or an +existing \sgml\ tool? + +\noindent A positive answer to any of these questions +indicated that \sgml\ ought to be given serious +consideration. The alert and observant will be saying +`Why not use \LaTeX\ instead?' Eric had a response: he +considered that \sgml\ had the following advantages over +\LaTeX +\item{$\bullet$}\sgml\ is an {\sc iso} standard, while \LaTeX\ +is not. +\item{$\bullet$}{\sc cern} will register its DTD (Document +Type Definition) in accordance with the ISO rules. +\item{$\bullet$}input systems for \sgml\ are becoming +available (Author/Editor, {\sc mark-it}, Publisher, +Grife). +\item{$\bullet$}\sgml\ is being adopted by the +publishing world. +\item{$\bullet$}\sgml\ is suited to document database +applications. +\item{$\bullet$}\sgml\ support is easier. +\item{$\bullet$}\sgml\ has been chosen by Eric's department +for the future office system at {\sc cern}. + +\noindent It wasn't clear to me why \sgml\ was the +obvious candidate, but it is obvious that systems which +have the label `standard', and which have some sort of +economic or commercial clout behind them appear more +attractive to large organisations. + +The other paper was from Paul Ellison at Exeter +University, who discussed how maths could be handled in +\sgml{}. As I have noted elsewhere, \sgml\ usually opts out +of maths, and leaves it up to some competent system to +handle. Usually this is either |eqn| or \TeX{}. Paul +showed how maths could be coded in \sgml{}. One of the +\sgml-based criticisms of \TeX\ is the way it handles +superscripts and powers: how do you distinguish between +|x^2| where the 2 is a power, and |x^2| where the 2 is a +superscript. Well, the short answer is that no +mathematician in his right mind would use such ambiguous +notation. Of course there is an +easy solution to this. There is no reason why |\sp| +shouldn't mean `superscript' and |^| mean `power'. Try +writing |\sp| sometime and see what it does. Paul had +confused a |plain|\TeX\ facility with a coincidence of +expression. But it is a point which Knuth treats +ambiguously too --- but hardly a reason to discard \TeX! +In his examples of \sgml\ coding Paul also tackled the +problem of `pre-scripts' like $_nx$, which have to be +handled in a rather awkward, although very explicit, way. +I have never been too happy with the \TeX\ coding here, +since eventually you end up having to say things like +|_na+{}_nb| in order to guarantee the spacing of +$_na+{}_nb$. The |{}_nb|, if it is read as |{}_n|, followed +by |b|, is meaningless. I really cannot see \sgml\ coding +of maths catching on. With very few exceptions, \TeX\ is +unambiguous in its treatment of maths; +a little extra exposition and discipline would have been +sufficient to remove any problem areas. The extra +pain and effort of invoking \sgml\ seems out of all +proportion. + +Apart from these two \TeX-relevant talks, \sgml\ User Group +meetings are also quite useful as a way of keeping in touch +with some other aspects of the `structured documentation' +world. Many of the speakers are from commercial +organisations, and it is always of interest to see how +real world problems are identified and solved. +\smallskip +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no8/oddtypes.tex b/info/digests/texline/no8/oddtypes.tex new file mode 100644 index 0000000000..92ca69242d --- /dev/null +++ b/info/digests/texline/no8/oddtypes.tex @@ -0,0 +1,212 @@ +\centerline{\bf Odd Types} +\medskip\noindent +The BCS Electronic Publishing Group has a well-justified +reputation for its one day meetings at the School of +Oriental and African Studies. The meeting on +September 29th easily maintained that reputation, and, +for perhaps the first time, exploited its venue more +fully. The morning session was devoted to mathematical +typesetting, but the afternoon was concerned with +non-Roman text, and the accompanying problems and +solutions. Hence the (witty?) title, `Odd Types'. + +David Penfold of the Charlesworth Group started off the +day by laying the foundations of mathematical +typesetting, covering some aspects of the history. Even +up to the 1950's, maths was set by hand, in cold metal. +The mind reels at the thought of the skills needed to +adequately typeset a moderately complex page of maths by +hand. David also described Monotype's `four-line' +equation, which was set from a keyboard. In my naivety I +had assumed this really meant four lines of equations, but +all it really means is being able to set something like +$${g_{b^2d_4}X^{a^1c_3}}\over{b_{f^el_n}Y^{b^kd_\gamma}}$$ +which {\tt eqn} and \TeX\ users rather take for granted +now. Maybe there has been progress. It is always a +fascination to see how far technology limits our forms of +expression. Filmsetting on a matrix obviously poses +problems of positioning for maths. Similarly, when +symbols are obtained from a disc (before the days of +floppies), there are limits on the number of symbols +which can be placed on the one disc. To some extent, +Monotype seem to have dominated math typesetting, and +many of us feel at home with their Roman typeface for +maths (No.\ 327 for text, 569 for maths) where every +superior and inferior has to be separate type, with a +different design size. As an aside, \TeX's favourite +typeface, Computer Modern, is a derivative of one of +Monotype's maths typefaces. This is perhaps not +completely aside, since one feature which became apparent +was the inherent conservatism of the customer (and +perhaps the printing industry). With technical +typesetting, innovation in typefaces is hardly likely to +enhance the result. It was with this problem of +appropriate representation that David had begun his talk, +with three (fairly well-known) representations of +Creation: Genesis, Maxwell's equations, and Haydn's score. +All quite different, but in a sense saying much the same +thing, although to rather different audiences. David also +showed some rather good bad examples of mathematical +typesetting, but unfortunately would not name the +perpetrators. His conclusion of `no general solution' was +not entirely unexpected, and perhaps a blow to some of us. +\looseness=-1 + +Tibor Tscheke from St\"urtz (part of Springer-Verlag's +empire) discussed some of the problems which they had +encountered in adopting an electronic approach to their +journal production. It comes as no huge surprise that +author input on electronic input does not entirely solve +all problems. Authors do not necessarily understand the +remainder of the publishing process, and their own +assumptions may make life very difficult. Coupled with +the fact that the correction process may actually be more +expensive than key-boarding we see some problems looming +for publishers who are continually under pressure from +authors to accept electronic input (and give them higher +royalties). Since St\"urtz used Unix, it was no real +surprise that their initial attempts were with {\tt +troff}. But since they were using Lasercomp typesetters, +and {\tt troff} was really intended for the obsolete CAT +typesetter, this proved difficult. So to \TeX{}. One of +the recurrent problems with \TeX\ is its insistence on +knowing a lot about the character set you are using. And +most of that information was lacking for the Monotype +fonts which were to be used. So a great deal of work had +to be done by hand to create the information for the font +metric files. At least this is a one-time job. Some of +\TeX's font-dependency also became apparent, since some +of the standard macros do not work well outside +the Computer Modern Family, and had to be rewritten. +There was also a problem to be solved in screen +representation. Since we can see \TeX\ on the screen for +some kind of crude proofing, we have to adopt some scheme +of font substitution (we don't have screen +representations of the Lasercomp's fonts). Substituting +the Computer Moderns directly gave a rather +unsatisfactory result, with overwriting on the screen and +ragged margins. This rather upset people. In the end, the +approach was to generate new versions of the Computer +Moderns, but with the width characteristics of the +corresponding Lasercomp fonts. This ensured that +everything was in the right place on the screen, even if +typographically it was not perfect (since we're dealing +with an IBM pc, with not very good graphics anyway, +typographic purity is hardly a key issue). Of course, the +reason that \TeX\ is amenable to this approach is by way +of \MF{}. Part of \MF's beauty +is its power to allow modification of existing fonts +created through \MF\ --- hence the `meta' part of the +name. St\"urtz are also moving on to other fonts, like +Fraktur, phonetic, Hebrew and so on. One of their problems +is in finding a way of giving them away --- Monotype and +St\"urtz are still exploring this. + +Unfortunately Mike Glover, from Icon Technology, who was +to have talked about Formulator could not be present. +Formulator is a Macintosh tool which allows equations to +be typeset in a {\it wysiwyg} fashion. The resulting +equation may then be pasted into a MacAuthor document, or +may be represented in \TeX\ format, for inclusion into a +\TeX\ document. Contrasting reviews of Formulator have +appeared in \TeXline\ 7, the November issue of {\sl Desktop +Publishing Today} and the October issue of {\sl Apple +Business}. It is hoped that Mike will be able to present +Formulator at some future date. + +The afternoon moved into even more exotic areas, starting +with Dominik Wujastyk's description of typesetting some +South Asian languages. There is perhaps one key point to +be made about the afternoon's presentations: the fonts +were really designed for Western use, rather than by the +native speakers of the languages. In a sense, the markets +are rather small, and we are moving into areas where +electronic (or desktop) publishing really can make an +impact, permitting things to be published which could not +have been done by traditional techniques. Dominik is a +Sanskritist by calling, and a curator at the Wellcome +Institute by profession. Some of his work there has been +in publishing Sanskrit editions concerned with the history +of medicine. Taking Sanskrit as an example, there are +several ways to represent this in typeset form. We can +use the Roman alphabet in a standardised transliteration. +This is obviously attainable with the present levels of +word processing. Or we can move to `real' Sanskrit fonts, +when we input with a standard keyboard (i.e.~Roman +alphabet) and somehow massage this into the Sanskrit +alphabet. Dominik showed examples of these approaches. +One area which he also touched on was the use of +preprocessors, where, prior to the `typesetting' stage +(naturally performed by \TeX/\LaTeX), the input (here +Note Bene/Xywrite) was transformed. Again there are +several ways to do this, from the obvious --- write your +own program, to the slightly more subtle --- configure the +editor's printer driver to do the transformation for you. + +Paul Thompson of SOAS gave an account of the approaches +which could be employed in setting Chinese. As we know, +Chinese (and we can include variants, from the pure +unmodified Chinese, or Hanzi, through the hybrids, the +Japanese Kanji and Kani, and the Korean Hancha and +Hangul, to the modified Vietnamese), has a rather large +character set. Just how large is unresolved. The Chinese +national dictionary will use about 60,000 different +characters, but only about a maximum of 15,000 are needed +for modern styles, and the Chinese standard character set +is a mere 7,000. But even this, in two different styles +and at 4 standard sizes, gives 56,000 characters. Clearly +there are a few storage problems for electronic +representation. Whatever problems are there are made less +straightforward by the presence of three different +standards --- Japanese, Taiwanese and Chinese. + +We are probably all aware that there are certain +assumptions made in the way we handle characters +electronically; operating systems and applications tend +to depend on the assumption that character sets are not +larger than the {\sc ascii} set. One way of addressing the +problem here has been to use 2 {\sc ascii} characters to +represent chinese script. + +Again the cultural biases were apparent when Paul +described the evolution of techniques to handle text +creation (i.e.~typing). One reasonably successful +technique was based on telegraphic techniques, where a +pair of `western' characters represented a chinese one. A +large number of telegraph operators were very familiar +with this technique, and although it took some time to +learn, it was fast and of fairly low cost. Many of the +newer techniques which had been tried were either slower +or more expensive. On the other hand they tended to be +faster to learn. In general the trend seems to be towards +using a `standard' keyboard and inputing phonemes, at +either the syllabic or entire word level. With +improvements in artificial intelligence this appears to +be a viable route. + +Lastly, Michael Mann described a number of case studies +drawn from various departments within SOAS. As a hardened +markup man, I was forced to admit that {\it wysiwyg} could +sometimes come up with a reasonable published product. +It was perhaps in the area of very odd scripts +that the versatility of the Mac (in the right hands) +shone through. Some of the fonts had to be designed by +hand, but effectively what they replaced was doing the +whole job by hand --- at last electronic publishing was +doing something which was otherwise impossible. It was +interesting to see that hyphenation problems were still +present in Amharic, but since no-one was very clear where +the hyphens ought to be anyway\dots\ The limitations of +technology were again apparent by the problem of having +to use monospacing to accommodate the Mac's handling of +accents. The school also uses Ready Set Go!