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authorNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
committerNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
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tree60335e10d2f4354b0674ec22d7b53f0f8abee672 /info/digests/texline/no9
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-rw-r--r--info/digests/texline/no9/dante.tex82
-rw-r--r--info/digests/texline/no9/diary.tex154
-rw-r--r--info/digests/texline/no9/durham.tex233
-rw-r--r--info/digests/texline/no9/dvi.tex406
-rw-r--r--info/digests/texline/no9/editor.tex14
-rw-r--r--info/digests/texline/no9/gberg0.tex69
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+\input texline
+\article{What's New with \TeX?}
+Although \TeX\ must be one of the most reliable programs
+around, some more bugs have been uncovered since the last \TeXline.
+These are all somewhat esoteric; nevertheless \TeX\ is currently at
+version 2.991. (This news is hot off the presses, so up-to-date
+versions of |TeX.web| may not yet be around.) There is a rumour that
+Knuth may announce version~3 at the 10th Anniversary jamboree at
+Stanford in August. With the new version comes an updated
+|trip| test, so if you're a \TeX\ implementor you'll need this to
+verify your implementation. A font funny was corrected in the
+|plain| format for \TeX\ version 2.94, so to have a `certified' \TeX\
+you'll need both the most recent program and the upgraded |plain.tex|.
+The bugs uncovered in \TeX\ have caused repercussions to \MF, which
+has inched up to version 1.7. There is an updated |trap| test with the
+most recent versions.
+
+Chris Thompson (who spotted two bugs in \TeX\ itself) has pointed out
+a problem with character codes in several people's machine-specific
+changes for most \TeX ware; this includes both VMS and Unix
+implementations. The problem allowed {\ASCII} codes $>127$ to be
+passed into the program without generating `illegal character' error
+messages. This has been corrected on the author's VMS implementation.
+An equivalent Unix fix is available.
+
+Knuth has revised the support programs |GFtype|, |GFtoPK|,
+|GFtoDVI| and |MFT|. The sources of these are likely to appear
+closer to the \TeX\ conference (funny how these things concentrate the
+mind). Change files should appear shortly afterwards. |tangle| and
+|weave| have been tidied up and are currently at versions 3.1 and 3.0
+respectively.
+
+Incidentally, people with an interest in the history of \TeX\ will
+mourn the demise of the {\sc sail} machine at Stanford (a DEC-20) at
+the end of August. All Knuth's \TeX-related developments took place
+on the {\sc sail} machine. This means that the master sources of all
+\TeX ware will have to find a new home. What effect this will have on
+support is not yet clear.
+
+Macintosh users will be pleased to hear that there is now a public
+domain implementation of \TeX. This is known as \OzTeX, and was
+performed by Andrew Trevorrow, who also wrote |DVItoVDU| and
+|PSPRINT|, drivers in widespread use on VMS machines. Peter Abbott
+of Aston University (see below) is distributing it in Europe.
+
+A few problems have cropped up with \LaTeX, some of which are being
+looked at by its author, Leslie Lamport. One which is worth
+mentioning is that 11-point and 12-point document styles were being
+set using the 10-point maths extension font (Lamport didn't have
+magnified versions of these when he wrote \LaTeX), so that some large
+operators (etc) were coming out too small. Versions of |lfonts.tex|
+which correct this problem are now available.
+
+There have been no changes to the Computer Modern fonts since the last
+\TeXline, with the exception of |SYMBOL.MF| which has had a cosmetic
+change affecting proof mode only. Knuth has developed a few fonts for
+typesetting a new book, {\sl Concrete Mathematics.\/} These
+|CC| (Computer Concrete) fonts are far from a whole family (so they
+can't be used to replace the |CM| fonts) but are available in \MF\
+source form. They're intended to be used with Lucida maths fonts, but
+you'll have to look at {\sl Concrete Mathematics\/} to see what Lucida
+looks like, since the fonts don't appear to be in the public domain.
+
+The \TeX\ archive at Aston University was re-structured in May--June
+to put the files into a more logical hierarchy of directories and to
+remove duplicated entries. The remaining problem, that of making
+available files which originated on Unix machines (and hence have a
+funny file format under VMS) in a convenient way, is being solved at
+the time of writing. The archive will then contain \TeX\ for VMS,
+Unix, MS-DOS and the Macintosh. Support for the Atari, CMS and a
+couple of other systems are being investigated.
+
+The archive also contains a plethora of \TeX-related goodies,
+including \LaTeX\ style files for a variety of journals (etc). These
+files can be acquired via NIFTP or the archive's mail-server for sites
+with a mail connection to JANET (which includes |uucp|, BITNET and
+PSS). Aston will also write tapes; contact Peter Abbott
+(|abbottp@uk.ac.aston|) for further information. His address is
+Computing Service, Aston University, Aston Triangle, Birmingham.
+
+The news on the device driver front mainly concerns the
+standardisation of |\special|s. A committee has been looking at this
+for a few months and is due to make at report at (yes, you guessed it)
+the Stanford TUG meeting in August. It is hoped that they will lay
+down some `ground rules' for incorporating graphics files into \TeX\
+documents.
+
+\author{Adrian F. Clark}
diff --git a/info/digests/texline/no9/biblio.tex b/info/digests/texline/no9/biblio.tex
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+
+\let\roman\rm
+\let\italics\it
+\font\sml=cmr8
+%\font\sml=cmr7
+%
+%
+\centerline{\bf Bibliography}
+\medskip
+\noindent
+This bibliography was created on behalf of the
+University of London Phototypesetter User Group, and
+contains descriptions of a selection of books which may be
+useful to those using the
+phototypesetter. It concentrates on books relating to the
+design of books and on those dealing with manipulation of
+text on computers. The order in which the books are listed
+is a classification in which books about books come first
+and those dealing almost exclusively with computers come
+last. For most of the books I have added a short comment
+which should indicate whether these are books to buy and
+treasure, to order through a library or flick through in a
+bookshop.
+
+A fuller, computer-readable version of the
+text is available as a Famulus citations file.
+
+Requests
+for copies of the bibliography, amendments and suggestions
+for additional books, should be made to
+{\obeylines
+Carol~Hewlett,
+Computer Service
+London School of Economics
+Houghton Street
+London, WC2A~2AE
+email: {\tt hewlett@uk.ac.lse}
+}
+\bigskip\hrule\bigskip %
+\goodbreak{\parindent0pt
+Horace Hart:\par
+{\it Hart's Rules for Compositors and Readers at the University Press
+Oxford}\par
+Oxford University Press, Oxford, New York. 39$^{\rm th}$ Edition. 1986
+\smallskip
+182 pp. Proof marks, further reading, index.
+\quid8.
+{\medskip\noindent
+{\it Publishing history:\/} Originally compiled by Horace~Hart,~MA
+Printer to the University,
+1883--1915. First edition, 1893. Fifteenth edition (the first for
+general sale), 1904. Thirty-eighth edition 1978. Thirty-ninth
+edition 1983, reprinted 1986 with corrections.
+\medskip}
+{\noindent
+{\it Publishers' description:\/}
+In printing and publishing houses Hart is a household word. First
+printed in 1893, specifically for Compositors and readers at the
+University Press, Oxford, and first published (in its 15$^{\rm th}$ edition)
+in 1904, this little book of Rules has become indispensable to all
+professionals, and widely useful to others concerned with the
+business of putting words into print -- which includes such matters
+as alternative spellings, punctuation, capitalization, italicization,
+abbreviations, and many other details.
+\medskip}
+{\noindent
+{\it Comment:\/} This book and the Oxford Dictionary for Writers and Editors together
+give the house style of OUP at its best.
+\bigskip}
+%
+\goodbreak{
+\roman
+F Howard Collins:\par
+{\italics The Oxford Dictionary for Writers and Editors}\par
+Clarendon Press, Oxford. 1981
+\smallskip}
+\rm
+448 pp. Proof marks.
+{\quid}9.
+{\medskip\noindent
+{\it Publishing history:\/}
+Originally the Authors' and Printers' Dictionary, first edition 1905,
+eleventh and last edition 1973. The current book was edited from
+that last edition by the Oxford English Dictionary Department.
+\medskip}
+{\noindent
+{\it Publishers' description:\/}
+This authoritative dictionary is an indispensable aid to writers,
+editors, journalists, publishers and all those concerned with the
+written word. It provides rulings on a variety of problems, including
+spelling, punctuation, capitalization, abbreviation, foreign words
+and phrases commonly used in English, and proof-correcting conventions.
+It ensures an up-to-date and consistent style in material
+intended for publication.
+\bigskip}
+%
+\goodbreak{
+\roman
+Judith Butcher:\par
+{\italics Copy Editing}\par
+Cambridge University Press. 1975
+\smallskip}
+\rm
+\quid22
+{\medskip\noindent
+{\it Comment:\/} the standard English work on copy editing
+\bigskip}
+%
+\goodbreak{\roman
+{\italics The Chicago Manual of Style}\par
+University of Chicago Press. 13$^{\rm th}$ edition, 1982
+\smallskip}
+\rm
+738 pp. Glossary, proof marks, further reading, index.
+\quid30
+{\medskip\noindent
+{\it Publishing history:\/} First edition, 1906, 12$^{\rm th}$ edition 1969.
+\medskip}
+{\noindent
+{\it Publishers' description:\/}
+For over seventy-five years the University of Chicago Press {\it Manual
+of Style} has been the standard reference tool for authors, editors,
+copywriters, and proofreaders. Updated many times since 1906, it now goes into
+its thirteenth edition -- the first to introduce a change in title.
+Bowing to what has become nearly universal usage, we now call the {\it Manual}
+what everybody else calls it, {\it The Chicago Manual of Style\/} -- or, for
+short, {\it The Chicago Manual\/}.\hfil\break
+Two pervasive features characterize the present edition: it reflects the
+impact of the new technology on the entire editing and publishing process, and
+it spells out, in greater detail and with many more examples, the procedures
+with which it deals. It is, in short, much more a `how-to' book for
+authors and editors than was its predecessor. In chapter 2, on manuscript
+preparation and copyediting, for example, new sections have been added on how
+to mark a manuscript and how to mark type specifications on a script.
+Chapter 12 (`Tables'), completely rewritten, begins with advice on how to
+make a table from raw data. Chapters 15 through 17, on documentation, have
+been reorganized and greatly expanded, offering many more alternative
+methods of citation and a wealth of examples. In chapter 18 (`Indexes'),
+clear step-by-step procedures for the mechanics of index making are set forth.
+The terminology and methodology of technological advances (in word
+processing, computerized electronic typesetting, and the like) are
+reflected most prominently in chapter 20, `Composition, Printing, and
+Binding' (new to this edition), and in the Glossary. Other notable
+features of the present edition are chapter 4 (`Rights and Permissions'),
+rewritten in light of the new copyright law, and chapter 9 (`Foreign
+Languages'), which includes a new table of dicritics, a pinyin (Chinese)
+conversion chart and data on several more languages.\hfil\break
+Throughout, {\it The Chicago Manual} aims to give clear and straightforward
+guidelines for preparing and editing copy -- with the emphasis on the
+sensible, the practical, and the economical. As did its predecessors, the
+thirteenth edition of the {\it Manual} states the style preferences of
+the University of Chicago Press and reflects the current practices and
+requirements of the great majority of American publishers.
+\medskip}
+{\noindent
+{\it Comment:\/} The standard American work on typesetting style etc.
+\bigskip}
+%
+\goodbreak{\roman
+Hugh Williamson:\par
+{\italics Methods of Book Design -- The Practice of an Industrial
+Craft}\par Yale University Press, New Haven and London. 3$^{\rm rd}$
+edition. 1983 \smallskip}
+\rm
+392 pp. Glossary, further reading, index.
+\quid13.
+{\medskip\noindent
+{\it Publishing history:\/} First edition, 1956, and second edition,
+1966, published by Oxford University Press.
+\medskip}
+{\noindent
+{\it Publishers' description:\/} Since its first edition was published in 1956,
+this book has been
+recognised as a classic work, and has become a basic tool for the
+practising book designer. $\ldots$ Writing for authors, booksellers,
+librarians, and the general reader,
+as well as for teachers and students of printing design and for
+publishers and printers, the author assumes no technical knowledge
+in his readers. He deals with such matters as the preparation of
+copy, the selection and arrangement of type, the designer's part
+in book illustration and jacket design, and the economics of book
+production; and he explains the materials and techniques of book
+production and their effect on the design of books. His analysis,
+for the benefit of the designer, of computer-centered digital
+photo-composition, based on his first-hand experience as a printer
+and typographer, is of particular interest and value. $\ldots$
+The third edition has been completely rewritten to cover innovations
+in book production tendencies and techniques over the last twenty years,
+in the light of the author's continued experience in publishing
+and printing.
+\medskip}
+{\noindent
+{\it Comment:\/} All you need to know about producing books. Highly recommended.
+\bigskip}
+%
+\goodbreak{\roman
+John Miles:\par
+{\italics
+Design for desktop publishing -- a guide to layout and typography on
+the personal computer}\par
+Gordon Fraser Gallery Ltd. London and Bedford. 1987
+\smallskip}
+\rm
+103 pp. Glossary, proof marks, further reading, index.
+\quid12.
+{\medskip\noindent
+{\it Publishers' description:\/}
+This book is produced with a standard of layout unusual in desktop
+publishing. The text has been written and laid out on a personal
+micro by a professional designer with many years of typographic
+experience. Here, clearly, simply and thoroughly he examines the
+whys and wherefores, the do's and don'ts of design and production
+for various types of printed material. These he relates to the
+specific needs of the pc and its user and he shows how the problems can
+be solved.\hfil\break
+All print requires careful presentation but for material that
+must persuade, instruct or sell, that care is particularly
+important. Following the sound advice informally presented here,
+many desktop publishers will dramatically improve the visual
+quality of their productions.
+\medskip}
+{\noindent
+{\it Comment:\/} a very useful introduction to design, with emphasis on publications
+such as newsletters.
+\bigskip}
+%
+\goodbreak{\roman
+Henry Jacob:\par
+{\italics A pocket dictionary of Publishing Terms -- Including explanations
+and definitions of words and phrases commonly
+used in the production and distribution of books}\par
+Macdonald and Jane's Publishers Ltd, London. 1976
+\smallskip}
+\rm
+70 pp. It {\it is} a glossary! proof marks, further reading.
+\quid2.
+{\medskip\noindent
+{\it Publishers' description:\/}
+Over six hundred terms used internationally in the preparation,
+production and distribution of books concisely described and explained
+-- entries include proof correction; paper sizes; typesetting, printing
+and binding processes, techniques and machines; blockmaking and
+platemaking; as well as the various sales, editorial and administrative
+functions performed in publishing.
+\bigskip}
+%
+\goodbreak{\roman
+Stanley Unwin:\par
+{\italics The Truth About Publishing}\par
+George Allen and Unwin Ltd. London. 8$^{\rm th}$ edition. 1976.
+\smallskip}
+\rm
+256 pp. index.
+\quid13.
+{\medskip\noindent
+{\it Publishing history:\/} First published 1926; eigth edition revised
+and partly re-written with much new matter by Philip Unwin.
+\medskip}
+{\noindent
+{\it Publishers' description:\/}
+Hailed by the late Jonathan Cape as `the Publisher's Bible' and
+reviewed on its first appearance as `more than a guide book for young
+authors or an eye-opener for a would-be publisher $\ldots$ it is a
+fascinating inside story of a little understood profession told by
+an acknowledged expert', {\it The Truth About Publishing} was at once
+recognized as the authoritative work on the subject.
+$\ldots$ the reader is taken through the various departments, the arrival
+of manuscripts, editorial consideration, agreements, production,
+selling at home and overseas, copyright, publicity, publishing as a
+profession $\ldots$
+\medskip}
+{\noindent
+{\it Comment:\/} This book summarizes the stages in publishing and contains a section
+on book design.
+\bigskip}
+%
+\goodbreak{\roman
+S H Steinberg:\par
+{\italics Five Hundred Years of Printing}\par
+Penguin Books, Harmondsworth, England. 3$^{\rm rd}$ edition 1974
+\smallskip}
+\rm
+400 pp. Further reading, index.\par
+{\it not in print}
+{\medskip\noindent
+{\it Publishing history:\/} First edition, 1955; second edition, 1961;
+third edition revised
+by James Moran.
+\medskip}
+{\noindent
+{\it Publishers' description:\/}
+{\it Five Hundred Years of Printing} traces the close interrelation between
+printing and culture. The author's erudite but highly readable survey
+takes in not only a long time-span but also particular topics like
+censorship, best-sellers, popular series, and the connection between
+printing and education, language, and literature.
+\medskip}
+{\noindent
+{\it Comment:\/} has lots of very good illustrations.
+\bigskip}
+%
+\goodbreak{\roman
+James Felici and Ted Nace\par
+{\italics Desktop Publishing Skills -- A primer for
+Typesetting with Computers and Laser Printers}\par
+Addison-Wesley Publishing Company, Inc. Reading, Massachusetts etc.
+1987
+\smallskip}
+\rm
+180 pp. Glossary, further reading, index.
+\quid20.
+{\medskip\noindent
+{\it Publishers' description:\/}
+Until now, books on desktop publishing have focused on available
+hardware and software and have neglected the more lasting skills
+needed to use these tools effectively. This book has been written
+in response to this need. It provides, in one place, a coherent and
+accessible introduction to the principles, processes, and techniques
+of publishing that must be understood before your document
+production with computers and laser printers can realize its full
+potential.\hfil\break
+{\it Desktop Publishing Skills} introduces publishing basics, such as
+typesetting, design, and page make-up. It is independent of any
+specific computer or laser printer, making it a more generic and
+permanent resource for study or reference. What's more, since the
+entire book was produced by the authors using the technologies
+and methods described in the book, you will be able to pick up
+additional ideas on the effective use of desktop publishing by just
+looking at the book itself.
+\medskip}
+{\noindent
+{\it Comment:\/}
+From the \TeXline\ review: I have no hesitation in recommending this
+book to anyone with any interest in getting more out of computerised
+typesetting.
+\bigskip}
+%
+\goodbreak{\roman
+Kathy Lang\par
+{\italics
+The Writer's Guide to Desktop Publishing}\par
+Academic Press Inc (London) Ltd, London. 1987
+\smallskip}
+\rm
+184 pp. Glossary, index.
+\quid10.
+{\medskip\noindent
+{\it Publishers' description:\/}
+Intended for people who write reports and other office documents,
+articles, books, directories, magazines and newsletters, this book
+describes how a computer can help in all stages of such tasks. The
+author takes a practical, commonsense approach, explaining the
+problems to be expected as well as the facilities to be enjoyed
+in the use of desktop publishing systems.
+\medskip}
+{\noindent
+{\it Comment:\/}
+A disappointing book: get Felici and Nace's {\it Desktop Publishing
+Skills} instead.\bigskip}
+%
+\goodbreak{\roman
+Deke McClelland and Craig Danuloff:\par
+{\italics Desktop Publishing Type and Graphics}\par
+Harcourt Brace Jovanovich Ltd., London. 1987
+\smallskip}
+\rm
+265 pp. Proof marks.
+\quid27 (May 1988 in Dillons.)
+{\medskip\noindent
+{\it Publishers' description:\/} {\it Desktop Publishing Type and Graphics}
+is a comprehensive reference
+to the font and graphic capabilities of desktop publishing. It provides
+users of electronic publishing software and systems with a complete
+set of examples as well as succinct descriptions and usage suggestions.
+With this excellent source of visual ideas and sound advice, the
+desktop publisher will learn which tools and abilities are available
+and how they can be used quickly and effectively.
+\medskip}
+{\noindent
+Review in: Electronic Publishing Newsletter, July 1988 (The newsletter
+of the BCS Electronic Publishing Specialist Group).
+\medskip}
+{\noindent
+{\it Comment:\/} This book consists entirely of examples showing various typefaces
+in various sizes. Useful in showing what can be done. I thought it
+very expensive, but possibly worth it for a group of people doing
+dtp or similar.
+\bigskip}
+%
+\goodbreak{\roman
+Michael L Kleper:\par
+{\italics The Illustrated Handbook of Desktop Publishing and Typesetting}\par
+John Wiley.
+\smallskip}
+\rm
+770 pp. Further reading.
+\quid25
+{\medskip\noindent
+Review in: \TeXline\ number 7, February 1988
+\bigskip}
+%
+\goodbreak{\roman
+{\italics Chicago Guide to Preparing Electronic Manuscripts for Authors
+and Publishers}\par
+University of Chicago Press, Chicago. 1987
+\smallskip}
+\rm
+143 pp. further reading, index.
+\quid8.
+{\medskip\noindent
+{\it Publishing history:\/} Edition numbers not given, but earlier
+versions were published in 1983 and 1984.
+\medskip}
+{\noindent
+{\it Publishers' description:\/} This guide to preparing manuscripts on
+computer offers authors and
+publishers practical assistance on how to use authors' disks or
+tapes for typesetting.
+\medskip}
+{\noindent
+{\it Comment:\/} Basically this book describes the mark-up system prefered by the
+University of Chicago Press, although there is some sensible stuff
+about transfering machine-readable material to your publisher.
+\bigskip}
+%
+\goodbreak{\roman
+Kate L Turabian:\par
+{\italics A Manual for Writers of Term Papers, Theses and Dissertations.}
+\par
+The University of Chicago Press, Chicago and London. 5$^{\rm th}$ Edition,
+ 1987.
+\smallskip}
+\rm
+300 pp. Further reading, index.
+\quid6.
+{\medskip\noindent
+{\it Publishing history:\/} First edition 1937; fifth edition revised
+and expanded by Bonnie Birtwistle Honigsblum.
+\medskip}
+{\noindent
+{\it Publishers' description:\/} For over fifty years Turabian's
+{\it Manual for Writers} has offered
+comprehensive and detailed guidance to authors of research papers.
+The fifth edition, extensively revised and issued in a larger format,
+retains the features that have made the manual, in its earlier
+editions, the choice of over 5,000,000 writers and students.
+Throughout, the advice and examples of style usage are based on
+the thirteenth edition (1982) edition of {\it The Chicago Manual of
+Style\/}.
+\medskip}
+{\noindent
+{\it Comment:\/} This is not about anything more sophisticated than typewriting.
+\bigskip}
+%
+\goodbreak{\roman
+J C van Vliet (editor):\par
+{\italics Text processing and document manipulation -- Proceedings of
+the First International Conference of the Electronic
+Publishing specialist group, held in Nottingham, April 1986}\par
+Cambridge University Press for the BCS Workshop Series. 1986
+\smallskip}
+\rm
+278 pp.
+\quid19 to BCS members (25\% discount)
+{\medskip\noindent
+{\it Publishers' description:\/} The book covers all aspects of
+computer document preparation, text
+processing and printing. Computers are being used increasingly in the
+processing of documents, from simple textual material, such as letters
+and memos, to complete books with mathematical formulae and graphics.
+This volume contains contributions from several established leaders
+in the field and a number of research articles refereed by an
+international programme committee. As such, the book gives a
+good impression of the state-of-the-art in this area.
