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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 | |
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diff --git a/info/digests/texline/no10/acog.tex b/info/digests/texline/no10/acog.tex new file mode 100644 index 0000000000..e86008cbd8 --- /dev/null +++ b/info/digests/texline/no10/acog.tex @@ -0,0 +1,386 @@ +\centerline{\bf Idle by the Thames} +\medskip +\noindent +On April 5th--7th I had the pleasure of attending +a workshop on \sgml\ organised by the AGOCG +(Advisory Group on Computer Graphics). The reason for the +workshop ran thus: now that \sgml\ has adopted CGM (Common +Graphics Metafile) as its method of incorporating +graphics, is there a case for promoting \sgml\ as the +medium of document interchange among the graphics +community. Keen readers will notice a flaw here +straightaway: CGM is in no way a part of \sgml: on the +other hand, CALS (Computer-aided Acquisition and +Logistic Support) +does embrace both CGM and \sgml\ -- and group 4 fax, and +IGES. True, it is possible to include CGM as a `Notation'. +A `Notation' is a bit like a |\special|. You can include +anything you like, but whether anything sensible happens +to it is another matter altogether. + +As I've suggested elsewhere, in the \TeX\ world we've +been electronically interchanging documents for quite +some time. And since I'm quite convinced that \TeX\ is a +whole lot better at graphics than we admit, I thought +that it might be helpful to contribute something about +\TeX\ and\slash or graphics. (`Share experiences' as +someone said at the workshop: something to do with +changing a light bulb I think.) + +The workshop was attended my three main groups: those +presenting papers, who notionally had some grasp of +\sgml\ (this included me, so the grasp could be tenuous); +a clutch of University Computer Centre people who mostly +didn't know a document type from its declaration +(probably there for the experience); and the Rutherford +boys and girls. This last group requires a bit of +explanation: the workshop was held at the delightful +Cosener's Hall in Abingdon. Cosener's is owned\slash used +by Rutherford Labs as a sort of residential\slash +conference place. It is really delightful with an +excellent conference area, and electronic gadgetry so +advanced no-one could work it (but no email access: I was +quite twitchy after three days -- just like caffeine +deprivation). Essentially it is an outpost of Rutherford. + +The papers were, on the whole, good. Easily the best was +Tim Niblett's from the Turing Institute in Glasgow +(`\sgml\ and Programmed Documents'). I also found Angela +Scheller's paper (`Experience with \sgml\ in the real +World') very useful, since she was discussing the {\sc Daphne} +project. {\sc Daphne} (Document Application Processing in a +Heterogeneous Network Environment) uses \TeX\ as its +formatter. Hers was the only paper which demonstrated that +you could do anything with \sgml\ and CGM graphics (on her +own very particular installation). That's not quite fair, +since David Duce and Ruth Kidd of Rutherford did something +similar (`The {\sc Daphne} Document Types and AGOCG'), but +had to email it to Angela to be processed. + +Obviously there was a very heavy diet of \sgml. Paul +Ellison waded us through the murky depths of what was +happening with standards, and all the associated +standards like DSSSL, SPDL, etc, etc (`\sgml\ and related +Information Standards'). It was a rich diet of acronymns. +Martin Bryan exposed us to `Using the full power of +\sgml', an awesome prospect. + +Two things surprised me from the beginning. First was the +general low level of understanding of what was in the +various standards -- what they were for. Although all the +papers were available at least a few days in advance, +they had almost all been written for \sgml\ literate +audiences. First mistake. The second surprise was the +readiness with which standards were accepted as `a good +thing'. There was a conviction that only ISO standards +could be considered. This left \PS\ in an interesting +position, although we were assured that the SPDL +(Standard Page Description Language) would look a lot +like \PS, though without the programmability or the fonts +(what's left?). People seemed happy to accept assurances +that there would one day be suitable software to allow +\sgml\ to be input painlessly across a wide range of +platforms; that one day there would be suitable +formatters linked to the \sgml\ to allow you to see what +had been input to \sgml; and that one day there would be +enough DTDs (Document Type Definitions: broadly +analagous to \LaTeX\ styles) to suit a reasonable range of +needs. + +The workshop convenor, Anne Mumford, made it clear from +the start that we were supposed to work for our living +and make some recommendations about electronic document +interchange. Most of the papers and discussion addressed +this in a general way (although I would argue that only +three of the dozen or so invited papers even +{\it considered\/} graphics at all -- mine, and the two +{\sc Daphne} papers). I had understood the `community' to +be the academic\slash research community (hence the +inclusion, for example, of Lou Burnard and TEI -- the Text +Encoding Initiative). However, it never did become very +clear exactly who the `community' were supposed to be. + +To focus our minds, Anne had +distributed a list of `discussion topics': +\item{\rtr}what requirements does the community have for +document exchange? +\item{\rtr}what are the target systems? +\item{\rtr}what document types meed to be defined for the +community? +\item{\rtr}what software can we use today? +\item{\rtr}what software do we need to have available if +\sgml\ is to be a successful form of document interchange? +\item{\rtr}what support is needed in the community if we are +to move to use \sgml? +\item{\rtr}writing funding proposals for the community for +work to get \sgml\ in use. + +\noindent +It was fairly clear from these topics that at best we +could bring in a verdict of `not proven' for \sgml's +suitability, but there was no way we could reject it +entirely. The whole jury was biassed towards one view +point. To ensure `evenhandedness', an extra speaker +(Ian Campbell-Smith of ICL) was shipped in at the last +minute to tell us something about ODA (note that the `O' +now implies `Open', not `Office' as it once did). + +But eventually, when the work came to be done, these +topics were laid aside and the real reason for the workshop +appeared. The participants were broken into three groups. +I should have sensed something was wrong when two of the +groups were to be chaired by Rutherford people (the other +by the convenor): I definitely realised that we had been +railroaded when a revised sheet of topics +appeared to be considered by each group. True, these +revised topics could be considered to have arisen during +the course of the workshop: however they were not logical +outgrowths of either the explicit purpose of the workshop, +nor of the main direction of discussion. So replace those discussion +topics given above with: + +\noindent ``AGOCG wishes to distribute: +\item{\rtr}viewgraphs +\item{\rtr}teaching material +\item{\rtr}manuals + +\noindent to University sites in a form where they can +incorporate it into local teaching material and +documentation. +\item{\rtr}is \sgml\ the right protocol to use? +\item{\rtr}if so, are the {\sc Daphne} DTDs a good starting +point? +\item{\rtr}if so, what changes are needed? +\item{\rtr}are there commercial offerings we should consider? +\item{\rtr}what utilities related to the \sgml\ system are +needed? +\item{\rtr}should the UK academic community develop its own +software? +\item{\rtr}how should what AGOCG does be influenced by other +requirements? +\item{\rtr}if we target for {\tt troff} and \TeX\ is that +sufficient?'' + +\noindent If the conclusions had been pre-empted before, +they were even more constrained now! + +As Bob Hopgood of Rutherford explained, the question {\it he} +wanted answered could be summarised `how can Rutherford best +distribute the GKS manual electronically'. That was why {\it +he} had brought us together, and why {\it he} had had the workshop +organised (the myth of ACOCG as an entity with any existence +outside Hopgood was eliminated). Plain and simple. Had that been +an explicit question from the outset we could have given him an +answer on day one and then got down to something more +interesting. Given Hopgood's position at Rutherford, the +weighting of the workshop and its work groups towards +Rutherford, and the master stroke of a piece of paper with +specific questions, it was inevitable that it was difficult to +restore the workshop to its apparent explicit purpose. + +An interesting by-product of the workshop was the +prepared papers. They illustrated neatly the problem +with systems which emphasise structure and virtually +ignore formatting: they may have been logically +structured, but in terms of document design they were +almost uniformly appalling, and difficult to read: the +typewriter conventions of underlining, no indentation on +the first line of a paragraph, but an extra `line' between +paragraphs, and so on were much in evidence. Even +`standard' \LaTeX\ documents were starting to look +well-designed by comparison. + +That does not mean the workshop was a waste of time. From +my own point of view it helped me put straight my view of +\TeX\ and graphics; it allowed me to raise the perennial +question of the character corruption which occurs to file +transfers which pass through the Rutherford Gateway (and +to be told that it was because I was trying to pass +`non-mail' characters through -- whatever that +mumbo-jumbo means); it revealed the immense ignorance +that persists about \sgml, ODA, \TeX, and practically +everything else we've been doing for the last five to ten +years. Yes it depressed me -- especially the ready +adherence to tomorrow's software in preference to today's +tested and available software. But the food was +plentiful, the majority of the participants stimulating, +and the surroundings extremely pleasant. If only it had +been a bit more rigorous. Beware Rutherford Appleton Labs +bearing gifts! + + +\rightline{\sl \mwc} + +\bar\centerline{\bf Echoes} +\smallskip +\noindent +The Displays Group of the BCS held a `State of the Art +Seminar' on Systems Integration and Data Exchange on +February 28th. This meeting examined some of the current +range of `documentation' standards like \sgml, ODA, CGM, +\PS\ and CALS. It was curious that this came so hot on +the heels of the BCS Electronic Publishing Group's +similar one day meeting. Much could be gained by a little +more cooperation here. Nevertheless, outside the subject +matter there was surprisingly little overlap. The speakers were +different, and the audience was not the same as the EP one +(except for me, I think). + +One of the things I found interesting was the +re-usability of presentations. One of the major selling +points for \sgml\ is that it allows the same information +to be re-used in a number of forms. In fact, if you are +not going to re-use the information, it becomes difficult +to justify the added inconvenience of \sgml. Paul +Ellison's talk was re-used at the AGOCG Workshop the +following week; Alan Francis' presentation was a +reworking of his Electronic Publishing talk at Durham +last year (and at the AGOCG meeting I heard Lou Burnard +re-present the paper he had given at the BCS ep meeting). +It often helps to hear the same material again -- the +army principle of `tell them what you're going to tell +them; tell them it; and then tell them what it is they've +just heard'. Even Heather Brown's talk reminded me of +something I had once heard at another Displays Group +meeting at Rutherford Labs. All a case of d\'j\`a \'ecout\'e. + +Anne Mumford (Integration and Exchange -- +Restating the Case for Standards) introduced the day by +making a case for standards. Here standards tend to be +taken to mean `Standards, as agreed and ratified by +national or international bodies'. + +Paul Ellison (\sgml\ and Related Information Standards) +led us through the many-threaded path of `\sgml\ and +Related Information Standards', and even treated us to his +version of how Adobe was led to the sacrificial altar to place +\PS\ `in the public domain'. I'd heard a rather different +version, so it will be interesting to find out just what +went on. There must be room for a book on Adobe, just like +the clutch of books which have come out recently on Apple. +It is difficult to get excited about the many standards and +what seems like their interminably slow path to acceptance. + +One of Paul's claims was that math coding through \sgml\ +would mean that the resultant formulas could be input to +algebraic manipulation systems. This seemed such a very +useful attribute that I contacted Barbara Beeton to see +if she knew of any cases where this was done. She was +unable to uncover anything. On the other hand, several +systems, Mathematica included, output \TeX\ form +formulas. This tendency to attribute to \sgml\ +capabilities which only exist in theory does worry me. I +would like to see something substantive. + +Heather Brown's talk (Structured Multimedia Documents and +the Office ({\it sic\/}!) Document Architecture) was a very +good overview of ODA -- easily the best I've heard so far. +It is quite intriguing how both \sgml\ and ODA appear to be +embracing `multimedia'. ODA almost offers something which +I find quite interesting (something that \TeX\slash +\LaTeX\ offers too, but have failed to +point out to the world as a positive feature). An +ODA document can be revisable or not: depending on what +you ship, the recipient can change it and reformat it, or +merely print it out (in \TeX\ terms you can send the +marked up text, which is revisable, or the \dvi, which +isn't). There are many documents which you do not wish to +be changed. The ultimate non-revisable document must be +the fax, but it's usually also unreadable. It seems to me +that ODA is a little more realistic than \sgml\ in its +world view. It at least acknowledges that there is a +layout structure, as well as a logical one. + +Alan Francis discussed the many differences between CGM +and \PS\ (CGM versus \PS\ -- Horses for Courses). It should +come as no real surprise that they are trying to address +slightly different issues, and that in different +circumstances one is more applicable than the other. Since +CGM isn't a programming language and doesn't address +itself to font questions, it is a great deal simpler and +more compact. Converting from CGM to \PS\ seems no great +feat. CGM is undoubtedly an ideal way of encoding graphics +for interchange. I note that there are some \dvi\ drivers +which can accept included CGM, and also that +Wilcox's Metaplot may also convert CGM to \MF. As usual, +we're there, but we aren't jumping up and down about it. It +seemed to me less a case of horses for courses than +of trying to compare bicycles and fish. + +Jon Owen (Standards for Product Data Exchange +and Conformance Testing) illustrated that exchanging +CAD-CAM graphics and diagrams was certainly possible, but +that you had to be very careful to establish just what it +was you thought you were exchanging. The drawings didn't +always contain all the information you expected: the old +adage about what you see not being all there is, far less +what you want, was brought home very clearly. + +In a multi-authored paper from Rutherford Labs, (Integration +of Graphics and Communications in {\sc Argosi}: J Gollop, +R Day, R Maybury \& D A Duce) Duce looked at {\sc Argosi}, a +`European' project to transmit continuously updated +information to selected points. {\sc Argosi} (Applications +Related Graphics and OSI Standards Integration) is an +Esprit project to advance the state of the art of +communicating graphical information over international +networks. The specific demonstrator application chosen is +a prototype road freight scheduling system, calling on +databases in nations represented in the project. The +databases contain causes of delay which a freight +scheduler needs to take into account when planning a +Europe-wide journey. + +Lastly, Norman Harris of Procad described the CALS +project (CALS -- the US Initiative). With the massive +backing of the DoD (and now a number of other US Government +agencies) CALS has lent massive legitimacy to \sgml, having +`adopted' it as one of its many `standards'. I have a +sneaky suspicion that CALS has managed to rescue \sgml\ +from the doldrums. Harris described some of the original +motivation and history of the iniative, covering TIMS and +ATOS. As I have commented elsewhere, one of the curious +by-products of CALS may be to save trees, since one +objective is to reduce the paper flows between and within +the contractors and the military. CALS will have a very +wide effect: besides the US Armed Forces, other Armed +Forces may adopt it; non-US aerospace and `defence' +contractors will have to comply to tender for US +contracts; some CALS specifications have been proposed as +FIPS (Federal Information Processing Standards) for use +throughout the US federal government. Some state +governments (especially those like California and +Washington with a large number of arms contractors) are +likely to adopt it. CALS is not static, and the next +stages include examination of other `interchange' formats +and standards, like ODA/ODIF, SQL (Structured Query +Language), and PDES (Product Data Exchange Specification). + +The absence of the last speaker meant that there was extra +time for discussion. The printed version of this paper by +Shiela Lewis (Testing, Testing, One, Two, Three) raised +several interesting issues about conformance testing, +chiefly in the context of the CALS Test Network. At a +time when many vendors claim to adhere to various +standards, it is valuable to see what mechanisms are +being invoked to clarify what adherance means. She notes +that `Conformance testing does not in any way prove the +usability of the product, simply its ability to process +code in the manner prescribed by the Standard'. + +An interesting programme which would have been a worthy +BCS ep meeting -- it seems a great pity that there is not +greater coordination between the groups. Calling it a +`State of the Art Seminar' was very astute! It seemed a bit +expensive to me, especially as there were no +foreign speakers jetted in at enormous cost, and no lunch. +BCS ep provides speakers of equivalent standard (sometimes +the same ones!), and lunch. The only advantage that I +would say this meeting had was the provision of the papers +to all the participants. I have mixed feelings about this: +on the one hand it is a real boon to the audience (and to a +reviewer). On the other hand it puts sufficient extra work +into the hands of the speakers that it might dissuade some +of them from speaking at all. + +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no10/amiga.tex b/info/digests/texline/no10/amiga.tex new file mode 100644 index 0000000000..bef70ac00f --- /dev/null +++ b/info/digests/texline/no10/amiga.tex @@ -0,0 +1,106 @@ +% Hi Malcolm, +% this is the paper about Amiga\TeX{} I promised you in Karlsruhe. If +% there are any problems with the gateway, these are the used chars. +% ABCDEFGHIJKLMNOPQRSTUVWXYZ (uppercase letters) +% abcdefghijklmnopqrstuvwxyz (lowercase letters) +% \ -- backslash +% { } curly braces +% ( ) - . , : parentheses, dash, dot, comma, semicolon +% My address is +% Konrad Neuwirth +% Fernkorngasse 44-2-4 +% A-1100 Wien, Austria +% !!!PLEASE!!!! do not send any mail to the address given in the +% participants list handed out at the conference. It will reach me, but I am +% not in official contact with the Institute. +% +% so long, +% Konrad (a4422dae at awiuni11.bitnet) +\def\\{\hfil\break} +\centerline{\bf Amiga and \TeX{}} +\centerline{\bf a very special relationship} +\smallskip +\noindent +We all know that \TeX{} is special stuff, but why the Amiga--\TeX{} +relationship? That's an easy one: the Amiga and the Amiga\TeX{} +implementation make a very good pair. The Amiga itself has some very nice +resources which make Amiga\TeX{} a very good \TeX{}-workstation for a +very nice price. + +The Amiga was the first computer to introduce a truly multitasking system +on a PC priced machine. The operating system also is rather user friendly +but still quite fast. AmigaDOS with the user interface Intuition is +actually everything OS/2 wants to be. The Amiga also has a coprocessor for +speedy graphics, good support over Networks (both academic and commercial), +a big Public Domain software collection (over 2000 disks). What is also +nice for a \TeX{}-Station is that it can read quite a variety of disk +formats. You can read disks written by Macintosh, PCompatibles, C64s, Atari +STs and even Acorn BBC Computers. It is also very easy to upgrade the +processor from the standard 7.54\,Mhz 68000 up to a 25\,MHz 68030 and 68882 +combination. + +The niceties of Amiga\TeX{} are that it uses all the Amiga's resources to +their full extent, especially the multitasking system. With the addition of +ARexx, an implementation of the IBM Mainframe batch language REXX, that +also is a tool to link together tasks, it is very easy to have preview, +\TeX{} and an editor in the memory simultaneously and each program knows +about the others. So you just press a key in the editor, it tells \TeX{} to +process the current editor file, and \TeX{} sends off the pages to the +previewer as soon as it finishes them. This improves the speed of the +debugging cycle enormously, as you don't have to wait for \TeX{} to go into +memory, finish processing etc. If \TeX{} encounters an error, it tells the +editor the exact location and the editor jumps to the point. You can also +have the editor window directly below the previewer window and so see the +real code while looking at the finished document. + +Amiga\TeX{} doesn't require a hard disk. I used to run it with 2 or 3 +drives for some time and it really works. It is not as fast as with a +hard disk, but it still works fully. It does that with quite a trick: it +has an intelligent font cache. The minimum hardware configurations for +Amiga\TeX{} are either 1.5\,Mbyte of memory and 1 drive or 1\,Mbyte and 2 drives. +You can also run \TeX{} in a 512\,kbyte system, but you can run just a +very small version of plain \TeX{}, +and \LaTeX{} not all. + +The printer drivers are something special, too. They all know about +\MF\ and so can generate all the missing fonts. This can be done with 2 +ways. You can either tell them to start \MF\ as a background task and +wait for \MF\ to finish, or you can tell the \DVI\ program to generate a +font queue which can be worked of any time you want. This is also true for +the preview program. + +The printer drivers, with the exceptions of those for the QMS Kiss and the +SmartWriter, allow the inclusion of graphic files. But this is much easier +than on other PCs, as the Amiga has a standard graphic format called {\tt ILBM +IFF}. So you can include any raster graphic file, created by any of the +great graphic packages available for the Amiga, within your documents. You +can also see what the graphic will look like with the previewer, although +the calculation of a picture takes some time (around half a minute). The +pictures also will be dithered automagically. You can even specify the +method you want them dithered, which can be done with the Floyd-Steinberg +algorithm, a standard ordered dither or with the classic method used, for +instance, by all the newspapers. The graphics features also will be +improved in the future, colour support and support for structured +graphics within the \DVI\ programs is planned. + +Amiga\TeX{} is a real workhorse. It offers some very unique features and +still is able to communicate with the world. It is fast even on the slow +standard processor and it will blow anything away on a fast processor. It +offers all the features you see on the big \Unix\ workstations, but for a +fraction of the price. It is simply irresistible. + +For more information contact: +{\parindent30pt\obeylines +Radical Eye Software +Tomas Rokicki +Box 2081 +Stanford, CA 94309 +} + +This may look like a commercial. It is not intended to be. It +is just shows that I like the project. I don't get any money for this. I am +just a satisfied user. + +\rightline{\sl Konrad Neuwirth} + + diff --git a/info/digests/texline/no10/arch.tex b/info/digests/texline/no10/arch.tex new file mode 100644 index 0000000000..f2acff0762 --- /dev/null +++ b/info/digests/texline/no10/arch.tex @@ -0,0 +1,141 @@ +\centerline{\bf Archimedes \TeX} +\smallskip +\noindent +Archi\TeX\ (\TeX\ and \MF\ on + Archimedes computers) consists of: +\item{\rtr} Knuth \TeX\ 2.93 fully verified +\item{\rtr} {\sc initex} +\item{\rtr} plain \TeX\ (source and format file) +\item{\rtr} \TFM\ files +\item{\rtr} \DVI\ driver for screen previewing and various +printers; + runs under Arthur 1.2 and Risc-OS 2.00 + using the {\sc wimp} environment and multi-tasks +under Risc-OS +\item{\rtr} full font set for the screen (95 +pixel/inch) +\item{\rtr} fonts for one printer (as +described under `Printers supported') + + +\noindent Also available are: +\item{\rtr} \LaTeX\ (format and source files) +\item{\rtr} \BibTeX + +\noindent +Archi\TeX\ runs on any Archimedes with at least 1\,Mbyte of RAM and +one double sided disk drive. A second drive and/or a hard disk +and more memory are recommended. + +\smallskip +\goodbreak +\leftline{\sl Printers supported} +\noindent +The \DVI\ driver currently supports besides the screen in +any resolution the following printer-types (the numbers in +brackets are the horizontal/vertical resolution in +pixel/inch): + +\item{\rtr}EPSON FX (240$\times$216, 80$\times$72) +\item{\rtr}EPSON MX-80 (120$\times$144, 60$\times$72) +\item{\rtr}EPSON LQ/SQ (360$\times$180, 180$\times$180) +\item{\rtr}NEC P6 (360$\times$360, 360$\times$180, 180$\times$180) +\item{\rtr}NEC P2 (120$\times$120) +\item{\rtr} OKI uLine (288$\times$288, 144$\times$144) +\item{\rtr}HP-Laserjet+ (pixel-driver) (300$\times$300, 150$\times$150) + +\noindent These include the following printers: +FX-80, FX-100, MX-80, SR-10 (IBM), NR-15, SG-15, KXP 1092, P2, P3, P5, P6, P7, +P8, P9, LQ-2500, SQ-2500, OKI 293 (IBM), OKI 293 (Microline), DPL24D, DPL24I, +DL3300, HP-Laserjet+. + +The package contains one printer font set, which you can select for one of the +above. + +\smallskip +\leftline{\sl Features} +\item{\rtr}search paths for input files, paths for output files + (using system variables) +\item{\rtr}additional characters for other languages can be implemented + if requested +\item{\rtr}`Libraries' (similar to \unix-Archive for \TFM\ +and font files, + thus reducing space requirements and speeding up the font + access time; also eliminating problems with too many files + in too many directories on a hard disk +\item{\rtr}one driver for the screen and printers +\item{\rtr}7 different types of printers +\item{\rtr}`landscape' print option +\item{\rtr}screen output using one, several or no windows +\item{\rtr}screen resolution can be selected, thus enabling + magnified (for example, using the printer fonts) and smaller + output (for example, whole page vertically with appropiate +fonts) \item{\rtr}`overview' function (reduces output to display +a full page + on the screen) enables you to get an impression of the page layout +\item{\rtr} printer parameters for adapting half compatible printers +\item{\rtr}optimizes printer output (using minimal empty graphics) +\item{\rtr} uses \PK\ files (\PXL\ files can also be used). +\item{\rtr}the \DVI\ driver multi-tasks under Risc-OS +\item{\rtr} both the format and print process can be interrupted + (even in the middle of a page) +\item{\rtr}pages can be printed in any sequence (`skip mode'), + which can be defined in a file +\item{\rtr}the unpacked \PK\ fonts are swapped, thus only +the packed + fonts must fit into memory +\item{\rtr}a log window is used to display memory use, unpacking of + fonts etc. +\item{\rtr} missing scaled fonts can be substituted with unscaled fonts +\item{\rtr}the page size -- the size of the bitmap buffer -- can be + automatically taken from the postamble + + + + +\leftline{\sl Extensions available} +\noindent +\LaTeX: 3 disks\hfil\break +\BibTeX: 1 disk\hfil\break +Additional fonts: fonts for more than one printer and/or + other resolutions are available for a + shipping and handling fee. +\smallskip +\leftline{\MFsl} +\noindent +Consists of: + +\item{\rtr}Knuth \MF\ 1.7 fully verified (includes a +version + using the {\sc wimp} environment for on-line +graphics + output and multi-tasks under Risc-OS) +\item{\rtr}plain \MF\ source and base file +\item{\rtr}{\sc inimf} +\item{\rtr}utilities GFtoDVI, GFtype, GFtoPK, GFtoPXL, PXtoPK, + PKtoPX, PLtoTF, TFtoPL, CHtoPX and PXtoCH +\item{\rtr}\MF\ source files for the Computer Modern fonts +of + the \TeX\ system and the source files for the +fonts of + the \LaTeX\ system + +\smallskip +\leftline{\sl Technical Data} +\noindent +Computer: Archimedes A440, A420, A410, A310, A3000\hfil\break +Memory: $>=$ 1\, MByte \hfil\break +Monitor: normal, +multisync, high-resolution, mono\-chrome or colour \hfil\break +Operating +System: Risc-OS (and also Arthur 1.2 for Archi\TeX). + + +Available from: +{\parindent20pt\obeylines + Tools GmbH + Kessenicher Str. 108 + FRG-5300 Bonn 1 + e-mail: {\tt tex@tools.uucp} +} +\rightline{\sl Dieter Gogolin} diff --git a/info/digests/texline/no10/aston.tex b/info/digests/texline/no10/aston.tex new file mode 100644 index 0000000000..882c7ba6c6 --- /dev/null +++ b/info/digests/texline/no10/aston.tex @@ -0,0 +1,161 @@ +\centerline{\bf uk\TeX ug meets again} +\smallskip +\noindent +The third Meeting of the UK \TeX{} Users' Group was held +at the University of Aston, on 11 October 1989. +The programme was presented in two parts, Fonts: how they are +created and Fonts: how they are used. As one of those attending +said, this was a nice \TeX{} meeting -- \TeX{} didn't get mentioned by +the speakers until after tea! + +\smallskip +\leftline{\sl Summary of papers} + \noindent +David Kindersley -- `Making letterforms': +this talk was built around a set of marvellous 35\,mm slides +showing the various kinds of lettering that he had designed and carved. +In particular these illustrated the freedom available to a designer +making a fairly short inscription which could be seen as a work of +art as well as conveying a message in words. Among the additional +freedoms were the ability to superimpose letters within a word, +to make minor adjustments to the sizes of the letters so that the +words would fit the space and the chance to create a backward sloping +italic to fit a design. Against that had to be set the necessity of +making systematic adjustments to letter sizes so that words could +still be read on, for example, a horizontal memorial set into +the floor. + +David Kindersley also talked about his search for an +algorithm to ensure correct letter spacing in typesetting. +This is built on the basis that letter spacing should be +applied to groups of three letters -- the middle of the +three should be in the optical centre -- and that it is +possible to compute a `centre' for each letter in a fount. +His method ignores the bounding rectangle which was +imposed on metal type. + +Paul Bacsich (Open University) -- `\PS\ needs MoreMaths': +a talk illustrated with overhead projector slides, spoke +about his project to design additional characters to be used with +\PS\ so that output to be printed in a combination of Times and +Symbol (for the Greek letters) could also include as many maths symbols +as Computer Modern. His particular aim was to have available in +Times\slash Symbol\slash MoreMath a set of pi characters comprising all +the pi characters in Computer Modern, the relevant ISO standard and the +\sgml\ list. +Apart from needing to design the actual characters in some cases, it was +necessary to find the baseline of the font and, even more +important, its maths axis so that all the characters +may be set properly. + +Sarah Winthrop (Linotype) +gave a short introduction to typography -- communicating +by means of the printed word. She included a brief history of type, +including the system devised by Frutiger for the Univers font family +of using a two-digit code to indicate the style of the face, e.g., +roman, italic, condensed, (second digit) and the weight: anything from +ultra light to extra black (first digit). She also explained the reason +why different sizes of type generally need different designs within the same +typeface. + +Andrew Boag (Reading University) +used 35\,mm slides from two carousels -- so +that he could show two slides together when needed to illustrate his talk, +`Creating Letterforms'. He also circulated +a handout. His talk was based on seven points describing what type is +and therefore what type design is, and what those seven points mean +for the type designer. His illustrations showed screens from various +type design programs. + +James Mosley -- `Type, evolution and examples' +had been billed as talking about digital type, but +assured the audience that he would in fact be talking entirely about +analogue type! He started by talking about the constituents of the +(English) character set -- the capital and lower case letters and the digits; +the \& and other oddities. He reminded us that Western languages were +unique in using two forms for each letter (upper and lower case). The +upper case letters were based on Roman inscriptions, particularly the +letters used on Trajan's Column; lower case type was originally designed +to mimic fifteenth and sixteenth century handwriting; and the digits +were based on Arabic shapes. All these shapes, together with some oddities, +had been incorporated into the original typewriter and had moved into the +standard computer character set from there. + +There had been various experiments in typography, such as monoline type +with no distinction between upper and lower case. Another experiment was +the use of sans serif fonts. He showed a slide of a book published in 1900 +using a sans serif font -- although the page was very decorated. + +James Mosley then showed slides of some of the earliest examples of +features that are part of modern typefaces: a Greek inscription from +340 {\sc bc} showed undoubted serifs; an illustration from 1200 {\sc +bc} showing characters made by a reed pen or brush showed shading -- +the change of thickness in the character shape, and an inscription +found in Pompeii shows a thick\slash thin contrast in upper case +letters. We were then shown pictures of the original types and their +twentieth century versions of the typefaces Bembo, Garamond, Plantin +and Grandjon\slash Galliard. These were followed by slides showing +copperplate, and the Baskerville type face, developments of which +include the advertising fat faces and Bodoni. The final slides showed +traditional punch cutting, as still carried out at the Imprimerie +Nationale, and the later technique of drawing the type on paper +followed by automatic cutting. + +Andrew Trevorrow -- `Drivers revealed' +started the second part of the programme by +demonstrating his own \OzTeX{} and Victor +Ostromoukhov's Mac\MF, using an Apple Macintosh SE and a Dataframe +projector. As usual, the projected image was just a bit too dim for +comfortable reading. He showed the results of running the previewer +trip test, which resulted in a few pages on all of which the printing +was way out of the page area + +Rod Mulvey (CUP) +described the \TeX{}-to-Type system which has been +developed at the Printing House of Cambridge University Press. +They typeset their work on a Monotype Lasercomp at 1000\,dpi using +an extended range of \TeX{} fonts. CUP will supply \TeX{} design +packs based on well-tested macros which include their preferred +book design. +To get \TeX{} to use the Monotype +typefaces in place of Computer Modern it had been necessary +to compile \tfm\ files for the Monotype fonts, bearing in mind that +Monotype only supply the width of the characters, not their height. + +Sebastian Rahtz (Southampton University) on `\PS\ is good for you': +spoke about the problems encountered when trying to use +Computer Modern fonts with other \TeX{} fonts, such as the sans serif, and +at sizes other than their design sizes. Although it should be easy to +give \TeX{} a different set of \tfm\/s in order to set in a +different typeface, there was quite a lot of CM-linked information +built into \TeX{}. Most of this was in the maths setting parts of +\TeX{}. If you want to use fonts other than CM, there are +three approaches: +\item{\it1:} If using |lfonts| -- strip out the CM fonts and replace +them with what you want; +\item{\it2:} Redefine the fonts and the macros; +\item{\it3:} Throw away all the Knuth font information and redo it +(this approach is described in detail in \TUGboat 10(2)). + +In `\PS\ meets Computer Modern' +Les Carr (Southampton University) talked about his attempt to convert +Computer Modern fonts into \PS\ fonts. It had seemed an +attractive project as both \MF\ and \PS\ use Bezi\`er +curves. The idea had been to refine the \MF\ descriptions to get +the information that \PS\ needs; this worked up to a point, but +the whole project proved impossible. In fact, short of scanning images +of the individual characters into \PS\, there was no way of +moving from \MF\ to \PS. + +Phil Taylor (Royal Holloway and Bedford New College) -- `Computer +Modern meets \PS'. Phil Taylor had been involved in the +production of a book that used the Times typeface for text, Computer +Modern for maths and Adobe Symbol for Greek and similar. The real +problems came with the maths setting, as in the book all the equations +were in capital letters, not the lower case envisaged by Knuth. To get +the mathematical symbols in to the right places in relation to capital +letters, he had written a splendid macro that when presented with a +relevant symbol raised it by the correct amount to match the capital +letters. + +\rightline{\sl Carol Hewlett} diff --git a/info/digests/texline/no10/bcs-ep.cals b/info/digests/texline/no10/bcs-ep.cals new file mode 100644 index 0000000000..296d82735e --- /dev/null +++ b/info/digests/texline/no10/bcs-ep.cals @@ -0,0 +1,125 @@ +\centerline{\bf BCS-ep} +\smallskip\noindent +The BCS Electronic Publishing Specialist Group's meeting of +December 5th was concerned with publishing standards, and in +particular with Standard Generalized Markup Language (\sgml{}), Open Document +Architecture (ODA) and Computer-aided Acquisition and Logistic Support +(CALS), the acronyms for which are frequently quoted, not always with a clear +understanding of what they are about. + +The first speaker of the day was Professor David Barron from the University +of Southampton on `Why use \sgml{}?', although perhaps `What is \sgml{}?' is +really what he discussed. He began by reminding the audience that Electronic +Publishing is not just Desktop Publishing, that is, in spite of all the hype +there is a place for non-\wysiwyg\/, that is procedural, systems (although, +of course, the two do not have to be mutually exclusive). Professor Barron +then gave a brief explanation of the development of GML at IBM and of MarkUp, +the two precursors of \sgml{}, together with some details of the ISO working +groups and a summary of what \sgml{} is. Rather he stated what \sgml{} is not, +once he had explained the principles of generic markup. \sgml{} is not a +language -- it is a metalanguage -- and \sgml{} is not a formatter, although +it specifies how coding systems written according to the rules of \sgml{} can +be parsed and parsers can be written to output files in such a way that +they can be input directly into formatters.\looseness1 + +Professor Barron then explained the significance of the Document Type +Definition (DTD) and went through a simple DTD describing the meaning of +the coding. Finally he showed how the power of \sgml{} could be used in a +project like the OED and how it is invaluable when either transferring +documents between different systems or producing a range of documentation +in a single format or related range of formats. For +those who missed this talk and would like a relatively straightforward introduction to +\sgml{}, Professor Barron has published a paper which is similar in content to his +talk in {\sl Electronic Publishing: Origination, Dissemination and Design} (1989) +2(1), 3--24. + +The second talk was on `The Text Encoding Initiative' (TEI). Lou Burnard +of Oxford University Computing Services +explained what this is. TEI is essentially an aid to +scholarship and covers aspects outside those considered by \sgml{}, such as +those concerned with textual analysis. TEI is not really concerned with +coding for publishing; it is concerned with the representation of +already-published texts, for example what actually appears on the page, +both its content and representation. However, it is not always possible to +know in advance what is to be described, so the standard \sgml{} DTD +formulation is not flexible enough unless the DTD can be violated. Lou +Burnard finished by describing some of the practical problems: the lack of +software; the lack of success of previous standardization efforts in this +area; and finally the lack of public awareness. + +Stephen Downie, Secretary of the \sgml{} Users' Group and previously of +Unixsys UK Ltd, gave a rather different introduction to \sgml{}, by pointing +out that when data and text are input the uses to which they may be put are +not always all known (as TEI illustrated very aptly). If a text is input +according to \sgml{} conventions and the DTD has been written properly, then +the text can be used subsequently for uses which were not envisaged when it +was originally input. Pathways give new meanings to data. + +Stephen Downie then went on to describe the use of \sgml{} in producing the +Official Journal of the European Community (although in fact no actual +issues have as yet been produced). The principal problem which has had to +be solved is the production of nine editions in nine languages, but with +synoptic pagination. Input is now carried out using the SoftQuad \sgml{} +Author/Editor (on which a DTD has been written at Pindar Infotek using the associated +Rules Builder). Using a specially written DSSSL (Document Style, Semantics and +Specification Language), the documents are converted to SoftQuad {\tt +troff}, using which all text heights are measured on the first run. Then +using the \Unix\ utility {\tt awk} a master list is produced which is used in +the final pagination run. There have been problems, as might be expected: +producing the DSSSL has been very complex; the journal rules had not +previously been clarified; US software (as usual) does not concern itself +with accents and non-latin character sets; and finally, although both +SoftQuad {\tt troff} is up to the task and \sgml{} reduces the complexity of +the problem, high programming expertise is required.\looseness1 + +CALS, Judi Morrison of Interleaf explained, is a program to acquire and +manage weapon systems information more efficiently. At present 96\% of +manuals are not computerized, one in four contain errors and it takes up to +20 months to make corrections -- and the cost is phenomenal. In addition +10\% of the cost of a weapon system is paperwork. CALS was therefore +developed to try to save money, reduce development times and improve +quality. CALS therefore affects almost everybody eventually, in that +contractors and subcontractors to the military purchase materials and +expertise (including software) from other industries, and by 1990 all +proposals to the Department of Defense have to be CALS-conforming. + +Of course there are many aspects of CALS, but the documentation aspects, +which include \sgml{} for text and various graphics standards such as CCITT +Group 4 (as Fax), IGES (International Graphics Exchange Specification) and CGM +(Computer Graphics Metafile), are probably the most currently important. The final aim +is to create a single database which can be accessed by both military and +contractors. Whether this will actually happen remains to be seen and there +are bound to be problems of security as well as of a technical +nature. + +After lunch (which through an interesting bureaucratic mistake was +different from usual!), Patrick Hull and John Dixon of Deuce Systems +discussed more detailed aspects of CALS, in particular all the various +standards involved, who produces them and what they mean. It is difficult to +summarize what was said, but the two speakers made it very clear how complex +the field is and what a challenge is there for those involved. + +In neither of the talks on CALS was there any discussion of what quality of +weapon systems means in real terms, but it was clear that defence (or +defense) and military applications have ramifications far beyond the +immediately obvious. + +The final talk of the day was from John Stratton of the National Computing +Centre and was on The Open Document Architecture (ODA). This is another +ISO standard which is like \sgml{} but not like \sgml{}. It grew not from the +world of publishing and computer text processing and programming, but more +from the world of ECMA, the European Computer Manufacturers Association, and +was initially concerned (as is probably obvious from the name) with Open +documentation. The aim was to be able to provide open exchange of +documents, either in a fully formatted way or in a form which can be edited +and reformatted. ODA therefore considers a document in terms of both its +structure and its content or, put another way its logic and its layout. The +logical view is similar to that provided by \sgml{}, while the layout view is +in terms of blocks, pages, page sets etc. In addition there are document +management attributes and standard ways of handling graphics. + +In summary, a day full of acronyms, but most people probably came away +feeling that they understood at least a few of them and the concepts +behind them. + +\rightline{\sl David Penfold} diff --git a/info/digests/texline/no10/books.tex b/info/digests/texline/no10/books.tex new file mode 100644 index 0000000000..8bdd21632a --- /dev/null +++ b/info/digests/texline/no10/books.tex @@ -0,0 +1,180 @@ +\centerline{\bf Book Reviews} +\smallskip +\noindent +Every so often something good plops through the letter +box. Both the books which I received recently fall into +the `good' category. The first of these was a +particularly delectable item: not only is it by someone I +know, but it's a book about +\sgml\ that is readable. Eric van \hbox{Herwijnen's +}`Practical \sgml' (to be published by Kluwer Academic +Publishers Group) is a very thoughtful and balanced +approach to his subject. Briefly, the background is this: +Eric works at CERN in Switzerland. One of CERN's problems +(besides physics), is in exchanging documents between an +array of different machines both at the Swiss site and at +other similar locations world wide. The approach has been +to encourage the use of \sgml. The book is therefore an +outgrowth of that approach, and therefore covers not only +the {\sl meta\/}-language, but also the software which +may be employed to write with \sgml, and the problems +which were encountered. The {\sl Practical} of the title +is well-earned. + +He takes other systems seriously -- giving fair and +reasonable attention to \TeX\ (so he should, I taught +him!), although his example of using \TeX\ to construct a +memo I found a little idiosyncratic. In a similar way, he +examines how the same formula for the decay of a +particular particle could be expressed in \TeX, |eqn| and +two flavours of \sgml\ DTD (AAP Maths and ISO). Since +one of the criticism's Eric makes of the \sgml\ +applications is that `compound symbols such as $(m_{\eta +c})$ and $(Q_c)$\dots have a meaning to physicists' I was +surprised that he had not redefined them to have a name +which reflected that meaning. Similarly, if you have to +distinguish between `a right arrow and a decay reaction', +why not give them different names? The symbols can remain +the same, but the coding could be different. This is the +advantage of markup, that you can make the intention clear. +But the criticism that Eric is making here is really of the +DTDs, which are currently inadequate. + +One of the appendices discusses the problems which were +encountered in writing a book on \sgml\ using \sgml. This +is a particularly illuminating section and does much to +redress the excesses of other promoters of \sgml. + +This is a +valuable and welcome addition to the literature on \sgml. +\begintt +@book{EvH, +title={Practical {SGML}}, +year={1990}, +author={Eric van Herwijnen}, +publisher={Kluwer}, +isbn={0 7923 0635 X}, +price={\pound24.90}, +pages={307}} +\endtt +\smallskip +\subsection{Introduction to \TeX} +The other book was Norbert Schwarz' `Introduction to +\TeX'. I bought the German version last year (along with +two other German \TeX\slash\LaTeX\ books). This is a +translation prepared by Jost Krieger, a Dutchman. Now +there's something interesting. The first non-Knuth \TeX\ +book in English is a translation from the German by a +Dutchman. And the second may be Bechtolsheim's (another +non-native English speaker). Hint. It does read a bit like +a translation too. I don't think that does any harm. Once +or twice you have to reread a sentence or paragraph to +understand just what is being meant, but on the whole Krieger +has done a fair job. It is very much a book on \TeX. +There is very little about documents. It carefully, and +most often clearly, goes through the bulk of the plain +\TeX\ commands (one or two of which sent me scurrying +back to my {\sl\TeX book} just to check that they really +did exist). Very thorough. But they do tend to present +things without giving a clue of the generality or +usefulness. I did like the fact that the name Baskerville +appears by page 33. + +Many of the examples are extremely practical and useful. +Inevitably there is a tendency to introduce some things +in a brief way in order to develop something more +interesting. Although macros don't appear until Chapter +7 (starting on page 95), they have in fact cropped up +several times in the preceding chapters, with only +rudimentary explanation. The first reference to a macro I +found on page 15, and the first definition is on page 21. +I suspect that developing \TeX\ in a `linear' manner is +near impossible (after all, Knuth had to adopt a sort of +recursive approach), but sometimes I felt the reader had +to take quite a lot on trust. The alternative would be to +illustrate points with trivial examples, and I would have +criticised that too. Perhaps the single strongest feature +is the list of commands, together with an explanation +which forms the `end' of the book. It really is useful to +be able to flick through that, like an glossary of +commands, and then refer either to \TB, or to this book +for more details. A little hypertext version of the +glossary for my Mac would be very useful. + +The authors note the use of |\tracingstats|. +Unfortunately, as Knuth points out (page 303), and they +fail to, not all production versions of \TeX\ heed the +value of the tracing commands. This could conceivably +confuse the inexperienced. In view of Chris Rowley's +comments elsewhere in \TeXline, it was interesting to +read their comment (page 96) `A superfluous pair of +braces rarely has an adverse effect..' (sic). Although the +authors claim that the book should be `a bit more +internationally oriented than a book of English (sic) or +American origin', they don't suggest A4 alternatives to the +built-in |\hsize| and |\vsize|. + + +If I have a major criticism, it is one which is really a +criticism of the publisher (the inevitable +Addison-Wesley). I can see why the problem arises, but I +don't think it an adequate excuse. The book was +inadequately proof read. I suspect the authors themselves +typeset and proof read the book. This is not what we +employ publishers for! There are too many places where the +punctuation should have been tightened up (too numerous to +mention, but note the comma which begins a line on page +37 and the opening quotes round the wrong way on page 150), or +where the english should have been corrected (page 184, +`dipthong' for `diphthong'; page 84, `incontinuity' for +`discontinuity'). There are several cases where * is used +instead of $\times$. Surely the asterisk has not yet displaced +the $\times$ for a multiplication sign? What makes this more +culpable is the inconsistency of using both operators. The +table on page 12 seems curiously incomplete, with one +conversion factor given merely as the decimal point. +Small things, but they make a great deal of difference. + +And surely we don't have to print from laser printed output? +Bromides don't really cost that much more -- if Addison-Wesley +is having difficulty finding a printer, I'd be happy to take +care of the printing from \dvi\ for them. It seem such a +tragedy that the amount of effort which Knuth went to in +providing us with \TeX, the effort that Norbert and +Jost went to in writing this particular book, should be let +down by the publisher who inadequately controls that part +of the process they traditionally handled -- copy-editing +and printing. There might be some criticism too of the +driver used, since it shows up those irritating {\it +dis\/}continuities in the horizontal bar of the square +root sign and the over- and under-braces which +appear to bedevil so many drivers. + +This is a prime example of the orthogonality of form and +content. The content is excellent, but the form could do +with some attention. To dedicated \TeX ies, who know +what's going on, the form will not detract, because the +content is so strong. For the uninitiated, for whom this +book is really intended, the capabilities of \TeX\ may be +obscured. + +Leaving the relatively minor criticisms of content aside, +this is a fine book. Their discussion on tables (chapter +6), the list of `common' error messages, and the glossary +make the book value for money. How much? A mere +\quid19.95 in paperback, for a bountiful 278 action-packed +pages. +\begintt +@book{NS, +title={Introduction to {\TeX}}, +year={1990}, +author={Norbert Schwarz and Jost Krieger}, +publisher={Addison Wesley Europe}, +isbn={0 201 51141 X}, +price={\pounds19.95}, +pages={278}, +notes={see also Schwarz' + original in German}} +\endtt + +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no10/cahiers.tex b/info/digests/texline/no10/cahiers.tex new file mode 100644 index 0000000000..1feddbdba1 --- /dev/null +++ b/info/digests/texline/no10/cahiers.tex @@ -0,0 +1,354 @@ +\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{{\sl Textures}} + +\centerline{\bf Cahier GUTenberg} +\smallskip +\noindent +The last \TeXline\ carried abstracts or summaries of the papers +included in the `zeroth' edition of the Cahiers GUTenberg. Most of the +summaries below are based on translations prepared by Catherine +Griffin. The latest edition of the Cahiers, number 4, has short english +abstracts (slightly enlarged here). This innovation is to be welcomed. +While it is unlikely that \TeXline\ will ever follow suit, perhaps +\TUGboat\ will. \smallskip +\leftline{\bf Summaries from Number 1, April +1989:} \talk{Quelques r\'eflexions sur le traitement de textes +informatis\'es \`a propos du logiciel \TeX}{Fran\c cois Chahuneau, +pp.2--15} +In the beginning of computing, that is, in the '50's, one could scarcely +imagine using computers for text manipulation: first, computers were +scarce; second, it was difficult enough to type computer programs on punch +cards to dissuade any text except program comments; finally, in any case, +the resulting printout, from impact printers -- all in capitals and without +accents! -- would have been most disappointing. +In the '70's, the parallel development of time-share systems and printing +terminals (`teletypes'), the adoption of 7-bit \ascii\ which made +possible the use both upper and lower case, and the appearance of +line-editors caused a rapid development in this area. + +As a result of talk at MIT and in the research labs of +Bell Telephone on the characteristics of a modern shared time system, we +saw the appearance of much more powerful line-editors + The same people were at the origin of the first text formatters such +as {\tt roff}, of which the direct descendants -- keeping the same +philosophy -- were Runoff and Compose on Multics or {\tt nroff} and +{\tt troff} on \unix. To use these text formatters, one combines in a +source text the text itself (sensu stricto?) with commands -- to a +greater or lesser degree cryptic -- for the formatting program. +\talk{\TeX\ et Baudelaire}{Raymond P Poggenbur, pp.16--20} + Here is the history of the birth of a history of history, in other +words, a chronology. If this work exists today in printed form, it is +thanks to the marriage of \TeX{} and the DEC 1011, the computer of my +university. + The book `Charles Baudelaire: a micro-history', was published in +April 1987 by Jose Corti in Paris. The book was typeset by the author, +using \TeX{}. + I propose to describe the origin of the project, then to suggest some +possibilities for the development of this type of tool and I will end with +some very brief remarks on the advantages of \TeX{} for the examination of +chronological problems. +\talk{\LaTeX\ or \sgml\ pouvaient-ils faire \'eviter la +catstrophe de la gare de Lyon?}{Jacques Andr\'e, pp.21--25} + We remember that 27 June 1988 when a train entered the Gare de Lyon +at Paris, at fairly high speed and without brakes, ran into and +embedded itself in a train waiting to depart: 56 dead and dozens of +wounded. An enquiry was immediately organized by the Minister of +Transport and the Sea. The results were published as a report -- a +catastrophe of this magnitude is rarely due to a single cause, but is +the result of a chain of circumstances. The report mentions in +particular the possibility of a consciopusly harmful act (the closing +of a tap), an alarm signal mistakenly pulled, the difficulty the +mechanic had in applying the brakes, liaison problems by radio and +blocked signals, the absence of an escape track, etc. + But, and this is what prompted this article, the commission noted +that, when presented with a real crisis, the relations that those +in charge had to establish between the texts of the various regulations, +which in turn included cross-references and footnotes, the rules for +their application, and the procedures indicated by specialised +instructions -- for example, breakdown procedures -- is not always +straightforward. The enquiry also drew attention to the specific case of +an error in the typography of the manual which could lead to a mistaken +interpretation. +\talk{Pr\'esentation d'une revue mensuelle compos\'ee automatique +par \LaTeXsl\ \`a partir d'une base de donn\'ees relationelle}{Nicolas +Brouard, pp.26--34} The `Revue fran\c cais des sondages' or `Sondoscope' +is a monthly journal of about 40 pages, typeset automatically using +\LaTeX{}, from the first to the last page. Each section has its own +typographic design. A large part of the journal, mainly the tables, est +extracted from a relational database. + The aim of this article is to explain how we produce this journal, and +the choices we have made. After briefly describing the journal, we will +talk of the relevant material, then of the type of relational database +used, and the interfaces bwetween the database and a text formatter +such as \TeX{}. Finally, we will discuss questions which are not +resolved by \TeX{} and \LaTeX{}. +\talk {DDI Dessin DVI}{Andr\'e Violante, pp.35--38} +\TeX{} is known for its imperviousness to any file type except \ascii. +In fact, every entity is automatically reduced to a box containing +`glue', characters and horizontal and vertical marks. These characters +are only seen by \TeX{} as numeric codes. + It is only during preview or printing that +these codes are transformed to already existing graphic entities. + For graphic representation, two possibilities are available to the +user: \item{$\bullet$}use of the |\special| command to incorporate +graphics into the document for printing. The drawback of this solution +is that that the document is not independent of the peripheral, so it +is not possible to preview the document as it will appear, and to +prevent the the figure's text to be in \TeX{} characters; +\item{$\bullet$}the use of semi-graphical fonts. We remain +independent of the peripheral devices, and graphics done this way could +be previewed on a screen or printed on an ordinary printer. +\LaTeX{} exploits this possibility with its graphics environment. However, +this solution is only for elementary graphics. + +\noindent 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{Evolution en amont de \TeX: le foisonnement des +Pr\'eprocesseurs pour la Math\'ematique}{Laurent Siebenmann, +pp.39--44} +The problem of keying manuscruipts for a high quality printing is +particularly difficult when the manuscripts are mathematical. Since Don +Knuth created \TeX{} partly to resolve this well-known problem (which directly +involved his own books!), it is probably interesting for the participants +of the GUT day (including non-mathematicians) to note the different +solutions surrently proposed. In fact, the realisation of these ideas is +often of general concern. + On the other hand, the specific pre-processors which I will mention, in +particular my Sweet-teX{}, don't have the same usefulness as \TeX{} +outside of mathematical sciences: they are specialised tools -- +especially where they are in frequent use. +\talk{Les concepts graphiques de \PS}{Bruno Borghi, pp.45--51} +This article is devoted to an analysis of the graphics concepts in force in +the page description language \PS{}. The basic principles of the +\PS{} Graphics model are thus distinguished entirely independently of +the proper language aspects (syntax, general operators). +\talk{Une macro \TeX\ pour signaler les mises \`a jour\/}{Georges Weil, +pp.52--53} This macro +allows one to put a correction bar in the margin of one or more +paragraphs. +The macro |\maj| puts a bar for the paragraph which follows. +The macro |\majdeb| puts a bar for all the paragraphs which follow until +meeting the command |\majfin|. + +\talk{Les fiches cuisine d'Onc' \PS: Fiche N$^\circ$1: +une table Tra\c cante}{Bruno Borghi, pp.64--66} \PS{} is +wonderful, it allows you to write text in a spiral with one character +funnier than the next, and all sorts of other delightful gimmicks. +Honestly. + The problem is that the great majority of applications are concerned +with much more fundamental graphics problems: tracing presentable marks +with a horizontal text. + For this first cookbook file, Onc' \PS{} will consider an +application which every \PS{} programmer has confronted: connecting a +\PS{} printer to a vector graphics program. All the +output conversion programs such as Tektronix, HPGL or Benson belong to +this family. + The problem is less simple than it appears, but the solutions which +we will look at together could be adapted to more ambitious cases. +\goodbreak\bigskip\goodbreak +\leftline{\bf Summaries from Number 2, May 1989:} +\talk{Xwindows, \LaTeX, \TeX draw et Plot79, ou comment +calculer, r\'ediger, dessiner et imprimer plus +ais\'ement}{Nicolas Brouard, pp.11--12} 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, pp.13--53} 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{JPDraw, un \'editeur de dessins pour \LaTeX\ sur SUN}{Jean-Pierre +Merlet, pp.54--62} +We will describe the a drawing editor working on the SUN in the +{\tt suntools} environment. The first aim of this editor is to generate +\LaTeX{} files in the `picture' environment. But it is also possible to +save the designs as \PS\ images, or at least in the shape of +instructions for a Hewlett-Packard type plotter for the creation of +colour slides. + JPdraw allows mouse manipulation of various geometric primitives +(lines, text, rectangles, polygons, ellipses, ovals, various curves) +similarly to Macdraw on the Macintosh. But is also has a meta-language +for describing drawings, thereby allowing a convenient interface +between a user program (for example dtp, image handling) and +\LaTeX{}. +\talk{\TeX\ et les graphiques dans l'environment +Mac}{Anestis Antoniadis, pp.63--67} 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{Traduction en \TeX\ d'un +fichier \sgml\ avec r\'ecup\'er\-ation des graphiques et +des tableaux}{Maurice Laugier, pp.68--72} 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, pp.73--80}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, pp.81--89} 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. The 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. + +\talk{L'environment de production de documents \TeX\ \`a +l'IRISA}{Philippe Louarn \& Bertrand Decouty, pp.90--95} 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. +\bigskip\goodbreak +\leftline{\bf Summaries from Number 3, October 1989:} +\talk{\TeX\ et les graphiques pour le PC}{Lance Carnes, Chris Bohn, Ian +Griffin \& Brian Carnes, pp.4--8}% 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{{\ttit texpic}: design and implementation of a +picture graphics language in \TeX\ \`a la {\ttit pic}}{Rolf +Olejniczak, pp.9--20} {\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{Un pilote graphique entre le logiciel statistique S et +\PiCTeX}{Olivier Nicole, pp.21--31} +INRA replaced its Multics system with \unix. This gave us access to a +large amount of public domain software, including \TeX, which would +run on a wide variety of platforms. We evaluated several statistics +packages, and eventually adopted S. We therefore had a syetem capable +of typesetting mathematics and a statistics system which met our needs, +but no way of connecting the two. This paper describes the development +of a method of combining the two, through \PiCTeX. + + + +\talk{M\kern-0.2em\lower0.2ex\hbox{A}\kern-0.2emCRO\TeX: Un g\'en\'erateur +de code \LaTeX\ impl\'e\-ment\'e en MACSYMA}{J Ph Chancelier \& A Sulem, +pp.32--39} M\kern-0.2em\lower0.2ex\hbox{A}\kern-0.2emCRO\TeX\ is a code +generator producing \LaTeX\ code form Macsyma, a system for symbolic +calculus. M\kern-0.2em\lower0.2ex\hbox{A}\kern-0.2emCRO\TeX\ contains +both translation functions from Macsyma into \LaTeX\ and paper +generation facilities. So it adds the power of Macsyma to the quality +of texts exited through \LaTeX. +M\kern-0.2em\lower0.2ex\hbox{A}\kern-0.2emCRO\TeX\ is written in Common +Lisp. + + +\talk{Les fiches cuisine d'Onc' \PS: Fiche N$^\circ$2: +une \'emulateur de table ra\c cante}{Bruno Borghi, pp.66--68}Continues +the earlier paper to provide an emulation of a pen plotter for OPGL +(Onc' \PS\ Graphic Language). +\bigskip\goodbreak +\leftline{\bf Summaries from Number 4, December +1989:} +\talk{Normes et Fontes}{Daniel Dardailler, pp.2--8} +This article gives an overview of the different +standards, official or not, which may be met in the +digital font world. There is an urgent need to +standardise the whole range of features in this domain, +from font names through to the type of mathematical +curves used in representing letter shape. This would help +make the process of document creation and interchange +less difficult than they are at present. Four +main sub-domains are suggested in which standardisation +is needed: font names and styles; classification into +e.g.~Latin, Kanji etc; the way the character is formed -- +bitmap, outline; the vocabulary to be used -- what is a +typeface, a font, etc? Gives an overview of many of the +standards currently in production. + +\talk{M\'etriques des fontes en typographie +traditionelle} {Jacques Andr\'e, 9--22} +This paper is a tutorial on font metrics in hot metal. It +is the first in a series of paper on digital typography. +Gives the typographical terms used to describe typefaces +and fonts (noting {\it en passant\/} that the King of +France's thumb was bigger than that of the King of +England -- and ultimately accounting for the difference +between the sizes of the French and English `points'). +Probably holds the record for number of footnotes per +page (averaging 3!). Many examples, extensive +bibliography. + +\talk{Punk: De \MFsl\ \'a \PS}{Jacques Andr\'e \& Victor +Ostromoukhov, pp.23--28} +The Punk font, initially designed by D. Knuth for \MF, +has been translated into \PS. Thanks to the \PS\ font +machinery, this new font is more dynamic than the genuine +one. + +\talk{Une meilleure int\'egration du graphisme Macintosh} +{Laurent Siebebmann, pp.29--38} +Describes the integration of graphics +with \TeX\ on the Macintosh, chiefly with \Textures, but also with other +Mac implementations. Also notes the impact on Sweet-teX, +and the latest feature of \Textures, allowing export of +an {\sc epsf} file to, for example, Illustrator. + +\talk{\TeX\ 3.0 ou le \TeX\ nouveau va arriver}{Donald E +Knuth, pp.39--45} +A french translation of the article in \TUGboat\ 10(3) +p.325--328. + +\rightline{\sl Catherine Griffin \& Malcolm Clark} diff --git a/info/digests/texline/no10/chris2.tex b/info/digests/texline/no10/chris2.tex new file mode 100644 index 0000000000..c58805e267 --- /dev/null +++ b/info/digests/texline/no10/chris2.tex @@ -0,0 +1,174 @@ + +% +% Here is my contribution Malcolm, for TeXline +% if you think it suitable. I've plain \TeX'ed +% it upto a point---I didn't fix overfull boxes +% (there are only two)---and all the macros +% are from \TeX book. Everything below the line +% which screams ``HERE'' is needed except for the +% endgame lines. +% Everything above is Knuth's +% chris +% PS I'll be away until 18 Sep. +% + +% +% HERE +% +{\let\latex\LaTeX +\let\bibtex\BibTeX +\def\Makeindex{{\tt make\-index}} +\def\pagerefs{{\tt page\-refs}} +\def\awk{{\tt awk}} +\centerline{\bf Cross Referencing the Bibliography} +\smallskip +\leftline{\sl Why cross reference?} +\noindent +When you are looking through an article, +do you wish that +the bibliography contained cross references to the point +in the text where the item was cited? I often do, and in this note +I explain why I find this useful and include a small set of +\unix\ based tools to accomplish this task quite painlessly +using \latex\ and \bibtex\ (Patashnik, 1985). + +Academic and other sources now publish vast amounts of written +material. You can't read it all and you have to make some kind +of judgement as to what you read carefully, what you skim +quickly and what you ignore. This is especially true in +academic circles where we are constantly snowed under with journals, +new journals and conferences, as well as books and +departmental reports. + +One of the first things I look at when trying to judge the +relevance of an article is its bibliography. I want and expect +it to be work I have already seen or know +about. There are several occasions though, when something +catches your eye about the list of references, and you want to go +immediately to some particular point of the article: + +\item{$\bullet$} + Perhaps the article is a survey or tutorial and you + want to see how the authors treat your favourite work + (or your own!); + +\item{$\bullet$} + Perhaps there is an intriguing article cited: a paper + you have come across in a totally different context + and is quite unexpected here. Why is it cited? Or + more likely, a paper unknown to you. What is it about? + +\item{$\bullet$} + Perhaps you wish to refresh your memory about + something -- you have come back to this paper looking for + specific comments made by the authors concerning some + other work. Where do they talk about it? + +\noindent +A bibliography including this kind of cross reference would be +extremely useful to its readers. You can probably think of lots +of other examples yourself. Clearly, cross referencing back into +the text in a book or a thesis can be a great help, but I would +also stress the advantages of doing the same thing in +journals accepting long articles and even short reports and +conference proceedings. In particular, books which are +collections of articles by several authors and have collected +bibliographies at the back (or elsewhere!) can benefit greatly +from such a scheme. + +This cross referencing is quite specific to the citation in question. +You don't have to go hunting through an index for author's names +which may not give you exactly the right places anyway. Instead +you get exactly the information you want: where the reference was +cited. If you forget the authors' names, bibliographies are +often short enough to scan through to get the right item; In any case, +what journals and conference proceedings have indexes? Even some (bad) +books don't have an index. +\smallskip +\leftline{\sl Producing the cross references} +\noindent +No journals or books that I know of have produced such a +bibliography. Nevertheless, it's not hard to do so; I have already +started and I hope others will follow suit. (I'd like to think that the +conference proceedings and technical reports I find myself reading in +the future will do so. Maybe even one day the technical journals\dots) + +I am going to spend the remaining few paragraphs talking about a +small program to produce the bibliography in a \latex\ +document. The program is very heavily \unix{}\ biased, and was simply +thrown together in a few hours, but I hope that +the ideas are clear enough. It is not really a very difficult problem. + +In addition to using \latex, we make use of two other `standard' +programs: \bibtex\ and \Makeindex. \bibtex\ will of course +come as no surprise. \Makeindex\ is a program written +by Pehong Chen at Berkeley, with help from Leslie Lamport, +and if you are writing a book with \latex, \Makeindex\ is a program you +must consider using. +Unfortunately, +it is, I believe, only written in C and unavailable outside the \unix{} +world. You will need \Makeindex\ to use my particular implementation. +If you don't have it I believe it is on the standard \unix{} tape from +Washington and several archives, including Aston. If you're not on +\unix, I'm afraid you can't use my implementation anyway because it +relies on \awk. + +The suite consists of: +\itemitem{1:} a \latex\ style file; +\itemitem{2:} a preprocessor made from a couple of \awk\ scripts; +\itemitem{3:} \Makeindex; +\itemitem{4:} a postprocessor, in C; +\itemitem{5:} a shell script, \pagerefs, working on 2--4 above. + +\noindent\pagerefs\ runs in a manner analogous to \bibtex. +\bibtex\ must be run first to produce the {\tt .bbl} file, +and then \pagerefs\ to add the page numbers. + +The style file, {\tt pagebib}, simply redefines +|\cite| to write out the page number +(but not the |\nocite| command -- it +didn't seem appropriate). None of this interferes with the +normal citation methods of \latex. + +The style file also defines a command called |\PageBIB|, +which is used to format the references. My current command is +\begintt +\newcommand{\PageBIB}[1]% +{\hspace*{\fill}\hbox{[#1]}} +\endtt +\noindent You can of course redefine it as you please; I flirted with +the idea of putting the page numbers in marginal notes. + +Step~2 simply puts the citations into a suitable form for +\Makeindex, which does all the hard work. Step~4 relies +on the fact that the bibliography styles include the bibliographic +key from the database, (not the label!) in the {\tt bibitem} entry +which is how citations are matched up with labels. I don't know if +this is a step \bibtex\ always does but it certainly works for +the ones I have used -- |alpha|, |plain|, \hbox{|abbrv|}, +|unsrt| and |acm|. + +Finally, of course, you must run \latex\ again, but this is only a +real cost if the last thing you did to your manuscript was to add or +delete a reference, in which case you will probably run \bibtex\ +again anyway. In the whole scheme of resource usage when writing +and producing a book or article, this particular part is really rather +small. +\smallskip +\leftline{\sl The bibliography} +\noindent +{\frenchspacing\parindent0pt\hangindent20pt\hangafter1 +Alfread~V. Aho, Brian~W. Kernighan, and Peter~J. Weinberger, +{\awk}: a pattern scanning and processing language, 1978. + +\hangindent20pt\hangafter1 +Leslie Lamport, +Makeindex: an index processor, 1988. + +\hangindent20pt\hangafter1 +Oren Patashnik, +{\bibtex}ing, 1985. +} + +\rightline{\sl Christopher P. Higgins} + diff --git a/info/digests/texline/no10/dante.tex b/info/digests/texline/no10/dante.tex new file mode 100644 index 0000000000..245b9db529 --- /dev/null +++ b/info/digests/texline/no10/dante.tex @@ -0,0 +1,88 @@ +\centerline{\bf DANTE meeting, 12--13th October} +\smallskip +\noindent +Eichst\"att is a small university town in Bavaria, a few +hours' drive from Munich. The one delight in driving +there from Munich was passing the huge sign in Stuttgart +which says `Vorsprung durch Technik' (or something +similar), after many denials from German and English alike +that this phrase existed, far less meant anything. +It may not mean anything, but it's good at identifying the +product. I'm sure there's a moral there for us all. This +was {\sc dante}'s 10th annual meeting. More accurately, it +is the tenth annual meeting of German-speaking \TeX\ +users. {\sc dante} itself has only been in existence for +about a year or so (perhaps longer by the time \TeXline\ +appears!). + +The two day meeting adopted the style familiar to many +other European groups of a teaching\slash training +session immediately preceding the more general meeting. +It also had the familiar sight of Lance Carnes. I can't +remember a European meeting where Lance hasn't turned up +(usually with his presentation on what's new with Personal +\TeX). + +I'm not going to give more than impressions, +because my German is too rudimentary to follow things +very closely (the original plan was to go with Peter +Abbott, who is fluent in German, but he had other +commitments). What impressed me? The number of people, +for a start; I didn't do a head count and there seemed to +be no list of attendees, but there were easily over 50 +people there, perhaps as many as a hundred. The range of +people: besides West Germany, Czechoslovakia and Austria +were represented. The Austrian representation ensured +that the next {\sc dante} meeting would be in Vienna +(20--21 March, 1991). + +I was a little worried that two German \TeX\ meetings +so close together (the Karlsruhe meeting was only a +month previously) would damage both. In the event, I do +suspect that some might have gone to one rather than +the other, but that both were reasonably well attended. +On the other hand, the logic of combining both, with perhaps +a {\sc dante} day or day-and-a-half seems inescapable. +Everyone else would get the opportunity to see this group +in action, and to benefit by their approach to problems +which beset us all. + +As is becoming usual, but is still +remarkable, there is a wide range of \TeX\ usage: +commercial, academic and research. I'm less clear about +the comparative employment of \TeX\ and \LaTeX; that +didn't come through clearly, and the impressions I formed +at Eichst\"att were rather different to the ones I had +formed at Karlsruhe. + +There were many familiar faces from +Karlsruhe, including the irrepresible Christina Detig and +Joachim Schrod, Klaus Thull (of very public domain \TeX\ +and \MF\ on pc fame), and Joachim Lammarsch and Luzia +Dietsche (respectively, {\sc dante}'s Chairman and +Secretary), and one or two presentations familiar from +Karlsruhe too. There were also many I recognized by name +and reputation. + +Most of the real business seemed to get done in the +breaks and the evenings (as usual) -- this was helped by +a reasonable vendors display and the availability of a +micro to share software. But the talks and presentations +were the peg on which the whole event could turn. Wolfgang +Slaby, the local organiser did an admirable and +well-natured job in taking care of the meeting and its +participants. + +I was lucky to be driven around by a friend who works at +one of the many Max-Plank Institutes (it's a sort of +generic term for physical research). I taught her \TeX\ a +few years ago, and she now uses it exclusively in her +Institute, also passing on her expertise to the scientific +staff. She knows about \TeX\ and TUG, but not +about {\sc dante}. When I told her about {\sc dante}, which she had not heard of +before, she was slightly intimidated by the idea of a `German-speaking' +group: all {\it her} reports are in English; what did +she need (or want) with such a group\dots? More education +and information needed? + +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no10/didot.tex b/info/digests/texline/no10/didot.tex new file mode 100644 index 0000000000..8b62303ee5 --- /dev/null +++ b/info/digests/texline/no10/didot.tex @@ -0,0 +1,150 @@ +\def\blt{$\bullet$} +\centerline{\bf DIDOT} +\centerline{\bf European project for training} +\centerline{\bf in +numerical typography} +\smallskip +\noindent +The Laboratory of Peripheral Systems of the Polytechnic of Lausanne is +preparing a project for continual training in digital typography. This +project seeks to establish a European system for training for typographers +and artists with a view to enabling them to use new creative tools and for +computer experts in order to make them competent to create these new tools. +This training therefore would be carried out by mixing the two groups in +shared seminars. In fact, the purposes the project are several: + +\item{\blt}To prepare a curriculum which would define the type of training +which + would be carried out; +\item{\blt}To define tools, especially computer-assisted, for this instruction; +\item{\blt}To organise short duration courses to validate these methods; +\item{\blt}To anticipate the training of instructors in professional schools. +\smallskip +\leftline{\sl Objectives of the project Didot} +\noindent +The object of project {\sc Didot} (`Digitalisation and Design of +Typefaces') is to conceive, to equip and to evaluate a European programme of +instruction in digital typography for computer experts and graphical arts +specialists. This area includes not just the creation and use of fonts (and +more generally logos, drawings, etc.) in printing or for laser printers, but +also for all sorts of displays, computers, television, etc., +tele-distribution, (of which fax. is just a first sketch) their storage +(CD-ROM, for example) etc. In other words, this sector is an important one, +even though this is not always recognised. +\smallskip +\leftline{\sl Reasons for the project and its origin} +\noindent +While the great typographical inventors + (Gutenberg, Baskerville, Mergenthaler, Higgonnet and Moyroud, Karow, +B\'ezier, etc) are European in origin, the market in typefaces has for a +number of years been in the hands of some American firms. (ITC, Bitstream, +Adobe, Allied, etc). By a market we mean the market of the artistic creation +of the font and its `giving it a number' and finally its distribution. The + recent font-war (choice of a standard) proves that very adequately. + Europe could be better placed in this market thanks to a better + knowledge of the new technologies, hence the need for a formation which + is `state-of-the-art' and mixed (computer specialists and + graphical specialists). + Didot is also the +name of a whole French dynasty of font-engravers, founders, printers or +booksellers, whose activity spans more than three centuries. The most famous +are probably Fran\c coise Ambroise Didot (1704--1804) who gave his name to the +Didot point, a typographical unit still used in most European countries +and his son Firmin Didot, (1765--1836) who drew `Le Didot'. + +The state-of-the-art technology have reached a certain maturity. On + the other hand, training in this area remains very localised and + Europe remains thus dependent on countries which do not necessarily + share its culture. + +The modern display interfaces (NeWS, Display \PS) and programs on + page printers are based upon derivatives of the page descripion language + \PS. It is essential that European industrialists should be + capable of developing their own controllers for displays, printers and + phototypesetters based upon such a language. + +Very soon, all computer and office systems will incorporate extensive + typographic possibilities/facilities; it is therefore essential to bring + together European typographers, computer specialists and industrialists. + This training will permit the exchange of information between teachers + and students from diverse industrial academic and artistic backgrounds. + It ought to be possible to obtain a very significant synergistic result. + + + +\smallskip +\leftline{\sl Types of activities and training be undertaken} +\noindent +The principal activities of project {\sc Didot} therefore concern the +preparation of a curriculum and associated tools. At the same time, training +will be carried out with a view to validating this program of instruction. +The types of training to be carried out concern, for example, + +\item{\blt}For typographers who create fonts, how to use the new computer + tools + +\item{\blt}For computer specialists of PME, the bases of classic typography, + the computer-based techniques of rasterisation, etc., + +\item{\blt}For specialists in office equipment, (distance distribution, + storing CD-ROM, etc) standards and servers for fonts. + +\item{\blt}For researchers in typography, how these new technologies + enable new developments in typography. + +\smallskip +\leftline{\sl Proposals} +\noindent +Project {\sc Didot} therefore proposes: +\item{\blt}To prepare in collaboration with the PME who are concerned and + with typographers and computer experts and researchers who are + computer experts in this domain a curriculum; that is to say, + to conceive a programme of courses in digital typography +\item{\blt}To develop tools for this training both CAI tools for teaching + in groups and for individuals +\item{\blt}To validate these tools in training sessions. +\item{\blt}To train the instructors on the relevant professional courses, + e.g art school, high school of graphic art and printing, so + that they can instruct their pupils in the new technologies. + +\noindent The organisers have already been involved in attempts at training of +this kind -- the INRIA school `Typography and Computer at Rennes, 1985', and +Aussois, 1987 `colloquium on digital typography at Sophia-Antipolis (1987)' +`Raster Imaging and Digital Typography at Lausanne, 1989'. Conference on +Electronic Publishing at Nice, 1988; as well as many courses of a more +academic nature at EPFL Lausanne and at the University of Rennes. +These have always been successful both with PME and with researchers. + + +\smallskip +\leftline{\sl Results to be obtained} +\noindent +\item{\blt}To introduce font designers and logo designers to the new + technology, and notably to the use of computer-based systems + +\item{\blt}To initiate computer experts in the problems of traditional + or digital typography + +\item{\blt}To enable European industrialists to acquire the knowlege + necessary to develop an \PS-like interpreter and to + follow the work of international groups working on standardisation + +\item{\blt}To bring about, through the contact of these groups and + through the presence of motivated instructors a symbiosis + whose indirect fallout ought to be the creation of new tools + adapted to meet the true needs of creators and users. +\smallskip +\leftline{\sl Input required} +\noindent +This project will be presented at the end of February 1990, under the title +`{\sc Didot}' within the auspices of the Comet-2 programme to the European +Community. + +In order to give it weight, we wish to demonstrate that this indeed +coresponds to a need both of typopgraphers and of industrialists and +researchers. We would therefore like to hear from your institution +telling us what you think of this project. We are at your disposal for +further information. + +\rightline{\sl Jacques Andr\'e \& Roger Hersch} +\rightline{\sl (translated by Malcolm Smith)} diff --git a/info/digests/texline/no10/ed.tex b/info/digests/texline/no10/ed.tex new file mode 100644 index 0000000000..6449c3e340 --- /dev/null +++ b/info/digests/texline/no10/ed.tex @@ -0,0 +1,109 @@ +\def\mwc{Malcolm Clark} +\centerline{\bf Tripping over our own feet} +\medskip +\noindent +How do you know you are using \TeX? What is it about the +program you are using that makes it \TeX, and not +something that only looks like \TeX? The answer lies in +the trip. Each implementation of \TeX\ has to pass the +trip test. What is the trip test? This is not quite so +easily answered. The trip test is Knuth's torture test +which seeks to flex those muscles which are probably best +never seen: it attempts to verify that the program is +doing what it is supposed too, out in those marginal +situations where you can't really understand what the +fuss is about (`Why would you want to do that anyway?'). +That seems simple enough. But there are some minor +problems. + +First, the trip test is not a static test. With +practically every bug fix to \TeX\ the trip test is +extended -- after all, part of the reason for the +existence of the bug is the inadequacy of the testing (so +far). So the trip test is updated to bolt the stable +door. Unfortunately, Knuth has, up to now, not numbered +or dated the trip tests (a fact he acknowledged at the +TUG meeting in 1989). You may very well have a \TeX\ which +passed trip. That does not necessarily mean it will pass +tomorrow. And who decides when a pass is a pass? The +output from trip is not a simple `Pass' or `Fail'. It is +not possible to pump it through a differencing program: +true, if no differences are found, then you've probably +passed (or cheated); but some differences are legal, while +others are not. + + +The criterion of \TeX hood is passing trip: Knuth +will be pretty upset if you call something \TeX\ when it +isn't: and ultimately, the AMS (who hold the copyright on +\TeX, whatever that means exactly) might set legal wheels +in motion to protect \TeX's integrity. This places some +pressure on \TeX\ implementors to pass trip. In general, +the implementor decides whether trip has been passed. +There appears to be no `regulatory' procedure, or even a +`certification' procedure. There is no third party to +whom an implementor can turn to ask to verify that theirs +is a valid implementation. The AMS don't really want to +know. + +Surely it is time we did something about this? There seem +to be at least two main issues: the first is to ensure +that the `current' version of trip can be identified. +This is presumably in Knuth's hands. But it should not +be too difficult to add the date to trip. The second +issue is who decides on a pass? Is verifying a trip test +really so difficult (one or two implementors have +expressed the opinion to me that they felt it really was +difficult, especially for quiche eaters like me)? Whose +responsibility should it be anyway? + +How can a trip pass be verified? I have been advised that +making the output from trip available is insufficient. +Some implementors considered that it would be pretty easy +to cheat. That seems to indicate that someone, somewhere, +has to be the umpire. I would nominate TUG as the +`disinterested' verifier. + +Obviously there {\it are} +problems: few others may have access to an equivalent +machine on which to test the implementation: I see this +only a problem for mainframe versions. The most critical +area is surely that of the commercial implementations: +commercial versions are expected to sell, so they are done +for machines which are fairly common. This kills two birds +with one stone: the vendors could pay TUG a nominal sum, +and in return receive (say) an annual certificate of +validity (or not). Doing this annually ensures that the +trip test is re-applied to the software, accounting for +changes both to trip and the implementation. The vendor +then has independent verification, the customer does not +have to depend on the good faith of the vendor (not that I +make any imputations of any {\it lack\/} of good faith!), +and TUG may earn some money. + + Perhaps each +copy of \TeX\ given or sold should have a copy of the trip +test, but if the output is so difficult to understand, this +is only going to require an excessive amount of explanation +on the already overworked implementor. Conformance +testing should be a background activity, not one which is +thrust on the users. + +Of course, it is not just \TeX\ which has a rigorous test +to verify its performance. \MF\ has the trap test, and +the drivers committee has suggested a similar sort of +testing of device drivers. We need not stop there. What +about \LaTeX? What about a trip for \LaTeX? Anyone brave +enough? + +Clearly these ideas flow on from my previous editorial on +`standards'. Until we can really claim that our {\it de +facto} standards are adhered to (and probably to a far +higher degree than any ISO standard), we should be +cautious in proclaiming our integrity too loudly. But it +must be in all our interests, both in the long and short +terms, to have some independent arbiter of conformance. +We really can't leave everything to Don! Give him a +break. + +\rightline{\sl \mwc} diff --git a/info/digests/texline/no10/ep90.tex b/info/digests/texline/no10/ep90.tex new file mode 100644 index 0000000000..41fe58983c --- /dev/null +++ b/info/digests/texline/no10/ep90.tex @@ -0,0 +1,44 @@ +\centerline{\bf Electronic Publishing '90} +\smallskip +\noindent +EP90, an international conference on electronic publishing, document manipulation, +and typography, will be held in mid-September, 1990, in the Washington, DC area +in Gaithersburg, Maryland on the campus of the National Institute of Standards and +Technology (formerly the National Bureau of Standards). An associated exhibition +will provide an opportunity for participants to see commercial and research systems +in action. +EP90, {\sl Electronic Publishing '90}, will be the third in +a series of international conferences established to bring +together researchers in all areas of electronic publishing +systems. EP86, held in Nottingham, England, was sponsored +by the British Computer Society. EP88, held in Nice, +France, was sponsored by INRIA. The proceedings of papers +presented at the earlier sessions were published by +Cambridge University Press and have received wide +dissemination. The proceedings of EP90 will also be +published in book form and will be available at the +conference. + +EP90 will adopt a broad definition of `electronic publishing'. Electronic publishing +will be taken to encompass all aspects of computer-assisted preparation, presentation, +transmittal, storage, and retrieval of documents. The scope of the conference also +includes the design of the related computer systems, the design of their components, +and the theory that underlies such systems. Both linear and non-linear documents +are appropriate subjects for discussion. While the conference will be principally +oriented to new ideas and techniques, careful presentation of important earlier +results inadequately described in the open literature is also appropriate. Papers +should present previously unpublished original research results and should be supported +by experience. + +Further information may be obtained from: +{\parindent20pt\obeylines +Lawrence A Welsch/EP90 +Building 225, Room B252 +National Institute of Standards \& Technology +Gaithersburg +MD 20899, USA +tel: 0101 301 975-3345 (office hours); +fax: 0101 301 590-0932 +e-mail: {\tt ep90@asl.ncs.nist.gov} +} + diff --git a/info/digests/texline/no10/good_guys.tex b/info/digests/texline/no10/good_guys.tex new file mode 100644 index 0000000000..33fae7b0ac --- /dev/null +++ b/info/digests/texline/no10/good_guys.tex @@ -0,0 +1,110 @@ +\centerline{\bf The good guys} +\def\address#1={\goodbreak\vskip8ptplus2pt\goodbreak\parindent0pt% +\hbox{\hfuzz40pt\hsize3.1truein\vbox{#1}}} +{\obeylines +\address +Konrad Neuwirth +Fernkorngasse 44-2-4 +A-1100 Wien, Austria +email: {\tt a4422dae@awiuni11.bitnet} +=\address +{Christopher P. Higgins} +{Department of Computer Science,} +{University of York,} +{York, YO1 5DD, UK} +{email: {\tt chris@uk.ac.york.minster}} +=\address +Carol~Hewlett +Computer Service +London School of Economics +Houghton Street +London, WC2A~2AE, UK +email: {\tt hewlett@uk.ac.lse} +=\address +David Penfold +Edgerton Publishing Services +30 Edgerton Road +Edgerton +Huddersfield HD3 3AD, UK +0484 519462 +=\address +Victor Eijkhout +Department of Mathematics +University of Nijmegen +Toernooiveld 5 +6525 ED Nijmegen, the Netherlands +email: {\tt u641000@hnykun11} +=\address +John Feltham + Open University +Walton Hall +Milton Keynes + Bucks MK7 6AA, UK +=\address + Dieter Gogolin + Tools GmbH + Kessenicher Str. 108 + FRG-5300 Bonn 1 + e-mail: {\tt tex@tools.uucp} +=\address +Jacques Andr\'e +INRIA, Campus de Beaulieu, +F-35042 Rennes cedex, France +=\address +Roger Hersch +INF-LSP +Ecole Polytechnique F\'ed\'erale +CH-1015 Lausanne, Switzerland +=\address +Jan Michael Rynning +Dept Numerical Analysis \& Computing Science +Royal Institute of Technology +S-100~44 Stockholm , Sweden +email: {\tt jmr@nada.kth.se} or {\tt jmr@sekth} +=\address +Chris Rowley +Parsifal College +Open University +527 Finchley Road +London NW3 7BG, UK +email: {\tt c\_rowley@ou.acs} += +\address +Rosemary Bailey +Statistics Department +Rothamsted Experimental Station +Harpenden, Herts +AL5 2JQ, UK +email: {\tt rbailey@afrc.resb} += +\address +Catherine Griffin +Oxford University Computer Centre +13 Banbury Road +Oxford OX2 6NN, UK +email: {\tt catherine@uk.ac.oxford.vax} += +\address +David Rhead +Cripps Computing Centre +Nottingham University +Nottingham N57 2RD, UK +email: {\tt cczdgr@nottingham.ccc.vax} += +\address +Barbara Beeton +AMS +PO Box 6248 +Providence, RI 02940, USA +email: {\tt bnb@seed.ams.edu} += +\address +Adrian Clark +Dept Electronic Systems Engineering +Essex University +Wivenhoe Park +Colchester +Essex CO4 3SQ, UK +email: {\tt alien@uk.ac.essex.ese} += +} diff --git a/info/digests/texline/no10/groningen.tex b/info/digests/texline/no10/groningen.tex new file mode 100644 index 0000000000..a2c970bda6 --- /dev/null +++ b/info/digests/texline/no10/groningen.tex @@ -0,0 +1,29 @@ +\centerline{\bf SGML \& \TeX\ Conference} +\medskip +\noindent +This conference, organized by the {\sl Nedelandstalige \TeX\ +Gebruikersgroep\/} (the Dutch-speaking \TeX\ Users Group) and the \sgml\ +Holland Users Group, will be held at the University of Groningen +on August 31st, 1990. + +The conference will focus on the relationship between \TeX\ and \sgml, now and +in the future. It is proposed to run two parallel streams of presentations. +There will be demonstrations by vendors, a book stall, and copying facilities +for public domain \TeX\ and \sgml\ software. The conference language is Dutch, +but speakers are urged to have their transparencies in English (non-natives are +supposed to speak English). + +\TeX, \LaTeX, \MF\ and \sgml\ courses will be arranged around the conference. +Members of any \sgml\ or \TeX\ Uers Group are charged {\sl f\,}75,--- for the +conference; non-members are charged {\sl f\,}150,---. + +For further information contact: +{\obeylines\parindent20pt +C G van der Laan +RekenCentrum RijksUniversteit Groningen +Landleven 1 +9700 AV +050-633374 Groningen +the Netherlands +email: {\tt cgl@rug.nl} +} diff --git a/info/digests/texline/no10/meetings.tex b/info/digests/texline/no10/meetings.tex new file mode 100644 index 0000000000..9e264d68c3 --- /dev/null +++ b/info/digests/texline/no10/meetings.tex @@ -0,0 +1,294 @@ +\centerline{\bf TUG10 \& \TeX89: edited highlights} +\smallskip +\noindent +With big meetings like these it is difficult to provide a +blow by blow account of all the papers. In any case, the +proceedings of both meetings are (or will be) available +shortly. The proceedings of TUG10 are available as +\TUGboat\ 10(4), and \TeX89 should be out ``{\it real +soon}''. \TeX89 had one or two unscheduled additions, but +these too may turn up in the proceedings. +\smallskip +\leftline{\sl TUG10} +\leftline{\sl Stanford University, August +20--23rd} +\noindent +TUG10 was easily the biggest TUG meeting ever held -- +hardly surprising when it was an anniversary meeting, at +Stanford, and with Don Knuth in attendance. Kodak ought +to have subsidised the meeting. The clicking of cameras +was a familiar background noise to Don's every +public movement. There was a good European turnout, which +may have contributed to the remarkable change of heart +experienced by \DeK. After five years of stability, \TeX\ +is to change. It is difficult to know just what went on +to convince Don of the need for this -- after all, there +have been repeated suggestions made over the last ten +years for changes (some of which surfaced in +\TeX82), but two factors are known. The first was \DeK's +trip to Norway a year or so ago, where he experienced at +first hand a few of the problems created by `foreign' +languages, and visited on \TeX; the second major factor +must be the duo of Roswitha Graham and Jan Michael +Rynning, who spend a {\it lot\/} of time with Don very +early on in the meeting. The essence of their argument is +presented elsewhere in \TeXline. I have my suspicion +that personality played a role, as well as argument. +Fortunately \DeK\ did not agree to wholescale changes +(`creeping featurism' as he later described it). The +majority of the changes are designed to enhance \TeX's +multilingual capability, although some concessions were +made to make the job of page makeup a hint or two easier +(or even `a hint or two less difficult'!). +The details of these changes are in \TUGboat\ 10(3). + +In addition to these changes to \TeX, \LaTeX\ seems set +to change too, although in not particularly radical ways. +The initiative to embark on this particular evolution seems +largely due to Frank Mittelbach and Rainer Sch\"opf (who +seem to write most of \TUGboat\ these days). Frank won +the Knuth scholarship for his work on \LaTeX. + +Since it was an anniversary meeting, everyone was there +-- well, not quite true, but it was possible to verify +that the following existed: Mike Spivak, Leslie Lamport, +Jill Knuth, Max D\'\i az, Arthur Keller, David Fuchs, +Neenie Billawalla\dots -- many of the names that you see +hidden somewhere in an essential Stanford report on +some aspect of \TeX ware. A rogues gallery might have +saved the rest of us the discomfort of peering at +badges and saying `Oh, so you're\dots'. Of course they +all thought I was Malcolm {\it Brown}, so they thought I +had done a grand job and were pleased to see me too (for +the email-deficient, Malcolm Brown started the {\tt +texhax} listings in their present form). + +Stanford is a very pleasant campus, although the grass is +very noisily cut and trimmed. The building in which the +conference took place is now propped up after the +earthquake, although still intact. It has a covered area +around it which made it possible to have registration and +administrative details dealt with just outside, although +under cover. The crazy Brits who had never seen sun +before were all doing their No\"el Coward `heat of the mid +day sun' impersonations during the breaks. + +There was also an exhibition room with various \TeX ware +distributors and developers. Phil Taylor claims that +Kinch was giving Turbo\TeX\ away, but this must have only +been to selected attendees -- I didn't see it. One of the +highlights might have been a laser printer which +understands \dvi, but it was held up in customs. By now +it may be at TUG headquarters in Providence. + +If I have a criticism of the meeting, it was with the +difficulty in fitting in impromptu meetings: practically +every hour was packed with eating, conferencing, +partying, socialising\dots\ My lunch times were further +occupied with TUG Board meetings. Ah, the Board meetings. +Catapulted into one of these it is difficult to get a +grasp of what is really going on. Most of the Board are +appointees (I started out as a European coordinator +appointee, but now I'm a member by virtue of being +Chairman of uk\TeX ug -- the UK \TeX\ Users Group). I'm a +bit wary about this appointee stuff: it's not really the +weft from which democracy was woven, but as a +representative of `mad King George' in the land of the +free, it's not really my place to educate them about +democracy, is it? On the other hand, if the French +haven't excellent credentials in this area, who have? Go +to it Bernard Gaulle! (President of GUTenberg, and now +also a Board member). Back to my criticism: it really was +quite difficult to manage other informal meetings +unless you were prepared to schedule time after +midnight or before breakfast (same thing I +suppose). Some `bird's of a feather' meetings did get of +the ground towards the end of the conference. + +During the conference we `elected' a new President +(Nelson Beebe) and Secretary (Cal Jackson). I hadn't +realised the extent to which electoral systems differed. +We English speakers have this illusion that just because +we can communicate with Americans without too much +confusion, and because their pol\-itical system grew out of +the 18th century English system, that we're basically +similar. Wrong. When we're described +as `aliens' we should reflect on it and realise that we +are indeed on another planet. There is no point +trying to understand US electoral systems from a European +stance. + +Although I won't mention every paper, one or two stand +out for one reason or another: \DeK's paper on the +`Errors of \TeX' was scheduled for about three hours. +That in itself would have been memorable. It was actually +a very entertaining and stimulating paper which +catalogued all the errors which \DeK\ had encountered in +the writing and testing of \TeX. He had categorised them +and began to draw inferences on the whole subject of +programming. On this evidence, `zero defect' software +doesn't seem very likely. Even Knuth repeated some errors. +What chance do the rest of us have? + +There were good papers and not so good papers -- but the +quality is not the sole yardstick. Presenting papers +serves to identify people and is an essential part of the +communication process. Perhaps the format of the TUG +meeting discourages the little `isn't this interesting' +paper -- the ones I tend to find most useful -- and +focusses on `standard-length' papers: this often means +spinning out material beyond its breaking point. + +There was one notable innovation -- the inclusion of an +extra half day on \MF, at the beginning of the +conference. Doug Henderson's `Introduction to \MF' was +amazing as he discovered the supreme difficulty of giving +a live demo to an audience much larger than anticipated. + +As the papers will show, \TeX\ continues to expand into +new areas and several participants discussed the ways in +which word processing packages could be employed as the +first stage in the \TeX\ `publishing' process. I would be +dishonest if I didn't say that I felt this to be largely +misdirected. We are still ready to accept the myth that +\TeX\ is inherently difficult. As someone who finds +getting out of WordPerfect in one piece really +mind-bogglingly bizarre and arcane, \TeX\ seems easy as +cake. Equally, few of the word processing proponents seem +to have cottoned on to \LaTeX. \LaTeX\ actually makes +life very easy for the so called naive user. We still +seem to want to teach people to change font rather than +to {\it emphasize\/}. I won't claim that \LaTeX\ is +unequivocally excellent typographically, but it's a great +deal better than your typist turned typesetter who still +insists on underlining, double spacing and all the other +gross indeciencies of typewriting. +As a sort of antidote, there were also several papers on +the high quality end of typesetting. + +There were no parallel sessions (a great relief) and few +last minute changes to the programme. As I've obliquely +mentioned above, one of the key aspects of any conference +is the social side. After all, the papers will likely all +be written up one day, but the people you meet are the real +gems of any conference. Since a large proportion of the +participants were housed in the same block of residences +(and my, they do have a spartan time at Stanford!) it was +very easy to meet and mingle in the quadrangle (despite +the limited time to do so!). If the conference seemed to +run itself painlessly and effortlessly it was because the +irrepressible Charlotte Laurendeau was skilfully joining +the ends together, papering over the cracks and holding us +all together. + +Will there be another meeting at Stanford? An interesting +question. TUG meetings have been more mobile over the +last few years -- Tufts, Montreal, \TeX as. This is a +trend I would like to see continue (perhaps the 25th +anniversary should come back to Stanford!), but there may +be a danger that every meeting has to be bigger (and by +definition, better), which would tend to encourage +conservatism. If we look at the distance individual +participants come for the conference, there are many who +come from the `local' area. By taking the conference +around North America it makes it easier for local \TeX +ies to participate. +\medskip +\leftline{\sl Euro\TeX89} +\leftline{\sl Karlsruhe, September 11--13th} +\noindent +\TeX89, or Euro\TeX89 as it seemed to call itself was +truly European, but the participation from the US was +encouraging too. Since the meeting was held in Karlsruhe +there was a major German participation, and perhaps half +of the papers were from the Germany-speaking world. +Perhaps the most worrying feature was the relative lack of +French participation. Perhaps the success of GUTenberg is +siphoning off French attendees. This would be a great +pity. But the success of the `national' or `language' +groups may soon mean that the European meeting will suffer +as a result. + +One or two papers resurfaced from TUG10. I'm afraid I +agreed to rehash my own `Olde Worlde \TeX' (which I had +rather hashed at Stanford -- I forgot that most of my +audience didn't actually know where the Old World -- +Europe -- was); Peter Abbott gave his talk on the Aston +Archive again, Rolf Olejniczak talked about {\tt texpic} +(although it does have more features each time I hear +about it) and Don Hosek talked about designing oriental +characters with \MF. This was also the first run of Chris +Rowley's now familiar talk on `What Don said at Stanford'. +The replay of these papers is useful, since the talk +evolves, and the audience was very, very, different +(different planet, see above). + +It would be a bit invidious to pick best papers, but +Mittelbach \& Sch\"opf's `With \LaTeX\ into the Nineties' +(another refugee from Stanford, but for a different +reason) clearly has much wider significance. It is a huge +relief to see the baton of \LaTeX\ taken up by these two +enormously capable, energetic and earnest enthusiasts. I +had heard from `usually reliable sources' that Leslie +Lamport had expected \LaTeX\ to die a natural death +-- `replacing the dinosaur with a small furry mammal'. +It looks as if this dinosaur has a good few millenia in +it yet, and may even evolve into a small furry dinosaur +of its own volition. (Where do we +get the idea that dinosaurs weren't fit to survive? They +lasted a longer than we are likely to.) + +Marek Ry\'cko and Bogus\l aw Jackowski's paper on Polish +\TeX\ (or \LeX, for all sorts of reasons) was another +taste of the future. The impact of \TeX\ in Eastern +Europe is growing. The platform (of necessity rather than +choice) is the pc; hard currency is still difficult to +obtain, but public domain \TeX\ and drivers make it an +ideal tool for one of the key components of +liberalisation -- a printing press in the hands of the +people. (Another aside: when I was in Warsaw Marek and I +had an interview with the advisor to the Minister for +Culture about using \TeX\ more widely\dots). Marek won +the prize for `best paper'. I was particularly pleased by +this. + +Anne Br\"uggeman-Klein's paper was, as expected +thoughtful and showed \TeX's great potential, as well as +many of the problems in `designing' documents. Standards +cropped up; first through David Rodgers talk, stressing +CALS, and then through Martin Bryan's `J\LaTeX' which +showed an application which started life as an \sgml\ +document. + +One other harbinger of the future might be Konrad +Neuwirth: not only was he talking about one of the nicest +personal \TeX\ implementations -- on the Amiga -- but he +was easily the youngest participant. + +There was a good exhibition area with lots of vendors +(and even a peripatetic Stanford t-shirt salesperson -- I +hadn't realised that tie-dye was still around). + +One interesting feature of the meeting was the +publication of the wall-news\-paper, `Backslash'. This +scurrilous example of the gutter press mysteriously +appeared each morning. Since we're in the business of +document preparation, it is surprising that this has not +happened at \TeX\ conferences before. It certainly lent a +(spurious) air of immediacy and incredibility to the +proceedings. + +In summary, another useful contribution to the spread of +\TeX\ knowledge and expertise. Again, apparently +painlessly run, and with some very fine social events. +The organisers, Anne Br\"uggeman-Klein and Rainer +Rupprecht deserve much praise for this worthy successor +to \TeX88. I keenly believe that the European \TeX\ +conferences are essential for the long term viability of +\TeX, TUG and \TeX-in-Europe. Without these meetings, and +without participation from the whole European catchment +we will all be a great deal poorer. I look forward to more +meetings like this one, but in Warsaw, in Budapest, in +Moscow (and, if liberalisation continues, perhaps once +again in the UK). +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no10/new.tex b/info/digests/texline/no10/new.tex new file mode 100644 index 0000000000..b641917393 --- /dev/null +++ b/info/digests/texline/no10/new.tex @@ -0,0 +1,116 @@ +\font\eightsy=cmsy8 +\skewchar\eightsy='60\def\LamSTeX{L\kern-.4em\raise.3ex\hbox{$\scriptstyle\cal +A$}\kern-.25em +\lower.4ex\hbox{\eightsy M}\kern-.1em{$\cal S$}-\TeX} +\let\LAmSTeX\LamSTeX +\def\proggy#1{{\sc#1}} +\def\|#1|{{\tt#1}} +\def\cmd#1{{\tt\char`\\#1}} +\centerline{\bf What's New with \TeX?} +\smallskip +\noindent At the 10th Anniversary meeting at Stanford last summer, +when Knuth hoped to `wrap up' his involvement with \TeX, the +non-native English-speaking contingent, mostly from Europe, persuaded +him to embark on one final set of enhancements, to support eight-bit +character sets and multi-lingual typesetting. This gave rise to \TeX\ +2.993, which mutated into \TeX~3.0 in late March~1990. +The main changes are: + +\noindent\hbox {\bf 1.~Character Set}: Up to 256 distinct characters are +now allowed in input files. + +\noindent\hbox {\bf 2.~Hyphenation Tables}: \TeX\ now supports up to 256 +hyphenation tables. There is a new integer parameter called +\cmd{language}, whose value specifies the hyphenation to use. + +\noindent\hbox {\bf 3.~Hyphenated Fragment Control}: The new version has +parameters called \cmd{lefthyphenmin} and \cmd{righthyphenmin} which +specify the smallest number of letters which may be at the beginning +or end of a word to be hyphenated. + +\noindent\hbox {\bf 4.~Better Ligatures}: The major changes concern +ligatures, although one must modify the \MF\ sources of fonts to take +advantage of all of them. The new version supports more complex +ligature constructions then the old, allows two ligatures to share +common code, and introduces `invisible' boundary characters at the +beginnings and ends of words which allow the first or last character +to be changed. + +\noindent\hbox {\bf~5. Better-Looking Sloppiness}: In the past, a common +way to avoid overfull boxes was to set \cmd{tolerance=10000}, which +resulted in \TeX\ concentrating all the badness in one truly awful +line. A new parameter, \cmd{emergencystretch} has been introduced to +combat this. If it is set to a positive value and \TeX\ is unable to +typeset a paragraph without exceeding the given tolerances, another +pass is made through the paragraph in which an amount of stretch equal +to \cmd{emergencystretch} is present in every line. + +\noindent\hbox {\bf~6. Miscellany}: There are new parameters called +\cmd{badness}, which records the badness of the box most recently +constructed, and \cmd{inputlineno}, defined as `the number of +the line that \TeX\ would show on an error message if an error +occurred now.' It is also possible to set the maximum number of lines +of context information output in an error message -- a useful feature +for large macro packages like \LaTeX. Finally, there is a new +parameter called \cmd{holdinginserts} which inhibits \TeX\ from +inserting insertions when building pages; this feature is primarily of +interest to designers of output routines who wish to break up and +re-build the current page. + +\smallskip + These changes also affect \MF\ (the ligature changes) and +\proggy{tangle} (\proggy{pool} files). However, Knuth has also made +a few improvements and bug-fixes to some of the other parts of the +\TeX\ family. The latest versions of all the important programs are: + +\centerline{\vbox{% +\halign {#\quad\hfil & #\hfil &\qquad #\quad\hfil & #\hfil\cr + \TeX & 3.0 & + \MF & 2.0 \cr + \proggy{tangle} & 4.0 & + \proggy{weave} & 4.1 \cr + \proggy{VFtoVP} & 1.0 & + \proggy{VPtoVF} & 1.0 \cr + \proggy{GFtoDVI} & 3.0 & + \proggy{GFtoPK} & 2.2 \cr + \proggy{GFtype} & 3.0 & + \proggy{PKtype} & 2.2 \cr + \proggy{DVItype} & 3.2 & + \proggy{PLtoTF} & 3.2 \cr + \proggy{TFtoPL} & 3.1 \cr +}}} +\smallskip +At the same time as he implemented the above changes to \TeX, Knuth +also devised {\it virtual fonts.\/} These are composite fonts, built +up of characters extracted from existing fonts. This makes it +possible to merge, say, a printer-resident \PS\ font +for most characters while pulling characters missing from it (e.g., +upper-case Greek) from a down-loaded Computer Modern font. (This +example is for illustration only -- this composite would actually be +very ugly!) \TeX\ itself sees only one font, but the device driver +(and perhaps also the printer) would take characters from the two +fonts as required. One driver, derived from one of the +\dvi--\PS\ converters, has also been modified by Knuth +to support virtual fonts. There are new programs, \proggy{VFtoVP} and +\proggy{VPtoVF}, which are analogous to \proggy{TFtoPL} and +\proggy{PLtoTF} respectively. + +Another significant event at the 10th Anniversary meeting was the +cessation of Leslie Lamport's development of \LaTeX. Future +development will be undertaken by a committee led by Frank Mittlebach, +who has already done significant work on \LaTeX's font-loading +mechanism and on a more flexible multicolumn style. + +Two separate attempts are being made to combine the facilities of +\LaTeX\ and \AmSTeX. One of these is taking place under the auspices +of the American Mathematical Society, the AMS. The other, \LAmSTeX, available +now, is a commercial product by +Mike Spivak, author of \AmSTeX. + +On the font front, the AMS have produced new \MF\ descriptions of +their extended symbol fonts, which include blackboard bold and many +useful (and some weird!) mathematical symbols. The \MF\ sources are +not in the public domain, but I believe the AMS plans to release {\tfm} and +{\pk} files at some point. + +\rightline{\sl Adrian Clark} diff --git a/info/digests/texline/no10/newtwo.tex b/info/digests/texline/no10/newtwo.tex new file mode 100644 index 0000000000..f9971c26b0 --- /dev/null +++ b/info/digests/texline/no10/newtwo.tex @@ -0,0 +1,166 @@ + +%\hoffset=-0.1in +%\voffset=-2pc +%\raggedbottom +%\hsize=39pc %\vsize=59pc +%\maxdepth=2.2pt \parindent=1pc +%\vsize=720pt +%\hsize=6.5in +%\baselineskip12pt +%\parskip0pt +%\parindent1em +%\hfuzz1.5pt +%\tolerance2000 + +%\hyphenation{Post-Script} +% Page layout +\newdimen\pagewidth \newdimen\pageheight \newdimen\ruleht +\newdimen\colwidth \newdimen\bigcolheight\newdimen\gutter +\gutter=0.3in%better as 0.4in +%\colwidth=3.1in%19pc +\colwidth=\hsize +\advance\colwidth by-\gutter +\divide\colwidth by 2\relax +%\bigcolheight=1450pt%120pc +\bigcolheight=\vsize +\advance\bigcolheight by\bigcolheight +\advance\bigcolheight by 10pt +\pagewidth=\hsize \pageheight=\vsize \ruleht=.5pt +\abovedisplayskip=6pt plus 3pt minus 1pt +\belowdisplayskip=6pt plus 3pt minus 1pt +\abovedisplayshortskip=0pt plus 3pt +\belowdisplayshortskip=4pt plus 3pt + +\newinsert\botins +\def\afoot{\strut\egroup} +\def\botpic#1{\par + \insert\botins\bgroup\hsize=\pagewidth + \offinterlineskip + \interlinepenalty100 \let\par=\endgraf + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\botins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\botins=2000 % footnote magnification factor (1 to 1) +\dimen\botins=36pc % maximum footnotes per page + +\def\toppic#1{\par + \insert\topins\bgroup\hsize=\pagewidth + \interlinepenalty100 \let\par=\endgraf + \offinterlineskip + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\topins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\topins=2000 % footnote magnification factor (1 to 1) +\dimen\topins=36pc % maximum footnotes per page + +\newinsert\margin +\dimen\margin=\maxdimen +%\count\margin=0 \skip\margin=0pt % marginal inserts take up no space + +\newif\iftitle +\def\titlepage{\global\titletrue} % for pages without headlines +%\def\rhead{{}} + +\def\leftheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfil\lhead % running head flush left + }} +\def\rightheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfil\lhead % running head flush left + }} + +\def\onepageout#1{\shipout\vbox{ % here we define one page of output + \offinterlineskip % butt the boxes together + \vbox to 2pc{ % this part goes on top of the 44pc pages + \iftitle % the next is used for title pages + \global\titlefalse % reset the titlepage switch + \setcornerrules % for camera alignment + \else\ifodd\pageno \rightheadline\else\leftheadline\fi\fi + \vfill} % this completes the \vbox to 3pc + \vbox to \pageheight{ + \ifvoid\margin\else % marginal info is present + \rlap{\kern31pc\vbox to 0pt{\kern4pt\box\margin \vss}}\fi + \ifvoid\topins\else % top note info is present + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\topins + \vskip\skip\topins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \vskip\skip\topins \kern-3pt + \fi + #1 % now insert the main information + \vfill + \ifvoid\botins\else % bot note info is present + \vskip\skip\botins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\botins + \vskip\skip\botins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \fi + \boxmaxdepth=\maxdepth + } % this completes the \vbox to \pageheight + } + \advancepageno} + +\def\setcornerrules{\hbox to \pagewidth{\vrule width 1pc height\ruleht + \hfil \vrule width 1pc} + \hbox to \pagewidth{\llap{\sevenrm(page \folio)\kern1pc}% + \vrule height1pc width\ruleht depth 0pt + \hfil \vrule width\ruleht depth 0pt}} + +\output{\onepageout{\unvbox255}} + +\newbox\partialpage +\newdimen\savesize +\def\begindoublecolumns{\begingroup + \savesize=\vsize + \output={\global\setbox\partialpage=\vbox{\unvbox255\bigskip}}\eject + \output={\doublecolumnout} \hsize=\colwidth \vsize=\bigcolheight + \advance\vsize by -2\ht\partialpage + \advance\vsize by -2\ht\botins + \advance\vsize by -2\ht\topins + \pagegoal=\vsize} +\def\enddoublecolumns{\output={\balancecolumns}\eject + \global\output={\onepageout{\unvbox255}} + \global\vsize=\savesize + \endgroup \pagegoal=\vsize} + +\def\doublecolumnout{% +% \splitmaxdepth=\maxdepth + \dimen0=\pageheight + \advance\dimen0 by-\ht\partialpage + \advance\dimen0 by-\ht\botins + \advance\dimen0 by-\ht\topins + \splittopskip=\topskip + \setbox0=\vsplit255 to\dimen0 + \setbox2=\vsplit255 to\dimen0 + \onepageout\pagesofar + \global\vsize=\bigcolheight + \unvbox255 \penalty\outputpenalty} +\def\pagesofar{\unvbox\partialpage + \wd0=\hsize \wd2=\hsize \hbox to\pagewidth{\box0\hfil\box2}} +\def\balancecolumns{\setbox0=\vbox{\unvbox255} \dimen0=\ht0 + \advance\dimen0 by\topskip \advance\dimen0 by-\baselineskip + \divide\dimen0 by2 \splittopskip=\topskip + {\vbadness=10000 \loop \global\setbox3=\copy0 + \global\setbox1=\vsplit3 to\dimen0 + \ifdim\ht3>\dimen0 \global\advance\dimen0 by1pt \repeat} + \setbox0=\vbox to\dimen0{\unvbox1} + \setbox2=\vbox to\dimen0 +% {\unvbox3} + {\dimen2=\dp3 \unvbox3 \kern-\dimen2 \vfil} + \global\output={\balancingerror} + \pagesofar} +\newhelp\balerrhelp{Please change the page into one that works.} +\def\balancingerror{\errhelp=\balerrhelp + \errmessage{Page can't be balanced} + \onepageout{\unvbox255}} + + + + + + + diff --git a/info/digests/texline/no10/nordic.tex b/info/digests/texline/no10/nordic.tex new file mode 100644 index 0000000000..6de5842dc2 --- /dev/null +++ b/info/digests/texline/no10/nordic.tex @@ -0,0 +1,417 @@ +\def\proposal{\smallskip\noindent{\sl Proposal:\/\enspace}} +\def\ssection#1{\par\noindent{\sl#1:}\enspace} +\def\MLTeX{Multilingual T\kern-.1667em\lower.5ex\hbox{\^E}\kern-.125emX} +\def\JTeX{\lower.5ex\hbox{J}\kern-.1667em\TeX} +\def\TeXXeT{\TeX-X\kern-.125em\lower.5ex\hbox{E}\kern-.1667emT} +\def\command#1{{\tt\char`\\#1}} +\def\cite#1{} +\def\caption#1{\centerline{#1}} +\frame{5pt}{% +\noindent +The following contribution has some of the characteristics +of a historical document. It is essentially the paper which +Jan Michael took to Stanford and with which contsind +the details of the arguments with which he and +Roswitha Graham so ably and persistently bent the ear of Don +Knuth -- with the outcome that after many years of stability, +\TeX\ is changing.} +\medskip +\centerline{\bf Proposal to the TUG Meeting at Stanford} +\medskip +\noindent +Donald Knuth created \TeX\ +to typeset American text interspersed with mathematical +formulas. Apart from a few limitations \TeX\ has also +proved suitable for typesetting other languages. Most +limitations have been overcome by modifying the \TeX\ +program itself (\MLTeX, \JTeX, \TeXXeT\dots), +creating new fonts (Devan\=agar\=\i, +Hebrew\dots), and modifying the +existing ones (Icelandic Modern\dots). +While covering the requirements of one or more +specific languages these modifications have created +compatibility problems. \TeX\ input files may require +features which are only available in certain extended +versions of \TeX, or {\DVI} output +files may not print correctly unless you make non-standard +modifications to the device drivers. The only way to solve +these problems is put the necessary capabilities into the +standard version of \TeX. + +In this paper I describe the +problems of typesetting the Nordic languages with the +current version of \TeX, and propose modifications to the +\TeX\ program itself, the standard fonts, and macro +packages, which will solve the problems. Most of the ideas +concerning hyphenation come from Michael Ferguson's +\MLTeX, which solves some of the problems in that area, but +not all. I also include a proposal for modifications to +macro packages (\LaTeX\dots), in +order to support the use of the language of your own +choice. It originates from a proposal by Hubert Partl, approved by the German +\TeX\ users group. In spite of the fact that I have +restricted myself to the Nordic languages, the proposals +that I put forward will also be useful for a large number +of other languages. All the modifications proposed in this +paper may be carried out in a backward compatible way, that +will not influence the use of \TeX\ unless you decide to +use the added capabilities. + +This list of proposals was first discussed at the Nordic \TeX\ meeting +in Stockholm in June 1989, and followed up by discussions through +electronic mail. Among those people who presented suggestions and +critique on my original proposal were Staffan Romberger, Peter Busk +Laursen, Bruce Wolman, Simen Gaure, Heikki Heikkil\"a, Bo Thid\'e, +and Bernard Gaulle. I apologize if I +left anyone out of this list. I also want to express my gratitude to +Roswitha Graham, who arranged the Nordic \TeX\ meeting, and whose +encouragement has been of invaluable help to me. + +\smallskip +\leftline{\sl Introduction} +\noindent +The Nordic problems with \TeX\ may be divided into: +\item{\rtr} typesetting text in the Nordic languages +\item{\rtr} using our own words, date formats, etc., instead of the American +ones hard wired into some macro packages (\LaTeX\dots) +\item{\rtr} using our national letters in macro names, etc. + +The last-mentioned is of minor importance, so I set it aside, and +concentrate on the typesetting. To avoid the confusion that may arise +from using different character sets and handling at the various stages +of \TeX's typesetting process, I have further subdivided this group of +problems into: + +\item{\rtr} input of national letters +\item{\rtr} internal handling of national letters and words +\item{\rtr} output of typeset national letters + +\smallskip +\centerline{\vbox{\halign{#&&\quad\hfil#\hfil\cr +\multispan2{Code}&{\sc ascii}&Sw/Fi&Da/No\cr +91&&\tt[&\tt\"A&\tt\AE\cr +92&&\tt\char`\\&\tt\"O&\tt\O\cr +93&&\tt]&\tt\AA&\tt\AA\cr +123&&\tt\char`\{&\tt\"a&\tt\ae\cr +124&&\tt \char'174&\tt\"o&\tt\o\cr +125&&\tt\char`\}&\tt\aa&\tt\aa\cr +}}} +\caption{Nordic 7-bit national characters.} + +\smallskip +\leftline{\sl Input of national letters} +\ssection{7-bit national characters} +ISO 646 \cite{iso:646} ({\sc ascii} is the U.S.\ national character set based +on ISO 646) reserves character codes 64, 91--94, 96, and 123--126 for +`national or application use'. Unfortunately, three of these codes +are used both for +important functions in \TeX, and for important national letters in +the Swedish, Finnish, Danish, and Norwegian national character sets. + +Nordic users expect to be able to use their national letters on their +national keyboards, just like any other letter. Hence, on computers +with 7-bit character codes or where \TeX\ will only accept 7-bit input +we have had to remap \TeX's escape and group delimiter characters, for +national use. +\smallskip +\centerline{\vbox{\halign{#\hfil&&\quad\hfil#\hfil\cr +Function&{\sc ascii}&Sw/Fi/Da/No\cr +Escape character&\tt\char`\\&{\tt/}\quad or\quad {\tt!}\cr +Begin group&\tt\char`\{&\tt<\cr +End group&\tt\char`\}&\tt>\cr +}}}\caption{Nordic 7-bit \TeX\ remapping.} +\smallskip +The only real problem with this, apart from us being incompatible, is +that the \command{write} command uses the begin group and end group +characters in force when a macro was defined, not the ones in force +when the \command{write} command is executed. + +\proposal +Add a \command{bgroupchar} and an \command{egroupchar} (\TeX\ +already has an \command{escapechar}). + +\ssection{8-bit extended {\sc ascii} characters} +Some implementations of \TeX\ running on computers with 8-bit extended +{\sc ascii} character sets discard the 8th bit of the character code, silently +converting characters with codes 128--255 (usually including European +national letters) to other characters. This is both confusing to the +users (who have these letters on their keyboards, and expect them to +work in \TeX, just like in any other program), and not very useful. + +\proposal +Make character codes 128--255 permanently active on computers with 8-bit +extended {\sc ascii} character sets. This will make it possible to redefine +them to do something sensible, or lead to an `Undefined control +sequence' error if they have not been defined. As more and more +computers get such character sets, this should be part of the \TeX\ +standard. On computers with an {\sc ebcdic} character set, the character +codes which don't correspond to {\sc ascii} characters should be mapped to +128--255, and made active. +\smallskip +\leftline{\sl Internal handling of national letters and words} +\ssection{Hyphenating words with accented letters} +\DeK\ restrained \TeX\ from hyphenating words with accented +letters, as those words are foreign to American and probably won't +hyphenate correctly anyway. When using \TeX\ for typesetting languages +which use accented letters (with the appropriate patterns) this +restriction has been worked around by creating non-standard versions of +\TeX\ (like \MLTeX) or non-standard fonts. + +\proposal +Make \TeX\ accept accented letters in \command{patterns} and +\command{hyphenation}. This will make it possible to use the +standard version of \TeX, and the standard fonts to typeset text in other +languages than American, using the built-in hyphenation. + +\smallskip +\ssection{Don't use shifted boxes for national letters} +\TeX\ (the macros in {\tt plain}, used with the Computer Modern fonts) uses +shifted boxes for some national letters (\AA, \L, \c c\dots). +This makes \TeX\ dependent on the metrics of the Computer Modern fonts, +and it won't work with the above-mentioned hyphenation. + +\proposal +Put national letters into the fonts or use \command{accent} to construct +them. Use the same method for the uppercase and lowercase version of the +same letter. Assign the appropriate \command{lccode} to each national +letter put into the fonts, so that words with these letters may be +hyphenated. + +\smallskip +\ssection{Multilingual hyphenation} +\TeX\ only supports one set of hyphenation patterns and exceptions. + +\proposal +Make it possible to have multiple sets, and to switch between them, +so \TeX\ may easily be used for multilingual typesetting. + +\smallskip +\ssection{Variable suppression of hyphens} +\TeX\ will never insert a hyphen that has fewer than 2 letters before it +or fewer than 3 letters after it. These values are not suitable for all +needs. + +\proposal +Make the number of letters required before and after an inserted hyphen +settable parameters. Either generate all patterns so that these parameters +can be set to their minimum values (both 1), or add information to the +patterns about the values used when they were generated, and restrict \TeX\ +from setting the parameters to smaller values than that. + +\smallskip +\ssection{Allow hyphenation of words with explicit hyphens} +Some languages have very long words with explicit hyphens. Normally \TeX\ +will refuse to hyphenate these words, though they are perfectly hyphenatable +and must often be hyphenated. + +\proposal +Make it possible to turn off this `feature', so that words with explicit +hyphens may be hyphenated. + +\smallskip +\ssection{Discretionary hyphens in patterns and exceptions} +Some languages (Swedish, German, and probably some more) have +words that require \command{discretionary} hyphenation. +\TeX\ does not allow for this in \command{patterns} and \command{hyphenation}. + +\proposal +Make \TeX\ accept \command{discretionary} hyphenation, both in +\command{patterns} and in \command{hyphenation}, and +make the corresponding changes to {\tt PATGEN}. It might be tempting to refer +these words to the exception mechanism, but since it is possible to form +an almost unlimited number of compound words and inflection forms that +require \command{discretionary}, I think they are best handled by adding +`hyphenation rules' to the hyphenation patterns. The +basic rule, the only one \TeX\ knows of at the moment, is +\command{discretionary\char`\{-\char`\}\char`\{\char`\}\char`\{\char`\}}. +The German rule that `ck' is written as `k-k' when +hyphenated, may be described by +\command{discretionary\char`\{k-\char`\}\char`\{\char`\}\char`\{c\char`\}}, +and the triple consonant suppression (for example, `tt' +turns into `tt-t' in some words, because one of the t's was +suppressed), takes a few more rules like +\command{discretionary\char`\{t-\char`\}\char`\{\char`\}\char`\{\char`\}}, +for a handful of consonants that may occur at such +positions. The rules should be read into \TeX\ with the +patterns, and the number of the rule to be applied at a +certain position should be stored together with the odd +interletter value at that position.\looseness1 + +\smallskip +\ssection{Log hyphenations for proof-reading} +No matter how good the hyphenation is, there will always be words which +are not correctly hyphenated. In languages where compound words are +frequent, more words tend to be incorrectly hyphenated. It may therefore +be necessary to proof-read the hyphenations. As even a minimal change +may cause a lot of hyphenations to change, all hyphenations may have to +be proof-read after every change, unless there is a way to detect which +hyphenations have changed. + +\proposal +Make it possible to log hyphenations, e.g.\ by adding a +\command{tracinghyphenations}. This will facilitate the proof-reading +of hyphenations, and make it possible to write a program which finds +the hyphenations that have changed. + + +\smallskip +\leftline{\sl Output of typeset national characters} +\ssection{Full Latin character set} +\TeX\ is capable of typesetting most letters used in Latin +scripts, using the macros in {\tt plain} and the Computer +Modern fonts. The following letters and accents in ISO +6937/2 \cite{iso:6937/2} (which is a superset of the ISO +8859/1, 2, 3, and 4 character sets) cannot be typeset that +way: Icelandic {\em Thorn/thorn} and {\em Eth/eth}, Lapp +{\em Eng/eng} and {\em T/t~with stroke}, Maltese {\em +H/h~with stroke}, Croat and Lapp {\em D/d~with stroke}, +Catalan {\em L/l~with middle dot}, Greenlandic {\em k~with +short stem}, and the {\em ogonek accent}, used in Polish +and Lithuanian. A few more letters and accents used in +Latin scripts may be found in ISO/DP 10646\cite{iso:10646}. + + +The baseline quotation marks (,,), required for Icelandic and German +typesetting, and the guillemots (similar to $\ll$ and $\gg$), required +for French typesetting, and occasionally used for typesetting the Nordic +languages, are also missing from Computer Modern. + +\proposal +Extend \TeX's Latin fonts so that they contain all of the letters, +accents, quotation marks, currency symbols and other graphic symbols needed +to typeset languages written with a Latin script. +Of the 234 letters in ISO 6937/2 (counting both upper and lower case), +155 may be formed from a basic letter and a diacritical mark. Therefore, +only 13 accents and 25 special letter forms need to be in the fonts. + +\smallskip +\ssection{Placement of accents} +\TeX's accent placement algorithm does not place all +accents correctly\cite{romberger:texlatin}. + +\proposal +Extend the {\tfm} format, so that \TeX\ may: + +\item{\rtr} use the current algorithm +\item{\rtr} use an explicit accent placement with respect to the base letter, +instead of the one calculated by the algorithm +\item{\rtr} use an explicit accent placement for accent-letter pairs not +handled by the above-mentioned method +\item{\rtr} use specially designed accented letters as replacements for +accent-letter pairs + + +\smallskip\goodbreak +\ssection{Kern accented letters, too} +\TeX\ performs no implicit kerning between two letters if the second is +accented. In most cases, the result would look better if the letters +were kerned. + +\proposal +Make \TeX\ insert implicit kerns between letters without regard to if they +are accented, or design an algorithm which takes both the basic letter and +the accent into consideration when inserting implicit kerns. + +\smallskip +\leftline{\sl Macro packages} +\noindent +Several macro packages (like the \LaTeX\ style files) contain American words, +date formats, etc., which should be replaced by the corresponding words and +date formats from the language used in the text, when using another language. +Thus, the heading `Contents' should be changed to +`Inneh\aa ll' in Swedish, `Inhalt' in German, etc. + +\proposal +Define macros for all occurences of American words, date formats, etc.\ in +macro packages, so that they can easily be replaced, e.g.\ by +redefining those macros in a style file. + +\smallskip +\leftline{\sl Conclusion} +\noindent +The problems of typesetting the Nordic +languages with the current version of \TeX\ have been decribed, together with proposed +modifications to the \TeX, the Computer Modern fonts, and macro packages, +which should solve the problems. This may serve as a basis +for further discussions aimed at a European proposal. The changes needed may then, + be incorporated into a standard version of \TeX. + +\smallskip +\leftline{\sl Bibliography} +{\frenchspacing\parindent0pt\hangindent20pt\hangafter1 +Michael Ferguson, +{\sl A \MLTeX}, +\TUGboat, 6(2), 1985, pp57--58. + +\hangindent20pt\hangafter1 +Michael Ferguson, +{\sl\MLTeX\ Update}, +\TUGboat, 7(1), 1986, p16. + +\hangindent20pt\hangafter1 +ISO, {\sl ISO 646: ISO 7-bit coded character set for +information interchange}, + 1983. + +\hangindent20pt\hangafter1 +ISO, +{\sl ISO 6937/2: Coded character sets for text +communication -- Part 2: Latin alphabetic and +non-alphabetic characters}, 1983. + +\hangindent20pt\hangafter1 +ISO, +{\sl ISO\slash DP 10646: Multiple octet coded character set}, +1989. + +\hangindent20pt\hangafter1 +Donald~E. Knuth, +{\sl The \TeX book}, +Addison Wesley, Reading, Massachusetts, 1986. + +\hangindent20pt\hangafter1 +Donald~E. Knuth, +{\sl\TeX: The Program}, +Addison Wesley, Reading, Massachusetts, 1986. + +\hangindent20pt\hangafter1 +Donald~E.\ Knuth and Pierre MacKay, +{\sl Mixing right-to-left texts with left-to-right texts}, +\TUGboat, 8(1), 1987, pp.\ 14--25. + +\hangindent20pt\hangafter1 +Leslie Lamport, +{\sl\LaTeXsl: A Document Preparation System}, +Addison Wesley, Reading, Massachusetts, 1986. + +\hangindent20pt\hangafter1 +Hubert Partl, +{\sl German \TeX}, +\TUGboat, 9(1), 1988, pp70--72. + +\hangindent20pt\hangafter1 +Hubert Partl {\it et al}, +{\ttit german.sty} + +\hangindent20pt\hangafter1 +Staffan Romberger and Yngve Sundblad, +{\sl +Adapting \TeX\ to Languages that use Latin Alphabetic +Characters}, Proceedings of the First +European Conference on \TeX\ for Scientific Documentation, +Addison Wesley, Reading, Massachusetts, 1985. + +\hangindent20pt\hangafter1 +Yasuki Saito, +{\sl Report on \JTeX: A Japanese \TeX}, +\TUGboat, 8(2), 1987, pp.\ 103--116. + +\hangindent20pt\hangafter1 +Dominik Wujastyk. +{\sl The Many Faces of \TeX: A Survey of Digital \MFsl}, +\TUGboat, 9(2), 1988, pp.\ 131--151. {\sl see also} +\TeXline\ 8. + +} + +\rightline{\sl Jan Michael Rynning} diff --git a/info/digests/texline/no10/orin.tex b/info/digests/texline/no10/orin.tex new file mode 100644 index 0000000000..4c9c3d8649 --- /dev/null +++ b/info/digests/texline/no10/orin.tex @@ -0,0 +1,17 @@ +\centerline{\bf Another \BbiBTeX\ feature} +\medskip +\noindent +Oren Patashnik has finally finished his +dissertation and is now working on \BibTeX\ 1.0. Although he does not +want to be deluged with requests for new features, he is +concerned that he may have missed some things that are important to +European users of \BibTeX. He is also interested in hearing about any +bugs that may still be present in the code. If anyone has anything to +say about either concern, I am preparing a summary of the things +already mentioned in UK\TeX, TEX-NL and GUT (Oren already watches \TeXhax) to +send to him, and will be happy to include other information. Or you +could send your comments directly to him: +\begintt +opbibtex@Neon.Stanford.EDU +\endtt +\rightline{\sl Barbara Beeton} diff --git a/info/digests/texline/no10/ou.tex b/info/digests/texline/no10/ou.tex new file mode 100644 index 0000000000..2a78637b26 --- /dev/null +++ b/info/digests/texline/no10/ou.tex @@ -0,0 +1,83 @@ +\centerline{\bf Publishing at the OU} +\smallskip +\noindent +This first one-day meeting that the BCS +Electronic Publishing Specialist Group had held outside +London, at least within `living memory', was held at The +Open University on September 28th and organized by Paul +Bacsich. + +Most of the speakers were from the Open University, Peter Hammersley from +Middlesex Polytechnic being the only `outsider' as the other external +speaker had to withdraw shortly before the meeting. Nonetheless it was a +very interesting day, made even more interesting by the related +demonstrations which ran through the breaks in the day. While +demonstrations by manufacturers are welcome and helpful, those by people +using equipment to carry out real tasks are often more revealing. + +After the formal welcomes, the first speaker was John Feltham who gave the +rationale for investing in high-end EP, in particular the +`CAPS' system used by the OU, which runs under \unix\ on +SUN workstations. Advantages include the multi-user +facility, the greater speed of operation and the greater +power of the software. PC- and Mac-based systems do not +provide the formatting facilities which CAPS provides and +although output from Microsoft Word direct to the +typesetter is a possibility, the macro and style-sheet +facilities of CAPS provide a way of imposing uniform +procedures and styles where required with an output quality +of professional standards. + +Chris Rowley and Bob Coates talked about the other approach at the OU, +that of using \TeX{}, to produce mathematical and technical +documents. The advantages include the facility for the users to see what +the final typeset output will look like at every stage, as well as all +the other advantages of \TeX{}, which are probably familiar to +readers of \TeXline. The OU have five keyboarders who spend +at least some of their time on \TeX{} and 6000 pages a +year are output, almost entirely at 300\,dpi. +\LaTeX{} is used for input. + +Paul Bacsich and Robin Kydd described the use of Microsoft Word Rich Text Format +(RTF) as a generic coding language. The use of style sheets defined using +RTF avoids the use of direct formatting by keyboarders (which can produce +disastrous results when translated to the CAPS system). The disadvantage of +RTF is that it is essentially linear and has no depth. When translated for +the CAPS system, the paragraph styles are only taken as name and number +(that is, the actual MS style sheet is ignored), while at +the character level the actual coding is translated, for +example, italic and bold and sorts characters. Robin Kydd +described the problems involved in the translation process, +particularly those involving tables, lists and symbols, and +finished by suggesting that more generality was needed and +this tended in the direction of \sgml. + +Peter Hammersley's talk followed on very appositely as he discussed some of +the problems involved in translating from MS-Word into Ventura. The project +was the very practical one of producing a book of conference papers. The +papers were in the main submitted electronically and then tagged. +\hbox{Peter} described both 1988 when tags were added using +the Ventura editor which was very tedious and difficult, and +1989 when the tags were put in using MS-Word, which was +easier. However, translation into Ventura produced some +strange effects, which Peter accepted could be explained +and even by-passed, but his point was that the naive user +of such packages would find these effects a +serious problem. + +Finally Paul Lefrere discussed table design. He pointed out that within +standard packages such as Ventura, MS-Word and even CAPS tables can be very +hard to produce to the specification required. He analysed what could be +done with the various packages (and with a specialized package +`TableTools') and how long these operations can take, that +is, how cost effective the different packages can be. The +high-end packages, not surprisingly, come out better than +the standard DTP packages, but TableTools was definitely +the winner in terms of value for money, being relatively +cheap. + +The meeting was well attended and discussions indicated that those +attending found it of interest. That it was actually on site made it that +much more so. + +\rightline{\sl David Penfold} diff --git a/info/digests/texline/no10/rose.tex b/info/digests/texline/no10/rose.tex new file mode 100644 index 0000000000..2f706e2f84 --- /dev/null +++ b/info/digests/texline/no10/rose.tex @@ -0,0 +1,56 @@ +\let\BiBTeX\BibTeX +\centerline{\bf \TeX89\ looks at \LaTeXbf\ tools} +\smallskip\noindent +Several discussion and `birds of a feather' groups were organised at the +Karlsruhe \TeX89 meeting. Our discussion group considered indexing and +bibliographies. We were in fair agreement over indexing. At the moment +neither |makeindex| nor |makeidx| works on a PC for a document long enough to +need an index: PC versions are needed. Other desirable enhancements include: +international language support (such as \"a if |german.sty| has been used); +options to specify how to alphabetize in languages where there is more than one +convention (for example, there are three possible positions for \"a in German); +certain constants to be made bigger; user's choice of delimiter characters, as +with |\verb|. Other complaints apply more generally to software being passed +around the \TeX\ community: it should be written in lines of no more than 72 +characters (because of email problems); only a very standard subset of C should +be used; the authors should be accessible. A wish-list was prepared, which +will be sent to the authors of |makeindex| and |makeidx| if we can find them. + +There was much less consensus over what is currently possible or easy in +\BiBTeX\ and what are reasonable enhancements to ask for. Clearly, some people +like programming in reverse Polish while others seem to find it extraordinarily +difficult. We did agree that it would be useful to have matters as the ordering +of the items, the type of key used, the ordering of words within the items, and +the language used for words like `edition', could be easily changed +independently. International language support is also needed. + +Although we agreed that all standard fields should be pre-declared in standard +\BiBTeX, so that everyone uses them in the same way, we did not agree on what +we thought was standard. Each of the following was supported by at least one +person in the group: ISBN number; price of book; title of author, such as `Dr' +or `S J'; `contribution to discussion of Important Paper X by J Smith' -- but +are any of these really that standard? This led on to a discussion of whether +it was really sensible to use \BiBTeX\ as a database, in which case it needs a +front end to help secretaries input the entries (Anne Br\"uggemann-Klein has +written one), or whether it is better to use an established database and get it +to write |.bib| files (my preference). + +Our course, getting \BiBTeX\ to be all things to all people also involves making +|\cite| more flexible. For some journals, |\cite| needs to put the title in a +footnote on the first occurrence only; for others, it must put the author(s) +and year in the text, but with punctuation depending on whether one is already +inside parentheses; for yet others, if a book is cited only once the cited page +number(s) must go in the bibliography rather than the text. Is it reasonable to +be able to expect any usable program to be able to do all this? To my mind, +having an editable |.bbl| file is a huge plus. + +Anne Br\"uggemann-Klein agreed to compile a wish-list and send it to Oren +Patashnik before he finishes his current work on \BiBTeX. I hope we do not give +the impression that we are not grateful for what has already been done. +Although many people in the group sounded indignant that \BiBTeX\ would not +do exactly what they wanted, it seems to me to be such an improvement over +both `doing it yourself' (Lamport, Section 4.3.1) and using generic commands +like |\writer| and |\paper|, defined in each style-file (cf. Spivak, Appendix B) +that I, for one, am simply delighted that I have \BiBTeX. + +\rightline{\sl Rosemary Bailey} diff --git a/info/digests/texline/no10/rowley.tex b/info/digests/texline/no10/rowley.tex new file mode 100644 index 0000000000..16aeed1b78 --- /dev/null +++ b/info/digests/texline/no10/rowley.tex @@ -0,0 +1,44 @@ +\centerline{\bf Too many braces take a belting} +\smallskip +\noindent +For some good reason, which now escapes, I had cause recently to look +something up in number 7 of this series; thus proving that it is fulfilling its +destiny as a standard work of reference. As I was browsing through my eye +lighted on the review of a software package called Formulator. The exact +nature of this package is of no consequence to my remarks but its pertinent +property is that it produces `software-written' \TeX\ code for, as the name +suggests, mathematical formulas. The reviewer points out that it has a +number of eccentricities in its use of braces: for example, a tendency to +surround many subformulas with unnecessary braces but to omit them in some +places where they are essential. The problems caused by the latter are +explained in some detail, as is one change in the expected typography caused +by the insertion of an empty pair of braces. The rest are categorized as `No +bad thing'. + +I would argue that all such extra braces are not simply superfluous but are +possible causes of incorrect typesetting of a nature which is particularly +disturbing in a system which is presumably aimed at a class of user who is +less likely than some to notice these errors since they largely affect those +details of spacing in formulas of which most readers and producers of +mathematical texts are blissfully unaware. + +The cause of the errors occasioned by these braces is the fact that any +subformula enclosed in braces (even an empty one) is an atom of type +(flavour) Ord (see p.