{} in an Arabic +version --- that means the menus are in Arabic too --- +highlighting another Mac-factor. Although the Mac can be +`localised' that means it becomes completely localised. +Michael even touched on subjects like Microsoft's +{\sc rtf} (rich text format) which is usually a fairly +well-hidden secret, and the problems in finding out about +Apple's Scriptmanager. All of which added weight to his +contention that Babel still reigned. +\smallskip +\rightline{\sl Malcolm W Clark} diff --git a/info/digests/texline/no8/pole.tex b/info/digests/texline/no8/pole.tex new file mode 100644 index 0000000000..876bcd3d04 --- /dev/null +++ b/info/digests/texline/no8/pole.tex @@ -0,0 +1,141 @@ +\def\ogonek{\hbox{\seveni\char'054}} +\def\eog{e\kern-.26em\lower.77ex\ogonek} +\def\aog{a\kern-.21em\lower.79ex\ogonek} + +\centerline{\bf Polish Language and {\TeX}} +\medskip +\leftline{\sl Introduction} +\noindent +Similarily as for other languages, adapting {\TeX} to Polish +requires solving several problems ([RS85], [HK88], +[HK87]). I will discuss here only one of them. It concerns a +diacritical sign called in Polish --- and also e.g.~in [ISO83] --- +{\it ogonek\/}. It is completely missing in the Computer Modern family but +used, apart from Polish, also in Lithuanian. It may be familiar to +the reader as the component of e.g.~the name Lech Wa\l\eog sa. +\medskip +\leftline{\sl Using standard fonts} +\noindent +The obvious solution to the {\it ogonek\/} problem is to use some +other character as a substitute. {\it Cedilla} bears some resemblance +to {\it ogonek}, but it is clearly recognised as a non-Polish +character, so it is of no use for high quality printing. +Several users experimented independently with such characters as +the apostrophe; as far as I know, the best results were +obtained by Jerzy Ryll using the 7 point |\lhook| symbol +for the 10 point AM roman font +and placing it in the following way: +\begintt +\def\ogonek{\hbox{\seveni\char'054}} +a\kern-.21em\lower.79ex\ogonek +A\kern-.21em\lower.79ex\ogonek +e\kern-.26em\lower.77ex\ogonek +E\kern-.26em\lower.77ex\ogonek +\endtt +We use his solution here after +incorporating it into a tentative |PL| \LaTeX\ style, providing e.g.~% +for the appropriate depth of the letters \aog\ and \eog. +\medskip +\leftline{\sl Modifying pixel files}\noindent +A more general solution was offered by Hanna Ko\l odziejska, who +wrote a small program creating a copy of a pixel file with {\it cedilla} +substituted by its symmetric reflection; the \tfm\ file for +the new font is just an exact copy of the old one. After +switching to the new fonts, {\it ogonek\/} can be accessed by the |\c| +command and +its position adjusted to the letter in question. +The results can +be seen e.g.~in the paper [HK88] which was printed using +this technique. The drawback of this approach consists in +doubling the number of the pixel files. +In practice, however, the program can be placed on the hard disk +and the new fonts created on demand. +\medskip +\leftline{\sl Creating special fonts} +\noindent +Creating special fonts for Polish using \MF\ should not be a +difficult task, at least in principle. The question is where to +place the Polish national letters. The solution advocated here +consists in preserving all Computer Modern characters and to +assign the Polish letters to the codes greater then 127. To +allow hyphenation, these codes have to be accessed through +ligatures; the obvious candidate for the character introducing +these ligatures is the character +\char'40\ (code |'040|), +as its only +function in standard {\TeX} text fonts +is to serve as a component of the +Polish letters \L\ and \l. The \tfm\ files for Computer Modern +and equivalent Polish fonts should differ respectively in +their ligature +tables. This approach allows to take advantage of the fact that +more and more drivers --- including the public domain Beebe +family of drivers [B87] --- provide for the user +controlled font substitution. With appropriate substitution +directives, the standard font glyph files |gf|, |pk| +or |pxl| files) can be get rid of as the same information is +contained in their Polish equivalents +(of course, \tfm\ files are to stay). When the disk space is +important, this seems to be the ideal solution. As for the +drawbacks, not every driver is able to handle the characters with +the codes greater then 127; however, this is an evident fault of +drivers implementors, which should be corrected in the future. +\medskip +\leftline{\sl Conclusion}\noindent +One of the important advantages of {\TeX} is its standarization. +It is a pity it is monolingual by design (with some unnecessary +assumptions underlying the hyphenation algorithm), but we have to +live with it. However, the standards for drivers are only +beginning to emerge and +some aspects of +multilingual text +processing can be solved by creating such drivers +which allow to `cheat' {\TeX} to obtain the desired results. The +use of font substitution described above is an example of this +approach. +\smallskip +\leftline{\sl References} +{\frenchspacing\parindent0pt\parskip3pt +Nelson~H.~F. Beebe. +Public domain {\TeX} {DVI} driver family. +{\TUGboat}, 8(1):41--42, April 1987. + +[ISO83] +International~Organisation for~Standarization. +Information processing --- coded character sets for text + communication. +Standard No. ISO 6937, 1983. + +[HK87] +Hanna Ko\l odziejska. +{\it Dzielenie wyraz\'ow polskich w systemie {\TeX} [Polish + hyphenation patterns for {\TeX}; in Polish]}. +IInf UW Report~165, Institute of Informatics, Warsaw +University, + 1987. + +[HK88] +Hanna Ko\l odziejska. +Le traitement des textes polonais avec le logiciel {\TeX}. +{\it Cahiers GUTenberg}, (Num\'ero z\'ero):3--10, Avril +1988. + +[RS85] +Staffan Romberger and Yngve Sundblad. +Adapting {\TeX} to languages that use {L}atin alphabetic +characters. +In Dario Lucarella, editor, {\it +Proceedings of the First European + Conference on {\TeX} for Scientific Documentation}, pages~27--40, + Addison-Wesley, Reading, Massachusetts, 1985. +} +\smallskip +\rightline{\sl Janusz S. Bie\'n} +\smallskip +\leftline{\it Editor's Note:} +\noindent +Although Janusz refers to AM in the article, everything here is +of course set with the CM fonts. To my untutored eye the ogonek looks +fine, but I am unwilling to take this for granted until it is confirmed. +A `Polish' style file has been submitted to the Aston \TeX\ archive. + diff --git a/info/digests/texline/no8/pounds.tex b/info/digests/texline/no8/pounds.tex new file mode 100644 index 0000000000..2bc4b92498 --- /dev/null +++ b/info/digests/texline/no8/pounds.tex @@ -0,0 +1,106 @@ +\font\tenu=cmu10 % unslanted text italic +\font\twelveu=cmu10 scaled \magstep1 +\font\twelvebfit=cmbxti10 scaled \magstep1 +\font\tenbfit=cmbxti10 +\font\twelvetiit=cmitt10 scaled \magstep1 +\font\tentiit=cmitt10 +\font\twelverm=cmr12 +\font\eightrm=cmr8 +\font\sixrm=cmr6 +\font\eighti=cmmi8 +\font\sixi=cmmi6 +\font\eightsy=cmsy8 +\font\sixsy=cmsy6 +\font\twelveit=cmti12 +\font\twelvebf=cmbx12 +\font\eightbf=cmbx8 +\font\sixbf=cmbx6 +\font\twelvesl=cmsl12 +\font\twelvett=cmtt12 +% Now add the poundsign macros: +\def\rmpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.0em} +\def\itpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.09em} +\def\slpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.07em} +\def\bfpo{\leavevmode + \pmb{\lower.025ex\hbox{\$}\kern-.04em}} +\def\ttpo{\leavevmode + \lower.0ex\hbox{\$}\kern0em} +\def\ttkludgepo{\leavevmode + \epmb{\lower.0ex\hbox{\$}\kern-.0em}} +\def\pmb#1{\setbox0=\hbox{#1}% + \kern-.025em\copy0\kern-\wd0 + \kern.05em\copy0\kern-\wd0 + \kern-.025em\raise.0003em\box0 } +% Extremely poor man's bold +\def\epmb#1{\setbox0=\hbox{#1} + \kern-.005em\copy0\kern-\wd0 + \raise.01em\copy0\kern-\wd0 + \kern.01em\copy0\kern-\wd0 + \kern-.005em\raise.01em\box0 } +%This is adapted from the 10-point +%manmac macros: although this article +%uses 10 point, who else does? +\def\twelvepoint{% + \def\rm{\def\pounds + {{\twelveu\rmpo}}\fam0\twelverm}% + \textfont0=\twelverm + \scriptfont0=\eightrm + \scriptscriptfont0=\sixrm + \textfont1=\teni \scriptfont1=\eighti + \scriptscriptfont1=\sixi + \textfont2=\tensy \scriptfont2=\eightsy + \scriptscriptfont2=\sixsy + \textfont3=\tenex \scriptfont3=\tenex + \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\itpo}}% + \fam\itfam\twelveit}% + \textfont\itfam=\twelveit + \def\sl{% + \def\pounds{{\twelveit\slpo}}% + \fam\slfam\twelvesl}% + \textfont\slfam=\twelvesl + \def\bf{% + \def\pounds{{\twelveu\bfpo}}% + \fam\bffam\twelvebf}% pmb poundsign + \textfont\bffam=\twelvebf + \scriptfont\bffam=\eightbf + \scriptscriptfont\bffam=\sixbf + %\def\tt{\def\pounds{{\twelvetiit\ttpo}}% ugh! + % \fam\ttfam\twelvett}% ugh! + \def\tt{\def\pounds{{\tenu\$}}% + \fam\ttfam\twelvett}% odd poundsign + \textfont\ttfam=\twelvett + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=20pt + \def\caps{\def\pounds{~}\fourteencaps} +% don't use the pound sign + \def\scaps{% + \def\pounds{{\twelveu\rmpo}}\twelvecaps} + \setbox\strutbox= + \hbox{\vrule height14pt depth6pt width0pt}% + \normalbaselines\rm} +\def\tenpoint{\def\rm{\def\pounds{{\tenu\rmpo}}\fam0\tenrm}% + \textfont0=\tenrm \scriptfont0=\sevenrm \scriptscriptfont0=\fiverm + \textfont1=\teni \scriptfont1=\seveni \scriptscriptfont1=\fivei + \textfont2=\tensy \scriptfont2=\sevensy \scriptscriptfont2=\fivesy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\itpo}}\fam\itfam\tenit}% + \textfont\itfam=\tenit + \def\sl{\def\pounds{{\tenit\slpo}}\fam\slfam\tensl}% + \textfont\slfam=\tensl + \def\bf{\def\pounds{{\tenu\bfpo}}\fam\bffam\tenbf}% + \textfont\bffam=\tenbf \scriptfont\bffam=\sevenbf + \scriptscriptfont\bffam=\fivebf + \def\tt{\def\pounds{{\tentiit\ttpo}}\fam\ttfam\tentt}% + \textfont\ttfam=\tentt + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=12pt +% \normalbaselineskip=15pt% + \def\caps{\def\pounds{{\twelveu\rmpo}}\twelvecaps} + \def\scaps{\def\pounds{{\tenu\rmpo}}\tencaps} +% \setbox\strutbox=\hbox{\vrule height8.5pt depth3.5pt width0pt}% + \setbox\strutbox=\hbox{\vrule height10pt depth5pt width0pt}% + \normalbaselines\rm} diff --git a/info/digests/texline/no8/rept.tex b/info/digests/texline/no8/rept.tex new file mode 100644 index 0000000000..ba96893c10 --- /dev/null +++ b/info/digests/texline/no8/rept.tex @@ -0,0 +1,342 @@ + +%Carol Hewlett's report on UK TUG, held at Nottingham University on +% 4 November 1988. +% +\centerline{\bf UK \TeX\ Users' Group} +\medskip +\noindent +The Inaugural Meeting of the UK \TeX\ Users' Group was held at the +University of Nottingham, on 4 November 1988. +\smallskip +\leftline{Summary of Papers:} +\par +\noindent{\it\MFsl\ ---\ An Overview: Charles Curran, Oxford University} + +\noindent +Charles Curran started out by asking What is \MF? He then proceeded to give +some reasons why it might be used: +\item{1} to design `odd characters', but not usually a whole +fount; +\item{2} there were problems with +different device drivers and these +could be cured via \MF\ by altering the device +parameters for various printers, +particularly with reference to the write-white versus write-black enigma; +\item{3} sometimes defective characters needed redesigning. + +\noindent +He said that existing characters can often be adapted; +he suggested people speak to Dominik Wujastyk if they needed to get founts for +alphabets other than european. +He then showed diagrammatically the relationship between \MF\ and \TeX\ and +the various ouput files, some of which should be tuned to the desired output +device. +Various implementations of \MF\ exist, running on {\sc vms}, {\sc sun} and +Macintosh. Some have preview capability. + +Charles said that \MF\ can be used to +generate Computer Modern fonts at various +resolutions\slash magnifications; to generate device-specific fonts by modifying +e.g., |waits.mf|, |local.mf|; and to generate odd characters. + +It was possible that there was a need for a UK \MF\ group, although the +r\^ole of answering \MF\ problems was currently dealt with by newsletters +and bulletin boards. + +Charles then made a number of general points about the matching of founts +to page-printers. It was not generally known which print engine +was used in which page-printer (and it could be very difficult to find out). +Further, the average user (or implementer) didn't always know +how a fount {\it should} look and whether +what was being produced was the best possible. This suggested another +area for the exchange of information: information on page-printers and their +print engines and examples of the best possible printing that could be +achieved with any given machine. Another field for discussion/education +was that of type design in general. + +In the discussion that followed Charles' paper, it was suggested that +a sample book be put together. The relationship (if that's the right +word) between \MF\ and \PS\ was mentioned: will \PS\ take over +all that \MF\ now does? +Finally it was pointed out that while \MF\ can be used to design {\it families}, +programs like Fontographer were good for single characters but needed a +lot of work to retain any consistency when designing more than a few +characters. +\medskip +\noindent{\it Installing \TeX\ --- the scenic route: David Osborne, Nottingham +University} + +\noindent +David Osborne's paper had a subtitle --- the long road to implementing \TeX. +At Nottingham, several years had been spent in trying to provide a \TeX\ +user service. David explained that they had +originally obtained a \WEB\ source +for their VAX machines. \WEB\ contains both the program source and +its documentation. The code is run through a program called \Tangle, which +gives Pascal program output and documentation separately; the documentation +file then goes through \Weave\ to