+\medskip}
+{\noindent
+{\it Comment:\/} I don't know whether this is relevant to photo-typesetting
+\bigskip}
+%
+\goodbreak{\roman
+J C van Vliet (editor):\par
+{\italics
+Document Manipulation and Typography -- Proceedings of the
+International Conference on Electronic Publishing, Document
+Manipulation and Typography, Nice (France) April 20--22
+1988}\par Cambridge University Press. 1988
+\smallskip}
+\rm
+288 pp. Further reading.
+\quid30.
+{\medskip\noindent
+{\it Publishers' description:\/} This book is concerned with all aspects of
+computer document
+manipulation, text processing and printing. Computers are being used
+increasingly in the processing of documents, whether they be simple
+texts, such as letters and memos, or complete books with mathematical
+formulae and graphics. It is now the case that material may be
+extensively edited or manipulated on the computer before
+subsequent output on media such as impact printers, laser printers
+or photocomposers.\hfil\break
+Presenting a truly international collection of in-depth papers
+submitted by many of the experts on electronic publishing, this
+volume provides a comprehensive and authoritative survey of new ideas
+and techniques in the field.
+\medskip}
+{\noindent
+{\it Comment:\/} My impression is that this collection of papers is a bit too
+theoretical if you are principally concerned with the look of
+your finished work. It includes papers on non-European script.
+\bigskip}
+%
+\goodbreak{\roman
+A Colin Day:\par
+{\italics Text Processing}\par
+Cambridge University Press. 1984
+\smallskip}
+\rm
+150 pp.
+\quid8 in 1987
+{\medskip\noindent
+Extract from review in {\italics University Computing}: This is a clearly
+written, succinct and well-organized book $\ldots$ A most readable book,
+equally suitable for computer science students and humanities
+students (if you believe in teaching them programming), with
+numerous examples and solutions.\medskip}
+{\noindent
+{\it Comment:\/} I don't know whether this is relevant to photo-typesetting
+\bigskip}
+%
+\goodbreak{\roman
+Donald E Knuth:\par
+{\italics The \TeX book}\par
+Addison-Wesley Publishing Company, Reading, Massachusetts etc. 1986
+\smallskip}
+\rm
+483 pp. Index.
+\quid22
+{\medskip\noindent
+{\it Publishing history:\/} sixth printing 1986; the copyright is 1984 and 1986 by the
+American Mathematical Society, who are joint publishers.
+\medskip}
+{\noindent
+{\it Publishers' description:\/} Here is the definitive guide to the use
+of \TeX, written by the
+system's creator, Donald E. Knuth.
+\TeX\ represents the state-of-the-art in computer typesetting. It
+is particularly valuable where the document, article or book to be
+produced contains a lot of mathematics, and where the user is concerned
+about typographic quality. \TeX\ software offers both writers and
+publishers the opportunity to produce technical text, in an attractive
+form, with the speed and efficiency of a computer system.
+\medskip}
+{\noindent
+{\it Comment:\/} Contains some advice on book design, as well as
+being {\it the\/} \TeX\ manual.
+\bigskip}
+%
+\goodbreak{\roman
+Adobe Systems, Inc:\par
+{\italics PostScript Language Program Design}\par
+Addison-Wesley Publishing Company. 1988
+\smallskip}
+\rm
+256 pp.
+\quid20
+{\medskip\noindent
+{\it Publishers' description:\/} $\ldots$ this guide to the theory and
+techniques of PostScript programming
+$\ldots$ begins with a brief overview of the language and takes the
+reader step by step through a very basic program. Next it explains
+PostScript concepts that pertain to writing code to creating
+graphics ({\it sic\/}).
+\bigskip}
+%
+\goodbreak{\roman
+Adobe Systems, Inc:\par
+{\italics PostScript Language Reference Manual}\par
+Addison-Wesley Publishing Company. 1985
+\smallskip}
+\rm
+256 pp. Index.
+\quid22
+{\medskip\noindent
+{\it Publishers' description:\/} It provides a complete description of
+the language, fully cross-referenced
+and indexed for the professional programmer and more sophisticated user.
+With a highly technical, command-by-command description of the language, it
+gives an overview of the concepts behind PostScript as well as detailed
+information on implementing the language. The manual assumes a working
+knowledge of programming, raster imaging and photocomposition.
+\bigskip}
+%
+\goodbreak{\roman
+Adobe Systems, Inc:\par
+{\italics PostScript Language Tutorial and Cookbook}\par
+Addison-Wesley Publishing Company. 1985
+\smallskip}
+\rm
+256 pp. Index.
+\quid16
+{\medskip\noindent
+{\it Publishers' description:\/} This definitive guide to PostScript,
+the software in the Macintosh
+Office's LaserWriter that enables the printer to produce typeset-quality
+print and graphics, is from Adobe Systems, Inc., the corporation that
+created PostScript. A step-by-step, easy to understand guide, this manual
+gives novices an introduction to the structure of the PostScript language,
+number handling, graphics operators and image production, and includes
+practical cookbook examples of their use. The book details how to create
+running heads, how to make hairline rules, how to draw squares, set
+typefaces amd make screens. It is a reference guide for anyone who
+prepares newsletters, brochures and advertisements.
+}}
+\smallskip \rightline{\sl Carol Hewlett}
+
diff --git a/info/digests/texline/no9/cop.com b/info/digests/texline/no9/cop.com
new file mode 100644
index 0000000000..f23bc07d90
--- /dev/null
+++ b/info/digests/texline/no9/cop.com
@@ -0,0 +1,36 @@
+$copy ADRIAN.TEX [tex-archive.digests.texline.no9]*.*
+$copy BIBLIO.TEX [tex-archive.digests.texline.no9]*.*
+$copy COP.COM [tex-archive.digests.texline.no9]*.*
+$copy COP.COM [tex-archive.digests.texline.no9]*.*
+$copy COURSES.TEX [tex-archive.digests.texline.no9]*.*
+$copy DANTE.TEX [tex-archive.digests.texline.no9]*.*
+$copy DIARY.TEX [tex-archive.digests.texline.no9]*.*
+$copy DURHAM.TEX [tex-archive.digests.texline.no9]*.*
+$copy DVI.TEX [tex-archive.digests.texline.no9]*.*
+$copy EDITOR.TEX [tex-archive.digests.texline.no9]*.*
+$copy GBERG0.TEX [tex-archive.digests.texline.no9]*.*
+$copy GOOD.GUY [tex-archive.digests.texline.no9]*.*
+$copy GUT.TEX [tex-archive.digests.texline.no9]*.*
+$copy LINO.TEX [tex-archive.digests.texline.no9]*.*
+$copy LION.TEX [tex-archive.digests.texline.no9]*.*
+$copy MEETING.TEX [tex-archive.digests.texline.no9]*.*
+$copy NORDIC.TEX [tex-archive.digests.texline.no9]*.*
+$copy NTG.TEX [tex-archive.digests.texline.no9]*.*
+$copy POST.TEX [tex-archive.digests.texline.no9]*.*
+$copy QQ2.TEX [tex-archive.digests.texline.no9]*.*
+$copy QUOTE.TEX [tex-archive.digests.texline.no9]*.*
+$copy RCA.TEX [tex-archive.digests.texline.no9]*.*
+$copy SDOUBLE.TEX [tex-archive.digests.texline.no9]*.*
+$copy SMALL.LEO [tex-archive.digests.texline.no9]*.*
+$copy SORT.TEX [tex-archive.digests.texline.no9]*.*
+$copy STOCK.HLM [tex-archive.digests.texline.no9]*.*
+$copy TEX89.TEX [tex-archive.digests.texline.no9]*.*
+$copy TEXLINE.HED [tex-archive.digests.texline.no9]*.*
+$copy TEXLINE.TEX [tex-archive.digests.texline.no9]*.*
+$copy TL9-1.TEX [tex-archive.digests.texline.no9]*.*
+$copy TUG10.TEX [tex-archive.digests.texline.no9]*.*
+$copy UKTUG2.TEX [tex-archive.digests.texline.no9]*.*
+$copy VERBAR.TEX [tex-archive.digests.texline.no9]*.*
+$exit ! [tex-archive.digests.texline.no9]*.*
+
+Total of 33 files.
diff --git a/info/digests/texline/no9/courses.tex b/info/digests/texline/no9/courses.tex
new file mode 100644
index 0000000000..f01d6fb06a
--- /dev/null
+++ b/info/digests/texline/no9/courses.tex
@@ -0,0 +1,99 @@
+
+\def\plain{{\tt plain} \TeX}
+\def\btt#1{{\tt\char'134#1}}
+\centerline{\bf \TeX\ Users Group Courses at Exeter}
+\medskip
+\noindent
+As in previous years, the University of Exeter (or \TeX
+eter), will host a number of courses organised
+on behalf on the \TeX\ Users Group. The \MF\ course is
+the first of its kind to be offered in Europe, and it is something of a
+{\it coup\/} to be able to have Doug Henderson, the \MF\ coordinator, as
+well as the implementor of pc\MF, to teach the course.
+
+
+\section{Advanced \TeX\slash Macro Writing} This 5-day
+Advanced\slash Macro Writing course is designed for {\it
+all\/} experienced \TeX\ users. Following on from the
+Beginning\slash Intermediate \TeX\ course, there will be
+more detailed explanations of the relationship of boxes
+and glue, using |\hbox|, |\vbox| and |\vtop|.
+Also ruled tables, using \btt{halign}.
+
+The course will discuss how to
+construct macros which are both elegant and useful,
+avoiding some of the more obvious pitfalls of the art.
+Consideration will be given to
+the use of registers, grouping and conditional statements, as well as
+tools such as \btt{let} and \btt{futurelet}, \btt{begingroup}
+and \btt{endgroup}.
+It is hoped that participants will come along with lots of questions
+and home-grown macros (successful or otherwise), and be
+prepared to learn by discussion and `trial and error' as well as by example.
+
+Pre-requisites:\quad A sound working knowledge of \TeX\ (or \LaTeX) --
+at least equivalent to
+Beginning\slash Intermediate standard, coupled with day-to-day experience.
+Please bring your own well-thumbed copy of {\sl The \TeX book}. The course
+will be given by Chris Rowley.
+
+\section{Beginning \MFsl}
+This 4-day course presents the basics of \MF, a system for the design
+of alphabets. The course includes: basics (coordinate systems,
+control points, pens and curves), the organisation of Computer Modern
+fonts, \MF\ utilities, and an introduction to logo creation. After
+learning how to make logo characters, participants design and produce
+a logo of their own during hands-on sessions.
+The course will be presented by Doug Henderson from the University of
+California at Berkeley -- TUG's \MF\ coordinator for the past three
+years.
+%
+\section{Registration fees}
+The fee for each 5-day course is \quid360 per person
+for those from academic organisations,
+and \quid420 for commercial (non-academic) companies.
+For the 4-day \MF\ course the corresponding rates are \quid300 academic
+and \quid360 non-academic.
+TUG Institutional Members will be eligible for a 10\% discount on the course
+fee. Groups of 3 or more from one organisation attending the same course
+may also deduct 10\% per person. Substitutions may be made at any
+time before the start of the course for no additional charge.
+Individual cancellations will however incur cancellation charges.
+If a complete course has to be cancelled by the \TeX\ Users Group
+through lack of numbers,
+then payment will be refunded in full (including any accommodation fee).
+\section{Individual cancellations \& late registrations}
+80\% of the registration fee is refundable if notification of
+cancellation is received or postmarked {\sl not less than} two weeks
+prior to the starting date.
+Thereafter 50\% is refundable.
+There is no refund for partial completion of the course.
+Registration notification received or postmarked less than two weeks before
+the start of the course will incur a 5\% late registration surcharge.
+Notification of late bookings by telephone to Exeter (0392) 411906 will be
+accepted up until the Friday before the course.
+\section{Accommodation}
+On-campus accommodation in a hall of residence
+can be booked for \quid25 per night -- amounting to an additional
+\quid125 for each 5-day course, or \quid100 for the 4-day course.
+This includes all meals,
+commencing with dinner on the evening preceding the course.
+Further accommodation, travel and course details will be circulated to all
+registrants a couple of weeks before the course start.
+Discounts do not apply to the accommodation charge.
+\section{How to pay}
+Payment for the course fee and accommodation must be in pounds sterling,
+made out to the `University of Exeter', and sent to:
+{\obeylines
+Clive Nicholas
+Continuing Education and Training Officer
+University of Exeter
+Cotley
+Streatham Rise
+Exeter\quad EX4 4PE, U.K.
+tel: (0392) 411906
+fax: (0392) 263108
+email: {\tt nicholas.cs@uk.ac.exeter}
+}
+\smallskip
+\rightline{\sl Cathy Booth}\goodbreak
diff --git a/info/digests/texline/no9/dante.tex b/info/digests/texline/no9/dante.tex
new file mode 100644
index 0000000000..d37e0b00e0
--- /dev/null
+++ b/info/digests/texline/no9/dante.tex
@@ -0,0 +1,82 @@
+
+\centerline{\bf DANTE}
+\centerline{\bf Deutschsprachige Anwendervereinigung \TeX}
+\medskip
+\noindent
+Last year, when I was in Exeter at the European
+\TeX\ meeting, was the first time that the idea
+of a German \TeX\ society came into my mind. I
+saw that the organisation and
+representation of the European \TeX\ users was not
+very good. And the first step towards making
+it better is in my opinion to improve the
+organisation of the national groups.
+
+So because of that, in Freiburg at the
+German \TeX\ meeting I made the proposal
+in my capacity as the coordinator of the German group to
+found a German \TeX\ society, and asked for
+comments about that idea. The response has been so
+positive that I have gone on to prepare the
+foundation.
+
+On 14th of April 1989 in Heidelberg, it has come
+to fruition. {\sc dante}, Deutschsprachige
+Anwendervereinigung \TeX, has been
+founded. I agree, the name is not from a
+German. But the French users group has taken the
+German GUTenberg, so we needed another well-known
+name. 17 persons were present to found the
+society, and after a discussion about the statutes
+the board was elected. For chairman of the
+society the persons present elected me. For vice
+chairwoman Gabriele Kruljac,
+Max--Plank--Institut Stuttgart, for treasurer Friedhelm
+Sowa, Research Center of the University
+Duesseldorf, and for secretary Luzia
+Dietsche, Research Center of the University
+Heidelberg, have been chosen.
+
+The principal aim of the society is to encourage advice and
+cooperation among German language \TeX\ users. But
+this is not the only intention. The user group will
+examine proposals of members for new \TeX\
+software, if there are some. It will above all
+cooperate with other related national and
+international \TeX\ groups. Besides, {\sc dante} shall
+represent the interests of the German language
+\TeX\ users to the TUG more than has happened
+up till now. Perhaps that will be done in team-work
+with other European \TeX\ groups.
+
+Another activity will be the organisation of
+training and education. The first training course will
+perhaps be held at the next German \TeX\ meeting. Last,
+but not least, a newspaper will be edited and published.
+
+Institutions as well as individuals can become members.
+Membership is possible for
+universities, publishers, software houses,
+computer companies, public authorities, private
+persons, students, to name but a few. The
+dues for the various groups are graduated.
+
+The first general meeting will take place together
+with the German \TeX\ meeting on 4th--6th
+October 1989 in Eichstaett. The first day of the
+meeting will be reserved for the members of {\sc dante};
+the other two days will be the same as normally
+happens at meetings.
+
+For more information about {\sc dante} please contact:
+{\obeylines
+{\sc dante}
+Deutschsprachige Anwendervereinigung \TeX
+Research Center of the University Heidelberg
+Im Neuenheimer Feld 293
+6900 Heidelberg 1
+FRG
+email {\tt dante@dhdurz1}
+}
+\smallskip
+\rightline{\sl Joachim Lammarsch}
diff --git a/info/digests/texline/no9/diary.tex b/info/digests/texline/no9/diary.tex
new file mode 100644
index 0000000000..c6a61fe8ba
--- /dev/null
+++ b/info/digests/texline/no9/diary.tex
@@ -0,0 +1,154 @@
+\input texline
+\def\bu{$\bullet$}
+\headline{\sl \TeXline\ 9 \hss 36}
+
+\article{Some meetings}
+\bu The 10th annual TUG meeting,
+{\sl Ten Years of \TeX\ and \MFsl},
+will be held at Stanford
+University, August 20--23, 1989.
+Details elsewhere in \TeXline.
+
+\medskip\noindent
+\bu \TeX89, the 4th European \TeX\
+Conference, will take place at
+Karlsruhe University, FRG, from
+Monday, September 11th to Wednesday,
+September 13th, 1989, Details
+elsewhere in \TeXline.
+
+\medskip\noindent
+\bu
+{\sl Protext V Conference}, the
+Fifth International Conference on
+Computer Aided Text Processing and
+its Applications, will be held on
+October 4--6th, 1989 at MIT,
+Cambridge, Massachusetts. It will
+be preceded by `Tutorial Short
+Courses'. Contact:
+{\obeylines\parindent0pt
+{\sc protext} Conference
+INCA
+PO Box 2
+D\'un Laoghaire
+Ireland
+tel: 353 1 797655/808025
+}
+
+\medskip\noindent
+\bu \ukTuG\ -- {\sl Fonts: how they
+are created; how they can be used},
+at Aston University on October
+11th. Details elsewhere in \TeXline.
+
+\medskip\noindent
+\bu{\sc dante} will hold the 8th ({\it sic}) Annual Meeting
+of German \TeX\ Users at the Catholic University of
+Eichstaett on Wednesday 11th October--Friday 13th
+October, 1989. Since the notification was distributed
+over various electronic networks, we can safely assume
+that non-German \TeX\ users may attend too, but the
+meeting will be conducted exclusively in German. There is
+a general meeting on the Wednesday afternoon, tutorials
+on the Thursday, and papers and discussion groups on the
+Thursday and Friday. Busy, busy (as we Bokonists say).
+No fees were mentioned, nor arrangements for
+accomodation. Contact Joachim Lammarsch, or
+{\obeylines\parindent0pt
+Wolfgang A Slaby
+Catholic University Eichstaett
+Computing Centre
+Ostenstra\ss e 24
+D-8078 Eichstaett,
+FRG
+tel: 08421 20 214
+email: {\tt slaby@urz.ku-eichstaett.dbp.de}
+}
+\medskip
+\noindent
+\bu{\sl RIDT'89 -- Raster Imaging and Digital Typography, an
+international workshop}, will be conducted at Ecole
+Polytechnique F\'ed\'erale, Lausanne, on October 12--13,
+1989. ``It is the aim of the workshop
+to bring together people from
+various scientific, industrial and
+artistic backgrounds. It will
+provide a unique opportunity for
+information and discussion on
+advanced techniques in the domain
+of Raster Imaging and Digital
+Typography.'' Participants include
+Richard Southall, Chuck Bigelow,
+Rick Beach, Crispin Goswell, Theo
+Pavlidis, Jacques Andr\'e and David
+Brailsford. The meeting costs 380.--
+Swiss francs. Find your own
+accomodation. Contact:
+{\obeylines\parindent0pt
+Marie-Jos\'e Pallaud
+RUDT'89 Conference
+EPSL-LSP
+Avenue de Cour 37
+CH-1007 Lausanne
+Switzerland
+tel: 41 21 693 2641
+}
+
+\medskip\noindent
+\bu {\sl CALS in Europe} was held
+at the British Standards Institute
+in London on July 14th. It was
+planned to inaugurate a Special
+Interest Group on CALS in Europe.
+CALS -- Computer-aided Acquisition
+and Logistic Support -- is a
+strategy developed by the US DoD.
+CALS compliance is required for
+contract bids to the DoD. It is a
+strategy rather than a standard,
+but embraces four current standards
+-- {\sc iges}, \sgml, Group 4 fax
+and {\sc cgm}. A readable (short)
+account of CALS and its
+implications was published in {\sl
+Desktop Publishing Today}, 4(5),
+1989, pp.40--41. Contact:
+{\obeylines\parindent0pt
+David L Williams, CALS in Europe SIG
+Technical Publications
+Product Support Department
+Westland Aerospace Ltd
+East Cowes
+IoW PO32 6RH
+tel: 0983 294101
+}
+
+\medskip\noindent
+\bu
+The Royal College of Art is holding
+{\sl Effective Desktop Publishing
+Courses}. They include a two-day
+seminar aimed at managers and a
+three-day workshop aimed towards
+`users of dtp systems'. Although
+very \wysiwyg\ and Macintosh
+biassed they mention stylesheets
+and templates. The seminar is
+\quid600; the workshop \quid580, or
+\quid300 to academics. Contact:
+{\obeylines\parindent0pt
+Elizabeth Keay
+RCA
+Kensington Gore
+London SW7 2EU
+tel: 01 584 5020 ext 290
+}
+
+\author{Malcolm Clark}
+\article{\TeX\kern-0.1emlion}\hfuzz10pt
+\input small.leo
+\hbox
+to3.1truein{\hfill\box\lion\kern-0.5in\raise0.5truein\box\C\hfill}
+\author{Malcolm Clark (\& Sir John Tenniel)}
+\end
diff --git a/info/digests/texline/no9/durham.tex b/info/digests/texline/no9/durham.tex
new file mode 100644
index 0000000000..bc522cf2ca
--- /dev/null
+++ b/info/digests/texline/no9/durham.tex
@@ -0,0 +1,233 @@
+\centerline{\bf Landmarks in Electronic Publishing}
+\medskip
+\noindent
+This two-day conference. held at the University of Durham 13--14 April, was
+a new venture for the BCS Electronic Publishing Specialist Group. In
+the five years since the Group was formed, with the exception of EP86
+in Nottingham, which was not strictly a Group conference, all meetings
+have been in London and have lasted one day or less. This conference
+`Landmarks in Electronic Publishing' was not only a longer meeting,
+but a residential one with more time for people to talk amongst
+themselves. In this sense it was extremely valuable, quite apart from
+the formal lectures.
+
+The first speaker was Glenn Reid of Adobe Systems, giving a
+`Perspective on the \PS{} Language'. He began by giving a brief
+history of Adobe and describing the page-description languages out of
+which \PS{} grew. Then he summarized the principal features of
+\PS{}, that it is an interpreted language, purely in seven-bit
+ASCII (and therefore humanly readable) with a low execution overhead.
+It is stack-based, all data types are represented by single objects,
+programs can be arbitrarily complex and there is no buffering.
+Primitives are redefinable and there is late binding of names, making
+a very flexible language.
+
+Glenn Reid then went on to expand on the typographical features of
+\PS{}, outline fonts with rotation, sizing (although no hints on
+hints!), kerning, ligatures etc, and the graphics features, now
+increasingly familiar to all in the field. Finally Glenn talked about
+current developments: music, Kanji and vertical setting, and Display
+\PS{}. In summary, a useful perspective on \PS{} as it is
+today, but no real indication that Adobe are likely to `go public'
+and make even a full specification of \PS{} generally available.
+
+Glenn Reid was followed by William Roberts of Queen Mary College,
+London, on `\PS{} is not for Publishers'. My initial reaction was
+that perhaps this should have been `printers' rather than
+`publishers', but the main drift of William Roberts's talk was
+that there is little point in submitting books, journal papers etc to
+publishers in \PS{} form because publishers' editors cannot then
+edit the files. This is a viewpoint that only those authors who wish
+to impose thier own style on publishers will dissent from and
+certainly publishers should be supplied with source files.
+
+William Roberts's second point was that, good as \PS{} is, its
+implementation by many programmers in standard packages leaves a lot
+to be desired and writers of DTP packages should produce much better
+\PS{}.
