summaryrefslogtreecommitdiff
path: root/info/digests/texline/no8
diff options
context:
space:
mode:
authorNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
committerNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
commite0c6872cf40896c7be36b11dcc744620f10adf1d (patch)
tree60335e10d2f4354b0674ec22d7b53f0f8abee672 /info/digests/texline/no8
Initial commit
Diffstat (limited to 'info/digests/texline/no8')
-rw-r--r--info/digests/texline/no8/alien.tex106
-rw-r--r--info/digests/texline/no8/announce.tex77
-rw-r--r--info/digests/texline/no8/backnumber.tex23
-rw-r--r--info/digests/texline/no8/bcs.display149
-rw-r--r--info/digests/texline/no8/bnb.tex196
-rw-r--r--info/digests/texline/no8/chris.tex41
-rw-r--r--info/digests/texline/no8/ero.tex153
-rw-r--r--info/digests/texline/no8/euro.tex44
-rw-r--r--info/digests/texline/no8/fallen.tex62
-rw-r--r--info/digests/texline/no8/first.tex66
-rw-r--r--info/digests/texline/no8/fontmemo.refs119
-rw-r--r--info/digests/texline/no8/fontmemo.tex1033
-rw-r--r--info/digests/texline/no8/green.tex70
-rw-r--r--info/digests/texline/no8/gut.tex17
-rw-r--r--info/digests/texline/no8/larry3.tex293
-rw-r--r--info/digests/texline/no8/late.news24
-rw-r--r--info/digests/texline/no8/maria.tex138
-rw-r--r--info/digests/texline/no8/mont.real476
-rw-r--r--info/digests/texline/no8/more.sgm108
-rw-r--r--info/digests/texline/no8/oddtypes.tex212
-rw-r--r--info/digests/texline/no8/pole.tex141
-rw-r--r--info/digests/texline/no8/pounds.tex106
-rw-r--r--info/digests/texline/no8/rept.tex342
-rw-r--r--info/digests/texline/no8/resolution.tex122
-rw-r--r--info/digests/texline/no8/review.tex105
-rw-r--r--info/digests/texline/no8/rhfmt.tex441
-rw-r--r--info/digests/texline/no8/roger.tex232
-rw-r--r--info/digests/texline/no8/salton.tex62
-rw-r--r--info/digests/texline/no8/sdouble.tex18
-rw-r--r--info/digests/texline/no8/second.tex18
-rw-r--r--info/digests/texline/no8/sgml-review.tex117
-rw-r--r--info/digests/texline/no8/snip.tex81
-rw-r--r--info/digests/texline/no8/st.tex112
-rw-r--r--info/digests/texline/no8/texline.tex98
-rw-r--r--info/digests/texline/no8/texlinehead.tex41
-rw-r--r--info/digests/texline/no8/thanks.tex52
-rw-r--r--info/digests/texline/no8/verbar.tex33
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}}
+
+