produce the real documentation and the Pascal +compiler is used to produce the \TeX\ executable program. \Tangle\ needs to +read a system-specific change file as well as \WEB. + +There was lots of documentation, but very little help as to where to start +reading it. However, most of these problems were solved reasonably quickly. +The real difficulty came when trying to fix the printer for \TeX. That +particular problem had still not been solved, although they were now +considering an AGFA PostScript page-printer, which promised a reasonable +printing speed and for which a \TeX-\PS\ driver could be used. + +He summed up by giving three points which new implementers of \TeX\ should +follow: +\item{$\bullet$} Choose the output device {\it first\/}. +\item{$\bullet$} Allow plenty of time for the implementers to become familiar with +the package and documentation. +\item{$\bullet$} Allow plenty of time for the implementation + +\noindent +David further suggested that better documentation directed at implementers +was needed; and that there were implications for training both users +and those who would advise them. +\medskip +\noindent{\it An Introduction to \LaTeX: Sue Brooks, Bradford University +Software Services Limited} + +\noindent +Sue Brooks gave a very persuasive talk about the benefits of using \LaTeX. +She set out a number of questions that were asked and told us her answers. + +First, what was \LaTeX? It was a macro package that was somewhat similar to +Scribe (which was itself like Troff). The assumption was made that a +document had a structure; additionally, \LaTeX\ was able to handle book-like +items like table of contents. + +Second, why use \LaTeX? Because it uses a document model rather than a +page description, as |plain| + \TeX\ did. It also included certain other sets +of macros, namely \BibTeX\ and \SliTeX. Sue compared \LaTeX\ to DTP packages +where she felt that \LaTeX\ won hands down. + +Third, why did Sue use \LaTeX? Partly this was historical --- she had learned +\LaTeX\ while at the Open University. She still felt that it was the best +way for her to do her current publishing work. It provided a user service, +without the need for the user to write macros. + +Fourth, who would benefit from using it? Authors (especially when +collaborating), authors' minions and documentation producers. + +Fifth, what was wrong with \LaTeX? For a start, it was too structured; the +style files were not fully understood (except by Leslie Lamport?) and there +was no good {\it reference} manual (although the `User's Manual' was fine). +But there was no alternative, either! + +Next, Sue said that \LaTeX\ was certainly not going to disappear, but there +were a number of things that would improve it, especially for the UK. In +particular, the distribution needed sorting out; more information should be +available on the implementation details and style files. There should be +a |doc| to |sty| convertor and English hyphenation. + +Finally, to ease the user's burden, Sue suggested: good editing interfaces, +\LaTeX-intelligent spelling checkers, indexing tools, \BibTeX, \SliTeX\ and +its fonts, and style files. +\medskip +\noindent{\it TUG, Montr\'eal 1988 Conference: Cathy~Booth, Exeter +University} + +\noindent +Cathy's report appears in full +elsewhere in \TeXline. +\medskip +\noindent{\it\TeX\ in Germany: report from Freiburg Meeting: +Chris~Rowley, Open University} + +\noindent +Chris opened his report by saying that there was a lot of \TeX\ going on +in W. Germany. \TeX\ does acknowledge that there are countries other than +the US, so is welcomed by Germans. It seems to be widely used at the high-end +by commercial users. Among other things, there is work on fount design. +The meeting had held a `problem session', in which there was a discussion +of extensions to \TeX. A program of development for \TeX\ and \LaTeX\ was +proposed, for which 24 extensions were suggested. +\medskip +Sebastian~Rahtz (Southampton University) +was due to present a paper on Picture Languages, but as the proceedings +were running late, it was omitted. Peter Abbott (Aston University) asked for +\TeX\ contributions for an issue of {\it University Computing}. He also +asked for volunteers to help with the task of checking over the Aston +Archive to try to keep duplicated material to a minimum and to make sure +that what was there was up-to-date. +\medskip +\noindent{\it A UK TUG?: Malcolm Clark, Imperial College} + +\noindent +Malcolm started by giving the meeting a pep talk, which he said was his +review of the world through \TeX-coloured glasses. He outlined the activities +of TUG, which included a newsletter, courses, annual conference, hotline +support (and email), products and a speakers bureau. He reminded the meeting +of the three electronic \TeX\ things --- \TeXhax, UK\TeX\ and the Aston +Archive. Malcolm noted the other European countries with \TeX\ groups of +various sorts, including \TeX interessen (W. Germany and Austria), Gutenberg +in France, a Dutch group, a Nordic grouping, +a \TeX-produced journal in Spain and also activity in Poland, Israel and Eire. +He listed the European \TeX\ meetings, in Italy in 1985, Strasbourg, 1986, +Exeter, 1988 and to come, Karslruhe/Freiburg or Stockholm in 1989 and Cork in +1990. The last topic of his review was of other groups with an interest +in electronic typesetting --- the Electronic Publishing Specialist Group of +the British Computer Society, the British Computer Society's Displays +Group and the \sgml\ users' group. + +It had been revealed to the meeting that Malcolm had been asked to be +the European co-ordinator for TUG. His next points were on the subject +of what we wanted from TUG and what we could do. On the second point, +be believed that the big thing was to try to solve the ignorance factor. + +\item{$\bullet$}we could produce a brief flyer to define \TeX; answer such +questions as where can \dvi\ files be typeset; perhaps document and provide an +index to the other \LaTeX\ style files and exchange \hbox{information} on +implementing \TeX. + +\item{$\bullet$}someone could make a map showing the interrelation between \WEB, +\Weave, \Tangle, \TeX, Pascal, C, |gf|, |pk|, |pxl|, etc. + +\item{$\bullet$}pronounciation could be standardised. + +\item{$\bullet$}\TeX\ could be taught English hyphenation. (It was agreed that +Charles~Curran and Chris~Martin would investigate this area.) + +\item{$\bullet$}perhaps even more use could be made of bulletin boards, electronic +mail and the Aston Archive. + +\item{$\bullet$}workshops could be arranged on certain subjects, such as \MF\ type +design, macros, style files, graphics, etc. + +\noindent +The rest of Malcolm's talk, group discussion and so forth was not so +structured. Although no conclusion was reached, there was much talk about +the relationship between any UK \TeX\ group and TUG. It was suggested +that we could be a {\sc TUG} subgroup, such that a subscription to the UK +Group would also form a subscription to TUG itself. +Then UK subscribers could get `local' services and {TUG\sc boat}. +Alternately, could the +UK group merely collect subscriptions in sterling on behalf of TUG, +to save us from buying \$ drafts or using credit cards? How did Europe as +a whole fit in? The only conclusion reached was that there should be a +group of some sort concerned with \TeX\ that holds regular meetings. It +was agreed that there would be another meeeting to be held in London, +probably in March, after Malcolm got back from the US where he would have +found out more about what being European co-ordinator entailed. + +Another subject that was raised from time to time was the fact that +the Nottingham conference had been arranged at short notice (about 3 weeks) +and was successful because those attending had been sent electronic mail +over {\sc janet}. This gave University staff an advantage over commercial users. +It was established that commercial companies could have a +legitimate {\sc janet} address if they wished to communicate with the academic +community. They were not supposed to use {\sc janet} to communicate with other +commercial users. For the purposes of receiving UK\TeX, etc., +provided mail boxes could be established, +there was no reason why commercial users should not be able to have +a {\sc janet} address. +It was suggested that universtity recipients of UK\TeX\ send one +(printed) copy to a non-email user. + +The meeting ended with a very warm vote of thanks to David Osborne who made all +the local arrangements. +\smallskip +\rightline{\sl Carol Hewlett} +\bigskip +\centerline{\bf A UK \TeX\ Users Group?} +\medskip\noindent +On Friday November 4th I had the pleasure of attending a meeting +organised in Nottingham for the purpose of discussing a possible +UK \TeX\ Users Group. The impetus for this came from the very successful +\TeX88 conference, one of an informal series of get-togethers for +European \TeX ies, coupled with the remarkable rise to power of the +UK's own \TeX\ Archive at Aston under the benign leadership of Peter +Abbott. David Osborne put together a colloquium at short notice in the +congenial surroundings of the Cripps Computing +Centre, and about 40 people were able +to come. The problem with the short notice was that David perforce +used electronic mail to advertise the event, leading to a high +proportion of committed gurus present, not many dumb users and more or +less nobody from outside academia. + +The day started officially at 11\,am. For some of us, this meant rising +at 5\,am, tripping over the cat and stumbling onto a train at 6\,am. Thank +god for British Rail egg and cress sandwiches. Anyway, at 11 or +thereabouts, Charles Curran from Oxford ambled onto the stage and +started talking about \MF. He claimed to have had his brief +changed 2 minutes before, but managed somehow to suggest that since +Computer Modern and \MF\ won't go away in the near future, and since the whole +situation of different printers and drivers is a mess, it would not do any harm +at all to have a UK group advising neophytes on which files to +sacrifice black cocks in front of (this apparently being the correct +way to get a good value for `blacker' in your |local.mf| file). Anyone +in the audience who still thought \TeX\ was something you bought off the +shelf at Safeway were then disillusioned by David Osborne's outline of +\TeX\ installation at Nottingham. While his problems revolved mainly +around printers, it was clear that the apparent `free' nature of \TeX\ +is more than paid for by the arcane nature of the installation from a +raw tape. Again, it was clear that new people would benefit from +experience from a local group. + +A breath of fresh air came from Sue Brooks (late of the OU, now in +commercial software documentation) with her unashamed plug for +writers (as opposed to \TeX ies) to use Lamport's \LaTeX\ macros; she +gave a clear outline of the advantages and even some solutions to the +answers to problems. She was followed after a fine lunch by +Cathy Booth (Exeter) who told us about the \TeX\ Users Group meeting in +Montreal; the interest here was in its concentration on \TeX\ in +real world production environments, which confirmed the impression +given in Seattle that \TeX\ has gone beyond implementation details (a +lesson the UK group could take on board?). Cathy also passed on some +gob-smacking gossip from commercial vendors about their new products. She was +followed by the most valuable talk (to me), a report by Chris Rowley (OU) on the +most recent German \TeX interessen meeting, in which he gave an impression of +what went on in German \TeX ery. Their work on customizing \TeX\ for German, +writing new books and listing the definite things a NEW\TeX\ should do, shows +up how lax we have been in the UK in simply accepting what the Americans give +us --- as was pointed out, we still lack English hyphenation +patterns. The Germans (and other European groups) seemed to be putting +more effort than the British into getting \LaTeX\ right, and this seemed +to be an area where progress could actually be expected. + +I was scheduled to give a talk on picture languages in the afternoon, +but in the interests of discussion I agreed to be left out; Malcolm +Clark, the charismatic Leaderene of \TeX88, and +editor of the prestigious \TeXline, then took the stage and +harangued the populace on the State of the World according to \TeX, +outlining what sources of information we had now in Europe and the UK, +what the \TeX\ Users Group does, and what we needed in the UK. It turned +out that Malcolm had been unilaterally appointed European Coordinator +for TUG, so he was able to promise +a firm presentation of our desires to TUG. He outlined issues that +needed to be addressed, such as general ignorance in the world at +large about what \TeX\ was and how to get it, hyphenation problems, +teaching \TeX\ etc. Finally, we got around to the question of whether a +formal British group was needed, as opposed to simply sticking with +the main TUG or forming a pan-European group. Dissatisfaction over +what we got from TUG for the money prompted suggestions of an +autonomous group, while others wanted an affiliated chapter --- the +consensus seemed to me that we would like to join a UK version of TUG +which charged us a subscription, but sent most of it off to America +and joined TUG on our behalf, saving us bank charges etc., and +(hopefully) letting TUG ease administration and postage costs. Three +problems prevented a formal constitution being set up on the spot: a) +we did not know how TUG would react --- Malcolm would find this out in +January; b) nobody had tabled any suggestions, and it was getting +dark; c) we were not at all representative of UK \TeX\ users (i.e.