+
+A rather different view of the \PS{} culture was put by Richard
+Patterson of Hyphen Editorial Systems, who spoke on `Cloning
+\PS{}'. His first comment was `don't do it', but he went on to
+explain why, and to a much lesser extent, how, Hyphen had done it. The
+Hyphen clone is aimed at the typesetting (high-resolution) market;
+Richard Patterson gave an interesting summary of the developments in
+computer graphics during the sixties and seventies (in which the
+printing industry took no interest whatsoever), but which John Warnock of
+Adobe built upon to create \PS{}. By chance, Linotype happened to
+fix on \PS{} for their Linotronic typesetters and found
+themselves leading the market. Suddenly the printing industry, having
+had its head in the sand for several years, was all for \PS{}.
+However, a faster interpreter was really needed, particularly for
+newspapers, and therefore Hyphen's clone filled a market niche.
+Adobe `hints' are really only important for low-resolution devices and
+therefore, as Hyphen were aiming at high-resolution devices, it was
+not necessary to take account of these. Finally the speaker made a
+plea for a standard product. He accepted that Adobe had a firm hold on
+the market, but felt that they should therefore take responsibility
+for \PS{} as a language, much in the way that AT\&T had done for
+UNIX. The Adobe books give a specification (although Adobe may change
+this at any time), but not a method of implementation.
+
+Alan Francis of Page description compared \PS{} and the Graphics
+Metafile (CGM). CGM has been developed as an interchange format over
+several years and it was interesting to see a detailed comparison with
+\PS{}. It was obvious that both have a place and although in
+many ways \PS{} is more powerful, CGM is much more concise and
+therefore better for transferring between systems and for storing.
+Because of its more flexible typography \PS{} is the answer for
+controlling output devices.
+
+The final speaker on the first day was James Gosling of Sun
+Microsystems on the NeWS Window System. This is not intended to be a
+\PS{} clone, but carries out all the functions of one so that
+\PS{} files can viewed on the screen. It was also developed with
+networking in mind so that relatively small \PS{} files could be
+transferred rather than large graphics files (Pixels are bad for
+you!). Unlike \PS{} however, or rather as an extension of
+\PS{}, NeWS is object oriented and screen attributes such as
+buttons, menus etc are defined as a hierarchy. James Gosling went on
+to discuss the merits or otherwise of true \wysiwyg\ and the problems
+of font hints at screen resolutions (80\,dpi). He explained how Sun
+approached the problem, although he emphasized that this did not
+necessarily mean that Adobe approached it in the same way. His
+explanation provoked some lively comment from the audience.
+
+At the end of the talks there was a panel session where members of the
+audience were able to ask specific questions, but also to build
+on what had been said through the day. At last someone managed
+to hint what `hints' are! The \PS{} fonts are encoded as outline
+information: this enables them to be reasonably concise, besides
+making it child's play to rotate, shear, or otherwise distort the
+coordinate system in which they are based. But, while this is
+tolerable on high resolution devices (say over 700-1000\,dpi), on low
+resolution devices, like laser printers, it leads characters of rather
+poorer quality. Basically, typefaces just don't work like that, and
+even the odd pixel here or there can lead to the character on the
+page diverging from its ideal. That's where hints come in (they used
+to be called `Adobe font magic', but `hints' sounds more
+professional). They try to make allowances for the lower resolution.
+They also make allowances for the fact that correct scaling of a
+typeface is distinctly non-linear. A 10 point Times New Roman (as
+designed by Morison), is not merely magnified to obtain a 20\,pt
+version. All sorts of subtle changes (should) come into play. The
+hints try to effect these changes. The only complaint one could have
+about the discussion period was that it was too short. Just as it got
+interesting, food and drink intervened.
+
+The second day was begun with the election of the Group's Chairman
+and committee. David Harris was elected to take David Brailsford's
+place on the committee, and three new members were elected to serve
+on the committee: Paul Bacsich of the OU, Maria Tuck of the
+Independent, and Cathy Booth of Exeter University.
+
+As will by now be clear, the emphasis on the first day
+was on \PS{}, while that on the second day was more general,
+although covering implementation of integrated systems. The first
+speaker was William Newman of Xerox EuroPARC. His topic was `Document
+Representations: Designing for Designers' and was really a summary of
+work carried out at PARC (Palo Alto Research Center) during the
+1970's. It was fascinating for two reasons; firstly the emphasis on
+design criteria is one which is often overlooked, while secondly, and
+in many ways sadly, it is astonishing how far Xerox had reached over
+ten years ago and how little of that achievement ever reached the
+market place, at least directly. Perhaps the most telling point in
+William Newman's talk was when he said that he really did not see why
+it was necessary to wait for a page to come out of a laserprinter; he
+didn't have to in 1974 --- so much for progress! Nonetheless, it is
+almost certain that had the PARC work not taken place, many of today's
+products would not exist. A final look into the future covered areas
+such as multimedia documents and the use of audio and video as part of
+information systems, areas where no-one has a great deal of
+experience.
+
+Paul Bacsich described the implementation and integration of the EP
+system at the Open University. And integration is the important part
+of the implementation. The solution has been to use Ethernet to link
+Suns, Vaxes and Apple Mac clusters (themselves communicating via
+Appletalk and connected via a Kinetics box). Software intgration has
+been at least partially achieved by the use of Microsoft Word and its
+Rich Text Format. Problems still exist, which is not surprising in view
+of the aim to incorporate into the EP integration the setting of
+maths, chemistry and music, as well as non-Latin texts, and to try and
+have these handled in as consistent a way as possible. It was an
+intriguing view of the problems involved in such an operation and it
+will be interesting to see how the situation develops. (Editorial
+note: the September meeting will be at the Open University, so you
+can go and see for yourself.)
+
+The establishment of `The Independent' has been interesting, not only
+from a sociological point of view, but also in the technical context
+of Eddie Shah's ventures. Chris Hugh-Jones gave a very clear
+explanation of how the paper functions (when compared to a more
+conventional operation), together with a description of how the paper
+came into being. An Atex system is used, just as by a number of other
+papers, but everything is only keyed once. Journalists, Sub-Editors,
+Editors etc all have access to the files and in this way the paper can
+be designed on the screen with no delay in output once a page has been
+finalized. Composed pages are then faxed to different parts of the
+country for printing and distribution. Chris Hugh-Jones also talked
+about the Magazine, produced on Saturdays. The text is handled using
+Quark Xpress (which produces one or two typographical problems, for
+example in hyphenation) and then sent to the Scitex colour graphics
+work stations for merging with the graphics, which have been scanned
+in. Finally, Chris Hugh-Jones discussed the future. The Independent
+may well be ahead of the rest of the national press in its production
+techniques, but the suppliers to the newspaper industry are still some
+way behind those to the graphic arts industry.
+
+Cathy Booth of the University of Exeter talked about teaching
+electronic document preparation as part of a
+modular degree course. One of the problems is that students start with
+such varying levels of knowledge and competence in computing. However,
+the use of two types of program provides the students with an insight
+into what is better for different types of publication. She chose
+the markup system \PCTeX, and the contrasting direct manipulation
+system, Pagemaker. The use of videos and projects helped considerably.
+Nonetheless, the biggest problem was the lack of resources, at least
+in relative terms as this kind of course is one which ideally requires
+as much hands-on experience as possible. The biggest triumph was the
+quality of some of the students' projects.
+
+The final speaker was Ted Johnson, who is an Aldus Fellow, which means
+that he has a free role to investigate directions in which Aldus is
+likely to move. He reviewed Aldus's place in the market and their
+future options. He described four areas (or directions), technical
+publishing, word processing, interactive drawing, and creative
+flexibility, into which Aldus could move, although they are to a
+certain extent exclusive. Possible solutions rejected have been (a) to
+abandon the market and (b) to provide everything for everyone. This
+leaves splitting production lines as a short-term option, e.g.~the
+development of Freehand as a separate product from Pagemaker. A more
+long term development is object-oriented implementation, so that
+object classes can be tested independently of the specific
+application, with the aim of producing zero-defect software. Another
+benefit would be cross-product object sharing, so that once defects
+are fixed for one product they are fixed for all. A final implication
+would be that object subclasses could be created for different market
+segments with customization by software vendors, VAR's, systems
+integrators, corporate information services departments, or even the
+sophisticated user. Essentially then the user would either buy a
+single customized product or a library from which he can put together
+his own product.
+
+To sum up the conference is difficult. The range of people there was
+broad, from academia, through the commercial publishing world to the
+corporate. The speakers, taken together, provided an interesting
+overview of how EP has developed over the last few years and how it
+is likely to develop. There were no announcements of great
+break-throughs, but that was hardly to be expected. Perhaps the most
+important aspect of the meeting was the time spent informally (and the
+social arrangements for the conference were excellent, for which the
+local organiser, Roger Gawley, must take the major responsibility) and
+the opportunity for discussion. As always, there were many familiar
+faces, but this time there were a significant number of not so familiar
+faces, and the opportunity for discussions with different people, or
+even with the same people in a different place, meant that the general
+view was that this sort of meeting should happen again.
+
+\smallskip
+\rightline{\sl David W Penfold}
+
+
+
diff --git a/info/digests/texline/no9/dvi.tex b/info/digests/texline/no9/dvi.tex
new file mode 100644
index 0000000000..a5c2ae5f29
--- /dev/null
+++ b/info/digests/texline/no9/dvi.tex
@@ -0,0 +1,406 @@
+{\def\contactperson{Robert McGaffey}
+\def\Special{{\tt\char"5Cspecial}}
+\let\TeXhax\hax
+\def\GDF{{\tt GDF}}
+\let\DVI\dvi
+\def\TeXMaG{\TeX M\kern-.1667em\lower.5ex\hbox{A}\kern-.2267emG}
+\newcount\num
+\newcount\subnum
+\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}
+
+\centerline{\bf The \dvi\ Driver Standards
+Committee}
+\medskip
+\noindent
+The first few months of 1989 have shown a healthy increase in the
+\DVI\ driver standards discussion. For those people
+with network access, much has been done to provide for the dissemination
+of the information which has come through our hands.
+
+The group has a {\tt LISTSERV} discussion group, {\tt DRIV-L}, which
+is the primary means of communication between its members. The list
+is set up so that anyone who wants to contribute ideas may do so by
+sending mail to {\tt DRIV-L@TAMVM1} (Bitnet) or
+{\tt DRIV-L@TAMVM1.TAMU.EDU} (Internet). These notes will be
+automatically distributed to the membership of the group.
+
+Archives of past discussions as well as papers on the topic and
+the current versions of standards documentation, programs, and macros
+are stored on the Clarkson archive in the {\tt dvi-standard} group.
+Individuals with FTP access may obtain the files from
+{\tt sun.soe.clarkson.edu} in the directory {\tt pub/dvi-standard}.
+Those without FTP access may still obtain the files via e-mail using
+the same mechanism as is used by the \LaTeX\ style collection,
+substituting {\tt dvi-standard} for {\tt latex-style} where appropriate.
+For example, to obtain the file {\tt driv-l.log8809} and a list of other
+files, one might send a message to
+{\tt archive-server@sun.soe.clarkson.edu} which looks like:
+{\parindent0pt
+\begintt
+path fschwartz%hmcvax.bitnet@clvm.clarkson.edu
+get dvi-standard driv-l.log8809
+index dvi-standard
+\endtt
+}
+\noindent
+By the TUG meeting in August, we hope to have much of the proposed
+standard documented and available from the archive.
+
+Bitnet users may also obtain log files from \nl {\tt Listserv@tamvm1}
+by sending the command\nl
+{\tt get driv-l log}{it yymm}\nl
+to {\tt Listserv@tamvm1} where {\it yy\/} is the last two digits of the
+year and {\it mm\/} is the month, expressed as a two digit number. For
+example, to obtain the log from September, 1988, one would send the
+command {\tt get driv-l log8809} to {\tt Listserv}. Listserv commands
+should be sent either as the first line of a single-line mail message
+or as an interactive message ({\tt TELL} on CMS, {\tt SEND} on VMS).
+
+For those without network access, the files may be obtained on
+a floppy disk from John Radel for his usual fees.
+
+The remainder of this article outlines some preliminary results of
+the committee's work. Persons interested in implementing portions
+of this standard should check the Clarkson archive or contact
+\contactperson\ to obtain the most recent information on the standard.
+
+\section{\b{\ttit special} commands}
+The committee has decided that the \Special\ commands defined to date
+will be labeled as `experimental' and later classified as
+`production' after they've undergone sufficient testing to justify
+the reclassification. Experimental \Special\ commands are distinguished
+by the prefix |X_|.
+
+Further work on the precise syntactical rules for \Special\ are under
+development.
+
+\subsection{Interface}
+One of the early decisions of the committee was that \Special\ will be
+treated as a primitive command which the end user should never need
+to type. Instead, \Special\ should be accessed through a high level
+macro set. This has the additional advantage that users at beta test sites
+will usually not be affected by changes to the syntax or names
+of \Special\ commands. This is important since when a \Special\ changes
+status from `experimental' to `production', its name will change
+as noted above.
+
+The committee is developing macros for both plain \TeX\ and \LaTeX\
+to interface with the developing standard.
+At the present time, only preliminary versions of these macros have been
+written, but a full macro set for both plain \TeX\ and \LaTeX\
+should be be available by the publication
+time of this article.
+
+\subsection{Scope}
+\Special\ commands have been broken down into six classes depending
+on what portion of the \DVI\ output they would affect.
+
+\noindent$\bullet${Global:} these \Special\ commands affect the entire
+document.
+ Examples of this class of \Special\ include commands for
+ selecting duplex printing or setting the printing orientation
+ (portrait, landscape, etc.).
+
+\noindent$\bullet${Page:} these \Special\ commands affect only the page on
+which they
+ are printed. Examples of this class include requests for
+ feeding of special paper from an auxiliary tray ({\it e.g.,\/}
+ for a cover sheet) or a single-page change in orientation.
+
+\noindent$\bullet${Box:} these \Special\ commands affect a block of output that
+is
+ enclosed in a \TeX\ box (and thus is, by necessity, on a
+ single page). For example, a command to rotate a block of
+ text would fall under this class.
+
+\noindent$\bullet${Delimited:} these \Special\ commands are those that affect
+ a block of output which is not necessarily enclosed by
+ a \TeX\ box or contained entirely on a single page. For
+ example, a \Special\ command to set color would fall into this
+ class.
+
+\noindent$\bullet${Output generating:} these \Special\ commands are those which
+ generate self-contained output of some sort. For example,
+ the |X_vec| \Special\ of Section%\ref{sc:graphics} falls
+ into this class.
+
+\noindent$\bullet${Attribute setting:} these \Special\ commands modify the next
+ output generating command which appears on the current page.
+ If no output generating command follows an output modifying
+ command, the command is ignored and the \DVI\ driver program
+ should issue a warning. An example of this class of commands
+ would be the |X_linewidth| \Special\ described elesewhere.
+\smallskip
+\noindent The remainder of this section will consist of additional notes on
+those classes of \Special\ commands which need additional
+comment.
+
+\subsubsection{Global specials}
+Global specials, it has been decided, will be required to appear on the
+first page of the document. They will either be identified with
+a prefix (|X_global:|), delimited by a pair of \Special\ commands
+(|X_begin_globals| \dots\ |X_end_globals|) or some similar
+scheme.
+
+One issue that has not been decided is whether the first page containing
+the global \Special\ commands should be the first page of text or a
+special page on its own. Having global options specified as part of the
+actual first page of text minimizes the impact on existing drivers.
+However, it does present some problems with existing macro packages in
+regard to ensuring that the options are output at the right place.
+This problem stems from the fact that the \Special\ commands used to
+convey the options to the drivers are normally placed in the body of
+the document. Macro packages which place headline text or entirely
+separate title pages prior to writing the first part of the `body' of
+the document will cause text to appear in the \DVI\ file before the global
+options. Headline text may or may not have any impact upon the global
+options, but separate title pages will prevent the global options from
+being on the first page of the \DVI\ file. To get around this problem, the
+mechanism used for passing global information will need to `cooperate'
+with the output routine within the macro package.
+
+Requiring an entirely separate page at the start of the \DVI\ file avoids
+the need for special interaction with the output routines of various
+macro packages. Instead of placing \Special\ commands in the body of the
+first page, a separate macro is used which issues a separate
+|\shipout| containing the \Special\ commands. This approach makes
+things easier for programs which sort or otherwise reorganize a \DVI\
+file since no culling of global options from the first text page is
+necessary. However, the separate page technique has an undesired effect:
+it produces a blank page on existing drivers which do not understand the
+options page.
+
+\subsubsection{Box specials}
+A box \Special\ command, since it will always be entirely
+typeset on a single page, will be enclosed in a \TeX\ box (|\hbox|
+or |\vbox|). In the \DVI\ output, box structure is reflected by
+surrounding {\it push\/} and {\it pop\/} commands. For example,
+the \TeX\ commands:
+\begintt
+normal
+\hbox{\special{abc} special}
+text
+\endtt
+generate the following \DVI\ code:
+{\obeylines
+{\tt "normal"}
+{\it push}
+{\it right}
+{\it xxx} {\tt "abc"}
+{\tt "special"}
+{\it pop}
+{\it right}
+{\tt "text"}
+}
+
+A \DVI\ driver can exploit this for a command such as |X_rotate|
+by maintaining on the \DVI\ stack, values for items such as
+{\it rotation\_angle}.
+
+\subsubsection{Delimited specials}
+The committee has not found an effective way to deal with open
+block \Special\ commands yet. They will probably need to be issued in
+cooperation with the output routine, to insure that every delimited
+command is broken down into matching pairs of \Special\ commands on
+each page within its bounds.
+
+This approach is necessary for two reasons:
+
+\noindent$\bullet$If pages are reordered for any reason ({\it e.g.,\/} reverse
+ ordering for laser printers which stack output face up) the
+ driver should not need to have to scan the entire file to
+ insure that it does not inadvertently break up a pair
+ of \Special\ commands producing a delimited command.
+
+\noindent$\bullet$Without special care being taken, a delimited command which
+ spans pages may inadvertently affect page headers and footers
+ which are typeset between the beginning and ending blocks.
+
+
+\subsection{Graphics commands}
+Three techniques for including graphics have been discussed.
+These are:
+
+\noindent$\bullet$Make graphics entirely with \TeX\ primitives.
+
+\noindent$\bullet$Use \MF\ to build a graphic as a font.
+
+\noindent$\bullet$Allow the driver to include a device-specific graphic.
+
+
+\subsubsection{Graphics by \TeX}
+Handling graphics entirely with \TeX\ macros and primitives which use
+dots or characters from a special graphics font is a technique which has
+been in use for some time.
+The \LaTeX\ picture environment and \PiCTeX\ work in this way with the
+former assembling characters from a graphic font and the latter using
+closely spaced dots.
+
+David F.~Rogers ({\TUGboat} 10(1) and \TeXhax\ 89(7)) proposed a
+series of \TeX\ macros to provide plotting primitives; these macros would
+generally be used by \TeX\ input generated by some graphics package.
+The macros which were proposed created graphics by closely spacing dots
+along each line in the same manner as \PiCTeX.
+
+The problem posed by creating graphics in this manner is
+that \TeX\ must store all of the graphic elements in memory at once for an
+entire page, possibly exceeding \TeX's capacity.
+
+To calculate the memory needs, the technique for positioning each dot
+was specified as:
+\begintt
+\kern\DX \raise\Y \hbox{\DOT}%
+\endtt
+where |\DX| is a dimension register giving the displacement in the
+`x' direction from the previous point and |\Y| is a dimension
+register giving the displacement in the `y' direction from the reference
+point of the graph.
+|\DOT| defines the plotting symbol and |\DX| accounts for the
+width of this symbol.
+
+In memory, \TeX\ saves |\kern\DX| in a {\it kern\/} node, the raised
+hbox in an {\it hlist\/} node, and the plotting symbol in a
+{\it char\_node.}
+These take two words, seven words, and one word of memory, respectively,
+for a total of ten words per dot.
+A normal-size implementation of \TeX\ with 64\,k-words of memory allows
+about 6000 dots to be positioned before it runs out of memory
+(assuming that no other macros are loaded and neglecting other text on the
+page).
+Spacing the dots at 100 per inch, this gives about 60 inches, which is not
+sufficient for many graphs.
+
+To enhance the capacity of this graphics technique, we decided to use a
+|\special| to add a vector drawing capability to \TeX\ and \DVI\ drivers
+and use the |\special| instead of closely-spaced dots.
+This changes the \TeX\ command sequence to:
+\begintt
+\kern\DX \raise\Y
+\hbox{\special{X_vec \number\XC
+ \space \number\YC}}%
+\endtt
+where |\XC| and |\YC| are dimension registers giving the components
+of the vector.
+Component values in scaled points are likely to be six-digit numbers with an
+additional minus sign for negative numbers.
+Thus, an average length for the |\special| string is likely to be
+around 18 characters.
+In memory, a |\special| is saved in a two-word {\it whatsit\/} node
+which points to the |\special| string.
+Thus the total memory needs, counting the {\it kern\/} and {\it hlist\/}
+nodes, will average 29 words per vector which allows roughly 2000 vectors.
+This may be sufficient for many graphs, but falls somewhat short for
+complex three-dimensional surface plots.
+(One sample 3D surface plot consisted of 13,000 vectors.)
+
+Two \Special\ commands have been defined for graphics of this sort (and
+specialized commands for more complicated graphic elements will be
+defined in the future). The commands defined are:
+
+\noindent$\bullet${\tt X\_linewidth $n$} Specify that the following vector is to
+be
+ drawn with a line width of $n$ \DVI\ units (scaled points for
+ \TeX). Vectors are
+ normally 1~point in width. If no vector follows the
+ |X_linewidth| \Special\ on this page, the command is
+ ignored and the \DVI\ driver program should issue a warning.
+
+\noindent$\bullet${\tt X\_vec $\Delta x$ $\Delta y$} Draw a diagonal line from the
+ current point to the point which is offset by $\Delta x$ and
+ $\Delta y$ from the current point. $\Delta x$ and $\Delta y$
+ are specified in terms of \DVI\ units.
+
+\subsubsection{Graphics by \MF}
+A different approach to graphics inclusion is to use \MF\ to produce the
+graphic as a character of a font and position it using \TeX's normal
+character positioning capabilities.
+The advantage of this technique is that the graphic is in a format which
+many drivers will already accept.
+
+METAPLOT by Pat Wilcox (to be described in
+ \TUGboat;
+see also the Amiga\TeX\ notes of March~12th,
+1989 or \TeXMaG\ {3}(3).)
+is one example of a package which takes this approach.
+
+However, the technique has a number of drawbacks:
+Graphic fonts are resolution-dependent; a separate graphic font is
+needed for different resolution devices.
+\MF\ records changes in pixel values across a scan line when it builds a
+character.
+Thus, the memory needs depend upon the complexity of the graphic in
+addition to the size and resolution of the device.
+To circumvent this limitation, it is necessary to break the whole graphic
+into smaller pieces.
+It is important to ensure that the heights and widths of each piece
+are integral numbers of pixels to
+allow them to be reassembled without the alignment problems which occur
+for letters within words.
+
+\subsubsection{Including device-dependent files}
+With this approach, the \DVI\ driver processes a special Graphics Description
+File (\GDF) which, among other things, indicates the names and formats of
+separate graphic files in device-dependent format.