\ 291 of {\sl The \TeX book}) whatever its contents may +be. Thus, choosing examples at random from the review: |{\left( ... \right)}| +appears to the neighbouring atoms to be an Ord instead of its correct +identity which is Inner; |{\int ...}|, |{\sum ...}| and |{\sin ...}| all change +from Op to Ord. A glance at the table on p.\ 270 of {\sl The \TeX book\/} will +reveal the havoc which such changes can wreak to the subtleties of spacing +revealed therein. + +Thus I am led to the conclusion that either the code-writing part of this +software contains a fundamental design flaw or this software is not intended +to produce high-quality \TeX-code and is therefore not intended for use in +high-quality typesetting software. + +Of course, it is just possible that it is merely another piece of evidence in +favour of the thesis that the \wysiwyg\slash Graphical Interface\slash {\sc +wimp} paradigm is fundamentally at odds with high-quality anything. + +\rightline{\sl Chris Rowley} diff --git a/info/digests/texline/no10/sgml.tex b/info/digests/texline/no10/sgml.tex new file mode 100644 index 0000000000..3da450a3da --- /dev/null +++ b/info/digests/texline/no10/sgml.tex @@ -0,0 +1,74 @@ +\centerline{\bf SGML Soldiers On} +\smallskip +\noindent +It is reassuring to know that the cold war still lives on +in these days of glasnost. At Mark-Up '89 held in Gmunden, +Austria in April we were treated to young, glamorous and +very earnest women reassuring us that \sgml{} would ensure +that the free world remained free thanks to the +combat-readiness of the tanks, cruise missiles and +destroyers and their accompanying truck loads of +documentation. + +It is apparent that \sgml{} afficionados can be divided +into two distinct groups, the theorists and the +pragmatists. I have to say that it was this last group +that made the conference worth attending. This +latter group, could be further sub-divided into the +militarists and the commercial publishers and printers. To +a great extent, the DoD suppliers have to use \sgml{} +and its terrible progeny CALS whether they like it or +not; their main aim is to find an easy way around the +problem. The now famous Taft memo stating that CALS had to +be used for all DoD contracts was widely discussed. (The +ultimate print-buyers revenge?). As a user of a GenCode +based system (CAPS) I made it my task to search out the +{\sl voluntary\/} fellow sufferers and I was particularly +interested to hear their experiences. As usual, the Dutch +were there in force. I generally regard them as being +pretty well ahead of the game in Europe and I must say it +came as a bit of a shock to me to find that many of them +were still taking {\sc ascii} text and adding their own +mark-up to it. In the UK there are some encouraging signs +with at least one other publisher/printer (besides the OU) +developing an MS Word to \sgml{} program. + +Elegant conversion from the authoring word processing program to \sgml{} is still very +much the missing link. Avalanche Technologies have gone some of the way to solving +it with FastTag which I believe is the XGML parser that is also used by DocuPro +and ArborText. To my mind a `visual' system of hierarchy +recognition misses out a lot of the subtleties of anything +other than simple text. + +There certainly seems to be no shortage of `conventional' \sgml{} parsers available +at a price, Sobemap's Mark-It and Yuri Rubinsky's SoftQuad being two notable examples. +These both work as stand-alone word processors and would be great if you could persuade +all your authors to use one. + +Xyvision and Interleaf both gave demonstrations of their \sgml{} front-ends. Interleaf's +was very neat but again it presupposed that the author was the person on the Interleaf +keyboard. Doubtless it could take in ready-made \sgml{}. In terms of major installed +gencode based publishing systems Compugraphic with CAPS was noticeable by their +absence. + +This conference was significant because for the first time people were able to report +back on the results of actually using \sgml{} in competitive environments. The Oxford +English Dictionary was offered up as an example of main-stream publishers using +\sgml{} which makes a lot of sense when you consider updating and multi-media presentations. +On the military side concern was expressed at how the number of standard DTDs was +growing on a daily basis (they originally thought they would only need 3 or 4) and +secondly at the amount of time it took to write a DTD. Noises were made about months +rather than weeks. + +The other worry voiced by the militarists was that of retro-fitting \sgml{}/CALS to +existing documentation. How was it to be done and who was going to pay for it? + +I have to confess that I found the discussions by the theoreticians on standards +dry to the point of excruciating as well as a slight annoyance that they were apparently +failing to recognize the amount of hard work being undertaken by users in order +to breathe life into these standards. But I did come away from the meeting feeling +that \sgml{} was actually being used by real people. When the conference comes to Europe +again in two years time I believe that we will see that \sgml{} has progressed significantly +across all EP applications. + +\rightline{\sl John Feltham} diff --git a/info/digests/texline/no10/talk.tex b/info/digests/texline/no10/talk.tex new file mode 100644 index 0000000000..5dad0e02ea --- /dev/null +++ b/info/digests/texline/no10/talk.tex @@ -0,0 +1,854 @@ +\overfullrule0pt +\def\\{\hfil\break} +\font\ttt=cmtt10 +\def\tt{\ttt\hyphenpenalty10000} +\def\subsection#1{\leftline{\let\sc\scit\sl #1}\par\noindent\ignorespaces} + +\let\subsubsection\subsection +\def\BibTeXi{B{\iteight IB}\kern-.2em\TeX} +\font\sb=cmbx8 +\def\BbiBTeX{B{\sb IB}\kern-.2em\TeX} +\hyphenation{abbrv} + +\centerline{\bf Towards \BbiBTeX\ style-files that implement} +\centerline{\bf principal standards} +\section{1: Introduction} +\BibTeX\ can relieve an author of a lot of the work that is +traditionally involved in compiling a list of references. The +public domain bibliography style-files certainly produce neat +bibliographies. + +However, documents often have to conform to a house style, to the conventions +within a subject, or to an externally defined standard. \BibTeX\ users may +not always be working in the same subject areas as \BibTeX's originators. +This article considers the extent to which \BibTeX\ and the public domain +style files are suited to this more exacting task. + +\section{2: Standard conventions} +% Recall what speaker (a) said about the standard conventions [2 mins] +% (reference-by-number, author-date) +`Reading between the lines' of the \LaTeX\ manual suggests to me that +the main influences behind the \LaTeX/\BibTeX\ scheme for +classifying bibliographic references were van Leunen's book (van Leunen, 1978), +and the precedent set by {\it Scribe}. + +However, I have the impression that the `principal standards' for +citations and bibliographies are generally those defined by Butcher's book +(Butcher, 1981), the relevant British Standards +(BSI, 1989; BSI, 1983; BSI, 1978), +and the {`Chicago Manual of Style'} (Chicago Manual of Style, 1982), rather +than van Leunen's and {\it Scribe\/}'s conventions. + + + +This impression derives partly from the numbers of times that I've seen +citations of the works concerned. I've only seen van Leunen cited by +the \LaTeX\ manual, whereas +Butcher's book is cited by Hart (1983), BSI (1988), +Chicago Manual of Style (1982) and Williamson (1983); +the British Standards are cited by BSI (1988), Butcher (1981), + McLean (1980) and Williamson (1983); +the {`Chicago Manual of Style'} is cited by Butcher (1981), + Turabian (1987), Williamson (1983) and Lamport (1986), and + forms part of the `instructions for authors' for the journal + {\it Electronic publishing: origination, dissemination \& design}. +BS 1629 also seems to correspond to an ISO standard. +More parochially, the British Standards are mentioned in various Nottingham +University guidelines about theses and dissertations. + +Therefore, it seems more important to help authors +conform to the recommendations of Butcher's book, +the British Standards and the {`Chicago Manual of Style'}, than to +help them conform to van Leunen's recommendations and the {\it Scribe} +precedent. This may involve supporting the author-date +(`Chicago Manual of Style', 1982; BSI, 1978; Butcher, 1981), +reference-by-number (BSI, 1978; Butcher, 1981) +and short-title schemes (Butcher, 1981). +There is also an author-number system (Butcher, 1981), but it does not +seem to be used much. + + + +\caption{Table 1: BS~1629(1976)/6371 entry types compared with +\BbiBTeX's}\smallskip +\def\hline{\noalign{\hrule}} +\tabskip0pt\halign +{\offinterlineskip\strut\vrule\enspace\tabskip=0.5em#\hfil&#\hfil&\tabskip0pt#\hfil\tabskip0pt\vrule\cr +\hline Category & Subcategory & Nearest \BibTeX \cr + & & entry-type \cr +\hline +Book & Single-vol. work & {\tt book}, {\tt booklet}, \cr +or other & & {\tt manual} or \cr +separately & & {\tt proceedings} \cr +issued & Multi-vol. work & {\tt book} \cr +publication & British Standard & {\tt techreport} \cr + & Technical report & {\tt techreport} \cr + & Translation & \cr + & Govt. publicn. & \cr +\hline +Portion of & & {\tt inbook}, \cr +above, other & & {\tt incollection}, \cr +than sep. & & {\tt inproceedings} \cr +contribution & & \cr +\hline +Periodical or & Periodical as & \cr +other serial & a whole. & \cr +publication & & \cr + & Limited run or & \cr + & specific vol. & \cr + & or issue & \cr +\hline +Article or & in book or\dots & {\tt incollection}, \cr +contribution & & {\tt inproceedings} \cr + &in periodical\dots& {\tt article} \cr +\hline +Patent & Patentee and & \cr + & inventor & \cr + & & \cr + & Patentee only & {\tt techreport} \cr +\hline +Unpublished & & {\tt booklet}, \cr + & & {\tt mastersthesis},\cr + & & {\tt phdthesis}, \cr + & & {\tt misc} \cr +\hline +} + +\section{3: Assumptions and abbreviations} +The remainder of this article will assume that the conventions +described in Butcher's book, +the British Standards and the {`Chicago Manual of Style'} are indeed the +`principal standards', and that the \BibTeX\ user +wants to be able to produce documents that conform to them. +(Take care to distinguish this use of `standard' from the \LaTeX\ manual's +use of `standard' to mean `{\tt plain}, {\tt unsrt}, {\tt alpha} or +{\tt abbrv}'.) + + +The following abbreviations will be used: +\item{BS:} a British Standard, or a combination of British Standards; +\item{Chicago:} the {`Chicago Manual of Style'}; +\item{public domain styles:} {\tt plain}, {\tt unsrt}, {\tt alpha}, + {\tt abbrv}, {\tt aaai}, {\tt acm}, {\tt ieeetr}, {\tt siam} and + {\tt apalike}; +\item{principal standards:} the conventions for citation and bibliography + layout specified by Butcher (1981), the British Standards + (1989; 1983; 1978) and the {`Chicago Manual of Style'} + (1982). + + +\section{4: The problem of divergence} +% On the assumption that attendees have some handouts [5 mins] +% of output from Patashnik's and other public domain style files, +% review the extent to which they meet standards such as the BSI and +% Chicago. +\subsection{4.1: Categories of document} +Table 1 +%\ref{1} +compares the classification of documents used +for the British Standards +with the classification used by the public domain \BibTeX\ styles. +The table assumes that, where the 1989 edition +says that `other information may be added in whatever position is most +appropriate', one would actually put the information where specified by +the 1976 edition. Table 2 +%\ref{2} +gives a similar comparison for +Chicago. You will see that in neither case is there a one-to-one mapping +between the `\BibTeX\ category' and the `principal standard' category. +Thus, if the \BibTeX\ user wishes to conform to the `principal standards', +(s)he starts with the handicap of not being clear about which section +of the \BibTeX\ documentation corresponds to the required +section of the specification of a `principal standard'. + +\caption{Table 2: Chicago entry types compared with \BbiBTeX's +}{\smallskip +\offinterlineskip\tabskip0pt\halign +{\strut\vrule\enspace\tabskip=1em#\hfil&#\hfil&\tabskip0pt#\hfil\tabskip0pt\vrule\cr +\hline Category & Subcategory & Nearest \BibTeX \cr + & & entry-type \cr +\hline +Book & & {\tt book}, {\tt manual}, \cr + & & {\tt techreport} \cr + & & {\tt booklet}, \cr + & & {\tt proceedings} \cr +\omit\vrule\tabskip1em&\multispan2{\hrulefill\hskip1em}\vrule \cr + & [chapters & {\tt inbook}, \cr + & \hfil or parts] & {\tt incollection}, \cr + & &{\tt inproceedings} \cr +\hline +J'n'l article & & {\tt article} \cr +\hline +Unpublished & Theses, & {\tt mastersthesis}, \cr +material & lectures & {\tt phdthesis}, \cr + & and other & {\tt manual}, {\tt misc}, \cr + & unpublished & {\tt booklet}, \cr + & works & {\tt manual}, \cr + & & {\tt techreport} \cr + & Manuscript & {\tt unpublished}, \cr + & collections. & {\tt misc} \cr +\hline +Public & United States & {\tt unpublished}, \cr + documents & UK, Canada, & {\tt misc} \cr + & International & \cr + & \hfil Bodies & \cr +\hline +Nonbook & \hbox to 0pt{Musical scores} &{\tt misc} \cr +materials & \hbox to 0pt{Sound recording} & \cr + & \hbox to 0pt{Video recordings} & \cr + & \hbox to 0pt{Computer programs}& \cr +\hline +}} +\medskip +\subsection{4.2: Elements of reference} +Similarly, there is no one-to-one mapping between the elements of a reference as +defined by the `principal standards' and the fields used by +the current public domain \BibTeX\ bibliography styles: +\item{\tt address} is used in three different senses. +\itemitem{1}For `published works', one would presumably use \BibTeX's + {\tt address} for the `place + of publication'. + \itemitem{2} For `unpublished works', one would use {\tt address} as +`locator + element' (BS 6371) or `location or sponsoring body' (Chicago, + Section 16.129). + \itemitem{3} For {\tt proceedings} and {\tt inproceedings}, {\tt address} + is used in \BibTeX\ 0.99 as `where the conference was held', + which the principal standards would probably treat as part + of the title. + In case 1, one might use \BibTeX's {\tt unpublished}, {\tt misc}, etc.\ + for the principal standards' `unpublished works', so + there is probably an overlap of the function of {\tt address} + with that of {\tt howpublished}. +\item{\tt month} does not seem to appear as such in the `principal standards'. + It is sometimes necessary to use `date' as a means of specifying + a particular issue (BS 1629 (1976 edn.), Section 4.4(b); Chicago, Section 16.124), + but the {\tt month} field is not quite suitable. + The non-obvious +\begintt +month = jul # "~4," +\endtt + trick has to be used. +\item{\tt volume} It is not clear from the documentation + whether the public domain styles distinguish between + `a volume of a single work' + and `a single work that is a volume in a series'. + Chicago shows variation of positioning between the two cases. +\item{\tt portion} Chicago 16.49--16.53 mentions the specification + of chapters, parts or page-ranges. + BS 1629 (1976 edn.) has the concept of `portion' for these specifications. + `Specifying a portion' would be easier than getting involved + in tricks like +\begintt +chapter = "1.2", type = "Section" +\endtt + with \BibTeX's |chapter| and |type| fields. + +\noindent In summary, +the following groups seem to be merged in the principal standards: + {\tt booklet}, {\tt manual}, and {\tt proceedings}; + {\tt conference}, {\tt incollection} and {\tt inproceedings}; + {\tt mastersthesis} and {\tt phdthesis}. +The following \BibTeX\ fields seem to hold information that + the principal standards would handle differently: + {\tt address} and {\tt howpublished}; + {\tt institution}, {\tt month}, {\tt organization} and {\tt school}. +The principal standards don't seem to involve the concepts of + `open' and `closed'. +\medskip +\subsection{4.3: Order and presentation of elements} +Given the divergence between the schemes used for classification and +element-definition, it is difficult to make a general comparison of +features such as the order of elements, their punctuation and the +fonts used. However, +we can make such a comparison in simple cases, for example in the +cases of references to books and to articles. + +If you compare BS (1989) and Chicago (1982, p.439), you +will see that there is a degree of consensus about the style in which +references to books are to be laid out for reference-by-number. +Unfortunately, none of the relevant public domain styles +({\tt plain}, {\tt unsrt}, {\tt abbrv}, {\tt aaai}, +{\tt acm}, {\tt ieeetr}, {\tt siam}) +format entries in line with this consensus. + +For reference-by-number to journal articles, BS and Chicago differ in the order +suggested for volume and year. Of the public domain styles, {\tt acm} seems +closest to Chicago. Nothing seems particularly close to the BS. + +The public domain author-date styles are {\tt alpha}, {\tt apalike} +and {\tt aaai}. Of these, {\tt alpha} has unconventional labels, +and {\tt aaai} gives an unconventional bibliography (with both the +short form of author-date and the long form). The remaining +style, {\tt apalike} seems fairly similar to BS and Chicago for +journal articles, but not for books (because of the order of place +and publisher). +\medskip + +\frame{5pt}{The {\tt \lowercase{MASTERSTHESIS}} and {\tt \lowercase{PHDTHESIS}} +entry types now take an optional {\tt type} field\dots + +Similarly, the {\tt \lowercase{INBOOK}} and {\tt \lowercase{INCOLLECTION}} entry types +now take an optional {\tt type} field, allowing `section 1.2' instead of the default +`chapter 1.2'. + +\dots{\tt \lowercase{PROCEEDINGS}}\dots\ +If you want to include the publisher's\dots\ address, put it in the +{\tt publisher} or {\tt organization} field. + +\dots feel free to be creative in how you use these entry types\dots + + +\dots don't take the field names too seriously\dots + +\dots don't take the warning messages too seriously\dots + +\dots if you want to include information for the day of the month, +\dots +{\tt month = jul \char'43\ "\char'176 4,"} +will probably produce just what you want. +} +\nobreak +\caption{Figure 1: Some hints from `\BbiBTeX ing'} +\medskip +\subsection{4.4: Consequences} +Thus, although \BibTeX\ is very useful for reducing the work involved in +producing a bibliography, and the public domain styles produce +neat bibliographies we have to note that +the entry-types and fields used by the public domain styles diverge + from the document-categories and reference-elements + those used by the principal standards. This may mean + that one has to resort to tricks (such as those shown in Figure +1, +%\ref{1} +taken from Patashnik (1988a) + to get the output `looking right'. + I imagine that, if the entry-types and fields + corresponded more closely to those used by the principal standards, + one would have to resort to tricks less often. +In addition, the punctuation and fonts used by the + public domain styles will lead many potential users to + quibble that `this is not how we do things in my subject'. + +\section{5: Towards `principal standard' styles} +\subsection{5.1: Extent of consensus about} +\rightline{\sl categories\slash entry-types} +\noindent Thus the current public domain styles, and the corresponding + entry-types and fields, do not seem to make for straightforward adherance to +the `principal standards'. How could new entry-types and fields be defined +that correspond more closely to the assumptions behind the `principal +standards'? + +\topinsert +\hsize6.5truein\tabskip0pt +\def\hline{\noalign{\hrule}}{ +\offinterlineskip\halign to\hsize{\tabskip=2em +minus1em\vrule\strut\enspace#\hfil&&\enspace#\hfil&#\hfil\tabskip0pt\vrule\cr +\noalign{\hrule} BS & BS & Chicago &Chicago & +Examples common to\cr category & subcategory & category +&subcategory & BS and Chicago \cr \noalign{\hrule} Book or other & Single-vol.\ +work & Book & All but `chapters & Book \cr separately & Multi-vol.\ work +& & or parts' & Technical report$^a$ \cr issued & +British Standard & & &UK HMSO pub. \cr publication & +Technical report & & & \cr + & Translation & & & \cr + & Government pub.& & & \cr +\multispan2{\vrule\hfill}&\multispan2{\hrulefill}&\omit\hfill\vrule\cr%\cline{3-4} + & &Public docs. & UK nonparliamentary$^b$ +& \cr \noalign{\hrule} +Contribution & In book\dots & Book & Chapters or parts + & Collections \cr +or article & & & & Conf. proceedings\cr +\omit\vrule\hfill&\multispan4{\hrulefill}\cr%\cline{2-5} + &In periodical\dots& Journal article & & Article \cr + & & & & \cr +\noalign{\hrule} +Unpublished & & Unpublished & Lectures &British Lib. Add. MS.\cr + & & & Duplicated material &Theses$^c$ \cr + & & & Manuscript colls. & \cr +\multispan2{\vrule\hfill}&\multispan2{\hrulefill}\cr%\cline{3-4} + & & Public docs. & USA unpublished & \cr + & & & UK unpublished & \cr + & & & Canadian archives & \cr +\omit\vrule\hfill&\multispan1{\hrulefill}\cr%%\cline{2-2} + &Docs. resembling& & & \cr + &published works & & & \cr +\noalign{\hrule}}} + +\noindent\strut{$^a$ For technical reports, BS says that `series + title and number' are `essential elements'.} + +\noindent{$^b$ Chicago says that these are usually treated + like `privately published books'.} + +\hangindent20pt\noindent{$^c$ BS suggests that theses + resemble published works, should have + `location element' like other unpublished material, + but should be given a `descriptive element' + like books. + Chicago suggests treating title as for a journal article, and providing + `location or sponsoring body or both'.} +\caption{Table 3: BS 1629(1976)/6371 and Chicago categories that are similar} +\endinsert + +Table 3 displays some BS and Chicago categories that +seem similar enough to be represented by common \BibTeX\ entry-types. +Table 4 shows categories that are only described +by the British Standards, while Table 5 shows +categories that are only described by Chicago. +Thus any new scheme should, ideally, be able to cater for all the +categories shown in Tables 3, 4 and 5. +One would also have to refer to ISO 690. +Compatibility with bibliographic databases on CD-ROMs might +be useful too, but there currently seems little consistency between suppliers, +let alone consistency between conventions for fields in CD-ROMs and +fields in printed bibliographies. It might also be useful to consider the +database structure used for computerised library catalogues. + +\caption{\overfullrule0pt Table 4: Categories defined by BS 1629(1976)\slash 6371 but +not by Chicago} {\overfullrule0pt\offinterlineskip +\def\hline{\noalign{\hrule}} +\overfullrule=0pt +\tabskip0pt +\halign +to\hsize{\vrule\strut\tabskip3em +minus2.5em\enspace#\hfil&#\hfil\strut\tabskip0pt\vrule\cr \hline +Category & Subcategory \cr +\hline +Portion of `book or other & \cr +separately issued publication' & \cr +other than a separate & \cr +contribution & \cr +\hline +Periodical or other serial & Periodical as \cr +publication & a whole \cr +\omit\vrule\hfill&\omit\hrulefill\quad\tabskip0pt\cr + & Limited run or \cr + & specific vol. \cr + & or issue \cr +\hline +Patent & Patentee and \cr + & inventor \cr +\omit\vrule\hfill&\omit\hrulefill\quad\vrule\tabskip0pt \cr + & {Patentee only} \cr +\hline +}} +\medskip +\caption{Table 5: Categories defined by Chicago but not by BS +1629(1976)/6371} +{\overfullrule=20pt\offinterlineskip +\tabskip=0pt +\halign +to \hsize{\vrule\strut\enspace\tabskip=3em +minus2.5em#\hfil&#\hfil\tabskip=0pt\vrule\cr \hline Category & Subcategory +\cr \hline +Public documents & US Congress \cr + & US Executive departments \cr + & US Statutes etc. \cr + & US States and local \cr + & UK Parliament \cr + & US Published records \cr + & Canadian government\cr + & International Bodies \cr +\hline + Nonbook materials&Musical scores$^a$ \cr + & Sound recordings \cr + & Video recordings \cr + & Computer programs \cr +\hline}} +\noindent{\strut$^a$ `Follow rules similar to those for books.'} + +\medskip +\subsection{5.2: A division into categories/entry-types}{\tolerance10000 +From Tables 3, 4, 5, +it seems that a project to provide style-files to implement the +`principal standards' might start by defining entry-types such as the following. +\item{\tt booklike} The categories of document specified in Section 4.2(a) + (publication as a whole) of BS 1629 (1976 edn.) (with the exception + of `works issued in series by research bodies\dots'). + This seems the same as the group of documents + classified as `Books' by Chicago (excluding + Chicago's `chapters or parts of a book'). + This category might include some of Chicago's + `Nonbook materials', e.g. musical scores. +\item{\tt report} Publications `as a whole' issued in series by research + bodies and similar organizations, as specified in + Section 4.2(a) of BS 1629 (1976 edn.). + Differs only from {\tt booklike} in that + `series title and number' are required. +\item{\tt booklikeportion} A portion (other than a separate contribution) of + a document in the category specified in Section 4.2(b) + of BS 1629 (1976 edn.) (excluding documents for which `series title + and number' are required). + (Looks as if it could be implemented by a {\tt +crossref} to a {\tt booklike} database entry.) + Probably equivalent to the optional argument of + |\cite|, but worth doing to give the ability to + conform to BS 1629 (1976 edn.). +\item{\tt reportportion} As {\tt booklikeportion} but with + `series title and number' required. +\item{\tt contribution} Contribution to a `book or other separately issued + publication' as defined in Section 4.4(a) of BS 1629 (1976 edn.). + `Chapter or part of a book' as defined in Sections + 16.49--16.53 of Chicago. +\item{\tt publishedlike} `Documents resembling published works' as specified + in Section 10 of BS 6371. + This category would include theses. It looks as +though: + \itemitem{\it (i)} the thesis information that BS 6371 would +use to `compile the descriptive element like a book' + is the same as that needed for + Chicago to treat the thesis like a journal article +\itemitem{\it (ii)} the BS 6371 `location element' is much the +same as the Chicago `location or sponsoring body + or both'. + This category might also include some of Chicago's + `nonbook materials', e.g. sound recordings. +\item{\tt patent} Patents, as specified in Section 4.5 of BS 1629 (1976 +edn.). +\item{\tt public} Public documents, as specified in Section 16.141 of + Chicago, but excluding those `cited like + privately published books' (Chicago, Section 16.162) + which would be {\tt booklike} and those + to which BS 6371 (except Section 10) + and Sections 16.158, 16.171 and 16.172 + of Chicago apply (which would be {\tt unpublished}). +\item{\tt unpublished} + To which BS 6371 (except Section 10) + and Sections 16.128, 16.131--16.133, + 16.158, 16.171 and 16.172 + of Chicago apply. +\item{\tt periodical} As defined in Section 4.3(a) of BS 1629 (1976 edn.). + +\item{\tt periodicalrun} As defined in Section 4.3(b) of BS 1629 (1976 edn.). + Might be implemented as a {\tt crossref} to + a {\tt periodical}. +\item{\tt article} This category would include `a contribution + or article in a periodical or serial publication' + (Section 4.4(b) of BS 1629 (1976 edn.)), and `journal articles' + (Chicago, Sections 16.98--16.127). +\smallskip} +\noindent +As it happens, this approach gives 12 categories, compared with +the 14 for {\tt plain}, {\tt unsrt}, {\tt alpha}, {\tt abbrv}. +(Studying the unified approach in the 1989 edition of +BS 1629 might enable one to reduce the number of categories still further. +On the other hand, the sentences about `Other information may be added +in whatever position is most appropriate' may lead to retention of the +categories suggested in the 1976 edition, in order to ensure that +`other information' is placed appropriately.) +\medskip +\subsection{5.3: Elements/fields} +A project that aimed to implement the `principal standards' would also have to +define \BibTeX\ fields (within the bibliography entries) that correspond +to the `elements of a bibliographic reference' defined by the `principal +standards'. + +With the British Standards, it may be possible to use +the BS `essential' and `supplementary' or `optional' elements +directly as \BibTeX's required and optional fields. +It looks as if these elements would provide the information required by +Chicago, but someone would have to work through all the Chicago examples +to check this! +To support the `short title' system (Butcher, 1981; pp. 177--8), +a field such as {\tt shorttitle} seems desirable. + +This approach might give fields such as the following for the entry-types +postulated above. +{\tolerance10000 +\item{\tt booklike} + Required fields: {\tt author}, {\tt title}, {\tt year}. + Optional fields: {\tt shorttitle}, {\tt transtitle}, + {\tt origtitle}, {\tt edition}, {\tt alleditor}, + {\tt alltranslator}, {\tt allillustrator}, {\tt thiseditor}, + {\tt thistranslator}, {\tt thisillustrator}, {\tt placeofpub}, + {\tt publisher}, {\tt noofvols}, {\tt pagination}, + {\tt mentionofany}, {\tt size}, {\tt seriesinfo}, + {\tt isbn}, {\tt price}. + Here {\tt author} may be `compiler, personal or corporate'. + The meanings of other fields should be obvious by reference to BS 1629 (1976 edn.). +\item{\tt report} + As {\tt booklike}, but with {\tt seriesinfo} required, rather than + optional. +\item{\tt booklikeportion} + Same fields as {\tt booklike} except that: + `book trade' information, namely + {\tt alleditor}, + {\tt alltranslator}, {\tt allillustrator}, {\tt thiseditor}, {\tt +thistranslator}, {\tt thisillustrator}, {\tt noofvols}, {\tt pagination}, + {\tt mentionofany}, {\tt size}, {\tt price} + are neither required nor optional. + \item {\tt volpart} and {\tt volparttitle} would be optional + and {\tt portion} would be required. + +\item{\tt reportportion} + As {\tt booklikeportion} but with {\tt seriesinfo} required rather than + optional. +\item{\tt contribution} Required fields: {\tt contauthor}, {\tt +conttitle}, + {\tt pubauthor} or {\tt pubeditor}, {\tt pubtitle}, + {\tt year}, {\tt portion}. + Optional fields: {\tt shorttitle}, + {\tt conttranstitle}, {\tt contorigtitle}, + {\tt contmentionofany}, {\tt pubtranstitle}, {\tt pubedition}, + {\tt pubvolume}, {\tt placeofpub}, {\tt publisher}, + {\tt seriesinfo}, {\tt isbn}. +\item{\tt publishedlike} + Fields for `descriptive element' as for {\tt booklike}, with + the omission of {\tt placeofpub}, {\tt publisher}, {\tt isbn}. + Fields for `location element' as for {\tt unpublished} -- see below. +\item{\tt patent} + Required fields: {\tt patentee}, {\tt title}, {\tt country}, + {\tt designation}, {\tt serialno}, {\tt pubyear}, {\tt restofpubdate}. + Optional fields: {\tt shorttitle}, + {\tt transtitle}, {\tt inventor}, + {\tt intclass}, {\tt natclass}, {\tt appdate}, + {\tt pagination}, {\tt platesetc}. +\item{\tt public} Following Chicago (Section 16.141), fields for + {\tt division}, {\tt body}, {\tt subsid}, {\tt title}, + {\tt author}, {\tt identification}, + {\tt publisher}, {\tt date}. In addition, an optional + {\tt shorttitle} field, for `short title' citation. +\item{\tt unpublished} + Descriptive element, consisting of optional fields {\tt name}, + {\tt title}, {\tt date}, {\tt designation}. + Location element, consisting of optional fields {\tt place}, + {\tt repository}, {\tt callno}, {\tt locwithin}. + Although the individual fields of the + descriptive element and the location element are optional, + the descriptive element and the location element are both + `required' as a whole. + In addition, optional fields {\tt otherinfo} (for Section 9 of BS 6371) and + {\tt shorttitle} for `short title' citation. +\item{\tt periodical} Required field: {\tt title}. + Optional fields: {\tt transtitle}, {\tt origtitle}, {\tt firstissue}, + {\tt lastissue}, {\tt frequency}, {\tt placeofpub}, {\tt publisher}, + {\tt size}, {\tt summarylangs}, {\tt price}, {\tt earliertitles}. +\item{\tt periodicalrun} + Required fields: {\tt title}, {\tt firstissue}, {\tt lastissue}. + Optional fields: {\tt transtitle}, {\tt origtitle}, + {\tt frequency}, {\tt placeofpub}, {\tt publisher}, + {\tt size}, {\tt summarylangs}, {\tt price}. +\item{\tt article} + Required fields: {\tt author}, {\tt arttitle}, {\tt serialtitle}, + {\tt year}, {\tt volume}, {\tt portion}. + Optional fields: {\tt transtitle}, {\tt origtitle}, {\tt mentionofany}, + {\tt placeofpub}, {\tt part}. +\par} + +% Critique bit: "Marie Clare van Leunen had undue influence. [5 mins] +% The standards should have had more influence." + +% Hacking at bst files. Structures in the bst files that I understand.[5 mins] +% Postfix stack business that I don't. +% Bit of critique: "Did Patashnik really have to use this Postfix +% stack business? I don't know." + +% Future work for somebody: [5 mins] +% - start with the concepts in the standards. +% - define fields. +% - define bst files that process such bib files. +% - write it all up. +\medskip +\subsection{5.4: Implementation} +The \BibTeX\ style-file language provides many facilities for +manipulation of the information that appears in bibliographies. +Thus, having defined new entry-types and fields, one can +declare the fields to \BibTeX and also +define \BibTeX\ {\tt FUNCTION}s to construct the + bibliography entries from the fields + +I anticipate that if the business of defining entry-types and fields that +correspond more closely to those defined by the principal standards was +followed through, there would be less need for the sorts of tricks +mentioned in Figure {1}, and the output would +be more likely to be `right first time'. + + + + +\section{6: Wish lists} +\subsection{6.1: \BibTeXi\ itself} +The current version of \BibTeX\ makes it difficult to produce the style shown in BSI +(1989) for titles that involve colons. For example, BSI (1989) shows the title: + +\centerline{\it Shetland sanctuary: birds on the Isle of Noss} + +\noindent Unfortunately, the effect of \BibTeX's |change.case t$| on the likely + {\tt bib} file entry would be to give `{\it Birds\/}'. + +It would be useful if some future version of \BibTeX\ +allowed a variation on +\begintt +change.case$ t +\endtt +that refrained from `upper-casing' after a colon. +\medskip +\subsection{6.2: \BibTeXi\ style-files} +It would be nice if someone had time to develop style-files that +worked in terms of the same concepts as the principal standards, and +delivered bibliographies formatted in accordance with these standards! +\medskip +\subsection{6.3: The combination of \LaTeXsl\ and \BibTeXi} +\subsubsection{A document having more than one list} +An author may wish to use `bibliography' to mean `works in the field, with +some notes about them', and `references' to mean `works I have cited'. Thus, +a `bibliography' may not be the same as `a long list of references', and +\LaTeX's assumption that {\tt article}s have `references' while +{\tt report}s and {\tt book}s have `bibliographies' may be an +over-simplification. + +Some works have more than one list. For example a book might have a +division called `references', listing works + giving further information about the subjects covered in the book, + and a division called `further reading', listing works that + cover related subjects. +Similarly, the draft new British Standard for theses (BSI, 1988) suggests a +`list + of references' (for `every work cited') {\em and\/} a `bibliography' + (for `all sources consulted but not necessarily relevant to the + thesis'). + +There is no harm in {\tt thebibliography} having a default title, +but an official mechanism for replacing the default by a more accurate +description would be very useful. +Aside: Are the people who are developing non-English +\LaTeX\ repeating the over-simplification? Instead of providing a mechanism for getting +equivalents of `references' and `bibliography' in many languages, +might it be better to just provide one default title in each language +plus a mechanism for changing the title? + +More ambitiously, could some future versions of +\LaTeX/\BibTeX\ give more general support to documents +with more than one list? For example, +could some |\cite|\/s generate a list of references in a brief +|\bibliographystyle| to be printed under +a heading of `references', while other |\cite|\/s generate another +list in a different |\bibliographystyle| to be printed under a heading +of `further reading'? +I think that people producing conference proceedings can currently +get references at the end of each chapter by applying \BibTeX\ separately +to each chapter: could some development simplify their task? +\medskip +\subsubsection{A list with subdivisions} +Under some circumstances, it may be desirable to divide a list into +sections. For example, Figure {2} shows the structure of the +bibliography for a history thesis. Chicago (Chicago Manual of Style, +1982; chapter 15) shows some further examples of subdivided bibliographies. + +\caption{Figure 2: Structure of a history thesis bibliography} +{\parindent0pt +\baselineskip10pt +\font\ttt=cmtt8 +\let\tt\ttt +\begintt +\section{Manuscript sources} + \subsection{Nottinghamshire County Record Office} + \subsection{Nottingham University Library, + Manuscripts Department} + \subsection{Public Record Office} + \subsection{British Library} + \subsection{Borthwick Institute} + \subsection{Friend's Reference Library} + \subsection{Dr. William's Library} +\section{Printed sources} + \subsection{National government series} + \subsection{Historical Manuscripts Commission} + \subsection{Thomason Tracts (British Library)} + \subsection{Other printed sources} +\section{Secondary works} +\section{Periodicals} +\section{Theses} +\endtt +} + +Could some future versions of \LaTeX/\BibTeX\ support such subdivisions? +For example, +perhaps |\section| and |\subsection| could be allowed within +{\tt thebibliography}, the author could put +\begintt +@UNPUBLISHED{... + subbib = "Manuscript Sources", + ... + } +\endtt +in a {\tt .bib} file, and \LaTeX/\BibTeX\ between them could arrange that +the item in question would appear under a sub-heading of `Manuscript Sources'. + +\section{7: References} +\let\newblock\null +\let\em\rm +{\frenchspacing\parindent0pt\hangindent20pt\hangafter1 +BSI, +BS 1629, British Standards Institution, 1989. +{\it For printed matter, the 1989 edition sometimes gives less detail +than the 1976 edition. The present article uses information from both editions.} + +\hangindent20pt\hangafter1 BSI, +Citation of unpublished documents, +BS 6371, British Standards +Institution, 1983. + +\hangindent20pt\hangafter1 BSI, +Citing publications by bibliographic references, +\newblock BS 5605, British Standards Institution, 1978. + +\hangindent20pt\hangafter1 BSI, +Recommendations for the presentation of theses, dissertations and similar + documents: Draft for public comment, +\newblock BS 4821, British Standards Institution, 1988. +\newblock {\it The revised standard is likely to be published in 1990.} + +\hangindent20pt\hangafter1 Judith Butcher, +\newblock {\em Copy-editing}, +\newblock Cambridge University Press, 2nd edition, 1981. + + +\hangindent20pt\hangafter1 +{\em The {C}hicago Manual of Style}, + University of Chicago Press, 13th +edition, 1982. + + +\hangindent20pt\hangafter1 Horace Hart, +\newblock {\em Hart's rules for compositors and readers at the {U}niversity + {P}ress, {O}xford}, +\newblock Oxford University Press, 39th edition, 1983. +\newblock {\it Revised by Hart's successors.} + +\hangindent20pt\hangafter1 Leslie Lamport, +\newblock {\em \LaTeX: A Document Preparation System}, +\newblock Addison-Wesley, 1986. + +\hangindent20pt\hangafter1 Mary-Claire van Leunen, +\newblock {\em A Handbook for Scholars}, +\newblock Knopf, 1978. + +\hangindent20pt\hangafter1 Ruari McLean, +\newblock {\em The {T}hames and {H}udson Manual of Typography}, +\newblock Thames and Hudson, 1980. + +\hangindent20pt\hangafter1 Oren Patashnik, +\newblock {\em \BibTeX ing}, January 1988a. + + +\hangindent20pt\hangafter1 Oren Patashnik, +\newblock {\em Designing \BibTeX\ styles}, January 1988b. + +\hangindent20pt\hangafter1 Kate~L. Turabian, +\newblock {\em A Manual for Writers}, +\newblock University of Chicago Press, 5th edition, 1987. + + +\hangindent20pt\hangafter1 Hugh Williamson, +\newblock {\em Methods of Book Design}, +\newblock Yale University Press, 3rd edition, 1983. + + + + + + +} +\rightline{\sl David Rhead} + diff --git a/info/digests/texline/no10/tex88.tex b/info/digests/texline/no10/tex88.tex new file mode 100644 index 0000000000..a6d38ca346 --- /dev/null +++ b/info/digests/texline/no10/tex88.tex @@ -0,0 +1,72 @@ +\centerline{\bf \TeX88\ -- the proceedings} +\smallskip +\noindent +At last the proceedings! After what seems an etern\-ity, +the proceedings of the 1988 European \TeX\ Conference at +Exeter are available. I will not go into the excuses +here, since I plan to talk about the production of the +proceedings at \TeX90 at Cork. The proceedings are +published by Ellis Horwood Publishers. On the one hand +this makes them a little expensive at \quid39.95 (don't +blame me, I'm only the editor), but on the other hand, it +does mean that the production is quite good, with proper +hard covers (remember hard covers?) and none of this nasty +wire binding that locks up the book shelf. The paper +quality is good too (much better than the current paperback +edition of the \TB). I would also claim that the quality +of the papers is good, although natural modesty forbids +me from claiming that it is easily the best produced of +any of the \TeX\ conferences, either in Europe or in the +US. + +The macros described in some of the papers are available in +the Aston Archive. In addition, the abstracts have also +been placed there, in a sort of \BibTeX-style +bibliography. To obtain information on which macros +area there, and their exact location you need to read the +file +\begintt +[tex-archive.digests.tex88]proc.info +\endtt +The `abstracts' are in the same directory, in a file +named |abs.bib|. This last file has also been shipped to +Heidelberg, and may very well be on their server too. + +TUG and the publishers are exploring ways of arranging a +discount for members. It may be possible to extent this +to other \TeX\ groups, but nothing has been finalised at +present. If you went to the conference, your copy will +either be in your hands or on its way. Fret not. +Nevertheless there are about a dozen attendees whom I have +been unable to trace. They are: +Susan C Allcock, +Josep Sarrate, +Torbj\"orn Lindh, +Ger W P M Bakker, +Mark Liederkerken, +David Hardy, +Howard Hansford, +Hubert Twum-Barima, +Jim Curry, +Harald Dahlmanns, +G{\"u}nter Unbescheid, +Neil Swindells and +John Sheppard. +If they can contact me with a current address, I'll be +pleased to see that they get their copy. + +The |.bib| entry for the proceedings is: +\begintt +@proceedings{TeX88, +title={{\TeX}: Applications, {Uses}, + {Methods}}, +year={1990}, +editor={Malcolm Clark}, +organization={\TeX88}, +publisher={Ellis Horwood}, +address={Chichester}, +isbn={0139122966}, +price={\pounds39.95} +\endtt + +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no10/texline.head b/info/digests/texline/no10/texline.head new file mode 100644 index 0000000000..87aeaf5a8e --- /dev/null +++ b/info/digests/texline/no10/texline.head @@ -0,0 +1,40 @@ +\topinsert +\begingroup +\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 10, \monyr} +\line{\hfill a Newsletter of the \TeX\ community} +\line{\hfill edited and assembled by} +\line{\hfill Malcolm Clark} +\line{\hfill PO Box 1897} +\line{\hfill London NW6 1DQ} +\line{\hfill Tel: 071 269 3555} +\line{\hfill Tel: 071 435 8983} +\line{\hfill Fax: 071 831 6265} +\line{\hfill Janet: malcolm@icrf} +\line{\hfill Unix: mwc@doc.ic.ac.uk}} +\setbox\banner\vbox{\hsize=260pt% +\huge\TeX\kern-0.2ex lineX} +\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 +\hbox {\box\info\qquad\raise\infoht\box\banner} +\endgroup +\endinsert diff --git a/info/digests/texline/no10/texline.tex b/info/digests/texline/no10/texline.tex new file mode 100644 index 0000000000..acd1095576 --- /dev/null +++ b/info/digests/texline/no10/texline.tex @@ -0,0 +1,143 @@ +\message{TeXline macros} +\vsize9.5in +\hsize6.5in +\input newtwo-column%%%%% +\input verbar +\tolerance3000 +\doublehyphendemerits15000 +%\raggedbottom +\hfuzz2.5pt +\baselineskip12pt +\parskip0pt +\parindent1em +\abovedisplayskip1pt +\belowdisplayskip1pt + +\headline{\ifnum\pageno>1\sl \TeXline\ 10 \hss \folio +\else\hfil\fi} +\def\rhead{\ifnum\pageno>1{\sl \TeXline\ 10} \hss +\else\hfil\fi} +\def\lhead{\ifnum\pageno>1{\sl \hfil \folio}\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} +\let\BibTeX\BiBTeX +\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/no10/tl.tex b/info/digests/texline/no10/tl.tex new file mode 100644 index 0000000000..c2a9c3f873 --- /dev/null +++ b/info/digests/texline/no10/tl.tex @@ -0,0 +1,28 @@ +\centerline{\bf\TeX line goes belatedly electronic} +\smallskip +\noindent +In deference to many requests, \TeXline\ has finally gone electronic. I have +lodged `copies' of the articles contained in \TeX line\ somewhere in the Aston +Archive. These `archived' copies go back to issue 5, and may include the +necessary support files to produce the newsletter. These support files are still +developing, so each issue should be regarded as a single entity. In theory, it +should be possible to reconstitute an issue. Note however that newer issues, +prepared on my Macintosh, have a tendency to use Macintosh style file names (up +to 32 characters, including spaces, back- and forward- slashes, etc.). File name +extensions are not required on the Mac. + +How do you get hold of the files? Assuming you can connect to Aston, the files +are in in the directories +\begintt +[tex-archive.digests.texline.no5] +[tex-archive.digests.texline.no6] +[tex-archive.digests.texline.no7] +[tex-archive.digests.texline.no8] +[tex-archive.digests.texline.no9] +[tex-archive.digests.texline.no10] +\endtt +In each of these directories is |00files.txt|, which contains a list of the +contents of the directory. There is also a |read.me| file in the +|texline| directory, which might help. + +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no10/tlx.tex b/info/digests/texline/no10/tlx.tex new file mode 100644 index 0000000000..465434530d --- /dev/null +++ b/info/digests/texline/no10/tlx.tex @@ -0,0 +1,70 @@ +\input texline +\def\mwc{Malcolm Clark} +\def\caption#1{\medskip\setbox0\hbox{\bf#1}\ifdim\wd0>\hsize +\noindent{\bf#1}\else\centerline{\copy0}\fi} +\def\item#1{\par\hangindent1em\hangafter1{\noindent\bf#1}} +\def\itemitem#1{\par\hangindent2em\hangafter1{\noindent\enspace\bf#1\ }} +\long\def\frame#1#2{\vbox{\dimen0=#1\multiply\dimen0 by2 +\advance\hsize by-\dimen0\hrule\hbox{\vrule\hskip#1\vbox +{\multiply\tolerance by +4\overfullrule0pt\parindent0pt\parskip#1 +\vskip#1{}#2\vskip#1}\hskip#1\vrule}\hrule}} +\def\subsection#1{\medskip\leftline{$\bullet$\sl#1}\smallskip\ignorespaces} +\def\rtr{\hbox to1em{\hfil$\triangleright$}} +\def\LaTeXbf{{\bf L\kern-.36em\raise.3ex\hbox{\scb +A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\DeK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em +K} +\def\LeX{L\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em +X} +\let\Unix\unix +\font\ttit=cmsltt10 +\def\bar{\vskip12pt plus9pt +minus3pt\goodbreak{\noindent\hrule depth3pt}\smallskip} +\abovedisplayskip1pt +\belowdisplayskip1pt +\brokenpenalty1000 +\clubpenalty=10000 +\widowpenalty=10000 +{\advance\vsize by0.5in\voffset-0.5in +\bigcolheight=\vsize +\advance\bigcolheight by\bigcolheight +\advance\bigcolheight by 10pt +\pageheight=\vsize +\begindoublecolumns +\input texline.head +\input ed +\enddoublecolumns +\vfill\eject} +\begindoublecolumns +\input talk +\bar\input rose +\bar\input chris2 +\bar\input orin +\bar\input nordic +\bar\input meetings +\bar\input dante +\bar\input amiga +\bar\input arch +\bar\input aston +\bar\input victor +\bar\input ou +\bar\input didot +\bar\input ep90 +\bar\input groningen +\bar\input cahiers +\bar\input rowley +\bar\input books +\bar\input sgml +\bar\input bsc-ep.cals +\bar\input acog +\bar\input tex88 +\bar\input tl +\bar\input new +\bar\input good_guys +\vskip 0pt plus1filll +\frame{5pt}{\dots combining the ease of +use of \TeX\ with the power of {\it wysiwyg}\dots +\hfill\it Leslie Lamport} +}\enddoublecolumns +\bye diff --git a/info/digests/texline/no10/verbar.tex b/info/digests/texline/no10/verbar.tex new file mode 100644 index 0000000000..4f35eb46ac --- /dev/null +++ b/info/digests/texline/no10/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}} + + diff --git a/info/digests/texline/no10/victor.tex b/info/digests/texline/no10/victor.tex new file mode 100644 index 0000000000..bfbe876143 --- /dev/null +++ b/info/digests/texline/no10/victor.tex @@ -0,0 +1,124 @@ +\centerline{\bf And now for something completely {\tt\char'134else}} +\smallskip +\noindent +Over the years I have programmed in a number of languages +(this does not include Basic!), and every once in a while +I had occasion to ponder their conceptual differences. +Such reflection need not be a sign of intellectual +maturity, by the way. +I still recall with shame coming back to Lisp after a year +of {\sc Fortran}, and attempting -- futilely! -- +to do call-by-reference parameter passing\dots\ + +A remnant of my Algol68 years is the desire to write +code like +\begintt +If something Then a Else b Fi :=5; +\endtt +which to me is superior to, as well as conceptually more +correct than, +\begintt +If something Then a:=5 Else b:=5 Fi; +\endtt +Would such a thing be possible in \TeX? + +Let the following macros be given. +\begintt +\def\bold#1{{\bf #1}} +\def\slant#1{{\sl #1}} +\def\kill#1{} +\endtt +Now let's make some examples. The first one. +\begintt +\ifnum1>0 \bold \fi {word} \bye +\endtt +The `word' appears in roman type, and the log file doesn't give +any further clue as to what happens. +If you switch on |\tracingmacros|, however, you see that |\bold| +did get an argument: it got the |\fi|! + +Example number two. +\begintt +\ifnum1>0 \bold + \else \slant \fi {word} \bye +\endtt +Now `word' is bold but the log file says that +`end occured in group at level~1'. +This is a tricky one. +Ask yourself: which closing brace got lost? +And where did it do so? +Let's just expand: |\bold| got hold of the |\else|, +so in the next step the input to \TeX's +gastro-intestinal tract looks like +\begintt +\ifnum1>0 {\bf \else } \slant \fi +\endtt +and as the condition is true, everything between |\else| and +|\fi| will be skipped, including the closing brace. +Note that we have managed to +throw something to the other side of the |\else|! + +The next example should be understandable by now: +\begintt +\ifnum1<0 \bold + \else \kill \fi {word} text \bye +\endtt +this gives `end occured before |\ifnum| was complete'. + +So, is there no \TeX\ equivalent of that Algol construct? +Well this is a way out: +\begintt +\ifnum1>0 \let\next=\bold + \else \let\next=\kill \fi + \next {word} text \bye +\endtt +but, this also works: +\begintt +\ifnum1>0 \expandafter \bold + \else \expandafter \kill \fi + {word} text \bye +\endtt +We will have to look at this last one a bit closer. +From the first two examples we know that the lexical expansion +of |\else| and |\fi| is empty, so what would happen in the following +case? +\begintt +\ifnum1>0 \expandafter \bold + \else {word} \fi {text} \bye +\endtt +It is not so that `expanding away' the else gives `word' as +argument to |\bold|. + +The following explanation would be imaginable: +maybe \TeX\ skips the `false +text' as soon as it sees the |\else|. This might be possible, +as no expansion is involved in the skipping. +In particular, the |\fi| cannot be the result of a macro +expansion, it really has to be standing there. +We can test that this is indeed the case +with a final example: +\begintt +\def\hello{\message{hello}} +\ifnum1>0 \expandafter \hello + \else \message{goodbye} \bye +\endtt +Now \TeX\ sees the |\else| before the `hello' message, so it +can start skipping at that very moment. +You can deduce that it does so, +because it doesn't greet you before giving +the error message for the missing |\fi|. + +All of this means that conditionals in \TeX\ are rather +more complicated than in ordinary programming +languages, but they can be understood once you +realise that: (1)~|\else| and |\fi| are +ordinary tokens; and (2)~for true conditions, +the `false text' is skipped as soon as +the |\else| has been located. + +\rightline{\sl Victor Eijkhout} + + + + + diff --git a/info/digests/texline/no11/11.tex b/info/digests/texline/no11/11.tex new file mode 100644 index 0000000000..0f259b5897 --- /dev/null +++ b/info/digests/texline/no11/11.tex @@ -0,0 +1,98 @@ +\input texline +\def\mwc{Malcolm Clark} +\def\caption#1{\medskip\setbox0\hbox{\bf#1}\ifdim\wd0>\hsize +\noindent{\bf#1}\else\centerline{\copy0}\fi} +\def\item#1{\par\hangindent1em\hangafter1{\noindent\bf#1}} +\def\itemitem#1{\par\hangindent2em\hangafter1{\noindent\enspace\bf#1\ }} +\long\def\frame#1#2{\vbox{\dimen0=#1\multiply\dimen0 by2 +\advance\hsize by-\dimen0\hrule\hbox{\vrule\hskip#1\vbox +{\multiply\tolerance by +4\overfullrule0pt\parindent0pt\parskip#1 +\vskip#1{}#2\vskip#1}\hskip#1\vrule}\hrule}} +\def\subsection#1{\medskip\leftline{$\bullet$\sl#1}\smallskip\ignorespaces} +\def\rtr{\hbox to1em{\hfil$\triangleright$}} +\def\LaTeXbf{{\bf L\kern-.36em\raise.3ex\hbox{\scb +A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\DeK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em +K} +\def\LeX{L\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em +X} +\let\Unix\unix +\font\ttit=cmsltt10 +\def\bar{\vskip12pt plus9pt +minus3pt\goodbreak{\noindent\hrule depth3pt}\smallskip} +\abovedisplayskip1pt +\belowdisplayskip1pt +\brokenpenalty1000 +\clubpenalty=10000 +\widowpenalty=10000 +{\advance\vsize by0.5in\voffset-0.5in +\bigcolheight=\vsize +\advance\bigcolheight by\bigcolheight +\advance\bigcolheight by 10pt +\pageheight=\vsize +\begindoublecolumns +\input texline.head +\input ed +\enddoublecolumns +\vfill\eject} +\begindoublecolumns +\everypar{\looseness-1} +\input ap +\bar +\input barb +\bar +\input books +\bar +\input tug11 +\bar +\input cahiers5 +\bar +\input europe +\bar +\input excuses +\bar +\input toulouse +\bar +\input server.text +\bar +\input umist +\bar +\input cambridge +\bar +\input carol +\bar +\input texmag +\bar +\input dbp +\def\bar{\hrule depth2pt height1pt} +{\smallskip +\bar\smallskip +\input roger +\bigskip} +\everypar{\looseness=-3} +\bar +{\smallskip +\input nelson +\bigskip} +\bar +\smallskip {\doublehyphendemerits20000 +\input dave +\smallskip} +\bar +\smallskip{ +\def\item{\par\hang\textindent} +\input chris +} +\smallskip\bar\smallskip +\input good +\enddoublecolumns +\vfill\eject + +\begindoublecolumns +\bar +\smallskip +\input toc + +\enddoublecolumns +\bye diff --git a/info/digests/texline/no11/ap.tex b/info/digests/texline/no11/ap.tex new file mode 100644 index 0000000000..f40a27b423 --- /dev/null +++ b/info/digests/texline/no11/ap.tex @@ -0,0 +1,220 @@ +%\def\rbox#1{% +%\leavevmode\setbox0\hbox{\strut#1}\special{dvitops: gray reverse 1}% +\def\yen{Y\kern-0.65em\raise0.25ex\hbox{$\scriptscriptstyle=$}} +\def\quotedblbase{\lower1.4ex\hbox{''}} +\font\teeny times at 4pt +\font\eight cmr8 +\font\larger helvetica at 16pt +\def\mark{$\triangleright$} +\def\TA{\TeX{}-APS} +{\parindent7pt +\centerline{\bf A brief review of \TA\ fonts} +\smallskip +\noindent +If there is a gap in the world, someone somewhere will fill +it sooner or later; the gap in question here is the choice of fonts +available to a \TeX\ user. Donald Knuth's remarkable achievement in +creating a parameterized font creation system, and a complete example +family called {\em Computer Modern Roman}, has not impressed the +commercial typesetting world who want both their old favourite fonts, +and (more importantly) a choice of typefaces to suit every occasion. +Knuth's fonts suit one sort of occasion (mathematical academic papers) +extremely well, but they have not matched the visual variety available to +users of `professional' typesetting machines. It is to the enormous +credit of Adobe that the fonts they licensed with most \PS\ +interpreters {\em have} satisfied the vast majority of users. So why +are we \TeX\ users not all taking advantage of \PS\ fonts? +There are various reasons: +\item{\mark} Everyone who +produces a \PS\ printer has to pay a fee to Adobe, and probably +additional fees for fonts; this cost gets passed to the user. +\item{\mark} Even cheap laser printers are beyond the purses of many people, +who must use dot matrix printers. +\item{\mark} Most screen previewers and editors still rely on bitmap font technology +of a low standard, even in modern graphical user interfaces -- the +vast majority of X Window or Microsoft Windows users, for instance, still +suffer from ghastly fonts; use of a \PS\ printer produces a +mismatch between screen and page. Obviously there is a {\em lot} of work +in this area (Folio and TrueType scaleable fonts, Display \PS\ +implementations like the NeXT and Sun's OpenWindows), but for most \TeX\ +users, it is still very convenient to get their fonts from the same +source (\MF) for screen and previewer. +\item{\mark} Even those who {\em have} found the fonts on their \PS\ +printers have difficulty in adapting \TeX\ to their use; again, there +are plenty of examples of how to do this (the work of Frank Mittelbach +and Rainer Sch\"opf on font selection schemes, reported in recent +\TUGboat s, is clearly the way to go), but still the issue drags on. Not +the least of the issues is how to logically lay out fonts -- in the way +\TeX\ does, the way Adobe does, or following some international standard? +\smallskip +\noindent +Into this maelstrom leaps Richard Kinch, energetic creator of Turbo\TeX, +with a compromise -- \TA\ fonts. These are a set of the `standard' \PS\ +scaleable typefaces fossilized into \TeX\ {\tt pk} bitmap formats at +commonly used sizes from 5\,pt to 25\,pt. This means you can use them with +any device for which you have a {\tt dvi} driver (screen or printer). + +The \TA\ fonts arrive on 10 360\,k MSDOS floppy disks at a cost of abour +\quid 200; they are also +available on 720\,k disks. They come with a good clear installation +manual, and soon flood your disk with 6\,Mb of files. The widespread +`zip' compression, and `cpio' archiving sofware, are used, and source +for these programs is provided; the user can either follow the +recommended installation by typing a few simple commands, unpack the +fonts by running the utilities by hand, or install the utilities on +another operating system and do the work there -- I found it easy to +perform the unpacking on a \Unix\ workstation, for instance. It was a +pleasure to find this clean and comprehensive set of installation +options. + +The initial release of the fonts (1.0) had a serious flaw in the +design sizes built into the files; this is fixed in release 1.1, and 1.0 +purchasers get a simple program to run which fixes matters. I could find +no other problems. + +Along with huge numbers of {\tt pk} files come a set of {\tt tfm} files +for \TeX\ to digest. Kinch has made a number of far-reaching decisions here: +\item{\mark} The layout of the fonts is the same as that of {\tt cmr} for all +the normal fonts; the naming and characteristics of the fonts seem to +correspond with the practice of ArborText. This layout is {\em not} the +same as the default layout of \PS\ fonts. +\item{\mark} For compatibility with older drivers, there are only 127 +characters in each font. \PS\ fonts have 256 or more glyphs, so Kinch +has had to abandon many characters; these are mostly composite +characters like \"A, but also include many useful odd things like \yen\ +or \quotedblbase. +\item{\mark} There is no real advice on how to integrate the fonts into daily +usage to replace Computer Modern -- it is curious that the manual is +typeset in CM! The examples given are for plain \TeX, and \LaTeX\ users +will find no example of either a reworked {\tt lfonts.tex}, a style +file, or a pointer to vital ideas like those of Mittelbach and Sch\"opf. + +The fonts for which there is no obvious CM equivalent (Symbol font and +Zapf Dingbats) are {\em not} mapped, but are instead each split into +two fonts, one with characters 1--127, the other with chararacters +128--256. + +Now, all this is fine if you simply install the fonts on your PC and +use them all the time with a LaserJet printer or the like. But what if +you are after something more sophisticated? We bought the fonts for +one specific purpose, providing screen preview facilities for students +using \LaTeX\ on Sun workstations, who normally print to a LaserWriter +Plus. It would work nicely if we abandoned the builtin fonts, and sent +\TA\ bitmaps to the printer, but that would be silly, so we have to +set up a system whereby the previewer uses \TA, but the printer driver +uses builtins. This is not easy because the font metric files we use +normally, built by AFM to TFM conversion programs, assume that there +are 256 characters in a font, and may put things like ligatures in the +top half of the font. If we use \TA\ {\tt tfm} files, the font +encodings in the \PS\ we generate do not match up with the +metrics. It {\em is} possible to build the right set of files all +round, but it means a permanent loss of the top 127 characters. Building virtual +fonts seems like hard work. In addition, the breaking-up of the Zapf Dingbats +into two fonts makes a dual system impossible -- again, virtual fonts are the +only answer. +\topinsert +\vskip3.5in +\endinsert + + +This may sound like special pleading, but it is a sensible use of the +fonts, and it would be much appreciated if future releases provided +{\em all\/} the characters, without any mapping at all. Richard Kinch +has in fact promised that he {\em will\/} revise the fonts, provide new +ones, and offer a complete {\sc iso}-like encoding (it is under discussion +what scheme he should use). + +What else is wrong with all the riches which Kinch has laid in front of +us, and which are illustrated in the figure, in normal use on a +PC? Should we switch over to \TA\ fonts and cheap printers? +\item{$\bullet$} Kinch provides no solution to the problems of small + caps. There is absolutely no excuse for this, as they are in + very widespread use, and their absence causes irritation. They + are of course easy to generate by manipulation of builtin + \PS\ fonts. +\item{$\bullet$} You cannot have arbitrary sizes like 4pt {\teeny like +a mouse's writing} or 16pt {\larger quite substantial, eh}; nor can +you perform non-linear scaling to squeeze or stretch the letters. +\item{$\bullet$} You cannot buy extra fonts like Optima +\item{$\bullet$} You +cannot re-encode fonts to get new layouts (although Knuth's new virtual fonts +solve this problem) +\item{$\bullet$} You cannot perform useful tricks like +rotated +or reversed out text which +any publisher's designer might request at any time. +\item{$\bullet$} You cannot take advantage of the fact that you have a \PS\ + typesetter by also doing all your figures and illustrations with + the many excellent graphical packages which produce encapsulated + \PS. + +So the \TA\ fonts are necessarily a poor man's alternative to the +standard method; but very few people use \PS\ font facilities to any +greater degree than is permitted by \TA, and will be delighted with the +results on the common HP LaserJet printers. My greatest worry is that +developments like this will marginalize the \TeX\ user even more; the +vast majority of casual users will go on quite happily with PageMaker, +Ventura, Word and other excellent programs, leaving \TeX ies as a small +band of fanatics typesetting maths. \TeX\ can survive in the real world, +but I seriously doubt that \MF\ can now ever succeed; lets +celebrate \TeX\ as the premier formatter, and leave fonts to page +description languages like real \PS. + +If \TA\ fonts sound like what you have been waiting for, they are a good +product and good value for money; they can be obtained from + +{\eight\baselineskip10pt\settabs2\columns +\+Kinch Computer Company&Text Formatting Company\cr +\+501 S Meadow Street&Suffield Works\cr +\+Ithaca&1 Suffield Road\cr +\+NY 14850&London N15 5JX\cr +\+\tt fax:0101 607 273 0484 +&\tt\quad tel:081 802 4470\cr}} + +\author{Sebastian Rahtz} +\endinput +\clearpage +\thispagestyle{empty} +\begin{tabular}{l} +\fontsample{times}{Times} +\\ +\fontsample{palatino}{Palatino} +\\ +\fontsample{ncs}{New Century Schoolbook} +\\ +\fontsample{avant}{AvantGarde} +\\ +\fontsample{helvetica}{Helvetica} +\\ +\fontsample{courier}{Courier} +\\ +\fontsample{bkman}{Bookman} +\\ +\end{tabular} +\author{Sebastian Rahtz}\date{Department of Electronics and Computer +Science, University, Southampton S09 5NH, email: {\tt spqr@uk.ac.soton.ecs}} +\begin{table} +\begin{tabular}{ll} +\em builtin \PS\ fonts & \em \TA\ fonts\\ +\hline +\begin{tabular}{l} +\fontsample{times}{Times} +\\ +\fontsample{palatino}{Palatino} +\\ +\fontsample{ncs}{New Century Schoolbook} +\\ +\fontsample{avant}{AvantGarde} +\\ +\fontsample{helvetica}{Helvetica} +\\ +\fontsample{courier}{Courier} +\\ +\fontsample{bkman}{Bookman} +\\ +\end{tabular} +& %\psfig{figure=texaps.ps} +\\ +\end{tabular} +\caption{\TA\ fonts, compared with builtin PostScript fonts}\label{demos} +\end{table} diff --git a/info/digests/texline/no11/barb.tex b/info/digests/texline/no11/barb.tex new file mode 100644 index 0000000000..0329a6f358 --- /dev/null +++ b/info/digests/texline/no11/barb.tex @@ -0,0 +1,53 @@ +\centerline{\bf barbara speaks} +\smallskip\noindent +I found the coverage of the various \SGML-related meetings to be +very interesting, especially as I have been for several years a member +of the \ISO\ standards committee from which the \SGML\ standard emerged, +and (long) before that a member of the committee of the Graphic +Communications Association (GCA) in the days when GenCode (a +spiritual precursor of \SGML) first began to be defined. In the +US, I'm also a member of the \ANSI\ technical committee that has +jurisdiction over both \SGML{} and ODA. (However, the task group +I actually belong to is working on a font standard, not on any of +the document-level standards.) + +I found it quite interesting that the ODA folks are trying to sneak +``Open'' into the name. This is all very well, except that the \ISO\ +documents all still say ``Office'', and I don't believe that approval +has yet been given officially to the change. Yes, the intent is to +support ``open'' interchange (whatever that is), but the fact is, the +source of the concepts on which ODA is based really is the office, +and there are certain limitations that publishers find unacceptable. + +But that's not what I really wanted to talk about. The topic that +interests me here is the concept that a system of math coding can be +devised that can be both input to algebraic manipulation systems +{\it and\/} used to publish the results of such manipulation in +documents that are paragons of the (mathematical) typesetter's art. +One of the organizations investigating this area is Euromath, a +consortium of European national mathematics organizations. Euromath +has requested funds from the European Community. One of the EC's +requirements is that development of tools of this sort be based on +International Standards (read \ISO). (Some individuals associated with +Euromath would like very much to use \TeX, but \TeX, though more tightly +defined than most International Standards, is not itself an International +Standard. And, in fact, I shudder to think what would happen if \TeX{} +were placed at the mercy of a Standards Committee; the results might +be very interesting, but I doubt very much that they would be \TeX! +But I digress.) The most promising existing International Standard on +which to base the development of a multi-purpose mathematical notation +seems to be \SGML; I happen to agree with this analysis, as both +mathematical notation and \SGML{} are highly structured in an essential +way. In any event, I believe that work may actually be underway +shortly on studying the problems in devising suitable notation. +Paul Ellison of Exeter University is familiar with what is going on, and is much +closer to the center of activity than I, so he should be in a good position to +provide an update. + +I would also like to reiterate that \SGML{} isn't a composition +language; was never meant to be one. More than one successful \SGML{} +front end has generated publications through a \TeX{} back end, and +where mathematical notation is involved, it's still the best +combination I've seen, if you can't start with \TeX. +\author{barbara beeton} +\endinput diff --git a/info/digests/texline/no11/books.tex b/info/digests/texline/no11/books.tex new file mode 100644 index 0000000000..09dacc7355 --- /dev/null +++ b/info/digests/texline/no11/books.tex @@ -0,0 +1,149 @@ +\centerline{\bf Book Reviews} +\smallskip +\noindent +`Raster Imaging and Digital Typography' is the +proceedings of the workshop held in Lausanne in October +last year, with some supplementary material from another +workshop on font design systems held in 1987 in +Sophia-Antipolis. The proceedings has two major sources of +interest: the general subject matter of digital type +design; and the fact that it was set with a \LaTeX\ style +which emulates the Cambridge University Press house style. +Several \TeX\ notables were involved in this production, +Richard Southall, Rick Furuta, Philippe Louarn and Victor +Ostromoukhov. + +The content is quite varied, with papers from Jaques +Andr\'e, Roger Hersch, Neenie Billawala, Debra Adams, the +Nanards, Peter Karow (of Ikarus fame), and Richard +Southall. Although the \MF\ papers may have some greater +interest, all of the papers have something to +offer, although, as usual, some seem so esoteric that it is +difficult to see applicability, even in the long term. +Some are therefore `research' reports, rather than reports +of application. + +Among the papers I found most interesting was Adams \& +Southall's {\sl Problems of font quality assessment\/} +which helps by establishing some terminology, but also +establishes some criteria for quality assessment. Bruno +Maag's {\sl Shape investigations with bitmapped +characters\/} takes the four letters H, n, b and v and +demonstrates the problems of realising these +letters effectively at 300\,dpi. The historically minded +will be fascinated by Ittai Joseph Tamari's {\sl +Digitization of Hebrew fonts\/}, which looks at the +evolution of printed Hebrew characters from 1475. A taste +of the future may be present in Jacques Andr\'e and Bruno +Borghi's {\sl Dynamic fonts} which starts where Knuth +stops, taking the notions implicit in the Punk font and +make it truly dynamic so that each character changes +when it is used. No character is ever the same twice. +So, some good stuff, and well worth a read. + +But: I was left rather unhappy about the production +quality. First, the book is under-inked, a fact that +Richard Southall volunteered when I talked to him about it. +Basically, the fonts looked spindlier and more broken up +than they should have. Don't point a finger at Computer +Modern, since the book had been set in Times Roman. There +is a large number of illustrations, many of which were +pasted in. A sensible decision, but I would have prefered +a little more consistency in caption styles. I was +occasionally irritated by the editing, or perhaps the +lack of editing. It is not clear to me whether +`digitisation' and `digitalisation' +are the same concept or not. The switch between `digitalisation' +and `digitalization' is understandable, if annoying. The +`s' `z' change is a common American\slash English change, +but to see Tamari's paper use the `s'-form in the table of +contents, but the `z'-form in the paper\dots\ The extreme +difficulty of balancing facing pages was evident, and one +paper in particular, Fahlander's, has an unforgivable +number of widows and orphans. I could have wished an +algorithm not to be split over pages 101--2, especially +when elsewhere, page 60 has a 3\,cm band of white space at +the bottom, for no discernable reason. I suppose the +overfull box on page 164 is understandable (I think the +overfull rules should be large and ugly for a book style), +but the ?` on page 188 shrieked out at me. The footnote +spread over pages 218--9 is unfortunate. I would have +rewritten the text to get rid of that lonely line (that's +what an editor is for). Lastly, it was easy to identify +the hand of \LaTeX. The itemized lists in Peter Karow's +paper soon gave the game away. + +Why do I make these petty criticisms? Because I expect +nothing but the best from the combination of \LaTeX, +Andr\'e, Southall, Furuta and Louarn. Obviously there is +great merit in the timely production of this book. But +perhaps with a little more care these blemishes could +have been avoided. + +\begintt +@proceedings{AndreHersch1989, +editor={Jacques Andr\'e and Roger Hersch}, +title={Raster Imaging and Digital +Typography}, +series={The Cambridge series on Electronic +Publishing}, +year={1989}, +publisher={Cambridge University Press} +isbn={0 521 37490 1}} +\endtt + +\smallskip\noindent +`Hyphenation' by Ronald McIntosh is a quirky little book. +In a sense it is a justification of the work that he and +Computer Hyphenation have done in creating `the +Hyphenologist' software. It is full of fascinating +details about the lowly, much abused, hyphen. It traces +its origins and evolution and gives some delicious +examples of excerable computer hyphenation. Naturally, +the Hyphenologist does it right, but you would have to be +very percipient to guess just how Hyphenologist does do +it. Nevertheless, the set of rules for hyphenating in +English, pages 60--6, do offer a starting place for the UK +\TeX\ Users Group Working Party on hyphenation. The book +has the flavour of enthusiasm, which makes it lots of fun +and an excellent read. + +To help sow some doubt and +division in the path of would-be hyphenators, consider +the following: hyphenation for the following eight, fairly +common words are taken from six English (not American) +disctionaries. While you might optimistically expect only +eight word divisions for the eight words, there are +actually 30. How does \TeX\ fare? Not too badly. Here's +the list: + +\centerline{\vbox{\halign{#\hfill&\quad#\hfill\cr +\tt\char'134showhyphens&nearest matches\cr +abid-ing & exact (3)\cr +abo-li-tion & ab-o-li-tion (2)\cr +au-toma-ton & au-tom-a-ton (2)\cr +au-ton-omy & au-ton-o-my (2)\cr +au-to-bi-og-ra-phy & exact (2)\cr +il-licit & exact (1) il-lic-it (3)\cr +il-log-i-cal & exact (1)\cr +blud-geon & exact (2)\cr +}}} + +\noindent Since the dictionaries cannot agree among +themselves, and in fact have some strange notions, like +hyphenating after a single letter, perhaps we are being a +bit too hard on \TeX's normal rather conservative +hyphenation. + +\begintt +@book{McIntosh1990, +author={Ronald McIntosh}, +title={Hyphenation}, +publisher={Computer Hyphenation Ltd}, +address={1 Campus Road, Bradford BD7 1HR}, +isbn={1 872757 01 4} +price={\pounds4.95}} +\endtt + +\author{\mwc} + diff --git a/info/digests/texline/no11/cahiers5.tex b/info/digests/texline/no11/cahiers5.tex new file mode 100644 index 0000000000..8df4ddf02f --- /dev/null +++ b/info/digests/texline/no11/cahiers5.tex @@ -0,0 +1,160 @@ +\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} + +\centerline{\bf Cahiers GUTenberg} +\smallskip +\leftline{\bf Summaries from Number 5, May +1990:} +\frenchspacing +\talk{Une \`ere nouvelle: \TeX~3.0}{Michael Ferguson} +3--7; This paper presents some preliminary observations on +the new capabilities of \TeX\ 3.0 and their relationship to +the current capabilities of Multilingual \TEX. The paper +discusses a simple modification that unlocks features +that give it approximately the capability of the curent +\TEX. Discusses some deficiencies of the new versions and +makes some recommendations for electronic document +exchange. + +\talk{Vers l'introduction de la coleur dans +\TeX}{\hfil\break Christophe C\'erin \& Beno\^\i t Lemaire, +8--15} Colour printers have become available over the last +year. If they are destined to invade our offices, it is +advisable that \TeX\ takes into account their new +possibilities for a better computer assisted publishing +($\approx$DTP). + +In this article we discuss, in the first place, colour in +general (e.g.~its specification), then, through some +examples, we try to bring out the classes of problems +which call for classes of common solutions and common +algorithms. This leads us to propose a minimal group of +primitives permitting the resolution of the following +problems: +\item{$\bullet$}action on a syntactic element (letter, +word, phrase, paragraph\dots). We distinguish two sub +classes: +\itemitem{$\triangleright$}the simple use of constructions +of the type |\begincolor|\dots|\endcolor|; +\itemitem{$\triangleright$}more complex actions where the +colour of a letter depends on that of its neighbours, or, +more generally, parameters specifying the interaction of +colours. +\item{$\bullet$}action on a graphic entity like a +rule(s), or elements from the picture environment. + +\noindent +The implementation of the commands is through \PS\ +|\special|\/s used with Tom Rokicki's |dvips| driver. The +macros were written to be used with \LaTeX. The printer +employed is the QMS Color\-Script. + +\talk{D\'ebuter avec \LaTeX}{Jeannine Grimault \& Agn\`es +Isambard, 16--19} +This article summarises the problems encountered by +non-computer science beginners who wanted to make \LaTeX\ +into a professional publishing tool. As ``non computer +scientists'' some of the ideas given here require the +indulgence of experienced \TeX ers. To begin with, we try +to summarise our questions and express our hopes, and +lastly we present ways to tailor the Mac to make \Textures\ +even easier to use. + + +\talk{Pourquoi \TeX? Et pourquoi pas?\dots}{\hfil +Maurice\break Laugier, 20--25}This article presents several +examples of work typeset commercially with \TeX\ by +Imprimerie Louis-Jean, indicating the range and ease with +which \TeX\ sets such material. The examples range through +Greek, Russian and `linguistic' texts, to chemical +formul\ae\ and database publishing. It also mentions +several programs which can convert wordprocessed material +to \TeX. + + + +\talk{Sur les codes \`a barre EAN}{Laurent Guillop\'e, +26--29} This article describes the structure of the +barcodes of the EAN family (an EAN13 code is often printed +nowadays on the last cover page of a book) and a set of +\TeX\ macros used to realise them. It ends with some +remarks on the practical implementation of these macros. + + +\talk{Typographie de programmes Ada}{P Naudin \& C Quitte, +30--40}In this article, we introduce a tool for typesetting +programs written in a programming language with +keywords. We propose a style derived from the one used by +the {\tt WEB} system to typeset Pascal programs. The +strength of the set of macros that really do the job lies +in the internal mechanisms of \TeX\ in order to recognize +the keywords, and thus no complex automated definition is +required. This way the process is reasonably efficient, +in contrast with the horrible slowness of a +classical method written with \TeX. + + +\talk{De la construction de diagrammes}{Francis Borceux, +41--48} The {\tt diagram} style macros allow the automatic +typesetting of diagrams made up of various types of arrows +joining ``vertices'' which take the form of mathematical +expressions. The program automatically calculates the +length and position of each element. The use is able to +impose a convenient scale factor on each diagram. + +\talk{Typesetting Bridge via \TeX}{Kees van der Laan, +49--61} Enhanced plain \TeX\ macros and a bidding +environment for typesetting bridge card distributions and +bidding sequences are given. Macros for annotated printing +of the course of the play are provided. Examples of use are +given. (see also TUGboat 10(1), 113--116 \& 11(2), +265--276). + + +\talk{Musique en \TeX: \'ecriture +de musique polyphonique ou instrumentale en ``plain +\TeX''}{Daniel Taupin, 62--73} +The possibilities which \TeX\ offers in combining a wide +range of symbols and horizontal and vertical lines, +together with its versatility as a procedural language +has often encouraged musicians in the temptation to use +\TeX\ to typeset music. + +We have been unable to resist this temptation and present +a set of macros which allow the setting of polyphonic or +orchestral music for between one and nine instruments (or +voices), each able to have its score +written in a number of staves varying from zero (for +example for the words of a song) up to four. + +The difficulties are of two kinds: on the one hand from +the absence of musical symbols in the standard \TeX\ +fonts (notably clefs and beams), and on the other hand +the fact that polyphonic or orchestral music is not just +a linear expression like monodic scores, but is two +dimensional. + +The first problem has been resolved partly by using the +semi-graphical fonts ({\tt linew10}, {\tt circlew10}), +giving results which are aesthetically questionable, but +are portable and readable, and partly by using special +music fonts ({\tt musicx16}, {\tt slur16} and {\tt +beam16}). The second problem is the essential part of our +work and we are able to offer widest range of +possibilities to the composer or transcriber. + +Several examples are included. + + +\talk{\TeX\ and SGML}{Kees van der Laan, 74--81} +Terse text outlining what SGML is and is not, what \TeX\ +is, and their inter-relationship. Contains examples of +the same tasks (a letter, bridge card deal and some maths) +expressed in \LaTeX\ and SGML. + +\nonfrenchspacing +\author{\mwc} diff --git a/info/digests/texline/no11/cambridge.tex b/info/digests/texline/no11/cambridge.tex new file mode 100644 index 0000000000..f8ff7752d7 --- /dev/null +++ b/info/digests/texline/no11/cambridge.tex @@ -0,0 +1,86 @@ +\centerline{\bf UK \TeX\ Users in Cambridge} +\smallskip +\noindent +Tuesday July 24th saw the second of the `small' +meetings of the group. This was a real contrast to the +fonts workshop. The morning was given to a visit to David +Kindersley's workshop, and the afternoon to the +Printing division of Cambridge University Press. + +David has long been a `friend' of \TeX, and many will +recall his talk at last year's meeting in Aston. He works +mainly with stone, creating some of the finest monemental +inscriptions to be found in Britain. His talents are now +much in demand, and it was a particular honour and +pleasure to be able to visit the workshop. We tend to +trace the origin of our traditional letterforms to the +Roman inscriptions, particularly those on Trajan's +column. Of course this is only part of the story, but it +is fascinating to observe the mechanics of translating +letterforms into stone. But don't get the idea that this +is a simple extension of a 2000 year tradition: +Kindersley is also an innovator. He has created a number +of inscriptions which are emminently readable, but which +play with letterforms to add an element of the +unexpected. And we have to note too the semi-intuitive +work he has done on letter spacing. In some ways it would +be true to say that he believes the spaces between +letters to be as important as the letters themselves. +Balance is everything. He has developed a numerical +technique which produces an `optimum' spacing. Although +we didn't quite get to the definition of optimum, it is a +system that would not be too difficult to implement with +\MF\ and \TeX. + +If there are particular aspects of the visit to the +workshop which were particularly pleasing they were the +warm welcome which was extended to about 20 large and +loud people, the great hospitality of all +the workers there, David's keen enthusiasm for what he is +doing, and his openness. I am particularly pleased that +he is recognised now for the great craftsman (dare I say +`technician', {\it sensu} $\tau\epsilon\chi\nu\eta$) that +he is. He achieves an unbelievable combination of +technical ability and artistry. + +A caravan of cars then left for CUP, where we were +treated to a very fine lunch, courtesy Rod Mulvey. Again, +\TeX ies will be aware of the \TeX-to-Type service which +the printing division offers. Rod gave us the background +to the service (in a room which contained a number of +David Kindersley's alphabets, providing a nice +continuity), and Joe Muncaster described some of the +two-column work that he had been doing for journal +production. Of course, this means floating figures +across one and two columns. This was an impressive piece +of work which was well received by the group. + +The restriction to 20 people for this meeting was imposed +by the visit to `the factory' as the printing works is +termed, since a tour is restricted to about 10 people. +This was an especially fascinating and instructive tour. +The sheer amount of work which has to be done after a +book leaves the editor's hands really emphasises that +`desktop publishing' is a myth. The wise talk of `desktop +mastering'. The creation of the plates for printing, the +printing itself, the reduction to bundles +(bunches?) of leaves, their collection into `the book', +the binding\dots\ CUP handles a very wide range of +printing, including a number of the more +specialised areas, like printing on very lightweight +paper. This requires some very `old' equipment, +since these specialisms are not supported well by +the manufacturers of presses and folding +machines. Equally, some of the very latest techniques, +like `notch-binding' are also carried out. A fascinating +introduction to a side of publishing that we rarely +encounter. + +Again the warmth of the welcome and the willingness to +inform and instruct was gratifying. + +The success of this meeting should encourage the +group to pursue similar activities which help to broaden +our range of experience in the entire area of typography +and publishing. +\author{\mwc} diff --git a/info/digests/texline/no11/carol.tex b/info/digests/texline/no11/carol.tex new file mode 100644 index 0000000000..bcec91c13e --- /dev/null +++ b/info/digests/texline/no11/carol.tex @@ -0,0 +1,36 @@ +% Malcolm, here is my report on fonts and font families +% as promised +% Carol +% +\centerline{\bf The first UK \TeX\ Users' Group Workshop} + \smallskip\noindent +The workshop on `Fonts and +Font Families' was held at RHBNC on 25 June 1990. +It turned out that Phil~Taylor who had organized the +workshop was not able to present it and Chris~Rowley (Open +University) with +the help of Dominik~Wujastyk (Wellcome Institute) +took over this task at very short notice. + +Phil had published an outline of the day's program and + this was broadly followed. +Chris started at the very beginning , explaining the |\font| +command and the importance of the \tfm\ files, and continuing +from there, including an exposition of the very different +way in which \TeX\ selects its mathematics fonts. The style +of the meeting was informal, with participants asking questions +as they needed to. + +After lunch (which was worth the visit), Dominik was the main +presenter, talking about printer drivers and also explaining +the new virtual fonts introduced at \TeX 3. + +The workshop was attended by 17 people, which was the right +sort of size for this kind of meeting. As well as learning from +the `formal' sessions, I think that a lot of information was +usefully exchanged during the breaks. + +As well as the usual thanks, I feel that a mention must be made +of the RHBNC orchestra, the sounds of whose end-of-term concert +provided background music for much of the day. +\author{Carol Hewlett} diff --git a/info/digests/texline/no11/chris.tex b/info/digests/texline/no11/chris.tex new file mode 100644 index 0000000000..7ef23e2030 --- /dev/null +++ b/info/digests/texline/no11/chris.tex @@ -0,0 +1,207 @@ +\message{strange multicolumn error in this section} +\message{just prod return in response to un/extra group} +%plain tex document +%\catcode`\@=11 +% Macros +\let \em \sl % \em is logically distinct from \it, so may need to + % change this +\def\jLaTeX{{\rm \lower.7ex\hbox{J}\kern-.125em\LaTeX}} + + +\def\jTeX{{\rm \lower.7ex\hbox{J}\kern-.1667em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\let\AMSTeX\AmSTeX +\def\AMSLaTeX{{\cal A}\kern-.1667em\lower.5ex\hbox + {\cal M}\kern-.125em{\cal S}\LaTeX} + +\let\METAFONT\MF + +\let \mffnt \relax % needs attention + +% NOT done "itemize environment" + + +\centerline{\bf Pictures of the floating world}\smallskip\noindent +A sticky day in Tokyo, lunch at {\em Tony Roma's Ribs\/} (at least it wasn't +McDonald's) -- and there I was, at an IBM establishment just outside The +Emperor's back-gate, apologising to a +meeting of jTUG (The Japanese \TeX\ Users Group) +for my not being Ray +Gaucher: this was to excuse my inability to give my talk in Japanese. +My excuse for not producing my OHP slides in +their language was more plausible: no access to \jLaTeX! + +The speaker's rostrum, on the audience's side, announced in Big +Friendly Letters the single command `THINK' -- but despite this +I was about half way through my talk, entitled +% Japanese insert here +\vskip 18pt +\noindent +(which, being translated, should be roughly: {\em Recent developments +in \TeX\ from a European +viewpoint\/}), +before the irony suddenly struck me: here was I eloquently expounding the +advantages to `us Europeans (M Delors would have been proud of +me)' of 8-bit input to an audience who have been using 14-bit input +regularly for many years! + (See the article on \jTeX\ by Yasuki Saito in TUGboat \hbox{Volume +8} (1987), \hbox{No.\ 2} -- but note that +\jTeX\ has evolved considerably from the +system described in that article.) + +They were very polite about it, laughing only when I intended to make a +joke: but one of the questions was `when will mainstream \TeX\ catch +up with our version?': `Another 10 years?' -- I ventured -- over to you, Don! + + +The audience of about 50 also had several serious talks to listen to. + + +\item{$\bullet$} First a very +interesting talk on using \TeX\ to produce forms (a very important +activity in Japan!). This was given by Junichiro Tsuji and described +work done by him and two colleagues at Mitsubishi Electric +Corporation. +From it I learnt, inter alia, the following `Japanese phrases': +\hbox{\it stylo +filo\/} and {\it Postosclipto\/}; and saw a demonstration of a natty +device on the OHP which at the flick of a switch moved the plate up and +refocussed itself to produce a magnified image! + +\item{} I have asked Junichiro + to send me a copy of his macros: we decided that this could not be +done by \hbox{e-mail} as they contain definitions such as: +% float (may be whole page) of Japanese to go in here. +\vskip 20pt\goodbreak + +\item{} I trust that this clearly specifies +the next challenge problem for the writers of +$\ast\ast$encode +programs! + +\item{$\bullet$} Next a very long and detailed description of a system for +database publishing using \jTeX\ together with various \unix\ tools. +One of the publications for which this has been used is `{\em Japanese +Entertainers, A Biographical Dictionary}' compiled by Nichigai +\hbox{Associates Ltd.} -- so when you are booking a Bunraku theatre +group for your next theme party, remember how the reference you will be +consulting was typeset! Part of this talk was given in competition +with a broadcast over the office's loud-speaker system: I did not ask, but +assume that it was broadcasting exhortations such as `Work your +hardest and best for +the crew, right here at Big Blue' or announcing the winner of the latest +competition to write a Company Wakka (like a Haiku, but 31 syllables). + +\item{$\bullet$} Finally there were reports on the \TeX as meeting: +there were no +visual aids for this, thus all I can report is that the names `Nelson +Beebe', `Don Hosek' and `Frank M\dots' were mentioned, +flatteringly I assume! This led on to the +business part of the meeting, at which point `I made my excuses and +left' -- in the direction of the nearest Sushi bar. + + +\section{Some truths revealed} +Now I have to admit that my main reason for visiting Japan (apart from +the odd spot of geomorphological exploration) was as a +mathematician: to attend the International Congress of +Mathematicians in Kyoto. +I am sure that my present audience has no interest in the content of +the talks given there (I shall refrain from comment on whether they +should have!) so I shall merely mention that one of the winners of a +{\em Fields Medal\/} (the nearest thing there is to a {\em Nobel Prize} +for mathematicians) hails from New Zealand and gave his talk to the +assembled thousands dressed +in {\em All Blacks} strip! + +Thanks to the generous sponsorship of the {\em NeXT Computer Marketing +Division} of Canon Inc., TUG was represented at this congress: this +enabled me to meet \TeX\ users from over 40 countries in all +continents (however defined) except Antarctica (mind you, I should be +surprised if \TeX\ has not found its way there by now -- but not many +mathematicians have!). To be more precise, I should say that some +were potential users, typified by a gentleman from Beijing who told +me: `My department has been sent \TeX\ for our PCs, please can you +tell me how to install and use it?' + +The majority of the European users to whom I talked +did not know of the existence of their +language or national user groups, and one from Belgium was not at all +happy that all I could offer him was NTG or GUTenberg! + +Several also mentioned the need for a Users Group in their country, +in particular a Nigerian who is intending to organise one (given the +population of the country, this is potentially a very large group). He +is also interested in getting assistance with adapting \TeX\ to the +Hausa language (it uses Roman script plus a few characters with extra +hooks on): any \METAFONT er who wants to use there skills to useful +effect, please contact me and I shall put you in touch with him. + +I also made some useful contacts with the Mathematica crew +(and through them with the Japanese Addison-Wesley editors). In +contrast to the other publishers there (except, of course, the AMS), +most of whom either did not know that most of their output is typeset +in \TeX\ (to them it is simply {\em Camera Copy} but +well over 90\% of the books I looked at were in tell-tale +Computer Modern!) or +treated \TeX\ as a necessary evil (its +necessity is abundantly clear!), these guys were really enthusiastic about +typesetting in \TeX, and +proud to say that they used it for all their publications. + +Then one +day Mr Mathematica himself turned up and told me, at great length, +how wonderful \TeX\ +is, and how well it is integrated with his, +even more marvelous, program {\em but}, he added, \TeX\ +would be so much better if only the changes he had suggested to Knuth had been +incorporated + in Version 3.0 (his problem is obviously +that he did not consult Roswitha!). However, he assured me +that Version 2.0 of Mathematica +would attempt to resolve these problems but that this may involve them +in writing their own typesetting language. One thing he did state was +that this new version will be able to produce Encapsulated \PS\ +Files containing \TeX-typeset text -- something that will be a great +boon to those of us who need mathematical annotation within \PS\ +graphics. +He himself is at present writing a book typeset in Palatino + with, believe it or not, Lucida Maths Fonts! -- he +obviously has, as he put it, the right contacts at Adobe. + +My contact in Japan, Yoshio Ohno, has (using \jLaTeX) +written a book covering \TeX, +\METAFONT, \LaTeX\ and \AMSTeX\ (including the j$\ast\ast$ versions) +in only 260 small-format pages! (I have a copy which anyone interested +is welcome to inspect.) He told me that although \jLaTeX\ is widely +used, `there are probably less than six people in the country who can +produce style files': a statistic which appears to me to contradict +what I heard during the jTUG meeting (but maybe all six of them were +present!). + + +Yoshio was also about to publish a more detailed text on \AMSTeX\ -- but +then Version 2.0 was announced. So he got the new version only to find +that it will not run on the most commonly used platform for \TeX\ +amongst academic users in Japan: the NEC PC 9800 series. This problem +was also demonstrated to me at the ICM by Oleg Viro from Leningrad who had +brought his PC right across Siberia to demonstrate the problem! He is using +PC\TeX\ so I am sure that he will not be alone -- attention all \TeX\ +support staff, you have been warned: {\it no} `standard' \TeX\ +implementations can run \AMSTeX\ 2.0 with {\tt amsppt.sty}, let alone +\AMSLaTeX\ (which {\it has\/} now been released). + + + + +BTW (as the editor of this august journal would say), in case +you are wondering how to typeset in the traditional Japanese way +the secret is given in the figure below, taken, +without permission, from Appendix D of Yoshio's book. +% Japanese insert (could be float) +\rightline{\sl Chris Rowley} +\enddoublecolumns +\vskip220pt +\begindoublecolumns +\endinput diff --git a/info/digests/texline/no11/dave.tex b/info/digests/texline/no11/dave.tex new file mode 100644 index 0000000000..2cd3254816 --- /dev/null +++ b/info/digests/texline/no11/dave.tex @@ -0,0 +1,224 @@ + +% SGML-TeX conference +% Aug 31, 1990 +% Groningen, Netherlands +% ---------------------- + +\centerline{\bf Buses and wierdness in Groningen} +\smallskip +\noindent +For their second full-day international meeting, the Nederlandstalige \TeX\ +Gebruikersgroep (NTG) organised, in conjunction with the Dutch \SGML\ +Users Group, a conference intended to focus interest on the use of \TeX\ +and \SGML\ together. On August 31st, + approximately 100 delegates from both `camps' +attended the day's events in Groningen, with what seemed a good +balance between \SGML-ers and \TeX ies. + +The only drawback was that most of the day was organised in two +parallel streams of presentations and these tended to be a `\TeX\ +stream' and an `\SGML\ stream'; consequently, delegates often chose to +hear talks on the package with which they identified more closely -- +at least, this delegate did. So, one came away with a still hazy +appreciation of the alternative approach to mark-up. I hope that this +situation will improve in future and that staunch supporters of \SGML\ +and of \TeX\ will each come to understand why their opposite numbers +are so excited by {\it their\/} favourite method of tackling the +mark-up problem. With that said, you may forgive me if the following +account concentrates on \TeX-related issues. +Malcolm Clark, who was also at the conference has added some accounts (in +square brackets) where he went to a different presentation. + +[There were some demonstrations from vendors, chiefly {\sl The +Publisher\/} from both \TeX cel and MID Information, both running on Sun +workstations. The local bookshop also had an impressive display of books +for sale at the conference.] + +The day started with an introduction by Kees van der~Laan, who, as +President of NTG, had been instrumental in organising the meeting, +with the assistance of members of the NTG and the \sgml-Holland users +group. In the opening talk, prior to +the parting of the ways into the parallel sessions, Prof.~Gerard +Kempen, of the University of Nijmegen, discussed {\it Language +technology and the future of text automation}. This was an account of +some of the work in the Language Technology Project at Nijmegen, and +focussed on methods for enhancing the transportability of text between +systems including \SGML, \TeX\ and ODA\slash ODIF by separating content and +form, logical structure and layout. The approach used employs +object-oriented methods for parsing the syntax of sentences. +Prof.~Kempen described the use of `Corrie', a module for checking and +correcting Dutch spelling, which is based on the syntactic and +morphological parsing of text. Other modules used in the project +allow the inflection of known words and attempt to detect typos in +unknown words, by analysing spelling and missing letters. Sentences +are also scanned for idioms. In this way, parse trees are built which +describe the hierarchical structure of sentences, storing not the +words themselves but pointers to a standard lexicon. In the current +implementation, it is possible to handle the re-arrangement of +subtrees graphically by means of a {\sc wimp} interface. It is hoped to +develop a `grammar spreadsheet' to allow the automatic propagation of +word changes; for example, pluralising one word will result in +appropriate changes in other parts of the sentence. The advantages of +the approach taken in the project are claimed to be easier editing, +enforcement of spelling standards, and applications including +semi-automatic translation into other languages as well as speech, +information retrieval, and hypertext. + +As the first talk in the \TeX\ stream, Joop van~Gent, of the Institute +of Language Technology and AI, Tilburg, spoke on {\it Two Faces of +Text}, describing document retrieval and \TeX\null. He described an +approach to the structure of published documents which considered two +types of structure: logical structure and typography. While automatic +methods can be used for scanning the logical structure of a document, +human readers tend to use typographic cues in the typefaces and layout +of a document to locate information. It is difficult to imitate this +search strategy in computer systems since it requires pattern +recognition on the typeset page image. Only the typesetting software +can `know' the relationship between logical parts of a document and +the typeset output. Work is \hbox{underway} to link these by storing the +positions of logical page-elements. At Tilburg, this has been done by +adapting \TeX\ to produce a logical structure tree and predicates in a +format which can later be searched to locate parts of a document on +the typeset page. The documents must be parsed while processing a +search query, but the query language, EL/DR, can be interpreted or +compiled by Prolog, allowing the use of natural language queries. +Some knowledge of the document structure, as nested lists or tree +structures with well-defined properties, is used to make basic +operations trivial. + +The next speaker was Malcolm Clark, who addressed {\it Exchanging +documents: a \TeX nical perspective}, briefly reviewing document +`views' -- typographic versus logical structure; content, which may not +be orthogonal to the structure; and revisable versus non-revisable +documents -- and the requirements for document exchange, either within +or between groups, perhaps over heterogeous networks. In the \TeX\ +community, the latter need is met to a greater or lesser extent by the +use of electronic mail as a transmission method, and Malcolm discussed +some of the problems which can arise. With the new version of \TeX, +providing support for 8-bit character sets, source files for documents +must be somehow encoded into 7-bit data for transmission using {\it email{}}, +and Malcolm advocated the provision of a 7-to-8-bit filter, written in +\WEB, as a standard tool in the \TeX\ toolbox. This would enable the +exchange of \TeX\ source files, representing revisable documents, and +\DVI\ files, when compressed and encoded to \ASCII, as non-revisable +documents. + +Since Malcolm had not used all of his allotted time, he was persuaded +by Kees van der~Laan briefly to discuss the use of graphics in \TeX, +to fill the remaining minutes before lunch. + +Frank Mittelbach had been scheduled to conduct a `work lunch' session +on the new features in \LaTeX\ 3.0, but his talk was instead +re-arranged into a third mini-stream at the start of the afternoon +session. I chose to attend that, since it is more relevant to my +work, thereby regretfully missing Amy Hendrickson's talk on \TeX\ +macro techniques, which I look forward to hearing at the Cork meeting. +With Frank's talk over-running, I missed most of Victor Eijkhout's +discussion of {\it The document style designer as separate entity}, +but heard Johannes Braams' description of {\it The Dutch national +\LaTeXsl\ effort}. This included a discussion of replacements for the +{\tt article} and {\tt report} document styles to produce documents +with a more European appearance than the \LaTeX\ book. A new +contribution from the Netherlands in this area is `Babel', a +multilingual document style for the standard \LaTeX\ styles. This +replaces the language-specific headings, hyphenation patterns and +explicit hyphenation points with support for more than one language in +a document and allows easy switching between them. Usable with +plain \TeX\ or \LaTeX, each language can have a separate option file. When +used with \LaTeX, the language can be selected on the +|\documentstyle| command. + +[Sake Hogeveen, {\it Aspects of Scientific Publishing\/}, is an astronomer +who also works with some publishing houses. He claimed to be presenting +an introductory course in \TeX\ in five minutes and a \LaTeX\ +introduction in six! This seemed a bold claim which I could not resist. +Basically he tried to argue through the markup route from genuine' copy +editor mark up through to \TeX\ typographic markup and then to structural +markup. No great conceptual leaps there, but since it was addressed to an +audience made up mainly of \sgml\ people -- that is, suits and ties -- it +had a useful function. One of the things to be learned fromn this meeting +was the almost complete ignorance of the \TeX\ world for \sgml, and the +equal ignorance of the \sgml\ world for \TeX\ and \LaTeX. Neither +position is helped by our inability to speak to one another at the same +level. Sad. Sake contended that good typography supports structure. Few +could argue with that. He also seemed to be advocating that we should be +prepared to get our fingers dirty by changing style files. This seems +like a bad idea to me. \LaTeX\ style files are tortuous to `amend': it +often seems to me that this is a good thing. The average document +producer is not a document designer, and his or her results can be +appalling.] + +[Victor Eijkhout \& Andries Lenstra described a system, written in \TeX\ +which allowed a `document style designer' to develop styles, without +having to know \TeX. They use a fairly free syntax to define constructs, +placing the designer in a position between format writer and document +producer. It was not at all clear to me whether this existed as a real +product, or whether it was a set of stubs, full of good intentions. But +even as a prototype it introduced many ideas which could be fruitful.] + + +A fascinating trip down memory lane was then given by Barbara Beeton, +who described ten years of {\it TUGboat production: \TeX, \LaTeXsl\ and +paste-up}, with a look at the pitfalls and rewards of editing TUG's +journal, interspersed with sideways glances at fragments of \TeX\ +hagiography. A rich goldmine for devising a \TeX\ trivia quiz! + +The streams were finally drawn together for a talk by Manfred Kr\"uger +of MID, who discussed {\it \SGML\ and \TeX: Two core modules of +information processing}. He highlighted the misunderstandings that +\SGML-ers and \TeX ies have of each other's worlds, claiming that the +question, `Which is better?', is not a useful comparision, since \SGML\ +`does nothing', yet \TeX\ is `a solution for everything.' +Publishing \hbox{requires} the use of \SGML\ {\it and\/} \TeX\null. A slightly +heated discussion between speaker and audience resulted when it was +suggested that the coupling of \SGML\ marked-up documents with the new +\LaTeX\ could be achieved by making \LaTeX\ macros read the \SGML\ +reference syntax, since this could allow an interface for the +specification of processing instructions in a structured and standard +way (cf.~the results of the {\sc daphne} project). + +At the conclusion of this talk, the faint-hearted departed for the bar +and the cocktail party. However, those with a thirst for knowledge +who stayed were rewarded by a discussion of {\it Presentation rules +and rules for composition in the formatting of complex text} by +Richard Southall, now of Xerox EuroPARC\null. Richard began by +demonstrating that both \SGML\ and \LaTeX\ have missed aspects of the +highest quality typesetting which can be achieved manually. While +generalised markup can define `content objects', that the presentation +rules define the layout is only {\it sometimes\/} true. He then took +examples from entries in {\it Math Reviews\/}, published by the AMS, +having been recently involved in a complete redesign of the layout and +typography. The markup in the MR entries is almost exhaustive, yet +the entries before the redesign project show `wierdnesses' in the +typography since presentation rules are being applied to the whole +entry, both in the body of the review proper and in the bibliographic +details. Former colleagues from Reading University made a +structural analysis of the whole journal, while Richard concentrated on the +structure of individual entries. He found examples of poor spacing +in authors' and journal names in the bibliographic references, leaving +large spaces (`buses'\dots\ large enough to take a London omnibus) +which produce barely perceptible interruptions when a reader scans the +line. Since these entries frequently contain abbreviations and +punctuation, he offered quotations from typographer's handbooks by +Tchischold, DeVinne and others illustrating the presentation rules for +punctuated text. These seemed to indicate that \TeX's so-called +`french spacing' should be applied in such circumstances, since +traditional spacing between sentences is that of normal word spacing. +Lastly, the concept of `compositional environments', in which a set of +presentation rules apply, was discussed. In electronic formatting +systems, these seem to have first been supported in {\sl Scribe}, which +provided delimited areas for such rules. In \TeX, there are two clear +compositional environments (modes): inline and display math. In other +environments, implied or procedural rules are used, such as the +spacing in quoted quotes, for example. The problems in the first +\TeX\ version of {\it Math Reviews\/} were mainly due to the +application of the same presentation rules over all the content +objects in each entry. Once appropriate compositional environments +were introduced, it was interesting to see from the finished examples +that the entries were more readable, yet occupied less space. +Following a short question and answer session, and with our thirst for +knowledge, if not beer, now slaked, we retired to the bar to join the +end-of-conference festivities. +\author{David Osborne} +\endinput + diff --git a/info/digests/texline/no11/dbp.tex b/info/digests/texline/no11/dbp.tex new file mode 100644 index 0000000000..5150756a02 --- /dev/null +++ b/info/digests/texline/no11/dbp.tex @@ -0,0 +1,103 @@ +\centerline{\bf dbPublisher} +\smallskip\noindent +Two products have appeared on the market in the last year or so +which enable the user (naive or not-so naive -- see below) to extract data from +a database or spreadsheet and automatically typeset (or DTP) it. The two +products are called, rather confusingly, dbPublisher (distributed in the UK by +Migent) and DataBase Publisher (written and distributed by the Graphics +Technology Group -- GTG). So what is the difference between them and why review +the former in \Texline? + +DataBase Publisher is intended to be an interface +between dBase and either Ventura or Pagemaker. It will also pick up from +sequential \ascii\ files (and this is how one handles data from other databases) +and GTG will write output filters to other DTP\slash typesetting packages; they +presumably could write one for \TeX. In other words DataBase Publisher has no +formatting or output facilities of its own. dbPublisher, on the other hand does +everything -- it makes it possible to pick up data directly from a whole range of +databases, spreadsheets and word-processors (as well as sequential \ascii\ files) +and it pipes this data (I use a \unix\ term even though the package only runs +under DOS, because there is a direct transfer from one process to the +next), through a generic mark-up interpreter, to (surprise, surprise!) \TeX{}. +It does take some time to realise that \TeX{} is the formatter used in this package +(unless you recognise the otherwise uninterpretable error messages), because it +is only hidden away in one of the Appendices of the manual, describing a form of +generic coding, that suddenly one sees + +{\narrower +\noindent +\hbox{``|<literal>... | {\tt \TeX\ Commands} |</literal>|}\hfil\break + Allows passing \TeX{} commands +directly through \SGML\ mode. If you know what \TeX{} is you will be pleased. If +you are not familiar with \TeX{}, this command should not be used. It is +included only for those wonderful lunatic-fringe folks who have mastered \TeX{} +macros (you know who you are).'' +\smallskip} +So there it is and incidentally there is +also a \PS\ {\tt Passthrough} command `for certifiable \PS\ addicts +only'. + +That is the good side of dbPublisher, in other words, at least in +theory, you have the potential to anything that \TeX{} can do, with a powerful +data extraction and sort facility on the front. The problems come once one +starts to use it. The first problem I had (and still have) is that dbPublisher +uses its own graphics interface (one of the many produced before Windows became +standard). This is different enough from Windows to be confusing at times (when +do you click and when do you double-click?) and for my system, an ACER 386 with +an Adaptec controller, was disastrous because the controller uses the same +interrupts as the windowing software and every time I tried to preview a file, +the system rebooted! I still have not solved this problem and changing the +Adaptec interrupts seems to be the only way, which I am not keen on doing. So +the following comments are based on work on a client's system (a Tandon, where +everything did work properly). + +DataBase Publisher has a very easy to use +interface, using Windows, where one clicks on options or clicks, holds and moves +fields into the order required; everything is graphical and one can achieve +results very quickly. With dbPublisher, however, the interface is partly +graphical and partly character-based. And it is difficult to learn. The manual +takes one through a series of exercises, which are fine if that is what you want +to do, but if what you want to do is slightly different, then it may take quite +a while to work out how to achieve it. The selection and formatting commands are +interspersed and can be accessed in most cases either by typing in what you +want, although you will probably have to bring up a 4GL-type menu to do it, or +by placing boxes on the graphically displayed page. To try and summarize the +procedure in a review is almost impossible; after all the manual does not +succeed very well in over 200 pages. + +Having been fairly critical, I should say +that I believe that dbPublisher is an immensely powerful package, once one has +worked out what to do. I managed to produce a directory using it, and more +recently a mailmerge program which works directly from the database (Rbase in +this case) with virtually any selection criterion and the ability to allow for +missing address fields while still starting the salutation line (Dear\dots) at +the same point for window-envelope use. This can obviously be achieved in +other ways, but the final program (once I had worked it out) is really +quite simple. Programs can of course be very complicated, but the +processing times tend to extend; this is fine if you know that everything is +working, but when you are testing a program it can be annoying. One good feature +is that one can test programs on a few database records, so that development +times are reduced (this was not so on the first version). Another good feature +is that you can preview files before printing them (if your system allows it!), +and I would suggest that this is always the way to operate. + +I have not said +anything about how dbPublisher uses \TeX{}. This is mainly because I am no +\TeX{}pert. Certainly, I have found no problem in getting the typographic output +I wanted; most of the problems I have encountered have been in the selection +side. There is a sample generic file provided, but not a sample \TeX{} file. It +would be interesting to try to pass a complete \TeX{} file through dbPublisher +and see if the result is as expected. If only the package would work on my +system\dots\ + +In summary, I think that dbPublisher is very good value for +someone who has no DTP program already, but has some programming experience (or +access to someone who has -- runtime versions can be produced). If you are +already running Ventura or PageMaker, then DataBase Publisher is probably a more +practical solution. However, as a \TeX{} user you would certainly find +dbPublisher interesting, if at times frustrating, to play with and for the right +application it could be just what you want. And if someone would write a good +manual or handbook on the package, then I am sure that it could almost become a +leading contender in the DTP field, unless of course you have an Adaptec +controller! +\author{David Penfold} diff --git a/info/digests/texline/no11/ed.tex b/info/digests/texline/no11/ed.tex new file mode 100644 index 0000000000..aa90838179 --- /dev/null +++ b/info/digests/texline/no11/ed.tex @@ -0,0 +1,108 @@ +\centerline{\bf TUG worldwide} +\smallskip +\noindent +Although TUG has embraced its international role, it has +perhaps done so a little late. It is difficult to say why +that has happened. There is clearly a chicken and egg +problem here. TUG, with a massively US membership was +hardly likely to spend lots of effort on European (or +Asian, or Australian, etc) activities when these groups +represent a very small part of the membership. Equally, +these other members (or potential members) can hardly +have felt that TUG membership was particularly valuable +when so much attention was focussed on the US activities. + +The adoption of the European and Japanese representatives +as TUG Vice-Presidents is one useful step, although none +of the `new' Vice-Presidents have received any guidelines +specifying how their duties are in any way different from +an ordinary board member of TUG. They are certainly not +of the same status as the TUG Vice President (no +hyphen!). + +The creation of a TUG `shop' at Aston +University as a way of speeding up and simplifying +processing of orders for TUG materials may also be a +useful step, although it is unclear just how this will +operate.\looseness-1 + +Within Europe there appear to be (at least) two possible +directions for TUG. + +On the one hand, TUG could provide an +umbrella organisation for all \TeX\ users. To do this +successfully would probably require a different board +with much more international representation. It still +feels very US-oriented. The very fact that the +organisation is sited in Providence means that it will +always be felt to be `American'. The alternative of +re-establishing an ITUG (International-TUG) in (say) +Luxembourg or Brussels (about the only two locations +in Europe politically acceptable to the French and +Germans) hardly seems credible. Part of the +problem revolves around TUG income. Of TUG's \$660,000 +income, only about one quarter derives from +membership subscriptions, while the remainder derives +principally from US-generated income: about equally +from courses\slash conferences and sales. +Naturally most of the sales are within the US, just as +most of the courses and conferences occur in the US. I +suspect that there is an effective discouragement to +putting resource into expanding membership, since it +brings in very little extra income. + + + It is therefore +difficult to see how such an `international' operation +could ever be funded, except by each `constituent' +organization paying a `levy' to the ITUG. Unless the +benefits were manifest and universal, this would be an +enormous task. The other alternative is that the +constituent organizations go ahead and organize themselves +into some sort of free-wheeling federal structure. It +would not be unreasonable to have a European federal +structure with {\dante}, GUTenburg, NTG, the Nordic group, +Hun\TeX, the Czechoslovakian group and the UK \TeX\ Users +Group. Most of these groups already organise their own +conferences and meetings, have various degrees of user +services and activities, and have grown up in reponse to +TUG's apparent inability, or indifference to assist in the +organisation of European groups. If TUG does not clearly +define its position with regard to other user groups, I +can (sadly) see this parallel structure developing. + +Some local user groups appear to be forming in the US, +but this has never been actively pursued by TUG, as far as +I can see. They seem to be there despite TUG. + +\section{A solution} +The simplest and most direct way for TUG to circumvent +these problems is to demonstrate that TUG is concerned +with the long term development of \TeX; that membership +of TUG ensures involvement in that development; that +there are real and tangible advantages to TUG membership, +wherever in the world you live. I suggest the following +program for TUG: +\item{$\bullet$}Offer discounts on books and software to +members; \item{$\bullet$}Provide an electronic archive to the \TeX\ +sources; +\item{$\bullet$}Distribute public domain \TeX ware software +for the popular types of personal computers; +\item{$\bullet$}Be seen to be involved in typesetting from \TeX; +\item{$\bullet$}Unequivocally embrace \LaTeX; +\item{$\bullet$}Support local groups, regional meetings and small +conferences; +\item{$\bullet$}Secure the future by +\itemitem{$\triangleright$}providing a forum for proposals +for \TeX\ enhancement; +\itemitem{$\triangleright$}addressing the wider issues of +electronic document interchange; +\itemitem{$\triangleright$}being involved in internal and external +standards. +\bigskip +\noindent Adoption of such a program is in some ways an +extension of what already occurs, but does have some more +radical departures from the status quo. The most +important thing is that it is a statement of intent which +can be nailed to the cathedral door. +\author{\mwc} diff --git a/info/digests/texline/no11/europe.tex b/info/digests/texline/no11/europe.tex new file mode 100644 index 0000000000..af388e9fb0 --- /dev/null +++ b/info/digests/texline/no11/europe.tex @@ -0,0 +1,136 @@ +\def\TeXline{{\sl\TeX\kern-0.1emline}} +\centerline{\bf\TeX\ in Europe} +\centerline{\bf end of term report} +\smallskip +\noindent +Great things have happened in Europe in the last year. It +would be good to think that \TeX\ might have played some +small but significant role in the liberalisation of +Europe. \TeX's ability to put the power of the printing +press back into the hands of the people gives it some of +the hallmarks of the tools needed for democracy. But +perhaps we hope for too much. + +I was lucky enough to visit Poland in the autumn of 1989 +at the invitation of Janusz Bie\'n, and to be entertained +both by him and by other \TeX\ colleagues. There can be +little doubt that there is a surprising amount of \TeX\ +activity in the country. This was, of course reinforced +by Marek Ry\'cko's paper at \TeX89 in Karlsruhe, where he +won the best paper award, and more recently by Bie\'n's +paper in TUGboat. Although `traditional' computing power +(`mainframes') is present, its use has tended to be +rather controlled. The availability of personal machines +however places comparable computing power into many +hands. A more powerful limiting factor are output +devices and their consumables. But anything written now +is likely to be out of date very soon. + +Elsewhere, an officially recognised \TeX\ group has been +established in Czechoslovakia, (\v Ceskoslovensk\'e sdru\v +zen\'\i\ u\v zivatel\u\ \TeX u), as the result of the +merger of two informal groups. In Hungary, another group +`Hun\TeX' has come into being. This group is fortunate to +have email connection and regularly receives both {\tt +texhax} and uk\TeX. It is hoped that Hungary can be +supplied electronically with much relevant public domain +\TeX ware. Chris Rowley was recently in Budapest (in his +role of spouse) and met some of the Hungarian \TeX ies. + +Recently news broke that Poland is also to join the +electronic mail domain. Not only will this simplify +communication, but again it will allow the transfer of +\TeX ware. The re-unification of Germany will presumably +lead to the integration of electronic mail within that +country. Rumour has it that shortly the Soviet Union (or +as much of it as is left) will also be connected by email. +(The spooks in Washington will have many happy hours +decoding hexed \TeX-files!) + +The NTG, GUTenberg, {\dante} and the Nordic group remain +healthy. The meetings of {\dante} and GUTenberg in +particular are well-attended and encompass a wide range of +\TeX\ subject matter and expertise. It is also +encouraging to see NTG cooperating with the Dutch \sgml\ +chapter in organising a joint meeting. + +In addition to the conferences and meetings organised by +the `local' groups, Euro\TeX89 was held at Karlsruhe in +September. This was a well attended conference which +provided another useful addition to the accumulation of +\TeX\ knowledge and expertise. Apparently painlessly run, +and with some fine social events. The organisers, Anne +Br\"uggeman-Klein and Rainer Rupprecht deserve much +praise. I keenly believe that the European \TeX\ +conferences are essential for the long term viability of +\TeX, TUG and \TeX-in-Europe. Without these meetings, and +without participation from the whole European catchment +we will all be a great deal poorer. + +Of course, there are other activities which are relevant +to us: the `Raster Imaging and Digital +Typography' Conference in Lausanne covered subjects close +to the hearts of many of the \TeX-literate. One outcome +of this was the {\sc Didot} project, a project designed +to establish training in digital typography. If this +becomes established it could help to increase cooperation +between those involved with traditional and digital +typography. + +Several more books have appeared in europe. Norbert +Schwarz' `Einf\"urung in \TeX' was translated into +`Introduction to \TeX' by himself and his colleague Jost +Krieger. There will also be a `\LaTeX\ Cookbook' by Theo +de Clerk. And of course, eventually the \TeX88 Conference +Proceedings have appeared. Not before time! The {\it +Cahiers GUTenberg\/} continue their high standard (even +including colour printing now), and have this year been +joined with {\dante}'s Die \TeX nische Kom\"odie. + +Lest complacency set in as we review our past +achievements, let's consider what has not happened. There +seems to be no organised user groups in \hbox{either} Italy +or Spain, despite sporadic activity in the past. It may be +that the formation of user groups is not the best way +forward for these countries. With a few exceptions, \TeX\ +makes slow progress against the yuppie tide of {\it +wysiwyg\/}. We still have not managed to get our act +together to explain why markup is a {\it good\/} thing. +And this at a time when \PS, the write-only typographic +markup system continues its dominance of the page +description language arena. My {\it wysiwyg\/} chums still +tell me that \PS\ is wonderful, but that \TeX\ is too +difficult! Equally, the faceless {\sc sgml}, rescued from +the doldrums by the US Department of Defense and the CALS +initiative, is hailed as a great leap forward. A markup +{\it meta}-language, it can describe the structure of a +document, but requires some friendly help to let that +structure be realised on a sheet of paper (or a screen). +And where does that friendly help often come from? -- +\TeX\ or \LaTeX. But those who embrace {\sc sgml} shy +away from \LaTeX. What is the difference: simple -- +standards. The way of the future is through the standards +world. We join in or become a backwater. C'mon in, the +water's lovely! + +Summary: some useful progress, but could do much better +if we tried. + +\section{Bibliography}{\parindent0pt\parskip5pt +Norbert Schwarz \& Jost Krieger, 1990, Introduction to +\TeX, Addison Wesley, 278p. + +Theo de Klerk, 1990, \LaTeX\ Cookbook, Addison Wesley (to +appear). + +Malcolm Clark, 1990, \TeX: Applications, Methods, Uses, +Ellis Horwood Publishers. + +Jacques Andr\'e \& Roger D Hersch, 1989, Raster Imaging and +Digital Typography, Cambridge University Press, 292pp. + +Janusz Bie\'n, 1990, On standards for computer +modern font extensions, TUGboat 11(2), p175--182. +} +\smallskip +\author{\mwc} diff --git a/info/digests/texline/no11/excuses.tex b/info/digests/texline/no11/excuses.tex new file mode 100644 index 0000000000..fcb8d425c4 --- /dev/null +++ b/info/digests/texline/no11/excuses.tex @@ -0,0 +1,24 @@ +\centerline{\bf Excuses} +\smallskip +\noindent +I apologise. Jost Krieger is not Dutch, he is German. +Sorry. In my review of Schwarz \& Krieger's +`Introduction to \TeX' in \Texline{\sl X\/} I assumed that +because the volume was printed by Addison Wesley +Netherlands that Jost was Dutch. I confess that the basic +excellence of the translation encouraged me that only a +Dutchman could be quite that comfortable in English. I +fall victim to chauvinism. How embarassing. + +My other excuse is to all those who thought that my +announcement of the availability of the \TeX88 conference +proceeding meant they would see them soon. I had sent +labels with the names and addresses of all the conference +participants to the publisher. They sent them to their +distributors. The distributors claimed never to have +received them, and it took us some considerable time to +realise that something had gone wrong. I have since +supplied more labels, and this time they got to the +distributer. So perhaps by now you have your proceedings, +and we can collectively heave a sigh of relief. + \author{\mwc} diff --git a/info/digests/texline/no11/good.tex b/info/digests/texline/no11/good.tex new file mode 100644 index 0000000000..b650a2339e --- /dev/null +++ b/info/digests/texline/no11/good.tex @@ -0,0 +1,66 @@ +\centerline{\bf The good guys} +\smallskip +{\obeylines +Carol Hewlett +Computer Service +London School of Economics +Houghton Street +London WC2A 2AE, UK +email: {\tt hewlett@uk.ac.lse} +\medskip\goodbreak +David Penfold +Edgerton Publishing Services +Edgerton Road +Edgerton +Huddersfield HD3 3AD, UK +\medskip \goodbreak +Barbara Beeton +AMS +PO Box 6248 +Providence, RI 02940, USA +email: {\tt bnb@math.ams.edu} +\medskip \goodbreak +Adrian Clark +Dept Electronic Ststems Engineering +Essex University +Wivenhoe Park +Colchester +Essex CO4 3SQ, UK +email: {\tt alien@uk.ac.essex.ese} +\medskip \goodbreak +Sebastian Rahtz +Dep Computer Science +University of Southampton +Southampton SO9 5NH, UK +email: {\tt spqr@uk.ac.soton.ecs} +\medskip \goodbreak +Roger Horne +7 New Square +Lincoln's Inn +London WC2A 3QS, UK +email: {\tt rhorne@uk.co.compulink} +\medskip \goodbreak +Nelson H F Beebe +Center for Scientific Computing +Dept Mathematics +220 South Physics Building +University of Utah +Salt Lake City +UT84112, USA +email: {\tt beebe@science.utah.edu} +\medskip \goodbreak +Chris Rowley +Open University +527 Finchley Road +London NW3 7BG, UK +email: |ca_rowley@uk.ac.open.acs.vax| +\medskip +David Osborne +Cripps Computing Centre +University of Nottingham +University Park +Nottingham NG7 2RD, UK +email: {\tt d.osborne@uk.ac.nott.clan} + +} + diff --git a/info/digests/texline/no11/lots.lis b/info/digests/texline/no11/lots.lis new file mode 100644 index 0000000000..314ca62dbd --- /dev/null +++ b/info/digests/texline/no11/lots.lis @@ -0,0 +1,31 @@ +$set ver +$transfer CHRIS.TEX aston.kirk::[m_clark.texline.11]CHRIS.TEX/user=m_clark,pandora +$transfer CHRIS.TEX aston.kirk::[m_clark.texline.11]CHRIS.TEX/user=m_clark,pandora +$transfer DAVE.TEX aston.kirk::[m_clark.texline.11]DAVE.TEX/user=m_clark,pandora +$transfer DBP.TEX aston.kirk::[m_clark.texline.11]DBP.TEX/user=m_clark,pandora +$wait 00:01 +$transfer ED.TEX aston.kirk::[m_clark.texline.11]ED.TEX/user=m_clark,pandora +$transfer EUROPE.TEX aston.kirk::[m_clark.texline.11]EUROPE.TEX/user=m_clark,pandora +$transfer EXCUSES.TEX aston.kirk::[m_clark.texline.11]EXCUSES.TEX/user=m_clark,pandora +$wait 00:01 +$transfer GOOD.TEX aston.kirk::[m_clark.texline.11]GOOD.TEX/user=m_clark,pandora +$transfer LOTS.LIS aston.kirk::[m_clark.texline.11]LOTS.LIS/user=m_clark,pandora +$transfer NELSON.TEX aston.kirk::[m_clark.texline.11]NELSON.TEX/user=m_clark,pandora +$wait 00:01 +$transfer NEWTWO.TEX aston.kirk::[m_clark.texline.11]NEWTWO.TEX/user=m_clark,pandora +$transfer ROGER.TEX aston.kirk::[m_clark.texline.11]ROGER.TEX/user=m_clark,pandora +$transfer SERVER.TEXT aston.kirk::[m_clark.texline.11]SERVER.TEXT/user=m_clark,pandora +$wait 00:01 +$transfer TEXLINE.HEAD aston.kirk::[m_clark.texline.11]TEXLINE.HEAD/user=m_clark,pandora +$transfer TEXLINE.TEX aston.kirk::[m_clark.texline.11]TEXLINE.TEX/user=m_clark,pandora +$transfer TEXLINE.TEX aston.kirk::[m_clark.texline.11]TEXLINE.TEX/user=m_clark,pandora +$transfer TEXMAG.TEX aston.kirk::[m_clark.texline.11]TEXMAG.TEX/user=m_clark,pandora +$wait 00:01 +$transfer TOC.TEX aston.kirk::[m_clark.texline.11]TOC.TEX/user=m_clark,pandora +$transfer TOULOUSE.TEX aston.kirk::[m_clark.texline.11]TOULOUSE.TEX/user=m_clark,pandora +$transfer TUG11.TEX aston.kirk::[m_clark.texline.11]TUG11.TEX/user=m_clark,pandora +$transfer UMIST.TEX aston.kirk::[m_clark.texline.11]UMIST.TEX/user=m_clark,pandora +$wait 00:01 +$transfer VERBAR.TEX aston.kirk::[m_clark.texline.11]VERBAR.TEX/user=m_clark,pandora +$exit + diff --git a/info/digests/texline/no11/nelson.tex b/info/digests/texline/no11/nelson.tex new file mode 100644 index 0000000000..a7fea8fcc7 --- /dev/null +++ b/info/digests/texline/no11/nelson.tex @@ -0,0 +1,1022 @@ +\let\\\cr +\def\CMD#1{{\tt #1}} +\def\FILE#1{{\tt #1}} +\def\FTP{{\tt ftp}} +\def\HOSTNAME#1{{\def\-{\discretionary{}{}{}}\tt #1}} +\def\NETLIB{{\tt netlib}} +\def\TUGLIB{{\tt tuglib}} +\let\em\it +\centerline{\bf The \TUGLIB{} Server} +\smallskip +\noindent +%\author{Nelson H. F. Beebe} +%\address{Center for Scientific Computing\\ +% Department of Mathematics\\ +% South Physics Building\\ +% University of Utah\\ +% Salt Lake City, UT 84112\\ +% USA\\ +% FAX: (801) 581-4148\\ +% Tel: (801) 581-5254} +% +%\netaddress[\network{Internet}]{Beebe@science.utah.edu} +%\begin{document} +Scores of sites on the worldwide Internet now +provide access to assorted collections of software +relating to \TeX{} and \MF{}. In many cases, +these are accessible only via the Internet +mechanism known as {\em anonymous \FTP{}}, a scheme +that permits logins from unknown users, usually on +other machines, with very restricted access. The +name \FTP{} is an acronym for {\em file +transfer protocol}. + +Generally, only a portion of the file tree is +visible to the anonymous user, and the command +repertoire is usually limited to little more than +directory listings and file retrieval. Only a few +sites permit the anonymous user to deposit files +in the anonymous login directory. Anonymous \FTP{} +provides a means whereby individual remote users +can access file archives, browse around in the +file tree, and retrieve selected files, all +without troubling the staff or other users of the +local machine. + +While anonymous \FTP{} has been enormously useful to +the Internet community, it is available only +between sites that have direct Internet +connections, and on one of which, anonymous \FTP{} +logins have been enabled. Sites with only +electronic mail connections to the Internet, such +as those on other networks, like Bitnet, Junet, +SPAN, and Usenet, and those on networks which are +incompatible with the Internet, such as \Janet\ in +the UK, are prevented from using anonymous \FTP{}. +Similarly, sites on the Internet that have +security restrictions, which includes many +commercial, government, and military connections, +may have restrictions that allow only {\it email{}} +access. + +\section{The \TUGLIB{} connection} +To improve the access to the \TeX{} archives and +other software at Utah, I have installed a +modified version of the \NETLIB{} server +described by Dongarra, which has been renamed +\TUGLIB{}. This server provides a means whereby +remote users can send electronic mail messages +containing service requests to a daemon program. +The daemon parses the requests, logs them, and +responds to them. + +The \TUGLIB{} daemon program runs on a local \unix{} +system at Utah, but the mail access is actually +through a mail forwarding address on another +machine, \HOSTNAME{tuglib@\-science.\-utah.\-edu}. +The reasons for this separation are: + \item{$\bullet$} + \HOSTNAME{science.\-utah.\-edu} is a + more widely-known host with a name which + has been registered on the Internet for + several years. It is therefore likely + to be known on those machines which + still have not upgraded from fixed host + tables to domain name servers for + Internet addressing. + \item{$\bullet$} + The \TUGLIB{} software runs only on the + \unix{} operating system. + \HOSTNAME{science.\-utah.\-edu} is a + DEC-20/60 running TOPS-20, but in late + 1990, it will likely be retired and + replaced by a \unix{} system that will + answer to the same Internet host name + (but a different numeric address). + \item{$\bullet$} + Separation of the server from the mail + drop provides flexibility in + configuration. In response to load + patterns, we could change the machine + running the \TUGLIB{} daemon without + having to make the change known to + thousands of users who might wish to use + the \TUGLIB{} service. + \item{$\bullet$} + Through the wonders of NFS ({\em Network + File System\/}), the \unix{} system running + the \TUGLIB{} daemon is able to mount + the TOPS-20 file system, because + \HOSTNAME{science.\-utah.\-edu} runs an + implementation of NFS developed by Mark + Lottor at SRI. This makes the archives + of two quite different machines + available through a single service. + + \item{}\indent Had we purchased NFS support software + for VAX VMS, it would have been possible + to provide access to our VAX 8600 as + well; that will regrettably not happen, + because our plans are to retire it a few + months after the DEC-20. + +\smallskip\noindent +The present configuration of \TUGLIB{} provides +several services: + \item{$\bullet$} + ask for help; + \item{$\bullet$} + list contents of a file directory; + \item{$\bullet$} + find a file in the archive; + \item{$\bullet$} + send one or more files; binary files are + automatically encoded into a subset of + the printable {\sc iso\slash ascii} characters for + {\it email{}} transmission; + \item{$\bullet$} + query the TUG address file for + membership information; + \item {$\bullet$} + check load libraries to determine file + dependencies, so that if a request is + made for a particular file, all other + files that it references are + automatically sent as well. +\smallskip\noindent +The last capability is not currently used by +\TUGLIB{}, since the bulk of the software in the +distribution is \TeX{} files (macros and fonts), +rather than source code of mathematical libraries +like {\sc linpack} and {\sc eispack} for which \NETLIB{} +library support was originally developed. + +\TUGLIB{} also provides some internal services, +such as logging of requests (both successful and +failed), and exclusion of users listed on an +`enemies' list. The latter has not yet been +needed, but support is already there should it +ever become necessary. + +The log of successes provides a useful record of +utilization of the service that may be needed to +convince local administrators of its value. + +The log of failures is useful in guarding against +break-in attempts, or hogging of resources. + +The log can also be for finding out whether +alternate query syntaxes might be useful; for +example, +\CMD{envoyer}, +\CMD{get}, +\CMD{mail}, +\CMD{request}, +and +\CMD{sned} +are all recognized as synonyms for the \CMD{send} +command. + +\TUGLIB{}'s {\it email{}} responses come mostly from +external files, rather than from text embedded in +its programs, making it easy to customize for +particular applications, and updates of textual +information can be installed without recompilation +of the software. + +\section{Getting help} +The simplest command recognized by \TUGLIB{} is +\CMD{help}. It produces a response containing a +short description of the \TUGLIB{} service with +sample commands. + +Synonyms for \CMD{help} include \CMD{directory}, +\CMD{index}, \CMD{info}, and \CMD{information}. + +\section{File retrieval} +Files can be retrieved by commands of the form +\CMD{send filename} or \CMD{send filename from +directory}. Punctuation is ignored, and +unrecognized words are discarded. A request like +% +\begintt +Please send me the index from the ftp +directory. Thanks for your help. +\endtt +% +\noindent +is recognized: you will get both an index, and a +help response. + + +Directories are named as in \unix{}, that is, a +series of one or more names, separated by slashes, +with no embedded blanks. If no directory is +specified, the top-level \TUGLIB{} directory is +assumed. Here are some examples: +% +\begintt +send index +send index from ftp +send plain.tex from tex/inputs +send uudecode.c from support +send 00tdir.lst from tex/pub/cweb +\endtt +% +\noindent +\unix{} symbolic links (duplicate names for the same +file) are used to make particular file trees +accessible to \TUGLIB{}; the file in the last +example, +\FILE{tex\slash{}pub\slash{}cweb\slash{}00tdir.\-lst}, +actually resides elsewhere in the file system (in +fact, on the DEC-20 as the file +\FILE{aps:\-<tex.\-pub>\-00tdir.\-lst}), but +appears to \TUGLIB{} to be the \unix{} file with the +absolute path +\FILE{/tuglib\slash{}tex\slash{}pub\slash{}cweb% +\slash{}00tdir.\-lst}. + +The top-level \TUGLIB{} directory, \FILE{/tuglib}, +contains only a small number of files at present: +% +\medskip +\centerline{\vbox{% +\halign{#\strut\hfil\quad&\vtop{\hsize5cm\noindent\tolerance10000#\strut}\cr +\noalign{\hrule} +\FILE{ftp} & symbolic link to the anonymous + \FTP{} directory on + \HOSTNAME{science}\cr +\FILE{support} & support software, mostly for + encoding of binary files into + printable characters\cr +\FILE{tex} & symbolic link to the \TeX{} + tree on \HOSTNAME{science}\cr +\noalign{\hrule}} }} +\medskip +% +For security reasons, you cannot trick \TUGLIB{} +into sending an arbitrary file from elsewhere in +the file system by specifying an absolute +directory path in the \CMD{send} request. The +leading slash is stripped, so that the file name +{\em always} appears at or below the \TUGLIB{} +home directory. + +\TUGLIB{} does not provide any mechanism for +wildcard matching of file names, mostly out of +concern for security, and limiting {\it email{}} traffic. +Only those files that are explicitly listed in +index files are visible via \TUGLIB{} (unless the +remote user is rather good at guessing names). + +Ideally, each directory accessible to \TUGLIB{} +should have an index file named (naturally), +\FILE{index}, containing names of files and a +short description of their contents. Here is a +portion of the index from the \FILE{ftp} +directory, slightly edited to fit in these narrow +columns. + +{\let\tt\smalltt\baselineskip10pt +\begintt +PS:<ANONYMOUS>INDEX..7, 9-Dec-89 17:17:54, +Edit by BEEBE + +This is an index of files available in the +anonymous ftp login directory on +science.utah.edu. + +00DIR.CMD -- FTP command file to + retrieve files + alphabetically +00DIR.LST -- alphabetical directory + listing +00NEWS.TXT -- brief announcements of + new additions to the + collections +00PCDOS.TXT -- setting up TeX for + PC DOS +... +TEX-FOR-APPLE-MACINTOSH.TXT + -- sources of Macintosh TeX +TEX-FOR-ARABIC.TXT -- sources of TeX for + Arabic typesetting +TEX-FOR-IBM-PC.TXT -- sources of IBM PC TeX +TEX-FOR-PICTURES.TXT-- combining graphics with + TeX +... +\endtt +}\noindent +However, keeping such an index up-to-date is a +demanding task, considering that at present, there +are nearly 130 file directories and 8000 +files in the \TeX{} tree alone. Consequently, in +most cases, only major directories will have an +\FILE{index} file. To supplement these index +files, a batch job is run periodically to +automatically create four special files in every +directory accessible to \TUGLIB{}: +% +\medskip +\centerline{\vbox{% +\halign{#\strut\hfil\quad&\vtop{\hsize6cm\tolerance1000\noindent#\strut}\cr +\noalign{\hrule} +\FILE{00dir.cmd} & alphabetical list of files as + \FTP{} and \TUGLIB{} \CMD{get} + commands\\ +\FILE{00dir.lst} & alphabetical verbose directory + listing\\ +\FILE{00tdir.cmd} & reverse time-ordered list of + files as \FTP{} and \TUGLIB{} + \CMD{get} commands\\ +\FILE{00tdir.lst} & reverse time-ordered verbose + directory listing\\ +\noalign{\hrule} }} +} +\smallskip + +The \FILE{00dir.\-cmd} and \FILE{00tdir.\-cmd} +files are handy for initiating a retrieval of a +complete file directory, since their contents can +be shipped back almost verbatim as requests to +\TUGLIB{}. The verbose directory listings contain +file sizes in bytes and the last-write time stamp. +A reverse time-ordered listing makes it easy to +find out what is new. + +The format of the directory listings depends on +the particular operating system; here is part of +the \FILE{00tdir.\-lst} file in the \FILE{tex} +directory, which resides on TOPS-20; some +reformatting has been necessary to make it fit +here: + +{\let\tt\smalltt\baselineskip10pt +\begintt + APS:<TEX> +00LAST30DAYS.TXT.20;P777752 48 121566(7) + 23-Aug-90 03:08:41 OPERATOR +00LAST7DAYS.TXT.23;P777752 2 3641(7) + 23-Aug-90 03:04:47 OPERATOR +00RECENT.LOG.1;P777752 6 2707(36) + 23-Aug-90 03:02:14 OPERATOR +00DIR.CMD.1;P777752 1 2171(7) + 21-Aug-90 07:21:07 OPERATOR +00DIR.LST.1;P777752 5 11116(7) + 21-Aug-90 07:20:59 OPERATOR +00INVERTED-INDEX.TXT.15;P777752 6 15360(7) + 19-Aug-90 18:42:54 OPERATOR +... +\endtt } +\noindent +Here is how to dissect one of these entries: +% +\smallskip +\noindent +\halign{\strut\tt#\quad\hfil&#\hfil\cr +\noalign{\hrule} +\FILE{00LAST30DAYS.TXT} & file name \\ +\FILE{.15} & generation number\\ +\FILE{;P777752} & protection bits\\ +\FILE{6} & count of disk pages\\ + & (512 36-bit words)\\ +\FILE{15360} & count of bytes\\ +\FILE{(7)} & byte size\\ +\FILE{19-Aug-90 18:42:54} & time of last write\\ +\FILE{OPERATOR} & user who last wrote + the file\\ +\noalign{\hrule} +} +\smallskip + +\noindent +Unlike the \unix{} file system, the TOPS-20 file +system is case-{\em insensitive\/}; file names are +conventionally spelled in upper-case, but you can +write them in lower-case, or even mixed-case. +Text files are normally stored with 7-bit bytes, +which is sufficient for the {\sc ascii} character set; +\TeX{} binary files, and files intended for use on +other systems, have 8-bit bytes; native binary +files have 36-bit bytes. You can always omit the +generation number, since the default is to return +the highest existing generation. We could fetch +the sample file by a request of the form \CMD{send +00last30days.txt from tex}. + +While it would be possible to generate these +directory listing files from the \unix{} host, doing +so would lose the byte-size information, which is +needed for correct \FTP{} access, so I prefer to +generate them on the TOPS-20 host instead. + +\section{Finding files} +With the large number of directories, and the +limited directory listing access provided by +\TUGLIB{}, finding your way around a file tree as +big as the \TeX{} one can be a daunting task. To +that end, batch jobs that run at regular intervals +produce other helpful indexes: +% +\smallskip +\centerline{\let\tt\smalltt\vbox{% +\halign{\strut\smalltt#\hfil\quad&\vtop{\hsize4cm\tolerance +10000\raggedright\noindent#\strut}\cr +\noalign{\hrule} +\FILE{00inverted-index.txt} & inverted index: + for each + unique file name in + the tree, gives a list of + directories that + contain it \\ +\FILE{00last30days.txt} & a verbose directory + listing of files + changed in the last + 30 days anywhere in + the \TeX{} tree\\ +\FILE{00last7days.txt} & a verbose directory + listing of files + changed in the last + 7 days anywhere in + the \TeX{} tree\\ +\noalign{\hrule}} }} +% +\smallskip\noindent +Some directories will contain a file which is named +\FILE{00readme.txt}: this gives an overview of the +directory contents. The \FILE{00} prefixes on +these files are to make them come near the +beginning of directory listings, where they are +more likely to be noticed. On a case-sensitive +file system like \unix{}, they would probably be +named entirely in upper-case letters, which, in +{\sc ascii}, collate before the lower-case letters +normally used for file names. + +The large number of files available in an archive +such as the one at Utah makes it rather difficult +for external users to find desired files, since +they are not able to login directly and use +directory listing commands. The \TUGLIB{} +\CMD{find} command helps to remedy this problem. +It searches two standard files, one of which is +prepared by the \TUGLIB{} maintainer and contains +one-line summaries of the contents of every file +directory, and the other is the +\FILE{00inverted-index.\-txt} file described +above. + +A request like \CMD{find latex.tex} will produce a +response with the names of all the file +directories that contain the file +\FILE{latex.tex}. Similarly, the request +\CMD{find music} will list not only the name of +the directory containing music fonts, but also all +of the files found in that directory, because +every line in \FILE{00inverted-index.\-txt} +containing the text `music' is matched. + +\section{Large files and binary files} +Compared to \FTP{}, electronic mail places some +severe restrictions on file transfers: + + \item{$\bullet$} + Message lengths are limited. 32 kilobytes + is a reasonable upper bound; larger + messages may be delayed, or returned to + the sender, by some mail gateways. + \item{$\bullet$} + Messages may contain only printable + characters; binary files cannot be sent + without further encoding. + \item{$\bullet$} + Some IBM mainframe mail gateways corrupt + mail that passes through them by having + inconsistent inbound and outbound + translations between {\sc ascii} and {\sc ebcdic} +character +sets. These may result in + irreparable many-to-one mappings; curly braces are often mapped + into the letters E and L, which is a + disaster for \TeX{} and C files. + \item{$\bullet$} + File names and file attributes cannot be + automatically attached to {\it email{}} messages. + \item{$\bullet$} + \FTP{} is based on reliable network protocols + like TCP/IP, and \FTP{} transfers are + always between pairs of machines, with no + intermediaries, so file transfers do not + corrupt files. {\it Email{}} often goes through + intermediate machines that alter + characters, truncate long messages, trim + long lines or trailing blanks, or just + discard the message altogether. + +\item{}\indent + These problems do not exist for + Internet-to-Internet electronic mail, + since it too is based on point-to-point + reliable protocols, but they often occur + in {\it email{}} between an Internet site and one + on some other network, like Bitnet or + Usenet. + \item {$\bullet$} + A line beginning with a period terminates + the mail message on some systems. + +\smallskip\noindent +To deal with the message length limitation, +\TUGLIB{} automatically splits large files into +parts which are mailed separately with +distinctive headers, like {\tt latex.tex (3 of +18)}. + +File splitting is desirable even for \FTP{} access, +because long transfers may suffer timeouts that +terminate the connection. A simple utility, +\FILE{bsplit.