~we were +mostly academic \TeX bores). It was therefore decided to hold another +meeting in London in February, with wider invitations, when we would +formally set up a group (or not, as the meeting went!). + +\TeX\ is hampered by its free image, to the same extent as it is aided +by its free image. Without commercial support, it can only exist if a +committed user group continues to keep its distribution and use at a +high standard. Ten years after the foundation of TUG, are cracks +showing? Will \TeX\ survive in the `real world'? Chaotic and inefficient +as it was (I did not see why a full meeting of users could not have +taken place later on without this initial peculiar subset), the +meeting in Nottingham was another valuable contribution to The Cause +of keeping the \TeX\ flame alight. Let us hope a UK group is successfully +formed. +\smallskip +\rightline{\sl Sebastian Rahtz} diff --git a/info/digests/texline/no8/resolution.tex b/info/digests/texline/no8/resolution.tex new file mode 100644 index 0000000000..163e5acd61 --- /dev/null +++ b/info/digests/texline/no8/resolution.tex @@ -0,0 +1,122 @@ +\centerline{\bf Resolution} +\smallskip +\noindent +You may notice a few things about this edition +of \TeXline{}. There are the obvious things like lateness +and bulk, but also a few more which are less apparent. +Right at the masthead \TeXline\ is now subtitled `a +newsletter of the \TeX\ community'. It used to be `the +newsletter of \TeX\ users in the UK and Ireland'. There +are a couple of reasons for doing this, which reflect +some changes in my view of the \TeX\ world. When it +started, the intention of the newsletter was to try to +provide a connection between people who came in contact +with \TeX\ (and \LaTeX\ and \MF\dots). They didn't even +need to exhibit missionary zeal. The common ingredient was +\TeX{}. +A large proportion of the +growth in the list was from outside the UK and Ireland. +With this issue, I have included all the participants to +\TeX88. It seems inappropriate to make it appear that +\TeXline\ is directed only to the European offshore +islands. + +I've never liked to be called a `user'. It has slightly +perjorative associations. Much nicer to be part of a +community than to be a user. But what about the +\TeX\ bit? Is `\TeX' a sufficiently generic term that the +\MF\ eccentrics, the \LaTeX\ hordes, and the lone \AmSTeX +er don't feel slighted? Come up with a better term and +I'll use it. + +Having said all that, the newsletter cannot be `the' +newsletter, it has to be `a'. I would be delighted to see +others. The +French group `GUTenberg' ({\it Groupe (francophone) des +Utilisateurs de \TeX\/}) are producing their +journal-like {\it Cahiers de GUTenberg\/}, and it would be +surprising if other national groupings, like the Germans +or Dutch didn't do something similar too. + +When you look at the contents of this edition, you will +notice that the sources of several articles are from +outside the British Isles: in particular, the article +from Janusz Bie\'n on Polish \TeX\ illustrates some of +the problems that are encountered in employing \TeX{}. +Larry Siebenman's article was presented at a GUTenberg +meeting last April (and will be published elsewhere in +French), the originals of \DW's article were published in +\TUGboat, and we have an account of \TeX88 and the TUG +meeting from Barbara Beeton, which will also have +appeared in \TUGboat{}. My own `Odd types' review +appears in the BCS-EP newsletter. +It is not my plan that \TeXline\ will merely plagiarise +other material. But I hope that by +showing material which has its origin in \TUGboat, +people will be encouraged to join TUG. + +Another item to note is a new email address. I have +eventually tired of having mail bounced through the Kent +\unix\ Gateway. To ensure contact with non \Janet\ +networks this new address, |mwc@doc.ic.ac.uk| is probably +preferred. + +\vfill +\bigskip +\centerline{\bf Parochial matters} \smallskip +\noindent +Last year saw the first meeting in the UK of a local +\TeX\ grouping. Perhaps just as GUTenberg produced their +first {\it Cahiers} as `num\'ero z\'ero', this should be +described as the zero-eth meeting. Two accounts of the +meeting appear in the newsletter. Everyone in the UK who +receives \TeXline\ will receive details of the next +meeting, which will be held in London (either at the +London School of Economics or at Imperial College) in early +March. The program will be arranged on the theme of +`Pictures in \TeX'. Part of the meeting will be given +over to making some concrete proposals for the formation +and organisation of a \TeX\ group. I would hope that by +organising a group like this, it would not +inhibit smaller, regional groupings. It is obviously +difficult to arrange any meetings which are truly +`national'. But there are `pockets' of people who might +find it useful to get together. I will be pleased to make +the \TeXline\ mailing list available to anyone who wants +to find out who else there is in their own area who talks +\TeX{}. + +\vfill +\bigskip +\font\palb=palatinob at 9pt +\font\pal=palatino at 9pt +\centerline{\palb \TeX puter} +\smallskip +\noindent +{\pal \TeX puter} is a super seedy implementation of +\TeX{}. It differs from other implementations only in +speed. Typically taking less than one second for each +typeset page it is roughly five times faster than a +similar implementation of \TeX\ on an {\sc ibm} pc/AT +compatible. + +{\pal \TeX puter} is available for the following +transputer based systems: +\item{$\bullet$}the Meiko Computing Surface +\item{$\bullet$}the Cesius Scientific Accelerator +\item{$\bullet$}any system running the Helios operating +system +\item{$\bullet$}B004 compatible {\sc ibm} pc add-on +boards. +\smallskip +Development is continuing on two more \TeX\ products +which will produce similar stunning advances: +\item{$\bullet$}{\pal ps\TeX}: a version of \TeX\ which +generates \PS\ code instead of \dvi\ files: +\item{$\bullet$} {\pal ps$^{\bf 2}$\TeX}: a parallel +processing version of \TeX{}. This will be fast enough to +allow (almost) instantaneous previewing of ammended pages. +\smallskip +\rightline{\sl Bill Noble} + + diff --git a/info/digests/texline/no8/review.tex b/info/digests/texline/no8/review.tex new file mode 100644 index 0000000000..ffde5ce315 --- /dev/null +++ b/info/digests/texline/no8/review.tex @@ -0,0 +1,105 @@ +\centerline{\bf Book Review} +\medskip +\noindent {\it Digital Typography, An Introduction to Type and Composition for +Computer System Design, Richard Rubinstein, 340pp, +Addison Wesley Publishing Company, \quid26.95, {\sc isbn:} +0 201 17633 5.} +\smallskip +\noindent +From the Preface (and the subtitle, `An Introduction to Type and Composition for +Computer System Design') this book would seem to have a +rather specialised and limited readership. If this is the +intent, it is a great pity, since almost anyone with any +concern or interest in typography, let alone digital +typography (can you separate them now?) will find much that +is stimulating and valuable in this book. True, it has its +faults (the selection of Goudy Old Style for what is +essentially a text book). The rather haphazard structure is +due in part to the immature nature of the subject. It +brings together a wealth of material from quite varied +sources, presenting them in a form that most of us would +find easy and straightforward to assimilate. + +Rubinstein, unlike many typographers with a strict art and design background +does not appeal immediately to aesthetics, unless he can underpin them with a +few numbers (and even some science). Take the issue of readibility of serif and +sans serif typefaces (forgetting along the way the `serifs lead the eye' +nonsense): the spatial sensitivity of the eye peaks at about 6--8 cycles per +degree of visual angle (trust me). If we look at the power spectrum of printed +text (in other words, generated from the alternation of black and white), a +Times style typeface (as an example of sans serif) peaks at about 8 cycles per +degree, and Helvtica at about 7 cycles per degree. Clearly, +both values fall within the range of sensitivity, but +Helvtica has a pronounced subsidiary peak at about +12--14 cycles per degree --- a higher frequency harmonic +which tends to confuse and confound. The Times spectrum is +clearer and has less power distributed in such harmonics. A +really dire example is something like a monospaced Courier, +which has a whole series of regularly spaced harmonics. +Although not a point which Rubinstein really makes, my +feeling was that the spikey nature of the spectra were +closely correlated with readibility. So what do serifs do? +Consider a group of letters in a word like `minute': The +serifs enable the interletter spacing in the pairs `mi', +`in' and so on to remain about constant and to be about the +same as the distances between the verical stems of the `m', +`n', etc. If we then look at the same situation in a sans +serif `{\sans minute}', we can see that the inter letter +spacings are much smaller, contributing to the subsidiary +peak in the power spectrum. At least, that's my guess. + +This discussion of the physiology of the eye is also used to explain the +necessity of scanning at very high resolutions in order to be able to +re-present the information at (say) 300\,dpi. In order to account for +information at the eye's limit of sensitivity (about 60 cycles per degree), +Rubinstein considers a scanning resolution of 1200 lines per inch is needed. + +A large proportion of the book is given over to a discussion of the technical +characteristics of screens, marking engines and all the other physical +bits and pieces we use. This is clearly reflected in the problems of matching +screen output and page output. One rather fascinating example showed how it is +possible to exploit the characteristics of charge deposition from a laser +printer in order to create sharp corners, although a naive approach would have +led to any corners being rounded as charge leaked away. Eventually this leads +back to real typefaces, which are (or should be) designed to take into account +the characteristics of the output environment --- paper, inks, printing +pressure etc. Rubinstein points out that type wears out; if we copy an old +typeface, we may be copying from old founts, or from old printed marks (seldom +will we ever have the original drawings) --- only one realisation of the +typefaces; and the creator will have designed his typeface to account for +current papers and inks --- is there any point trying to turn (say) Garamond or +Bodoni into a digital typeface? +Even more modern typefaces like Zapf's Optima are not necessarily rendered +easily into a digital form. Optima is `characterised by subtle changes in width +and near-vertical edges' which are `difficult to represent digitally' (tell +that to Adobe). + +Rubinstein also considers other topics, including, greyscale +fonts, the typographic terms `colour', `weight', `contrast' +and `bright', and gives a very good example of the +difficulties inherent in type design on a small grid. +Ennumerating the possible weights and contrasts of designs +based on a 12 pixel high cell, he shows that all +possibilities fall outside the generally accepted standards +of weight and contrast.This is not the end of the story, +since greyscale fonts could help here, and are starting to +appear. + +The traditional aspects of kerning (pairwise or in context --- words like DAWN +are not easily kerned, if approached in a pairwise fashion). He has some of the +usual guidelines about layout, and a useful discusison about hyphenation and +rivers. + +The book is quite nicely rounded out by an Appendix which suggested avenues of +future research and development. One begins ``create a set of \TeX\ +macros\dots'' Hmm. + +The apparent haphazard structure of the book is reflection of the many +apparently disparate topics which it covers. It may well be the only book which +has seriously tried to approach current typography in this technological way, +appealing to verifiable observation, rather than to opinion and dogma. I've heard +it described as `typographically naive', but until there are intelligible, +factual, scientific books which are typographically astute, it will be an +extremely useful source. +\smallskip +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no8/rhfmt.tex b/info/digests/texline/no8/rhfmt.tex new file mode 100644 index 0000000000..5c644149b2 --- /dev/null +++ b/info/digests/texline/no8/rhfmt.tex @@ -0,0 +1,441 @@ +%This is RHfmt, R.C-H.H's first attempt at a large format file. +%It takes chunks from manmac.tex relating to font sizing +%and amends those to include poundsigns +%It also takes footnotes from AMSptt.sty +%It also contains clause-numbering macros +%It also defines today & signed etc +%Last modified 12th October 1988 +% +\ifx\rhfmtisloaded\relax\endinput\else\let\rhfmtisloaded=\relax\fi + +\catcode`@=11 % borrow the private macros of PLAIN (with care) + +\font\tentex=cmtex10 +\font\twelverm=cmr12 +\font\ninerm=cmr9 +\font\eightrm=cmr8 +\font\sixrm=cmr6 +\font\fiverm=cmr5 + + +\font\twelvei=cmmi12 +\font\ninei=cmmi9 +\font\eighti=cmmi8 +\font\sixi=cmmi6 +\font\fivei=cmmi5 +\skewchar\twelvei='177 +\skewchar\ninei='177 \skewchar\eighti='177 \skewchar\sixi='177 + +\font\twelvesy=cmsy10 scaled \magstep1 +\font\ninesy=cmsy9 +\font\eightsy=cmsy8 +\font\sixsy=cmsy6 +%\font\fivesy=smsy5 +\skewchar\twelvesy='60 +\skewchar\ninesy='60 \skewchar\eightsy='60 \skewchar\sixsy='60 + +\font\twelvebf=cmbx12 +\font\ninebf=cmbx9 +\font\eightbf=cmbx8 +\font\sixbf=cmbx6 +\font\fivebf=cmbx5 + + +\font\twelvett=cmtt12 +\font\ninett=cmtt9 +\font\eighttt=cmtt8 +%there is no cmtt6, or cmsl6 + +\font\twelvesl=cmsl12 +\font\ninesl=cmsl9 +\font\eightsl=cmsl8 + +\font\twelveit=cmti12 +\font\nineit=cmti9 +\font\eightit=cmti8 +\font\sixit=cmti7 % ! + +% Now the poundsign fonts: +\font\tenu=cmu10 % unslanted text italic +\font\twelveu=cmu10 scaled \magstep1 +\font\twelvebfit=cmbxti10 scaled \magstep1 +\font\tenbfit=cmbxti10 +\font\twelvetiit=cmitt10 scaled \magstep1 +\font\tentiit=cmitt10 + +%add these: +%\font\fourteencaps=cmcsc10 scaled \magstep2 +\font\twelvecaps=cmcsc10 scaled \magstep1 +\font\tencaps=cmcsc10 + +% Now add the poundsign macros: +\def\rmpo{\leavevmode\lower.055ex\hbox{\$}\kern-.0em} +\def\itpo{\leavevmode\lower.055ex\hbox{\$}\kern-.09em} +\def\slpo{\leavevmode\lower.055ex\hbox{\$}\kern-.07em} +\def\bfpo{\leavevmode\pmb{\lower.025ex\hbox{\$}\kern-.04em}} +\def\ttpo{\leavevmode\lower.0ex\hbox{\$}\kern0em} +\def\ttkludgepo{\leavevmode\epmb{\lower.0ex\hbox{\$}\kern-.0em}} + +\def\pmb#1{\setbox0=\hbox{#1}% + \kern-.025em\copy0\kern-\wd0 + \kern.05em\copy0\kern-\wd0 + \kern-.025em\raise.0003em\box0 } + +\def\epmb#1{\setbox0=\hbox{#1}% Extremely poor man's bold + \kern-.005em\copy0\kern-\wd0 + \raise.015em\copy0\kern-\wd0 + \kern.01em\copy0\kern-\wd0 + \kern-.005em\raise.015em\box0 } + +\newskip\ttglue +%This is adapted from the 10-point manmac macros: +\def\twelvepoint{\def\rm{\def\pounds{{\twelveu\rmpo}}\fam0\twelverm}% +% \textfont0=\twelverm \scriptfont0=\eightrm \scriptscriptfont0=\sixrm + \textfont0=\twelverm \scriptfont0=\sevenrm \scriptscriptfont0=\sixrm + \textfont1=\twelvei \scriptfont1=\eighti \scriptscriptfont1=\sixi + \textfont2=\twelvesy \scriptfont2=\eightsy \scriptscriptfont2=\sixsy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex +% \def\it{\def\pounds{{\itpo}}\fam\itfam\twelveit}% + \def\it{\def\pounds{{\itpo}}\fam\itfam\twelveit}% + \textfont\itfam=\twelveit + \def\sl{\def\pounds{{\twelveit\slpo}}\fam\slfam\twelvesl}% + \textfont\slfam=\twelvesl +% \def\bf{\def\pounds{{\twelvebfit\$}}\fam\bffam\twelvebf}% %no poundsign + \def\bf{\def\pounds{{\twelveu\bfpo}}\fam\bffam\twelvebf}% % pmb poundsign + \textfont\bffam=\twelvebf \scriptfont\bffam=\eightbf + \scriptscriptfont\bffam=\sixbf + \def\tt{\def\pounds{{\tenu\ttkludgepo}}\fam\ttfam\twelvett}% ! poundsign + \textfont\ttfam=\twelvett + \tt \ttglue=.5em plus.25em minus.15em + %\normalbaselineskip=15pt + \normalbaselineskip=20pt + \bigskipamount=20pt plus 4pt minus 4pt + \def\caps{\def\pounds{~}\fourteencaps} % don't use the pound sign + \def\scaps{\def\pounds{{\twelveu\rmpo}}\twelvecaps} +% \setbox\strutbox=\hbox{\vrule height10.5pt depth4.5pt width\z@}% + \setbox\strutbox=\hbox{\vrule height14pt depth6pt width\z@}% + + \normalbaselines\rm} + +\def\tenpoint{\def\rm{\def\pounds{{\tenu\rmpo}}\fam0\tenrm}% + \textfont0=\tenrm \scriptfont0=\sevenrm \scriptscriptfont0=\fiverm + \textfont1=\teni \scriptfont1=\seveni \scriptscriptfont1=\fivei + \textfont2=\tensy \scriptfont2=\sevensy \scriptscriptfont2=\fivesy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\itpo}}\fam\itfam\tenit}% + \textfont\itfam=\tenit + \def\sl{\def\pounds{{\tenit\slpo}}\fam\slfam\tensl}% + \textfont\slfam=\tensl + \def\bf{\def\pounds{{\tenu\bfpo}}\fam\bffam\tenbf}% + \textfont\bffam=\tenbf \scriptfont\bffam=\sevenbf + \scriptscriptfont\bffam=\fivebf + \def\tt{\def\pounds{{\tentiit\ttpo}}\fam\ttfam\tentt}% + \textfont\ttfam=\tentt + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=12pt +% \normalbaselineskip=15pt% + \def\caps{\def\pounds{{\twelveu\rmpo}}\twelvecaps} + \def\scaps{\def\pounds{{\tenu\rmpo}}\tencaps} +% \setbox\strutbox=\hbox{\vrule height8.5pt depth3.5pt width\z@}% + \setbox\strutbox=\hbox{\vrule height10pt depth5pt width\z@}% + \normalbaselines\rm} + +\def\ninepoint{\def\rm{\def\pounds{{\nineit\slpo}}\fam0\ninerm}% + \textfont0=\ninerm \scriptfont0=\sixrm \scriptscriptfont0=\fiverm + \textfont1=\ninei \scriptfont1=\sixi \scriptscriptfont1=\fivei + \textfont2=\ninesy \scriptfont2=\sixsy \scriptscriptfont2=\fivesy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\nineit\itpo}}\fam\itfam\nineit}% + \textfont\itfam=\nineit + \def\sl{\def\pounds{{\nineit\slpo}}\fam\slfam\ninesl}% + \textfont\slfam=\ninesl + \def\bf{\def\pounds{~}\fam\bffam\ninebf}% % pound sign to be added + \textfont\bffam=\ninebf \scriptfont\bffam=\sixbf + \scriptscriptfont\bffam=\fivebf + \def\tt{\def\pounds{~}\fam\ttfam\ninett}% no pound sign + \textfont\ttfam=\ninett + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=11pt + \setbox\strutbox=\hbox{\vrule height8pt depth3pt width\z@}% + \normalbaselines\rm} + +\def\eightpoint{\def\rm{\def\pounds{{\eightit\itpo}}\fam0\eightrm}% + \textfont0=\eightrm \scriptfont0=\sixrm \scriptscriptfont0=\fiverm + \textfont1=\eighti \scriptfont1=\sixi \scriptscriptfont1=\fivei + \textfont2=\eightsy \scriptfont2=\sixsy \scriptscriptfont2=\fivesy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex + \def\it{\def\pounds{\itpo}\fam\itfam\eightit}% + \textfont\itfam=\eightit + \def\sl{\def\pounds{\eightit\itpo}\fam\slfam\eightsl}% + \textfont\slfam=\eightsl + \def\bf{\def\pounds{~}\fam\bffam\eightbf}% + \textfont\bffam=\eightbf \scriptfont\bffam=\sixbf + \scriptscriptfont\bffam=\fivebf + \def\tt{\def\pounds{~}\fam\ttfam\eighttt}% + \textfont\ttfam=\eighttt + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=9pt + \setbox\strutbox=\hbox{\vrule height7pt depth2pt width\z@}% + \normalbaselines\rm} + +%This is where the footnote part of amstex is added: +%first, the definition of relaxnext +\def\relaxnext@{\let\next\relax} +% then the footnote macros +\newcount\footmarkcount@ +\def\clearnotenumber{\footmarkcount@\z@} +\footmarkcount@\z@ + +% This is where AMSPPT.STY is added: +\def\footmarkform@#1{$^{#1}$} +\let\thefootnotemark\footmarkform@ +\def\makefootnote@#1#2{\insert\footins + {\interlinepenalty\interfootnotelinepenalty +% \eightpoint\splittopskip\ht\strutbox\splitmaxdepth\dp\strutbox + \ninepoint\splittopskip\ht\strutbox\splitmaxdepth\dp\strutbox + \floatingpenalty\@MM\leftskip\z@\rightskip\z@\spaceskip\z@\xspaceskip\z@ +% \noindent{#1}\footstrut\ignorespaces#2\unskip\lower\dp\strutbox + \fitem{#1}\footstrut\ignorespaces#2\unskip\lower\dp\strutbox + \vbox to\dp\strutbox{}}} +\footmarkcount@\z@ +\def\footnotemark{\let\@sf\empty\relaxnext@\ifhmode\edef + \@sf{\spacefactor\the\spacefactor}\/\fi + \def\next@{\ifx[\next\let\next\nextii@\else + \ifx"\next\let\next\nextiii@\else + \let\next\nextiv@\fi\fi\next}% + \def\nextii@[##1]{\footmarkform@{##1}\@sf}% + \def\nextiii@"##1"{{##1}\@sf}% + \def\nextiv@{\global\advance\footmarkcount@\@ne + \footmarkform@{\number\footmarkcount@}\@sf}% + \futurelet\next\next@} +\def\footnotetext{\relaxnext@ + \def\next@{\ifx[\next\let\next\nextii@\else + \ifx"\next\let\next\nextiii@\else + \let\next\nextiv@\fi\fi\next}% + \def\nextii@[##1]##2{\makefootnote@{\footmarkform@{##1}}{##2}}% + \def\nextiii@"##1"##2{\makefootnote@{##1}{##2}}% + \def\nextiv@##1{\makefootnote@{\footmarkform@{\number\footmarkcount@}}{##1}}% + \futurelet\next\next@} +\def\footnote{\let\@sf\empty\relaxnext@\ifhmode\edef + \@sf{\spacefactor\the\spacefactor}\/\fi + \def\next@{\ifx[\next\let\next\nextii@\else + \ifx"\next\let\next\nextiii@\else + \let\next\nextiv@\fi\fi\next}% + \def\nextii@[##1]##2{\footnotemark[##1]\footnotetext[##1]{##2}}% + \def\nextiii@"##1"##2{\footnotemark"##1"\footnotetext"##1"{##2}}% + \def\nextiv@##1{\footnotemark\footnotetext{##1}}% + \futurelet\next\next@} +\def\adjustfootnotemark#1{\advance\footmarkcount@#1\relax} +% +%\count\footins=750 % footnote magnification factor (9 to 12) +% +% Adapt \hang etc (Vol.B p.355) +\newdimen\footindent \footindent=10pt % Footnotes indented +\def\fang{\hangindent\footindent} +%\def\toeindent#1{\noindent\hskip\footindent\llap{#1\enspace}\ignorespaces} +\def\fitem{\par\fang\toeindent} +%\def\toeindent#1{\noindent\hbox to \footindent{#1\hfil}} +\def\toeindent#1{\noindent\hbox to \footindent{\hfil#1\thinspace}} + +% Now the automatic clause numbering: +% First the new `if's +\newif\ifgreek +\newif\ifcard +\newif\ifclind +\newif\ifcontents + +\newcount\recno % recitals +\newcount\clno \newcount\sclno % clauses and sub-clauses +\newcount\ssclno \newcount\sssclno \newcount\ssssclno % sub-sub etc +\newcount\sssssclno +\newcount\greekno \newcount\cardno + +% These numbers will all be increased by one the first time they are used +\def\r@set{\recno=64 % 65 being `A' +\clno=0 \sclno=0 \ssclno=96 \sssclno=0 \ssssclno=96 \sssssclno=96 % 97 is `a' +\greekno="010A \cardno="027B +\clearnotenumber} +\r@set + + +\newdimen\clindent \newdimen\sclindent % indentation +\newdimen\ssclindent \newdimen\sssclindent \newdimen\ssssclindent +\newdimen\sssssclindent +\newdimen\expindent \newdimen\nexpindent \newdimen\lexpindent + +\clindent=25pt \sclindent=50pt \ssclindent=70pt +\sssclindent=90pt \ssssclindent=115pt \sssssclindent=145pt + +\newdimen\hclindent \newdimen\hsclindent % hanging indentation +\newdimen\hssclindent \newdimen\hsssclindent \newdimen\hssssclindent +\newdimen\hsssssclindent + +\hclindent=0pt \hsclindent=\clindent \hssclindent=\sclindent +\hsssclindent=\ssclindent \hssssclindent=\sssclindent +\hsssssclindent=\ssssclindent + +\parindent=0pt \expindent=3.25in \nexpindent=2.75in +\lexpindent=1.75in + +% I think this can go +\def\exp#1={\par +\hangindent=\expindent \hangafter=1 +\leavevmode\hbox to \expindent{\hskip +\sclindent\vbox{\hsize=\lexpindent #1}\hfil} +\def\par{\endgraf\hangindent=\expindent +\hangafter=0}} + +% Recitals have the same indentation as Clauses. +% Modified 12 Oct 1988 +\def\rec{\sclno=0 \advance\recno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifclind \hangindent=\clindent \else\hangindent=\hclindent\fi +\hangafter=1 +\medskip +\leavevmode\hbox to \clindent{(\char\the\recno)\hfil}\ignorespaces +\parindent=\the\dimen0} + +\def\srec{\ssclno=96 \advance\sclno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifnum\prevgraf=0 \kern-\clindent\else\smallskip\fi +\ifclind \hangindent=\sclindent \else\hangindent=\hsclindent\fi +\hangafter=1 +%\smallskip % I have not included any skip in subsequent subs. +\leavevmode\hbox to \sclindent{\hskip% +\clindent(\romannumeral\the\sclno)\hfil}\ignorespaces +\parindent=\the\dimen0} + +\def\cl{\sclno=0 \advance\clno by 1 +\dimen0=\the\parindent \parindent=0pt % This is for odd clauses in opinions +\ifclind \hangindent=\clindent \else\hangindent=\hclindent\fi +%\def\index#1{#1} %or, \def\index#1{\N\the\clno.#1} +%\ifcontents\N\the\clno\index\fi +\hangafter=1 +\medskip +\leavevmode\hbox to \clindent{\the\clno.\hfil}\ignorespaces +\parindent=\the\dimen0} + +\def\scl{\ssclno=96 \advance\sclno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifnum\prevgraf=0 \kern-\clindent\else\smallskip\fi +\ifclind \hangindent=\sclindent \else\hangindent=\hsclindent\fi +\hangafter=1 +%\smallskip % I have not included any skip in subsequent subs. +\leavevmode\hbox to \sclindent{\hskip% +\clindent(\the\sclno)\hfil}\ignorespaces +\parindent=\the\dimen0} + +\def\sscl{\sssclno=0 \advance\ssclno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifdim\hangindent>0pt \kern-\sclindent\fi +\ifclind \hangindent=\ssclindent \else\hangindent=\hssclindent\fi +\hangafter=1 +\leavevmode\hbox to \ssclindent{\hskip% +\sclindent(\char\the\ssclno)\hfil}\ignorespaces\parindent=\the\dimen0} + +\def\ssscl{\ssssclno=96 \greekno="10A \advance\sssclno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifdim\hangindent>0pt \kern-\ssclindent\fi +\ifclind \hangindent=\sssclindent \else\hangindent=\hsssclindent\fi +\hangafter=1 +\leavevmode\hbox to \sssclindent{\hskip% +\ssclindent(\romannumeral\the\sssclno)\hfil}\ignorespaces\parindent=\the\dimen0} + +\def\sssscl{\sssssclno=96 \cardno="027B +\dimen0=\the\parindent \parindent=0pt +\advance\ssssclno by 1\advance\greekno by 1 +\ifdim\hangindent>0pt \kern-\sssclindent\fi +\ifclind \hangindent=\ssssclindent \else\hangindent=\hssssclindent\fi +\hangafter=1 +\leavevmode\hbox to \ssssclindent +\ifgreek{\hskip\sssclindent($\mathchar\the\greekno$)\hfil}% +\else{\hskip\sssclindent(\char\the\ssssclno\char\the\ssssclno)\hfil}\fi% +\ignorespaces\parindent=\the\dimen0} + +\def\ssssscl{\advance\sssssclno by 1\advance\cardno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifdim\hangindent>0pt \kern-\ssssclindent\fi +\ifclind \hangindent=\sssssclindent \else\hangindent=\hsssssclindent\fi +\hangafter=1 +\leavevmode\hbox to \sssssclindent +\ifcard{\hskip\ssssclindent($\mathchar\the\cardno$)\hfil}% +\else\ifgreek{\hskip\ssssclindent(\char\the\sssssclno\char +\the\sssssclno)\hfil}% +\else{\hskip\ssssclindent(\char\the\sssssclno\char\the\sssssclno +\char\the\sssssclno)\hfil}\fi\fi\ignorespaces\parindent=\the\dimen0} + +%today etc +\newif\ifnocommaindate +\def\today{\ignorespaces +\ifcase\day\or{} +1st\or{}2nd\or{}3rd\or{}4th\or{}5th{}\or{}6th\or{}7th +\or{}8th\or{}9th\or{}10th\or{}11th\or{}12th\or{}13th\or{}14th +\or{}15th\or{}16th\or{}17th{}\or{}18th\or{}19th\or{}20th\or{}21st +\or{}22nd\or{}23rd\or{}24th\or{}25th\or{}26th +\or{}27th\or{}28th\or{}29th\or{}30th\or{}31st\fi +\unskip\space +\ifcase\month\or + January\or February\or March\or April\or May\or June\or + July\or August\or September\or October\or November\or December\fi + \unskip\ifnocommaindate\space\else,\space\fi + \number\year.} + +\def\enddoc{\par\vfill\supereject\r@set\pageno=1} +\def\lincoln{\vbox{\hbox{Lincoln's Inn,}\hbox{\today}}} +\def\signed{\nobreak\vbox{\bigskip\bigskip\hskip3.0in\lincoln}} +\def\settled{\nobreak\vbox{\hskip3.5in\vbox{\hbox{Settled,}\vskip1in +\lincoln}}\enddoc} + +\def\ssd#1{\vskip0.5in%\raggedbottom +\raggedright\tolerance=1000\pretolerance=500\parskip=0pt +\vbox{$\left.\vbox{\hsize2.85in{\hbox{SIGNED SEALED AND DELIVERED} by the said +#1 in the presence of---}}\right\}$}} + +\def\ssdc#1{\vskip0.5in%\raggedbottom +\raggedright\tolerance=1000\pretolerance=500\parskip=0pt +\vbox{$\left.\vbox{\hsize2.85in{\hbox{THE COMMON SEAL of the said} + #1 was\hfil\break affixed hereto in the presence of---}}\right\}$}} + + + +\def\ssdp#1{\vskip0.5in%\raggedbottom +\raggedright\tolerance=1000\pretolerance=500\parskip=0pt +\vbox{$\left.