+A driver searches this list to find a file in a format appropriate for the
+device it supports.
+This allows a greatly simplified graphic files to be defined for previewing
+purposes while a detailed, higher resolution version is used when the
+\DVI\ file is printed.
+
+\GDF\ files are processed both by \TeX\ and by the \DVI\ driver.
+\TeX\ |\input|s the file and executes code at the start of the
+file. This code sets some dimension and box registers giving the size
+of the graphic then terminates with an |\endinput| to return
+control to the macro which did the |\input|. The portion of the
+\GDF\ file following the |\endinput| is processed by the driver.
+
+The driver section of the file consists of a series of keywords which
+identify lines that apply to a particular graphics format, rotation, etc.
+The driver scans these lines searching for a format which it understands.
+Depending on the driver and the graphics format, additional lines may
+have to be searched for other attributes such as rotation. Eventually,
+the name of the graphics file to be included will be found and the
+driver will incorporate it into the output file.
+
+
+Bart Childs, Alan Stolleis, and Don
+Berryman suggested another scheme for using \Special\ to include
+device-dependent graphics files (`A portable graphics inclusion',
+\TUGboat\ 10(1)).
+
+\section{Additional reference material}
+In addition to the works mentioned in the Editor's note at the end
+of our last report, the following may also be of interest:
+
+\noindent$\bullet$ Guntermann, Klaus and Joachim Schrod. `High quality \DVI\
+ drivers'. Available from the Clarkson archive as the file
+ {\tt schrod-guntermann1.tex}.
+
+\noindent$\bullet$ Hosek, Don. `Proposed \DVI\ \Special\ command standard'.
+ Available from the Clarkson archive as the file
+ {\tt hosek1.tex}.
+
+In addition, anyone interested in implementing any portion of the
+developing standard should read the logs available from the Clarkson
+archive or {\tt Listserv@tamvm1}.
+\smallskip
+\rightline{\sl Tom Reid \& Don Hosek}
+%\signature{Tom Reid\\
+% Computing Services Center\\
+% Texas A\&M University\\
+% College Station, TX 77843\\
+% \bigskip
+% \signaturemark Don Hosek\\
+% 3916 Elmwood\\
+% Stickney, IL 60402\\
+% \net {\rm Internet:}%u33297@uicvm.uic.edu\\
+% {\rm Bitnet:}%u33297@uicvm\\
+% {\rm Bitnet:}%dhosek@ymir\\
+% {\rm UUNet:}%dhosek@jarthur.claremont.edu\\
+% {\rm JANET:}%u33297\%uicvm.uic.edu@uk.ac.earn-relay}
+}
diff --git a/info/digests/texline/no9/editor.tex b/info/digests/texline/no9/editor.tex
new file mode 100644
index 0000000000..fc23d853ff
--- /dev/null
+++ b/info/digests/texline/no9/editor.tex
@@ -0,0 +1,14 @@
+\centerline{\bf Editorial stuff}
+\medskip
+\noindent
+A warm thanks to everyone who helped to make this by far
+the easiest and least painful \TeXline\ to assemble. A
+lukewarm thanks to all those who have bright ideas about
+what \TeXline\ ought to be doing, but who never put toner
+to paper. One unsung hero is my printer, Mark Pike; his
+skills in turning laser printed output into a newsletter
+are an essential step in the publishing process
+-- one we forget at our peril. Thanks too to TUG, who are
+paying for part of the postage costs.
+\smallskip
+\rightline{\sl Malcolm Clark}
diff --git a/info/digests/texline/no9/gberg0.tex b/info/digests/texline/no9/gberg0.tex
new file mode 100644
index 0000000000..7d45153a81
--- /dev/null
+++ b/info/digests/texline/no9/gberg0.tex
@@ -0,0 +1,69 @@
+\def\paper#1#2:#3,#4.{%
+\medskip\noindent\ignorespaces{%
+ \def\sc##1{\iteight\uppercase{##1}}%
+\it #1\/}: #2, number #3, pp.#4.}
+
+\centerline{\bf Cahiers GUTenberg}
+\medskip
+\noindent
+This journal is quickly becoming a very useful source of
+valuable and interesting articles. Fortunately, its
+editors are quite eclectic in their interests, and
+although GUTenberg itself is a \TeX\ group, their net is
+cast wider, to include \sgml, database publishing, \PS,
+and almost anything which can reasonably be considered of
+interest to the \TeX\ community (French speaking or not).
+In order to widen the awareness of the contents of the
+Cahiers, the following abstracts\slash
+summaries\slash resum\'ees are provided for number
+zero, published last year. Similar information for
+numbers one and two will follow.
+
+
+\paper{Le traitement des textes Polonais avec le logiciel
+\TeX}{Hanna Kolodziejska}:0,3--10.
+The paper present some of the difficulties of using \TeX\
+for Polish texts, difficulties which are bound up with
+diacritical marks, with word division, and with certain
+peculiarities of Polish typography.
+
+\paper{La Publication assist\'ee au CIRC\'E}{Bernard
+Gaulle}:0,11--16.
+CIRCE offers two complementary systems for computer aided
+publishing. One is based on \TeX, the other on standard
+IBM products, namely DCF. The object of this article is
+to describe the advantages and disadvantages of each, in
+particular during the phase of learning, and of using the
+products. A particular emphasis is placed on the ability
+to work with an IBM personal computer.
+
+\paper{Une exp\'erience d'utilisation de \LaTeXsl: le
+rapport d'activiti\'e de l'INRIA}{Philippe Loaurn}:0,
+17--24. This paper presents an account of the experiences
+in using \LaTeX\ on a large project -- INRIA's report of
+its activities. This is an extensive project in more than
+one way: it has more than a thousand pages; contributions
+are obtained from all over France; and from all sorts of
+equipment. Lastly, the document itself is complex,
+comprising tables, mathematics, graphics, etc\dots
+
+
+
+\paper{\TeX\ et L'imprimerie}{Maurice Laugier}:0,25--29.
+\TeX\ supplies typographic quality to typesetting. It
+remains to improve the definition of the reproduction of
+characters. We have therefore created a \TeX-\MF-\PS
+interface to provide a definition of 1270\,dpi. \TeX\
+joins the professional tools of photocomposition, and may
+be compared with other facilities we have, and others
+which are available commercially.
+
+
+\paper{Vous avez dit pol\'emique}{Michel Dreyfus \&
+Bernard Gaulle}:0,32--36.
+[Two parallel texts, the one `Profits Abusifs
+par Ordinateur' (or, approximately `Excessive benefits
+(claimed) by computer), the other a response `Publication
+Assist\'ee par Ordinateur' (or, again approximately,
+DTP).]
+\author{Malcolm Clark}
diff --git a/info/digests/texline/no9/good.guy b/info/digests/texline/no9/good.guy
new file mode 100644
index 0000000000..ce9cf3ebbb
--- /dev/null
+++ b/info/digests/texline/no9/good.guy
@@ -0,0 +1,183 @@
+
+\centerline{\bf The good guys}
+\def\address#1={\goodbreak\vskip8ptplus2pt\goodbreak\parindent0pt%
+\hbox{\hfuzz40pt\hsize3.1truein\vbox{#1}}}
+{\obeylines
+\address
+Adrian Clark
+Dept Electronic Systems Engineering
+Essex University
+Wivenhoe Park
+Colchester
+Essex CO4 3SQ, UK
+janet: {\tt alien@uk.ac.essex.ese}
+=\address
+Sebastian Rahtz
+Dept of Electronics \& Computer Science
+Southampton University
+Southampton SO9 5NH, UK
+janet: {\tt spqr@uk.ac.soton.cm}
+=\address
+Philip Taylor
+Computer Centre
+Royal Holloway \& Bedford New College
+Egham Hill
+Surrey TW20 0EX, UK
+janet: {\tt chaa006@uk.ac.rhbnc.vaxa}
+tel: 0784 34455 ex 3172
+=\address
+Don Hosek
+3916 Elmwood
+Stickney, IL 60402
+USA
+Internet: {\tt u33297@uicvm.uic.edu}
+Bitnet: {\tt u33297@uicvm}
+Bitnet: {\tt dhosek@ymir}
+UUNet: {\tt dhosek@jarthur.claremont.edu}
+\JANET: {\tt u33297\%uicvm.uic.edu@earn-relay}
+=\address
+David Penfold
+Edgerton Publishing Services
+30 Edgerton Road
+Edgerton
+Huddersfield HD3 3AD, UK
+0484 519462
+=\address
+David Osborne
+Cripps Computing Centre
+University Park
+Nottingham
+NG7 2RD, UK
+janet: {\tt cczdao@uk.ac.nott.vaxa}
+=\address
+Cathy Booth
+Computer Unit
+University of Exeter
+North Park Road
+Exeter EX4 4QE, UK
+email: {\tt booth.cm@uk.ac.exeter}
+tel: 0392 263945
+=\address
+Rainer Rupprecht
+Universit\"at Karlsruhe Rechenzentrum
+Postfach 6980
+Zirkel 2
+7500 Karlsruhe 1
+FRG
+email: {\tt rz32@dkauni2}
+tel: 0721 608 4031
+=\address
+TUG program committee
+c/o Dean Guenther
+Computing Service Center
+Washington State University
+Pullman WA 99164-1220
+USA
+email: {\tt guenther@wsuvm1}
+=\address
+GUTenberg
+c/o IRISA
+Campus Universitaire de Beaulieu
+35042 Rennes Cedex
+France
+=\address
+Carol~Hewlett,
+Computer Service
+London School of Economics
+Houghton Street
+London, WC2A~2AE, UK
+email: {\tt hewlett@uk.ac.lse}
+=\address
+\ukTuG
+Computing Service
+Aston University
+Aston Triangle
+Birmingham
+B4 7ET, UK
+tel: 021 359 5492
+email: {\tt abbottp@uk.ac.aston}
+=\address
+Joachim Lammarsch
+Universit\"atsrechenzentrum
+Im Neuenheimer Feld 293
+D-6900 Heidelberg
+FRG
+email: {\tt rz92@dhdurz1}
+=\address
+Tom Reid
+Computing Services Center
+Texas A\&M University
+College Station, TX 77843
+USA
+Bitnet: {\tt x066tr@tamvm1}
+=}
+\eject
+\leftline{\sl \dots and some from last time\dots}
+{\obeylines\address
+Maria Tuck
+The Independent
+40 City Road
+London EC1Y 2DB, UK
+tel: 01 353 1222
+=\address
+Laurent Siebenmann
+Math\'ematique
+B\^atiment 425
+Universit\'e de Paris-Sud
+91405 Orsay Cedex
+France
+tel: 33 1 4735 8862
+email: {\tt siebenma@frlal51}
+=\address
+Bill Noble
+Vardas
+88 North Road
+St Andrews
+Bristol BS6 5AJ, UK
+tel: 0272 428709
+=\address
+Graham Asher
+Informat Ltd
+34 Cleveland Street
+London W1P 5FB, UK
+tlx: 21736
+tel: 01 580 4271
+=\address
+Dominik Wujastyk
+Wellcome Institute
+183 Euston Road
+London NW1 2BP, UK
+tel: 01 387 4477
+email: {\tt wujastyk@uk.ac.ucl.euclid}
+=\address
+Janusz Bie\'n
+Insitute of Informatics
+Warsaw University
+PKiN p.850,
+00-901 Warsaw
+Poland
+tel: 268258
+=}
+\medskip
+\article{An erratum}
+Last issue's article on the Atari version of \TeX,
+{\sc st\kern-.12em}\TeX, omitted to mention
+where to obtain it and its cost.
+{\sc st\kern-.12em}\TeX\ may be obtained from:
+
+{\obeylines\parindent0pt
+\TeX sys
+Kranichweg 1
+D6074 R\"odermark
+FRG
+tel: 06074 1617
+}
+
+\noindent
+Prices are from
+305.--DM for the {\sl full\/} \TeX\ installation and a
+screen driver, to 615.--DM for the \TeX\
+plus a laser printer driver (for HP Laserjet and
+Kyocera). {\sc st\kern-.12em}\TeX\ with a dot matrix printer is
+535.--DM. Add VAT and shipping.
+\author{Malcolm Clark}
diff --git a/info/digests/texline/no9/gut.tex b/info/digests/texline/no9/gut.tex
new file mode 100644
index 0000000000..ab1c99c627
--- /dev/null
+++ b/info/digests/texline/no9/gut.tex
@@ -0,0 +1,349 @@
+\def\talk#1#2{\medskip\noindent\ignorespaces{%
+\def\PS{{\it P{\iteight OST\-}S{\iteight CRIPT}}}%
+\def\sgml{{\iteight SGML}}%
+\def\LaTeX{{\it L\kern-.36em\raise.3ex\hbox{\iteight
+A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}}%
+\it #1\/}: #2.\quad}
+\def\TeXtures{{\sc\TeX\kern-0.1667em tures}}
+\def\<#1>{{\tt\char'074}#1{\tt\char'076}}
+\def\|{\ifmmode\Vert\else{\tt\char'174}\fi}
+\def\ukTUG{{\sc uk}\kern-0.2em\TeX}
+\let\Bf\bf
+\centerline{\Bf R\'eflexions sur le Congr\`es GUTenberg}
+\centerline{\bf Paris, Mai 16--17, 1989}
+\medskip
+\noindent
+The French \TeX\ users group has been around for a few
+years, in an `unofficial' form. Over the last year or so
+they have become `official', much more active and they now
+organise an annual meeting. The first well-publicised
+GUTenberg meeting was held in Paris last year. I was
+impressed there by the attendence (well over 100), the
+stamina (the room was tiny and without air-conditioning),
+and the range of topics covered. There is, in any case, a
+tradition of \TeX\ activity in France -- the second
+European \TeX\ Conference was held in Strasbourg, in
+1986.
+
+This year's meeting was again in Paris, but used far
+larger rooms to accommodate the 120--150 people who
+attended. Scanning down the list of attendees, there
+are the usual academic and research
+organisations, but also publishers, and the printing trade
+in general. This bodes well for the future. The meeting
+was held over two days: the first day was given over to
+two seminars -- one on \LaTeX\ (from Olivier Nicole and
+Jacques Andr\'e), and the other on \MF\ (Victor
+Ostromoukhov); followed by the AGM. The second day was the
+conference proper. I attended part of Victor's `Premiers
+pas en \MF'. As usual, I was impressed by Victor's breadth
+and depth of \MF-lore. And he seemed to be getting
+something useful across to the forty or so would be \MF
+ers. Since he used a Macintosh to demonstrate the points,
+there was a reasonably quick interaction between intention
+and realisation. I confess I didn't stay to all of this;
+my powers of concentration are not great enough to follow
+a full day of technical \MF\ (far less in a foreign
+tongue). However, one quote from Victor:
+
+\centerline{\<mathematical typesetting> $\rightarrow$
+\<empty>\|\<\TeX>}
+\centerline{\<\TeX>$\rightarrow$\<\TeX82>\<font support>}
+
+\noindent
+That sums things up nicely I think.
+
+Bernard Gaulle, GUTenberg's President ran the AGM
+with great efficiency and some humour. I
+particularly like the French style of democracy (it runs:
+question -- `anyone against?'; answer -- `no'; conclusion
+-- `passed'; excellent). I won't plough through all the
+bits of the AGM, except to note that the group is in
+excellent financial health, that this is a year of
+anniversaries in France -- 200 years since the
+Revolution, but also some others: 10 years of TUG, 50
+years of CNRS (Centre Nationale de la Recherche
+Scientifique), one of the homes of \TeX, and of course
+this is also the year of the 4th European \TeX\ Conference.
+The AGM honoured two people with `honorary membership':
+Barbara Beeton and Raymond Seroul (the author of {\sl Le
+petit Livre de \TeX})). By way of recognition, they were
+each presented with an edition of `Les bons Romans',
+published over a hyndred years ago. Peter Abbott was also
+thanked for the help he has given in easing `[les]
+perturbations {\sc earn}/Bitnet'. I was particularly
+pleased to see Barbara honoured and Peter thanked in this
+way. The whole \TeX\ community owes them much for their
+dedicated adherence to the cause, and it was particularly
+refreshing and tactful that GUTenberg saw fit to include
+them in this way.
+
+Besides this conference, GUTenberg produces its own
+journal, {\sl Cahiers GUTenberg}. The inaugural (or
+prototype) edition (confusingly numbered `z\'ero') was
+available at last year's conference. The first and
+second editions were out by this year's conference. Many
+of the talks in the conference were also printed in the
+{\sl Cahiers} (which helped me enormously). Although the
+group is `francophone', several articles are in English.
+Allowing for the technical words which dictionaries never
+seem to get right, it isn't too difficult to make sense
+out of the papers/articles. The {\sl Cahiers} represent a
+major undertaking, in time, effort, and in financial
+commitment (as I well know from my own limited venture in
+\TeXline). If the high standards already being established
+are maintained, GUTenberg will have created something which
+will be of great and lasting service to the whole \TeX\
+community. My only minor criticism of the {\sl Cahiers}
+is the lack of consistency in the provision of abstracts
+(a failing it shares with TUGboat). If
+abstracts were included, it would be possible to prepare
+multilingual translations which could be circulated more
+widely, alerting others to the range and relevance of the
+material.
+
+The major theme of the Conference was `graphics' -- a
+popular one these days. Fortunately, thanks to Sebastian
+Rahtz' talks at \TeX88 and \ukTuG-2, I think I know a
+little about the background here. Rather than report each
+talk in detail, it is perhaps more productive to try to
+select some of the major themes. After all, the text of
+most of the talks is available. As usual, it is notable
+how far \LaTeX\ dominates in Europe (or perhaps, just
+outside the US). It is also notable that `standards',
+however defined, keep cropping up: X-Windows, \PS, \TeX\
+itself, PHIGS, GKS, \sgml, and even {\tt emacs}. This seems
+particularly healthy, although equally there are many
+forays into areas which are less portable. Nevertheless,
+the apparent domination of C, as the implementation
+language of choice, (with or without the spectre of Unix)
+would indicate the possibility of transfering some of the
+applications to other platforms. From the summaries, it is
+evident that one of the great concerns is the use of \PS,
+and the incorporation of \PS\ (and {\sc epsf}) files into
+(especially) \LaTeX. Perhaps my favourite paper was
+Maurice Laugier's. His was a very simple and
+straightforward idea -- namely that the pc's graphics
+characters may be mapped quite easily into rules, and
+that tables (and some diagrams) may be prepared by this
+means, provided that a monospaced font is adequate.
+And providing that your version of \TeX\ does not strip
+of the eighth bit (i.e.~is non-standard).
+
+A list of the talks, together with a brief summary (usually
+the authors'/author's own) is included here. Some of the
+talks were in English (a bold move for a francophone
+group), and some summaries (notably that of Lance Carnes)
+were distributed in English and French. Very tactful.
+
+\talk{L'ann\'ee de tous les anniversaires}{Bernard Gaulle}
+A welcome to GUTenberg, and an overview of the services
+and facilities available to \TeX\ users in France (and
+elesewhere); touches on the public, private and
+commercial domains; addresses GUTenberg's relationship
+with the rest of the world.
+
+\talk{Xwindows, \LaTeX, \TeX draw et Plot79, ou comment
+calculer, r\'ediger, dessiner et imprimer plus
+ais\'ement}{Nicolas Brouard} A workstation running under
+X-Windows offers a way of calculating, writing and
+designing which is much simpler than with a `classic'
+terminal. Two graphics tools, \TeX Draw (a public analogue
+of MacDraw) and PLOT79 (a 3D graphics system based on
+CORE), can easily be employed with \LaTeX.
+
+\talk{\TeX\ and Graphics: the state of the
+problem}{Nelson Beebe} Inclusion of graphics in documents
+typset by \TeX\ is not yet a satisfactorily solved
+problem, and no final general solution is in sight. This
+paper surveys alternatives for insertion of graphics in
+\TeX\ documents. It summarizes graphics primitives of
+several modern software systems, and shows how \TeX\
+has seriously deficient support for their direct
+incorporation in \TeX\ itself.
+
+\talk{L'environment de production de documents \TeX\ \`a
+l'IRISA}{Philippe Louarn \& Bertrand Decouty} The group
+consists of over 200 researchers, teachers and engineers,
+who need to produce reports, articles, theses,
+books\dots\ The objective was to provide a set of
+homogenous tools in a heterogenous environment (Unix,
+VMS, workstations, pcs\dots). Naturally, \TeX\ was chosen
+as the fundamental tool. In graphics, the two main
+avenues are through the incorportion of \PS, and by the
+use of {\tt eepic} in the \LaTeX\ picture environment.
+
+\talk{Survey of \TeX\ Graphics for the PC}{Lance Carnes}%
+This talk reviews the various graphics systems offerings
+for the IBM pc and compatibles, and the ways these
+systems can be used in conjunction with \TeX; the use of
+\PS, HP PCL and bitmap files in conjunction with current
+\TeX\ drivers; the use of output from screen oriented
+drawing systems; and the conversion of graphics files
+from one format to another, and scaling of images, for
+inclusion in documents.
+
+\talk{\TeX\ et les graphiques dans l'environment
+Mac}{Anestis Antoniadis} Painting and drawing are the two
+sides of the creation of graphics on the Macintosh.
+{\sl Paint\/} images (otherwise known as bitmaps) are known
+to the Mac as a set of points on the screen. {\sl Draw}
+images (also known as vector drawings) are known to the
+Mac as objects (rectangles, lines, circles, polygons) and
+are defined by their mathematical attributes. As a
+consequence of the way in which they are defined, they
+take full advantage of the resolution of \PS\
+peripheral devices. The goal of this article is to give
+an overview of the methods and software for the
+generation of graphics on the Mac, and to discuss the
+insertion of such graphics in documents prepared with
+\TeXtures, one of the implementations of \TeX\ on the
+Macintosh.
+
+\talk{\MFsl\ et \PS}{Victor Ostromoukhov} Conversion
+between \MF\ and \PS\ is possible. What are the best
+techniques, and what are the constraints? (No written
+contribution, but see his Mac\MF\ program.)
+
+\talk{DDI: un environnement de travail pour la
+r\'ealisation de graphiques scientifiques, techniques et
+fantaisies utilisables avec \TeX}{Andr\'e Violante} DDI is
+a work environment for the creation of scientific,
+technical and artistic graphics. The fundamental of the
+system is the creation and use of graphic fonts. To use
+these, several tools are available: design software
+({\tt Designcad}); a program to convert {\tt Designcad}
+files to \MF; \MF\ itself; GFtoPK; \TeX; and a suitable
+device driver.
+
+\talk{{\ttit texpic}: design and implementation of a
+picture graphics language in \TeX\ \`a la {\ttit pic}}{Rolf
+Olejniczak} {\tt texpic} is a \TeX\ implementation of a
+graphics language similar to Kerhighan's {\tt troff}
+preprocessor {\tt pic}. The implmentation consists of two
+parts, a set of elaborate \TeX\ macros and a postprocessor
+for drawing (in the {\tt dvi} file). {\tt texpic} objects
+and \TeX\ or \LaTeX\ commands may be combined at will.
+{\tt texpic} is written in C, and is fully portable, to
+the extent that every \TeX\ implementation, every preview
+and every correctly written printer driver will work with
+{\tt texpic}.