\-c}, is available in the +\FILE{support} directory, for splitting binary +files into smaller parts. To avoid destructive +padding with garbage characters on record-oriented +file systems like VAX VMS, the sizes of each part +(except possibly the last) are chosen to be a +multiple of common file system block sizes, +typically 512 bytes. For example, the command +% +\begintt +bsplit -32768 fonts.tar +\endtt +% +\noindent +would split the file into 32\,KB parts named +\FILE{fonts.\-tar-001}, \FILE{fonts.\-tar-002}, +and so on. The original file can be recovered by +appending the pieces in order; on a reasonable +file system that provides alphabetically-sorted +directories (or at least the illusion thereof) +this can often by done by a single command using +wildcard pattern matching, as in \unix{}: +% +\begintt +cat fonts.tar-??? >fonts.tar +\endtt +% +\noindent +Users on deficient file systems, like that of \PCDOS, +may have to work a little harder to +reconstruct the original file. + +\TUGLIB{} normally refuses to mail very large +files; this limitation is removed by making such +files available in split parts. + +Binary files are automatically recognized by +\TUGLIB{}, and are sent as {\em xxencoded\/} +files. A file is regarded as `binary' if it +contains any non-printable characters other than +carriage return or line feed, or if it has lines +longer than 72 characters. + +Because xxencoding is a new scheme developed for +\TUGLIB{}, a header is appended to the response to +describe the encoding in sufficient detail to +allow the recipient to write a program to decode +the message. Of course, decoding programs are +available from the \TUGLIB{} \FILE{support} +directory, so in practice, few \TUGLIB{} users +will ever have to write their own decoder. + +Xxencoding is a generalization of \unix{} uuencoding, +and the \FILE{xxencode} and \FILE{xxdecode} +programs will handle uuencoding as well. +Xxencoding was developed to deal with {\it email{}} +corruption, and to facilitate reassembly of large +messages that have been sent in parts. Both +encoding schemes represent three 8-bit bytes as +four 6-bit bytes, and output is assembled into +lines less than 65 characters in length, so as to +avoid destructive truncation of long lines by +anti-social mailing software. + +Uuencoding biases the 6-bit bytes by 32, to move +them into the range of printable {\sc ascii} characters. +One variant of \FILE{uuencode} remaps the encoded +blank ({\sc ascii} 32) to back accent ({\sc ascii} 96), which +is the same character to \FILE{uudecode} (it only +looks at the lower six bits in a character). This +change removes blanks from the output encoding, +and avoids damage from blank-trimming mailers. + +Xxencoding instead maps a 6-bit byte into plus, +minus, digits, upper-case letters, or lower-case +letters, which is a 64-character set that is more +likely to be immune to translation corruption. +The translation table is included in the output, +and will be used by \FILE{xxdecode}, so the +encoding can survive one-to-one character +remappings. \FILE{xxencode} also prefixes each +line with a two-character sequence, `xX', and on +completion of encoding, appends a byte count and a +CRC-16 checksum to the output. + +Cyclic redundancy checksums are superior to simple +checksums obtained by adding or exclusive-OR'ing +data byte sequences. Such methods cannot detect +bytes out of sequence, and can fail to detect even +two single-bit errors, such as in two consecutive +bytes with an inverted bit in the same position. + +By contrast, the CRC-CCITT checksum used by the +ANSI X.25, ADCCP, HDLC, and IBM SDLC protocols +detects error bursts up to 16 bits in length, and +99 percent of error bursts greater than 12 bits. +The CRC-16 checksum used by DDCMP and Bisync, and +by \FILE{xxencode} and \FILE{xxdecode}, detects +error bursts up to 16 bits, and 99 percent of +bursts greater than 16 bits in length. + +\FILE{xxdecode} ignores any line without the `xX' +prefix, allowing input to consist of a +concatenation of several mail messages without the +necessity of stripping mail headers and trailers. +\FILE{xxdecode} also validates the byte count and +checksum so as to detect corruption. Regrettably, +\FILE{uudecode} has no comparable facility; it +will happily produce garbage from corrupted input +with no warning to the user. + +Differences in end-of-line terminators on various +operating systems are a minor nuisance; carriage +return (Apple Macintosh), line feed (\unix{}), and +carriage return followed by linefeed (TOPS-20 and +\PCDOS) are all in use. All of these, and more, +are supported on VAX VMS. As long as files can be +transferred as plain text, \FTP{} and {\it email{}} +handle `lines', and line terminators appropriate +to the receiving system will automatically be +supplied. When files are encoded however, the +line terminators are encoded with them. Thus, +transfer of a file from one of the directories +residing on TOPS-20 to a \unix{} system will result +in a non-native carriage return at the end of +each line. + +To deal with most of this problem, two utilities, +\FILE{dos2ux} and \FILE{ux2dos}, are provided in a +single shell bundle, \FILE{dos2ux.\-shar}, in the +\FILE{support} directory. They take a list of +files on the command line, and convert |<cr>| |<lf>| to |<lf>| +or |<lf>| to |<cr>| |<lf>|, and also preserve the last write +date of the original file. I've not yet written +the \FILE{mac2ux} and \FILE{ux2mac} variants to +handle conversion between |<cr>| and |<lf>| terminators, +but they could be easily generated from the +\FILE{dos2ux} and \FILE{ux2dos} code. Since the +operations are so similar, it would probably make +sense to merge them into a single utility whose +operation was controlled by a command line option, +or by the name of the file it was stored in. + +Retrieval of a complete directory having many +small files is painful because of the many +\TUGLIB{} requests needed. The solution is to +make directory contents available in a single +archive file, such as the \FILE{.arc} format +widely used on \PCDOS, or the \unix{} \FILE{.tar} and +compressed \FILE{.tar.Z} formats. Besides +allowing a group of files to be retrieved in one +request, the archive file preserves exact file +names and importantly, file time stamps. We have +made several large collections, including all of +our public fonts, available this way. + +Public-domain implementations of the \FILE{arc}, +\FILE{compress}, and \FILE{tar} utilities are +available for several operating systems, including +\PCDOS, TOPS-20, \unix{}, and VAX VMS, so the use of +these archive formats should not pose a problem +for most \TUGLIB{} clients. + +\section{TUG membership query} +The TUG address data base is kept in a +specially-formatted secret file in the +\FILE{/tuglib} tree, inaccessible to anyone but +the super-user (\unix{} \FILE{root} login) or the +\TUGLIB{} daemon. A multi-line address like +% +{\def\\{}\obeylines +Nelson H. F. Beebe\\ +Center for Scientific Computing\\ +Department of Mathematics\\ +220 South Physics Building\\ +University of Utah\\ +Salt Lake City, UT 84112\\ +Tel: (801) 581-5254\\ +FAX: (801) 581-4148\\ +{\it email{}}: Internet: beebe@science.utah.edu\\ +TUG Board of Directors +\smallskip} + +% +\noindent +is reformatted into a single-line entry with +unprintable control characters separating the +original lines. + +The \CMD{whois} (or \CMD{who is}) command uses a +shell script to invoke the \unix{} \FILE{grep} +command to find matching lines in the address file +(ignoring letter case and punctuation), and then +converts the magic separator characters back into +normal newline characters. Thus, the above entry +could be retrieved by any of several different +commands: +% +\begintt +whois nelson beebe +whois beebe +whois 581-5254 +whois SALT laKe CiTy +\endtt +% +\noindent% +Each word in the \CMD{whois} query is matched +separately against the {\em entire\/} address +entry. You need not remember people's initials, +and you can use \CMD{whois} on parts of the +address other than the personal name. + +Of course, \TUGLIB{} is still just a stupid +computer program: if you send \CMD{who is Dave +Kellerman}, it will not understand that \CMD{Dave} +is short for \CMD{David} and it will fail to match +\CMD{David Kellerman}. Personal names can be +abbreviated to a leading prefix, however: +\CMD{whois Don Knuth} will find Donald E.~Knuth's +address. + +It is quite possible that multiple addresses match +a \CMD{whois} query: \CMD{whois sweden} +potentially can list the addresses of all TUG +members in Sweden. However, organizations, +including TUG, guard their membership lists with +care, partly because such lists have commercial +value, and partly out of concern for privacy. +Germany, for example, has laws that severely +restrict the use of address data bases. +Consequently, \TUGLIB{} will refuse to send more +than a small number of addresses in response to a +\CMD{whois} command, and it makes no provision for +restarting a \CMD{whois} search. You cannot +retrieve the entire list by a command like +\CMD{whois *} (for the \unix{} \FILE{grep} utility, +the \CMD{*} matches zero or more of anything, that +is, everything). + +My original intent in setting up \TUGLIB{} was to +augment it with a mail forwarding service, in order that electronic mail sent to +an address such as \HOSTNAME{malcolm.\-clark@\-science.\-utah.\-edu} +would automatically be mapped to that member's +real Internet address and forwarded. Such a +forwarding list is maintained for the numerical +analysis community on the machine +\HOSTNAME{na-net.\-stanford.\-edu}; mail to +\HOSTNAME{moler@\-na-net.\-stanford.\-edu} will +always get to Cleve Moler, no matter where he is. +This is a very convenient service, since a +community of researchers can easily keep in touch, +even though they may be moving often. + +Consultation with the maintainers of +\HOSTNAME{na-net} revealed that a surprising load +is caused by this forwarding service, and at +times, several CPUs are kept busy just handling +the mail forwarding. Since the machines on which +\TUGLIB{} currently runs have many other duties as +well, and provide \TUGLIB{} as a free community +service in their spare time, I abandoned further +ideas for automatic mail forwarding. + +The \CMD{whois} command eliminates mail forwarding +overhead, since presumably an address will be +looked up once, and then {\it email{}} correspondence +will be initiated directly by the users +themselves. \CMD{whois} provides the additional +service of supplying postal addresses, telephone +numbers, TUG committee affiliations, and any other +relevant information that happens to be recorded +in the complete address entries. + +There is nothing magic about the address data base +handling. If you wanted to, you could easily +eliminate the restriction on the number of matches +returned, and then implement a recipe data base +lookup to answer queries like \CMD{who is garlic}. +A code change to accept the alternate request form +\CMD{what has garlic} would then be desirable. + +\section{Future extensions} +Since it built upon the lessons of \NETLIB{}, I +feel confident that \TUGLIB{} is quite +satisfactory in its current configuration. There +are a few things that I would like to add, if time +permits. + +While automatic xxencoding of binary files avoids +the {\it email{}} problems noted earlier, for files that +only happen to have tab characters and form feeds, +encoding is unnecessary on Internet-to-Internet +connections. On the other hand, perfectly normal +\TeX{} files sent in {\it email{}} that goes through +brace-corrupting gateways will be damaged, and may +not be encoded by \TUGLIB{}. These situations +suggest that the remote user should be able to +control whether encoding is applied, and if so, +what form of encoding. + +When \FILE{uuencode} can be used safely, it would +probably be more convenient than \FILE{xxencode} +for \unix{} users, because \FILE{uuencode} is already +available on \unix{}. Other encoding schemes are +available as well, including \FILE{atob} and +\FILE{btoa}, and \FILE{b\-encode} and +\FILE{b\-decode}. This suggests an addition of new +command verbs to augment the \FILE{send} command. + +Directory listings are currently only available +through the prior creation of the +\FILE{00dir.\-lst} and \FILE{00tdir.\-lst} files +in each directory. Perhaps it would be advisable +to generate these dynamically in response to a +\TUGLIB{} command; they would then be guaranteed +to be up-to-date, and disk space would not be used +to store them. However, those files are also +useful for anonymous \FTP{} retrievals, because it +is not always possible to get more than a bare +list of file names from an \FTP{} \CMD{dir} +command; very often, the file sizes and time +stamps are of interest too. + +It might also be helpful to have a command like +\CMD{sizeof tex/latex} to return the disk space +requirements of a directory. + +\section{Acknowledgements} +This work was carried out by the author with the +support of facilities at the Department of +Mathematics at the University of Utah. + +My deepest thanks go to Eric Grosse and Jack +Dongarra for having written the \NETLIB{} system +and published a paper about it. I also want to thank Eric +Grosse for making the \NETLIB{} software available +to TUG for modifications to create \TUGLIB{}, and +for keeping a record of everyone who has received +\NETLIB{} so they can get bug fixes. + +Thanks also go to the TUG Board of Directors for +helping in the testing of \TUGLIB{}, and to Don +Hosek and Joachim Lammarsch for many useful +conversations and electronic exchanges. + +Finally, we owe an enormous debt to the people who +support and develop the Internet and make it +freely available to a worldwide community +connecting hundreds of thousands of machines, and +perhaps over a million users. Without their +foresight, many collaborative efforts the world +over would be effectively impossible. + + + +\section{Reference} +{\parindent0pt\frenchspacing +Jack Dongarra and Eric Grosse, 1987, Distribution of Mathematical +Software via Electronic Mail, +CACM, +30(5), +p.403--407. +} + +\rightline{\sl Nelson~H. F.~Beebe} +\endinput +\ifundefined{SLiTeX} + \newcommand{\SLiTeX}{{\rm S\kern-.06em{\sc l\kern-.035emi}\kern-.06em + T\kern -.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\fi +\bibitem{Dongarra:netlib} +Jack Dongarra and Eric Grosse. +\newblock Distribution of mathematical software via electronic mail. +\newblock {\em Communications of the Association for Computing Machinery}, + 30(5):403--407, May 1987. + +\end{thebibliography} +@//E*O*F tuglib.bbl// +chmod u=rw,g=rw,o=r tuglib.bbl + +echo x - tuglib.bib +sed 's/^@//' > "tuglib.bib" <<'@//E*O*F tuglib.bib//' +@@string{CACM = "Communications of the Association for Computing Machinery"} + +@@Article{Dongarra:netlib, + author = "Jack Dongarra and Eric Grosse", + title = "Distribution of Mathematical Software via Electronic Mail", + journal = CACM, + year = "1987", + volume = "30", + number = "5", + pages = "403--407", + month = may, +} + +@//E*O*F tuglib.bib// +chmod u=rw,g=rw,o=r tuglib.bib + +echo x - tuglib.ltx +sed 's/^@//' > "tuglib.ltx" <<'@//E*O*F tuglib.ltx//' +% -*-latex-*- + +%% @latexfile{ +%% author = "Nelson H. F. Beebe", +%% version = "1.00", +%% date = "30 Aug 1990", +%% filename = "tuglib.ltx", +%% address = "Center for Scientific Computing +%% and Department of Mathematics +%% South Physics Building +%% University of Utah +%% Salt Lake City, UT 84112 +%% USA +%% Tel: (801) 581-5254", +%% checksum = "972 4718 34240", +%% email = "beebe@science.utah.edu (Internet)", +%% codetable = "ISO/ASCII", +%% supported = "yes", +%% docstring = " +%% The checksum field above contains the +%% standard \unix{} wc (word count) utility +%% output of lines, words, and characters; +%% eventually, a better checksum scheme should +%% be developed." +%% } + + {$\bullet$} +%% @latexfile{ +%% author = "Nelson H. F. Beebe", +%% version = "1.00", +%% date = "28 Aug 1990", +%% filename = "tuglib.sty", +%% address = "Center for Scientific Computing +%% and Department of Mathematics +%% South Physics Building +%% University of Utah +%% Salt Lake City, UT 84112 +%% USA +%% Tel: (801) 581-5254", +%% checksum = "56 286 2397", +%% email = "beebe@science.utah.edu (Internet)", +%% codetable = "ISO/ASCII", +%% supported = "yes", +%% docstring = "Style file to support tuglib.ltx. +%% The checksum field above contains the +%% standard UNIX wc (word count) utility +%% output of lines, words, and characters; +%% eventually, a better checksum scheme should +%% be developed." +%% } + +\hfuzz=3pt %ignore slightly overfull boxes + +\hbadness=2000 %ignore most underfull boxes + +% The standard LaTeX definition of \sloppy sets \tolerance to 10000. +% This gives spacing that is too stretchable, with the result that +% wide white spaces appear in order to give right- justified output. +% We reset the tolerance to a more reasonable value. We also allow a +% little \emergencystretch (a TeX 3.0 feature) to allow individual +% lines to be slightly longer; if that name is unknown, the code +% avoids its use, so as to work with earlier versions of TeX. + +% TeXbook, p. 308: +\def\ifundefined#1{\expandafter\ifx\csname#1\endcsname\relax} + +% Original version from latex.tex: +% \def\sloppy{\tolerance 10000 \hfuzz .5\p@ \vfuzz .5\p@} +\renewcommand{\sloppy}{ + % \emergencystretch is a new feature of TeX 3.0; use it only if known + \ifundefined{emergencystretch} + \relax + \else + \emergencystretch=3pt + \fi + \tolerance=4000 % graph.ltx needs no more looseness than this + \hbadness=10000 % no underfull messages -- we expect them +} + +\overfullrule=3pt % to catch problems in the output. +@//E*O*F tuglib.sty// +chmod u=rw,g=rw,o=r tuglib.sty + +exit 0 diff --git a/info/digests/texline/no11/newtwo.tex b/info/digests/texline/no11/newtwo.tex new file mode 100644 index 0000000000..917ee68d03 --- /dev/null +++ b/info/digests/texline/no11/newtwo.tex @@ -0,0 +1,166 @@ + +%\hoffset=-0.1in +%\voffset=-2pc +%\raggedbottom +%\hsize=39pc %\vsize=59pc +%\maxdepth=2.2pt \parindent=1pc +%\vsize=720pt +%\hsize=6.5in +%\baselineskip12pt +%\parskip0pt +%\parindent1em +%\hfuzz1.5pt +%\tolerance2000 + +%\hyphenation{Post-Script} +% Page layout +\newdimen\pagewidth \newdimen\pageheight \newdimen\ruleht +\newdimen\colwidth \newdimen\bigcolheight\newdimen\gutter +\gutter=0.3in%better as 0.4in +%\colwidth=3.1in%19pc +\colwidth=\hsize +\advance\colwidth by-\gutter +\divide\colwidth by 2\relax +%\bigcolheight=1450pt%120pc +\bigcolheight=\vsize +\advance\bigcolheight by\bigcolheight +\advance\bigcolheight by 10pt +\pagewidth=\hsize \pageheight=\vsize \ruleht=.5pt +\abovedisplayskip=6pt plus 3pt minus 1pt +\belowdisplayskip=6pt plus 3pt minus 1pt +\abovedisplayshortskip=0pt plus 3pt +\belowdisplayshortskip=4pt plus 3pt + +\newinsert\botins +\def\afoot{\strut\egroup} +\def\botpic#1{\par + \insert\botins\bgroup\hsize=\pagewidth + \offinterlineskip + \interlinepenalty100 \let\par=\endgraf + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\botins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\botins=2000 % footnote magnification factor (1 to 1) +\dimen\botins=36pc % maximum footnotes per page + +\def\toppic#1{\par + \insert\topins\bgroup\hsize=\pagewidth + \interlinepenalty100 \let\par=\endgraf + \offinterlineskip + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\topins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\topins=2000 % footnote magnification factor (1 to 1) +\dimen\topins=36pc % maximum footnotes per page + +\newinsert\margin +\dimen\margin=\maxdimen +%\count\margin=0 \skip\margin=0pt % marginal inserts take up no space + +\newif\iftitle +\def\titlepage{\global\titletrue} % for pages without headlines +%\def\rhead{{}} + +\def\leftheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfill\lhead % running head flush left + }} +\def\rightheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfill\lhead % running head flush left + }} + +\def\onepageout#1{\shipout\vbox{ % here we define one page of output + \offinterlineskip % butt the boxes together + \vbox to 2pc{ % this part goes on top of the 44pc pages + \iftitle % the next is used for title pages + \global\titlefalse % reset the titlepage switch + \setcornerrules % for camera alignment + \else\ifodd\pageno \rightheadline\else\leftheadline\fi\fi + \vfill} % this completes the \vbox to 3pc + \vbox to \pageheight{ + \ifvoid\margin\else % marginal info is present + \rlap{\kern31pc\vbox to 0pt{\kern4pt\box\margin \vss}}\fi + \ifvoid\topins\else % top note info is present + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\topins + \vskip\skip\topins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \vskip\skip\topins \kern-3pt + \fi + #1 % now insert the main information + \vfill + \ifvoid\botins\else % bot note info is present + \vskip\skip\botins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\botins + \vskip\skip\botins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \fi + \boxmaxdepth=\maxdepth + } % this completes the \vbox to \pageheight + } + \advancepageno} + +\def\setcornerrules{\hbox to \pagewidth{\vrule width 1pc height\ruleht + \hfil \vrule width 1pc} + \hbox to \pagewidth{\llap{\sevenrm(page \folio)\kern1pc}% + \vrule height1pc width\ruleht depth 0pt + \hfil \vrule width\ruleht depth 0pt}} + +\output{\onepageout{\unvbox255}} + +\newbox\partialpage +\newdimen\savesize +\def\begindoublecolumns{\begingroup + \savesize=\vsize + \output={\global\setbox\partialpage=\vbox{\unvbox255\bigskip}}\eject + \output={\doublecolumnout} \hsize=\colwidth \vsize=\bigcolheight + \advance\vsize by -2\ht\partialpage + \advance\vsize by -2\ht\botins + \advance\vsize by -2\ht\topins + \pagegoal=\vsize} +\def\enddoublecolumns{\output={\balancecolumns}\eject + \global\output={\onepageout{\unvbox255}} + \global\vsize=\savesize + \endgroup \pagegoal=\vsize} + +\def\doublecolumnout{% +% \splitmaxdepth=\maxdepth + \dimen0=\pageheight + \advance\dimen0 by-\ht\partialpage + \advance\dimen0 by-\ht\botins + \advance\dimen0 by-\ht\topins + \splittopskip=\topskip + \setbox0=\vsplit255 to\dimen0 + \setbox2=\vsplit255 to\dimen0 + \onepageout\pagesofar + \global\vsize=\bigcolheight + \unvbox255 \penalty\outputpenalty} +\def\pagesofar{\unvbox\partialpage + \wd0=\hsize \wd2=\hsize \hbox to\pagewidth{\box0\hfil\box2}} +\def\balancecolumns{\setbox0=\vbox{\unvbox255} \dimen0=\ht0 + \advance\dimen0 by\topskip \advance\dimen0 by-\baselineskip + \divide\dimen0 by2 \splittopskip=\topskip + {\vbadness=10000 \loop \global\setbox3=\copy0 + \global\setbox1=\vsplit3 to\dimen0 + \ifdim\ht3>\dimen0 \global\advance\dimen0 by1pt \repeat} + \setbox0=\vbox to\dimen0{\unvbox1} + \setbox2=\vbox to\dimen0 +% {\unvbox3} + {\dimen2=\dp3 \unvbox3 \kern-\dimen2 \vfil} + \global\output={\balancingerror} + \pagesofar} +\newhelp\balerrhelp{Please change the page into one that works.} +\def\balancingerror{\errhelp=\balerrhelp + \errmessage{Page can't be balanced} + \onepageout{\unvbox255}} + + + + + + + diff --git a/info/digests/texline/no11/roger.tex b/info/digests/texline/no11/roger.tex new file mode 100644 index 0000000000..fecdb67098 --- /dev/null +++ b/info/digests/texline/no11/roger.tex @@ -0,0 +1,330 @@ + +% Roger Horne. 29 August 1990. +% 7 New Square +% Lincoln's Inn +% London WC2A 3QS +% Tel: 071 405 1266 +% email rhorne@compulink.co.uk +% +% The following macros are extracted from my normal macro files +% Probably large numbers of them are not needed. +% The file is at present set at 10 point on a 11pt base +% +% NOTE that the manmac convention of | as meaning \ttverbatim, +% ie *all* characters printed in \tt, is used +% +\font\sansit=cmssi10 +%\font\tenu=cmu10 +% +% These are not the "official" versions of the logos +% +\def\at{{\sansit Arch\i\-\kern-.1em\TeX\/}\maybespace} +\def\am{{\it ArMa\kern-.1em TuReS\/}\maybespace} +\def\atmf{{\sansit Arc-}\MF\maybespace} +% +% +\hyphenation{adop-ted edu-c-a-t-ional scale-able} +% +\catcode`\@=11 +%\def\quid{{\it\$}} +% The poundsign and size-changing macros +% +% +% Other macros that may (or may not) be used +% +\def\bo{\def\on{\unskip\/\ {\rm on }}\begingroup\sl\frenchspacing} +\def\ok{\unskip\/\endgroup\maybespace} +\def\maybespace{% +\futurelet\next\testforother} +\def\testforother{% \noexpand is required to avoid \ref being expanded +\if\noexpand\next[\let\next=\space % if [ add space +\else\if\noexpand\next(\let\next=\space % if ( add space +\else\ifcat\noexpand\next.\let\next=\empty % if . no space +%\else\ifcat\noexpand\next\noexpand\\next=\empty % if \ no space +% Don't use. It could cause problems if \space followed \ok or \se +% It is not required for \ref +\else\let\next=\space +%\fi % relates to \ifcat\\ +\fi\fi\fi\next}% Note that \ref still generates a space-then eats it +\def\ref{\unskip\footnote} % Remove space from \se if necessary +\def\uc-{\discretionary{\raise.25ex\hbox{-}}{}{\raise.25ex\hbox{-}}} +% + +\catcode`\@=12 +% +% End of macros +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\centerline{\bf \TeX\ and the Archimedes} +\smallskip +\noindent The Acorn Archimedes is a 32-bit RISC Computer and as a result is +fairly fast. Like a number of other machines produced by comparatively small +manufacturers it suffered for a time from a lack of software, but things are +changing and there are now two complete versions of \TeX\ available for it. +The first of these is \at, produced by TooLs GmbH of Bonn. The second is \am +produced by Graham Toal of London. While the former product is a commercial +program the latter is public domain and so at first sight it might seem that +there was no contest; no-one likes spending money unless it is absolutely +essential. + +The choice is not, however, quite so simple since the two products vary in +many ways. The first difference is one that results from the Archimedes' +filing system, RISC~OS, which does not recognise file extensions and also +uses the full stop character as a directory separator. This is not normally a +limitation since the Archimedes uses the concept of file types to enable it +to load files into the appropriate program, if necessary first loading the +program itself; for example a {\tt dvi} file has the file type {\tt CE4} and +the Archimedes can be set up to recognise a file of this type as being one +that is loaded into a previewer. However it obviously gives rise to problems +in connection with \TeX. + +\at solves the problem in the same way that Acorn does in relation to the +C language, that is to say that it automatically turns the file-name +round. In the case of C the file {\tt stdio.c} is actually stored as the +file {\tt stdio} in the directory {\tt c}, or as {\tt c.stdio}. Similarly \at +stores the file {\tt paper.tex} as {\tt tex.paper}, {\tt paper.dvi} as {\tt +dvi.paper} and so on. In other words all {\tt tex} files are stored in the +directory {\tt tex}, all {\tt dvi} files are stored in the directory {\tt +dvi} and so on. The conversion is automatic and invisible to normal macro +packages. + +This system has one disadvantage in relation to \TeX\ and that is that many +macro packages produce large numbers of auxiliary files and \at will not +create a new directory if the appropriate one does not exist. This is no +problem if one tends to use a macro package which writes out three or four +auxiliary files using the same extension each time but problems can arise in +connection with packages such as John Lavagnino and Dominik Wujastyk's {\tt +EDMAC} macros for producing critical editions which can, if pressed, write +out an unlimited number of auxiliary files. + +The alternative solution which is adopted by \am is to store each file in its +own directory so that {\tt paper.tex} and {\tt paper.dvi} are actually the +files {\tt tex} and {\tt dvi} in the directory {\tt paper}. This system gets +round the problem of auxiliary files (although RISC OS does impose a limit of +80 objects to a directory) but it has its own disadvantage in that +directories take up a certain amount of space. It is also more difficult to +``clean up'' since instead of simply deleting the contents of the {\tt dvi} +directory it is necessary to delete the {\tt dvi} file from each of a number +of separate directories. + +So far as \TeX\ itself is concerned, there is not a lot of difference between +the two programs at present. Each of them is a C version of \TeX\ and +they both run at roughly the same speed, that is to say, fast. It is +interesting to note, however, that the way in which \TeX\ is run can make a +difference to its speed on the Archimedes. RISC OS permits a program such as +\TeX\ to be run in three different ways. The first is from the command line +prompt (which for \TeX ies is somewhat confusingly an asterix). The second is +as a single-tasking task from the Archimedes Desktop (the +Archimedes' WIMP system). The third is as a multi-tasking program from the +Desktop. + +To \TeX\ |tex.tex|, that is to say, \bo \TeX\ the Program\ok, takes roughly +18 minutes when \TeX\ is called from the command line, about 24 minutes when +single tasking under the Desktop and about 27 minutes when it is +multi-tasking with one other small program -- a digital clock -- running at the +same time. (These figures are for the \am version. Using \at from the +command line produces a similar result and its single tasking version is +likely to produce a comparable time; there is not as yet a multi-tasking +version of \at although that will no doubt arrive shortly.) A Company called +{\it Aleph1\/} produces a go faster board for the Archimedes based on Acorn's +ARM3 chip; although I have not tried it, Graham tells me that it speeds up +\TeX\ by a factor of two. + +% MALCOLM --- I am not a mathematician. Is the last sentence correct? + +% ie it takes half as long with an arm3. + +There is one difference between the two versions of \TeX\ and that is that +while \at claims to have passed the {\tt TRIP} test, \am has not as yet taken +it (which is why it does not have \TeX\ in its name). However the output of +the two programs appears to me to be identical. + +There is likely to be a more significant difference between the two versions +of \TeX\ in the near future. \at is about to be released using Version~3 of +\TeX. Graham has said that he is no hurry to produce Version~3 for \am unless +he is pushed hard, claiming that he is not convinced of the merits of this +new Version. + +\at can be used on the Archimedes 310 with only one megabyte of memory and +can, I understand, be run without a hard disc (although I have not tried to +do this). As a result some compromises have had to be made with \TeX's +parameters. For example, the main memory in Ini\TeX\ is only 20 kilobytes +and so it may not be possible to produce format files from large macro +packages. TooLs GmbH have, however, told me that they are happy to produce +larger versions of \TeX\ for their customers on request for a nominal +handling charge. \am is intended to run on a machine with more than one +megabyte of memory and so these compromises have not had to be made +(although I believe that it can be run on a smaller machine). Since the +source code is provided a user who has access to Acorn's C compiler can +modify \TeX's parameters in whatever way he wishes. + + +Both \at and \am come with a screen previewer. These are, however, very +\hbox{different}. The former is a `traditional' \TeX\ previewer, that is to say, +it uses a low-resolution version of the Computer Modern fonts to produce its +output. The resolution supplied with the program is 95\,dpi although the +previewer can use any resolution if this is required provided that the +appropriate fonts are available in the chosen resolution. (The choice of +95\,dpi was made because it permits the full width of an A4 page to be +displayed across the screen.) If a font cannot be found because, for +example, it is not available in the correct resolution, the previewer will +try to use the same font at a different resolution; if it cannot find even +this it will politely refuse to continue. + +Computer Modern fonts do seem to suffer when reproduced at low-resolution and +I sometimes find on the \at previewer that the spacing between words looks +wrong. I assume that this is caused by an unlucky combination of +approximations. Slanted and italic letters also suffer badly from the low +resolution although they remain perfectly readable. + +The \am previewer uses fonts that are based on the Computer Modern fonts but +have been converted to Archimedes outline fonts. These are scaleable fonts and +use anti-aliasing in order to improve their appearance on the screen. The +result is astonishingly good, especially in the $640 \times 512$ multi-sync +modes. The initial size chosen produces a width approximately equal to a +sheet of A4 paper on the screen. However it is possible to magnify this by +anything from |\magstephalf| to |\magstep5|. (These magnifications are in +addition to any already used in the text). It is apparently intended that a +future release will also permit a reduction in size so as to show a full page +on a normal screen. (The \at previewer already does this.) + +There are disadvantages. The previewer is substantially slower than the \at +version, although both are many times faster than anything I have seen on an +IBM machine. (Its speed increases after a period of use since it stores fonts +that it has already used in memory.) It can also use a considerable amount of +memory, especially when displaying magnified fonts. I have managed to run +out of memory on a four megabyte machine (although I did have to try quite +hard to do it). But even a comparatively small file can use a couple of +megabytes if it is displayed at |\magstep5|. + +Another disadvantage which the \at previewer does not suffer from is that at +present the \am previewer is restricted to the standard Computer Modern, +\AmSTeX\ and \LaTeX\ fonts; it is not possible to display any new fonts that +have been produced using \MF\ (although I understand that this may change in +a future release). + +If it cannot find a font the \am previewer will try to find the {\tt tfm} +file for the missing font and will then leave an appropriate space. If even +the {\tt tfm} file is missing it will crash; since the latter file would have +been required by \TeX\ itself this is unlikely to happen often. Since it uses +scaleable fonts it is not necessary for it to find a font at any particular +size. If, for example, |paper.tex| uses |cmr10 at 13pt| the previewer will +generate the font at that size itself. + +A feature added to the \am previewer comparatively recently is the ability to +save a page as a {\tt !Draw} file or as a {\tt Sprite} which can then be +read into the Archimedes' drawing and painting programs. This enables the +text to be manipulated in various ways. However it may be that the most +useful function of this is to permit the testing of |cmr| fonts at different +magnifications without creating them using \MF. The files can be printed +without the use of a |dvi| driver, although this is far from quick. + + +The final stage in the \TeX\ process is printing the file. Again there is a +difference between the two systems. The \at printer drivers are part of the +previewer; it is not necessary to run a separate program to print your file +after previewing it. Drivers are provided for most common matrix printers, +such as those produced by Epson, NEC, Prism, Oki and Microline, and for the +HP LaserJet. \am on the other hand uses an adaption of the Beebe drivers and +at present is only available for the Apple Laser Writer and the HP LaserJet +(although it is claimed that to adapt the implementation for use with any +other printer supported by the Beebe programs would be very easy: the +LaserJet version was not even tested on a LaserJet before being despatched to +the first user of it). + +% Preview % Back/forward % More options % Memory size etc + +There are further differences between the two systems in the way that the +drivers work. While the \at version sends its output direct to the printer, +the \am version sends it to a file which is subsequently printed using an +Acorn multi-tasking utility. As usual, both systems have advantages and +disadvantages. With a short file it is nice to be able to print it +immediately without having to go through the two-stage operation involved +with \am. + +The method of printing used by the \at version however suffers from the +problem that it is apparently difficult to download CM fonts to a LaserJet +and it is accordingly necessary, at least on a machine with a small amount of +memory, to process the file in several passes in order to print direct to +the printer; if not enough passes are used the program crashes and it is +necessary to start again. The appropriate setting of the parameters is, +however, soon discovered and can be stored in a file which is loaded every +time the program is run. +Processing the file in this way does, +however, take a long time and although +the program is multi-tasking, +it gets frustrating waiting for a long file to be printed. +The \am driver will process the same file at a rate of +more than a page a second and +then print it comparatively quickly as a background task. + +Neither \at nor \am is supplied with a great deal of documentation, although +not surprisingly the amount which comes with the former is substantially +more that which is supplied with the latter. It would be essential for the +user of either system to acquire \bo the \TeX book\ok. + + +% conclusions + +If you have a one-megabyte Archimedes and want to run \TeX, or you have never +used \TeX\ before, or you are not quite sure how your Archimedes works, or +you need \TeX~3 soon, or you use non-standard fonts, splash out on the \at +version. You will not be disappointed; I have used it to produce all my +written work for the last nine months (although I have normally used Personal +\TeX's PTI~HP on an IBM Compatible to print it on a LaserJet since I do not +have my own printer). + +If, however, you want to be able to compile an unusual sized version of \TeX\ +quickly (and know what you are doing), or you want the best previewer going, +or you are skinny broke, get hold of \am. Alternatively, if you have plenty +of disc space, do as I have done and have your cake and eat it; get them +both. + +% Addresses + +\at is available from: +{\obeylines +TooLs GmbH +Kessincher Str.~108 +D\uc-5300 Bonn 1 +Federal Republic of Germany + +email: {\tt tex@tools.uucp} +\par} + +\noindent +It costs \quid99 (`educational users' pay \quid69) plus \quid6 +p.~\&~p.\ and VAT at the unusual rate of 14\%. \LaTeX\ and \BibTeX\ together +cost a further \quid39 (\quid29 for educational users). A set of fonts +for the screen previewer and one printer driver is included in the cost; +fonts for other drivers are available at a nominal price. Alternatively +generate your own using \atmf, which costs the same as \at (and is a very +nice implementation of the program). + +\am is available from: + +{\obeylines +Graham Toal +76 Clare Court +Judd Street +London WC1H 9QW + +email {\tt gtoal@ed.ac.uk} +\par} + +\noindent +Graham does not charge for his current release of \am but you must send him +25 {\it formatted\/} discs together with the return postage and be prepared +to wait for him to have the time to copy them; he does this in his spare +time and each set takes several hours to do. The distribution may soon be +available from Aston. Since it is 15 megabytes this will + be an expensive way of +acquiring it if you are commercial user of {\sc janet} and have +to pay for the connection. +The distribution includes the source code for \TeX\ and the +Beebe drivers and a full set of 300\,dpi fonts. \LaTeX\ and \BiBTeX\ are also +included. Letters to Graham take some time to be answered; email produces a +quicker result. +\author{Roger Horne} +\endinput + diff --git a/info/digests/texline/no11/server.text b/info/digests/texline/no11/server.text new file mode 100644 index 0000000000..94f8c56e76 --- /dev/null +++ b/info/digests/texline/no11/server.text @@ -0,0 +1,303 @@ +\centerline{\bf The Aston \TeX\ Server} +\smallskip +\noindent +For network users who can send mail but not transfer files, accessing +remote archives is a problem. The conventional way to do this is to +use `mail servers' on the machines holding the archives. These are +programs which read mail messages directed to a specific username on +the archive machine, with the message consisting of commands to the +mail server. The server processes the commands which are usually +requests to send files to the requestor as mail messages. + +The mail server described here accepts several commands, +described in the following sections. In each case, the commands to +the server are specified in the body of the mail message. This is a +little different from many other mail servers, which require the +command to be in the `subject' field of the mail message. + + +\section{Where is the \TeX\ Archive Mail Server?} +The \TeX\ archive's mail server is accessed by sending a mail request, +containing a valid {\tt mail-server} command, through \JANET\ to +\begintt +TEXSERVER@UK.AC.ASTON.TEX +\endtt +Note that {\tt texserver} operates without any operator interaction: +your mail is never seen by human eyes (unless the archive maintainer +is deliberately doing so), so it is essential that you get your requests +right. I\lowercase{NVALID REQUESTS ARE SIMPLY IGNORED}! + +People occasionally experience difficulties with getting mail to, or +replies from, {\tt texserver}. For this reason, {\tt texserver} +generates a `your message received' reply when it receives your +request. The actual request is then queued for processing (which may +happen up to an hour later). + + + + +\section{Getting Help} +This help message can be acquired by sending the following message to +{\tt texserver}: +\begintt +ignored-text +---ignored-text +return-address +HELP +ignored-text +\endtt +{\tt texserver} ignores everything in the body of the message until a line +containing three hyphens as its first non-blank characters is met. +This is because many mail messages (particularly those which pass +through protocol converters at gateways) develop a header showing its +path through the various mailers. + +Following the three-hyphen separator, the return address should be +specified on the next non-blank line. This must be the address {\it +from\/} {\tt texserver} {\it to\/} you, in the usual network format +(for people who don't know this, it is explained in a later +section). The next non-blank line should contain only the word +{\tt HELP} (or {\tt HELP} with a language qualifier--see below), +specified in lower, UPPER or MiXeD cases. Any subsequent lines are +ignored. + +This help message is also available in a variety of other languages. +The appropriate language version is specified simply by adding a +`command qualifier' to the {\tt HELP} command---so that, for +example, {\tt HELP/DANISH} or {\tt HELP/DANSK} will select the +Danish-language version of the help text. The following qualifiers are +currently supported: +\begintt +/DANISH |it or |tt /DANSK +/DUTCH |it or |tt /NL or /NEDERLANDS +/FRENCH |it or |tt /FRANCAIS +/GERMAN |it or |tt /DEUTSCH +/ITALIAN |it or |tt /ITALIANO +/JAPANESE +/SPANISH |it or |tt /ESPAGNOL +/SWEDISH |it or |tt /SWEDE +\endtt +You can truncate the qualifier to the point of uniqueness, so that +{\tt HELP/FRE} selects French and {\tt HELP/DE} German. But do so +carefully, for {\tt texserver} will simply ignore ambiguous +commands such as {\tt HELP/FR}. And make sure you spell the qualifier +correctly! + +If you request {\tt HELP} in a language other than English, but +receive the English message instead, it's because there is not +yet a translation into the requested language. Perhaps you +would care to consider making the translation yourself, and mailing +it back to the author. Your contribution will, of course, receive +due acknowledgement. + +It is well worth transferring the help text to yourself as a first +experiment of the system; this will ensure that you understand how to +format messages for {\tt texserver} and to specify network addresses on +VAX/VMS. + + +\section{Generating Directory Listings} +You can acquire a directory listing of the archive or a part of +the archive by sending the following message to {\tt texserver}: +\begintt +ignored-text +---ignored-text +return-address +DIRECTORY directory-specifier +ignored-text +\endtt +You will understand the form and purpose of most elements of the message +from the above discussion of the help, so they won't be explained +again. The {\tt DIRECTORY} command, which can be specified in any +case and truncated to {\tt DIR}, should be given a directory +specification as its argument, conforming to the VAX/VMS directory +syntax (see below). If omitted, a listing of the directory +{\tt [TEX-ARCHIVE]} is returned. + +Normally, the files listed by the {\tt DIRECTORY} command can be used as +the basis of a {\tt FILES} command (described in a later section), +which requests files to be transferred. VMS wizards can, however, +put qualifiers to the DCL {\tt DIRECTORY} command {\it following\/} +the argument. The most useful one is probably {\tt /SIZE}, which +returns the file size in units of 512-byte blocks. + +To make full use of the {\tt DIRECTORY} command, you need to know +about VMS filenames. Firstly, a filename consists of three parts, +the {\it name} itself, the {\it extension} (file-type) and the +{\it version number}, specified as +\begintt +name.extension;version +\endtt +Both the name and extension may be up to 39 characters each, +consisting of alphanumerics, dollar, underscore and hyphen. Upper and +lower case letters are not distinguished. Note, however, that `name' +is not the same as `name.', since {\tt texserver} (and the VMS mailer) +applies a default extension to the former but not to the latter. If +the version number is omitted (in which case the semi-colon +punctuation is not required), VMS automagically selects the highest +(most recent). + +Files, of course, reside in directories. These are specified in +square brackets. Like Unix and many other operating systems, +directories under VMS are hierarchical. Sub-directories are specified, +within the square brackets, following the parent directory name and +separated by periods. Hence, +\begintt +[TEX-ARCHIVE.PUBLIC] +\endtt +is a valid directory name and +\begintt +[TEX-ARCHIVE.PUBLIC]PRIVATE.TXT;42 +\endtt +a file within it. + +Of course, directories reside on discs and discs on nodes on +networks\dots but that is getting needlessly complicated. + +The other thing you need to know about is wildcards. There are three +of them: +\halign{\quad \tt#&\qquad#\hfil\cr + * &matches zero or more characters\cr + ? &matches exactly one character\cr + ... & matches a sub-directory tree\cr} + +Hence, the {\tt texserver} command +\begintt + DIRECTORY [TEX-ARCHIVE...]*.TXT +\endtt +will find all versions of all files with an extension of +{\tt .TXT} (conventional for text files) in the directory +{\tt[TEX-ARCHIVE]} or any of its sub-directories and return the output +to you (if you got the return address right). + + +\section{Locating Files} +If you know the name of a file which you want to retrieve, but not the +directory in which it resides, the {\tt WHEREIS} command can be used +to find it. For example, to locate all {\WEB} files in the archive +(\WEB\ is the programming language in which \TeX\ is written, being a +combination of \TeX\ input and Pascal), you would use a command like: +\begintt +ignored-text +---ignored-text +return-address +WHEREIS *.WEB +ignored-text +\endtt +You may use the same wildcard specifiers as in the DIRECTORY command. + + +\section{Searching Files} +You can search through files in the archive for a given string of +characters. This is useful, for example, when you know something is +present in the archive, but not exactly which files are relevent. The +{\tt SEARCH} request has the following format: +\begintt +ignored-text +---ignored-text +return-address +SEARCH directory-specifier search-string +ignored-text +\endtt +The directory specification should have the same format as for the +`directory' request. The search string can be any arbitrary series of +characters, but if it includes one or more of the characters |'"/@#| the +whole string should be enclosed in double quotes (and double quotes in +the search string specified twice consecutively). For example, +\begintt +search [TEX-ARCHIVE...]*.TXT text +\endtt +searches all files in the archive with an extension of {\tt .TXT} for +the string of characters `text'. (Note that the search +is case-insensitive.) To search for the string |/"text"|, +one would use +\begintt +search [TEX-ARCHIVE...]*.TXT "/""text""" +\endtt +to `escape' the quote character, which has a special meaning to DCL. + +\section{Transferring Files} +Now that you can generate listings of the contents of the archive, +extracting files from it is child's play! Simply edit the listing +returned by the {\tt DIRECTORY} or {\tt WHEREIS} commands into the +following form: +\begintt +ignored-text +---ignored-text +return-address +FILES +filename +filename +. +. +. +\endtt +Any number of filenames may follow the {\tt FILES} command. Each +filename must be specified on a separate line; each file will +normally be returned as a separate mail message. Wildcards are +{\it not\/} supported by the {\tt FILES} command. + + +There is a limit to the size of a {\sc mail{}} message which can be sent +through many gateways. For this reason, large files resulting from +{\tt texserver} requests are automatically split up and send in a series +of parts. You will normally have to concatenate these parts (in the +correct order!) before they will be of use. + +\section{Specifying the Return Address} +The syntax used for network addresses is the one used throughout most +of the networking community, |user@site|. For example, for \JANET\ +users, requests from `orinoco' at site |uk.ac.wimbledon.common| should +have a return address of +\begintt +orinoco@uk.ac.wimbledon.common +\endtt +Note that the VMS mailer folds the return address to {\sc upper} case unless +it is enclosed in double quotes (this is a common source of trouble +for mail being returned to {\tt uucp} sites). + +For |BITNET| users, you need to send the mail out via the |EARN| gateway: +\begintt +user%machine.site.BITNET@EARN-RELAY +\endtt +Note that the order of specifying domains {\it is\/} important to the +|EARN| mailer. The syntax is similar for other networks accessed via +the |EARN| gateway. + +Requests from north America (e.g., those with |.EDU| addresses) should +also use the |EARN| gateway, since the |NSFNET-RELAY| gateway is not +available for UK-to-US traffic: +\begintt +user%machine.site.EDU@EARN-RELAY +\endtt +Other users should try |EARN| in the first instance (it seems to be +pretty clever). If that fails, consult a local networking guru. If +that fails, mail the archive maintainers, who should be able to put you +in touch with someone who can help. If all else fails, you're on your +own! + +There is a document, compiled by Tim Clark of the University of +Warwick, which goes into significant detail regarding the routing of +mail from the UK through gateways. This is available in \LaTeX\ form +from the archive as file +\begintt +[TEX-ARCHIVE.ARCHIVE-UTILS]GATEWAYS.TEX +\endtt + +Any comments, queries, suspected bugs, etc should be addressed to the +author, not to the maintainers of the archive it serves. (If any +query doesn't get answered within, say, a week, please re-submit it; +the author's network connection is rather flaky!) Note that the +author is {\it not\/} a networking Wizard. + +As usual with public-domain software, no commitment is given as to the +quality of this software: it may not do what this help says it does. + + +\section{Bibliography} +Terry A. Welch, 1984, A Technique for High-Performance Data +Compression, + IEEE Computer vol 17, no 6, pp.8--19. + +\author{Adrian Clark} +\endinput diff --git a/info/digests/texline/no11/texline.head b/info/digests/texline/no11/texline.head new file mode 100644 index 0000000000..2fdfdd1da5 --- /dev/null +++ b/info/digests/texline/no11/texline.head @@ -0,0 +1,42 @@ +\topinsert +\begingroup +\overfullrule0pt +\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 11, \monyr} +\line{\hfill a Newsletter of the \TeX\ community} +\line{\hfill edited and assembled by} +\line{\hfill Malcolm Clark} +\line{\hfill PO Box 1897} +\line{\hfill London NW6 1DQ} +\line{\hfill Tel: 071 269 3555} +\line{\hfill Tel: 071 435 8983} +\line{\hfill Fax: 071 831 6265} +\line{\hfill Janet: malcolm@icrf} +\line{\hfill Unix: mwc@doc.ic.ac.uk}} +\setbox\banner\vbox{\hsize=275pt% +\huge\TeX\kern-0.2ex line 11} +\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 +\hfuzz30pt +\hbox{\box\info\qquad\raise\infoht\box\banner} +\endgroup +\endinsert diff --git a/info/digests/texline/no11/texline.tex b/info/digests/texline/no11/texline.tex new file mode 100644 index 0000000000..25bc00ea6c --- /dev/null +++ b/info/digests/texline/no11/texline.tex @@ -0,0 +1,168 @@ +\message{TeXline macros} +\vsize9.5in +\hsize6.5in +\input newtwo +\input verbar +\tolerance3000 +\doublehyphendemerits15000 +%\raggedbottom +\hfuzz2.5pt +\vfuzz2.5pt +\baselineskip12pt +\parskip0pt +\parindent1em +\abovedisplayskip1pt +\belowdisplayskip1pt + +\headline{\ifnum\pageno>1 +\ifodd\pageno{\sl \TeXline\ 11 \hss \folio} +\else{\folio \hss\TeXline\11}\fi\fi} +\def\rhead{\ifnum\pageno>1 + \ifodd\pageno\sl\TeXline\ 11\hss + \else\hss\sl\folio\fi\else +\fi} +\def\lhead{\ifnum\pageno>1 + \ifodd\pageno\sl\hss\folio + \else\sl\TeXline\ 11\hss\fi\else +\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{{\ifvmode\rightline{\sl#1}\else +\unskip\nobreak\hfil\penalty50\hskip2em\hbox{}\nobreak\hfil\sl#1\parfillskip0pt\par\fi}} + +\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 +\font\smalltt=cmtt8 + +\font\eightsy=cmsy8 \skewchar\eightsy='60 +\def\scit#1{\iteight\uppercase{#1}} + +\hyphenation{SGML SGML-ers every-thing} + +\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}} +\let\Texline\TeXline +\def\SGML{{\sc sgml}} +\let\sgml\SGML +\def\ISO{{\sc iso}} +\def\ANSI{{\sc ansi}} +\def\PS{P{\sc{ost}}\-S{\sc{cript}}} +\def\MSDOS{{\sc ms\-\dos}} +\let\msdos\MSDOS +\def\DOS{{\sc dos}} +\let\dos\DOS +\def\PCDOS{{\sc pc\-\dos}} +\let\pcdos\PCDOS +\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{{\sl Textures}} +\let\Textures\TeXtures +\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}} +\let\Unix\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} +\let\BibTeX\BiBTeX +\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\degrees{$^\circ$} +\def\LamSTeX{L\kern-.4em\raise.3ex\hbox{$\scriptstyle\cal A$}\kern-.25em + \lower.4ex\hbox{\eightsy M}\kern-.1em{$\cal S$}-\TeX} +\def\dante{{\sc Dante}} +\def\DW{Dominik Wujastyk} +\def\DEK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em K} +\def\TeXMaG{\TeX M\kern-0.22em\lower0.5ex\hbox{A}\kern-0.27emG} +\def\u{\accent'27u} +\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/no11/texmag.tex b/info/digests/texline/no11/texmag.tex new file mode 100644 index 0000000000..90df93e8df --- /dev/null +++ b/info/digests/texline/no11/texmag.tex @@ -0,0 +1,74 @@ + +\def\TeXMaG{\TeX +M\kern-0.22em\lower0.5ex\hbox{A}\kern-0.27emG} +\centerline{\bf \TeXMaG\ under new management} +\smallskip +\noindent +I used to think that Don Hosek was at least three people +(probably Derek, Oswald and Nigel) masquerading under a +single pseudonym. The three of them seemed possessed of +limitless enthusiasm and industry. But even Don is +limited. He has decided to pass on \TeXMaG\ to another +worthy group: volume 4, number 2 is now produced by a 6 +person team at Texas A\&M. In the editorial which +accompanied this latest issue we are told that `Don is +putting \TeXMaG\ aside for greater and grander pursuits'. +The burden is now chiefly on the shoulders of Neil +Burleson, ably assisted by most of the \TeX ies at A\&M +(I exaggerate). + +\TeXMaG\ describes itself as `a mostly unofficial +publication for users of the \TeX\ typesetting system' +and is an `independently published electronic magazine +available free of charge to all interested parties +reachable by electronic mail.' It has certainly been a +refreshing and useful organ in the past. Having met some +of the editorial team in Texas, I am confident that it +will continue in strength. + +The new plan is to produce \TeXMaG\ more often, with +an aimed frequency of not less than once every two +months. The new editorial board suggest that the scope of +the magazine might be narrowed a little. They include a +reader's survey (which was to be returned two days before +I received it -- shurely shum mishtake, ed.). + +This issue has a couple of macros to produce `shadowed +boxes', both in \LaTeX\ and {\tt plain}. The next issue +will contain a tables macro which can handle multi-row, +multi-column, variant-width rules tables, with full +documentation. A bold claim. + +If you are on electronic mail, it is straightforward both +to submit material to \TeXMaG, and to receive it. To +submit something, just send to +\begintt +texmag-l@uicvm.uic.edu |rm or|tt +texmag-l@uicvm +\endtt +If you want to receive the magazine, in the UK (or if you +easily get \Janet\ mail), mail +\begintt +abbottp@uk.ac.aston |sc Janet |tt +\endtt +asking to be included on the mailing, or contact the +editor at +\begintt +nabtexm@venus.tamu.edu |rm Internet, or|tt +nabtexm@tamvenus |rm Bitnet +\endtt + Or you can send +a single-line message to either +\begintt +listserv@uicvm |rm or |tt listserv@uicvm.uic.edu +\endtt +which should read +\begintt +subs texmag-l |ttit your_full_email_address +\endtt + +\author{Malcolm Clark, from \TeXMaG} + +\endinput + +\end diff --git a/info/digests/texline/no11/toc.tex b/info/digests/texline/no11/toc.tex new file mode 100644 index 0000000000..949ad2e096 --- /dev/null +++ b/info/digests/texline/no11/toc.tex @@ -0,0 +1,102 @@ +\centerline{\bf Table of Contents} +\smallskip +{\parindent0pt\parskip0.5pt\obeylines +TUG worldwide\dotfill 1 +\quad {\sl Malcolm Clark} +A brief review of \TeX-APS fonts\dotfill 2--3 +\quad {\sl Sebastian Rahtz} +barbara speaks\dotfill 4 +\quad {\sl Barbara Beeton} +Book Reviews +{\quad \sl Raster Imaging and Digital Typography}\dotfill 4--5 +{\quad \sl Hyphenation}\dotfill 5 +\TeX as -- west of the Brazos \dotfill 5--9 +{\quad\sl Malcolm Clark} +Cahiers GUTenberg +\quad Summaries from Number 5, May 1990\dotfill 9--10 +{\quad\sl Malcolm Clark} +\TeX\ in Europe: end of term report\dotfill 10--11 +{\quad\sl Malcolm Clark} +Excuses\dotfill 11 +{\quad\sl Malcolm Clark} +\TeX\ et les Arts Graphiques\dotfill 12--13 +{\quad\sl Malcolm Clark} +The Aston \TeX\ Server\dotfill 13--15 +{\quad\sl Adrian Clark} +Wheel re-invented at UMIST\dotfill 15--16 +{\quad\sl Malcolm Clark} +UK \TeX\ Users in Cambridge\dotfill 16 +{\quad\sl Malcolm Clark} +The first UK \TeX\ Users' Group Workshop\dotfill 17 +{\quad\sl Carol Hewlett} +\TeXMaG\ under new management \dotfill 17 +{\quad\sl Malcolm Clark} +dbPublisher (software review) \dotfill 17--18 +{\quad\sl David Penfold} +\TeX\ and the Archimedes\dotfill 18--21 +{\quad\sl Roger Horne} +The {\tt tuglib} Server\dotfill 21--27 +{\quad\sl Nelson Beebe} +Buses and wierdness in Groningen\dotfill 27--29 +{\quad\sl David Osborne} +Pictures of the floating world\dotfill 29--31 +{\quad\sl Chris Rowley} +Good guys\dotfill 31 +\TeXline\dotfill 32 +{\quad\sl Editor} +} +\bigskip +\bar +\smallskip +\centerline{\bf \TeX line} +\smallskip +\noindent +\TeXline\ has never before appeared at a \TeX\ or TUG conference. Up to +now it has been available only `by request'. The opportunity of +distributing at the first TUG conference in Europe (the first +TUG conference outside North America) proved too great a lure. This +issue was assembled to be produced and distributed at Cork. The issue +produced at Cork will be followed by the `regular' version which will be sent +to the `regular' mailing list. If you are on the regular list, and have +been at Cork, you will not receive two issues. They will be identical in +content. + +The newsletter has survived for a few years now, and seems to get bigger +each time. This edition is about as big as the last one, and yet was +produced in only three or four months. The last edition, number 10, +took a full year to put together. It is hoped (not very seriously) to be +able to average about two and a half to three editions a year. To some +extent this depends on you. Glancing through this edition it will be +obvious that the editorial policy is lax. \TeXline\ prints most anything +that is arguably \TeX-like. We would like to describe this as +`eclectic', but more realistically it is just adventitious. We've only +ever turned one article down (mainly because it would have required too +much work to make it intelligible). + +If you want to receive \TeXline, there are some stringent conditions. +Money is not enough. In general, new subscribers outside the UK are added +without much quibble. Within the UK there are only two ways to obtain +\TeXline. One, write an article; two, join the UK \TeX\ Users Group. At +present, until the UK Group gets its act together and produces its own +newsletter, their members receive the newsletter. This was not an easy +decision. We would much prefer that all new subscribers did so by +tendering articles for publication. In truth the editor would prefer to +be an editor and not to write the whole thing! So far the costs of +\TeXline\ have been borne by various unmentionable means. This should not +prevent offers of support. Advertising in \TeXline\ is free. But we would +expect an advertiser to share some of the costs in some way. Everything +is negotiable. +\author{\sl Editor} +\bigskip\bar\smallskip +\centerline{\bf Hold the Presses!} +\smallskip\noindent +Moments before we were due to go to press it was brought to our attention +that `xxencode' is already in use as the name of an encoding scheme. +Clearly the name used in the {\tt tuglib} article will have to be +changed. Rather than make a hasty and precipitate decision on the spur of +the moment, the new revised name is not being decided now. Watch the +columns of \TeXline, TUGboat, or the help system of {\tt tuglib} for the +favoured name. +\rightline{\sl Malcolm Clark \& Nelson Beebe} +\endinput + diff --git a/info/digests/texline/no11/toulouse.tex b/info/digests/texline/no11/toulouse.tex new file mode 100644 index 0000000000..6756b92f6b --- /dev/null +++ b/info/digests/texline/no11/toulouse.tex @@ -0,0 +1,158 @@ +\centerline{\bf \TeX\ et les Arts Graphiques} +\smallskip +\noindent +GUTenberg finally decided to forsake Paris and travel out +to the provinces for its annual conference. It chose +Toulouse, the aerospace capital of Europe, for this +adventure. The conference took place on May 15--17th, at +the Universit\'e Paul-Sabatier, just outside Toulouse +itself. I can recommend Toulouse. It is a particularly +pleasant city. It's only disadvantage would seem to be +its apparent inaccessibility from Paris (and most other +places in France). (No bad thing I hear you mutter.) + +As usual there were courses before and after the +conference. The `tutorial' with Blanchard \& +Mandell (two French typographers of renown) was +particularly interesting, although it did seem to me that +there are definite `cultural' colourings which make it +difficult to conceive of a `European' typography, except +in a very bland and generalised way. The introduction of +real publishers offered some needed rationalisations. + +The conference itself began on the 16th, with the AGM: +like TUG, GUTenberg almost encourages you to stay away +from this, but as a member I find myself drawn +inexorably, if only to see how such matters are conducted +in another foreign country: like TUG, elections are +discouraged, and the committee\slash board is appointed, +not elected: officers seem to serve for as long as they +want: the floor does not challenge the executive +(except perhaps over the matter of the location of +GUTenberg's file server). + +Nelson Beebe gave a presentation on \TeX\ and TUG. +Michael Ferguson (with bicycle as usual) discussed some of +the aspects of \TeX3, some of its shortcomings, and some +ways ML-\TEX\ users could adopt an upwards compatible path. +Lance Carnes (another frequent attendee of GUTenberg) +scooped the vendors by having his company's versions of +\TeX3 for the pc available in a variety of attractive +shapes and sizes. There can be no doubt that Personal +\TeX\ Inc has created and is marketing a well thought out +and timely range of products. + +One of the highlights of the meeting was the paper by +C\'erin \& Lemaire on colour in \TeX. Some details will +be found in the abstract of their paper, given elsewhere +in \Texline. Collin, of Tr\'ema showed a range of +examples of work which his company had done for clients. +In many cases it would have been hard to see the hand of +\TeX. Tr\'ema did what the client asked, not what \TeX\ +wanted to do. He did agree that there were many +challenges. One of the other highlights was Grimault's +paper which charted the difficulties her company had +encountered in using \LaTeX\ as their typesetting tool. +There was a frustrating blend of misinformation, naivety +and plain bad luck. One of the afternoon's sessions was +given to a discussion on the `possibilities of \TeX'. +This was quickly taken over by Fran\c cois Chahuneau who +came with a wide range of complaints and problems with +using \TeX\ for professional typesetting. Fiery stuff. + +Since most of the papers were printed in the {\it +Cahiers} whose abstracts are printed here, it is best to +concentrate on one particular paper, that of Daniel +Taupin, who had created some superb macros to permit the +typesetting of polyphonic and instrumental music in +\TeX. This was a real tour de force. People who read +music even agreed that the typesetting was quite +acceptable (in other words, looked like what they were +used to). Fran\c cois also came back to talk about +\sgml, but he was much more restrained (who can get hot +and bothered about \sgml?). Larry Siebenmann also gave a +short talk on \LamSTeX. + +In the final session, two individuals were named as +`members of honour' of GUTenberg -- Michael Ferguson (in +recognition of ML-\TEX, which is dostributed by +GUTenberg), and Nicolas Brouard, who did most of the +donkey work in creating, copying and distributing the +GUT89 floppies, a public domain {\sc ms-dos} +implementation. + +I don't know that there was much on `Graphic Arts', and +the turnout, much lower than the Paris meetings, was +disappointing, but nevertheless there were some good +papers and some good discussions. Time keeping could have +been improved, although Bernard Gaulle was stringent in +starting the sessions on time. It would be unfortunate +if GUTenberg were discouraged from venturing out of +Paris again, although next year's meeting will be back in +Paris, on the 28th--30th of May, when the subject will +be scientific and technical publishing. + +As normal with european meetings, accommodation is never +anywhere near the conference venue, nor is it likely that +people will be in the same hotels. Nevertheless there was +still plenty of opportunity to talk to people through the +conference and in the evenings. I was pleased to see that +there were a fair few fellow `anglo-saxons', as english +speakers are quaintly described in France, some exiles +and some just trippers like myself. GUTenberg had a good +international feeling to it this year, perhaps assisted +by the simultaneous translation of the papers into +French and English (as appropriate). Despite the teething +disfficulties of getting people to talk into microphones, +this worked reasonably well. + +There is however one other GUTenberg `issue' that needs +comment. Bernard Gaulle has proposed that TUGboat +should be printed in France as well as the United States. +The principal reason put forward for this is to reduce +the delivery time: the argument is that travel times +within europe are bound to be less than those from the +US, but that production costs in europe, per copy, would +be about the same, once the higher trans-Atlantic freight +charge was taken into account. + +Superficially, this has +some appeal, but there are a number of problems: a second +set of plates would have to be made and sent to the +subsidiary printing location; the print run in the US +would be smaller, incurring higher unit cost there (since +a high proportion of the cost is in set-up, the unit cost +would not be simply proportional to the print run); and +would the delay be minimised? In my experience, mail from +France is no faster than trans-Atlantic mail. The +last edition of TUGboat, 11(2) reached the UK about +a week after it reached addresses in the US. I'm +sceptical that mail from France would be that much +quicker, or that the week is so important. Perhaps there +could be some speed up for those in France, but I doubt +whether any other european countries would notice the +difference. + +I must admit too that I would prefer to +receive the US-printed version rather than a `daughter' +copy, even if I had to wait an extra two or three days. +Since it takes me a long time to read TUGboat, and there +is seldom anything in it which is time-critical, I don't +regard its timing as crucial. I know there are those to +whom it does matter. + +I can envisage a much more exciting project: one which +allows us to exploit some of the features of \TeX: +transmit TUGboat {\it electronically\/} to a `daughter' +location, and allow the plates to be created there for +production. I'm not thinking of each person running files +through their local laser printer -- that's silly: the +paper sizes are wrong, the resolution is limited, there +is no scope to bind it properly: no, transmit {\tt +dvi}. There are problems here, but they are problems +whose solution gives greater credence to \TeX's claims +as an electronic interchange medium. Sending plates +(even if they were scanned at high resolution and +transmitted electronically) advances us nowhere. +\author{\mwc} + diff --git a/info/digests/texline/no11/tug11.tex b/info/digests/texline/no11/tug11.tex new file mode 100644 index 0000000000..9940d86788 --- /dev/null +++ b/info/digests/texline/no11/tug11.tex @@ -0,0 +1,533 @@ +\centerline{\bf\TeX as -- west of the Brazos} +\smallskip\noindent +There are at least three things to be evaluated at any +conference: in order of importance -- the social +activities, the organisation, and lastly, the +presentations. Basically, the people you meet are what +determines whether a conference is likely to be of +lasting value. The presentations are the reason that we +manage to obtain funding to go, but, judging from the +relatively small proportion of attendees who go to all +the presentations (at {\it any\/} conference), they are +clearly not thought to be the key `unmissable' items. + +This year's TUG conference was held at College Station, +Texas, the home of Texas A\&M University. The host was +{\bf Bart Childs}, TUG's previous president. There had been +many dark mutterings about the choice of site, since June +in Texas is warm. Americans are so much fussier about +these things. + +The conference started on the Sunday evening with the +`\TeX as ethnic feast' (beer and wine courtesy +ArborText, Vrazel's Polka Bank courtesy Kinch). We were +bussed to the local community hall and had some `ethnic' +food openers as we started: eventually, and I do mean +eventually, the main course arrived and we tackled it. It +was Tom's barbecue (`southern' barbecue is not your +hibatchi in the garden stuff, but a style of cooking -- +very slowly), but it's actually better at Tom's place. And +once the band were fed the dance began. Now, not too many +\TeX ies can polka. Mostly people talked to people. +Basically it was a slow start. + +At last we get to the conference. The lecture theatre +was strange. It was flat, so those at the back couldn't +see the screens. The conference `started' quite early +with a pair of presentations aimed at `new users'. This is +quite a sound idea since most (but not all) of the people +attending courses stay on for the conference, and there +are also a fair smattering of novices. {\bf Alan Hoenig} +gave a talk similar to the one he did at Exeter. It's a +fair, sound, worthy, etc.\ presentation. {\bf Nelson +Beebe} talked about some aspects of the broader picture of +\TeX\ and allies. So fair enough. But there was no fire, no +excitement, no thrill. We also had an introduction to the +TUG staff and to the Officers. + +Then the real start was made. Or almost. +{\bf Nelson Beebe} and {\bf Frank Mittelbach} made some +remarks on the new versions of \TeX\ and the forthcoming +\LaTeX\ 2.10. Basically update information. Good to know, +or to be told, but essentially reportage. Then for about +half an hour there were reports from the european \TeX\ +user associations. I do feel that they could have +made an effort to get the UK \TeX\ Users Group's name +right. But since they can't get my address right, I guess I +can't expect too much. The reports were again, very +worthy. Bernard Gaulle of GUTenberg wasn't there, so +Christina Thiele read a version of his report; {\bf +Joachim Lammarsch} (\dante) gave his; someone read +Kees van der Lann's report (Dutch group) since he wasn't +there either; {\bf Jan Michael Rynning} gave the Nordic +one and had the sense to bring a map showing where +Scandinavia is. I'm saving the best to the last. I gave +two reports, one as UK representative, and one as +European coordinator. I deviated from the subject a bit. + +Then back to site coordinator reports. Now, I find these +awfully dull, and this year was hardly any exception. +Really there are only three site coordinators reports +which are of widespread interest: \Unix, VMS and \MSDOS. +{\bf Pierre MacKay} takes most of the fun out of \Unix; +{\bf David Kellerman} (VMS) was useful; and the `small +systems' coordinator, Lance Carnes, has not done any +visible small systems coordination for years -- so no +report. All the others are minority interest with a +vengance. Coffee at last. + +Now, a curiousity. On the floor above was the vendor's +display. It wasn't open yet, and would not be until +about 1.30. This was a mistake since the morning was +so {\sl slow\/} and the organisers kept mentioning things +which would be available upstairs from the TUG display, +but which no-one could get to till later. + +{\bf Don Hosek} gave a report on behalf of the drivers +standards committee. They +are currently at level 0. Even then, some drivers will +likely not achieve this dizzy height. Then archives and +electronic bulletin boards. I must have snoozed then, +since I remember little about it. Nelson mentioned {\tt +tuglib}, a kind of electronic archive he has started at +Utah. There is a note about it elsewhere in \Texline. + +Lunch was a `networking lunch'. The notion was that people +marked a list of topics and on the basis of these figures +a number of tables at lunch were identified for people +with these similar interests. After lunch I wandered up to +the exhibits and only by chance remembered the business +meeting. It seems to me that having the exhibits open at +the same time that the business meeting is on is a +fundamental mistake, almost as if you didn't want people +to come to the business meeting. Rick Furuta was +unopposed as Vice President, just like David Ness as +Treasurer. On useful innovation was that the two +re-appointed officers gave a brief account of themselves. + +At last we got to the papers. So far, things had been +somewhere between sluggish and slow. There was nothing to +get excited about. The morning was definitely moribund. +The afternoon's papers were an interesting bunch. Had we +run to schedule it would have been Frank Mittelbach, +{\bf Hisato Hamano} and {\bf Yoshiyuki Miyabe}. It is +true that their subject matter was related. It is also +true that none of them were native american or english +speakers. Thus it was hard work to follow as the +afternoon crept on. Yoshiyuki did not actually present +his paper that afternoon, since the other talks overran. + +Frank Mittelbach's talk on `E-\TeX' was a look into the +future. Frank looked at the current deficiencies of +\TeX3, especially in typographic terms and made a number +of specific proposals on what \TeX\ needed in order to +face the next century. + +Hisato Hamano described the vertical typesetting function +swhich the {\sc ascii} Corporation of Japan (the +publishers of the \TB\ in Japanese) had developed. This +required the introduction of V-text and H-text, and a +`new' line break rule -- {\it kinsoku}. + +But many people missed them anyway because they were +upstairs with the vendors. A couple of bofs (birds of +a feather) were organised after lunch. Or rather, convenors +were found. I was convenor of one bof. The bowling bof. +There was a 10 pin bowling alley within walking distance +(walking is a novel concept in Texas) of the main +accommodation. + +There were two workshops organised (again, quite a good +idea) back at the hotel for after we got back and before +the wine and cheese, but I seemed to end up in the pool +for a while instead. I had actually signed up for a +workshop (on tables!), but I was sidetracked. Jackie +Damrau later gave me the notes which went with the +workshop and made me regret lying languidly in the pool. + +The wine and cheese (traditionally a Personal \TeX\ Inc.\ +event) was quite acceptable, although the food did run +out a bit too quickly. As the PTI representative, poor {\bf +Claire Kahan} was on tenterhooks. Come about 10 or +10.30 my bof got together and bowled the night away. +Twenty two I counted. Easily the biggest bof. I rest my +case. + +Tuesday started with the vendors' presentations. Again, a +bit scrappy, but when you have umpteen short +presentations, that's not surprising. I think they went +in reverse alphabetical order. Amy Hendrickson was +disappointing in her short presentation; Kinch had his +kids handing out informational material (very cute); +David Kellerman took up a bit too much time; Lin Tay of +Micro Press was elegant, exquisite and brief; and Betsy +Dale and John Gourlay did a neat double act. Barry +Smith did a live demo of the new \Textures. +Yes, there were more. In particular I've missed out Mike +Spivak's presentation on \LamSTeX. + +The first paper was {\bf Amy Hendrickson's} intimidating +`Getting \TeX nical'. Given her poor vendor presentation +I was a bit worried; should I stay, or go to the vendor +displays? I stayed. That was smart. Her presentation was +excellent and truly insightful. Her examples will soon be +incorporated into my course notes. What higher praise can +I give? She really left people feeling that they +understood what was going on in her example macros. They +had the benefit of being comprehensible and non-trivial. +A rare combination. The next paper dropped down from +overdrive to a more mundane level. `Where's the Greek +Shift Key?'\ asked {\bf Stephen Fulling}. Good cannon +fodder and well within the grasp of everyone. I had hoped +that {\bf Micah Beck's} `TransFig: portable graphics for +\TeX' might be just that. He discussed the history of +Transfig, but it is so \Unix dependent that I would query +the claim to portability. All my \Textures\ documents (and +their graphics) are portable across Macintoshes, but I +don't really regard that as portable. I still don't +believe that something which is operating system or page +description language specific can be described as +portable. Sorry. Still, worth knowing about. + +After lunch {\bf Andrew Marc Greene} amazed everyone with a +Basic interpreter written in \TeX. I'm reminded of Dr +Johnson's remarks about women preaching (or was it about +a dog walking on two legs?). The next query was whether +we could have a C compiler written in \TeX. Now that +might be useful. Perhaps Andrew will have one by this +time next year. + +The after lunch session began with {\bf Helen Gibson}. +Helen's was a multi media approach (slide projector as +well as ohp). Basically she described what was going on at +the Wellcome Institute. There were endearing photographs of +proud authors (including Dominik Wujastyk). The main +value of this talk was really the demonstration of \TeX\ +use in a production environment, although the Wellcome's +production is not one determined by a commercial +requirement. Helen demonstrated that 300\,dpi CM was +inferior to 1270\,dpi Times-Roman. Surprise surprise. +This did draw some comment from the audience. + +This CM bashing has got to stop. Naturally at 300\,dpi it +is not acceptable -- Knuth never intended that it should +be. He planned to use it in publishing quality +manuscripts. At 1270\,dpi it is a perfectly acceptable +typeface. I personally have grave reservations about +Adobe's Times-Roman at 300\,dpi. At 10 point it looks +blotchy and uneven. The fact that it is a 12 or 14 point +design size cannot help either. + +{\bf Robert Adams} discussed solutions on the +\TeX\slash\PS\slash graphics interface, rather than +problems. The books he described were remarkable for +their sheer quantity of graphics. Someone noted one of +the perennial problems of incorporating graphics -- the +annotation is almost always in an inconsistent typeface. + +{\bf Stephan von Bechtolsheim} discussed some aspects of +the production of his {\it magnum opus\/}. While it will +take Knuth about 7 volumes to discuss everything there is +to know about computer programming, Stephan is taking four +volumes to describe \TeX. It is currently running at +about 1380 pages. For all those owners of the semi-licit +photocopies of this book, (who should have +agreed to buy the final work), Stephan will be happy if +they buy just one volume. It will be published (soon) by +Springer-Verlag, and Stephan expects the cost to be +about \$30-\$40 per volume (with some reduced price for +the set). I think he was relieved to have it finished. He +described a number of software tools he had developed to +help ensure that the book kept itself in step. + +There was some muted criticism later that this +represented an advertisement, but I thought that was +mean. Stephan isn't going to get rich +on this. Well-known, or even notorious, perhaps. The more +people who know about the series, the better. It's only a +pity that there were not another couple of volumes on +\LaTeX. Similarly, when a few moments were found in the +program to allow {\bf Mike Spivak} to say a bit more, +there were also mutterings about unfair advertising. How +petty. + +In `Textbook Publishing', {\bf Mimi Lafrenz} described the +way that her company had risen above the \Unix\ tools to +production quality. Hers was a very positive talk, +perhaps the most invigorating of the whole conference. At +last, someone who was excited by \TeX, who thought it a +good thing, and who wanted to convince others. We could +do with many more like Mimi. + +Yoshiyuke Miyabe was re-squeezed into the program at this +point to describe {\it AutoLayouter\/}, a structured +document preparation system -- basically a structure +editor, to my mind not entirely unlike ArborText's {\it +Publisher\/}, but without any reference to \sgml. The +avoidance of international standards was a hallmark of +the conference. + +Food intervened, in the shape of a TUG Country Buffet, a +sit down affair, where the Executive Board and Conference +Dignatories mostly sat at the top table. An unfortunate +division. This was followed by poolside reception hosted +by Northlake Software (David Kellerman's bunch). This was a +good idea, but marred by the extremely high humidity. +However, some decided that the `poolside reception' +should become a `pool reception'. The skinny dipping +rumour was unfounded. + +Wednesday started with {\bf David Ness'} diagnosis of +\TeX\ errors with a preprocessor (actually, not \TeX\ +errors, more user errors). Interesting, but I'm uneasy with +preprocessors. It seems too easy to string them all +together and to loose something in the middle. Some of +his preprocessors were only at the planning stage. + +{\bf Linda Williams} is this year's Knuth scholar. She +presented a paper in which she had customised the +editor, EDT (often found on VAX/VMS, but also in \MSDOS\ +and \Unix\ incarnations), so that it made \TeX\ input much +easier. I had seen this done with {\tt emacs}, but even +the humble EDT could be made to perform quite creditably. +As an {\tt tpu/eve} person myself, I would have used the +more modern VMS editor, but that in no way underestimates +the usefulness. At least EDT is available on several +platforms, making the transition from VMS to +\MSDOS\ or \Unix\ a little less painful. + +{\bf Charles Martin} talked about training \TeX nical +typists -- in his case, including squaddies (grunts in +american). I've always maintained that secretaries are +\TeX-teachable, but the notion of training your average +squaddy had never ocurred to me. It provides a base level +which must surely demonstrate either the ease of \TeX\ or +the teaching skills of Charles. Or both. + +Just before lunch {\bf Barbara Beeton} gave a Help Session, +based on a number of pre-arranged questions culled from +various electronic forums. This was a good idea, but +unfortunately the inestimable Barbara tends to get +overwhelmed with ideas and can become difficult to follow. + +After this lunch time meeting, {\bf Michael Vulis} +described his V\TeX\ system. Basically he has a sytem for +dynamically scaling fonts. Therefore you no longer require +these thousands of bytes of {\tt pk} files. He has also +added some other bits and pieces. Most seemed to be aimed +at the advertising industry. I can't imagine me ever +having to make a headline exactly span a given distance, +and varying the size of the type to do it. His scaling +technique seemed to ignore the notion of design size, but +then, so to does most of the desktop publishing world. +Much of the debate centred around whether this was \TeX\ +or not. Michael says it passes |trip|. Frank Mittelbach +still considers it not to be \TeX. This introduces the +question of whether |trip| is the final arbiter of \TeX +hood, or whether it is merely a necessary, not a +sufficient condition. + +And lastly, Alan Hoenig, who started the conference, +finished it. He, like many of us, was fascinated by +D\"urer's alphabet. This was a sort of geometric +construction, but Alan concluded that although +Albrecht described the components by drawing and word, he +also cheated quite a bit, and the correspondence between +`algorithm' and realisation was not exact. Nevertheless, +it was fascinating to see \MF\ breathe new life into this +typeface, especially when Alan exploited the {\it meta-}% +quality to create, for example a sans serif alphabet based +on D\"urer's original. He agreed that the results were +mixed in quality. + +\section{Summing up} + The social activities were quite successful. They +threw people together and encouraged them to talk. +Perhaps the polka was a little beyond many of us (imagine +{\it touching\/} your partner in {\it public\/}!), but the +ample quantities of local beer help lubricate social +intercourse. Don't mock the local beer. Shiner Bock +turned out to be one of my fondest memories of Texas, and +the source of some amusement when one of the local +restaurants offered it as a `foreign' beer. Brewed fairly +close to College Station, and practically unavailable +outside Texas, this gave an interesting view of geography +(not an American strong suit at the best of times). I +suspect that the level of interaction was high because it +was not a huge conference, and because it was in a small +town. Last year's conference in Stanford was too big and +there were too many other distractions. + +The organisation of the social events and the conference +itself sometimes left a little to be desired. I concluded +that the pace of life in Texas was not fast. The heat +obviously has an effect -- temperatures were low when they +were in the low nineties -- say about 33\degrees C, and +humidity was high too. And it did not cool down when the +sun went down. I think the conference needs +a great deal of re-organisation. There were too many +lacun\ae. + +In particular the first day was a sadly missed opportunity. +Sieze the first day and stamp it firmly with the theme of +the conference `Forward into the 90's'. We were just +ambling along. The introductory stuff could be a whole lot +snappier. After all, Alan and Nelson are +presenting material which has been presented more than +once. It is worth tightening it up so that it +really sings. And where were \LaTeX\ and all the other good +document tools? Then, when the conference proper starts, +let's have a keynote address which says where we are, +where we're going, not just in \TeX\ terms, but also in +TUG terms. A sort of `State of the User Group'. This +doesn't have to be a president's report, but it could be. +It has to be the hallmark of the conference. The short +reports ought to be dispersed throughout the program, if +they were needed at all. After all, the site coordinators' +stuff appears in TUGboat quite regularly. Getting the +foreigners to talk is good public relations, but again, it +has to be handled carefully. Too much broken english (or +read broken english) is painful. + +The business meeting and elections are a farce. I am +beginning to sense that other attendees felt the same +way too. They are only there because the constitution +requires it. I have the strong feeling that people are +discouraged from attending. This is wrong. + +The vendors' display should be set up before the +conference starts. It should be closed when the general +meeting takes place. Under no circumstances should it +ever open at the same time that the AGM starts. + +The networking +lunch was a good idea. It helped to stimulate the birds of +a feather groups. + +The papers were a mixed bunch, ranging from the trite to +the excellent. I like it like that. Everyone has to have +the opportunity to present something, and in an +organisation whose membership varies from graduate +students, through computer support staff, faculty, to +various types of publishers and out to secretarial support +staff, one person's fascinating talk is bound to be +another's yawn. It would have been better to have a few +more papers, but obviously the organisers are constrained +by what is offered. Given the American reluctance to come +to College Station, the papers will be `thinner'. +However, I'll select the best papers: Mimi Lafrenz, Amy +Hendrickson and Charles Martin. + +One of the great successes of the conference must have +been {\bf Tom Reid's} remarkable note pads. Every +participant received two customised notepads. Each page of +the pad had a character from the cmr17 font, scaled 20000 +for a 15\,dpi `writes-light-grey' device. And every one was +personalised with the attendee's name and address. +Remarkable. + +Next year's conference will be held in Providence, the +home of TUG, from July 28th to August 1st. If I go, I +hope to organise a sailing bof. Put your name down now! + +The verdict? Won on penalties in extra time. +\smallskip +\rightline{\sl Malcolm Clark} + +\endinput + +Doug and I +had left the drafters of the `rest of the board's' +statement with a Mac portable. It was a strange sight to +see Reggie Girouard, Barbara Beeton, Christina Thiele and +Allen Dyer sweat over using a mouse. They had never seen +a Mac before. What's the editor Barbara asked? But they +coped admirably, and when, at 2.30 Doug and I went back +to the campus to typeset and print the document (not +without some security problems), it turned out quite +nicely. I set it in Lucida. The notion was that it would +be distributed to all the board by about 8 o'clock in the +morning. I'm not sure that our distribution was as +succesful as our production. A moral there somewhere. + +Lunch was another board meeting. It was anxious. The +Executive felt under pressure. So they should. With some +suitable rewording the first two motions were passed and +the third was agreed to be postponed to Cork. That was a +minor victory for me actually. I had read the by laws and +noted that a board meeting could be called by two board +members informing the president. A quorum is a quarter of +the board -- about 7 and a bit people. I knew that +Joachim would back me and that at Cork we would have at +least 7 board members, including a few hostile to TUG. +Ray said it wasn't possible. I showed it was. He hasn't +said a lot to me since. The most contentious motion was +one regarding the site of next year's meeting. It turned +up on the back of the program as Providence. No bad thing +actually, close to Cape Cod. I could go sailing like I +did last time I was there. It was where I found Rolling +Rock beer. What had irritated many was that the +announcement on the back of the program was the first +hint that that was the site. There had been no +discussion, although many of us knew that Ann Arbor +(ArborText) had offered. The gossip is that Ray was +`fired' from Math Reviews in Ann Arbor and won't go near +the place. Anyway, the decision had been Ray's. The board +felt that he was overstepping his power. That although in +the past he had selected sites, he should nevertheless +refer such a decision to the board. Lance put a motion up +requiring that the decision be deferred to the Cork +meeting. It was defeated ny 10 votes to 9, with at least +three abstentions. As far as I can see, the abstentions +were the three European board members (myself included). +I abstained on three counts: let the north americans +decide where their conference is; deciding in september +left too short a time to organise; and I didn't want +Nelson to have to use a casting vote, either alienating +him from his Executive or his board. Afterwards I +discovered that some of my colleagues wanted to have a +meeting targetted for publishers in New York. I don't +know that that would have swayed me. + +After this we returned to birds of a feather groups. A +new one appeared -- the non-Executive board members. I'm +not quite sure what I can say about this. It stemmed from +some earlier dissatisfaction, but turned out to be a very +positive meeting. Basically the `rest of the board' only +see one another once a year as a group. The real impetus +of the Board meeting is carried by the Executive, +including the Executive Director (himself an ex officio +member of the Executive). The Executive meet about four +times a year, and therefore are much more aware of their +`group dynamics'. They have some feeling for the way one +another will react in meetings. At the full board meeting +they {\it seem} fairly monolithic. Now, this is likely a +bit unrealistic, but since they have already discussed +the matters which come up on the agenda, they've been +exposed to their own points of view and can give the +appearance of cohesion. The rest of the board tend to +exhibit erratic, sporadic, ill-coordinated behavious. +Only a couple of them cabal into little meetings +beforehand, and they don't have the same sort of +juggernaut head of steam as the Executive. In a sense +they operate a bit like an upper chamber -- in theory. In +practice, they don't really come together, and rarely +challenge the Executive. Not that I am suggesting that +the Executive {\it has\/} to be challenged. For me it was +a remarkable meeting. Some of my colleagues on the board, +who I have never heard put two words together, were not +only vocal, but eleoquent. We realised that we had a +great many common frustrations and aspirations in common. +One of the frustrations was on the `long term planning +committee'. At last year's board meeting a decision was +made to appoint a committee to look at the long term +future of TUG (and \TeX). Sadly, this had not got under +way by this year's meeting. The many TUG committees, who +seem to exist only in name, were another complaint. Since +many of the board are on these committees (myself +included) this was a criticism of all board members. And +there was the feeling that we just were not doing enough. +TUG is a voluntary organisation. The board are even more +voluntary, and to a person, they want to do more for the +organisation and for \TeX. +\author{\mwc} diff --git a/info/digests/texline/no11/umist.tex b/info/digests/texline/no11/umist.tex new file mode 100644 index 0000000000..b2d858247e --- /dev/null +++ b/info/digests/texline/no11/umist.tex @@ -0,0 +1,53 @@ +\centerline{\bf Wheel re-invented at UMIST!} +\smallskip +\noindent +UMIST (University of Manchester Institute of Science and Technology) run a +\TeX\ archive too! It is a lot more limited than the Aston Archive, and is +really only a small subset of components, targetted specifically for +workstations using SunView or X-windows (and printing on a \PS\ printer). In +theory, the archive is for Science and Engineering Research Council +grantholders. I assume that all grantholders get the Sun {\sc sparc2} as part +of the grant! The archive covers \TeX, \MF, \BibTeX, a {\tt dvips} and a pair +of previewers. There are the usual tools, but in addition they have an +interactive speller. + +Some interesting questions arise from this archive. First: why? All of this is +already available at Aston. Why is public domain software being supposedly +restricted to SERC grantholders? And the key one: did money pass hands? There +might be one other: what do the SERC grantholders without Sun workstations do? +For all that SERC are to be commended for their identification of the great +utility of \TeX\ and \TeX\ tools for the science and engineering community. And +for their willingness to put some resource into this general area. + +Since there is no way to restrict the archive to particular people, here's how +to use it: send mail to +\begintt +info-server@uk.ac.umist.cns +\endtt +The information server sends out files contained in mail messages. The requests +are of the form: +\begintt +request: subject +topic: topic within that subject +request: end +\endtt +For example, information about \TeX\ can be obtained by the following message: +\begintt +request: catalogue +topic: tex +request: end +\endtt +There is also a line-limit command for those restricted in message size. + +In order to use {\sc ftp} there is a guest account (that is, username {\tt +guest}), with a password of your email address (I guess this means that +anything will do: I cannot believe they have an index of all {\sc serc} +grantholders email addresses, far less kept them up to date!). + +UMIST also run a \TeX\ advice service. +The support line address is |tex-support@uk.ac.umist|. The mailbox is +monitored `regularly'. +Again, it isn't very clear either how +this is funded, or who is elegible for advice. If there is money floating +around in SERC for the support of worthy \TeX\ projects, there are lots more +which could do with some help or encouragement. \author{\mwc} diff --git a/info/digests/texline/no11/verbar.tex b/info/digests/texline/no11/verbar.tex new file mode 100644 index 0000000000..49515932e2 --- /dev/null +++ b/info/digests/texline/no11/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$$#1\halign\bgroup\indent##\hfil&&\qquad##\hfil\cr}} +\outer\def\enddisplay{\crcr\egroup$$} +\message{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}} + + diff --git a/info/digests/texline/no12/12.tex b/info/digests/texline/no12/12.tex new file mode 100644 index 0000000000..52a782a98b --- /dev/null +++ b/info/digests/texline/no12/12.tex @@ -0,0 +1,62 @@ +\input texline +\def\firstpage#1{\bgroup\advance\vsize by0.5in\voffset-0.5in +\bigcolheight=\vsize +\advance\bigcolheight by\bigcolheight +\advance\bigcolheight by 10pt +\pageheight=\vsize +\begindoublecolumns\input texline.head +\input #1 +\enddoublecolumns +\vfill\eject\egroup} +\firstpage{dek} +\begindoublecolumns +\bar\input peter +\bar\input chemist\vfill\eject +\bar\input hubert +\bar\input victor +\bar\input nico +\bar\input cahiers6 +\bar\input sources +\bar\input aston +\bar\input ridt91 +\bar\input gut +\bar\input call +\bar\input dante91 +\bar\input epu +\bar\input didot +\bar\input uktexug\vfill\eject +\bar\input toc +\bar\input good_guys +\bar\input late +\enddoublecolumns +\bye + +book review: tex for the impatient +book review: sue brooks +schrod's TeX system +do we have an issn +explanation? +editorial? +\vfill +\centerline{% +\scaledpicture 14.3pc by 11.1pc (leo scaled 1200)} +\eject + +\scaledpicture 31.6pc by 19.7pc (lamb scaled 500) +\scaledpicture 31.6pc by 19.7pc (lamb scaled 600) +\scaledpicture 31.6pc by 19.7pc (lamb scaled 700) +\line{\hfil\scaledpicture 17.9pc by 19pc (t scaled +800)\hfil} +\scaledpicture 31.6pc by 19.7pc (lamb scaled 500) + + +\scaledpicture 17.5pc by 17.6pc (e scaled 800) + +\scaledpicture 14.3pc by 11.1pc (leo scaled 1200) + +\scaledpicture 17.6pc by 17.8pc (x scaled 800) + +\enddoublecolumns + +\centerline{\scaledpicture 46.7pc by 46.5pc (leonardo +scaled 400)} diff --git a/info/digests/texline/no12/aston.tex b/info/digests/texline/no12/aston.tex new file mode 100644 index 0000000000..5c494a1520 --- /dev/null +++ b/info/digests/texline/no12/aston.tex @@ -0,0 +1,73 @@ +\title{Access to the UK \TeX\ Archive} +\vskip-\medskipamount +\section{Interactive} + Interactive access to the archive is not, at present, provided. +\section{File Transfer} + However, you may use NIFTP to access any of the files in the + archive; send a transfer request for the required file (which must + be named explicitly, no wildcard search mechanism exists). The + first file you should fetch is {\tt\lowercase{[TEX-ARCHIVE]00README.TXT}} +which gives + some clues as to the directory hierarchy of the archive. + + The file {\tt\lowercase{[TEX-ARCHIVE]00DIRECTORY.LIST}} contains the names of +every + file in the archive; {\tt\lowercase{[TEX-ARCHIVE]00DIRECTORY.SIZE}} gives +their sizes + and creation dates as well. The latter file is approximately 6\,Mbyte in + size. + + Queue the transfer request specifying the site as +{\tt\lowercase{% +UK.AC.ASTON.TEX}}, +username + |public|, password |public|; note that it {\it is\/} necessary to specify the + directory (|[tex-archive]| for those files mentioned above, and + subdirectories of it for most other files) in your request, because + the |public| account does not reference this directory by default. + +\section{Mail Transfers} + An alternative access method is through the TeXserver, which accepts + requests sent by e-mail, and returns its response by the same + method. + + To get started, send a mail message to +\begintt +TeXserver@Uk.Ac.Aston.TeX +\endtt + with +the body of your message consisting only of the TeXserver + command |HELP|; you should receive a `receipt' for your request, and + later the help information which describes the rest of the commands + available. + + Receipts are sent within a few minutes of arrival of your request; + if the request is valid, it will be queued for later processing. + Generally speaking, you should receive the requested information + within about another hour, but it could be delayed if the server is + heavily loaded. + + If you don't get the receipt within a reasonable time (say 6 hours), + then please try only once more: it may be that the server is unable + to route mail back to you. If this happens to you, please send + details of your request, and any response (including bounced mail + reports) to me at the address given at the end of \TeXline. + + You shouldn't normally fail to get a receipt, but it may occur with + sites on the BT PSS network who have routed their requests to + TeXserver through one of the PSS-\Janet\ gateways; the TeXserver + account isn't authorized to route traffic back by the same route. + If you know of another route back to you that the server could use + (for example, {\tt uk.co\dots} sites may have registered with |uk.ac.ukc| +to + act as a relay for them), then you may try once more, specifying + your address relative to Aston in a |PATH| command on a line preceding + the |HELP| command; for example |fred@uk.co.somefirm| could send the + following request: +\begintt +PATH fred%uk.co.somefirm@uk.ac.ukc +HELP +\endtt +Good luck! +\author{Brian {Hamilton Kelly}} + diff --git a/info/digests/texline/no12/cahiers6.tex b/info/digests/texline/no12/cahiers6.tex new file mode 100644 index 0000000000..fca4547ad2 --- /dev/null +++ b/info/digests/texline/no12/cahiers6.tex @@ -0,0 +1,64 @@ +\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} + +\title{Cahiers GUTenberg} +\leftline{\bf Summaries from Number 6, July +1990:} +\frenchspacing +\talk{\LaTeX\ dans les ann\'ees 1990}{Frank Mittelbach \& Rainer Sch\"opf} +A translation of the paper presented at Stanford in 1989, later at Karlsruhe in +the same year. The original may be found in \TUGboat\ 10(4), p681--690. + + +\talk{En chinois dans le \TeX te}{Alain Cousquer} +Discusses the problems of, and some solutions to, including Chinese (hanzi) +characters in \TeX. The characters were bit-mapped rather than \MF ed. More +oriented towards including some Chinese in Latin texts than totally +typesetting in Chinese. + + +\talk{\LamsTeX\ -- un noveau formateur de Michael Spivak}{Laurent Siebenmann} +A review of Spivak's new package, which seeks to merge the functionality of +\AmSTeX\ with that of \LaTeX. Notes in particular the ability to create quite +complex commutative diagrams. Also discusses the relationship between this +package and `logical formatting', concluding that there is a great deal of +typographic markup in \LamsTeX, as well as structural markup (introducing the +idea of \LamsTeX\ as an `off-road vehicle', rather than a family sedan). Points +out some of the difficulties of using the package with some implementations of +\TeX\ -- purely from the point of view of |hash_size|s. The problem of +customisation to the French language is also discussed. + + +\talk{Greetings from the TUG president}{Nelson H F Beebe} +The paper summarises recent and coming events in the \TeX\ world, including +conferences, new books, improved electronic access to \TeX\ archives, new \TeX\ +and \MF\ software, new font developments, and some noteworthy new \TeX\ output +hardware. + +\talk{Manuels typographique conserv\'es au Mus\'ee de l'imprimerie de Lyon}{Alan +Marshall}Presents a list of manuals relating to typography which are +to be found in the Library of the Lyons Printing and Banking Museum. The list +here begins in 1723 and includes titles, by, among others, Fournier, Didot and +Hansard. + +\talk{Le\c cons de microtypographie: 1 -- emploi des capitales (Premi\`ere +partie)}{Jacques Andr\'e \& Jeanine Grimault}This note is concerned with the use +of capitals in French texts. Considers some of the rules employed in determining +whether a capital is appropriate. Also discusses the problem of diacriticals on +capitals. + +\talk{Book Review}{\'Eric Cornelis}Reviews `\LaTeX\ la perfection dans le +traitment de texte' by Francis Borceux, \'editions Ciaco, Brussels, 1989, ISBN +2~87085~194~4. + +\talk{Le coin de gourous}{Georges Weil, Raymond Seroul}Contains a macro to +number the individual lines of text, and a discussion on the |\valign| command. + +\talk{Les fiches cuisine d'Onc Piscou: \'ecrire en fran\c cais avec +\PS}{Bruno Borghi}Continuation of other articles on \PS. Concerned chiefly with +access to diacriticals, to make \PS\ easier to use in French. +\author{\mwc} diff --git a/info/digests/texline/no12/call.tex b/info/digests/texline/no12/call.tex new file mode 100644 index 0000000000..4c376c7ab4 --- /dev/null +++ b/info/digests/texline/no12/call.tex @@ -0,0 +1,84 @@ +\def\topic{\itemitem{$\triangleright$}} +\title{\TeX\ Inroads into Publishing:} +Subtitled `Document Design, Production \& Interchange', the 1991 +\TeX{} Users Group Annual Meeting will be held on July 15--18, 1991 +in Dedham, Massachusetts (suburban Boston) -- a short distance +from Providence, Rhode Island, home of the \TeX{} Users Group. The +high quality of the final product, as well as document portability, +have made the \TeX{} typesetting system a wide-spread standard in +academic settings, and it is making significant inroads into many +commercial areas too. + +The 1991 Meeting will focus on the issue of \TeX{} in the publishing +world, addressing \TeX{}'s relation to the traditional and developing +publishing markets: from a tool for authors and secretaries in +creating preprints; to its use as an in-house typesetting tool for +production of attractive books, journals and articles; to a means of +sharing text from one setting to another in generically tagged +documents. +There will also be +topical workshops, poster sessions, several extended +courses, a networking lunch, and `Birds of a Feather' sessions. + + +Contributions are now being sought by the Program Committee for +inclusion in the 1991 Meeting. Submissions for papers, workshops, +and poster sessions may present material on a wide range of topics +related to -- but not limited to -- the areas suggested below. +Selection will be based on originality, applicability, utility and +interest to the \TeX-using community. A balance of entry +and advanced levels will be sought. + +\smallskip +\bi Publishing +\topic Publishers and the \TeX-using author +\topic Production cycle: from ms.\ to blues +\topic Traditional typography and \TeX{} quality +\topic Editing, design, and production +\topic Getting \TeX{} into the publishing house +\topic Vendors: who's doing what and why? +\topic Managing \TeX{} support +\smallskip +\bi Document Preparation +\topic Document structure +\topic SGML and \TeX{} and the publisher +\topic Portability and interchange +\topic Fonts (\TeX{} and non-\TeX) +\topic Integrating \TeX{} with other programs +\topic Graphics +\topic Modifying formats +\smallskip +\bi New Frontiers +\topic \TeX: Pros and cons +\topic Developing standards +\topic Novel applications of \TeX, \MF, \WEB + + +\section{Deadlines} +\bi December 15, 1990: Proposals should be one page in length, +submitted + to the Program Coordinator by mail, email, or fax. +\bi January 15, 1991: Notification of acceptance. +\bi March 15, 1991: Preliminary paper (in duplicate). +\bi July 1, 1991: Preprint ready. +\bi July 15--18, 1991: Presentation at 1991 Meeting. +\bi August 19, 1991: Final paper. + + +\noindent For further information, contact: +{\obeylines +Christina Thiele +JPC DT1711 +Carleton University +Ottawa, Canada K1S 5B6 +tel: {(613) 788-2340} +email: {\tt Christina\_Thiele@Carleton.CA} +fax: {(613) 788-3544}} + +\noindent or the TUG office: +{\obeylines +tel: (401) 751-2883 +email: {\tt TUG@Math.AMS.com} +fax: (401) 751-1071} + +\endinput diff --git a/info/digests/texline/no12/chemist.tex b/info/digests/texline/no12/chemist.tex new file mode 100644 index 0000000000..f8bd5aa555 --- /dev/null +++ b/info/digests/texline/no12/chemist.tex @@ -0,0 +1,276 @@ +{\overfullrule0pt\def\cite#1{[#1]} +% Warning: This is an input file for AMSTeX, rather than for LaTeX. +% This is just so that I can use the commands for arrows +% mentioned on pages 140-141 of "The Joy of TeX". +% It may not be "good AmSTeX", since it's the first time +% I've used AmSTeX seriously! +\title{Could \LaTeXbf\ do more for chemists?} +From time to time I have seen queries in {\TeXhax} and +elsewhere from people who wish to use \LaTeX\ for documents +that involve chemical formulae, etc. Since there are now plans for +\LaTeX\ 3.0 \cite{1}, +I thought this might be a good time to consider +what facilities one could reasonably ask the people implementing the new +\LaTeX\ to provide for chemists. + +I'm not a chemist myself, but have been involved in helping chemists +use \LaTeX\ 2.09 \cite{2} for producing theses, etc. + +\section{Typesetting and artwork} + It may help to consider the division of labour within a traditional +publishing house. A `copy-editor' \cite{3, p236} might divide the work on +chemical formulae up between `the printer' and `the draughtsman'. Thus, +some formulae can be typeset, but others are treated as `artwork' and are +drawn. + +Although there have been valiant attempts \cite{4-5} to define \TeX\ macros +for drawing chemical structure diagrams, I think it is inevitable that, +whatever \TeX\ macros are defined, there will be chemists who come along with +requirements that are beyond the abilities of the macro packages. Therefore, +it seems sensible to retain the traditional division between typesetting and +artwork: to typeset those formulae that can be typeset easily and to get the +other formulae drawn in some way. + +In \TeX\ terms, artwork can be treated as `graphics' to be +`pasted' into a typeset document via |\special|. +For example, {\sans Chemdraw} +\cite{6} can produce `encapsulated {\PS}', +so a \LaTeX-ed document with {\sans Chemdraw} diagrams can be printed on +a {\PS} printer. + +\section{Desirable facilities for chemists} +\LaTeX\ is never going to be a system for producing `artwork', +so it seems to me that it would be unwise to attempt to provide +comprehensive facilities for `chemical artwork' in \LaTeX. However, it does +seem worth providing a limited number of facilities to make it +easier to produce the chemical formulae that should be +treated as `typesetting'. + +\subsection{Environments} +Chemists' problems start when they use \LaTeX's `mathematics' +environments for `chemistry'. Chemistry is not mathematics, and +the conventions for typesetting chemistry are different from those for +typesetting mathematics. In terms of the \LaTeX\ philosophy \cite{2, p6}, +`mathematics' and `chemistry' represent `logically distinct structural +elements'. + +It would seem natural to: +\bi define environments for chemists that are + analogous to the environments that are available for mathematicians +\bi within these `chemistry' environments, aim to keep to + whatever typesetting conventions are usual in chemistry. + +\noindent +How about defining {\tt chem}, {\tt displaychem} and {\tt chem\-equation} + environments, +by analogy with {\tt math}, {\tt displaymath} and {\tt equation}? + +If such environments were defined, the style-file writer would then +have control over `mathematics' and `chemistry' separately. +In particular: +\bi The default would be {|\rm|} for chemistry (although + a designer could change the default in a {\tt .sty} file). + Individual + authors would no longer have to search through + ``double bend'' sections of the \TB\ themselves + \cite{7, pp163 \& 179}. +\bi A designer could implement a house-style in which + mathematical and chemical equations are numbered in separate + sequences \cite{3, p224} or a house-style in which there is only one + sequence of numbers \cite{8, p32}. +\bi It might be possible to arrange that subscripts will normally be + at the same level \cite{7, p179} inside the environments + for chemistry. + + +\subsection{Commands} +At first sight, the \LaTeX\ manual \cite{2, ch.\ 3} gives the impression that +\LaTeX\ 2.09 provides the `building blocks' to give all the arrows, +harpoons and annotation that a chemist could want. However, it is often +difficult to get these building blocks arranged in the ways required. +For example: + +\bi How does one obtain CH${_3}$(C=O)OCl \cite{3, p235} in `math mode'? + We can't + use `=' + to mean ``double bond'', since \TeX\ puts space + around it. +\bi To represent a reversible reaction with rate constants above\slash below + a pair of harpoons, I ended up with +\begintt +\renewcommand{\arraystretch}{0.5} +A \begin\{array}{c} + \scriptstyle k_1\\[1mm] + \rightleftharpoons\\ + \scriptstyle k\_2 + \end{array} B +\endtt + before it looked right. Surely individual \LaTeX\ users shouldn't have + to re-do the `tuning' needed to get these things right? +\bi As in the above example, arrows and harpoons are often labelled to show +reaction conditions. It is not clear how to get +arrows\slash harpoons that expand to the width of the labels. + +\noindent Many of these difficulties are another consequence of trying to +use, for chemistry, the structural elements that were designed for +mathematics. + +So what commands might usefully be made available inside some future +`chemistry' environments? + +It seems desirable \cite{3, p237} to have documented facilities for +single and double bonds. Triple bonds might also be needed \cite{9}. +A documented facility for representing single +bonds by raised dots would also be useful \cite{10, p59}. +Might commands such as |\bond|, |\doublebond| and +|\triplebond| +be appropriate? + +It seems desirable to have specific commands for typesetting +arrows\slash harpoons with labels above\slash below (to indicate conditions or +rate constants). An indication of the combinations +of arrows\slash harpoons that have been typeset traditionally is given +in \cite{11,~p371}. Thus, as well as providing simple arrows for one-way +reactions, it might be worth aiming to provide commands for: equilibrium +reactions (beginning at left and right); reversible reactions (beginning at +left and right); reactions beginning at left\slash right and completed to +left\slash right. Might it be worth defining some commands such as + +\centerline{\vbox{\tt\halign{\char'134#\quad&\char'134#\cr +oneway\cr +equilibriumR &equilibriumL\cr +reversibleR &reversibleL\cr +rightright &rightleft\cr +leftright &leftleft\cr +}}} +\noindent that each accept two parameters: one to give a label +above the symbol, the other to give a label below the symbol? +For example, +\begintt +\begin{chem} +2H_2 + O_2 +\oneway{catalyst}{300 K; 4 bar} 2 H_2O +\end{chem} +\endtt +might be a natural way to specify +% This is the line that contains the command that made me use AMSTeX. +% I couldn't find anything else ready-made in plain TeX or LaTeX. +\newdimen\bigaw +\def\oneway>#1>#2>{% +\setbox0\hbox{$\scriptstyle#1$} +\setbox1\hbox{$\scriptstyle#2$} +\bigaw\wd0\ifdim\wd1>\bigaw\bigaw\wd1\fi +\mathrel{\mathop{\hbox +to\bigaw{\rightarrowfill}}\limits^{#1}_{#2}}} +$${\rm2H}_2 + {\rm O}_2 + \oneway >{\rm catalyst} > {\rm 300 K; 4 bar} > + {\rm 2H}_2{\rm O} +$$ + +\section{Work involved} +I'd guess that my suggestions about environments could be implemented +by slight modications of the code that implements the corresponding +environments for mathematics. + +Some new work would be required for commands such as |\oneway|, +\dots\ , |\leftleft|. The only similar facility that I've found +in an existing macro package is that for arrows in \AmSTeX\ \cite{12, p140}, +but (from a chemist's point-of-view) this doesn't provide sufficient +choice of symbols. + +It might be worth seeking advice about objectives +from people who typeset chemistry professionally. +% Perhaps the UK's Royal Society of Chemistry would be prepared to advise +% about details. I've been in e-mail correspondence with their Publications +% Manager about authors submitting mansuscripts electronically to them, +% although they seem to be going the wordprocessor + chemdraw + SGML route. + +\section{Documentation} +If the facilities that I've outlined above were provided, I would +be inclined to give them less prominence in the documentation than +the analogous facilities for mathematicians. This would help +give the impression that, whereas mathematicians can expect \LaTeX\ +to do everything they want, chemists can only expect \LaTeX\ to do a certain +proportion of what they want. +For example, in the successor to \cite{2}, the description of facilities for +chemists might be relegated to an appendix, which could start with a +paragraph explaining that the facilities are intended to support +`typesetting' but not `artwork'. + +\section{Bibliography}{\parindent0pt\frenchspacing\raggedright +\everypar{\hangafter1\hangindent20pt} +\par +[1] Frank Mittelbach and Rainer Sch\"opf, 1989, +With \LaTeX\ into the Nineties +TUGboat 10, +681--690. + + + +[2] +Leslie Lamport, 1986, +\LaTeX: A Document Preparation System, +Addison-Wesley. + + + +[3] +Judith Butcher, 1981, +Copy-editing +Cambridge University Press, + + + +[4] +Roswitha T. Haas and Kevin C. O'Kane, 1987, +Typesetting chemical structure formulae with the text formatter + \TeX\slash \LaTeX, +Computers and Chemistry 11, +251-271. + +[5] +Michael Ramek, 1990, +Chemical structure formulae and $x/y$ diagrams with \TeX\ {\it in:} + \TeX: applications, uses, methods, Malcolm Clark (editor), +Ellis Horwood. + +[6] +{\sans Chemdraw} (A program for the Macintosh), +Cambridge Scientific Computing, +Cambridge, Massachusetts. + +% +[7] +Donald E. Knuth, 1986, +The \TeX book, +Addison-Wesley. + +[8] +Janet S. Dodd, 1986, +The ACS Style Guide +American Chemical Society + +[9] +Handbook for Chemical Society Authors, 1961, +The Chemical Society + +[10] +Hart's Rules, 1983, +Oxford University Press +1983 + + +[11] +Chicago Manual of Style, 1982, +Chicago University Press +% \publaddr Chicago + +[12] +Michael Spivak, 1986, +The Joy of \TeX, +American Mathematical Society + +}} +% + +\author{David Rhead} diff --git a/info/digests/texline/no12/dante91.tex b/info/digests/texline/no12/dante91.tex new file mode 100644 index 0000000000..7c6c9fdbfc --- /dev/null +++ b/info/digests/texline/no12/dante91.tex @@ -0,0 +1,33 @@ +\title{\TeX~Meeting in~Vienna} +The 10th meeting of the German speaking \TeX\ users group \DANTE\ +will be held from February 20 to~22, 1991, +at the Technical University of Vienna. +Wednesday afternoon will be reserved for the general assembly of \DANTE\ members +only, whereas to the talks, discussions, and workshops on Thursday and Friday, +attendees from all European and non-European countries are +welcome too. +The official conference language will be German, but talks may also be +presented in English. + +Proposed topics include all aspects of \TeX, \LaTeX, \MF, \SGML\ +and, of course, European language support. +The technical program will be supplemented by several non-technical +events like a performance of Mozart's `Magic Flute' by the Vienna State +Opera, an evening at a typical Viennese `Heurigen' wine restaurant, +and a reception in the City Hall. + +If you want to present a paper or to exhibit a product, +please tell us before December~14, 1990, +at the address below. +All \DANTE\ members will be invited individually at the end of this year. +All non-members who would like to attend the meeting or to receive more +information about it, contact +{\obeylines +Dr~Hubert Partl +EDV-Zentrum der +Technischen Universit\"at +Wiedner Hauptstra\ss e 8--10 +A-1040 Wien, Austria +email: {\tt z3000pa@awituw01.bitnet} +} +\endinput diff --git a/info/digests/texline/no12/dek.tex b/info/digests/texline/no12/dek.tex new file mode 100644 index 0000000000..a22a578a31 --- /dev/null +++ b/info/digests/texline/no12/dek.tex @@ -0,0 +1,104 @@ +% tb30dek.tex + +%\centerline{\bf The future of \TeX\ and \MF} +\everypar{\looseness-2} + + +\title{The future of \TeX\ and \MFb} +My work on developing \TeX, \MF, and Computer Modern has come to +an end. I~will make no further changes except to correct extremely +serious bugs. + +I have put these systems into the public domain so that people +everywhere can use the ideas freely if they wish. I~have also spent +thousands of hours trying to ensure that the systems produce +essentially identical results on all computers. I~strongly believe +that an unchanging system has great value, even though it is axiomatic +that any complex system can be improved. Therefore I~believe that it is +unwise to make further `improvements' to the systems called \TeX\ +and \MF\/. Let us regard these systems as fixed points, which should +give the same results 100 years from now that they produce today. + +The current version number for \TeX\ is 3.1, and for \MF\ it is 2.7. +If corrections are necessary, the next versions of \TeX\ will be 3.14, +then 3.141, then 3.1415, \dots, converging to the ratio of a circle's +circumference +to its diameter; for \MF\ the sequence will be 2.71, +2.718, \dots, converging to the base of natural logarithms. I~intend +to be fully responsible for all changes to these systems for the rest +of my life. I~will periodically study reports of apparent bugs, and +I~will decide whether changes need to be made. Rewards will be paid to +the first finders of any true bugs, at my discretion, but I~can no +longer afford to double the size of the reward each year. Whenever +I~have created a new version, I~will put it in the official master +\TeX\ archive, which currently resides at Stanford University. At the +time of my death, it is my intention that the then-current versions of +\TeX\ and \MF\ be forever left unchanged, except that the final +version numbers to be reported in the `banner' lines of the programs +should become + +\centerline{\tt TeX, Version {\char'044}{\char'134}pi{\char'044}} +\noindent and + +\centerline{\tt METAFONT, Version {\char'044}e{\char'044}} +\noindent respectively. From that moment on, all `bugs' will be +permanent `features.' + +As stated on the copyright pages of Volumes B, D, and E, anybody can +make use of my programs in whatever way they wish, as long as they do +not use the names \TeX, \MF, or Computer Modern. In particular, any +person or group who wants to produce a program superior to mine is +free to do so. However, nobody is allowed to call a system \TeX\ or +\MF\ unless that system conforms 100\% to my own programs, as I~have +specified in the manuals for the {\tt trip} and {\tt trap} tests. And +nobody is allowed to use the names of the Computer Modern fonts in +Volume~E for any fonts that do not produce identical {\tt tfm} files. +This prohibition applies to all people or machines, whether appointed +by TUG or by any other organization. I~do not intend to delegate the +responsibility for maintainance of \TeX, \MF, or Computer Modern to +anybody else, ever. + +Of course I do not claim to have found the best solution to every +problem. I~simply claim that it is a great advantage to have a fixed +point as a building block. Improved macro packages can be added on the +input side; improved device drivers can be added on the output side. +I~welcome continued research that will lead to alternative systems that +can typeset documents better than \TeX\ is able to do. But the authors +of such systems must think of another name. + +That is all I ask, after devoting a substantial portion of my life to +the creation of these systems and making them available to everybody +in the world. I~sincerely hope that the members of TUG will help me to +enforce these wishes, by putting severe pressure on any person or +group who produces any incompatible system and calls it \TeX\ or \MF\ +or Computer Modern -- no matter how slight the incompatibility might +seem. +\author{Donald E. Knuth} +\bigskip +\centerline{\scaledpicture 46.7pc by 46.5pc (leonardo +scaled 400)} + + + +\endinput + + +%\centerline{\bf The future of \TeX\ and \MF} +\magnification\magstep1 +\baselineskip 12pt +\parskip2pt + +\font\logo=logo10 % font used for the METAFONT logo +\font\logobf=logobf10 +\def\MF{{\logo META}\-{\logo FONT}} + +\def\MFbook{{\sl The {\logosl METAFONT}\kern1pt book}} +\def\TeX{T\hbox{\hskip-.1667em\lower.424ex\hbox{E}\hskip-.125em X}} + +\centerline{\bf The future of \TeX\ and {\logobf METAFONT}} +\centerline{Donald E. Knuth} +\bigskip + [ article as above ] +------- + +------- diff --git a/info/digests/texline/no12/didot.tex b/info/digests/texline/no12/didot.tex new file mode 100644 index 0000000000..c064897fb1 --- /dev/null +++ b/info/digests/texline/no12/didot.tex @@ -0,0 +1,20 @@ +\title{DIDOT} +DIDOT is a project of the EEC/{\sc comett} II program. Its +objectives are to conceive, equip and evaluate a European programme of +tuition in digital typography for computer experts and graphic designers. On +October 25th, DIDOT gave a presentation at the Ecole Polytechnique F\'ed\'erale +de Lausanne. The presentation included some short lectures which outlined the +project and discussed the state of the art of some of its objectives. This was +followed by a workshop to promote discussion on how the objectives might be met. +Since many interested parties would have been unable to attend, DIDOT will +maintain a mailing list of interested parties. To be placed on this mailing +list, contact +{\parindent10pt\obeylines +IRISA/DIDOT project +Campus de Beaulieu +F-35042 Rennes Cedex +France +email: {\tt jandre@irisa.fr} +} + +\endinput diff --git a/info/digests/texline/no12/epu.tex b/info/digests/texline/no12/epu.tex new file mode 100644 index 0000000000..78ed9bdcb1 --- /dev/null +++ b/info/digests/texline/no12/epu.tex @@ -0,0 +1,45 @@ +\title{Electronic Publishing Out of the Playpen!} +The theme of this BCS Electronic Publishing Specialist Group conference will be `the +future of Electronic Publishing in the real world'. Partly for economic reasons, +partly because there is a lack of confidence in the ability of some Electronic +Publishing products to provide cost-effective solutions and partly because some +practitioners are so blinkered that they cannot see beyond their own pet software, +there is currently something of a crisis in certain areas of Electronic Publishing. + +{\sl Electronic Publishing Out of the Playpen!\/} is intended to provide a platform +for discussion on how Electronic Publishing can be, and is being, used in practical +applications in a number of organisations, in the hope that some light can be shed on +aspects of this crisis and on future developments and applications in the field. +Moreover, by involving speakers from elsewhere in Europe, the intention is to view +this in the context of the Open European Market of 1992. + +Invited speakers (to be confirmed) will include: +\item{}Jacques Andr\'e of the University of +Rennes, one of the initiators of the DIDOT project to coordinate +training in numerical typography. +\item{}David Fawthrop, who has developed the algorithms and +programs for the hyphenation of +nearly 40 languages, used in the Hyphenologist +programs. +\item{}Nico Poppelier of Elsevier, a nuclear physicist who is now working +on author submission of manuscripts using \TeX\ and conversion of these +and other word processing formats to \SGML. +\item{}Eric van Herwijnen of CERN, author of {\sl Practical +SGML}. + +Contributed papers on related and other +relevant topics are welcomed. The proceedings will not be published and +therefore only a title and abstract are required in advance. Talks +concerned with practical experience will be particularly welcome. +If you wish to submit a paper, please send a title and abstract to: +{\obeylines +{\sl Electronic Publishing Out of the Playpen!} +BCS Electronic Publishing Specialist Group +30 Edgerton Road +Huddersfield HD3 3AD +} + +The conference will take place at Exeter College, Oxford on March 21st--22nd, 1991. +If you are not a member of +the BCS Electronic Publishing Specialist Group and would like details of the conference and/or details of Group Membership, +please write to the above address. diff --git a/info/digests/texline/no12/good_guys.tex b/info/digests/texline/no12/good_guys.tex new file mode 100644 index 0000000000..63a587dfb2 --- /dev/null +++ b/info/digests/texline/no12/good_guys.tex @@ -0,0 +1,74 @@ +\def\address#1={\goodbreak\vskip5ptplus2pt\goodbreak\parindent0pt% +\hbox{\hfuzz40pt\hsize3.1truein\vbox{#1}}} + +\centerline{\bf The good guys} +{\obeylines +\address +Donald E. Knuth +Department of Computer Science +Stanford University, Stanford +CA 94305, USA += +\address +Brian Hamilton Kelly +Royal Military College of Science +Shrivenham +Swindon SN6 8LA, UK +email: {\tt tex@uk.ac.cranfield.rmcs} += +\address +Johannes Braams +Neher Laboratorium +PTT Research, Postbus 421 +Leidschendam, the Netherlands +email: {\tt braams@hlsdnl5} +=\address +C.G. van der Laan +RekenCentrum RijksUniversiteit Groningen +Landleven 1, 9700 AV, 050-633374 +Groningen, the Netherlands +email: {\tt cgl@rug.nl} +=\address +Victor Eijkhout +CSRD +University of Illinois +305 Talbot laboratory +104 South Wright street +Urbana, Illinois 61801-2932, USA +email: {\tt eijkhout@edu.uiuc.csrd.s12} +=\address +Peter Cameron +School of Mathematical Sciences +QMW College +Mile End Road +London E1 4NS, UK +email: {\tt pjc@uk.ac.qmw.maths} +=\address +Dr~Hubert Partl +EDV-Zentrum der +Technischen Universit\"at +Wiedner Hauptstra\ss e 8--10 +A-1040 Wien, Austria +email: {\tt z3000pa@awituw01.bitnet} +=\address +Nico Poppelier +Elsevier Science Publishers BV +Physical Sciences \& Engineering Division +Sara Burgerhartstraat 25 +1055 KV Amsterdam, the Netherlands +email: {\tt poppelier@nl.ruu.med} +=\address +David Rhead +Cripps Computing Centre +University Park +Nottingham, N57 2RD, UK +email: {\tt david\_rhead@uk.ac.nottingham.cc.vme} += +\address +\DW +Wellcome Institute +183 Euston Road +London, NW1 2BP, UK +email: {\tt wujastyk.@uk.ac.ucl.eudid} += +} diff --git a/info/digests/texline/no12/gut.tex b/info/digests/texline/no12/gut.tex new file mode 100644 index 0000000000..df10119d64 --- /dev/null +++ b/info/digests/texline/no12/gut.tex @@ -0,0 +1,103 @@ +\centerline{\bf 6th European \TeX\ Conference \&} +\centerline{\bf GUTenberg'91} +\smallskip +\noindent +The sixth European \TeX\ Conference is to be organised by GUTenberg, the +French speaking user group, and will be held concurently with +the GUTenberg'91 congress. It will take place in Paris on 23th--25th September +1991. +The active part played by the various European user groups in bringing +about the modifications undergone by \TeX\ over the past few years +demonstrates how essential it is that an annual conference +should be held in Europe. + + +\section{The Sixth European Conference} +Contributions may deal with various topics, including those suggested +below. Selection will be made on the basis of novelty, interest and +use to the \TeX\ user community. + +Although English is the official language, simultaneous translation for +French speakers is being considered. + +\bi Multi-lingual \TeX +\bi User groups +\bi Developments around \TeX, {\MF}\dots +\bi Merging \TeX\ with other systems and applications +\bi Typographics layout and design +\bi Hypertext and its relationship with \TeX +\bi Markup documents systems +\bi Fonts design +\bi Merging \TeX\ with graphics +\bi Specialist macros and their applications +\bi Networks related to \TeX + +\section{Tutorials} +Tutorials on \TeX\ and the \TeX set are to be held during the week of +16 to 21 September 1991. +Tutorials will be taught in either English or French. + +\section{Deadlines} +The following deadlines apply to the 6th European \TeX\ Conference and +to the GUTenberg'91 congress. +A one page abstract (600--800 words) should be +submitted by mail, email or fax by the 1st February 1991. +Abstracts should be sent in first instance to the author's +national user group if there is one; failing this, to one of the +programme coordinators. +Speakers selected will be notified of acceptance by 1st March 1991. + +Complete texts must be submitted by 1st May 1991, preferably in +\LaTeX\ source format (details of layout, size and formatting will be +sent to the authors at time of notification); if needed, camera-ready +form will be accepted. + +\section{GUTenberg'91} +The French speaking user group will hold its congress concurently +with the sixth European \TeX\ Conference. The opportunity of holding +an international conference in France could not be neglected. +As we want to maintain a French speaking part to this meeting, a +fourth congress day has been added on 26th September 1991. +The GUTenberg'91 congress deals with `{\it Technical and Scientific +Publishing}'. + +Although French is the offical language, simultaneous translation for +English speakers is being considered. + +Suggested topics are the following: +\bi Special fonts design +\bi Developments around \TeX\ and \LaTeX +\bi \TeX\ and graphics +\bi Rasterisation and output +\bi Special macro-packages +\bi Aspects of the French language + +Exhibitors are requested to get in touch with the organisation committee. + +\section{Programme Committee for \TeX\ conference} +{\obeylines\parindent0pt +Bernard {\sc Gaulle} (GUTenberg) +Roswitha {\sc Graham} (Royal Institute of Technology\slash Nordic group) \hfill{\tt roswitha@admin.kth.se} +Joachim {\sc Lammarsh} (University of Heidelberg\slash \dante) \hfill{\tt rz92@dhdurz1.bitnet} +Chris {\sc Rowley} (Open University\slash UK \TeX\ Users group) \hfill{\tt ca\_rowley@uk.ac.open.acs.vax} +Kees van der {\sc Lann} (Netherlands\slash {\sc ntg}) \hfill{\tt cgl@rug.nl} +Michael {\sc Ferguson} ({\sc inrs}-T\'el\'ecommunications) +Nicolas {\sc Brouard} ({\sc ined}) +Pierre {\sc Dagn\'elie} (Fac.~sciences agronomiques) +Maurice {\sc Laugier} (Imprimerie Louis-Jean) +Didier {\sc Collin} (Tr\'ema) +Denis {\sc M\'egevan} (Observatoire Gen\`eve) +} + + +\noindent Or contact: +{\obeylines +GUTenberg, 6th European \TeX\ Conference +BP 21 +78354 Jouy en Josas cedex, France +tel: + 33 1 34 65 22 32 +fax: + 33 1 34 65 20 51 +email: {\tt gut@irisa.irisa.fr} +} + +\endinput diff --git a/info/digests/texline/no12/hubert.tex b/info/digests/texline/no12/hubert.tex new file mode 100644 index 0000000000..639b734f32 --- /dev/null +++ b/info/digests/texline/no12/hubert.tex @@ -0,0 +1,126 @@ +\title{Layout design with \LaTeXbf\ is possible} +Contrary to a widespread belief, \LaTeX\ does not force you to use one of +the four sample layouts provided by Leslie Lamport. +Rather, you can define and use any reasonable layout, +and doing so within the framework of \LaTeX\ is in fact +less difficult than with plain \TeX. + +How does this work? +Who is who in \LaTeX's high society? +\bi +The author specifies the contents in the {\tt tex}-file. +\bi +The layout designer specifies the layout in the {\tt sty}-files. +\bi +\LaTeX\ typesets the contents, +using the layout that results from the style files +specified in the |\documentstyle| command. + +\noindent How can you implement and use a new layout? +I recommend these four steps: + +\item{1} +find an original \LaTeX\ style file that produces a similar layout, + +\item{2} +find the definitions of the features that have to be changed, + +\item{3} +write a style option file that contains the modified versions of these +definitions, + +\item{4} +add the name of this file +as an option into the |\documentstyle| command. + + + \noindent +Where do you find the original layout definitions +and an explanation how to modify them? +This information is distributed over four sources: + + +\item{1} Leslie Lamport's \LaTeX\ manual, + +\item{2} the files {\tt article.doc}, {\tt art10.doc} etc., + +\item{3} the file {\tt latex.tex}, + +\item{4} Donald Knuth's \TeX book. + +For the fun of it, just try the following two examples: + +The first one deals with section headings. +In file {\tt art10.doc}, you will find definitions like +\begintt +\def\section{\@startsection + {section}{1}{\z@}%1,2,3 + {-3.5ex plus -1ex minus -.2ex}%4 + {2.3ex plus .2ex}%5 + {\Large\bf}}%6 +\endtt +The absolute values of the fourth and fifth parameters +specify the spacing before and after the heading, +and the sixth parameter specifies its style. +Therefore, if you want smaller vertical skips and a smaller typesize, +you put the following definitions into your private style option file: +\begintt +\def\section{\@startsection + {section}{1}{\z@}%1,2,3 + {-1.75ex plus -0.5ex minus -.1ex}%4 + {1.15ex plus .1ex}%5 + {\large\bf}}%6 +\endtt +for sections, and similar ones for subsections etc. + +The second example deals with running headers and footers, +which are defined within \LaTeX's pagestyles. +In file {\tt article.doc}, you will find the following definition for +the {\tt myheadings} pagestyle: +\begintt +\def\ps@myheadings{% + \let\@mkboth\@gobbletwo + \def\@oddhead{% + \hbox{}\sl\rightmark\hfil + \rm\thepage}% + \def\@oddfoot{}% + \def\@evenhead{% + \rm \thepage \hfil + \sl\leftmark\hbox {}}% + \def\@evenfoot{}% + \def\sectionmark##1{} + \def\subsectionmark##1{}} +\endtt +If you want running footlines with a horizontal rule, you define +\begintt +\def\ps@myfootings{% + \let\@mkboth\@gobbletwo + \def\@oddfoot{\parbox{\textwidth}% + {\rule{\textwidth}{0.4pt}\\[2pt] + \mbox{}\small\sl\rightmark \hfill + \small\sl Page~\thepage}}% + \def\@oddhead{}% + \def\@evenfoot{\parbox{\textwidth}% + {\rule{\textwidth}{0.4pt}\\[2pt] + \small\sl Page~\thepage \hfill + \leftmark \mbox{}}}% + \def\@evenhead{}% + \def\sectionmark##1{} + \def\subsectionmark##1{}} +\endtt +You put this definition into a file {\tt myfoot.sty} +and then use it with +\begintt +\documentstyle[11pt,myfoot]{article} +\pagestyle{myfootings} +\markboth{News of \today}{News of \today} +\endtt + +Other layout features can be changed in similar ways; +there is nothing to stop you from +creating masterpieces of layout design with \LaTeX! + +\author{Hubert Partl} +\endinput +--------------------------- cut here ------------------------------------ + diff --git a/info/digests/texline/no12/late.tex b/info/digests/texline/no12/late.tex new file mode 100644 index 0000000000..7a896ec8f3 --- /dev/null +++ b/info/digests/texline/no12/late.tex @@ -0,0 +1,15 @@ +\centerline{\bf Late news} +\section{\TeX\ Extended Font Standard} +On November 1st, Michael Ferguson (coordinator for Multilingual +Activities) announced that the \TeX\ Extended Text Font encoding proposed at +Cork had been unanimously approved by the representatives of the major \TeX\ +groups. It remains to put the standard into a form which is sufficiently +detailed so that it can be propogated into the archives and serve as a basis for +\MF\ designers to make it into reality. + +\section{Changes in Providence} +Ray Goucher, for many years the embodiment of TUG to the world, has left the +Providence office and a new Executive Director is being sought. Ray is to be +given honorary membership of TUG in recognition of his stalwart and extensive +services to the organisation. All who know Ray will wish him well for the +future. His will be a hard act to follow. diff --git a/info/digests/texline/no12/newtwo.tex b/info/digests/texline/no12/newtwo.tex new file mode 100644 index 0000000000..917ee68d03 --- /dev/null +++ b/info/digests/texline/no12/newtwo.tex @@ -0,0 +1,166 @@ + +%\hoffset=-0.1in +%\voffset=-2pc +%\raggedbottom +%\hsize=39pc %\vsize=59pc +%\maxdepth=2.2pt \parindent=1pc +%\vsize=720pt +%\hsize=6.5in +%\baselineskip12pt +%\parskip0pt +%\parindent1em +%\hfuzz1.5pt +%\tolerance2000 + +%\hyphenation{Post-Script} +% Page layout +\newdimen\pagewidth \newdimen\pageheight \newdimen\ruleht +\newdimen\colwidth \newdimen\bigcolheight\newdimen\gutter +\gutter=0.3in%better as 0.4in +%\colwidth=3.1in%19pc +\colwidth=\hsize +\advance\colwidth by-\gutter +\divide\colwidth by 2\relax +%\bigcolheight=1450pt%120pc +\bigcolheight=\vsize +\advance\bigcolheight by\bigcolheight +\advance\bigcolheight by 10pt +\pagewidth=\hsize \pageheight=\vsize \ruleht=.5pt +\abovedisplayskip=6pt plus 3pt minus 1pt +\belowdisplayskip=6pt plus 3pt minus 1pt +\abovedisplayshortskip=0pt plus 3pt +\belowdisplayshortskip=4pt plus 3pt + +\newinsert\botins +\def\afoot{\strut\egroup} +\def\botpic#1{\par + \insert\botins\bgroup\hsize=\pagewidth + \offinterlineskip + \interlinepenalty100 \let\par=\endgraf + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\botins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\botins=2000 % footnote magnification factor (1 to 1) +\dimen\botins=36pc % maximum footnotes per page + +\def\toppic#1{\par + \insert\topins\bgroup\hsize=\pagewidth + \interlinepenalty100 \let\par=\endgraf + \offinterlineskip + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\topins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\topins=2000 % footnote magnification factor (1 to 1) +\dimen\topins=36pc % maximum footnotes per page + +\newinsert\margin +\dimen\margin=\maxdimen +%\count\margin=0 \skip\margin=0pt % marginal inserts take up no space + +\newif\iftitle +\def\titlepage{\global\titletrue} % for pages without headlines +%\def\rhead{{}} + +\def\leftheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfill\lhead % running head flush left + }} +\def\rightheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfill\lhead % running head flush left + }} + +\def\onepageout#1{\shipout\vbox{ % here we define one page of output + \offinterlineskip % butt the boxes together + \vbox to 2pc{ % this part goes on top of the 44pc pages + \iftitle % the next is used for title pages + \global\titlefalse % reset the titlepage switch + \setcornerrules % for camera alignment + \else\ifodd\pageno \rightheadline\else\leftheadline\fi\fi + \vfill} % this completes the \vbox to 3pc + \vbox to \pageheight{ + \ifvoid\margin\else % marginal info is present + \rlap{\kern31pc\vbox to 0pt{\kern4pt\box\margin \vss}}\fi + \ifvoid\topins\else % top note info is present + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\topins + \vskip\skip\topins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \vskip\skip\topins \kern-3pt + \fi + #1 % now insert the main information + \vfill + \ifvoid\botins\else % bot note info is present + \vskip\skip\botins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\botins + \vskip\skip\botins \kern-3pt + %\hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \fi + \boxmaxdepth=\maxdepth + } % this completes the \vbox to \pageheight + } + \advancepageno} + +\def\setcornerrules{\hbox to \pagewidth{\vrule width 1pc height\ruleht + \hfil \vrule width 1pc} + \hbox to \pagewidth{\llap{\sevenrm(page \folio)\kern1pc}% + \vrule height1pc width\ruleht depth 0pt + \hfil \vrule width\ruleht depth 0pt}} + +\output{\onepageout{\unvbox255}} + +\newbox\partialpage +\newdimen\savesize +\def\begindoublecolumns{\begingroup + \savesize=\vsize + \output={\global\setbox\partialpage=\vbox{\unvbox255\bigskip}}\eject + \output={\doublecolumnout} \hsize=\colwidth \vsize=\bigcolheight + \advance\vsize by -2\ht\partialpage + \advance\vsize by -2\ht\botins + \advance\vsize by -2\ht\topins + \pagegoal=\vsize} +\def\enddoublecolumns{\output={\balancecolumns}\eject + \global\output={\onepageout{\unvbox255}} + \global\vsize=\savesize + \endgroup \pagegoal=\vsize} + +\def\doublecolumnout{% +% \splitmaxdepth=\maxdepth + \dimen0=\pageheight + \advance\dimen0 by-\ht\partialpage + \advance\dimen0 by-\ht\botins + \advance\dimen0 by-\ht\topins + \splittopskip=\topskip + \setbox0=\vsplit255 to\dimen0 + \setbox2=\vsplit255 to\dimen0 + \onepageout\pagesofar + \global\vsize=\bigcolheight + \unvbox255 \penalty\outputpenalty} +\def\pagesofar{\unvbox\partialpage + \wd0=\hsize \wd2=\hsize \hbox to\pagewidth{\box0\hfil\box2}} +\def\balancecolumns{\setbox0=\vbox{\unvbox255} \dimen0=\ht0 + \advance\dimen0 by\topskip \advance\dimen0 by-\baselineskip + \divide\dimen0 by2 \splittopskip=\topskip + {\vbadness=10000 \loop \global\setbox3=\copy0 + \global\setbox1=\vsplit3 to\dimen0 + \ifdim\ht3>\dimen0 \global\advance\dimen0 by1pt \repeat} + \setbox0=\vbox to\dimen0{\unvbox1} + \setbox2=\vbox to\dimen0 +% {\unvbox3} + {\dimen2=\dp3 \unvbox3 \kern-\dimen2 \vfil} + \global\output={\balancingerror} + \pagesofar} +\newhelp\balerrhelp{Please change the page into one that works.