\vbox{\hsize2.85in{\hbox{SIGNED SEALED AND DELIVERED} by the said +#1 acting by Francis Eager as aforesaid in the presence of---}}\right\}$}} + +\def\noaddr{\phantom{11 Railway } \phantom{Cuttings } \phantom{Cheam } +\phantom{London } \phantom{SW12 3DR}} + +\def\ca{\def\v{\unskip\/\ {\rm v}}\begingroup\it} +\def\se{\endgroup\ } + +\def\ref{\unskip\footnote} % Remove space from \se if necessary + +\def\version#1{\footline={\llap{\fiverm#1}\hss\tenrm\folio\hss}} + +% Amstex oldnos macros: +\def\oldnos#1{\ifmmode{\mathcode`\,="013B \fam\@ne#1}\else + \leavevmode\hbox{$\mathcode`\,="013B \fam\@ne#1$}\fi} +%Temporary alteration; +\def\fmc{\footmarkcount@} +% +% These ``quote'' macros require attention: +\newif\ifq +\newif\ifqlap % Don't use this! +\def\beginquote{\par\begingroup\tenpoint\parskip=3pt plus 1pt minus 1pt +\advance\leftskip by \parindent\par\noindent +\ifqlap\parfillskip=0pt\fi +\ifq\llap{``}\fi\ignorespaces} +\def\endquote{\ignorespaces\ifq\rlap{''}\fi\par\endgroup\twelvepoint} + +\catcode`\@=12 +\def\rh{Roger C{\raise.25ex\hbox{-}}H. Horne} +\greektrue +\cardtrue +\clindtrue +\nocommaindatefalse +\qfalse % No quotes in quotations +\tenpoint +\rm +\def\fmtname{RHfmt}\def\fmtversion{0.30} +\message{Version \fmtversion} diff --git a/info/digests/texline/no8/roger.tex b/info/digests/texline/no8/roger.tex new file mode 100644 index 0000000000..b2aa9260fd --- /dev/null +++ b/info/digests/texline/no8/roger.tex @@ -0,0 +1,232 @@ +{\input pounds +\def \itp{{\it \$}} +\def \uitp{{\tenu \$}} % Upright pound sign for demo +\def\footnoterule{} +% +% +\tenpoint\rm +\centerline{\bf Noughts and Crosses} +\medskip\noindent +I discovered \TeX\ as a result of breaking my leg. I needed something to +read in hospital and, having read a review of \TB\ in {\it Byte\/}, +purchased a copy. I was hooked, but it took me another year to get \TeX\ +working. During that time I acquired an Acorn {\it Archimedes\/} and the +Stanford tapes and spent a long time trying to persuade \TeX\ to run. However, +while {\Tangle} tangles itself, compiles and runs without difficulty, and +\TeX\ tangles and compiles, {\IniTeX} seems to be too large a program to +compile on a one-megabyte Archie. I find this surprising (but perhaps this is +because I am a lawyer rather than a computer professional and so don't +understand these things). + +It seems from Volume B of {\it Computers \& Typesetting} and from the {\Tangle} +documentation that a lot of the procedures and functions in {\IniTeX} are +surplus --- after all, no-one uses {\IniTeX} for actual typesetting. I +accordingly spent many hours chopping ``unnecessary'' parts out of the Pascal +code, with extremely interesting, but largely unsuccessful, results. At this +stage I took to heart the advice Malcolm Clark gave in \TeXline\ No.~6, and +tried asking a human. Naturally I chose Malcolm. Within a fortnight I was +parted from my money and attending \TeX 88 and there I was introduced to +Graham Toal who kindly transferred his version of Common \TeX\ to my machine. + I am delighted with the results, and it does seem to be quite fast. The +Professor claims in the {\Tangle} documentation that \TeX\ will \TeX\ +\TeX{} on a DEC~10 in 3600 seconds, that is to say, roughly an hour. +Common \TeX\ on the {\it Archimedes} takes approximately 19 minutes, 58.16 +seconds. + +Malcolm himself won the prize for the best paper delivered at the Conference, +which he called ``Whither \TeX?'' or ``Why has \TeX\ not taken over the +world?''. He drew our attention to the fact that \TeX\ is mainly used by +academics and not by those of us in the outside world, and those of us out +here +tend to have no contact with you lot. I agree, but the reason why \TeX\ has +not taken over the British Isles is, it seems to me, far simpler. Plain +\TeX\ is intended to be used with the Computer Roman fonts. But these fonts +were designed by someone who, it seems, had never heard of the ``special +relationship''. Who in the British Isles, apart from the occasional Spaniard +or homesick Australian wants to typeset a Spanish Shriek, whatever that may be?` +However, although academics consider that money is something that should not be +discussed in public, most of us in the outside world frequently need to use a +pound sign. Many Americans apparently do not +know what a pound sign is. Even the Index to \TB\ says ``pound +sign, {\it see\/} hash mark'' (see also {\bf Macros for Outlining} by James +W.~Walker in {\sc TUGboat} Volume 9, No.~1, p.~61: ``I chose to mark a new topic +with a pound sign (\#)''). + +Exercise 9.7 in \TB\ says that ``in plain \TeX's italic font, the +`\$' sign comes out as`{\it \$\/}'. This gives you a way to refer to pounds +sterling''. Wow. And this comes from someone who at the end of the \TeX book +exhorts us to ``{\sc Go Forth} now and create {\sl masterpieces of the +publishing art!\/}''. An italic pound sign looks awful: +{\obeylines +\itp 396, \itp943.56, \itp0.87. +} +In an article in \TeX niques No.~6, Christina Thiele pointed out +that the unslanted italic font contains an unslanted pound sign, and this is +considerably better than the normal version: +{\obeylines +\uitp 396, \uitp943.56, \uitp0.87. +} +\noindent However, it is only available directly, that is to say, without using +magnified fonts, in the ten-point size. Further I still find it subjectively +wrong. It is too high, and in some fonts too far away from the money. +For some reason it seems better for the lower squiggle of the pound to descend +below the baseline, which is, of course, the way that the pound sign is used in +longhand. My own macros therefore put the pound sign into an |\hbox| which is +then shifted in the appropriate directions. Traditionally lawyers in this +country have tended to use 12-point type with footnotes at a smaller size, and +so I have modified the size-switching {\tt manmac} macros in Appendix E of the +\TeX book to provide me with what I consider to be reasonable pound signs in +various sizes, although I have found that the different sizes require different +amounts of correction to be added: +\par +12-point Roman:\nl +\indent{\twelvepoint\pounds 396, \pounds 943.56, \pounds 0.87}\nl +\indent{12-point Slanted:}\nl +\indent{\twelvepoint\sl\pounds 396, \pounds 943.56, \pounds 0.87}\nl +\indent{12-point Italic:}\nl +\indent{\twelvepoint\it\pounds 396, \pounds 943.56, \pounds 0.87}\nl +\indent{\rm 10-point Roman:}\nl +\indent\indent\pounds 396, \pounds 943.56, \pounds 0.87\nl +\indent{10-point Slanted:}\nl +\indent\indent{\sl \pounds 396, \pounds 943.56, \pounds 0.87}\nl +\indent{10-point Italic:}\nl +\indent\indent{\it\pounds 396, \pounds 943.56, \pounds 0.87} +\par\noindent +It will be seen that I find that the position of the pound sign can even be +improved in the sloping fonts. So far as the bold font is concerned, +the italic pound sign looks distinctly odd: + +%\noindent \bf \pounds 396, \pounds 943.56, \pounds 0.87 +{\def\bpounds{{\tenbfit\$}} +\bf \bpounds 396, \bpounds 943.56, \bpounds 0.87} + +\noindent A version using ``poor man's bold'' (page 386 of \TB) can be used, +but is far from perfect: + +{\bf \pounds 396, \pounds 943.56, \pounds 0.87} + +\noindent +The typewriter font has an italic poundsign, but it is quite ghastly. +In 12-point the upright italic 10-point pound sign can be used at a pinch: + +{\def\pounds{{\twelvetiit\ttpo}} +12-point, tt-style pound sign:\nl +\indent{\twelvepoint\tt \pounds 396, \pounds 943.56, \pounds 0.87}\nl +{\def\pounds{{\tenu\$}} +\indent10-point, upright italic pound sign:\nl +\indent\indent\tt\pounds 396, \pounds 943.56, \pounds 0.87} + +\noindent +Some people might consider that a version using +``extremely poor man's bold'' (or ``somewhat gaunt and +undernourished man's bold'') was better: + +{\def\pounds{{\epmb\$}} +10-point ``epmb'' pound sign:\nl +\indent\indent\tt \pounds 396, \pounds 943.56, \pounds 0.87}} + +The relevant parts of the macros which I use are as follows --- +\smallskip +{\abovedisplayskip=0pt\belowdisplayskip=0pt\parindent=0pt +\begintt +% First the poundsign fonts: +\font\tenu=cmu10 % unslanted text italic +\font\twelveu=cmu10 scaled \magstep1 +\font\twelvebfit=cmbxti10 scaled \magstep1 +\font\tenbfit=cmbxti10 +\font\twelvetiit=cmitt10 scaled \magstep1 +\font\tentiit=cmitt10 +% Now add the poundsign macros: +\def\rmpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.0em} +\def\itpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.09em} +\def\slpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.07em} +\def\bfpo{\leavevmode + \pmb{\lower.025ex\hbox{\$}\kern-.04em}} +\def\ttpo{\leavevmode + \lower.0ex\hbox{\$}\kern0em} +\def\ttkludgepo{\leavevmode + \epmb{\lower.0ex\hbox{\$}\kern-.0em}} +\def\pmb#1{\setbox0=\hbox{#1}% + \kern-.025em\copy0\kern-\wd0 + \kern.05em\copy0\kern-\wd0 + \kern-.025em\raise.0003em\box0 } +% Extremely poor man's bold +\def\epmb#1{\setbox0=\hbox{#1} + \kern-.005em\copy0\kern-\wd0 + \raise.01em\copy0\kern-\wd0 + \kern.01em\copy0\kern-\wd0 + \kern-.005em\raise.01em\box0 } +%This is adapted from the 10-point +%manmac macros: although this article +%uses 10 point, who else does? +\def\twelvepoint{% + \def\rm{\def\pounds + {{\twelveu\rmpo}}\fam0\twelverm}% + \textfont0=\twelverm + \scriptfont0=\eightrm + \scriptscriptfont0=\sixrm + \textfont1=\teni \scriptfont1=\eighti + \scriptscriptfont1=\sixi + \textfont2=\tensy \scriptfont2=\eightsy + \scriptscriptfont2=\sixsy + \textfont3=\tenex \scriptfont3=\tenex + \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\itpo}}% + \fam\itfam\twelveit}% + \textfont\itfam=\twelveit + \def\sl{% + \def\pounds{{\twelveit\slpo}}% + \fam\slfam\twelvesl}% + \textfont\slfam=\twelvesl +\endtt +\begintt + \def\bf{% + \def\pounds{{\twelveu\bfpo}}% + \fam\bffam\twelvebf}% pmb poundsign + \textfont\bffam=\twelvebf + \scriptfont\bffam=\eightbf + \scriptscriptfont\bffam=\sixbf +%\def\tt{\def\pounds{{\twelvetiit\ttpo}}%ugh +% \fam\ttfam\twelvett}% ugh! + \def\tt{\def\pounds{{\tenu\$}}% + \fam\ttfam\twelvett}% odd poundsign + \textfont\ttfam=\twelvett + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=20pt + \def\caps{\def\pounds{~}\fourteencaps} + \def\scaps{% don't use the pound sign + \def\pounds{{\twelveu\rmpo}}\twelvecaps} + \setbox\strutbox= + \hbox{\vrule height14pt depth6pt width\z@}% + \normalbaselines\rm} +\endtt} +And this brings me back to the point of this article. In my view \TeX\ will +never suceeed in the British Isles unless it is supplied with fonts which +contain proper pound signs. +Although Professor Knuth naturally wants to preserve control over the +Computer Modern fonts, a version of most of the 76 fonts containing a pound +sign must be produced if \TeX\ is to stand any chance at all of taking over the +British Isles, or even of being used by more than a few eccentric +mathematicians. For some years I have used an old Diablo daisy~wheel printer. +I have had no difficulty in purchasing daisy~wheels (with the `UK' suffix) which +contain a pound sign. There should similarly be a standard set of Computer +Modern UK fonts. + +There are, of course, two difficulties. The first is where the pound sign +should be positioned in the fonts. The answer would seem to be, follow {\sc +ibm} and make the pound sign a `top-bit-set' noughts and crosses sign. The +second is who would produce the fonts? The ideal person would be Professor +Knuth, but this is not essential so long as he approves them so that they +can properly be described as Computer Modern. It seems from {\sl Computers \& +Typesetting} that at Stanford a lot of the work on \TeX\ and related subjects +has been done by students. Would it be possible for a graduate or undergraduate +student in Britain to do the necessary work on the fonts as part of his course? +If any large companies use \TeX\ it might, perhaps, be possible to persuade them +to fund this work and, as a result, achieve Malcolm's objective of bringing the +academic and outside worlds together in the use of \TeX. +\smallskip +\rightline{\sl Roger C-H. Horne}} + diff --git a/info/digests/texline/no8/salton.tex b/info/digests/texline/no8/salton.tex new file mode 100644 index 0000000000..715c9601bb --- /dev/null +++ b/info/digests/texline/no8/salton.tex @@ -0,0 +1,62 @@ +\centerline{\bf Book Review} +\medskip +\noindent{\it Automatic Text Processing, the +Transformation, Analysis and Retrieval of Information by +Computer, Gerard Salton, 530pp, Addison-Wesley Publishing, +\quid36.85, {\sc isbn:} 0 201 12227 8.} +\smallskip +\noindent +As the subtitle implies, Salton covers much more than +simple `text processing' in this book. He covers a wide +variety of computer techniques which apply in some way to +textual material. Along the way, this includes the +automated office, text compression, encrytion, text +retreival, automatic indexing, and so on. The book is +structured that the four parts can be +read separately, and even within each part Salton indicates +which bits are `essential', rather than `optional'. He +classifies his readership into three main categories: +`trained computer science students and computer +professisonals', `computational linguitics and +language-processing researchers' and `students in library +or information science, or science and technology +programs'. For each group he outlines a rather different +reading pattern. + +Given the encyclopaedic scope of the book this selection +is quite welcome. But the scope also means that some +material is a little dated. Some areas +have a dated feel anyway --- text compression is not one +of the most vigorous areas in computing, and many of the +references are quite old. But take \TeX, since I've heard +of it before: Salton's contact with \TeX\ (indexed as `TeX +editing program') is through the 1978 `\TeX\ and Metafont' +book. While the underlying box and glue model is +unchanged, the discussion of hyphenation \`a la \TeX\ is +obselete. His account of the {\sc unix} tools seems +better. \MF\ is also described in terms of the earlier +version --- and a rather more radical rethink took place +before it acheived its present incarnation. On the other +hand, Salton skips from |troff|/\TeX\ to {\it wysiwyg\/} +processors like MacWrite, and from there to systems using +`property sheets' (Lara, Bravo, etc.). The survey is +therefore a bit spotty. + +His chapter on automatic indexing is interesting. I've +often wondered how to tackle this (or even if you +should). Part Four, covering text analysis +and language processing, was the highlight of the book +for me. At the completely trivial level, his discusison +of the {\sc unix} Writers Workbench reminded me that the +reason {\sc unix} people write such clear, unambiguous +prose is the availability of such tools. + +It is not a book to read from cover to cover. +For many of its topics it is a good place to start. The +references seem to cover the ground well, and there are a +fair sprinkling of fairly recent references too. Its +sheer scope means that some topics are examined less +deeply, but it is still a useful, comprehensive synthesis +of the wider field of `text processing'.