+
+
+\talk{Traduction en \TeX\ d'un
+fichier \sgml\ avec r\'ecup\'er\-ation des graphiques et
+des tableaux}{Maurice Laugier} The logic of \sgml\ markup
+is close to that of \LaTeX, and translation from \sgml\
+to \LaTeX\ can be realised quite simply. However, the
+problem is rather different for graphics and tables. This
+paper presents a way in which the PC graphics characters
+were successfully mapped into \LaTeX, easing the
+production of tables and simple diagrams.
+
+\talk{GI\TeX, PAPS: deux logiciels minipulant \PS\ et
+\LaTeX}{Christophe C\'erin}From pc-based graphics
+programs, PAPS (Programme d'App\-lication \PS) transforms
+an image into a \PS\ format. It will also allow some
+manipulation of the graphics image. GI\TeX\
+(G\'en\'erateur d'Image \TeX) is a program which allows a
+{\tt figure} environment to be constructed for inclusion
+of the \PS\ into a \LaTeX\ file.
+
+
+\talk{L'incorporation de graphiques dans
+INRS\TeX}{\nl Michael Ferguson} The approach used in
+INRS\TeX\ is to use the power of the printer to create
+graphics, and not to introduce special characters. The
+capability to generate graphics has been achieved for \PS,
+and for QMS graphics on a QUIC laser printer. Th paper
+discusses the role of the printer as well as the need for
+support software to permit the incorporation of graphics
+produced by other systems. The paper also discusses some
+of the limitations inherent in the choice of graphics
+systems.
+
+Like most conferences, the most interesting and valuable
+discussions take place in the corridors, over coffee, or
+at lunch. This tradition was maintained here. The
+corridors were also used to display various pieces of
+\TeX ware. The inclusion of a noticeboard for general
+\TeX-notices, trivial as it seems, was extremely useful.
+There was a display of ArborText's Publisher (about the
+only place you don't see Publisher these days is in the
+UK), and an extensive display of books, where Raymond
+Seroul's book was selling well (on its first day of
+publication).
+
+
+\medskip
+\leftline{\Bf Conclusion}
+\medskip
+\noindent
+I was impressed. There can be no doubt about it,
+GUTenberg provides us all with much to emulate. The
+strength and coherence of the group is manifest. Taken
+purely at the national (or francophone) level, GUTenberg
+is contributing massively to the strength of \TeX. The
+{\sl Cahiers} are excellent, and looks capable of
+sustained quality. The annual meeting is now
+well-established and imaginative. GUTenberg's involvement
+with several French publishers must also be a good sign.
+
+GUTenberg is also keenly aware of other French speaking
+areas (Belgium, Switzerland, Quebec) and of the
+advantages of international electronic communication. And
+the committee ensured that the various national
+representatives (myself, representing TUG and \ukTUG;
+Joachim Lammarsch, representing the German group, Dante;
+and Kees van der Laan representing the Dutch group) had
+the opportunity to discuss how we could cooperate for the
+common good.
+
+I am a shade worried by what I see as the determination
+to stay outside the TUG orbit. Perhaps I am over-sensitive
+-- being described either as English or Anglo-Saxon does
+tend to make me a trifle testy -- but I have always
+thought of TUG as an international organisation, not an
+American one. Others do not share this perception. If our
+conclusion is that we are not getting what we need out of
+TUG, the solution is in our own hands. We can influence
+the organisations in which we participate. That's the key
+-- participation. \TeX\ must be worth it.
+
+\medskip
+\leftline{\Bf Joining GUTenberg;}
+\leftline{\Bf subscribing to the Cahiers}
+\medskip
+\noindent
+To join GUTenberg, you need only part with 200 FF. This
+has two advantages (besides preparing you for 1992 and
+demonstrating your adherance to the European ideal) -- it
+enables you to pay a reduced fee at the annual meeting
+and for the {\sl Cahiers}. To obtain the {\sl Cahiers}
+costs a further 150 FF if you are a member, but 250 FF if
+you are not. This year's conference cost 200 FF for
+members and 400 FF for non-members. Clearly membership
+pays for itself if you are contemplating attending the
+conference and taking the journal. In other words,
+joining GUTenberg and subscribing to the {\sl Cahiers}
+costs you a total of 350 FF (made payable to GUTenberg). Of
+course Eurocheques are acceptable.
+
+Note that membership comes in several different categories:
+individual membership is 200 FF; institutional membership
+on behalf of a non-profit organisation is 700 FF; while
+institutional membership on behalf of profit-making (as
+opposed to {\it profitable}?) organisation is a hefty 1400
+FF. On the other hand, institutional membership does
+allow you to nominate up to seven individuals.
+
+Send your money to:
+{\obeylines
+\quad GUTenberg
+\quad c/o IRISA
+\quad Campus Universitaire de Beaulieu
+\quad 35042 Rennes Cedex
+\quad France
+}
+\rightline{\sl Malcolm Clark}
+
diff --git a/info/digests/texline/no9/lino.tex b/info/digests/texline/no9/lino.tex
new file mode 100644
index 0000000000..4d0fb973cd
--- /dev/null
+++ b/info/digests/texline/no9/lino.tex
@@ -0,0 +1,55 @@
+\vsize108pt
+\article{How well do you know your CM fonts?}
+I am sometimes surprised at the uncritical way in which people use
+Computer Modern fonts, especially on 300\,dpi laser printers.
+There are two problems:
+{\vadjust{\vfill\eject}}
+\bi CM is a rather lightweight face, and
+it seems to break up quite quickly at low resolution;
+\bi most
+people use a small set of fonts, magnifying them on demand, rather than
+having a correct font for every point size needed.
+
+\vfill\eject
+\noindent The reason often
+quoted for the latter is the disc space that fonts take up, but we
+should recall that only extra {\tt tfm} files are needed, as the {\tt pk} (or
+{\tt pxl} or {\tt gf} font files will differ little in size between cmr10
+magnified 3 times, and cmr17.
+
+In an effort to show the differences between the `correct' font
+sizes and the magnified fonts, I have
+generated a set of tables designed to show a \LaTeX\ user what he or
+she can expect to see at all the supported sizes and font styles; a
+comparison between the first table (page 33), generated with the default
+fonts (frequent magnifications), and the second (%
+this page), using fonts generated at the right design sizes, should demonstrate
+even to the casual eye that the difference is considerable.
+
+It is instructive to compare these Computer Modern
+tables with the third table (page 35), generated using \PS\ fonts -- the
+reader is left to decide which of the three he/she finds preferable.
+
+
+The `true-sized' \LaTeX\ fonts can be accessed by building a new
+\LaTeX\ with a revised `lfonts.tex'
+based on fonts using John Sauter's scripts a time-consuming, but
+interesting, exercise. The Aston archive contains\nl
+{\tt[tex-archive.fonts.sauter]}\nl
+to enable the `true-size' fonts to be built,
+and\nl
+{\tt [tex-archive.latex.contrib]lfonts.moretrue}
+\vfill\eject\noindent
+to allow \LaTeX\ to be rebuilt to take advantage of them.
+
+It had been intended to print these tables with a comparative set at
+1270\,dpi printed on a phototypesetter; unfortunately, experiments so
+far have simply produced VM errors on the \PS\ interpreter on the Linotron
+300. If the charts ever appear, they will be made available to \TeXline.
+\author{\sl Sebastian Rahtz}
+\vfill\eject
+%Computer Science
+%University
+%Southampton S09 5NH
+
+%spqr@uk.ac.soton.ecs
diff --git a/info/digests/texline/no9/lion.tex b/info/digests/texline/no9/lion.tex
new file mode 100644
index 0000000000..295fc78534
--- /dev/null
+++ b/info/digests/texline/no9/lion.tex
@@ -0,0 +1,30 @@
+\vsize720pt
+\hfuzz1.5pt
+\headline{\sl \TeXline\ 9 \hss 36}
+\def\TeXline{{\sl\TeX\kern-0.1em line}}
+\nopagenumbers
+\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)}
+ }
+\newbox\lion
+\setbox\lion\vbox{%
+\scaledpicture 8.07truein by 10truein (lion scaled 900)}
+\font\big=PalatinoI at 1.25in
+\font\less=Helvetica at 0.85in
+\newbox\C
+\def\twofil{\vskip0pt plus2.fil minus 1fil}
+\setbox\C\vbox to 7truein{\twofil
+%\rightline{\hss\less Exeter\hskip10pt}\smallskip
+\rightline{\big\TeX\kern-0.1emlion}\vss}
+\hbox{\kern-1in{\box\lion\kern-6.4in\box\C}}
+\bye
diff --git a/info/digests/texline/no9/meeting.tex b/info/digests/texline/no9/meeting.tex
new file mode 100644
index 0000000000..7ad11f8b1b
--- /dev/null
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@@ -0,0 +1,144 @@
+
+\article{\ukTuG\ meeting}
+The next \ukTuG\ meeting, will be held at Aston University,
+on October 11th. This meeting is entitled `{\sl
+Fonts: how they are created; how they can be used}' and
+will focus
+on font design, creation and use. Although it will touch on
+\MF\ and \PS, it is intended that the invited speakers
+will be able to provide greater width and depth of
+experience with typefaces and letterforms than we normally
+find in the \TeX-world.
+
+We have managed to acquire the services of David
+Kindersley, who is a genuine full-time creator of
+letterforms. There are few in the world, and even fewer
+of his skill, genius and sheer ability. In addition, we
+have three other representatives from different aspects
+of the commercial `type' world, all of whom have some
+major interest in the realisation of typefaces in
+electronic form. And then there are the \TeX nical
+speakers, who may be able to translate the intent into
+something we all can use. In particular, we are fortunate
+to have Andy Trevorrow here, on one of his too
+infrequent visits to Britain.
+
+
+The
+problem of design is one which we constantly encounter
+with document preparation. We can design our own
+documents, adopt previously designed approaches (like
+\LaTeX), or perform some subtle modifications to achieve
+what it is we think we want. To some extent the same is
+true of typefaces: we can adopt what is already there
+(e.g.~Computer Modern); adapt it (by modifying the \MF\
+code); or even design our own. Whichever route we choose,
+it makes sense to try to find out something of the design
+process. The \MF\ paradigm is one of emulating a
+pen and nib model (which seems quite closely related to the
+way that Hermann Zapf, who worked with Knuth for some
+time, designs letterforms). Is this the only paradigm?
+What do we loose or gain by adopting it?
+
+This meeting promises to be a rare blend of
+several of the traditions which permeate the world of
+typefaces. A world which we are very lucky to share,
+thanks largely to the excellence and flexibility of
+Knuth's document preparation tools.
+
+
+\section{The Speakers}
+\bi{\bf David Kindersley} will be known to readers of both
+\TeXline\ and the Observer (cf.~Sunday June 4th, 1989,
+p.43). He was apprenticed to
+Eric Gill in the 30's, and among his achievements are a
+street-name alphabet widely used throughout the
+English-speaking world, and a system for letter-spacing.
+In fact he may claim that the spaces between letters are
+at least as, if not more, important than the form of the
+letters themselves. He now works chiefly in stone. The
+`archetype' for the classic Roman typeface is the
+lettering of Trajan's column -- in stone. Kindersley's
+willingness to talk to us is a reflection of the delight
+and pleasure he takes in alphabets, and confers a rare
+privelege on us.
+
+\bi{\bf Andrew Boag} is one of the `Reading School
+of Typography', as it is sometimes called, Andrew is not
+simply an academic typographer. He works extensively
+outside the academic world, and has, among other things,
+designed a typeface specifically for telephone
+directories -- an unsung, but very sensitive functional
+area. He has written a short history of John Baskerville
+(1706--1775),
+who is arguably of equivalent stature to
+`Transitional/Modern' typography that Knuth is to
+computerised typography.
+
+\bi{\bf Sarah Winthrop} from
+Linotype, will be able to give some indication of how one
+of the major corporations handles type. She will also
+give some background on the fundamental jargon which is
+used. With luck she may `sort' out our `families'.
+Linotype UK handles the `exotic' part of Linotype's
+extensive library, and are currently producing \PS\
+outlines of the exotics.
+
+\bi{\bf David Harris} is also known to readers of
+\TeXline.
+He works for Chelgraph (whose IBX imagesetter is one of the
+industry's most cost effective {\tt dvi} processors), and
+will talk to us today about font encoding. After all,
+pixels and B\'ezier curves are not the only answers. David
+is currently Chairman of the BCS Electronic Publishing SIG,
+and is partly responsible for their extremely successful
+Durham meeting, and also their long string of
+well-attended and fascinating one-day meetings.
+
+\bi{\bf Paul Bacsich} is the first token \TeX ie on this
+program! Paul has been guiding the Open University to
+electronic publishing for some time now. The OU publishes
+an amazing amount of material, and more and more of it is
+produced through electronic means. But this time Paul will
+be talking about the extra typefaces needed for high
+quality scientific work, within the context of the OU's
+requirements.
+
+\bi{\bf Philip Taylor} has
+been responsible for a great deal of the \TeX\ work which
+has been produced on the University of London's Linotron
+300. He will describe the joys of ensuring that this
+simple aim could be accomplished, without too much loss of
+hair.
+
+\bi{\bf Les Carr} (unconfirmed) is one of the small
+happy band who have tried to coerce or cajole \MF\ into
+revealing something which looks \PS\ acceptable. The relationship
+between \MF's outlines and those of \PS\ is one which
+sometimes seems obviously close, and then seems
+depressingly non-existent. He will
+describe the trials, tribulations and pitfalls.
+
+\bi{\bf Sebastian Rahtz} (unconfirmed) needs no
+introduction, since no \ukTuG\ meeting is complete without
+a talk from him. Sebastian has rediscovered Computer
+Modern, but will discuss, briefly, what can be done to
+make the \LaTeX\ fonts more acceptable, either by
+abandoning CM entirely to replace them by \PS\ fonts, or
+getting the design size right.
+
+\bi{\bf Andrew Trevorrow} should be known to a
+large proportion of the \TeX\ world for his extensive
+contribution to the public domain. He has written some
+very fine drivers for screens, laser printers and
+phototypesetters, and more recently has completed a
+public domain Macintosh \TeX, `Oz\kern-0.1em\TeX'. He
+will discuss the transition from `fonts' to the `marks on
+paper' which we eventually read.
+\section{Extras}
+This meeting will also have a short business meeting,
+where a committee and chairman will be elected. Remember
+that to vote you will have to be a member of the group.
+But all are welcome to attend. Details will be circulated
+separately.
+\author{Malcolm Clark}
diff --git a/info/digests/texline/no9/nordic.tex b/info/digests/texline/no9/nordic.tex
new file mode 100644
index 0000000000..8f1c6ad536
--- /dev/null
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@@ -0,0 +1,264 @@
+
+\article{Nordic \TeX}
+There has been a \TeX\ `grouping' in the Nordic countries
+(here taken to include Norway, Sweden, Finland, Denmark,
+and perhaps Iceland), for some years now. Last year they
+formed a committee which guided this year's gathering.
+From outside we have an impression of `northern Europe'
+as a rather homogeneous grouping, with similar customs,
+languages, aspirations and approaches to the world. This
+view is based largely on our ignorance. The language
+problem alone is sufficient that most of the meeting's
+participants found it easier to speak in English than to
+try to cope with the strange accents and vocabulary of
+their regional neighbours. It is probably the case that
+languages which are `similar' are more difficult to
+understand than those which are obviously dissimilar --
+just as it is often easier to handle an entirely different
+operating system than one which differs in only
+a few key ways. Nor are the \TeX\slash \LaTeX\ problems
+necessarily similar.
+
+The burning issue to the Swedes is the national character
+problem. Although Knuth made a change between \TeX78 and
+\TeX82 to make \AA\ a character rather than an accented A
+-- \*A -- (in passing, mistakenly removing the circle
+accent, which is needed in other European languages
+anyway), this new symbol is not to the liking of the
+Swedes -- a fuller exposition of these problems is given
+in the first European \TeX\ Conference Proceedings. In
+fact, the whole problem of national characters is one
+which goes much further. Keyboards look strange: they look
+strange because the often don't have those useful
+characters |\|, |[|, |]|, |{| and |}|, to mention the most
+interesting. These are replaced (at least in Sweden), by
+some of the `national' characters. A solution used in
+Swe\TeX\ is to replace |\{}| by |/<>|. At least this makes
+typing a bit more straightforward, but it makes document
+interchange rather more difficult than it should be (and
+it still does not solve the \LaTeX\ optional parameter
+problem). Of course, these problems are not unique to
+Sweden.
+
+And of course, hyphenation remains its usual problem,
+first to generate and use the appropriate patterns, and
+then to allow hyphenation after accented characters
+(remember that to a Swede, Dane or Norwegian, \AA\ is not
+an accented character, but the last letter of the
+alphabet.
+
+The meeting took place at KTH (Royal Institute of
+Technology) in Stockholm on June 12th. About 35--40
+people attended, mainly from Sweden, but with a fair
+number of representatives from Finland, Denmark and
+Norway. There were some from the publishing and
+commercial world as well as the academic\slash research
+world.
+
+Niels Mortensen of Ris\o, the Danish national laboratory,
+and currently the President of the Nordic \TeX\ committee
+started off the day with a description of \TeX\ use at
+Ris\o, a follow-up to his talk last year. \TeX\ has been
+identified as a `strategic product' by Ris\o, partly at
+least on account of its mathematical typography. One
+department uses only \TeX. He had brought with
+him the {\sl European Wind Atlas}, a 700 page A4 format
+book, the manuscript of which had been prepared in
+\LaTeX, and which would not have been possible to create
+without \LaTeX. Niels also identified some actual
+and potential problems and non-problems:
+\bi more powerful machines were needed (currently the
+laboratory uses pcs, but 386 machines would give them the
+power needed);
+\bi hyphenation was not a key problem, since the main
+language used was English;
+\bi document styles reflecting European standards were
+needed (e.g.~A4 and translation of \LaTeX\ `Table of
+Contents' etc.\ into Danish\dots);
+\bi conversion from other (word-processing) systems --
+not a real problem since it never happens;
+\bi choice of fonts to reflect current house style;
+\bi better manuals and training were needed;
+\bi centralised \TeX\ support required;
+\bi need photosetting now!
+
+\noindent
+Many will recognise these as common problem areas. The
+photosetting one is particularly galling at Ris\o\ since
+they purchased an IBX machine from Chelgraph, partly on
+the understanding that a {\tt dvi} to ACE driver would
+become commercially available. Sadly this has not
+happened.
+
+I talked a bit next about the other European \TeX\ groups
+and TUG. This developed into my by now standard
+harangue\slash pep talk. The only bit I can recall is
+saying that `because something came for free it didn't
+mean you weren't going to pay for it'. I may develop this
+theme elsewhere.
+
+Staffan Romberger of KTH discussed the problems of the
+Nordic national letters outlined in the
+introduction to this article. Staffan noted that on
+average there would be one unacceptable hyphenation per
+page using \TeX's standard hyphenation. Jan Michael
+Rynning, also of KTH, complemented Staffan's talk by
+presenting the draft of a proposal to this year's TUG
+meeting. In effect it is a list of `what the Nordic users
+consider important in the standardisation and future
+development of \TeX'. The proposals will be circulated
+widely in the period up to the TUG conference, especially
+to other European groups who share similar problems of
+national characters, hyphenation and national words in
+macro packages.
+
+Per Harald Jacobsen of the University of Oslo (UiO) gave
+a brief introduction to the use of \TeX\ at UiO.
+Basically they used Michael Ferguson's ML (MultiLingual)
+\TeX, which helped solve many of the problems outlined by
+Staffan and Jan Michael (but which is not in the public
+domain), and Norwegian hyphenation patterns. They
+also had some Icelandic characters available. He noted a
+migration to Unix on the campus. The University had a
+Linotronic with a RIP3 (the latest raster image processor
+from Linotype), as well as the \PS\ based LPS40 laser
+printer. They had produced a number of local guides to
+the \TeX\ and \LaTeX\ system available. He also noted
+participation in various projects involving `standards'
+like SGML, ODA and \PS. And he mentioned {\sl
+Mathematica}. This amazing piece of software has not yet
+made its way into \TeXline, but it ought to. Besides
+having the potential to revolutionise the way mathematics
+is taught (and understood), it can generate \TeX. Bruce
+Wolman of \TeX\kern-0.1em cel in Norway maintains that {\sl
+Mathematica} helps to sell \TeX. I can believe it.
+
+Anders Eriksson (again of KTH) discussed some tools which
+had been developed to allow graphics from AutoCad, Lotus,
+Quattro and Excel to be imported into \LaTeX\ documents.
+Essentially this takes an HPGL plot file (which almost
+every piece of graphics software will produce somehow),
+and converts it to a form which can be used by \TeX. It
+is device dependent (the device being an HP Laser Jet I
+guess), but at least the conversion software, ACAD-\TeX\
+is available on request. It is written in T-Basic.
+
+Miro Sedla\v cek (KTH again) discussed some of the
+problems he had encountered placing pictures in
+\TeXtures, one of the \TeX\ implementations on the Mac.
+Some of the problems were associated with the different
+resolutions employed by different pieces of Mac software.
+Those using PICT format (including MacDraw, Canvas
+and MacDraft) work at 72\,dpi (the screen resolution).
+When printed at 300\,dpi on a laser printer, these pictures
+often look rather unsatisfactory. Similarly most of the
+paint programs use pixels which use the Mac's screen
+resolution. He had also done some work with graphics
+generated through Illustrator and Cricket Draw which
+allow Encapsulated \PS\ ({\sc epsf}) to be created.
+Incorporating {\sc epsf} avoids the problems of
+resolution. Using Illustrator has the additional advantage
+that it is possible to save the preview image, so that the
+perennial \PS\ problem of not being able to see the
+drawing is minimised. Miro had developed a number of macros
+to make the inclusion of the graphics somewhat easier.
+
+Peter Busk Laursen of UNI$\bullet$C (Danmarks EDB-Center
+for Forskning og Uddannelse) described their
+phototypesetting service. This must be one of the cheapest
+around, and uses an LN300. They have developed some tools
+to make the use of \LaTeX\ easier with the \PS\ fonts.
+Peter had brought with him {\sl \LaTeXsl\ p\aa\ dansk} by
+Steen Larsen (an introduction to \LaTeX), which had been
+produced on their system, using a mixture of New Century
+Schoolbook and Computer Modern. (Peter did describe New
+Century Schoolbook as `bombastic', but presumably not in
+this context.) This typesetting service is open to all.
+
+\PS\ entered the fray again, with another brief
+contribution from Jan Michael Rynning. One of the ways
+that KTH had employed to enhance resolution was the
+`print-at-magnification, photoreduce-to-true-size' --
+effectively allowing an A5 size page at the equivalent of
+about 420\,dpi. He also discussed the differences between
+`write white' and `write black' laser printer engines,
+noting too the need to tweak the \MF\ parameters in order
+to obtain good characters on the page whenever a new
+laser printer appeared. The difference between the old,
+CX-engine Apple LaserWriter and the new CS-engine
+LaserWriter II had already been mentioned. The new
+machine has bigger dots, which enables it to fill black
+areas rather better (but has all sorts of other, less
+desirable consequences). Staffan Romberger gave a quick
+demonstration of \TeXtures\ on the Mac, and managed to
+find a use for a pc (to prop up the Mac).