} +\def\balancingerror{\errhelp=\balerrhelp + \errmessage{Page can't be balanced} + \onepageout{\unvbox255}} + + + + + + + diff --git a/info/digests/texline/no12/nico.tex b/info/digests/texline/no12/nico.tex new file mode 100644 index 0000000000..0c25cbbdb0 --- /dev/null +++ b/info/digests/texline/no12/nico.tex @@ -0,0 +1,480 @@ +\def\Title#1{{\sl #1}} +\def\Speaker#1{{\bf #1\/}} +\def\awk{{\tt awk}} + + +% front matter +\title{Cork90} +The fifth European \TeX\ conference (10--13 September) was also the first \TeX\ +Users Group Meeting in Europe, that is, the first international meeting of the +users group outside North America. The conference was held at University College +Cork, a university campus with a charming mix of old and new buildings among +lawns and trees, in Eire's second largest city. + +The organizer of the conference, Peter Flynn, of the computer +bureau at the college, had done a great job on organizing this +big conference with about 175~attendees from 23~(!) different countries. As for +the social side of the conference: there was a get-together party after +registration on Sunday evening, a dinner at the university restaurant on Monday, +and on Tuesday an excursion to Blarney Castle, followed by dinner with live +music and folk dancing in a restaurant nearby. Apart from this there was also +plenty of opportunity to meet people and discuss various things during coffee, +lunch or tea breaks. The programme was not overfull and there was more than +enough time to discuss \TeX\ and related matters with \TeX\ users from all over +the world. + + +\subsection{Monday, September 10} +After not-so-formal opening speeches by the Minister for Science \& +Technology of Ireland and the dean of University College Cork, the +first international \TeX\ conference in Europe was a fact. + +\Speaker{Erich Neuwirth} (University of Vienna) had the honour (unpleasant +task?) of giving the first talk. He showed that you can create +quick-and-dirty databases with basic tools such as \TeX\ and the \Unix\ +tool \awk. +Erich seemed to advertise the use of \awk\ to larger parts of the \TeX\ +community: \awk\ has been ported to the MS-DOS world and, apart from several +commercial versions, there is a version available from the Free Software +Foundation. + +In her talk on \TeX\ and hypertext, \Speaker{Christine Detig} (University of +Darmstadt) gave several definitions of hypertext, and discussed advantages +and disadvantages of the hypertext approach. The conclusion of her talk was +that the future of electronic publishing {\em could\/} be an interwoven +electronic process with the following elements: (1)~hypertext and logical +markup, (2)~\TeX\ for typesetting, (3)~drivers for various screen and printer +types. One criticism: discussions about `hypertext' can only be useful if +all people attending the talk have {\em seen\/} hypertext -- describing it on +paper or transparencies is not enough to get an idea of what it is, +or what it can be. + +\Speaker{Les Carr} (University of Southampton): \Title{Experiments with +\TeX\ and hyperactivity}. +The authors reported from their work based on the question: How can existing +(\TeX) marked up copy be used in a hypertext system? + +Problems tackled include the use of \TeX\ to format text being displayed on +screen in variable sized windows, embedding generic hypertext navigation +tools in the source and using a single source to generate both printed and +hypertext versions of a document. + +The authors concluded with: `It is clear that \TeX\ in a hyperactive world +can only survive in a generic markup form such as \LaTeX. Much of its power +(such as pagination) is irrelevant in this context, and its implementation +language will continue to put off many potential designers. But \TeX\ retains +a raw beauty of its own, and if we decide that the hyper systems we build +must have a formatting engine behind them, we are confident that \TeX\ will +continue to be the first choice for many years to come.' + +The talk by \Speaker{Johannes Braams} (PTT Neher Laboratory), \Title{The Dutch National +\LaTeXsl\ effort} was a report on the work done by working group~13 of the +Dutch \TeX\ Users Group. He discussed the development of a set of document +styles that are compatible with the standard document styles of \LaTeX, but +have a layout that appeals more to Western European tastes, and the work on +`internationalizing' \LaTeX, that is, adding tools to \LaTeX\ that allow an +author to switch between different languages, a project that bears the +appropriate name `Babel'. + +\Speaker{Adrian Clark} (Essex University): \Title{Documenting a \TeX\ +archive}. The key issues addressed were: An archive is only as good as its +documentation: Where is the archive? How to locate the software? How to get +it across the networks? The emphasis was put on the second question. Experience +has it that {\em functionality\/} requests precede name requests. Keywords and +help systems are the tools, along with the good old systematic index, provided +there is a generally accepted one. The author reported a proto system +for automatically maintaining the `index' of the archive, the help system +etc. In order to have this kind of systems working, contributors must be +persuaded to obey the submission rules: software documentation must be supplied +in a certain standard format. Perhaps overlooked is the issue of +a general accepted classification index. Even within the field of numerical +software several indices are around. + +During the lively discussion after the presentation, useful ideas about what +users would like to see were proposed, ranging from: +\bi the ideal situation, just your own local archive `at the corner' with +{\em virtually\/} everything, to +\bi documentation requirements (time stamps, version indication, minimal +tests, quality, refereeing, etc.). + +\noindent +Nelson Beebe mentioned the synchronisation effort of the various archives and +the TUGlib project. These projects have the same kind of problems. + + +\subsection{Tuesday, September 11} +\Speaker{Thomas Kneser} (GWD G\"ottingen), the first speaker on Tuesday +morning, presented an adaptation of the work of Thomas Reid to a \LaTeX\ +context. Thomas Reid has developed macros that allow to have paragraphs of +text to `wrap around' figures. Thomas Kneser showed that these macros can be +successfully adapted to the \LaTeX\ case. However, in some cases a certain +amount of cheating is necessary to get the desired result. + +In his talk, \Title{The document style designer as separate entity}, +\Speaker{Victor Eijkhout} ({\TeX}Techniek) discussed the need for a +separation of all tasks in a \TeX-based system in three `layers': (i)~the +author, who uses a document style prepared for a certain class of documents, +(ii)~the document-style designer, who creates a document style from a +\TeX-based toolbox, and (iii)~the \TeX\ expert who creates and maintains the +toolbox. He argued the need for a programmable toolbox, so that the style +designer could write \TeX\ macros without programming in \TeX; this point was +illustrated with examples from a format the speaker developed. + +\Title{QuickDraw, PostScript, \TeX} by \Speaker{Tim Murphy} (Trinity College +Dublin) was a rather confusing talk. Afterwards I was unable to summarize +what it was he had tried to tell us. A lot, I~know, but it lacked coherence. +What I did pick up was this: he loves GRIF, but hates \SGML, for reasons that +are still unknown to me. He appeared to be in favour of the work, done by a +Euromath committee, on defining a complete syntax of mathematical formulae +for GRIF. He advocated the basic idea of GRIF of letting a document be +generated by a context-free grammar. + +\Speaker{Malcolm Maclenan} (South Bank Polytechnic) considered himself to be +very new to \TeX\ and definitely not an expert, but he showed some very +interesting {\TeX}nical stuff. At the South Bank Polytechnic there arose the +need for a tool for drawing circuit diagrams for text books. \PiCTeX, +although it requires a lot of memory and is rather slow, can produce +impressive full-page circuit diagrams. The speaker showed that a form of +object-oriented programming can help a lot. In the discussion after the +presentation, speaker and audience came to the conclusion that an interesting +extension -- and a possible time-saver -- would be a collection of symbols +and parts of diagrams created with \MF. Another future development could be +integration of \TeX\ with a CAD package: extract a list of $(x,y)$ +coordinates from the CAD programme and use this as input to a \TeX\ macro +package. + +The talk by \Speaker{Rainer Sch\"opf} (University of Heidelberg), +\Title{Towards \LaTeXsl\ 3.0}, was a list of ideas for the new version of +\LaTeX. He outlined some ideas for a future version of \LaTeX, but cautioned +that none of these ideas were definite yet. Much importance will be given to +the style designer interface. + +For about a year now, Frank Mittelbach and Rainer Sch\"opf, have been +discussing ideas -- mostly via electronic mail -- for a new version +of \LaTeX\ with a group of \TeX, \LaTeX\ and document-style experts +in Europe and the United States. A proposal for the new design and a +few prototype parts of the new package are expected shortly. + +The presentation of \Speaker{Brian Hamilton Kelly} (Cranfield Institute of +Technology), was the last one before the visit to Blarney castle in the +afternoon. His presentation focussed on a new public domain implementation of +\TeX~3.0 and \MF~2.0 for VAX/VMS. The distribution contains normal and `big' +versions of \TeX, \LaTeX\ and \SliTeX. Useful facilities: \TeX's {\tt e} +option really works, \TeX, \LaTeX\ and \SliTeX\ now available as VMS command +verbs. It has recently been extended by Don Hosek and is now also the DECUS +implementation. + + +\subsection{Wednesday, September 12} +\Speaker{Malcolm Clark} (Imperial Cancer Research Fund), \Title{Post Congress +Tristesse}. His +presentation was an enlightening one for those {\TeX}ies interested in +doing book projects with \TeX. The topic was the process of +making the proceedings of the \TeX88 conference at Exeter ready for +publication. To discourage anyone with ideas of being an editor in the near +future, here's a list of the problems Malcolm described: +\bi variations in medium (disk, electronic mail and even paper) +\bi character coding (\ASCII, \EBCDIC) +\bi late submission (please wait -- wait some more -- nag -- threaten to print +just the abstract) +\bi input form (plain \TeX, \LaTeX). In the end, everything +was converted to plain \TeX\ with additional macros to reproduce a layout +similar to the layout of Addison-Wesley's computer science series. +\bi a professional indexer was hired to compile the index afterwards: +the result was not perfect. + +An important decision: do you referee papers or include all of them? The +speaker's view was that you should not edit or referee a paper: if +someone wants to present work with \TeX\ or \MF, he or she should be +free to do so. Removing syntactical errors is acceptable, any further +editing of the English -- or almost English -- isn't. + +A matter of style: who determines the layout, the editor or the author? +Answer: the editor, so the authors should not markup (too much). In some +cases plain \ASCII\ is better than $\ast\ast$\TeX. + +Finding a publisher: Addison-Wesley (not interested), Springer (no +contacts with them), John Wiley \& Sons (never publish proceedings). +Finally Ellis-Horwood published the proceedings. Advantages of E-H: no +control, you can do whatever you like as editor. Disadvantages: you have +to do everything, upto and including producing the bromide! + +Conclusions: +\bi Publishers like it when authors do all the work {\em for them}, +which is a really funny view! +\bi Publishers should not accept 300\,dpi camera-ready copy, since +this is without exception of appalling quality. +\bi Computer Modern is an excellent font at 1270\,dpi, but looks +horrifying at 300\,dpi. Books produced from low-resolution output are no +advertisement for the high quality of \TeX's typesetting. +\bi Adobe and other font producers still have to come with a nice font +that includes math! +\bi Copy editors are essential. However, some publishers accept +manuscripts in electronic form, or even offer the possibility of +electronic mail submission, and then eliminate technical editing from +the publication process. +\bi Working with other amateurs on any project means sooner or later +that they withdraw as soon as other things become more important. +\bi Expect no thanks. +\bi It's fun! +\medskip + +\Title{\TeX\ \& SGML} by \Speaker{Kees van der Laan} (University of Groningen) +was a talk that could have been more interesting if more people in the +audience would have had some experience with \SGML. It is not enough to give +the following description: `\SGML\ is a meta-language that is a means to +express your thoughts on the entire lifecycle of documents', that serves as a +standard for tagging and interchanging documents, and that provides a +mechanism for representing special characters, tables, and mathematical and +chemical formulae, using \ASCII\ coding. The speaker has recently investigated +the problems with conversion of material coded in \TeX\ or \LaTeX\ to \SGML, +especially mathematical formulae and tables. + +If \SGML\ becomes a household word in electronic publishing and publishers +provide their authors with {\em document type definitions\/} (dtd's), +authors have to be aware at all times of this dtd and the tags, entities +and attributes it defines. The publishers need standardized +general-purpose dtd's or \SGML\ experts who develop new dtd's. + +Another problem of using \SGML\ for the coding of mathematical formul\ae\ +and tables is the apparent impossibility of separating form from +content. + +Publishers and other users of \SGML\ often state that one of its advantages is +that it allows information to be used for other +purposes later on. One of the conclusions of the speaker was that re-usage is +maybe not be that important since scientists tend to continually rewrite and +update their articles and books. Another conclusion was that the meta-ness of +\SGML\ is a strong point of \SGML, but at the same time also one of its weakest +points. + +\Speaker{Olivier Nicole} (INRA), presented another use of the +\PiCTeX\ package. He used it to printing graphs that were generated by the +statistical package~S. From both talks on \PiCTeX\ at this conference it became +clear that it is a very useful and powerful package: the \PiCTeX\ macro package +can be found in several electronic archives, and there is a very good manual +available. However, it is very slow, you need a big version of \TeX\ and a +10\,kbyte {\tt tex} file can result in a {\tt dvi} file that is ten times as +large! + +\smallskip + +The rest of the day was devoted to font design with \MF\ and +applications of such fonts. + +\Speaker{Alan Hoenig} (CUNY), presented a solution to the problem of +labelling figures in \TeX\ documents. His message was: graphics are no longer a +problem for \TeX\ (?), but the problem is to get labels in the figures that use +the same font as the text. The basic strategy is the following: create a picture +with \MF, write the coordinates of points to be labelled as {\tt fontdimen}'s +to the {\tt tfm} file. In the \TeX\ document you pick up the $x$ and $y$ +coordinates from the |\fontdimen|s. + +\MF\ lacks read and write operations, so (ab)using the {\tt tfm} file for +this purpose is the easiest solution. Furthermore, writing a parser in \TeX\ +to decode information in the log file of a \MF\ run would be, to say the +least, cumbersome. + +Final remark: to make it easier to use \MF\ for creating all sorts of +pictures, one needs a macro package `on top' of it, similar to \LaTeX\ `on +top of' \TeX. + +\Title{Typesetting Old German} by \Speaker{Yannis Haralambous} (Universit\'e +de Lille) was one of the nicest talks of the entire conference. He was +awarded the prize for most memorable presentation at this conference. The speaker +started out by observing that many people believe that old (early) music can +be best enjoyed when played on old instruments. If you draw a parallel with +reading old texts: these can maybe be enjoyed more when they have been +printed with old typefaces. The speaker showed pages from the Gutenberg +42-line bible and a book by C.P.E.Bach. To re-create these texts, the +speaker has designed \MF\ fonts for Gotisch, Schwabacher, Fraktur and +ornamented capital letters -- the ornamented capitals were beautiful and +extremely well done, enough for a big round of applause. While working on +the Fraktur it turned out that the old designers applied Bezier curves +without knowing it: a lot of the curves can be specified by only a few pen +positions.\looseness-1 + +As an aside the speaker has also created an Arabic font, of which he also +showed examples. His next project will probably Renaissance Greek, where you +need a font with $\approx 400$ ligatures. + +\Speaker{M\'{\i}che\'al \'O Searc\'o\i d} began his presentation \Title{Irish +letter forms with \MF} with a short history of writing in Ireland. +Elizabeth~I ordered the design of an Irish typeface, modelled after written +letter forms. Use of this typeface started around 1571. Through history +there have been several re-designs. After the historical introduction, the +speaker showed an example of modern Irish letter forms, created with \MF. + +The next presentation, on \Title{An international phonetic alphabet}, was by +\Speaker{Dean Guenther} (Washington State University) and Janene Winter. Dean +is manager of the project and Janene was the \MF\ specialist. The project was +started because of frequent requests from the humanities departments. At +first, some papers were published with Computer Modern fonts and handwritten +phonetic symbols. Later on, phonetic symbols were created as bitmaps. Howver, +these only looked good with Almost Modern Roman, so a new font was needed +when people started using CM. There were lots of obstacles: MF84 came when +Janene had just learned MF78, there was no help on campus, there was no +previewer. But the result is an IPA font, to be precise: a 128-symbol subset +of one of the varieties of IPA. + +Since Janene now works for the AMS, the work on the IPA project has +unfortunately stopped. At the State University of Washington a different IPA +project has started, partially based on the work done at WSU. + +\Speaker{Adrian Clark} (Essex University): \Title{Halftone output from +\TeX}. Adrian presented a paper which summarised the various techniques +for including images (halftones) in \TeX\ documents. The main +techniques are by means of a `picture font', via a halftone font and +external support software, or by inclusion at the \DVI\ driver stage. +Some of the advantages and disadvantages of all three approaches were +described. He then went on the describe how the one can generate the +four colour separations required for colour printing, and showed the +output of one of his early experiments (the colours were not too +impressive, but it's getting there). Finally, he mentioned that +preparing camera-ready copy with colour separations requires precise +information concerning the positioning of figures on the page, which +requires modification to the {\tt output} routine. + + + +\subsection{Thursday, September 13} +\Speaker{Nico Poppelier} (Elsevier Science Publishers): \Title{SGML \& \TeX\ +in scientific publishing}. This presentation was non-technical. The speaker's +idea was not to discuss the `What and how?', but the `What and why?'. What +can \SGML\ mean to a publisher, i.e. what role can it play? \SGML\ and \TeX\ can +be be a nice combination, but so can combinations of \SGML\ with other +sophisticated text-processing systems and/or typesetting systems. + +The speaker also discussed +\bi some of the advantages of \LaTeX\ over plain \TeX, both for journal and +for book publishing, and +\bi other uses of \TeX\ within Elsevier Science Publishers, namely as the +back-end of a database-publishing system + +The presentation given by \Speaker{Amy Henrickson} ({\TeX}nology), \Title{Getting +{\TeX}nical} was a 30-minute crash course in \TeX\ macro writing. A series of +useful techniques, lots of examples, a few basic and a few not-so-basic \TeX\ +tricks. Interesting talk, but with a very high pace. + +\Speaker{Frank Mittelbach} (EDS, R\"usselsheim) intended to give a talk +\Title{New Bib\TeX\ requirements} instead of having an open discussion with +this title, as was announced in the program. The main points of Frank were +that +\bi\BibTeX\ is not suitable for applications in the +humanities or, for example, for books with bibliographies in every chapter +\bi +\BibTeX\ does not fit well with \LaTeX\ 3.0 +\bi adapting \BibTeX\ to other +languages than English is not always possible + +\noindent He proposed +several major changes to \BibTeX; the complete list is too big to be repeated +here, but the paper will appear in the proceedings. + +The title of the presentation by \Speaker{Angela Barden} (City of Cork +Vocational Education Committee) was intriguing: \Title{Purchasing pain with +all that joy}. It turned out to be an interesting, and sometimes amusing, +examination of several books on \TeX. The speaker, who is a teacher of +reading skills, examined the following books: +\bi `The \TeX book' by Don Knuth. It tells lies and jokes (even in +the index, where it is out of place), hides information in exercises, +contains exercises that are too difficult, the often confusing +dangerous bends, and conflicting instructions. On the whole, a +user-unfriendly book. +\bi `The Joy of \TeX' by Michael Spivak. The first exercise in the +book was pointless, so why do the others? And the answer given in the +back was wrong and unintelligible. The term `macro' is never defined. +`Maybe it helps mathematicians, but not me', was the speaker's +conclusion. +\bi The PC-\TeX\ manual, by the same author. A page-numbering scheme and a +confusing structure. For example: there is an appendix A and an appendix F, +but no other appendices. The speaker abandoned the book at an early +stage. +\bi `\LaTeX\ user's guide and reference manual', by Leslie Lamport. The +speaker was grateful to the author for his straightforward way of presenting +information. No tedious exercises, a no-nonsense way of writing, clear +concise prose. +\bi `\TeX\ for the impatient', by Abrahams, Hargreaves and Berry. +Not radically different from the other books. A dull layout, an +enormous amount of print on a page, turgid style, but not as bad as +the other books. +\bi `A gentle introduction to \TeX', by Michael Doob. Not a bad +book, but unfortunately there are exercises. + +Advice for future books: tell no jokes, be careful about the imagery +you use (if \TeX\ has eyes, mouth and stomach, what is the analogy of +|\shipout|?), use shading or another technique to distinguish input from output, +use illustrations to clarify concepts, separate text book from manual, give more +examples, don't hide information in exercises. + +In his presentation \Title{\TeX\ in schools, just say no}, \Speaker{Konrad +Neuwirth} argued against teaching \TeX\ in schools. There doesn't seem be a +class where \TeX\ would be appropriate: it doesn't teach you anything about +math, writing math or physics reports with \TeX\ in class takes more time +than the usual 50--60 minutes, and as an instrument in teaching \ae sthetics +\TeX\ is also questionable, since most \TeX\ documents look horrible to a +trained eye. Furthermore: \TeX\ is not the most user-friendly of programs. + +\Speaker{Philip Taylor}'s talk \Title{Improving the \ae sthetics of mixed +font documents} was an account of the work on the book `Principles of +nutritional assessment', which was recently published by Oxford University +Press. According to the speaker, Don Knuth's final exhortation in the \TeX\ +book, `Go forth and create masterpieces of the publishing art', has developed +into `Go forth and create horribly looking books that shriek \TeX (\LaTeX)!' + +Letting \TeX\ typeset a book with a pleasing design, using Postscript +fonts (Times Roman) for text and Computer Modern for math, and with +lots of tables and illustrations turned out to be a far from trivial +task. The resulting book was passed around during the presentation +and proved to be an attractive book, impeccably reproducing the sort +of looks one expects from the Oxford University Press, where it was +published. One small criticism: Philip had forgotten to turn on +|\frenchspacing|. + +After a rather long introduction, the next speaker, \Speaker{Alan +Witt\-becker} (DEC), came down to business: \Title{Archi\TeX\ as an +international page pattern maker}. Archi\TeX\ is a macro package that he +developed to re-create the variety of page patterns he described, using +\TeX. For that, a rectangular grid is put `on top of the page'. To every +intersection point of the grid a box of text can be attached. + +The last presentation of the conference was \Title{Integration of graphics +into \TeX}, by \Speaker{Friedhelm Sowa}. The idea behind the speaker's +approach is to convert the output of graphics packages, in this case files in +{\tt tif} format, to \TeX's {\tt pk} files. A picture is divided into tiles +of certain dimensions, and the tiles are converted to characters in a +\TeX-type font. \TeX\ is then used to glue the tiles together to produce the +original picture. + +The speaker discussed various methods of obtaining +half-tone pictures, with varying number of grey shades and with or without +error distribution, and showed several examples. + +\subsection{Birds-of-a-feather sessions} +The organisers of a \TeX\ conference had a golden moment when they +came up with the idea of bof. The idea is simple: on every day of +the conference programme the organization allocate one or more time +slots of, say, half an hour. Anyone with ideas for a discussion can +allocate a time slot and just go ahead! In other words: the +programme provides time especially for informal or improvised +discussions.\looseness-1 + +At the Cork conference, there were birds-of-a-feather sessions, or +bof's, on graphics, the future of \TeX, and \LaTeX~3.0. The bof on the +future of \TeX\ was especially interesting, since it became a three-hour +discussion that resulted in a petition to the board of TUG, signed by +some 25--30 concerned TUG members. It is this letter which stimulated \DEK's +announcement on the future of \TeX\ and \MF, printed on the first page of this +\TeXline. + +One of the major problems at present is the fact that the creators of +\TeX, \LaTeX, \BibTeX and MakeIndex have, for various reasons, decided +to stop working on their programs. In some cases they have announced +that they consider their programs as mature, that is, they will not develop them +any further. This is a matter of great concern to many TUG members and +to the board of TUG as well. +\author{Nico Poppelier} +\author{Kees van der Laan} +\author{Johannes Braams} + +\endinput diff --git a/info/digests/texline/no12/peter.tex b/info/digests/texline/no12/peter.tex new file mode 100644 index 0000000000..42e81f49eb --- /dev/null +++ b/info/digests/texline/no12/peter.tex @@ -0,0 +1,120 @@ +\title{Adventures of a new \TeX nician} +I have been a \TeX\ user for just over a year now. My experiences are +rather different from those of most \TeXline\ contributors, who seem +to jet around the world telling Donald Knuth how he should have done +it! + +I was a prime target for the \TeX\ virus: a mathematician; someone who +typed his own papers, because seldom satisfied with what secretaries +produce; and someone on an academic salary who could not contemplate +buying expensive equipment. In the early 80s, I took the first +tentative step into wordprocessing, putting aside an old portable +typewriter in favour of a ZX Spectrum. It was liberating, but not +quite perfect. For example, many of the misprints in my papers at that +time came about because I'd left space for a handwritten symbol, the +space had come at the end of a line, and my eye had skipped over it. + +So last summer, when I chaired the problem session at a conference and +was asked to edit a collection of problems, I had the perfect +opportunity. A reasonably short document, with plenty of easy +challenges like typefaces (bold for authors' names, italic for postal +addresses, typewriter for email addresses, and a mixture of plain +roman and mathematics for the text), but nothing too hard like fancy +page layouts. One problem involved large matrices, so I had to read +Chapter 18 of the \TB\ earlier than I expected. + +By the end of the year I was facing a bigger challenge, producing +camera-ready copy for a book. My decision to use plain \TeX\ rather +than \LaTeX\ was made then, as the publisher sent me by email the +formatting macros for the house style. Apart from one point I'll +return to, I never regretted this decision. I had to change the +formats a bit to get a page layout I liked, and also to add running +heads, two-column index, etc. I also had to start devising sneaky +tricks. For example, the publisher's format capitalised section +headings; one of my section headings was a formula, which meant +something quite different when capitalised. Did you know that +`uppercase' affects math italic? For example +\begintt +\uppercase{The case when $x\to\infty$} +\endtt +gives \uppercase{The case when $x\to\infty$}. +Is that reasonable? + +Other unexpected difficulties arose. I started producing my class +problem sheets in \TeX\ but, though they were perfectly legible, the +students seemed not to like them. One said that such immaculately +typeset problems were more intimidating than my usual scruffily +handwritten sheets. + +First impressions of \TeX\ are inevitably a joy, both at the beauty of +the printed output, and at the way the designer thinks like a +mathematician. (After all, he is one.) Being able to type a formula in +almost exactly the way I would {\it say} it to a colleague, and have +it come out looking the way I would {\it write} it while saying it, is +a great boon. (There are some exceptions, e.g. having to type |\bar +x| where I would say ``x bar''.) + +The other great advantage of \TeX\ strikes you soon afterwards. Since +its input is in plain \ASCII, you can send it by email, and your +collaborators can have almost instantly a copy of your paper. Email is +great for academics, speeding up international collaborations +immeasurably, but its defect used to be that you couldn't send +mathematical formulae. Now \TeX\ has become the {\it de facto\/} +language for this, being used in the middle of plain text by \TeX-% +literate mathematicians. These bits of \TeX\ are never even compiled +(except in the human brain). + +Inevitably, after a while, you come up against limitations. I'll +mention just one. You can draw simple diagrams in \LaTeX\ but not in +plain \TeX. So, in my otherwise complete book manuscript, I had to +send diagrams on separate sheets of paper, to be pasted in to spaces +on the pages. (Some diagrams were beyond even \LaTeX, so I drew them +by hand.) Wouldn't it be possible for someone to write plain \TeX\ +macros (or copy the \LaTeX\ ones) for using the line and circle fonts? + + +In fact, the benefits of doing this would be a system more flexible +than the \LaTeX\ `picture' environment. Often, I want to say +something like `graphs having no subgraph of the form blah', where +`blah' is a small graph (with, say, 3 or 4 vertices). Such an object +would take up no more space than a $2\times 2$ matrix (and Knuth gives +you two methods to include matrices in a line of text). You could +design your own with \MF, but then you immediately make your file non-% +portable. + +Geometers now habitually use diagrams to describe classes of +geometries. These diagrams are composed of nodes (which may be solid +or hollow) linked by edges (which may be single, multiple or directed), +both nodes and edges having optional labels above and below. If the +diagram is a `string', this is a good exercise in writing macros. But +if it branches, I don't know how to draw it in \TeX. + +Being, as I said, an impoverished academic, my next computer after the +Spectrum was an Atari ST. Within a month of buying it, I was delighted +to see a public domain version of \TeX\ and \MF\ announced in a +magazine. The PD library supplying it (the South-West Software Library) +also set up a helpline of experts to assist novices with problems. I had +so many problems getting the system running that, at the end of it, I +was ready to offer my services as an expert! Now the working system is +a great aid to productivity. I type the input on an old Tandy portable (I +spend a lot of time commuting by train), debug and preview it on the ST, +and laser-print it on the departmental network. One small but important +ingredient is Tempus, an excellent programmers' editor on the ST. With +its structure check, I can catch all those missing closing braces! + +From my experiences, I wonder how many potential users have been +scared off by the steepness of the learning curve, not so much of +\TeX\ itself, but of the mechanics of using it (installation, screen +and printer drivers, etc.) I recently acquired a German shareware +version. First time round, the ARC file was corrupted and wouldn't +unARC correctly. Months later, a replacement came. This time, the +`install' program re-wrote a file on my boot disk, putting the +computer into a crash-and-reboot cycle which didn't do my nerves any +good at all. + +To conclude: I think that Knuth's `health warning' in \MFbook\ +applies equally to \TeX: once you have started using it, you'll never +look at a typeset page in quite the same way, and you'll never ever be +satisfied with your own efforts! +\author{Peter J. Cameron} +\endinput diff --git a/info/digests/texline/no12/ridt91.tex b/info/digests/texline/no12/ridt91.tex new file mode 100644 index 0000000000..55fcdb64a5 --- /dev/null +++ b/info/digests/texline/no12/ridt91.tex @@ -0,0 +1,38 @@ +\title{RIDT 91} +The second international workshop on raster imaging and digital typography +will be held in Boston on October 15--16, 1991. The workshop is sponsored by +the University of Massachusetts at Boston, and the IEEE Computer Society. The +day before the conference there will be two concurrent one-day tutorials: one +on type design and one on type +rasterization. + +Submissions on the following topics +are welcomed: +\bi measuring type quality +\bi character design, representation and transformation +\bi shape acquisition and manipulation +\bi colour printing +\bi fast rasterization hardware +\bi applications of human vision science to type design +\bi character generation and recognition +\bi page description languages +\bi anti-aliasing +\bi digital halftone processing +\bi font representations for automatic scan conversion +\bi rasterization algorithms + +\noindent +To receive guidelines for authors or other electronic or paper mail about the +conference, contact: +{\parindent10pt\obeylines +Robert Morris, RIDT 91 +Dept Math \& CS +UMASS/Boston +Boston +MA 02125-3393, USA +email: {\tt ridt91-request@cs.umb.edu} +} + +\noindent +The progran committee includes Roger Hersch, Jacques Andr\'e, Rick +Beach, Chuck Bigelow, John Hobby and Richard Southall. diff --git a/info/digests/texline/no12/sources.tex b/info/digests/texline/no12/sources.tex new file mode 100644 index 0000000000..31e2477eb1 --- /dev/null +++ b/info/digests/texline/no12/sources.tex @@ -0,0 +1,57 @@ +\title{Sources} +There are a number of sources around for various bits and pieces of \TeX ware. +The best known sources are organisations like TUG, the UK \TeX\ Users Group, +\dante, \GUTenberg, NTG and so on. There are also a number of electronic +sources which are useful for those with some sort of electronic access. +Although we tend to think chiefly of the large archives like Aston, {\tt +tuglib}, {\tt ymir} and Heidelberg, don't forget the `conference' sources, like +CIX (in the UK), which permits files to be downloaded. + +Briefly, CIX (081 399 5252 or 081 390 1244) has a \TeX\ conference which +consists of four parts (read directories): general, files, fonts, emtex. The +first is chat only, the last three are chat and downloadable files. There is +a lot there. +Getting a CIX account is a cinch. You dial in (8 bit, 1 stop bit, no parity, +300--2400 baud) and if you don't have a login name and password, CIX +automatically switches you into a routine that asks you if you wish to register. +You get some bumph (on screen) and then CIX asks for your +credit card number. Then you're in. It takes about 24 hours to process your +registration, and that's it. + +In addition, there are a couple of public domain +software distributors who can provide disks for a nominal charge. In the UK, two +of these are The South West Software Library, who provide Atari software, and +Eigen PD Software who provide \msdos\ software. + +The South West Software Library have two versions of \TeX\ for the Atari ST in +their catalogue: one is public domain, while the other is shareware. As you +might expect, the shareware version is slightly more user friendly. Besides the +\TeX\ and \MF\ disks, they have a few more relevant disks for distribution, +which include a listing of the Aston Archive (!), \LaTeX\ Draw (two graphic +editor programs for the {\tt picture} environment), Chemstruct (macros for the +generation of chemical structural formulae), and lots of other goodies. One of +the nice features of South West Software's approach is that they have helped +create a user support network for ST-\TeX\ users. + +The other distributor is Eigen PD Software. Their catalogue currently contains +references to SB\TeX\ together with various drivers and the other things you +would expect to find in a well-stocked \TeX\ library. They are clearly +\TeX-serious, since their catalogue is \TeX-ed, and \TeX\ has its very own +section in that catalogue. + +For a catalogue of the public domain software, contact: +{\obeylines +South-West Software Library +PO Box 562 +Wimborne +Dorset +BH21 2YD +~ +Eigen PD Software +PO Box 722 +Swindon +SN2 6YB +tel: 0793 611270 +} +\author{\mwc\ \& \DW} +\endinput diff --git a/info/digests/texline/no12/texline.head b/info/digests/texline/no12/texline.head new file mode 100644 index 0000000000..ec252569f3 --- /dev/null +++ b/info/digests/texline/no12/texline.head @@ -0,0 +1,41 @@ +\topinsert +\begingroup +\overfullrule0pt +\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 12, December 1990} +\line{\hfill a Newsletter of the \TeX\ community} +\line{\hfill edited by} +\line{\hfill Malcolm Clark} +\line{\hfill PO Box 1897} +\line{\hfill London NW6 1DQ} +\line{\hfill Tel: 071 435 8983} +\line{\hfill Fax: 071 433 3576} +\line{\hfill Janet: malcolm@uk.ac.icrf} +\line{\hfill Unix: mwc@doc.ic.ac.uk}} +\setbox\banner\vbox{\hsize=275pt% +\huge\TeX\kern-0.1em line\kern-0.15em1\kern-0.1em2} +\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 +\hfuzz30pt +\hbox{\box\info\qquad\raise\infoht\box\banner} +\endgroup +\endinsert diff --git a/info/digests/texline/no12/texline.tex b/info/digests/texline/no12/texline.tex new file mode 100644 index 0000000000..fbaafd6595 --- /dev/null +++ b/info/digests/texline/no12/texline.tex @@ -0,0 +1,207 @@ +\message{TeXline macros} +\vsize9.5in +\hsize6.5in +\input newtwo-column%%%%% +\input verbar +\tolerance3000 +\doublehyphendemerits10000 +\hfuzz2.5pt +\vfuzz2.5pt +\baselineskip12pt +\parskip0pt +\parindent1em +\abovedisplayskip1pt +\belowdisplayskip1pt +\brokenpenalty1000 +\clubpenalty=10000 +\widowpenalty=10000 +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\nopagenumbers +\headline{\ifnum\pageno>1 +\ifodd\pageno{\sl \TeXline\ 12 \hss \folio} +\else{\folio \hss\TeXline\ 12}\fi\fi} +\def\rhead{\ifnum\pageno>1 + \ifodd\pageno\sl\TeXline\ 12\hss + \else\sl\folio\hss\fi\else +\fi} +\def\lhead{\ifnum\pageno>1 + \ifodd\pageno\sl\hss\folio + \else\sl\hss\TeXline\ 12\fi\else +\fi} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi} +\def\nl{\hfill\break} +\def\item#1{\par\hangindent1em\hangafter1{\noindent\bf#1}} +\def\itemitem#1{\par\hangindent2em\hangafter1{\noindent\enspace\bf#1\ }} +\def\bi{\item{$\bullet$}} +\def\rtr{\hbox to1em{\hfil$\triangleright$}} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\title#1{\centerline{\bf#1}\smallskip\noindent\ignorespaces} +\def\section#1{% + \medskip\goodbreak\leftline{\let\sc\scit\sl #1}\par\noindent\ignorespaces} +\def\subsection#1{\medskip\goodbreak\leftline{$\bullet$\sl#1}\par +\noindent\ignorespaces} +\def\author#1{{\ifvmode\rightline{\sl#1\strut}\else + \unskip\nobreak\hfil\penalty50\hskip2em\hbox{}\nobreak + \hfil\sl#1\strut\parfillskip0pt\par\fi}} +\def\caption#1{\medskip\setbox0\hbox{\bf#1}\ifdim\wd0>\hsize + \noindent{\bf#1}\else\centerline{\copy0}\fi} +\long\def\frame#1#2{\vbox{\dimen0=#1\multiply\dimen0 by2 + \advance\hsize by-\dimen0\hrule\hbox{\vrule\hskip#1\vbox + {\multiply\tolerance by + 4\overfullrule0pt\parindent0pt\parskip#1 + \vskip#1{}#2\vskip#1}\hskip#1\vrule}\hrule}} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\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 +\font\smalltt=cmtt8 +\font\eightsy=cmsy8 \skewchar\eightsy='60 +\def\scit#1{\iteight\uppercase{#1}} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\hyphenation{every-thing} + +\def\bar{\smallskip\goodbreak{\noindent\hrule depth3pt}\medskip} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\TeX{T\hbox{\hskip-.1667em\lower.424ex\hbox{E}\hskip-.125em X}} +\def\MF{{\rm{\mf META}\-{\mf FONT}}} +\def\MFb{{\bf{\mfb META}\-{\mfb FONT}}} +\def\MFsl{{\sl{\mfsl META}\-{\mfsl FONT}}} +\def\MFbook{{\sl The \MFsl\kern1pt book}} +\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\LaTeXbf{{\bf L\kern-.36em\raise.3ex\hbox{\scb + A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\DeK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125emK} +\def\LeX{L\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125emX} +\def\TeXline{{\sl\TeX\kern-0.1em line}} +\let\Texline\TeXline +\def\SGML{\hbox{\sc sgml}} +\let\sgml\SGML +\def\ISO{{\sc iso}} +\def\ANSI{{\sc ansi}} +\def\PS{P{\sc{ost}}\-S{\sc{cript}}} +\def\MSDOS{{\sc ms\-\dos}} +\let\msdos\MSDOS +\def\DOS{{\sc dos}} +\let\dos\DOS +\def\PCDOS{{\sc pc\-\dos}} +\let\pcdos\PCDOS +\def\IBM{{\sc ibm}} +\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{{\sl Textures}} +\let\Textures\TeXtures +\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}} +\let\Unix\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} +\let\BibTeX\BiBTeX +\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\degrees{$^\circ$} +\def\LamSTeX{L\kern-.4em\raise.3ex\hbox{$\scriptstyle\cal A$}\kern-.25em + \lower.4ex\hbox{\eightsy M}\kern-.1em{$\cal S$}-\TeX} +\let\LamsTeX\LamSTeX +\def\dante{{\sc Dante}} +\let\DANTE\dante +\def\GUTenberg{GUTenberg} +\def\DW{Dominik Wujastyk} +\def\DEK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em K} +\def\TeXMaG{\TeX M\kern-0.22em\lower0.5ex\hbox{A}\kern-0.27emG} +\def\u{\accent'27u} +\def\by{$\times$} +\def\inch{$''$} +\def\ascii{{\sc ascii}} +\let\ASCII\ascii +\def\ebcdic{{\sc ebcdic}} +\let\EBCDIC\ebcdic +\def\eqn{{\tt eqn}} +\def\b{{\tt\char'134}} +\def\wysiwyg{{\it wysiwyg\/}} +\def\mwc{Malcolm Clark} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +% 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/no12/toc.tex b/info/digests/texline/no12/toc.tex new file mode 100644 index 0000000000..6cd6d5b6d4 --- /dev/null +++ b/info/digests/texline/no12/toc.tex @@ -0,0 +1,31 @@ +\title{Table of Contents} +{\parindent0pt\parskip0.5pt\obeylines +The future of \TeX\ and \MF\dotfill 1 +\quad {\sl Donald E. Knuth} +Adventures of a new \TeX nician\dotfill2 +\quad{\sl Peter Cameron} +Could \LaTeX\ do more for chemists?\dotfill3 +\quad{\sl David Rhead} +{Layout design with \LaTeX\ is possible}\dotfill5 +\quad {\sl Hubert Partl} +A parskip scheme\dotfill5 +\quad{\sl Victor Eijkhout} +{Cork90}\dotfill8 +\quad{\sl Nico Poppelier, Kees van der Laan,} +{\sl \hfill Johannes Braams} +Cahiers GUTenberg +\quad Summaries from Number 6, July 1990\dotfill 13 +{\quad\sl Malcolm Clark} +{Access to the UK \TeX\ Archive}\dotfill14 +\quad{\sl Brian Hamilton Kelly} +Sources\dotfill13 +Didot\dotfill17 +Late news\dotfill18 +{\sl Future meetings:} +RIDT91\dotfill15 +6th European \TeX\ Conference \& GUTenberg'91\dotfill15 +\TeX\ Inroads into Publishing\dotfill16 +\TeX~Meeting in~Vienna\dotfill16 +Electronic Publishing Out of the Playpen!\dotfill17 +uk\TeX ug Meeting Announcement\dotfill17 +} diff --git a/info/digests/texline/no12/uktexug.tex b/info/digests/texline/no12/uktexug.tex new file mode 100644 index 0000000000..8f1b727428 --- /dev/null +++ b/info/digests/texline/no12/uktexug.tex @@ -0,0 +1,30 @@ +\title{uk\TeX ug Meeting Announcement} +The UK \TeX\ Users Group will hold a meeting in London on February 13th +to highlight the advances made by Frank Mittelbach and Rainer Sch\"opf with +their font selection schemes and the several new \LaTeX\ style files which they +have contributed. Frank and Rainer will be presenting this information. In +addition there will be a presentation on the new `composite' or `virtual' +fonts. This meeting is intended to keep people abreast of these new +developments and to help them see how they fit into their own environments. +This meeting is open to all. + +On February 14th, Frank and Rainer will be leading an in-depth workshop on +their work for \LaTeX3. This workshop will be restricted in numbers, and is not +for the faint hearted. It is not a tutorial: the emphasis is on `work'. +Positive, constructive contributions from the participants are a prerequisite. +Don't come to this workshop to find out what \LaTeX3 has in it! Come along to +find out how you can help to make it a reality! + +For details of these meetings, contact +{\parindent10pt\obeylines +UK \TeX\ Users Group +c/o Computing Service +Aston University +Aston Triangle +Birmingham, B4 7ET, UK +email: {\tt abbottp@uk.ac.aston} +} +\smallskip +A further meeting, scheduled for April, will examine the implementation details +of \TeX3, \LaTeX\ and drivers for composite fonts, on a variety of +architectures. diff --git a/info/digests/texline/no12/verbar.tex b/info/digests/texline/no12/verbar.tex new file mode 100644 index 0000000000..49515932e2 --- /dev/null +++ b/info/digests/texline/no12/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$$#1\halign\bgroup\indent##\hfil&&\qquad##\hfil\cr}} +\outer\def\enddisplay{\crcr\egroup$$} +\message{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}} + + diff --git a/info/digests/texline/no12/victor.tex b/info/digests/texline/no12/victor.tex new file mode 100644 index 0000000000..8195e16d46 --- /dev/null +++ b/info/digests/texline/no12/victor.tex @@ -0,0 +1,377 @@ + +\chardef\busje=`\\ +\def\cs#1{{\tt\busje#1}} +%\newcommand{\whiteline}{\medskip\noindent} + +{\overfullrule0pt\everypar{\looseness0}\title{\bf A parskip scheme} +While I was working on the \LaTeX\ styles described +in Braams {\it et al\/}, it became apparent to me that lots of people are rather +fond of the sort of layout +that can be described as +\begintt +\parindent=0cm +\parskip=6pt % or other positive size +\endtt +Unfortunately, most of them realize this layout by no more sophisticated +means than simply inserting these two lines at the beginning +of the input. The drawback of such a simple action is +that all sorts of vertical spaces are augmented by the +\cs{parskip} when there is absolutely no need to, +or where it is positively unwanted. Examples of this +are the white space below section headings, +and the white space above and +below list environments in \LaTeX. + +In this article I will present an approach that unifies the +paragraph skip and the +white spaces surrounding various environments. +Since the macros given below make use of the \cs{everypar} +token list, this article may be seen as a sequel to +an earlier paper on an indentation scheme (Eijkhout, 1990), +which is based on a similar principle. +The \cs{everypar} parameter was explained there. + +\section{\cs{\ttit parskip}} +\TeX\ starts a paragraph when it switches from +vertical to horizontal mode. The vertical mode +may have been initiated by a \cs{par} (for instance +because of an empty line after a preceding paragraph) +or by a vertical skip command; the switch to horizontal +mode can be effected by, for example, a character +or a horizontal skip command (see the list in Knuth (1984, p283). +Immediately above the first line of the paragraph +\TeX\ will then add glue +of size \cs{parskip} +to the vertical list, unless this paragraph is +at the start of a vertical list, for instance at the +start of a vertical box or insertion item. + +Apparently, then, the \cs{parskip} parameter is very +simple to use. That this is only an apparent +simplicity becomes clear in a number of instances. + +For instance, unless precautions are taken, the white +space below headings is augmented by the paragraph skip. +Precautions against this are not particularly elegant: +the easiest solution is to include a +\begintt +\vskip-\parskip +\endtt +statement, to backspace the paragraph skip in advance. +Such an approach, however, is somewhat error-prone. +Vertical spacing will be messed up if what follows is not +a paragraph, but a display formula or a box. + +Similar considerations apply to the amounts of white space +that surround, for example, list environments, as in \LaTeX. + +\section{Paragraph skip: to be or not to be} +Ordinarily in plain \TeX\ and in \LaTeX\ the paragraph +skip is set to {\tt 0pt plus 1pt}, which gives pages some +`last resort' stretchability. However, even an amount of vertical +space as small as one point may become very +visible, and often without need (see for instance +the first page of the preface of the \TB). + +Furthermore, Stanley Morison (1936) states that not indenting +paragraphs is `decidedly an abject method'. +However, reading his intention instead of his words, +he is only concerned with the recognizability of the individual +paragraphs. The positive value of the paragraph skip is sufficient +to ensure this. If a layout is based on zero values for +both \cs{parindent} and \cs{parskip}, one may for instance +give the \cs{parfillskip} a positive natural width +to prevent last lines of a paragraph from almost, or completely, +lining up with the right margin. + +Neither Donald Knuth nor Leslie Lamport +seem to have given much thought to +the case where the paragraph skip has a positive natural width. +Leslie Lamport dismisses all potential difficulties with the remark +that `it is customary not to leave any extra space +between paragraphs' (Lamport, 1986, p94). + +\section{Environments and white lines} +Given that the paragraph skip appears to interact with +explicit vertical spacing in user macros, it may seem +like a good idea to find a unified approach to both. +In the rest of this article I will describe the implementation +of the following basic idea: {\em give the paragraph skip +the value zero whenever you do an explicit vertical skip}. + +For this paper I assume a context with some form of +environments. These are the assumptions that I make +about such environments: + +\item{$\bullet$} An environment is a portion of material that is vertically +separated from whatever is before and after it. Thus, according to +this definition, a portion of a paragraph cannot be an environment, +nor can an environment start or end in the middle of a paragraph. +\item{$\bullet$} An environment has associated with it three glue parameters: +to an environment {\tt foo} correspond \cs{fooStartskip} (glue +above the environment), \cs{fooParskip} (the paragraph skip +inside the environment), and the \cs{fooEndskip} (glue below +the environment). +\item{$\bullet$} At the outset of the environment +a +\begintt +\StartEnvironment{foo} +\endtt + statement +is executed; at the end of the environment a macro +\begintt +\EndEnvironment{foo} +\endtt + is executed. +These statements are assumed to +contain a \cs{begingroup} and \cs{endgroup} +respectively. + +\noindent +Such assumptions are sufficiently general for the macros +below to be adaptable to existing macro packages. +At first sight it would appear as if section headings +are not covered by the above points. However, there +is no argument against the start and end of an environment +occurring in the same macro. + +\section{Tools} +First I will present two auxiliary macros: \cs{csarg} +and \cs{vspace}. + +The command \cs{csarg} +is only needed inside other macros; it is meant to +enable constructs such as +\begintt +\csarg\vskip{#1Parskip} +\endtt +Its definition is +\begintt +\def\csarg#1#2{\expandafter + #1\csname#2\endcsname} +\endtt +By way of explanation of this macro, consider a simple example. +Let us assume that there exists a macro +\begintt +\def\startlist#1{ ... + \csarg\vskip{#1Startskip} + ...} +\endtt +The call +\begintt +\startlist{enumerate} +\endtt +will then lead to the following call to \cs{csarg}: +\begintt +\csarg\vskip{enumerateStartskip} +\endtt +This expands to +\begintt +\expandafter\vskip + \csname enumerateStartskip\endcsname +\endtt +Now the \cs{expandafter} forces \cs{csname} to be executed +before the \cs{vskip}, so the next step of the expansion +looks like +\begintt +\vskip\enumerateStartskip +\endtt +and this statement can simply be executed. + +Next I need a generalization of \cs{vskip}, which I will call \cs{vspace}: +a number of calls to \cs{vspace} should have the effect +that only the maximum argument is placed. +\begintt +\newskip\tempskipa +\def\vspace + #1{\tempskipa=#1\relax + \ifvmode\ifdim\tempskipa<\lastskip + \else\vskip-\lastskip + \vskip\tempskipa + \fi + \else \vskip\tempskipa\fi} +\endtt +This may need some explanation. By the assignment +|\tempskipa=#1| I allow the argument of \cs{vspace} to be +both a control sequence, for instance \cs{parskip}, +and a denotation, for instance {\tt 5pt plus 3pt}. +If one omits the assignment, the latter option would cause trouble +in the \cs{ifdim} test. + +The decision to keep the maximum value of the skip, instead of +always replacing the last skip, was motivated by phenomena +such as a display formula at the end of a list. If the +skip below the display is larger than the vertical glue +below the list (which may be zero), +the former should be retained entirely. +\looseness1 + +Note that this macro can insert vertical space of size +zero. This will for instance happen if it follows +a \cs{par} command at the end of a paragraph. +It is then called in vertical mode, +but the last item on the vertical list is a box +(the last line of the paragraph) instead of a +glue item. The parameter \cs{lastskip} will then be zero. + +\section{The environment macros} +In this section, I will give the implementation of the +macros \cs{StartEnvironment} and \cs{EndEnvironment}. + +There is a remarkable similarity between these two macros. +As I explained above, the basic idea is to have only explicit +spacing above and below the environment; thus, the value of \cs{parskip} +should then be zero both for the first paragraph in the +environment, and for the first paragraph that follows it. +Both macros should then + \item{$\bullet$} save the current value of the paragraph skip; + \item{$\bullet$} set the paragraph skip to zero; + \item{$\bullet$} give \TeX\ a signal that, somewhere in the near + future, the old value of \cs{parskip} is to be restored. + +\noindent For this I allocate a skip register and a conditional: +\begintt +\newskip\TempParskip +\newif\ifParskipNeedsRestoring +\endtt +The basic sequence for both macros is then +\begintt +\TempParskip=\parskip +\parskip=0cm\relax +\ParskipNeedsRestoringtrue +\endtt + +\noindent For both macros, however, this sequence needs to be +refined slightly. + +The paragraph skip to be `restored' at the start of the +environment is the specific value associated with that +environment. This gives us: +\begintt +\def\StartEnvironment + #1{\csarg\vspace{#1Startskip} + \begingroup %% make changes local + \csarg\TempParskip{#1Parskip} + \parskip=0cm\relax + \ParskipNeedsRestoringtrue} +\endtt +Note that the statement +\begintt +\csarg\TempParskip{#1parskip} +\endtt +denotes an assignment (without an optional equals sign) here. + +At the end of the environment we have to be more careful. +It may be the case that +the environment being ended was inside another +environment, and occurred +before the first paragraph inside +that environment. In that case the value of \cs{parskip} is zero, +and the proper value must still be restored. +Therefore, no further actions are required. + +We arrive at the following implementation: +\begintt +\def\EndEnvironment + #1{\csarg\vspace{#1Endskip} + \endgroup %% restore global values + \ifParskipNeedsRestoring + \else \TempParskip=\parskip + \parskip=0cm\relax + \ParskipNeedsRestoringtrue + \fi} +\endtt +Note that both macros start with a vertical skip. This prevents +the \cs{begingroup} and \cs{endgroup} statements from +occurring in a paragraph. + +On a side note: since these macros +are executed in vertical mode, I have not bothered to terminate +any lines with comment signs. Any spaces generated by +these macros are ignored in vertical mode. + +\section{Paragraph skip restoring} +So far, I have ignored one important question: +how exactly is restoring the paragraph skip implemented. +For this I use the \cs{everypar} token list. +Basically then, the idea is the same as in (Eijkhout, 1990): +the occurrence of a paragraph will automatically +have \TeX\ perform, through the insertion of the +\cs{everypar} tokens, the actions necessary for subsequent +paragraphs. +\begintt +\everypar= + {\ControlledIndentation + %see Tugboat 11, #3 + \ControlledParskip} +\def\ControlledParskip + {\ifParskipNeedsRestoring + \parskip=\TempParskip + \ParskipNeedsRestoringfalse + \fi} +\endtt +The cost of a controlled paragraph skip is then one conditional +per paragraph. Conceivably, this cost could even be reduced further +(to almost zero) by defining +\begintt +\def\CPS % Controlled Parskip + {\ifParskipNeedsRestoring + \parskip=\TempParskip + \ParskipNeedsRestoringfalse + \let\ControlledParskip=\relax + \fi} +\endtt +and including a statement +\begintt +\let\ControlledParskip=\CPS +\endtt +in both the \cs{StartEnvironment} and +\cs{EndEnvironment} macros, and at the start of the job (for instance +by including it in the macro package). +This approach, however, does not particularly +appeal to me. Too much `pushing the bit around'. + +\section{Conclusion} +The \cs{parskip} parameter is arguably the most tricky parameter of +\TeX. Its workings are very easy to describe, but in actual +practice difficulties arise. In this article I have +described how treatment of the paragraph skip can be integrated +with the glue above and below environments. +As in an earlier article on indentation, I use for this +the \cs{everypar} parameter as an essential tool. + +\section{Bibliography} +{\frenchspacing\parindent0pt\everypar{\hangindent20pt\hangafter1}\par +Johannes Braams, Victor Eijkhout \& Nico A.F.M. Poppelier, 1989, +The development of national \LaTeX\ styles, +TUGboat 10(3) (1989), pp401--406. + + +Victor Eijkhout, 1990, +An indentation scheme, TUGboat 11(4). + + +Donald Knuth, 1984, The \TeX book, +Addison-Wesley Publishing Company. + + + +Stanley Morison, 1936, First principles of typography, +Cambridge University Press. + + +Leslie Lamport, 1986, \LaTeX, a document preparation +system, Addison-Wesley Publishing Company. + +}} + +\author{Victor Eijkhout} +\endinput +Victor Eijkhout phone: +1 217 244-0047 + Center for Supercomputing Research and Development + University of Illinois at Urbana-Champaign + 305 Talbot laboratory + 104 South Wright street + Urbana, Illinois 61801-2932, USA + +home: 2503 W. Springfield Av, Apt. K-4, Champaign 61821, USA diff --git a/info/digests/texline/no13/13 b/info/digests/texline/no13/13 new file mode 100644 index 0000000000..8906caefe7 --- /dev/null +++ b/info/digests/texline/no13/13 @@ -0,0 +1,61 @@ +\input texline +\voffset-0.5in +%\def\firstpage#1{\bgroup\advance\vsize by0.5in\voffset-0.5in +%\bigcolheight=\vsize +%\advance\bigcolheight by\bigcolheight +%\advance\bigcolheight by 10pt +%\pageheight=\vsize +\input texline.head + +\begindoublecolumns +\input spivak +\bar\input playpen +\bar\input unicode +\bar\input bcs-future +\bar\input sgml +\bar\input cheltenham +\bar\input matter +\bar\input book-reviews +\bar\input betsy +\bar\input rhead.txt +%\bar +%\scaledpicture 31.6pc by 19.7pc (lamb scaled 450) +\bar\input ep92 +\vfill\eject +\bar\input dtp +\bar\input courses +\bar\input gut +\bar\input amiga +\bar\input didot +\enddoublecolumns +\bye + +book review: tex for the impatient +book review: sue brooks +schrod's TeX system +michael's +explanation? +editorial? +\vfill +\centerline{% +\scaledpicture 14.3pc by 11.1pc (leo scaled 1200)} +\eject + +\scaledpicture 31.6pc by 19.7pc (lamb scaled 500) +\scaledpicture 31.6pc by 19.7pc (lamb scaled 600) +\scaledpicture 31.6pc by 19.7pc (lamb scaled 700) +\line{\hfil\scaledpicture 17.9pc by 19pc (t scaled +800)\hfil} +\scaledpicture 31.6pc by 19.7pc (lamb scaled 500) + + +\scaledpicture 17.5pc by 17.6pc (e scaled 800) + +\scaledpicture 14.3pc by 11.1pc (leo scaled 1200) + +\scaledpicture 17.6pc by 17.8pc (x scaled 800) + +\enddoublecolumns + +\centerline{\scaledpicture 46.7pc by 46.5pc (leonardo +scaled 400)} diff --git a/info/digests/texline/no13/13b b/info/digests/texline/no13/13b new file mode 100644 index 0000000000..e47930e703 --- /dev/null +++ b/info/digests/texline/no13/13b @@ -0,0 +1,30 @@ +\input texline +\voffset-0.5in +%\def\firstpage#1{\bgroup\advance\vsize by0.5in\voffset-0.5in +%\bigcolheight=\vsize +%\advance\bigcolheight by\bigcolheight +%\advance\bigcolheight by 10pt +%\pageheight=\vsize +%\input texline.head +\pageno=25 +\begindoublecolumns +\bar\input lamstex +\bar +\scaledpicture 31.6pc by 19.7pc (lamb scaled 450) +\bar\input angus +\bar\input vegas +\bar\input another +\bar\input uktexug +\bar\input dedham +\bar\input good_guys_plus +\bar\input toc +\enddoublecolumns +\vfill\eject + +\input obit +\vskip0pt plus1filll +\noindent \sf This edition of {\sl\TeXline} was made +possible by funding from \TeX cel AS, Gaustadall\'een~21, +0371~Oslo~3, Norway, suppliers of the Publisher in Europe. +Thanks Bruce. + \end diff --git a/info/digests/texline/no13/amiga b/info/digests/texline/no13/amiga new file mode 100644 index 0000000000..c058c1eeaa --- /dev/null +++ b/info/digests/texline/no13/amiga @@ -0,0 +1,46 @@ +\title{Industrial Light and Magic} +\vskip-3pt +\centerline{\sl based on a press release} +\noindent +Amiga\TeX{} has a long history of firsts. Available since mid-1986, +\TeX{} on the Commodore Amiga, written by Tom Rokicki, was the first to use +scalable font technology to provide the best possible output on any printer. It +was the first typesetting program to allow interprocess communication with other +applications through ARexx. And now, Amiga\TeX{} is the first publishing +program on the Amiga to support fully arbitrary \PS\ fonts and graphics +on-screen. + +Amiga\TeX{} users can choose from thousands of \PS\ Type~3 and hinted Type~1 +fonts. The fonts can be scaled, slanted, and stretched. \PS\ fonts will be +rendered automatically for screen display or any printer as needed. \PS\ +graphics from a wide variety of sources -- including virtually all structured +drawing packages on the Amiga and other machines -- can be easily scaled and +integrated into Amiga\TeX{} documents. The graphics will appear on the screen +exactly as they will on a printer, within the limits of the screen resolution. + +Widely recognized as the best \TeX{} implementation available for any +computer, Amiga\TeX{} is fully compatible with the latest \TeX{} 3.1 and \MF{} +2.7 standards, and fully supports virtual fonts in the previewer and all device +drivers. The multitasking and interprocess communication capabilities of the +Amiga provide concurrent formatting, printing, +previewing, and editing, and all such communication can be controlled through +ARexx. + +Amiga\TeX{} is a comprehensive typesetting system. Primary strengths of the +software include equations and tables, long documents (there is no limit on +document length except for the size of your hard disk), and the highest quality +typesetting. + + +The retail price of the new 3.1a release is \quid140.00, claimed to be lower +than the cost of direct import. A free functional demonstration disk is +available on written (not telephone!) request. For more information contact +the exclusive UK and Eire distributors + +{\obeylines +Industrial Might and Logic +58 Cobden Road +Brighton BN2 2TJ} + +\noindent +or call Paul Ockenden on (0273) 621393.\noauthor diff --git a/info/digests/texline/no13/angus.tex b/info/digests/texline/no13/angus.tex new file mode 100644 index 0000000000..2eafe236ac --- /dev/null +++ b/info/digests/texline/no13/angus.tex @@ -0,0 +1,473 @@ + +\begingroup\let\ref\relax + +\let\bfsl\sl%\newcommand{\bfsl}{\series{bx}\sl} +\def\ritem[#1]{\par\hangindent\parindent{\noindent\bf #1}\enspace} +\def\SliTeXb{{\bf S{\scb LI}\TeX}} + +\title{A Script for building true-sized fonts} +This article is about creating John~Sauter's reworking of the Computer Modern +fonts (see `How well do you know your CM fonts?' by Sebastian Rahtz, +in \TeXline~9). We have been using Sauter's CM fonts in the Computer Science +Department at Edinburgh University for over a year now, mainly in conjunction +with \LaTeX{} (built on top of \TeX~2.97, and latterly \TeX~2.991 and +\TeX~3.0). + +The process of getting \LaTeX{} to work with Sauter's fonts was +rather tedious, involving editing {\tt lfonts.tex}, using \MF{} to create +{\tt gf} (Generic Font) format and {\tfm} (\TeX{} Font Metric) files, +converting the {\tt gf} files to the {\pk} (Packed Font) format used by our +printer driver, and building new format files for \LaTeX{} on each +architecture which we support (with the latest version of the {\tt web2c} +system for building \TeX, format files which do not contain |glue_ratio| +quantities may be shared across architectures; this includes plain \TeX\ and +\LaTeX\ formats. This article will concentrate on a {\unix} shell script to +assist with the second and third steps outlined above, but first I~will +present some background. + +\section{Background} +I~decided to update our installation to \TeX~3, and aquire a +more recent version of \LaTeX{} than the one we were using. After a little bit +of investigation, I also decided to install Mittelbach and Sch\"opf's new font +selection scheme for \LaTeX{} (see Tugboat~10 no.1). This new scheme +provides a more flexible interface to fonts, allowing users to alter the {\em +family\/}, {\em series\/}, {\em shape\/}, and {\em size} of fonts +independently. Thus typing |\sl| while boldface is selected will choose +a{\bfsl slanted boldface\/} font if possible. There are also advantages in font +management, making it far easier to install new fonts (especially fonts which +are used in math mode), or change regular \LaTeX{} fonts for other fonts. + +The Computer Science Department at Edinburgh has a large number +of theoreticians, who like to use as many wierd symbols as they can, so I~took +advantage of the new font selection scheme to install the AMS +(American Mathematical Society) math symbol fonts {\tt msxm} and {\tt msym} as +new math alphabets (I~have recently updated these to the new {\tt +msam} and {\tt msbm} fonts). The size of symbols is set by the normal +\LaTeX{} size-changing commands. + +The department runs a network consisting of mainly Sun~3 and Sun~4 +workstations, with a few other machines (Hewlett-Packard workstations and DEC +{\sc mips} workstations) connected. There are currently seven remotely +accessable laser printers, most of which are 300\,\dpi, one of which is +400\,\dpi, and another which is switchable between 300 and 400\,\dpi. This +requires maintaining two complete sets of fonts, taking twice the disc space. +We also keep fonts at magnification 700 ($0.7$ normal size) for printing +two-up. We wanted a usable number of fonts without being constrained too +much, and without taking too much disc space. + +\section{Font Requirements} +The new \LaTeX{} font selection scheme makes it much easier to access +fonts, so I~also decided to re-examine the fonts available, and build a +new set of fonts for use with it. I~categorised the Computer Modern +and other fonts which we have available into four groups: + +\ritem[Text fonts] These are fonts which would probably be used in normal text. +\ritem[Math fonts] These are fonts which are normally accessed within math +mode. +\ritem[Special fonts] These fonts are usually explicitly loaded, and are not +required in a large range of sizes. +\ritem[\SliTeXb{} fonts] These are the extra fonts required to run \SliTeX{} +with true-sized fonts. + +\noindent +Table~1 shows the sizes chosen for the first group of +fonts. Note that the fonts {\tt cmr}, {\tt cmss} and {\tt cmtt} +appear in all sizes from 5 to 25 points; these fonts correspond to the normal +series and shape of the font families defined by Mittelbach and Sch\"opf. When +a family\slash series\slash shape\slash size combination cannot be found, the +medium series and normal series and shape is substituted instead. The fonts +{\tt cmbx} and {\tt cmti} also appear in the full range of point sizes +because of their use in chapter and section headings. The sizes of the other +text fonts corresponds to the range |\footnotesize| in \LaTeX's 10~point +styles to |\Large| in 12~point styles. I~felt that this would be a large +enough range to satisfy most users, without taking up too much disc space. + +\topinsert +\hsize6.5in +\raggedright\parindent0pt + +\setbox0\vtop{% +\halign{\vtop{\hsize1.5in\strut#\strut}&\vtop{\hsize1.5in\strut#\strut}\cr +\multispan2{\hfill\bf\strut Table 1: Sizes of `Text' fonts available\hfill}\cr +\noalign{\smallskip} +\noalign{\hrule} +Font & Sizes available\cr +\noalign{\hrule} +cmbx, cmr, cmss, cmti, cmtt & 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 20, 25\cr +\noalign{\hrule} +cmb, cmbxsl, cmbxti, cmcsc, cmitt, cmsl, cmssbx, +cmssdc, cmssi, cmtcsc, cmu, cmvtt & 8, 9, 10, 11, 12, 14, 17\cr +\noalign{\hrule} +}} + +\setbox1\vtop{% +\halign{\vtop{\hsize1.5in\strut#\strut}&\vtop{\hsize1.5in\strut#\strut}\cr +\multispan2{\hfill\bf\strut Table 2: Sizes of `Math' fonts available\hfill}\cr +\noalign{\smallskip} +\noalign{\hrule} +Font & Sizes available\cr +\noalign{\hrule} +cmmi, cmsy, lasy & 5, 6, 7, 8, 9, 10, 11, 12, 14, 17, 20, 25\cr +\noalign{\hrule} +cmbsy, cmmib, lasyb & 5, 6, 7, 8, 9, 10, 11, 12, 14, 17\cr +\noalign{\hrule} +}} + +\line{\box0\hfill\box1}\bigskip +\hrule height1pt depth1pt +\bigskip +\endinsert + + +Table~2 gives the sizes in which the fonts used in math mode +were made available. These fonts will probably be used in sub-scripts, +super-scripts, and sub-sub-~(super-super)~scripts, so the sizes down to +|\scriptscriptsize| in 10~point styles were built. + + + + +\setbox0\vbox{\raggedright\parindent0pt +\halign{\vbox{\hsize1.5in\strut#\strut}&\vtop{\hsize1.5in\strut#\strut}\cr +\noalign{\hrule} +Font & Sizes available\cr +\noalign{\hrule} +cmdunh, cmex cmff, cmfi, cmph, cmphi, cmtex, +lcircle, lcirclew, line, linew, logo, logobf, logosl, manfnt & 10\cr +\noalign{\hrule} +cmfib, cmssq, cmssqi & 8, 10\cr +\noalign{\hrule} +cminch & 72.27\cr +\noalign{\hrule} +\noalign{\smallskip} +\multispan2{\hfill\bf\strut Table 3: Sizes of `Special' fonts available\hfill}\cr +}} + +Table~3 shows the sizes at which the special fonts were +built. These fonts include some which are required for \LaTeX{} (for example, +{\tt cmex}, {\tt lcircle}, and {\tt line}), some interesting variants on +Computer Modern, and a few miscellaneous fonts. +\smallskip +\line{\box0} +\bigskip +\section{The {\ttit make\_font} script} +The |make_font| script described here was written for the C-shell. It is +used in conjunction with John Sauter's parameterised Computer Modern fonts, +available from the Aston archive in the directory +|[tex-archive.fonts.sauter]|. It is loosely based on several of +the shell scripts in that directory, but I~believe it is easier to use. +|make_font| creates a single font at several sizes, converts +the resulting {\tt gf} files to {\tt pk} files, and moves them to an +appropriate directory. The font organisation which we use in the +department keeps all of the fonts for each resolution in a directory called +{\tt /usr/local/share/tex/fonts/pk/}{\it device}{\tt/dpi}{\it res}, where {\it +device\/} is the device for which the fonts are to be used, and {\it res\/} is +the resolution of the fonts, in dots per inch. The fonts in these directories +are named {\it font}{\tt.pk}; the resolution is not part of the font +name. Only {\tt pk} fonts are used in the department. The {\tt make\_font} +script was written for this convention, but could easily be converted to other +conventions. Errors are logged on the standard output stream. + +\setbox1\vtop{\raggedright\parindent0pt +\halign{\strut#\hfil &\hfil#\,\dpi\hfil&\quad\hfil#\quad&\hfil#\quad\cr +Device &\omit\hfil Resolution\hfil &\omit\quad\hfil +Magnification\hfil&\omit\hfil Size Kbytes\cr \noalign{\hrule} +Agfa&400&1000&2863\cr +Agfa&280&700&1990\cr +Canon&300&1000&2310\cr +Canon&210&700&1567\cr +\noalign{\hrule} +\noalign{\smallskip} +\multispan4{\hfill\bf\strut Table 4: Directory sizes +for true-sized fonts\hfill}\cr}} + + +To build a true sized font, we create a driver file which sets the +design size of the font to be created, and then inputs Sauter's parameterised +version of the font (from the file {\tt build\_}{\it font}{\tt.mf}). +A typical invocation of |make_font| would be: + +{\let\tt\smalltt\baselineskip9pt +\begintt +make_font lw canon 1000 cmb 8 9 10 11 12 14 17 +\endtt +} + +This command would build the font {\tt cmb} in sizes 8--17 points. +|make_font| should be run from the directory which contains the +parameterised {\tt mf} files. + +The first three parameters required by |make_font| are the name of the +\MF{} |mode_def| to be used when building the font, the name of the +{\em device\/} sub-directory to place the {\tt pk} files in, and the +magnification of the font. +An optional switch can be used to set the command name under which \MF{} +is invoked. + +{\let\tt\smalltt\baselineskip9pt\parindent0pt +\begintt +#|iteight beginning of script|tt +#! /bin/csh -f +# Make a font, at the specified sizes. +# make_font mode pkdir mag font size... + +# MF name parameter; +# assume cmbase preloaded otherwise. +if ($#argv != 0 && $argv[1] =~ -*) then + set meta=`echo $argv[1] | cut -c2-`; shift +else + set meta=cmmf +endif + +if ($#argv == 0) then + echo "No mode name"; exit 1 +else + set mode=$1; shift +endif + +if ($#argv == 0) then + echo "No pk directory"; exit 1 +else + set pkdir=./pk/$1; shift +endif +\endtt +\begintt +if ($#argv == 0) then + echo "No magnification"; exit 1 +else + set mag="$1"; shift +endif +if ($#argv == 0) then + echo "No font"; exit 1 +else + set font=$1; shift +endif +\endtt +} + + + +Note that the magnification can also be given in terms of {\it magsteps\/}. +The command to build {\tt cmr} in 10-point, magnified $1.2$ times would be: + +{\let\tt\smalltt\baselineskip9pt +\begintt +make_font lw canon "magstep1*1000" cmr 10 +\endtt +} + +The names of the directories in which the {\tt tfm} files and \MF{} driver +files go are then set up, and directories created if necessary. The name of +the default \MF{} inputs directory (the last line of this next section) may +need changing: + +%script +{\let\tt\smalltt\baselineskip9pt\parindent0pt +\begintt +#|iteight continuation of script|tt +# directories for created font files +set tfmdir=./tfm +set mfdir=./mf +set gftopk=gftopk + +if (! -d $pkdir) mkdir $pkdir +if (! -d $tfmdir) mkdir $tfmdir +if (! -d $mfdir) mkdir $mfdir + +# Include the standard Computer Modern files, +# like roman.mf, romanu.mf, etc. +setenv MFINPUTS \ + .:${mfdir}:/usr/local/share/tex/fonts/mf +\endtt +} + +The next parameter required by the script is the name of the font to +be created. This is followed by a list of sizes in which the font is to +be built. The script iterates over the sizes available, creating driver files +if there is a parameterised version of the font available. If there is not a +parameterised version of the font available, the script assumes that the font +is available anyway, and that the name of the file in which it is found is the +name of the font and the size concatenated together. There is one special +case to worry about though; some fonts do not have size information in their +names (for example {\tt manfnt} or {\tt cminch}); these fonts can be built by +putting a single empty string instead of the list of sizes. For example: + +{\let\tt\smalltt\baselineskip9pt +\begintt +make_font lw canon 1000 cminch "" +\endtt +} + +This command will build the font {\tt cminch}, if the driver file +{\tt cminch.mf} exists in any of the \MF{} input directories. + +%script +{\let\tt\smalltt\baselineskip9pt\parindent0pt +\begintt +#|iteight continuation of script|tt +echo "Creating $font $argv @ mag $mag" + +# iterate over sizes +while ($#argv > 0) + set size=$argv[1]; shift argv + set file=$font$size + set mffile=$mfdir/$file.mf +\endtt +\begintt + # build mf file if build procedure present + # otherwise assume mf file is already built + if (! -e $mffile && -f "build_$font.mf") then + echo "...creating $mffile" + echo "% $size-point $font." > $mffile + echo "design_size := $size;" >> $mffile + echo "input build_$font;" >> $mffile + endif +\endtt +} + +|make_font| then calls \MF{}, sets the mode and magnification, and +inputs the driver file. +The {\tt batchmode} command prevents \MF{} from stopping if it detects an +error; the error is written to a log file and processing continues. + +{\let\tt\smalltt\baselineskip9pt\parindent0pt +\begintt +#|iteight continuation of script|tt +$meta "\batchmode;mode:=$mode;mag:=$mag/1000;input $file" +\endtt +} + +The next line looks at the last line of the log file produced by \MF{} to +determine what the resolution and filename of the generated {\tt gf} font was. +If the \MF{} run was successful, the last line of the log file will contain a +line similar to: + +{\let\tt\smalltt\baselineskip9pt +\begintt +Output written on manfnt.210gf + (122 characters, 13588 bytes). +\endtt +} + +The {\tt sed} expression on this line extracts the filename and resolution from +this line, storing them in the variable {\tt log}. (Relying on \MF{} putting +this information on the last line of the log is not a good idea; the actual +version of |make_font| I use is identical to the one here, except that it +has the search pattern +|/^Output *written *on *[^.]*\.[0-9]*gf/| in place of |$|.) + +{\let\tt\smalltt\baselineskip9pt\parindent0pt +\begintt +#|iteight continuation of script|tt +set log=`sed -n \ + '$s/.*on *\([^.]*\)\.\([0-9]*\)gf.*$/\1 \2/p' \ + $file.log` +\endtt +} + +The script now checks whether the filename and resolution were found +correctly. If they were, the {\tt gf} file is converted to a {\tt pk} file +and stored in an appropriate directory, the {\tt tfm} file is moved to an +appropriate directory, and any leftover files are cleaned up. If the +name and resolution were not found, the log file is printed to the standard +output, and leftover files are cleaned up. + +{\let\tt\smalltt\baselineskip9pt\parindent0pt +\begintt +#|iteight continuation of script|tt +if ($#log == 2) then + set out=$log[1]; + set dpi=$log[2] + if (! -d $pkdir/dpi$dpi) mkdir $pkdir/dpi$dpi + echo "$out.${dpi}gf converted to $pkdir/dpi$dpi/$file.pk" + $gftopk $out.${dpi}gf $pkdir/dpi$dpi/$file.pk + /bin/mv -f $out.tfm $tfmdir + /bin/rm -f $out.${dpi}gf $file.log $out.tfm +else + echo "Problem; $file.log =" + cat $file.log + /bin/rm -f $file.log $file.tfm +endif +end +\endtt +} + +\section{Driving the {\ttit make\_font} script} +The |make_font| script is usually driven by another C-shell script, which +builds all of the fonts required at one mode and magnification. This script +contains commands similar to the |make_font| commands shown above, but +parameterised on the \MF{} mode name, {\tt pk} directory name, and +magnification: + +%script +{\let\tt\smalltt\baselineskip9pt\parindent0pt +\begintt +# ... set up parameters $mode, $pk and $mag +# +# TeX/LaTeX "math" fonts +# +make_font $mode $pk "$mag" cmbsy + 5 6 7 8 9 10 11 12 14 17 +make_font $mode $pk "$mag" cmmi + 5 6 7 8 9 10 11 12 14 17 20 25 +make_font $mode $pk "$mag" cmmib + 5 6 7 8 9 10 11 12 14 17 +# ... etc. +make_font -logomf $mode $pk "$mag" + logobf 10 +make_font -logomf $mode $pk "$mag" + logosl 10 +make_font -mf $mode $pk "$mag" manfnt "" +\endtt +} + +The command name switch is used to select versions of \MF{} with different +bases preloaded for the {\tt logo} and {\tt manfnt} fonts. Note that the +magnification parameter is quoted; if you use magnifications similar to +the |"magstep1*1000"| example above, this is required to prevent the +C-shell expanding the {\tt *}. + +\section{Conclusion} +After you have built your true-sized font, what then? To get \LaTeX{} to work +with these fonts involves editing {\tt lfonts.tex} (or, if you are using +Mittelbach and Sch\"opf's font selection scheme, {\tt fontdef.tex}), and +replacing all of the magnified fonts with true-sized fonts. You then need to +regenerate the \LaTeX{} formats with the new fonts (by running \IniTeX). I +have found it useful to keep a copy of the original format around to allow +users to create {\tt dvi} files which can (probably) be printed at other +installations, but as this precludes deleting the old scaled fonts, it might +not be feasible for everybody. + +\smallskip +\line{\box1} +\smallskip + +The script presented here has made the job of building new fonts from John +Sauter's parameterised Computer Modern quicker. Table~4 +shows the sizes of the font directories created for our installation. The +canon directory at +300\,\dpi\ also contains the {\tt msym} and {\tt msxm} symbol fonts among +others, so the directory size is a little inflated. + +\endgroup +\enddoublecolumns +\vfill\eject +\begindoublecolumns +I have not yet had time to find out if the set of sizes and fonts presented +here is sufficient, but I will report back to \TeXline\ about further +developments. +I have recently changed our \dvi\ to \PS\ converter to Tom Rokicki's {\tt +dvips}. This program comes with a shell script ({\tt MakeTeXPK)} which is +used to create fonts which are not available. I have now modified the {\tt +MakeTeXPK} script so that it can create true-sized fonts on demand. The {\tt +makefont} script described here is still useful for creating large batches +of fonts. +One unresolved issue which needs further investigation involves the fonts +required for photo-reduction. When the true-sized fonts are reduced from A4 to +A5 they look poor, due to fine lines disappearing. Possible solutions to this +problem include using different |mode_def|s to improve reduction quality, +or building a restricted set of fonts at a larger magnification. +\author{Angus Duggan} + + +\endinput diff --git a/info/digests/texline/no13/another b/info/digests/texline/no13/another new file mode 100644 index 0000000000..4f2a91c9ec --- /dev/null +++ b/info/digests/texline/no13/another @@ -0,0 +1,80 @@ +\title{Another Book Review} +{\sl \TeX\ for the Impatient}. Paul W Abrahams with Karl Berry \& Kathryn A +Hargreaves. Published by Addison Wesley, Reading, Mass., +1990. ISBN 0-201-51375-7. \smallskip +\noindent +Let's start with the easy bit: this is not a teaching +text for the impatient. It is for those who find that +locating something in the \TB\ can be quite a lengthy +process. So it is a sort of \TB\ companion. Something to +sit alongside `the book', but no wise to replace it. +There will be those who will use it instead of `the +book'. It isn't nearly as amusing. So those who don't +enjoy \DeK's wit may relax a little with this volume. It +deliberately restricts itself to {\tt plain}, and offers +no solace or comfort to \AmSTeX\ or \LaTeX\ users. + +It is a sort of overgrown glossary, where \TeX\ concepts +and commands are described and illustrated. In general +their explanations are straightforward, and they are +prepared to extend their descriptions to cover less +obvious \TeX\ behaviour (for example, see the discussion +on category codes). There is a useful chapter on `Tips +and Techniques' which, among other things discusses ways +of correcting `bad' page breaks, line breaks, and so on. I +was slightly surprised that there seem to be no criteria +proposed to describe what might be a `bad' break, or even +more important, what comprised a good one. The +typographic content of this book is low. No advice is +given to dissuade the novice from those dreadful values +of |\hsize| with 10 point fonts -- perhaps the most +fundamental reason that \TeX\ often acquires a bad +typographic reputation. + +There is a `Compendium of Useful Macros' which are +indeed useful. But why are they there? I appreciate that +they serve a similar role to the {\tt manmac} macros, but +they seem odd in a reference book. I wouldn't use the one +they give for the \LaTeX\ logo. Besides anything else, they +omit the backslash before the {\tt TeX}. And curiouser and +curiouser, instead of using |\TeX| in the body of the +\BibTeX\ macro, they expand it to its kerns and boxes. But +this is nit picking. They provide a set of commands to +ease cross referencing -- one of the most significant +omissions of {\tt plain} \TeX. They also give some macros +for table construction: since |\halign| is so easy to use, +I can't see the point myself, but\dots\ + +So far, I've actually found this book useful, although I'm +not yet familiar enough with their division of commands +into various sections. I agree that it is difficult to +classify the whole range of \TeX\ commands, and any such +classification must be imperfect. But by including a +`Capsule summary of Commands', as well as an adequate +index (with only two types of entry, unlike the \TB's more +confusing three), they cover most options, and I can +generally find something useful and appropriate. + +This is a reference book, not a book to be read cover to +cover, recursively. That rather brings into question the +illustrations: why are they there? Tenniel's illustrations +to {\sl Alice}, on which these are based, are among my +favourites. It is clearly appropriate to associate \TeX\ +and {\sl Alice}. There are so many parallels. But why +redraw them at all? I would have been inclined to use +the originals, even allowing for the lack of continuity of +using the impatient (white) rabbit as a theme. + +Do note that there is an unfortunate sequence of +misprints, where a number of chapters have the `true' +characters |{|, |}| and |_| transposed to other +characters, but only in some headings. This is not as +disasterous as it at first sounds. If you are using this +book for reference, you will hardly notice, after the +first few seconds of puzzlement. Karl Berry assures me +this has been corrected for a subsequent +printing. A useful addition to the \TeX\ +library, although apparently ignorant of +contributions outside the canonical trio of +Knuth, Lamport and Spivak.\author{Malcolm Clark} + diff --git a/info/digests/texline/no13/bcs-future b/info/digests/texline/no13/bcs-future new file mode 100644 index 0000000000..447ae08a34 --- /dev/null +++ b/info/digests/texline/no13/bcs-future @@ -0,0 +1,29 @@ +\title{Future Meetings }\vskip-3pt +\centerline{\bf of the BCS ep Group}\noindent +The next meeting of the BCS Electronic Publishing Specialist Group will be on `Typefaces' and will be held at the St +Bride Institute, off Fleet Street on 15 October. Details have not +yet been finalised, but the following list of topics has been +produced and it is planned that speakers will cover many of them: +Font design; +Truetype; Multiple mastering; Windows and fonts; the Bodoni +bicentennial; Grey-scale fonts; Legal aspects; Hinting; +Non-European glyphs; Kerning; Typefaces for DTP. +The full programme and booking form will be distributed in early +September. + +A survey of interests conducted by the EP group indicated that a meeting on +Graphic User Interfaces would be even more popular than one on fonts. +A meeting on this topic will be held on 5th December +at the SUN Microsystems office in the City. More information will made +available real soon. + +The first meeting of 1992 will also be in London, again at a venue +to be confirmed, and will probably cover topics related to +structured documentation and text management. More details in due +course. + +Finally, there will be a conference in 1992. It is hoped that this will +take place in Scotland, but planning is still at an early stage. +More information will be sent out to group members as soon as it is +available. If you are not already a member of the group, contact David +Penfold for information.\noauthor diff --git a/info/digests/texline/no13/betsy b/info/digests/texline/no13/betsy new file mode 100644 index 0000000000..47e85aff1e --- /dev/null +++ b/info/digests/texline/no13/betsy @@ -0,0 +1,47 @@ +\title{Sunny Mexico} +A report on my \TeX\ activities in Mexico and maybe a few personal too. +(The temperature is in the 70's -- +the air is very polluted -- +People are very charming and hospitable, and there are about 20 +million just in Mexico City. +No one has heard of \SGML\ or CALS\dots). + + +Arturo Sanchez invited me to speak at the \TeX\ +meeting in Mexico City in February 1991. A diligent host +he organised my sightseeing, including visiting the Pyramids +of the Sun and the Moon, built in the 6th and 7th Century. +Real old. + +Did you know that {\sc the car} of Mexico is the VW Bug? There are $1+$ +million manufactured there yearly, and nearly all the taxis are +Bugs\dots + +Friday was the \TeX\ user meeting held at the University, near the +Olympic Stadium from 1968\dots + +About 60 people attended and the program was all in Spanish with the +exception of my presentation. There were 4 speakers and one of the +people before me spoke on some of the same things that I had planned, so +it took some quick adjusting on my part. + +Anyway, this was a friendly crowd and very receptive. They are using +PC \TeX\ 2.1, and have never heard of HiJaak, didn't know much about +\TeX\ 3.0/virtual fonts, so it was quite interesting for them to hear +about all our (ArborText) offerings. There is an Addison Wesley office there +and 3 people were present. They ordered an upgrade on the spot (they brought +their old version). Of all those present, all had PC's except 2 who had +Suns. There is much interest in a `Windows' version. In +case you are wondering, they all understood English so I +did not have to have a translator. + +After a coffee break, they had a roundtable discussion in Spanish about +various projects, problems, etc., to which I listened and understood about +1/4. I went to dinner with the conference committee at the University +Club. A newly developing market, a little behind ours. + +I have only seen one little tabloid English +language newspaper and no TV or radio in English except a +movie channel, so I truly feel that I have been {\sc away}. +\author{Betsy Dale} + diff --git a/info/digests/texline/no13/book-reviews b/info/digests/texline/no13/book-reviews new file mode 100644 index 0000000000..cc732c84d0 --- /dev/null +++ b/info/digests/texline/no13/book-reviews @@ -0,0 +1,303 @@ +\title{Book Reviews} +{\sl \TeX\ Applications, Uses, Methods}. Edited by Malcolm Clark. Published +by Ellis Horwood, Chichester, 1990. ISBN 0-13-912296-6. +\smallskip +\noindent +This is the Proceedings of \TeX88, held at the University of Exeter. At least, +it is as much of the proceedings as the editor and conference organiser, +Malcolm Clark, was able to obtain; certainly all papers are represented by at +least an abstract and the paper by three Polish authors, who were not able to +be at the conference, is included. + +As one would expect, many of the papers are directed at matters of interest +to those who use \TeX{} and that is not to devalue them in any sense. +That \TeX{} is a very powerful typesetting language is known to anyone +with an interest in this field and the new effects which people achieve +never cease to amaze. However, fascinating as these matters +are, I found other parts of the book even more interesting. The first three +chapters provide an introduction to \TeX{} and a critique of where \TeX{} +stands today (or at least stood three years ago). Anyone who wants to understand +what \TeX{} is about and discover +where \TeX{} stands {\it vis a vis} DTP systems should read these +chapters. And they contain material which is not just true of \TeX{}. +Hoenig in chapter~1 uses as his example theorem: `There is no royal +road to typesetting. Typesetting is an inherently difficult and +time consuming occupation', while Noble and Ganz in chapter~2 +suggest that `Authors and good design -- are they compatible?' +would make a good paper title. These are both aspects which are +often overlooked when DTP and related areas are discussed. The +third chapter, {\sl Whither \TeX?}, examining the present role and +future of \TeX\ was co-authored by Cathy Booth.\looseness-1 + +There are other papers in the book which are of interest to more than +just `\TeX{}ies'. Sadly the paper on the work at St\"urtz +on \TeX{} output in Monotype fonts and that on CUP's implementation +of this in the UK are only present as abstracts, as is Francis +Cave's paper on the notation and structure of mathematical texts. +However, the paper by Tony Norris and A L Oakley on the production +of chemical formulae is present in full and makes interesting +reading for those working in that area, with some general comments +about preprocessors in general (the {\sans troff} rather than the +(\La)\TeX{} approach). + +In summary, this book provides not only a fairly brief, but good, +introduction to what \TeX{} is, but it also gives a good cross-section of +applications, together with some broader papers, as mentioned. + +Finally, it should be noted that Cathy Booth was not only a contributor to +these proceedings but also local organiser of the Conference. Although the +book was published some time before Cathy died, it can in many ways be +considered as a tribute to much of the work she did both before and after +she became ill. I am sure that Malcolm would be happy to view it in that +way.\author{David Penfold} + + +\bigskip +\noindent +{\sl Desktop Publishing}. By Kirty Wilson-Davies, Joseph St.~John Bate and +Michael Barnard; 4th edition revised by Ron Strutt. Published by +Blueprint, London, in their Publisher's Guide Series, 1991. ISBN 0-948905-61-1. +\smallskip\noindent +{\sl Collier's Rules for Desktop Design and Typography}. By David Collier. +Published by Addison-Wesley, Wokingham, 1991. ISBN 0-201-54416-4. +\smallskip\noindent +{\sl Typefaces for Desktop Publishing -- A User Guide}. By Alison Black. +Published by Architecture Design and Technology Press, London, 1990. ISBN +1-85454-842-7. +\smallskip\noindent +{\sl The Writer's Guide to Desktop Publishing}. By Kathy Lang. Published by +Academic Press, London, 1987. ISBN 0-12-436275-3. +\smallskip +\noindent +A glance at the titles of these four books would seem to indicate that they +all cover the same ground and are aimed at the same market. More detailed +perusal indicates that this is not the case. They are, in fact, all aimed +at different readers, although there will be some overlap. + +{\sl Desktop Publishing\/}, revised by Ron Strutt, is one of a series of +guides aimed at publishers and is an introduction to the world of DTP, +starting from a background of typesetting and publishing. As such, it is a +very good introduction. It is perhaps a pity that the first two illustrations +in chapter~1 do DTP very little justice, the first being a comparison of +typeset and laserprinter output, not at the original size but enlarged, +although the text does not say from what, while the second compares a +conventionally produced half-tone with a LaserWriter version, which is +apparently not even screened. We all know that there are differences, but +these comparisons are hardly fair and will tend to reinforce the prejudices +of the traditional typesetter or publishing executive. That having been +said, the book gives an excellent history and survey of DTP and its use in +publishing. There is one important omission, however, which is that +there is no mention at all of \TeX{}. While standard \TeX{} is not strictly DTP +(i.e.~there is no screen manipulation), nor strictly speaking is Telos, +which is mentioned, and to produce a book for publishers which does +not even refer to \TeX{} in passing is an important oversight, particularly +when almost all the major scientific and technical publishers are at least +looking at \TeX{} and its implications. + +The book has a good index and a glossary which is fairly complete, except +that CALS and RISC, for example, are used in the text without being defined +either in the book (as far as I could find) or in the Glossary. + +I have to admit that the title {\sl Collier's Rules} immediately put me off +the next book. Presumably it is modelled on {\sl Hart's Rules}, but I do +not think that Hart himself called the latter by this name. The title has +implications of hubris. If John Miles had called his book ({\sl Design for +Desktop Publishing\/}, which is excellent and still available) {\sl Miles' +Rules} (though I am sure he never would have), then people would have perhaps +smiled, but accepted it because of his reputation. However, although I have +heard of all the other authors of the books under review, I had not come across +David Collier. But perhaps I am moving in +the wrong world, because Erik Spiekermann has written a glowing Foreword +to the book. + +{\sl Collier's Rules\/} is obviously for the graphic designer. + It starts with a chapter on Characters and builds up, +through Words and Lines, Punctuation, Paragraphs, Illustrations and +Graphics, to Page Layout. Each chapter starts with a few pages of +descriptive text, followed by pages which I find difficult to read, +although the information on them can be absorbed. The information itself +is valuable, if not given equal prominence. For example, notes on negative +leading are partly obscured by a graphic (a problem -- for me -- on many pages), while items such as the differences between hyphens and n- or m-dashes +receive a disproportionate amount of room. + +It is interesting that Document Handling does not follow on from Page Layout but +comes later (after Printing and Binding and Colour) and even then the documents +considered are not books or journals. The information +on colour takes up eight pages, which is surely not enough. Ron Strutt in +his book says `It is a complex area and one which is not to be approached +lightly'; Collier perhaps makes it look too easy, even though +the text notes the difficulty. + + +This is definitely a graphic designer's book and I am sure that the presentation +will be acceptable to a graphic designer; whether it is good graphic design +I am not sure, because some of the information gets lost. +It is fun to look at, though difficult to read. It +would be useful for someone starting graphic design, but is really too +elementary for the practising graphic designer. It might make a useful +reference book; it does have an index and a glossary, but the latter is not +as complete as Ron Strutt's. + +If David Collier's book is aimed at the graphic designer, Alison Black's book +is very definitely aimed at the book designer. It can be read from cover to +cover or just used for reference; it includes much wisdom on choosing typefaces for specific +purposes, with many examples. I enjoyed reading it and it would go very +well with the book edited by William Foster and reviewed above. +Part~1 deals with Criteria for Choosing Typefaces, Part~2 with +Typeface Production, Reproduction and Multiplication, and Part~3 with +The Technical Description of Typefaces. There is also a list of further +reading which is fairly comprehensive, a listing of the sources of the +illustrations, nearly all of which are from real publications, +and a combined index and glossary, which in a book of this kind seems to +work well. + +Although I enjoyed reading Alison Black's book, I did sometimes get lost, +because the illustrations are placed in such a way that it is not always +clear where the text continues. And on one other point we obviously +disagree. An earlier issue of the BCS EP Newsletter is used as an example on +page 45 and Alison says that `Hyphenation would also have helped, here, to +give a smoother right-hand margin.' The text of the book is unjustified +and hyphenated, so Alison practises what she preaches, although I +personally find that there are too many hyphens -- but the book was +produced using Quark Xpress, and not the latest version! +In spite of these reservations, I would recommend the book to anyone who has +to produce (and design) a publication, i.e.~a book or journal. + +Finally we come to Kathy Lang's book, which is +directed very much at the author. For the novice it is really excellent, +and not just for the novice, for with the `hypertext-like' approach of +printing the abstract of each chapter in the table of contents, it is +possible to enter the book at the point matching one's level of expertise. + +The book covers most (probably all) aspects of technical writing, including +such areas as backing up material, electronic mail and organising +information, quite apart from the more technical aspects of lay-out and +DTP. The only real criticism one could make is that the book is beginning +to show its age. I know Kathy is aware of that and, if this review can be +used to encourage her and her publishers to produce a new edition, it will +have served its purpose. + +In summary, Ron Strutt's book is a good introduction for those in the +publishing and typesetting world, while Kathy Lang's, perhaps with reference +to the Hertis book (see above) as well, is ideal for the writer approaching +a computer for the first time (or even the second or third time). Alison +Black's book is for anyone involved in book design, while David Collier's +is definitely for the graphic designer. +\author{David Penfold} +\bigskip +\noindent +{\sl Typefaces for Desktop Publishing -- A User Guide}. By Alison Black. +Published by Architecture Design and Technology Press, London, 1990. ISBN +1-85454-842-7. +\smallskip +\noindent +My usual concern when I find a contemporary book on +typography is to see how \TeX\ fares. But first I have to +note that the title of Alison Black's book is something +of a misnomer. This is an excellent introduction to many +of the practical aspects of document production. It is +not particularly locked into typefaces, nor to deskstop +publishing. It is though a User Guide. I suspect that the +title was inherited from the original working party +on desktop publishing which instigated the book. This +working party included such \TeX\ luminaries as Catherine +Griffin and Richard Southall. And if we read through the +list of those thanked, we'll also find Paul Luna, Andrew +Boag, Paul Stiff and Rachel Hewson: all typographically +`sound' and \TeX\ aware. So we must expect a fair +treatment. + +What we get is a rather matter of fact treatment. \TeX\ +and \MF\ are not presented as some highly specialist +quirky excrescences, but as ordinary tools in the +armoury of the user. + +It was however sad to note a reference to the +`\TeX\ character set' as if Computer Modern was the only +one which \TeX\ can use. A common enough misconception. + +\MF\ is used quite seriously in the text, in its role as +a rasteriser -- one in which it has yet to be equalled. +Black shows how the same character is rasterised at +different resolutions. Reading carefully between the +pixels (and referring to the Appendix `List of +Illustrations') these are \MF\ generated (as are a number +of the other illustrations). + +Unlike David Penfold, I don't think I ever got lost +between illustrations and text. I found the design and +layout a pleasure. Paul Stiff did an excellent job on +this and I only hope my own book will find such an +iconclastic and bold designer. The book is copiously +illustrated, and all those illustrations benefit the +text. In short, a good text, and I think I learned a lot. +I hope I put it into practise. And thanks Alison for +putting \TeXline\ in the `Further Reading' appendix. +That's almost as good as pinning a used fiver to my +review copy! +\author{Malcolm Clark} + +\bigskip +\goodbreak\noindent +{\sl The Joy of \TeX, second ed.: a gourmet guide to +typesetting with the \AmSTeX\ macro package}, M~D Spivak, +PhD, American Mathematical Society, Providence, RI, +1990, ISBN 0-8218-2997-1. + +\smallskip\noindent +The review of the first edition of this book provided by +Angela Barden in the proceedings of the Cork TUG +conference (cf \TUGboat\ Volume 12, No.~1) encourages me +to fly to the defense of Mike Spivak. To dismiss this +book because it does not define `macro' astounds me. No +doubt there are mathematicians (who else would want to +use \AmSTeX?) who have yet to encounter the word `macro'. +That Barden is no mathematician is confirmed by her +difficulty of raising 2 to a power ranging from zero to +3. Unless of course Ireland does indeed contain more than +two sexes. + +But I shall assume that most potential users of this book +have probably seen the first edition, and their first +question will be `how different is it?'. There is not a +great deal of difference between the two editions. The +principal difference is a new appendix A {\sl The AMS +Preprint Style}. Essentially this is the original +chapter 7, expanded and transposed. There are 21 +additional pages, but this is partly a result of greater +use of white space, rather than rewriting. My tally of +changes includes the following: some extension to +|\widehat| and |\widetilde|; some extra examples relating +to |\xalignat| and |\xxalignat|; chapter~19 has some new +or extended sections including details of the use of +fonts in maths mode, the use of inserts with +captions, new symbols, and vertical spacing. The sections +on |\qed| and the use of the tab key with matrices are +omitted. In case that worries you, |\qed| is still there, +it has just changed its form. +The appendix on bibliographies has been extended +substantially. + +I confess that I thought that there would be +substantially more change with the introduction of +\AmSTeX\ 2. It all seems a bit cosmetic to me. I have no +doubt that the macros themselves have become more robust +and efficient. But really it could have been covered in a +short appendix, rather than a new book. Note that this +edition was not written by Spivak~MD~PhD, but by the AMS' +Technical Support Group. And that rewrite was chiefly to +expand chapter~7 and move it to appendix A. That movement +itself has a fascinating and amusing consequence. Spivak, +like Knuth, carefully manoevered his appendices so that +the inital letter of each appendix title coincided with +the alphabetic `number' of the appendix. Appendix A was +originally `Answers to all the exercises'. It now becomes +`The AMS Preprint Style': so far, so good. But what of +`Bibliographies'? Sad to say, it now becomes Appendix C, +not the anticipated B. It makes all the effort a bit +futile. On the other hand, omitting Appendix \AA\ ensures +that the solecism of placing it alphabetically between A +and B is also omitted.\author{Malcolm Clark} + + +\endinput diff --git a/info/digests/texline/no13/cheltenham b/info/digests/texline/no13/cheltenham new file mode 100644 index 0000000000..bdce4a880a --- /dev/null +++ b/info/digests/texline/no13/cheltenham @@ -0,0 +1,81 @@ +\title{Cheltenham Effect} +Cheltenham sounded an idyllic setting for a joint meeting of the +BCS ep Group and the UK \TeX\ Users Group at the end of May, but +lapping the town's one-way system in search of venue and parking place was +not the perfect way to start the day. It did not take long to recover, however, +the meeting being an interesting one, with a rather different approach and +content to usual Group meetings. + +The theme was Cheltenham's emergence as a centre of many high-tech +suppliers of equipment and services to the publishing industry. It was +surprising to hear from the first speaker, Derek Kyte of Chelgraph, that +this all came about by accident. Linotype, the catalyst of the Cheltenham +Effect, had sent a team to investigate prospective sites in Wales. They +stopped in Cheltenham on the return journey to report a lack of success to +the Managing Director and during that meeting it was decided to set up in +Cheltenham instead. + +There was no reason to rue the decision; Linotype's Cheltenham operation +was successful, at one time employing 1100 people. The demise came when +Linotype became part of a multi-national conglomerate and was acquired by +Allied Chemicals, which then sought to rationalise operations by making 500 +R\&D people redundant at the Cheltenham site. This pool of talent was the +source of many new companies, including Chelgraph, QED, Bitstream, Quorum, +Chubb Instrumentation, Highwater Designs, Upfront, and Ntg2000. + +Linotype's workforce was cut back severely, but the company continues to +make its mark internationally. Tony Lock described what the company is +doing at Special Projects (Non-Latin Scripts). The Letraset DTP packages, +ReadySetGo! and Design Studio, have been adapted to provide \PS\ +solutions for non-Latin scripts. This approach incidentally was first +pursued by Diwan. Seven arabic and eleven Indian languages are now +available with three more under development. + +Chris Jordan of Chelgraph compared the approach of successful companies in +the early 1980s with the current trend. At one time leading companies tried +to sell every type of product to everyone and marketed proprietary +hardware. Standardisation and Open Systems have changed this. Now the most +successful companies are those which concentrate on particular market +niches. + +Tim Hawkins and Andy Thomason of Ntg2000 outlined their company's work. Ntg +stands for `New Technology Group' and they have two market areas: newspaper +editorial systems and software RIPs. The latter would have the advantage +of being faster than presently available \PS\ RIPs. Ntg is a spin-off +from LaserMaker, the Nottingham-based installer of editorial and page +make-up systems. + + +Andy Buxton of Highwater Designs explained that the company had been formed +by personnel leaving Xenotron following its takeover by Hell (hence the +name: Come Hell or\dots). Its main activities are in the graphics +area, providing interfaces for Linotronic, PelBox and Ultra imagesetters. +Compared to a purely DTP approach on the one hand and high-cost graphics +packages on the other, Andy claimed that his company's products +can offer both cost advantages and high-quality output. + + +In contrast to these technical talks, Steven Blake of the Cheltenham Art +Gallery and Museum gave a potted industrial history of the town. For +several hundred years it had been a centre for small specialised +industries. The present crop of high-tech companies continues this +tradition. + + +After a very good lunch visits were made to Linotype and Quorum, while +Chelgraph demonstrated its A3 printer at the hall. At Linotype, the +adaptation of Design Studio for Arabic was demonstrated and the development +work on fonts was shown. + + +Quorum showed their production facilities, which include origination, +typesetting and printing. A speciality is the acceptance of text in +electronic form, either on disk or via modem. The facilities available on +the Intermedia system were comprehensively demonstrated. + + +All in all a very enjoyable day, despite the intricacies of the town's +traffic system. One good thing -- the Gold Cup was not being run! +\author{Henry Holloway} + + diff --git a/info/digests/texline/no13/courses b/info/digests/texline/no13/courses new file mode 100644 index 0000000000..55737ca6e9 --- /dev/null +++ b/info/digests/texline/no13/courses @@ -0,0 +1,172 @@ +{\frenchspacing\def\two#1(#2){\bi #2:\quad#1} +\let\Box\bigcirc +\title{6th European \TeX\ Conference} +The 6th European \TeX\ Conference will be held at +La Maison de la Mutualit\'e, Paris, on 23--25th September 1991. +The Conference will have simultaneous translation facilities. + +The programme of presentations consists of: +\two Russian \TeX (A. {\sc Samarin}) +\two \TeX\ and Africa (J. {\sc Knappen}) +\two \TeX: the limit of multilingualism (M.~{\sc Fanton}) +\two Towards an arabicized version of \TeX (M.~{\sc Fanton} {\it et +al.}) +\two \TeX niques in Siberia (Th.~{\sc Jurriens}) +\two Babel, a multilingual style options system (J.~{\sc Braams}) +\two An international version of {\sf Make\-Index} (J. {\sc Schrod}) +\two As\TeX: An integrated and customisable multiwindow environment + for scientific research (M. {\sc Lavaud}) +\two Managing the interface to \TeX (S.~{\sc Larsen}) +\two Shell for \TeX (B. {\sc Malyshev}) +\two Colour\TeX\hfill(Ch.~{\sc Cerin}) +\two Making graphics in \TeX, GWEZ builds tree structures + and print them (B.~{\sc Leguy}) +\two Conversion of MicroSoft {\sc word} into \LaTeX (P. {\sc Bacsich} +{\it et al.}) +\two Scholar\TeX: last enhancements + (Y.~{\sc Haralambous}) +\two \TeX\ dismembered (A. {\sc Wittbecker}) +\two Maths into BLUes (K.~{\sc van der Laan}) +\two Organising a large collection of style files for different \TeX\ + macro packages (A.~{\sc Binding}) +\two Typesetting SGML documents using \TeX (A. {\sc Dobrowolski}) + + + +Chaired by well-known experts, the panels are for example: +\item{\rtr} Teaching (\La)\TeX\ to a diverse audience +\item{\rtr} (\La)\TeX\ in Europe + + + +Some sessions will be set-up on topics to be decided upon during +the conferences. + + +Various hardware and software vendors will exhibit their latest products. +A commercial session will be organised so they can talk freely about +their products. + +A open `question time' session will take place during the conference. + + +The conference will cost FF1700. A discount of FF200 is available for +members of local groups like GUTenberg, \Dante, NTG, Nordic Group, +Italic, ukTeXug or TUG. After May 30th a +10\% surcharge applies to all bookings. + +\section{\TeX\ Dinner} +A dinner will be held on Tuesday evening at the restaurant of the +Villette centre of Sciences and Industry. The dinner will follow the +showing of a film using hightech sound and light systems on the +{\it g\'eode}'s 1,000 m$^2$ hemispheric screen. Special effects take +the viewer on an imaginary journey to another place and time. A coach +tour of Paris by night will concluded the evening. +All those taking part in the conference will be admitted free. +Guests are welcome to join in the evening's entertainment for a +FF270 charge. + +\section{Tutorials} +The following tutorials will take place in the week preceeding the +conference: + +\noindent$\bullet$Advanced \TeX nical Details: +Philip {\sc Taylor}, {\sc rhbnc}: + This course is intended to cover the more advanced featues of +\TeX\ macro programming, including such esoteric aspects as +|\afterassignment|, |\futurelet|, |\expandafter|, |\uucode|, etc. Some +time will be devoted to the area of cross referencing, both via +external files and via control sequences, and the manipulation of +|\catcode|s will be covered in some detail. + + +\noindent$\bullet$\LaTeX\ Style Files: Chris {\sc Rowley}, Open +University: Ever wondered how to make \LaTeX\ do what you +wanted? + This course will help you understand how to modify + \LaTeX\ style files to give quality typesetting, and + may even give you the confidence to write your own. + Some experience with \LaTeX\ and \TeX\ would be an advantage. + +\noindent +$\bullet${\mf METAFONT}: Doug {\sc Henderson}, Blue Sky Research \& +Yannis {\sc Haralambous}, Universit\'e de Lille: + The course will cover the basics of {\MF}, but should + provide participants with enough information to generate + their favourite CM fonts at any design size, tinker with + the multitude of parameters, and even start to design their + own characters. + +\noindent +$\bullet$Beginning and Intermediate \LaTeX\ +Malcolm {\sc Clark}, {\sc pcl}: + Become proficient in \LaTeX\ in four days! The + course covers the fascinating world of \LaTeX, concentrating + on the joys of structured documentation, whilst trying + to maintain a facade of quality typesetting. The course + will include some details on modification of the style files + to European standards, an examination of some publishers' + \LaTeX\ style files and the recent additions to \LaTeX, notably +the `orthogonal' font styles. Suitable + for technical and non-technical alike. + + +\section{Information about the tutorials} +The location of the tutorials is different from the location of +the congress. They will be held at \'Ecole Normale Sup\'erieure +and the Institut Blaise Pascal Paris, on the 17th--20th September 1991. + +The tutorials will start on Tuesday, September 17th, at 9.30. Each +tutorial will last four days. They will be supplemented with +practical work on workstations. The number of participants in +each tutorial is limited. + +Each of the tutorials is priced at FF2500, but +participants on the tutorials are entitled to a discount of FF500 +from the registration fee to the 6th European \TeX\ Conference. + + + +\bigskip +\bar +\title{GUTenberg'91}\vskip-3pt +\centerline{\bf Technical and Scientific Publishing} +\noindent +The Conference will take place at La Maison de la Mutualit\'e, +Paris, on September 26th, 1991. +The day will be devoted more specifically to issues connected with the +French language, selected topics will cover French publishing +problems. The following topics are planned: + + +\bi {\TeX V3 contre ML\TeX} +\two {Les disquettes GUTenberg'91}(N. {\sc Brouard}) +\two {L'impression des formules chimiques} +(M. {\sc Laugier}) +\two {Un programme pour modifier les {\dvi}} + (M. {\sc Laugier} {\it \& al.}) + +\noindent +Other presentations are under consideration but have not yet been +finalised. A `Question Time' session about networks is planned. +The Conference will have simultaneous translation facilities. +Simultaneous translation. Official languages are English and French. + The cost will be FF700. If you are +attending the 6th \TeX\ conference, a discount of FF200 may be +deducted from the total amount. Bookings after May 30th attract a +surcharge of 10\%. + +\section{Contact} +{\obeylines +GUTenberg, 6th European \TeX\ Conference +BP 21 +78354 Jouy en Josas cedex, France +Telephone: +(33 1) 34 65 22 32 +Fax: +(33 1) 34 65 22 28 +E-mail: {\tt on@jouy.inra.fr}\strut}} + + + +\endinput + + diff --git a/info/digests/texline/no13/dedham b/info/digests/texline/no13/dedham new file mode 100644 index 0000000000..fa8b800cb4 --- /dev/null +++ b/info/digests/texline/no13/dedham @@ -0,0 +1,61 @@ +\title{On the fringe of Boston} +I confess that my enthusiasm for the TUG conference in +Dedham was limited. +In a hotel on the outskirts of Boston; no electronic +access; height of the summer; Red Sox out of town; +first four day meeting; first meeting with `one-day' +tickets; major accent on the publishing fraternity -- +persons in suits. Oh dear. It turned out a whole lot +better. + +The theme of this year's meeting was `Inroads into +Publishing' and stemmed from a proposal made by Lance +Carnes last year to try to arrange a meeting which would +be strongly targetted towards the publishing industry. +This was seen as part of a longer term policy to ensure +the future of \TeX\ by promoting it to a wider audience. +The first two days were more strongly oriented towards +the traditional publishing business than the others. The +conference proper started with a keynote address from Nico +Poppelier from Elsevier. In general this was a good talk, +but I found it singularly unfortunate at a forum where +there was an attempt to convince and impress the +conservative business world, that Nico should take time +out to list his set of `needed changes' to \TeX. This +theme, of `how shall we change \TeX' was one which was +repeated again and again throughout the conference. +There is undoubtedly a body of opinion which sees the need +for change. However, as Mike Spivak's {\sl Contrarian +View} shows, there are opposing views too. + +This meeting again took the pattern of `networking +lunches'. The notion is that the lunch tables are labelled +with various topics and you go to the table with your +favourite topic. It is certainly a useful idea for a +meeting at which many people may be new, and who whant to +locate others with similar interests. An innovation this +year was the introduction of panels. To +my surprise it worked remarkably well. There were a few +good opinionated panellists. Reverting to tradition, +Personal \TeX\ provided the wine and cheese reception, but +another innovation -- the wine didn't run out. I don't +know if the parallel sessions were an innovation, but they +were a pain. Memo to conference programmers: {\sc don't +have parallel sesssions!} + +The other component were the workshops. I felt sorry for +Chris Carruthers {\sl Interpreting \LaTeXsl\ Error +Messages}, who had a group including Frank Mittelbach, +who really ought to know enough not to make \LaTeX\ +errors. + +To hand out a few honours: probably the best function was +the Clambake, sponsored by ArborText and Micro Programs +-- all those lobsters! The best content -- Yannis +Haralambous; the best panel -- historical roundtable. But +I didn't get to everything. + +What about the bowling you will ask. Candle\-pin; +ten pin, with very much smaller balls (no holes!) and an +odd set of rules. But it was an interesting challenge. So +in the end it all worked out quite well.\author{Malcolm diff --git a/info/digests/texline/no13/didot b/info/digests/texline/no13/didot new file mode 100644 index 0000000000..3dd0cebbad --- /dev/null +++ b/info/digests/texline/no13/didot @@ -0,0 +1,63 @@ +\centerline{\bf First European Summer School} +\centerline{\bf in Digital Typography} +\smallskip +\noindent +This Didot Summer School will be held in Lausanne, +Switzerland, on September 23--28th, 1991. The objective +of the School is to bring together computer scientists and +type designers. Didot, a near acronym for Digitising and +Designing of Type, is part of a CEC Comett II program +aimed at developing joint training in high technology. +Didot's specific aim is to design, implement and evaluate +a European curriculum for digital typography. + +This summer school is intended for font designers, +graphic designers, font experts, computer scientists +(especially those specialising in graphic tools, design +and development), and other assorted scientists, +researchers, instructors and teachers. + +There will be two parallel sessions: one for font +designers and one for computer scientists; and a set of +courses and lectures common to all participants. The parallel sessions +include either lectures on the technical aspects of type +(for computer scientists), or a set of practical +workshops on computer aided type design, intended for +type and graphic designers. The +common part includes global instruction, courses on the +visual aspects of type and discussions and round tables +at the end of each half-day. + +The Visual Aspects of Type course is to be given by +Andr\'e G\"urtler and Christian Mengelt of the AGS School +of Design in Basle; Roger Gersch (EPFL) and Jakob +Gonczarwski (Typographics Ltd) will present the Technical +Aspects of Type and Two Dimensional Graphics course. This +course includes sessions on character grid fitting and font +formats (e.g.~URW, Adobe Type~1, Truetype). Jacques +Andr\'e will lead the workshops on Graphic-Aided Font and +Graphic Design Systems: this comprises 5 workshops each +of two half days, covering aspects of Fontographer, +Letraset Font Studio, Ikarus, Typo, and \PS\ display +programs. + +A number of guest speeches will +complete the program. +English is the official course language. No translations +will be provided. +Costs are SFr\,1,600 for the summer +school (a student fee of SFr\,700 is available). Hotel +accommodation is estimated at up to SFr\,110 per night. + +Contact: +{\obeylines +Marie Jo Pellaud, Didot Course +EPFL-LSP +INF-Incublens +CH-1015 Lausanne, Switzerland +tel: (41) 21 693 2641 +fax: (41) 21 693-5263 +email: {\tt hersch@eldi.epfl.ch}\strut +} + + diff --git a/info/digests/texline/no13/dtp b/info/digests/texline/no13/dtp new file mode 100644 index 0000000000..cf4b9aadd1 --- /dev/null +++ b/info/digests/texline/no13/dtp @@ -0,0 +1,89 @@ +\centerline{\bf Desktop Publishing in} +\centerline{\bf Astronomy and Space Sciences} +\smallskip +\noindent The Strasbourg Observatory\slash Astronomical +Data Centre will be organizing a meeting on `Desktop Publishing in +Astronomy and Space Sciences' on October 1st--3rd 1991. + +Desktop publishing is widespread nowadays and a number of packages are +used by astronomers, space scientists, engineers and technicians for +producing their papers, reports, etc., as well as their everyday mail +(typically through Word, \TeX, \LaTeX\dots). The motivations behind the +choice of a given package are various and not always rational ones (such as +availability, financial constraints, word of mouth recommendations). + +There is a wealth of experience to be shared openly for the benefit of +everybody and it would certainly be useful to confront performances, +capabilities, as well as possible complementarities of the text +processing applications that are presently most frequently used in +astronomy and space sciences. There is most likely no `best' system, +but it might be possible to prepare a digest of the best parts of the major +ones without having to review computer journals. + +It is not only the point of view of the authors or writers which should +matter here, but also the reasons behind the choices that a few publishers +have already made (typically, Springer \TeX\ Macros\dots). On this side, the +advantages are obvious: the manuscripts are delivered directly by the +authors\slash scientific editors in a standardized machine-readable way +(saving time and money) and the final appearance of the publications is +substantially enhanced, be it only through its harmonization. + +What happens in other communities of related fields will also be +investigated. Some publishers represent up to 500 scientific journals. +It will be interesting to listen to their explanations as to how their +choices have been made and for them to hear what scientists have to say +in that respect. + +Another aspect of this colloquium is related to the developments carried +out by auxiliary software companies or individuals. They are producing +self-sustained packages, complementary tools and\slash or utilities to be +plugged into already well-established text processing systems. Here +again scientists should express their views, needs and wishes. + +The meeting is timely as desktop publishing reaches such a development +that it would be appropriate for the corporation and for publishers to +issue recommendations for standardization, compatibility and\slash or +complementarity from the software producers. + +Sessions will be organized in such a way that each of the parties will +be able to make their points as to the advantages they find with given +packages, the constraints they have to comply with, the requirements +they would have for further developments. We shall also attempt to set +up exhibitions and\slash or demonstrations. + +The meeting will also aim at issuing recommendations for publishing +standards, as well as for compatibility and/or complementarity from the +software producers. A special session involving the editors of the major +scientific journals is being set up by James Lequeux +({\tt aanda@frmeu51.bitnet}). + + +Proceedings will be published and distributed free of charge to the +persons who will actually attend the meeting. + +There will be no registration fee; meals will have to be +paid for individually. Because of the +chronic shortage of rooms in Strasbourg, we advise you to secure +your accommodation in the city as soon as possible. +If you are interested in attending this colloquium, please contact me at + +{\obeylines\parindent30pt + Observatoire Astronomique + 11, rue de l'Universite + F-67000 Strasbourg + France + tel: +33-88.35.82.22 + telex: 890506 starobs f + fax: +33-88.25.01.60 + email: {\tt heck@frccsc21} +}\noindent +in order +to be put on the mailing list to receive additional information (list of hotels, +preliminary programme, and so on). As the audience might have to be limited, we +advise you to do this as soon as possible. + +Please feel also free to send us your comments and to recommend people +(scientists, editors, publishers, software producers, company managers, +and so on) you think we should contact. +\author{Andr\'e Heck} + diff --git a/info/digests/texline/no13/ep92 b/info/digests/texline/no13/ep92 new file mode 100644 index 0000000000..bf8f7de81d --- /dev/null +++ b/info/digests/texline/no13/ep92 @@ -0,0 +1,78 @@ + + +\title{EP92} +An {\bf International Conference on Electronic +Publishing, Document Manipulation and +Typography} will be held in Lausanne, +Swiss Federal Institute of Technology +(Switzerland), on April 7--10, 1992. + +This conference will be the fourth in a +series of international conferences organised to promote the exchange of novel +ideas in the area of computer manipulation +of documents. + +The first two conferences in the series, +EP86 held in Nottingham, England, and +EP88 in Nice, France, concentrated +mainly on the specific aspect of the production of +documents by computer, from composition to printing. +EP90, which was held in Washington, adopted a broader +definition of the term Computer Assisted +Publication, and accordingly included +more materials on new topics such as the +application of data-base techniques to +document handling, hypertext and hypermedia systems, and document recognition +and analysis. + +EP92 will follow this trend. Its objective will +be to present the state of the art by reporting original and recent contributions to this +area. The conference proceedings will be +published by Cambridge University Press +and will be available at the conference. + +A day of tutorials is planned for April 7. +Suggestions for contributions with introductory and survey topics are requested. + +\bitem Modelling and representation of documents +\bitem Document structures +\bitem Integration of text, images and graphics +\bitem Integration of document manipulation systems with other software tools +\bitem Standards: evaluation and implementation +\bitem Object oriented approaches. + +\bitem Documents management +\bitem Document preparation systems +\bitem Hypertext: production, editing and visualisation +\bitem Large text data-bases +\bitem Distributed documents: parallel algorithms, multi-user documents +\bitem User-machine interfaces. + +\bitem Document recognition and Interpretation +\bitem Structural recognition of documents +\bitem Filtering and image handling techniques +\bitem Multi-lingual documents +\bitem Semantic text structures +\bitem Indexing techniques. + +\bitem Typography and graphics +\bitem Character design +\bitem Use of gray levels and colour technology +\bitem Pagination and layout. + +\bitem Document manipulation and educatlon +\bitem Computer assisted document production +\bitem Experiences in teaching EP +\bitem The place of EP in Computer Science Curricula. + +\noindent Contact: + +{\obeylines +EP92 +Ecole Polytechnique F\'ed\'erale de Lausanne +IN Ecublens +CH 1015 Lausanne +Switzerland +{\tt ep92@eldi.epfl.ch}\strut +} +\endinput diff --git a/info/digests/texline/no13/good_guys_plus b/info/digests/texline/no13/good_guys_plus new file mode 100644 index 0000000000..3ddcc80a14 --- /dev/null +++ b/info/digests/texline/no13/good_guys_plus @@ -0,0 +1,57 @@ +\title{Good Guys} +{\obeylines\parindent0pt\parskip0pt +Angus Duggan +Department of Computer Science +University of Edinburgh, JCMB +The King's Buildings, Mayfield Road +Edinburgh EH9 3JZ, UK +email: {\tt ajcd@uk.ac.ed.lfcs} +\medskip\goodbreak + +Mike Spivak, \TeX plorators +3701 W Alabama +Suite 450-273 +Houston, TX 77027, USA +email: {\tt spivak@math15.rice.edu} +\medskip\goodbreak + + +David Penfold +Edgerton Publishing Services +20 Edgerton Road +Edgerton +Huddersfield HD3 3AD, UK +0484 519462 +\medskip\goodbreak + +Betsy Dale +ArborText Inc, Suite 300 +535 W William St +Ann Arbor, MI 48103, USA +email: {\tt bjd@arbortext.com} +\medskip\goodbreak + +David Rhead +Cripps Computing Centre +University Park +Nottingham N57 2RD, UK +email: {\tt d.rhead@uk.ac.nottingham.ccc.vme} +\medskip\goodbreak + +Henry Holloway +11 Hillcrest Road +South Woodham Ferrers +Essex CM3 5NU, UK +\medskip\goodbreak + +Peter Ashby \& Anna Duckworth +BCS ITEXT +British Computer Society +PO Box 1454 +Station Road +Swindon SN1 1TG, UK\strut +} + + + +\endinput diff --git a/info/digests/texline/no13/gut b/info/digests/texline/no13/gut new file mode 100644 index 0000000000..79c592cb52 --- /dev/null +++ b/info/digests/texline/no13/gut @@ -0,0 +1,138 @@ +\def\gut#1:#2:#3*#4.{\smallskip\noindent {\it #1\/}: #2, pp.#4: +#3\smallskip} +\catcode`\<=\active +\def<{% +\ifmmode\ll\else\leavevmode\raise1pt\hbox{$\scriptscriptstyle\ll$}\fi} +\catcode`\>=\active +\def>{% +\ifmmode\gg\else\leavevmode\raise1pt\hbox{$\scriptscriptstyle\gg$}\fi} + +\centerline{\bf Cahiers GUTenberg} +\centerline{\bf Summaries from Number 7, November 1990:} +\gut Logiciels \TeX\ sur serveurs: +Peter Flynn: +An account of the various \TeX-relevant electronic archives +available. It includes at least 8 list servers, the major +servers (Aston), Simtel, and the hundreds of FTP +accessible sites, as well as some clues of how to access +CIX and even Channel 1. It also has an allusion to the +\TeX\ Companion. +*3--16. + +\gut Le gestionnaire Biblio\TeX: +J.-F.~Vibert: +{\sc Biblio\TeX} is a package to manage a bibliographic +file and produce specific \BibTeX\ or \LaTeX\ output +files. This paper gives functional and usage descriptions. +*16--22. + +\gut Traitment d'index avec \LaTeXsl: +Philippe Louarn: +As \LaTeX\ handles structured documents, it is easy to +create some features, such as table of contyents or +bibliography. This article attempts to evaluate several +methods of index generation usable with \LaTeX. A real +example will illustrate our purpose. +*23--28. + +\gut Fontes latines europ\'eenes et \TeX\ 3.0: +Michael J.~Ferguson: +A translation of the report on eth extended \TeX\ Font +Encoding which has been officially approved by TUG. +*29--31. + +\gut ``La typographie'' <entre guillemets>: +Ferand Baudin: +An account of the use of guillemets (and quotation +marks) in european languages. +*33--34. + +\gut \TeX90 F\'ailte \i\ gGol\'a\i ste na hOllsco\i le, Corca\i +gh: +Denis M\'e gevand: +Report of the \TeX90 conference at Cork. Covers some +papers, bird's-of-a-feather sessions, and the font +encoding project (and the social stuff too). +*35--37. + +\gut Ballades irlandaises: +Bernard Gaulle \& Olivier Nicole: +During the Cork euro\TeX\ conference two important meetings were +plabbed: a western and eastern european \TeX\ users groups +leaders summit and the meeting of the TUG board of +directors. This paper gives a report of these two events. +*38--40. + +\gut Comment le faire en \LaTeXsl: +\'Eric Picheral: +A tutorial discussing: special and reserved characters; the +insertion of a source file; and a new {\tt description} +environment, similar to {\tt describe}. +*41--43. + +\gut Les fiches cuisine d'Onc' PostScript: +Bruno Borghi: +This is the fourth in this series and discusses \TeX\ and \PS, +in particular showing some cute \PS\ tricks. +*44--47. +\medskip +\centerline{\bf Summaries from Number 8, March 1991:} +\smallskip +\gut L'avenir de \TeX\ et de \MFsl: +Donald E Knuth: +Translation of the article on the future of \TeX\ and \MF\ +published in \TUGboat\ and \TeXline. +*1--2. + +\gut La composition typographique: +Alan Marshall: +Computers have radically alteraed the organisation of editorial +and typographic production processes. However, the basic +activities involved have remained largely untouched by technical +change. The article which follows describes the prioncipal +typographical task which have to be carried out, whether it be +with traditional or new technologies. +*3--9. + +\gut La typographie et la loi: +Andr\'e R Bertrand: +An account of the application of copyright law to fonts. It is +targetted mainly at french law, but also addresses international +issues. +*10--19. + +\gut Serveurs de fichiers et de fontes pour \TeX: +Raymond Tr\'epos \& Philippe Louarn: +This article presents computer networks and software available +with the networking (mail, news and file transfer) and the way to +connect to the french net (Fnet). A special case for \TeX\ users +will be shown. +*21--27. + +\gut M\'etrique des fontes PostScript: +Jacques Andr\'e \& Justin Bur: +This note is concerned with \PS\ font metrics. Bounding boxes +and the Adobe Font Metric file are presented, as well as how to +use them for justification, pair and track kerning, etc. +*29--50. + +\gut Analyses bibliographiques: +Jacques Andr\'e \& Olivier Nicole: +Book reviews of a range of books, concentrating on {\sl Lexique +des r\'egles typographiques en usage \'a l'Imprimerie +nationale}, but covering a range of others, in french and +english. +*51--56. + +\gut Comment le faire en \LaTeXsl: +\'Eric Picheral: +More \LaTeX\ stuff, including variations on {\tt article}, +indentation after a section, and the use of {\tt verse}. +*57--58. + +\gut Le coins ges gourous: +Philippe Louarn: +Neat stuff with matrices. +*59--61. + +\endinput diff --git a/info/digests/texline/no13/lamstex b/info/digests/texline/no13/lamstex new file mode 100644 index 0000000000..4ae0856e5c --- /dev/null +++ b/info/digests/texline/no13/lamstex @@ -0,0 +1,80 @@ +\title{\LamSTeX{} Goes Public} +\LamSTeX{}, version 2.0, is now public domain software. I am hoping that it +will be placed in various archives, and that TUG and others will distribute~% +it. + +For questions about \LamSTeX{}, I may be contacted via email: +{\tt spivak@math15.rice.edu} + +For those unfamiliar with \LamSTeX{}, {\it vis a vis} \LaTeX, here are some +salient points: +\bitem \LamSTeX{} is not $\cal AMS$-\LaTeX! +\bitem \LamSTeX{} is an extension of \AmSTeX, and thus almost completely +compatible with plain \TeX\ (an additional file, {\tt pcompat.tex}, provides +complete compatibility, by overriding certain changes made in \AmSTeX). + +\bitem \LamSTeX{} provides essentially the same functionality as \LaTeX, although +the syntax is usually more concise. + +\bitem \LamSTeX{} also provides this functionality in a much more flexible form; all +automatic numbering schemes can easily be modified for special +circumstances (many illustrations of the importance of this flexibility are +given in the \LamSTeX\ Manual). + +\bitem \LamSTeX{} can now interface with \BibTeX. + +\bitem \LamSTeX{} provides many additional fcatures, only a few of which can be +indicated here: + +\itemitem{(1)}Of particular interest are complicated commutative diagrams -- +at least as professional-looking as those that appear in journals -- and +partitioned matrices. + +\itemitem{(2)}The table macros generally provide much more professional +looking tables than other packages, because of the close attention to struts, +because of simple methods of extending lines between rows when needed, etc. + +\itemitem{(3)}\LamSTeX{} has an extensive set of commands for automatic +placement of figures and tables. + +\bitem Many \LaTeX\ difficulties just now being addressed have simply never existed +in \LamSTeX{}. For example, there are no such things as `fragile' commands in +\LamSTeX{}, and no worries about long |\write|'s and undesired expansions in +|\write|'s to auxiliary files (like the |.toc| file). Arbitrarily long literal +mode material can split across pages. + +\bitem The \LamSTeX{}{\it Wizard's Manual\/} provides {\sc extensive} +documention; it explains in complete detail the reasons for every single +device in the code. + +\bitem The \LamSTeX{} {\it Style File Designer's Manual\/} provides +documentation for designing style files; it is essentially an extract from +the {\it Wizard's Manual}, covering just those topics that might be needed by +style designers. + +\bitem Writing the {\it Wizard's Manual\/} afforded me the opportunity to +completely rewrite \LamSTeX{}. Version 2.0 has many small bug fixes, important +extensions, and more efficient code. In addition, the code is much more +modular, allowing changes for different style files to be made much more +easily. + +\bitem I will support \LamSTeX{} not only with bug fixes, but with extensions that +seem reasonable and desirable. + +The 300 page spiral bound \LamSTeX{} Manual, {\it \LamSTeX, The Synthesis}, +is \$30.00 (includes shipping). + +The 600 page {\it Wizard's Manual\/}, presumably of extremely +limited interest, is printed on demand. It is distributed in the form of +approximately 300 3-hole punched pages, printed (on both sides) by laser +printer. It is \$40.00, including shipping. (A free copy may be requested +with every order of 15 or more \LamSTeX{} Manual.) + +The {\it Style File Designer's Manual\/} is not yet complete. It will +probably be about 200 pages, spiral bound like the \LamSTeX{} Manual, and +sold at a bargain price (perhaps \$10.00, including shipping). + +All manuals may be purchased through \TeX plorators. +\author{Mike Spivak} +% 3701 W Alabama, Suite 450-273, Houston, TX 77027 + diff --git a/info/digests/texline/no13/matter b/info/digests/texline/no13/matter new file mode 100644 index 0000000000..9588113326 --- /dev/null +++ b/info/digests/texline/no13/matter @@ -0,0 +1,331 @@ + +{ +\let\subsection\section + +\title{The matter of TUG} +TUG has changed and is changing. Until the appearance of +{\sl \TeX\ and TUG News} (TTN), TUG's newsletter, which was +sent to every TUG member, the nature of these changes has +not been made very public. For reasons which are sometimes +clear and sometimes obscure, the details have not really +been shared widely by the membership. Apart from the +understandably bland and anodyne reports in TTN, other details can +be found in the reports furnished by the five or six +so-called international vice presidents. Regretably +neither the President, Nelson Beebe, nor the Vice +President, Rick Furuta presented their membership the +guidance and information they deserved. But despite these +inferred misgivings, I remain confident that TUG has a +future, and that TUG remains the international voice of +\TeX. + +TUG gives some appearance of being unhealthy and +moribund. I suspect there are a number of reasons for +this. Let me try to gather together some of these, and +then tell you why I think that the alarum bells need not be +sounded yet. + + +\subsection{\TeX3} +First, \TeX\ itself. For a moment ignore +the euphoria about \TeX3 and virtual fonts. Really there is +not much that is new there. ML\TeX\ had already solved the +eight bit `problem' and virtual fonts had actually been +around for a good many years. What \TeX3 did was to make +these available in a non-proprietary way, so that they +were truly part of \TeX. Perhaps more significant is +Knuth's statement that there is to be no more development +of \TeX\ at all (or of \MF\ or Computer Modern). The only +proviso is that bug fixes may be carried out, until such +times as Knuth's death, at which point work on \TeX\ must +cease. Any development based on \TeX\ may not be called +\TeX. It is by no means clear to me where, for example +J\TeX, V\TeX, or extended Computer Modern fit into this +embargo, but I guess we would all wish to respect Knuth's +wishes. There is a slight paradox here. For many years, +\TeX\ had not changed: basically since 1982. In the +intervening years it has become evident that there were +some pretty severe deficiencies in the system which, it +could be argued, precluded it from achieving its avowed +aim of producing `masterpieces of the typesetting art', +unless of course that masterpiece happened to be {\sl The +Art of Computer Programming}. The innovation of \TeX3 +suddenly reawakened the dream that perhaps Knuth would see +\TeX\ as an evolving project. And just as suddenly, the +prospect was dashed from our lips. My own hopes were that +Knuth would refuse to bring \TeX\ up to an 8-bit standard, +and equally to be unwilling to allow the hyphenation and +diacritical support that we needed. In this way, the \TeX\ +world would have been forced to create a structure where +enhancements like these could be accommodated, and \TeX\ +would still be \TeX. Instead, any improvements or changes +will have to adopt a much more radical model. At much the +same time, Leslie Lamport agreed that \LaTeX\ 2.09 would +be `corrected' to version 2.10. This work was not to be +done by Lamport, but by a team led by the dynamic duo +(Mittelbach \& Sch\"opf), under the chairmanship of +Lamport himself. This project evolved into the \LaTeX3 +project. So, in a sense, we have had the self removal of +the chief players. What we are noting is that the flame +is being passed on to a new generation, and that at the +moment of being passed on it is in danger of being +guttered. + +Ideally one would like the flame to be passed to TUG. +TUG's support for \TeX\ is considerable, as one would +hope. I guess it is widely known that it was TUG funding +which enabled the \TeX\ project to be completed in the +first place, and that it supports the {\tt texhax} digest +and Orin Patashnik's completion of \BibTeX. It also +supports a wide educational programme -- perhaps wider +than you might realise, since many courses are delivered +in house, with no advertising in TUGboat or elsewhere. + +\section{TUG works} +A brief account of TUG's continuing activities includes +\bitem \TUGboat: perhaps the single most cogent reason for membership +of the group. Now published four times a year and comprising around 600 +pages in total, \TUGboat\ contains information on new developments in +\TeX, \LaTeX, \AmSTeX, \MF, and the allied macro packages. + + \bitem TUG's annual meeting brings \TeX\ users together to learn the +latest in \TeX\ applications and innovations through seminars, talks +and informal gatherings (the last three conferences have featured +10-pin bowling as a major social event). Each conference is +informative, but it is also friendly. + +\bitem TUG provides a single location for +information, documentation and product purchase for +\TeX-related materials (hardware, software, publications). + + +\bitem pursues ways of extending the use and +applications of \TeX\ into many areas (such as publishing +-- hence the 1991 theme for the annual meeting). + +\bitem continues to provide seminars and classes for beginner, +intermediate and advanced \TeX\ users. It is also developing +new courses in other areas of concern to the community, for +example typography, document design\dots + +\bitem is investigating methods for sponsorship to help + form and stimulate +Local User Groups (LUGs). + +\bitem the publications committee is developing `\TeX\ and +TUG News', a second TUG publication which may be available +electronically, demonstrating \TeX's portability. + +\bitem the {\sc dvi} standards committee is working towards +providing standards for drivers. The level 0 will be +available `shortly'. + +\bitem is looking into ways in which it might `certify' +\TeX\ products. + +\bitem is compiling a Resource Directory of all \TeX\ +material available; commercial and public domain \TeX\ implementations; +supporting software; documentation; publishing services -- a sort of `Whole +\TeX\ Catalogue'. TUG members should have received their copy by now. + +\bitem has recently purchased a disk copier so +that it can begin to supply public domain software to the +membership, in cooperation with Jon Radel. + +\bitem increasing public awareness of \TeX, +particularly to the user of personal machines, not +connected to any electronic network. + +\bitem Discounts: members obtain discounts on the annual meeting, +TUG-sponsored courses and selected publications. There are also student +rates for both membership and courses. + +From where does TUG obtain its funding? TUG's +income comes from two sources: membership subscriptions +and from `generated income'. The membership subscriptions +cover \TUGboat\ but also leave a substantial surplus. In +1990 the membership dues were \$171,000 and the +TUGboat expenses were only about half of this at \$92,000. Note though +that there is an advertising income of \$33,000; I assume that most of +that advertising is in \TUGboat. Running the TUG office is met from the +generated income. This includes sales, courses and conferences. (Yes, +that's why they are so expensive.) In 1990, total TUG income was +\$623,700. The two largest components of income were from the annual +meeting and courses (\$206,000), and from the sales of +books, software etc. (\$190,000). I~personally believe this +factor, that the income generated from sources other than membership +accounts for only 27\% of the total income inhibits +serious attention to membership expansion. After all, extra members do +not bring in significant amounts of extra cash. The net benefit is +not large. Increasing +membership by say 1000 would probably only generate \$35,000, less +say \$5--10,000 for \TUGboat\ and its postage. Perhaps TUG should be +pursuing industrial sponsorship from those hundreds of organisations who +have or do benefit from \TeX: like DEC, Interleaf, IBM etc. At present +they depend rather too much on the benevolence of a few vendors. No +vendor I have talked to feels they have had any real `commercial' +benefit from adverts in \TUGboat\ or attendance at the conferences. In +fact, I was recently struck by the fact that in \TUGboat\ Volume~11, +no.~4, there was no advert from PC\thinspace\TeX, for so long a stalwart +supporter of the magazine. + +The dependence on courses for generation of income has +meant that the recent downturn in the US economy has had +a deleterious effect on TUG. The reduction in in-house +courses has, at a stroke, induced a serious financial +shortfall. After all, what is the first thing you cut +back on? Why, education. In fact the sums are not so bad +and TUG can survive on its reserves for a few years, serious thought +has to be given to the pattern of finances. + +\subsection{The truth, but only some of the truth} +But this still skirts round the problem. Let's tackle it +at last. At the end of 1990, Ray Goucher, for many years +TUG's Executive Director, left the organisation. I think +it is fair to say that this was not the happiest of +partings. Partly as a result, the Treasurer, David Ness, +the Vice President, Rick Furuta, and later the Secretary, +Calvin Jackson, have tendered their resignations. This in +itself is no recipe for disaster, since the President may +appoint replacements. Sadly though, as far as the Board is concerned, +Nelson Beebe was curiously silent from late October 1990 through to +about the middle of March 1991 (and not too voluble since). The +Executive and Finance Committee were unable to act. This was especially +sad, since the rest of the Board of Directors affirmed +its willingness and determination to rally round in time of +crisis and to be directed in ways which are constructive. +In the face of this inaction, the TUG office thrived. +Despite dire warnings from the President of mass staff +resignations, the staff were as committed and active as +ever. Under the temporary direction of the extremely able +Ron Whitney, the business of TUG continued. + +In passing, Charlotte Larendeau, has recently married and has moved to +California with her new husband. Charlotte's dynamic presence will be +missed. She put her heart and soul into TUG and I'm delighted that she +had time for romance (although rumour murmurs that email had an important +part to play). Far from wishing to leave TUG, Charlotte may in the +future be called on to help organise other conferences. + + +\subsection{The problems restated} +We therefore have three visible problems: that the former +direction, embodied by Knuth (and to some extent, +Lamport) is no longer there; that the TUG Executive +apparently went absent without leave; and that TUG is +going through a period of financial austerity. I do not +believe that any of these are reasons to despair. In the +first case, try to remember why Knuth wrote \TeX\ in the +first place. Recall that he only expected it to be used +by himself and his secretary; that it is a software tool +to assist the production of {\sl The Art of Computer +Programming}. Yes, it took on a life of its own, like +some creation by Frankenstein. (I would be prepared to +argue that the analogy may be pursued further, but only +after a few beers\dots) The matter of the Executive was +serious, but it has been evident for some years that the +mechanism by which the executive are elected and the +remainder of the Board appointed, needed substantial +overhaul. It may have been adequate in the days when TUG +membership was a small and almost exclusively from the +United States, but it does not suit a large international +organisation. Apart +from the four elected office bearers, the only other +elected members of the Board were the `International' Vice +Presidents (presumably elected by their own groups). The +title of Vice President is more an honorific one than one +which actually bestows obligations on the bearer. So what +I am saying is that this was a crisis that was bound to +occur, by the very nature of the Board structure. + +And +lastly, the financial problem: it is unfortunate that +this should occur at a time when TUG should be extending +its services to its membership, and should be more +vigorously pursuing fields like publishing. Still, as +Joachim Lammarsch of \dante\ and and Bernard Gaulle of +\GB\ have both pointed out, much can be done with volunteer +help. TUG seems to lack the skills to mobilise volunteers. +Perhaps the fact that we have paid, professional, office +staff has encouraged us, the membership, to assume that we +are paying to have things done and therefore need not lift +our hands to help. Clearly this is not a fair statement, +since so many TUG members do give selflessly of their +time and energy to TUG and \TeX\ related activities., +But note that the financial position is not as bad as once +thought. Despite David Ness' scaremongering about a purported +\$50,000 loss, attributable to the breakdown between the Executive and +the remainder of the Board, close attention to the accounts will reveal +not only that there is currently only a small projected loss for 1991, +but that a sum of \$44,000 is listed in the 1990 accounts as `expense +associated with departure of ED'. I am unable to find any evidence +for Ness' claims. The office staff, and especially Ron Whitney are to be +commended for their close attention to financial details over the last +year. + +\subsection{A ray of hope} +In March a board meeting was convened in Dedham. Despite the absence +of Nelson Beebe, and most of the rest of the Executive +and Finance committes, this was a very +successful meeting which helped to repair most of the +damage done by the Executive's abrogation of their +responsibilities. This meeting has been reported to some extent in +{\sl \TeX\ and TUG News}. I took it as a mark of some progress that +even the dour Bernard Gaulle appeared to return more confident that TUG +has a future. Among the plans adopted were that (at last) the Long Range +Planning Committee will get under way; that a Publications Committee +will review the current TUG publications and make proposals for new +publications, which include a more informal newsletter (TTN), and that +the voting procedure and the board structure will be overhauled. Much +other work was done on the infrastructure of the Board, laying a useful +foundation for the future. Reading between the lines much of the success +of this board meeting seems to have lain in the absence of the old +rearguard and the active, positive participation and preparation of +people like Hope Hamilton and Christina Thiele who ensured that the +meeting ran smoothly, was planned, and tackled the serious issues. +Equally, the real support of the TUG office staff was an essential +component. + +\subsection{Since the Annual Meeting} +The fruits of these changes began to be reaped at the Annual Meeting at +Dedham. The Long Range Planning Committee spend a lot of time together, +immediately before, and during the meeting, and started to lay out a +far reaching set of proposals which will be gathered together and +published in some form by the end of the year. Similarly, the +Publications Committee drew up the beginnings of a comprehensive +overhaul of TUG's approach to publications. Other active committees +included the Site Selection Committee for the 1992 meeting. The other +major issue was the mechanics of the election of next year's Board. The +Board is to be reduced in size to the President and 15 elected members, +plus the 5 existing International Vice Presidents and the three +Honorary members. The 15 elected Board members will be elected by the end +of this year. If you are a TUG member, you will have received details of +the election procedure. The only slightly awkward note was that the +President, who will in future years be elected by postal ballot, was in +this one special instance elected by the existing Board, but only for +the year 1992. In this way, some continuity is ensured. It was thought +to be unwise to have an entirely new Board {\it and\/} President. I find +it incredibly ironic that as one of those who sought greater involvement +of the membership in the selection of the Board and the President, I +should now be in the position of having been elected to the post of +President of TUG by the Board. I'm going to try to live with the irony +(at least for one year).