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author | Norbert Preining <norbert@preining.info> | 2019-09-02 13:46:59 +0900 |
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committer | Norbert Preining <norbert@preining.info> | 2019-09-02 13:46:59 +0900 |
commit | e0c6872cf40896c7be36b11dcc744620f10adf1d (patch) | |
tree | 60335e10d2f4354b0674ec22d7b53f0f8abee672 /info/digests/texline/no9 |
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diff --git a/info/digests/texline/no9/adrian.tex b/info/digests/texline/no9/adrian.tex new file mode 100644 index 0000000000..fca3edf48c --- /dev/null +++ b/info/digests/texline/no9/adrian.tex @@ -0,0 +1,88 @@ +\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 new file mode 100644 index 0000000000..0d00411f1c --- /dev/null +++ b/info/digests/texline/no9/biblio.tex @@ -0,0 +1,615 @@ + +\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 +++ b/info/digests/texline/no9/meeting.tex @@ -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 +++ b/info/digests/texline/no9/nordic.tex @@ -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 index 0000000000..eefe303367 --- /dev/null +++ b/info/digests/texline/no9/uktug2.tex @@ -0,0 +1,261 @@ +% 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}} + + |