+
+Timo Suhonen of the University of Jyv\"askyl\"a\ in
+Finland gave a brief account of the history of \TeX\ use
+there. They have progressed from \TeX78 on a Univac 100
+(in 1983), through to \TeX\ on Sun4 and Sun3
+workstations, The Publisher, pc\TeX, \TeXtures\ and
+MultiLingual \TeX. He also brought with him some local
+documentation (mainly in Finnish), covering the use of
+\LaTeX, \AmSTeX\ and |plain|\TeX.
+
+
+ Various people in the audience were then invited to
+give a `site report' -- essentially to fly some flags.
+This ranged from the local departmental secretary, who
+uses \TeX, to Martti Nikunen from Helsinki (secretary of
+the \TeX\ committee of Euromath) who had
+brought a bag of public domain goodies with him to
+distribute -- Oz\TeX, Wayne Sullivan's \TeX\ and previewer,
+James Clark's |dvitops|, and RUMDJET. RUMDJET is a
+modification of one of Nelson Beebe's drivers for the HP
+ink jet printer: it gives good quality images. And it
+also drives the HP LaserJet. A bargain. Bo Thid\'e from
+the far north described some of the things going on beyond
+the Arctic Circle (at Sweden's Space Research Centre). He
+is running one of the humungous \TeX s (sometimes also
+referred to as {\it gros} or {\it gross}\TeX) on an HP-UX
+system, and is starting to look at exploiting the
+architecture of that machine more. He pointed out that
+Unix systems now had `National Language Support', meaning
+that you could indeed use the local keyboards without too
+much pain -- this should be looked at more closely.
+Curiously I noted Bo's name again, a few days later in
+\TeXhax. \PiCTeX, a well known eater of \TeX\ memory runs
+better on large versions of \TeX\ -- the ones which are
+usually written in C, and use 32 bit addressing. Even
+then, Bo had still managed to get the `I have run out of
+memory' message.
+
+The remainder of the meeting was used to discuss ways of
+fostering information exchange within the Nordic group.
+The most obvious item for me (as TUG European
+coordinator) was the relatively low level of coordination
+in the group. Various projects were underway which took
+little account of what other people were doing, or had
+done. People were still solving problems which had, in
+essence, been solved five years or so ago. It is only
+recently that the group's countries have had an effective
+electronic network (although many places are adequately
+connected on a wider scale). And the high cost of travel
+within and between the countries does discourage
+meetings. In fact, there was one half-serious suggestion
+to have the next meeting in the UK, since it would
+probably be cheaper (however the more
+level-headed consensus favoured the Canaries). The group
+continues, with Niels retaining the coveted role of
+President, and some minor changes to the rest of the
+committee -- maintaining the correct balance. Next year's
+meeting will be held in Oslo.
+
+Throughout this account one person's name has been
+conspicuously absent -- the organiser: Roswitha Graham of
+KTH had created this meeting, and had arranged all the
+interminable bits and pieces which go with it --
+speakers, accommodation, meals, hospitality, weather,
+hardware, welcome: absolutely everything. Without her
+unremitting zeal, enthusiasm and attention to details large
+and small, there would have been little cohesion and
+likely, no meeting.
+\author{Malcolm Clark}
+
diff --git a/info/digests/texline/no9/ntg.tex b/info/digests/texline/no9/ntg.tex
new file mode 100644
index 0000000000..2390ca4f52
--- /dev/null
+++ b/info/digests/texline/no9/ntg.tex
@@ -0,0 +1,171 @@
+
+\article{Nederlandse \TeX\ Gebruikergroep}
+The Dutch \TeX\ Group (NTG) organised a two day meeting
+at the University of Utrecht on June 29th--30th. The
+first day of the meeting was given over to courses: one
+`an Introduction to \LaTeX' given by J R Luyten \& Kees
+van der Laan (Groningen): the other was on `\LaTeX\ style
+files' and was presented by Nico Poppelier (Utrecht). I
+did not attend this preliminary day, partly because of time
+constraints, partly to maintain solidarity with BR's
+employees, and partly because I couldn't face a day of
+\LaTeX\ in Dutch. Perhaps in 1992 I will speack all EC
+languages (and \LaTeX) fluently.
+
+The Dutch have a very laid back approach to meetings, and
+this was a very relaxed program. 12 presentations were
+given in the day, between 10.00\,am and 4.00\,pm, with a
+gap of two hours at lunchtime. How do you achieve this,
+and still have some time to give the talks? -- parallel
+sessions (did I mention the two coffee breaks as well?).
+This did ensure that everyone had a chance to chatter
+informally, and the early finish allowed the participants
+to be home before dark. (As the Dutch keep telling you
+`ours is only a small country\dots'). As usual with
+parallel sessions, the most interesting looking talks are
+always scheduled together.
+
+The very first session was a general one, not held in
+parallel, but contained two talks: the first was from
+Kees van der Laan, who is the current NTG
+chairman. He outlined the last year's activities of NTG,
+covering its formation, its achievements and its plans
+for the future. Perhaps the most interesting parts for
+me, because it fits in with other `European' trends are
+the cooperation with other groups (like \sgml\ users),
+the listserver\slash fileserver which has been
+established, the `customisation' of \LaTeX\ style files
+for Dutch requirements, and the desire to share
+information with others. Added to this the group has
+started to evaluate \TeX-relevant software.
+
+The second talk was me in my TUG European coordinator's
+role. This is the usual polemic\slash harangue of `what
+is out there', `join TUG', `contribute to \TUGboat',
+`participate', `wonderful to be here', followed by a
+quick foray into `standards'.
+
+After coffee the first parallel session began, with a
+choice between `DTP versus \TeX' (Ad Emmen, SARA),
+`From \sgml\ to \TeX\ and back again' (Jos Warner, Vrije
+Universiteit, Amsterdam), and `a Demonstration of
+Amiga\TeX\ together with {\sc arexx}' (Lex Fransen,
+Utrecht). I went to Jos Warner's presentation on
+\sgml/\TeX, since I already knew a little of the VU's
+work on an \sgml\ parser. An article on this will be
+published sometime in EP-{\sc odd}. One of the suggestions
+made in the course of the presentation was that the
+\LaTeX\ style files are, in a sense, Document Type
+Definitions (DTDs). While this is noy wholly true, it
+could be, and it might be a useful path to pursue, one
+which could make \sgml\ much more approachable.
+Essentially \TeX\ means \LaTeX\ in this context. Trying to
+massage raw \TeX\ into \sgml\ would indeed be a challenge.
+Even then I am not too snaguine about the
+\LaTeX$\to$\sgml\ routeway, although clearly this could be
+a most useful path for data capture.
+
+Lunch was an opportunity to talk \TeX\ to \TeX ies. Have
+you noticed how apparently normal people become
+illuminated when they start babbling \TeX?
+
+The first of the afternoon sessions were `Transparencies
+using \LaTeX' (Kees van der Laan), `\TeX\ for manuals' (A
+J van der Groot, Groningen) and `TeX's hypehnation
+algorithm and the problems with Dutch' (F D C Kuiken). I
+atended the hyphenation talk. This was an exposition of
+how \TeX's hyphenation works, drawn partly from the
+existing literature -- it was however useful to draw this
+togther into one place and to bring in the various \TeX\
+parameters which are available for adjustment. I admit I
+had forgotten that there may only be 307 entries in
+|\hyphenation|,. Some macros were introduced to to allow
+for the way Dutch words divide (requiring the use of
+|\discretionary|, and a neat dodge which allows an
+already accented word to be hyphenated after the accent.
+Normally \TeX\ will not hyphenate words after an accent,
+but it can be coerced into doing so, by pretending that
+the part after the diacritical is a word in its own
+right. Clearly this is not perfect, but it helps. Kuiken
+has actually written his own hyphenation scheme, which
+improves over the technique employed by Liang in \TeX,
+but he was unable to say much about this.
+
+The next session was a choice between `a short
+introduction to \MF\ (Walter Jaffe, Leiden) and
+`Simpel\TeX' (Andreas Lenstra, Nijmegan). Walter Jaffe has
+produced a Hebrew character set. But I went to hear
+Andreas Lenstra: partly because he was talking
+\TeX, not \LaTeX. In essence he has a set of
+straightforward macros which are reasonably modular and
+yet powerful enough for many tasks, with the prospect of
+development without the need to tread very carefully.
+
+The last session was a choice between `Pie charts' (Kees
+van der Laan) and `WorkGroup 13' (Victor Eijkhout).
+WorkGroup 13 (or WG13) is NTG's working group tackling
+specifically Dutch problems. This covers hyphenation,
+through to the customisation of \LaTeX\ style files, and
+also the creation of new appropriate style files. This is
+the one I attended.
+
+Victor noted that a dictionary of 50,000 words had
+generated 4,500 patterns for \TeX, and gave a claimed
+89\% `accuracy' -- for US-English; in the Netherlands, a
+dictionary of 350,000 words had generated 8,000 patterns
+and gave a remarkable 99.5\% `accuracy'. On the other
+hand, 8,000 patterns is too large for standard {\sc
+ini{\TeX}}.
+
+WG13 had paid heed to Lamport's oft-repeated maxim that
+styles need designers, and have worked extensively with a
+designer on the modification and and creation of \LaTeX\
+styles. One modification of `table of contents', to
+eliminate the line of dots and have the page number
+reference follow the chapter\slash section title, leaving
+about a quad of space met with a mixed response.
+
+Victor also noted that `designers' and typographers
+seldom agree on just what the line measure should be: for
+example
+
+\centerline{\vbox{%
+\halign{\hfil#\quad&\hfil#&\ #\hfil\cr
+\strut guru & \multispan2\hfil measure \hfil\cr
+Morison & 10--12&words\cr
+Karl Treebus & 10--12&words\cr
+ & 60--70&letters\cr
+John Miles & 60--65&characters\cr
+Leslie Lamport & 575&tokens\cr
+Linotype & 7--10&words\cr
+ & 50--65&letters\cr}
+}}
+
+\noindent Of course some of the variability is due to
+factors like typeface and leading.
+
+Naturally the A4 paper size was part of the `Euro-style'.
+\LaTeX\ customisation was necessary too. But perhaps the
+most interesting feature was the creation of new styles to
+reflect regional typographic expectations.
+
+To summarise -- a meeting worth attending, since it
+demonstrated the vigour and determination of yet another
+group of \TeX ies. There was no overall theme to the
+meeting, perhaps a reflection in part of its youth.
+Nevertheless the many active work groups should soon
+provide much potential for more specialist meetings, if
+that is what the NTG desire. A general meeting like this
+ensures that there is something for everyone. Again the
+pre-emminence of \LaTeX\ is noticeable, and the European
+themes of hyphenation and style file customisation. The
+national character problems of groups to the north, east
+and south are less acute here. A good, smooth meeting,
+with great promise for the future. Much of the credit for
+the success of the meeting must go to the NTG's board,
+and in particular to the irrepresible Kees van der Laan.
+\author{Malcolm Clark}
+
+
+
+
diff --git a/info/digests/texline/no9/post.tex b/info/digests/texline/no9/post.tex
new file mode 100644
index 0000000000..2bb42b26dd
--- /dev/null
+++ b/info/digests/texline/no9/post.tex
@@ -0,0 +1,88 @@
+
+\def\cf{{\it cf.}}
+\centerline{\bf\DVI\ to PostScript conversion}
+\medskip\noindent
+The requirement to convert from \DVI\ format to \PS\ is widespread; both \TeX\
+and \PS\ are sufficiently widely used that there exist several packages which
+meet this fundamental requirement; the following are just the few of which I
+am aware:
+
+\smallskip
+\noindent
+{\bf DVILASER/PS}: a commercial offering, from ArborText (TextSet, as was).
+Runs under (at least) VAX/VMS and MS/PC-DOS. Costs \quid 250 for PC, \quid
+750 per machine for `large' VAXes. Supports both \PS\ and \CM\ fonts (uses
+{\tt pk} representation for the latter). Supports |\special|, allowing
+embedded \PS\ documents. Has been tested with the Linotron 300, using
+IBM-PC implementation, using both \PS\ and \CM\ fonts at 300 and 1270\, dpi.
+
+\smallskip
+\noindent
+{\bf PSDVI \& PSPRINT}: Andrew Trevorrow's {\sc mod\-ula-2} implementation for
+VAX/VMS. Supports both \CM\ and \PS\ fonts, and redefines various \TeX\
+control sequences to support the latter (for accents and the like). Supports
+the inclusion of \PS\ files via |\special|. Available free of charge,
+including source. Has been tested with PrintServer-40, Linotron 300 and
+LaserWriter at the Open University.
+
+\smallskip
+\noindent
+{\bf DVI2PS}: Tony Arnold's {\sc pascal} implementation for VAX/VMS. Supports
+\CM\ fonts in \GF\ format. Supports embedded \PS\ through the use of
+|\special|. Costs \quid 100,
+including majority of source, although some routines are supplied only as
+object modules. Current status unknown.
+
+\smallskip
+\noindent
+{\bf DVIALW/PS}: Nelson Beebe's generic C implementation. Available for (at
+least) VAX/VMS and Unix. Supports embedded \PS\ through |\special|.
+Available free of charge, including source. One of a wide variety of \DVI\
+interpreters written by Nelson, based on common code with device-specific
+modules.
+
+\smallskip
+\noindent
+{\bf DVI2PS}: Art Kline's `C' implementation (\cf see next item)
+Mark Senn wrote the early versions of this program for the BBN BitGraph.
+Stephan Bechtolsheim, Bob Brown, Richard Furuta, James Schaad and Robert
+Wells improved it. Norm Hutchinson ported the program to the Sun. Neal
+Holtz ported it to the Apollo, and from there to producing \PS\ output.
+Stephan Bechtolsheim carried out further improvements.
+
+\smallskip
+\noindent
+{\bf DVI2PS}: Piet van Oostrum's `C' implementation (\cf previous item)
+Mark Senn wrote the early versions of this program for the BBN BitGraph.
+Stephan Bechtolsheim, Bob Brown, Richard Furuta, James Schaad and Robert
+Wells improved it. Norm Hutchinson ported the program to the Sun. Neal
+Holtz ported it to the Apollo, and from there to producing \PS\ output.
+Scott Jones added intelligent font substitution. Piet van Oostrum added
+support for BSD4.1, the TEXFONTS environment variable, better positioning,
+resource (VM) limiting and \PK\ files. Les Carr added the capacity for use
+of LaserWriter builtin fonts; Piet van Oostrum merged the last two changes and
+rewrote the code for reading \TFM\ files.
+
+\smallskip
+\noindent
+{\bf DVItoPS}: James Clarke's `C' implementation for MS-DOS and Unix systems.
+Supports PK fonts and allows inline \PS. The author states that it should be
+easily portable to any machine with a decent C compiler and a reasonable
+architecture (\ascii\ and 8-bit bytes are required). It was originally
+developed on a MS-DOS machine, and some care was to taken to achieve maximum
+efficiency on a 16-bit architecture, by avoiding the use of 32-bit operations
+wherever possible. It consequently runs up to 3 times faster than some other
+PostScript drivers on MS-DOS machines (the relative speed depends on whether
+you are using floppy, hard or RAM disk; it is relatively much faster on RAM
+disk). There is much less difference on 32-bit machines.
+
+\bigskip
+\noindent
+Of these packages, I have used ArborText's DVILASER/PS, Andrew Trevorrow's
+PSDVI (albeit an early version), and Tony Arnold's DVI2PS. At the time of
+testing, only ArborText's provided the full range of facilities that I needed,
+and I have therefore standardised on that version. But note that
+Dominik Wujastyk reports considerable success with James Clarke's DVItoPS
+program.
+\smallskip
+\rightline{\sl Philip Taylor}
diff --git a/info/digests/texline/no9/qq2.tex b/info/digests/texline/no9/qq2.tex
new file mode 100644
index 0000000000..f71bba7e64
--- /dev/null
+++ b/info/digests/texline/no9/qq2.tex
@@ -0,0 +1,13 @@
+\article{Quotable Quotes II}
+Screen previewing is also becoming an option with some
+versions of \TeX, such as the version used by IOP
+Publishing, \LaTeX.
+
+\rightline{\sl Mark Ware, Physics World,
+December 1988}
+\medskip
+\noindent
+While it may not seem so on the outside, \TeX\ is
+intrinsically object-oriented in architecture.
+
+\rightline{\sl Dave Thomas \& Randolph Best, Woodman'89}
diff --git a/info/digests/texline/no9/quote.tex b/info/digests/texline/no9/quote.tex
new file mode 100644
index 0000000000..4dc470ed8c
--- /dev/null
+++ b/info/digests/texline/no9/quote.tex
@@ -0,0 +1,13 @@
+\article{Quotable Quotes}
+\line{`PS$\heartsuit\{$honk$\}$if'\hfill
+{\sl Glenn Reid}}
+\medskip
+\noindent
+`Plantin would make a good general text type if refined
+and sharpened.'
+`Quite true', replied Morison `and you'll get Times New
+Roman'.
+
+\noindent
+-- probably apocryphal, but quoted on p.100, `An Atlas of
+Typefaces', {\sl J Sutton \& A Bartram}, 1988.
diff --git a/info/digests/texline/no9/rca.tex b/info/digests/texline/no9/rca.tex
new file mode 100644
index 0000000000..ba1d0888e0
--- /dev/null
+++ b/info/digests/texline/no9/rca.tex
@@ -0,0 +1,331 @@
+
+\def\wysiwyg{{\it wysiwyg}}
+\bigskip
+[The following article is the text of a presentation
+given at the Royal College of Art on December 8th, 1988.
+The theme of the meeting was `Training for
+Desktop Publishing', and it was intended as a vehicle to
+inform `management' about some of the features of dtp
+which vendors rarely reveal. In the event, many of the
+other speakers were representatives of various software
+and hardware vendors. But having written it, it seemed a
+pity not to put it out into the world. Some of the
+article comprises fairly straightforward background
+material. I believe that this is an area which we seldom
+address well (myself included). So many people have a
+totally inaccurate view of \TeX\ and \LaTeX. Just glance
+at what the computer press has to say about \TeX, should
+its denizens ever deign to review it: clearly journalism
+requires neither research nor serious application. But as
+long as we fail to reach out and communicate, the fault
+is as much ours. We have nothing to lose except \TeX.]
+\bigskip
+%Arthur Keller, 1985.
+% %The use if \TeX\ offers not only the potential for
+%producing material of the highest quality, but also the
+%possibility of producing unreadable or un\ae sthetic
+%documents. Elegant typesetting is not a substitute for
+%clear, refined prose.
+\let\big=\bf
+\centerline{\big\TeX, training, and a few other windmills}
+\section{\TeX: background}
+Let's first of all establish what \TeX\ is, and how you
+use it. \TeX\ is a computerised typesetting system which
+has been under development since about 1978, and which
+ceased development in 1982-ish. Any work done since then
+has been purely bug fixes.
+
+It was created by an academic, Professor Donald Knuth of
+Stanford University. Knuth was dissatisfied by the
+quality of typesetting which his publishers were managing
+to achieve, and basically, he decided to do it right.
+
+His own books are largely mathematical in nature, and he
+gave a great deal of attention in \TeX\ to setting
+technical text. Even now, there is no computerised
+typesetting system which can hold a candle to \TeX\ for
+setting mathematical equations. Some of us would be bold
+enough to argue that its typographic excellence goes
+beyond mere mathematics. And this despite the fact that
+the whole of \TeX\ resides in the public domain. Anyone
+can adapt or adopt its algorithms (or even its code) and
+make them part of their own product. There are a number
+of commercial organisations who will supply their own
+particular implementations of the software, and who will
+provide the backup services normally associated with
+software suppliers -- help, advice, consultancy,
+teaching, etc.
+
+\TeX\ was developed on a Digital TOPS-20 system at
+Stanford: it was developed on a mini-computer with
+probably less power than an Macintosh II or a 386 pc.
+Despite the fact that it started out on traditional
+multi-user computer systems, it was sufficiently well
+written that it could be transferred to all sorts of other
+machines.
+
+Today \TeX\ runs on almost every flavour of computing
+engine. The minimum requirement is that the machine
+supports 16-bit arthmetic. This encompasses the IBM pc
+(in all its variations), the Apple Macintosh (in all its
+varieties), the Atari ST, the Amiga, and even
+more obscure personal machines. \TeX\ is not fussy about
+where it lives. The micro
+versions of \TeX\ are not cut down versions of mainframe
+programs. They are functionally equivalent in every detail.
+\TeX\ not only runs on a variety of
+machines, it produces identical output for identical
+input, no matter what machine you choose -- no matter
+what output device you choose. \TeX\ has been driving
+phototypesetters and laser printers since 1978.
+
+But \TeX\ isn't particularly a desktop publishing device.
+To a user of \TeX, using a Cray supercomputer, the
+desktop would have to be very strong. To another, using
+his Macintosh at home, it would look pretty average. But
+both would have the same facilities at his or her
+fingertips. This gives \TeX\ users a very mobile quality.
+When they move from machine to machine they don't have to
+relearn \TeX, although of course they might have to
+relearn the details of the operating system and their
+editor. \TeX\ would probably rather be called a document
+preparation system. It's really designed for producing
+books, scientific papers, and other paraphanalia of the
+academic world. Despite that, it is also used to produce
+manuals, newsletters, magazines, the odd letter and quite
+a lot of lecture notes.
+
+Given that it was designed by an academic, with rather
+academic purposes in mind, it isn't altogether surprising
+that \TeX\ spread to other people in universities. In
+general they each had a fairly specific need: they wanted
+to be able to type in their own work -- why did they
+want to do it themselves? Not really out of any feeling
+of altruism, but simply because typing scientific
+material is often fraught with errors for the uninitiated
+(always assuming that you could read the handwriting). A
+typist who does not know that this squiggly thing is a
+$\zeta$, and this one is a $\gamma$ may have difficulties
+distinguishing $\sum$ from $\Sigma$. One way out of the
+fairly inevitable revision/edit cycle is to do the job
+yourself.
+
+So the spread of \TeX\ is largely a grass roots one. It
+has spread because there was nothing else which was
+available (at least, not generally). It has spread
+amongst a sector of the population with rather limited
+spending power, and with a distinctly unglamorous public
+image. There has been no media hype to tell us how
+wonderful \TeX\ is, and how we can't possibly manage
+without it. Despite its unparalleled excellence in
+setting penalty copy, you don't see it featured in
+any expensive Seybold Reports. Nobody is getting
+rich out of \TeX\ (well, hardly anyone -- and certainly
+not Knuth).
+
+
+\TeX\ is also unfashionable in the sense that it is not a
+direct manipulation \wysiwyg\ system. You type page layout
+commands within your text, whose effect you will not see
+until you run the text through the \TeX\ program. Now
+this is quite an interesting contrast to the current wave
+of dtp systems like Ventura, Pagemaker, Fleet Street
+Editor, and so on. If we examine the roots of these
+systems we can see that we can identify two
+starting points. There is the typing root, and there is
+the typesetting root. Of course, the typewriter was
+designed originally to emulate printing (which itself was
+of course designed to emulate the work of scribes and
+copyists). Nevertheless, we can note immediately that the
+notion of `what you see is what you get' is deeply
+embedded in typewriting, but that in the typesetting
+tradition, only those who could read intaglio mirror
+images of signature printing could guess what they
+were likely to get. Both traditions have co-existed for
+some time.