\looseness-1 + +\subsection{Conclusion} +Despite the problems I believe that \TeX\ is sufficiently +important that joining TUG and participating in it +actively is a small way of expressing my joy, gratitude and +delight. It seems strange to me that we exult in the +public domain aspect of \TeX\ and yet whinge over the +paltry sums needed to join TUG, or fail to return something to the +general good. If we believe that TUG needs changing, it seems more +constructive to participate and try to change it, rather than standing +on the sidelines and bemoaning its current state. We do not +improve TUG by standing aloof, or by creating +rival organisations. The Board has instigated some +radical changes which I believe will ensure the long term +future of the organisation. I am especially confident +that the incoming Board will contain new blood which will +invigorate, brim over with new ideas and spark us all +with their enthusiasm. I look forward enthusiastically to +my period as President.\author{Malcolm Clark}} diff --git a/info/digests/texline/no13/newtwo-column b/info/digests/texline/no13/newtwo-column new file mode 100644 index 0000000000..fc32d1fa60 --- /dev/null +++ b/info/digests/texline/no13/newtwo-column @@ -0,0 +1,166 @@ + +%\hoffset=-0.1in +%\voffset=-2pc +%\raggedbottom +%\hsize=39pc %\vsize=59pc +%\maxdepth=2.2pt \parindent=1pc +%\vsize=720pt +%\hsize=6.5in +%\baselineskip12pt +%\parskip0pt +%\parindent1em +%\hfuzz1.5pt +%\tolerance2000 + +%\hyphenation{Post-Script} +% Page layout +\newdimen\pagewidth \newdimen\pageheight \newdimen\ruleht +\newdimen\colwidth \newdimen\bigcolheight\newdimen\gutter +\gutter=0.4in +%\colwidth=3.1in%19pc +\colwidth=\hsize +\advance\colwidth by-\gutter +\divide\colwidth by 2\relax +%\bigcolheight=1450pt%120pc +\bigcolheight=\vsize +\advance\bigcolheight by\bigcolheight +\advance\bigcolheight by 10pt +\pagewidth=\hsize \pageheight=\vsize \ruleht=0pt%.5pt +\abovedisplayskip=6pt plus 3pt minus 1pt +\belowdisplayskip=6pt plus 3pt minus 1pt +\abovedisplayshortskip=0pt plus 3pt +\belowdisplayshortskip=4pt plus 3pt + +\newinsert\botins +\def\afoot{\strut\egroup} +\def\botpic#1{\par + \insert\botins\bgroup\hsize=\pagewidth + \offinterlineskip + \interlinepenalty100 \let\par=\endgraf + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\botins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\botins=2000 % footnote magnification factor (1 to 1) +\dimen\botins=36pc % maximum footnotes per page + +\def\toppic#1{\par + \insert\topins\bgroup\hsize=\pagewidth + \interlinepenalty100 \let\par=\endgraf + \offinterlineskip + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\topins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\topins=2000 % footnote magnification factor (1 to 1) +\dimen\topins=36pc % maximum footnotes per page + +\newinsert\margin +\dimen\margin=\maxdimen +%\count\margin=0 \skip\margin=0pt % marginal inserts take up no space + +\newif\iftitle +\def\titlepage{\global\titletrue} % for pages without headlines +%\def\rhead{{}} + +\def\leftheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfil\lhead % running head flush left + }} +\def\rightheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfil\lhead % running head flush left + }} + +\def\onepageout#1{\shipout\vbox{ % here we define one page of output + \offinterlineskip % butt the boxes together + \vbox to 2pc{ % this part goes on top of the 44pc pages + \iftitle % the next is used for title pages + \global\titlefalse % reset the titlepage switch + \setcornerrules % for camera alignment + \else\ifodd\pageno \rightheadline\else\leftheadline\fi\fi + \vfill} % this completes the \vbox to 3pc + \vbox to \pageheight{ + \ifvoid\margin\else % marginal info is present + \rlap{\kern31pc\vbox to 0pt{\kern4pt\box\margin \vss}}\fi + \ifvoid\topins\else % top note info is present + \hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\topins + \vskip\skip\topins \kern-3pt + \hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \vskip\skip\topins \kern-3pt + \fi + #1 % now insert the main information + \vfill + \ifvoid\botins\else % bot note info is present + \vskip\skip\botins \kern-3pt + \hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\botins + \vskip\skip\botins \kern-3pt + \hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \fi + \boxmaxdepth=\maxdepth + } % this completes the \vbox to \pageheight + } + \advancepageno} + +\def\setcornerrules{\hbox to \pagewidth{\vrule width 1pc height\ruleht + \hfil \vrule width 1pc} + \hbox to \pagewidth{\llap{\sevenrm(page \folio)\kern1pc}% + \vrule height1pc width\ruleht depth 0pt + \hfil \vrule width\ruleht depth 0pt}} + +\output{\onepageout{\unvbox255}} + +\newbox\partialpage +\newdimen\savesize +\def\begindoublecolumns{\begingroup + \savesize=\vsize + \output={\global\setbox\partialpage=\vbox{\unvbox255\bigskip}}\eject + \output={\doublecolumnout} \hsize=\colwidth \vsize=\bigcolheight + \advance\vsize by -2\ht\partialpage + \advance\vsize by -2\ht\botins + \advance\vsize by -2\ht\topins + \pagegoal=\vsize} +\def\enddoublecolumns{\output={\balancecolumns}\eject + \global\output={\onepageout{\unvbox255}} + \global\vsize=\savesize + \endgroup \pagegoal=\vsize} + +\def\doublecolumnout{% +% \splitmaxdepth=\maxdepth + \dimen0=\pageheight + \advance\dimen0 by-\ht\partialpage + \advance\dimen0 by-\ht\botins + \advance\dimen0 by-\ht\topins + \splittopskip=\topskip + \setbox0=\vsplit255 to\dimen0 + \setbox2=\vsplit255 to\dimen0 + \onepageout\pagesofar + \global\vsize=\bigcolheight + \unvbox255 \penalty\outputpenalty} +\def\pagesofar{\unvbox\partialpage + \wd0=\hsize \wd2=\hsize \hbox to\pagewidth{\box0\hfil\box2}} +\def\balancecolumns{\setbox0=\vbox{\unvbox255} \dimen0=\ht0 + \advance\dimen0 by\topskip \advance\dimen0 by-\baselineskip + \divide\dimen0 by2 \splittopskip=\topskip + {\vbadness=10000 \loop \global\setbox3=\copy0 + \global\setbox1=\vsplit3 to\dimen0 + \ifdim\ht3>\dimen0 \global\advance\dimen0 by1pt \repeat} + \setbox0=\vbox to\dimen0{\unvbox1} + \setbox2=\vbox to\dimen0 +% {\unvbox3} + {\dimen2=\dp3 \unvbox3 \kern-\dimen2 \vfil} + \global\output={\balancingerror} + \pagesofar} +\newhelp\balerrhelp{Please change the page into one that works.} +\def\balancingerror{\errhelp=\balerrhelp + \errmessage{Page can't be balanced} + \onepageout{\unvbox255}} + + + + + + + diff --git a/info/digests/texline/no13/obit b/info/digests/texline/no13/obit new file mode 100644 index 0000000000..86007c6845 --- /dev/null +++ b/info/digests/texline/no13/obit @@ -0,0 +1,99 @@ +\hrule height1pt depth 1pt +\medskip +\centerline{\bf Catherine Mary Booth} +\vskip-5pt +\begindoublecolumns\noindent +Cathy Booth died on July 27th, 1991. She had known that +she had cancer of the kidneys for just about a year. She +had undergone a major operation last summer, but sadly it +appears that the extensive surgery performed at that time +was too late to control the cancer. Nevertheless, for the +last year she fought the disease consistently, +cheeerfully and resolutely. She was determined that she +should not be treated any differently, despite the gradual +decline in mobility and energy which ensued. Her +undiminished enthusiasm was evident to those who met her +at last year's TUG conference at Cork last September, and +at the various meetings she continued to attend until her +second major operation earlier this year. But between +those two events she pursued an active social +life, with at least two skiing trips (although +she was unable to ski by the second). Ultimately she was +confined to a wheel chair and moved into a hospice at +Tiverton, near her Exeter home, in the hope that her house +would be modified to allow her to return to it and +continue her life normally. However, this was not to be, +and she was to die at the hospice, with most of her close +family at her bedside. Mercifully she died both peacefully +and gracefully.\looseness1 + +Cathy was born on June 19th, 1952. She attended Exeter +University, where she completed a BSc in Geography. She +clearly fell in love with Exeter, and spent the rest of +her life in and around it. She spent some time after +University working on Exmoor, and later had her own +business as a furniture restorer. But in 1984, after a +period in hospital, where she began to do some computing, +she started a post as Computing Development Officer back at +Exeter University. One of her first responsibilities was +\TeX. She attended the IUSC conference on Typography and +Design Methods for Computer Typesetting held at Oxford +University at Easter 1985. Following that meeting, she +attended a \TeX\ course held at Imperial College. Her +involvement and concern with \TeX, and more generally with +Electronic Publishing grew consistently from that time. + +She attended many of the \TeX\ conferences in Europe (in +Strasbourg, Karlsruhe and Cork), as well as TUG meetings +in North America (in Montreal and Stanford), and +some of the GUTenberg meetings in Paris. But it will be +the \TeX88 conference held at Exeter University with +which she may be best remembered to many in the \TeX\ +world. Cathy was the local organiser for this meeting: the +huge success of the meeting must be atrributed in no small +way to her vivacity and personal magnetism. But this is to +underestimate the huge attention to detail which she +undertook in the months running up to the conference. This +ensured the smooth running of the events: in particular, +the affectionately remembered excursion from Exeter to +Totnes which included a steam train and a river cruiser. + +Cathy was an excellent teacher of \TeX. She taught a +number of TUG courses on Beginning and Intermediate \TeX, +and other \TeX\ courses at Exeter University. At the +University, she also developed courses which united her +skill with \TeX\ and her design abilities. This facility +with design was just one side of more general artistic +skills. This manifested itself more recently when she +completed an Art History course, for which the results +had appeared only a few days before she died. +Characteristically, her exam results were excellent. + +Besides her other activities in \TeX\ and Electronic +Publishing, she had been a member of the UK \TeX\ Users +Group committee since the foundation of the group, as +well as a member of the committee of the BCS Electronic +Publishing Specialist Group. Those of us lucky enough to +be on those committees with her will recall her +very real contribution to the work of these groups. Again +her range of innovative ideas, coupled with her down to +earth attention to detail made a significant improvement +to all that was achieved by those bodies. + +We have lost one of the best. \strut +\enddoublecolumns +\medskip +\hrule height1pt depth 1pt +\medskip +\line{\hfill\vbox{\hsize0.65\hsize\noindent +It has been proposed that a memorial +fund be set up in memory of Cathy. The first rather +tentative ideas are that this fund would help to +perpetuate her memory by being available to support \TeX\ +projects. The legal aspects are currently being +explored. I hope that many of Cathy's friends and +colleagues will be eager to contribute to this and will +ensure that this proposed memorial truly reflects the +place that she occupied in the whole +community.\author{Malcolm Clark}}\hfill} +\vfill diff --git a/info/digests/texline/no13/playpen b/info/digests/texline/no13/playpen new file mode 100644 index 0000000000..346fb6b982 --- /dev/null +++ b/info/digests/texline/no13/playpen @@ -0,0 +1,169 @@ +\title{Electronic Publishing -- Out of the Playpen} +\noindent +The third annual conference of the +BCS Electronic Publishing Specialist Group took place at Exeter +College, Oxford on 21--22nd March. It was a stimulating event. + +This two-day meeting must be one of the best amongst many that +bring together people with varied backgrounds to take a wide look +at what is happening in the application of computer-based +techniques to the dissemination of information. An awareness that +information becomes knowledge only through concern by authors, +editors, producers and/or publishers for methods was apparent in +Oxford; philosophical issues and a historical perspective were +perhaps encouraged amongst the Dreaming Spires. Fine detail was +not overlooked however. + +Formal sessions, and the equally important times in between, +provided face-to-face communications for over fifty highly +motivated delegates from all levels in many areas of information +handling. The environment wherever delegates assembled could +be said to be laden with valuable interchanges which not +only focused on all aspects of electronic page make-up, which is +the solid base of the Group's interests, but also encompassed +commercial realities and futurology. + + +One comment overheard that could be said to add a perspective (or +two?) concerned the desirability or otherwise of slanting the +familiar male\slash female symbols in italic typefaces in an \SGML\ +environment! Aside from such detail, Electronic Publishing +specialists must always be concerned with the hardware and +software employed as well as the continuing process of +standardisation, usability and ever wider applications. +Presentations on diverse topics within one meeting in this +subject can always be brought into focus by very interesting +speakers and this meeting excelled in this too; throughout, the +sub-theme of `coping with change' was addressed. + + +The conference was attended by delegates from a variety of +organisations, including universities, publishers, the Finnish +State Computer Centre, IBM, DEC and the Bible Society. +The first (pre-conference) session, especially for those arriving +on the Wednesday evening, entitled {\sl Choosing a Typeface} was given by +Paul Luna, Head of Art and Design, Arts \& Reference Division, Oxford +University Press. At the frontiers of innovation in a 500-year +old organisation, Paul re-designed the range of Oxford +Dictionaries in Monotype Nimrod from 1984, designed the Oxford +Shakespeare Volumes in 1986, and the Revised English Bible in +1990. His talk focused on choosing typefaces for the redesigned University +Gazette and he provided a great deal of insight into why a typeface does +(or does not look) right in a particular context. + +The first full day started with a welcome address by +Professor Sir Roger Elliott, Chief Executive of Oxford University +Press. A theoretical physicist, Sir Roger noted that +three other speakers shared his background. By touching upon +aspects of intellectual property protection and fair reward to +publishers for adding value to information, this eminent +scientist set the scene for all speakers, in suitably authoritative style +and in the context of OUP's own wide ranging electronic +publishing achievements. Delegates enjoyed +further opportunity to meet several of OUP's electronic publishing +specialists +and see software and CD-ROM based products at a sherry +party sponsored by `The Press' before the conference dinner on the +same evening. + + + + +Following the opening address, Eric van Herwijnen gave his views +on {\sl \SGML\ in the Real World} . Eric is from CERN, Geneva, where +he is the head of text processing and is responsible for +scientific document production (CERN publishes 1000 documents a +year). By answering the questions `what is?, who uses? and how to +start, with \SGML', this speaker took the assembled experts into the +library of the future from which users select on-line and print +the page as they perceive a need for it. The recently much +enlarged Elsevier Science Publishers would be expected to have +views on this concept, and Nico Poppelier from that company then gave a +presentation on {\sl \SGML\ and \TeX\ in Scientific Publishing} from +his standpoint of author submission of manuscripts using \TeX\ +and conversion of it and word-processing formats to and from +\SGML. + +\TeX ies may have been surprised and pleased by the prominence given to +\TeX\ in these first three presentations. It may be no coincidence that +all three are (or were) physicists. + +Barbara Lloyd, a publishing consultant with DEC, talked directly +about {\sl Electronic Publishing Out of the Playpen} +from the large user systems viewpoint. It was good to learn that +DEC practice what they preach, even to the extent of putting user +manuals on CD-ROM. An exploration of the possibilities of significantly +improving communication by applying latest technology +included an intriguing `book-reader' in `windows'. + +The next speaker was Edward James, Lecturer and Consultant in Educational +Computing at Imperial College, (also a Director of Juniper +Systems Partnership Ltd). In his talk {\sl Publishing without +Paper} he considered environmental and other failings of existing +paper-based publishing methods, and went on to describe (and sell +a sampler for \quid1.00) his computer package which enables authors +who are inexperienced in computing to add value to their +paperless publications. His `paper' paper, lacking the hypertext, was +also given out. + +The last talk of the first day was given by a first-class public +speaker, Tony Feldman, whose {\sl The Electronic Book Arrives} examined +the origins and rapid growth of hand-held electronic reference +publishing (palmtop computers), and assessed the impact of these +devices on traditional publishing and looked ahead to the first +electronic books on optical disk. The Japanese are coming! + +The dinner in Hall was all that such an occasion should be, good +food, wine and company with a sparkling (despite travelling from +the Gulf War that very day) speaker -- Michael Bywater, who writes for +Punch and MacUser. The guest's journalistic skills were evident throughout +his very amusing and poignant speech, as well as in his write-up +of the event in MacUser (5~April 1991, p.~106). Delegates were +made fully aware of the EP expert's responsibility by the +punchline `the history of culture is the history of publishing'. + + + +The first presentation on Friday was by Jacques Andr\'e of +INRIA/IRISA of the University of Rennes, one of the initiators of +the DIDOT project to coordinate training in numerical +typography. Jacques' talk on {\sl The DIDOT Project and Digital +Typography in Europe} focused on the state of the art of digital +typography, explaining the need to bring together type designers +and computer people, as well as giving some fascinating examples of +what you can do with typefaces if you know how to manipulate +\PS\ (and if you want to!). + +Following this, Paul Bacsich of the Open University, where he is +Senior Project Manager in Information Technology and Head of the +Electronic Media Research Group, spoke about {\sl An Encyclopaedia +of European Characters}, speaking of the need to clarify what +exactly a character was. He defined eleven species including +Roman letters, punctuation, maths and scientific, modern Greek as +well as the more familiar characters, and +discussed some of the problems involved in creating the encyclopaedia and in coding and accessing +the characters. + +{\sl Achieving the Automatic, the Invisible, Hyphen} was discussed by +Ronald McIntosh of Computer Hyphenation Ltd. Ronald, together +with David Fawthrop, has developed the Hyphenologist program which allows +proper word division in 40 languages. In the past British hyphenation has +generally been based on etymology, but is now mainly following the US +practice of using the phonetic method. Ronald explained how the various +algorithms work, with extensive examples. + +The last presentation of the conference was given by Ali Assam of +Diwan. Talking about {\sl Distributed Newspaper Publishing} he +explained how in 1988 Diwan became the system integrator for the +world's first broadsheet to be produced, edited and remotely +printed using microcomputers, and discussed the application of +Diwan's pre-press and information management system products +using low cost computer and communications technology. +The use of \PS\ as a medium for transmitting made-up pages +around the world to be printed in many remote sites was +yet another reminder of how developing technology makes information +more accessible. + +Altogether a most useful and interesting conference, held in +beautiful surroundings. +\author{Peter Ashby and Anna Duckworth} diff --git a/info/digests/texline/no13/rhead.txt b/info/digests/texline/no13/rhead.txt new file mode 100644 index 0000000000..c5802b598f --- /dev/null +++ b/info/digests/texline/no13/rhead.txt @@ -0,0 +1,859 @@ +% David Rhead +% (JANET: d.rhead@uk.ac.nottingham.ccc.vme) +% + +\begingroup +\def\Blatex{{\bf L\kern-.30em\raise.3ex\hbox{\scb A}\kern-.15em\TeX}} +\def\Bbibtex{{\bf B{\scb IB}\kern-.2em\TeX}} +\def\ttbackslash{{\tt\char'134}} +\def\bs{\tt\char'134} +\def\cite#1{[#1]} +\def\label#1{{\it #1}} +\let\ref\relax +\let\protect\relax +\def\hline{\noalign{\hrule}} +\def\item#1{\par\hangindent1em\hangafter1{\noindent +\hbox to 1em{\hfil#1\hfil}}} +\def\itemitem#1{\par\hangindent2em\hangafter1{\noindent +\hbox to 2em{\quad\hfil#1\hfil}}} +\def\bi{\item{$\bullet$}} +\def\rtr{$\triangleright$} + +\def\description{\begingroup +\def\item[##1]{\par\hangindent20pt{\noindent\bf##1}}}% +\def\enddescription{\endgroup} +\def\section#1{\medskip\goodbreak\leftline{% +\let\BibTeX\Bbibtex\let\LaTeX\Blatex +\bf#1}\par\noindent\ignorespaces} +\def\subsection#1{\smallskip\goodbreak\leftline{$\bullet$\fib#1}\par +\noindent\ignorespaces} +\def\subsubsection#1{\smallskip\goodbreak\leftline{\fib#1}\noindent\ignorespaces} + + +\title{How might \LaTeXbf3 deal} +\centerline{\bf with citations and reference-lists?} +\section{I Introduction} +Since there are now plans for a new version of \LaTeX\ +\cite{1,2}, this may be a +good time to consider how a future version should deal with citations and +reference-lists. + +My viewpoint is that of an advisor to authors who use \LaTeX\ 2.09. +I am often in the position of having to decide whether \LaTeX\ +acts inappropriately or whether an author is asking for something +inappropriate. Often I have the impression that \LaTeX\ sometimes +makes it unnecessarily difficult for people to comply with the conventions that +are standard in `academic publishing'. + +In making the suggestions that follow, I do realise that it's easier for me +to suggest that the volunteers developing \LaTeX3 might provide some new +facilities than it is for a volunteer to find time to do the work! +I assume that the reader is familiar with the relevant sections of +Lamport's {\sl\LaTeXsl, A Document Preparation System}. + +\section{II Conventions to be supported} +\subsection{II(i) Citation schemes} +In mainstream publishing +\cite{3,4,5,6,7,8,9,10,11,12}, there seem to be three basic schemes for +citations and the corresponding reference-lists: +{\description +\item[reference by number] In this scheme, citations are +normally numbered in order of first citation. In particular, `order of first +citation' is used by over 300 biomedical journals \cite{8,9}, and is specified +in the ISO standard \cite{10}. (Thus, in \BibTeX\ terms, the usual +numbering sequence is that given by {\tt unsrt}.) The number is used as a +`label' in the reference-list. +\item[author-date]~There are two main forms of +citation, depending on whether + or not the cited author's name occurs naturally in a sentence. In the + first case, the citation is of the form \hbox{`\ \dots\ (1972) + \dots\ '}, whereas in the second case it is of the form \hbox{`\ \dots\ + (Crane, 1972) \dots\ '}. There are no `labels' in the + reference-list, which is arranged in alphabetical order of authors' + surnames (with supplementary rules for `tie-breaking'). +\item[short form]~The `short form' scheme is often used when citations + occur in footnotes. Typically, the first citation (or the first + citation in the current chapter) gives a fairly full reference but + subsequent citations use a short form. The `short form' may be + introduced within the first citation, or given in a table of + abbreviations. There are no `labels' in the reference-list, + which may be subdivided by `type of cited document'. + The scheme is common in the humanities, but also seems to be used by + some software-houses when referring to their own publications (see, for + example, \cite{13}). + +\enddescription} + +\noindent +I think it is desirable that \LaTeX\ should provide explicit support for +all three citation schemes, in order to make it straightforward to achieve the +effects that people routinely achieve with traditional publishing procedures. + +Notice that: +\item{\rtr}It is not, in general, possible to convert a document from one +scheme + to another (for example, from `reference by number' to author-date) + automatically. Some re-writing is required. +\item{\rtr}The number of items of information that need to be available + differ between the schemes. For a `reference by number' + citation, it is only necessary to keep track of one item + (the number), whereas for the other schemes it is necessary to keep + track of more than one item (that is, the author and the date, or the + `fairly full form' and the `short form') + so that they can be used separately. +\item{\rtr}Occasionally, two different schemes may be used in parallel + within the same document. (For example, in \cite{13}, + a software-house seems to use `short form' when citing + its own publications, but author-date when citing other publications.) + +\noindent +Thus, it seems to me that the three schemes are best regarded as logically +distinct. + +However, within a particular scheme, there are variations of punctuation, etc., +that can be regarded as matters of `house style'. +For example, some journals that have adopted a `reference by number' +scheme use bracketed numerals for citations, while others use superscripts. +Such variations can be accommodated by differences between style files. + +\subsection{II(ii) Additional references} +In addition to a list of `works cited', some documents +have an additional reference-list that specifies `further reading' +or `all sources consulted' (see \cite{5,~pp182 \& 192}), +\cite{8,~p40} and \cite{8,~p22}). There needs to be +some provision for typesetting such additional lists. + + +\section{III Deficiencies in \LaTeX\ 2.09} +\subsection{III(i) Citations} +When used in conjunction with \BibTeX\ and |\bibliographystyle{unsrt}|, +\LaTeX\ 2.09 makes a good job of organising citations (and sorting the +corresponding reference-list) according to the `reference by number' +scheme as required by many journals. + +Generally, however, \LaTeX\ 2.09 does not provide the breadth or depth +of facilities needed to support the variety of requirements for +mainstream publishing: + +\item{\rtr}It is unfortunate that the `reference by number' sequence obtained + most naturally by the do-it-yourself-er \cite{1,~p73} from + \LaTeX\ 2.09 (`order of appearance within {\tt thebibliography}') + is unlikely to be what the do-it-yourself-er's journal-editor requires + (which will usually be `order of first citation'). The + do-it-yourself-er is given no warning (either in the manual or by + the software) that sorting is likely to be needed. +\item{\rtr}Although one can use style-options such as {\tt apalike} and + {\tt aaai} to re-define |\cite| and {\tt thebibliography} + for an author-date scheme, there are many obstacles placed in the + user's way: + \itemitem{$\star$}The existence of the style-options is not documented +in + \cite{1}. + \itemitem{$\star$}If one finds a style-option in a (software) archive, +it + may need modification to produce the precise effect required. + \itemitem{$\star$}It is not obvious how one should refer separately to +two + items (author and date) supplied via a |\bibitem| argument + originally designed for one. The do-it-yourself-er might + have to study style files such as {\tt aaai.sty} and {\tt bbl} + files such as those produced by {\tt aaai-named.bst} to + deduce how to do this. +\item{\rtr}The `short form' scheme seems unsupported. +\item{\rtr}At certain points in a document, an author my need to cite + several works at once. It may be necessary to specify a + page (or section, etc.) for each work. For instance, + \cite{6,~p404} suggests references of the form + `(Kelley 1896a, 10; Kelley 1896b; Kelley 1907, 3)'. + This is not easy in \LaTeX\ 2.09, since |\cite|'s + optional argument applies to the citation as a whole. The + author cannot supply a separate `optional argument' + for each work. (By contrast, {\sf EndNote}'s analogous facilities + \cite{15,~p58} seem to allow each individual work + to be given its own `additional text'.) +\item{\rtr}It does not seem easy to use different schemes in parallel + within the same document. If |\cite| and + {\tt thebibliography} are defined as required for one scheme, + they will usually be unsuitable for any other. + +\subsection{III(ii) Additional references} +As stated in section \ref{II(ii)} an author may need to +typeset a list of `further reading' etc., in addition to +the usual list of `works cited'. + +If using the {\tt thebibliography} environment from one of \LaTeX\ +2.09's standard styles for such additional references, an author will be +faced with the following problems: +\item{\rtr}the title will be the same as that for the list of `works + cited', namely `References' for {\tt article} and + `Bibliography' for {\tt report} and {\tt book} +\item{\rtr}the `labels' (which may be appropriate in the list + of `works cited', particularly for the `reference + by number' scheme) will also appear in the + additional list (where they are inappropriate), because + both lists use the same definition of |\bibitem| +\item{\rtr}by default, the `labels' will not be unique, since + the `works cited' list and the `additional references' + list will both be numbered from one +\item{\rtr}it will be necessary to supply dummy {\it cite-key\/}s, + purely to satisfy the syntax required for a |\bibitem|. + +\subsection{III(iii) Other problems} +The definitions of the {\tt thebibliography} environment in \LaTeX\ +2.09's standard styles: +\item{\rtr}issue either a |\section*| or a |\chapter*| command, + using a {\it heading} of `References'for {\tt article} + and `Bibliography' for {\tt report} and {\tt book} +\item{\rtr}set {\it left-head\/} and {\it right-head\/} to either + `REFERENCES' or `BIBLIOGRAPHY' +\item{\rtr}do not arrange for a table-of-contents entry. + +\noindent +These definitions can cause problems when the {\it heading}, etc.\ +supplied by the standard style is inappropriate, or when a table-of-contents +entry is desired. +Admittedly, anyone who doesn't like the standard styles is free to +take copies of the style files and modify them to suit their requirements. +However, I have the impression that: +\item{\rtr}among people who are competent to modify style files, + modification of these aspects of the standard styles is `the + rule' rather than `the exception' +\item{\rtr}those \LaTeX\ users who aren't particularly computer-literate + find the whole business mysterious, and seek out support staff + who have to modify these aspects of the style files for them. + +\noindent +Overall, this seems to be an area where \LaTeX\ 2.09 is failing to +`free people from formatting concerns to allow them to +concentrate on writing'\cite{1,~p8}. + +An associated problem is that modified style files may no longer be +compatible with standard utilities such as {\tt lablst}. + +\section{IV Introduction of new facilities} +It has been decided \cite{2} that \LaTeX3 + will be compatible with \LaTeX\ 2.09 input files. Thus, in particular, +\LaTeX3 must define |\cite| and |thebibliography| so that they +have the same effect on \LaTeX\ 2.09 input files as the \LaTeX\ 2.09 +definitions do. This implies that it would be difficult for \LaTeX3 to +(for example) define |\cite| so that there can be an optional argument +for each work in a multiple citation and define |\bibitem| so that it can +have an `author' argument and a `date' argument. + +It therefore seems best to provide duplicates of the \LaTeX\ 2.09 facilities +in \LaTeX3 (for `backwards compatibility') but to attempt to +provide new commands/environments in parallel so as to provide the required +functionality. The new facilities would be regarded as the `normal' +facilities, would be described in the body of the successor to \cite{1}, + and +would be the natural choice for new users. The old facilities would be +regarded as `deprecated' and relegated to an appendix of the successor +to \cite{1}. + +Thus we can have both backwards compatibility and improved facilities +for the future. + +\section{V Division of labour} +\subsection{V(i) Details needed for document `as a whole'} +The three basic citation schemes mentioned in section \ref{II(i)} +determine certain details of a document `as a whole'. For each +citation, there must be an entry in a reference-list. Each entry in +the relevant reference-list must have associated information that can be +used in citations. + +\subsection{V(ii) Details needed for reference-list, etc.} +There are a lot of other details that need to be resolved. + +The information within each reference-list entry will probably need +formatting according to certain rules of `house style'. +The information given in citations needs organising in a consistent way +(particularly for the `short form' scheme). + +Different people may want to assemble their reference-lists in different ways. +Some people may wish to `do it themselves' \cite{1,~p73} from +a physical card-index, while some may prefer to use \BibTeX\ to get details +from a {\tt bib} file. In some disciplines,~proprietary systems such as +{\sf EndNote} \cite{15} seem popular (because they help the user to search +a database for literature to cite, as well as helping the user +incorporate details of the literature into a document). +Researchers may also wish to incorporate material obtained by searching +details held on a {\sc cd-rom}. + +A reference-list generally needs sorting into a particular order. Since the +list may occupy several pages, I assume that any sorting is best done outside +\LaTeX, either by other software (e.g., \BibTeX) or manually by the author. + +\subsection{V(iii) \LaTeX\ and other software} +It seems best to regard the movement of text-strings (e.g., an author's +surname) within the `document as a whole' as a task that is distinct +from the arrangement of details within the text-strings, and to assume a +`division of labour' in which the former task is performed by \LaTeX\ +while the latter is performed by some other software or manually by the author. +The `division of labour' between \LaTeX\ 2.09 and \BibTeX\ seems to set +a good precedent. + +This division of labour will lead to modular software. Once the +interface between a reference-list and the rest of the document has +been defined,~people can use \LaTeX\ for the body of their document, +but can: + +\item{\rtr}experiment with different software (\BibTeX, {\sf EndNote}) + for formatting the details of their reference-lists +\item{\rtr}enhance the other software (e.g., \BibTeX) independently + of enhancements to \LaTeX. +\item{\rtr}lay their reference-lists out manually if they prefer. + + +\section{VI \LaTeX3: A possible user interface?} +\subsection{VI(i) Specifications and names} +If the reasoning given in sections \ref{II}, \ref{IV} +and \ref{V} is accepted, consideration needs to be given to +the form that new commands/environments should take in order to support the +three basic citation schemes, and to provide facilities for `additional +references'. In particular, it will be necessary to choose +names other than |\cite|, {\tt thebibliography} and |\bibitem| (since +these names will be kept for the facilities provided for compatibility with +\LaTeX\ 2.09). + + +\subsection{VI(ii) Four sets of commands/environments} +It seems to me that it would probably be convenient to have three sets of +commands/environments for dealing with citations and the corresponding +reference-lists, each set specifically designed to implement a particular +citation scheme. Having three such sets gives scope for taking proper +account of the peculiarities of each scheme, without having one scheme +adversely affected by the peculiarities of another. + +To avoid the difficulties mentioned in section \ref{III(ii)}, +it might also be worth having a specific environment for +`additional references'. + +\LaTeX3 might, for example, have commands/environments as specified +in table 1. + +\topinsert +\hsize6.5in +\centerline{\offinterlineskip +\vbox{\halign{\strut#\hfil&\hfil#\hfil&\hfil#\hfil&\hfil#\hfil&\hfil#\hfil\cr +\hline + & Citation & Environment for & Entry in \cr + & & reference-list & reference-list \cr +\hline +Reference by number & \bs numcite & {\tt numrefs} & \bs numentry \cr +\hline +Author-date & \bs dcite + & {\tt adrefs} & \bs adentry \cr + & \bs adcite & & \cr +\hline +Short form & \bs firstcite & {\tt sfrefs} & \bs sfentry \cr + & \bs sfcite & & \cr +\hline +Additional references& -- & {\tt morerefs} & \bs moreentry \cr +\hline +{\it Analogue at 2.09} & \bs cite & {\tt thebibliography} + & \bs bibitem \cr +\hline +}}} +\caption{Table 1: suggested specifications for commands\slash environments +in \Blatex3} +\bigskip +\hrule height1pt depth1pt\bigskip \endinsert + +Here it is assumed that: +\item{\rtr}|\numcite| and |\numentry| have {\it key-list} and + {\it cite-key} (respectively) as their only mandatory arguments. +\item{\rtr}|\dcite| and |\adcite| have {\it key-list} as argument. + |\dcite| gives a citation of the form (1972), + while |\adcite| gives a citation of the form (Crane, 1972). + |\adentry| has three arguments: the {\it cite-key}, + the author (e.g., Crane), and the date (e.g., 1972). +\item{\rtr}|\firstcite| and |\sfcite| have {\it key-list} as argument. + |\firstcite| gives the form of citation to be used when a work + is first mentioned. |\sfcite| gives the short form + to be used in subsequent citations. + The arguments of + |\sfentry| might include: the {\it cite-key}, the form + of reference to be used at the first citation, and the short form + to be used subsequently. + Whereas |\numentry| and |\adentry| can `introduce' + the full reference (like |\item| starts a new item + \cite{1,~p166}), it may be better for |\sfentry| + to have the full reference as an argument, so that it can be used + as the default `form to be used at first citation'. + +\noindent +Although it would be desirable for the successors to the `standard styles' +to define facilities for all three citation schemes, other +|\documentstyle|s need not define facilities for all three. For example, +a journal that wants its authors to use the author-date scheme would supply a +style file that only provides author-date facilities. + +\subsection{VI(iii) Further details} +\subsubsection{Reference by number} +The |\numcite| might take the form +|\numcite{|{\it key-list}|}| and similarly, |\numentry| commands would be +|\numentry{|{\it cite-key}|}|. Notice that, since |\numentry| +is specifically designed for `reference by number', there is no need to +allow an optional {\it label} argument like that for |\bibitem|. + +To conform to the ISO specification \cite{10}, the successors to the +`standard styles' would arrange for |\numcite| to give a citation of the form +(24) and for |\numentry| to give a reference-list entry of the form +\description +\item[{\rm 24.}] {\sc Crane, D.} {\it Invisible colleges.} \dots +\enddescription + + +Perhaps \LaTeX3 could use the {\tt aux} file to refine an initial estimate +of the width of the final |\numentry|'s `label', so that the +do-it-yourself-er wouldn't need to supply a {\it widest-label\/} argument. + +\subsubsection{Author-date} +The commands |\dcite|, |\adcite| and |\adentry| might +be defined to have the forms |\dcite{|{\it key-list}|}|, +|\adcite{|{\it key-list}|}| and +|\adentry{|{\it cite-key}|}{|{\it author}|}{|{\it date}|}|. +The {\tt adrefs} environment would {\it not} have a {\it widest-label} +argument, since in this scheme entries in the reference-list are unlabelled. + +If such a definition of |\adentry| was documented in the successor to +\cite{1}, a do-it-yourself-er would be able to use the author-date +system just as easily as the `reference by number' system. + +To conform to the ISO specification \cite{10}, the successors to the +`standard styles' would arrange for |\dcite| to give a citation of +the form (1972), for |\adcite| to give a citation of the form +(Crane, 1972), and for |\adentry| to give a reference-list entry with no +label. + +\subsubsection{Short form} +The |\firstcite|, |\sfcite| and |\sfentry| commands might +be defined as |\firstcite{|{\it key-list}|}|, +|\sfcite{|{\it key-list}|}| and +|\sfentry{|{\it cite-key}|}[|{\it + fairly-full-form}|]{|{\it short-form}|}{|{\it + full-reference}|}|. +Such definitions would, in effect, automate Butcher's manual method of +ensuring consistency \cite{5,~p178}. +Having {\it full-reference} as an argument means that the full reference +can be used as the default {\it fairly-full-form} (to be used when the work +is first cited \cite{6,~p407}). +The {\tt sfrefs} environment would {\em not} have a +{\it widest-label} argument. + +The successors to the `standard styles' would arrange for |\firstcite| +to produce the {\it fairly-full-form} and |\sfcite| to produce the +{\it short-form}. +This makes the pessimistic assumption that \LaTeX\ can not itself determine +whether a citation is the `first citation' of a particular work. +If someone was ingenious enough to produce code that determined whether a +citation is a `first citation', {\tt\ttbackslash firstcite} would be +unnecessary (except,~perhaps, for the construction of tables of abbreviations +\cite{6,~p414}.) +To conform to the ISO specification \cite{10}, neither +|\firstcite| nor |\sfcite| +would add any punctuation (but, for example, a style file that implemented +the MLA conventions would have to add brackets \cite{7, ch.\ 5}). +In the successors to the `standard styles', +the |\sfentry| would produce an entry with no label. + +People producing other style files would be free to implement other +conventions \cite{5,~p168}. + +Some works may have no bibliography or may have just a `select +bibliography' \cite{5,~p168}. For such works, it will still +be necessary to supply the details for use by |\firstcite| and +|\sfcite|. It may therefore be worth allowing a form of +{\tt sfrefs} (e.g., |\begin{sfrefs}[null]|) +that holds details of cited works but does no typesetting. + +\subsubsection{Additional references} +Since the entries in an `additional list' will not be cited as such +(although an `all sources consulted' list may contain a duplicate of +a cited entry in a `works cited' list), the list will be typeset +without `labels'. Even in a document that uses the `reference by +number' citation scheme (and so needs `labels' in the {\tt numrefs} +list), there will be no `labels' for the entries in an additional list. + +It therefore seems likely that the {\tt morerefs} environment could +be implemented as a variation of {\tt adrefs} or {\tt sfrefs}, the main changes +being: + +\item{\rtr}a change of title (but see section \ref{VII(iii)}) +\item{\rtr}absence of + {\it cite-key, author, date, fairly-full-form} and {\it short-form} + arguments. + +\subsection{VI(iv) Order within the reference-list} +As stated in section \ref{V}, it is probably best to leave +any sorting of the reference-list to some other software, or to the author. + +However, it might be possible for \LaTeX\ to provide a warning if a +reference-list is obviously in the wrong order. Perhaps: +\item{\rtr}although there may be no easy alternative to numbering + |\numcite|s in order of appearance within {\tt numrefs} + (even though `order of first citation' is usually what + is required), \LaTeX\ could give a warning if a |\numcite| + gave a number that exceeded the `biggest number produced + by |\numcite| so far' by more than one. +\item{\rtr}there could be a warning if an |\adentry| had an + {\it author} whose first letter came before the first letter of the + preceding |\adentry|'s {\it author} in the alphabet. + +\subsection{VI(v) Citation of a specific division} +%\label{division} +As stated in section \ref{III(i)}, provision needs to be made for +the citation of a particular division (e.g.,~page, section, chapter, +equation) of another work. The syntax of citation commands should +not only allow several works to be cited simultaneously, but should also +allow the relevant division of each work to be specified. + +From the author's point-of-view, there would be a variety of satisfactory +ways to specify citations that are to appear as +`[4,~p10; 5; 6,~p3]', e.g. + +{\frenchspacing +\leftline{\bs numcite\char'173smith[p. 10],brown,jones[p. 3]\char'175} +\leftline{\bs numcite\char'173smith, p. 10; brown; jones, p. 3\char'175} +\leftline{\bs numcite\char'173smith \& p. 10; brown; jones \& p. 3\char'175} +} + +\noindent +The precise syntax would have to take +account of the practicalities of programming a command that has to be able +to accept pairs of arguments, where the second member of each pair is optional. + +Analogous facilities would be needed for author-date and `short form' +citations. + +Incidentally, since abbreviations such as p., ch., sec., and fig.\ are +common when such divisions are specified, I think that citation commands +should arrange for the optional arguments to be typeset with +|\frenchspacing|. + +\section{VII Details of reference-lists} +\subsection{VII(i) Variations within mainstream practice} +Although many academic and technical publications involve only a single +undivided reference-list, some such publications involve: +{\description +\item[more than one list] + This situation can arise: + + \itemitem{$\star$}when there is a list of `further reading' etc., + as well as the list of `works cited'. + This case has been covered in sections \ref{II(ii)}, + \ref{III(ii)}, \ref{VI(ii)} and \ref{VI(iii)}. + \itemitem{$\star$}when conference proceedings are produced, since each + contribution may have its own reference-list. + \itemitem{$\star$}in manuals for software. For example, in \cite{13}, a + software house's own publications are introduced in the preface + and cited (in effect) using a `short form' scheme, while + other people's publications are listed at the end of the manual + and are cited using the author-date scheme. +\item[subdivisions within a list] + Some reference-lists,~particularly in the humanities, are subdivided + according to the source of the cited documents (see + \cite{5,~p183}, \cite{6,~p425} and + \cite{7,~p88}). + +\enddescription} + +In some cases, an author may wish to add explanatory paragraphs describing, +for example, how material was chosen for a `select bibliography' +\cite{6, fig.\ 15.11} or information about access to (document) +archives \cite{6, fig.\ 15.16}. + +\subsection{VII(ii) \LaTeX\ 2.09} +\LaTeX\ 2.09 can cope with documents that have more than one +{\tt thebibliography} environment, and seems to deal satisfactorily +with a situation in which some |\cite| commands are to +one {\tt thebibliography} and some are to another (provided that +the {\it cite-key\/}s are unique). The default effect is +to give {\it label\/}s that are not unique, which will be acceptable +when each contribution to a `conference proceedings' has its +references numbered from one, but not if `works cited' +and `additional references' are both numbered from one +(see section \ref{III(ii)}). + +The specification of {\tt thebibliography} \cite{1,~p187} +does not allow anything other than |\bibitem|s within a +{\tt thebibliography} environment. Hence, it is not clear +how one can introduce subheadings within a reference-list. +(In practice, a |\section*| seems to work between +|\bibitem|s, but I suspect that it puts \LaTeX\ 2.09 into a loop +if placed before the first |\bibitem|.) + +Anyone trying to add explanatory paragraphs (as in \cite{6, fig.\ 15.11} +and \cite{6, fig.\ 15.16}) will probably find that \LaTeX\ 2.09 +objects that `{|Something's wrong--perhaps a missing \item|}'. + +\subsection{VII(iii) \LaTeX3} +Ideally, in order to provide support for the conventions that are routine +in mainstream publishing practice, \LaTeX3 should be able to cope with +all the variations outlined in section \ref{VII(i)}. + +\subsubsection{Multiple lists} +The suggestions made in section \ref{VI} would probably cater for most +situations where a document has more than one reference-list. + +The distinction between {\tt morerefs} and the other environments for +reference-lists would take care of situations where there is a list of +`additional references' as well as a list of `works cited'. +The distinction between the `short form' commands/environment +and the other commands/environments would take care of situations where a +software house uses `short form' for its own publications +and some other scheme for other publications. Conference proceedings +will be able to have `a reference-list for each contribution' +if \LaTeX3 follows the \LaTeX\ 2.09 precedent that allows +more than one {\tt thebibliography} in a document. + +\subsubsection{Subdivisions and explanatory paragraphs} +Because the sciences have different conventions +from the humanities,~people using the `reference by number' citation +scheme are unlikely to want the options of subdividing their reference-list +and inserting explanatory paragraphs. Therefore, it would be legitimate to +say (for example) `subdivisions and explanatory paragraphs are supported +within {\tt adrefs}, {\tt sfrefs} and {\tt morerefs} but not within +{\tt numrefs}', if this made the programming task easier. + +For example, it might be convenient to implement {\tt numrefs} as +a `list-making environment' (as in \LaTeX\ 2.09) but to implement +the other environments in some other way. Lack of support for subdivisions +and explanatory paragraphs is unlikely to matter in {\tt numrefs}; the +`other way' (more like |\paragraph|,~perhaps?) might make it +easier to implement support for these facilities in the other environments. + +\subsubsection{Other problems} +%\label{reflist-scope} +One approach to some of the problems mentioned in section \ref{III(iii)} +is for the standard styles to define the heading for the reference-list by, +for example, |\def\numrefsheading{References}|, so that anyone who wants +to change the heading can do so by issuing a |\renewcommand| command +somewhere before the start of their reference-list. + +Another approach is to work in terms of the standard publishing industry +concept of `back matter' \cite{6,~p4}. Instead of having to +understand where the {\it heading}, {\it left-head}, {\it right-head} and +table-of-contents entry (or lack of it) originate for units such as the +glossary (if any), the reference-list(s) and the index (if any) +{\em separately}, an author would only have to understand how these features +are treated {\em consistently} within `back matter'. + +Although the `back matter' approach could be used if environments +such as {\tt numrefs} followed the {\tt thebibliography} precedent and issued +commands such as |\chapter| or |\section| themselves, authors +might find the way that {\it heading}, {\it left-head}, {\it right-head} and +table-of-contents entry materialize less mysterious if it was just the same +for a reference-list as for (say) a glossary. This would imply that +{\tt numrefs}, {\tt adrefs}, {\tt sfrefs} and {\tt morerefs} should +not issue commands like |\chapter| or |\section| themselves. +As a bonus, it would then be possible for an author to insert an explanatory +paragraph before the reference-list, and to arrange for subdivisions. + +For example, if there was a {\tt backmatter} environment within which +|\chapter| was treated as defining a unit of `back matter', +an author's file might contain commands such as +\begintt +\begin{backmatter} + \chapter{Glossary} + ... + \chapter{References} + \section{Primary sources} + \begin{sfrefs} + ... + \end{sfrefs} + \section{Secondary sources} + \begin{sfrefs} + ... + \end{sfrefs} + \chapter{Further reading} + \begin{morerefs} + ... + \end{morerefs} +\end{backmatter} +\endtt + +\section{VIII Conclusion} +\LaTeX\ has a large number of users, and potential users, who wish to produce +documents that conform to the conventions that are standard in academic +publishing. One element of their requirement is the need to conform to the +conventions for citations and reference-lists that are usual in their +disciplines. + +The choice for \LaTeX3 may be between: +\item{\rtr}having more facilities for citations and reference-lists than + \LaTeX\ 2.09, perhaps as suggested in section \ref{VI}. + This would imply an increase in: + \itemitem{$\star$}the amount of code needed to implement the facilities, +and + the guru time needed for writing the code + \itemitem{$\star$}the number of pages needed, in the successor to +\cite{1}, + to describe the facilities -- perhaps 8 pages rather than + the 2 pages in \cite{1}. +\item{\rtr}no significant increase in the facilities provided for citations + and reference-lists. Contrary to the idea of `freeing people + from formatting concerns to allow them to concentrate on writing' + \cite{1,~p8}, many authors (perhaps most authors) would be + wasting time: + \itemitem{$\star$}hacking at style-files + \itemitem{$\star$}searching (software) archives for ready made solutions + \itemitem{$\star$}taking up support staff's time in the search for advice +(with the + support staff + in turn taking up gurus' time in their search for solutions). + +\noindent + Moreover, most of this time would be wasted by (or on behalf of) authors + who don't want anything exotic; they just want to conform + to the conventions standard in traditional academic publishing. +I'm inclined to think that the first option would be the lesser of the +two evils. + +\section{Appendix: interface with \BibTeX} +The preceding sections make some suggestions for a \LaTeX3 user +interface that would enable the do-it-yourself-er to conform to +the conventions that are usual in academic publishing. +It is also necessary to consider the implications for the interface to +\BibTeX. + +\subsection{Single reference-list} +Inspecting {\tt bst} files gives me the impression that, if it +was decided to adopt a scheme such as that described in section +\ref{VI}, it would be fairly easy to produce new {\tt bst} files +to supersede existing ones. For example, a {\tt bst} file +that implemented a `reference by number' scheme would write +|\numentry| commands rather than |\bibitem| commands. + +If {\tt bst} files were created in this way, they would be able to +deal with the straightforward situation when there is a single +reference-list that contains all works cited (plus, possibly, +any works specified by a command like |\nocite|). + +\subsection{Multiple reference-lists, all with the same style} +More complicated situations can arise in which a document involves +several reference-lists. For example: + +\item{\rtr}The editor of the proceedings of a conference might want the + published proceedings to have a reference-list at the end of each + chapter. +\item{\rtr}If, as suggested in section \ref{VII(iii)}, {\tt sfrefs} was + implemented in a way that allowed a sequence of {\tt sfrefs} environments + to each be preceded by a |\section| command, then, as far as + \BibTeX\ is concerned, each {\tt sfrefs} environment might be a separate + reference-list. + +In both these examples, the document would involve several reference-lists, +but each reference-list would need to be typeset in a common style. +I assume that the main problems would be in arranging: + +\item{\rtr}to have multiple {\tt bbl} files, or distinct divisions of a single + {\tt bbl} file +\item{\rtr}that each reference-list takes its entries from the correct {\tt bbl} + file, or from the correct division of a single {\tt bbl} file. + +\subsection{Two reference-lists, each with a different style} +People producing documents that have a second reference-list (e.g., +`further reading') in addition to the list of `works cited' +might want the first list typeset in one style and the second +list typeset in another. (In particular, if the `reference by number' +scheme is used, the first list will have `labels' but the second +list will have no `labels'.) If the commands/environments suggested +in section \ref{VI} were implemented, the first list would use +{\tt numrefs}, {\tt adrefs} or {\tt sfrefs}, while the second list would +use {\tt morerefs}. + +In this situation, it would be necessary to communicate to \BibTeX\ +that two lists are required, but that they are to be typeset in different +styles. Since the second list is to contain `works {\em not\/} +cited', it will also be necessary to specify the works to be shown in the +second list. + +If it is decided to extend the interface between \LaTeX\ and \BibTeX\ to +cater for such situations, it will probably be necessary to consider +defining alternatives to \LaTeX\ 2.09's |\bibliography| and +|\bibliographystyle| commands, since it seems unlikely that the syntax +of the \LaTeX\ 2.09 commands could be extended so as to pass the necessary +information. One might, for example, consider syntax such as +|\bibtexcites[|{\it cites-style}|]{|{\it bib-files}|}| +and +|\bibtexmore[|{\it more-style}|]{|{\it bib-files}|}{|{\it + key-list}|}|. +Here, it is assumed that: + +\item{\rtr}the |\documentstyle| would set defaults for the {\it cites-style} + and {\it more-style} that are to be passed to \BibTeX, but the user + can over-ride the defaults via the optional arguments to + |\bibtexcites| and |\bibtexmore| +\item{\rtr}|\bibtexmore|'s {\it key-list} argument would be used to + specify the works to be included in the list of `additional + references'. + +If it is not practicable to extend the \LaTeX\slash \BibTeX\ interface +to cater for these situations automatically, it would presumably be a matter of +some `human intervention': +\item{\rtr} to prepare a {\tt bbl} file for the `additional references' +\item{\rtr} to |\input| the {\tt bbl} file. + +\def\item#1{\par\hangindent1.5em\hangafter1{\noindent +\hbox to 1.5em{#1\hfil}}} +\def\bibitem#1#2{\item{{#1}}{#2}} +\section{Bibliography} +\bibitem{1} {\sc Leslie Lamport.} + {\it \LaTeXsl: A document preparation system.} + Addison-Wesley, 1986. +\bibitem{2} {\sc Frank Mittelbach and Rainer Sch\"{o}pf.} + With \LaTeX\ into the nineties. + {\it TUGboat,} 1989, {\bf 10}, 681--690. +\bibitem{3} + {\it Citing publications by bibliographical references.} + BS 5605. British Standards Institution, 1978. +\bibitem{4} + {\it Citation of unpublished documents.} + BS 6371. British Standards Institution, 1983. +\bibitem{5} + {\sc Judith Butcher.} + {\it Copy-editing.} + Cambridge University Press, 1981. +\bibitem{6} + {\it The Chicago manual of style.} + Chicago University Press, 1982. +\bibitem{7} + {\sc Joseph Gibaldi and Walter S. Achert.} + {\it MLA handbook for writers of research papers.} + Modern Language Association of America, 1988. +\bibitem{8} + {\sc Edward J. Huth.} + {\it Medical style and format.} + ISI Press, 1987. +\bibitem{9} + {\sc ICMJE, International Committee of Medical Journal Editors.} + Uniform requirements for manuscripts submitted to biomedical + journals. + {\it British Medical Journal,} 1988, {\bf 296}, 401--405. +\bibitem{10} + {\it Documentation -- bibliographic references + -- content, form and structure.} + ISO 690. International Organization for Standardization, 1987. +\bibitem{11} + {\sc Maeve O'Connor.} + {\it Editing scientific books and journals.} + Pitman Medical, 1978. +\bibitem{12} + {\sc Gillian Page, Robert Campbell and Jack Meadows.} + {\it Journal publishing: principles and practice.} + Butterworths, 1987. +\bibitem{13} + {\sc Marija J. Noru\v{s}is.} + {\it SPSS-X Introductory Statistics Guide for Release~3.} + SPSS Inc., 1988. +\bibitem{14} + {\it Presentation of theses and dissertations.} + BS 4821. British Standards Institution, 1990. +\bibitem{15} + {\it EndNote: A reference database and bibliography maker.} + Berkeley: Niles \& Associates, Inc., 1989. +\author{David Rhead} + + \endgroup +\endinput diff --git a/info/digests/texline/no13/sgml b/info/digests/texline/no13/sgml new file mode 100644 index 0000000000..739a1de8b2 --- /dev/null +++ b/info/digests/texline/no13/sgml @@ -0,0 +1,18 @@ +\title{SGML in the UK} +In a move to stimulate activity in the UK by the +\SGML\ Users' Group, a meeting is being held in the autumn for all +those who are interested. The exact date and venue have not yet been fixed, +although the meeting will probably be in London. It is planned that notification +will be +sent to all who are or have been members of the Users' Group. + + +For further information write to: +{\obeylines\parindent20pt +Nigel Bray +Database Publishing Systems Ltd +608 Delta Business Park +Great Western Way +Swindon +Wilts SN5 7XF\strut +} diff --git a/info/digests/texline/no13/spivak b/info/digests/texline/no13/spivak new file mode 100644 index 0000000000..caf7f48f30 --- /dev/null +++ b/info/digests/texline/no13/spivak @@ -0,0 +1,185 @@ + +\title{A Contrarian View On \TeX{} Extensions} +\vskip-3pt +\centerline{\sl An open letter to the \TeX{} community}\smallskip\noindent +Recently in \TUGboat\ the question of \TeX{} extensions has generated +considerable discussion (`pronouncements' might be a more accurate term, +since this discussion has devolved almost entirely to a few interested +adherents). Donald Knuth's brief statement in Volume~11, No.~4 (also +printed in \TeXline\ 12) makes quite clear what he happens to think of the +whole idea, but this seems to be regarded as a minor inconvenience to be +circumvented, as in the article by Nelson Beebe that immediately follows. + +I should probably begin by admitting that, granted three wishes, I could +probably expend them on \TeX{} extensions. Nevertheless, I feel that some +one should speak out against \TeX{} extensions, or at the very least, +against many of the proposed extensions; though \TUGboat\ articles seldom +generate any response, I expect there are many who feel strongly about +them, but don't bother writing. + +Many of the suggested \TeX{} extensions fall into three categories: + +$\bullet$Allowing \TeX{} to do ugly typesetting. + +$\bullet$Making \TeX{} do things 100\% automatically that should really be +done 95\% automatically. + +$\bullet$A third category that I'll come to later. + +The first category is amply illustrated by Frank Mittelbach's article in +Volume~11, No.~3. In connection with the ever pernicious problem of +typesetting in narrow columns, a proposed extension to \TeX{} would change +spacing rules according to a scheme attributed to Manfred Siemoneit. My +first reaction to the accompanying illustrations was: Boy, is that ugly! My +next reaction: Just who is Manfred Siemoneit, and why should his particular +scheme be incorporated into \TeX{}? My final reaction: Why stop there?! +Since this extension is meant to address a problem common to magazine +publishers, why not use the methods employed by, and presumably desired by, +these publishers? Those who have remained blissfully ignorant of these +matters are invited to examine {\sl Time} or {\sl Newsweek\/} and other +journals of their ilk -- just for their typography, of course! In these +narrow columns, entire lines are condensed optically, so that the letters +themselves are condensed in width. Sure, I happen to think it's ugly, but I +also think ragged-right, letter spacing, and just about every other +narrow-column device is ugly. In any case, what I think or you think +doesn't matter, if the whole point is to allow \TeX{} to accommodate the +multifarious desires of the typesetting industry. And on this particular +point, the accommodation is quite possible, though that brings us to the +third category, which will be discussed later. + +(Since the whole question of taste has inevitably already intruded itself, I might +also caution that many of Mittlebach's pronouncements, like his blithe +statement that hanging punctuation `is a sign of good quality typesetting', +shouldn't be taken too seriously.) + +The second category is well illustrated by two \TUGboat\ articles of quite +contrasting natures. + +The first is an article by David F. Rogers in Volume~9, No.~3, recounting +problems encountered using \TeX{} to produce a book, {\sl Procedural +Elements for Computer Graphics}, replete with tables and illustrations, in +the absence of a macro package adequately implementing requirements +specified by the book designer. This article was widely regarded as a +challenge for \TeX{}, and I admit to using it as the starting point for +requirements for automatic figure placement in \LamSTeX{}. In fact, I +obtained the book in question to use as a test for the \LamSTeX{} macros. +Now this book is admittedly typographically complex -- indeed, tables, +figures, etc., intrude so profusely that in places one might long to resort +to page-layout `by hand'. + +However, Mr.~Rogers seems to think that this procedure is well-nigh impossible. +An inkling of his difficulties may be gleaned from the following lament +(italics in the original): `To prevent \TeX{} from reformatting the pages +to this point a |\vfill\eject| is placed at the bottom of the previous page. +This, of course, does not always work. \TeX{} occasionally decides that the +previous material is best presented with an incomplete last line! When this +happens material must be moved word-by-word from the current page\dots' + +Now it is a shame, indeed shameful, that this article not only appeared +unedited in \TUGboat, but that neither editors nor readers ever subsequently +explained that the |\vfill|, an inherently vertical mode command, causes the +paragraph to end, with those dire results, and that the proper way to force +a page break after a line is with |\vadjust{\break}|. As a result, who +knows how many \TeX{} users (and would-be users) now think that there is no +reasonable way to force page breaks in \TeX{}? (By the way, \AmSTeX{} and +\LamSTeX{} both have |\pagebreak|, which produces exactly the results the +author wanted.) + +In a book of this nature, forcing page breaks and inserting tables and illustrations +in specific places is probably preferable to having \TeX{} make all +decisions automatically, even if that is possible. There will invariably be +situations where an `out-of-order' placement will result in a more +convenient or pleasing arrangement. (A minor example: on page~18 of +{\sl Procedural Elements} I would have avoided the footnote that comes right +under a Figure caption.) And, in general, many of the complaints about +\TeX{}, and requests for extensions, ignore the fact that \TeX{} isn't +meant to be a totally automatic system; it is specifically designed for +interaction with the author, or typesetter, a point explicitly made several +times in the \TB. + +The second article, a query by Frederick H.~Bartlett in Volume~9, No.~1, +involves high quality typesetting, where a standard typesetting trick is to +shorten or lengthen a pair of facing pages to improve appearances. This was +supposed to be done automatically, because `While, admittedly, it may be +perfectly legitimate to expect an author to struggle with his file over +half a dozen or so runs to make it perfect, a typesetter's time is much too +valuable to indulge in such foolishness.' + +Mr.~Bartlett's idea was to have the |\output| routine first store the facing pages in +boxes (much like a two-column routine). Normally each of the pages, after +being combined with the |\headline| and |\footline| material, would be +shipped out; but if the total badness of the boxes was too big, then they +would first be reset in height (by |\unvbox|ing them within a |\vbox| of the +new height). The problem was that it was impossible to find out \TeX{}'s +|\badness| for the boxes. + +Now this problem has actually gone away in version 3 of \TeX{}, but I claim that it +was never that serious a problem anyway. One could easily make a macro, +|\changeheight|, to be used in a form like +\begintt +\changeheight{22+ 68- ... } +\endtt +to indicate that pages 22 and 23 should be made one line longer, pages 68 and 69 one +line less, etc., with the |\output| routine taking information from this +macro to perform the indicated changes on these pages. + +Of course, this isn't automatic, since the list has to be generated somehow. But remember that +we are now talking about high quality typesetting. Even granting the value +of a typesetter's time, it wouldn't take that much effort to look through +that very last version of the output, note the pages 22, 68,\dots, needing +changes, and insert a |\changeheight| line in the file. The file would have +to be \TeX{}'ed once again, but that's not even `typesetter's time', only +machine time (I presume that this highly regarded typesetter has a fast +computer that can re\TeX{} a complete book in only a few minutes). But +still one more argument for automatic resetting might then be advanced: +What if you miss a page? The answer to that is very simple: If you miss +the bad page, it wasn't there! After all, the idea is to modify pages that +look bad (to this highly paid typesetters eye), not pages to which \TeX{} +happens to assign some particular |\badness|; indeed, \TeX{}'s |\badness| +estimate may have little to do with the badness to the human eye. + +Finally, we come to the third category: special effects that are not possible +directly with \TeX{}, but that are quite possible with post-processors, +such as Bechtolsheim's |dvi2dvi| (Volume~10, No.~3). These effects include +change bars; underlined or stuck-out text; and inclusion of \TeX{}'ed +material from other documents. From quite a few years ago, in fact, I +recall an advertisement for a \dvi\ post-processor that achieved another +desideratum of the typesetting industry, namely, letter-spacing [adding +extra space between letters in a line instead of concentrating the extra +spacing between words], though the proffered sample output may have only +served to disenchant people with the practice. A similar program could be +incorporated within a \dvi\ to \PS\ translator to optically scale +entire lines, as discussed previously. And, of course, once we allow \TeX{} +to interact with \PS, all sorts of special effects become available. + +Purists might prefer document preparation to be a one-shot affair, but once +you've accepted something like a \LaTeX{} double-pass system, not to mention +all sorts of auxiliary processes, like index sorting, it becomes absurd to +eschew \dvi\ post-processors, which are always much faster than \TeX{} +itself. + +One could suggest dozens of minor tools that would make the \TeX{} user's life +more pleasant. For example, at the lowest level, a standardized sensible +directory structure for magnified fonts that doesn't require a calculator, +and a program for finding and removing magnified fonts that doesn't require +manually changing to directories with long-winded names. Or standardized, +widely disseminated macros for inclusion of \PS\ files and literals (sure, +it's easy if you know what you're talking about, but the people who don't +are totally baffled). Programs for examining the details of a font, and for +changing kerning, ligatures, and |\fontdimen| parameters by seeing their +effects on the screen; |tftopl| and |pltotf| should only be used behind the +scenes -- the everyday user, including typesetters creating their own +kerning tables, don't want to know about these things. Similar programs for +creating virtual fonts without knowing the details of |vpl| files. + +Bigger \TeX{}'s, obviously coming soon, will also help, but the most important +tool, possibly revolutionizing \TeX{} usage, would be an interactive \TeX{} +(the \TB, page 387, makes clear that this is not an `extension'.) + +I'm not saying that any one should be prevented from making a \TeX{} +`extension' with all the features that have been suggested. I just think +(a)~that they shouldn't call it `\TeX{}' -- why not something completely +different, like `Frame', for example; and (b)~that TUG should not be +supporting this effort when there are so many other important areas that it +has so badly neglected. +\author{Mike Spivak} diff --git a/info/digests/texline/no13/texline.head b/info/digests/texline/no13/texline.head new file mode 100644 index 0000000000..494c5eccdd --- /dev/null +++ b/info/digests/texline/no13/texline.head @@ -0,0 +1,115 @@ + + +%\topinsert +\begingroup +\overfullrule0pt +\font\huge palatino at65truept% +\font\normal palatino at 10pt +\newbox\info +\newbox\banner +\newbox\long +\newbox\issn +\setbox\issn\hbox{\normal ISSN 0961-3978} + +\setbox\info=\vtop{% +\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 13, September 1991} +\line{\hfill a Newsletter of the \TeX\ community} +\line{\hfill edited by} +\line{\hfill Malcolm Clark} +\line{\hfill PO Box 1897} +\line{\hfill London NW6 1DQ} +\line{\hfill Tel: 071 435 8983} +\line{\hfill Fax: 071 433 3576} +\line{\hfill Janet: malcolmc@uk.ac.pcl.mole}} + +\setbox\banner\vtop{\hsize275pt +\line{\hfill\huge\TeX\kern-0.1em line\kern-0.15em1\kern-0.1em3} +\dp\issn0pt\ht\issn0pt +\line{\hfill\box\issn\hfill}} +\hfuzz30pt + +\kern-0.5in\hbox{\box\info\hfil\lower45pt\box\banner} +\endgroup +%\endinsert + +\endinput +\begindoublecolumns +{\parindent0pt\obeylines +The editor +{\sl Cahiers GUTenberg} +c/o IRISA +Campus Universitaire de Beaulieu +35042 Rennes Cedex +France} +\bigskip +\noindent Dear Sir +\medskip +\noindent +The allusion that `les num\'eros 11 et 12 semblent devoir \^etre les +derniers' of this esteemed organ are premature. I am delighted to +note that number 13 is well underway. It will include the following: + +{\parindent0pt\parskip0.5pt\obeylines +A Script for building true-sized fonts \author{\sl Angus Duggan} +Sunny Mexico \author{\sl Betsy Dale} +The matter of TUG \author{\sl Malcolm Clark} +Flow charts with \TeX \author{\sl Michael Ramek} +Virtually there \author{\sl Malcolm Clark} +The components of \TeX \author{\sl Joachim Schrod} +Klimt, Freud \& Dante \author{\sl Malcolm Clark} +Report from uk\TeX ug meeting \author{\sl Chris Rowley} +Report from BCS ep meeting, Oxford \author{\sl Malcolm Clark \& Chris Rowley} +How may \LaTeX\ 3.0 deal with citations and reference lists? \hfill{\sl David~Rhead} + +\smallskip +Abstracts, {\sl Cahiers GUTenberg} +\smallskip +Book reviews: +Alison Black: Typefaces for desktop publishing: a user guide +Paul Abrahams, Karl Berry \& Kathryn Hargreaves: \TeX\ for the Impatient +Malcolm Clark (ed): \TeX, Applications, Uses, Methods +\smallskip +Forthcoming meetings: +UK \TeX\ Users Group +GUTenberg, Paris +EP92, Lausanne +Desktop Publishing in Astronomy and Space Sciences, Strasbourg +European \TeX\ Conference, Paris +TUG Meeting, Dedham, Boston +} + +\bigskip +`Le nouveau bulletin {\sl baskerville\/}' bears no relationship at all to +\TeXline. {\fib Baskerville} is the journal of the UK \TeX\ Users Group. The +first issue was edited by Adrian (no relation) Clark, while the second is +being edited by Philip (certainly no relation!) Taylor. My involvement +with {\fib Baskerville} is very indirect, as Chairman of the UK \TeX\ Users +Group. It is in this role that I contribute material to Baskerville. +While the first editor of {\fib Baskerville} expressed the view that the advent +of this new journal signalled the demise of \TeXline, a view similar to +your own above, I suspect that it will be some years before \TeXline\ +expires. We have already outlived his editorship. +There is no difficulty in obtaining sufficient articles to make +production of \TeXline\ worthwhile. Production costs have been +underwritten by \TeX\kern-0.1emcel for number 13, and I am confident that future +editions can be similarly subsidised by other parts of the \TeX\ industry. My confidence +in the future of the newsletter is reflected in the fact that it now +sports an ISSN: it would be ironic to cease production after obtaining +this stamp of legitimacy. + +\bigskip +\quad\hfill Best wishes +\vskip1in +\quad\hfill Malcolm Clark + +\quad\hfill editor, \TeXline +\enddoublecolumns + diff --git a/info/digests/texline/no13/texline.tex b/info/digests/texline/no13/texline.tex new file mode 100644 index 0000000000..d2cba0e133 --- /dev/null +++ b/info/digests/texline/no13/texline.tex @@ -0,0 +1,234 @@ +\message{TeXline macros} +\vsize9.5in +\hsize6.5in +\input newtwo-column%%%%% +\input verbar +\tolerance3000 +\lefthyphenmin3 +\righthyphenmin3 +\emergencystretch5pt +\doublehyphendemerits10000 +\hfuzz2.5pt +\vfuzz2.5pt +\baselineskip12pt +\parskip0pt +\parindent1em +\abovedisplayskip1pt +\belowdisplayskip1pt +\brokenpenalty1000 +\clubpenalty=10000 +\widowpenalty=10000 +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\nopagenumbers +\headline{\ifnum\pageno>1 +\ifodd\pageno{\sl \TeXline\ 13 \hss \folio} +\else{\folio \hss\TeXline\ 13}\fi\fi} +\def\rhead{\ifnum\pageno>1 + \ifodd\pageno\sl\TeXline\ 13\hss + \else\sl\folio\hss\fi\else +\fi} +\def\lhead{\ifnum\pageno>1 + \ifodd\pageno\sl\hss\folio + \else\sl\hss\TeXline\ 13\fi\else +\fi} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi} +\def\nl{\hfill\break} +\def\item#1{\par\hangindent1em\hangafter1{\noindent\bf#1}} +\def\itemitem#1{\par\hangindent2em\hangafter1{\noindent\enspace\bf#1\ }} +\def\bi{\item{$\bullet$}} +\let\bitem\bi +\def\rtr{\hbox to1em{\hfil$\triangleright$}} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\title#1{\centerline{\bf#1}\smallskip\noindent\ignorespaces} +\def\section#1{% + \medskip\goodbreak\leftline{\let\sc\scit\sl #1}\par\noindent\ignorespaces} +\def\subsection#1{\medskip\goodbreak\leftline{$\bullet$\sl#1}\par +\noindent\ignorespaces} +\def\noauthor{\strut} +\def\author#1{{\ifvmode\rightline{\sl#1\strut}\else + \unskip\nobreak\hfil\penalty50\hskip2em\hbox{}\nobreak + \hfil\sl#1\strut\parfillskip0pt\par\fi}} +\def\caption#1{\medskip\setbox0\hbox{\bf#1}\ifdim\wd0>\hsize + \noindent{\bf#1}\else\centerline{\copy0}\fi} +\long\def\frame#1#2{\vbox{\dimen0=#1\multiply\dimen0 by2 + \advance\hsize by-\dimen0\hrule\hbox{\vrule\hskip#1\vbox + {\multiply\tolerance by + 4\overfullrule0pt\parindent0pt\parskip#1 + \vskip#1{}#2\vskip#1}\hskip#1\vrule}\hrule}} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\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\fib cmfib8 +\font\mf=logo10 +\font\mfb=logobf10 +\font\mfsl=logosl10 +\let\em\it +\let\sf\sans +\font\symb=symbol at 10pt +\font\cmu=cmu10 +\font\smalltt=cmtt8 +\font\eightsy=cmsy8 \skewchar\eightsy='60 +\def\scit#1{\iteight\uppercase{#1}} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\hyphenation{every-thing} + +\def\bar{\smallskip\goodbreak{\noindent\hrule depth3pt}\medskip} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\def\TeX{T\hbox{\hskip-.1667em\lower.424ex\hbox{E}\hskip-.125em X}} +\def\MF{{\rm{\mf META}\-{\mf FONT}}} +\def\MFb{{\bf{\mfb META}\-{\mfb FONT}}} +\def\MFsl{{\sl{\mfsl META}\-{\mfsl FONT}}} +\def\MFbook{{\sl The \MFsl\kern1pt book}} +\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\La{\rm L\kern-0.36em\raise0.3ex\hbox{\sc a}} +\def\LaTeXsl{{\it L\kern-.36em\raise.3ex\hbox{\iteight + A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\LaTeXbf{{\bf L\kern-.36em\raise.3ex\hbox{\scb + A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\DeK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125emK} +\def\LeX{L\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125emX} +\def\TeXline{{\sl\TeX\kern-0.1em line}} +\let\Texline\TeXline +\def\SGML{\hbox{\sc sgml}} +\let\sgml\SGML +\def\ISO{{\sc iso}} +\def\ANSI{{\sc ansi}} +\def\PS{P{\sc{ost}}\-S{\sc{cript}}} +\def\MSDOS{{\sc ms\-\dos}} +\let\msdos\MSDOS +\def\DOS{{\sc dos}} +\let\dos\DOS +\def\PCDOS{{\sc pc\-\dos}} +\let\pcdos\PCDOS +\def\IBM{{\sc ibm}} +\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{{\sl Textures}} +\let\Textures\TeXtures +\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}} +\let\Unix\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} +\let\BibTeX\BiBTeX +\def\SliTeX{{\sc Sli}\TeX} +\def\IniTeX{{\sc Ini}\TeX} +\def\MakeIndex{{\sans MakeIndex}} +\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\degrees{$^\circ$} +\def\LamSTeX{L\kern-.4em\raise.3ex\hbox{$\scriptstyle\cal A$}\kern-.25em + \lower.4ex\hbox{\eightsy M}\kern-.1em{$\cal S$}-\TeX} +\let\LamsTeX\LamSTeX +\def\dante{{\sc Dante}} +\let\Dante\dante +\let\DANTE\dante +\def\GUTenberg{G{\sc ut}enberg} +\let\GB\GUTenberg +\def\DW{Dominik Wujastyk} +\def\DEK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em K} +\def\TeXMaG{\TeX M\kern-0.22em\lower0.5ex\hbox{A}\kern-0.27emG} +\def\u{\accent'27u} +\def\by{$\times$} +\def\inch{$''$} +\def\ascii{{\sc ascii}} +\let\ASCII\ascii +\def\ebcdic{{\sc ebcdic}} +\let\EBCDIC\ebcdic +\def\eqn{{\sans eqn}} +\def\troff{{\sans troff}} +\def\b{{\tt\char'134}} +\def\wysiwyg{{\it wysiwyg\/}} +\def\mwc{Malcolm Clark} +\def\dpi{dpi} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +% 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)} + } +\def\pict #1 by #2 (#3){ + \vbox to #2{ + \hrule width #1 height 0pt depth 0pt + \vfill + \special{pictfile #3} % this is the low-level interface + } + } + +\def\scaledpict #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 + \pict \dimen0 by \dimen1 (#3 scaled #4)} + } diff --git a/info/digests/texline/no13/toc b/info/digests/texline/no13/toc new file mode 100644 index 0000000000..2bde20d5ee --- /dev/null +++ b/info/digests/texline/no13/toc @@ -0,0 +1,63 @@ +\title{Table of Contents} +{\parindent0pt\parskip0.5pt\obeylines +A Contrarian View On \TeX{} Extensions\dotfill1 +{\quad\sl Mike Spivak} +% +Electronic Publishing -- Out of the Playpen\dotfill3 +{\quad\sl Peter Ashby and Anna Duckworth} +% +Unicode\dotfill4 +{\quad\sl David Penfold} +% +Future Meetings of the BCS ep Group\dotfill5 +% +SGML in the UK\dotfill5 +% +Cheltenham Effect\dotfill5 +{\quad\sl Henry Holloway} +% +The matter of TUG\dotfill6 +{\quad\sl Malcolm Clark} +% +Book Reviews\dotfill9 +% +Sunny Mexico\dotfill12 +{\quad\sl Betsy Dale} +% +How might \LaTeX3 deal with citations and reference-lists?\dotfill13 +{\quad\sl David Rhead} +% +Desktop Publishing in Astronomy and Space Sciences\dotfill 21 +{\quad\sl Andr\'e Heck} +% +6th European \TeX\ Conference\dotfill21 +% +GUTenberg'91\dotfill22 +% +Cahiers GUTenberg: +Summaries from Number 7, November 1990\dotfill 23 +Summaries from Number 8, March 1991\dotfill 23 +% +Industrial Light and Magic\dotfill24 +% +First European Summer School in Digital Typography\dotfill24 +% +\LamSTeX{} Goes Public\dotfill25 +{\quad\sl Mike Spivak} +% +A Script for building true-sized fonts\dotfill25 +{\quad\sl Angus Duggan} +% +Call for Papers\dotfill29 +% +Another Book Review\dotfill29 +% +uk\TeX ug: future meetings\dotfill30 +% +On the fringe of Boston\dotfill30 +% +Good Guys\dotfill31 +% +Catherine Mary Booth\dotfill32 +% +} diff --git a/info/digests/texline/no13/uktexug b/info/digests/texline/no13/uktexug new file mode 100644 index 0000000000..5a2d40727b --- /dev/null +++ b/info/digests/texline/no13/uktexug @@ -0,0 +1,54 @@ +\title{uk\TeX ug: future meetings}\noindent +{\bf October 16th:} the AGM will be held at {\bf Aston +University}, the spiritual home of \TeX\ in Europe and the +home of the world renowned Aston Archive of \TeX\ +paraphanalia. To support the AGM there will be a meeting on +{\sl Fun with \TeX}. This has to be seen to be believed. We +will also take the opportunity of being at the electronic +hub of the \TeX\ world to harangue and moan at the +Archivists. +\smallskip\noindent +{\bf November 20: Oxford University} -- the broad theme for +this meeting will be {\sl Macro packages and style files}. +Jonathon Fine and Se\'an Leitch are already lined up for +this and other members will be fingered\slash volunteered. +There will also be a \LaTeX3 (lxiii) update. This meeting is +intended to provide an opportunity for all members to +contribute, and there is still time to offer a +contribution. Short talks are at least as welcome as long +ones (and often much more so). If you have a neat +application you want to share, or a bee in your bonnet +about something \TeX like, now's your chance to get on your +soapbox. +\smallskip\noindent +{\bf February 11, 1992:} a meeting in London, at the +{\bf School of Oriental and African Studies}. Probable +subject: {\sl \TeX\ for Book and Journal Production}. +Following hard on the heels of the TUG meeting in Dedham +{\sl Inroads into Publishing}, and the {\sc Gut}enberg {\sl +Technical and Scientific Publishing} meeting, uk\TeX ug +brings you the first \TeX\ meeting on publishing, in +London, in February! +\smallskip\noindent +{\bf Easter, 1992:} A one-day meeting in Scotland, possibly +{\bf Edinburgh}, timed so that those attending the projected +BCS EP Specialist Group meeting in Glasgow will not have to +pay British Rail twice. But note the cheap rail fares +available to Sassenachs travelling to God's own country -- +only \quid44 from stations in the south to Glasgow and +Edinburgh. Subject to be announced. +\smallskip\noindent +{\bf June/July, 1992:} we are investigating the possibility +of visiting the Department of Typography at the +{\bf University of Reading}. The subject of the meeting will +be {\sl Design Issues}. This meeting is the usual summer +jaunt to the country. +\smallskip\noindent +{\bf Some time:} we hope to organise training days to cover +the theoretical and practical applications of \MF. We also +hope to organise a workshop to look at the various ways of +producing multicolumn output in \TeX. There is also a +possibility that the group will organise 3- or 4-day +courses on \TeX\ and \LaTeX\ at a location in London during +next summer.\noauthor + diff --git a/info/digests/texline/no13/unicode b/info/digests/texline/no13/unicode new file mode 100644 index 0000000000..3e12a19717 --- /dev/null +++ b/info/digests/texline/no13/unicode @@ -0,0 +1,62 @@ +\title{Unicode} +Those of us who have been working with text for some time are familiar with +the many different ways in which accents, other diacritics and +non-alphanumeric symbols are coded, not to mention non-Latin texts like +Arabic, Kanji, and all the other languages in which the staff at the +School of Oriental and African Studies manage to produce setting. + +Of course, we all use \ASCII\ (or \EBCDIC, which is not very different), +unless you happen to use Locoscript, but there is no standard way of +representing characters above \ASCII\ 127. The DOS high-level \ASCII\ +characters have become a sort of standard on pcs, but certainly cannot be +assumed in any text file. + +Unicode is a new character coding system based on \ASCII. It has been +produced by a consortium, Unicode Inc., which includes Apple, Xerox, IBM, Microsoft, SUN, Novell, Aldus, +and NeXT, and is a 16-bit system. It therefore allows 65,536 characters to +be coded. This number is still not enough to include all the Chinese, +Japanese and Korean traditional characters (alphabets is the wrong word +here), which together add up to about 125,000 symbols, although eliminating +duplicates in the different languages reduces this to about 36,000 +characters in common use. This is still considered to be too many when taken in conjunction +with the other symbols required. + +Unicode then uses a process called `unification' so that each character is +given a code. +Irrespective of what language the character is in, what it means, or how it is +pronounced, it will still have the same code. This is similar to the way +that \ASCII\ codes letters without any reference to how they are pronounced +in different languages, except that in the Eastern languages, the `Han' +characters represent words rather than letters. After unification, there +are about 18,000 characters and the total `character set' now stands at +about 25,000, which leaves plenty of room for `non-unified' Han characters +and other alphabets (have they include Amharac, for example?). +Incidentally, the first 128 characters correspond to \ASCII. This is a +relief and seems obvious, but how often has the obvious not been what is +produced? Nonetheless a translation table or program will be necessary to go from +16-bit to 7- or 8-bit coding, or vice-versa. + +Most of the vendors involved in the Unicode project plan to produce systems +which incorporate Unicode. Unfortunately, however, +the situation is not that simple; there is another system, which the +International Standards Organisation (ISO) has been working on. +The standards committee has produced a Draft International Standard (DIS +10646), which takes an opposite approach to Unicode, retaining the national +character sets. The coding here is 32-bit and the first eight bits indicate +the character set, with the remaining 24 indicating the character. +$2^{24}$ is nearly 17 million, so even the Chinese character set can +be included with ease. This format is intended to maintain compatibility +with existing standards. + +Which system will be adopted? The final aims of the two groups are eventually the +same, but their intermediate aims are different, to have +machine-independent coding (Unicode) and to be compatible with existing standards (ISO). It is interesting to note that the Japanese national standards +group has voted against DIS 10646 because it rejects Han unification, which +they feel is so vital that they have developed their own unifying +standards. + +Time will tell, but if past experience is anything to go by, then it is the +ad-hoc standard, available on the hardware, which will be adopted. +Nonetheless, we will still require translation programs (and people to +write them) for some time yet! +\author{David Penfold} diff --git a/info/digests/texline/no13/vegas b/info/digests/texline/no13/vegas new file mode 100644 index 0000000000..9a6b72286b --- /dev/null +++ b/info/digests/texline/no13/vegas @@ -0,0 +1,50 @@ +\title{Call for Papers} +Papers are invited for a {\bf Symposium on Document +Analysis and Information Retrieval} in Las Vegas, Nevada, +on March 16--18th, 1992. The scope of the conference covers +research in systems for automatic retrieval with emphasis +on the retrioeval of information from printed documents. +Specific aspects of such systems include, but are not +limited to, the theory and the practice of: + +\leftline{\bf Document Processing} +\bitem Page Processing +\bitem Zoning +\bitem Segmentation +\bitem Character Recognition +\bitem Graphic recognition, maps\slash mechanical +drawings + +\leftline{\bf Information Retrieval} +\bitem Full text retrieval +\bitem Query optimization +\bitem Expansion\slash compression tools +\bitem Semantic access tools +\bitem Knowledge extraction from text +\bitem Information retrieval and database systems + +\noindent Send no less than seven copies of papers to +either +{\obeylines +Kazem Taghva +Dept Elec/Computer Eng +University of Nevada +4505 Maryland Parkway +Las Vegas, NV 89154, USA +{\tt eewlb@cs.univ.edu} +\noindent or +Kazem Taghva +Dept Elec/Computer Eng +University of Nevada +4505 Maryland Parkway +Las Vegas, NV 89154, USA +{\tt taghva@cs.univ.edu} +} + +\noindent +Papers should be about 5,000 words long. To promote +cross-fertilization between works in progress, short +synopses of susbtantial projects are also invited. These +should be 1,000--1,500 words. The papers should contain +enough information for the progream committee to +understand the scope of the solution being diff --git a/info/digests/texline/no13/verbar.tex b/info/digests/texline/no13/verbar.tex new file mode 100644 index 0000000000..49515932e2 --- /dev/null +++ b/info/digests/texline/no13/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$$#1\halign\bgroup\indent##\hfil&&\qquad##\hfil\cr}} +\outer\def\enddisplay{\crcr\egroup$$} +\message{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}} + + diff --git a/info/digests/texline/no14/14a b/info/digests/texline/no14/14a new file mode 100644 index 0000000000..a8a644e581 --- /dev/null +++ b/info/digests/texline/no14/14a @@ -0,0 +1,25 @@ +\input texline.head +\vskip0.5in +\begindoublecolumns +\input article %Peter Cameron +\bar\input offer +\bar\input contrary %David F Rogers +\bar\input c&t %Phil Taylor +\bar\input alison %Alison Black +\bar\input ewart +\bar\input victor %Victor Eijkhout +\bar\input components %Joachim Schrod +\bar\input gut +\bar\input 3.16 %Phil Taylor +\bar\input change +\bar\input frankie %Frank Mittelbach +\bar\input radio4 +\bar\input mathtime +\bar\input fonts +\bar +\hbox to\hsize{\hfil +\scaledPicture 12.7pc by 14pc (hatter scaled 1000)% +\hfil} + +\enddoublecolumns +\tracingstats1 diff --git a/info/digests/texline/no14/14b b/info/digests/texline/no14/14b new file mode 100644 index 0000000000..03825ce9b5 --- /dev/null +++ b/info/digests/texline/no14/14b @@ -0,0 +1,25 @@ +%\input texline +\pageno21 +\input ramek.tex +\bar\smallskip +\begindoublecolumns +\input portland +\bar\input sgml +\bar\input uktexug +\bar\input good_guys +\bar\input late +\bar\input toc +\bar +\enddoublecolumns +\vskip0pt plus1filll + +{\leftskip0pt plus 1fill +\rightskip0pt plus -1fill +\parfillskip0pt plus2fill +\noindent\strut \sf This edition of {\sl\TeXline} was made +possible by funding from \TeX cel AS, Gaustadall\'een~21, +0371~Oslo~3, Norway, suppliers of The Publisher in Europe. +Thanks Bruce, yet again. + +} +\end diff --git a/info/digests/texline/no14/3-16 b/info/digests/texline/no14/3-16 new file mode 100644 index 0000000000..2422e27c04 --- /dev/null +++ b/info/digests/texline/no14/3-16 @@ -0,0 +1,139 @@ +\def\stress#1{{\sl#1\/}} +\title{Book Review}\noindent +{\sl 3:16 Bible Texts Illuminated.} Donald E.~Knuth. A-R Editions, 1991. +ISBN 0-89579-252-4, 268p. +\smallskip +\noindent +Scholar, Mathematician, Computer Scientist, +Typographer -- these are probably the designations that come to mind in +conjunction with the name of Professor Donald E.~Knuth. But in {\sl 3.16\/}, his +most recent work, Don reveals an entirely different side to his nature -- he +is also a~Bible Class leader in Menlo Park, California, not far from Stanford +University, Palo Alto, where he teaches and conducts his research. + +When I~was given {\sl 3.16\/} (as a~gift, not to review -- that committment came +later!), I~confess to being a~little apprehensive: I~am neither a~practicing +Christian, nor have I~any particular interest in matters either religious or +historical, yet the subject matter of {\sl 3.16\/} -- an annotated quasi-random +sampling of biblical texts -- seemed intended for either Christians or +religio-historians; it~most certainly seemed uninspiring to an equestrian +computer typesetter. On opening the book, I~felt even less interested: Knuth +had chosen to set it~in Computer Modern, a~typeface which I~feel contributes +little to the \ae sthetics of the printed page. it~was, therefore, with some +foreboding that I~started to read {\sl 3.16\/}. + +And then a~miracle happened (no, I~wasn't converted to \LaTeX\ -- it~would take +more than Don Knuth to achieve either of those miracles) -- I~found that I~was +reading every word that Don had written, and thoroughly enjoying it. All of +a~sudden, a~subject which had totally failed to catch my interest at school +came to life under Knuth's guidance; the biblical characters, whose stories +I~had been forced to learn at school, and whose stories I~had as rapidly +forgotten, suddenly sprang to life for me; no longer dry-as-dust characters and +events, learned by rote to avoid some unspeakable punishment, these were real +people, living in real times, brought to life by Knuth's re-telling of their +stories. And the Computer Modern? What Computer Modern? Within three pages, +it~had fulfilled its r\^ole; it~had ceased to exist as a~typeface, and was +simply the medium through which Knuth was recounting some of the finest stories +ever told; no longer instrusive, no longer even noticed, it~had achieved the +goal of every typeface: it~had become simply a~part of the printed page. + +But to begin at the beginning. {\sl 3.16\/} is the printed culmination of +Don's efforts to lead a~Bible Study class in his home town of Menlo Park. +Don had participated in Bible Study classes for some fifteen years before he +felt confident enough to attempt to lead a~class of his own, and being the +scholar that he is, he put as much effort into preparing the material for his +new class as he would into preparing for any new academic venture. He +considered, and rejected, three possible approaches to bible study: (a)~the +systematic study of one book; (b)~the identification and discussion of +recurring themes; and (c),~`lectionaries' -- texts or themes which have +become associated with particular dates in the Christian calendar. Instead, +he selected as his approach the concept of quasi-random, or stratified, +sampling -- he would concentrate on just one verse from just one chapter in +every book of the bible. By taking one verse from every book, he ensured that +every biblical contributor was represented; and by taking the verses `at +random' from each book, he ensured that the sample was representative of the +bible as a~whole. But the verses were not truly selected at random; because +the book evolved from a~taught Bible Study class, Knuth needed to be able to +ensure that the verses for the whole course were predictable right from the +outset; that way, even if a~student missed a~class or more, he or she could +know which verse would be the subject of study when they next attended the +class, and could thus study the material ahead of time, so as to be +prepared. Knuth therefore decided that, each week, the \stress {same} verse +from the \stress {same} chapter would be studied; only the \stress {book} +would vary. (By `the same verse', and `the same chapter', I mean the verse +and chapter with the same \stress {number}; obviously the \stress {content} +of the chapter and verse changed with each book). As the chapter and verse +wre not truly selected at random, it~was also necessary to ensure that the +selected pair were reasonably representative of the book as a whole; if the +verse occurred too early in the book, the author might not really be under +way with the story; if it~occurred too late, there might be an embarrassing +number of books which simply didn't have such a~chapter/verse! There was one +final constraint: Knuth needed to be able to ensure that at least one +book/chapter/verse would yield a~text that would truly merit study; after +all, if chapters and verses are picked at random, there is a~distinct +possibility that a~significant proportion might be monumentally boring; even +the bible must have some flat bits in it, and a~random sample might +accidentally hit on rather too many of these. He therefore decided to select +the chapter/verse corresponding to one of the most well-known texts in the +bible: that of John 3:16 (`For God so loved the world, that he gave his only +begotten son, that whosoever believeth in him should be not +perish, but have everlasting life'). Thus the texts selected for study were +those from Chapter~3, verse~16, of each book in the bible. + +Unfortunately, not every book in the bible \stress {has} a~Chapter~3, and of +those that do, not all have a~verse~16; Knuth decided to simply ignore those +that have no Chapter~3, and those that have neither Chapter~3, verse~16 nor +Chapter~4; for the others (those that do not have a~Chapter~3, verse~16, but +which do have a~Chapter~4), Knuth chose simply to ignore the chapter boundary, +and to take the sixteenth verse starting at Chapter~3, verse~1. The omitted +books were Obadiah, Haggai, Titus, 2 John, 3 John and Jude; 59 books remained +to be studied. + +Knuth is known to all of us as a~scholar supreme; none the less, it~may come +as a surprise to many to discover that he was by no means willing simply to +accept the received wisdom of the King James translation of the bible; +instead, in preparing the material for {\sl 3.16\/}, he compared more than a~dozen of +the best available translations, and went back to the original Greek or +Hebrew whenever there was any doubt in his mind as to the best rendering of +any particular phrase. The results speak for themselves; although they may +seem strange to those of us weaned on King James (for example, he renders +John 3:16 as `Yes, God loved the world so much that he gave his only child, +so that all people with faith in him can escape destruction, and live +forever'), there is no doubt that they are accurate renderings of the +original. + +The book, as I~have already mentioned is typeset in Computer Modern. But +the typesetting is deliberately plain in order to provide the maximum +contrast with what must surely be the the most innovative element of the +design: every text is reproduced on a~full page in the most beautiful +calligraphy, hand lettered by 59 of the world's leading calligraphers. +Herman Zapf has produced the cover and illustrated John 3:16; the other books +have been illustrated by calligraphers from Anckers to Zig\'any, via +Billawala and Kindersley. The results are outstanding, and worthy of a~place +on any amateur calligrapher's wall (they are also available separately, on +a~full colour poster, lest anybody is tempted to buy and destroy a~copy of +the book simply for the calligraphy contained therein). Each text is treated +in exactly four pages (and I~mean \stress {exactly} four pages -- Knuth has +written the text so that not a~single page falls a~single line short); the +opening spread for each text consists of a~discussion of the book as a~whole +(verso), and the calligraphic illustration of the text (recto); the closing +spread consists of a~small, conventionally lettered, version of the text, +inset into the verso left margin, and a~two-page discussion of the text and +of the many issues and questions which it~raises. The discussions are as +erudite as the illustrations are beautiful; linguistics, theology, history, +geography: all are treated to the benefit of Knuth's considerable intellect, +and we, the readers, are the ultimate beneficiaries as he brings to life +events which took place up to three and a~half thousand years ago. + +Criticisms? Only two. The book should be available case bound; +Smythe-sewn binding doesn't do justice to a~work of this quality. And I'm +sorry to see that Don has stopped putting circumflexes on his \stress +{r\^ole}s\dots + +Afterthought: Almost as soon as I'd finished reading my copy, I~went out +and bought two more, for friends who I~knew would appreciate both the subject +matter and the treatment; if everyone who received a~copy did likewise, +we~could start the most successful and well-intentioned chain letter in the +world! +\author{\copyright Philip Taylor} + diff --git a/info/digests/texline/no14/alison.tex b/info/digests/texline/no14/alison.tex new file mode 100644 index 0000000000..3b838096cb --- /dev/null +++ b/info/digests/texline/no14/alison.tex @@ -0,0 +1,102 @@ +\title{Reply}{\rightskip0pt plus1fil\hyphenpenalty100 +Thank you for your generous review of my book {\sl Typefaces for +Desktop Publishing\/} in the last issue of the newsletter. I +hope it will not sound peevish if I take up the issue of +hyphenation which you mention in the review. I think its worth +raising because it is something about which people have very +definite views. Indeed witnesses may be able to tell of +differences of opinion between myself and Paul Stiff, who +designed the book, as we made individual decisions about +hyphenation while working on the make up of the pages (although +those who know us both may not be at all surprised at this). And +anyone who has been involved in editorial work will know that +hyphenation decisions can arouse great passion in the hearts of +authors, whose natural concern is that their words be displayed +in the best manner possible. + +That brings me to the first point. If you opt for hyphenation +(in either justified or unjustified text) its unwise to rely on +the hyphenation decisions made by your software. They will do as a +first pass, but you need to check the decisions against a +hyphenation dictionary, unless you have particularly good reason +to be confident in your software. In other words, you have to +override many of the software's decisions. Laborious, but +necessary. Certainly I would not trust the hyphenation decisions +of QuarkXPress, either in its previous or present version (just +as I would not rely on a spelling checker, without checking a +document myself). So any grouses about the hyphenation in my +book have to be addressed to me, and not to Quark. + +On to the bigger issue of whether or not to hyphenate +unjustified text. There are two preferences at work here, both +of which can be supported by arguments about enhancing the +readability of the text. But the preferences may also be founded +on what we have grown accustomed to, and what we find pleasing +aesthetically. Hyphenators will argue that using hyphenation to +maintain a relatively smooth, and predictable, right-hand margin +is likely to contribute to the efficiency of the saccadic +movements of the eye, that underlie reading. Smoothing the +right-hand margin seems especially important in narrow columns, +where the visual impact of varying line endings can be dramatic. +(Aesthetic sub-text: hyphenators like smooth right-hand margins, +and are not squeamish about breaking up words, within limits.) +Non-hyphenators will argue that hyphenation breaks up the +profiles of words, which are so vital to word perception in +reading, and so is likely to disrupt reading processes. +(Aesthetic sub-text: non-hyphenators just don't like breaking up +words.) + +The `truth' probably lies somewhere between the two: a smooth +right-hand margin helps, and a degree of hyphenation to bring +this about can be tolerated, but excessive disruption of words +through hyphenation can get in the way of efficient reading. + +Its always hard to pitch the results of readability testing +against preferences based on experience of one particular way of +working. Nevertheless, for the record, can I quote research by +Jim Hartley and Peter Burnhill (respectively, a psychologist and +a typographer)? In a pilot study, they found that hyphenation +at every line ending, within a single page text, slowed down +reading for eight out of ten people tested, compared to a single +page text with no hyphenation (none of us will be surprised at +this). They then tested reading speed and comprehension of text, +without hyphenation, and of text with hyphenation on roughly 33\% +of line endings, and found no significant difference between the +two conditions. None of the people tested noticed the difference +in hyphenation between the two texts they had read, until it was +pointed out to them. When they were shown the two texts side by +side, significantly more said they preferred the un-hyphenated +text to the hyphenated text (24 to 10, with a further 8 +expressing no preference). Just one of many cases in typographic +research when preference does not map on to performance (another +classic is the serif versus sans serif issue). + +As far as I know, no one has done eye-movement studies of the +effects of justification and hyphenation on reading. In fact I +think it might be impossible to prepare materials that would +allow you to isolate those variables, given the sensitivity of +eye movements to other factors that would co-vary with them. But +that's another story. +In sanguine mood (or maybe feeling more vulnerable than I will +admit), I checked a few sample pages of my book and found (phew) +that hyphenation is well within Hartley and Burnhill's 33\% +range. For the non-hyphenator, however, reading hyphenated text +can be like trying not to think of pink elephants once someone +has reminded you not to do so: if you find hyphenation irksome, +every instance will leap out of the page at you. + +Well, I have gone on at length. Someone who goes on at greater +length, and makes an engaging read, is Ronald McIntosh, in his +book Hyphenation. I recommend it to hyphenators and non-hyphenators alike. + +} + +{\frenchspacing\parindent0pt +\everypar{\hangindent1.5em\hangafter1} + + +J. Hartley, and P. Burnhill. Experiments with unjustified +text. Visible Language, 5(3), 1971. + +R. McIntosh. Hyphenation. Bradford: Bradford Computer +Hyphenation, 1990. diff --git a/info/digests/texline/no14/article.tex b/info/digests/texline/no14/article.tex new file mode 100644 index 0000000000..22e08f30c7 --- /dev/null +++ b/info/digests/texline/no14/article.tex @@ -0,0 +1,210 @@ + +\title{Notes on graphics in \TeX} +Getting pictures onto the printed page is a problematic process, +basically because the quality you can achieve depends so heavily on +the cost of the hardware at your disposal. This militates against +portability, and is one of the reasons why \TeX\ (the ultimately +portable DTP system) has trouble with graphics. What follows is +in no sense state-of-the-art graphics typesetting. It is simply an +account of how a \TeX\ {\it user}, having a variety of types of +picture and needing to transport files between different machines, +came up with some {\it ad hoc} solutions. Probably nobody else will +have exactly the same requirements as I had, but the opportunities +may have wider relevance. + +\section{Diagrams} +There is a deep structure underlying large areas of mathematics, and +manifesting itself in various ways, which is conventionally described +by diagrams called {\it Coxeter-Dynkin diagrams}. Most of these +consist of a number of nodes in a line, consecutive nodes joined by +single or double bonds. However, there are some diagrams which have a +three-way branch (one of the arms having length~1), such as $E_6$, +which looks like this: +$$\esix$$ +The straight-line diagrams can be drawn easily enough, using the +{\tt\char`\\circ} character for nodes and rules for the arcs joining them. +I found that some kerning was necessary. This had to be done by trial +and error, with the disadvantage that what looks right on the screen +may not do so on the laser printer (presumably a defect in the \dvi\ +drivers). Perhaps this could be improved by turning off the glue; but +I decided that what I had was good enough. + +Recently, geometers have begun using these and similar diagrams to +describe strange new geometries. It has become customary to attach +labels to both nodes and arcs; in the case of nodes, different labels +above and below carry different information. In Norbert Schwarz's {\sl +Introduction to \TeX\ }[2], I found a macro for optional arguments. +(There it is also used for superscripts and subscripts, though the +details of the printing are a bit different). Using it, I can print +diagrams like this one (a bit cluttered, for demonstration purposes): +$$\node^{\rm point}_s \darc \node^{\rm line}_t \arc +\node^{\rm quad}_q \stroke{L} \node^{\rm symp}_r$$ +Here, the superscripts and subscripts on the nodes are entered in the +standard \TeX\ manner: for example, the input for the above diagram is +\begintt +$$\node^{\rm point}_s \darc + \node^{\rm line}_t \arc + \node^{\rm quad}_q \stroke{L} + \node^{\rm symp}_r$$ +\endtt + +This also enables the production of the three-way branching diagrams +like $E_6$; just subscript a node with a little construction +consisting of a vertical line with a node at the end. + +It's not perfect. Better kerning, and the possibility of changing +the node character (e.g.\ to a filled or crossed circle) would be +desirable. + + + +\section{Figures} +Elementary geometry requires figures consisting of lines and circles +intersecting in various ways. Graph theory needs figures a bit like +the diagrams just discussed, but with much greater flexibility about +where the nodes are placed and the slopes of the lines. + +\LaTeX\ provides a {\tt picture} environment for drawing such +diagrams. It doesn't handle circles adequately (only very small sizes are +available), but accurate lines are drawn. The difficulty is the famous +restriction on the slopes of the lines. Any line which is not +horizontal or vertical must have rational slope with numerator and +denominator between 1 and 6 inclusive (possibly negative). Thus, just +48 slopes are allowed. + +For simple pictures, this is OK: draw the picture in rough, choose +slopes for the lines from the allowed set, and then work out where the +points must be, by elementary coordinate geometry. There are a couple +of programs available which take all the calculation out: you draw +your picture using the mouse, and it is automagically compiled into +\LaTeX\ source. But for more complicated figures, mathematical insight +or computational power may be required. For example, consider the +following ruled quadric. + + +$$\hbox{% +\setlength{\unitlength}{0.02mm} +\picture(1200,1800)(-600,-100) +\put(707,-141){\Line(0,1){1697}} +\put(-707,-141){\Line(0,1){1697}} +\put(-834,-110){\Line(1,6){282}} +\put(834,-110){\Line(-1,6){282}} +\put(-552,-167){\Line(-1,6){282}} +\put(552,-167){\Line(1,6){282}} +\put(-929,-74){\Line(1,3){558}} +\put(929,-74){\Line(-1,3){558}} +\put(-371,-186){\Line(-1,3){558}} +\put(371,-186){\Line(1,3){558}} +\put(-986,-33){\Line(1,2){822}} +\put(986,-33){\Line(-1,2){822}} +\put(-164,-197){\Line(-1,2){822}} +\put(164,-197){\Line(1,2){822}} +\put(69,-200){\Line(-2,3){1067}} +\put(-69,-200){\Line(2,3){1067}} +\put(-998,14){\Line(2,3){1067}} +\put(998,14){\Line(-2,3){1067}} +\put(1000,0){\Line(-5,6){1338}} +\put(-1000,0){\Line(5,6){1338}} +\put(338,-188){\Line(-5,6){1338}} +\put(-338,-188){\Line(5,6){1338}} +\put(924,-76){\Line(-1,1){1631}} +\put(-924,-76){\Line(1,1){1631}} +\put(707,-141){\Line(-1,1){1631}} +\put(-707,-141){\Line(1,1){1631}} +\endpicture}$$ + +The obvious way to draw this is to take two horizontal circles, one +above the other; take equally spaced points on one, and join them to +the points a fixed angle in front or behind on the other, and then +work out the plane projection in the usual way. With \LaTeX, it is +necessary to work out a formula for the angle which will give the +projected line a given slope, and solve it for various admissible +slopes. + +An added complication here is that my first serious use of this +mechanism was for a book [1] for which my co-author sent me his part +(by email) in \AmSTeX. Converting it to plain \TeX\ was straightforward, +but took time; I was not prepared to take the further step to +\LaTeX. Malcolm Clark had told me that it was easy enough to convert +the \LaTeX\ picture commands to plain \TeX; I couldn't find his +version in the Aston archive, so I took him at his word and did it +myself. Look at the book and judge the result! + +I learnt too late that \PiCTeX\ might have helped me here. But I +believe that simpler tools have their place. + +\section{Pictures} +Suppose you want to include in your document a picture not made up of +geometric elements. If you are a \PS\ programmer or a \dvi\ +wizard, anything is possible; but the result will not be portable. I +would like to be able to preview, print in draft on a 9-pin dot matrix +printer, and send the file over the network to the laser printer. + +My terminal and my machine at home are both Atari STs. The commonest +picture format for DTP on this machine, also used in the PC world, is +the dreaded {\tt.img}. After combing the public domain for information on +the {\tt.img} file format, I wrote a program to translate a {\tt.img} file into +\TeX\ input consisting of long sequences of boxes and rules. + +It doesn't work on all inputs (I've never met anyone who claims to +have a program which handles all {\tt.img} files!), but seems fine on mono +screen snapshots. The \TeX\ file is liable to be very big, so this is +only recommended for small images (logos, signatures, etc.) The result +is (of course) as portable as any plain \TeX\ input, and can be re-% +scaled by setting two pixel size parameters at the start of the file. +Here, for example, is an image probably familiar to all GEM-based +computer users. + +\input tiger +$$\tiger$$ + +{\frenchspacing +\def\item#1{\par\hangindent1.5em\hangafter1{\noindent +\hbox to 1.5em{#1\hfil}}} +\def\bibitem#1#2{\item{{#1}}{#2}} +\section{Bibliography} +\bibitem{1}{{\sc P J Cameron \& J H van Lint,} {\sl Designs, Graphs, Codes and their +Links}, London Math. Soc. Student Texts {\bf 22}, Cambridge Univ. Press, +1991.} +\bibitem{2}{{\sc Norbert Schwarz,} {\sl Introduction to \TeX}\ (transl. {\sc J Krieger}), +Addison-Wesley, 1990.} +\author{Peter Cameron}} + + +\endinput Cameron} +} + + +\endinput90.}} + +\author{Peter Cameron} +\endinputtle to be very big, so this is +only recommended for small images (logos, signatures, etc.) The result +is (of course) as portable as any plain \TeX\ input, and can be re-% +scaled by setting two pixel size parameters at the start of the file. +Here, for example, is an image probably familiar to all GEM-based +computer users. + +\input tiger + +$$\tiger$$ + +\medbreak + +\noindent{\sl References} +\frenchspacing + +1. P. J. Cameron \& J. H. van Lint, {\sl Designs, Graphs, Codes and their +Links}, London Math. Soc. Student Texts {\bf 22}, Cambridge Univ. Press, +1991. + +2. N. Schwarz, {\sl Introduction to \TeX}\ (transl. J. Krieger), +Addison-Wesley, 1990. + +\medskip + +\line{\hfill\sl Peter Cameron} + +\bye + + diff --git a/info/digests/texline/no14/c-t.tex b/info/digests/texline/no14/c-t.tex new file mode 100644 index 0000000000..28fbf78e0c --- /dev/null +++ b/info/digests/texline/no14/c-t.tex @@ -0,0 +1,30 @@ +\title{C\&T} +At a recent meeting of the UK \TeX\ Users +Group, a member asked if it was known whether volumes B \& +D of {\sl Computers \& Typesetting\/} had been re-printed +to take account of the changes involved in the +transcendental versions of \TeX\ and \MF. No-one was able +to give a definitive answer, so the oracle was consulted, +and after enormous effort, Barbara Beeton was finally able +to elicit the following information from the +publishers\dots + +\halign{#\hfil&\quad #\hfil&&\hfil#\cr +&&\multispan2{\hfil printing\hfil}\cr +ref no&volume \& title&\omit\hfil +no\hfil&\omit\hfil date\hfil\cr +\noalign{hardback} +13447&A The \TeX book&11th&\enspace June, 1991\cr +13437&B \TeX: The Program&4th&May, 1991\cr +13445&C The \MF book&4th&Sept, 1991\cr +13438&D \MF: &4th&Oct, 1991\cr +&\hfill The Program\cr +13446&E Computer Modern &3rd&Aug, 1987\cr +&\hfill Typefaces\cr +\noalign{softback} +13448&A The \TeX book&20th&May, 1991\cr +13444&D The \MF book&6th&Feb, 1991\cr} + +\noindent +Note that {\it all\/} printings are marked `with +corrections'. diff --git a/info/digests/texline/no14/change.tex b/info/digests/texline/no14/change.tex new file mode 100644 index 0000000000..fae4adb1ca --- /dev/null +++ b/info/digests/texline/no14/change.tex @@ -0,0 +1,39 @@ +\title{A few changes} +Each edition of \TeXline\ includes a few changes. There +are a couple of recent changes which require some +comment. + +The first change is an addition: the addition of +an ISSN -- \TeXline\ has become `official'. Apart from +anything else, this carries the implication that it will +last for at least a few more editions! + +The second change +is a bit more subtle. Both this and the last edition were +produced using \PS\ fonts. `So what?' you will say `\PS\ +is all around us, and after all everyone knows that \PS\ +fonts are better than that dreadful Computer Modern'. +Look again. The typeface has not changed. We are now +using Blue Sky's rendition of Computer Modern in \PS. I +am delighted with it (not least because I can now have any +Computer Modern font at some more convenient sizes). + +Two articles in this \Texline\ contain a copyright notice. +Up to now we have tended to avoid these trappings of +officialdom, but if authors wish to lay claim to their +intellectual property, they must be given that +opportunity. + +Another novelty has been the sponsorship received from +\TeX cel for both this and the last edition. The +willingness of \TeX cel to underwrite the costs of +\TeXline\ has been a source of great encouragement, +especially in these rather austere times. I would like to +continue this idea, but there are many competing claims +for money, not least the \LaTeX3 project. But if you are +looking for a worthy cause to which to dispense some +money, \TeXline\ would be happy to help you out. + +As ever, I am indebted to the large number +of individuals and organisations who help: for example, +Blue Sky often re-post \TeXline\ within the US, and \TeX diff --git a/info/digests/texline/no14/components.tex b/info/digests/texline/no14/components.tex new file mode 100644 index 0000000000..0f44047fb7 --- /dev/null +++ b/info/digests/texline/no14/components.tex @@ -0,0 +1,536 @@ + +{\font\sans cmss10 +\newcount\lines +\newcount\interval +\newdimen\splitlength +\interval\baselineskip +\divide\interval by 100 +\multiply \interval by 100 %95 +\def\corner#1#2 #3\par{\setbox1\vbox{\hsize60pt +\leftskip0pt plus 1fill\noindent\strut#1\break\strut}% +\lines\dp1 +\advance\lines by\ht1 +\divide\lines by\interval +\setbox0\vbox{\hangindent-60pt\hangafter-\lines#2 + \strut#3\strut}% +\splitlength\baselineskip +\multiply\splitlength by\lines +\setbox2\vsplit0 to\splitlength +\hbox spread 15pt{\strut\copy2\hss\raise6pt\copy1}% +\vskip-0.5em\unvbox0 +} +%\def\ftype#1{{\tt \marginpar{\uppercase{#1}}\uppercase{#1}\/}} +\def\ftype#1{{\tt\uppercase{#1}\/}} + +\overfullrule0pt +\def\ie{that is} +\def\eg{for example} +\def\ref{} +\let\label\ref +\def\Plain{{\tt plain} \TeX} +\def\MakeIndex{{\sans MakeIndex}} +\def\LOG{{\tt LOG\/}} +\def\INITeX{{\rm INI\TeX}} +\def\LAMSTeX{% + L\raise.42ex\hbox{$\scriptstyle\kern-.3em\cal A$}\kern-.2em + \lower.376ex\hbox{$\cal M$}\kern-.125em $\cal S$% + -\TeX + } +\def\FMT{{\tt FMT\/}} + +%========== etexkomp.tex =================================================== +% etexkomp.tex 25 Mar 91 +%------------------------------------------------------------ +% (c) 1990 by J.Schrod (TeXsys). + +% +% originally published in Die TeXnische Komoedie (DANTE e.V.) as: +% Die Komponenten von TeX +% +% ILaTeX with standard styles and +% style for reports about TeX + +% Changes made by Adrian Clark for publication in `Baskerville' +% and editorial remarks by Malcolm Clark +% incorporated. + + +% terms `output' and `driver' in english, used in picture `figtotal'. +\def\OutputInFigtotal{output} +\def\DriverInFigtotal{\DVI{} driver} + + + +\title{The Components of \TeX{}} +\TeX{} needs a great amount of supplementary components (files and +programs) whose meaning and interaction are often unknown. This +paper explains the components of the kernel system \TeX{} that are +visible for the \TeX{} user and their inter-relations. + + + + +\section{About this Report} +\TeX{} is a typesetting system which offers authors easy usage of +powerful typesetting features to produce printed matter which is the +state of the art of computer typesetting. This is, however, not done by the +\TeX{} program alone: a significant number of supplementary +programs and files together form the complete typesetting and +authoring system. Along with the programs that belong to \TeX{} +directly, there exist two other major programs which were built by {\sc +Donald Knuth} in connection with \TeX{} and must be included in an +explanation of the full system: \MF{}, for the generation of fonts, +and \WEB{}, a documentation and developing `language' for programming. +\TeX{} and \MF{} are written in \WEB{}. + +This text describes this `kernel' \TeX{} from a user's viewpoint: at +the end you should have an overview of the ingredients of the \TeX{} +system, and about the files and support programs that are essential +for you as a user. This will not, however, be an introduction to the +capabilities of \TeX{} or how you may run \TeX{} on your computer. + +I will use `corner' notes to identify the places where terms are +explained for the first time. Abbreviations for file types -- usually +identified by common suffixes or extensions -- are set in a monospace +type (`{\tt typewriter\/}'). Please note that these abbreviations are sometimes not +identical with the file extensions (see also +the table). + +This report is the start of a series that describes the subsystems +mentioned above and their respective components. In that series each +report will focus on one subsystem in a special point of view; it +should not result in gigantic descriptions which tell everything (and +then nothing). In my opinion the following reports will be of +interest: +\item{$\bullet$}the structure of a standard installation of \TeX{} +\item{$\bullet$}\DVI{} drivers and fonts +\item{$\bullet$}possibilities of graphics inclusion in \TeX{} documents +\item{$\bullet$}the components of \MF{} +\item{$\bullet$}the structure of a standard installation of \MF{} +\item{$\bullet$}\WEB{} systems -- the concept of Literate Programming +\item{$\bullet$}other (though not yet planned) themes of interest are +perhaps +\itemitem{$\triangleright$}differences between \TeX{} and DTP +systems +\itemitem{$\triangleright$}the way how \TeX{} works (there exists +some good books on this topic!) +\itemitem{$\triangleright$} the limits of +\TeX{} \itemitem{$\triangleright$}\TeX{} as a programming language + % + +\noindent The reports will be published in this sequence. + + + + +\section{What is \TeX{}?} +\corner{markup,\break optical markup, logical markup} +\strut \hskip-10pt\TeX{} is a typesetting system with great power for the +typesetting of formulae. Its basic principle is that structures in the +document are marked and transformed into typeset output. Providing such +information about the structure of a document is known as {\it +markup}. If the marks describe the look of the document, it is +called {\it optical markup}, while, if document structures are +marked, it is called {\it logical markup}. \TeX{} provides both +forms of markup, \ie{}, exact control of the layout of parts of the +document and their positioning as well as the markup of the structure +of formulae or document components. The logical markup is mapped to +the optical one by \TeX{} so that layout may serve for the +identification of structures by the reader. + Layout -- and book design in general -- do not represent useless +beauty. A good book design must first support the understanding of +the content to produce readable text. So it is {\it +\ae{}sthetic\/} in its best sense, since it connects form and contents +and builts a new quality. + +\corner{typesetting machine \TeX82, macro package} +The kernel of the \TeX{} typesetting system is the formatting program +\TeX82, which is often simply called +\TeX{}. This usage shall be adopted here whenever the difference +between the complete system and the formatter is unimportant or +obvious. \TeX82 is a big monolithic program which is published in the +book {\it \TeX{}: The Program\/} by {\sc Donald Knuth}. Its features +may be separated into two levels: +\item{1~} \TeX82 formats text, that is, it breaks it into paragraphs +(including automatic hyphenation) and produces page breaks. +\item{2~} It provides the programming language \TeX{} which +incorporates a macro +mechanism. This allows new commands to be built to support markup +at a higher level. {\sc Donald Knuth} presents an example in the +\TeX{}book: \Plain{}. A collection of macros which supports a special +task and has (hopefully) a common philosophy of usage is called a +{\it macro package}. + % + +\noindent High level features for optical markup, as represented by \Plain{}, +allow one to build additional levels leading to full logical markup. +At the moment, two macro packages for logical markup are widespread: +\AmSTeX{} and \LaTeX{}. Both systems are built on top of \Plain{} to +greater or lesser extents and the user can use the optical markup of +\Plain{} in addition to logical markup if desired. This results in +the effect that the author can use a mixture of structural +information and explicit layout information -- a situation with a +high potency of features that nevertheless can (and does) lead to a +lot of typographic nonsense! + +\corner{supplementary programs} +As \TeX82 was built only for typesetting texts and to allow the +realization of new markup structures, many features are lacking which are +required by authors. To provide features like the production of +an index or a bibliography or the inclusion of graphics, additional +programs have been written, which use +information from a \TeX82 formatting run, process them, and provide +them for the next \TeX82 run. Two supplementary programs are +in widespread use and available for many computer/operating system +combinations: \BibTeX{}, for the production of a bibliography from a +reference collection, and \MakeIndex{}, for the production of an index. + + +A special case of the processing of information provided by a \TeX{} +run is the production of a table of contents or the usage of cross +references in a text. For this only information about page numbers, +section numbers, etc., are needed. These are +provided by \TeX82 and can be processed by \TeX82 itself, so \TeX82 is +used as its own post processor in this situation. + +We have now seen that the \TeX{} typesetting system is +a collection of tools that consists of the typesetting `engine' \TeX82, +macro packages (maybe several that are based on others) and +supplementary programs, used together with these macro packages. +This relation is illustrated by Figure~1. + +\topinsert +\bgroup +\input figcomp +\egroup +\smallskip +\hbox to\pagewidth{\hfil Figure 1: The Components of \TeX{}\hfil} +% +\endinsert + + +\section{Formatting} +\corner{font} +\strut \hskip-10ptThe formatting process of \TeX{} needs information about the +dimensions of characters used for the paragraph breaking. A set +of characters is grouped in {\it fonts}. (But this is a +simplification as the notion `font' should be used for the +realization of a type in a fixed size for a specific output device.) +The dimensions of the characters of a font are called {\it font +metrics}. + + +The format in which the font metrics are used by \TeX{} was +defined by {\sc Donald Knuth} and is called \ftype{tfm} format +(`{\sl \TeX{} font metrics\/}'). In this format, every character is +descibed as a {\it box\/} with a height, a depth, and a width. +\TeX{} only needs these measurements, it is not interested in the shape +of the character. It is even possible that the character may extend +outside +the box, which may result in an overlap with other characters. +The character measures are specified in a device independent +dimension because \TeX{} processes its breaking algorithm +independent of any output device. + +\corner{hyphenation patterns} +During paragraph breaking, \TeX{} hyphenates +automatically, which can be done in a way almost independent of +language. For the adaption to different languages, {\it hyphenation +patterns\/} are needed to parametrize the hyphenation algorithm. + +\corner{\DVI{} driver} +The result of a \TeX{} formatting run is a +\ftype{DVI} document, in which the type and position on the page are +specified for each character to be output. The resolution that is used is +so small that every possible output device will have a coarser raster, so +that the positioning is effectively device independent. The \DVI{} document +specifies only types, not the fonts themselves, so that the name \DVI{} + (`{\sl device independent\/}') is accurate. (This name is a problem +because ``DVI'' is a trademark of Intel Corp.\ now, but the name \DVI{} for +\TeX{} output files pre-dates this.) To make the result of +the formatting run available, the \DVI{} file must be output by a +so-called \DVI{} driver on the desired output device.\looseness-1 + +If problems occur during the formatting, error messages or warnings +are output on the terminal. {\it Every\/} message that appears on the +terminal will also be written into a protocol file named \ftype{log} +file. In this \LOG{} file additional information may be placed that +would have been too verbose for the output to the terminal. If this +is the case, \TeX{} will tell the user so at the end of the +formatting run. The messages of \TeX{} are not built in the program, +they are stored in a (string) \ftype{pool} file. These messages must +be read in at the beginning of a run. + + + +\section{Macro Packages} +\corner{\Plain} +\strut \hskip-10ptThe basic macro package is \Plain, developed by {\sc +Donald Knuth} together with \TeX82. It parametrizes the \TeX82 typesetting +machine so that it can typeset English texts with the Computer Modern type +family. Additionally, \Plain{} provides optical markup features. +\Plain{} is available as one source file, {\tt plain.tex}. + +\corner{\AmSTeX{}, \LaTeX{}, Macro\TeX{}, \LAMSTeX{}} +All other macro packages known to the author are based on \Plain{}, +\ie{}, they contain the source file {\tt plain.tex\/} either +originally or with modifications of less important parts. Next to +\Plain{}, the most important (free) available macro packages are +\AmSTeX{} by {\sc Michael Spivak} and \LaTeX{} by {\sc Leslie +Lamport}. Other free macro packages are often of only local +importance (\eg{} Blue\TeX{}, TEXT1, or \TeX{}sis) or are used in +very special environments only (\eg{} {\tt texinfo\/} in the +GNU~project or {\tt webmac\/} for \WEB{}). Important commercial macro +packages are Macro\TeX{} by {\sc Amy Hendrickson} and +\LAMSTeX{}, also written by {\sc Michael Spivak}. + +\corner{styles} +These macro packages usually consist of a kernel that +provides additional markup primitives. With such primitives, +{\it document styles\/} can be built which realize logical +markup by a corresponding layout. This layout can often be varied by +{\it sub-styles\/} or {\it style options\/} which may also provide +additional markup. + +\corner{supplementary files} +The macro packages produce {\it supplementary files\/} which contain +information about the page breaks or the document markup. This +information may be used by support programs -- \eg{}, the +specification of a reference from a bibliography database or the +specification of an index entry with corresponding page number for the +construction of an index. A special case is the information about +cross references and headings for the building of a table of contents, +as this information can be gathered and reused by \TeX{} directly. + +\corner{\SliTeX{}, \LAMSTeX{}, Macro\TeX{}} +\SliTeX{} is a special component of \LaTeX{} for the preparation +of slides with overlays. In TUGBoat volume~10, no.~3 (1989) +\LAMSTeX{} was announced, which will provide the functionality of +\LaTeX{} within \AmSTeX{}. Macro\TeX{} is a toolbox of macro +``modules'' which may be used to realize new markup but, as it +became available only short time ago, it is not yet widespread. + +\corner{additional fonts} +For the usage of these (and other) macro packages, one must check +whether they need additional fonts which do not belong to the Computer +Modern type family. For \LaTeX{}, \eg{}, fonts with additional symbols +and with invisible characters (for the slide overlays) are needed, +while \AmSTeX{} needs several additional font sets with mathematical and +Cyrillic characters. + + + +\section{Support Programs} +\corner{\BibTeX{}, \MakeIndex{}} +\strut \hskip-10ptOnly two support programs will be discussed here: +\BibTeX{} by {\sc Oren Patashnik} for the preparation of bibliographies and +\MakeIndex{} by {\sc Pehong Chen} and {\sc Michael Harrison} for +the preparation of a sorted index. For both tasks exist other, +funcionally equivalent, support programs. But the abovementioned are +available on many operating systems, and have an `official' status +as {\sc Leslie Lamport} encourages their usage with +\LaTeX{} in his documentation, and TUG supports them for general +use.\looseness-1 + +There is no totally portable mechanism for the inclusion of general +graphics in \TeX{} documents, so that there are no machine independent +support programs available. + +\corner{cite keys, bibliography styles} +\BibTeX{} is used to handle references collected in \ftype{bib} +files. \TeX{} produces supplementary files which contain information +about the required references, and \BibTeX{} generates from them a +sorted bibliography in a \ftype{bbl} file which may be subsequently +used by \TeX{}. The kind of sorting and the type of cite keys are +defined by {\it bibliography styles\/}, specified in \ftype{bst} +files. The messages of a \BibTeX{} run are written to a \ftype{blg} +logfile. + +\corner{index style} +\MakeIndex{} reads an \ftype{idx} support file that contains the index +entries and the according page numbers, sorts these items, unifies +them and writes them as \TeX{} input in an \ftype{ind} file. The +formatting style may be specified by an {\it index style}. The +messages of a \MakeIndex{} run are written to a \ftype{ilg} file. + + + +\section{Performance Improvements} +Much of the work that \TeX82 has to do is the same for every +document: +% +\item{1~}All text has to be broken into lines. Text pieces in the same +language are hyphenated with the same hyphenation patterns. +\item{2~}The basic markup of the corresponding macro packages must be +available. +\item{3~}The required font metrics are much alike for many documents, as +the font set used usually does not differ that much. + +\noindent To improve \TeX{}'s performance, hyphenation, markup, and font +metrics descriptions are converted from an external representation +into an internal representation which can easily be used by \TeX82. +In cases (1) and~(2) the external representation is textual. +It is sensible to do this transformation only once, not for every +document. The internal representation is stored in a \ftype{fmt} file. +The storing is done with the \TeX{} command |\dump|, so that +\FMT{} files often are called `{\it dumped formats}'. A \FMT{} file +can be read at the beginning of a \TeX82 run and is thus available +for the processing of the actual text.\looseness1 + +\corner{\INITeX{}, production version} +As the creation of a \FMT{} file is done infrequently -- usually +for the update of a macro package -- the formatting of texts can be done +with a reduced version of the \TeX82 program that doesn't contain the +storage and the program parts for the transformation of the +hyphenation patterns and for the dumping. The complete version of +\TeX82 is needed in an initialization phase only and therefore called +\INITeX{}. Additional improvements of the performance can be +reached by the usage of production versions of \TeX82 from which +parts for statistical analysis and for debugging are stripped. + +\corner{Vir\TeX{}} +\TeX{} versions that have no dumped formats preloaded, have the +ability to load a dumped format (\ie{} a \FMT{} file), and have no +ability to dump a \FMT{} file (\ie{}, they are not \INITeX{}) are +often called Vir\TeX{}, which stands for {\it virgin \TeX{}}. + +\topinsert +\bgroup\input figtotal +\egroup +\smallskip +\hbox to\pagewidth{\hfil Figure 2: The Connection of Components and File Types\hfil} +%\smallskip +\endinsert + +\vfill +\noindent +\vbox\bgroup % halign, LaTeX is too inflexible!! +% +\tabskip=1em\baselineskip11pt +\catcode`\,=\active % Roman Komma, also in typewriter text! +\def,{{\rm \char`\,\relax \space}\ignorespaces} + +\let\par=\cr \obeylines% +\halign{\tt \hfil #\unskip\hfil & #\unskip\hfil & \tt #\unskip\hfil +% +\sc File & & \sc File suffix, +\sc Type & \hfil \sc Explanation & \sc extension, etc. +\noalign{\vskip 3pt}% +% +TEX & Text input & tex, ltx +DVI & \TeX82 output, + & \hfil formatted text & dvi +LOG & \TeX82 log file & log, lis, list +HYP & Hyphenation patterns & tex +TFM & Font metrics & tfm +POOL & String pool & pool, poo, pol +FMT & Format file & fmt +MAC & \TeX{} macro file & tex, doc +STY & \TeX{} style file & sty, tex, st, doc +AUX & Support files & aux, toc, lot, lof,\unskip + & & glo, tmp, tex +BIB & Reference collections & bib +BBL & References or + & \hfil bibliographies & bbl +BLG & \BibTeX{} log file & blg +BST & \BibTeX{} style file & bst +IDX & Unsorted index & idx +IND & Sorted index & ind +IST & Index markup + & \hfil specification & +ILG & \MakeIndex{} log file & ilg +\noalign{\vskip4pt}% +\multispan3{\hfil\strut Table 1: File Types\hfil} +}% +% +\egroup + +%\caption{File Types} +%\label{tab:filetypes} +%\end{center} +%\end{table} + +\section{Connections Between File Types and Components} +In the above sections, the components of the \TeX{} authoring system +were described, and the files that are read or written by these +components mentioned. The connections between them all is +demonstrated graphically in Figure~2. In this graphic, +file types are represented by rectangles, and programs by ovals. The +arrows mean `is read by' or `is produced by.' The abbreviations +of the file types are explained in the table, which +also lists the file identifications (suffixes or extensions) that +these files usually have (but note that other file identifications +are also in use). + + + + + +\section{Acknowledgements} +I would like to thank {\sc Christine Detig} who was so kind to +provide the English translation. {\sc Nelson Beebe} suggested +performing the translation. {\sc Klaus Guntermann} made +valuable comments on the first (German) version. {\sc Nico +Poppelier} contributed a new version of figure~2, better than my +original one. Republication and distribution of this article is +allowed under conditions analogous to the GNU General Public +License. Previous revisions of this paper appeared in `Die +\TeX{}nische Kom\"odie' and in `Baskerville.' \author{\copyright +Joachim Schrod} } + + + +\endinput + + +-- + +To LaTeX the article five files are needed: + + etexkomp.tex the real article + figkomp.tex a graphics with the relation of the components + figtotal.tex a graphics with all components and file types + texrep.sty the main style option, made for this article + names.sty is used by texrep.sty, definition of logos + +Please note that texrep.sty redefines ^. If you incorporate this +report in an other document you should either typeset it in a group +or you should have a look at texrep.sty and change the macros/the +article. + +Happy hours. + + Joachim + +--------------------------------------------------------------------------- +Detig Schrod TeXsys Email: xitijsch@ddathd21.bitnet +Joachim Schrod +Alexanderstr. 10 +D-6100 Darmstadt +Germany + +Joachim Schrod Email: xitijsch@ddathd21.bitnet +Computer Science Department +Technical University of Darmstadt, Germany + + + +\titlenote{ + \copyright{} Copyright 1990, 1991 by Joachim Schrod. + All rights reserved. + Republication and Distribution is allowed under conditions analogous + to the GNU General Public License. + Previous revisions of this paper appeared in `Die \TeX{}nische + Kom\"odie' and in `Baskerville.' + } +\titlenote{ + {\sl Actual address\/}: + Joachim Schrod, Detig$\,\cdot\,$Schrod \TeX{}sys, + Kranichweg 1, D-6074 R\"odermark, FR~Germany, + Email: {\tt xitijsch@ddathd21.bitnet} + } + +\maketitle + + + diff --git a/info/digests/texline/no14/contrary.tex b/info/digests/texline/no14/contrary.tex new file mode 100644 index 0000000000..393ecacf51 --- /dev/null +++ b/info/digests/texline/no14/contrary.tex @@ -0,0 +1,135 @@ +\hyphenation{Spivak}% +\title{\bf On Contrarian Views} +In a recent \TeXline\ Michael Spivak commented on the question of +extensions to \TeX\ (Ref.~1) and used a TUGboat article of mine +to illustrate his position (Ref.~2). Unfortunately, Dr~Spivak's +lack of scholarship and attention to detail necessitates both +comment and reply. + +Dr~Spivak uses Ref.~2 as an illustration of a suggested {\it +extension\/} to \TeX\ that makes `$\dots$ \TeX\ do things 100\% +automatically that should be done 95\% automatically.' In Ref.~2 I +issued a challenge to \TeX perts to develop a macro package for +automatic figure placement and gave specifications for the macro. +First, a macro is {\it not\/} an extension of \TeX\ in the sense that +is currently being discussed and about which Dr~Spivak is +complaining. Knuth, clearly provided for and intended that \TeX 's +capabilities be {\it expanded\/} using macros. Second, I am quite in +agreement with Dr~Spivak's 95/5\% automatic\slash manual rule as is +clearly indicated on p293 of Ref.~2 where in describing the Challenge +I said `The Challenge then is for the output macro gurus to write a +figure placement macro that incorporates items 1--3 above {\it (4 and +5 can be handled manually\/})'. Sounds to me like a request for a +95\%/5\% automatic\slash manual solution. + +In Ref.~2 I used {\it Procedural Elements for Computer Graphics} (Ref.~3) +to illustrate the complexity of the typesetting job required by a +typical science/engineering text. Dr~Spivak obtained this book and +agrees that it is typographically complex. Unfortunately, he failed +to examine both the copyright page and the preface. Both clearly +state that TYX Corporation (and not me) typeset the book using \TeX. +In fact, the book was typeset using a version of \TeX\ based on +\TeX80 and not \TeX82. It is true that I specified that \TeX\ be used +and acted as the production controller on the book. Further, an +examination of the copyright date on {\it Procedural Elements for +Computer Graphics} and the date of the TUGboat article as well as the +use of the word `Current' in the section head on page 292 of the +article indicates that {\it Procedural Elements for Computer +Graphics} was not the current book. If fact, {\it Procedural +Elements for Computer Graphics} was typeset in the 1983/84 time frame. + +The book that generated {\it A Page Make-up Challenge} is {\it +Mathematical Elements for Computer Graphics} (Ref.~4). This book +is even more typographically complex than {\it Procedural Elements +for Computer Graphics}. {\it Mathematical Elements for Computer +Graphics} was the first book that we personally typeset using \TeX. We +probably could not have picked a more typographically complex book to +cut our teeth on. Which, brings me to Dr~Spivak's complaint about +|\vfill\eject|. He suggests that it is {\it shameful\/} +that the article appeared without the editor pointing out that +|\vadjust\eject| should be used instead. Well, the paper was +edited, by Barbara Beeton. At that time, I sure would have +appreciated that information from Barbara or even Dr~Spivak since it +would have saved a bit of manual work. + +The |\vadjust| comment points out both one of the strengths of +\TeX\ and one of the serious weaknesses. \TeX's strength is that if +you are willing to regard \TeX\ as a typesetting {\it system} rather +than as a programming {\it language} and are willing to do a bit of +manual work, you can frequently find a solution to an immediate +problem. It may not be elegant, it might not even be efficient, but +it will work, get the job done, and allow you to meet the deadline. +The {\it shameful\/} weakness of \TeX\ is the index of {\sl the \TeX +book\/} compounded by Knuth's sometimes convoluted scattered writing +style. As an example, try looking up `page make-up' in the index. +Eventually, you are led to the second and third paragraphs from the +bottom on page~109. The third paragraph from the bottom suggests +that you use |\vfill\eject| and the second paragraph from the +bottom |\vadjust\eject|. {\it If} you don't already know +the answer, then |\vfill\eject| is the obvious first try with the +associated side effects and the iterative fix. We discovered +|\vadjust\eject| a few months after Ref.~2 appeared when I +sat down and reread the entire {\sl \TeX book\/}!!! Having now typeset +several books our page make-up skills are quite a bit better. Still, +manual work is required. Good automatic page make-up of +typographically complex books such as {\it Procedural Elements for +Computer Graphics} and {\it Mathematical Elements for Computer +Graphics} is several years in the future -- if ever. + +I am pleased to see that Dr~Spivak used the Challenge in Ref.~2 as a +starting point for his implemetation of an automatic figure placement macro +in \LamsTeX. Unfortunately, he totally ignores the fact that Joost +Zalmstra and I published an automatic figure placement macro called +|\figplace| in TUGboat in 1989 (Ref.~5). Further, we included +statistics on the efficiency of the algorithm. At that time roughly +85\% of the figures and tables in {\it Mathematical Elements for +Computer Graphics} were placed automatically using |\figplace|. +With additional experience and tweaking of the code roughly 95\% are +currently placed automatically. The remainder require manual work. +That's acceptable. + +It's also unfortunate that Dr~Spivak, as well as many others, choose +to embed macros of this nature in large packages such as \LamsTeX, +\AmSTeX, \LaTeX, etc. I would rather see them made available as +self-contained modules that can be easily incorporated into macro +packages designed to accomplish specific purposes. Such +self-contained modules are much needed by the \TeX\ community. + +Finally, because I am in basic agreement with Dr~Spivak, it is +unfortunate that he chose this particular article (Ref.~2) to +illustrate his position and thus necessitated this note. I agree that +{\it any\/} extension of \TeX\ should be very carefully considered in +the context of Knuth's purpose in developing \TeX\ i.e., to typeset +beautiful {\it books} not Time or Newsweek or the local newspaper. I +agree that good typesetting will {\it always} require a greater or +lesser degree of manual work depending on the desired quality of the +final product. I also agree that many of the called for {\it +extensions} of \TeX\ should be handled by manipulating the {\tt.dvi} +file with the output driver. + +What I would like to see is more flexible and modern {\it +implementations} of \TeX, for example, a dynamic virtual memory +implementation that automatically shows me the results of an editing +change. Considerable computer power is needed to do this but that's +either available or coming soon. For short documents I almost have +this by using three windows on a Silicon Graphics Iris workstation. +And no, I do not suggest a \wysiwyg\ system for \TeX. + +{\frenchspacing +\def\item#1{\par\hangindent1.5em\hangafter1{\noindent +\hbox to 1.5em{#1\hfil}}} +\def\bibitem#1#2{\item{{#1}}{#2}} +\section{Bibliography} +\bibitem{1}{{\sc Michael Spivak,} {A Contrarian View On \TeX\ +Extensions, \TeXline~13, September 1991.}} +\bibitem{2}{{\sc David F Rogers,} {A Page Make-up Challenge, +TUGboat, Vol.~9, No.~3., pp 292--293, 1989.}} +\bibitem{3}{{\sc David F Rogers,} {\it Procedural Elements for +Computer Graphics}, McGraw-Hill Book Co., New York, 1985.} +\bibitem{4}{{\sc David F Rogers \& J Alan Adams,} {\it +Math\-ematical Elements for Computer Graphics}, McGraw-Hill Book Co., +New York, 1990.} +\bibitem{5}{{\sc Joost Zalmstra \& David F Rogers,} {A Page +Make-up Macro, TUGboat, Vol.~10, No.~1, pp 73--81, 1989.}} +\author{David F Rogers}} + diff --git a/info/digests/texline/no14/ewart.tex b/info/digests/texline/no14/ewart.tex new file mode 100644 index 0000000000..19dfca05c7 --- /dev/null +++ b/info/digests/texline/no14/ewart.tex @@ -0,0 +1,11 @@ +\title{Moving} +Purchasers and users of the range of Personal \TeX\ Inc's +software will need to know that their UK distributor, +Uni\TeX\ has a new address. Contact +{\obeylines +Ewart North +Uni\TeX\ systems +7 Spring Mount +Harrogate HG1 2HX +tel: 0423 520902 +} diff --git a/info/digests/texline/no14/figcomp.tex b/info/digests/texline/no14/figcomp.tex new file mode 100644 index 0000000000..2360ee7f88 --- /dev/null +++ b/info/digests/texline/no14/figcomp.tex @@ -0,0 +1,72 @@ + +%\input l_pic +%\input l_frame +\unitlength=5mm +\newdimen\w % may be changed for DINA5 +\w=\fontdimen8\tenln %\@wholewidth % width of a rule +\let\k=\unitlength % a box (in German: Kasten) on my drawing-paper... +\let\LAMSTeX\LamsTeX +\def\Plain{{\tt Plain} \TeX} +\def\MakeIndex{{\sans MakeIndex}} +\catcode`@=11 % at signs are letters +\def\rule{\@ifnextchar[{\@rule}{\@rule[\z@]}} + +\def\@rule[#1]#2#3{\@tempdima#3\advance\@tempdima #1\leavevmode\hbox{\vrule + \@width#2 \@height\@tempdima \@depth-#1}} +\catcode`@=12 % at signs are no longer letters +% +%========== figkomp.tex ==================================================== +% figkomp.tex 01 Oct 90 +%------------------------------------------------------------ +% (c) 1990 by J.Schrod (TeXsys). + +% +% picture of the components of TeX (logical connection) +% + +% NOTE: BibTeX was made available for Plain TeX recently. So the +% graphic will be changed soon... + + +\picture(23,14)(0,0) + + +% TeX82 +\put( 3, 0){ \rule{\w}{3\k} } +\put( 3, 3){ \rule{24\k}{\w} } +\put(27, 0){ \rule{\w}{3\k} } +\put( 3, 0){ \makebox(24,3){\TeX82} } + +% Plain TeX +\put( 4, 3){ \framebox(22,3){\Plain} } + +% AmS-TeX +\put( 5, 6){ \rule{\w}{5\k} } +\put( 5,11){ \rule{5\k}{\w} } +\put(10, 6){ \rule{\w}{5\k} } +\put( 5, 6){ \makebox(5,3){\AmSTeX} } + +% LAmS-TeX +\put( 6, 9){ \dashbox{.5}(4,2){\LAMSTeX} } + +% LaTeX +\put(11, 6){ \framebox(6,5){\LaTeX} } + +% SliTeX +\put(11,11){ \framebox(4,3){\SliTeX} } + +% BibTeX +\put(14,11){ \rule{2\k}{\w} } +\put(15,14){ \rule{4\k}{\w} } +\put(19, 6){ \rule{\w}{8\k} } + +\put(15,11){ \makebox(4,3){\BibTeX} } + +% MakeIndex +\put(20, 6){ \framebox(5,8){\MakeIndex} } + +\endpicture + + + +\endinput diff --git a/info/digests/texline/no14/figtotal.tex b/info/digests/texline/no14/figtotal.tex new file mode 100644 index 0000000000..204a950d86 --- /dev/null +++ b/info/digests/texline/no14/figtotal.tex @@ -0,0 +1,181 @@ +%\input l_pic +%\input l_frame +%\let\Line\line +\def\DVI{{\tt DVI}} +\def\OutputInFigtotal{output} +\def\DriverInFigtotal{\DVI{} driver} + +%========== figtotal.tex =================================================== +% figtotal.tex 25 Mar 91 +%------------------------------------------------------------ +% (c) 1991 by J.Schrod (TeXsys). + +% +% Picture of the components and used file types of TeX (data flow) +% (thanks to Nico Poppelier who contributed this better structured version) +% +% LaTeX picture + + +% check if \OutputInFigtotal and \DriverInFigtotal is defined + +\ifx \OutputInFigtotal\undefined + \errhelp{It should be defined as the term `output' in the used language} + \errmessage{You must define \string\OutputInFigtotal} + \def\OutputInFigtotal{output} +\fi +\ifx \DriverInFigtotal\undefined + \errhelp{It should be defined as the term `driver' in the used language} + \errmessage{You must define \string\DriverInFigtotal} + \def\DriverInFigtotal{\DVI{} driver} +\fi + + + +\def\file#1{\framebox(3,2){\tt \uppercase{#1}}} +\def\prog(#1)#2{% + \oval(#1,2)% + \makebox(0,0){#2}% + } + + +% X and Y variables + +\newcount\X \newcount\Y % needed for \Program + +% macros for objects + +\def\File(#1,#2)#3{% + \put(#1,#2){\framebox(20,10){\tt\uppercase{#3}}}} +\def\CopyFile(#1,#2)#3{% + \put(#1,#2){\dashbox{2}(20,10){#3}}} +\def\Program(#1,#2)#3{% + \X=#1 \Y=#2 \advance\X by 15 \advance\Y by 5 + \put(\X,\Y){\oval(30,10)}% + \put(#1,#2){\makebox(30,10){#3}}} +\def\Device(#1,#2)#3{% + \put(#1,#2){\Line(1,2){5}} \put(#1,#2){\Line(1,0){25}} + \X=#1 \Y=#2 \advance\X by 30 \advance\Y by 10 + \put(\the\X,\the\Y){\Line(-1,-2){5}} \put(\the\X,\the\Y){\Line(-1,0){25}} + \put(#1,#2){\makebox(30,10){#3}}} + + +% don't ask me why it's 0.7mm, that's from Nico! -js + +\unitlength=0.7mm + + +\picture(260,160)(60,0) %40/80 +% +% this code provides a dotted grid that makes modification easier +% +%\multiput( 70, 0)(10,0){20}{% +% \vbox to 160\unitlength{% +% \leaders +% \vbox to 2.5\unitlength{% +% \vfill +% \hbox{\fivrm .