\looseness-1 +\smallskip +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no8/sdouble.tex b/info/digests/texline/no8/sdouble.tex new file mode 100644 index 0000000000..b985391fa7 --- /dev/null +++ b/info/digests/texline/no8/sdouble.tex @@ -0,0 +1,18 @@ +\message{double column macros from the TeXbook} +\def\makeheadline{\vbox to 0pt{\vskip-22.5pt + \fullline{\vbox to 8.5pt{}\the\headline}\vss}\nointerlineskip} +\def\makefootline{\baselineskip=24pt \fullline{\the\footline}} +\newdimen\fullhsize +\fullhsize=6.5in \hsize=3.1in +\def\fullline{\hbox to\fullhsize} +\let\lr=L \newbox\leftcolumn +\output={\if L\lr + \global\setbox\leftcolumn=\columnbox \global\let\lr=R + \else + \doubleformat \global\let\lr=L\fi + \ifnum\outputpenalty>-20000 \else\dosupereject\fi} + \def\doubleformat{\shipout\vbox{\makeheadline + \fullline{\box\leftcolumn\hfil\columnbox} + \makefootline} + \advancepageno} + \def\columnbox{\leftline{\pagebody}} diff --git a/info/digests/texline/no8/second.tex b/info/digests/texline/no8/second.tex new file mode 100644 index 0000000000..00f45a6b2f --- /dev/null +++ b/info/digests/texline/no8/second.tex @@ -0,0 +1,18 @@ +\hyphenation{Addison} +\input texline +\vsize=9.5truein +\def\PCTeX{{\sc pc}\kern-0.1em\TeX} +\def\bi{\item{$\bullet$}} +\def\section#1{\medskip\leftline{\sl #1}\par\noindent\ignorespaces} + +\pageno=38 +\input euro.tex +\bigskip +\input bcs.display +\bigskip +\input more.sgml +\vfill\eject +\input late.news +\bigskip +\input thanks +\bye diff --git a/info/digests/texline/no8/sgml-review.tex b/info/digests/texline/no8/sgml-review.tex new file mode 100644 index 0000000000..de5c58d751 --- /dev/null +++ b/info/digests/texline/no8/sgml-review.tex @@ -0,0 +1,117 @@ +\centerline{\bf SGMLware} +\medskip +\noindent +{\it SGML An Author's Guide to the Standard Genralized Markup Language, +Martin Bryan, 364pp, Addison Wesley Publishing Company, \quid21.95, +{\sc isbn:} 0 201 17535 5.} +\smallskip +\noindent +{\it SoftQuad Author/Editor: (an SGML application for the +Macintosh conforming to the ISO standard). Evaluation copy available from +SOBEMAP for {\sl\$}35.} +\smallskip +\noindent +{\it SGML: the User's Guide to ISO 8879, Joan M. Smith \& Robert +Stutely, 175pp, Ellis Horwood Publishers, \quid22.50, {\sc isbn:} +0 7458 0221 4.} +\smallskip\noindent +Bryan's book is a very welcome addition to the range of \sgml-related products +now available. But it is not what it says it is. It is not `an author's guide'. +I would no more give this book to a prospective author than I would give him or +her the \TeXbook{}. In fact, he or she would probably get a lot further +with the \TeXbook, but this is more a feature of \sgml{}. Given that +both \sgml\ and \LaTeX\ are (to some extent) concerned with document +structure to the exclusion of layout, Lamport's book does allow someone +to do something fairly quickly. You will have to work hard before you +can get anything out of \sgml{}. Why? Essentially, \sgml\ is in a +similar position to that of \TeX\ in 1978--84, when each user of \TeX\ +also had to provide his or her own `base' --- all the things we take for +granted in a plain or \LaTeX\ format (times were hard then, you don't +realise how easy you have it now). \sgml\ requires a DTD (a document +type definition), which is rather close in concept to a \LaTeX\ style. +There are a few `public', or publicised DTDs, but not so many, and so +you cannot guarantee that someone else shares yours (except by enclosing +it as part of your document). The commercial aspect of \sgml\ contrasts +interestingly with \TeX's public domain approach. While adherence to the +public domain presents some problems, \sgml's embedding within the +commercial world presents others. The availability and distribution of +DTDs could be an issue here. I suspect that widespread use of \sgml\ +will not be acheived until there are a fair number of publicly +available, well-documented DTDs. Of course, if you are involved in the +bureaucracy of the EEC, or the US DoD, you will have to use \sgml\ +anyway (which is why \sgml\ will succeed, irrespective of any intrinsic +merits). + +But Bryan's book is useful, and provides a readable account of the language. It +is a bit matter of fact --- opinions or explanations rarely intrude. The +examples are rather limited and it can be tricky to work out how to do other +things. There are no exercises, often a useful way to test your comprehension. + +Another key problem with \sgml\ is that it is a statement of a `standard', not +a description of a working implementation. In other words, you can't go and try +things out on a convenient working system: since the implementations are +commercial, you'll have to pay. There is a cheap alternative. SoftQuad's +Author/Editor (obtainable through Sobemap) is available in an evaluation +copy, for only \$35.00. This allows you to develop some feeling for +\sgml, using some prepackaged DTDs. The evaluation copy retricts you to +a fairly short document, but nevertheless it is a very useful starting +point. The manual which accompanies the software is probably worth the +\$35. The full price is \$715.00, and obviously does not suffer +the same restrictions. + +\sgml\ has strengths and weaknesses. One of its weaknesses is its inadequate +handling of `penalty copy'. To set maths you can opt out by using an entity +declaration which says that `this bit will be done in \TeX' (or some other +suitable system). If you are going to do this, you may ask why not use \TeX\ +entirely (or \LaTeX, since the boundary is more blurred here). In fact it would +not be so difficult to create a \TeX\ format which looked like \sgml. The chief +difficulty, it seems to me, is \sgml's `tag minimisation', where you don't have +to end a tag, if logically another tag implies that it must have terminated its +scope. To take an example, in \TeX\ we might start a bit of display maths with +the double dollar delimiter, do a bit of maths, then have a heading. Since a +heading (logically) cannot exist in maths mode, maths mode is terminated before +the heading is processed. I think this is dreadful. It suits compositors who +are obsessed with keystroke ninimisation, but for the casual user this is a +nightmare. Tables are difficult too. Note that both maths and tables require a +bit of `conceptual' formatting --- there is an implied layout. Since the core +of \sgml\ denies the relevance of layout or format, being concerned `only' with +structure, handling anything with layout structure is obviously a real problem. +(Curiously formatting commands are creeping into \sgml, just as some structural +notions are creeping into Ventura and PageMaker.) + +As you may guess, Bryan's account of \TeX\ is neither extensive nor fulsome +and he makes the rather curious claim that ``experience has shown that \TeX\ +programs cannot always be simply transferred between machines''. It is unclear +wherher he is referring to \TeX\ the program or to a text file to be run +through \TeX{}. More perplexing is Bryan's omission of any discussion of +\LaTeX{}. This is doubly odd since he is aware of Reid's Scribe. The +introduction attempts, but does not succeed, in providing some good reasons +why you should use \sgml{}. This is a pity, if the intention is to encourage +the novice or casual potential user to embark on \sgml. + +In short, despite my reservations and criticisms, I can recommend the book. It is +a solid description of the language. It is generally readable, with an adequate +index. It is easily the most accessible book on the subject. But do not be +fooled by the title. It is more accurately described as `a Guide to the +Standard Generalized Markup Language'. Forget the `Author'. + +Smith and Stutely's book also claims to be a Guide to the \sgml\ standard. The +necessity of their book was a reflection of the inadequacy of the standard. The +book has five parts. One of them is an index --- an index to the standard, not +one to the book! For me, the most useful part is the third part, `Character +Entities and Graphic Representations'. This includes a list of almost all +conceivable characters which we might want to use. Unfortunately the naming +convention does not quite parallel \TeX\ or \AmSTeX\ (mainly because the names +are restricted to six characters, so that what Smith \& Stutely call +|angmsd| is called |\measuredangle| by \AmSTeX). But at last there is a +reasonably comprehensive list of symbols used in printing. I can't see +anything they have missed, except perhaps the \Mac\ symbol I sometimes +use. If you are an \sgml\ user, this is really an essential adjunct to +the standard. On its own, it is of rather limited value. + +Taken together these two books and the software must be welcomed. They make +\sgml\ much more accessible to those outside the \sgml\ laager. It is a pity +that critical evaluation of \sgml\ is limited to a few heretics, and that we +tend to accept `standards' (real and {\it de facto\/}) so uncritically. +\smallskip +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no8/snip.tex b/info/digests/texline/no8/snip.tex new file mode 100644 index 0000000000..08b23b25a0 --- /dev/null +++ b/info/digests/texline/no8/snip.tex @@ -0,0 +1,81 @@ +\centerline{\bf Multilingual \TeX\ distribution} +\medskip +\noindent +Michael Ferguson's Multilinual \TEX, and the associated +macro package INRS\TeX\ is available for {\sc vax vms} +and {\sc sun unix} environments from Berger-Levrault. +\TEX\ is a modification of \TeX\ which allows hyphenation +of accented words and also the dynamic loading of various +hyphenation patterns during a single run. INRS\TeX\ is a +macro package for document preparation. It offers similar +functional scope to \LaTeX, but is completely compatible +with |plain| \TeX. The distribution is available in a +variety of formats. There are some restrictions +associated with the distribution: briefly they may be +summarised as, a single license covers up to 16 +workstations connected on a local area network, the +manual may not be reproduced, and commercial use is +prohibited. The price for this distribution is about +1500\,FF, with the manual an extra 200\,FF. For further +information, contact: +{\obeylines +Berger-Levrault +Advanced Information Systems +34 Avenue du Roule +92200 Neuilly sur Seine +France +} + +\bigskip +\centerline{\bf Atari!} +\medskip +\noindent +It should be obvious that the Atari is useful for a few +more things than merely playing games. In some respects, +it even has a few advantages over the Macintosh, which is +now very corporate-credible. {\sl ST World Magazine\/} ran +a feature on DTP which managed to mention \TeX{}. Like many +reputable magazines and newsletters, they stole the +information from elsewhere --- the ST Club Newsletter. +From the rather brief account, it would appear that +\DEK's series, `Art of Computer Programming' has been cut +to only six volumes, and of course they trot out the +usual nonsense about `not as easy to use' and `not nearly +as user-friendly', which really is becoming the bane of +my life. But let's leave this aside and note that ``if +there is some interest, we will run a feature on \TeX''. +Generate some interest. {\sl ST World\/}'s number is 0243 +783932, and the editor's name is Hugh Gollner. + +\bigskip +\centerline{\bf Electronic Publishing Technologies} +\medskip +\noindent +The January 1988 edition of {\sl Computer}, published by +the Computer Society of the IEEE was given over entirely +to the subject of `electronic publishing technologies +interpreted in the broadest possible sense'. Apart from +the usefulness of an overview, and the possibility of +picking up a few more buzz words, a couple of the +articles were of more specific relevance to \TeX{}. + +Pehong Chen and Michael Harrison discuss some aspects of +\VorTeX\ (Visually Oriented \TeX). It is quite arresting +to hear \TeX\ described as `traditional document +development systems', but essentially \TeX's contribution +to \VorTeX\ is really as an underlying (replacable) +formatting engine, which allows Harrison's team to make +their notions of `multiple representation' more concrete. + +Jeff Johnson and Rick Beach examine various styles in +document editing systems, and provide a useful history of +{\it wysiwyg\/} systems. There is much else which is +relevant in this paper, but providing a synopsis would be +a real challenge. Janet Walker also provides some useful +insights into the DTP arena. +The remainder of the articles are concerned mainly with +hypertext. Interesting in their own right, they are +probably not immediately relevant to \TeX\ --- until we +stumble into Hyper\TeX{}. However, I do now know that +what I am seeking to achieve is a `seamless information +environment'. diff --git a/info/digests/texline/no8/st.tex b/info/digests/texline/no8/st.tex new file mode 100644 index 0000000000..538a897e7b --- /dev/null +++ b/info/digests/texline/no8/st.tex @@ -0,0 +1,112 @@ +\centerline{\bf Atari-ST \TeX} +\medskip +\noindent +In the February issue of \TeXline, an implementation of \TeX\ for +the {\sc Atari-ST}~(by Tools {\sc gmbh}) was reviewed. An alternative +implementation, this time by the \TeX sys, {\sc st\TeX}, +is the subject of the present review. The review copy was supplied as six +diskettes in compressed format contain \TeX, \IniTeX, \LaTeX, \BibTeX, \SliTeX, +\AmSTeX, as well as the screen preview program and associated fonts for a +wide range of magnifications. A shell menu, installation program +and a number of other utility programs are also included. The +review program was version~1.0 of \TeX~(version~2.92) and runs on +the 1040~STF and any of the larger machines. The use of a hard +disk is highly recommended, though the program will run happily on +a two disk drive system. + +To start with, it's good to see that the program comes equipped +with a {\sc gem}-style shell environment, so that the cycle of editing, +processing and previewing~(and even printing) can all be achieved +without the need to revert back to the desktop to load in the +individual application programs. To help tailor your own shell +environment and to deal with different system configurations, the +use of environment-variables~(similar to {\sc unix}) is supported and +these can be specified in a set-up file either using an editor or +from within the shell environment itself. Options specified in the +set-up file appear highlighted in the menu and can be invoked +either by using the mouse to select the desired option or by +directly using the function keys, the meanings of which are +reflected in a separate bar menu at the bottom of the screen. +Additionally, the use of command interpreters, for those who +prefer it to the menu, is also supported.