+
+There are many who would argue that it is not only
+irrelevant but positively distracting to see the layout
+of your text as you type in. Many believe that content
+and structure are inherently distinct. Certainly, in
+typesetting a book, it would be rather irritating to
+have to recall the exact details of the layout of each
+chapter opening.
+
+Before I finally get down to saying something about
+training, let me quote the following from Arthur
+Keller, one of Knuth's associates: {\sl ``The use if \TeX\
+offers not only the potential for producing material of the
+highest quality, but also the possibility of producing
+unreadable or un\ae sthetic documents. Elegant typesetting
+is not a substitute for clear, refined prose.''}
+
+\section{Training}
+My own experience with \TeX\ over 5 or 6 years indicates
+that there are many forms that training can take:
+\smallskip\noindent
+$\bullet$There are people who will use \TeX\ without any
+training whatsoever. Armed only with the book (\TeX\ has
+a rather good 500 page book which goes with it) they will
+quite happily produce their thesis or book. This level of
+sophistication is no challenge to them at all. They
+probably have more difficulty with the mechanics of typing
+than any other aspect of the problem.
+\smallskip\noindent
+$\bullet$There are many who learn from others. It seems
+that once you have a `critical mass' of users, they
+become self sustaining. Individually they may not know a
+great deal, but by pooling information, they solve most
+problems.
+\smallskip\noindent
+$\bullet$Many people like to go on courses. Those who go
+on a course with a problem to solve, like a thesis to
+write, assimilate the information much more quickly than
+those along for the ride. Directed learning has no equal.
+\smallskip\noindent
+$\bullet$The best courses allow people to use the system.
+Now this actually presents a problem, since once you
+encourage people to sit at a micro or terminal, you have
+to assume some level of competence of keyboard and
+computer. In my own courses, this has been the single
+biggest problem. I teach \TeX\ on IBM PCs, in an
+environment where we also have multi-user
+mainframe machines. Mainframe people, unfamiliar with
+micros can find them awkward and unfriendly. Some
+positively relish learning a new system, other dread it.
+Given that we are covering new material, we cannot afford
+to let people be left behind because they can't use the
+editor. Lose them at the beginning, and you've lost them
+for good. Another consequence of practical work is that
+classes have to be reasonably small -- you can't spend
+ten minutes with each member of a 20 strong class. And
+practical work tends to be slow.
+\smallskip\noindent
+$\bullet$Lets dispell the myth that
+says that you can't teach something this complicated to
+secretaries and typists. What nonsense! This is
+usually the refuge of some academic (read `manager') who
+doesn't really understand what is going on, feels he/she
+ought to, but does not want to be upstaged by people to
+whom he/she feels intellectually superior. But courses
+must be tailored to their audience.
+
+\smallskip\noindent $\bullet$People who want to do
+training usually do better than those who are drafted.
+\medskip
+\section{The windmills}
+There is much more to `publishing' than merely putting
+the words down on the page. The whole history of
+professional publishing demonstrates that the
+`origination' side of things, although not without its
+own special problems, is only one part of process. Within
+the desktop and electronic publishing world the following
+points may be a made.
+
+
+\smallskip\noindent
+$\bullet$Producing the typeset
+quality output is usually the beginning of the problem.
+This requires amplification. Using the nuts and bolts of
+some system can almost always be mastered, whether
+intuitively, by rote, or with some understanding. The
+mechanical elements seldom present an overwhelming
+problem. What presents the problem is, to paraphrase
+Beatrice Warde's words, `making the type invisible'. As far
+as technical typesetting is concerned, the type ought to
+be transparent. It ought not to be a barrier to
+understanding. That's one reason that technical texts tend
+to be set in a rather bland variety of a `modern' serifed
+typeface. It's what we are used to. If we were preparing
+advertising material, our objectives might be rather
+different. There is nothing competitive about a maths
+book. The competition was between `shall I read the book
+or dig the garden', not `which article shall I read
+first', as might be the case in a magazine.
+\smallskip\noindent
+$\bullet$Insufficient attention is given to design. We
+all seem to think we know what books should look like. Our
+level of criticism seldom advances above `I know what I
+like'. \TeX\ has made some attempt to tackle the design
+problem, by having a series of highly structured
+templates which will guarantee generation of an
+acceptable design for books, articles,
+reports, and so on. Not one of these could be described
+as exciting, but we are not in the business of exciting
+by our design. We are out to excite and inflame by the
+contents. Nevertheless, I still see students determined
+to emulate the typewriter. If you are preparing a thesis,
+the regulations do tend to assume that that is the
+medium, so there is some excuse.
+\smallskip\noindent
+$\bullet$Where are the typographers? One of the real
+reasons that much desktop publishing is excerable is that
+typographers have been shirking their responsibilities.
+They probably were not involved in the desktop revolution.
+The apocryphal tale is told that Hermann Zapf (of
+Dingbats fame), who designed Optima, was not even asked by
+Adobe for his comments on their digital version. But to
+many typographers, and I'm using the broad term which
+encompasses type designers as well as the people who are
+concerned with the placement of the mass of type, the
+electronic revolution seems to have induced panic, rather
+like a rabbit fascinated by a car's headlights, and they
+seem unable (with a few notable exceptions) to communicate
+with us, except perhaps to tell us that we're doing it all
+wrong.
+
+That typographers had nothing to do with the design
+of the Macintosh interface is manifest just by the
+Underline fonts, or by some of those dreadfully unreadable
+Shadow fonts. Even when the Linotype fonts on
+the LaserWriter are used, the `base' set universally
+available encourage people to mix Times and Helvetica as
+their `serif' and `sans serif' fonts -- not a happy
+pairing (it is even worse if you need to use a monospace
+font, since you will then almost certainly be using
+Courier -- the three do not blend well).
+
+The total lack of clarity in font sizes on the
+Macintosh is another example of control by people embedded
+in a typewriting approach. Why will packages allow you to
+use excessive measure, easily? They should allow you to
+do it, but only by perseverance. Almost every DTP package
+should carry a government health warning!
+\smallskip\noindent
+$\bullet$Since we've got managers and decision makers
+here, let's add that you shouldn't be taken in entirely
+by the claims of the package. In the hands of an expert,
+the package, whatever it is, will produce stunning
+results. Why then can't your staff achieve the same,
+instantly? Obviously you know the answer to this, or you
+wouldn't be here. But there is more to this than mere
+training. Any technological changeover leads to some
+reduction in quality. When Gutenberg started running off
+his 42-line bible about 1460, there were many who thought
+that quality had been compromised (we don't
+actually know when the first book was printed by
+Gutenberg, or even when the first bible was printed).
+When hot metal typesetting was ousted by film setting,
+many felt that standards were in decline (like Donald
+Knuth). The truth of the matter is that standards do
+decline, because there needs to be a build up of
+experience, practice at doing the job. With any luck,
+this doesn't take too long.
+
+A major drawback in the
+computing world is the distressing frequency with which
+new versions of the software appear. Usually they have
+fixed a whole host of bugs, and introduced a whole host
+of new ones. You will also have a range of new features
+which no-body knows how to use (or even what they are
+really for). It is probable that the first versions of
+PageMaker and Ventura (and \TeX\ too, for that matter),
+were rather limited. From a software suppliers point of
+view, in a highly competitive market, enhancements are
+needed to help attract media attention, and to keep the
+product firmly in focus.
+Fortunately from my point of
+view, \TeX\ is out of this vicious spiral. I can use it
+instead of relearning it.
+\smallskip
+\rightline{\sl Malcolm Clark}
diff --git a/info/digests/texline/no9/sdouble.tex b/info/digests/texline/no9/sdouble.tex
new file mode 100644
index 0000000000..b985391fa7
--- /dev/null
+++ b/info/digests/texline/no9/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/no9/small.leo b/info/digests/texline/no9/small.leo
new file mode 100644
index 0000000000..ac76159f6f
--- /dev/null
+++ b/info/digests/texline/no9/small.leo
@@ -0,0 +1,9 @@
+\font\big=cmss17 scaled\magstep1
+\font\sbig=courier at 21pt
+\newbox\lion
+\setbox\lion\vbox{%
+\scaledpicture 8.07truein by 10truein (lion scaled 200)}
+\newbox\C
+\def\twofil{\vskip0pt plus2.fil minus 1fil}
+\setbox\C\vbox {\twofil
+\hbox{\sbig\char'134\big relax}\vss}
diff --git a/info/digests/texline/no9/sort.tex b/info/digests/texline/no9/sort.tex
new file mode 100644
index 0000000000..e11f04c2d6
--- /dev/null
+++ b/info/digests/texline/no9/sort.tex
@@ -0,0 +1,198 @@
+\centerline{\bf An index to \TeXline\ number 1--8}
+\medskip
+\noindent
+In response to many hints and threats, an index to
+all the titles occuring in the first eight editions of \TeXline\
+is given here in alphabetical order. The `database' which
+contains this information has `keywords' included too. There
+is a possibility that a more general index may appear in
+the future -- \TeXline\ {\sl X\/} would be so appropriate.
+Why do tables of contents not appear in every \TeXline\/?
+A good question.
+\medskip
+{\raggedright\frenchspacing\parindent0pt\obeylines
+A UK \TeX\ Users Group?: 8,19--20
+About Face!: 7,20--21
+Acknowledgements: 7,1
+Almost an editorial: 4,1
+Articles of Interest: 3,15
+Atari!: 8,35--36
+Atari-ST \TeX: 7,19--20; 8,10--11
+{\sl Automatic Text Processing} (book review): 8,35
+\smallskip
+Backnumbers: 8,37
+BCS Displays Group: 8,38--39
+BCS Electronic Publishing Group (meeting report): 2,7--8
+BCS Electronic Publishing Group: 2,3
+BCS Electronic Publishing conference, Storage Technology in EP: 6,10--11
+BCS-EP (conference report): 4,2
+BCS-EP Meeting, Dektop Publishing -- the reality': 7,6--7
+Bits of \hax, Summer 87: 6,13--15
+Books on \TeX: 1,7
+Bug: 5,6
+Bulletin Board: 6,13
+\smallskip
+Call for papers: 8,37
+Chemical ring macros in \LaTeX: 4,11
+Chemical symbols from \LaTeX\ (example): 5,10
+Colophon: 2,1; 3,1
+{\sl Computer Modern Typefaces} (book review): 4,13
+Computer Typesetting (conference report): 1,8
+Contributors: 7,21
+Copyright: 6,17
+\smallskip
+Deadline: 1,8; 2,1
+Decus: 7,12
+Definitions: 2,3
+{\sl Desktop Publishing Skills} (book review): 7,22
+{\sl Digital Typography} (book review): 8,32--33
+Disclaimers: 2,8; 3,1
+DIY cmr fonts for the pc: 5,5
+DVILASER/HP (advert): 4,16
+ \smallskip
+Editor's prerogative: 7,1
+Editorial Note: 1,1; 2,1
+Editorial: 3,1
+Electronic Publishing (subscription details): 6,16
+Electronic Publishing Technologies: 8,36--37
+EP86, (announcement): 1,9
+\smallskip
+Fallen by the wayside: 8,37
+First European \TeX\ Conference (conference report): 1,3--4
+Font Storage and Character Generation: 3,2--4
+Fonts: 8,22
+Formulator: 7,13--14
+Forthcoming meetings: 4,10; 7,12
+From laser lovers: 3,13
+\smallskip
+Goodby serif: 1,7
+\smallskip
+How to obtain {\sl \TeXline}: 4,10
+\smallskip
+Is there anyone there? questionnaire: 1,2
+\smallskip
+Late news: 8,40
+{\sl\LaTeXsl\ a document preparation system} (book review): 4,6
+\LaTeX\ problems: 5,7
+\LaTeX\ style files: 6,15; 7,3
+Leslie says \dots\ : 7,2
+Leslie's friend says \dots\ : 8,35
+Letter to the Editor: 6,18
+Lines in \TeX\ and \LaTeX\ too: 4,10
+\smallskip
+Mac\MF: 5,7
+MacQueen/Mac\TeX\ update: 5,4
+Mac\TeX: 3,15
+Mac\TeX\ -- a mathematician's view: 7,10--11
+Macro\TeX: 7,17--18
+Macros on disk: 5,9
+Macros: 4,2
+Making it look right: 2,8
+Markup 85 (conference report): 1,5
+Markup 86: 4,4
+Markup 87: 6,5--6
+Meetings (advance notices): 3,13
+Meetings (announcements): 5,2
+Meetings: 1,7
+\MF\ meets at Oxford (meeting report): 5,8
+\MF\ on the Mac XL (example): 5,10
+Micro\TeX\ (advert): 3,12
+More laser news: 7,16
+More Markup: 5,4
+More \PS: 5,6
+More SGML: 8,39--40
+More symbols for \TeX: 5,7
+More typesetter drivers: 5,5
+Multilingual \TeX\ distribution: 8,35--36
+\smallskip
+News from the other side: 6,17
+Non-Roman scripts: 3,14
+Noughts and crosses: 8,20--22
+\smallskip
+Odd Types: 8,15--17
+On buying laserprinters: 1,2
+OpenType: 6,13
+Optical Letter Spacing: 3,7--8
+Other \TeX ing: 5,9
+Other useful addresses (list): 4,10
+Our Correspondent writes \dots\ (editorial): 5,1
+\smallskip
+Parochial matters: 8,1
+Periodicals: 7,8--9
+Pira's Precursor: 5,6
+Polish language and \TeX: 8,2
+\PS\ and math: 7,6--7
+{\sl\PS\ Language Program Design} (book review): 8,34
+{\sl\PS\ Language Reference Manual} (book review): 5,5
+{\sl\PS\ Language Tutorial and Cookbook} (book review) : 5,5
+Preview in the public domain: 7,15--16
+Producing a book with \LaTeX: 2,4--6
+Protext II (conference report): 3,9--11
+Protext III: 4,3
+Public domain: 7,16--17
+Publications (books etc): 3,14
+\smallskip
+Random Notes: 7,11
+Replacing toner cartridges: 6,12
+Resolution (editorial): 8,1
+\smallskip
+SGML: 8,33--34
+{\sl SGML an author's guide to SGML} (book review): 8,33--34
+SGML Implementors' meeting (report): 4,7
+SGML receives approval: 4,3
+SGML Software: 7,13--14
+SGML Users Group: 1,5
+SGML Users Group (meeting report): 2,2
+SGML Users Group meeting: 7,13--14
+SoftQuad Author/Editor (software review): 8,33--34
+Stuff to read (current literature): 6,12; 7,7--8
+Suppliers (list): 4,9
+\smallskip
+Talaris update (change of address): 2,1
+Ten years of \TeX\ and \MF: 8,35--36
+\TeX89: 8,38
+\TeX\ and TUG go international; a trip report: 8,4--5
+\TeX\ and graphics -- the {\it psfig} package: 7,4--5
+\TeX\ and the Linotron 101: 5,3
+\TeX\ as a feminist issue: 8,13--15
+\TeX\ considered as the Zahir (editorial): 6,1
+\TeX\ courses in Europe: 5,1
+\TeX\ for Scientific documentation (announcement): 2,8; 3,16
+\TeX\ in the real world: 1,2
+\TeX\ on micros: 1,1
+\TeX\ on the HP LaserJet printer: 3,5--6
+\TeX\ on the Macintosh: 4,4
+\TeX\ typesetting service: 6,6
+\TeX ing for a living: 3,7--8
+{\sl Text Processing \& Document Preparation} (book review): 4,8
+\TeX puter: 8,1
+\TeX\ Users Group 1987 Conference (announcement): 4,14
+\TeX\ Users Group 1987 Meeting. 1. View towards Mt. Olympus (Wa): 6,6--8
+\TeX\ Users Group 1987 Meeting. 2. Is there \TeX\ after Knuth?: 6,8--10
+Thanks: 1,8; 2,1; 8,40
+The 9th Annual \TeX\ users group meeting: 8,5--10
+The evolution of the \TeX\ user interface: 8,11--13
+{\sl The Illustrated Handbook of Desktop Publishing \& Typesetting} (book review): 7,9--10
+The many faces of \TeX: 8,22--31
+{\sl The \MFsl book} (book review): 6,3--5
+The Pres says \dots\ : 6,2--3
+The Publisher (advert): 4,15
+The return of {\hax}: 5,5
+{\sl The \TeXbook} (book review): 4,12
+The uphill struggle of \TeX: 8,11
+TUG: 1,6
+TUGboat notes: 2,3
+TUGboat: 5,6
+TYPOS: 3,1
+\smallskip
+UK \TeX\ Users Group: 8,17--19
+UK Typesetting bureaux (list): 4,9
+Useful (?) things from \hax/laserlovers: 1,6; 2,8
+\smallskip
+What's new with \TeX: 8,3
+Winged Sandals: 1,1
+Write now, right now: 5,1
+
+}
+\smallskip
+\rightline{\sl Malcolm Clark}
diff --git a/info/digests/texline/no9/stock.hlm b/info/digests/texline/no9/stock.hlm
new file mode 100644
index 0000000000..c8cce1bb5a
--- /dev/null
+++ b/info/digests/texline/no9/stock.hlm
@@ -0,0 +1,88 @@
+
+\centerline{\bf Standards}
+\medskip
+\noindent
+\TeX\ is a standard. It is
+rigidly defined; every implementation of \TeX\ must pass
+the `trip' test before it has the right to describe itself
+as `\TeX'. Even the components of \TeX\ are standards; {\tt
+dvi} format is defined rigorously; even the format
+of {\tt pxl}, {\tt pk}, and {\tt gf} is defined. Thanks
+to this standardisation, every user of \TeX\ (\LaTeX\ and
+\AmSTeX) knows that he or she can expect the same results
+from the same input, no matter what equipment they use to
+prepare their document. This is a degree of standardisation
+which is unheard of outside the \TeX\ world.
+
+There are areas within the \TeX\ world without adequate
+standards. Some of these have been at least considered by
+the \TeX\ community.
+Both device driver standards and macro-writing standards
+have been the subject of working parties: the driver
+standards working party has made some preliminary
+announcements, but the macro-writing standards working
+party seems to be moribund. Other areas
+require consideration, including the handling of {\b\tt
+special}s, but this may be tackled by the driver standards
+people.
+
+But there are wider standards which affect us in the
+\TeX\ world. The \TeX\ world is only a small (and many
+would argue, privileged) part of then `document' world.
+There are international and {\it de facto} standards
+which are of critical importance to us.
+
+We have to acknowledge the importance of the {\em de
+facto} standard, \PS{}. In a sense, \TeX\ `sits above'
+\PS{}. No-one (well, almost no-one), would ever dream of
+writing a document in straight \PS{}. Normally, we write a
+program which generates \PS\ -- for example, \TeX{}.
+Nevertheless, we must be aware of the way in which \PS-%
+compatibility is crucial if we are to be taken seriously
+by the rest of the world. We must have an acceptable
+answer to the question `Can you generate \PS?', even if we
+feel that the question is ill-posed.
+
+The first `international'
+standard which is of importance to us is \sgml{}, the
+Standard Generalized Markup Language. \TeX\ is itself a
+markup language, but \sgml\ takes this one step further to
+become divorced completely from the realm of typesetting.
+\LaTeX\ has a closer affinity to \sgml, although it does
+not go quite far enough. While it is possible to argue
+that the basic paradigm of \sgml\ is flawed, its
+widespread acceptance and use (by, among others the US
+DoD, and the EEC) demands that we do not ignore it. Many
+\sgml-based systems use \TeX\ (or \LaTeX) as the document
+formatting engine.
+
+But \sgml\ is an existing {\sc iso}
+standard. An evolving standard of which we must be keenly
+aware is {\sc oda} (Office Document Architecture). One of
+the objectives of {\sc oda} is to permit the
+electronic interchange of documents over open systems.
+In the \TeX\ world we would argue that this has already
+been achieved. One aspect of concern to {\sc oda} is
+mathematical text. Again, we would argue that this has
+already been achieved. Sadly, the way that national and
+international standards are created does not ensure that
+the best {\em de facto} standard becomes enshrined in the
+ultimate {\sc iso} standard. At present, the various {\sc
+oda} national committees and panels are considering the
+input of mathematics. The principal submission which has
+been received suggests the use of \eqn{}. This
+is a somewhat limited and limiting approach. It is of the
+utmost importance that we in the \TeX\ world promote the
+other alternatives that we know (and love).
+
+We can live outside the `standards world'. It is
+possible. But it is uncomfortable, and ultimately it will
+lead to atrophy. We should ensure that decisions, like
+those to become part of the {\sc oda} standard, are made
+with reference to a wide spectrum of possibilities. It
+may be that \TeX\ is inappropriate to {\sc oda}. But that
+conclusion must be reached by active and informed debate,
+not by ignorance and apathy.
+\smallskip
+\rightline{\sl Malcolm Clark}
+
diff --git a/info/digests/texline/no9/tex89.tex b/info/digests/texline/no9/tex89.tex
new file mode 100644
index 0000000000..812b4fd242
--- /dev/null
+++ b/info/digests/texline/no9/tex89.tex
@@ -0,0 +1,50 @@
+\def\bi{\item{$\bullet$}}
+\centerline{\bf \TeX89}
+\centerline{4th Annual Meeting of European \TeX\ Users}
+\medskip
+\noindent
+As announced before,
+\TeX 89, the 4th Eu\-ro\-pean \TeX\ Conference, will take
+place at Karls\-ruhe
+University, FRG, from Monday, September 11, to Wednesday,
+September 13, 1989.
+The conference will be organized by
+Anne Br\"ug\-ge\-mann-Klein, Institut f\"ur Informatik,
+Universit\"at
+Freiburg, and Rainer Rupprecht, Rechenzentrum,
+Universit\"at Karlsruhe.
+
+Karlsruhe is a young town situated in the valley of the upper
+Rhine and surrounded by the wooded mountains of the Black Forest, the
+Palatinate, and Alsace.
+
+So far, about 20 papers have been submitted. Main topics
+are:
+\bi Retrieving archived files
+\bi \sgml\ and \TeX/\LaTeX
+\bi Fonts
+\bi \LaTeX\ \dots
+
+There is great interest to discuss special topics, so
+discussion groups will be scheduled as part of the conference. Highlights
+of the discussions will be presented to the general audience
+on the last day of the conference.
+
+Workshops before and after the conference will be announced separately.
+
+The conference fee is DM 280,--. The fee includes
+registration materials, lunches, social events and a copy of the
+conference proceedings. If paid before the July~1, the fee
+will be reduced to DM 250,--.