}% +% \vfill +% }% +% \vfill +% }% +% } +%\multiput( 70, 0)(0,10){17}{% +% \hbox to 190\unitlength{% +% \leaders +% \hbox to 2.5\unitlength{% +% \hfill +% \hbox{\fivrm .}% +% \hfill +% }% +% \hfill +% }% +% } +% +% +% +% IniTeX block +% + \File( 75,145){tfm} \File(105,145){hyp} \File(135,145){mac} + \File(165,145){pool} +\multiput( 85,145)(30,0){4}{\Line(0,-1){5}} + \put( 85,140){\Line(1,0){90}} + \put(115,140){\vector(0,-1){5}} + \Program(100,125){\INITeX} + \put(115,125){\Line(0,-1){5}} + \put(100,120){\Line(1,0){30}} +\multiput(100,120)(30,0){2}{\vector(0,-1){5}} + \File( 90,105){log} + \File(120,105){fmt} \File(150,105){tex} + \File(180,105){sty} \File(210,105){mac} \File(240,105){tfm} +% +% +% TeX block +% +\multiput(130,105)(30,0){5}{\Line(0,-1){5}} + \put(130,100){\Line(1,0){120}} + \put(175,100){\vector(0,-1){5}} + \Program(160, 85){\TeX82} + \put(175, 85){\Line(0,-1){5}} + \put(130, 80){\Line(1,0){90}} +\multiput(130, 80)(30,0){4}{\vector(0,-1){5}} + \File(120, 65){dvi} \File(150, 65){log} + \File(180, 65){idx} \File(210, 65){aux} +% loop back to TeX + \put(230, 70){\Line(1,0){10}} + \put(240, 70){\vector(0,1){10}} + \put(240, 80){\Line(0,1){10}} +% +% +% BibTeX block +% + \File(195, 45){bib} \File(225, 45){bst} +\multiput(205, 45)(30,0){2}{\Line(0,-1){5}} + \put(205, 40){\Line(1,0){30}} + \put(220, 65){\vector(0,-1){30}} + \Program(205, 25){\BibTeX} + \put(220, 25){\Line(0,-1){5}} + \put(205, 20){\Line(1,0){30}} +\multiput(205, 20)(30,0){2}{\vector(0,-1){5}} + \File(195, 5){blg} \File(225, 5){bbl} +% loop back to TeX + \put(245, 10){\Line(1,0){10}} + \put(255, 10){\vector(0,1){10}} + \put(255, 20){\Line(0,1){70}} +% +% +% MakeIndex block +% + \File(150, 45){ist} + \put(190, 65){\Line(0,-1){20}} +\multiput(160, 45)(30,0){2}{\Line(0,-1){5}} + \put(160, 40){\Line(1,0){30}} + \put(175, 40){\vector(0,-1){5}} + \Program(160, 25){\MakeIndex} + \put(175, 25){\Line(0,-1){5}} + \put(145, 20){\Line(1,0){30}} +\multiput(145, 20)(30,0){2}{\vector(0,-1){5}} + \File(135, 5){ilg} \File(165, 5){ind} +% loop back to TeX + \put(175, 5){\Line(0,-1){5}} + \put(175, 0){\Line(1,0){85}} + \put(260, 0){\vector(0,1){10}} + \put(260, 10){\Line(0,1){80}} + \put(260, 90){\vector(-1,0){70}} +% +% +% device driver block +% + \File( 90, 65){fnt} +\multiput(100, 65)(30,0){2}{\Line(0,-1){25}} + \put(100, 40){\Line(1,0){30}} + \put(115, 40){\vector(0,-1){5}} + \Program(100, 25){\DriverInFigtotal} + \put(115, 25){\vector(0,-1){10}} + \Device(100, 5){\OutputInFigtotal} +% +% +\endpicture + + +\endinput diff --git a/info/digests/texline/no14/flow.def b/info/digests/texline/no14/flow.def new file mode 100644 index 0000000000..edd063f09c --- /dev/null +++ b/info/digests/texline/no14/flow.def @@ -0,0 +1,468 @@ +% April 12, 1991 +{\catcode`\|=0 |catcode`|\=12 |obeyspaces |let|m=|message +|m{ } +|m{ These macros may be used free of charge and without authorization } +|m{ for scientific work only. Written permission is required for any } +|m{ commercial use. If used in publications, citation similar to the } +|m{ following reference is required: } +|m{ } +|m{ Michael Ramek, } +|m{ ``Flow Charts With \TeX'', } +|m{ in } +|m{ \TeX line 13 (1991) ??-?? } +|m{ } +|m{ Questions and inquiries should be addressed to the author: } +|m{ } +|m{ Michael Ramek } +|m{ Institut f\"ur Physikalische und Theoretische Chemie, } +|m{ Technische Universit\"at Graz } +|m{ Rechbauerstra{\ss}e 12 } +|m{ A--8010 Graz } +|m{ Austria } +|m{ }|m{}} +% +% The following special characters are used in +% this macro package: +% +% backslash: \ +% left brace: { +% right brace: } +% dollar sign: $ +% percent sign: % +% number sign: # +\def\flowptonemm{.1mm}\def\flowzerofive{05}% +\def\flowten{10}\def\floweleven{11}\def\flowtwelve{12}% +\def\flowthirteen{13}\def\flowfifteen{15}\def\flowsixteen{16}% +\def\flowseventeen{17}\def\flownineteen{19}\def\flowtwenty{20}% +\def\flowfortyfour{44}\def\flowfiftyfive{55}\def\flowsixtysix{66}% +\def\flowsixtynine{69}\def\flowseventythree{73}% +\def\flowseventyfour{74}\def\flowseventyfive{75}% +\def\floweightytwo{82}\def\floweightyfour{84}\def\floweightyfive{85}% +\def\floweightysix{86}\def\flowninetytwo{92}\def\flowhalf{.5}% +\def\flowquarter{.25}\def\flowthreequarter{.\flowseventyfive}% +\def\flowchart#1{{\def\flowinhalt{#1}\dimendef\lindent180% +\countdef\chelp0\dimendef\rindent181\dimendef\fivemm\flowseventeen0% +\dimendef\textw183\dimendef\vpos1\floweightyfour\dimendef\pt189% +\dimendef\nullpt\flowseventeen9\dimendef\mvpos\flowseventeen1% +\dimendef\entrydist1\floweightyfive\dimendef\breite\floweleven% +\dimendef\laenge\flowtwelve\dimendef\hoehe\flowthirteen% +\dimendef\tiefe14\dimendef\anstieg\flowfifteen% +\dimendef\lvpos1\floweightysix\dimendef\texts1\floweightytwo% +\dimendef\rvpos187\dimendef\dhelp188\dimendef\hstroke\flowtwenty% +\countdef\mitte1\floweightyfour\countdef\decidelevel\flowtwenty0% +\countdef\ahelp\flowten0\countdef\bhelp\flowten1% +\countdef\ehelp\flowthirteen\pt1pt\nullpt0\pt% +\def\rlap##1{\hbox to\nullpt{##1\hss}}% +\def\llap##1{\hbox to\nullpt{\hss##1}}% +\count\flowseventeen1=5\loop\count\flowseventeen0=0\flowflowchart% +\ifdim\ht0>\vsize\advance\count\flowseventeen1-1\relax% +\ifnum\count\flowseventeen1>2\count\flowseventeen0=1\fi\fi\relax% +\ifnum\count\flowseventeen0=1\repeat\box0} +} +\def\flowflowchart{\setbox0\vbox{\lindent\flowquarter\hsize% +\rindent\lindent\fivemm\count\flowseventeen1truemm\texts\fivemm% +\textw.4\hsize\advance\textw-2\texts\mvpos\nullpt\vpos\nullpt% +\mitte0\decidelevel0\entrydist\fivemm\relax\flowinhalt% +\ifdim\mvpos>\nullpt\vskip-\vpos\vskip\mvpos\fi}% +} +\def\flowvrule#1#2#3{\vrule width#1 height#2 depth#3% +} +\def\flowbox#1{\hbox to\breite{#1}% +}% +\def\flowendmiddlepart{\advance\decidelevel-1% +\ifdim\vpos>\mvpos\mvpos\vpos\fi% +} +\def\flowleftpart{\advance\lindent-\flowquarter\hsize% +\advance\rindent\flowquarter\hsize\chelp2\flowten% +\ifnum\mitte=0\chelp\flowtwenty0\fi\advance\chelp\decidelevel% +\advance\mitte-1\vskip-\vpos\vskip\dimen\chelp\vpos\dimen\chelp% +\advance\chelp\flowtwenty\entrydist\dimen\chelp% +} +\def\flowendleftpart{\advance\lindent\flowquarter\hsize% +\advance\rindent-\flowquarter\hsize\advance\mitte1% +\lvpos\vpos\ifdim\vpos>\mvpos\mvpos\vpos\fi% +} +\def\flowrightpart{\advance\lindent\flowquarter\hsize% +\advance\rindent-\flowquarter\hsize\chelp2\flowten% +\ifnum\mitte=0\chelp\flowtwenty0\fi\advance\chelp\decidelevel% +\advance\mitte1\vskip-\vpos\vskip\dimen\chelp\vpos\dimen\chelp% +\advance\chelp\flowtwenty\entrydist\dimen\chelp% +} +\def\flowendrightpart{\advance\lindent-\flowquarter\hsize% +\advance\rindent\flowquarter\hsize\advance\mitte-1% +\rvpos\vpos\ifdim\vpos>\mvpos\mvpos\vpos\fi% +} +\def\flowcombine{\dhelp\rvpos\relax% +\ifdim\dhelp<\lvpos\dhelp\lvpos\fi\relax\advance\rvpos-\lvpos\relax% +\ifdim\rvpos<\nullpt\rvpos-\rvpos\fi% +\ifdim\vpos=\dhelp\vskip-\rvpos\advance\vpos-\rvpos\fi% +\ifdim\lvpos=\dhelp% +\flowline{\kern\flowhalf\hsize\flowvrule\pt\rvpos\nullpt}\else% +\flowline{\flowvrule\pt\rvpos\nullpt\kern\flowhalf\hsize}\fi% +\flowline{\flowvrule\pt\fivemm\nullpt\kern-\pt% +\kern\flowhalf\hsize\flowvrule\pt\fivemm\nullpt}% +\kern-2.64098\pt\hbox to\hsize{\hss\kern\lindent% +\flowvrule{\flowquarter\hsize}\pt\nullpt% +\setbox1\llap{$><$\hss}\lower1\flowhalf\pt\copy1% +\lower2\pt\box1% +\flowvrule{\flowquarter\hsize}\pt\nullpt\kern\rindent\hss}% +\nointerlineskip\kern-2.64098\pt\advance\vpos\pt\mvpos\nullpt% +} +\def\flowmark#1{\flowline{\flowvrule\pt\fivemm\nullpt}% +\dimen\flownineteen#1\vpos\count\flownineteen#1\mitte% +} +\def\flowleftconnect#1{\flowline{\flowvrule\pt\fivemm\nullpt}% +\flowline{\flowvrule{\flowquarter\hsize}\pt\nullpt% +\kern\flowquarter\hsize}\ifdim\vpos>\mvpos\mvpos\vpos\fi% +\advance\lindent-\flowquarter\hsize% +\flowconnect#1\advance\lindent\flowquarter\hsize% +} +\def\flowrightconnect#1{\flowline{\flowvrule\pt\fivemm\nullpt}% +\flowline{\kern\flowquarter\hsize% +\flowvrule{\flowquarter\hsize}\pt\nullpt}% +\ifdim\vpos>\mvpos\mvpos\vpos\fi% +\advance\lindent\flowquarter\hsize\flowconnect#1% +\advance\lindent-\flowquarter\hsize% +} +\def\flowconnect#1{\ifdim\vpos>\dimen\flownineteen#1\vskip-\vpos% +\vskip\dimen\flownineteen#1\kern-4.14098\pt% +\centerline{\advance\lindent\flowquarter\hsize% +\texts2\hsize\advance\texts-\count\flownineteen#1\hsize% +\divide\texts4\textw\hsize\advance\textw-\lindent% +\advance\textw-\texts\advance\vpos-\dimen\flownineteen#1% +\advance\vpos\flowhalf\pt\ifdim\textw>\nullpt\kern\lindent% +\flowvrule\pt\nullpt\vpos\kern-\pt% +\flowvrule\textw\pt\nullpt\setbox1\llap{$>$}% +\lower1\flowhalf\pt\copy1\lower2\pt\copy1\else% +\advance\lindent\textw\advance\texts\textw% +\kern\lindent\setbox1\rlap{$<$}% +\lower1\flowhalf\pt\copy1\lower2\pt\copy1% +\flowvrule{-\textw}\pt\nullpt\kern-\pt% +\flowvrule\pt\nullpt\vpos\fi\kern\texts}\else% +\centerline{\advance\lindent\flowquarter\hsize% +\texts2\hsize\advance\texts-\count\flownineteen#1\hsize% +\divide\texts4\textw\hsize\advance\textw-\lindent% +\advance\textw-\texts\advance\vpos-\dimen\flownineteen#1% +\advance\vpos-\flowhalf\pt\ifdim\textw>\nullpt\kern\lindent% +\flowvrule\pt{-\vpos}\nullpt\kern-\pt% +\flowvrule\textw\pt\nullpt\setbox1\llap{$>$}% +\lower1\flowhalf\pt\copy1\lower2\pt\copy1\else% +\advance\lindent\textw\advance\texts\textw\kern\lindent% +\setbox1\rlap{$<$}% +\lower1\flowhalf\pt\copy1\lower2\pt\copy1% +\flowvrule{-\textw}\pt\nullpt\kern-\pt% +\flowvrule\pt{-\vpos}\nullpt\fi\kern\texts}% +\vpos\dimen\flownineteen#1\advance\vpos3.14098\pt\fi\nointerlineskip% +} +\def\flowline#1{\setbox\flowtwenty\hbox to\hsize{\hss\kern\lindent#1% +\kern\rindent\hss}\advance\vpos\ht\flowtwenty% +\advance\vpos\dp\flowtwenty% +\box\flowtwenty\nointerlineskip\entrydist\fivemm% +} +\def\flowoutput#1{\flowline{\vbox{\flowanfang{#1}% +\ifdim\breite<1.6cm\breite1.6cm\fi\flowanfangv% +\flowbox{\hss\flowvrule\breite\pt\nullpt\hss}% +\flowbox{\flowvrule\pt\laenge{-\flowquarter cm}% +\hfill\box\floweleven\hfill\flowvrule\pt\laenge{3mm}}% +\kern-6mm\flowbox{\ehelp14\loop\advance\ehelp1\hoehe5cm% +\divide\hoehe\ehelp\anstieg\ehelp sp% +\multiply\anstieg-23\floweightysix\advance\anstieg1.9\pt% +\ifdim\anstieg<\pt\anstieg\pt\fi\tiefe-\hoehe\advance\tiefe\anstieg% +\flowvrule{\flowptonemm}\hoehe\tiefe\ifnum\ehelp<89\repeat% +\leaders\vrule height\hoehe depth\tiefe\hfill% +\flowvrule\pt\hoehe{3mm}\leaders\vrule height\hoehe depth\tiefe\hfill% +\loop\advance\ehelp-1\hoehe-5cm\divide\hoehe\ehelp% +\advance\hoehe.\floweleven24cm\anstieg\ehelp sp% +\multiply\anstieg-23\floweightysix\advance\anstieg1.9\pt% +\ifdim\anstieg<\pt\anstieg\pt\fi% +\tiefe-\hoehe\advance\tiefe\anstieg% +\flowvrule{\flowptonemm}\hoehe\tiefe\ifnum\ehelp>14\repeat}}}% +} +\def\flowanfang#1{\parindent\nullpt\setbox\flowtwelve\hbox{#1}% +\setbox\floweleven\hbox{\vbox{% +\ifdim\wd\flowtwelve<\textw\hsize\wd\flowtwelve% +\else\hsize\textw\fi\leftskip\nullpt plus.1\textw% +\rightskip\nullpt plus.1\textw\parfillskip\nullpt% +\hbadness\flowten000 #1\vskip\texts}}\offinterlineskip% +\breite\wd\floweleven\advance\breite2\texts\laenge\ht\floweleven% +\advance\laenge\dp\floweleven\advance\laenge\texts% +} +\def\flowanfangv{\flowbox{\hss\flowvrule\pt\entrydist\nullpt\hss}% +\kern-5\flowhalf\flowfiftyfive57\pt\flowbox{% +\hss\setbox\flowfifteen\hbox{$\vee$}% +\copy\flowfifteen\kern-\wd\flowfifteen\kern.4\pt\box\flowfifteen\hss}% +} +\def\flowcompute#1{\flowline{\vbox{\flowanfang{#1}\flowanfangv% +\flowbox{\hss\flowvrule\breite\pt\nullpt\hss}% +\flowbox{\flowvrule\pt\laenge\nullpt% +\hfill\box\floweleven\hfill\flowvrule\pt\laenge\nullpt}% +\flowbox{\hss\flowvrule\breite\pt\nullpt\hss}% +}}% +} +\def\flowinput#1{\flowline{\vbox{\flowanfang{#1}\flowanfangv% +\setbox\flowthirteen\hbox{\it/}\anstieg-\ht\flowthirteen% +\advance\anstieg-\dp\flowthirteen\flowbox{\copy\flowthirteen% +\kern-\wd\flowthirteen\kern.4\pt\copy\flowthirteen% +\advance\breite-\wd\flowthirteen\hoehe\ht\flowthirteen\tiefe\hoehe% +\advance\tiefe-\pt\hss\flowvrule\breite\hoehe{-\tiefe}}\kern\anstieg% +\advance\anstieg\laenge\flowbox{\flowvrule\pt\anstieg\nullpt% +\hfill\box\floweleven\hfill\flowvrule\pt\laenge\nullpt}% +\flowbox{\hss\flowvrule\breite\pt\nullpt\hss}% +}}% +} +\def\flowstart{\flowline{\vbox{\flowanfang~% +\hbox to1cm{\hss\flowvrule{1cm}\pt\nullpt\hss}\kern-\pt% +\hbox to1cm{\hss\hoehe\nullpt\loop\tiefe\hoehe\advance\tiefe-2\pt% +\flowvrule{\flowptonemm}\hoehe{-\tiefe}% +\advance\hoehe-.\flowseventeen321mm\relax% +\ifdim\hoehe>-8.\flowsixtysix mm\repeat\loop\tiefe\hoehe% +\advance\tiefe-2\pt\flowvrule{\flowptonemm}\hoehe{-\tiefe}% +\advance\hoehe.\flowseventeen321mm\ifdim\hoehe<\nullpt\repeat\hss}}}% +} +\def\flowend{\flowline{\vbox{\flowanfang~\flowanfangv% +\flowbox{\hss\hoehe\nullpt\loop\tiefe\hoehe\advance\tiefe-2\pt% +\flowvrule{\flowptonemm}\hoehe{-\tiefe}% +\advance\hoehe.\flowseventeen321mm\relax% +\ifdim\hoehe<8.\flowsixtysix mm\repeat\loop\tiefe\hoehe% +\advance\tiefe-2\pt\flowvrule{\flowptonemm}\hoehe{-\tiefe}% +\advance\hoehe-.\flowseventeen321mm\ifdim\hoehe>\nullpt\repeat\hss}% +\kern-\pt\flowbox{\hss\flowvrule{1cm}\pt\nullpt\hss}}}% +} +\def\flowisthereablank#1 #2;{\chelp0\if*#2\else\chelp1\fi% +} +\def\flowdecide#1#2#3#4{\chelp\flowtwenty0\ifnum\mitte=0\else% +\chelp2\flowten\fi\advance\chelp\decidelevel\dimen\chelp\vpos% +\advance\dimen\chelp\entrydist\flowline{\hstroke\flowhalf\hsize% +\vbox{\hsize\flowhalf\hsize\parindent\nullpt% +\flowisthereablank#4 *;\setbox1\hbox{#4}\setbox0\hbox{#4}% +\ifnum\chelp>0\setbox0\vbox{\dimen1.33\hsize% +\rightskip\nullpt plus1fil minus.2\dimen1\overfullrule\nullpt% +\leftskip\nullpt plus1fil minus.2\dimen1\hbadness\flowten000% +\parfillskip\nullpt\chelp\wd1\divide\chelp\dimen1\advance\chelp2% +\ahelp\flowten0\count2\chelp\advance\count2-1\divide\count2 2% +\dimen2\flowquarter\dimen1\ifnum\count2>0\divide\dimen2\count2\fi% +\count3\nullpt\loop\count4\count2\advance\count4-\count3% +\dimen\ahelp\count4\dimen2\bhelp\ahelp% +\advance\bhelp1\dimen\bhelp\dimen1\advance\dimen\bhelp-2\dimen\ahelp% +\ifdim\dimen\ahelp>\nullpt\advance\ahelp2\advance\count3 1% +\repeat\ifodd\chelp\advance\ahelp1\else\bhelp\ahelp\advance\ahelp2% +\dimen\ahelp\dimen\bhelp\advance\bhelp1\advance\ahelp1% +\dimen\ahelp\dimen\bhelp\fi\advance\ahelp1\advance\count3-1\loop% +\count4\count2\advance\count4-\count3% +\dimen\ahelp\count4\dimen2\bhelp\ahelp% +\advance\bhelp1\dimen\bhelp\dimen1\advance\dimen\bhelp-2\dimen\ahelp% +\ifnum\count3>0\advance\ahelp2\advance\count3-1\repeat% +\parshape=\chelp% +\dimen\flowten0\dimen\flowten1\dimen\flowten2\dimen\flowten3% +\dimen\flowten4\dimen1\flowzerofive\dimen\flowten6\dimen\flowten7% +\dimen\flowten8\dimen\flowten9\dimen\floweleven0\dimen\floweleven1% +\dimen\floweleven2\dimen\floweleven3\dimen\floweleven4% +\dimen\floweleven5\dimen\floweleven6\dimen\floweleven7% +\dimen\floweleven8\dimen\floweleven9\dimen1\flowtwenty% +\dimen\flowtwelve1\dimen\flowtwelve2\dimen\flowtwelve3% +\dimen\flowtwelve4\dimen\flowtwelve5\dimen\flowtwelve6% +\dimen\flowtwelve7\dimen\flowtwelve8\dimen\flowtwelve9% +\dimen\flowthirteen0\dimen\flowthirteen1\dimen\flowthirteen2% +\dimen\flowthirteen3\dimen\flowthirteen4\dimen\flowthirteen5% +\dimen\flowthirteen6\dimen\flowthirteen7% +\dimen\flowthirteen8\dimen\flowthirteen9% +\parindent\nullpt\hsize\dimen1 #4}\fi\relax\ifdim\ht0=\ht1% +\setbox0\vbox{\hsize\wd1\parindent\nullpt\relax #4}% +\fi\relax\setbox\floweleven\vbox{\box0\vskip\texts}\offinterlineskip% +\breite\wd\floweleven\advance\breite2\texts\laenge\ht\floweleven% +\advance\laenge\dp\floweleven\advance\laenge\texts% +\advance\breite2\texts\centerline{\vbox{\flowanfangv}}% +\setbox\flowthirteen\hbox{\hoehe\nullpt\loop\tiefe\hoehe% +\advance\tiefe-1.\flowfifteen47\pt% +\flowvrule{\flowptonemm}\hoehe{-\tiefe}% +\advance\hoehe.\flowzerofive77mm\relax% +\ifdim\hoehe<.2887\breite\repeat}\hoehe\ht\flowthirteen% +\setbox14\hbox{\loop\tiefe\hoehe\advance\tiefe-1.\flowfifteen47\pt% +\flowvrule{\flowptonemm}\hoehe{-\tiefe}% +\advance\hoehe-.\flowzerofive77mm% +\ifdim\hoehe>\nullpt\repeat}\setbox\flowfifteen\hbox{#1}% +\setbox\flowsixteen\hbox{#2}\anstieg\nullpt% +\ifdim\wd\flowfifteen>\nullpt\anstieg\pt\fi\dimen\flowsixteen\nullpt% +\ifdim\wd\flowsixteen>\nullpt\dimen\flowsixteen\pt\fi% +\advance\hstroke-\breite\hbox{\rlap{\kern\flowhalf\hstroke% +\llap{\raise3\pt\box\flowfifteen\kern3\pt}}% +\flowvrule{\flowhalf\hstroke}\nullpt\anstieg% +\flowbox{\hss\copy\flowthirteen\copy14\hss}% +\flowvrule{\flowhalf\hstroke}\nullpt{\dimen\flowsixteen}% +\rlap{\kern-\flowhalf\hstroke\kern3\pt\raise3\pt\box\flowsixteen}% +}\hoehe\ht\floweleven\advance\hoehe-\texts\kern-\flowhalf\hoehe% +\kern-\flowthreequarter\pt\centerline{\box\floweleven}% +\kern\flowthreequarter\pt\kern-\flowhalf\hoehe\kern-\texts% +\kern-1\flowhalf\pt\hbox{\kern\flowhalf\hstroke% +\flowbox{\hss\copy14\copy\flowthirteen\hss}\kern\flowhalf\hstroke}% +\centerline{\vbox to\fivemm{\vss\rlap{\kern3\pt #3}\vss}}% +\vskip-\fivemm}}\chelp\flowtwenty0\ifnum\mitte=0\else\chelp2\flowten\fi% +\relax\advance\chelp\decidelevel\advance\dimen\chelp\vpos% +\count1\chelp\advance\count1 \flowtwenty% +\dimen\count1\vpos\dimen\chelp\flowhalf\dimen\chelp% +\advance\dimen\count1-\dimen\chelp\advance\decidelevel1% +} +\def\flowkreis{% +\flowrule{3\floweightysix\flowfiftyfive6}% +{\flowseventeen\flowseventyfive29}% +\flowrule{425\floweleven0}{2506\flownineteen}% +\flowrule{459\flowsixtynine2}{3\flowzerofive627}% +\flowrule{49\floweleven40}{35\floweleven\flowfiftyfive}% +\flowrule{5\flowtwenty025}{39\flowzerofive34}% +\flowrule{546\flowseventyfive2}{4254\flowseventyfive}% +\flowrule{57\flowsixteen24}{45\flowsixtynine96}% +\flowrule{5948\flowseventyfour}{4\floweightyfive763}% +\flowrule{61\flowsixtysix\floweightyfive}{5\flowtwelve241}% +\flowrule{637\flowtwenty5}{5367\flowsixtynine}% +\flowrule{656\flowfiftyfive5}{\flowfiftyfive9603}% +\flowrule{6\flowseventyfour836}{580943}% +\flowrule{\flowsixtynine2\flowthirteen3}{600948}% +\flowrule{70\floweightyfive\flowseventeen}% +{6\flownineteen\flowseventyfour8}% +\flowrule{724\flowzerofive0}{63\flowseventyfour48}% +\flowrule{\flowseventythree8787}{654\flowthirteen9}% +\flowrule{\flowseventyfive27\flowseventyfour}{\flowsixtysix9896}% +\flowrule{7\flowsixtysix\flowzerofive2}% +{6\floweightyfour7\floweightytwo}% +\flowrule{77\floweightysix57}% +{\flowsixtynine88\flowfiftyfive}% +\flowrule{790622}{7\flowtwelve\flowsixteen2}% +\flowrule{80\flownineteen\flowseventyfive}{724\flowseventyfour5}% +\flowrule{8\flowtwelve\flowseventyfour1}% +{\flowseventythree\flowsixtysix41}% +\flowrule{\floweightytwo2945}{\flowseventyfour78\floweightyfour}% +\flowrule{832606}{\flowseventyfive\floweightyfive01}% +\flowrule{\floweightyfour1\flowseventyfour3}% +{76\floweightyfive\flowtwenty}% +\flowrule{\floweightyfive03\flowseventyfour}{777963}% +\flowrule{\floweightyfive\floweightyfive\flowtwelve}% +{7\floweightysix\floweightyfive1}% +\flowrule{8\flowsixtysix\flowseventeen3}{795\flowtwenty3}% +\flowrule{8\flowseventythree3\flowsixtynine}{803035}% +\flowrule{880\floweleven1}{8\flowten362}% +\flowrule{8\floweightysix4\flowten}{8\flowseventeen\flownineteen8}% +\flowrule{8\flowninetytwo2\flowseventyfour}% +{\floweightytwo3\flowfiftyfive6}% +\flowrule{8977\flowthirteen}{\floweightytwo9\flowfortyfour6}% +\flowrule{902\flowseventythree4}{834877}% +\flowrule{90\flowseventythree45}{839\floweightysix0}% +\flowrule{9\floweleven\flowfiftyfive0}% +{\floweightyfour\flowfortyfour02}% +\flowrule{9\flowfifteen357}{\floweightyfour\floweightyfive\flowten}% +\flowrule{9187\flowsixtynine}{\floweightyfive2\flownineteen0}% +\flowrule{\flowninetytwo\flowseventeen\flowninetytwo}% +{8\flowfiftyfive\flowfortyfour8}% +\flowrule{\flowninetytwo\flowfortyfour28}% +{\floweightyfive\floweightytwo88}% +\flowrule{\flowninetytwo\flowsixtysix\floweightytwo}% +{\floweightysix07\flowfifteen}% +\flowrule{\flowninetytwo8\flowfiftyfive6}% +{\floweightysix2\flowseventythree3}% +\flowrule{930\flowzerofive3}{\floweightysix43\flowfortyfour}% +\flowrule{93\floweleven\flowseventyfour}% +{\floweightysix\flowfiftyfive50}% +\flowrule{93\flownineteen\flowtwenty}{8\flowsixtysix353}% +\flowrule{932293}{8\flowsixtysix\flowseventyfive4}% +\flowrule{932293}{8\flowsixtysix\flowseventyfive4}% +\flowrule{93\flownineteen\flowtwenty}{8\flowsixtysix353}% +\flowrule{93\floweleven\flowseventyfour}% +{\floweightysix\flowfiftyfive50}% +\flowrule{930\flowzerofive3}{\floweightysix43\flowfortyfour}% +\flowrule{\flowninetytwo8\flowfiftyfive6}% +{\floweightysix2\flowseventythree3}% +\flowrule{\flowninetytwo\flowsixtysix\floweightytwo}% +{\floweightysix07\flowsixteen}% +\flowrule{\flowninetytwo\flowfortyfour28}% +{\floweightyfive\floweightytwo88}% +\flowrule{\flowninetytwo\flowseventeen\flowninetytwo}% +{8\flowfiftyfive\flowfortyfour8}% +\flowrule{9187\flowsixtynine}{\floweightyfive2\flownineteen0}% +\flowrule{9\flowfifteen357}{\floweightyfour\floweightyfive\flowten}% +\flowrule{9\floweleven\flowfiftyfive0}% +{\floweightyfour\flowfortyfour02}% +\flowrule{90\flowseventythree45}{839\floweightysix0}% +\flowrule{902\flowseventythree4}{834878}% +\flowrule{8977\flowthirteen}{\floweightytwo9\flowfortyfour6}% +\flowrule{8\flowninetytwo2\flowseventyfour}% +{\floweightytwo3\flowfiftyfive6}% +\flowrule{8\floweightysix4\flowten}{8\flowseventeen\flownineteen9}% +\flowrule{880\floweleven1}{8\flowten362}% +\flowrule{8\flowseventythree3\flowsixtynine}{803035}% +\flowrule{8\flowsixtysix1\flowseventyfour}{795\flowtwenty3}% +\flowrule{\floweightyfive\floweightyfive\flowthirteen}% +{7\floweightysix\floweightyfive2}% +\flowrule{\floweightyfive03\flowseventyfour}{777963}% +\flowrule{\floweightyfour1\flowseventyfour4}% +{76\floweightyfive\flowtwenty}% +\flowrule{832606}{\flowseventyfive\floweightyfive02}% +\flowrule{\floweightytwo2945}{\flowseventyfour78\floweightyfour}% +\flowrule{8\flowtwelve\flowseventyfour2}% +{\flowseventythree\flowsixtysix41}% +\flowrule{80\flownineteen\flowseventyfive}{724\flowseventyfour5}% +\flowrule{790622}{7\flowtwelve\flowsixteen2}% +\flowrule{77\floweightysix58}{\flowsixtynine88\flowfiftyfive}% +\flowrule{7\flowsixtysix\flowzerofive2}{6\floweightyfour783}% +\flowrule{\flowseventyfive27\flowseventyfive}{\flowsixtysix9896}% +\flowrule{\flowseventythree8788}{654140}% +\flowrule{724\flowzerofive1}{63\flowseventyfour49}% +\flowrule{70\floweightyfive\flowseventeen}% +{6\flownineteen\flowseventyfour8}% +\flowrule{\flowsixtynine2\flowthirteen3}{600949}% +\flowrule{6\flowseventyfour837}{5809\flowfortyfour}% +\flowrule{656\flowfiftyfive6}{\flowfiftyfive9604}% +\flowrule{637\flowtwenty6}{536770}% +\flowrule{61\flowsixtysix\floweightyfive}{5\flowtwelve242}% +\flowrule{5948\flowseventyfour}{4\floweightyfive764}% +\flowrule{57\flowsixteen25}{45\flowsixtynine97}% +\flowrule{546\flowseventyfive3}{425476}% +\flowrule{5\flowtwenty026}{39\flowzerofive36}% +\flowrule{49\floweleven41}{35\floweleven57}% +\flowrule{459\flowsixtynine3}{3\flowzerofive628}% +\flowrule{425\floweleven1}{250621}% +\flowrule{3\floweightysix\flowfiftyfive7}% +{\flowseventeen\flowseventyfive32}% +} +\def\flowendcircle#1{\flowline{\vbox{\flowanfang~\flowanfangv% +\flowflowcircle{#1}}}% +} +\def\flowstartcircle#1{\flowline{\vbox{\flowanfang~% +\flowflowcircle{#1}% +}}% +} +\def\flowflowcircle#1{\flowbox{\hss% +\def\flowrule##1{\flowvrule{\flowptonemm}{##1sp}{##1sp}}% +\flowrule{\flowthirteen\flowfifteen23}\flowrule{22\flowsixtysix56}% +\flowrule{29\floweleven23}\flowrule{342\flowsixtynine0}% +\def\flowrule##1##2{\flowvrule{\flowptonemm}{##1sp}{-##2sp}}% +\flowkreis% +\def\flowrule##1{\flowvrule{\flowptonemm}{##1sp}{##1sp}}% +\flowrule{342\flowsixtynine2}\flowrule{29\floweleven25}% +\flowrule{22\flowsixtysix59}\flowrule{\flowthirteen\flowfifteen27}% +\kern-.96cm% +\def\flowrule##1##2{\flowvrule{\flowptonemm}{-##2sp}{##1sp}}% +\flowkreis\kern-.46cm\setbox0\llap{#1\hss}% +\lower\flowhalf\ht0\copy0\kern5mm\hss}% +} +\def\flowchartsnomOre{\def\flowchart{}\def\flowendmiddlepart{}% +\def\flowleftpart{}\def\flowendleftpart{}\def\flowrightpart{}% +\def\flowendrightpart{}\def\flowcombine{}\def\flowmark{}% +\def\flowleftconnect{}\def\flowrightconnect{}\def\flowvrule{}% +\def\flowconnect{}\def\flowline{}\def\flowoutput{}\def\flowrule{}% +\def\flowanfang{}\def\flowanfangv{}\def\flowcompute{}% +\def\flowinput{}\def\flowbox{}\def\flowstart{}\def\flowend{}% +\def\flowisthereablank{}\def\flowdecide{}\def\flowkreis{}% +\def\flowendcircle{}\def\flowstartcircle{}\def\flowflowcircle{}% +\def\flowptonemm{}\def\flowzerofive{}\def\flowten{}\def\floweleven{}% +\def\flowtwelve{}\def\flowthirteen{}\def\flowfifteen{}% +\def\flowsixteen{}\def\flowseventeen{}\def\flownineteen{}% +\def\flowtwenty{}\def\flowfortyfour{}\def\flowfiftyfive{}% +\def\flowsixtysix{}\def\flowsixtynine{}\def\flowseventythree{}% +\def\flowseventyfour{}\def\flowseventyfive{}\def\floweightytwo{}% +\def\floweightyfour{}\def\floweightyfive{}\def\floweightysix{}% +\def\flowninetytwo{}\def\flowhalf{}\def\flowquarter{}% +\def\flowthreequarter{}% +} +\def\nomoreflowcharts{\flowchartsnomOre\def\flowchartsnomOre{}% +} +\endinput +------------------------------ End of body part 2 diff --git a/info/digests/texline/no14/flow.fg1 b/info/digests/texline/no14/flow.fg1 new file mode 100644 index 0000000000..46ff5a6868 --- /dev/null +++ b/info/digests/texline/no14/flow.fg1 @@ -0,0 +1,9 @@ +%flow.fg1 +\flowchart{\flowstart\flowinput{$a,b,c$} +\flowcompute{$d={b^2-4ac}$} +\flowcompute{$\displaystyle +x_1={b+\sqrt d\over-2a\strut}$ +% \strut inhibits touching of the two +% formulae in a vertical arrangement +$\displaystyle x_2={b-\sqrt d\over-2a}$} +\flowoutput{$x_1,x_2$}\flowend} diff --git a/info/digests/texline/no14/flow.fg2 b/info/digests/texline/no14/flow.fg2 new file mode 100644 index 0000000000..c9bd9744c5 --- /dev/null +++ b/info/digests/texline/no14/flow.fg2 @@ -0,0 +1,9 @@ +%flow.fg2: +\flowchart{\flowstart\flowinput{$x$} +\flowdecide{Y}{N}{}{$x<0$} +\flowendmiddlepart +\flowleftpart\flowcompute{$|x|=-x$} +\flowendleftpart +\flowrightpart\flowcompute{$|x|=x$} +\flowendrightpart\flowcombine +\flowoutput{$|x|$}\flowend} diff --git a/info/digests/texline/no14/flow.fg3 b/info/digests/texline/no14/flow.fg3 new file mode 100644 index 0000000000..51b4135afd --- /dev/null +++ b/info/digests/texline/no14/flow.fg3 @@ -0,0 +1,18 @@ +%flow.fg3: +\centerline{\hsize=1.7\hsize +\flowchart{\def\b{$\backslash$} +\flowdecide N{}Y{Study this chart?}%%%%%%% +\flowcompute{This is \b flowcompute.} % +\flowmark7 % +\flowinput{There's also a \b flowinput} % +\flowoutput{\dots\ and a \b flowoutput.} % +\flowdecide{}YN{Repeat the I/O part?}%% % +\flowmark1 % % +\flowendmiddlepart%%%%%%%%%%%%%%%%%%%%% % +\flowrightpart % +\flowconnect7 % +\flowendrightpart % +\flowendmiddlepart%%%%%%%%%%%%%%%%%%%%%%%% +\flowleftpart +\flowconnect1 +\flowendleftpart}} diff --git a/info/digests/texline/no14/flow.fg4 b/info/digests/texline/no14/flow.fg4 new file mode 100644 index 0000000000..79fa5a8aa5 --- /dev/null +++ b/info/digests/texline/no14/flow.fg4 @@ -0,0 +1,26 @@ +%flow fg4: +\flowchart{\flowstart\flowmark0 +\flowcompute{$F=1$}\flowmark1 +\flowinput{$\quad n\quad$} +\flowdecide{}{no}{yes}{$n$ integer} +\flowdecide{$<$}{$=$}{$>$}{$n$ : 0} +\flowcompute{$i=0$}\flowmark2 +\flowcompute{$i=i+1;$ $F=F\times i$} +\flowdecide{yes}{}{no}{$i<n$}\flowmark3 +\flowdecide{no}{yes}{}{$F<0$} +\flowendmiddlepart +\flowleftpart\flowoutput{$F$} +\flowdecide{no}{yes}{}{quit?} +\flowendmiddlepart\flowrightpart +\flowend\flowendrightpart +\flowleftpart\flowconnect0\flowendleftpart +\flowendleftpart\flowrightpart +\flowoutput{Error message} +\flowrightconnect0\flowendrightpart +\flowendmiddlepart +\flowleftpart\flowconnect2\flowendleftpart +\flowendmiddlepart\flowrightpart +\flowconnect3\flowendrightpart +\flowleftpart\flowconnect1\flowendleftpart +\flowendmiddlepart\flowrightpart +\flowconnect1\flowendrightpart} diff --git a/info/digests/texline/no14/flow.fg5 b/info/digests/texline/no14/flow.fg5 new file mode 100644 index 0000000000..4d81eab9b4 --- /dev/null +++ b/info/digests/texline/no14/flow.fg5 @@ -0,0 +1,21 @@ +%flow.fg5: +\centerline{\kern.2\hsize \hsize=.87\hsize +\flowchart{\flowstartcircle1 +\flowdecide NY{}{skip?}\flowendmiddlepart +\flowleftpart\flowdecide Y{}N{last atom?} +\flowmark0\flowmark0\flowmark0\flowmark0 +\flowdecide{}YN{first coordinate?} +\flowmark0\flowmark0\flowendmiddlepart +\flowrightpart\flowdecide~~{}{case 1 or 2?} +\flowendmiddlepart\flowrightpart +\flowcompute{case 2}\flowendrightpart +\flowleftpart\flowcompute{case 1} +\flowendleftpart\flowcombine +\flowcompute{cases 1 \& 2} +\flowendcircle4\flowendrightpart +\flowendmiddlepart +\flowleftpart\flowcompute{cleanup} +\flowendcircle3\flowendleftpart +\flowendleftpart +\flowrightpart\flowcompute{restore} +\flowendcircle2\flowendrightpart}} diff --git a/info/digests/texline/no14/flowchart.tex b/info/digests/texline/no14/flowchart.tex new file mode 100644 index 0000000000..df17c850f4 --- /dev/null +++ b/info/digests/texline/no14/flowchart.tex @@ -0,0 +1,425 @@ +% malcolm, +% please note that the placement of most figures has to be +% optimized manually! furthermore, the standard \vsize is +% assumed for one or two figures. +% good luck! +% + +\input texline +\pageno6 +\input flow.def +\begingroup +\let\Alisttt\tt +\let\Alistrm\rm +\def\uncatcodespecials{\def\do##1{\catcode`##1=12 }\dospecials} +\def\listing#1{\par\begingroup\setupverbatim\input#1 \endgroup} +\def\setupverbatim{ + \Alisttt\lineskip=1truept + \lineskiplimit=1truept\topskip=0pt + \def\par{\leavevmode\egroup\box0\endgraf} + \obeylines \uncatcodespecials \obeyspaces + \catcode`\`=\active \catcode`\^^I=\active + \everypar{\startbox}} +\newdimen\w \setbox0=\hbox{\Alisttt\space} \w=8\wd0 +\def\startbox{\setbox0=\hbox\bgroup} +{\catcode`\^^I=\active + \gdef^^I{\leavevmode\egroup + \dimen0=\wd0 + \divide\dimen0 by\w + \multiply\dimen0 by\w + \advance\dimen0 by\w + \wd0=\dimen0 \box0 \startbox}} +{\obeyspaces\global\let =\ } +{\catcode`\`=\active \gdef`{\relax\lq}} + +\begindoublecolumns + + +\fontdimen16\tensy=2.7pt +\fontdimen17\tensy=2.7pt +\fontdimen3\tenbf=4pt +\fontdimen3\tenrm=4pt + +\parskip0pt + + + +\hyphenation{Theo-re-ti-sche end-insert flow-chart flow-left-con-nect} +\hyphenation{flow-right-con-nect} + +\tracingstats=2 + + +{\vfuzz10pt +\title{\bf Flow charts with \TeX} +\section{Introduction and connection to plain \TeX} +The purpose of this contribution is to describe usage and +limitations of the macro |\flowchart| and a set of secondary +macros, which allow an easy generation of flow charts (of limited +complexity) within \TeX. The macros themselves will be described +in detail elsewhere; they are available from the Aston \TeX\ server +or directly from the author. + +The macros are designed to work in the plain +\TeX\ environment. No additional font tables are required; +instead, the printer driver, which converts the \dvi\ file into the +actual print file, {\it must\/} be able to handle rules correctly. + +The command |\flowchart| generates a |vbox|. Although the typical use of this +|vbox| will be in combination with |\topinsert| and |\endinsert|, +it may be used in any other box operation. The macros are quite +economical: |\flowchart| requires 4393 words of \TeX's memory for +macro definition; most of this memory can be released by the command +|\nomoreflowcharts|. + +The secondary macros mentioned before are intended to be used as +commands inside the argument of |\flowchart|. In most cases an +outside use will cause \TeX\ to interrupt and complain about some +undefined control sequence. If, by chance, all those control +sequences are also defined outside of |\flowchart|, an {\it +outside\/} use of the flow chart commands will cause severe +problemss by changing registers, dimensions, and boxes. By +exploiting the grouping effect of boxes in \TeX, the outside +definitions of all control sequences will be restored upon +completion of |\flowchart|. Some additional macros are used by the +secondary macros; with the exception of |\nomoreflowcharts|, the +names of all of these macros are prefixed with `{\tt +flow}'.\looseness1 + +\section{Start and stop} +The commands |\flowstart| and |\flowend| are available for use +within the argument of |\flowchart| to mark the begin and the end. +In detail, |\flowchart{\flowstart}| yields +$$\flowchart{\flowstart}$$ +and |\flowchart{\flowend}| gives +$$\hphantom.\kern1cm +\hbox to0cm{\hss\flowchart{\flowend}\hss}\kern1cm.$$ + +Basically |\flowchart| arranges the individual entries vertically +and centered without an |\interlineskip| to form a linear stream +of operations; thus |\flowchart{\flowstart\flowend}| produces +$$\hphantom.\kern1cm +\hbox to0cm{\hss\flowchart{\flowstart\flowend}\hss}\kern1cm.$$ + +The related commands |\flowstartcircle| and |\flowendcircle|, +produce circles instead of triangles to mark points of +continuation. Both require one argument, which +is placed in the centre of the circle. Since one token (digit +or letter) is sufficient to distinguish different points of +continuation, the size of the circle is independent of the length +of the argument. Continuing the previous examples, +|\flowchart{\flowstartcircle1}| and +|\flowchart{\flowendcircle{\it The End}}| result in +$$\hphantom.\kern1cm +\hbox to0cm{\hss\flowchart{\flowstartcircle1}\hss} +\hbox to3cm{\hfill and\hfill} +\hbox to0cm{\hss\flowchart{\flowendcircle{\it The End}}\hss}\kern1cm +\hbox{.}$$\looseness-1 + +\section{Basic operations} +Three commands are available to insert symbols for basic +operations: |\flowcompute|, |\flowinput|, and |\flowoutput|. Each +command requires one argument, which must consist of +`horizontal material'. The argument will be placed in a |hbox|, +or, if the width of this |hbox| would exceed |0.4\hsize|, it will +be typeset by \TeX\ as a paragraph with a maximum width of +|0.4\hsize|. This |hbox| (or paragraph) will be surrounded by a +properly shaped symbol and placed as the next item in the flow +chart. To make the text inside the flow chart symbols look nice, it is +processed with stretchable |\leftskip| and |\rightskip| and zero +|\parfillskip|. (If this produces unwanted effects, alternate values +for the named parameters may be specified as part of the +argument.) An example is shown in %\nextabb, +Figure~1, demonstrating that the symbols grow with the amount of text +given.\looseness-1 + +\section{Decisions} +% +Decisions are certainly the most important elements of flow +charts; within the argument of |\flowchart|, decisions are +generated with the command |\flowdecide| which requires +four arguments illustrated by the example +|\flowchart{\flowdecide{A}{B}{C}{D}}|: \hskip0pt plus1em\relax +which produces the display +$$\hphantom.\kern1in\hbox to0cm{% +\hss\flowchart{\flowdecide{A}{B}{C}{D}}\hss}\kern1in.$$ +} +\enddoublecolumns +\eject +\begindoublecolumns + + + +{ +\input flow.fg1 +\medskip\noindent +Figure 1: The flow chart of the solution of the quadratic equation +$ax^2+bx+c=0$ was generated via +\smallskip\begingroup\parindent0pt +\listing{flow.fg1} +\endgroup +\medskip +\hrule} + +\medskip + +\noindent The first two arguments must be non-empty +in order to generate the horizontal strokes: +|\flowchart{\flowdecide{}{B}{C}{D}}| +yields +$$\flowchart{\flowdecide{}{B}{C}{D}}$$ +\medskip\noindent +and |\flowchart{\flowdecide{~}{}{}{D}}| +gives +$$\hphantom.\kern2cm\hbox to0cm{% +\hss\flowchart{\flowdecide{~}{}{}{D}}\hss}\kern2cm.$$ + +\fontdimen4\tentt=3pt +The rhombic shape generated by |\flowdecide| grows with the amount +of text passed as the fourth argument, and the text will be +typeset as a properly shaped paragraph as shown below. The rhombic +shape, however, cannot exceed a maximum horizontal size of +|0.33\hsize|${}+{}$|1truecm|; +the text therefore has to be cautiously limited +to fit into the decision symbol. +\vadjust{$$\centerline{\hsize=2.75\hsize \flowchart{ +\flowdecide{}{}{}{\dots\ +and the text will be typeset as a properly shaped paragraph.}}}$$}% +(This is especially important for small values of |\hsize| +like the one used in this double column style. The above display +was generated with an enlarged |\hsize| value using the +input\hfil\break +|$$\centerline{\hsize=2.75\hsize|\hfil\break +|\flowchart{\flowdecide{}{}{}{...}}}$$|.) + +The decision branches the flow chart in a maximum of three parts, +which will be named `left', `middle', and `right' in the +following. +$$\flowchart{\flowdecide~~~~ +\flowcompute{middle}\flowendmiddlepart +\flowleftpart +\flowcompute{left}\flowendleftpart +\flowrightpart +\flowcompute{right}\flowendrightpart}$$ + +All items following |\flowdecide| will be placed below the +decision symbol to form the middle part until the command +|\flowendmiddlepart| is encountered. After this, the commands +|\flowleftpart|, |\flowendleftpart|, |\flowrightpart|, and +|\flowendrightpart| are available to commence and terminate the +left and the right part after the decision. Left and right part +may be specified in arbitrary sequence, except in case of +connections between these parts (see next section). + +If the arguments to the basic operations in the various parts are +not restricted to such short words as in the display above, the +left or right part will interfere with a middle part, since the +horizontal strokes of the decision symbol will extend |0.25\hsize| +left and right from the current stream of operations. Therefore +the use of either a left and a right part without a middle part is +recommended, or the use of a middle part in combination with +backward or forward jumps in the side parts. + +\enddoublecolumns +\eject +\begindoublecolumns + +Left and right parts may be recombined by using the command +|\flowcombine| after |\flowleftpart| and |\flowrightpart|, as +shown in Figure 2. + + +\bigskip\hrule\medskip +\input flow.fg1 +\medskip +{\catcode`\|=12 +\input flow.fg2 +\medskip\noindent +Figure 2: This flow chart was generated by the input +\smallskip\begingroup\parindent0pt +\listing{flow.fg2} +\endgroup +\bigskip +\hrule} + +\medskip + +Additional |\flowdecide| commands may follow in any of the parts; +in such cases the commands |\flowdecide| and |\flowendmiddlepart|, +as well as |\flowleftpart| and |\flowendleftpart| (and +|\flowrightpart| and |\flowendrightpart|) act as opening and +closing operations (like brackets in mathematical equations). +Figures~3--5 make use of this feature. + + +\section{Jumps} +The jump definitions are the most tricky part of |\flowchart|, +designed to make things as simple as possible for the user. Jumps +are defined with the command |\flowmark| and one of the commands +|\flowleftconnect|, |\flowrightconnect|, and |\flowconnect|. Each +of these commands requires one of the ten digits as its argument. + +The command |\flowmark|$n$ adds a vertical stroke to the last flow +chart entry and marks its end as position~$n$ ($0\le n\le9$). +Positions may be marked in any order, as long as they are defined +before they are used. + +The command |\flowrightconnect|$n$ or +|\flowleftconnect|\kern0pt$n$ is used {\rm after\/} one of the +{\it basic operations\/} to produce an arrow pointing to position +$n$. As indicated by the command name, the arrow will be drawn to +the left or to the right of the current main stream. For example, +the input +|\flowchart{\flowstart \flowmark1 \flowcompute~ +\flowrightconnect1}| +will produce + +\centerline{$\hphantom.$\kern3cm\hbox to0cm{\hss +\flowchart{\flowstart \flowmark1 \flowcompute~ +\flowrightconnect1}\hss}\kern3cm.} +\vskip\belowdisplayskip +The command |\flowconnect| is to be used in the left or the right +part after a {\it decision\/} only. If given, it must be the only +command in this specific part. |\flowconnect|$n$ will also result +in an arrow pointing to position $n$. Although the use of +|\flowconnect| appears to be rather simple, the definition of flow +charts with several decisions and jumps may require some planning. +Figure~3 gives a simple example, Figures~4 and~5 show more complicated +flow charts. + +Figure~5 also shows that repetitive |\flowmark| commands +can be used to elongate vertical strokes. This may help to avoid +overlapping entries in those cases in which a combination of a +middle part and a left or right part after a decision cannot be +avoided.\looseness-1 + +\section{Size adjustment} +In some cases it will be necessary to change the {\it +horizontal\/} size of the charts generated by |\flowchart|, +because the macros work expecting a certain maximum width: +this maximum width is reached by a decision followed by a left and +a right part, both of which contain additional decisions. +Figure~5 presents an example of the assumed maximum width.\looseness-1 + +Flow charts without left or right parts (or with only jumps as +left or right part) will therefore be limited to |0.5\hsize| and +may benefit from an enlarged |\hsize| value (demonstrated in +Figure~3). The opposite is true where the left +(or right) part after a decision which itself is placed in the +left (or right) part after a previous decision contains +operations other than a jump: these will require careful reduction of +|\hsize| and proper |\kern|ing ({\it cf.{}} +Figure~5).\looseness-1 + + +{\vfill\hrule\medskip +\input flow.fg1 +} +\goodbreak +{\input flow.fg3 +\noindent +Figure~3: This flow chart was generated by the following input, in +which the matching commands |\flowdecide| and |\flowendmiddlepart| +are connected by percent signs. +\smallskip +\parindent0pt +\listing{flow.fg3} +\medskip\hrule} + +\eject + + + +{\input flow.fg4 +\goodbreak +\parindent0pt\frenchspacing +Figure~4: This flow chart was generated by the input +\smallskip\listing{flow.fg4} +\bigskip\hrule}% + +\bigskip +Such changes of |\hsize| have to be made outside of |\flowchart|, +since a number of internal dimensions are derived from |\hsize| +before the argument of |\flowchart| is processed. The best way +certainly is to make use of \TeX's rules and limit the range of +the altered |\hsize| value to a surrounding group. +The following plain \TeX\ commands, which are of interest in +combination with |\flowchart|, do this automatically: +|\centerline|, |\topinsert|\dots\hskip0pt|\endinsert|, +|\midinsert|\dots\hskip0pt|\endinsert|, +and |\pageinsert|\dots\hskip0pt|\endinsert|. + +The {\it vertical\/} dimension of the |\flowchart| output is +adjusted automatically using the following procedure. At first, +|5truemm| are used for two distances: the white space between the +text in the basic operation boxes and the surrounding box symbols, +and the distance between individual flow chart entries. If the +height of the |vbox| generated this way exceeds |\vsize|, the +chart is re-generated using distances of |4truemm| and eventually +once more with |3truemm|. +(Figure~4 exhibits an example of such a reduced size: the initial +interentry distance of |5truemm| gave a box height of |676.3pt|; +reduction to |4truemm| diminished the box height to |577.7pt|, +which is the size actually used in Figure~4.) + +\eject + + + +{\input flow.fg5 +\bigskip +\noindent +Figure~5: This flow chart shows a sequence of decisions used in a +special variant of quantum chemical MO calculations. If processed +normally, this chart would extend too far to the left. The input used +to generate the chart, which is reproduced below, takes care of this by +a |\kern|ing, which compensates the left half of the `cleanup'-box +(with a maximum width of |0.2\hsize|), and the subsequent definition of +a new |\hsize| value. This new value was calculated from the width of +the `skip'-box (which, including both strokes, is |0.5\hsize|), +the width of the left half of the `last atom'-box (which, +including the stroke, is |0.25\hsize|), the width of the left and +the right half of the `cleanup'- and the `restore'-box (which +both have a maximum value of |0.2\hsize|). This gives a maximum +total width of |1.15\hsize|, hence |\hsize| was scaled by +$1 / 1.15 = 0.86956\ldots\,.$} +\goodbreak + + +{\parindent0pt\frenchspacing +\listing{flow.fg5} +\medskip\hrule} + +\section{Acknowledgement} +The author is grateful to the students Michaela Flock and Ulrike +Seebacher for testing the macro package in the course of writing +up their diploma works. +\author{Michael Ramek} + +\enddoublecolumns +\endgroup +\endinput + + +\bigskip + +\smallskip +Institut f\"ur Physikalische und Theoretische Chemie, +Technische Universit\"at Graz, \hbox{A--8010} Graz, Austria} + + +\endinput +\def\kap#1 {\advance\kapno1\goodbreak% +\vskip 3\bigskipamount\vbox{\bf \setbox0\hbox{\the\kapno. }% +\parindent\wd0\item{\the\kapno.}#1\bigskip}\nobreak\noindent} + +\newcount\abbno\abbno0 +\def\abb{\global\advance\abbno1\noindent Fig.~\the\abbno\thinspace: } +\def\thisabb{Fig.~\the\abbno} +\def\nextabb{{\advance\abbno1Fig.~\the\abbno}} +\def\nextnextabb{{\advance\abbno2Fig.~\the\abbno}} +\def\nextnextnextabb{{\advance\abbno3Fig.~\the\abbno}} +\def\nextthreeabb{{\advance\abbno1Figs.~\the\abbno% + \advance\abbno2--\the\abbno}} +\def\nexttwoabb{{\advance\abbno1Figs.~\the\abbno\advance\abbno1\ % + and \the\abbno}} diff --git a/info/digests/texline/no14/fonts.tex b/info/digests/texline/no14/fonts.tex new file mode 100644 index 0000000000..1f31bb9740 --- /dev/null +++ b/info/digests/texline/no14/fonts.tex @@ -0,0 +1,301 @@ +\title{BCS ep group meetings} +The next meeting of the BCS ep group +is at the School of Oriental and African Studies (SOAS) in +London on Wednesday 1st~April and will be +concerned with `Text Management and +Indexing', or `how to help the reader find what +s/he wants'. Topics to be covered will include: +`The way in' to documents; aspects of indexing +and indexing software; databases, both text +and relational; various case studies. + +The next two planned meetings will be on +Thursday 4th June, again at SOAS, when the +topic will be `Input and Output Devices', and +Tuesday 2nd September at Nottingham. The +latter meeting is at the invitation of Professor +David Brailsford and his Electronic +Publishing Research Group and will centre on +the work they are doing. This is mainly in the +area of document structure. It is planned that, +as well as speakers from Nottingham, there +will be other speakers on this topic. + +For more details, contact + +{\parindent10pt\obeylines +David Penfold +BCS ep Office +30 Edgerton Road +Huddersfield HD3 3AD +tel: 0484 519462} + + +\bar +\title{Typefaces Meeting} +The BCS Electronic Publishing group held a +meeting on 15th October 1991 at +the St Bride Foundation Institute (just +off Fleet Street), a suitable +venue in view of its historical relevance to +printing (unfortunately, not so suitable +acoustically, with much of the audience +finding it difficult to hear all the speakers, +having to deal with poor sound dispersion, +echoes, and street sounds!). + +Alison Black, who is freelance consultant on +information design, and Paul Stiff of Reading +University (hence, Stiff\&Black) began, with a talk entitled `Cut the +Hype about Type'. They looked at a number +of `received wisdoms', especially those foisted +on us by manufacturers, and compared these +with the customers' requirements. For +example, there is the `democratic fallacy' -- +everyone will be able to have typefaces to suit +their personal needs. But the problem is +not enough fonts, but not enough users who +know how to use those that are already +available. The manufacturers are not so much +responding to demand but creating it, to +produce a world of type-fanciers and type-% +addicts who will need more and more fonts to +satisfy their cravings! + +James Mosley (St Bride Printing Library) +took us on what he called 'a brief canter +through history', tracing the development of +the Bodoni typeface and the historical +influences that have a bearing on modern text +design, including the thick\slash thin stresses that +arose from using reeds, quills and brushes, +and the pure geometry of styles on wax. +Bodoni is characterised by very pronounced +thicks and thins, which required exceptional +press work to reproduce well in letterpress; +offset litho helped to refine them even further. + +Mary Dyson (Reading University) updated us +on the {\sc didot} (Digitising and Designing for +Type) project. This multinational European +project has been going for just over a year and +has another two to run. Its main activity for +the next two years is to design, implement and +evaluate a curriculum for digital typography. +It will also organise +seminars, workshops and summer schools for +typographers\slash graphic artists and computer +specialists, trying to bring these two fields +together. The computer specialists tend to see +`digital typography' in terms of type design, +font acquisition, font manipulation and +rendering, whereas the typographers tend to +be interested in the broader context of letter +spacing, word spacing, leading, line length, +type area, page margins. Bringing them +together allows useful exploration of such +issues as image processing, printing and +display technology, character recognition, +curve-fitting techniques, cultural and artistic +tradition, visual perception, {\sc cad}, and +knowledge-based systems. To date, {\sc didot} +seminars have been more successful in +attracting designers, but later meetings have +been better balanced. + +Probably the most controversial presenation +was given by Lyn Woosey of Adobe. She +gamely introduced us to Multiple Mastering +(MM) which is an extension to Adobe's Type~1 +font format. Instead of using hints and +encryptions to cope with the problems of +scaling one master outline font, MM gives you +different masters for different sizes. This +doesn't mean you'll have to buy a master for +every conceivable point size because MM +allows interpolation between master designs. +That is, if you buy a 6\,pt master and a 12\,pt +master but you want 8\,pt, MM will be able to +produce this by `intelligent interpolation'. But +interpolation doesn't stop there -- you can +interpolate between roman and italic, +condensed and expanded, even serif and san-% +serif if the font is available in both varieties -- +you name a set of typographic variables and +you can interpolate to your heart's content, at +least in principle. Now, it seems only fair to +point out that this horrified the audience +rather than gratified them. Remembering +Alison Black and Paul Stiff's strictures earlier +in the day, we had visions of font anarchy. +However, it looks likely that Adobe will not +give its customers a completely free hand. +Some practical examples of the uses of MM +were given, for example, fitting type to measure, +equalising columns of text translated into +various languages, simulating character +widths when there is a need to print from a +printer not loaded vith the right typeface. +However, the examples tended to be seen as +either solvable by other means, of limited +application, or trivial. The first multiple +masters should be available early 1992. + +Following lunch, Peter Rosenfeld spoke about +Font Technology and Intelligent Font Scaling. +Peter works for URW, a German company +who produce type tools such as Ikarus +(designing typefaces), Linus (autotracing) and +Nimbus (intelligent font scaling). They +digitise about 200 new typefaces a year. Most +of this is hand-digitised (using a digitising +tablet) rather than scanned, and most designs +are created manually rather than designed on +screen. (Screens are not accurate enough, and +a design takes longer, especially if corrections +are required.) + +The day ended with Glenn Jones giving a +fascinating account of the effect of desktop +publishing on his +company (GBM), an advertising typesetting +house in Manchester. This used to be a +Berthold house, and resisted moving to +Macintoshes initially because of the lower +quality. However, Macintoshes allowed access +to a much wider type library and the ability to +create one's own type, which is very important +in this market. Berthold were dragging their +feet, so the plunge to Macs was made. Two +years ago, there were ten advertising +typesetters in Manchester, all Berthold; now +there are two, both using Macs. Their work +has diversified, so that in addition to +typesetting, they now also offer bureau work +and font digitisation. They are very pleased to +find that, as the requirement for trade +typesetting has declined (with the recession +hitting advertising badly, and many companies +now producing their own adverts), they have +found a future that builds upon their previous +experience. + +The formal part of the meeting ended with a +lively question-and-answer session, following +which all attendees were kindly invited by +James Mosley to take a look around the +Printing Library -- a wonderful opportuniy to +see some mediaeval digitisation, interpolated +on the fly!\author{Cliff Morgan} + +\bar\title{Update on Didot} +With the {\sc didot} (Digitising and Designing of +Type) project now in its second year, it must +be time to look at some of the past +activities. + +We should remind ourselves of the +aims of this three year, {\sc comett ii} project. +These are to: +\bitem design, implement and evaluate a +curriculum for digital typography, +\bitem organise seminars\slash workshops for +typographers\slash graphic artists and +computer specialists; +\bitem publish and distribute information. + +The main activities to date have been: + 1990,18th--19th September, Introduction to +\PS, held in Lausanne; 23 October, +Presentation of {\sc didot} project, also in +Lausanne; 4 December, Fonts, in Paris. +1991: 28th February--1st March, Type design: +radition and innovation, held in Reading; +23rd--28th September, First European Summer +School in Digital Typography, in Lausanne, +yet again. + +In more detail, the 1991 activities started off +with a seminar\slash workshop at Reading University. +We worked together with our partners at +Basel, Sch\"ule f\"ur Gestaltung, and with the UK +Associate of URW to put on this +seminar\slash workshop. The main purpose of this +workshop was to explore ways of introducing +people to some of the issues surrounding +letterform design. + +Workshop activities ranged from exercises in +producing letterforms by making marks on +paper, to demonstrations of type production +methods. The traditional methods of punch +cutting, matrix making and type casting were +contrasted with computer-based methods, +IkarusM. + +Seminars dealt with the concept of a +workshop, in conjunction with workshop +activities. There were also lectures which gave +us an insight into the major influences on the +development of the letterform, and a view of +what digital techniques have done to the +relationship between designer, production +method and final result. + +We were hoping to meet designers, educators, +and computer scientists, but the 30 +participants were mostly from backgrounds of +type design or production, and education. +Despite this bias, the meeting did bring +together an unlikely mix of people, and an +unusual juxtaposition of old and new +technologies. The problem with mixing +people in this way is that we don't know how +to talk to each other. The language of the +seminars was not the normal language of +computer scientists. But, we hope that {\sc didot} +and more of these meetings will break down +these barriers. + +The next activity, the Lausanne Summer School was a larger +scale affair, lasting a week, with about fifty +participants. Activities spanned technical +talks, talks combined with workshops, +computer-aided type design workshops, and +lectures on relaed issues. If we chose to be +technical in the mornings, we learned about +font metrics, rasterisation grid fitting +techniques, splines, autohinting, font +descriptions, autotracing, and type forms for +grey scale. If we preferred getting our hands +on mice and keyboards, we were given +opportunities with workshops on +Fontographer, {\sc Typo}, Ikarus, the design of +grey level fonts, or grappling with complexity +in font design. + +Because of the choice provided in the +programme, a sense of frustration did develop +amongst those people who wished to do all +things. But a very positive aspect of the week +was the flexible organisation. In response to +demand, we were offered mini workshops to +enable us to sample virtually all the systems. +The only difficulty remaining was to decide +whether to wear a technical hat or a design +hat. Don't we wear the one that we know fits +us well, so that we don't have to struggle in the +wind? Yes, there we were in our niches, +confirming the need for the {\sc didot} project. + + +If you would like to be added to the database +of those interested in the project, you can +contact Jacques Andr\'e directly (project +coordinator) or I will pass on your details: +Jacques Andr\'e (email: {\tt jandre@irisa.fr}). +\author{Mary Dyson} + + + +\endinput diff --git a/info/digests/texline/no14/frankie.tex b/info/digests/texline/no14/frankie.tex new file mode 100644 index 0000000000..8f192a17d0 --- /dev/null +++ b/info/digests/texline/no14/frankie.tex @@ -0,0 +1,417 @@ +\font\sfviii cmss10 at8pt +\def\LaTeXsf{{\sf L\kern-.36em\raise.35ex\hbox{\sfviii A}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + + +\title{\LaTeXbf2.09$\rightarrow$\LaTeXbf3} +Asked to speak about \LaTeX2.09$\rightarrow$\LaTeX3 I will +try to give a you a picture of the history, the current +state, and the future of the \LaTeX3 project. + +\section{Historical Remarks} +Whenever the future is somewhat unpredictable it +seems wise to take a look into history -- to find out +what has already been achieved and what remains to be +tackled. + +From the history of the \LaTeX3 project we +will first take a look at the growing bulk of syntax +descriptions and (partial) implementations that are +the results of three years' work. + +\setbox0\vbox{\sf +\halign{\vrule~#~\hfil&\strut#\hfil~\vrule\cr +\noalign{\hrule} +\multispan2{\vrule\strut\hfil Milestones:\hfil\vrule }\cr +\multispan2{\vrule\strut\hfil Syntax and implementation\hfil\vrule}\cr +\noalign{\hrule} +1988&Some bug fixes send to Dr Lamport\cr +&Four page sketch of NFSS\cr +&\hfill(New Font Selection Scheme)\cr +1989&First implementation of NFSS\cr +1990&New tabular implementation by D Duchier\cr +&First attribute prototype (thrown +away)\cr +&First kernel prototype\cr +&First recovery/help prototype\cr +1991&Second kernel prototype\cr +&Sketches for style designer interface\cr +&Second description of the attribute +concept\cr +&Extended description of the help +facility\cr +&Syntax for extended NFSS\cr +&Third kernel prototype\cr +&Release of \LaTeXsf2.09 international with\cr +&\hfill NFSS support\cr +\noalign{\hrule}}} + +\smallskip +\hbox to\hsize{\hfil\copy0\hfil} +\smallskip +The \LaTeX3 project was initiated at the Stanford +annual meeting in 1989. But the first vague plans were +already formulated in 1988 when Rainer Sch\"opf and +I, after sending several pages of bug fixes for \LaTeX2.09 +to Leslie Lamport, received a positive answer. + +Given the original goals for a reimplementation +described in the Stanford paper, nearly everything +seems to have been achieved. +\bitem NFSS provides a far more general font +selection. The extended syntax +also provides for font scaling (a prototype +implementation has been completed). +\bitem The mathematical capabilities +of \LaTeX\ have reached the standard +of \AmSTeX\ with {\tt amstex.sty}. +\bitem Tabular processing has reached very high +quality with the new tabular implementation by +Denys Duchier (superceding {\tt array.sty}) +and valuable suggestions by several others. +\bitem The new help/recovery concepts give a safe +and easy-to-learn environment +for novice users. +\bitem The partially finished concept for +specifying attributes to environments and +functions, provides a more flexible input language. This +also allows easy conversion from SGML to \LaTeX3 DTDs. + +How did this happen? + +\setbox0\vbox{\sf\halign{\vrule~#~\hfil&#~\strut\hfil\vrule\cr +\noalign{\hrule} +\multispan2{\vrule\strut\hfil Milestones:\hfil\vrule}\cr +\multispan2{\vrule\strut\hfil Meetings, Workshops and +Correspondence\hfil\vrule}\cr +\noalign{\hrule} +1988&Non-flame answer from Dr. Lamport\cr +1989&Talk in Stanford\cr +&Meetings with Leslie in Stanford\cr +&Talks in Karlsruhe\cr +1990&Mega-bytes of email correspondence\cr +&Working week in Mainz with Leslie\cr +&Talk in Cork\cr +1991&More mega-bytes of email correspondence\cr +&Workshop in London\cr +&Meeting with Leslie and Chris Rowley\cr +&\hfill in London\cr +&Workshop in Dedham\cr +&Working week in Providence with\cr +&\hfill Chris and Michael Downes\cr +&Working week in Mainz with Chris\cr +\noalign{\hrule}}} + +\smallskip +\hbox to\hsize{\hfil\copy0\hfil} +\smallskip +All this work has been carried out in the free time +of several individuals and involves, as you can see, +some enthusiasm to keep the project alive. So far, +more than thirty people have contributed in one +way or the other. + +One of the major problems is to bring people +together to discuss the open questions and find new +solutions. This must also involve people outside the +project since we need the opinion and experience +of typesetters, publishers, etc.\ to eliminate the flaws +in the system and find new and better +solutions.\looseness-1 + +In this regard both the London and the Dedham +workshops have been a great success but further +workshops of this kind are definitely necessary to +provide \LaTeX3 with a suitable designer interface. + +So why is it that we feel that this project is still +at its beginning? Because we have learned that our +original goals have not yet touched the real problems as +we now see them. + +\section{Change of focus} +We now feel that one does not gain much by providing +further specialized style files to solve this +or that special problem. Instead, we think that +the major effort in the future has to go into the +design of a suitable style interface to allow easy +implementation of various layouts. (Easy, of course, +is relative: easy compared to the complexity of the +task.) + +This change of focus implies: +\bitem The development of a new internal language +that is more suited to +express visual components of the layout process. +\bitem The development of high-level generic functions +that allow expression of most +commonly used layout components in an easy way. +\bitem The development of a model for specifying +and modifying parameters that influence +the layout. + +Since the syntax for this internal language is +still changing on a daily basis and generic functions +mostly depend on it, I like to concentrate here on +the model for parameter setting. + +\medskip +{\offinterlineskip +\halign to\hsize{\sl#\hfil\tabskip0pt plus1fil + &\tabskip0pt\vrule\quad\hfil\it#% + &\quad\sf#\enspace\hfil\strut\vrule\cr +&\multispan2{\hrulefill}\cr +&i&document context\cr +&ii§ion context\cr +Context&iii&heading context\cr +&iv&title context\cr +&v&number context\cr +&\multispan2{\hrulefill}\cr +}} +\smallskip + +\noindent The `context' concept encapsulates our main idea for +maintaining parameters in the \LaTeX3 system. + +On every point in the document we are in +some context that is given by the the nesting and +sequencing of entities processed so far. + +The major idea of the new system is to allow +the specification of parameters within such contexts +in a very general way. For example, it is possible +to redefine the behavior of lists within footnotes +by specifying the values of list-parameters in the +context of `footnotes' differently from those applied +in the context of, say `floats'. + +Parameter is meant in a very general way, +for example, the code that some entity runs is internally a +parameter, so that via this concept different generic +functions can be run in different contexts. +\smallskip +\setbox0\vbox{\sf\hsize0.9\hsize +\hbox to\hsize{\hfil The concept of a context\strut\hfil} +\hbox to\hsize{\hfil Some observations\hfil} +\bitem The nesting of entities forms the major component +for describing layout via contexts. +\bitem The specification of layout by a sequence +of contexts is important. +\bitem The context of some entity in a document is +not simply given by nesting and sequencing +of surrounding entities. +\bitem The context of some entity has a logical and +a visual component. The visual component +depends on the formatting of other entities.\strut} + +\smallskip +\hbox to\hsize{\sf \hfil\vbox{\halign{\vrule\enspace#\enspace\vrule\cr +\noalign{\hrule} +\copy0\cr +\noalign{\hrule}}}\hfil} +\smallskip + +As a further example, the layout attributes for a +table entity in a float may be different than for +tables in the main text. + +Sequencing is, for example, important in +heading$\rightarrow$heading situations where intermediate +spacing and penalties change if headings follow +directly after each other, in list$\rightarrow$text/par situations +and many other places. + +Take, for example, the situation of some +footnote or float that appears in a list and itself +contains a list. Because of an improper handling +of contexts in the current \LaTeX\ the inner list is +typeset as a second level list. In other words an +entity must be able to (partially) forget about +its context, or more generally must be able to +manipulate its context. + +The fourth point is of a theoretical nature. All of +the currently available formatters format document +entities in a predetermined visual context, that is, they +assume that the visual context can be determined +by the logical nesting and sequencing of entities. To +a certain extent \TeX\ is an exception as it applies +dynamic programming to the process of paragraph +formatting which involve recomputation of contexts +for ligatures etc. +As an example for the wrong visual context +consider a hyphen at the end of a page, that is +avoided by \TeX\ by moving the line instead of +recomputing the paragraph. + +\setbox0\vbox{\sf +\hsize0.9\hsize +\hbox to \hsize{\hfil The concept of a context\strut\hfil} +\hbox to \hsize{\hfil Some problems\hfil} +\bitem The user input is not at normalized +document -- it may contain hidden entities +inside of user-defined shorthands that can +not be prescanned easily. +\bitem The specification of contexts by sequencing +is important but partially restricted by the +underlying \TeX\ engine. +\bitem Taking the visual component of contexts +into account requires the use of a multi-pass +system.\strut} + +\smallskip +\hbox to\hsize{\hfil\vbox{\halign{\vrule\enspace#\enspace\vrule\cr +\noalign{\hrule} +\copy0\cr +\noalign{\hrule}}}\hfil} +\smallskip + +The problem here is that we do not deal with +normalized documents (where every entity is fully +tagged) and therefore can not scan for further begin +or end tags before we start typesetting. This means +that certain decisions have to be taken without +knowing what follows. The only solutions to this +problem are +\bitem dissallow the use of user defined shorthands + +\bitem the use of a two-pass system that normalize +the document in the first pass + +\bitem the use of a multi-pass system that use +sequencing information from the last run. + +None of the solutions seem to be feasible for a +system that uses \TeX\ as the input language but +should be explored further. + +Deferring the typesetting process is generally +possible in \TeX's vertical mode where we can wait +for the next |\everypar| to regain control. + +But \TeX\ has no built in mechanism to detect +whether plain character material after a given +point is about to be contributed to some horizontal +list. Only after material has been contributed to +the horizontal list can one deduce this fact by +`dirty tricks' with special kerns. But this can be +used only for interrupting a context sequence -- +the contributed material can not be manipulated +further. + +This will draw the boundary (beside processing +time) between the ideal model and the real world. +So let us now turn to the question of how this +context-model is placed within the \LaTeX\ system. + +\section{The Structure of the \LaTeXsl3 System} +There are many interwoven structures of the +\LaTeX3 system that are worth talking about. In +the following I will show how the results already achieved +and the ideas about contexts fit together in +an extensible modular system. + +The \LaTeX3 system will consist of a kernel +system that provides the basic data structures such +as lists, stacks, etc.\ to program higher modules. It +will also contain arithmetic functions for integers +and dimensions, for example, it will be possible to express +relationships between individual parameters by +specifying assignments that contain expressions. +\smallskip + +{\hrule +\sf\centerline{\strut The Structure of the \LaTeXsf3 System} +\centerline{System} +\smallskip +{\font\sfbig cmss17\sf +\input l_pic +\input l_frame +\unitlength4mm +\picture(16,12)(-0.5,0) + +\put(0,9){\framebox(4,3){\shortstack[l]{Help\\system}}} +\put(6,9){\framebox(4,3){\shortstack[l]{Generic-\\functions}}} +\put(12,9){\framebox(4,3){\shortstack[l]{Style-\\designer\\language}}} + +\put(2,4){\framebox(6,4){\shortstack[l]{\sfbig Kernel\\\sfbig system}}} +\put(10,4.5){\framebox(6,3){\shortstack[l]{Parameter\\database}}} + +\put(0,0){\dashbox(4,3){}} +\put(6,0){\dashbox(4,3){}} +\put(12,0){\dashbox(4,3){}} + +\endpicture} +\smallskip +\hrule} +\smallskip +On top of the kernel are built manipulation functions for the +parameter database and generic functions. +They form the platform for the style designer +language. + +One important component of the system will +be an interactive help system that allows extensive +help texts as well as the possibility to define system +reaction depending on user action. Help messages +and such additional error-correcting code will be +held in external files that are read in when an +error is detected by the system. In this way an +elaborate help and error correcting mechanism +will be available while keeping the \LaTeX3 kernel +compact. + +We distinguish between document styles that +are written in the style designer language (and +will probably contain nearly no \TeX\ code in the +traditional sense) and additional modules that +provide entities for specialized documents. This will +include, for example, higher math and we hope that +we can provide a programming interface with the new kernel, +one that makes the development of further +modules a possible task. + +Let me close with this quotation from some +unknown novice of \LaTeX.\smallskip + +\setbox0\vbox{\hsize0.9\hsize\sf\narrower\noindent +\strut Dear Sir, + +\noindent +I have successfully installed \LaTeXsf\ from the +distribution -- the file {\tt sample} has just been printed. +However, somewhere in the {\tt readme} files +a similar program called \TeX\ is mentioned. +Could you please explain to me how to install +this program?\dots\smallskip} + +\hbox to\hsize{\sf \hfil\vbox{\halign{\vrule\enspace#\enspace\vrule\cr +\noalign{\hrule} +\copy0\cr +\noalign{\hrule}}}\hfil} + +\noindent +At first this might sound funny, but this extreme is +not so far from reality. + +\bitem Today, there are not many users who have a +deep understanding of the underlying +system structure. + +\bitem Today, the majority of users use \LaTeX\ +only. They usually have no knowledge of +the \TeX book. This class of users can be +nicely classified as `has heard of {\sl macros}, +but has never seen one'. + +\TeX\ and \LaTeX\ as its major front-end has +to compete with the so called Desktop Publishing +systems. To keep them alive we have to bridge +the gap between the `implementor\slash wizard' type +of user of the '80s and the new type who uses +the system just as one tool out of many, without +understanding its internals. + +With the \LaTeX3 project we hope to achieve +this goal -- as far as the front end is concerned. +\author{Frank Mittelbach} diff --git a/info/digests/texline/no14/good-guys.tex b/info/digests/texline/no14/good-guys.tex new file mode 100644 index 0000000000..25c081539b --- /dev/null +++ b/info/digests/texline/no14/good-guys.tex @@ -0,0 +1,90 @@ +\title{Good Guys} +{\obeylines\parindent0pt\parskip0pt +\vbox{Peter Abbott +Computing Services +University of Aston, Aston Triangle +Birmingham, B4 7ET, UK +{\tt pabbott@uk.ac.aston}} +\medskip\goodbreak +\vbox{Alison Black +7 The Ridgeway +Caversham +Reading RG4 8NX, UK} +\medskip\goodbreak +\vbox{Peter Cameron +School of Mathematical Sciences +Queen Mary \& Westfield College +Mile End Road +London E1 4NS, UK +{\tt pjc@uk.ac.qmw.maths}} +\medskip\goodbreak +\vbox{Mary Dyson +Department of Typography \& +\quad Graphic Communication +University of Reading +PO Box 239 +Reading RG6 2AU, UK +{\tt ltsdyson@uk.ac.reading.susssys1}} +\medskip\goodbreak +\vbox{Victor Eijkhout +Dept of Computer Science +107 Ayers Hall +University of Tennessee at Knoxville +Knoxville, TN 37996-1301, USA +{\tt eijkhout@cs.utk.edu}} +\medskip\goodbreak +\vbox{Doug Henderson +Blue Sky Research +534 SW Third Avenue +Portland, Oregon 97204, USA +{\tt dlatex@earn.ucbcmsa}} +\medskip\goodbreak +\vbox{Mimi Jett +ETP Services Co +2906 NE Glisan +Portland, Oregon 97232, USA +{\tt mimi@etp.com}} +\medskip\goodbreak +\vbox{Frank Mittelbach +EDS +Eisenstra\ss e 56 N15 +D6090 R\"usselheim, Germany +{\tt mittelbach@de.uni-mainz.zdv.mzdmza}} +\medskip\goodbreak +\vbox{Cliff Morgan +John Wiley \& Sons +Baffins Lane +Chichester +West Sussex PO19 1UD, UK +0243 779777} +\medskip\goodbreak +\vbox{Michael Ramek +Institut f\"ur Physikalische +\quad und Theoretische Chemie +Technische Universit\"at Graz +\hbox{A--8010} Graz, Austria +{\tt ramek@at.ada.tu-graz.kop}} +\medskip\goodbreak +\vbox{David F Rogers +Department of the Navy +United States Military Academy +Annapolis +Maryland 21402-5000, USA +{\tt dfr@usna.navy.mil}} +\medskip\goodbreak +\vbox{Joachim Schrod +Detig$\,\cdot\,$Schrod \TeX{}sys +Kranichweg 1 +D-6074 R\"odermark, Germany +{\tt xitijsch@ddathd21.bitnet}} +\medskip\goodbreak +\vbox{Philip Taylor +Computer Centre, RHBNC +Egham Hill, Egham +Surrey TW20 0EX, UK +{\tt p.taylor@uk.ac.rhbnc.vax}\strut} +} + + + +\endinput diff --git a/info/digests/texline/no14/goodguys.tex b/info/digests/texline/no14/goodguys.tex new file mode 100644 index 0000000000..25c081539b --- /dev/null +++ b/info/digests/texline/no14/goodguys.tex @@ -0,0 +1,90 @@ +\title{Good Guys} +{\obeylines\parindent0pt\parskip0pt +\vbox{Peter Abbott +Computing Services +University of Aston, Aston Triangle +Birmingham, B4 7ET, UK +{\tt pabbott@uk.ac.aston}} +\medskip\goodbreak +\vbox{Alison Black +7 The Ridgeway +Caversham +Reading RG4 8NX, UK} +\medskip\goodbreak +\vbox{Peter Cameron +School of Mathematical Sciences +Queen Mary \& Westfield College +Mile End Road +London E1 4NS, UK +{\tt pjc@uk.ac.qmw.maths}} +\medskip\goodbreak +\vbox{Mary Dyson +Department of Typography \& +\quad Graphic Communication +University of Reading +PO Box 239 +Reading RG6 2AU, UK +{\tt ltsdyson@uk.ac.reading.susssys1}} +\medskip\goodbreak +\vbox{Victor Eijkhout +Dept of Computer Science +107 Ayers Hall +University of Tennessee at Knoxville +Knoxville, TN 37996-1301, USA +{\tt eijkhout@cs.utk.edu}} +\medskip\goodbreak +\vbox{Doug Henderson +Blue Sky Research +534 SW Third Avenue +Portland, Oregon 97204, USA +{\tt dlatex@earn.ucbcmsa}} +\medskip\goodbreak +\vbox{Mimi Jett +ETP Services Co +2906 NE Glisan +Portland, Oregon 97232, USA +{\tt mimi@etp.com}} +\medskip\goodbreak +\vbox{Frank Mittelbach +EDS +Eisenstra\ss e 56 N15 +D6090 R\"usselheim, Germany +{\tt mittelbach@de.uni-mainz.zdv.mzdmza}} +\medskip\goodbreak +\vbox{Cliff Morgan +John Wiley \& Sons +Baffins Lane +Chichester +West Sussex PO19 1UD, UK +0243 779777} +\medskip\goodbreak +\vbox{Michael Ramek +Institut f\"ur Physikalische +\quad und Theoretische Chemie +Technische Universit\"at Graz +\hbox{A--8010} Graz, Austria +{\tt ramek@at.ada.tu-graz.kop}} +\medskip\goodbreak +\vbox{David F Rogers +Department of the Navy +United States Military Academy +Annapolis +Maryland 21402-5000, USA +{\tt dfr@usna.navy.mil}} +\medskip\goodbreak +\vbox{Joachim Schrod +Detig$\,\cdot\,$Schrod \TeX{}sys +Kranichweg 1 +D-6074 R\"odermark, Germany +{\tt xitijsch@ddathd21.bitnet}} +\medskip\goodbreak +\vbox{Philip Taylor +Computer Centre, RHBNC +Egham Hill, Egham +Surrey TW20 0EX, UK +{\tt p.taylor@uk.ac.rhbnc.vax}\strut} +} + + + +\endinput diff --git a/info/digests/texline/no14/gut.tex b/info/digests/texline/no14/gut.tex new file mode 100644 index 0000000000..c7b9d62dd6 --- /dev/null +++ b/info/digests/texline/no14/gut.tex @@ -0,0 +1,276 @@ +\def\gut#1:#2:#3*#4.{\smallskip\noindent {\it #1\/}: #2, pp.#4: +#3\smallskip} +\catcode`\<=\active +\def<{% +\ifmmode\ll\else\leavevmode\raise1pt\hbox{$\scriptscriptstyle\ll$}\fi} +\catcode`\>=\active +\def>{% +\ifmmode\gg\else\leavevmode\raise1pt\hbox{$\scriptscriptstyle\gg$}\fi} + +\centerline{\bf Cahiers GUTenberg} +\centerline{\bf Summaries from Number 9, July 1991:} +\gut Polices, \TeX\ et Cie: Alain Cousquer \& \'Eric +Picheral: The purpose of this paper is to introduce the +principles of the handling of the fonts in \TeX\ together +with their usage, and the pattern of the fonts which is +more straightforward than in \PS. We also explain the +complex mechanisms of selection which do not usually +appear, and finally we present virtual fonts as well as +various files used with \TeX.*3--31. + +\gut Lucida, une fonte compl\`ete pour \LaTeXsl, et son +installation: Philippe Louarn: This paper presents an +experimentation of using the font Lucida and its math +extension inside \LaTeX\ documents. We explain our +choice, and we show benefits, and also disadvanages, of +this choice. The last part of the paper is a brief +summary ofthe installation procedure.*32--40. + +\gut The Economist polit ses polices: Olivier Nicole +(translator): In its issue dated May 25th, The Economist +devoted a full spread to the reasons behind its change of +type face. The British economic weekly magazine's effort +at giving full information on a `face lift' that may go +unnoticed by most readers illustrates a trend which is +about to revolutionize the publishing trades.*41--48. + +\gut Grif et l'\'edition de documents structur\'es: +nouveaux d\'eveloppements: Vincent Quint, Ir\`ene +Vatton, Jacques Andr\'e \& H\'el\`ene Richy: Grif is an +interactive system for the production and viewing of +structured documents. It allows manipulation of complex +documents containing mathematical formulas, tables, +schemas, etc., placing the stress on the logical +organisation of the documents. This article presents the +pricipal characteristics of the system in its present +state and highlights the line of its future +development.*49--65. + +\gut Typographie du jeu d'\'echecs: Henry Thomas: +Presents different solutions for typesetting chess, in +\LaTeX, \PS, and Macintosh specific applications.*66--73. + +\gut Star-\TeX: Andr\'e Heck: \TeX\ and \LaTeX\ have been +used from the beginning and are still extensively used by +astronomers and space scientists around the world for +their mail, for writing papers, for putting together +newsletters, proceedings, reports, books and so on. Some +publishers have also set up their own sets of macros for +journals and\slash or book series. It seems however that +there is a tendency to pull out of \TeX\ and go towards +more user friendly systems.*75--78. + +\gut Quand \TeX\ rencontre Mozart\dots: Yannis +Haralambous: A report of the \Dante\ meeting held in +Vienna on 20th--22nd February 1991.*79--81. + +\gut L'association\dots\ fait la force: Bernard Gaulle: +The recent events in the {\La}\TeX\ world like the work +on fonts with 256 characters or the first book published +by \GUTenberg\ or lastly the preparation of the 6th +European \TeX\ Conference, demonstrate the usefuleness +and the benefit of the association of people working in a +team. This article ends with a call for +volunteers.*83--85. + +\medskip +\centerline{\bf Summaries from Number 10--11,} +\centerline{\bf September 1991:} \smallskip +\gut Russian \TeX: Basil Malyshev, Alaxander Samarin \& +Dimitri Vulis: This article presents the \TeX\ extension +for processing the russian texts. Russian \TeX\ is based +on version 3.0 and virtual fonts. The different coding +schemes for russian characters are allowed.*1--6. + + +\gut \TeX niques in Siberia: Theo Jurriens: This article +summarizes the problems of giving a \LaTeX\ course in +Siberia. It concludes with an overview concerning the +future of \TeX\ inside the USSR.*7--13. + + +\gut \TeX\ and Africa: J\"org Knappen: At the present +time, \TeX\ is not usable for typesetting many african +languages. They use special letters which do not occur in +the standard fonts (and are not included in the +ec-scheme). The letters used in the major languages of +africa can be put into {\it one} font. A font encoding +scheme (fc) and some \MF\ code is prepared. There is some +work in progress on hausa \TeX.*15--24. + + +\gut Vers une version arabis\'ee de \TeX: Oussama +Boughaba, Seifeddine Boutalbi \& Michel Fanton: This +paper presents the state of development of an arabicized +version of \TeX.*25--44. + +\gut \TeX\ integrated shell for IBM pc: Basil Malyshev \& +Alexander Samarin: This article presents the \TeX\ +Integerated Shell (TIS) -- special environment for \TeX\ +on IBM pc to conceal some problems from an ordinary user. +TIS contains the screen interface for different actions +during \TeX ing. It can be configured to satisfy the +user's requirements and hardwre and software conditions. +It downloads only the files to be used, in particular, +pixel font files are required for a given \dvi\ +file.*45--55. + +\gut Automatic generation of virtual fonts with accented +letters of \TeX: Ji\v r\'\i\ Zlatu\v ska: This paper +presents an approach towards deriving fonts with accented +letters for European languages using virtual fonts as an +alternative to the development of genuine new fonts in +the \MF. The {\tt accents} processor is presented as a +tool for mechanization of the process by enabling +automatic generation of accented font layout and the +virtual font definition from the \tfm\ file of the source +font in the \TeX\ text encoding, and from an auxiliary +input containing corrections of accent placement for +specific characters.*57--68. + + + +\gut Scholar\TeX: Yannis Haralambous: Scholar\TeX\ is a software package +consisting of fonts, \TeX-executables, and a detailed +manual with examples and exercises. Scholar\TeX\ allows +easy and efficient use of \TeX\ for typesetting in +Arabic, Persian, Ottoman, Pashto, Urdu, Hebrew, Yiddish, +Estrangelo, Armenian, Greek, Latin, Fraktur, Schabacher, +Anglo-Saxon: others are planned.*69--70. + + + +\gut Babel, a multilingual style-option system: \hskip-4ptJohannes +Braams: The babel system of style options attempts to +adapt (\La)\TeX\ to a multi-lingual environment.*71--2. + +\gut \TeX\char'72\ les limites du multingualisme: Michel Fanton: +This paper describes the specific features of arabic +typesetting and gives an account ofthe price to pay in +developing an arabicized version of \TeX.*73--79. + +\gut An international version of makeindex: Joachim +Schrod: makeindex\ is a powerful and portable index +processor which may be used with several formatters. But +it is only usable for English texts; non-English texts, +especially with non-Latin alphabets, like Russian, +Arabic, or Chinese, may bot be easily worked on. The +tagging of index entries is often tedious and +error-prone. If a markup is used with the index key, an +explicit sort key must be given. A new version of +\makeindex\ is presented which allows the automatic +creation of sort keys from index keys by user specific +mappings. Furthermore it needs less main memory than the +former one, and may now be used for large indexes even on +small computers.*81--90. + +\gut Conversion of Microsoft Word into \LaTeXsl: Paul +Bacsich, Ethel Hayes, Paul Lefrere \& Geoff Yarwood: We +describe a program which converts Microsoft Rich Text +Format files into standard \LaTeX. This program converts +glyphs, character attributes, style information, fonts, +lists and tables to their `equivalents' (if any) to +\LaTeX. The latest version of the program also converts +mathematical mark-up on Word Formula Mode to the \LaTeX\ +equivalents.*91. + +\gut AsTeX: an integerated and customizable multiwindow +environment for scientific research: Michael Lavaud: +As\TeX\ is a program that runs on a pc under the control +of Framework 3, and trabsforms it into an integrated and +customizable multiwindow environment for scientific +research, as comfortable to use as the one of a +workstation. It includes a hypertext-like file manager +which allows classificationa nd archiving of all teh +files related to the current document by means of a +hierarchy of explicit titles. It also has an interface +with a local or remote Fortran compiler, allowing +numerical computations from a \LaTeX\ document. Similarly +there is an interface to the computer algabra program +Maple.*93--116. + +\gut Tailored database publishing with \TeX: Steen Larsen +\& Arne Flemming Jensen: \TeX\ is well suited to produce +inventories such as bibliographies or dictionaries. Such +publications are characterized by a large number of +entries, a high uniformity of structure, typographical +variation, and high demands on line and page breaking. +Sorting of entries and compiling of indices will often be +necessary. The paper presents an approach chosenwhen +establishing a tailored \TeX-based database publishing +system for the bibliography Nordic Archaeological +Abstracts. The solution was implemented by combining +theree different systems: an interface management system, +a database management system, and \TeX. The system is +described and compared to the previous editor-based +production, and future possibilities are briefly +sketched.*117--134. + + +\gut Drawing tree structures with GWEZ: Bernard Leguy: +GWEZ is a set of macros able to build tree structures and +to draw them; these macros are written with \TeX; they +use only plain \TeX\ commands and fonts and can be used +as well with \LaTeX.*135--146. + +\gut Math into BLUes\char'72\ Sing your song: Kees van der Laan: +\TeX ing mathscripts is not simply typing. Math has to be +translated into \TeX\ commands. First the motivation for +this work is given. Next traditional math page make-up is +summarized along with the macroscopic math \TeX\ +commands. After answering `Why is \TeX ing mathscripts +difficult?' an anthology of \TeX\ falls and their +antidotes is discussed. At the end suggestions are given +in order to lessen the difficulties.*147--170. + +\gut Organizing a large collection of stylefiles: +Angelika Binding: Springer Verlag has to maintain a large collection of +macro packages for different layouts, for which there are versions both +for plain \TeX\ and \LaTeX\ and for different sets of fonts. We +therefore designed a concept of modularising these packages and have +implemented mechanisms to creat format files loading our individual set +of fonts without changing the syandard format files |plain| and +|lplain|.*171--184. + + +\gut Typesetting SGML documents using \TeX: Andrew E Dobrowolski: +Since its publication as an international standard in 1986, the Standard +Generlaized Markup Language (\sgml) has become the preferred document +markup standard within many industries. The users have devekloped their +own document type definitions (DTDs) which define the elements (tag +sets) for their documents. However, if \sgml\ is to become a universally +accepted standard of document interchange then a standard way to specify +formatted output and a means of producing that output will be needed. +\TeX\ can be used as the formatting engine to implement FOSI-based +(Formatted Output Specification Instance) formatting, as required by the +CALS (Computer-aided Acquisition and Logistic Support) initiative which +selected \sgml\ as the text interchange standard, and FOSI as the means +of formatted output specification exchange. Without extending +\TeX\ not every FOSI formatting request can be fulfilled. +Converesely, certain \TeX\ capabilities cannot be formulated in terms of +FOSI characteristics. However, a FOSI/\TeX\ based formatting system +would be a major advance towards fulfilling the document interchange +needs of a growing community of \sgml\ users.*185--196. + +\gut Vers la construction de macros de mise en coleur +pour \TeX: Christophe C\'erin: Presents a step-by-step approach to +putting colour in \TeX\ documents.*197--206. + +\gut Wysiwyg-\TeX-editors on the basis of object-oriented +system technology: Bernd Schmid: Describes the motivation behind the +development of a \wysiwyg-editor which is based on an object-oriented +programming methodology and \TeX.*208. + + +\gut Lucida, une fonte compl\`ete pour \LaTeXsl\ et son +installation: Philippe Louarn: Presents an experiment in using the +Lucida fonts including the maths and extension fonts, in \LaTeX\ +documents. We explain the benefits and disadvantages of this choice. We +also include a short summary of installation procedures.*208. + +\gut Composition des formules chimiques en \TeX: Maurice +Laugier: Formatting chemical formulae with \TeX\ needs some special +macros to describe links and ramifications. Here are presented some +macros to format equations.*209--221. + + diff --git a/info/digests/texline/no14/late.tex b/info/digests/texline/no14/late.tex new file mode 100644 index 0000000000..99c3a5e697 --- /dev/null +++ b/info/digests/texline/no14/late.tex @@ -0,0 +1,26 @@ +\def\BV{{\fib Baskerville}} +\title{Late News} +\bitem\TUGboat, volume 12, numbers 3 and 4 +should have been mailed by the time you read +this. The astute will note that the two issues are the +conference proceedings for the Dedham meeting. Originally +it had been hoped to produce a single conference +proceedings issue, and a `normal' issue. The extent of the +financial crisis facing TUG was evident in the autumn of +last year, and reluctantly it was decided to take this +expedient. One effect is a backlog of articles intended +for `normal' \TUGboat\ issues. + +\bitem{\sl\TeX\ \& TUG News}: the +issue planned for late 1991 was cancelled outright, +despite the essential nature of some of the articles -- +for example, some explanation about the solicitations in +the TUG dues renewal for funds for \LaTeX3 and {\tt +texhax}! {\sl TTN\/} should be in your hands about +now.\looseness-1 + +\bitem\BV, the near-legendary uk\TeX ug `annals' is +reputedly nearing publication too. The problem was less one +of cash or copy, but of finding someone prepared to fill +Adrian (no relation) Clark's editorial and production +shoes. Phil Taylor is producing this second edition. diff --git a/info/digests/texline/no14/mathtime.tex b/info/digests/texline/no14/mathtime.tex new file mode 100644 index 0000000000..ff00ded07b --- /dev/null +++ b/info/digests/texline/no14/mathtime.tex @@ -0,0 +1,22 @@ +\title{MathT\i me} +One of the great deficiencies of Adobe's Times Roman has +been its sparse support of maths. Mike Spivak, known for +his love of \TeX\ and loathing of Computer Modern, has +made good this deficiency with the release of MathT\i me, +a font family consisting of three downloadable hinted \PS\ +fonts, designed for use with Times Roman. He is now +providing a package which comprises the fonts, their +{\tfm} files and a macro package for using the fonts with +\TeX. There is also a manual explaining installation and +use. What do you need? A minimum of \TeX3, a \PS\ driver +and a \PS\ printer. At present the fonts are available in +`standard' form which may be used on pcs and other +systems, and for use with \OzTeX. The whole package is +\$135, with a suitable hefty discount for educational +users. Contact {\obeylines +\TeX plorators +3701 W Alabama +Suite 450-273 +Houston TX 77027 +USA +} diff --git a/info/digests/texline/no14/offer.tex b/info/digests/texline/no14/offer.tex new file mode 100644 index 0000000000..f7dc20c741 --- /dev/null +++ b/info/digests/texline/no14/offer.tex @@ -0,0 +1,35 @@ +\title{Archivist offers the best!} +The highly coveted and practical Aston Archivists +t-shirts and sweat shirts are again available. These +garments represent tremendous value, are suitably +fashionable and chic, {\sl and\/} give you the opportunity +to promote the Archive. You may now bask in the warmth of a +magnificent blend of altruism and self-preservation! The +t-shirts are available in `medium blue', and the +sweatshirts in `terracotta'. Since all the archivists are +suitably large (except one or two extremely wimpy ones), +only one size, XL, is available. By standardising on +colour and size, the price has been constrained to a +minimal \quid5 for the t-shirts and \quid10 for the +sweatshirts. Post and packing have to be added to this: +\smallskip +\centerline{\vbox{\halign{#\quad\hfil&&\hfil\quid#\quad\cr +\it p\&p&\omit&\multispan2{\hfil elsewhere\hfil}\cr +&\omit\hfil UK\quad&\omit\hfil surface\quad&\omit\hfil +air\quad\cr +t-shirts&1.00&2.00&4.00\cr +sweatshirts&2.00&3.50&6.00\cr}}} + +\noindent To obtain one (or more) of these excellent +garments, send a sterling cheque to + +{\obeylines +Chris Rowley +1 Regency Lawn +Croftdown Road +London NW5 1HF +UK +} + +\noindent together with your own name and address. If +demand is great enough, other colours and sizes may diff --git a/info/digests/texline/no14/picture.tex b/info/digests/texline/no14/picture.tex new file mode 100644 index 0000000000..4832b80a3b --- /dev/null +++ b/info/digests/texline/no14/picture.tex @@ -0,0 +1,525 @@ +% ******************************** +% * PICTURE MACROS * +% ******************************** +% +% This file contains the \LaTeX picture commands, adapted for use in +% plain \TeX. +% +% Hacked by Peter Cameron, 70 Godstow Road, Wolvercote, Oxford OX2 8NY, +% U.K., on 26 April 1990. (If you report problems to me, I will try +% to help; but I'm no expert, so nothing is guaranteed.) +% +% This file may be freely distributed, but no warranty of any kind, +% explicit or implicit, is given as to its performance. +% +% \unitlength = value of dimension argument; set with \setlength +% +% enclose pictures with \picture and \endpicture +% +% The \LaTeX commands \put, \multiput, \circle, \oval, \thinlines, +% \thicklines, \vector, and the frame and box commands, all work +% as in the \LaTeX book. (I hope!) +% +% NOTE WELL: the \LaTeX command \line has been replaced by \Line +% to avoid conflict with plain \TeX's very different use of \line. +% +% If converting a \LaTeX file, change \line to \Line everywhere, and +% change \begin{picture} to \picture, \end{picture} to \endpicture. +% +% For program documentation, see LATEX.TEX! +% +% FONTS +% ******* +% You need these, in whatever sizes you scale your document to. + +\font\tenln=line10 +\font\tenlnw=linew10 +\font\tencirc=circle10 +\font\tencircw=circlew10 + +% CONTROL MACROS FROM LATEX.TEX +% ******************************* + +\catcode`\@=11 + +\newdimen\@wholewidth +\newdimen\@halfwidth +\newdimen\unitlength \unitlength =1pt +\newbox\@picbox +\newdimen\@picht + +\newwrite\@unused +\newcount\@tempcnta +\newcount\@tempcntb +\newif\if@tempswa\@tempswatrue + +\newdimen\@tempdima +\newdimen\@tempdimb + +\newbox\@tempboxa + +\newskip\@flushglue \@flushglue = 0pt plus 1fil +\newskip\@tempskipa +\newskip\@tempskipb +\newtoks\@temptokena + +\def\setlength#1#2{#1#2\relax} + +\def\@height{height} +\def\@depth{depth} +\def\@width{width} + +\def\@ifnextchar#1#2#3{\let\@tempe #1\def\@tempa{#2}\def\@tempb{#3}\futurelet + \@tempc\@ifnch} +\def\@ifnch{\ifx \@tempc \@sptoken \let\@tempd\@xifnch + \else \ifx \@tempc \@tempe\let\@tempd\@tempa\else\let\@tempd\@tempb\fi + \fi \@tempd} + +\def\@whilenoop#1{} +\def\@whilenum#1\do #2{\ifnum #1\relax #2\relax\@iwhilenum{#1\relax + #2\relax}\fi} +\def\@iwhilenum#1{\ifnum #1\let\@nextwhile=\@iwhilenum + \else\let\@nextwhile=\@whilenoop\fi\@nextwhile{#1}} + +\def\@whiledim#1\do #2{\ifdim #1\relax#2\@iwhiledim{#1\relax#2}\fi} +\def\@iwhiledim#1{\ifdim #1\let\@nextwhile=\@iwhiledim + \else\let\@nextwhile=\@whilenoop\fi\@nextwhile{#1}} + +\def\@whileswnoop#1\fi{} +\def\@whilesw#1\fi#2{#1#2\@iwhilesw{#1#2}\fi\fi} +\def\@iwhilesw#1\fi{#1\let\@nextwhile=\@iwhilesw + \else\let\@nextwhile=\@whileswnoop\fi\@nextwhile{#1}\fi} + +\def\@nnil{\@nil} +\def\@empty{} +\def\@fornoop#1\@@#2#3{} + +\def\@for#1:=#2\do#3{\edef\@fortmp{#2}\ifx\@fortmp\@empty \else + \expandafter\@forloop#2,\@nil,\@nil\@@#1{#3}\fi} + +\def\@forloop#1,#2,#3\@@#4#5{\def#4{#1}\ifx #4\@nnil \else + #5\def#4{#2}\ifx #4\@nnil \else#5\@iforloop #3\@@#4{#5}\fi\fi} + +\def\@iforloop#1,#2\@@#3#4{\def#3{#1}\ifx #3\@nnil + \let\@nextwhile=\@fornoop \else + #4\relax\let\@nextwhile=\@iforloop\fi\@nextwhile#2\@@#3{#4}} + +\def\@tfor#1:=#2\do#3{\xdef\@fortmp{#2}\ifx\@fortmp\@empty \else + \@tforloop#2\@nil\@nil\@@#1{#3}\fi} +\def\@tforloop#1#2\@@#3#4{\def#3{#1}\ifx #3\@nnil + \let\@nextwhile=\@fornoop \else + #4\relax\let\@nextwhile=\@tforloop\fi\@nextwhile#2\@@#3{#4}} + +\def\@ifstar#1#2{\@ifnextchar *{\def\@tempa*{#1}\@tempa}{#2}} + +% PICTURE MACROS +% **************** +% +% Put and Multiput +% ------------------ + +\def\picture(#1,#2){\@ifnextchar({\@picture(#1,#2)}{\@picture(#1,#2)(0,0)}} + +\def\@picture(#1,#2)(#3,#4){\@picht #2\unitlength +\setbox\@picbox\hbox to #1\unitlength\bgroup +\hskip -#3\unitlength \lower #4\unitlength \hbox\bgroup\ignorespaces} + +\def\endpicture{\egroup\hss\egroup\ht\@picbox\@picht +\dp\@picbox\z@\leavevmode\box\@picbox} + +% In the definitions of \put and \multiput, \hskip was replaced by \kern +% just in case arg #3 = ``plus''. (Bug detected by Don Knuth. +% changed 20 Jul 87). +% +\long\def\put(#1,#2)#3{\@killglue\raise#2\unitlength\hbox to \z@{\kern +#1\unitlength #3\hss}\ignorespaces} + +\long\def\multiput(#1,#2)(#3,#4)#5#6{\@killglue\@multicnt=#5\relax +\@xdim=#1\unitlength +\@ydim=#2\unitlength +\@whilenum \@multicnt > 0\do +{\raise\@ydim\hbox to \z@{\kern +\@xdim #6\hss}\advance\@multicnt \m@ne\advance\@xdim +#3\unitlength\advance\@ydim #4\unitlength}\ignorespaces} + +\def\@killglue{\unskip\@whiledim \lastskip >\z@\do{\unskip}} + +\def\thinlines{\let\@linefnt\tenln \let\@circlefnt\tencirc + \@wholewidth\fontdimen8\tenln \@halfwidth .5\@wholewidth} +\def\thicklines{\let\@linefnt\tenlnw \let\@circlefnt\tencircw + \@wholewidth\fontdimen8\tenlnw \@halfwidth .5\@wholewidth} + +\def\linethickness#1{\@wholewidth #1\relax \@halfwidth .5\@wholewidth} + +\def\shortstack{\@ifnextchar[{\@shortstack}{\@shortstack[c]}} + +\def\@shortstack[#1]{\leavevmode +\vbox\bgroup\baselineskip-1pt\lineskip 3pt\let\mb@l\hss +\let\mb@r\hss \expandafter\let\csname mb@#1\endcsname\relax +\let\\\@stackcr\@ishortstack} + +\def\@ishortstack#1{\halign{\mb@l ##\unskip\mb@r\cr #1\crcr}\egroup} + + +\def\@stackcr{\@ifstar{\@ixstackcr}{\@ixstackcr}} +\def\@ixstackcr{\@ifnextchar[{\@istackcr}{\cr\ignorespaces}} + +\def\@istackcr[#1]{\cr\noalign{\vskip #1}\ignorespaces} + +% Lines +% ------- + +\newif\if@negarg + +\def\Line(#1,#2)#3{\@xarg #1\relax \@yarg #2\relax +\@linelen=#3\unitlength +\ifnum\@xarg =0 \@vline + \else \ifnum\@yarg =0 \@hline \else \@sline\fi +\fi} + +\def\@sline{\ifnum\@xarg< 0 \@negargtrue \@xarg -\@xarg \@yyarg -\@yarg + \else \@negargfalse \@yyarg \@yarg \fi +\ifnum \@yyarg >0 \@tempcnta\@yyarg \else \@tempcnta -\@yyarg \fi +\ifnum\@tempcnta>6 \@badlinearg\@tempcnta0 \fi +\ifnum\@xarg>6 \@badlinearg\@xarg 1 \fi +\setbox\@linechar\hbox{\@linefnt\@getlinechar(\@xarg,\@yyarg)}% +\ifnum \@yarg >0 \let\@upordown\raise \@clnht\z@ + \else\let\@upordown\lower \@clnht \ht\@linechar\fi +\@clnwd=\wd\@linechar +\if@negarg \hskip -\wd\@linechar \def\@tempa{\hskip -2\wd\@linechar}\else + \let\@tempa\relax \fi +\@whiledim \@clnwd <\@linelen \do + {\@upordown\@clnht\copy\@linechar + \@tempa + \advance\@clnht \ht\@linechar + \advance\@clnwd \wd\@linechar}% +\advance\@clnht -\ht\@linechar +\advance\@clnwd -\wd\@linechar +\@tempdima\@linelen\advance\@tempdima -\@clnwd +\@tempdimb\@tempdima\advance\@tempdimb -\wd\@linechar +\if@negarg \hskip -\@tempdimb \else \hskip \@tempdimb \fi +\multiply\@tempdima \@m +\@tempcnta \@tempdima \@tempdima \wd\@linechar \divide\@tempcnta \@tempdima +\@tempdima \ht\@linechar \multiply\@tempdima \@tempcnta +\divide\@tempdima \@m +\advance\@clnht \@tempdima +\ifdim \@linelen <\wd\@linechar + \hskip \wd\@linechar + \else\@upordown\@clnht\copy\@linechar\fi} + +\def\@hline{\ifnum \@xarg <0 \hskip -\@linelen \fi +\vrule \@height \@halfwidth \@depth \@halfwidth \@width \@linelen +\ifnum \@xarg <0 \hskip -\@linelen \fi} + +\def\@getlinechar(#1,#2){\@tempcnta#1\relax\multiply\@tempcnta 8 +\advance\@tempcnta -9 \ifnum #2>0 \advance\@tempcnta #2\relax\else +\advance\@tempcnta -#2\relax\advance\@tempcnta 64 \fi +\char\@tempcnta} + +\def\vector(#1,#2)#3{\@xarg #1\relax \@yarg #2\relax +\@tempcnta \ifnum\@xarg<0 -\@xarg\else\@xarg\fi +\ifnum\@tempcnta<5\relax +\@linelen=#3\unitlength +\ifnum\@xarg =0 \@vvector + \else \ifnum\@yarg =0 \@hvector \else \@svector\fi +\fi +\else\@badlinearg\fi} + +\def\@hvector{\@hline\hbox to 0pt{\@linefnt +\ifnum \@xarg <0 \@getlarrow(1,0)\hss\else + \hss\@getrarrow(1,0)\fi}} + +\def\@vvector{\ifnum \@yarg <0 \@downvector \else \@upvector \fi} + +\def\@svector{\@sline +\@tempcnta\@yarg \ifnum\@tempcnta <0 \@tempcnta=-\@tempcnta\fi +\ifnum\@tempcnta <5 + \hskip -\wd\@linechar + \@upordown\@clnht \hbox{\@linefnt \if@negarg + \@getlarrow(\@xarg,\@yyarg) \else \@getrarrow(\@xarg,\@yyarg) \fi}% +\else\@badlinearg\fi} + +\def\@getlarrow(#1,#2){\ifnum #2 =\z@ \@tempcnta='33\else +\@tempcnta=#1\relax\multiply\@tempcnta \sixt@@n \advance\@tempcnta +-9 \@tempcntb=#2\relax\multiply\@tempcntb \tw@ +\ifnum \@tempcntb >0 \advance\@tempcnta \@tempcntb\relax +\else\advance\@tempcnta -\@tempcntb\advance\@tempcnta 64 +\fi\fi\char\@tempcnta} + +\def\@getrarrow(#1,#2){\@tempcntb=#2\relax +\ifnum\@tempcntb < 0 \@tempcntb=-\@tempcntb\relax\fi +\ifcase \@tempcntb\relax \@tempcnta='55 \or +\ifnum #1<3 \@tempcnta=#1\relax\multiply\@tempcnta +24 \advance\@tempcnta -6 \else \ifnum #1=3 \@tempcnta=49 +\else\@tempcnta=58 \fi\fi\or +\ifnum #1<3 \@tempcnta=#1\relax\multiply\@tempcnta +24 \advance\@tempcnta -3 \else \@tempcnta=51\fi\or +\@tempcnta=#1\relax\multiply\@tempcnta +\sixt@@n \advance\@tempcnta -\tw@ \else +\@tempcnta=#1\relax\multiply\@tempcnta +\sixt@@n \advance\@tempcnta 7 \fi\ifnum #2<0 \advance\@tempcnta 64 \fi +\char\@tempcnta} + +\def\@vline{\ifnum \@yarg <0 \@downline \else \@upline\fi} + +\def\@upline{\hbox to \z@{\hskip -\@halfwidth \vrule \@width \@wholewidth + \@height \@linelen \@depth \z@\hss}} + +\def\@downline{\hbox to \z@{\hskip -\@halfwidth \vrule \@width \@wholewidth + \@height \z@ \@depth \@linelen \hss}} + +\def\@upvector{\@upline\setbox\@tempboxa\hbox{\@linefnt\char'66}\raise + \@linelen \hbox to\z@{\lower \ht\@tempboxa\box\@tempboxa\hss}} + +\def\@downvector{\@downline\lower \@linelen + \hbox to \z@{\@linefnt\char'77\hss}} + +% Frames and boxes +% ------------------ + +\def\makebox{\@ifnextchar ({\@makepicbox}{\@ifnextchar + [{\@makebox}{\mbox}}} + +\def\mbox#1{\leavevmode\hbox{#1}} + +\def\@makebox[#1]{\leavevmode\@ifnextchar [{\@imakebox[#1]}{\@imakebox[#1][x]}} + +\long\def\@imakebox[#1][#2]#3{\hbox to#1{\let\mb@l\hss +\let\mb@r\hss \expandafter\let\csname mb@#2\endcsname\relax +\mb@l #3\mb@r}} + +\def\@makepicbox(#1,#2){\leavevmode\@ifnextchar + [{\@imakepicbox(#1,#2)}{\@imakepicbox(#1,#2)[]}} + +\long\def\@imakepicbox(#1,#2)[#3]#4{\vbox to#2\unitlength + {\let\mb@b\vss \let\mb@l\hss\let\mb@r\hss + \let\mb@t\vss + \@tfor\@tempa :=#3\do{\expandafter\let + \csname mb@\@tempa\endcsname\relax}% +\mb@t\hbox to #1\unitlength{\mb@l #4\mb@r}\mb@b}} + +\def\savebox#1{\@ifnextchar ({\@savepicbox#1}{\@ifnextchar + [{\@savebox#1}{\sbox#1}}} + +\def\sbox#1#2{\setbox#1\hbox{#2}} + +\def\@savebox#1[#2]{\@ifnextchar [{\@isavebox#1[#2]}{\@isavebox#1[#2][x]}} + +\long\def\@isavebox#1[#2][#3]#4{\setbox#1 \hbox{\@imakebox[#2][#3]{#4}}} + +\def\@savepicbox#1(#2,#3){\@ifnextchar + [{\@isavepicbox#1(#2,#3)}{\@isavepicbox#1(#2,#3)[]}} + +\long\def\@isavepicbox#1(#2,#3)[#4]#5{\setbox#1 \hbox{\@imakepicbox + (#2,#3)[#4]{#5}}} + +\def\usebox#1{\leavevmode\copy #1\relax} + +%% The following definition of \frame was written by Pavel Curtis +%% (Extra space removed 14 Jan 88) +\long\def\frame#1{\leavevmode + \hbox{\hskip-\@wholewidth + \vbox{\vskip-\@wholewidth + \hrule \@height\@wholewidth + \hbox{\vrule \@width\@wholewidth #1\vrule \@width\@wholewidth}\hrule + \@height \@wholewidth\vskip -\@halfwidth}\hskip-\@wholewidth}} + +\newdimen\fboxrule +\newdimen\fboxsep + +\long\def\fbox#1{\leavevmode\setbox\@tempboxa\hbox{#1}\@tempdima\fboxrule + \advance\@tempdima \fboxsep \advance\@tempdima \dp\@tempboxa + \hbox{\lower \@tempdima\hbox + {\vbox{\hrule \@height \fboxrule + \hbox{\vrule \@width \fboxrule \hskip\fboxsep + \vbox{\vskip\fboxsep \box\@tempboxa\vskip\fboxsep}\hskip + \fboxsep\vrule \@width \fboxrule} + \hrule \@height \fboxrule}}}} + +\def\framebox{\@ifnextchar ({\@framepicbox}{\@ifnextchar + [{\@framebox}{\fbox}}} + +\def\@framebox[#1]{\@ifnextchar [{\@iframebox[#1]}{\@iframebox[#1][x]}} + +\long\def\@iframebox[#1][#2]#3{\leavevmode + \savebox\@tempboxa[#1][#2]{\kern\fboxsep #3\kern\fboxsep}\@tempdima\fboxrule + \advance\@tempdima \fboxsep \advance\@tempdima \dp\@tempboxa + \hbox{\lower \@tempdima\hbox + {\vbox{\hrule \@height \fboxrule + \hbox{\vrule \@width \fboxrule \hskip-\fboxrule + \vbox{\vskip\fboxsep \box\@tempboxa\vskip\fboxsep}\hskip + -\fboxrule\vrule \@width \fboxrule} + \hrule \@height \fboxrule}}}} + +\def\@framepicbox(#1,#2){\@ifnextchar + [{\@iframepicbox(#1,#2)}{\@iframepicbox(#1,#2)[]}} + +\long\def\@iframepicbox(#1,#2)[#3]#4{\frame{\@imakepicbox(#1,#2)[#3]{#4}}} + +\def\parbox{\@ifnextchar [{\@iparbox}{\@iparbox[c]}} + +\long\def\@iparbox[#1]#2#3{\leavevmode \@pboxswfalse + \if #1b\vbox + \else \if #1t\vtop + \else \ifmmode \vcenter + \else \@pboxswtrue $\vcenter + \fi + \fi + \fi{\hsize #2\@parboxrestore #3}\if@pboxsw $\fi} + +\def\dashbox#1(#2,#3){\leavevmode\hbox to \z@{\baselineskip \z@% +\lineskip \z@% +\@dashdim=#2\unitlength% +\@dashcnt=\@dashdim \advance\@dashcnt 200 +\@dashdim=#1\unitlength\divide\@dashcnt \@dashdim +\ifodd\@dashcnt\@dashdim=\z@% +\advance\@dashcnt \@ne \divide\@dashcnt \tw@ +\else \divide\@dashdim \tw@ \divide\@dashcnt \tw@ +\advance\@dashcnt \m@ne +\setbox\@dashbox=\hbox{\vrule \@height \@halfwidth \@depth \@halfwidth +\@width \@dashdim}\put(0,0){\copy\@dashbox}% +\put(0,#3){\copy\@dashbox}% +\put(#2,0){\hskip-\@dashdim\copy\@dashbox}% +\put(#2,#3){\hskip-\@dashdim\box\@dashbox}% +\multiply\@dashdim 3 +\fi +\setbox\@dashbox=\hbox{\vrule \@height \@halfwidth \@depth \@halfwidth +\@width #1\unitlength\hskip #1\unitlength}\@tempcnta=0 +\put(0,0){\hskip\@dashdim \@whilenum \@tempcnta <\@dashcnt +\do{\copy\@dashbox\advance\@tempcnta \@ne }}\@tempcnta=0 +\put(0,#3){\hskip\@dashdim \@whilenum \@tempcnta <\@dashcnt +\do{\copy\@dashbox\advance\@tempcnta \@ne }}% +\@dashdim=#3\unitlength% +\@dashcnt=\@dashdim \advance\@dashcnt 200 +\@dashdim=#1\unitlength\divide\@dashcnt \@dashdim +\ifodd\@dashcnt \@dashdim=\z@% +\advance\@dashcnt \@ne \divide\@dashcnt \tw@ +\else +\divide\@dashdim \tw@ \divide\@dashcnt \tw@ +\advance\@dashcnt \m@ne +\setbox\@dashbox\hbox{\hskip -\@halfwidth +\vrule \@width \@wholewidth +\@height \@dashdim}\put(0,0){\copy\@dashbox}% +\put(#2,0){\copy\@dashbox}% +\put(0,#3){\lower\@dashdim\copy\@dashbox}% +\put(#2,#3){\lower\@dashdim\copy\@dashbox}% +\multiply\@dashdim 3 +\fi +\setbox\@dashbox\hbox{\vrule \@width \@wholewidth +\@height #1\unitlength}\@tempcnta0 +\put(0,0){\hskip -\@halfwidth \vbox{\@whilenum \@tempcnta < \@dashcnt +\do{\vskip #1\unitlength\copy\@dashbox\advance\@tempcnta \@ne }% +\vskip\@dashdim}}\@tempcnta0 +\put(#2,0){\hskip -\@halfwidth \vbox{\@whilenum \@tempcnta< \@dashcnt +\relax\do{\vskip #1\unitlength\copy\@dashbox\advance\@tempcnta \@ne }% +\vskip\@dashdim}}}\@makepicbox(#2,#3)} + +% Circles and ovals +% ------------------- + +\newif\if@ovt +\newif\if@ovb +\newif\if@ovl +\newif\if@ovr +\newdimen\@ovxx +\newdimen\@ovyy +\newdimen\@ovdx +\newdimen\@ovdy +\newdimen\@ovro +\newdimen\@ovri + +%% \advance\@tempdima 2pt\relax added 1 Nov 88 to fix bug in which +%% size of drawn circle not monotonic function of argument of \circle, +%% caused by different rounding for dimensions of large and small circles. +% +\def\@getcirc#1{\@tempdima #1\relax \advance\@tempdima 2pt\relax + \@tempcnta\@tempdima + \@tempdima 4pt\relax \divide\@tempcnta\@tempdima + \ifnum \@tempcnta > 10\relax \@tempcnta 10\relax\fi + \ifnum \@tempcnta >\z@ \advance\@tempcnta\m@ne + \else \@warning{Oval too small}\fi + \multiply\@tempcnta 4\relax + \setbox \@tempboxa \hbox{\@circlefnt + \char \@tempcnta}\@tempdima \wd \@tempboxa} + +\def\@put#1#2#3{\raise #2\hbox to \z@{\hskip #1#3\hss}} + +\def\oval(#1,#2){\@ifnextchar[{\@oval(#1,#2)}{\@oval(#1,#2)[]}} + +\def\@oval(#1,#2)[#3]{\begingroup\boxmaxdepth \maxdimen + \@ovttrue \@ovbtrue \@ovltrue \@ovrtrue + \@tfor\@tempa :=#3\do{\csname @ov\@tempa false\endcsname}\@ovxx + #1\unitlength \@ovyy #2\unitlength + \@tempdimb \ifdim \@ovyy >\@ovxx \@ovxx\else \@ovyy \fi + \@getcirc \@tempdimb + \@ovro \ht\@tempboxa \@ovri \dp\@tempboxa + \@ovdx\@ovxx \advance\@ovdx -\@tempdima \divide\@ovdx \tw@ + \@ovdy\@ovyy \advance\@ovdy -\@tempdima \divide\@ovdy \tw@ + \@circlefnt \setbox\@tempboxa + \hbox{\if@ovr \@ovvert32\kern -\@tempdima \fi + \if@ovl \kern \@ovxx \@ovvert01\kern -\@tempdima \kern -\@ovxx \fi + \if@ovt \@ovhorz \kern -\@ovxx \fi + \if@ovb \raise \@ovyy \@ovhorz \fi}\advance\@ovdx\@ovro + \advance\@ovdy\@ovro \ht\@tempboxa\z@ \dp\@tempboxa\z@ + \@put{-\@ovdx}{-\@ovdy}{\box\@tempboxa}% + \endgroup} + +\def\@ovvert#1#2{\vbox to \@ovyy{% + \if@ovb \@tempcntb \@tempcnta \advance \@tempcntb by #1\relax + \kern -\@ovro \hbox{\char \@tempcntb}\nointerlineskip + \else \kern \@ovri \kern \@ovdy \fi + \leaders\vrule width \@wholewidth\vfil \nointerlineskip + \if@ovt \@tempcntb \@tempcnta \advance \@tempcntb by #2\relax + \hbox{\char \@tempcntb}% + \else \kern \@ovdy \kern \@ovro \fi}} + +\def\@ovhorz{\hbox to \@ovxx{\kern \@ovro + \if@ovr \else \kern \@ovdx \fi + \leaders \hrule height \@wholewidth \hfil + \if@ovl \else \kern \@ovdx \fi + \kern \@ovri}} + +\def\circle{\@ifstar{\@dot}{\@circle}} +\def\@circle#1{\begingroup \boxmaxdepth \maxdimen \@tempdimb #1\unitlength + \ifdim \@tempdimb >15.5pt\relax \@getcirc\@tempdimb + \@ovro\ht\@tempboxa + \setbox\@tempboxa\hbox{\@circlefnt + \advance\@tempcnta\tw@ \char \@tempcnta + \advance\@tempcnta\m@ne \char \@tempcnta \kern -2\@tempdima + \advance\@tempcnta\tw@ + \raise \@tempdima \hbox{\char\@tempcnta}\raise \@tempdima + \box\@tempboxa}\ht\@tempboxa\z@ \dp\@tempboxa\z@ + \@put{-\@ovro}{-\@ovro}{\box\@tempboxa}% + \else \@circ\@tempdimb{96}\fi\endgroup} + +\def\@dot#1{\@tempdimb #1\unitlength \@circ\@tempdimb{112}} + +\def\@circ#1#2{\@tempdima #1\relax \advance\@tempdima .5pt\relax + \@tempcnta\@tempdima \@tempdima 1pt\relax + \divide\@tempcnta\@tempdima + \ifnum\@tempcnta > 15\relax \@tempcnta 15\relax \fi + \ifnum \@tempcnta >\z@ \advance\@tempcnta\m@ne\fi + \advance\@tempcnta #2\relax + \@circlefnt \char\@tempcnta} + + +% INITIALIZATION +% **************** + +\thinlines + +\newcount\@xarg +\newcount\@yarg +\newcount\@yyarg +\newcount\@multicnt +\newdimen\@xdim +\newdimen\@ydim +\newbox\@linechar +\newdimen\@linelen +\newdimen\@clnwd +\newdimen\@clnht +\newdimen\@dashdim +\newbox\@dashbox +\newcount\@dashcnt + +\catcode`\@=12 diff --git a/info/digests/texline/no5/bugs.tex b/info/digests/texline/no5/bugs.tex new file mode 100644 index 0000000000..e763d4d4d4 --- /dev/null +++ b/info/digests/texline/no5/bugs.tex @@ -0,0 +1,325 @@ +\centerline{\bf Pira's Precursor} +\noindent +Pira (the Research Association for the +Paper \&\ Board, Printing, and +Packaging Industries) +is about to start publication of `Commentary' +which will cover the area of `Desktop Publishing'. + +They have already published a `Precursor Issue', +which made quite interesting reading. Especially +relevant to \TeX\ was their definition of desktop publishing, namely: +``any system which allows someone --- using a desktop +terminal --- to produce a document of typeset or near-typeset quality\dots +It can run on a microcomputer or a large mainframe.'' + +Less agreeable are the enormous sums which it will +take to receive this twice quarterly (I think that means 8 times a year) +publication. First-year subscription is \quid350, although members of +Pira are elegible for a discount of \quid70, making it a mere \quid280. +I used to have this weird idea that electronic publication might +make things cheaper. Silly me. It therefore comes as no real surprise +that ``The contents of Pira Desktop Publishing Commentary may not be +reproduced by any means without the prior permission of the publisher in +writing''. I am relieved that I merely quote from the Precursor Issue, +and not the real thing. It is rather interesting how the idea of +emulating the Seybold Report mobilises money-spinning ideas. +Contact: +{\obeylines\parindent2em +Pira +Randalls Road +Leatherhead +Surrey KT22 7RU +0372 376161} + + +\rightline{\sl Malcolm W Clark} +\bigskip +\vfil +\centerline{\bf Bug} +\noindent +There is a bug in the current versions of \TeX. +It is a little esoteric, but qualified its +finder for a fairly handsome cheque from +Donald Knuth. Its finder was Donald Knuth himself: + if you type a space after +a hyphen or dash, you do not get optimum line breaks. +If you look through the \TeX book, you will notice that +Knuth seldom (if ever) puts spaces after dashes. Which +may help to explain why it has taken so long to surface, +or to be recognised. In TUGboat, Knuth says that he +has sent details of the changes necessary to +all the main implementors, and that he expects a +new version to be available from those implementors +in the future. + +\bigskip\vfil +\centerline{\bf TUGboat} +\noindent +There are several references in \TeX line to TUGboat. +TUGboat contains the communications of the +\TeX\ Users Group (TUG), and is published ``irregularly'' +(about three times a year). If you are seriously +interested in \TeX, you really ought to join TUG, +and therefore receive TUGboat. +Since it covers the whole field of \TeX\ endeavour +there is usually something for everyone. I personally +feel that it could increase its coverage of simple +or beginning \TeX, and afford to recap the current +position, just for those who don't know. However, besides + detailed accounts +of ``how I implemented \TeX\ on the Lemon FAU-32, +despite overwhelming odds'', it includes topics of far +more general +interest. Naturally TUGboat covers \MF\ and {\tt WEB}. +As more \TeX\ related products come along, the +amount of advertising material has increased too. +I find this very useful, although I do find certain +US and Canadian advertisers a little reluctant to communicate with +Europe. +To join TUG, contact +{\obeylines\parindent2em +\TeX\ Users Group +PO Box 9506 +Providence +RI 02940 +USA +} + +\bigskip\vfil +\centerline{\bf Mac\MFb} +\noindent +There is now an implementation of \MF\ for the Macintosh. +Victor Ostromoukhov has ported \MF\ to work on +any Mac with at least 512K of memory and 2 floppies. +It looks remarkably attractive. I have included +one of Victor's screen hardcopies in this \TeX line. +He says that it is NOT a commercial distribution, but +that he would like some ``reasonable participation in expenses''. +If you would like more information, contact +{\obeylines\parindent2em +Victor Ostromoukhov +25 Rue P\'eclet +75015 Paris +France +} + +\bigskip\vfil +\centerline{\bf \LaTeX\ problems} +\noindent +The following problem has been observed on +an IBM pc clone running micro\TeX\ with \LaTeX. +The micro ``quite often gets locked and has to +be rebooted''. This can happen with +short or long files; the {\tt .log} file is +not available. After rebooting, the file seems to +be accepted without demur. The problem +has never been encountered with \TeX\ itself. Has anyone else encountered +similar problems? + +\rightline{\sl Mark Bicknell} + +\bigskip\vfil +\centerline{\bf More symbols for \TeX} +\noindent +Although \TeX\ has a bewilderingly large array of +special symbols and operators, inevitably there are +omissions. One such is a `three dot' accent, +analagous to |\dot| and |\ddot|. This is not +particularly difficult to provide, through the use +of |\mathchoice|. The main problem lies in finding +the correct gap between the new accent and the group it +accents, for each style. The use of |\mathcoice| +is rather expensive for \TeX, since it assiduously +calculates each of the four possibilities when it +is referenced, not knowing which one it will use. +The code looks something like this: +\def\dddot#1{ + \def\ddd{.\mkern-1.8mu.\mkern-1.8mu.} +\mathchoice +%displaystyle + {\vbox{\offinterlineskip + \halign{\hfil##\hfil\crcr + $\smash{\displaystyle\ddd}$\crcr + \noalign{\vskip0.4ex} + $\displaystyle{#1}$\crcr}}} +%textstyle + {\vbox{\offinterlineskip + \halign{\hfil##\hfil\crcr + $\smash{\textstyle\ddd}$\crcr + \noalign{\vskip0.38ex} + $\textstyle{#1}$\crcr}}} +%scriptstyle + {\vbox{\offinterlineskip + \halign{\hfil##\hfil\crcr + $\smash{\scriptstyle\ddd}$\crcr + \noalign{\vskip0.3ex} + $\scriptstyle{#1}$\crcr}}} +%scriptscriptstyle + {\vbox{\offinterlineskip + \halign{\hfil##\hfil\crcr + $\smash{\scriptscriptstyle\ddd}$\crcr + \noalign{\vskip0.17ex} + $\scriptscriptstyle{#1}$\crcr}}}} +\begintt +\def\dddot#1{ + \def\ddd{.\mkern-1.8mu.\mkern-1.8mu.} +\mathchoice +%displaystyle + {\vbox{\offinterlineskip + \halign{\hfil##\hfil\crcr + $\smash{\displaystyle\ddd}$\crcr + \noalign{\vskip0.4ex}% + $\displaystyle{#1}$\crcr}}} +%textstyle + {\vbox{\offinterlineskip + \halign{\hfil##\hfil\crcr + $\smash{\textstyle\ddd}$\crcr + \noalign{\vskip0.38ex} + $\textstyle{#1}$\crcr}}} +%scriptstyle + {\vbox{\offinterlineskip + \halign{\hfil##\hfil\crcr + $\smash{\scriptstyle\ddd}$\crcr + \noalign{\vskip0.3ex} + $\scriptstyle{#1}$\crcr}}} +%scriptscriptstyle + {\vbox{\offinterlineskip + \halign{\hfil##\hfil\crcr + $\smash{\scriptscriptstyle\ddd}$\crcr + \noalign{\vskip0.17ex} + $\scriptscriptstyle{#1}$\crcr}}}} +\endtt + +Similarly, it is sometimes useful to be able to place +accents {\it under} a maths character. I did this +for `under tilde': +\def\ut#1{ \def\t{\char'176} + \mathchoice +%displaystyle + {\vtop{\ialign{##\crcr + $\hfil\displaystyle{#1}\hfil$\crcr\noalign + {\nointerlineskip\vskip1pt} + $\hfil\displaystyle\t\hfil$\crcr}}} +%textstyle + {\smash + {\vtop{\ialign{##\crcr + $\hfil\textstyle{#1}\hfil$\crcr\noalign + {\nointerlineskip\vskip1pt} + $\hfil\textstyle\t\hfil$\crcr}}} + {\textstyle\vphantom{#1}}} +%scriptstyle + {\vtop{\ialign{##\crcr + $\hfil\scriptstyle{#1}\hfil$\crcr\noalign + {\nointerlineskip\vskip0.7pt} + $\scriptstyle\hfil\t\hfil$\crcr}}} +%scriptscriptstyle + {\vtop{\ialign{##\crcr + $\hfil\scriptscriptstyle{#1}\hfil$\crcr + \noalign{\nointerlineskip\vskip0.5pt} + $\scriptscriptstyle\hfil\t\hfil$\crcr}}}} +\begintt +\def\ut#1{ \def\t{\char'176} + \mathchoice +%displaystyle + {\vtop{\ialign{##\crcr + $\hfil\displaystyle{#1}\hfil$\crcr\noalign + {\nointerlineskip\vskip1pt} + $\hfil\displaystyle\t\hfil$\crcr}}} +%textstyle + {\smash + {\vtop{\ialign{##\crcr + $\hfil\textstyle{#1}\hfil$\crcr\noalign + {\nointerlineskip\vskip1pt} + $\hfil\textstyle\t\hfil$\crcr}}} + {\textstyle\vphantom{#1}}} +%scriptstyle + {\vtop{\ialign{##\crcr + $\hfil\scriptstyle{#1}\hfil$\crcr + \noalign{\nointerlineskip\vskip0.7pt} + $\scriptstyle\hfil\t\hfil$\crcr}}} +%scriptscriptstyle + {\vtop{\ialign{##\crcr + $\hfil\scriptscriptstyle{#1}\hfil$\crcr + \noalign{\nointerlineskip\vskip0.5pt} + $\scriptscriptstyle\hfil\t\hfil$\crcr}}} +} +\endtt + +Taken together, they allow you to write something +like +$$\ut{A}^{\dddot{a+b}}-\dddot{\ut{c}}_{\dddot{A}}$$ +should you ever want. The triple dots don't always look +centred, but this is consistent +with |\dot| and |\ddot|. + +Of course, there must be better ways to do both of these, +mustn't there? But a word of warning: I use the cmr fonts. +If you use these definitions for the amr fonts, you will have +to modify them slightly. I originally devloped them with +\TeX tures, which uses cmr, and intended to include them in +the last \TeX line, which was done with micro\TeX, using amr. + The |\ut| seemed fine, but the |\dddot| looked dreadful! +The moral of this is that you cannot expect that definitions +for one font will necessarily work in another (which you +knew), and that amr and cmr should be treated as different fonts. + +I was asked if I could do an `operator that looked +just like the |\diamondsuit| character with a plus sign +in it, the plus filling the symbol', for a book on +logic. At least that isn't too difficult: +\def\diamondplus{\mathop +{\diamondsuit\mkern-14mu +\raise0.45pt\hbox{$+$}}} +\begintt +\def\diamondplus{\mathop +{\diamondsuit\mkern-14mu +\raise0.45pt\hbox{$+$}}} +\endtt +but of course it wasn't big enough. At least +it gives something like $A\diamondplus B$. However I leave +you to fiddle about with all the bits and pieces +that would be required if you used the next |\magstep| +font. + +Among all the rather wonderful things in \TeX hax +(well, they make me wonder), were a few macros for +other extended symbols which may be useful +to someone somewhere. +The question from +William LeFebvre at Rice +was ``what am I supposed +to use to represent these different sets: +Real numbers, Natural numbers, Imaginary numbers, +and Complex numbers.'' Leslie Stockhausen and Gus Gassman +of Dalhousie University replied with four short macros. + +I confess I have modified +them very slightly, by substituting |\mkern|s +for the use of multiple |\!| and |\;| which I thought non-aesthetic. +I also changed from amssqi to cmssqi, which made +the absolute amounts of movement slightly different --- +but this applied only to |\IC|. + +The modified macros then become: +\begintt +\def\IR{\hbox{$I\mkern-6muR$}} +\def\IP{\hbox{$I\mkern-6muP$}} +\def\IN{\hbox{$I\mkern-6muN$}} +\font\sqi=cmssqi8 +\def\IC{\hbox{$C\mkern-13.5mu +\raise0.49pt\hbox{\sqi I}\mkern9mu$}} +\endtt +\def\IR{\hbox{$I\mkern-6muR$}} +\def\IP{\hbox{$I\mkern-6muP$}} +\def\IN{\hbox{$I\mkern-6muN$}} +\font\sqi=cmssqi8 +\def\IC{\hbox{$C\mkern-13.5mu +\raise0.49pt\hbox{\sqi I}\mkern9mu$}} +Once defined, you can then say things like +$\IC\IR\IP\IN$. The bar of the |\IC| is perhaps +a little close, but the largest `standard' size +of the cmssqi font is 8pt. + +\rightline{\sl Malcolm W Clark} +\vfil diff --git a/info/digests/texline/no5/contents.tex b/info/digests/texline/no5/contents.tex new file mode 100644 index 0000000000..42e4874215 --- /dev/null +++ b/info/digests/texline/no5/contents.tex @@ -0,0 +1,37 @@ +%this file will not really generate a TeXline. +%it is more like a metaTeXline. +%there is a lot more fiddly adjustment than meets +%the eye +%some of the file names have been a little truncated +%because the files started on a Mac and were kermited +%to vax vms. +% +\input texline %macros and stuff +\input head %TeXline banner etc +\input firstpage%editorial + %Texeter + %TeX courses in Europe +\input meetings%TeX courses in Europe + %1. those you may have missed + %2. yet to come +\input cora %TeX and the Linotron 101 + %More Markup + %McQueen/MacTeC update + %The return of TeXhax + %DIY cmr fonts for the pc + %More typesetter drivers +\input postscrip%A Review of Two Books + %More PostScript +\input bugs %Pira's Precursor + %Bug + %Mac\MF + %LaTeX problem + %More symbols for TeX +\input metafont%\MF meets at Oxford + %Macros on disk + %Other TeXing + %Preview facilities +\centerline{\MFb\ \bf on the Macintosh} +\vskip400pt %big gap for diagram (paste up) +\centerline{\bf Chemical symbols from \LaTeX} +\bye diff --git a/info/digests/texline/no5/cora.tex b/info/digests/texline/no5/cora.tex new file mode 100644 index 0000000000..17129cd482 --- /dev/null +++ b/info/digests/texline/no5/cora.tex @@ -0,0 +1,270 @@ +\centerline{\bf \TeX\ and the Linotron 101} +\noindent +One of Informat's main activities is the typesetting of academic +journal's. This is accomplished at present by a suite of programs called +\TS, which take unformatted text with embedded markup codes and +pass it through a series of processes which result in fully justified, +hyphenated and page-formatted output being sent to a Linotron 101 typesetter. + +Early this year I conceived the idea of retaining the simple user +interface of \TS\ but creating an entire new version of the system +which would use \TeX\ as its internal engine; and which would produce +output in \dvi\ format rather than Cora, the language understood by the +Linotron. By doing this we would gain speed, extensibility and +flexibility. + +\TS's markup codes are mnemonics like {\tt\#TEXT\#}, {\tt\#TITLE\#}, +{\tt\#FOOTNOTE\#}, etc.\ These are both hard-coded but specified by a style sheet: +there is a style sheet for every different type of document we set. +In the present version of \TS\ a program called CONVERT, which is an +exteremely fast and flexible table-driven string-replacement filter, +changes the markup codes into strings of Cora commands that select +the appropriate style on the Linotron. For example +{\tt\#TEXT\#} might, in a certain type of document, be replaced by Cora commands which +select Garamond Light at 11 points on 12-point leading and set the measure +to 20 picas. + +The first task I attempted was to experiment with editing the substitution +file (the table of string substitutions read by CONVERT) so that \TeX\ +rather than Cora would be produced. This proved gratifyingly easy: +after about half a day of work I had created a substitution file that would +allow CONVERT to turn an unmodified source document from one of our +medical journals into output that \TeX\ could process without errors. + +I then realised the main task lay elsewhere. The creation of valid +\TeX\ source code was, if not trivial, a predictable and well-explored +problem. What we really needed was some way of driving the various output +devices that \TS\ uses. These are the screen, for visual previewing, +the laser printer, for a preview that is reasonably high-quality but +faster and cheaper than real typesetting; and the Linotron typesetter +itself. + +I wrote a library of functions in C which could open and read the instructions +from a \dvi\ file. Since several \dvi\ drivers were needed it seemed +sensible not to have different pieces of interpreter code in +each program. This task would have been impossible without +reference to {\sl\TeX\ the Program}, which contains a full decsription of +the \dvi\ and \tfm\ (\TeX\ font metric) file formats. Nevertheless, I found +some parts of the explanation difficult to grasp: Knuth's pithy style +is a constant test of the reader's alertness. + +I have now written two drivers: DVISCR, which reads any \dvi\ file and +displays its contents on a screen using the GSX graphics system, for which +drivers are available for most MS-DOS machines; and DVICORA, which creates +a file of text and Cora commands which can be sent to the Linotron 101 +by our existing program TCONTROL. DVISCR does not use the pixel files +created by \MF: all it needs are \tfm\ files. The characters are displayed +on the screen using a simple vector font, in which each caharacter +consists of a list of strokes contained in a data file +loaded when DVISCR is invoked. + +DVICORA would be useless without appropriate \tfm\ files. These are created +by running a program called LINTFM, written by my colleague Mrs Nisha +Patel. LINTFM uses conversion tables which describe the relationship +between Knuth's standard extended-Ascii encoding and the way characters +are accessed on the Linotron: this results in \tfm\ files which reflect the +macros of {\tt plain.tex}. Only one \tfm\ file is created for each Linotron font, +so the `at <size>' argument must be used when specifying fonts. There are three +`special' Linotron \tfm\ files: {\tt mathital.tfm}, {\tt symbol.tfm} and +{\tt mathex.tfm}. These describe the correspondence between \TeX\ mathematical +characters and Linotron `pi' fonts, and allow most of the {\tt plain.tex} +mathematical macros to work unchanged. + +To tell \TeX\ to sue the Linotron fonts rather than its own Almost or +Computer Modern Roman fonts I had to create a modified version of {\tt plain.tex}, +changing all the preloaded fonts and the font specifications +for math mode. I have set it up so that Roman text is set by +default at Times Roman, and sans-serif as Helvetica; but anyone +who uses our system can easily change this to suit his or her +convenience. + +In progress at the time of writing is a PostScript driver called +DVIPOST, also written by Mrs Nisha Patel. This will use any font +available on the PostScript device or make a table-driven substitution +for fonts that are not available. + +I an writing a \TeX\ version of another component of \TS: a +system for simplified table creation. This program, +TEXTABLE, takes input files in +our existing friendly table format and converts them into the +complete apparatus of alignment preambles, glue and tabs. + +In the long term (between six months and a year in the future) +we hope to build a complete \TeX\ version of \TS, including +its powerful style sheet specification facilities and +automatic page make-up optimised over the entire document. + +The parts of the system which exist so far work very well (and +are already being used at one beta-test site). That is, +you can use our {\tt tsplain.tex} format, \tfm\ files and screen driver +to create valid \TeX\ source +code, then process this using \TeX\ in the normal way. The \dvi\ +file can then be used to drive the Linotron 101 typesetter to produce +camera-ready pages at up to 1400 dots per inch. + +We propose to charge \quid2.00 per 300 points of leading for high-resolution +(1400 dpi) setting of \dvi\ files on the Linotron; or \quid1.50 per 300pt +leading for low-resolution (350 dpi). Laser printing will be charged +at \quid2.00 per A4 page. These prices do not include VAT, postal charges +or delivery. The minimum charge is \quid20.00. Normal turnaround is three +days: prices are doubles for same-day turnaround. + +If you are interested, please contact me: +{\obeylines\parindent2em +Graham Asher +Informat Computer Communications Ltd +34--42 Cleveland Street +London W1 +01 580 4271 ex 311 +} + +\rightline{\sl Graham Asher} +\bigskip\eject +\centerline{\bf More Markup} +\noindent +Charlesworth's have developed a markup +system which they say ``can be used for coding +input on any word processor or computer and may +be interfaced to virtually any front-end system +to drive a phototypesetter.'' The markup language +includes codes for font changes, type size changes, justified +text, and other typographic effects, including complex +tabular work and access to special characters (like +Greek, phonetic, etc.). It is also said to be simple +and effective. The guide to Genesis (Generic Coding For All), +may be obtained, price {\it\$}6.00 from: +{\obeylines\parindent2em +H Charlesworth \&\ Co Ltd +254 Deighton Road +Huddersfield HD2 1JJ +0484 517077 +} + +\bigskip\vfil +\centerline{\bf McQueen/Mac\TeX\ update} +\noindent +McQueen now handle not only Mac\TeX, but also +the Page One Book Publishing system. This is a fully +automated book publishing system which is based on {\sl FTL systems}' +Mac\TeX, using templates to access a variety of formats and book designs, +eliminating the need for users to design their own layouts. +One of the ways this software exploits the hardware +and software available is by letting output be +printed at magnifications up to 180\%, allowing +standard laser printers to produce a notional +540 dpi after photoreduction. + +The manuscript is entered using Microsoft Word on a Mac, and then +it can be processed through Page One (and \TeX) to produce printed +copy on any \PS\ compatible printer. + +The prices quoted are \$2000US, although for Mac\TeX\ owners +this is reduced to \$1500US. I would anticipate these prices +to be translated almost directly into sterling, despite the +abyssmal showing of the dollar at present. + +From this description, gleaned from the McQueen press release, Apple 2000 +and TUGboat, it is not clear whether Word's limitations similarly +limit Page One --- for example, have things like diacriticals +and mathematics been abandoned? Since Page One was developed by +Toronto-based McCutcheon Graphics, it is likely that diacriticals +are in there. More information when McQueen sends it, or +contact: +{\obeylines\parindent2em +McQueen's +Elliott House +8--10 Hillside Crescent +Edinburgh EH7 5EA +031 558 3333 +} + +\bigskip\eject +\centerline{\bf The Return of \TeX hax} +\noindent +As noted in the last \TeX line, \TeX hax has +returned. First, what is \TeX hax? It is +one of the many electronic distribution +systems which are around. In this you receive +a copy of the centrally submitted material, both +queries and responses. The basic idea is that for any +query, someone somewhere will at least have encountered +a similar problem, and may be able to help (or to +confirm that the problem is difficult). + +\TeX hax has a `moderator', who tries to `edit' +the material which comes in, perhaps filtering +out the more trivial or libellous material (takes +all the fun away). The moderator is Malcolm Brown +of Stanford University. \TeX hax has a distribution +list. The digest of mail is sent to each person +on the distribution list. To be placed on the +distribution list, you will need to contact +|MBB@SU-Lindy.ARPA| +or perhaps |texhax-request@SU-score.ARPA| +through one of the networks. There are at least two +minor problems involved in this: the first is accessing +ARPAnet. The second +problem is the vast amount of email byte-ing its +way across the Atlantic (or even the Pacific --- +it sometimes seems easier to access the US via Australia). +A way out of this problem is to establish a distribution +list within the local area. A small number of +sites then receive \TeX hax, and dutifully re-transmit +it to their own distribution list. This makes active +participation in \TeX hax limited, but at least +makes the material failrly accessible. + +All the UK +academic sites are connected through JANET, which +makes this re-transmission very easy. The Irish +universities are on another system, and European +sites appear to be connected mainly by Bitnet. +I would like to collect the electronic mailing addresses +of those receiving \TeX line anyway, and such a list +could provide the backbone for a local distribution +list. + +This does not solve the problem for non-academic +people, but there must be some way of accommodating +them too. Any suggestions? +\bigskip\vfil +\centerline{\bf DIY cmr fonts for the pc} +\noindent +We seem to have been waiting for the cmr fonts +for the pc versions of \TeX\ for a long time. +Although they are promised for both micro\TeX\ and +pc\TeX, they have not yet arrived. \DW\ +has started generating the Computer Modern fonts, through +their definitions and pc\MF. So far he has completed +the fonts which \LaTeX\ uses. If you would +like to get hold of these, simply contact: +{\obeylines\parindent2em +\DW +Wellcome Institute for the History of Medicine +183 Euston Road +London NW1 2BP +01 387 4477 +} +\bigskip\vfil +\centerline{\bf More typesetter drivers} +\noindent +ArborText have recently announced the availability of +DVICG, a driver for the Compugraphic 8000, 8400 and +8600 phototypesetters. It will allow you to use +the resident Compugraphic fonts alone, or combine them with +\TeX\ cmr fonts. + +They have also announced `New Low Prices', claiming +to have cut most of their prices in half, as well +as insituting a standard academic discount of 25\%. + +\noindent +Contact: +{\obeylines\parindent2em +ArborText Inc +416 Fourth Street +PO Box 7993 +Ann Arbor +Michigan 48107 +0101 313 996 3566 +} diff --git a/info/digests/texline/no5/firstpage.tex b/info/digests/texline/no5/firstpage.tex new file mode 100644 index 0000000000..e769168eab --- /dev/null +++ b/info/digests/texline/no5/firstpage.tex @@ -0,0 +1,130 @@ +\centerline{\bf Our Correspondent Writes\dots} +\noindent +Why so soon you ask? Hardly had you put your last +copy of \TeX line down, but another one arrives +through the mails. Clearly some explanation is +in order. The explanation lies in the extra piece +of paper which is even now fluttering to the ground +at your feet: \TeX\ courses in Europe --- yes, at +last we are on the TUG map! A true Scot, I could +hardly send out that sheet all by itself, when a +little effort would let it be accompanied by a +short newsletter. + +Besides, +it gave me an opportunity to produce \TeX line +with \TeX tures on my Macintosh. If I prattle +on about the Mac, you must realise that only a little +over a year ago I was wrestling with an obsolete +\TeX\ implementation on a CDC mainframe; then the +pc versions of \TeX\ came along and my life was +turned upside down --- reliable \TeX! And now, +fully integrated, easy to use (sic) \TeX. +This entire \TeX line was produced in \TeX tures, +except for the diagrams on the last page. One +of them was produced on a Mac XL, and the other is +\DW's chemical diagram from \TeX line 4. Since this +uses \LaTeX, a feature not yet available with +\TeX tures, I had to use a matrix printed version. + +Some people will be receiving \TeX line who have +never seem it before, since I have augmented my +usual mailing list to include some additions from +TUG. If it is a stranger to you, and you want to +see it again, do get in contact. + +One feature of this edition, which I do not particularly +like is the frequency with which my name crops up +at the bottom of a piece: in other words, I would prefer +not to write it all myself. Hint. But thanks to those +who have contributed, without whom etc. As usual almost +every proper name is copyright. +\bigskip + +\centerline{\bf Write Now, Right Now} +\noindent +\TeX88, the Third European \TeX\ Conference +will take place at Exeter University from July 18--20, +1988. This conference seeks to maintain the high standard +set by the previous European \TeX\ conferences. Among +the areas in which papers are particularly sought are: +\item{$\star$}desktop and traditional publishing with \TeX +\item{$\star$}document structure --- \LaTeX, SGML, etc. +\item{$\star$}non-technical \TeX\ and \MF\ applications +(humanities, music, exotic languages) +\item{$\star$}other technical areas (chemistry, physics, +biology) +\item{$\star$}ai and expert system approaches +\item{$\star$}\TeX\ and {\it wysiwyg} +\item{$\star$}\MF\ and fonts +\item{$\star$}micro inputs +\item{$\star$}macro inputs + +In view of the rate at which \TeX\ is expanding its area +of application, and the rapid changes which will +have taken place by next summer, +papers are also welcome from all other areas of \TeX, \MF\ +and related subjects. In particular it would be +very useful to see some proposals on `programming +standards' for \TeX\ macros. + +Various workshops and +courses will be run before or after the conference. +In particular, we hope to organise +workshops on `the design of documents' and on +the use of \MF. + +To be placed on the \TeX88 mailing list, contact +one of the following: +{\obeylines\parindent2em +Ewart North +Data Processing Unit +University of Sheffield +Sheffield S10 2TN +or +Cathy Booth +Computer Unit, University of Exeter +Maths and Geology Building +North Park Road +Exeter EX4 4QE +Janet:|booth.cm@uk.ac.exeter| +or +Malcolm Clark +Imperial College Computer Centre +Exhibition Road +London SW7 2BP +Janet:|texline@uk.ac.ic.cc.vaxa| +} + + +\bigskip +\centerline{\bf \TeX\ Courses in Europe} +\noindent +A number of \TeX\ courses are being offered +in Europe, at Exeter, Groningen and Bergen. +The first of these will be the Exeter courses, +which consist of an Intensive Beginning/Intermediate +\TeX\ course from 6--10th July, and an +Advanced \TeX/Macro Writing course from 13--17th July. +The courses will be run at the University of Exeter, +using \TeX\ on their Prime mainframe. +Naturally, hands-on experience is a very necessary +part of these courses. + +The course fee of \$600 is payable to TUG, as +the accompanying course information shows. +Payment must be received not less than 30 days prior +to the start of the course. After that time a \$50 +late-registration fee becomes payable. In the +event of cancellation, 80\%\ of the fee is repayable +if cancellation is not less than 30 days prior +to the starting date; thereafter, 50\%\ is +refundable. Contact +{\obeylines\parindent2em +\TeX\ Users Group +PO Box 9506 +Providence +RI 02940 +USA +} + diff --git a/info/digests/texline/no5/head.tex b/info/digests/texline/no5/head.tex new file mode 100644 index 0000000000..b4cb9ffd6d --- /dev/null +++ b/info/digests/texline/no5/head.tex @@ -0,0 +1,22 @@ +\setbox1=\vbox{ +\def\line{\hbox to 150pt} +\font\small=cmr5 +\baselineskip=5.5pt +\small +\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 5, \monyr} +\line{ \hfill the Newsletter of \TeX\ users in UK and Ireland} +\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 Janet: texline@uk.ac.ic.cc.vaxa} +} +\setbox2=\vbox{\font\huge=times at 60pt\huge\TeX\kern-0.2ex line} +\hbox to \hsize{\box1 \hskip40pt \raise14pt\box2} diff --git a/info/digests/texline/no5/meetings.tex b/info/digests/texline/no5/meetings.tex new file mode 100644 index 0000000000..ea6cda9755 --- /dev/null +++ b/info/digests/texline/no5/meetings.tex @@ -0,0 +1,197 @@ +Accommodation is payable in addition. On-site +housing has been arranged in the University's +halls of residence. Charges work out at \quid20 +per day (exclusive of the iniquitous VAT). All meals +are included. However, +the rules regarding cancellation are rather different +(because of the University's own rules regarding +cancellation). The housing costs (i.e. \quid100 for 5 nights) +must be prepaid. +If cancellation occurs not less than 30 days +prior to the starting date, 80\%\ of the fee is +repayable: however, after that time, only 33\%\ +of the fee is refundable. +Clearly, the housing costs will be payable in sterling. +For further details, contact Malcolm Clark. + +\bigskip +\parindent0em +\vfil +\centerline{\bf Meetings} +\centerline{\bf 1. those you may have missed} +\medskip\noindent +{\sl\TeX\ et l'\'edition en Sciences Humaines}, + April 3, CNRS, Paris. + + Included no less than +13 presentations (and a general discussion). Speakers +included Jacques D\'esarm\'enien, Pierre MacKay +and Reinhard Wonneberger. +\medskip\noindent +{\sl Workshop on Font Design Systems}, May 18--19, +Nice. + + Seems quite comprehensive from the list +of papers. \MF\ is in there, but only +one system among many. +\medskip\noindent +{\sl \MarkUp}, +May 13--15. + Torremolinos, M\'alaga, Spain. + +The title of this Conference hides a wealth +of meaning. Its full description is: {\sl The Fifth +International Conference on Database Publishing, +Electronic Manuscript Preparation and the +Standard Generalized Markup Language (SGML)}. +It was preceded by a hands-on Application +Workshop (hands-on experience at using SGML parser software). +Obviously mainly SGML oriented. Nevertheless +SGMLers do acknowledge the existence and power of +\TeX. Ultimately we are involved in the +same issues of markup. +\medskip\noindent +{\sl The First and Last EPMARKUP Conference}, +February 19--20, Amsterdam. + +One or two of the papers presented at this +Conference seemed of particular relevance, +especially two on tabular typography +(by Paul Lefrere of the OU, and + Tony Randall of the Electronic Village). +Again, SGML had a fair coverage. +\medskip\noindent +{\sl The Network/extensible Window System}, + London, April 28. +Organised by BCS. + +``The Network/extensible Window System (NeWS) +is a window system development platform\dots +based on the PostScript language and imaging model, bringing + PostScript's sophisticated graphics capabilities from the printed +page onto the screen.'' + +\bigskip +\eject +\centerline{\bf Meetings} +\centerline{\bf 2. yet to come} +\medskip\noindent +{\sl The Third Electronic Publishing Conference}, +June 30--July 2, Wembley Conference Centre. + +The Conference itself is rather expensive (over +{\it\$}500), but the accompanying exhibition +is usually quite good, although almost totally +ignorant of \TeX. This year however, several of +the exhibitors have some \TeX\ relevance --- McQueen, +Monotype, Compugraphic, Charlesworth, Autologic, +Apple, and even Addison Wesley. Tickets are +available from Pam Howard at Online on 01 868 4466. +\medskip\noindent +{\sl International Text and Image Processing Conference}, +July 8--10, Wurzburg, W.~Germany. + +This looks like a rather star studded cast, +including a Seybold, Charles Goldfarb +(of SGML fame), Ray Goucher ({\sl\TeX\ after Knuth}), +and talks by people from Adobe, Chelgraph, Rank Xerox, +Springer Verlag, and St\"urz (I would find this one +particularly interesting; the talk is entitled +``Developing additional customer services in scientific +setting''; has anyone ever received a reply from St\"urz? --- +there's one customer service they could try.) + +If you are interested, contact +{\obeylines\parindent1em +Pira +Randalls Road +Leatherhead +Surrey KT22 7RU +0372 376161} +\medskip\noindent +{\sl Protext IV, the Fourth International +Conference on Text Processing Systems} +(together with 6 related Short Courses), +Boston, Massachusetts, October 19--22. + +The short courses include ``Issues in Generalized +Text Processing'', ``\TeX\ for Scientific Documentation'', +``An Introduction to SGML'', ``Issues in Digital +Typography'', ``Introduction to PostScript --- A Graphics Solution'', +and ``Document Databases and Technical Publishing''. + + +Contact: +{\obeylines\parindent1em +John Miller +School of Mathematics +Trinity College +Dublin 2 +Ireland +0001 613749/611399} +\medskip\noindent +{\sl PostScript Page Description Language}, May 21. +Organised by BCS in conjunction with +the Alvey Directorate. + +``This meeting offers attendees an opportunity to gain an in-depth understanding +of PostScript, its implementation, and the design of applications to use +PostScript.'' Sounds useful, especially if it +lives up to its promise. Presented by Yvonne Perry from +Adobe. +\eject +Contact: +{\obeylines\parindent1em +Conference Department, BISL +BCS +13 Mansfield Street +London W1M 0BP +01 637 0471} +\medskip\noindent +{\sl SGML Users' Group Meeting}, July 1, BSI, London. + +No more details available right now. If you are a member +of the group, you will receive more information. +\medskip\noindent +{\sl International Conference on Electronic Publishing, +Document Manipulation and Typography}, +April 20--22, 1988, Nice. + +Seeks to be very comprehensive, and to +be a successor to EP86 at Nottingham +(one of my favourite conferences). + +Contact: +{\obeylines\parindent1em +Jacques Andr\'e +IRISA/INRIA EP88 +Campus de beaulieu +F-35042 Rennes Cedex +France +} +\medskip\noindent +{\sl TUG Annual Meeting --- \TeX\ for the +Humanities}, August 24--26, University of Washington, +Seattle. + +It will be both preceded and followed by \TeX\ courses. +The conference fee is \$200. For further details, +read TUGboat, or contact: +{\obeylines\parindent1em +TUG +PO Box 9506 +Providence +RI 02940 +0101 401 272 9500 ex 232 +} +\medskip\noindent +{\sl \TeX 88}, July 18--20, 1988, Exeter. + +I saved the best till last. Modesty +forbids me from eulogising too much, +but it should be sufficient to say that +your \TeX\ street credibility will be determined +by whether you attend. Can I say fairer than that? +More details are given elsewhere in \TeX line. + + diff --git a/info/digests/texline/no5/metafont.tex b/info/digests/texline/no5/metafont.tex new file mode 100644 index 0000000000..da4a4df2cd --- /dev/null +++ b/info/digests/texline/no5/metafont.tex @@ -0,0 +1,168 @@ +\centerline{\MFb\bf\ meets at Oxford} +\noindent +``Do you wish to succeed with \MF\ or even just get +it to work?'' ran the message from Charles Curran +in \TeX hax. I was intrigued, and joined him, and a +small band of other would-be \MF-ers at Oxford University +on March 20th. Part of the appeal of this meeting was +the presence of Richard Southall, well-known in +the \TeX\ world for his work with \MF. The bulk +of the morning was given over to a talk by Richard on +his approach to font design using \MF. Richard had +used mainly the `old' \MF\ (described in {\sl`\TeX\ and} \MF), +rather than the more recent \MF\ +({\sl`The \MF\ book}). +Nevertheless he was clearly far more competent in the use +of either than the combined might of the others present. + +Richard described the old \MF\ as using a pen metaphor, while +the new one adopts an outline fill approach. Nevertheless, +his comments as a someone trying to design `technically +satisfactory typefaces' were applicable to both. He noted that +there were few, if any, good books on the aesthetics of type, and +that type design is essentially a craft which utilises +unarticulated rules (in other words, its not easy, and it's difficult +to say why some designs are good and some aren't). There has been +a tradition of type design since the 1500's, and certain internal standards +have evolved which have formed opinion of what type ought to +look like: insofar as objectively defined criteria +of goodness of design could be established, Richard suggested the +following: letters should look the same weight, size and alignment, and should +appear evenly spaced. Even these apparently straightforward criteria +are hard to achieve over a single type face, let alone a family. + +\MF\ was viewed by Richard as a draughting, rather than an original design tool, +and when he used it he tended also to use alternative approaches. +He began at the large scale, and then honed down the details. + +One very relevant point was the impossibility to achieve +device independence --- most acutely at low resolutions. The +different `write white'/`write black' characteristics of the +Xerox and Canon laser printers mean that the \MF\ description +should take these factors into account. Similarly, Richard +queried the {\sl meta} nature of \MF, citing an example where +a description worked successfully over several ranges and styles, +but unexpectedly developed a wierd protuberance at one particular +set of parameters (within the previous parameter extremes). There +was no {\it a priori} way of demonstrating that this would occur. +In other words there appears to be no correctness or consistency +proof for a \MF\ description. + +What \MF\ can do well (despite this last counter-example), is +to allow gradation of sizes, and to digitise an outline. What it +does not do (and he included Ikarus here too), was to allow +a designer to work directly on the appearance of the product. + +It must be stressed that Richard has worked particularly on +low resolution fonts, especially those for vdu-type screens, and +subtitling for films. He felt that by the time you get to +1200 dpi, then shape and appearance become synonymous. + +Given Knuth's oft-repeated recommendation that +\TeX\ people talk to designers, it was clearly of the +utmost importance to have this sort of discussion +led by someone of Richard's knowledge and experience, +especially someone who was aware of the deficiencies +of \MF, as well as its good points. There are many pitfalls present +in font design, and it would be wise to avoid them as far +as possible. The simple solution appears to be to become +apprenticed to a recognised type designer for a decade or so, +and then use \MF\ (or some other automated system). Otherwise +you will be in trouble. + +That's not to say that \MF\ is not useful to the +lay user here and now. It is useful in order to produce +pixel files from existing descriptions, perhaps +at other resolutions, or for other point sizes. It will also +be useful to generate the other characters which +are currently unavailable. If you are willing to +sacrifice the {\sl meta} nature of \MF, the problems are +less acute. Sadly, we cannot afford to wait until +a competent designer picks up the financially rather unprofitable +exotic fonts like Sanskrit, hieroglyphic, +even IPA, to name a few (although I'm not sure whether +you could ever know whether a font like, say, Runic, +was well designed). These are fonts which are most likely to +be developed by enthusiastic amateurs. + +In the afternoon we managed an almost hands on +session with pc\MF, thanks to \DW\ +and the pc hardware might of Oxford University. +This reasured everyone that it was possible to +create characters (Dominik is working on a Sanskrit +font), +and gave us some feeling for the response time of the +process. A font will not be designed in a day. + +Further \MF\ meetings like this one will be held, +although details are not fixed at present. Contact: +{\obeylines\parindent2em +Charles Curran +Oxford University Computing Service +13 Banbury Road +OX2 6NN +0865 273269 +Janet:|charles@oxford.vax2| +UUCP:|ukc!ox-prg!charles| +} + +\rightline{\sl Malcolm W Clark} +\vfil +\eject +\centerline{\bf Macros on disk} +\noindent +I can distribute two sets of macros on disk at present; +on 5{\frac1/4} inch disks for MS-DOS, and 3{\frac1/2} inch +diskettes for the Macintosh. The macros available +are: |manmac.tex| which are those listed on pages +413--425 of {\sl The \TeX book}, and include some double +columning and verbatim facilities: and |table.tex|, +together with its documentation file |tabman.tex|, +which are Ray Cowan's table macros. + +It also includes a file of hyphenation exceptions, |hyphen.tex|, as +published from time to time in TUGboat. This particular +file will be updated as new exceptions to \TeX's algorithm +come to light. + +A disk containing these macros can be obtained from me +for the price of the medium, post \&\ packing, +and a small copying charge. For the 5{\frac1/4} +disks the charge is \quid2.00, and for the smaller +diskettes \quid2.50. Note that no +charge is made for the macros themselves. +I hope that other +macros may become available later. + +\rightline{\sl Malcolm W Clark} +\vfil + +\bigskip +\centerline{\bf Other \TeX ing} +\noindent +As \TeX\ becomes more and more widespread, material published +through it becomes more and more widespread, to the extent +that nobody bothers to mention the fact that it was +\TeX ed. I do think it is a pity that \TeX\ is +not acknowledged as the workhorse, but I suppose +the fact that it is taken for granted is encouraging. +It can be useful to show people who are interested in +using \TeX\ the sorts of output that are available. +If you can show them material that others have done, +they may be able to gain a broader view of its +capabilities. + +From time to time I do note publications that are +\TeX ed. Among them are the following periodicals: +ST-ECF Newsletter (ST-ECF is the Space Telescope --- +European Coordinating Facility); the Newsletter of +the International Association for Pattern Recognition, +(whose use of amr gave them away --- especially that little +blip on the `y', so characteristic of Almost Modern Roman); +and lastly the journal `Supercomputer', published by SARA (Amsterdam +Universities Computing Centre). + + There must be more: +where are they? + +\rightline{\sl Malcolm W Clark} diff --git a/info/digests/texline/no5/pira.tex b/info/digests/texline/no5/pira.tex new file mode 100644 index 0000000000..3a7f7f2b74 --- /dev/null +++ b/info/digests/texline/no5/pira.tex @@ -0,0 +1,26 @@ +\centerline{\bf Pira's Precursor} +\noindent +Pira (the Research Association for the +Paper \&\ Board, Printing, and +Packaging Industries) +is about to start publication of `Commentary' +which will cover the area of `Desktop Publishing'. + +They have already published a `Precursor Issue', +which made quite interesting reading. Especially +relevant to \TeX\ was their definition of desktop publishing, namely: +``any system which allows someone --- using a desktop +terminal --- to produce a document of typeset or near-typeset quality\dots +It can run on a microcomputer or a large mainframe.'' + +Less agreeable is the enormous sums which it will +take to receive this twice quarterly (I think that means 8 times a year) +publication. First-year subscription is {\it\$}350, although members of +Pira are elegible for a discount of {\it\$}70, making it a mere {\it\$}280. +I used to have this weird idea that electronic publication might +make things cheaper. Silly me. It therefore comes as no real surprise +that ``The contents of Pira Desktop Publishing Commentary may not be +reproduced by any means without the prior permission of the publisher in +writing''. I am relieved that I merely quote from the Precursor Issue, +and not the real thing. It is rather interesting how the idea of +emulating the Seybold Report mobilises money-spinning ideas. diff --git a/info/digests/texline/no5/postscrip.tex b/info/digests/texline/no5/postscrip.tex new file mode 100644 index 0000000000..7aeb45b574 --- /dev/null +++ b/info/digests/texline/no5/postscrip.tex @@ -0,0 +1,106 @@ +\centerline{\bf A Review of Two Books} + +\noindent{\sl PostScript Language Tutorial and Cookbook}, +Adobe Systems Inc., 1985, 244pp. Published by +Addison Wesley, price {\it\$}16.30. + +\noindent{\sl PostScript Language Reference Manual}, +Adobe Systems Inc., 1985, 321pp. Published by +Addison Wesley, price {\it\$}21.95. +\medskip +\centerline{\it Brief Introduction to PostScript} +\noindent PostScript (a trademark of Adobe Systems Inc.) +is a programming language intended for a wide +variety of printing devices, but its capabilities are best +supported on laser-printers or phototypesetters. It was created by Adobe +Systems Inc.