\par +The present implementation was tested using \LaTeX\ sample files. +The format~(e.g. |lplain.fmt|) to be used can be specified in the +shell menu and is automatically loaded whenever \TeX\ is invoked. +As expected, no major problems were encountered.\par +Unlike the Tools implementation, here the screen previewing and +printing are done by separate programs. Although printer drivers +were not supplied, it appears from the documentation that a number +of printers are supported, including {\sc Epson-fx}, {\sc Epson-lq} and the +{\sc hp}-Laserjet. Consequently, as regards print quality, this could +not be properly assessed.\par +The screen preview program once started, loads in the \dvi\ +file of the current document being processed showing the first +page by default. Alternatively, the various options for the +preview program can be prespecified in the set-up file or set from +the shell menu. The display uses a default screen resolution of +100 dpi, and the text appears quite legible. The physical page +limits are also highlighted by default. The text can be moved +around by selecting the appropriate option from the menu bar or +alternatively using the cursor keys short cuts provided. The +{\sc return} key pressed repeatedly has a stepping action, moving the +text from right to left and then down when the right edge of the +text is reached. The mouse can be used to set the top-left or +bottom-right corners of the text. This can be forced to be +the new reference point which can then be returned to using the +{\sc home} key. Options for moving to the next or previous page as well +as skipping a number of pages in either direction have also been +provided. In addition, the text can be viewed at standard +reduction ratios of 4:1 and 9:1. Other magnification factors can +also be selected as long as the appropriate fonts are available, +otherwise the program automatically uses substitute fonts. The +standard fonts supplied cover a range from |\magstep0| through +to |\magstep5|. As an added bonus, the preview program permits +the inclusion of bit-mapped graphics. Graphical data stored in +{\sc degas} format need to be converted first using a utility program +supplied as part of the package. Unfortunately, despite numerous +attempts, the preview program kept complaining about `Bad File' +format, thus ignoring the graphical information. + +I am +impressed with this latest effort, which is quite thorough and +does not appear to have any serious bugs. Details of the various +aspects of the implementation are covered in accompanying +leaflets, a copy of which is included on the diskettes in \dvi\ +format. It is also encouraging to see that some of the +enhancements suggested in the February issue of \TeXline\ have been +implemented here. + +Finally, I would like to suggest a number of improvements for +future versions. To begin with, the use of environment variables +should be extended to allow the path for various output +files~(e.g. {\dvi}, {|.log|, {|.aux|}, etc.) and also the +read-, write- and even graphic files to be independently +specified. Secondly, I feel that inclusion of {\sc gem} slider bars in +the preview program would be a very welcomed addition, since +it provides an indication of what portion of the text is being +viewed and is more natural for people familiar with {\sc gem} for moving +around a document. Provision of some sort of magnifying glass for +viewing a selectable portion of text at a readable magnification, +while in reduced or tiny modes, would be an added advantage. One +last point concerns the log file of the preview program. At +present any warning messages or messages regarding font +substitutions are written to a file and on exit the user is +reminded to read this log file if it has been generated. This is +inconvenient since it would mean either leaving the shell menu or +loading this log file into the editor in order to read it. Apart +from this I have noticed that this log file keeps ending up in the +editor sub-directory~(Why?). I suggest that an option be provided +for the user to assign a separate window to this log file so that +any messages issued by the program can be read and acted upon by +the user interactively. + +The price of {\sc st}\TeX\ on its own, as described above, is \quid85.00, +but when bought together with the {\sc hp} LaserJet driver the figure is +\quid188.00. Bought with the dot matrix drivers, the combined total ({\sc +st}\TeX\ with {\sc dvidot}) is \quid160.00. Both driver packs can be bought +separately, at \quid128.00 and \quid100.00 respectively. \TeX sys also offer +{\sc st}{\mf MF}, their \MF\ implementation at \quid68.00. It is difficult to +say whether the iniquitous {\sc vat} would be applicable if you purchased +directly from \TeX sys. +\smallskip +\rightline{\sl Bijan Djahansouzi} diff --git a/info/digests/texline/no8/texline.tex b/info/digests/texline/no8/texline.tex new file mode 100644 index 0000000000..c722c1c9e1 --- /dev/null +++ b/info/digests/texline/no8/texline.tex @@ -0,0 +1,98 @@ +\message{TeXline macros} +\input sdouble +\input verbar +\tolerance3000 +\doublehyphendemerits15000 +%\raggedbottom +\vsize9.5in +\hfuzz1.5pt + +\font\sans=cmss10 +\font\sc=cmcsc10 +\font\mf=logo10 +\font\mfb=logobf10 +\font\mfsl=logosl10 +\def\MF{{\rm{\mf META}\-{\mf FONT}}} +\def\MFb{{\bf{\mfb META}\-{\mfb FONT}}} +\def\MFsl{{\sl{\mfsl META}\-{\mfsl FONT}}} +\font\symb=symbol at 10pt +\chardef\apple='360 +\def\Mac{{\symb\apple}} + + +\def\MarkUp{MarkUp '8\kern-0.2em\lower0.45ex\hbox{7}} +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\def\frac#1/#2{\leavevmode\kern0.1em + \raise0.5ex\hbox{\the\scriptfont0 #1}\kern-0.1em + /\kern-0.15em\lower0.25ex\hbox{\the\scriptfont0 #2}} +\baselineskip12pt +\parskip0pt +\parindent1em +\hyphenation{SGML SGML-ers} +\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi} + +\headline{\ifnum\pageno>1\sl \TeX line 8 \hss \folio +\else\hfil\fi} +\nopagenumbers +\def\TeXline{{\sl\TeX line}} +\def\SGML{{\sc sgml}} +\let\sgml\SGML +\def\PS{{\sc Post\-Script}} +\def\TeXtures{{\sc\TeX\kern-0.1667em tures}} +\def\TeXpert{{\sl\TeX\kern-0.1em pert systems\/}} +\def\TeXhax{\TeX{\sc hax}} +\def\TeXbook{{\sl \TeX book}} +\let\ps\PS +\def\TS{Type \&~Set} +\def\dvi{{\tt dvi}} +\def\tfm{{\tt tfm}} +\def\pxl{{\tt pxl}} +\def\WEB{{\tt WEB}} +\def\Weave{{\tt Weave}} +\def\Tangle{{\tt Tangle}} +\def\quid{{\it\$}} +\def\unix{{\sc unix}} +\def\DW{Dominik Wujastyk} +\def\AmSTeX{$\cal A$\kern-.1667em\lower.5ex\hbox{$\cal M$}\kern-.125em + $\cal S$-\TeX} +\def\VorTeX{V\kern-.2em\lower.5ex\hbox{O}\kern-.125em R\TeX} +\def\BibTeX{{\sc Bib}\kern-.2em\TeX} +\def\SliTeX{{\sc Sli}\TeX} +\def\IniTeX{{\sc Ini}\TeX} +\def\TEX{T\kern-0.1667em\lower0.5ex\hbox{\^E}\kern-0.125em X} +\def\DEK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em K} +\def\hax{\TeX{\sc hax}} +\def\TB{{\it The \TeX book}} +\def\JANET{{\sc Janet}} +\let\Janet\JANET +\def\DVItoVDU{DVIto\kern-.15em VDU} +\def\PiCTeX{PiC\kern-.11em\TeX} +\def\XeT{X\kern-0.1667em\lower.5ex\hbox{E}\kern-.125em T-\TeX} +\def\FASTeX{F\kern-.1667em \lower.5ex\hbox{A}\kern-.1667em S\TeX} +\def\TUGboat{{\sc TUGboat}} +\abovedisplayskip0pt +\belowdisplayskip0pt +\def\nl{\hfill\break} +%\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt +% \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} +\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi} +% Look in the 'Windows' menu for the pictures window +% It's like the Scrapbook -- cut and paste pictures +% + +\def\picture #1 by #2 (#3){ + \vbox to #2{ + \hrule width #1 height 0pt depth 0pt + \vfill + \special{picture #3} % this is the low-level interface + } + } + +\def\scaledpicture #1 by #2 (#3 scaled #4){{ + \dimen0=#1 \dimen1=#2 + \divide\dimen0 by 1000 \multiply\dimen0 by #4 + \divide\dimen1 by 1000 \multiply\dimen1 by #4 + \picture \dimen0 by \dimen1 (#3 scaled #4)} + } diff --git a/info/digests/texline/no8/texlinehead.tex b/info/digests/texline/no8/texlinehead.tex new file mode 100644 index 0000000000..d7e329b296 --- /dev/null +++ b/info/digests/texline/no8/texlinehead.tex @@ -0,0 +1,41 @@ +\nopagenumbers +\hsize=6.5in +\font\huge=palatino at65truept% +\newbox\info +\newbox\banner +\newbox\long +\newdimen\infoht +\newdimen\bannerht +\setbox\info=\vbox{% +\font\small=cmr7 at 7truept% +\baselineskip=7.5truept% +\small +\setbox\long\hbox{printed at Imperial College Computer Centre}% +\hsize=\wd\long +\def\monyr{\ifcase\month\or January\or February\or March\or April + \or May\or June\or July\or August\or September\or October + \or November\or December\fi\ \number\year}% +\line{\hfill Number 8, \monyr} +\line{\hfill a Newsletter of the \TeX\ community} +\line{\hfill printed at Imperial College Computer Centre} +\line{\hfill edited and assembled by} +\line{\hfill Malcolm W Clark} +\line{\hfill Imperial College Computer Centre} +\line{\hfill Exhibition Road} +\line{\hfill London SW7 2BX} +\line{\hfill Tel: 01 589 5111 ex 4949} +\line{\hfill Fax: 01 584 7596} +\line{\hfill Janet: texline@uk.ac.ic.cc.vaxa} +\line{\hfill Unix: mwc@doc.ic.ac.uk}} +\setbox\banner\vbox{\hsize=225pt% +\huge\TeX\kern-0.2ex line} +\infoht=\ht\info +\advance\infoht by\dp\info +\bannerht=\ht\banner +\advance\bannerht by\dp\banner +\advance\infoht by-\bannerht +\divide\infoht by2 +\advance\infoht by3ex +\centerline{\box\info\qquad\raise\infoht\box\banner} + +\bye diff --git a/info/digests/texline/no8/thanks.tex b/info/digests/texline/no8/thanks.tex new file mode 100644 index 0000000000..0d038518e6 --- /dev/null +++ b/info/digests/texline/no8/thanks.tex @@ -0,0 +1,52 @@ +\centerline{\bf Thanks} +\medskip +{\parskip1.5pt\parindent0pt +This issue of \TeXline\ would not have +been possible without: + +Barbara Beeton, +AMS, |bnb@com.ams.seed| + +Janusz Bie\'n, Warsaw University + +Cathy Booth, Exeter University,\hfil\break\hfill +|cm.booth@uk.ac.exeter| + +Adrian Clark (no relation), Essex +University,\hfil\break\hfill |alien@uk.ac.essex.ese| + +Bijan Djahansouzi, Aeronautics Dept, Imperial +College + +Bernard Gaulle, {\sc circe}-Orsay,\hfil\break +|ucir001@frors31.bitnet| + +Carol Hewlett, LSE, +|hewlett@uk.ac.lse.vaxb| + +Roger Horne, Lincoln's Inn, 01 405 1266 + +Brendan Molloy, Imperial College,\hfil\break\hfill +|b.molloy@uk.ac.ic.cc.vaxa| + +Bill Noble, Vardas, 0272 428709 + +Stephen Pollock, Economics Dept, QMC + +Sebastian Rahtz, Southampton University,\hfil\break\hfill +|spqr@uk.ac.soton.cm| + +Chris Rowley, Open University, \hfil\break\hfill|ca_rowley@uk.ac.ou.vaxa| + +Rainer Rupprecht, Universit\"at Karlsruhe, \hfil\break +|rz32@dkauni48| + +Laurent Siebenmann, Universit\'e de Paris-Sud, \hfil\break\hfill010 33 69 +41 7049 + +Maria Tuck, The Independent, 01 253 1222 + +Dominik Wujastyk, Wellcome Institute,\hfil\break\hfill +|wujastyk@uk.ac.ucl.euclid| + +} diff --git a/info/digests/texline/no8/verbar.tex b/info/digests/texline/no8/verbar.tex new file mode 100644 index 0000000000..4f35eb46ac --- /dev/null +++ b/info/digests/texline/no8/verbar.tex @@ -0,0 +1,33 @@ +% verbatim macros from the TeXbook +\newskip\ttglue +\ttglue=0.5em plus 0.25em minus 0.15em +\outer\def\begindisplay{\obeylines\startdisplay} +{\obeylines\gdef\startdisplay#1 + {\catcode`\^^M=5$$#1\halign\bgroup\indent##\hfil&&\qquad##\hfil\cr}} +\outer\def\enddisplay{\crcr\egroup$$} +% macros for verbatim scanning +\chardef\other=12 +\def\ttverbatim{\begingroup + \catcode`\\=\other + \catcode`\{=\other + \catcode`\}=\other + \catcode`\$=\other + \catcode`\&=\other + \catcode`\#=\other + \catcode`\%=\other + \catcode`\~=\other + \catcode`\_=\other + \catcode`\^=\other + \obeyspaces \obeylines \tt} +{\obeyspaces\gdef {\ifvmode\indent\fi\space}}% a little extra + +\outer\def\begintt{$$\let\par=\endgraf \ttverbatim \parskip=0pt + \catcode`\|=0 \rightskip-5pc \ttfinish} +{\catcode`\|=0 |catcode`|\=\other % | is temporary escape character + |obeylines % end of line is active + |gdef|ttfinish#1^^M#2\endtt{#1|vbox{#2}|endgroup$$}} + +\catcode`\|=\active +{\obeylines \gdef|{\ttverbatim \spaceskip\ttglue \let^^M=\ \let|=\endgroup}} + + |