+
+If you have any questions or suggestions for the conference,
+don't hesitate to contact
+{\obeylines
+Rainer Rupprecht
+Rechenzentrum
+Universit\"at Karlsruhe
+Postfach 6980
+7500 Karlsruhe 1, FRG
+Telephone: (0721) 608-4031
+email: {\tt rz32@dkauni2} (bitnet)
+}
diff --git a/info/digests/texline/no9/texline.hed b/info/digests/texline/no9/texline.hed
new file mode 100644
index 0000000000..9d1ea945d9
--- /dev/null
+++ b/info/digests/texline/no9/texline.hed
@@ -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 9, \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/no9/texline.tex b/info/digests/texline/no9/texline.tex
new file mode 100644
index 0000000000..545fe37597
--- /dev/null
+++ b/info/digests/texline/no9/texline.tex
@@ -0,0 +1,138 @@
+\message{TeXline macros}
+\input sdouble
+\input verbar
+\tolerance3000
+\doublehyphendemerits15000
+%\raggedbottom
+\vsize9.5in
+\hfuzz2.5pt
+\baselineskip12pt
+\parskip0pt
+\parindent1em
+\abovedisplayskip3pt
+\belowdisplayskip0pt
+
+\headline{\ifnum\pageno>1\sl \TeXline\ 9 \hss \folio
+\else\hfil\fi}
+\nopagenumbers
+\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi}
+\def\nl{\hfill\break}
+\def\bi{\item{$\bullet$}}
+\def\section#1{%
+\medskip\leftline{\let\sc\scit\sl #1}\par\noindent\ignorespaces}
+\def\article#1{\centerline{\let\ukTuG\ukTUGbf\bf#1}\medskip\noindent\ignorespaces}
+\def\author#1{\smallskip\rightline{\sl#1}}
+
+\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}}
+\def\*#1{\ifmmode\discretionary{\thinspace\the\textfont2\char2#1}{#1}{#1}\else\accent'27#1\fi}
+
+\font\iteight=cmti8
+\font\ttit=cmsltt10
+\font\scb=cmbx8
+\font\sans=cmss10
+\font\sc=cmcsc10
+\font\mf=logo10
+\font\mfb=logobf10
+\font\mfsl=logosl10
+\let\em\it
+\font\symb=symbol at 10pt
+\font\cmu=cmu10
+
+\def\scit#1{\iteight\uppercase{#1}}
+
+\hyphenation{SGML SGML-ers}
+
+\def\MF{{\rm{\mf META}\-{\mf FONT}}}
+\def\MFb{{\bf{\mfb META}\-{\mfb FONT}}}
+\def\MFsl{{\sl{\mfsl META}\-{\mfsl FONT}}}
+\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\LaTeXsl{{\it L\kern-.36em\raise.3ex\hbox{\iteight
+A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}}
+\def\TeXline{{\sl\TeX\kern-0.1em line}}
+\def\SGML{{\sc sgml}}
+\let\sgml\SGML
+\def\PS{P{\sc{ost}}\-S{\sc{cript}}}
+\def\plain{{\tt plain}\kern-0.1667em\TeX}
+\def\ukTuG{{\sc uk}\kern-0.1emT\kern-0.1667em\lower0.5ex\hbox{U}\kern-0.125emG}
+\def\ukTUGbf{{\scb UK}\kern-0.1emT\kern-0.1667em\lower0.5ex\hbox{U}\kern-0.125emG}
+\def\TeXtures{{\sc\TeX\kern-0.1667em tures}}
+\def\TeXpert{{\sl\TeX\kern-0.1em pert systems\/}}
+\def\TeXhax{\TeX{\sc hax}}
+\let\hax\TeXhax
+\def\TeXbook{{\sl \TeX book}}
+\let\TB\TeXbook
+\def\PCTeX{{\sc pc}\kern-0.1em\TeX}
+\let\ps\PS
+\def\TS{Type \&~Set}
+\def\dvi{{\tt dvi}}
+\let\DVI\dvi
+\def\tfm{{\tt tfm}}
+\let\TFM\tfm
+\def\pxl{{\tt pxl}}
+\let\PXL\pxl
+\def\gf{{\tt gf}}
+\let\GF\gf
+\def\pk{{\tt pk}}
+\let\PK\pk
+\def\CM{{\rm Computer Modern}}
+\def\WEB{{\tt WEB}}
+\def\Weave{{\tt Weave}}
+\def\Tangle{{\tt Tangle}}
+\def\quid{{\cmu\$}}
+\def\unix{{\sc unix}}
+\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\JANET{{\sc Janet}}
+\let\Janet\JANET
+\def\DVItoVDU{DVIto\kern-.15em VDU}
+\def\PiC{P\kern-.12em\lower.5ex\hbox{I}\kern-.075emC}
+\def\PiCTeX{\PiC\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}}
+\def\psfig{{\it psfig}}
+\def\OzTeX{O\kern-.03em z\kern-.15em\TeX}
+
+\def\DW{Dominik Wujastyk}
+\def\DEK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em K}
+
+\def\by{$\times$}
+\def\inch{$''$}
+\def\ascii{{\sc ascii}}
+\let\ASCII\ascii
+\def\eqn{{\tt eqn}}
+\def\b{{\tt\char'134}}
+\def\wysiwyg{{\it wysiwyg\/}}
+%\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt
+% \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}}
+
+
+% 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/no9/tl9-1.tex b/info/digests/texline/no9/tl9-1.tex
new file mode 100644
index 0000000000..0182ae4912
--- /dev/null
+++ b/info/digests/texline/no9/tl9-1.tex
@@ -0,0 +1,55 @@
+\input texline
+
+\vsize8.5truein
+\input stock.hlm %
+\bigskip
+\input editor %boring old fart
+\bigskip\vfill
+\input quote %anon
+\eject
+\vsize=9.5truein
+\input gut %
+\goodbreak\bigskip\goodbreak
+\input dante %joachim lammarsch
+\goodbreak\bigskip\goodbreak
+\input rca %
+\goodbreak\bigskip\goodbreak
+\input dvi %don hosek &
+\goodbreak\bigskip\goodbreak
+\input biblio %carol hewlett
+\goodbreak\bigskip\goodbreak
+\input gberg0 %
+\goodbreak\bigskip\goodbreak
+\input sort.tex %table of contents
+\goodbreak\bigskip\goodbreak
+\input tug10 %TUG program committee
+\goodbreak\bigskip\goodbreak
+\input tex89 %rainer rupprecht
+\goodbreak\bigskip\goodbreak
+\input courses %cathy booth
+\eject
+\input uktug2 %david osborne
+\goodbreak\bigskip\goodbreak
+\input durham %david penfold
+\goodbreak\bigskip\goodbreak
+\input post %philip taylor
+\goodbreak\bigskip\goodbreak
+\input nordic %malcolm clark
+\eject
+\input meeting %malcolm clark
+\goodbreak\bigskip\goodbreak
+\input ntg %me again
+\goodbreak\bigskip\goodbreak
+\input good.guy %anonymous
+\eject
+\input adrian %adrian clark
+\goodbreak\bigskip\goodbreak
+\input qq2 %more quotes
+\eject
+{\input lino %sebastian rahtz
+}
+%\eject
+%\input diary %done separately!
+
+\bye
+
diff --git a/info/digests/texline/no9/tug10.tex b/info/digests/texline/no9/tug10.tex
new file mode 100644
index 0000000000..6349a25026
--- /dev/null
+++ b/info/digests/texline/no9/tug10.tex
@@ -0,0 +1,71 @@
+
+{\raggedright
+\def\ln#1#2{\noindent$\bullet$#1 -- {\sl#2}\par}
+\def\TUG{\TeX\ Users Group}
+\centerline{\bf Ten Years of \TeX\ and \MF}
+\centerline{Stanford University, August 20--23, 1989}
+\centerline{\sl Updated Program as of April 25, 1989}
+\medskip
+\ln{Introduction to \MF }{Doug Henderson}
+\ln{From Character Set to Font}{Pierre MacKay}
+\ln{Opening Pandora's Box}{Neenie Billawala}
+\ln{Order into Chaos: Typesetting Factal Images}{Alan
+Hoenig}
+\ln{Design of Oriental Characters with \MF}{Don Hosek}
+\ln{Thai Languages and \MF}{Bob Batzinger}
+\ln{A \MF-like System with \PS\ Output}{John Hobby}
+\ln{Migration from Computer Modern Fonts to Times Fonts}
+{Ralph Youngen, Daniel Latterner \& William Woolf}
+\ln{Fine Typesetting with \TeX\ Using Native Autologic
+Fonts}{Arvin Conrad}
+\ln{Introduction to \TeX\ and \TeX\ Systems}{Bart Childs
+\& Alan Hoenig}
+\ln{The Errors of \TeX}{Don Knuth}
+\ln{Report from the Driver Standards Committee}
+{Robert McGaffey}
+\ln{Things to do in and around Palo Alto}{Ginger Brower}
+\ln{Of the Computer Scientist, by the
+Computer Scientist, for the Computer Scientist}{Michael
+Doob}
+\ln{Mastering \TeX\ with Templates}{Hope Hamilton}
+\ln{\TeX\ and its Versatility in Office Production}{Jo Ann
+Rattey-Hicks}
+\ln{\TeX\ for the Word Processing
+Operator}{Robin Kubek}
+\ln{\TeX\ in M\'exico}{Max D\'\i az}
+\ln{\TeX\ for 30,000}{James Haskell, Wally Deschene \&
+ Alan Stolleis}
+\ln{\TeX\ Enslaved}{Alan Wittbecker}
+\ln{Methodologies for Preparing and Integrating
+\PS\ Graphics}{Tom Renfrow}
+\ln{\TeX pic -- Design and Implementation of a Picture
+ Graphics Language in \TeX\ \`a la {\sl pic}}
+{Rolf Olejniczak}
+\ln{\TeX\ at {\it Mathematical Reviews}}{William Woolf \&
+Daniel Latterner}
+\ln{Lexicography with \TeX}{J\"orgen Pind}
+\ln{Automated Database Publishing -- Two Case Studies}
+ {Alex Warman, Alun Vaughan \& Tim Kelly}
+\ln{\TeX\ Help Session}{Barbara Beeton}
+\ln{{\tt WEB} Help Session}{Wayne Sewell}
+\ln{The State of \TeX\ Users Groups in
+Europe}{\hbox{Malcolm} Clark}
+\ln{Keeping an Archive Dust Free}{Peter Abbott}
+\ln{\TeX reation -- Playing Games with \TeX's Mind}
+{Andrew Greene}
+\ln{Table Generation Techniques used in
+the Cellular Package }{John Pittman}
+\ln{Indexing \TeX's Commands}{Bill Cheswick}
+\ln{DVI File Processing Programs}{Stephan von
+Bechtolsheim}
+\ln{Using WordPerfect 5.0 to Create \TeX\ and \LaTeX\
+Documents}{Anita Hoover}
+\ln{\TeX\ Macros for COBOL Syntax Diagrams}{Mary McClure}
+\ln{Coordinating a Procedural Language and Text Editor to
+ Create an Efficient and Workable PC Interface for \TeX}
+{Brad Halverson \& Don Riley}
+\ln{General wrap-up and closing}{Bart Childs et al.}
+
+}
+\smallskip
+\rightline{\sl from TUG Program Committee}
diff --git a/info/digests/texline/no9/uktug2.tex b/info/digests/texline/no9/uktug2.tex
new file mode 100644
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+% notes on 1st meeting of UK TeX Users' Group
+% held on 15 March 1989 at London School of Economics
+%
+% hastily put togther under conditions of pressure and duress by
+% David Osborne, Cripps Computing Centre, University of Nottingham
+% email: d.osborne@uk.ac.nott.clan
+%
+% ==use plain format==
+%
+
+\def\Item{\item{$\bullet$}}
+\def\Itemitem{\itemitem{\ --\ }}
+\def\\{$\backslash$\relax}
+\def\specials{{\tt \b special}s}
+% define the LaTeX logo in two parts (we want the La separately)
+\def\La{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}}}
+
+% now some other useful odds and ends
+
+
+\article{\bf Notes on 1st meeting, UK \TeX\ Users
+Group}
+The London School of Economics was the venue on 15th March for the
+first meeting of a UK \TeX\ Users' group (numbering November's
+inaugural Nottingham meeting as the `zeroth'.
+Unlike the earlier meeting, the LSE meeting took a theme for all the
+talks: `Graphics and \TeX'. Because more time had been available to
+plan and publicise the event, it was good to see a broader
+representation of \TeX\ users instead of the bias towards those from
+academe and a rough head-count gave between 40 and 50 attendees.
+
+\section{`Business meeting' ({\it Malcolm Clark\/})}
+As the gathering was intended to be the first official meeting of a
+national UK user group, Malcolm Clark began with what he called a
+`business meeting' to discuss matters relating to the organisation
+of a user group, such as a constitution and the formation of an
+organising committee. Malcolm had prepared a draft constitution for
+the group, copies of which he distributed. This covered not just
+administrative matters, such as arrangements for annual meetings and
+the number of members at these to form a quorum, but also raised some
+questions which he asked those present to consider and decide at the
+next meeting. These covered important issues such as the relationship
+of a UK group to other European \TeX\ user groups and to TUG itself,
+together with the financial (and political) implications of membership
+fees. Clearly, these will require a good deal of discussion to sort
+out but Malcolm argued for co-operation with other groups, where
+possible. Communication of information between users in the group and
+between this and other groups is obviously an important point and some
+suggestions were made regarding a newsletter. Malcolm offered to make
+the \TeXline\ mailing list available, though \TeXline\ will continue
+as an independent publication. An {\it ad hoc} election of a
+committee to organise the group's future activities was then
+conducted.
+
+Finally, to lead in to the theme of the day's meeting, \TeX ed copies
+of a recent article by David Rogers were distributed; this had first
+appeared in the \TeXhax\ digest, 89(8),
+ later printed in \TUGboat\ as
+`Computer Graphics and \TeX\ -- A Challenge'.
+
+\section{Picture Languages ({\it Sebastian Rahtz\/})}
+Sebastian had, at last, a chance to give this talk, which had to be
+postponed from the Nottingham meeting for lack of time. It was worth
+waiting for and he described the many approaches which can be taken to
+include graphics in \LaTeX\ documents. The hardware he used at
+Southampton for this was a Sun 3/50 workstation with some unspecified
+(large) number of megabytes of memory.
+
+He began by surveying the field to assess the range of
+pictures/graphics which someone might want to include in their
+(\La)\TeX\ documents.
+\Item colour photographs -- not yet possible;
+\Item halftones;
+\Item line (`art') graphics -- hand drawn;
+\Item computer generated, bitmaps -- `black boxes';
+\Item structured computer graphics -- object-oriented;
+\Item algorithmic graphics -- generated from data;
+\Item bitmaps -- e.g., digitally transformed images;
+\Item character graphics
+ \Itemitem simple {\sc ascii} characters
+ \Itemitem Costabel's sprite macros (as described in \TeXhax
+ 88 \#106)
+ which take a bitmap diagram and generate a character;
+\Item dots -- \PiCTeX's way of generating graphics: hungry of time and memory;
+\Item Renner's category structure diagrams --
+ these use \LaTeX's picture commands and fragments of lines and arcs;
+\Item {\tt epic} and {\tt eepic} --
+ as above, but supplemented using \specials;
+ {\tt eepic} is the extended version
+ \Itemitem these require a \dvi\ driver which understands
+ {\tt tpic} \specials
+ \Itemitem {\tt tpic} is the front-end software
+\Item \MF -- single \MF\ characters representing diagrams --
+ again, a black box
+\Item \TeX\ halftones -- e.g., Knuth's \TUGboat\ (8,2) paper
+\Item graphics using \specials\ --
+ no standardisations yet; this introduces the problem
+ of \PS\ versus non-\PS\ printers and what is acceptable as a lowest
+common denominator
+\Item graphics produced by post-processing the \dvi\ file --
+ \specials\ in the \dvi\ are
+ treated by a \dvi\ transformer which writes a new \dvi\ file;
+ e.g. John Renner's \TeX tyl,
+ but this introduces problems in reliability and restrictions on text
+ inclusion.
+\smallskip\noindent
+He suggested that it would be useful to agree that standard
+graphical objects, (e.g.~a circle), are available -- not everyone
+wants to use a picture language to obtain these. He then discussed
+some examples of `interactive graphics' ({\it MacDraw\/}; \PS\ `in the raw';
+and more sophisticated tools such as {\it Adobe Illustrator\/}) before
+considering Fig, a {\it MacDraw\/}-like package on Sun workstations
+(also available as {\tt xfig} to users of the X-Window system).
+
+Fig generates a description of objects in the drawing in its own
+graphics language. This is translatable into \PS\ (richer than Fig,
+so presenting no translation problems); {\tt tpic} code (with some
+loss of Fig facilities); and into \LaTeX\ picture primitives.
+Sebastian showed some examples of output from each of these methods on
+a sample graphic and demonstrated that some produced good
+approximations to the desired results, while others diverged a long
+way from them.
+
+He drew the following conclusions:
+\Item graphics primitive objects (lines, rectangles, circles) can be
+ filtered through drawing programs and included in (\La)\TeX\ documents
+ with varying success;
+\Item the best results are naturally obtained when there are no constraints
+ (from hardware, for example;
+ graphics standardisation is doomed when we have to conform to the lowest
+ common denominators;
+\Item \TeX's graphic primitives require picture drawing in ways that
+ people don't find convenient.
+
+\section{\PS\ ({\it David Marx\/})}
+Dave Marx of Imperial College described the basic features and
+capabilities of the \PS\ page description language. He noted that for
+typesetting applications, it is not intended to be used directly and
+is consequently not as powerful in this area nor expressed at as high
+a level as \TeX. His talk was a useful reminder of \PS's
+capabilities, since most of the other speakers during the day
+introduced the topic of
+\TeX's relationship with \PS, or methods for introducing graphics described in
+the \PS\ language into their documents.
+
+\section{\PS\ in \TeX\ ({\it David Brightly})}%
+Following the \PS\ theme, David discussed \psfig\ as a means of
+incorporating \PS\ graphics into a (\La)\TeX\ document
+(see David's article on this subject in
+ \TeXline\ 7, Feb 1988.
+\psfig\ was written by Trevor Darrell and described by him in
+`Incorporating \PS\ and Macintosh figures in \TeX', part of the \psfig\
+documentation and
+ available from good archives everywhere.
+
+David began by stating what \psfig\ is not: it is not a drawing
+program like {\it fig} or {\it MacDraw\/}; not a picture language like
+{\it pic\/}; not a \TeX\ macro package like \PiC\ or the \LaTeX\
+picture environment; nor is it a \dvi\ post-processor like \TeX tyl.
+He described it as `electronic cut and paste for \PS\ graphics'.
+\psfig\ is available as a \LaTeX\ style option or a \TeX\ macro package
+and allows the user to scale, translate and clip an image described in
+\PS. The \psfig\ code consists of about 300 lines of \TeX\ and
+requires a \dvi\ driver which supports two simple, though
+\psfig-specific, \specials. These allow `inline' \PS\ and the
+insertion of a file of \PS\ code and can be easily modified in the
+\psfig\ code to work with specific
+\dvi\ drivers which support \specials\ of this form.
+David said he had successfully used \psfig\ with {\tt
+dvi2ps} (which one?) and with Arbortext's {\sc dvilaser/ps}.
+
+The \psfig\ macros propagate information from pre-existing \PS\ files
+into the \dvi\ file by means of \specials, though the \PS\ files are
+required to include the
+|%%BoundingBox| comment. This gives the co-ordinates of the bottom
+left and top right corners of a rectangle enclosing the graphic
+described by the \PS\ code and is used by \psfig\ to scale the graphic
+to fit the space chosen by the document author. This space need not
+correspond to the aspect ratio of the graphic, since
+\psfig\ is capable of unequal scaling in $x$ and $y$.
+In fact, by making the `box' into which the graphic will be included
+of zero size, it is possible to overlay the \PS\ with normally
+\TeX-typeset material.
+
+David outlined the advantages of the \psfig\ approach: it is not
+limited to specific types of graphic, e.g., line graphs; graphics from
+any package which can generate \PS\ can be included; and it is simple
+to use, so there is not much to go wrong. There are disadvantages:
+output can only be to \PS\ devices -- in the light of the \TeX-and-\PS\
+coverage during the meeting, plus some comments that no-one venturing
+into `serious' typesetting would consider a non-\PS\ printer these
+days, this doesn't seem much of a restriction; and there would be
+typeface mismatch between annotations in the graphic and the body text
+of the document (assuming use of CM fonts in the body text).
+
+\section{Chemical diagrams ({\it Tony Norris\/})}
+The typesetting of chemical disgrams integrated with scientific text
+was described by Tony Norris, of the Polytechnic of the South Bank,
+London. The advantages of being able to accomplish this task were
+obvious, with `traditional' methods costing in the region of \quid40
+per page and being very time-consuming. However, the nature of the
+diagrams introduced particular problems: they have a precise,
+predefined geometry; must have consistent ring-sizes between diagrams
+and it must be possible to tesselate different rings; correct
+relationships of atoms and bonds must be preserved; and the annotation
+of the diagrams, which makes heavy use of subscripting, should ideally
+be unified with the body text. One approach which had been tried and
+rejected was to store each ring or bond as a \MF\ character; however,
+this was not feasible as the diagrams might require a bond at any
+angle and do not allow `quantised' angles.
+
+Tony described the DrawChem program, an interactive graphical editor
+which had been designed for this application. It allows structured
+editing of a diagram, permitting duplication and modification of
+structures (i.e., rings), and results can be exported to PageMaker or
+Ventura (maybe
+\TeX, too).
+
+\section{Typesetting pictures in \TeX\ ({\it Adrian Clark\/})}
+Adrian discussed the techniques for using \TeX\ to typeset pictures
+which could be included in a \TeX\ document. The ability to do this
+brings advantages of economising on cost, improved quality of results,
+shortened turn-around time compared with traditional methods, and user
+convenience. He pointed out that traditional methods of including
+computer graphics as illustrations in documents introduce distortions
+from photographing display screens and that there is the added cost
+and time due to film processing. Adrian went on to describe
+commercial uses of halftoning. A magazine illustration, for example,
+would use a resolution of approximately 150\,dpi. Resolution of
+book illustrations is usually expressed in terms of the screen
+frequency used; monochrome illustrations using a screen of 600
+lines/inch, and colour using 1800 lines/inch.
+
+Methods for halftoning in \TeX\ were then covered. These include
+\Item \specials\ and bitmaps --
+ these are device-specific, though efficient for
+ processing with \TeX; however, the size of the picture
+ must be known and specified in advance;
+\Item using \MF\ -- the picture can be set as a single, large glyph;
+ this can cause problems on some printers and you might run into
+ problems with your \dvi\ driver;
+\Item halftone fonts -- as described by Don Knuth in his TUGboat article;
+ care is needed with calibration of the typesetter to obtain the best
+ results. Adrian showed some very successful examples of images
+ he had typeset using this last method.
+\smallskip\noindent
+Summing up, Adrian looked to future developments in this area. He
+confirmed that, as might be expected, typesetter output gives
+publication-quality results. For non-typesetter output, higher
+resolution devices (e.g., 1200\,dpi laser printers) will make a big
+difference to the results which can be achieved, although current
+laser output is probably adequate for internal reports.
+
+
+Following a question and answer session, the meeting closed with
+thanks being expressed to Carol Hewlett of LSE who, with Malcolm
+Clark, had arranged the meeting. The date of the next meeting wasn't
+announced, but has subsequently appeared in the bytes of {\sc uk\TeX}.
+It will take place on Wednesday, October 11th at Aston University,
+Birmingham, the theme being `Fonts -- Design and Use'.
+\author{David Osborne}
diff --git a/info/digests/texline/no9/verbar.tex b/info/digests/texline/no9/verbar.tex
new file mode 100644
index 0000000000..4f35eb46ac
--- /dev/null
+++ b/info/digests/texline/no9/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}}
+
+