\ as a page description language, to be directly interpreted +by intelligent printers. In most cases, \PS\ programs will be generated +automatically by higher level document-processing systems: a first glance at a \PS\ program +will confirm this view. However, the reward for learning the language +is a facility to create eye-catching graphical effects +with comparatively simple programs. +\medskip +\centerline{\it Tutorial and Cookbook} +\noindent This book is an excellent introduction to the philosophy and programming of +\PS. It is easy to read and presents the language in an interesting +way. The tutorial begins by introducing \PS\ as both a page description +and a full programming language. To understand \PS\ programs, it is +necessary to be familiar with ``stacks'' and the basic elements of +structured programming. Fortunately the book dedicates two chapters to these +fundamentals, explaining them well with the aid of some simple examples. +More advanced facilities in graphics and character-printing are introduced +gradually with many clear illustrations of the +output from simple programs. Examples are frequently re-used to illustrate +more advanced techniques, making it easier to see the relative advantages +from using them. Quite impressive graphics are shown as the results of elementary programs, +emphasising the new possibilities offered by \PS. + +Following the tutorial, the cookbook is a spectacular gallery of \PS\ +plates. It shows the large range of effects that can be created from programs +written by a more skilled programmer. Each plate is presented +with the text of the program and explanations on the facing page. +This section should act as an inspiration for programmers-to-be and +a source of ideas for people who have learned the language. +\medskip +\centerline{\it \PS\ Language Reference Manual} +\noindent This gives a more detailed account of the ideas behind +\PS, but requires more concentration than the tutorial. It does not +attempt to give techniques for the effective programming of \PS. + +The second half of the book is a dictionary of \PS\ commands, +with formal definitions of the syntax and precise function of each command. One +of the more interesting commands listed is called {\tt image}. We tried +this command with part of a monochrome television picture, downloaded from +our department's VAX. This was successfully reproduced though having the appearance of a photocopied +picture. +\medskip +\centerline{\it Conclusion} +\noindent Anyone intending to use \PS\ should have both these books. +Q.E.D. + +\rightline{\sl Andrew J.~Stirling} + +\bigskip +\centerline{\bf More \PS} +\medskip\noindent +The \PS\ snowball seems to be gathering momentum, +as IBM has now chosen \PS\ as its preferred +``desktop publishing'' standard. Adobe calculates +that there are no less than 23 laser printers supporting the +language. I still harbour a sneeky suspicion that +a ``page description language'' is not really +addressing the problem of documents, which, after all, have +a structure over and above that of page level. The +DDL (Document Description Language) of Imagen and Hewlett-Packard +seems conceptually more apposite, but at least we are advancing +in the right direction. + +In a letter to TUGboat, Leslie Lamport makes some +interesting observations on the relationship between +\PS\ and {\tt dvi}. Fundamentally Lamport feels that +the rest of the world is going to adopt \PS\ as +the device-independent output format, and that +\TeX\ would have wider applicability if it too +generated \PS. Part of the immediate problem in doing this +lies in fonts. {\sl FTL systems inc} have already +converted the CMR fonts to \PS\ form, rather than pixel, +so the problems may not be insuperable. He also notes +the desirability of \MF\ producing \PS\ fonts, +complete with {\tt .tfm} files. + +I'm a little less sanguine than Lamport about the +inevitability of \PS. I suspect we will shortly see +a generation of laser-printers which have a switch with +three positions: \PS, InterPress and DDL, depending on the +application required. If we are lucky, this will be +software selectable. Of course, one of the major reasons +that Xerox, Imagen etc.\ will not accept \PS\ lies in +Adobe's patenting of the character encoding form they +use. Other manufacturers therefore have to create their own +incompatible system in order to compete. If only +Gutenburg had managed to patent the printing press, +we could still be in the Dark Ages. I jest not. + +\rightline{\sl Malcolm W Clark} + + diff --git a/info/digests/texline/no5/set.tex b/info/digests/texline/no5/set.tex new file mode 100644 index 0000000000..281c14d2aa --- /dev/null +++ b/info/digests/texline/no5/set.tex @@ -0,0 +1,7 @@ + +\def\IR{\hbox{$I\mkern-6muR$}} +\def\IP{\hbox{$I\mkern-6muP$}} +\def\IN{\hbox{$I\mkern-6muN$}} +\font\sqi=cmssqi8 +\def\IC{\hbox{$C\mkern-13.5mu +\raise0.49pt\hbox{\sqi I}\mkern9mu$}} diff --git a/info/digests/texline/no5/texline.tex b/info/digests/texline/no5/texline.tex new file mode 100644 index 0000000000..37c9ea9c58 --- /dev/null +++ b/info/digests/texline/no5/texline.tex @@ -0,0 +1,32 @@ +\input double.tex% some double columning macros (not provided) +\input verbatim.tex% verbatim macros (based on those in the TeXbook + % provides a |..| and \begintt...\endtt environment + +\font\mf=logo10 +\font\mfb=logobf10 +\def\MF{{\mf METAFONT}} +\def\MFb{{\mfb METAFONT}} +\def\MarkUp{MarkUp '8\kern-0.2em\lower0.45ex\hbox{7}} +\def\LaTeX{L\kern-.3em\raise.5ex + \hbox{a}\kern-.1em\TeX} +\def\frac#1/#2{\leavevmode\kern0.1em + \raise0.5ex\hbox{\the\scriptfont0 #1}\kern-0.1em + /\kern-0.15em\lower0.25ex\hbox{\the\scriptfont0 #2}} +\baselineskip12pt +\parskip0pt +\parindent1em +\hfuzz1.5pt +\tolerance3000 +\hyphenation{SGML SGML-ers} + +\headline{\sl \TeX line 5 \hss \folio} +%\nopagenumbers +\vsize720pt + + +\def\PS{PostScript} +\def\TS{Type \&~Set} +\def\dvi{{\tt dvi}} +\def\tfm{{\tt tfm}} +\def\quid{{\it\$}} +\def\DW{Dominik Wujastyk} diff --git a/info/digests/texline/no6/abbey.tex b/info/digests/texline/no6/abbey.tex new file mode 100644 index 0000000000..c2890563d7 --- /dev/null +++ b/info/digests/texline/no6/abbey.tex @@ -0,0 +1,41 @@ +\centerline{\bf\TeX\ typesetting service}\medskip +\noindent +One of the problems that \TeX\ users in the UK face is +the +lack of typesetting facilities. While laser printers offer +adequate quality for proofing and short-run publications, +higher quality is required for well-produced printed +publications. Typesetting provides this +higher quality, and, for users who have limited typefaces, +a wider range of options to improve the appearance +of their work. + +Having encountered the problem of typesetting from +\TeX, Abbey Information Systems has recently installed +a Linotronic 100 with PostScript RIP, software and +interface devices. This means Abbey can typeset +PostScript files from \TeX\ PostScript drivers, and +can also accept \dvi\ files for processing through a PostScript driver for +subsequent typesetting. Abbey is currently using \TeX\ and the Linotronic to +produce a 2000-page directory created on a database running on +a VAX 11/750. + +Abbey Information Systems is now offering a typesetting service +for all \TeX\ users whether or not they have a PostScript +driver. Part of the service of special interest to +\TeX\ users who are using mainframe and minicomputers +is that half-inch nine-track magnetic tape +can be read as well as floppy discs from {\sc IBM} pcs and +compatibles. Other media will also be accepted. +A direct dial-up service is also available. + +For more information, contact: +{\obeylines\parindent2em +Jon Maslin, +Abbey Information Systems Ltd, +Cochrane House, +Church Road, +Bookham, +Leatherhead, +Surrey KT23 3JP +tel: 0372 59577} diff --git a/info/digests/texline/no6/bart.tex b/info/digests/texline/no6/bart.tex new file mode 100644 index 0000000000..4df72bae39 --- /dev/null +++ b/info/digests/texline/no6/bart.tex @@ -0,0 +1,185 @@ +\def\mwc{{\sc mwc}}\def\bc{{\sc bc}} +\centerline{\bf The Pres says\dots} +\medskip +\noindent +One of the advantages of the Exeter `Advanced' course +was the presence of the current TUG President, +Bart Childs. Bart is from the Computer Science +Department at Texas A\&M (Aggies and Mechs) University. +One of the areas that \TeX\ and TUG are rather +weak in is that of background. The tiny bits of +real `people-information' which sneaks into TUGboat, +or the flyleaf of one of the books is slight. Perhaps +{\it email} goes closest to revealing what goes on +beneath the academic fa\c cade. As a very first attempt +to put a little more flesh on the bones of \TeX, TUG +and TUG's President, this is the contents of an +interview with Bart (rather late one evening, and +after a few beers). It would be great to think it +is the first of many such interviews, but that all +depends. This particular interview +touches briefly on the events which led to +Bart becoming President, and gives a view +from the President's desk (or rather, his +Data General laptop microcomputer --- running +pc\TeX\ and a preview). One last note: you may +notice that Bart sounds a bit like me here. I +haven't been able to transfer the Texan drawl. +The content is faithful in spirit to what was said, although +the accent and delivery have been transmuted. +It is therefore closer to a meta-interview. +\smallskip +\noindent \mwc: How did you get into this? + +\noindent \bc: We had a simple word processing system, for which +I had drawn up +the specification, and since we also had the source code, I had +modified it to handle some extensions into more mathematical work. +I thought it was really neat, but Norman Naugle said +``hold everything --- +have you seen \TeX?'' So I held everything and saw \TeX. +This was in +'78. I was impressed, threw away all the +stuff I had been doing, and we decided to implement \TeX, +from the SAIL version which was currently +available. But before we started we sent a grad student to Stanford +to the TUG meeting that fall and he came back saying +``hold everything --- +wait until the {\tt WEB} release!'' +So we waited a while for the {\tt WEB} +release. I actually started with version 0.6, +and had slowly begun to make some +progress with it, building tangle and the tangle.change when +version 0.9 arrived. We started with it on a Thursday afternoon, +and by the Saturday +night it had all been created. From there we went on to +develop the QMS Lasergrafix driver. +At the next TUG meeting Norman +Naugle volunteered Texas A\&M to be the Prime and DG distributors +for \TeX. Fairly soon after, +John Crawford of Ohio State University +took over the Prime distribution and we concentrated +on the DG. +We are still doing \TeX\ implementations: +currently I'm working on a Cray version, under CTSS. + + +Norman was still busy volunteering of course, +and at another TUG meeting, +Norman volunteered me for President. + +As President, I feel it is important for \TeX\ and TUG to be as +public domain as possible, which helps to explain our +dependence on ``academics'' in the major office bearing jobs. +But much of the success of TUG (and \TeX) lies in the good +support it has had from commercial organisations, +like Addison-Wesley, Personal \TeX, Kellerman \& Smith, and ArborText. +\smallskip +\noindent \mwc: What of the future? + +\noindent \bc: Systems like NBI, Interleaf and Ventura may well +adopt \TeX\ and SGML for the layout and structure +functions of documents. +ArborText's Publisher is a notable step in this direction, +incorporating both \TeX\ and \SGML. The advantage of \TeX, as +Don Knuth noted, is its quality, and, no less important, +its archival capabilities. It is available on a huge +range of systems, and in 20 years the same document +will still produce the same end results. +\smallskip +\noindent \mwc: Will \TeX\ be unchanged in 20 years? + +\noindent \bc: No, but the changes will be to the front end --- the face +that \TeX\ presents, and there will be extensions through the +use of `specials' to colour and graphics. +\TeX\ itself will remain the same. + +As an example of `front-ends', we have a \TeX\ system on +our local Data General machine, Kinder\TeX. This provides +a menu-driven front end, which, among other things, provides +tailored editing functions, so that the function keys +can be used for standard \TeX\ control sequences. We have +tried to tie things together so that the interface is +consistent, and we hope, fairly intuitive. + +One of the issues which I am keen for TUG (and all \TeX\ users) +to debate is that of standards --- notably standards for specials. +For example, how to handle the arguments. I am currently working with +an approach through QUIC (the QMS laser printer language) +and a device neutral +meta file to a graphics dvi which would allow output to +QMS, naked Canon, ATI, and later, PostScript. +\smallskip +\noindent \mwc: What is TUG's role? + + \noindent \bc: TUG will have a major +role to play in establishing standards for \TeX\ distribution. +The public domain releases should include, at the least, +\TeX, Metafont and the Computer Modern fonts. Standards should be +created for the smaller versions, like the commercial +micro releases, where there is obviously +a constraint on the amount of material you can include. +Driver standards need to be established (to include +features like graphics, landscape and portrait mode etc.), +and to be verified +by a trip test. + +Education is needed to ensure that driver writers are +incorporating the `position correction' for pixel boundaries, +to ensure that +dvi really is device independent. The font scaling problem in +\LaTeX\ and \SliTeX\ needs +to be addressed, and the solution made available. +The distribution of this +sort of information must not depend on academic networks. + +The continued financial strength of TUG will enable us to +initiate new services, like +a \TeX +\break +\noindent `helpdesk': this requires some +staff increase at TUG, which should have +happened by now. There will be greater separation from the AMS, +another reflection of the strength and autonomy of TUG. +\smallskip +\noindent \mwc: Any crystal ball forecasts? + +\noindent \bc: \TeX\ already exists in Pascal and C realisations. +It is likely that other languages will be used, like Ada and Lisp. +But far more likely, and more useful to individual \TeX\ users +will be the more general and widespread adoption of +\TeX\ `environments', +where \TeX\ can be given a far friendlier face, with menu driven +options, the use of function keys, icons, \SGML\ tags, +and exploitation of the underlying operating system, for example to +allow the user the capability of exiting to command mode level +(particularly useful if you get the `file not found message'), or +to have +the ability to fork off other processes while \TeX\ is running. +For example, there is no real reason why a preview could not +be running together with \TeX, so that once a page has been +through \TeX\ and a dvi produced, the preview driver couldn't +pick up that first page and display it. In general, proofing +a preview page takes much longer than producing the dvi, so +\TeX\ would always be ahead of you, once the first page had +been produced. +We may also expect to see \TeX\ in a distributed environment, +where a `mainframe' handles the \TeX ing, but features +like editing, preview, etc, are handled locally on +a workstation. Preview itself should improve, with large high resolution +(say 300dpi) screens. + +The use of colour is inevitable, and also mixed media. +And looking to another fashionable area, +we will probably see \TeX\ incorporated into hypertext applications. +There is no reason why film shouldn't run from within \TeX, +so that text viewed on a screen could include a diagram +of an object which rotated, or a manual +could have `exploded' views which really +did seem to explode! + +Lastly, we should not ignore \MF. +\MF\ is becoming a more mature piece of software, +and we should begin to see +more tools available for it, in particular +to allow pixel editing in order to tune fonts. diff --git a/info/digests/texline/no6/bcsep.tex b/info/digests/texline/no6/bcsep.tex new file mode 100644 index 0000000000..ca0bf12405 --- /dev/null +++ b/info/digests/texline/no6/bcsep.tex @@ -0,0 +1,174 @@ +% BCS Electronic Publishing specialist group conference, 23 Sep 1987 +% +% review by David Osborne, Cripps Computing Centre, Univ of Nottingham +% [ JANET: cczdao@uk.ac.nott.vaxa ] 3-5 Oct, 1987 +% +\def\quid{{\it\$}} % credit to Malcolm Clark for this! +\centerline{\bf BCS Electronic Publishing conference} +\centerline{\bf 23rd September} +\centerline{\bf Storage Technology in EP} +\medskip +\noindent +This was the first meeting of the BCS EP group I had attended, +though the advance programme described it as the fourth full day +meeting of what is now the third year of the group's existence. +The meeting was held at the School of Oriental and African Studies +in London, and was well-attended by representatives of both +commercial and academic organisations. + +In the absence of the scheduled speaker from Hatfield Polytechnic, +Ken~Jamieson of Microrite (chairman of the EP group) gave the first +presentation on an Overview of Relevant Storage Technology, setting in +context the theme of the meeting. He reviewed both the familiar and +unfamiliar media available for storage of text and fonts, leading on to +the new technologies of CD-ROM and WORM which were to be described more +fully later in the day. His description of exchangeable 15.6Mb hard +disks for PCs enlightened many of those present who, like myself, had +not come across these devices. Leading on from this, he contrasted the +amount of storage needed for an average A4 page of text, at about 0.5Mb, +with that of raster images which are increasingly demanded in documents +including both text and graphics; eight quarter-page graphic images to +be rendered at 300 dots-per-inch would require about 2Mb of storage. + +Andrew~James, Ventura Product Manager at Rank-Xerox, then led a +discussion on the storage problems experienced by those in the audience. +Andrew has written a review of the DTP (desk-top publishing) market +in the September 1987 issue of ``PC~User'' from his involvement with +Ventura, so his interests naturally centre on the special problems +of PC users. As he pointed out, most PC publishing users have access +to greatly restricted resources compared with text-processing users +on minis or mainframes. Shortage of disc space is a common difficulty, +particularly with the growing use of packages using bit-mapped font files +(in the pages of \TeX line, one such immediately springs to mind!) +On a slightly partisan note, he commented that some DTP packages +such as {\it PageMaker\/} exacerbate storage problems by using large, +monolithic document files, whereas others such as {\it Ventura\/} +minimise these by using smaller files collected together. + +Having discussed the problems of storage the meeting then turned to +techniques for rapid capture of text in a pair of presentations on OCR +and desktop scanning. Alan Howard of Kurzweil gave a fascinating +description of the Kurzweil ``Discover'' intelligent scanner. Intended +for use with a PC, this uses a special processor board designed by +Kurzweil which embodies expert systems software to perform pattern +recognition on the scanned material, which may be text or graphics. The +text-mode of scanning seems particularly sophisticated, being able to +ignore graphics and ``noise'' (such as handwritten comments, staple +marks and coffee stains), and to scan an A4 page in about 70 seconds +with a 95\% assurance level of character recognition. The ``format +analysis'' performed by the processor even takes account of the page +layout and indent tabbing. For output, the conversion phase can produce +a file in formats acceptable to most common word-processing packages as +a mixture of text and markup commands. In its graphics mode the scanner +can perform contrast enhancement and can handle continuous-tone +photographs, with output in formats suitable for {\it Ventura\/} +and the {\it Xerox Documenter\/}. + +It was perhaps unfortunate that a traffic incident delayed the arrival +of Sandra Woodley from Sintrom, since this led to her having to speak after +the Kurzweil demonstration --- a difficult `act' to follow. +She described the Datacopy OCR scanner, which uses a different, less +sophisticated recognition technique and is therefore restricted to +coping with a set of 19 fonts, up to 9 different fonts on one page. +There is a ``learning'' mode in which the user can teach the scanner in +about 20 minutes to recognise a new font which can then be +added to the machine's library of pre-defined typefaces +(such as Courier 12 and Times Roman 10 \dots not a Computer Modern +to be seen!) At present, the scanner can only cope with text but will +handle both mono- and proportionally-spaced fonts, though kerning and +ligatures can cause some problems. Again, the scanner is PC-based and +can generate output for a variety of word-processing programs. Its +ability to scan bound volumes without them having to be unbound is +certain (I nearly said ``bound'') to make it popular with librarians. + +In comparison, the decision of which scanner to buy comes down to +``paying your money and taking your choice'', since the Datacopy costs +\quid 1658 for the flatbed scanner and \quid 742 for its software, while +the much more sophisticated Kurzweil is pitched at \quid 8000 for the +package of scanner, processor board and software. + +We then progressed into more high-tech with a presentation on WORM +(Write Once, Read Many) technology from Geoff Pullen of Microscribe. +Unlike CD-ROM, there is no current world standard on formats for +the optical discs used in WORM, and discs are manufactured for +specific drives. The discs themselves are made of either glass +or optical polycarbonate and are now guaranteed by the manufacturers +for 30 years, though there was some discussion as to whether this +included integrity of the data recorded on them. +There are many types of drive available, and capacities of 1 gigabyte per +side have been common since 1983. Three sizes are in use: +14-inch, with 6.8Gb capacity; 12-inch; and 5\frac1/4-inch, offering +115Mb--800Mb per disc. ``Juke box'' storage for up to 200 12-inch discs +is available. +Image data from WORM discs can be retrieved in standard MS-DOS file formats, +allowing their exchange between media, once retrieved. +An entry-level 5\frac1/4-inch system should cost \quid 16-20000, +while top-level systems are much more expensive at \quid 84000 for +the Racal REOS, and \quid 100000 for the Philips Megadoc. +Despite these high prices, the utility of WORM for secure storage +of large volumes of text is clear. + +Contrasted with WORM was the other optical medium, CD-ROM, described in +a talk by a speaker from Saztec Ltd., in the context of their contract +with the British Library for the conversion of the BL's General +Catalogue. This is a huge task, since the catalogue details 4.2 million +volumes deposited with the library, and occupies 360 volumes which take +up 42 feet of shelf space. These contain 176,000 pages, representing +about 1 billion characters. The conversion phase of the contract is +costing about \quid 2M and will occupy about 70 people for 4 +years. The claim that this is an unparalled task was disputed by Lawrie +Newton of OUP, who stated that the computerisation of the Oxford English +Dictionary is of a comparable scale. The opportunity is being taken of +restructuring the catalogue as part of the conversion to optical disc. +The CD-ROM discs are similar to the audio discs familiar to +hi-fi enthusiasts and have an unformatted capacity of 600Mb, giving about +550Mb of storage when formatted and indexed. This means that the +British Library catalogue can be held on merely four discs. CD-ROM is a +suitable publishing medium for unchanging reference data, such as the BL +catalogue, and can hold both text and graphics, offering the ability for +rapid searching and the downloading of selected text for later +processing on a PC, for example. The current high costs of mastering +and production mitigate against their use for rapidly changing data, or +where the production run is small, although the hardware to read them is +relatively cheap, at about \quid 200 per drive. The data preparation for +CD-ROM costs about \quid 9000, with mastering an additional \quid 2000 +and replication costs of \quid 12--\quid 18 per disc. This puts the +cost of a production run of one disc at about \quid 12000, but \quid 25000 +for a run of a thousand. + +Rounding off the meeting, Mike Daines of Signus discussed +``Soft Scanning Techniques for fonts'', with particular reference +to Signus' involvement with the {\it Ikarus\/} system. +Signus specialise in the production of digital typefaces for +various manufacturers, both for typesetters and low-resolution devices +such as laser and dot-matrix printers. Mike noted that ``resolution +independence'' of typefaces can be achieved by storing the font +at a higher resolution than that used by any available device; +this is the method adopted by the {\it Lucida\/} family, by +Bigelow and Holmes (which they described at {\it EP86} in Nottingham). +It is also used by {\it Ikarus\/}, which has a resolution of +15000 dots in {\it x\/} and {\it y\/} for an em-square. +He then noted the advantages of hand digitisation, claiming +a that an effective time of 2.6 minutes per letter could be attained, +once the draft designs had been marked up. Signus digitise to +an accuracy of \frac1/{100}{\it mm\/} for a letter 10{\it cm\/} high. +Almost all digital formats can be calculated from this +hand-digitised base. Soft scanning consists of calculating the +intersections of the Ikarus `DI' format (which uses circles, arcs and +straight lines) with the raster pattern of the display device, +producing scan-lines for output. This method allows later reprocessing +of the fonts to perform any corrections which may be necessary. +Summing up, Mike described what he felt were essential +requirements for digital typesetting: +fonts should have a square raster resolution +(equal in {\it x\/} and {\it y\/}), +a constant database of resolution-independent character definitions +and a common font format; +printers should have a minimum resolution of 600 dots-per-inch, +with fonts downloaded from their host machine rather than printer-resident. +\medskip\noindent +(The next meeting of the EP group is scheduled for November 26th, +to discuss DTP in the printing industry, with speakers including +Pierre Mackay and representatives from OUP and John Wiley). +\medskip +\rightline{\it David Osborne, Nottingham University} diff --git a/info/digests/texline/no6/chemistry.tex b/info/digests/texline/no6/chemistry.tex new file mode 100644 index 0000000000..0446926b92 --- /dev/null +++ b/info/digests/texline/no6/chemistry.tex @@ -0,0 +1,32 @@ +% Definitions and stuff for chemistry, equilibrium symbols : +% \eqbm -- unlabeled equilibrium (longer than harpoons) +% \eqbmlab~#1_#2 -- long equilibrium sign with forward (#1) and backward (#2) +% labels +% \yields -- long right arrow +% \yieldslab~#1 -- `` `` `` with a label above (#1) +% To typeset chemical equations, +% type \rm just after the $ or $$. Also, when using \eq}align or +% \eq}aligno, type \cr\rm wherever you would normally type \cr. +% The labels on \eq}bmlab and \yieldslab come out in italic automatically +% (use \rm to get roman). Elsewhere, italicize variables like K_W or N_0 +% using \cit. +% +\def\cit{\fam=-1} \% Chemistry ITalic +\def\longrharpup{\relbar\joinrel\rightharpoonup} +\def\longlharpdn{\leftharpoondown\joinrel\relbar} +\def\rlPOON#1{\vcenter{\hbox{\ooalign{\raise2.3pt + \hbox{$#1\longrharpup$}\crcr $#1\longlharpdn$}}}} +\def\eqbm{\mathrel{\mathpalette\rlPOON{}}\rm} +\def\eqbmlab#1_#2{\mathrel{\mathop{\eqbm}\limits~{#1}_{#2}}\rm} +\def\yields{\longrightarrow\rm} +\def\yieldslab~#1{\mathrel{\mathop{\longrightarrow}\limits~{#1}} \rm} + + +$$A\eqbm B$$ +$$A\eqbmlab A_B$$ +$$A\yieldslab~x$$ +\bye +\fontdimen16\twelvesymboltext=3.24pt +\fontdimen17\twelvesymboltext=3.24pt +\fontdimen16\twelvesymbolscript=2.65pt +\fontdimen17\twelvesymbolscript=2.65pt diff --git a/info/digests/texline/no6/contents.lis b/info/digests/texline/no6/contents.lis new file mode 100644 index 0000000000..97db1b866d --- /dev/null +++ b/info/digests/texline/no6/contents.lis @@ -0,0 +1,15 @@ +% +\tolerance=2000 +\input texline +\input head +\begindoublecolumns +\pageno=2 +\input bart\bigskip +\input mfbook\bigskip +\input markup87\bigskip +\input abbey\bigskip +\input tig.txt\bigskip +\input seattle.txt\bigskip +\input bcsep.txt\bigskip +\enddoublecolumns +\bye diff --git a/info/digests/texline/no6/copyright.tex b/info/digests/texline/no6/copyright.tex new file mode 100644 index 0000000000..6776480f31 --- /dev/null +++ b/info/digests/texline/no6/copyright.tex @@ -0,0 +1,133 @@ +\centerline{\bf Copyright} +\medskip +\noindent +One very recent \hax\ message concerned the +issue of copyright. This struck a chord with me, +since I recently obtained Pat Monardo's C-\TeX\ +(referred to here as CommonTeX), +which contains a rider about copyright. +The message was from Ozan Yigit (as Sebastian +Rahtz said, the names are often unusual to +British ears). Granted that all this is about US copyright law, +I'm sure it still does have relevance to the future +of `\TeX-in-C' at the least. I have abbreviated it +only very slightly. + He (or she) writes: + +{\narrower +\noindent +``I have been following, with great interest, the +recent +chatter surrounding the C implementation (Ctex) of +\TeX. Many institutions may have now discovered that +the copies of +CTeX obtained from Texas A\&M are not (somehow) legal, as indicated by +Tomas Rokiki, who has a copyright notice on Ctex sources. + +I would like to suggest that there has possibly been +an abuse of the US copyright laws, and both Ctex and CommonTeX cannot, +in fact carry anyone else's copyright except that of Don Knuth, +and hence, carry the same distribution rights\slash +restrictions [if any] of the original \TeX. + +Why: If I am not mistaken, US copyright laws suggest +that a translation of an originally copyrighted +work carries the same copyright as the original --- +in other words, mechanical and\slash or hand translation +does not obliterate the original copyright. + +One lawyer, Jordan J. Breslow, did address the issue of +`derivative works' in his most enlightening paper. He indicates +that the translation of, say a copyrighted COBOL +program to BASIC would be the infringement of the copyright +owner's exclusive right to make derivative works. + +Is there something missing? Did Don Knuth drop his +copyright on \TeX? + +Now, it is possible that there exists a license arrangement +between Tomas Rokiki and Don Knuth, which allows +Tomas to claim copyright on Ctex. If such +is the case, I would like to know about it, so that I can +understand a request to flush all binaries and sources +of Ctex obtained from Texas A\&M. The same issue, +of course, applies to the `copyleft' notice of +Pat Monardo, for the CommonTeX implementation.'' +\smallskip} + + +\rightline{\sl Malcolm Clark} +\bigskip +\centerline{\bf News from the other side} +\medskip +\noindent +Not only do we have news from the west coast of the US, +but there is also a resident UK\TeX ie at Harvard --- +\DW. Dominik managed to achieve electronic communication +with |texline@ic.cc.vaxa|, and I have synopsised +some of his messages to give a Harvard-eye view +of the \TeX\ world. + +I quote: +{\narrower ``The latest \TeX\ news I have is that there +is a \MF\ course next month at Radnor, Penn, which costs \$650 +to attend! Run by Doug Henderson, who did the Personal\TeX\ +implementation of \MF. The price is outrageous, and the same +goes for the Protext conference here in Boston. + +Norman Naugle has a new \TeX\ previewer +valled CDVI (or something) which is +extremely good (according to him!): it is +optimised to give very fast screen presentation of a +|dvi| file, and apparently it can do +all sorts of tricks with colour (why?) on an EGA. +He will charge \$175 for it, and is still adding further +graphics systems support to it, such as the Olivetti +6300 $640\times400$ board. + +Frans Velthuis is bringing his work on +Devanagari metafonts towards a conclusion. +He has more or less linished the character set +for Hindi, and is working on the few extra characters +needed for Marathi and Sanskrit, and things like the +numerals.'' +\smallskip} + +Dominik also raves about ``a fantastic little utility +on the PC\TeX\ bulletin board'' which helps +in the creation of CM fonts from the |.mf| files +distributed with pc{\mf MF}. He also notes that +it takes about eight hours to create all 74 CM +fonts at one magnification on an 8 MHz AT. + +And lastly, he reminds me to say something about +the programs Graham Asher and Clwyd Probert of Informat +are writing: + +{\narrower\noindent``They are astounding. One creates gigantic \TeX\ macro files +automatically, from choices you make on a large set of +layered menus. The other, related program reads +a {\it wysiwyg} table, and writes the \TeX\ code +to typeset it! The dividing lines and corners, etc., can +be any characters you choose. Again I was most impressed.'' +\smallskip} +\noindent +There will be something on these new \TeX\ add-on +products at \TeX88. Graham will likely be giving at +least one +paper, and a hands-on demonstration must be +inevitable. It is probably true that Informat is +the most progressive hive of \TeX\ activity +in the UK at present, as Graham's article +in the previous \TeX line, `{\bf\TeX\ and the +Linotron 101}' and the +letter overleaf attests. Graham, Clwyd and the +other programmers at Informat are producing some very powerful +software which will help in increasing the use of +\TeX. Although the menu-driven `front-end' bears +some similarity to systems like {\it Page One}, +it is far more general, without being more +cumbersome or difficult to use. + +\rightline{\sl Malcolm Clark} + diff --git a/info/digests/texline/no6/editorial.tex b/info/digests/texline/no6/editorial.tex new file mode 100644 index 0000000000..beba037c9c --- /dev/null +++ b/info/digests/texline/no6/editorial.tex @@ -0,0 +1,121 @@ +\centerline{\bf Editorial} +\centerline{\bf\TeX\ considered as the Zahir} +\medskip +\noindent +This seems to have been a good year for \TeX. +Communication and distribution has improved enormously. +The rebirth of \hax, and even more significantly, +its redistribution within the UK has been a boon +to those who are now able to receive it easily +and conveniently over Janet. + +Spurred on by this success (and the large amount +of useful material in \hax), Peter Abbott at Aston +University started a similar scheme in Britain. +This is growing steadily, and proving to be a useful +source of information and communication. + +Peter has also collected together much of the +public domain \TeX\ material, like the \LaTeX\ +style files, and it is possible to pick these +files up electronically from Aston. + +This is fine for the academic community, or at least +parts of it, but less useful to those who are +isolated (or insulated) from ivory towers. The +Unix community, with UUCP can also indulge, so the +picture is not solely one of lofty academic +separation. Bulletin boards can be substitutes, +and as \DW's note demonstrates, those bulletin boards +could be a long way away. + +One of my concerns has always been the isolated \TeX\ +user. I don't feel that he or she is particularly +well-served by {\sl The \TeX book} and a micro +version of \TeX. At the very least you need to +talk to someone else, just to be sure that you +haven't gone completely crazy. TUG and TUGboat +go some way to convincing people that they are not alone, +most particularly through the membership list. But +too few people join. I was looking for the addresses +of some well known \TeX nophiles --- look in the +TUG membership listing I thought: were they there? +Of course not. It could be that their institution +has membership, but\dots + +I realised too that not everyone really gets to know about +TUG. Where is it mentioned in the book? Appendix J +is the only source of information. By the time you +get that far through the book you should be experiencing +terminal brain saturation. It's probably too late by then. +Pick up the \LaTeX\ book: where is {\it any\/} +mention of TUG? (I have to be careful these days +saying anything about \LaTeX, ever since +Phil Taylor and +I were stigmatised +by Sebastian Rahtz as `\LaTeX-haters'). +Spivak mentions TUG on page 5 of `Joy of \TeX', +increasing my admiration for the man. The manuals +which come with the micro versions are even worse +at promoting TUG. Why? Most software vendors work +hard at creating active User Groups. Here there is +one ready made, and the vendors appear to ignore it. +It would be no great problem to include a reply-paid +postcard in each copy of a micro version of \TeX, +entitling the purchaser to one year's free +subscription. How about it Addison-Wesley\slash +Personal \TeX\slash FTL systems\slash $n^2$\slash +Kettler-EDV\slash etc? + +We also need a higher profile in the popular press. +Is there some good reason why an article on \TeX\ +has not yet appeared in New Scientist? or in +the computer pages of one of the `quality' daily +newspapers? Preferably written by someone who knows +what he or she is talking about (i.e.~not a journalist). +It appears that \TeX\ is making some slight headway +in the DTP aware magazines. But to take an example, +at the Desktop Publishing Show run by Pira +a few weeks ago in +Islington, a Yearbook was `given' to each +registrant. \TeX\ in its various guises turns up +a few times, but frankly, the descriptions were +not wholly accurate. If Pira can't get it right, +I can't really expect the press to. I thought +the show was pretty dull anyway --- {\it Pagemaker} +(yawn) and {\it Ventura} (yawn) are not terribly +exciting. Interleaf was as good as ever, especially +now it can do equations (but what a price!). +IBM had their 600 dpi electro-erosion printer +there, besides their new \ps\ (yawn) Ricoh-engined +laser +printer. It could have been worse, IBM might +have adopted \TeX! Anyway, Apple blew them away +as usual --- this time with HyperCard: at last the +potential for electronic publishing is beginning +to be recognised. But by now you know how I feel +about Apple (aren't their {\sc tv} ads dreadful --- +I almost expect to see Mel Smith doing them). + +Another positive step has been the arrival of TUG +courses in Europe. Courses were presented at Exeter +and at Bergen. Unfortunately the projected Groningen +course was not run. \MF\ has become sufficiently +available that TUG is now presenting a course on it, +in the US. + +At last CMR is much more widely available. Personal +\TeX\ recently upgraded to CMR (Addison-Wesley please +note), and took the opportunity to change +to ArborText's |.pk| drivers. While the CMR upgrade +is free (it only affects the format files and the +|tfm|'s), a nominal charge will be made for upgrading the +drivers. Another extra from Personal \TeX\ is +the availability of the Bitstream fonts. I hope +we will have more details on this soon. pc\TeX\ +users should contact Ewart North of Uni\TeX. + +\rightline{\sl Malcolm Clark} + + + diff --git a/info/digests/texline/no6/extract.tex b/info/digests/texline/no6/extract.tex new file mode 100644 index 0000000000..dd16e5b877 --- /dev/null +++ b/info/digests/texline/no6/extract.tex @@ -0,0 +1,411 @@ + +% BEST OF TEXHAX notes for TeXline +% by Sebastian Rahtz +% Malcolm - i am unused to plain TeX, and have quickly hacked together +% some macros. please feel free to redo at will. wish I was back in +% LaTeX..... +%--------------------------------------------------------------------- +% program quoting macros +% +\def\UncatcodeSpecials{\def\do##1{\catcode`##1=12 }\dospecials} +{\begingroup\obeyspaces\catcode`\ =13\endgroup} +% +\def\SetupVerbatim{\tt\def\par{\leavevmode\endgraf}\catcode`\`=\active +\obeylines\UncatcodeSpecials \obeyspaces\catcode`\ =13} +{\catcode`\`=\active \gdef`{\relax\lq}} +% +\def\program{\begingroup\parindent=0em\par +\SetupVerbatim\xprogram} +\begingroup +\catcode`\|=0 \catcode`\\=12 +|obeylines|gdef|xprogram#1\endprogram{#1|endgroup|vskip 10pt|parindent=0em|par} +|endgroup +% +% miscellaneous +\parindent=1em +\def\and{\item{$\bullet$}} +\def\sq{\smallskip\begingroup\leftskip=3em\noindent +\sf\parindent=0em\parskip=2pt} +\def\eq{\smallskip\hrule\smallskip +\parindent=1em\parskip=0pt\leftskip=0em\endgroup} +\def\bs{$\backslash$} +% +% names +\font\sf=cmss10 +\def\texline{\TeX line} +%------------------------------------------- +\centerline{\bf Best of \hax, Summer 87} +\centerline{\it Sebastian Rahtz, Department of Electronics and +Computer Science, University of Southampton} +\medskip\noindent +Those readers of \texline\ who are not daily users of electronic mail, +and/or use \TeX\ primarily on micros, may not be aware of the +existence of the \hax\ mailing list, which exists to share information +around the international \TeX\ community. It is distributed from the +University of Stanford under the editorship of Malcolm Brown, and uses +a digest format; Malcolm stores incoming mail (requests for +information, news of new products, replies to other questions, +`official' communications from TUG in advance of TUGboat) until +it reaches critical mass, then bundles it together with a list of +contents and sends it to everyone on the \hax\ list. Typically, this +happens two or three times a week, and each issue contains about a +dozen contributions, which means that a vast amount of \TeX -related +material is flitting across the networks all the time. The purpose of +this article is to describe the range of \TeX ery covered in \hax, and +to reprint some of the more interesting topics. Readers who wish to +join in this activity (be prepared for a lot of browsing of mail +messages!) must have an account on their local mainframe or mini with +access to network mail (consult your local guru); send mail to +{\tt texhax-request\%uk.ac.ucl.cs} and ask that +your name be put on the list to receive \hax\ (don't forget to tell +them your own mail address). As things stand at the moment, this +international mail will not cost you anything, as one copy is sent to +London and forwarded to you from there. + +\hax\ is read by a very large number of people, to judge by +contributions, from America, Canada, Britain, Europe, Japan, Australia +etc. Leslie Lamport is a regular contributor with answers to \LaTeX\ +problems, Barbara Beeton monitors it for TUG, and even Donald Knuth +adds the occasional note. It is a good place to send an esoteric +question, as usually someone with an unpronounceable name from an +institution you have never heard of will send in an answer. If you +want a more local answer (`who has got a copy of xxx in Britain?'), +there is a UK version of \hax, recently set up by Peter Abbott at +Aston, to bring together specifically UK \TeX xies---mail to {\tt +abbott@uk.ac.aston.mail} to get on that list. + +For the purpose of this article, I have looked at the 36 issues of \hax\ +that reached me between May 22nd and September 6th (an average of +about two a week). There were approximately 480 contributions dealing +with every sort of \TeX\ arcana; just searching the subject fields +(not necessarily a proper reflection of contents), I found 129 pieces +relating to \LaTeX\ (including 22 sets of {\it \LaTeX\ Notes} from +Leslie Lamport), 14 pieces on \BibTeX, 11 on \MF, 6 on +\SliTeX, and just 1 on \AmSTeX. My subjective impression is that +\LaTeX\ matters are an even higher proportion of \hax\ even than +appears from these figures. In general, contributions vary from the +questions about hardware (usually printers), to the private life of +\TeX\ macros, as evinced in the following two excerpts: + +{\narrower\noindent + My order for the IBM 4250 font tapes just came back with + ``I no longer have a font tape for the 4250 printer. The person + who supplied it to me originally has not made another one for version 2 + of TeX." + Where can I get one of these tapes? + What's the difference between V1.01(the one she doesn't have) and 2? + Will they still work? +\smallskip +and +\noindent +Subject: TeX eats l's after fil +\noindent +If an `l' or and `L' follows a unit of glue such as `fil', even separated +by spaces, it is aparently parsed as part of the name of the unit. This +leads to some fairly strange behavior. For example, the following script +will put a `K' and a `M' in the dvi file, but no `L'! + +\program + \def\q#1{\hskip 0 pt plus 0 fil #1} + \q{K}\q{L}\q{M} + \end +\smallskip +\%\% Barbara Beeton responds: + +the ``l"-gobbling you've encountered is legitimate, and easily explained. +the full syntax of \bs hskip is +\program + \hskip<dimen> plus<dimen> minus<dimen> +\endprogram +since your example didn't include a ``minus", tex keeps looking. +since ``fil" is a ``pseudo-dimension" it can continue, up to 3 ``l"s +(if your data had been ``llama", all you would have gotten in the output +would have been ``ama"). similarly, if the data had started with the +word ``minus", not followed by a proper$<$dimen$>$, minus would have been +gobbled and you probably would have gotten a nasty message to the effect +that a$<$dimen$>$ was expected, and 0pt will be assumed. the best way to +avoid this is to put \relax after your skip expression. + this is covered explicitly in the texbook; look it up in the +index (page 469): ``l after fil". + -- barbara beeton +\smallskip} + +Sometimes \hax\ gets onto a general issue---there have been +discussions over the last year on such questions as: + +{\narrower +\and Can University authorities be persuaded to drop their +`double-spaced Courier' thesis requirements for students who have +access to a proper typesetting system like \TeX? +\and What freedom should \LaTeX\ users have to tinker with the layout? +Leslie Lamport feels strongly that only experienced document designers +should be able to alter e.g. the font used in a running head. + +\and Can a consistent set of standards for dvi drivers be put +together? What facilities should they have? How do you handle \bs +specials? This question was +addressed in detail at the TUG meeting in August, and a committee was +set up to look into it. + +\and What is the relationship of \ps\ to \TeX? Lamport suggested +\TeX\ be changed to output pure \ps, others defend their LN03s to the +death. +} + +Usually, of course, \hax\ is question and answer; +here are some random selections of items that should give a general +flavour of what happens on a daily basis: +\program + \def \dolist + {\afterassignment\dodolist + \let\next=} + \def \dodolist + {\ifx \next \endlist \let \next \relax + \else \\ \let\next\dolist + \fi \next} + \def \endlist + {\endlist} + \def \\ + {\next\hfil } + \def \spreadem#1#2{\hbox to #1{\dolist #2\endlist\hfilneg}} + + \spreadem{2.0 in}{spread} + \spreadem{1.5 in}{the} + \spreadem{1.0 in}{word} + + \bye +\endprogram + +These macros were adopted from the macros given as the solution to +problem 11.5 in the TEXbook. The idea is to stick an \bs hfil after every +letter (token) in the word (argument). The glue after the final letter +causes the word to be ``ragged-right" in the box; this is fixed by +canceling the glue with an \bs hfilneg. + +\eq} + +{\sq +Subject: WEB for Ada? + +Is there a version of WEB that accepts the Ada language? + + Thanks, Jack Sharer, JWS@PSUARLC + +\eq} + +{\sq +Subject: Typesetting chemical papers + +Like Th. Kneser, I also needed chemical equilibrium symbols and +came up with the following, which may be useful. Note that these +are for plain TeX and for chemical equations that are being typeset +in Roman. + +\program +% Definitions and stuff for chemistry, equilibrium symbols : +% \eq}bm -- unlabeled equilibrium (longer than harpoons) +% \eq}bmlab~#1_#2 -- long equilibrium sign with forward (#1) and backward (#2) +% labels +% \yields -- long right arrow +% \yieldslab~#1 -- `` `` `` with a label above (#1) +% To typeset chemical equations, +% type \rm just after the $ or $$. Also, when using \eq}align or +% \eq}aligno, type \cr\rm wherever you would normally type \cr. +% The labels on \eq}bmlab and \yieldslab come out in italic automatically +% (use \rm to get roman). Elsewhere, italicize variables like K_W or N_0 +% using \cit. +% +\def\cit{\fam=-1} \% Chemistry ITalic +\def\longrharpup{\relbar\joinrel\rightharpoonup} +\def\longlharpdn{\leftharpoondown\joinrel\relbar} +\def\rlPOON#1{\vcenter{\hbox{\ooalign{\raise2.3pt + \hbox{$#1\longrharpup$}\crcr $#1\longlharpdn$}}}} +\def\eq}bm{\mathrel{\mathpalette\rlPOON{}}\rm} +\def\eq}bmlab~#1_#2{\mathrel{\mathop{\eqbm}\limits~{#1}_{#2}}\rm} +\def\yields{\longrightarrow\rm} +\def\yieldslab~#1{\mathrel{\mathop{\longrightarrow}\limits~{#1}} \rm} +\endprogram + + +To make subscripts come out aligned I have put (for example) +\program +\fontdimen16\twelvesymboltext=3.24pt +\fontdimen17\twelvesymboltext=3.24pt +\fontdimen16\twelvesymbolscript=2.65pt +\fontdimen17\twelvesymbolscript=2.65pt +\endprogram +in with my font definitions following the example of the TeXbook p.179. +These 12 pt numbers were determined by trial and eye...leading to a +question of my own: + + How can I look at the font parameters for an arbitrary font + and determine the proper font dimensions to make chemical + subscripts all come out aligned? Or, Has someone determined + the numbers already? + + Donald + (asnd@triumfcl.bitnet or + userasnd@ubcmtsg.bitnet) +\eq} + +One common feature of \hax\ is the swopping of style files for \LaTeX. +For those who are not aware of it, here is the latest description of +the Rochester \LaTeX\ style file collection: +{\sq + Subject: Contents of LaTeX style collection, 2nd August 1987 + + Date: Sun, 02 Aug 87 14:03:33 -0400 + + From: Ken Yap $<$ken@cs.rochester.edu$>$ + + The LaTeX style collection now has the files listed below. More + submissions are very welcome. + +{ \settabs 3 \columns + \+ 00directory&format.sty&slem.doc \cr + \+ 00index&fullpage.doc&slem.sty \cr + \+ 00readme&fullpage.sty&spacecites.doc \cr + \+ a4.sty&geophysics.sty&spacecites.sty \cr + \+ a4wide.sty&german.sty&suthesis.doc \cr + \+ aaai-instructions.tex&ieeetr.bst&suthesis.sty \cr + \+ aaai-named.bst&ist21.sty&texindex.doc \cr + \+ aaai.sty&latex.bug&texindex.pas \cr + \+ acm.bst&layout.readme&texindex.sty \cr + \+ agugrl.sample&layout.tex&texnames.doc \cr + \+ agugrl.sty&lcustom.tex&texnames.sty \cr + \+ agujgr.sample&lfonts\_ams.readme&textyl.readme \cr + \+ agujgr.sty&lfonts\_ams.tex&textyl.shar1 \cr + \+ amssymbols.sty&lgraph.shar&textyl.shar2 \cr + \+ art10.txt&local.suppl&textyl.shar3 \cr + \+ art11.txt&memo.sty&textyl.shar4 \cr + \+ art12.txt&mfr.sty&textyl.shar5 \cr + \+ article.txt&mitthesis.sample&textyl.shar6 \cr + \+ biihead.sty&mitthesis.sty&textyl.shar7 \cr + \+ ctex.readme&natsci.bst&textyl.shar8 \cr + \+ ctex.shar1&newalpha.bst&textyl.shar9 \cr + \+ ctex.shar2&nopagenumbers.doc&tgrind.sty \cr + \+ ctex.shar3&nopagenumbers.sty&threepart.sty \cr + \+ ctex.shar4&remark.sty&titlepage.txt \cr + \+ ctex.shar5&resume.sample&trademark.sty \cr + \+ ctex.shar6&resume.sty&uct10.doc \cr + \+ cyrillic.sty&sc21-wg1.sty&uct11.doc \cr + \+ dayofweek.tex&sc21.sty&uct12.doc \cr + \+ deproc.sty&sfwmac.sty&ucthesis.doc \cr + \+ deprocldc.tex&showlabels.sty&ucthesis.readme \cr + \+ docsty.c&siam.bib&uuencode.shar \cr + \+ docsty.readme&siam.bst&vdm.doc \cr + \+ doublespace.sty&siam.doc&vdm.sty \cr + \+ draft.sty&siam.sty&vdm.tex \cr + \+ drafthead.sty&siam.tex&ws87.p \cr + \+ dvidoc.shar1&siam10.doc&wsltex.c \cr + \+ dvidoc.shar2&siam10.sty&wsltex.p \cr + \+ epic.shar1&siam11.sty&xxxcustom.tex \cr + \+ epic.shar2&siam12.sty&xxxslides.sty \cr +} + + 1. For Internet users - how to ftp: + + Here is an example session. Disclaimer: ftp syntax varies from host to + host. Your syntax may be different. The syntax presented here is that + of Unix ftp. Comments in parentheses. + +\program + % ftp cayuga.cs.rochester.edu (a.k.a. cs.rochester.edu, a.k.a. 192.5.53.209) + ... (general blurb) + user: anonymous + password: <any non-null string> + ftp> cd public/latex-style (where the files are) + ftp> ls (to see what is there) + ... (lots of output) + ftp> get 00index + ... (more blurb) + ftp> quit +\endprogram + + 2. Non-Internet users - how to retrieve by mail: + + An archive server has been installed. Send a piece of mail to LaTeX-Style + (@rochester.arpa, @cs.rochester.edu, via uucp or your favourite gateway) in + the following format: + + Subject line should contain the phrase ``@file request". Body of the + mail should start with a line containing only an @ (at) sign. + The first line following should be a mail address FROM rochester TO +[B you. Then follow by the names of the files you want, either one to + each line, or many to each line, separated by spaces. End with a line + containing only an @ sign. Case is not significant. + + For example, if you are user at site.bitnet, this is what you should send: + +\program + + To: latex-style@rochester.arpa + Subject: @file request + + @ + user%site.bitnet@wiscvm.wisc.edu (don't forget your address!) + 00readme + 00index + @ +\endprogram + + Caveat: our mailer is pretty ignorant of BITNET, CSNET or UUCP + addresses unless they are in registered domains. It is best that you + supply explicit gateway routes. Also use the new domainized form of + addresses whenever possible because the old .ARPA addresses are fading + away. + +\program + user%site.bitnet@wiscvm.wisc.edu + user%site.csnet@relay.cs.net (not csnet-relay.arpa anymore) + site!user@seismo.css.gov (not seismo.arpa anymore) +\endprogram + + Long UUCP paths are discouraged. System administrators get upset and + your turnaround is very slow anyway. + + Do not include any messages in the mail. It will not be seen by human + eyes. Be patient as the server is actually a batch program run once a + day. Files will be sent in batches, each not exceeding 100kbytes in size. + + 3. IBM PC and clone users - how to get a distribution: + + David Hopper of Toronto, Canada is offering copies of the style + collection on diskettes. This is not a commercial enterprise. David is + doing this in his own time as a favour to the TeX community. The entire + set of style files, not including the C-TeX files, as of June 1st, fits + on one 1.2 MB diskette or three 360KB diskettes. No subsetting, + please. Send David + +\item{ 1.} Formatted diskettes, + \item{2.} Indication of the format required, + \item{3.} A self-addressed mailer, and + \item{4.} A \$5.00 donation per set of files, to cover postage and equipment wear + \& tear. (If you live outside North America, airmail delivery will probably + require more postage. You should probably contact David for details.) + + David's address: +{\it + David W. Hopper, + + 446 Main Street, + + + Toronto, Ontario, + + Canada M4C 4Y2 +} + + Thanks, David. + + Ken + + LaTeX-Style@Rochester.Arpa + + LaTeX-Style@cs.Rochester.Edu + + ..!rochester!latex-style + +\eq} + +\bye diff --git a/info/digests/texline/no6/head.tex b/info/digests/texline/no6/head.tex new file mode 100644 index 0000000000..2c82086e5b --- /dev/null +++ b/info/digests/texline/no6/head.tex @@ -0,0 +1,40 @@ +\nopagenumbers +\hsize=6.5in +\newbox\info +\newbox\banner +\newdimen\infoht +\newdimen\bannerht +\setbox\info=\vbox{% +\hsize=200pt% +\font\small=cmr7% +\baselineskip=7.5pt% +\small +\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 7, \monyr} +\line{ \hfill the Newsletter of \TeX\ users in UK and Ireland} +\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}} +\setbox\banner=\vtop{% +\hsize=220pt% +\font\huge=times at65pt% +\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 +\leavevmode + +\hbox to \hsize{\box\info\hfill\raise\infoht\box\banner} + +\bigskip diff --git a/info/digests/texline/no6/markup87.tex b/info/digests/texline/no6/markup87.tex new file mode 100644 index 0000000000..4bff2ee279 --- /dev/null +++ b/info/digests/texline/no6/markup87.tex @@ -0,0 +1,105 @@ +\centerline{\bf \MarkUp} +\medskip +\noindent +\MarkUp\ was again organised by the Graphic Communication +Association. It is an international conference which +gives those who are involved in the development of the +Standard Generalized Markup Language (\SGML) and those who +are interested in its application an opportunity +to share the current progress +and to discuss the future. + +The venue for this year's conference was Torremolinos, +Spain. I can almost hear your reaction now! However, it +proved very worthwhile for those of us who braved the +merry quips of our colleagues about the conference being a +cover for a few days' holiday. Who would have suspected that +such excellent conference facilities were lurking in these +surroundings? + +As you may be aware the Spanish are well known for their +siesta time and following the local custom the itinery +showed quite clearly a morning session, a siesta and +a late afternoon\slash evening session (how civilised). I think +it reflects the dedication of all who took part in the conference +that in fact full use was made of the ``siesta time'' +for meetings\slash practical demonstrations\slash informal discussions, thereby +packing as much as possible into the days available. + +In October last year a milestone in the life of \SGML\ +was reached --- it received approval from the +International Standards Office and is now formally +known as {\sc iso 8879} \SGML. The first presentation +given at the conference was by Charles Goldfarb who, +together with his team, has spent ten years developing +this language. The title of his paper was +{\sl The \SGML\ Finalization Process and Application +Responsibility}. He outlined the final stages which saw the +completion of the developmental work on \SGML\ and then proceeded to identify areas in the +applications field which will need particular attention to +ensure the language is used effectively. + +Craig Smith and Dr Manfred Kr\"uger made their presentations +next. They both emphasized the importance of accurate +analysis as part of the design and creation of the document type +definitions which form the basis of any project using +\SGML. Manfred also chaired the first two days of the conference +which ensured that they ran very smoothly. + +The next session of the conference dealt with the development +of \SGML\ Applications. Joan Smith gave us the benefit +of her experience on the British Library \SGML\ document +type and also gave details of {\sc docmanusc}, a {\sc CEC} sponsored project +to promote the use of \SGML\ throughout Europe. + +Further \SGML\ applications were +described during the second day of the conference. +Christian Guittet explained how the +Project {\sc fame} (Formex Applied to Multilinguism in Europe) +used \SGML\ based coding to handle the publication of documents for the Office for +Official Publications of the European Communities. +This enables the documentation to be published in all the languages +required using the same source coding. + +John R. McFadden described the applications that the +company {\it Software Exoterica Corporation} have developed for use +by the Canadian Government. Pamela Gennusa explained +how \SGML\ has been used within the Department of Defense in the United +States to enable the technical documentation to be created +and updated in a way which meets the very tough criteria under +which DoD operates. + +An \SGML\ based project has been successfully created in England +which operates under very strict time constraints. +Tony Rowley described how {\it Pindar Infotek}, +under the guidance of Peter Howgate can handle the data +relating to the registration of patents which +is controlled by the Patents Office in Munich. + +The last day of the conference looked at the current +situation from a different viewpoint. Michael Buckingham chaired +this day of the conference and started the proceedings with +his thoughts of the potential of \SGML\ as seen by the +British. Franco Mastroddi explained the European Community +approach to electronic publishing and imagebanks, and Steven Brown +explained the principles of integrated database publishing. + +During the two days before the conference itself, +several of the delegates had attended a practical +tutorial on \SGML. They were given invaluable guidance +on the approach to using \SGML. Those of us who did +not attend the tutorial were able to see demonstrations +of two pieces of commercially available +software which allow the ``lay user'' to make use of +\SGML\ in the capture of their documentation. The demonstrators +also gave presentations during the conference to explain the technical +advantages of their products. One, Writerstation, operates on +an {\sc ibm} pc (or clone), and the other, fondly known +as {\sc fred}, runs on the Apple Mac. No doubt software packages based on \SGML\ +will become more readily available now that it has been accepted by {\sc iso}. + +Next year's conference will be held in Ottowa, Canada, +on 23rd--25th May 1988, and I am sure by then there will be several +more products being demonstrated. + +\rightline{\sl Geeti Granger, John Wiley \& Sons Ltd} diff --git a/info/digests/texline/no6/mfbook.tex b/info/digests/texline/no6/mfbook.tex new file mode 100644 index 0000000000..4f9bfcc98c --- /dev/null +++ b/info/digests/texline/no6/mfbook.tex @@ -0,0 +1,162 @@ +\centerline{\bf Book Review: The \MFb book} +\medskip +\noindent{\sl +The \MF book, Donald E. Knuth, 1986, 361pp. +Published by Addison Wesley, price \quid19.95 (paper), \quid29.95 (hard).} +\medskip\noindent +\MF\ is a computer program written by Donald Knuth for the purpose +of designing digital graphic objects, especially fonts of type, in a device +independent way. {\sl The\/ \MF book\/} is Knuth's manual for the +software. This is a review of the book, not the program! + +Readers of {\it The \TeX book\/} will feel immediately at home with {\sl The\/ + \MF book}. Its style of presentation, design, layout and even the +number of chapters and appendices, are the same as its illustrious +predecessor. Once again, Knuth is attempting to provide in one book both a +tutorial and a reference manual for the software, through his careful and +elaborate system of `dangerous bend' paragraphs, and graded exercises and +examples. Whether this is a success depends to some degree on one's reading +habits: I find I simply cannot stop myself reading at the dangerous bend +signs, with the result that I failed to understand quite a lot of the book on +the first reading. Subsequent rereadings gradually cleared my mind. The +examples are all worth attempting, and teach one as much, if not more, than +mere passive reading. + +Broadly speaking, Chapters 1 to 6 (`The name of the game', `Coordinates', +`Curves', `Pens', `Running \MF', `How \MF\ reads what you +type') present a gentle introduction to the basic concepts underlying the way + \MF works, and a real life example of the design of the uppercase +letters I and O (an example file `dedicated to Io, the Greek goddess of input +and output'). Thereafter the waters begin to flow more deeply. The five-page +chapter on variables leads into two substantial chapters on the mathematical +underpinning of \MF\ (`Algebraic expressions' and `Equations'), and +a three page chapter on the difference between assignment and equation +operations as used in \MF\ (`a person who makes too many assignments +is still locked into the habits of old-style ``imperative'' programming +languages \dots\ ; \MF's equation mechanism liberates us +\dots\ because it lets the computer take over the job of solving +equations.'). Chapters 11 to 16 (`Magnification and resolution', `Boxes', +`Drawing, filling and erasing', `Paths', `Transformations', `Calligraphic +effects') are more closely concerned with graphics and \MF's tools +for creating and manipulating images. Chapter 24, `Discreteness and +discretion', which deals with the difficult problems of digitisation, really +belongs with this group of chapters. As an aside, there is an interesting +comment at the beginning of chapter 24, where Knuth says that typefaces +produced solely by graphics programs cannot be expected to be as good as those +`carefully crafted to look best on a particular output device'. He goes on to +say that a small amount of hand-tuning (i.e., pixel editing) will always be +necessary to optimise a font for a particular device, but that a good +\MF\ program should produce a character in which only half a dozen pixels +will need changing. This is very unexpected, for while I think it is true, it +apppears to run counter to the whole `meta' idea of universality and device +independence which is so central to Knuth's work. + +In Chapters 17 to 21 (`Grouping', `Definitions (also called macros)', +`Conditions and loops', `More about macros', `Random numbers') Knuth turns to +the control structures of the \MF language itself. Chapters 22 and +23 (`Strings', and `Online displays') cover \MF's interaction with +the graphics terminal which it is addressing. The final three chapters +(`Summary of expressions', `Summary of the language', `Recovering from +errors') are self explanatory. As with {\it The \TeX book}, much of the meat +of this book is to be found in the appendices. Again, they are alphabetically +enumerated A--J, with each letter also forming the first letter of the +appendix's title (`Answers to all the excercises', `Basic operations', +`Character codes', `Dirty tricks', `Examples', `Font metric information', +`Generic font files', `Hardcopy proofs', `Index', `Joining the \TeX\ +community'). One wonders whether Knuth felt obliged to write eight +substantial appendixes just to get to I for Index! I find it slightly +annoying that so much of what one needs to know in order to install and run + \MF is tucked away in these appendices. For example, the first +place in which Knuth explains how to invoke \MF\ to create a real +font at a particular magnification is on page 269, in Section 4 of Appendix B! +Essential information is not always in the obvious place. The upshot of this +is that while reading {\sl The\/ \MF book\/} one has constant +recourse to the index, which fortunately is excellent. But any particular +installation of \MF\ will need a {\it Local guide\/} (human or +printed) to explain such mundane, but definitely non-trivial matters as how to +run the program, and how to print proofs. + +Who is {\sl The\/ \MF book\/} written for? The first buyers of the +book will be the members of the \TeX\ community (\TeX ies prepared to boldly +go \dots) who are interested in Knuth's work on typesetting and +programming for its own sake, and as an extension of the \TeX\ system. These +readers may also buy {\sl \MF: the program}, the |WEB| listing of the +program itself. Another class of readers are those who use \TeX\ with +Knuth's Computer Modern (CM) series of fonts, and who wish to use +\MF\ to generate extra sizes or styles of these fonts, or to create the +occasional graphic symbol or logo. These readers may also wish to buy the +{\sl Computer Modern Typefaces\/} ({\sl CMT\/}) volume, in which Knuth sets +out the \MF\ programs for the 500 or so characters of the CM fonts, +together with listings of their parameters and related files. These programs +accompany all distributions of \MF\ itself, so with the two books it +is relatively easy to generate various extra fonts for any output device +driver. A third class of reader is that small band of indefatigable optimists +who contemplate creating a complete new font. Knuth says in the preface of +{\sl The\/ \MF book\/} that `a person or a team of persons should +expect to spend a year or more on the project if the type is actually supposed +to look right.' For those setting out to create a new font, {\sl The\/ +\MF book\/} and {\sl Computer Modern Typefaces\/} are a minimum +requirement for understanding how to use \MF. But what neither of +these volumes provide are any guidelines about the process of font design. If +you already have beautiful, accurate drawings of your character set on fine +graph paper, then {\sl The\/ \MF book\/} will teach you how to use + \MF\ to turn these drawings into digitised fonts for an output +device, or a range of output devices. But one must look elsewhere for all the +skills and knowledge needed to produce the initial typeface. In the process +of designing the CM fonts, Knuth undoubtedly developed a great deal of +sensitivity to letter forms, and although this knowledge is embodied in his + \MF\ programs for the letters, it is difficult in the extreme to +work backwards from the programs to the general principles underlying his +design decisions (although this is what Knuth proposes). It is a pity Knuth +has not shared more of this with his readers explicitly, in particular the +readers of the companion {\sl CMT\/} book. If you are setting out to design +a new typeface, then {\sl The\/ \MF book\/} definitely presupposes +a substantial degree of sophistication in typographical design. + +Although {\sl The\/ \MF book\/} does give a complete description of +the use of the language, if you include the small print and the appendices, it +is rather short on complex real life examples. The examples given in Chapter +5 (`IO') and Appendix E (` \MF') are really very simplistic when +compared with most of the character programs in {\sl CMT}. From reading {\sl +The\/ \MF book\/} one might think that all that is necessary for the +creation of a character is to set up a box, choose a pen, and join up the +coordinates. This may be true for calligraphic letters such as N. N. +Billawala's CM Calligraphic Capitals ({\sl CMT}, pp.122--139), and it may turn +out to be an appropriate method for several oriental alphabets, but it is very +far from adequate for a real Latin typeface, as Knuth's CM programs show. +Once again, the gap between theory and practice is far from trivial. For +example, every one of the CM programs in {\sl CMT\/} has an |adjust_fit| +expression, usually as the fourth program statement. This macro provides a +ready means of adjusting the amount of white space either side of a +character's bounding box. One can thus create a character, and later jiggle +it to the left or right with |adjust_fit| until it looks properly spaced. +Clearly, |adjust_fit| is ubiquitous and important. But it does not form +part of \MF's plain base: it is part of the additional CM base that +Knuth created for the design of the CM typefaces, and so, although it appears +in every CM program, it is not described in the main text of {\sl The\/ +\MF book}. It is squirreled away on pages 307--309, in Appendix E. +There are many other examples of how the \MF one grows acquainted +with from {\sl The\/ \MF book\/} is not quite the same animal as the + \MF\ one sees in the CM programs. Perhaps this is inevitable in a +language which is so very rich in its provision for macro programming. + +These criticisms aside, {\sl The\/ \MF book\/} is very well written, +with a clean, light style that makes the book a pleasure to read, and easy to +learn from. Given that it is, at present, the only book about \MF, +it is fortunate indeed that it is so complete and well written. The {\sc jokes} are +not intrusive, and the anatomical metaphor which was so prominent in {\it The +\TeX book\/} (\TeX's mouth, stomach, etc.), and which has such disturbing +implications for the way Knuth's programs output our words or symbols, is +thankfully less prominent in {\sl The\/ \MF book}. There is still a +need for other books about \MF, which should have more to say about +installation, about the design aspects of character creation using the +program, about the practical aspects of proof production and use (with a major +chapter called `How to learn from your proofs'), and which should have many +more worked examples. We need books to teach computer scientists to design +typefaces, as well as books to teach type designers how to use \MF. +But {\sl The\/ \MF book\/} is always going to be the definitive text +for \MF. Any user of the program will get to know it very well: it +becomes almost a personal friend, and it stands the close exposure that such a +relationship demands remarkably well. + +\rightline{\sl\DW, Wellcome Institute} diff --git a/info/digests/texline/no6/mitem.tex b/info/digests/texline/no6/mitem.tex new file mode 100644 index 0000000000..635c66d6bc --- /dev/null +++ b/info/digests/texline/no6/mitem.tex @@ -0,0 +1,160 @@ +\nopagenumbers\tolerance=2000\overfullrule0pt +\newbox\leftside +\newbox\rightside +\long\def\mitem#1#2{% +\global\setbox\leftside\vtop{\everypar{\strut}\hsize144pt\parindent0pt +\strut#1\strut} +\global\setbox\rightside\vtop{\everypar{\strut}\hsize250pt\noindent +\strut#2\strut} +\box\leftside&\qquad\box\rightside\cr +} +% +% +\abovedisplayskip=0pt\belowdisplayskip=0pt +\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt + \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} +\newbox\boxx +\setbox\boxx=\vtop{\noindent\hsize0pt\vrule width0pt\hrule height 0pt} +\def\leaderfill{\leaders\hbox to 0.5em{.\hss}\hfill} +\font\big=cmr17 +\font\small=cmr12 +\font\sc=cmcsc10 +\centerline{\sl Advance Notice of Publication} +\vskip2ex +\centerline{\big ELECTRONIC PUBLISHING} +\vskip2ex +\centerline{\small Origination --- Dissemination --- Design} +\vskip2ex +\noindent\hrule +\vskip2ex +\centerline{A NEW international journal from John Wiley \& Sons Ltd} +\vskip2ex +\centerline{To be published quarterly, commencing Spring 1988} +\vskip2ex +$$\vbox{\halign{#&#\cr\mitem{% +{\bf Editor} + +Dr D.F. Brailsford + +Dept of Computer Science, + +University of Nottingham, + +UK +\vskip1.5ex +{\bf North American Editor} + +Richard J. Beach + +Xerox PARC, + +3333 Coyote Hill Road, + +Palo Alto, + +California 94304, + +USA +\vskip1.5ex +\noindent +{\bf Editorial Board} + +J. Andr\'e, France + +D. Barron, UK + +C. Bigelow, USA + +H. Brown, UK + +G. Coray, Switzerland + +R.W. Davy, UK + +R. Furuta, USA + +J. Gosling, USA + +P. Hammersley, UK + +P. Hibbard, USA + +V. Joloboff, France + +B. Kernighan, USA + +P. King, Canada + +D. Lucarella, Italy + +P. MacKay, USA + +R. Morris, USA + +V. Quint, France + +B. Reid, USA + +H. van Vliet, Netherlands} +{\leftline{\bf Aims and Scope} +\noindent +Electronic Publishing in its widest sense covers the dissemination +of documents and the production of +those same documents by electronic means. This process can range +from ``paperless publishing'' where the documents are merely +passed between computers and never ever become printed +on paper or film, through to the concerns of +traditional publishing, which would previously +have used metal type, but which now has taken +on board the full range of modern computer-based +aids to assist the publication process. Although the term +`electronic' is widely used in this context, the true common factor +underlying the journal's aims are: +{\parindent1em\narrower +\item{$\star$}that computers should be involved throughout +the publication process and; +\item{$\star$}that it is the concept of document origination, +together with the structure, form and dissemination of those documents +that is of great concern to us. +\medskip} + +\leftline{\bf Principal Topics} +\noindent +$\star$ Document Structures +$\star$ Integrated Text, Graphics and Images +$\star$ Markup Languages +$\star$ Page Description Languages +$\star$ Digital Font Design +$\star$ Dynamic Documents +$\star$ Document Standards +$\star$ Electronic Transmission of Structured Documents +$\star$ Database Design for Publishing +$\star$ Structured Editors +$\star$ Specialised Languages +$\star$ Videotex, videodisc, CD-ROM +$\star$ Advances in Hardware Technologies $\star$ +\medskip +\noindent +To keep fully informed on {\sc Electronic Publishing}, please +complete the form and return it to Alison Thomas, +John Wiley \& Sons Ltd, Baffins Lane, Chichester, West Sussex, +PO19~1UD, UK +\bigskip}}}$$ +\hrule +\medskip +\newbox\reply +\global\setbox\reply\vtop{\hsize350pt +\leftline{Please send me the following information on} +\leftline{{\sc ELECTRONIC PUBLISHING:} Origination --- Dissemination --- Design} +\leftline{\boxit{\copy\boxx}\quad Call for Papers/Notes for Contributors} +\leftline{\boxit{\copy\boxx}\quad Subscription details for Volume 1} +\smallskip +\leftline{Name\leaderfill} +\smallskip +\leftline{Address\leaderfill} +\smallskip +\leftline{\leaderfill} +\smallskip +\leftline{\leaderfill} +} +\centerline{\copy\reply} diff --git a/info/digests/texline/no6/opentype.tex b/info/digests/texline/no6/opentype.tex new file mode 100644 index 0000000000..915a81b5c3 --- /dev/null +++ b/info/digests/texline/no6/opentype.tex @@ -0,0 +1,79 @@ +\centerline{\bf OpenType} +\medskip\noindent +The Operations Electronic Publishing +Group of the Open University has +recently started to set up an Electronic Publishing +User Group --- OpenType --- with more widespread and +general objectives. The OU is one of the UK's +largest academic publishers, and already uses +several Linotron 300s. Naturally it is +deeply concerned in maximising its return +on this commitment. + +OpenType is described as a ``self-help'' +group for those who are using electronic +techniques for the production of high-reolution +text and graphics origination. + +Specific areas of interest include: +\item{$\bullet$}\ps: it is worth noting that the OU claims +to have access to Adobe-trained advanced programmers +who it is expected will be running \ps\ classes +from appreciation through to advanced standard: +\item{$\bullet$}\SGML: OpenType +plans to ask questions topics ``is motherhood +and apple pie a good thing?'' and +``how useful is \SGML?'': +\item{$\bullet$}Tables: the OU has a research +project under way on table creation: +\item{$\bullet$}Maths: OpenType feel that the +introduction of +large composition systems which +work in a structural manner (in English, +marked-up), like Interleaf (which employs +|eqn| for its maths), or systems like MS Word may +reduce the pre-eminence of \TeX: +\item{$\bullet$}Demand Printing: the ability to +produce and update very quickly, and to direct +high quality material at small audiences: +\item{$\bullet$}Illustration: what is the +hardware required for effective illustration? +\item{$\bullet$}Storage: clearly relevant to +illustration, where large amounts of data must +be handled; and following on from that, data +compression, CD ROM, networks\dots +\smallskip\noindent +From this list it is clear +that \TeX\ is known (although perhaps not too well --- +perhaps it is a good thing that so many OUers were +at the Seattle TUG meeting). +The OU (at least, parts of it) already uses \LaTeX\ +extensively, and harbours some very competent +\TeX ies. From the list of +interests, there is an apparent overlap with what +I understood Pira to be doing. But perhaps I don't +really understand what Pira (or OpenType) are up to. + +OpenType plans to publish a journal. Most interestingly, +they will pay! Five pence per word. They are also +planning to run meetings and workshops, although +the one planned at the OU for the early summer +seems to have faded away. But there is a catch. +It is going to cost money. Although membership +is open to individuals and organisations, the +subscriptions are quoted solely for organisations. +For companies and organisations employing not more +than 10 persons, the subscription is \quid100.00; +for those with 11--50 employees, \quid200.00; +over 50 employees, the flat rate is \quid300.00. +Contact: +{\obeylines\parindent2em +John Feltham +Text Processing Manager +Open University +Walton Hall +Milton Keynes MK7 6AA +} +\medskip +\rightline{\sl Malcolm Clark} + diff --git a/info/digests/texline/no6/rochester.tex b/info/digests/texline/no6/rochester.tex new file mode 100644 index 0000000000..e6091a3a08 --- /dev/null +++ b/info/digests/texline/no6/rochester.tex @@ -0,0 +1,120 @@ +\font\rmnine=cmr8 +\centerline{\LaTeX\ style files}\medskip +\noindent +There are a great many \LaTeX\ style files available. +Unfortunately, availability really means ``over {\it email\/}'' +but nevertheless, it is worth listing the complete set of files +which were present (at the last notification). Thanks to the +efforts of Peter Abbott at Aston University, these files are +available in the UK, and can be obtained by anyone who +can plug into their VAX. This certainly covers all those +with access to {\sc janet}, and probably covers {\sc uucp} +people too. An access method for VAX users was given in +Sebastian Rahtz' ``Bits of \hax'' article. + +Of course, not all the world is using {\it email}. But for the dispossessed +among us, it is possible to obtain the style files +on 5\frac1/4 floppy from + David Hopper of Toronto, Canada who is offering copies of the style + collection on diskettes. David is + doing this in his own time as a favour to the \TeX\ community. The entire + set of style files, not including the C-\TeX\ files, as of June 1st, fits + on one 1.2 MB diskette or three 360KB diskettes. No subsetting, + please. Send David: + formatted diskettes; + indication of the format required; + a self-addressed mailer; and +a \$5.00 donation per set of files, to cover postage and equipment wear + \& tear. (If you live outside North America, airmail delivery will probably + require more postage. Contact David for details.) + David's address: +{\obeylines\parindent2em + David W. Hopper, + 446 Main Street, + Toronto, Ontario, + Canada M4C 4Y2 +} +\noindent +Since this seemed rather roundabout to me, I have copied all the +files (including C-\TeX) to 5\frac1/4 +{\sc ms-dos} floppy and 3\frac1/2 Macintosh diskette +for distribution in the UK. I cannot obtain 3 floppies for \$5 Canadian +(about \quid3.00), +so my prices are higher. I can distribute the style files +for \quid10.00 per 5 5\frac1/4 inch + or \quid7.50 for 3 +3\frac1/2 inch diskettes. For some reason, my copying +was less compact than David's. I may investigate +one of the public domain compression utilities, in +order to cut the cost. +C-\TeX\ has been separated out from the style files, +and is available on 4 5\frac1/4 inch floppies, in +{\sc backup/restore} format. I have stored them in this way +to retain the directory structure so that the extra +files which come with C-\TeX\ make sense. I have not yet +put the C-\TeX\ files onto Macintosh format, but if there is a requirement +I can do this too. + +The list given below is slightly out of date, and there have been +some additions. The most noticeable change is with the +TeXtyl files, which have been slightly reorganised, and +include {\sc unix} and VMS versions. +John Renner, a former student of John Gourlay's, now at Adobe, wrote +TeXtyl to allow \TeX\ users to draw lines and curves in +their documents. It is actually a postprocessor: \TeX\ is run on an +input file containing |\special|s which define a drawing, and then +TeXtyl is run on the |dvi| file to obtain a new |dvi| + file in which the |\special|s +are replaced with |dvi| commands to print the lines and curves by +piecing together small characters from special fonts. + +However, if you want any +these files, you have to take the lot. Like David Hopper, I +do not intend to subdivide. I will try to keep the files +``current'', and emulating Maria Code, to obtain an update, you +have to take the entire set again. +\goodbreak{\rmnine\baselineskip=9pt + \settabs + \+ aaai-instructions.tex\quad&nopagenumbers.doc\quad&ucthesi \cr + \+ 00directory&format.sty&slem.doc \cr + \+ 00index&fullpage.doc&slem.sty \cr + \+ 00readme&fullpage.sty&spacecites.doc \cr + \+ a4.sty&geophysics.sty&spacecites.sty \cr + \+ a4wide.sty&german.sty&suthesis.doc \cr + \+ aaai-instructions.tex&ieeetr.bst&suthesis.sty \cr + \+ aaai-named.bst&ist21.sty&texindex.doc \cr + \+ aaai.sty&latex.bug&texindex.pas \cr + \+ acm.bst&layout.readme&texindex.sty \cr + \+ agugrl.sample&layout.tex&texnames.doc \cr + \+ agugrl.sty&lcustom.tex&texnames.sty \cr + \+ agujgr.sample&lfonts\_ams.readme&textyl.readme \cr + \+ agujgr.sty&lfonts\_ams.tex&textyl.shar1 \cr + \+ amssymbols.sty&lgraph.shar&textyl.shar2 \cr + \+ art10.txt&local.suppl&textyl.shar3 \cr + \+ art11.txt&memo.sty&textyl.shar4 \cr + \+ art12.txt&mfr.sty&textyl.shar5 \cr + \+ article.txt&mitthesis.sample&textyl.shar6 \cr + \+ biihead.sty&mitthesis.sty&textyl.shar7 \cr + \+ ctex.readme&natsci.bst&textyl.shar8 \cr + \+ ctex.shar1&newalpha.bst&textyl.shar9 \cr + \+ ctex.shar2&nopagenumbers.doc&tgrind.sty \cr + \+ ctex.shar3&nopagenumbers.sty&threepart.sty \cr + \+ ctex.shar4&remark.sty&titlepage.txt \cr + \+ ctex.shar5&resume.sample&trademark.sty \cr + \+ ctex.shar6&resume.sty&uct10.doc \cr + \+ cyrillic.sty&sc21-wg1.sty&uct11.doc \cr + \+ dayofweek.tex&sc21.sty&uct12.doc \cr + \+ deproc.sty&sfwmac.sty&ucthesis.doc \cr + \+ deprocldc.tex&showlabels.sty&ucthesis.readme \cr + \+ docsty.c&siam.bib&uuencode.shar \cr + \+ docsty.readme&siam.bst&vdm.doc \cr + \+ doublespace.sty&siam.doc&vdm.sty \cr + \+ draft.sty&siam.sty&vdm.tex \cr + \+ drafthead.sty&siam.tex&ws87.p \cr + \+ dvidoc.shar1&siam10.doc&wsltex.c \cr + \+ dvidoc.shar2&siam10.sty&wsltex.p \cr + \+ epic.shar1&siam11.sty&xxxcustom.tex \cr + \+ epic.shar2&siam12.sty&xxxslides.sty \cr} + + +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no6/seattle.tex b/info/digests/texline/no6/seattle.tex new file mode 100644 index 0000000000..e9d85db6dd --- /dev/null +++ b/info/digests/texline/no6/seattle.tex @@ -0,0 +1,169 @@ + +% Report plus info re distributors of certain products which I hope +% is accurate: no prices as I am sure they would not be correct for UK. +% +% Please feel free to edit it however you like. +% +\def\linesep{\vskip\baselineskip} +\let\sf\relax +\let\extraspace\quad +\centerline{\bf \TeX\ Users Group 1987 Meeting } +\centerline{\bf 2. Is there \TeX \ after Knuth?} % Possible title. +\medskip\noindent +The answer from the Seattle meeting was +loud and clear: Yes! it is not only very alive and well but busy evolving into +Japanese and Turkish speaking species. It is also becoming slowly accepted by +the commercial world: both by publishers and typesetters. The majority of the +grumbles and ``Why on earth did Knuth do\dots '' comments came from the computing +professionals; i.e.\ those +whose interests involve using \TeX \ as a programming language or who are +attempting to unravel and adapt +macros written by other \TeX nicians. Their consensus was +roughly as follows: \TeX \ is hard to program in and to debug, and nigh on +impossible to produce good (according to the fashionable standards) code; to +this those with wider aesthetic standards often add that \TeX \ enables bad +typesetting as easily as it does good. + +But enough of the gripes, with Seattle putting on its very best in clear, sunny +weather for us it was impossible to be anything but optimistic: and those who +could discipline themselves to stay +in the lecture theatre for long enough heard about the use of +TeX in publications ranging from the ivory towers of Linguistics +journals---where +the publishers had discovered (with some surprise?) that {\tt \$} signs have +lots of nonmathematical uses, to the mass-media world of {\sf TV--Guide} (the US +equivalent of TV\kern-2pt /Radio Times) --- where allowing \TeX \ to ``float'' +an advert onto +the wrong page in just +one of the 108 editions could result in badness \$150,000! +(and probably some trade for the legal profession who, in Maryland at least, +have ``endorsed \TeX\ as their standard for Text Formatting''). + +The relationship between \TeX\ and the PostScript +world was subjected to very close +scrutiny from many different angles but I shall not attempt to summarize what +was said as I am still trying to piece together into some semblance of coherence +the enormous amount of advice and information which I accumulated on the +subject. It is certainly one on which everyone in the \TeX\ world has a lot +to say; I wonder if PUG members spend so much time wondering about this +relationship. + +The marketing slots were, on the whole, fairly low-key. Many software +goodies were +promised to be ``ready for shipping this fall'' but my experience leads me to +advise waiting until you know someone else who already +has been sent the {\it final\/} release version +before parting with your money. The reasonably-priced products which seemed to +me to be most likely to warrant further investigation were: + +\item{$\bullet$} Publishing Companion from K-Talk Communications:\extraspace claims to +take documents +``from WordPerfect to typesetting, completely untouched by human hands'' (other +wordprocessors, e.g. WORD are to be included ``soon''). K-Talk's flyer, which + had been produced using this package, suggests that this software +exemplifies the criticism I mentioned above: that +\TeX \ is as good at sloppy typesetting as it is at excellent typesetting; +however, it may be that the true +culprit in this case is WordPerfect, which lays no +claim to aesthetic judgement. + +\item{$\bullet$} \TeX WRITE from Docusoft Publishing Technologies:\extraspace this is an +environment for \TeX\ on an IBM-type PC. I have a pre-release +version of this and, with the bugs +removed and the promised features implemented, it could provide +a very friendly one: +it is, briefly, a multiple-buffer, +full-screen editor, with optional menus, which allows files to be \TeX ed, +Previewed, etc.\ +without leaving it. My major criticism of it is that, as an editor, it is not +fully adapted to editing \TeX \ files. + +\item{$\bullet$} Macro\TeX\ from \TeX nology Inc:\extraspace this is Amy Hendrickson's macro +package which is in fact a toolkit of independent suites of macros, all of +which work with Plain \TeX. They cover such areas as Tables, Indexing and +Glossaries; and the author says that she hopes that the macro +constructions in +the package will be accessible by and useful to those who want to write +their own macros +to do either similar things or even ``something completely different''. + +Those with the odd couple of thousand dollars to spare and a Sun Workstation +will of course be eagerly awaiting delivery of the software +no Yuppie typesetter could possibly be without --- The Publisher from Arbortext; +the pre-release version was happily singing and dancing its way through a +somewhat limited routine but the (real)-timing of its +``WYSIWYWouldGetIf\dots\ +show'' was most impressive. Nevertheless, when my boat comes in or I write The +Program (you know, the one which is able to accurately forcast all +the financial markets in the +world and act appropriately before anyone else's does), after the red BMW it +will have to be a Monotype Lasercomp, together with whatever secret software the +long-established German typesetting company St\"urtz have developed to give \TeX \ +access to the Aladdin's cave of Monotype fonts, especially those for +between the \$-signs! Who knows, then I may be able to keep my linguistics +colleagues supplied with all the diacritics and phonetic symbols they lust +after, {\it and\/} +get an empty set symbol which is more to my editor's (the human +one, that is) taste. + +I do not wish to give the impression that the meeting offered none of what has +been in the past its staple diet: implementations of \TeX; and +this years fashions in device drivers. There was indeed plenty of information +from site-coordinators, companies and consultants to satisfy such appetites. +Also, a movement was started to set standards for printer drivers which led to +considerable controversy over what such standards should cover. However, the +meeting gave me the clear message that TUG is becoming more and more a true +{\it Users\/} Group rather than merely an {\it implementor's\/} group. +Even clearer though, and I suspect longer lasting, than any such impressions (or +what I learnt about accents and breathing signs in Modern Greek, and what it +takes to change a hash table size) will be my memories of the never-ending +display of sea, lakes, forests and snow-capped mountains which Seattle provided +for us that week in August. +% Appendix: +\linesep\noindent +Names and addresses of suppliers mentioned above: +\linesep +{\obeylines\parindent2em +\vbox{Arbortext Inc +416 Fourth Street +PO Box 7993 +Ann Arbor +Michigan 48107 +USA +$+1$ 313 996 3356} +\linesep\goodbreak +\vbox{Docusoft Publishing Technologies Inc +1150 Homer Street +Vancouver +British Columbia V6B 2X8 +Canada +$+1$ 604 687 0354} +\linesep\goodbreak +\vbox{K--Talk Communications +3920 Olentangy River Road +Columbus +Ohio 43214 +USA +$+1$ 614 459 9711} +\linesep\goodbreak +\vbox{Seattle Tourist Authority +City Hall +Seattle +Washington +USA} +\linesep\goodbreak +\vbox{\TeX nology Inc +57 Longwood Avenue \#8 +Brookline +Massachussets 02146 % spelling?? +USA +$+1$ 617 738 8029} +\linesep\goodbreak +\vbox{Universit\"ats-druckerei H. St\"urtz AG +Beethovenstra\ss e 5 +D-8700 W\"urzburg I +DFR +$+49$ 9 31 385 323} } +\medskip +\rightline{\sl Chris Rowley, Open University} + diff --git a/info/digests/texline/no6/stuff.tex b/info/digests/texline/no6/stuff.tex new file mode 100644 index 0000000000..a66d6165cc --- /dev/null +++ b/info/digests/texline/no6/stuff.tex @@ -0,0 +1,167 @@ +\centerline{\bf Stuff to read} +\medskip +\noindent +$\star$Arabic Word Processing, Joseph D. Becker, +{\it Communications of the ACM}, July 1987, 30(7), +pp. 600--610. + +Using the Xerox {\it Viewpoint Documentor}, which +is capable of handling text in any intermixture +of the world's scripts, this article describes +and discusses many of the problems associated with +the various forms of Arabic. + +\smallskip +\noindent +$\star$Word Division in Spanish, Jos\'e A. Ma\~nas, +{\it Communications of the ACM}, July 1987, 30(7), +pp. 612--616. + +Strangely, this only references the 1979 \TeX\ \& +\MF\ book, and does not mention Liang's algorithm. +But the good news is that Spanish has a rigid +lexical structure which allows a rule-based +hyphenation to be wholly successful. + +\smallskip +\noindent +$\star$Typesetting with {\sc \TeX tures}: a Review, +Sak Wath\-an\-asin, {\it Apple 2000}, October 1987, +2(5), 68--72. + +A provoking and interesting review which seeks to put {\sc \TeX tures} +in its place in the Macintosh world. Many of his +comments are applicable to \TeX. + +\smallskip +\noindent +$\star${\sc daphne} (Document Application Processing in +a Heterogeneous Network Environment) --- an Implementation +Based on the Standard Generalized Markup Language +\SGML, Craig Smith, {\it \SGML\ Users' Group +Bulletin}, 1986, 1(2), 75--82. + +Besides competing for the longest article title, +it describes the implementation of {\sc daphne}, +which just happens to use \TeX\ as its formatter. + +\smallskip +\noindent +$\star$Formatting \SGML\ Documents: Essence and Solution, +Craig Smith, {\it \SGML\ Users' Group +Bulletin}, 1987, 2(1), 4--8. + +Although \TeX\ (and {\sc daphne}) take something +of a back seat, they are still there in spirit. + +\smallskip +\noindent +$\star$Typesetting in Context, Max Whitby, +{\it DTP Desktop Publishing}, October 1987, +18--22. + +Decribes and compares +{\sc \TeX tures}, Mac\TeX\ and +Just\kern-1ptText. ``The \TeX book (which) has good +cartoons but is about as readable as a car repair +manual''. Max ends up sitting on the fence between +Just\kern-1ptText and \TeX, and also between +{\sc \TeX tures} and Mac\TeX. But some of his +examples are nice. + +\smallskip +\noindent +$\star$The Power Behind The Page, Karl Dallas, +{\it DTP Desktop Publishing}, October 1987, +37--43. + +Quite a useful review of some page description languages. +Karl includes \ps, Interpress, ImPress, Prescribe, \TeX\ and +Cora as pdls. Obviously {\it sensu lato}. + +\smallskip +\noindent +$\star${\it win} and {\it sin\/}: Predicate Transformers for +Concurrency, Leslie Lamport, {\it Report \#17, +DEC System Research Center}. + +Just for all those who wondered what it is that +Leslie does when he isn't doing \LaTeX. + +\smallskip +\noindent +$\star$Exploiting the LN03: \TeX, Phil Taylor, +{\it Dec User}, May 1987, 47. + +An attempt to brighten the dull lives of LN03 +laser printer users, and to emphasise DEC's +reluctant support of proper laser printing. + +\smallskip +\noindent +$\star${\sl Page One\/} A New Breed of Page-Making Software, +Gord Graham, {\it Small Press}, June 1987, 53--55. + +As you might guess, really a description of +McCutcheon Graphics' \TeX\ front end. One +fascinating quote (out of context, of course) is +``\TeX\ exhibits the telltale horns and feet of +a goat''. {\it Page One\/} seems even more +restrictive than \LaTeX, but equally well, appears +to have a very real potential in the more +traditional publishing marketplace. + +\smallskip +\noindent +$\star$Book Publishers can turn over a new leaf with +desktop system, Renate Lerch, {\it The Financial +Post}, March 16, 1987, C3. + +Does not mention \TeX\ (or {\it Page One\/}), but +it is about McCutcheon Graphics and their ``desktop +publishing system''. + +\smallskip +\noindent +$\star$Type-X: Drawing a Bead on Book Publishers, +Jerome P. Frank, {\it Publishers Weekly}, May 1, 1987, +30--35. + +Includes a description of {\it Page One\/}, and +even mentions Mac\TeX\ (``batch pagination software'' +--- how the mighty are fallen!). + +\smallskip +\noindent +$\star$Book publishers turn to Page One to save money +and time, Anon, {\it Printaction}, July 1987, 19. + +Yet more about {\it Page One\/}. Covers much the +same ground as the other articles, but lays more stress on +its ability to import Microsoft Word. Credits +the success of {\it Page One\/} to Mac\TeX. + +\smallskip +\noindent +$\star$Rectangular Convolution for Fast Filtering of +Characters, Avi Naiman \& Alain Fournier, +{\it Computer Graphics}, July 1987, 21(4), 233--241. + +Centres around the exploitation of greyscale fonts. +This should help to increase the effective +resolution of characters by using grey pixels, on +devices which support that facility. + +\smallskip +\noindent +$\star$Character Generation Under Grid Constraints, +Roger D. Hersch, {\it Computer Graphics}, July 1987, +21(4), 243--251. + +Addresses the problem of producing attractive and +regular characters on middle resolution devices, +describing an algorithm +which allows +{\it subpixel phasing} to be applied to critical parts of the character. + +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no6/texhax.tex b/info/digests/texline/no6/texhax.tex new file mode 100644 index 0000000000..e727673791 --- /dev/null +++ b/info/digests/texline/no6/texhax.tex @@ -0,0 +1,175 @@ +\def\nl{\hfill\break} +% BEST OF TEXHAX notes for TeXline +% by Sebastian Rahtz +% Malcolm - i am unused to plain TeX, and have quickly hacked together +% some macros. please feel free to redo at will. wish I was back in +% LaTeX..... +%--------------------------------------------------------------------- +% program quoting macros +% +\def\UncatcodeSpecials{\def\do##1{\catcode`##1=12 }\dospecials} +{\begingroup\obeyspaces\catcode`\ =13\endgroup} +% +\def\SetupVerbatim{\tt\def\par{\leavevmode\endgraf}\catcode`\`=\active +\obeylines\UncatcodeSpecials \obeyspaces\catcode`\ =13} +{\catcode`\`=\active \gdef`{\relax\lq}} +% +\def\program{\begingroup\parindent=0em\par +\SetupVerbatim\xprogram} +\begingroup +\catcode`\|=0 \catcode`\\=12 +|obeylines|gdef|xprogram#1\endprogram{#1|endgroup|vskip 10pt|parindent=0em|par} +|endgroup +% +% miscellaneous +\def\and{\item{$\bullet$}} +\def\sq{\smallskip\begingroup\leftskip=3em\noindent +\sf\parindent=0em\parskip=2pt} +\def\eq{\smallskip\hrule\smallskip +\parindent=1em\parskip=0pt\leftskip=0em\endgroup} +\def\bs{$\backslash$} +% +% names +\font\sf=cmss10 +%------------------------------------------- +\centerline{\bf Bits of \hax, Summer 87} +\medskip\noindent +Those readers of \TeX line who are not daily users of electronic mail, +and/or use \TeX\ primarily on micros, may not be aware of the +existence of the \hax\ mailing list, which exists to share information +around the international \TeX\ community. It is distributed from the +University of Stanford under the editorship of Malcolm Brown, and uses +a digest format; Malcolm stores incoming mail (requests for +information, news of new products, replies to other questions, +`official' communications from TUG in advance of TUGboat) until +it reaches critical mass, then bundles it together with a list of +contents and sends it to everyone on the \hax\ list. Typically, this +happens two or three times a week, and each issue contains about a +dozen contributions, which means that a vast amount of \TeX -related +material is flitting across the networks all the time. The purpose of +this article is to describe the range of \TeX ery covered in \hax, and +to highlight some of the more interesting topics. Readers who wish to +join in this activity (be prepared for a lot of browsing of mail +messages!) must have an account on their local mainframe or mini with +access to network mail (consult your local guru); send mail to +|texhax-request%uk.ac.ucl.cs| and ask that +your name be put on the list to receive \hax\ (don't forget to tell +them your own mail address). As things stand at the moment, this +international mail will not cost you anything, as one copy is sent to +London and forwarded to you from there. + +\hax\ is read by a very large number of people, to judge by +contributions, from America, Canada, Britain, Europe, Japan, Australia +etc. Leslie Lamport is a regular contributor with answers to \LaTeX\ +problems, Barbara Beeton monitors it for TUG, and even Donald Knuth +adds the occasional note. It is a good place to send an esoteric +question, as usually someone with an unpronounceable name from an +institution you have never heard of will send in an answer. If you +want a more local answer (`who has got a copy of xxx in Britain?'), +there is a UK version of \hax, recently set up by Peter Abbott at +Aston, to bring together specifically UK \TeX ies --- mail to {\tt +tex-info@uk.ac.aston.mail} to get on that list. + +For the purpose of this article, I have looked at the 36 issues of \hax\ +that reached me between May 22nd and September 6th (an average of +about two a week). There were approximately 480 contributions dealing +with every sort of \TeX\ arcana; just searching the subject fields +(not necessarily a proper reflection of contents), I found 129 pieces +relating to \LaTeX\ (including 22 sets of \LaTeX\ Notes from +Leslie Lamport), 14 pieces on \BibTeX, 11 on \MF, 6 on +\SliTeX, and just 1 on \AmSTeX. My subjective impression is that +\LaTeX\ matters are an even higher proportion of \hax\ even than +appears from these figures. In general, contributions vary from the +questions about hardware (usually printers), to the private life of +\TeX\ macros, as evinced in the following two excerpts: + +{\narrower\noindent + My order for the IBM 4250 font tapes just came back with + ``I no longer have a font tape for the 4250 printer. The person + who supplied it to me originally has not made another one for version 2 + of TeX." + Where can I get one of these tapes? + What's the difference between V1.01 and 2? + Will they still work? +\smallskip} +\noindent and + +{\narrower\noindent +Subject: TeX eats l's after fil + +\noindent +If an `l' or and `L' follows a unit of glue such as `fil', even separated +by spaces, it is aparently parsed as part of the name of the unit. This +leads to some fairly strange behavior. For example, the following script +will put a `K' and a `M' in the dvi file, but no `L'!\nl +|\def\q#1{\hskip 0 pt plus 0 fil #1}|\nl +|\q{K}\q{L}\q{M}|\nl +\%\% barbara beeton responds:\nl +the ``l"-gobbling you've encountered is legitimate, and easily explained. +the full syntax of \bs hskip is\nl +|\hskip<dimen> plus<dimen> minus<dimen>|\nl +since your example didn't include a ``minus'', tex keeps looking. +since ``fil'' is a ``pseudo-dimension'' it can continue, up to 3 ``l"s +(if your data had been ``llama'', all you would have gotten in the output +would have been ``ama''). similarly, if the data had started with the +word ``minus'', not followed by a proper $<$dimen$>$, minus would have been +gobbled and you probably would have gotten a nasty message to the effect +that a $<$dimen$>$ was expected, and 0pt will be assumed. the best way to +avoid this is to put |\relax| after your skip expression. + this is covered explicitly in the texbook; look it up in the +index (page 469): ``l after fil''. +\smallskip} + +Sometimes \hax\ gets onto a general issue---there have been +discussions over the last year on such questions as: + +{\narrower +\and Can University authorities be persuaded to drop their +`double-spaced Courier' thesis requirements for students who have +access to a proper typesetting system like \TeX? +\and What freedom should \LaTeX\ users have to tinker with the layout? +Leslie Lamport feels strongly that only experienced document designers +should be able to alter even the font used in a running head. + +\and Can a consistent set of standards for dvi drivers be put +together? What facilities should they have? How do you handle \bs +specials? This question was +addressed in detail at the TUG meeting in August, and a committee was +set up to look into it. + +\and What is the relationship of \PS\ to \TeX? Lamport suggested +\TeX\ be changed to output pure \PS, others defend their LN03s to the +death. +\smallskip +} + +One common feature of \hax\ is the swapping of style files for \LaTeX. +For those who are not aware of it, +there is a large collection of these style files +held at Rochester. The `latest' list is given +elsewhere in \TeX line. All of these files are obtainable +over {\it email}. Rather than have to tangle with +the absurdities of {\it email\/} addressing, +is possible to obtain them over the |uk-tex| +distribution as well. + +To obtain these style files from Aston, you could +try the following, VAX VMS command (assuming you +have a VAX, or a friend with a VAX, and that it is +connected over Janet):\nl +|transfer -|\nl +\hbox{|aston.kirk::[public.latexstyle]000index.list-|} +|latex_index.txt|\nl +|/user=public,public|\nl +This will put the index file in your own +directory as |latex_index.txt|. It should look +something like the list given in the next article. +If you cannot gain access to Janet, you can also +obtain the files on floppy. See the next +article. + +\hax\ is quite a fascinating compilation of the +fascinating, obvious, apparent, useless, arcane, +obscure, informative and (sometimes) rude! + +\rightline{\sl Sebastian Rahtz, Southampton University} diff --git a/info/digests/texline/no6/texhax.txt b/info/digests/texline/no6/texhax.txt new file mode 100644 index 0000000000..7c5b46481a --- /dev/null +++ b/info/digests/texline/no6/texhax.txt @@ -0,0 +1,551 @@ + +% BEST OF TEXHAX notes for TeXline +% by Sebastian Rahtz +% Malcolm - i am unused to plain TeX, and have quickly hacked together +% some macros. please feel free to redo at will. wish I was back in +% LaTeX..... +%--------------------------------------------------------------------- +% program quoting macros +% +\def\UncatcodeSpecials{\def\do##1{\catcode`##1=12 }\dospecials} +{\begingroup\obeyspaces\catcode`\ =13\endgroup} +% +\def\SetupVerbatim{\tt\def\par{\leavevmode\endgraf}\catcode`\`=\active +\obeylines\UncatcodeSpecials \obeyspaces\catcode`\ =13} +{\catcode`\`=\active \gdef`{\relax\lq}} +% +\def\program{\begingroup\parindent=0em\par +\SetupVerbatim\xprogram} +\begingroup +\catcode`\|=0 \catcode`\\=12 +|obeylines|gdef|xprogram#1\endprogram{#1|endgroup|vskip 10pt|parindent=0em|par} +|endgroup +% +% miscellaneous +\parindent=1em +\def\and{\item{$\bullet$}} +\def\sq{\smallskip\begingroup\leftskip=3em\noindent +\sf\parindent=0em\parskip=2pt} +\def\eq{\smallskip\hrule\smallskip +\parindent=1em\parskip=0pt\leftskip=0em\endgroup} +\def\bs{$\backslash$} +% +% names +\def\ps{{\sc PostScript}} +\font\mf=logo10 +\hyphenchar\mf=-1 +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\font\sc=cmcsc10 +\font\sf=cmss10 +\def\texline{\TeX line} +\def\hax{\TeX{\sc hax}} +\def\metafont{{\mf METAFONT}} +\def\amstex{$\cal A$\kern-.1667em\lower.5ex\hbox{$\cal M$}\kern-.125em + $\cal S$-\TeX} +\def\bibtex{{\sc Bib}\TeX} +\def\slitex{{\sc Sli}\TeX} +%------------------------------------------- +\centerline{\bf Best of \hax, Summer 87} +\centerline{\it Sebastian Rahtz, Department of Electronics and +Computer Science, University of Southampton} +\medskip +Those readers of \texline\ who are not daily users of electronic mail, +and/or use \TeX\ primarily on micros, may not be aware of the +existence of the \hax\ mailing list, which exists to share information +around the international \TeX\ community. It is distributed from the +University of Stanford under the editorship of Malcolm Brown, and uses +a digest format; Malcolm stores incoming mail (requests for +information, news of new products, replies to other questions, +`official' communications from TUG in advance of TUGboat) until +it reaches critical mass, then bundles it together with a list of +contents and sends it to everyone on the \hax\ list. Typically, this +happens two or three times a week, and each issue contains about a +dozen contributions, which means that a vast amount of \TeX -related +material is flitting across the networks all the time. The purpose of +this article is to describe the range of \TeX ery covered in \hax, and +to reprint some of the more interesting topics. Readers who wish to +join in this activity (be prepared for a lot of browsing of mail +messages!) must have an account on their local mainframe or mini with +access to network mail (consult your local guru); send mail to +{\tt texhax-request\%uk.ac.ucl.cs} and ask that +your name be put on the list to receive \hax\ (don't forget to tell +them your own mail address). As things stand at the moment, this +international mail will not cost you anything, as one copy is sent to +London and forwarded to you from there. + +\hax\ is read by a very large number of people, to judge by +contributions, from America, Canada, Britain, Europe, Japan, Australia +etc. Leslie Lamport is a regular contributor with answers to \LaTeX\ +problems, Barbara Beeton monitors it for TUG, and even Donald Knuth +adds the occasional note. It is a good place to send an esoteric +question, as usually someone with an unpronounceable name from an +institution you have never heard of will send in an answer. If you +want a more local answer (`who has got a copy of xxx in Britain?'), +there is a UK version of \hax, recently set up by Peter Abbott at +Aston, to bring together specifically UK \TeX xies---mail to {\tt +abbott@uk.ac.aston.mail} to get on that list. + +For the purpose of this article, I have looked at the 36 issues of \hax\ +that reached me between May 22nd and September 6th (an average of +about two a week). There were approximately 480 contributions dealing +with every sort of \TeX\ arcana; just searching the subject fields +(not necessarily a proper reflection of contents), I found 129 pieces +relating to \LaTeX\ (including 22 sets of {\it \LaTeX\ Notes} from +Leslie Lamport), 14 pieces on \bibtex, 11 on \metafont, 6 on +\slitex, and just 1 on \amstex. My subjective impression is that +\LaTeX\ matters are an even higher proportion of \hax\ even than +appears from these figures. In general, contributions vary from the +questions about hardware (usually printers), to the private life of +\TeX\ macros, as evinced in the following two excerpts: + +{\sq + +Date: 09 Jun 87 15:11:35 ADT + +Subject: Font tapes for IBM 4250 + +>From: MIKEMAC\%UNBMVS1.BITNET@forsythe.stanford.edu + + My order for the IBM 4250 font tapes just came back with + ``I no longer have a font tape for the 4250 printer. The person + who supplied it to me originally has not made another one for version 2 + of TeX." + Where can I get one of these tapes? + What's the difference between V1.01(the one she doesn't have) and 2? + Will they still work? +\eq} + +and + +{\sq + +Date: Wed, 5 Aug 87 20:27:30 CDT + +>From: ``Douglas N. Arnold"$<$arnold\%s1.ima.umn.edu@umn-cs.cs.umn.edu$>$ + +Subject: TeX eats l's after fil + +If an `l' or and `L' follows a unit of glue such as `fil', even separated +by spaces, it is aparently parsed as part of the name of the unit. This +leads to some fairly strange behavior. For example, the following script +will put a `K' and a `M' in the dvi file, but no `L'! + +\program + \def\q#1{\hskip 0 pt plus 0 fil #1} + \q{K}\q{L}\q{M} + \end +\endprogram + +I know that TeX has no bugs ... but is it really supposed to do this? + + -- Doug Arnold + na.arnold@score.stanford.edu = arnold\%s1.ima.umn.edu@umn-cs.arpa + +\%\% Barbara Beeton responds: + + +Date: Wed 5 Aug 87 20:25:06-PDT + +>From: Barbara Beeton$<$BEETON@Score.Stanford.EDU$>$ + +Subject: Re: TeX eats l's after fil + +the ``l"-gobbling you've encountered is legitimate, and easily explained. +the full syntax of \bs hskip is +\program + \hskip<dimen> plus<dimen> minus<dimen> +\endprogram +since your example didn't include a ``minus", tex keeps looking. +since ``fil" is a ``pseudo-dimension" it can continue, up to 3 ``l"s +(if your data had been ``llama", all you would have gotten in the output +would have been ``ama"). similarly, if the data had started with the +word ``minus", not followed by a proper$<$dimen$>$, minus would have been +gobbled and you probably would have gotten a nasty message to the effect +that a$<$dimen$>$ was expected, and 0pt will be assumed. the best way to +avoid this is to put \relax after your skip expression. + this is covered explicitly in the texbook; look it up in the +index (page 469): ``l after fil". + -- barbara beeton + +\eq} + +Sometimes \hax\ gets onto a general issue---there have been +discussions over the last year on such questions as: + +{ +\and Can University authorities be persuaded to drop their +`double-spaced Courier' thesis requirements for students who have +access to a proper typesetting system like \TeX? +\and What freedom should \LaTeX\ users have to tinker with the layout? +Leslie Lamport feels strongly that only experienced document designers +should be able to alter e.g. the font used in a running head. + +\and Can a consistent set of standards for dvi drivers be put +together? What facilities should they have? How do you handle \bs +specials? This question was +addressed in detail at the TUG meeting in August, and a committee was +set up to look into it. + +\and What is the relationship of \ps\ to \TeX? Lamport suggested +\TeX\ be changed to output pure \ps, others defend their LN03s to the +death. +} + +Usually, of course, \hax\ is question and answer; +here are some random selections of items that should give a general +flavour of what happens on a daily basis: +{\sq + Date: Wed, 13 May 87 08:33 EDT + + Subject: have you had problems with Metafont? + + + From: Chris Lindblad $<$CJL@REAGAN.AI.MIT.EDU$>$ + + I'm having problems with some broken screen-resolution fonts. + Metafont as standardly configured produces garbage font files for + some fonts that are smaller than 10pt at 80 dpi, and I don't know + how to hack Metafont parameters to fix it. The GF files that + metafont produces causes GFtoPXL to blow up, resulting with PXL + files that are totally unreadable. So I'm trying to frob with + Metafont a little each day in some of my free time to try to get it + to do something reasonable. The problem is that I don't understand + anything about it, so I'm not getting anywhere. + +The fonts that I have generated at 118 dots per inch that we use with +the dvitool SUN TeX previewer program that Jeff McCarrel wrote get +pretty bad at small point sizes. 80 dots per inch must look really +awful. + +I tried generating something at 80 dots per inch and like Chris I had +problems, but different ones; metafont stopped 2 times with a ``strange +path (turning number is zero)" error in the file romanp.mf when I +tried to run it on cmr8.mf with the following mode: + +\program +% previewlow mode: for Textset previewer at lowest resolution +mode_def previewlow = % for Textset previewer at lowest resolution + proofing := 0; % no, we're not making proofs + fontmaking := 1; % yes, we are making a font + tracingtitles := 0; % no, don't show titles + pixels_per_inch := 80; % really REALLY lowres + blacker := 0.65; % make the pens a bit blacker + fillin := 0.2; % compensate for diagonal fillin + o_correction := 0.4; % don't overshoot as much +enddef; +\endprogram + +I just hit return twice and then it finished up with no more +complaints and gftopxl and gftopk didn't have any problems with the gf +resulting file. + +\eq} + +{\sq +Date: Fri 12 Jun 87 14:33:02-EDT + +>From: John Gourlay $<$GOURLAY-J\%OSU-20@ohio-state.ARPA$>$ + +Subject: Pic-like software for TeX + + John Renner, a former student of mine now at Adobe, has written +a program called TeXtyl to allow TeX users to draw lines and curves in +their documents. It's actually a postprocessor: one runs TeX on an +input file containing \bs specials that define a drawing, and then runs +TeXtyl on the dvi file to obtain a new dvi file in which the \bs specials +are replaced with dvi commands to print the lines and curves by +piecing together small characters from special fonts. It's in the +public domain, but contact John (adobe!renner@decwrl.dec.com) for +details. +\eq} + +{\sq + +Date: Wed, 17 Jun 87 14:59:51 EDT + +>From: phr@PREP.AI.MIT.EDU (Paul Rubin) + +Subject: tex macro for reference cards + +The GNU Emacs reference card is typeset using some TeX macros designed +specifically for setting reference cards. It is distributed as the file +"etc/refcard.tex" with GNU Emacs, which you can ftp from the usual places. + +\eq} + +{\sq + +Date: Fri, 19 Jun 87 12:34:01 edt + +>From: clayton@lavalamp (R. Clayton) + +Subject: Spreading the word + +Anita Cochran recently asked for a macro that evenly spaces letters in +an hbox with the end letters flush against the sides. The following +macros should do: + +\program + \def \dolist + {\afterassignment\dodolist + \let\next=} + \def \dodolist + {\ifx \next \endlist \let \next \relax + \else \\ \let\next\dolist + \fi \next} + \def \endlist + {\endlist} + \def \\ + {\next\hfil } + \def \spreadem#1#2{\hbox to #1{\dolist #2\endlist\hfilneg}} + + \spreadem{2.0 in}{spread} + \spreadem{1.5 in}{the} + \spreadem{1.0 in}{word} + + \bye +\endprogram + +These macros were adopted from the macros given as the solution to +problem 11.5 in the TEXbook. The idea is to stick an \bs hfil after every +letter (token) in the word (argument). The glue after the final letter +causes the word to be ``ragged-right" in the box; this is fixed by +canceling the glue with an \bs hfilneg. + +\eq} + +{\sq + +Date: Fri, 19 Jun 87 13:27 EST + +>From: $<$JWS\%PSUARLC.BITNET@forsythe.stanford.edu$>$ + +Subject: WEB for Ada? + +Is there a version of WEB that accepts the Ada language? + + Thanks, Jack Sharer, JWS@PSUARLC + +\eq} + +{\sq +Date: Fri, 24 Jul 87 18:07 PDT + +>From: $<$ASND\%TRIUMFCL.BITNET@forsythe.stanford.edu$>$ + +Subject: Typesetting chemical papers + +Like Th. Kneser, I also needed chemical equilibrium symbols and +came up with the following, which may be useful. Note that these +are for plain TeX and for chemical equations that are being typeset +in Roman. + +\program +% Definitions and stuff for chemistry, equilibrium symbols : +% \eq}bm -- unlabeled equilibrium (longer than harpoons) +% \eq}bmlab~#1_#2 -- long equilibrium sign with forward (#1) and backward (#2) +% labels +% \yields -- long right arrow +% \yieldslab~#1 -- `` `` `` with a label above (#1) +% To typeset chemical equations, +% type \rm just after the $ or $$. Also, when using \eq}align or +% \eq}aligno, type \cr\rm wherever you would normally type \cr. +% The labels on \eq}bmlab and \yieldslab come out in italic automatically +% (use \rm to get roman). Elsewhere, italicize variables like K_W or N_0 +% using \cit. +% +\def\cit{\fam=-1} \% Chemistry ITalic +\def\longrharpup{\relbar\joinrel\rightharpoonup} +\def\longlharpdn{\leftharpoondown\joinrel\relbar} +\def\rlPOON#1{\vcenter{\hbox{\ooalign{\raise2.3pt + \hbox{$#1\longrharpup$}\crcr $#1\longlharpdn$}}}} +\def\eq}bm{\mathrel{\mathpalette\rlPOON{}}\rm} +\def\eq}bmlab~#1_#2{\mathrel{\mathop{\eqbm}\limits~{#1}_{#2}}\rm} +\def\yields{\longrightarrow\rm} +\def\yieldslab~#1{\mathrel{\mathop{\longrightarrow}\limits~{#1}} \rm} +\endprogram + + +To make subscripts come out aligned I have put (for example) +\program +\fontdimen16\twelvesymboltext=3.24pt +\fontdimen17\twelvesymboltext=3.24pt +\fontdimen16\twelvesymbolscript=2.65pt +\fontdimen17\twelvesymbolscript=2.65pt +\endprogram +in with my font definitions following the example of the TeXbook p.179. +These 12 pt numbers were determined by trial and eye...leading to a +question of my own: + + How can I look at the font parameters for an arbitrary font + and determine the proper font dimensions to make chemical + subscripts all come out aligned? Or, Has someone determined + the numbers already? + + Donald + (asnd@triumfcl.bitnet or + userasnd@ubcmtsg.bitnet) +\eq} + +One common feature of \hax\ is the swopping of style files for \LaTeX. +For those who are not aware of it, here is the latest description of +the Rochester \LaTeX\ style file collection: +{\sq + Subject: Contents of LaTeX style collection, 2nd August 1987 + + Date: Sun, 02 Aug 87 14:03:33 -0400 + + From: Ken Yap $<$ken@cs.rochester.edu$>$ + + The LaTeX style collection now has the files listed below. More + submissions are very welcome. + +{ \settabs 3 \columns + \+ 00directory&format.sty&slem.doc \cr + \+ 00index&fullpage.doc&slem.sty \cr + \+ 00readme&fullpage.sty&spacecites.doc \cr + \+ a4.sty&geophysics.sty&spacecites.sty \cr + \+ a4wide.sty&german.sty&suthesis.doc \cr + \+ aaai-instructions.tex&ieeetr.bst&suthesis.sty \cr + \+ aaai-named.bst&ist21.sty&texindex.doc \cr + \+ aaai.sty&latex.bug&texindex.pas \cr + \+ acm.bst&layout.readme&texindex.sty \cr + \+ agugrl.sample&layout.tex&texnames.doc \cr + \+ agugrl.sty&lcustom.tex&texnames.sty \cr + \+ agujgr.sample&lfonts\_ams.readme&textyl.readme \cr + \+ agujgr.sty&lfonts\_ams.tex&textyl.shar1 \cr + \+ amssymbols.sty&lgraph.shar&textyl.shar2 \cr + \+ art10.txt&local.suppl&textyl.shar3 \cr + \+ art11.txt&memo.sty&textyl.shar4 \cr + \+ art12.txt&mfr.sty&textyl.shar5 \cr + \+ article.txt&mitthesis.sample&textyl.shar6 \cr + \+ biihead.sty&mitthesis.sty&textyl.shar7 \cr + \+ ctex.readme&natsci.bst&textyl.shar8 \cr + \+ ctex.shar1&newalpha.bst&textyl.shar9 \cr + \+ ctex.shar2&nopagenumbers.doc&tgrind.sty \cr + \+ ctex.shar3&nopagenumbers.sty&threepart.sty \cr + \+ ctex.shar4&remark.sty&titlepage.txt \cr + \+ ctex.shar5&resume.sample&trademark.sty \cr + \+ ctex.shar6&resume.sty&uct10.doc \cr + \+ cyrillic.sty&sc21-wg1.sty&uct11.doc \cr + \+ dayofweek.tex&sc21.sty&uct12.doc \cr + \+ deproc.sty&sfwmac.sty&ucthesis.doc \cr + \+ deprocldc.tex&showlabels.sty&ucthesis.readme \cr + \+ docsty.c&siam.bib&uuencode.shar \cr + \+ docsty.readme&siam.bst&vdm.doc \cr + \+ doublespace.sty&siam.doc&vdm.sty \cr + \+ draft.sty&siam.sty&vdm.tex \cr + \+ drafthead.sty&siam.tex&ws87.p \cr + \+ dvidoc.shar1&siam10.doc&wsltex.c \cr + \+ dvidoc.shar2&siam10.sty&wsltex.p \cr + \+ epic.shar1&siam11.sty&xxxcustom.tex \cr + \+ epic.shar2&siam12.sty&xxxslides.sty \cr +} + + 1. For Internet users - how to ftp: + + Here is an example session. Disclaimer: ftp syntax varies from host to + host. Your syntax may be different. The syntax presented here is that + of Unix ftp. Comments in parentheses. + +\program + % ftp cayuga.cs.rochester.edu (a.k.a. cs.rochester.edu, a.k.a. 192.5.53.209) + ... (general blurb) + user: anonymous + password: <any non-null string> + ftp> cd public/latex-style (where the files are) + ftp> ls (to see what is there) + ... (lots of output) + ftp> get 00index + ... (more blurb) + ftp> quit +\endprogram + + 2. Non-Internet users - how to retrieve by mail: + + An archive server has been installed. Send a piece of mail to LaTeX-Style + (@rochester.arpa, @cs.rochester.edu, via uucp or your favourite gateway) in + the following format: + + Subject line should contain the phrase ``@file request". Body of the + mail should start with a line containing only an @ (at) sign. + The first line following should be a mail address FROM rochester TO +[B you. Then follow by the names of the files you want, either one to + each line, or many to each line, separated by spaces. End with a line + containing only an @ sign. Case is not significant. + + For example, if you are user at site.bitnet, this is what you should send: + +\program + + To: latex-style@rochester.arpa + Subject: @file request + + @ + user%site.bitnet@wiscvm.wisc.edu (don't forget your address!) + 00readme + 00index + @ +\endprogram + + Caveat: our mailer is pretty ignorant of BITNET, CSNET or UUCP + addresses unless they are in registered domains. It is best that you + supply explicit gateway routes. Also use the new domainized form of + addresses whenever possible because the old .ARPA addresses are fading + away. + +\program + user%site.bitnet@wiscvm.wisc.edu + user%site.csnet@relay.cs.net (not csnet-relay.arpa anymore) + site!user@seismo.css.gov (not seismo.arpa anymore) +\endprogram + + Long UUCP paths are discouraged. System administrators get upset and + your turnaround is very slow anyway. + + Do not include any messages in the mail. It will not be seen by human + eyes. Be patient as the server is actually a batch program run once a + day. Files will be sent in batches, each not exceeding 100kbytes in size. + + 3. IBM PC and clone users - how to get a distribution: + + David Hopper of Toronto, Canada is offering copies of the style + collection on diskettes. This is not a commercial enterprise. David is + doing this in his own time as a favour to the TeX community. The entire + set of style files, not including the C-TeX files, as of June 1st, fits + on one 1.2 MB diskette or three 360KB diskettes. No subsetting, + please. Send David + +\item{ 1.} Formatted diskettes, + \item{2.} Indication of the format required, + \item{3.} A self-addressed mailer, and + \item{4.} A \$5.00 donation per set of files, to cover postage and equipment wear + \& tear. (If you live outside North America, airmail delivery will probably + require more postage. You should probably contact David for details.) + + David's address: +{\it + David W. Hopper, + + 446 Main Street, + + + Toronto, Ontario, + + Canada M4C 4Y2 +} + + Thanks, David. + + Ken + + LaTeX-Style@Rochester.Arpa + + LaTeX-Style@cs.Rochester.Edu + + ..!rochester!latex-style + +\eq} + +\bye diff --git a/info/digests/texline/no6/texline.tex b/info/digests/texline/no6/texline.tex new file mode 100644 index 0000000000..13367614d5 --- /dev/null +++ b/info/digests/texline/no6/texline.tex @@ -0,0 +1,41 @@ +\vsize720pt +\input dble.tex\input verbatim.tex +\font\sc=cmcsc10 +\font\mf=logo10 +\font\mfb=logobf10 +\def\MF{{\rm{\mf META}\-{\mf FONT}}} +\def\MFb{{\rm{\mfb META}\-{\mfb FONT}}} +\def\MarkUp{MarkUp '8\kern-0.2em\lower0.45ex\hbox{7}} +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\def\frac#1/#2{\leavevmode\kern0.1em + \raise0.5ex\hbox{\the\scriptfont0 #1}\kern-0.1em + /\kern-0.15em\lower0.25ex\hbox{\the\scriptfont0 #2}} +\baselineskip12pt +\parskip0pt +\parindent1em +\hfuzz1.5pt +\hyphenation{SGML SGML-ers} + +\headline{\sl \TeX line 6 \hss \folio} +\nopagenumbers + +\def\SGML{{\sc sgml}} +\def\PS{{\sc Post\-Script}} +\let\ps=\PS +\def\TS{Type \&~Set} +\def\dvi{{\tt dvi}} +\def\tfm{{\tt tfm}} +\def\quid{{\it\$}} +\def\DW{Dominik Wujastyk} +\def\AmSTeX{$\cal A$\kern-.1667em\lower.5ex\hbox{$\cal M$}\kern-.125em + $\cal S$-\TeX} +\def\BibTeX{{\sc Bib}\TeX} +\def\SliTeX{{\sc Sli}\TeX} +\def\hax{\TeX{\sc hax}} +\abovedisplayskip0pt +\belowdisplayskip0pt +\def\nl{\hfill\break} +%\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt +% \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} diff --git a/info/digests/texline/no6/texline6.tex b/info/digests/texline/no6/texline6.tex new file mode 100644 index 0000000000..3f8cc217b0 --- /dev/null +++ b/info/digests/texline/no6/texline6.tex @@ -0,0 +1,13 @@ +\tolerance=2000 +\input texline +\pageno=2 +\begindoublecolumns +\input bart\bigskip +\input mfbook\bigskip +\input markup87\bigskip +\input abbey\bigskip +\input tig.txt\bigskip +\input seattle.txt\bigskip +\input bcsep.txt\bigskip +\enddoublecolumns +\bye diff --git a/info/digests/texline/no6/tig.tex b/info/digests/texline/no6/tig.tex new file mode 100644 index 0000000000..e8e34f0998 --- /dev/null +++ b/info/digests/texline/no6/tig.tex @@ -0,0 +1,246 @@ +\def\and{\item{$\bullet$}} +%---------------------------------------------- +\centerline{\bf\TeX\ Users Group 1987 Meeting } +\centerline{\bf 1. View towards Mt.~Olympus (WA)} +\medskip\noindent +Among the (many) virtues of \TeX\ are the facts that it is from the hand of a +single man, that it is not going to change and that it has a single, effective +User Group. The 1987 annual meeting of TUG took place this year from August +24th--27th at the University of Washington in Seattle (home of TUG past-% +president Pierre Mackay), and where, it seemed, better to garner the latest +from the horse's mouth? Heart in mouth, your intrepid correspondent +accordingly entrusted himself and his copy of {\sl The \MF book} to TWA's +shoddy care and flew (the movie was {\it Hoosiers}, +starring Gene Hackman, and the +food was a curious mess based on peanuts, which I came to learn was all TWA +{\it ever} offer vegetarians) +off to the rainy State of Washington. To the surprise +of most people in sight, Seattle was bathed in sunshine and remained so +throughout our stay. Accommodation in a student `dorm' was in a bunk-equipped +bedroom reminiscent of a Townsend Thoresen cabin, and the nautical theme +continued as the c.\ 160 assembled +TUGgers gathered for a cruise on Lake Washington; beer and +wine flowed, though the culinary delights of Cajun Shishkebab and barbecued +salmon proved a little frustrating for the non-carnivore. Initial impression +of the participants was later proved correct---mostly from north American +universities, but a healthy presence of commercial implementors and users, +and a sprinkling from countries all over the world. The British presence was, +to put it mildly, dominated by the Open University---my final headcount showed +4 OU, 1 Soton, 1 Oxford and 1 Wellcome Institute; lets hope the accounts +department of the OU don't ever find out. + +Day 1 started as it meant to go on, early and hard. 7.15 breakfast showered +the bleary-eyed punter with eggs, bacon, pancakes, potatoes, fruit salad, +donuts, toast, coffee {\it ad nauseam}. Formal registration (and more donuts and +coffee, which appeared to come from a specially developed {\it cornucopia\/} +throughout the conference) produced the longed-for TUG 87 memorial coffee mug +and a program generously filled with \TeX\ vendors' adverts. The first proper +session opened with Christina Thiele +(Carleton), who described her experiences +of small journal production with \TeX\ and electronic submission of MSS +without markup from authors; the field of linguistics brought nasty problems +of layout and fonts (there was subsequent discussion of where to find an IPA +font), but the interest of the session was the evidence of \TeX\ in heavy use +by non-experts and in a humanities setting, which was one of the themes of the +conference. + +Moving onto more detailed matters +Silvio Levy (Princeton) followed with a description of his work on +\MF ing a Greek alphabet for a new Dictionary of Modern Greek. Greek has +special problems, such as the large number of 2, 3 and 4 letter ligatures used +in classical Greek (e.g.~for prepositions), and the multiple accents on some +characters, and Levy uses a 256 character font to accommodate lots of +possibilities, including special combinations of sigma and all other letters, +to cope with the idiosyncracy of Greek's changing form of sigma if it comes +last in a word. + +After a more traditional digression on how to port \TeX\ to an +IBM 6150 (using PL8 and AIX `mapped files') +by Richard Simpson of IBM (with an +interesting aside on the use of Metafont to draw graphs by creating a special +purpose, very large, character representing the graph), Walter Andrews and + Pierre Mackay continued the alphabet theme with Turkish. +The problem there was +accentuation so heavy that the |\accent| +primitive cannot cope, and the only +solution was an accented font; discussion of the problem of sensible input +with Turkish characters on-screen provided the curiously useful idea of using +the printer driver family of a conventional word-processor to generate \TeX\ +from wp formatting commands by `printing' to a file---subsequent experiments +with PC-Write show that this is a very workable system for font changes. + +Our +European problems were as nothing, however, compared to the horrors of +Japanese, which came next; Nobuo Saito +described the general problems, and the +existing transliteration and printing schemes, +while Yasuki Saito talked about +one of four actual \TeX\ implementations---J\TeX. The large number of +characters in a font was dealt with by fooling \TeX\ into thinking it was +dealing with a family of fonts, which together made up one single Japanese +font; the actual fonts are generated from existing raster files to |.gf| format. +Input uses the JIS code (2 bytes per character), and a small change to \TeX\ +forces it to take characters in pairs. While Saito listed problems and areas +for improvement, it was clear that this was a viable system of practical use. + +After more donuts, we moved on to device drivers; the chief stars here were + Nelson Beebe, whose driver family had frequent mention, + Stephan v.\ Bechtolsheim (currently working, incidentally, +on a book described as an `exegesis of \TeX'), +who has nearly completed his new DVI to \PS\ driver, and Robert + McGaffey, who led a panel discussion +on standards for \dvi\ drivers (it struck +me during this that discussion of \dvi\ driver standards was by men, and +discussion of standards for macros, prompted by Christina Thiele, was by +women). The panel was formed into a committee to take serious action, with the +likely outcome being a set of standards which \dvi\ drivers should follow, at +different levels; those with serious thoughts on this were invited to send +them to McGaffey. + +The evening of the first day was occupied by a barbecue hosted by +Addison-Wesley, with extraordinary entertainment from the Seattle Banjo Club, +whose average age seemed to be greater then three score and ten, yet who kept a +frightening vitality. As A-W's corporate image stopped them serving alcohol, +and since yet again the carnivore was in the ascendant, I can only relate +that the walk to and from the event across a research ecological preserve, +including a small secluded duck pool, +provided the best moments of my trip over the Atlantic. + +Day 2 started with the commercial section, where exhibitors were given ten +minutes each to expound on their wares, which we were later able to inspect. +Thus I noted: \nl +\and {\bf Arbortext} with {\it Publisher}, their {\it wysiwyg}-cum-generic markup +front-end to \TeX, which offers a great many features (a good +interactive equation editor, and table builder) without {\it quite\/} working +yet as we would expect (for instance, cross-referencing is not supported, nor +is import of external \TeX). In any case, it costs real money on Sun +workstations! Arbortext also noted their new Sun font editor, an unsupported +Sun/Vax `dvicrt' for crude display on {\sc ASCII} terminals, and the fact that their +previewers now use Adobe screen fonts for those who want \PS\ fonts. +\and {\bf Digital Composition Corp.} +were newer entrants to \TeX ery, who had made +their own PC port (complete with |WEB|, no less!), were working on text wrap +around figures and had a `dvi2ps' with merge of HPGL, and even referred to an +\SGML\ preprocessor. +\and {\bf FTL systems} produce Mac\TeX, which seems to be a more stable and +advanced product than \TeX{\sc tures}, concentrating on support for \PS\ fonts +(they have traced the CM maths fonts with Fontographer to generate \PS\ +downloadable outline fonts), online \TeX\ and \LaTeX\ help and translation out +of MacWrite and Word; they also use `Page One', a system of simple generic +codes for authors which are converted to \TeX. +\and {\bf Docusoft Publishing Technologies} were offering \TeX write, +a special PC +editor for \TeX, with a WordPerfect-like interface; they gave away evaluation +copies of a version which did not yet have many special \TeX\ features in it; +Emacs users can imagine the sort of thing. +\and {\bf K-Talk Communications} had a full-feature WordPerfect to \TeX\ +converter; it was hard to get excited, but this sort of thing is very useful +and should become more popular. +\and {\bf Kellerman and Smith} wheeled on the said Smith, who was excessively +laid back with a Mac, but did mention that they could start shipping Lucida +for \TeX tures soon (with a {\it complete\/} set of maths fonts). +\and {\bf Personal \TeX}, with the charismatic + Lance Carnes, talked about their +licensing of Bitstream fonts (a large library of raster fonts), the imminent +marketing of Montreal's multilingual \TeX\ (with European hyphenation +patterns, a +matter of great importance to many \TeX\ users in the humanities), new, +simpler, table macros and new device drivers. It has to be said that PC \TeX\ +came over as having the edge on Micro\TeX, in terms of development and service +to the users. +\and {\bf St\"urtz AG} offered \TeX\ printing on a Monotype Lasercomp, and +promised to implement Knuth and Mackay's concept of a left-to-right Hebrew +\TeX. +\and {\bf \TeX nology} had Macro\TeX, +a new, almost-finished, macro package at the +level of \LaTeX\ or \AmSTeX, with some interesting features such as +multi-page tables. +\smallskip +After a set of Site Coordinators reports (pretty dull, to be honest), Nelson +Beebe talked about his driver family, which featured a uniform interface for +all devices and much sharing of modular elements of the code. I think it was +also Beebe who mentioned in passing that \TeX\ and \MF\ are almost +exactly the same number of lines of code, a cause for thought! More +entertaining fare was to follow, however, +from TV Guide's David Ness, whose +talk was in some ways a high point of the conference; TV Guide is the weekly +listing of all the TV programs in the US, and its production is basically +database driven. Ness's eventual aim is to use \TeX\ for this highly complex +piece of typesetting, but the importance of his talk was its viewpoint from a +`real' organisation choosing \TeX\ on performance rather than availability or +price considerations. I cannot resist quoting TV Guide statistics---20 million +copies per issue, listing in 108 editions the +output of 2000 stations; {\it Radio + Times\/} eat your heart out. Silvio Levy returned to complete the day with an +outline of his new CWEB system for literate programming in +C --- not the combination of C and |nroff| that has +circulated in Britain, but C and \TeX. Maybe it will even catch on! + +Before the wine and cheese provided by PC \TeX\ (some very nice local wines +and good cheese --- now you see why their product is better than Micro\TeX), +`birds of a feather' did the requisite flocking. I joined a flock of people +interested in special editors and markup, +with \TeX\ {\it per se} being put in its +place as a formatting engine. One interesting fact I elucidated in this +happily-familiar discussion was that the American Association of Publishers +has defined its own \SGML\ tag set and is promoting it heavily. + +In the evening, a small group made a pilgrimage to see the Seattle Mariners +play the Toronto Blue Jays in the Kingdome; the Mariners' fielding was +excellent, but their batting couldn't catch fire and the Blue Jays (as +was expected) won with no real strain. Did you know the Kingdome is the +largest concrete dome in the world? Thanks to David Parmenter (DEC) for +explaining the rules. + +Day 3 started with a problem session run by Barbara Beeton, who deftly fielded +some incredibly obscure hackings. +The `humanities' theme was pursued by Allen + Dyer (a Maryland Lawyer), who described how his state Bar Association was +standardising on \TeX\ for the good of all. Last, but not least, your +correspondent presented a paper by Les Carr on the generation of \PS\ outline +fonts from \MF. The {\it cul de sac} reached by the actual project did not +stop a good number of people wanting to know more, and confirmed my suspicion +that for many \TeX\ people \PS\ is the way forward, possibly creating an +unfortunate divide between the pragmatic \PS ers and those who stand by CMR +and \MF. + +Closing sessions gave a chance for more jokes from \TeX an TUG President Bart +Childs, presentation of \TeX\ `oscars' for deserving people, a framed Duane +Bibby drawing for Barbara Beeton, and the election of David Ness as Treasurer. +TUG seemed to be flourishing and happy, so we went away. + +What were my overall impressions from the meeting? +\smallskip +{\narrower +\item{a.}An increasing number of people are +simply {\it users} of \TeX, and are not +interested in how \dvi\ drivers work; in the USA at least I got the feeling +that the main thrust of usage was on PCs and Macs, using the prepacked systems +from conscientious vendors. Many of them are finding the underlying algorithms +of \TeX\ can be used for an extraordinary variety of tasks. +\item{b.}People who {\it are} +interested in \dvi\ drivers are on the verge of getting +their act together to ensure that these programs do their job. One can only +applaud! +\item{c.}The commercial world is less interested in \TeX\ as a visible +product than as a reliable engine. It was interesting to hear FTL say that +they did their best to {\it conceal\/} \TeX\ in Mac\TeX, which meant almost +discouraging the use of CMR (they are an extra in Mac\TeX). +\item{d.}Americans drink too much fizzy stuff and coffee, +and eat too many donuts. +\smallskip +} + +\medskip +Readers who want to follow up any of the matters discussed above should first +of all look at the latest TUGboat, which covers a number of them, but are +welcome to get copies from me of brochures, addresses etc.\ I picked up --- write +to: +{\obeylines\parindent2em +Sebastian Rahtz, +Department of Electronics +\qquad and Computer Science, +University, +Southampton SO9 5NH +{\it email} {\tt spqr@uk.ac.soton.cm}} + diff --git a/info/digests/texline/no6/tonerbbs.tex b/info/digests/texline/no6/tonerbbs.tex new file mode 100644 index 0000000000..8ff2b837b3 --- /dev/null +++ b/info/digests/texline/no6/tonerbbs.tex @@ -0,0 +1,73 @@ +\centerline{\bf Recharging Toner Cartridges} +\medskip +\noindent +It is possible to have your old laser printer +toner cartridges refilled. PPI will recharge +a carrtridge for the Canon LBP-CX engine for +\quid45.00. This is substantially cheaper than +buying a new one. And they put more toner +in than you had the first time. It appears that +cartridges can be refilled many times, but of course +they insist that the cartridge must be in good +condition. If you want to be more colourful, that +costs more --- they charge \quid55.00 for a colour +refill (you can put a colour refill in a cartridge +which had black toner). They will refill single +cartridges, and also offer +discounts for bulk, offereing a discount of 20\% +on quantities of 50. +The Canon engine is the heart of many +a laser printer, including the HP LaserJet, +the LaserWriter, QMS800 and Imagen, to +name but a few. For further information: +{\obeylines\parindent2em +PPI +228 Anerley Road +London SE20 8JT +Tel: 01 676 0055 +} +\bigskip +\centerline{\bf Bulletin Board} +\medskip +\noindent +Personal \TeX, suppliers of pc\TeX\ and an +increasing number of other quality \TeX\ add-ons +have a bulletin board for their users. Its contents +read a bit like \hax, but there is quite clearly +a fair amount of self-help going on. There are +a number of files available for downloading, +including some utilities. Among the files +are the sources of the Boston Computer Society +\TeX\ benchmarks. + +I have had a look through some synopses which +\DW\ provided, and include a taste of +the material present. + +There was an account +of the meeting of German \TeX\ users in Heidelberg +in October 1986. Norbert Schwarz has developed another set +of German hyphenation patterns which are said +to be better (linguistically), and to take up +less room than those of Bernd Schulze. +The Schulze hyphenation patterns are available +through Personal \TeX. Personal \TeX\ will +also be releasing Michael Ferguson's multi-lingual +\TeX, which allows simultaneous multi-lingual +hyphenation. They give June\slash July 1987 as a release date, +but I don't believe them. + +Those who read TUG will also know of the Portugese +hyphenation patterns from Pedro de Rezende, which +may by now be part of some \TeX\ distribution +tapes. + +This is quite a lively bulletin board, and it seems +to go some way to providing an alternative to +\hax\ for those without academic networks to back +them up. The only real problem I see is +the expense of transatlantic telephone calls. +If this sort of service is a feature of Personal \TeX s +commitment to \TeX, then it bodes well for them and us. + +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no6/tugboat.tex b/info/digests/texline/no6/tugboat.tex new file mode 100644 index 0000000000..ca4565da35 --- /dev/null +++ b/info/digests/texline/no6/tugboat.tex @@ -0,0 +1,158 @@ +\magnification\magstep1 +\def\Afour{\hsize=6.25truein\vsize=9.5truein}%A4 page dimensions +\Afour +\def\quid{{\it\$}} +\def\PS{PostScript} +\def\dvi{{\tt dvi}} +\def\tfm{{\tt tfm}} +\def\vfilll{\vskip0pt plus 1filll} + +\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt + \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} + +\newbox\boxx\newbox\me + +\nopagenumbers + +\input verbatim.tex + +\font\mf=logo10 +\font\mfb=logobf10 +\def\MF{{\mf META}\-{\mf FONT}} +\def\MFb{{\mfb META}\-{\mfb FONT}} +\def\LaTeX{L\kern-.3em\raise.5ex + \hbox{$\scriptstyle\rm A$}\kern-.1em\TeX} + +\baselineskip12pt +\parskip0pt +\parindent2em +\hfuzz1.5pt +\tolerance3000 +\raggedbottom +\overfullrule0pt + +\def\istar{\item{$\star$}} +\def\iistar{\itemitem{$\star$}} +\headline={\sl First Circular \hss Autumn 1987} + +\centerline{\bf \TeX eter} +\bigskip\noindent +\TeX88, the Third European \TeX\ Conference +will take place at Exeter University, UK, from Monday, July 18th to +Wednesday, July 20th, +1988. This conference seeks to maintain the high standard +set by the previous European \TeX\ conferences. +In view of the rate at which \TeX\ is expanding its areas +of application, and the developments which will +have taken place by next summer, +papers are welcome from all areas of \TeX, \MF\ +and related subjects. +Likely themes might include: +\medskip +\istar desktop and traditional publishing with \TeX +\istar document structure --- \LaTeX, SGML, ODA, etc. +\istar non-technical \TeX\ and \MF\ applications + \hfill\break\indent (humanities, music, exotic languages) +\istar other technical areas (chemistry, physics, + biology) +\istar parochial peculiarities (European considerations!) +\istar ai and expert system approaches +\istar \TeX\ and {\it wysiwyg} +\istar \MF\ and fonts +\istar page description languages and \dvi +\istar micro inputs +\istar macro inputs +\istar standards: +\iistar for |\special| +\iistar for printer drivers +\iistar for \TeX\ macros +\istar \TeX\ environments +\bigskip\noindent +\medskip +\noindent +The programme will be structured to include both long and short +contributions. The proceedings will be published after +the conference. +\bigskip +\centerline{\bf Added Value}\smallskip\noindent +We hope to run various workshops and +participatory seminars before, during and after the conference. +Specifically, we plan to organise +workshops on `the design of documents', \LaTeX\ +style files (and how to modify them), and on +the use of \MF. +Seminar rooms will be available during the conference for +`birds of a feather' and other {\it ad hoc} group meetings. + There will be facilities for exhibitions by +the vendors of \TeX-related software, hardware and paperware. +A number of micros will be available to allow the interchange +of micro software, as well as demonstrations of particular +packages etc. +\bigskip +\centerline{\bf What does it cost?} +\smallskip +\noindent +The total cost of the conference, including accommodation (from +the evening of Sunday 17th July, through to Wednesday 20th) at +Lopes Hall of Residence, meals, social activities, +and the conference proceedings will be around \quid150. +For non-residents, the charge will be about \quid100. The +workshops and seminars before or after the conference +will cost about \quid50 per day, +which also includes accommodation and meals. Cheap rail fares +within the UK are being arranged. +\vfill \eject +\centerline{\bf Where is Exeter University?} +\smallskip +\noindent +Exeter is located in the sunny south west of England, close +to Dartmoor, and only 10 miles from the sea. +The University is approximately one mile north of Exeter +city centre. There is an excellent train service to London +and the North from St Davids Station. The M5 and M4 motorways +provide quick and relatively painless access to London, the Midlands +and the North. There is ample car parking space on campus. +The local airport has daily connections to the continent, as well +as UK internal destinations. +\vfilll +\hbox to\hsize{\hrulefill}\bigskip +\centerline{\bf Fill This in Now!} +\smallskip +{\obeylines\parindent0em\bf +Name: +Affiliation: +Address: +~ +~ +~ +~ +Telephone: +email: +} +\setbox\boxx=\vtop{\noindent\hsize0pt\vrule width0pt\hrule height 0pt} +\bigskip\noindent +Please tick where appropriate:\smallskip\noindent +\leavevmode\boxit{\copy\boxx}\ Please add my name to the \TeX88 mailing list\smallskip +\noindent +\leavevmode\boxit{\copy\boxx}\ I would like to present a paper\par +The title will be: \par +\vfilll +\hbox to\hsize{\hrulefill}\bigskip +\noindent Send to:\smallskip +\newbox\me +\setbox\me=\vtop{\halign{#\hfill\cr +Malcolm Clark, \TeX88\cr +Imperial College Computer Centre\cr +Exhibition Road\cr +London SW7 2BP\cr +Janet:{\tt texline@uk.ac.ic.cc.vaxa}\cr} +} +\hbox to\hsize{\qquad\box\me \hss}% +\vfilll +\hbox to\hsize{\hrulefill} +\noindent +\TeX88 is pleased to acknowledge the support of ArborText, +Addison-Wesley Publishers Ltd, Ellis Horwood Ltd (Publishers), +Personal \TeX, +{\sl\TeX\kern-0.1667em pert systems} and Uni\TeX\ Systems. +\end diff --git a/info/digests/texline/no7/about-fac.tex b/info/digests/texline/no7/about-fac.tex new file mode 100644 index 0000000000..db1dd8f6a2 --- /dev/null +++ b/info/digests/texline/no7/about-fac.tex @@ -0,0 +1,186 @@ +\centerline{\bf About Face!} +\medskip +\noindent +Sub-titled ``Design, Choice and use of `Type' in +Electronic Publishing and Page Design'', this +was {\it another} {\sc bcs-ep} meeting, this time +held on February 11th, at the usual venue, the +School of African and Oriental Studies in Bloomsbury. +This was a very well attended meeting, with +many people who were not {\sc bcs-ep} regulars +(as well as a number of familiar faces). + +The first talk was from David Saunders of Monotype. +He presented a historical account of the rise +of typefaces, from their early, handwritten origins, +via Trajan's column through the rise of moveable type +to the present day. Naturally covering such a sweep +meant that he was selective, but he was also fascinating, +interesting, educational and thought provoking. + +One of his themes was the interaction between design +and technology. This is inevitable, but often the +constraints are not obvious after the event. +Early typefaces were derived from calligraphy (especially +lower case, for which there were no stone cut originals). +But gradually the calligraphic characteristics disappear, +to be replaced by conventions more suited to the medium. + + +Saunders also noted that new letterforms arose in the +early industrial revolution, notably sans serifs, which +were then regarded as expressions of the new age. + +In comparing quality we were shown comparisons between +various laser printed and `conventionally' printed +letterforms. The key issue here was that with good quality +paper, laser printed material could be of good quality, +and that all conventional printing was not automatically +good. There are (or can be) problems with all types of +printing. A conclusion to be drawn +was that higher resolution does not ensure higher quality. + + +From looking at the way in which typefaces have evolved, +we looked next at some of the physiological and psychological +bases for recognising the marks on the paper. +John Richardson of Loughborough University described +some of the results of studies which has been done +by psychologists in this area. Most of this work is rather +old now. From the +way in which the eye handles text, it would seem that +speed of reading for type of 9--12 points is about +the same, but that it reduces for both smaller and larger +sizes. Not surprisingly, there is a certain amount +of visual interference in type set solid. The eye +has difficulty skipping to the beginning of the next line. +In the end we would seem to have to quote Eric Gill, +who, in 1931 wrote ``Legibility, in practise, amounts +simply to what one is accustomed to''. + +John Durham, assisted by the keyboard skills of Jenny +Hearne, described the font editing +software which has been developed by Archetype to +permit modification of the fonts used by the large +high volume laser printers (Xerox 9700). + +Essentially the system permits bitmap editing. Durham +argued that hand tuning of algorithmic fonts would still +be needed, and that simply scaling of a font to another +size could not be expected to give good results. +In order to achieve some degree of fidelity between +screen and page, they used a high resolution monitor +--- 100\,dpi, and grey scale fonts. In other words, the +monitor's pixels were not simply black and white, but +black, white and a range of grey. +He also touched briefly on the problem of font licensing, +since of course some of the fonts on these laser +printers are proprietry. + +This was an interesting example of a small company +siezing on a niche which the original vendor had +failed to fill (for whatever reason), and exploiting it +rather thoroughly. + +After lunch Kathy Lang +described some font practicalities. In most ways she +seemed most interested in larger scale typographic +issues, but she described the sorts of things you expect to +get in the better known dtp packages. +I was surprised to see letterspacing included as +something one expected, since I had just +finished reading in Kleper's book that +``letterspacing should be avoided if possible''. Perhaps this +is a feature incorporated because it is easy to do, +regardless of its desirability (like `strike through' and +underlining --- easy to implement, but useless). +Lang went on to discuss the relative merits of +`write white' and `write black' laser printers. +One of the audience was able to reveal that the new +Apple LaserWriter II is capable of 400\,dpi +(although it only does 300\,dpi just now). + +John Miles, of Banks \& Miles +described the employment of dtp in his design +studio. Even if you don't realise, you +will be familiar with some of the output of this studio. +They designed the logos for the Post Office and British +Telecom (among other well known corporate identifiers). The studio +uses a couple of Macs with PageMaker and RSG!. +But before describing what they did with the Macs, +he stood back a little to explain what it was they +were trying to achieve in the first place. He identified +a necessary focussing on function. What was the intention +of the material, how would it be used? One of the distinctions he made +was between legibility (the property of a typeface) +and readability (a function of the arrangement of typefaces). + +Most of this talk was illustrated with reference to designs +on bits of paper, rather than a screen, but tempered by +the knowledge that they would end up as grids on a +dtp system. The starting point was a sheet of paper, +not the screen. +He noted that it was the job of the designer to +fulfill the function expected by the client, not +to demonstrate the versatility of the equipment. +He also attempted to dispell the myth that there was +anything valuable to be gained by changing typeface +or leading etc.\ `at a stroke'. Any designer worthy of +his hire would know these characteristics before he started +to look at the computer. + +The last talk was by the type designer, Richard Southall, who, as +many will know bears some responsibility for some bits of +Computer Modern, and who has a considerable ability +with \MF. But even if you didn't know that, +you would be familiar with Richard's work. He designed +the sub-titling font which is used by the {\sc bbc} +for its films (also seen on Channel 4). + +Early in his talk Richard made the distinction between +\item{$\bullet$}a character image --- the marks which +a marking engine makes for readers to see. This includes +the letters made by laser printers, dot matrix printers, or +even those made on a vdu screen. +\item{$\bullet$}a font --- a set of instructions to a marking +engine to make a character image. This might be a bit map +or an algorithm, or even a piece of type. +\item{$\bullet$}typeface --- the sets of visual attributes for the +characters of a script. As such a typeface has no concrete +existence, it is an abstract object. The nearest concrete +entity is probably the designer's original drawings. +\smallskip +Richard expressed the view that the changes which were +taking place now, since the introduction of dtp in 1984 +closely paralleled those which took place between 1965 +(with the introduction of photo composition) and the virtual +extinction of hot metal typesetting in 1971. + He also pointed +out the short period which had elapsed since the introduction +of digital photocomposition (in 1965). To an extent the old +constraints had been removed, such that almost anyone +can now design a typeface. + +He pointed out that the commercial pressures to use +outline fonts were overwhelming, but that the +outline was a long way distanced from the typeface it +purported to represent. He commented too on the use of +intelligent outlines, citing \PS, but also the more +recently announced Bitstream, Compugraphics and Imagen +fonts which add information to the character outlines. +But he also said that he could not ``see how to make the +outline intelligent enough''. + +However, Richard has slightly retracted from his earlier +view that \MF\ was unusable, and he now expresses the +view that, subject to some pretty massive constraints, +`You can use \MF' + +A good set of talks which from the extent +of interest shown and the questions asked +met some sort of need. The next {\sc bsc-ep} meeting +is on April 28th. Later this year there will be a meeting +on technical typesetting. + +\rightline{\sl Malcolm W. Clark} +\bigskip diff --git a/info/digests/texline/no7/ack.tex b/info/digests/texline/no7/ack.tex new file mode 100644 index 0000000000..5d5f951dbb --- /dev/null +++ b/info/digests/texline/no7/ack.tex @@ -0,0 +1,10 @@ +\centerline{\bf Acknowledgments} +\medskip +\noindent +Besides thanking all the people whose names +appear in \TeXline\ 7, in whatever capacity, +I would also like to +thank Peter Bradshaw, and +Audun Clark, star of Mac and screen. + +\rightline{\sl Malcolm W. Clark} diff --git a/info/digests/texline/no7/amy.tex b/info/digests/texline/no7/amy.tex new file mode 100644 index 0000000000..dd90dcf58b --- /dev/null +++ b/info/digests/texline/no7/amy.tex @@ -0,0 +1,178 @@ +%\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em +% T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\MT{Macro\TeX} +\centerline{\bf\MT} +\medskip\noindent +\MT\ is a new set of general purpose macros, designed for the person who +simply wants to create a normal looking book or report using \TeX\ without +going to the trouble of creating dozens (if not hundreds) of macros. Knuth, +quite correctly, gave us very low level and generalised tools when he wrote +\TeX, which has made it useable in such a wide variety of applications, from +Japanese to music. The two most famous general purpose macro packages are +\AmSTeX\ and \LaTeX, with the former concentrating specifically on the +facilities needed for AMS publications; both are freely distributed, and in +very wide use. What is the market, then, for a package that actually costs +money, and does the same sort of job? In this review, I will briefly outline +what it does, and how it compares against \LaTeX. + +Amy Hendrickson's 4000 or so lines of +\MT\ came on an IBM PC floppy disc, in about 8 files, +easily transferred to the Sun 3/50 I used it on; I presume it could be +supplied on a Mac disc as well. The only `installation' needed was to edit the +main {\tt mt.tex} file to reflect the fonts I use. Here I had to do some work, as +\MT\ assumes you want either the AM or CM fonts, and has a number of +subsidiary font declaration files which optionally set up \PS\ fonts, +but only for headings and the like. To set it up to use our normal standard of +\PS\ Palatino, I had to rename all the fonts in the font declaration +file, and use a version of \TeX\ with a {\tt plain.tex} similarly doctored (as +of course Macro\TeX\ assumes the base set of 16 fonts in Plain \TeX); this +procedure would cause problems for a beginner who wanted to use a \PS\ +printer, but of course the package as it stands will be fine for the great +unwashed who use the CM fonts. + +All facilities are provided with +macros compatible with plain \TeX, so you can include your own macros +anywhere, and all plain \TeX\ commands. A clever feature is that all the +commands are known about in the main `|mt.tex|' file; all you need do is add +|\input mt| +at the start of your document, and subsidiary files will be pulled in only if +needed (saving memory). +\MT\ has the sort of facilities you would expect: style options (it defaults +to `documentation' but also has book, report, note (memorandum) and letter +styles); automatic sorting out of 4 or 5 levels of headings; nested lists; +cross-referencing; tables of contents etc. +More interesting are: +\item{$\bullet$}Modular page numbering (I--1, I--2 etc), coupled with facilities to insert new +pages (I--2a, I--2b, I--2c etc) at any point, obviously useful for software +documentors. + +\item{$\bullet$}Floating figures, which can be wrapped around with text (so one can specify a +3$\times$1 inch box on the +right side of the page, and paragraph shapes change +accordingly). + +\item{$\bullet$}Indexing and glossaries look quite sophisticated (I didn't try them). + +\item{$\bullet$}Various verbatim environments for quoting code, including a feature to enclose +a code quote in a screen-shaped box. + +\item{$\bullet$}Tables can be split over pages, and maintain their headings (Hendrickson has +had to modify the plain \TeX\ output routine slightly. + +\item{$\bullet$}A number of macros for boxing text in more or less felicitous ways. + +\medskip +These features are all documented in a manual created with \MT; it has to be +said that the manual is not very well organised --- it does not have an index +(madness!), and I have to say I find Hendrickson's layout style fairly +unpleasant; Americans seem very fond of large fonts, huge spacing and thick +lines around tables. Eventually one finds what one wants, and there are plenty +of examples (sometimes at the expense of an {\it explanation} of what is +happening); parameters that one can easily change are described, but if you +want to go further into customisation you will have to attack the sparsely +commented source. + +The amount of customisation I had to do immediately to get +what I wanted (resetting values that the manual mentions) makes me think that +it won't be long before I am driven to the source, which is sad. +Hendrickson does, however, make a point of saying that she wrote \MT\ in a +modular way, so that hackers can use whole chunks (like the verbatim +environments) in their own macros. I have not yet succeeded in prising +anything loose from its setting to use in \LaTeX\ (I suspect multi-page tables +could be a major act of surgery all round), but I am sure it could be done. +You could even use the code just as a source of ideas---whatever the faults of +this package, Amy Hendrickson is no mean \TeX nician, and there is a {\it lot} +of work here. + +Hendrickson is also a confirmed boxer; there are a number of different +macros for boxing text, either in-line or marginally; you can even +have a column of boxed text in-line, but it doesn't seem to work +quite as described in the documentation (another bug?). On a grander +scale you can create a `screen' box to emulate the appearance +of a terminal screen, suitable for software documentation (see the +example). + +\midinsert +\vskip300pt +\endinsert + +\MT\ is good for {\it ad hoc} layout of text; +lines may be typed one word per line and an +|\autoright| +takes care of the layout --- each input line is then +right justified. On the other hand |\autorighttab| does not work +as promised, it generates a \TeX\ error; and using |\fn| for +automatically numbered and incremented footnotes requires the +addition of an |\hfill| to sort it out: the footnote comes +out as +\hfil\break +\llap{$^1$}`The cape, Larry, go for the cape'\break +rather than\hfil\break +\llap{$^1$}`The cape, Larry, go for the cape'\hfil\break +(extraordinary!). + +Of great interest are the tables; \MT\ is an interesting addition to the +repertoire of table description languages. Like {\sc unix} |tbl| it can maintain +tables over pages, with duplicated headings, but in +this case you have to decide the column widths (it wraps within the width). If +your table is single page, it will work out column widths (like |tbl| and +\LaTeX\ |tabular|), and if you have just numbers, you need not even bother +with column separators, just white space. Combinations of rules, spanning +columns and the like are caterered for, but the facility +to provide a template for a row (as in {\sc unix} |tbl| and \LaTeX\ |tabular|) to indicate that +(say) columns 3 to 6 are right justified is not as powerful as it might be. +In fact, when I used it, it ran my \TeX\ out of memory. +There is a facility to have text span several columns, but it just +generates complicated \TeX\ errors, so I gave up. + +The table I tested these commands on was generated by the +Ingres database report writer, which inserted +the \MT\ commands; I would have got very bored with all the typing necessary. +The beginning of the table is shown in the screen box example. + + +Does it work as promised? More or less; the problems range from the irritating +(some commands seem to have to be on a line by themselves or they +do not work; I am sure there is rational \TeX planation, but I would prefer +things to be intuitive), through the buggy (the macro +|\dropcap| +to set a huge first letter of a paragraph simply does not work; the examples +have only one parameter, but the macro definition calls for two, and I cannot +work out what it wants), to the bizarre---the |\endverb| complement to the +|\beginverb| (not |\verb| +as in the manual examples!) verbatim environment construct simply does not get +defined in the macros, yet is called! It is, admittedly, only version 0.9, +but this sort of bug seems extraordinary. If you are a poor typist, the +extraordinarily long macro names may annoy (try typing +|\endautorighttab| several times). + +I have not yet used all the facilities, and those I have tried did not +produce a very beautiful result at first, but I think with patience I could +get the package producing reasonable documents. Do I want to persevere? If I +did not have \LaTeX, I might be tempted, but after several books and many +smaller documents I have grown to admire Lamport's work. He did a much more +thorough and flexible job than Hendrickson, and if you want to produce a +substantial book, his system is probably better. \MT\ may tempt us, however, +with its better verbatim work, its indexing, its more flexible figures and +some features of its tables. In addition, it is compatible with plain \TeX, +which will endear it to those who dislike Lamport's arbitrary usurpation of +favourite macros, and his authoritarian `LL knows best' attitude +(a \LaTeX-compatible version is promised --- {\sc mwc}). All in all, +I think \MT\ probably {\it will\/} be worth the money as a source of ideas and facilities, +but is not complete nor yet reliable enough to be considered +as a daily production +system, and I certainly cannot recommend the current +version (unless all the bugs are my fault). + +\MT\ will set you back something in the region of \$200 for a +single-user license, and more for a site license. +Amy Hendrickson is +{\obeylines +\TeX nology Inc +57 Longwood Avenue +Brookline +MA 02146 +USA +} + +\rightline{\sl Sebastian Rahtz} diff --git a/info/digests/texline/no7/archive.tex b/info/digests/texline/no7/archive.tex new file mode 100644 index 0000000000..6e819c8327 --- /dev/null +++ b/info/digests/texline/no7/archive.tex @@ -0,0 +1,138 @@ +\input texline +\newbox\leftside +\newbox\rightside +\long\def\entry#1{\let\p=\par\def\par{\strut\p\strut}#1} +\long\def\mitem#1#2{\parindent=0pt% +\global\setbox\leftside\vtop{\hsize70pt% +\everypar{\strut}\overfullrule0pt\noindent +\strut#1\strut} +\global\setbox\rightside\vtop{\tolerance=20000\hfuzz4pt% +\def\\{{\tt\char'134}}\hsize142pt +\everypar{\strut}\noindent +\strut#2\strut} +\box\leftside&\quad\box\rightside\cr +} +\font\rmnine=cmr9 +\font\ttnine=cmtt9 +\font\itnine=cmti9 +\centerline{\bf\LaTeX\ style files} +\medskip\noindent +Ken Yap has provided short +descriptions of the items included +in the \LaTeX\ repository: +\medskip +{\rmnine\let\tt=\ttnine\let\it=\itnine\baselineskip=11pt\parindent0pt +\def\strut{\relax\hbox{\vrule height8pt depth3pt width0pt}} +\vbox{\tabskip=0pt%\offinterlineskip +\halign{#&#\cr +\mitem{a4.sty}{set page size to A4} +\mitem{a4wide.sty}{adjusts width too to suit A4} +\mitem{aaai-instructions}{intructions to authors} +\mitem{aaai-named.bst}{\BibTeX\ style for {\tt +aaai.sty}} +\mitem{aaai.sty}{style file for AAAI conference 1987} +\mitem{acm.bst}{ACM \BibTeX\ style} +\mitem{agugrl.sty}{AGU Geophysical Research Letters style} +\mitem{agugrl.sample}{{\it ditto}, sample} +\mitem{agujgr}{AGU J. Geophysical Research style} +\mitem{agujgr.sample}{{\it ditto}, sample} +\mitem{alltt.sty}{verbatim with embedded commands} +\mitem{amssymbols.sty}{load AMS symbol fonts} +\mitem{article.txt\par art10.txt\par art11.txt\par art12.txt} +{standard files in text format, with places to make language +specific changes indicated} +\mitem{biihead.sty}{underlined heading} +\mitem{cyrillic.sty}{load Cyrillic font} +\mitem{dayofweek.tex}{macros to compute day of week and +phase of moon: examples of how to use \TeX's arithmetic +capabilities} +\mitem{deproc.sty}{DECUS Proceedings style} +\mitem{deprocldc.tex}{paper describing above} +\mitem{docsty.c\par docsty.readme}{program to convert {\tt.doc} to +{\tt.sty} by stripping comments} +\mitem{doublespace.sty}{double spacing in text} +\mitem{draft.sty}{draft option for documents for +debugging} +\mitem{drafthead.sty}{prints DRAFT in heading} +\mitem{dvidoc.shar1\par dvidoc.shar2}{sh archive of {\tt DVIDOC}, +{\tt dvi} to character device filter for Unix BSD systems} +\mitem{dvidoc.sty}{style file to substitute all fonts with +doc font} +\mitem{epic.shar1\par epic.shar2}{sh archive of extended picture +environment} +\mitem{espo.sty}{style file for Esperanto} +\mitem{format.sty}{print floating point numbers in fixed format} +\mitem{fullpage.doc\par fullpage.sty}{get more out of a page} +\mitem{geophysics.sty}{Geophysics J. style} +\mitem{german.sty}{redefines keywords for German documents} +\mitem{ieeetr.bst}{IEEE Transactions \BibTeX\ style} +\mitem{ist21.sty}{IST21 document style option for cover page} +\mitem{latex.bug}{latest listing of bugs found in \LaTeX} +\mitem{layout.readme}{prints nice diagram} +\mitem{lcustom.tex}{useful macros and definitions for +\LaTeX} +\mitem{lfonts\_ams.readme\par lfonts\_ams.tex}{use AMS symbols +in \LaTeX} +\mitem{lgraph.shar}{sh archive of data to graph command filter +in Pascal} +}} +\vbox{\offinterlineskip\tabskip=0pt +\halign{#&#\cr +\mitem{local.suppl}{supplement~to~local~guide; describes +{\tt a4}, {\tt tgrind}, {\tt sfwmac}, {\tt trademark}, +{\tt lcustom} and {\tt vdm}} +\mitem{memo.sty}{memo style option} +\mitem{mfr.sty}{modifier to above} +\mitem{mitthesis.sty}{MIT thesis format} +\mitem{natsci.bst}{Natural sciences generic \BibTeX\ +style} +\mitem{natsci.sty}{formats citations created with above} +\mitem{newalpha.sty}{modified alphabetic \BibTeX\ style} +\mitem{nl.sty}{customised Dutch style file} +\mitem{nopagenumbers.doc\par nopagenumbers.sty}{\quad remove +page numbers} +\mitem{remark.sty}{like newtheorem but no {\tt\\it}} +\mitem{resume.sty}{format for resum\'es} +\mitem{resume.sample}{sample file} +\mitem{rscsencode.shar}{} +\mitem{sc21.sty}{ISO/TC97/SC21 document style} +\mitem{sc21-wg1.sty}{option for cover page} +\mitem{sfwmac.sty}{useful macros for Unix doc\-u\-ment\-a\-tion} +\mitem{showlabels.sty}{shows labels and references to them} +\mitem{siam.bib}{SIAM \BibTeX\ style} +\mitem{siam.bst}{} +\mitem{siam.doc}{SIAM \LaTeX\ style} +\mitem{siam.sty}{} +\mitem{siam.tex}{} +\mitem{siam10.doc}{} +\mitem{siam10.sty}{} +\mitem{siam11.sty}{} +\mitem{siam12.sty}{} +\mitem{slem.doc}{change {\tt\\sl} to {\tt\\em}} +\mitem{slem.sty}{} +\mitem{spacecites.doc\par spacecites.sty}{modified +to give spacing between citations} +\mitem{suthesis.doc\par suthesis.sty}{Stanford U thesis +style} +\mitem{texindex.doc\par texindex.sty\par texindex.pas} +{style file and processor for index entries --- works +under VMS} +\mitem{texnames.doc\par texnames.sty}{define a couple more \TeX\ names} +\mitem{tgrind.sty}{tgrind macros for \LaTeX\ instead of +\TeX} +\mitem{threepart.sty}{three part page headers} +\mitem{titlepage.txt}{style file in text format +to go with {\tt article.txt}} +\mitem{trademark.sty}{definitions of common trademarks} +\mitem{uct10.doc\par uct11.doc\par uct12.doc\par +ucthesis.doc\par ucthesis.readme}{U of California thesis style} +\mitem{vdm.doc\par vdm.sty\par vdm.tex}{Vienna Development Method +\LaTeX\ style} +\mitem{ws87.p}{Wordstar 8-bit filter} +\mitem{wsltex.c}{Wordstar to \LaTeX\ filter, C version} +\mitem{wsltex.p}{Wordstar to \LaTeX\ filter} +\mitem{xxxcustom.tex}{supplementary macros for +xxx-tex, for some xxx} +\mitem{xxxslides.sty}{supplementary macros for +Sli\TeX, includes {\tt slides.sty}} +}}} diff --git a/info/digests/texline/no7/atari-st.tex b/info/digests/texline/no7/atari-st.tex new file mode 100644 index 0000000000..9dfb8e65d6 --- /dev/null +++ b/info/digests/texline/no7/atari-st.tex @@ -0,0 +1,133 @@ + \centerline{\bf Atari-ST \TeX} +\medskip +\noindent +There are several implementations of \TeX\ for the {\sc atari-st}. + The review program was version 1.1 of + \TeX\ (version 2.1) from TooLs GmbH. +This implementation will run on the {\sc atari {\rm 520} st}+, the 1040 {\sc stf}, +and any of the larger machines. It is supplied on three diskettes, +but will run quite happily on a machine with two disk drives. A hard disk +is not essential. + +The main program is executed + from the desktop by double-clicking the |tex.ttp| file. This + implementation does not preload any formats (e.g.~|plain.fmt|), but + the required formats are specified as parameters at start-up or + alternatively can be introduced once the program has loaded. A + sample file, previously used on an {\sc ibm} version of \TeX, was tested + and as expected there were no major surprises, it worked! To cater + for the different ST-system configurations, a facility has been + provided for specifying a search-path for the various +input\slash output\slash font\slash format files which is achieved by means of +environment-variables (similar to {\sc unix}), and these can be defined + in a separate file |environm.ent| which must be present in the + current directory. A useful idea for tailoring your own set-up. + + A single program provides both a preview facility on the + screen, and drives a selection of printers. The |dvi| information is + converted into a bitmap-graphic image in memory and, depending on + the selected options, is either sent to the screen or to the + printer. The options are selected from the familiar GEM-Menu and + if required, these can be stored on a file called |dvi.inf| and + recalled in the future using the file options. The display uses a + default screen resolution of 95 pixels/inch so that the width of a + standard A4 page fits nicely on a single screen avoiding + having to shift the text sideways in order to see the covered + portion. The text is quite legible at this resolution, though + subscript and superscripts do suffer. However, the screen + resolution can be altered to suit one's particular preferences, + but this is only possible provided the appropriate fonts are + available at the chosen resolution. Consequently it would be quite + handy to have the ST-\MF\ package (also by TooLs GmbH) with + which to generate the necessary fonts. Apart from altering the + screen resolution, the same effect can be achieved using the + magnification option, but once again lack of suitable fonts may be + a hinderance. However, using the latter option, it is possible + to substitute + different (probably smaller) fonts to get an idea of the + final layout. + + At high resolutions, the machine memory may not be sufficient + to hold the Bitmap-graphic image of an entire page, + but an option is provided where the page is formed in `stripes', and +this will overcome the memory problem. + + When processing the |dvi| file the entire file will be + processed by default. Options have been provided to override this + and these enable the user to specify the starting page and the + number of pages required. Furthermore, by preceeding the starting + page number by a '?', it is possible to format and view the + pages in any order one desires simply by entering the required + page number. Alternatively it is possible to specify the order in + a file called |dvi.pag|, which is helpful when it comes to printing + the pages in a predetermined order. + + A very wide range of printers are supported, including 9-pin and + 24-pin dot-matrix printers, {\sc atari} Laserprinter and {\sc hp} Laserjet. +It can support the Laserjet in 150\,dpi draft resolution, as well as 300\,dpi. + Unfortunately, \PS\ printers + have not yet been catered for. Printout is possible in draft and + quality mode (provided the necessary fonts in the required + resolution are present). For some printers, landscape mode is also + possible. The sample file was printed on an {\sc epson} compatible + {\sc juki}-5510 9-pin dot-matrix printer and the + printout was impressive. There exist an additional option for + improving the printout, analogous to switching the printer from a + bidirectional mode to unidirectional print mode. However + the printed results are impressive even without + using this extra facility. + + The mode of operation of the preview\slash print program is such + that options are selected first before formatting of the |dvi| + information takes place. Thus everytime the |dvi| processing is + initiated, the required fonts need to be loaded in first and this + can be time consuming. To by-pass this slow process a library + manager program has been supplied. This can be used to set-up a + library of fonts which are regularly used and this font library + once loaded will remain in-core. + + Apart from the main \TeX\ program and the preview/print + program, |initex| comes supplied as standard, and can be + used to generate the format form of macro-packages, such as \LaTeX\ + and \AmSTeX. These can then be linked in at \TeX\ load time. +The \LaTeX\ format file and associated fonts can be + purchased separately to complement the basic package. \LaTeX\ is +priced at 70 DM, and \BibTeX\ at 17.50 DM. + + This particular implementation of \TeX\ on the + {\sc atari-st} at 230 DM (approx. \quid80) +must be excellent value for money + and I have not come across any major bugs. The accompanying manual +(in German, and soon in English) + is quite good and covers the various aspects of the implementation + in detail. + + I would like to see a number of enhancements + in future versions to extend the scope of the package as well as + making it more user-friendly. It would be nice if a GEM-based + shell environment could be provided with access to a simple text + editor so that errors or other changes to the \TeX\ file could be + done without the need to leave the \TeX\ environment and load in an + editor. I would also like additional fonts to be supplied so that + the preview could be magnified one or two steps in either + direction without the need to purchase the \MF\ package in + order to generate the necessary font information. Printing onto a + \PS\ device would also be a welcomed addition, and the + option of \AmSTeX, though I agree that this may not be widely + used, it should appeal to those of us who are involved with + writing scientific reports. + +A comparison of this and the Kettler-{\sc edv} implementation was +published in the July/August '87 German edition of +{\it Atari Computer} --- `\TeX\ auf dem Atari ST'. + +For further details contact: +{\obeylines +TooLs GmbH +Kaiserstra\ss e 48 +D-5300 Bonn 1 +FRG +} + + +\rightline{\sl Bijan Djahansouzi} diff --git a/info/digests/texline/no7/barb.tex b/info/digests/texline/no7/barb.tex new file mode 100644 index 0000000000..58e41681bf --- /dev/null +++ b/info/digests/texline/no7/barb.tex @@ -0,0 +1,57 @@ +\centerline{\bf PostScript and math} +\medskip\noindent +Various comments on this subject (mainly +appearing in \TeX{\sc hax}) have finally goaded me into putting in my +two cents' worth. For a publisher of mathematics, there are two problems +with trying to generate \TeX\ output on a \PS\ typesetter --- fonts and +speed. + + Leaving aside the fact that some people just like other fonts +better than Computer Modern, there is really no good alternative at present +to the Computer Modern math fonts. And, in my opinion, even if they're +generated from outlines in the ``native'' \PS\ fashion, the CM math +shapes simply don't mix well with other styles. It's got to be possible +to make other alphabets (e.g.~Times Italic) behave well in math --- in fact, +it's been done at the American Math Society for some non-\PS\ Times fonts +--- but it's a {\it lot} of work! And I didn't realize until the job was done, +and I was seeing competent math coming out of our typesetter in Times, the +extent of the subtlety in the Computer Modern math. + +With Computer Modern, +someone with a trained eye can spot math very quickly. The spacing of the +italic is clearly different from that of the math, but also, the shapes +are different. (Take a closer look sometime.) This means that in theorems, +traditionally set in italic (here I personally like Knuth's innovation of +slanted, but my opinion is not shared by my employer's editorial staff), +it's possible to distinguish math from text quite easily, even the single +letter a ({\it a} versus $a$). +I know of no other fonts, anywhere, where this sort of distinction +has been made. (But I'd welcome hearing about it if anyone else does.) + +Regarding speed, most of the \PS\ rips (raster image +processors) are geared for low-resolution production, say 300\,dpi, the +resolution that requires 1\,Mbyte of memory to hold a full bitmap of a US +letter-size page. Even keeping up +with a relatively fast print engine like the 40\,ppm {\sc dec}\-server40 is child's +play compared to keeping up with the rated speed of a real typesetter, +with over 1000\,dpi resolution. I would welcome +some statistics for typesetters performing ``real'' jobs --- using a large +selection of (native) fonts in several sizes. Without outline fonts for +math, any math job statistics are probably meaningless, since the time +to download bitmaps is relatively much greater than to use outline fonts. + +A promising development I've read about recently ({\it Seybold Report}, Dec 28) +is a new rip designed to handle Alphatype's Alphacomposer, which has a +resolution of $5300\times5300$\,dpi and runs at a maximum speed of 3 minutes/page. +That's a 280\,Mbyte bitmap requirement for $8\times10\,\hbox {in}$! (The same article gives +benchmark results from Linotype showing that its present rip can't even +keep up with a 1270\,dpi engine.) The new rip is supposed to be ready for +demonstration sometime during the first quarter of 88; it was developed +by Medianet, not Alphatype, and the agreement is non-exclusive. This +looks like it's worth watching. Until this kind of speed is available +for \PS\ typesetters, they just won't be practical for technical +publishers, and 300\,dpi (even 600\,dpi) just isn't good enough for the +highest-quality typesetting that most major publishers are looking for. + +\rightline{\sl Barbara Beeton} + diff --git a/info/digests/texline/no7/bcs-ep.tex b/info/digests/texline/no7/bcs-ep.tex new file mode 100644 index 0000000000..efa619718b --- /dev/null +++ b/info/digests/texline/no7/bcs-ep.tex @@ -0,0 +1,150 @@ +\centerline{\bf BCS-EP Meeting, November 26th, 1988} +\medskip +\noindent +Entitled `Desk Top Publishing -- The Reality!', this +meeting promised much. The reality of course was +publishing reality --- remember printing presses +and all that sort of stuff? Most of the speakers +had been +involved with the printing and publishing industry +for some years, and were therefore able to offer +a more sober view than the usual `gee-whizz, sooper, +what's kerning?' picture that you might pick up +from glossy brochures and trade exhibitions. + +Paul Luna of Oxford University Press argued that +electronic manuscripts could lead to a premature fixing +of form, especially as authors moved more and more +into the areas usually reserved for the publisher. The +safety net that the publisher traditionally holds +beneath authors was disappearing. He also discussed +the problems of resolution. In some projects laser +printing is acceptable, but there are many cases where +visual cueing is an important factor, and higher quality +is required. He also noted that typefaces are not +always identical on different devices. + +Pierre Macke of the Cotswold Press described himself +as a `jobbing printer'. He noted the problem of +upgrades and software compatibility. Cotswold Press +will take disks from many varieties of electronic +processing (and many types of hardware) and typeset the +content. Not everyone follows new releases of software +slavishly (after all, they have work to do), so Macke can +be handling (say) PageMaker disks over several +different versions of PageMaker. Not all upgrades +are upwards compatible, and this means that Cotswold +Press must have the corresponding version of the software +to ensure that the file will print as the customer +expects. +And of course, the customer must know which version of +the software he was using. He also made the valuable +point that many dtp packages are complex, and that +learning could be the single biggest expense for a +customer. Another reason why the clients don't keep abreast +of upgrades. In terms of upgrades and new releases he +stated that ``Aldus are the biggest culprits for denying +things''. Adobe, on the other hand get the Macke seal of +approval, always giving a response within 48 hours. +(Perhaps Cotswold Press's reputation helps there, they +don't even reply to my letters.) + +Peter Ferris of John Wiley's cautioned us that despite +the rise of dtp, authors have still not abandoned the +typewriter. He also noted the multiplicity of hardware +and software that is around, posing certain problems of +data transfer. Many authors wanted to become more +involved in aspects of book production, but he considered +this a rather expensive approach. The advantages of dtp +to a publisher included the fast turnaround of proofs, +but there were also threats from dtp, like the demands +for better royalties, and rather different ideas on +quality. He still thought that the savings on cost and +publication time were somewhat in the future, especially +when line drawings were considered, and in the whole area +of technical publishing. + +Michael Bywater of Punch described a rather different +publishing viewpoint. Punch uses (a rather old version of) +PageMaker for page layout. Clearly magazine layout and +make up is rather different in concept from book +production. One of the advantages he saw was the ability +to ensure that copy exactly fitted the available space +--- and letting the author decide what should be cut or +added, rather than the copy-editor. He declared that +laser printing was not good enough for camera ready copy + (again the problem of drawings\slash +cartoons +and halftones arises). One of his favourite words was +``crufty'', which isn't in my dictionary, but I take to +be slighting or perjorative. Perhaps I should start +reading Punch. + +Peter Hammersley edits {\it The Computer Journal\/}. +He saw some differences between his r\^ole in +`scholarly' publishing and the mainstream. Among the +differences were the fact that he was dealing with a +specialist subject where the publisher had very direct +access to his authors; there was also a vested interest +in experimentation; partly related to this was access to +equipment on a research basis (like academic networks); +there was also a willingness to consider multiple +outlets, like paper, softstrip, cd-rom and on-line +access; the marketing network was less critical; he also +felt that this sort of publishing was more on the side of +the author. + +As an editor he also saw himself as an interface between +the author and the publisher (the {\sc BCS}), promoting new +types of publication, advising on document preparation, +and maintaining standards (on behalf of both parties). On +this aspect of quality, he suggested that dtp had done +for writing what {\sc basic} had done for programming +(read that how you will). + +Lastly he outlined some of the reasons for pursuing the +ep/dtp route. Inevitably cost reduction was one reason; +here it was possible to quote the savings which ensued +from typesetting rather than typewriting (say) conference +proceedings. The savings permitted more papers to be +printed for the same amount of paper. The improvement in +the quality of presentation also helped sales, sometimes +turning uneconomic projects into economic ones. There was +elimination of rekeying errors (a particular problem with +technical material). On-line refereeing was possible, and +again, should speed up the publication process, making +the product more timely, and therefore more desirable. +This could also mean that conference proceedings appeared +much closer to the conference. However Peter did note +that all was not light: authors consistently ignore +instructions from the publisher. The editor ends up +having to collect machine readable documents, which of +course presents a whole host of problems. He looked to a +time when there would be {\sc sgml}-based editors and a +document type definition which could be used to aid +manuscript submission. Paper is not going to go away, but +other forms of `documents' will become established. He +particularly noted depositories, accessible over academic +networks. + +There was one further paper, from Jeremy Sparkes of +Baddeley Associates, but I couldn't stay for it. + +It was a relief to see the extent to which the new +technology was being taken seriously by some parts of the +printing and publishing industry. It became clear that +`cost saving' was not as inevitable as the vendors of dtp +software would have us believe, and of course it was +emphasised that it was very easy to have your dustbin +overflowing with high quality (but poorly designed) +publications. One other point which was stressed was the +frequency with which new versions of software appeared +with some new features added, some taken away, a few bugs +removed, a few left in, and a few new ones added. It was +often better to live with old, friendly, known bugs than +commit to something that might be marginally better. The +new might solve all the known problems, but it had to be +learned anew. + +\rightline{\sl Malcolm W. Clark} + diff --git a/info/digests/texline/no7/bcsep.tex b/info/digests/texline/no7/bcsep.tex new file mode 100644 index 0000000000..93bb06236f --- /dev/null +++ b/info/digests/texline/no7/bcsep.tex @@ -0,0 +1,16 @@ +\noindent +this meeting +looks to be up to the usual high standard of +this Specialist Group's meetings. Speakers include +Kathy Lang and Richard Southall. The meeting costs \quid35 +for Group members and \quid45 for others. You can register in +advance, or on the morning. Contact: +{\obeylines +BCS EP Specialist Group +c/o Microrite Ltd +Gate House +1 St John's Square +London EC1M 4DH +tel: 01 251 8567 +} + diff --git a/info/digests/texline/no7/contribut.tex b/info/digests/texline/no7/contribut.tex new file mode 100644 index 0000000000..cf59aa3b39 --- /dev/null +++ b/info/digests/texline/no7/contribut.tex @@ -0,0 +1,49 @@ +\centerline{\bf Contributors} +\medskip +\noindent +Contributors to this edition, without +whom etc., include: +{\obeylines +Tom Blyth +Dept of Mathematics +University of St Andrews +North Haugh +St Andrews KY16 9SS +|pmstb@st-and.savb| +\medskip +Sebastian Rahtz +Dept of Electronics and Computer Science +Southampton University +Southampton SO9 5NH +|spqr@soton.cm| +\medskip +Laurie Benfield +Computing Centre +University of East Anglia +Norwich NR4 7TJ +|s050@uea.cpc865| +\medskip +Barbara Beeton +American Mathematical Society +PO Box 6248 +Providence +RI 02940 +|bnb@xx.lcs.mit.edu| +|bb@sail.stanford.edu| +\medskip +David Brightly +Daresbury Lab +Keckwick Lane +Warrington WA4 4AD +|brightly@daresbury| +\medskip +Joan Smith, {\sc sobemap} +17 Tansa Road +London NW3 2UA +tel: 01 435 9300 +\medskip +Bijan Djahansouzi +Dept of Aeronautics +Imperial College +London SW7 2BP +} diff --git a/info/digests/texline/no7/dble.tex b/info/digests/texline/no7/dble.tex new file mode 100644 index 0000000000..0c4859d7df --- /dev/null +++ b/info/digests/texline/no7/dble.tex @@ -0,0 +1,58 @@ + +\catcode`@=11 % from plain.tex +\newdimen\pagewidth \newdimen\pageheight \newdimen\ruleht +\newif\ifvrule\vruletrue +% These values were modified: +%\hsize and \vsize are also used in the \output routine + \hsize=35pc \vsize=54pc \maxdepth=2.2pt \parindent=2pc + \hoffset=.4in +\pagewidth=\hsize \pageheight=\vsize \ruleht=.5pt + +% This routine is used by \output ; this is different from +% the one found in App. E since some are not needed here. +\def\onepageout#1{\shipout\vbox{\offinterlineskip + \vbox to \pageheight {\makeheadline + #1 % the content of page + \makefootline \boxmaxdepth=\maxdepth}} + \advancepageno} + +\output{\onepageout{\unvbox255}} +\newbox\partialpage +\def\begindoublecolumns{\begingroup + \output={\global\setbox\partialpage=\vbox{\unvbox255\bigskip}}\eject + \output={\doublecolumnout} \hsize=17pc \vsize=109pc} +% Again the sizes have been changed !! %note new values for \hsize and \vsize +% this needs to be done more tidily +\def\enddoublecolumns{\output={\balancecolumns}\eject + \endgroup \pagegoal=\vsize} +\def\doublecolumnout{\splittopskip=\topskip \splitmaxdepth=\maxdepth + \dimen@=54pc \advance\dimen@ by-\ht\partialpage + % Need to change the value of \dimen@ also... + \setbox0=\vsplit255 to\dimen@ \setbox2=\vsplit255 to\dimen@ + \onepageout\pagesofar + \unvbox255 \penalty\outputpenalty} +\def\pagesofar{\unvbox\partialpage + \wd0=\hsize \wd2=\hsize \hbox to\pagewidth{\box0\hfil + \ifvrule\vrule\fi\hfil\box2}} +\def\balancecolumns{\setbox0=\vbox{\unvbox255} \dimen@=\ht0 + \advance\dimen@ by\topskip \advance\dimen@ by-\baselineskip + \divide\dimen@ by2 \splittopskip=\topskip + {\vbadness=10000 \loop \global\setbox3=\copy0 + \global\setbox1=\vsplit3 to\dimen@ + \ifdim\ht3>\dimen@ \global\advance\dimen@ by1pt \repeat} + \setbox0=\vbox to\dimen@{\unvbox1} + \setbox2=\vbox to\dimen@{\dimen2=\dp3 \unvbox3\kern-\dimen2 \vfil} + \pagesofar} +\vrulefalse + +%Example use: +% \hrule \bigskip +% \centerline{THE BEAUTY AND THE MOUSE} \bigskip +% Once upon a time, there lived a beautiful girl in a place far, far away... +% \begindoublecolumns +% Her only friend was a computer that came with a mouse as its input device. +% \enddoublecolumns +% The beauty and the mouse lived happily ever after. +% \end + + diff --git a/info/digests/texline/no7/decus.tex b/info/digests/texline/no7/decus.tex new file mode 100644 index 0000000000..5b1447999d --- /dev/null +++ b/info/digests/texline/no7/decus.tex @@ -0,0 +1,74 @@ +\centerline{\bf Decus}\hyphenation{grey-scale} +\medskip +\noindent +VAX users will probably be aware of +the {\sc dec} Users' Group, {\sc decus}. +One of its advantages is that it has an index of +software which can be provided through the +User Group. Many of the \TeX\ related items +are paralleled by similar offerings in the +Aston archive, but for some people, {\sc decus} +may be an easier routeway. I went through the +catalogue recently, and the relevant material +includes: +\medskip +\noindent +VAX-135: DVItoVDU: a \TeX\ Page Previewer (July 1985). +This is an oldish version of Andy Trevorrow's +previewer. You would also require some +{\sc modula}-2 library routines (not included). +\medskip +\noindent +VAX-155: {\sc deproc} --- a \TeX\ header for formatting +{\sc decus} Proceedings articles. Self explanatory. +\medskip +\noindent +VAX-171: \LaTeX\ templates and help files for {\sc lse} +(Language Sensitive Editor). Essentially this is +a smart editor for \LaTeX, which helps cut down +the hardship of inputting a range of \LaTeX\ document +styles. +\medskip +\noindent +VAX-179: {\sc deproc} --- \LaTeX\ for the +{\sc decus} Proceedings. Self explanatory. +{\it cf.}\ \LaTeX\ style file |deproc.sty|. +\medskip +\noindent +V-SP-58: \LaTeX\ version 2.09; \TeX\ version 2.0 (July 1987). +This distribution also contains fonts for the LN03 +laser printer (and the printer driver). Complete +sources are not included. This is a rather old version +of \TeX. The current `version' number is at least 2.9. +\medskip +\noindent +VAX-261: Idx\TeX\ \& Glo\TeX, version 2.0. Glo\TeX\ +automates glossary generation in \LaTeX, while +Idx\TeX\ automates index generation from a \LaTeX\ +document. Written in C. +\medskip +\noindent +VAX-283: Halftone greyscale font for the LN03. +``{\sc\lowercase {GREYSC.FNT}} is a downline loadable halftone +greyscale font in `{\sc dec} font file format' for the +LN03 laserprinter'' and is based on the +font described by Don Knuth in TUGboat 8(2). +\medskip\noindent +If you want to obtain any of these, the first step is +to talk to your local friendly system manager (all +VAX system managers are friendly, that's the first +thing they teach us on the course), and find out if +your site is a {\sc decus} member. I don't know what to +do if you aren't. If you are, it is possible +the tapes are already festering in some cupboard +and all you have to do is persuade someone to unearth +them, otherwise you should contact: +{\obeylines +DECUS +PO Box 53 +Reading +Berks, RG2 0TW +tel: 0734 853728 +} + +\rightline{\sl Malcolm W. Clark} diff --git a/info/digests/texline/no7/double.tex b/info/digests/texline/no7/double.tex new file mode 100644 index 0000000000..4a65fb6c7e --- /dev/null +++ b/info/digests/texline/no7/double.tex @@ -0,0 +1,18 @@ +%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/no7/ed-it.tex b/info/digests/texline/no7/ed-it.tex new file mode 100644 index 0000000000..62fb4d8d28 --- /dev/null +++ b/info/digests/texline/no7/ed-it.tex @@ -0,0 +1,107 @@ +\centerline{\bf Editor's Prerogative} +\medskip\noindent +This edition of \TeXline\ should arrive together +with a complimentary copy of {\it Electronic Publishing, +Origination --- Dissemination --- Design}, or, more +manageably, {\sc ep-odd}. And not only do Wiley's +send this out to you, they also cover the postage +involved. Bear in mind that +\TeXline\ is (as yet) free. Most of the costs, like +my time, laser printing and reproduction can remain +hidden, but postage is a rather obvious and expensive +item. A large number of copies go +to the US and Europe to the extent that +non-UK postage exceeds that for the UK. + +This isn't a plea for money (in any case it would +confuse the bureaucrats). It is a plea for a few more +people to contribute articles. I don't think I have ever +turned anything down, and the amount of editing that +I do is limited to grammar, style-consistency, and +length. I always have the ultimate +sanction of not bothering to do the newsletter at all. +But as all editors know, it's too much of an ego trip +to let go. Many of the articles in \TeXline\ are the +direct result of me suggesting to people that they may +have something to say, and phoning/emailing them +at irregular intervals. +We're all busy, but one of the major attractions +of \TeX\ for many people is its `public domain' image. +There's no point wingeing about the cost of a \TeX\ +implementation and then not being prepared to do anything +yourself, is there? Ask not what \TeX\ can do for you +etc. + +What would I like to see? More reports on meetings +for one. I'm always conscious that my reports reflect +my own views: in itself no bad thing, but I would like +to hear other interpretations. I don't report all the +`relevant' meetings I go to, for a variety of reasons, +but mainly unsatisfactory ones. In particular, I missed out +the recent {\sc sgml} meeting at the Publisher's +Association --- an excellent meeting; and I have omitted a + useful +if exhausting meeting organised through Alvey (remember them?) +at which Yvonne Perry of Adobe did her +`firehouse into the brain' rendition of \PS. +And of course I don't go to every relevant meeting there is. + +What else? We really do need some information on the +various public domain laser printer drivers. Andy +Trevorrow's drivers look good to me, but what's this +Modula-2 stuff? Who are Nelson Beebe's family? +Is Flavio Rose? Deep and meaningful questions like these +need some sort of answer. If you are using one of +these drivers could you share your experiences +(!) with the rest of us? + +There are a number of ways of getting pictures into +\TeX\ --- one of them is described in this issue +by David Brightly --- details of the others might help +in deciding which one(s) to pursue. + +Book reviews would be nice too. I'm surely not the +only one who can read. A volunteer is needed who would +dare review {\it The Joy +of \TeX}. There are more macros appearing, and associated +\TeX ware. How about some evaluation? It doesn't have to +be exhaustive, but it could alert others to the existence +of the software, and give some idea of its value, or +even just where to get hold of it. + +But more pressing is \TeX88. As you will see from the +accompanying announcement, plans are well advanced. There are about 30 +offered papers at this time (five of them share the same +title {\it `To be Announced'}). +Ellis Horwood of Chichester are to publish the +proceedings (did you know that neither Addison-Wesley nor +John Wiley do conference proceedings?). I've done books +with Ellis Horwood before and I'm confident that the +proceedings will be well produced, and quickly produced. +One of the most encouraging aspects of the conference has +been the response from Europe. There is a real chance +that the conference language will be German, not +English. Book now to avoid disappointment. + +What else is in the pipeline? The next issue +of \TeXline\ (perhaps to coincide with \TeX88) +{\it should} contain a comparison of three table-creation +macro packages which sit on top of plain \TeX\ --- +Ray Cowan's, Michael Ferguson's, and Michael Spivak's. +There will also be \DW's comprehensive report +on the availablility of other \MF-designed +fonts. This is really directed towards other alphabets, +but is a good summary of what is available, or being +worked on. It arrived just too late to be included +in this edition. + +Lastly, an oddness, or perhaps a reflection of the +times: I receive a few email requests for \TeXline. +Fine, but more often than not, they do not include +`snail-mail' addresses. And I have had a few requests to +send \TeXline\ to electronic bulletin boards. The future +is clearly with electronic communication. Perhaps we +shall yet see a |dvi2email| driver. We won't +see an electronic \TeXline, not while I do it. + +\rightline{\sl Malcolm W. Clark} diff --git a/info/digests/texline/no7/felici.tex b/info/digests/texline/no7/felici.tex new file mode 100644 index 0000000000..fa7df8bfb1 --- /dev/null +++ b/info/digests/texline/no7/felici.tex @@ -0,0 +1,133 @@ +\pageno=22 +\input texline +\centerline{\bf Another Book Review} +\medskip +\noindent +{\it Desktop Publishing Skills, James Felici +\& Ted Nace, 180pp, Addison-Wesley, {\sc isbn}:0 201 11537 9.} +\smallskip +\noindent +Perhaps the title may put you off. After all, `desktop publishing' +covers such a multitude of sins. But first look at the +sub-title: {\it A Primer for Typesetting with Computers +and Laser Printers}. This is a far more accurate description +(although it might sell fewer books). Felici \& Nace are really +talking about computerised typesetting, with low or +medium resolution output devices. + +The book itself was typeset on a Linotron 202, having +been prepared with MagnaType. This is a commercial +(and rather expensive) typesetting program, which will +run from {\sc at}-compatible micros. At the time +Felici \& Nace did their book MagnaType had no +preview facilities, although current versions of the software +do. Since many books on dtp seem to have been done +at home (possibly with potato cut-outs), this provides +a welcome alternative: it is typeset quality throughout. + +The authors take some time before they delve into +software. They provide a clear and distinct account +of the vocabulary of traditional typesetting +(and later we realise they also have the vocabulary +of computing). At last the jargon that is so often thrown +at us: `signatures', `h\&j', `letterspacing', `tracking', +`quad left' +and so on, is explained. Letterspacing and tracking are +rather interesting, since they are features not provided +by \TeX. It is interesting to speculate why. Perhaps +they were not used by Monotype Modern 8A, the model used +by Knuth for Computer Modern (that's {\it why} it is +called {\it Modern}: in fact, {\it Modern} doesn't +really imply anything recent --- the first {\it modern} +typeface was Bodoni's of 1775). + +Letterspacing refers +to a stretching out of the interletter spacing of a line +to make it fit better. As far as I can see, squeezing +the line does not count. This is commonly found in +newspapers (and found also in Felici \& Nace): +tracking is a more global concept. Again it involves the +interletter spacing, but it does so universally, +affecting all interletter spacing equally, everywhere. +Tracking is a typographic response to the way the eye +reacts to type in different sizes. As type grows in size, +the eye perceives the interletter spaces growing +faster than the letters themselves. To compensate, +the interletter spacing should be proportionately +tighter for larger sizes. I assume that the |tfm| files +associated with different design sizes help to compensate +for this, but of course you could introduce a more tightly +tracked font by giving it its own |tfm|. You might have +to alter the ligaturing too. A loosely tracked font +would probably not require ligaturing at all. Of course +you would not be able to alter the tracking in this way +for a font with only one design size (like the \PS\ +fonts). + +Naturally there is some discussion on letter +forms. At last someone explains something about +`the rhythm of vertical strokes' and `stroke frequency'. +And the examples bring this out very well. +They also explain why there are 72.27\,points to the inch, +and not the apparently more rational 72. +An America pica is +defined as equalling 0.166040\,inches. Presumably this +was to obtain an `exact' conversion which still gave +about 72 points to the inch. 72 points to the inch gives +an irrational conversion for picas to inches. Simple really. + +Like Richard Southall, they too distinguish {\it font} +and {\it typeface}, describing a typeface as a set +of characters sharing a common design that distinguishes +that typeface from all other character sets, while a +font is the physical source from which the typeface is +generated ({\it cf\/} fountain --- a source or wellspring). +A daisywheel for example can correctly be described +as a font. The marks on the paper are not a font. + +Besides explaining the typographic side they also +discuss the hardware --- especially the imaging +device (not just {\it laser} printers, but {\it led}, +{\it lcs}, {\it ion-deposition} and the rest). And having +described the digital nature of the marking engine, +they also discuss the digital nature of fonts. +They describe outline and bit-mapped fonts, and +bring out their relative merits. + +It should be clear that Felici \& Nace are not going +to favour one system over another, and this allows them +to look at a number of {\it page description languages} +reasonably objectively. + +How does \TeX\ fare? Quite well. References to \TeX\ crop +up a few times, and an example occurs under `Professional +Composition Systems'. The example is actually from +\AmSTeX, but the principles are the same. + +One of the achievements of Felici \& Nace is that +once they have explained something, it sounds rather +obvious. They make it all sound quite easy and straightforward. + +In the last chapter they consider the assembly +of a dtp system, outlining several sets of criteria +which can be used to evaluate different systems, +in the light of perceived needs. This provides a set +of reasonably objective criteria. In the end though, +choice of an appropriate system depends to a large extent +on knowing what it is you want to do. + +Right at the end of the book is a glossary of terms, +quite useful in its own right. The index is more useable +than some I have seen. + +I have no hesitation in recommending this book to anyone +with any interest in getting more out of +computerised typesetting. It is easily the best book +I have yet seen on the subject, both in terms +of its treatment of the subject, and in the presentation +of the material. For once, form and content +enhance one another. + +\rightline{\sl Malcolm W Clark} + + diff --git a/info/digests/texline/no7/formulato.tex b/info/digests/texline/no7/formulato.tex new file mode 100644 index 0000000000..260d2b10f4 --- /dev/null +++ b/info/digests/texline/no7/formulato.tex @@ -0,0 +1,192 @@ +\centerline{\bf Formulator} +\medskip +\noindent +{\it Formulator} is an equation processor +for the Macintosh which allows {\it wysiwyg} +creation of displayed equations, through selection +from pull-down menus (or, for the more skilled) +the Mac's command-key sequences. The interesting +feature of {\it Formulator} is that it was clearly +inspired by \TeX, and that one of its options +is to create a \TeX-version of the equation. +The writer of this software, Bob Pollard, was +also responsible for much of {\it MacAuthor}, and +the two applications were clearly designed to live +together. + +Icon Technology generously sent me a pre-release version +of {\it Formulator} (with a neat time expiry on +it, so that I have to reset the date on my Mac in order +to use it). What I have is version 0.7. My comments +should therefore be read in the light of +this not being the `final' version. There were also +some bits of the {\it Formulator Reference}, which +summarised many of the possible commands, and a +stack for use with HyperCard. In passing, this is +a very valuable approach adopted by Apple: almost +all software now comes with a hypertext stack or two which +almost replaces a manual. Since every new Mac comes +with HyperCard, this is obviously the beginning of +a new growth industry --- writing hypertext stacks. + +Perhaps I am not the best person to use {\it wysiwyg} +software. I'm rather fond of mark-up, and I find +the buildup of an equation through menus rather +laborious and exhausting. By now I know \TeX\ well +enough to be able to tackle problems up to at +least \TeX pert level. My preconceptions get in the way. +But lets try it anyway. After a few false starts --- +well it is user-friendly and intuitive, or so I thought --- +I looked through the stacks and read the reference pages. +The first thing I tried was one of the examples +from {\it Icon Technology's} flyer, and given here as +a Macintosh screen dump after construction through +{\it Formulator}: +\smallskip +\noindent{\overfullrule0pt +\scaledpicture 141truemm by 21truemm (icontech scaled 400) +}\par +\noindent +(Some of the lumpiness in the example is due to scaling +it to fit the page. {\it Formulator\/} itself permits +you to work in one of two scales. The smaller is close +to `true' size, while the larger is the one which allows +more control.) +The \TeX\ which this generated is +\smallskip +\begintt +$${1\over{2\pi}} +{\int^{\sqrt{}y}_{-\infty}} +{\left({\sum^n_{k=1}} +{\sin^2}{x_t}(t)\right)} +(f(t)+g(t))dt\hbox{}$$ +\end +\endtt +\smallskip\noindent +It generated the |\end| itself too. In the original +this was one continuous line, which is impossible to +print here, so I have broken it up into more +digestible units. The first thing that strikes me is +the multiplicity of braces. No bad thing, although +it does reduce the human readability. However, just +as we would expect machine generated \PS\ to be +machine rather than human readable, we should not +expect this to be easy to understand. The real problem +seems to me to be the mistake. Did you spot it? +What does |\sqrt{}y| give? It gives $\sqrt{}y$, +rather than $\sqrt y$. In this context it is not +ambiguous, but neither is it what appeared when +we manipulated the symbols through {\it Formulator}. +Therefore any claim to {\it wysiwyg\/}ness is dashed. + +Perhaps the feature I liked best in {\it Formulator} +was the ease with which you could edit the {\it wysiwyg} +version. This is a major advance over something like +Mac$\Sigma$qn, where editing really means doing things +over. On the other hand I did find selection of the elements +very sensitive. It took some care to mark the part of +the equation you wanted to deal with. If you do not +make sure that you have finished the parts of an equation +off correctly (usually by pressing {\it enter}), and +try to shortcut by placing the cursor, you can generate +fallacious \TeX. A nice feature is the automatic +balancing of brackets. But it was not clear to me just how +you could choose a particular size of parentheses, for +those times when \TeX\ does not know best. + +But let's tackle a more interesting equation, +whose {\it Formulator} version is: +\par +\vskip-0.8truein +\noindent +\picture 150truemm by 36truemm (bezier.pic scaled 400) +\par +\noindent + My main interest here was to see +how the limits on the summation would be handled. +I, of course, was expecting to handle them through +|\atop|, with some lip service to |\scriptstyle|. +{\it Formulator} very sensibly makes no mention of +|\over| as a way of creating fractions (surely one +of Don's little mistakes), but uses +a Fraction selection instead. But in doing so we have lost +|\atop|. So instead, we use a subscripted one column matrix. +Now, in the {\it Formulator} version of this, the +subscripts are nicely displayed at a smaller size. +The \TeX\ produced looks like\smallskip +\begintt +$$\phi({\zeta_1}, +{\zeta_2}, +{\zeta_3})= +{\sum^{}_\matrix{{i+j+k=2}\cr +{i,j,k\geq0}\cr}} +{{2!}\over{i!j!k!}} +{\zeta^i_1} +{\zeta^j_2}{\zeta^k_3}\ +{\phi_{ijk}} +\hbox{}$$ +\end +\endtt +\smallskip\noindent +Unfortunately, this doesn't work. In order to +subscript a matrix, you have to group, writing +something like +\begintt +\sum_{\matrix i+j+k=2\cr +i,j,k\geq0\cr} +\endtt +As we all know, \TeX's error messages are not always +easy to understand. This one was a real mare's nest. +And naturally, when you subscript a matrix, the +elements do not appear at a smaller size. + +At this point, I was getting a little despondent, +and I stopped. I have no doubt that these bugs will have +been ironed out by the final release. But one +or two things do still worry me. +\item{$\bullet$}Who is this intended for? +If you have {\it MacAuthor}, and are happy with it +--- it is after all a very powerful {\it wysiwyg} +processor --- would you be using \TeX\ at all? +\item{$\bullet$}It is only a \TeX\ generator, +not an \AmSTeX\ or +\LaTeX\ generator, nor does it seem to be +able to be extended to take account of your own +macros. I'm not at all clear how you could reference +a control sequence which was not part of the menus. +Say you had a special relational +operator, constructed through |\buildrel|, +how would you use it? +\item{$\bullet$}Is this for unskilled hands, those who do +not know the names of the symbols? Would they know +to use Matrix in order to get multiple subscripts? +And would they be surprised when the {\it Formulator} +version and the \TeX\ version were rather different? +The Symbols menu also gives a few symbols (like +therefore) not in |plain|\TeX; these come through +as question marks. +\smallskip +I can't see how it makes things +already tricky in \TeX\ any easier; and easy things +seem more roundabout. +The benefits are probably mostly from \TeX\ +to {\it Formulator}, which has been able +to absorb \TeX's mathematical +sophistication. + +I feel very iffy about the whole thing. {\it Formulator} +clearly has an appeal, because \TeX\ is in there somewhere, +but I don't think it is something which existing +\TeX\ users will adopt, nor can I see its use bringing +any more users into the \TeX\ fold. I would like to +be wrong. + +{\it Formulator} may be obtained from +{\obeylines +Icon Technology +9 Jarrom Street +Leicester LE2 7DH +tel: 0533 546225 +} + +\rightline{\sl Malcolm W. Clark} diff --git a/info/digests/texline/no7/glossary.tex b/info/digests/texline/no7/glossary.tex new file mode 100644 index 0000000000..350dfca687 --- /dev/null +++ b/info/digests/texline/no7/glossary.tex @@ -0,0 +1,1486 @@ +% first draft of TeXpert desktop publishing glossary... +% +%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=6.25truein \hsize=3.0truein +\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}} +\vsize9.3truein +\nopagenumbers +\parindent15pt +% +\def\g#1{\goodbreak\vskip0pt plus .5pt\par +\hang\noindent{\bf #1: }\ignorespaces} +% +\def\s#1{{\sl #1\/}} +% +\font\sc=cmcsc10 +\def\dtp{{\sc dtp}} +% +% +\g{A4} +The standard European size paper used in most \s{laser +printers}. A few printers can handle A3 pages, but are +considerably more expensive. + +\g{Accent} +a punctuation mark that appears above a character in a +line of text. See also \s{floating accents}. + +\g{Ad:Ed ratio} +the proportion of advertising to editorial space. + +\g{Adobe systems} +author of \s{PostScript}, a \s{page description +language}. + +\g{Aldus} +author of Pagemaker, the first \dtp\ program to be +marketed (in 1985). + +\g{Alignment} +lining up text and graphical material using a horizontal +base, or vertical line as a reference point. + +\g{Alphabet (length or width)} +the measurement of a complete set of \s{lower case} +alphabet characters in a given \s{typesize}, expressed +in \s{points} or \s{picas}. + +\g{Apex} +the point of a character where two lines meet at the top, +such as in the letters A or W. + +\g{Apple} +an American company responsible for the Macintosh +computer, the original `desktop publishing' machine. + +\g{Artwork (a/w)} +an original copy of an image, such as a line drawing, to +be photographed for inclusion in the final +\s{plate}-making process, prior to traditional printing + +\g{Ascender} +any part of a lower case letter which extends above the +\s{x-height}. For example, the upper half of the +vertical in the letters b, d, f, h, k, l and t. + +\g{Author's corrections} +changes made to the \s{copy} by the author after +\s{typesetting} but not including those made as a result +of errors in \s{keying in} the text. + +\g{Backslant} +letters that slant the opposite way from \s{italic} +characters. + +\g{Banner} +a heading or title extending the width of a page. + +\g{Baseline} +the imaginary line on which the base of capital +(\s{upper case}) letters sit. \s{Descenders} on \s{lower +case} letters like the g or y will extend below the +baseline. + +\g{Binding} +to join together the pages of a publication, complete +with covers. Some common methods include \s{saddle +stitching} and \s{perfect binding}. + +\g{Bit map graphics} +a common method of defining an image by breaking it down +into dots. Each dot is represented by a bit (binary +digit), either zero or one. Images that are \s{scanned} +into a \dtp\ program, or output from \s{paint programs} +tend to be bit mapped, and generally appear more ragged +and at a lower \s{resolution} than \s{graphics} from other +sources such as \s{draw programs}. An potential +alternative to the bit mapped image may be to describe +the image using vectors, which hold its resolution better. + +\g{Black letter} +a term used to describe \s{typefaces} made up of both +thick and thin lines, such as Old English. + +\g{Bleed} +the area of the page between the outside edge of the +margin and the edge of the page. In most cases this is +not printed upon, but for magazine work bleed printing +may be necessary. + +\g{Blow up} +publishing terminology for enlarging a photograph. + +\g{Body} +often called `body text', `body copy' or `body type'. +The bulk of the text in a document, in a particular style +and size of \s{type}, as opposed to headings, titles etc. + +\g{Body size} +the height of the \s{type} measured from the top of the +tallest \s{ascender} to the bottom of the lowest +\s{descender}. Normally given in \s{points}, the +standard unit of type size. + +\g{Bold type} +\s{type} with a heavier darker appearance. Most +\s{typefaces} include a boldface \s{font}. + +\g{Break} +the end of a line, paragraph or page. + +\g{Bromide} +a special sort of coated paper upon which +\s{photo-typeset} material is printed. Output from +\s{typesetters} is processed photographically to produce +a bromide master, which can then be used for \s{page +makeup} and \s{plate} making. Se also \s{galley proofs}. + +\g{Bullet} +a large solid dot ($\bullet$) used to precede text for +emphasis, as in an itemised list. + +\g{By-line} +the name of the author of an article as printed on the +page. + +\g{Camera-ready} +in traditional typesetting, the finished page, including +all text and illustrations, and any +\s{artwork} or \s{pasted-up} material, ready for the +printer to begin the \s{film} and \s{plate} making +process for reproduction. This phrase is also used to +refer to \dtp\ output onto a \s{laser printer}, although +the \s{resolution} of laser printers cannot match that of +\s{typesetters}, and some publishers may not regard laser +printed pages as sufficiently high quality to use as +camera-ready. + +\g{Canon} +the company responsible for the low-cost \s{laser +printer} --- the Canon \s{print engine} has been used +as the basis for various makes of laser printer, +including the \s{LaserWriter} and the \s{Laserjet}. + +\g{Cap line} +an imaginary line across the top of capital (\s{upper +case}) letters. The distance from the cap line to the +\s{baseline} is the cap size. + +\g{Cap size} +see \s{cap line}. + +\g{Caps} +an abbreviation for capital, or \s{upper case} letters. + +\g{Caps and small caps} +a style of \s{type} that shows capital letters used in +the normal way, while the remaining letters are set in +capital letters of a slightly smaller size, {sc Like +This}. + +\g{Caption} +the short piece of text which describes a photograph or +graphic illustration on a page. + +\g{Caret} +marks an indication to the printer of an omission in the +\s{copy}. + +\g{Cartridge font} +a physical medium for holding a selection of +\s{typefaces}. It is inserted into a printer (notably +\s{laser printers}) to provide some extra choice of +\s{fonts}. Some \dtp\ packages restrict the fonts only +to those contained in one cartridge, plus any +\s{resident fonts}, whereas others permit +\s{downloading} of additional typefaces. + +\g{Case binding} +the hard back binding of books. + +\g{Casting-off} +estimating the length of the \s{copy} when it has been +typeset. + +%\g{Century Schoolbook} +%a popular \s{serifed typeface} used in magazines and +%books for text setting. It has a large \s{x-height} and +%an open appearance. +% +\g{Character count} +the number of characters, i.e.~letters, numbers, signs +or spaces, in a line of text or piece of \s{copy}. + +\g{Close up} +a \s{proof correction mark} to reduce the amount of +space between characters or words. + +\g{Collating} +the process of putting the pages of a publication +together in the correct order. + +\g{Colour-separated artwork} +in traditional printing, \s{artwork} for use in a +multi-colour publication, where the different colours +have been indicated by using separate \s{overlays} for +each colour. The four basic printing colours are black, +cyan, yellow and magenta. Colour separations are +usually produced by a specialist firm rather than +through software. As an alternative, a few \dtp\ programs +can generate colour output directly, provided the printer +is capable of reproducing the colours. + +\g{Column} +a vertical area of running \s{text} on a page. Many +\dtp\ packages use \s{frames} to define the positions of +columns prior to filling with text. + +\g{Column rule} +a light vertical rule sometimes used to separate columns +of text. + +\g{Compose} +in traditional hot metal \s{typesetting}, to set \s{copy} +into \s{type}. + +\g{Compositor} +in traditional printing, the skilled member of a +\s{typesetting} team who actually lays out the +\s{bromides} in the correct position on a page. + +\g{Condensed} +a \s{font} or \s{typeface} style in which the characters +have an elongated appearance, i.e.~very narrow for their +height. + +\g{Continuous tones} +a normal black and white photograph which has continuous +shades of grey, also known as a contone. + +\g{Copy} +printing trade jargon for \s{text}, the original written +material which makes up the publication. + +\g{Copyright} +the right of copyright gives protection to the originator +of material to prevent use without express permission or +acknowledgement of the originator. Often represented by +the symbol \copyright. + +\g{CRC} +camera ready copy. See \s{camera-ready}. + +\g{Cropping} +cutting off unwanted areas of a photograph or +illustration. The remanining part of the image can then +be resized to fit the space. + +\g{Cross head} +a heading set into the \s{body text}, used to break it up +into easily readable sections or sub-sections. + +\g{Cursive} +used to describe \s{typefaces} that resemble handwritten +script. + +\g{Cut-out} +a \s{tone} that is cut to a specific outline shape, rather +than a rectangle. + +\g{Dagger and double dagger} +symbols (\dag\ \ddag) used mainly as reference marks for +footnotes. + +\g{Dash} +a short horizontal rule used for punctuation. See +\s{em-dash} and \s{en-dash}. + +\g{DDL} +Document Description Language. A \s{page description +language} developed by Imagen and popularised by Hewlett +Packard. Designed for documents rather than pages, and a +rival to \s{PostScript}, although relatively few \dtp\ +packages support DDL as yet, preferring to access +Hewlett Packard's popular \s{Laserjet} printers using the +Laserjet's older printer command language PCL. + +\g{Descender} +any part of a \s{lower case} letter that extends below +the \s{x-height}, or below the \s{baseline} of the line +of text, as in the g, j, p, q and y. + +\g{Desktop Publishing (DTP)} +producing good quality publications in-house using a +system based around a general-purpose personal +computer and a cheap \s{laser printer}. The total +cost for the whole system might typically be around +{\it\$10,000}. Most \dtp\ software aims to emulate +\s{typesetting}, and has borrowed much typsetting +terminology and jargon. The range and detail of features +is far greater in true typesetting, resulting in +published documents of far higher quality. Not all levels +of document require the use of an expensive +\s{typesetter} however, and it is here that \dtp\ comes +into its own. \s{Laser printed} output can be sufficient +in its own right for documents such as newsletters, +brochures, price lists, reports, manuals, theses and +papers, as well as some books, where the laser printed +pages may be suitable as \s{camera-ready} masters. When +a higher quality is required, many \dtp\ programs will +optionally convert the files for printing on a +typesetter, through a bureau service, or similar. + + +\g{Design size} +the default size for a particular \s{font} or +\s{typeface} --- the size at which the characters will +produce maximum readability. Some \s{typesetting} and +\dtp\ systems then \s{scale} the fonts to produce other +sizes, whereas others provide a discrete font definition +for each size required. + +\g{Digitiser} +a device which converts images such as graphics and +photographs into electronic information which can be +manipulated by a computer. See also \s{scanner}. + +\g{Discretionary hyphen} +see \s{soft hyphen}. + +\g{Display type} +larger \s{type} used for headings etc. Normally about 18 +\s{points} or larger. + +\g{Dot for dot} +in printing terminology, a special technique for the +reproduction of photographic material which has already +been \s{screened}. + +\g{Dot matrix} +a regular pattern of dots. This term is often used to +refer to \s{impact printers} that, instead of printing +formed characters, print an array of dots. It is +conventionally used to refer to `dot matrix printers'. +\s{Laser printers} and \s{photo-typesetters} also +produce characters by means of dots, but by a different +process that is not impact printing. + +\g{Downloadable fonts} +\s{laser printer fonts} stored on disc (usually the +\s{hard disc}, which can be sent to the printer and +stored in the printer's temporary \s{memory} (RAM). +\s{Font} definitions for use with a \dtp\ program are +either stored permanently in the printer as \s{resident} +or \s{ROM} fonts, or else they must be downloaded to the +printer at the beginning of the print \s{job}. This +downloading may be handled automatically by the \dtp\ +software. Most \dtp\ software will download just those +fonts needed by a particular document, and then delete +them from memory when the print job is complete. +Others will cache the fonts to minimise font downloading +for subsequent print \s{runs}. + +\g{Dots per inch (dpi)} +see \s{resolution}. + +\g{DPI} +dots per inch. See \s{resolution}. + +\g{Dropped cap (drop cap)} +a large initial letter at the beginning of a paragraph of +text, which extends below that line, overlapping one +or more lines below. + +\g{DTP} +see \s{Desktop Publishing}. + +\g{Edition} +all of the copies of an issue. + +\g{Electronic publishing (EP)} +the usual term for more up-market publishing systems, +with prices starting around {\it\$}25,000. + +\g{Embedded codes} +characters placed in the \s{body} of the \s{text} for +controlling the format of the printed output, as used by +\dtp\ software using the \s{markup} approach. An +embedded code can be used to force a change of +\s{font} into \s{italic}, for example, or to indicate +the title of a section. + +\g{Em} +a measure of \s{typeface} width. 1~em is usually +equivalent to the chosen \s{point} size, such that 1~em +equals 10 points if using a 10 point font, but alters +to 12 points wide if a 12 point \s{font} is +selected. The name originates from the upper +case M, which was originally (and frequently still is) as +wide as the point size. Sometimes called a \s{mutton}. + +\g{Em-dash} +a dash used in punctuation within a sentence --- 1~em +wide. + +\g{En} +half an \s{em}. Sometimes called a \s{nut}. + +\g{En-dash} +a dash used to indicate a range of numbers, as in Pages +3--7, and half the width of an \s{em-dash}. + +\g{End papers} +the page leaves at the front and end of a book, which are +pasted to the insides of the front and back covers +(boards). + +\g{Ex-height} +another spelling for \s{x-height}. + +\g{Expanded type} +a \s{typeface} where the characters are slightly wider +than usual in relation to their height, giving a flatter, +squat appearance. + +\g{Face} +an abbreviation for \s{typeface}, referring to a \s{font +family} in a given style, as in Helvetica or Times Roman. + +\g{Family} +a \s{font} family is another term for a \s{typeface}. + +\g{Film} +in \s{typesetting} terminology, a large photographic +record of the \s{camera-ready copy}, used to made a +\s{plate} for printing. + +\g{Finishing} +in traditional printing, the various processes which +turn the output of the printing \s{press} into +acceptable publications --- this includes trimming the +paper to the correct size. + +\g{Flatpan} +a single sheet of paper with miniature representations +of each page of a publication, including details of the +contents of each page. Especially used to define the +position of advertisements in commercial publications. + +\g{Floating accent} +a diacritical mark which is set separately from the main +character, and is then placed either under or over it, +as in \=m or \d x. Most \dtp\ packages only provide +complete accented characters, such as the more usual \'e +or \`a, such that the accent cannot be divorced from the +character being accented. + +\g{Flush left} +\s{copy} aligned along the left margin. + +\g{Flush right} +text or \s{copy} aligned along the right margin, giving +right \s{justified} text, which may or may not also be +\s{flush left}. + +\g{Folio} +most commonly used to refer to the page number. May +also include other basic information like the title and +date of the publication etc. In book publishing, a folio +is a page of typescript as sent to a \s{typesetter}. + +\g{Font (fount)} +a complete set of characters in a \s{typeface}, in a +particular variant, style and size, such as an italic or +boldface style at 12 \s{point} size. Thus we get the fonts +12 point Helvetica Bold, or 10 point Helvetica Italic, +both having `Helvetica-like' similarities. Helvetica is +the \s{typeface}, 12 point Helvetica is a \s{type size}, +whilst Helvetica Bold is a \s{type style}. + +\g{Footer line} +a line of text which is repeated at the bottom of every +page. Also called a \s{running foot}. See also \s{header +line}. + +\g{Formatting} +a general term for processing \s{text} to produce page +\s{layouts}, whether in a \s{word processor}, a \dtp\ +program, or for \s{typesetting}. + +\g{Full measure} +a line of text occupying the complete line length across +a page. + +\g{Full point} +a full stop, or period. + +\g{Galley (galley proof)} +in traditional typesetting, a column of +\s{typeset} material or \s{bromide}, not cut or positioned +on a page. %the +%printing term for long metal trays used to hold \s{type} +%after \s{setting} and before printing. Now also used to +%refer to the \s{bromide} output from +%\s{photo-typesetters} --- +To be proofread and checked +before being \s{pasted-up} into pages. + +\g{Gothic} +a typeface with no \s{serifs} and broad even strokes. + +\g{Greeking} +the process of representing the smaller \s{screen fonts} +merely by black shapes, whilst still retaining an +overall view of the page \s{layout}. Often used within +\dtp\ systems when pages are being displayed at a +reduced size, such as in a two page \s{spread}. + +\g{Grid} +a systematic division of a page into areas to enable +designers to \s{layout} pages into columns etc, showing +the position of text and illustrations. The \s{frames} +used by many \dtp\ packages follows this principle. + +\g{GSM} +grammes per square metre, used to express paper weight. + +\g{Gutters} +the width of the space between columns, or alternatively, +the central blank area between facing pages. + +\g{Hard disc} +almost essential for any serious \dtp\ work, +particularly if \s{memory}-hungry garphics or scanned +images are being included. + +\g{Hairline} +the thinnest rule that can be printed. + +\g{Hairlines} +the thinnest of the strokes in the characters of a +\s{typeface}. + +\g{Half-tone} +an illustration, such as from a photograph, reproduced +by breaking down the original continuous tone into a +pattern of dots of varying sizes. Light areas have small +dots, and darker areas or shadows have larger dots, or +denser agglomerations of small dots. This can +be done through use of a \s{scanner}, which creates a dot +structure, giving different shades of grey, or \s{grey +scales}. + +\g{Hanging indent} +\s{text} where the left edge of each line starts further +to the right, or indented from the left margin. + +\g{Hanging punctuation} +punctuation that is allowed to fall outside the margins +instead of staying within the \s{measure} of the text. + +\g{Head} +the margin at the top of a page, within which the +\s{header line} is positioned. + +\g{Header line} +a line of text which is repeated at the top of every +page, containing information such as the document title. +Also called a \s{running head}. The headline could +include the page number (\s{folio}), and some +\dtp\ packages will allow alternate header lines to +automatically be printed on odd and even page numbers (see +\s{recto} and \s{verso}). + +\g{Headline} +lines of large or \s{displayed type}, such as to draw +attention to the title of an article. + +\g{Helvetica} +a \s{sans serif typeface}. A variant of this is frequently +provided within \dtp\ packages under the name `Swiss'. + +\g{House style} +the basic rules covering the \s{layout} and style of +documents within an organisation, providing a consistent +image, or corporate style. Many \dtp\ packages provide +`style sheets' which may be applied to a series of +documents, such that the contents are always formatted +in a consistent way. The content of the documents (as +provided by the author) can be separated from their +appearance (as designed in the document style). + +\g{Hyphenation} +the splitting of a word into two parts, on two +consecutive lines of text, and the insertion of a short +dash or hyphen. This helps produce \s{justified} lines +of equal length, without stretching or squeezing the +inter-word (or inter-character) spacing too much. Some +\dtp\ packages will hyphenate automatically, using +either an inbuilt dictionary of acceptable hyphenation +points, or alternatively, a hyphenation algorithm. + +\g{IBM} +a latecomer to the \dtp\ market, but there are now a +multitude of packages supplied by third-party vendors, +running on the AT, XT and PC. + +\g{Icons} +Images used on \s{screen} to represent many of the +commands and functions available within a \dtp\ +packages. A particular icon is selected using a +\s{mouse}, within a \s{wimp} environment. + +\g{Impact printer} +a printer in which the printing head hits against the +paper to create the printed text, such as a dot matrix or +daisy wheel printer. + +\g{Imposition} +the arrangement of the pages on a printing machine. + +\g{Imprint} +the name and place of the publisher and printer required +by law if a publication is to be published. Sometimes +accompanied by codes indicating the quantity printed, +month\slash year of printing, and an international +control number (see \s{ISBN}). + +\g{Ink jet printer} +a printer which breaks up a stream of ink into +electrostatically charged droplets which can be deflected +either to print or not, in order to create an image on +the printing surface. Images are built up as a series of +dots. + +\g{Interface} +a link or boundary between two different types of +equipment or systems or channels of communication, such +as between a computer and a printer. + +\g{Interpress} +a \s{page description language} developed by Xerox. + +\g{ISBN} +International Standard Book Number. A reference number +given to every published work. Usually found on the back +of the title page. + +\g{Issue} +a single copy of a publication produced on a particular +date. + +\g{Italic} +a \s{type} or \s{font} with sloping, maybe cursive, +letters. + +\g{Job} +the printing of an \s{edition}. + +\g{Justification} +the alignment of lines of text along a margin or both +margins. Frequently applied to text where +both margins are straight. It is achieved by adjusting +the spacing between the words and characters as necessary +so that each line of text finishes at the same point +(except where a paragraph ends). Words may also be +\s{hyphenated} as necessary. + +\g{Kerning} +the adjustment of spacing between certain character +pairs, as between A and V to produce AV, rather than +A{}V. This produces a more even text spacing, making it +more pleasing and easier to read. Not all \dtp\ packages +can achieve this, and some only allow {\it manual} +kerning, rather than the character pairs having been +already set up to kern automatically. + +\g{Keyline} +a narrow line drawn on a \s{camera-ready} copy to show +the position of a photograph which needs adding. + +\g{Landscape} +work in which the width of the page is greater than its +height, as in tables which may need to be printed +`sideways on' to fit on the page. The opposite of +\s{portrait}. + +\g{Laserjet} +the model name for Hewlett Packard's strong selling +\s{laser printer}. The most commonly supported laser +printer within \dtp\ packages, along with \s{PostScript} +devices. + +\g{Laser printer} +a key component of a good \dtp\ system --- it +uses laser technology to give sophisticated output in +a variety of \s{font} sizes and styles along with +\g{graphic} elements and rules. They +provide a cheap alternative to \s{typesetters}, printing +at a lower \s{resolution} --- usually at 300 dpi, although +newer models can manage 400 or 600 dpi. The \dtp\ +software will convert a file for printing on a particular +make of laser printer through use of some conversion +software known as a \s{printer driver}. + +\g{LaserWriter} +Apple's \s{laser printer}, using the \s{PostScript page +description language}. + +\g{Layout} +the design of a page, including the positioning of all +\s{text}, \s{columns}, \s{graphics}, \s{artwork}, +\s{headlines}, \s{rules} etc. + +\g{Leading (lead)} +the vertical space between the \s{baselines} of +consecutive lines of text, usually larger than the +\s{point} size of the \s{typeface}, so that +the \s{descenders} of letters on one line do not +touch the \s{ascenders} of the next. +Such as a 10~point \s{font}, using 12~points of leading, +referred to as 10 on 12, or 10/12, giving 2 extra points +of space between consecutive lines. Named after the +strips of lead which used to be inserted between lines of +metal type to increase legibility. + +\g{Leader} +a line\hbox to 1truein{\dotfill}made up of dots to join +up separated text. + +\g{Letterspacing} +the addition of space between the letters of words to +help increase the line length to a required width, or to +improve the appearance of a line. Not all \dtp\ packages +support this feature. See also \s{tracking}. + +\g{Ligatures} +letters which are joined together as a single unit of +type, such as \oe\ or fi or ffl. + +\g{Lightface} +\s{type} having finer strokes than the medium \s{font} +in a \s{typeface}. + +\g{Literal} +a spelling mistake in \s{typeset copy}, often used to +refer to occasions when two characters in a word are +transposed. See \s{typo}. + +\g{Litho} +see \s{offset litho}. + +\g{Logo} +short for logotype. A word or combination of letters set +as a single unit. Also used to denote a specially +styled company name designed as part of a corporate +image. + +\g{Lower case} +the small letters of the alphabet, like a, b, c etc. + +\g{Macro} +a stored set of commands, control sequences or +definitions that may be substituted for a shorter macro +name when the name is inserted into the \dtp\ program. +Frequently occurring series of commands can therefore be +abbreviated to a single name, and the expansion handled +automatically when the text is formatted. This useful +feature is more common in the \dtp\ systems that have +adopted the \s{markup} approach, rather than \s{wysiwyg}. + +\g{Make-up} +in traditional printing, the act of manually composing a +page by a \s{compositor}. In \dtp, the act of using a +program to design pages, plus the assembly of blocks of +text, headings and illustrative material into pages with +headlines, folios, columns etc. + +\g{Margins} +the non-printing areas around the edges of the page. +The top and bottom margins may however contain a +\s{headline} or \s{footline}. + +\g{Markup} +in traditional \s{typesetting}, the bare \s{manuscript} or +printed text annotated with handwritten instructions +setting out in detail all the typesetting +instructions. Markup also refers to the approach +adopted by some \dtp\ or typesetting systems, where +\s{typographical} commands are \s{embedded} within the +text to control the \s{formatting}. These instructions +would be carried out at a later stage, when the marked up +text is processed through the relevant text formatting +software. Generally this approach offers greater control +over document structuring, page \s{layouts} and +typographical details than is possible with \s{wysiwyg} +style \dtp\ software. \dtp\ packages that have adopted +the mark up route include PC$\,$\TeX, \TeX tures and Just +Text. + +\g{Masking} +indicating unwanted areas of photographs, which will be +cut or \s{cropped}. + +\g{Master} +the original of a page, which will be used to generate +multiple copies, as in \s{camera-ready} master. + +\g{Masthead} +the main title of a publication set on the front. + +\g{Measure} +denotes the line width to be used when \s{setting} text, +often expressed in \s{picas}. + +\g{Memory} +the part of a computer's memory (\s{RAM}) +that stores information temporarily while you are +working on it from within the \dtp\ program. +The number of text pages that can be produced +by a \dtp\ program may depend on the +available memory. Others are only limited by +available \s{disc} space. \s{Graphics} and \s{scanned} +images in particular require large amounts of memory, +both within the computer and in the printer, as well as +large amounts of disc space. + +\g{Menu} +a list of options displayed on \s{screen}, +frequently accessed via a \s{mouse}, as in the \s{wimp} +environment, with \s{pull-down menus}. The user selects an +action to be performed either by typing a letter or +positioning the cursor, or highlighting the option +with the \s{mouse}. + +\g{Metrics} +the dimensions of \s{fonts}, such as the height and +depth of characters, and possibly other +numerical information about the font, such as +\s{kerning} and \s{ligatures}. + +\g{Microns} +an expression of the thickness of board. + +\g{Modern} +refers to \s{typestyles} introduced towards the end of +the 19th century. Times Roman is a good example. + +\g{Monitor} +a computer \s{screen} or visual display unit (VDU). + +\g{Monospaced} +a \s{font} in which all characters occupy the same amount +of horizontal width, {\tt such as this type here}. Such fonts are often referrred to by +their \s{pitch}, as in 10~pitch, meaning 10 characters to +the inch horizontally. An example is Courier, which is a +10 pitch font. See also \s{proportional}. + +\g{Mouse} +a moveable device used to control the positioning +of a cursor on a computer +\s{monitor} or \s{screen}, such as to access +\s{pull-down menus}, or to highlight chunks of \s{text} +for manipulation. Part of the \s{wimp} environment used by +many \dtp\ packages and essential for most \dtp\ work. + +\s{Mutton} +another name for an \s{em}. + +\g{Negative} +a term borrowed straight from photography.The film used to +photograph \s{artwork} or \s{camera-ready copy} before +making a printing \s{plate}. + +\g{Nut} +another name for an \s{en}. + +\g{Octavo} +one of the standard sizes of books. + +\g{Offset litho} +the most popular print process. A litho plate is produced +by making a negative \s{film} image of the page of +\s{artwork}. The image is then etched into the +\s{plate} and ink applied. The paper is then inked by +a second, offset, roller. + +\g{Orphan} +a line of type at the end of a paragraph, left +stranded on a line of its own at the top of a column or +page. Some \dtp\ programs will avoid these automatically. + +\g{Outline} +a \s{typeface} in which the characters are formed with +only the outline defined, rather than from solid strokes. + +\g{Overlay} +the piece of tracing paper placed over photographs for +cropping and sizing. + +\g{Overmatter} +the material left over after a page or publication is +filled. Some \dtp\ programs can avoid overmatter, either +by adjusting the existing page \s{layouts}, or by +automatically creating additional pages. + +\g{Page description language (pdl)} +a sophisticated form of \s{printer driver}. Essentially, +a software program to convert files for printing on a +particular type of \s{laser printer} or \s{typesetter}. +The most well known pdl is \s{PostScript} which is +understood by a range of laser printers as well as some +typesetters. Others are \s{DDL} and \s{Interpress}. + +\g{Page printer} +a kind of printer similar to a photocopier where entire +pages are printed at once, not line by line. The most +common are \s{laser printers}, although LED and ion +deposition techniques are also used. The opposite to an +\s{impact printer} such as a \s{dot matrix} or +daisywheel. + +\g{Page proofs} +the stage following galley proofs in the typesetting +process, in which pages are made up (see \s{make up}), +and \s{paginated}. + +\g{Pagination} +the numbering of pages in a book, frequently done as a +separate later stage in more traditional typesetting. +\dtp\ systems tend to incorporate pagination in with the +page \s{make up}. + +\g{Paste up} +in traditional publishing, the various elements of a +\s{layout} mounted in position to form \s{camera-ready +artwork}. The \s{wysiwyg} \dtp\ systems have incorporated +this stage as the on-\s{screen} page \s{make up}, +prior to printing out onto a \s{laser printer}. + +\g{PDL} +see \s{page description language}. + +\g{Perfect binding} +a common method of binding paperback books and some +large magazines. After the printed sections have been +\s{collated}, the spines will be ground off and the cover +glued on. + +\g{Period} +see \s{full point}. + +\g{Photo-digitiser} +see \s{digitiser}. + +\g{Photo-typesetter (photo-setter)} +see \s{typesetter}. + +\g{Pic} +a photograph. + +\g{Pica} +a printing industry unit of measurement. There are 12 +\s{points} to a pica, and 6 picas to an inch. + +\g{Pi fonts} +characters not usually included in a \s{font}, but which +are added specially, such as mathematical symbols. + +\g{Plate} +a perfect impression of \s{camera-ready copy} from which +actual copies of a publication are printed on a printing +\s{press}. + +\g{Point} +the standard unit of \s{typesize}.There are exactly +72.27~points to an inch, although many systems assume +72~points to the inch. A \s{typeface} is typically +defined by its pointsize, such as 10 point Times Roman, +or 12 point Helvetica. A \s{typeface} or \s{font} is +measured from the top of the highest \s{ascender} to the +bottom of the lowest \s{descender}. + +\g{Portrait} +an upright image or page, where the height is greater +than the width. The opposite of \s{landscape}. + +\g{Positive} +an alternative method to \s{negative} film. + +\g{PostScript} +a \s{page description language} +developed by Adobe Systems, Inc. for describing graphics +output. The PostScript language is independent of the +\s{resolution} of the output deviceand is understood by a +range of PostScript compatible \s{laser printers} as well +as some \s{typesetters} like the Linotron 300. + Most \dtp\ software includes a \s{driver +program} to convert the on-\s{screen} page \s{layout} for +printing on any PostScript device. Many \s{fonts} are +available in PostScript format, and +PostScript permits clever effects, such as rotating and +skewing of graphic images. + +\g{Print engine} +the essential part of a \s{page printer} which performs +the physical task of printing a page. The number of +different print engines is very much lower than the +number of brand names of printers. It is distinct from +a \s{raster} image processor (\s{RIP}), which creates an +image then controls the printing process. + +\g{Printer driver} +software within the \dtp\ program that converts the page +\s{layout} codes into those understood by a particular +type of \s{laser printer} or \s{typesetter}. It +is important to ensure that the \dtp\ software +includes a driver program to work with your +chosen printer. The most +commonly supported \s{printers} include Hewlett Packard's +Laserjet series of printers, and all \s{PostScript} +devices. + +\g{Proof} +a photocopy of a \s{typeset} page \s{layout} for +correction and approval. In \dtp, a publication could be +draft proofed onto a \s{laser printer} prior to being +sent to a \s{typesetter}. Laser printer output could +instead be used directly as \s{camera-ready copy}, +provided the \s{resolution} meets printing requirements. + +\g{Proof correction marks} +a standard set of signs and symbols manually inserted +in the preparation of text for typesetting, and to +indicate corrections on \s{proofs}. Marks are placed both +in the text and in the margin. + +\g{Proportional spacing} +a method of spacing whereby each character is spaced to +accommodate the varying widths of letters or figures, so +increasing readability. A letter m for example, would +occupy more space than a narrower i or j. Most +\dtp\ packages assume the use of proportionally spaced +\s{fonts}, although a \s{monospaced} {\tt typewriter +style} font is usually also available. + +\g{Pull-down menus} +see \s{menus}. + +\g{Quadding (quads)} +the addition of space to fill out a line of text, using +\s{em} or \s{en} sized blocks. + +\g{Quarto} +a standard book size. + +\g{Quotes} +``quotation marks'', or a small piece of \s{text} taken +out of the \s{body copy} and set in \s{display type} to +add emphasis or break up a page. + +\g{Ragged (ragged edge)} +non-\s{aligned} text where lines end at different places +in the right-hand margin (ragged right), or left-hand +margin (ragged left). See also \s{ranged left/right}. + +\g{RAM} +Random Access Memory. See \s{memory}. + +\g{RAM cache} +some \dtp\ programs permit you to use part of the +computer's \s{RAM} as if it were a temporary disc --- it +can be used to store documents, but its contents will be +lost when the computer is powered off. + +\g{Ranged left/right} +Another term for \s{ragged}, or non-\s{justified} text, +where successive lines of type are +aligned at either the right or left hand side of the page. + +\g{Raster} +a regular array of dots or lines. Raster image +\s{fonts}, for example, are not formed characters, but +are drawn as a pattern of dots, as in most \s{laser +printers} and \s{typesetters}. Most have a raster image +processor (RIP), which +interprets software instructions in order to construct +an image for printing. + +\g{Recto} +the right hand page of a two page \s{spread}. See also +\s{verso}. + +\g{Reference marks} +symbols used in text to direct the reader to a footnote, +or similar reference. Examples include the asterisk (*), +dagger (\dag), double dagger (\ddag), section mark (\S) +and paragraph mark (\P). + +\g{Register} +the correct positioning of an image especially when +printing one colour on another, using illustrations +generated from \s{colour separated artwork}. `Out of +register' printing has multi-colour shadows around the +edges, and no true colour in the middle of the picture. + +\g{Resolution} +the definition of display capability often described in +terms of pixels on the \s{screen} or \s{dots per inch} +(dpi) on the printed page. \s{Laser printers} generally +have a resolution of 300 dpi, whereas \s{typesetters} +have a minimum of 1000 dpi, resulting in higher quality +output. See also \s{screen fonts} and \s{camera-ready}. + +\g{Reversal (reverse out)} +an image with white lettering or +illustrations on a black background. Sometimes known as a +`WOB' (white on black). + +\g{RIP} +see \s{raster}. + +\g{River} +a line of white space running downwards within a +\s{column} or page of \s{text}. Caused by poor +\s{justification}, a lack of \s{hyphenation}, or the use +of too large a \s{type size} for the column width. + +\g{Roman} +the basic style of \s{type} --- a \s{font} which has +vertical stems as distinct from \s{italics} or oblique +which are set at angles. + +\g{Run} +the number of copies a printer is required to produce. + +\g{Run around} +\s{text} which flows around the shape of a \s{graphic} +or picture. Most \s{wysiwyg} \dtp\ packages include this +feature. + +\g{Run on} +extra copies required from a printer after the \s{run} +is complete. + +\g{Running foot} +another name for a \s{footer line}. + +\g{Running on} +starting a paragraph immediately after the previous one +with no break. + +\g{Running head} +another term for a \s{header line}. + +\g{Saddle stitching} +a method of binding where the folded pages are stitched +through the spine from the outside, using wire staples. +Usually limited to 64 pages size. + +\g{Same size (s/s)} +where \s{graphics} do not require \s{scaling}. + +\g{Sans serif} +a \s{typeface} that has only straight edges, with no +\s{serifs}, such as Helvetica. + +\g{Scaling} +resizing a \s{graphic} image --- reducing or enlarging it +to fit a space in the page layout without losing any of +the image, i.e.~ no \s{cropping}. Also refers to the +process of obtaining additional \s{font} sizes, based on +an original \s{design size} for the font. + +\g{Scanner} +a machine similar to a \s{digitiser} which can turn +images on paper into electronic information for use in +\dtp\ programs. It is the normal means of introducing +\s{artwork}, photos or \s{logos} into a document. The main +varieties are flatbed or roller fed scanners, and quality +depends on the number of grey scales they can use. +Scanners require a lot of \s{memory} in the computer and +printer, as well as \s{hard disc} space --- an \s{A4} +size image at 300 dpi \s{resolution} can take 1MB. + +%\g{Schoolbook} +%see \s{Century Schoolbook}. +% +\g{Screen} +in traditional printing, a device which breaks up +\s{continuous tones} into a series of black and white +dots (see \s{screening}). In \dtp, the monitor +or VDU used for the input and design of page \s{layouts}, +and page \s{make up}, and display of a representation +of the finished pages using \s{screen fonts}. The +\s{wysiwyg} \dtp\ systems tend to use a \s{wimp} +environment, whereas \s{markup} systems usually include a +screen \s{preview} of the layouts. + +\g{Screen font} +a \s{font} intended for display on a computer +\s{screen}. These fonts tend to be at a lower +\s{resolution} than the printed version, due to +limitations in the display hardware. + +\g{Screening} +a process of turning \s{continuous tones} in an image +such as a photograph, into \s{half-tones}. A \s{scanner} +provides one means of screening photographs and line art +for inclusion in the page \s{layout}. + +\g{Serif} +a small curved cross stroke at the +end of the main stroke of the letter. \s{Typefaces} +which are serifed include Times Roman and Garamond. + +\g{Set} +to \s{typeset} a document. Also used within \dtp\ to +refer to the formatting of pages, irrespective of +whether they are to be typeset on a \s{typesetter}, or +just \s{laser printed}. + +\g{Set solid} +text set without \s{leading} (line +spacing) between the lines, such as a 10 point \s{font} +on 10 point leading (10 on 10). + +\g{Sheet fed} +a type of printer used for small print \s{runs} where +single sheets of paper are fed through one at a time. + +\g{Side heading} +a subheading set flush into the text at the left edge. + +\g{Signature} +groups of pages which are then joined together in +\s{binding}. + +\g{Size up} +to increase text by an increment of 1~point. + +\g{Sizing} +working out the reduction or enlargement of a graphic or +photograph for inclusion on a page. See also \s{scaling}. + +\g{Small Caps} +see \s{Caps and small caps}. + +\g{Soft hyphen} +also called a discretionary hyphen. A specially coded +hyphen which is only displayed when formatting requires +the word to be split at the end of a line. + +\g{Solid} +rules, lines or bars. Also used to describe text which +has no \s{leading} (see \s{set solid}). + +\g{Solid setting} +see \s{Set solid}. + +\g{Spread} +two facing pages (\s{recto} and \s{verso}) which can be +viewed together on \s{screen} in a \dtp\ system. To +acieve this on a normal size screen, the smaller sizes +of \s{fonts} may be \s{greeked}. It is important to get +the design of spreads correct since they will be viewed +simultaneously by readers. + +\g{Spot colour} +the ability to place a tint or colour on a page, such as +for a box or a heading. Much cheaper than using full +colour. + +\g{Squared up} +tones which are to be reproduced in square or rectangular +shapes. + +\g{Stem} +the main vertical stroke making up a \s{type} character. + +\g{Stories} +individual articles for inclusion in a publication. + +\g{Strap} +a sub-heading used above the main headline in a +newspaper article. + +\g{Sub-editing} +checking \s{copy} for \s{house style}, grammar, +spelling, accuracy and so on. + +\g{Subscript (or inferior)} +the small characters set below the normal letters or +numbers, as in H$_2$0. + +\g{Superscript (also superior)} +the small characters set above the normal letters or +numbers, such as $E=mc^2$. + +\g{Tabloid} +a standard newspaper size. In \dtp\ terminology this is +taken to be A3 size, although most \s{laser printers} +can only print onto \s{A4} paper. + +\g{\TeX} +a document formatting system adopting the \s{markup} +approach, which runs on a wide variety of computer +systems. Many versions also support \s{screen preview}. +It is a \s{typesetting} system, printing +out onto a range of \s{laser printers} and +\s{typesetters}, as is especially suited to the +production of high quality mathematical, scientific and +technical texts. + +\g{Text} +also called \s{copy}. Words or characters without +reference to the \s{font} and \s{typeface} in which they +will eventually appear when \s{typeset}, or \s{laser +printed}. The \dtp\ software will determine the font and +typeface to use. Also used to refer to the +written or printed material which forms the main \s{body} +of a publication. + +\g{Text type} +\s{typefaces} used for the main text of written +material. Generally no larger than 14 \s{point} in size. + +\g{Thin space} +the thinnest space normally used to separate words. + +\g{Thumbnails} +like a \s{flatpan} but can include a basic design for +each page. + +\g{Times Roman} +a \s{serifed typeface}, very widely used in +\s{typesetting} and \dtp\ work. Variants of this +typeface may be referred to as `Dutch'. + +\g{Tints} +creating various degrees of shading from one colour by +altering the size or density of dots in the +background. + +\g{Type} +printed or \s{typeset} characters. + +\g{Typeface} +in traditional hot metal \s{typesetting}, the raised +surface carrying the image of a \s{type} character +cast in metal. Also used to refer to a complete set of +\s{font} styles. Examples of typefaces +include Helvetica, Garamond, or Times Roman. Within each +typeface are a range of font styles, such as +Helvetica Bold, Helvetica Italic etc. A set of +visually related typefaces with differing +styles is also called a family of typefaces, or +\s{font family}. Some \dtp\ packages confuse typefaces +with fonts. + +\g{Typesetting} +the process whereby \s{text} or \s{copy} is turned +into high quality output comprised of one or more +\s{typefaces} using a \s{typesetter} machine which +photographs onto \s{bromide}. \s{Graphics} may be +included at this stage, or alternately the \s{artwork +pasted in} afterwards. Some \dtp\ packages will allow you +to convert files for printing on a typesetter as opposed +to a \s{laser printer}, particularly those using the +\s{postScript} language. + +\g{Typesetter} +a printing machine that \s{sets type} by a photographic +process, or on to photographic film (\s{bromide}). It +allows for a high \s{resolution} of at least 1000 dots per +inch, producing very high quality \s{typeset} output. + +\g{Typo} +an abbreviation for a typographical error --- an error +in the \s{typeset copy}. Sometimes also called a +\s{literal}. + +\g{Upper case} +the capital letters in the alphabet, like A, B, C etc. + +\g{Verso} +the left hand page of a two page \s{spread}. The opposit +page is \s{recto}. + +\g{Visual} +a rough idea, or sketch of what the finished work will look +like. + +\g{Web fed} +a type of printing \s{press} which accepts paper from a +large roll. + +\g{Weight} +the degree of boldness or thickness of a letter or +\s{font}. + +\g{Widow} +the first line of a new paragraph, left stranded at the +bottom of a page. + +\g{WIMP} +\s{windows}, \s{icons}, \s{mouse} and \s{pull-down +menus}. An `easy to use' working environment +incorporated into most \dtp\ systems, particularly the +\s{wysiwyg} variety. Text and graphics are highlighted +and manipulated on \s{screen} by using the mouse pointer, +and commands to control \s{formatting} are chosen from +selected iconographic images and/or pull-down menus. +Separate displays may be overlaid on the same screen by +use of windowing. + +\g{Windowing} +the facility to have more than one progarm or display +visible on \s{screen} at the same time. Many +\dtp\ packages incorporate some form of +windowing, such as Digital Research's GEM or Microsoft +Windows on the IBM-PC. The Macintosh incorporates +windowing as standard. + +\g{WOB} +see \s{reversal}. + +\g{Word processor} +software used to generate \s{text} prior to reading the +word processor file into the \dtp\ package. Most \dtp\ +software only has very limited text \s{editing} +facilities, so that the bulk of text creation should +first be done in a word processor or editor program. Many +\dtp\ packages will accept files in a variety of word +processor formats, although generally only the +word processor's \s{font} change commands will be +retained. Any page \s{layouts} must then be reinstated +using commands from within the \dtp\ software. Some +\dtp\ packages will however allow \dtp\ commands to be +embedded within the text in the word processor, to be +automatically converted when the file is read into the +\dtp\ program. + +\g{WYSIWYG} +What You See (on the \s{screen}) Is (more or less) What +You Get (on the paper). + +\g{X-height} +the height of a letter excluding the \s{ascenders} and +\s{descenders}, such as the height of an x. + +\bye diff --git a/info/digests/texline/no7/joan.tex b/info/digests/texline/no7/joan.tex new file mode 100644 index 0000000000..f34c720d5f --- /dev/null +++ b/info/digests/texline/no7/joan.tex @@ -0,0 +1,59 @@ +\centerline{\bf SGML Users' Group Meeting} +\medskip +\noindent +A meeting of the {\sc sgml} Users' Group took +place at the British Standards Institution in London time +on January 11th, 1988. It was informative with software demonstrations +taking place at the back of the room in the break periods. + +{\sc sobemap} products were presented by Joan Smith and +Jean-Pierre Gaspart, introducing new releases of the +full features parser, as well as new products +destined to enter the marketplace. Among these were +an interactive editor intended as an authoring tool, +a formatter, and a graphical editor. This last product would enable document +type definitions ({\sc dtd}s) to be represented graphically, +and also {\sc sgml} databases. In this way hypertext +applications would become possible. If you have an {\sc ibm} +or compatible pc, and are at a university (or other educational +institution), {\sc sobemap} will make the parser +available free of charge for teaching or basic research. +More details of this offer are given in the next article. + + +Martin Bryan of Quorum followed with +a very practical look at {\sc sgml} from typesetting markup +through to {\sc sgml} itself, listing +the advantages of going to {\sc sgml}. His advice was to +take a simple +starting point, using no more than twenty tags to markup a manual, treating +tables, figures, and other exotic elements as externals. +The main advantage of {\sc sgml} was its rigour, checking the document +against its previously formulated description. + +Elsevier is already taking the {\sc sgml} route. Jan Bleeker +described a study carried out prior to their +adoption of the standard. A start has been made with bibliographic data and +abstracts, and there are plans for electronic document delivery and +making the publication process electronic, in addition to the +availability of information through a database host for the provision of secondary +services. + +A parser under consideration by Elsevier was that developed at the +Free University of Amsterdam. The author of this, Jos Warmer, spoke +of its capabilities --- it is for basic {\sc sgml} and has been tailored +to the Elsevier {\sc dtd}. Next on his wish list is an interactive +editor, within a two-year timescale. + +Mike Cowlishaw of {\sc ibm} rounded off the day with a very professional +presentation of {\sc lexx}, the structured editor developed whilst +he was seconded to the New Oxford English Dictionary project. The +examples were illustrated in glorious technicolour as +he gave a slide show on the capabilities of the editor. The snag is +that you need a blue mainframe for this product. + +The next meeting of the Group is April 11th, again +at the {\sc bsi} in London. All are welcome. + +\rightline{\sl Joan Smith} + diff --git a/info/digests/texline/no7/kleper.tex b/info/digests/texline/no7/kleper.tex new file mode 100644 index 0000000000..af131df82f --- /dev/null +++ b/info/digests/texline/no7/kleper.tex @@ -0,0 +1,97 @@ +\centerline{\bf Book Review} +\medskip\noindent +{\it The Illustrated Handbook of +Desktop Publishing and Typesetting, +Michael L Kleper, 770pp, +John Wiley, \quid24.25, {\sc isbn}:0 83060 700 5.} +\smallskip\noindent +Weighing in at 2.1 kilos, and with a page size +of $11 \times 8.5\,$inches, this is a substantial +book. +My first reaction was one of +disappointment, since the text gives the appearance of +having been assembled from +lots of other bits and pieces. Naturally, it does +contain a wealth of useful information even if +that information is not always easy to find (this will +come as no hardship to \TeX ies, inured to the +obscuratism of the \TeX book). + +To a large extent the book helps to reinforce my +suspicion that many aspects of typography are +intuitive, or at least, that there is little +urge within the typographic world to place +their art on a more accessible level. +Some of the `rules' of typography are in there, +and where explanations are known, Kleper gives them. +This leaves a lot which is merely prescribed +(not Kleper's fault by any means). At least he does +describe the processes which go on (or went on) in +traditional printing (that is, publishing before +the introduction of the desktop: what on earth did they +do without desk tops?). + +But in the end I'm left with a hollow feeling +that there isn't much theory in there. Kleper is +at his best, and most voluminous, when he describes +some of the multitude of systems around. This +probably contributes to about 75\% of the book. +Fortunately, it isn't just a re-hash of {\it PageMaker\/} +but includes some genuine typesetting systems, +and from time to time includes information about +the `anecdotal' history behind the hardware +and software. As a trivia lover I find +this most illuminating, but I do wish that some of +the descriptions didn't sound like reworkings +of manuals. On the other hand, I was fascinated to learn +that the first successful machine that Ottmar Merganthaler +(known in his home village as ``cleverhead'') +installed in the offices of +the {\it New York Tribune} in +July 1886 had the entire process of +character assembly, justification, casting, and distribution +under the control of a single operator. Plus \c ca change. + +At a historical level, +the book is quite useful, but Kleper's approach +to history is really at the anectodal or +straight factual level. He draws +no inferences, nor does he place technological innovation +within the social framework of the time. This is +quite understandable, but often infuriating. + +Kleper makes some creditable attempts to answer the +questions `Why typeset at all?' and `When should I typeset in-% +house?' Too often it seems that dtp\slash typesetting +is taken for granted as a good thing --- the latest +gadget, without which no street-credible +thrusting innovative hitch-hiker's guide writer can survive. + +One of the criteria for any book in this general subject +area is how it handles \TeX. \TeX\ in fact gets +two pages, and what Kleper chooses to emphasise +is its `output device independence'. Actually, this +is one of the redeeming aspects of the book. +Dtp is not taken to imply merely +Pagemaker\slash +Ventura\slash Xpress\slash RSG!4. And output +devices are not merely laser printers. +{\it Wysiwyg} is merely one +approach among many. This book does help to broaden +horizons. + + The early chapters bring together a good +amount of material which seems often to be taken +for granted. Many of the illustrations are useful too. +At last I know how ugly a Linotype hot-metal +machine was. +Some of the systems described are available only +in the US, and the `Helpful Sources of Information' +Appendix, as you would probably expect, is +very US-oriented. But even if I was to remove +all the superflous material, and end up + with a smaller, more compact +book (which would be handy), it would still +represent terrific value for money. + +\rightline{\sl Malcolm W. Clark} diff --git a/info/digests/texline/no7/last.tex b/info/digests/texline/no7/last.tex new file mode 100644 index 0000000000..fdc8865b40 --- /dev/null +++ b/info/digests/texline/no7/last.tex @@ -0,0 +1,5 @@ +\input texline +\pageno=19 +\input atari-st\bigskip +%\input about-face\bigskip +%\input contributers diff --git a/info/digests/texline/no7/laurie.tex b/info/digests/texline/no7/laurie.tex new file mode 100644 index 0000000000..d5bfc08682 --- /dev/null +++ b/info/digests/texline/no7/laurie.tex @@ -0,0 +1,151 @@ +\def\sect#1{\smallskip{\bf\leftline{#1}}\par\noindent\ignorespaces} +\centerline{\bf Preview in the Public Domain} +\medskip\noindent +This note describes a previewing system for \TeX\ on an {\sc ibm-pc} with a Hercules +compatible graphics screen. +The system is implemented as a pair of programs --- the first program creating +the bitmap file for the screen and the second displaying it. + +\sect{Background} +The incentive for writing this tool was to allow me to preview the +\TeX\ |.dvi| files from the {\sc c-tex} program +written by Pat Monardo. +Having established that {\sc c-tex} worked in a {\sc pc-dos} environment, there was no +way of examining the output on the screen without paying out hard cash for a +commercial previewer. + +The main priority in deciding how to implement a previewing system was that +while the time taken to generate the |.dvi| and other intermediate files was to +a certain extent immaterial, the speed of viewing of the output should be +dictated by the user, rather than be restrained by the computational +processing ability of the {\sc pc}. +My initial experiments with {\sc c-tex} showed that processing +\TeX\ files was a fairly leisurely process on an {\sc xt}-class machine. The +cpu-bound nature of the task was all the more apparent with the +Beebe (University of Utah) +|dvi| driver code generating a bit map output. +Thus generating the screen in real-time could be intolerably slow. The notion +of a post-previewer was formed. + +The Beebe Apple Imagewriter driver is used as a base for the screen driver, as +both the screen and that particular printer require a bit-mapped file. +The modifications required to convert to a new output format were minor. +The new derivitive of the device driver is called {\sc dviherc}. + +The prototype of the screen viewing program was a very crude minimal +implementation. It just displayed a screen's worth at a time. A resolution of +92 dpi was originally tried which would allow an A4 page to be represented as +$n$ screens deep by one screen wide. Unfortunately however, the +{\sc cmr\oldstyle10} font +generated at that resolution was too squiggly --- any resemblance +between this and the 300 dpi version was entirely accidental. +As the Hercules card is capable of holding two screens in its display buffer, +it seemed logical to double the resolution by displaying a page as {\it n} +screens deep by two screens wide. With the two screens in the card's buffer, the +display could be flipped between the left and right halves of the page +virtually instantaneously. The modifications to both {\sc dviherc} and +{\sc hview} ({\sc texview}'s prototype) to allow this were +trivial. The image quality at 174 dpi (the nearest legal setting to 180) was +vastly superior to the previous test. + + +\sect{The system} +The previewer system is a tool developed for my own use of \TeX\ developed +mostly in my spare time. The only screen adapter supported is the Hercules +monochrome graphics type. To make the system portable I have removed the +dependency of the pilot program for the Hercules {\sc graphx} toolkit utility. +{\sc texview} is not restricted to displaying files produced by +{\sc dviherc}; any picture graphics files can be displayed so long as they conform +to the file format used. + +\sect{Description of {\sc texview}} +Upon loading, the program allocates all the available memory of the {\sc pc} for +cache buffers. The aim of this is twofold. +Firstly, the file reader task within the program attempts to be two pages +ahead of the screen. +Pressing any key to activate a command will interrupt the file reader almost +immediately. +If part of the file is already in the memory then the +time writing a new screen is minimised. On a typical {\sc pc-xt} clone the screen +update time takes about one second. +Secondly, a limited amount of reverse scrolling is possible if the cache data +has not been overwritten. On a {\sc pc} with 640\,Kbytes of memory the screen can be +rolled back by about four pages. + +In addition to the file `cache' the program uses two tables. One is used to +hold the cache locations of the page boundaries seen, and the other to hold the +locations of the screen boundaries within the current page. + +A user normally views the file by moving down a screenful at a time. Whilst he +is doing this the page and screen location descriptor tables are being built +up. For explanation purposes, the furthest point down the file reached by +moving a screenful at a time is known as the endpoint. +These tables enable a user to move backwards by either a screenful at a time +until the top of the current page is reached, or directly to the start of the +current page, or to the start of the previous page (assuming that it still +exists within the cache). +Once the user has moved back, he can move forward either by pages until the +endpoint has been reached, or normally by the screenful. +Thus a limited amount of movement from the current page is possible. + +The horizontal and vertical overlaps between screens are initially zero +pixels. These can be set to any reasonable values to aid in legibility when +viewing a file. If the horizontal overlap is changed, it is rounded to a +multiple of eight pixels in order to eliminate bit shifting. + +\sect{Using the system on a {\sc pc-xt}} +The usual cycle of commands in revising a document (analogous to the compile, +load and fail process when programming) is: + +\line{\quad{\sc virtex \it file} \hfil create a {\tt .dvi} file} +\line{\quad{\sc dviherc \it file \tt -m868}\hfil create a screen pixel file} +\line{\quad{\sc texview \it file}\hfil view it} + +\sect{{\sc texview's} limitations} +This implementation is certainly not frugal in its use of disc storage. +The set of {\tt .gf} files for magnifications up to magstep 2.0 occupy around +3\,Mbyte of disc space. The pixel files produced by {\sc dviherc} average around 100\,Kbyte +per full page of text. +{\sc texview} has some design limitations which I do not consider important +(because they don't affect me). These are detailed below. + +The screen descriptor tables are of a finite length. Thus should the vertical +overlap value be set to too high a value then reverse scrolling within a page +will be inaccurate. +A similar effect can be noticed with the page descriptor table. The length of +this is such, that in normal circumstances the limiting factor for +the number of pages that can be backscrolled is determined by the size of the +cache area. However, if the pages are very short then the descriptor table +would fill before the cache. + +The screen is reset to the left side after any screen movement. This could be +annoying for a user working in two-column mode. The obvious remedy is to +incorporate an additional command to enable or disable this effect. + +If the vertical overlap parameter is changed, then scrolling back by +screenfuls uses the value in force when the forward movements were executed +rather than the new value. + +A user cannot skip ahead either a page at a time (once the endpoint has been +reached) or to a specified page. Considering the profligate amount of disc +space used by the pixel files, the lack of such facilities is probably not of +consequence. + +\sect{Obtaining a copy} +Peter Abbott will be putting the set of files (sources, executables, |gf|s, and +threadbare installation and operating documentation) into the Aston +University \TeX-archive. +An announcement will be made in the {\sc uktex} electronic bulletin when the files are +available. +For people not connected to {\sc janet} I would be willing to write the files to a +set of supplied preformatted 1.2\,Mbyte or 360\,Kbyte diskettes. + +\sect{Support} +Any bug reports would be welcome, as would suggestions for improving the +viewing facilities. However, implementation of enhancements could be fairly +slow in execution as work on this project is mostly undertaken in my spare +time. + + +\rightline{\sl Laurie Benfield} + diff --git a/info/digests/texline/no7/markit.tex b/info/digests/texline/no7/markit.tex new file mode 100644 index 0000000000..73916713c6 --- /dev/null +++ b/info/digests/texline/no7/markit.tex @@ -0,0 +1,26 @@ +\centerline{\bf SGML software} +\medskip +\noindent +{\sc sgml} has recently moved into a more +accessible form with the introduction of +software suitable for micros. In +particular, {\sc sobemap} offers {\sc mark-it} +``a full features {\sc sgml} parser''. +It is written in {\sc C}, and will therefore run +on most computer systems, including the +ubiquitous {\sc unix} and {\sc ms-dos}. +{\sc mark-it} combines four processes --- +character translation, string replacement, validation +and the generation of processing instructions. + +{\sc sobemap} is offering a free software licence +for {\sc mark-it} +to universities and other higher education +establishments. Contact: +{\obeylines +Joan Smith, {\sc sobemap} +17 Tansa Road +London NW3 2UA +tel: 435 9300 +} + diff --git a/info/digests/texline/no7/meetings.tex b/info/digests/texline/no7/meetings.tex new file mode 100644 index 0000000000..22cc861a75 --- /dev/null +++ b/info/digests/texline/no7/meetings.tex @@ -0,0 +1,70 @@ +\centerline{\bf Forthcoming Meetings} +\medskip\noindent +{\bf RIAO 88}: User-Oriented Context-Based Text +and Image Handling, MIT, Cambridge MA, March 21--24 +1988. + +The sharp end of electronic publishing, with +very little about non-electronic documents. +It is very much an international conference, +although dominated by US and French researchers. +The conference cost is about \$300 or 1750FF (which +turn out to be about the same in sterling, despite the +demise of the dollar). Accommodation extra. +Contact: +{\obeylines +RIAO 88-CID +36 bis, rue Ballu +75009 Paris +France} + +\bigskip\noindent +{\bf EP88}: International Conference on +Electronic Publishing, Document Manipulation +and Typography, Nice (France), April 20--22, 1988. + +It's too late now to submit a paper to this conference +(apparently over 100 were submitted --- not in +abstract, but in full, final form --- and only +18 selected). There are 22 papers in the conference, +4 of which were invited (starring Richard Southall, +Brian Reid, Richard Morris, Peter Brown and I.~Mandel). +Being French, there is a proper 2-hour lunch break. +The cost is dependent on two things: whether you +are from a University or not, and whether you +pay the registration fees before or after March 15th. +The cheapest is 1,200\,FF (early, University), and +the most expensive 3,000\,FF (late, non-University). +This does not cover accommodation. +The programme suggests that there will be 400 +participants. +Contact: +{\obeylines +INRIA, Service des Relations Exterieures +``Bureau des Colloques'' +Domaine de Voluceau +Rocquencourt, BP 105 +F-78153 Le Chesnay Cedex +France +} + +\bigskip\noindent +{\bf Markup'88}: The Sixth International Conference +and Showcase on Standard Generalized Markup +Language {\sc sgml} and related topics, +Ottowa, Canada, May 24--26, 1988. + +Lots of initials in the titles of the talks, +some of which I can decode. The most notable +growth area is in {\sc sgml} software. +Cost, \$US440--560, depending on what group +you are a member of. This does not include hotel +accomodation. +Contact: +{\obeylines +Graphic Communications Association +1730 North Lynn Street/Suite 604 +Arlington +Virginia 22209-2085 +USA} +\vfill\eject diff --git a/info/digests/texline/no7/mitem.tex b/info/digests/texline/no7/mitem.tex new file mode 100644 index 0000000000..8808e42c09 --- /dev/null +++ b/info/digests/texline/no7/mitem.tex @@ -0,0 +1,25 @@ +\nopagenumbers +\newbox\leftside +\newbox\rightside +\long\def\entry#1{\let\p=\par\def\par{\strut\p\strut}#1} +\long\def\mitem#1#2{\parindent=0pt% +\global\setbox\leftside\vtop{\hsize70pt% +\everypar{\strut}\overfullrule0pt\noindent +\strut#1\strut} +\global\setbox\rightside\vtop{\tolerance=20000\hfuzz4pt% +\def\\{{\tt\char'134}}\hsize142pt +\everypar{\strut}\noindent +\strut#2\strut} +\box\leftside&\quad\box\rightside\cr +} +% +% +%\vbox{\tabskip=0pt%\offinterlineskip +%\halign{#&#\cr +%\mitem{This is on the left hand side}{While this +%very much longer entry is supposed to go on the right. +%I may have to say it a few times, just to get it right +%and to test it properly, but I think I can. +%\par +%And try a paragraph too} +%}} diff --git a/info/digests/texline/no7/pragma.tex b/info/digests/texline/no7/pragma.tex new file mode 100644 index 0000000000..2391222212 --- /dev/null +++ b/info/digests/texline/no7/pragma.tex @@ -0,0 +1,47 @@ +\centerline{\bf More Laser News} +\medskip\noindent +As the \PS\ snowball gathers momentum, +more and more laser printers are released which +support this standard. The more +recently introduced ones tend to have other +facilities too. +{\sc qms} laser printers have been used as \TeX\ +output devices for many years now. Pragma supply {\sc qms} +laser printers, and have two \PS\ offerings: +\smallskip\noindent +{\sc qms ps \oldstyle 810} --- the first \PS\ laser printer based +on the compact Canon {\sc sx} engine. It comes with +1\,Mbyte +of {\sc rom} and +2\,Mbye of {\sc ram}, expandable to 3\,Mbyte. +The 35 standard \PS\ fonts are resident. +Resolution is the usual 300\,dpi. Besides supporting +\PS\ there are resident emulations for the HP LaserJet+ +and for the {\sc hpgl} plotter language. It has a +recommended duty cycle of 5000 prints per month. +\smallskip\noindent +{\sc qms lg \oldstyle1510} --- designed for the high-volume, +complex vector and bit-mapped graphics environment. +It is based on the 300\,dpi Ricoh 4150 print +engine. The printer can process two fully bit-mapped +pages concurrently, thanks to 8\,Mbyte of +{\sc ram}. This together with an operating speed of 16\,MHz allows +a claimed speed of 15 pages per minute. The duty +cycle is suitably high at 15,000 pages per month. +It has fewer resident fonts --- only 16 --- but +other resident and downloadable fonts are available. +Besides \PS, it will support Tektronix 4010/4014 +emulation, +and {\sc qms'} proprietary pdl, {\sc quic}. + +For more information, contact: +{\obeylines +Peter Lamb +Pragma Ltd +Pragma House +Radlett Road +Colney Street +St Albans +Herts AL2 2EP +tel: 09276 3411 +} diff --git a/info/digests/texline/no7/psfig.tex b/info/digests/texline/no7/psfig.tex new file mode 100644 index 0000000000..eebc27dbd4 --- /dev/null +++ b/info/digests/texline/no7/psfig.tex @@ -0,0 +1,342 @@ + +%\hoffset=-0.1in +\voffset=-2pc +\raggedbottom +%\hsize=39pc %\vsize=59pc +%\maxdepth=2.2pt \parindent=1pc +\vsize=720pt +\hsize=6.5in +\baselineskip12pt +\parskip0pt +\parindent1em +\hfuzz1.5pt +\tolerance2000 + +\hyphenation{Post-Script} +% Page layout +\newdimen\pagewidth \newdimen\pageheight \newdimen\ruleht +\newdimen\colwidth \newdimen\bigcolheight +\colwidth=3.1in%19pc +\bigcolheight=1450pt%120pc +\pagewidth=\hsize \pageheight=\vsize \ruleht=.5pt +\abovedisplayskip=6pt plus 3pt minus 1pt +\belowdisplayskip=6pt plus 3pt minus 1pt +\abovedisplayshortskip=0pt plus 3pt +\belowdisplayshortskip=4pt plus 3pt + +\newinsert\botins +\def\afoot{\strut\egroup} +\def\botpic#1{\par + \insert\botins\bgroup\hsize=\pagewidth + \offinterlineskip + \interlinepenalty100 \let\par=\endgraf + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\botins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\botins=2000 % footnote magnification factor (1 to 1) +\dimen\botins=36pc % maximum footnotes per page + +\def\toppic#1{\par + \insert\topins\bgroup\hsize=\pagewidth + \interlinepenalty100 \let\par=\endgraf + \offinterlineskip + \leftskip=0pt \rightskip=0pt + \splittopskip=10pt plus 1pt minus 1pt \floatingpenalty=20000 + \medskip{#1}\medskip\egroup} +\skip\topins=12pt plus 2pt minus 4pt % space added when footnote is present +\count\topins=2000 % footnote magnification factor (1 to 1) +\dimen\topins=36pc % maximum footnotes per page + +\newinsert\margin +\dimen\margin=\maxdimen +%\count\margin=0 \skip\margin=0pt % marginal inserts take up no space + +\newif\iftitle +\def\titlepage{\global\titletrue} % for pages without headlines +\def\rhead{{\sl \TeX\kern-0.1em line 7}} + +\def\leftheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfil\folio % running head flush left + }} +\def\rightheadline{\hbox to \pagewidth{% + \vbox to 10pt{}% strut to position the baseline + \sl\rhead\hfil % running head flush left + \folio % folio to right of text + }} + +\def\onepageout#1{\shipout\vbox{ % here we define one page of output + \offinterlineskip % butt the boxes together + \vbox to 2pc{ % this part goes on top of the 44pc pages + \iftitle % the next is used for title pages + \global\titlefalse % reset the titlepage switch + \setcornerrules % for camera alignment + \else\ifodd\pageno \rightheadline\else\leftheadline\fi\fi + \vfill} % this completes the \vbox to 3pc + \vbox to \pageheight{ + \ifvoid\margin\else % marginal info is present + \rlap{\kern31pc\vbox to 0pt{\kern4pt\box\margin \vss}}\fi + \ifvoid\topins\else % top note info is present + \hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\topins + \vskip\skip\topins \kern-3pt + \hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \vskip\skip\topins \kern-3pt + \fi + #1 % now insert the main information + \vfill + \ifvoid\botins\else % bot note info is present + \vskip\skip\botins \kern-3pt + \hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \unvbox\botins + \vskip\skip\botins \kern-3pt + \hrule height\ruleht width\pagewidth \kern-\ruleht \kern3pt + \fi + \boxmaxdepth=\maxdepth + } % this completes the \vbox to \pageheight + } + \advancepageno} + +\def\setcornerrules{\hbox to \pagewidth{\vrule width 1pc height\ruleht + \hfil \vrule width 1pc} + \hbox to \pagewidth{\llap{\sevenrm(page \folio)\kern1pc}% + \vrule height1pc width\ruleht depth 0pt + \hfil \vrule width\ruleht depth 0pt}} + +\output{\onepageout{\unvbox255}} + +\newbox\partialpage +\newdimen\savesize +\def\begindoublecolumns{\begingroup + \savesize=\vsize + \output={\global\setbox\partialpage=\vbox{\unvbox255\bigskip}}\eject + \output={\doublecolumnout} \hsize=\colwidth \vsize=\bigcolheight + \advance\vsize by -2\ht\partialpage + \advance\vsize by -2\ht\botins + \advance\vsize by -2\ht\topins + \pagegoal=\vsize} +\def\enddoublecolumns{\output={\balancecolumns}\eject + \global\output={\onepageout{\unvbox255}} + \global\vsize=\savesize + \endgroup \pagegoal=\vsize} + +\def\doublecolumnout{% +% \splitmaxdepth=\maxdepth + \dimen0=\pageheight + \advance\dimen0 by-\ht\partialpage + \advance\dimen0 by-\ht\botins + \advance\dimen0 by-\ht\topins + \splittopskip=\topskip + \setbox0=\vsplit255 to\dimen0 + \setbox2=\vsplit255 to\dimen0 + \onepageout\pagesofar + \global\vsize=\bigcolheight + \unvbox255 \penalty\outputpenalty} +\def\pagesofar{\unvbox\partialpage + \wd0=\hsize \wd2=\hsize \hbox to\pagewidth{\box0\hfil\box2}} +\def\balancecolumns{\setbox0=\vbox{\unvbox255} \dimen0=\ht0 + \advance\dimen0 by\topskip \advance\dimen0 by-\baselineskip + \divide\dimen0 by2 \splittopskip=\topskip + {\vbadness=10000 \loop \global\setbox3=\copy0 + \global\setbox1=\vsplit3 to\dimen0 + \ifdim\ht3>\dimen0 \global\advance\dimen0 by1pt \repeat} + \setbox0=\vbox to\dimen0{\unvbox1} + \setbox2=\vbox to\dimen0 +% {\unvbox3} + {\dimen2=\dp3 \unvbox3 \kern-\dimen2 \vfil} + \global\output={\balancingerror} + \pagesofar} +\newhelp\balerrhelp{Please change the page into one that works.} +\def\balancingerror{\errhelp=\balerrhelp + \errmessage{Page can't be balanced} + \onepageout{\unvbox255}} + + + + + + + + +\newbox\caption +\setbox\caption=\vbox{ +\hsize=3in +\tolerance=2000 +\leftline{{\bf Portrait of the author on a windy day}} +\medskip +\noindent The picture at left originates from the +following PostScript fragment. +It is 6 inches square.\par +\medskip +{\tt\frenchspacing\parskip=0pt\parindent=0pt\obeyspaces +\def\pc{\char"25}\def\lb{\char"7B}\def\rb{\char"7D}\obeylines % +\pc\pc BoundingBox: 72 216 504 648 +72 72 scale +/picstr 64 string def +/imageshow \lb image showpage\rb def +1 3 translate 6 6 scale +128 128 8 +[128 0 0 128 0 0] +\lb currentfile picstr readhexstring pop\rb +imageshow +967B8D9AA3A7B9B9B9B077614B343027 +27303D42463D3D343434343434302C2C + +\pc\ 1020 lines of hex digits omitted + +534B5358585358585353585861535861 +5858615C5C535C585C61655C5C61615C +}} +\count0=4 +\font\sc=cmcsc10 +%\psdraft +\def\PS{{\sc PostScript}} +\def\PSF{{\it psfig\/}} +\def\Special{{\tt\char"5C special}} +\def\Vbox{{\tt\char"5C vbox}} +\def\input{{\tt\char"5C input}} +\def\Psfig{{\tt\char"5C psfig}} +\def\LaTeX{{\sc L\kern-.36em\raise.3ex\hbox{a}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\bslash{\char"5C} +\def\blob{$\star$} +\def\lb{\char"7B} +\def\rb{\char"7D} +\hrule height 0pt +\botpic{\hbox to \pagewidth {\vbox to 3 in {\vss}\hss +\vbox to 3in {\vss\box\caption\vss}}} +\begindoublecolumns +\centerline{{\bf \TeX\ and graphics --- the {\it psfig\/} package}} +\medskip +\noindent How do you include figures and diagrams in \TeX\ documents? +In traditional publishing you'd probably reserve some space with +a \Vbox\ and paste in a carefully hand\-drawn, photo\-reduced, +cropped illustration. +But this is 1988 and Desktop Publishing is all the rage, so you +want to do everything electronically. +And you can't help feeling rather envious of those people with +{\it Pagemaker\/} and its friends who seem to be able to do +this sort of thing at the click of a mouse button. +After all, aren't we \TeX\ users supposed to be at the leading edge +of electronic publishing? +How come the Macintosh people can do it and we can't? +Well, the simple answer is just one word --- \PS. +(Wake up, Malcolm!) +If you have a \PS\ device all the software you need for scaling, +translating, and clipping your graphics is actually present in the +printer --- all you have to do is to invoke these functions with +the right parameters. +This is what the \PSF\ package achieves automatically. +If you don't have a \PS\ printer or typesetter for your \TeX\ output --- get +one! + +\PSF\ originates from the University of Pennsylvania and was advertised in +\TeX hax early last year. +It consists of a set of \TeX\ macros that you can \input\ at the start of +a Plain \TeX\ job or declare as a \LaTeX\ style option. +\PSF\ assumes that your diagrams exist as separate \PS\ files on the +system you use for \TeX ing. +This lets you prepare your figures using whatever software you might care +to use, provided that the end result is a file of \PS. +At Daresbury there is widespread use of the {\sc ghost-}{\oldstyle 80} graphics package from +{\sc ukaea} Culham, and also {\sc sas}-graph, which can +both generate \PS, and there are tricks for capturing \PS\ +output from {\it MacDraw\/} and other graphics programs +running on PCs. \PSF\ also likes your \PS\ file to have a +``bounding box'' comment near the beginning. +This tells \PSF\ the `natural' size of the \PS\ figure --- i.e. the coordinates +of the bottom left and upper right corners of the figure in the initial \PS\ +coordinate frame. +If the software used to create the figure does not generate a suitable +bounding box comment you can edit one in by hand or supply the information +when you tell \TeX\ to place the figure. + +Suppose you have an picture in the file {\tt mypic.ps} and you want +it centred horizontally and scaled to be just 3 inches high. +A simple way to achieve this is to say +\vskip 0.2ex +\centerline{\tt\bslash centerline\lb\bslash psfig\lb figure=mypic.ps,% +height=3in\rb\rb} +\vskip 0.2ex +\noindent The \Psfig\ macro reads and parses the lines of the {\tt mypic.ps} file +looking for its bounding box comment. +This enables it to compute the desired width of the figure (keeping its +aspect ratio constant) and to reserve a \Vbox\ of exactly the right size. +Within the \Vbox\ \PSF\ inserts \Special\ control sequences which +propagate scaling information and the name of the included \PS\ file +to the {\tt dvi} file. + +More sophisticated effects can be achieved with further arguments in the +\Psfig\ call. +These include:\par +{\parindent=1em\parskip=0pt +\item{\blob}overriding the figure's bounding box comment; +\item{\blob}anamorphic scaling of the figure by giving both +a {\tt width=} and a {\tt height=} argument; +\item{\blob}specifying explicitly the size of the \Vbox\ that \TeX\ +reserves for the figure. +This can be used to overlap figures and text, for example; +\item{\blob}clipping the figure to an explicit bounding box. This +could be used to extract just a part of a larger figure; +\item{\blob}a draft mode where space is reserved for figures but +the figures are suppressed from the output; +\item{\blob}inclusion of a \PS\ prologue file such as the notorious +{\it LaserPrep\/} procedures needed for the correct interpretation +of {\it MacDraw}, {\it MacChart}, etc., output. +\par} +\PSF\ requires surprisingly little support from a {\tt dvi} to \PS\ device +driver. +Essentially just two \Special s are needed: +one assumes that its argument is a fragment of \PS\ to be propagated +unchanged to the output, and the second assumes that its argument is the +name of a file of \PS\ which is to be included, also unmodified, in the +output. +The first type of \Special\ is used to establish the \PS\ environment +(principally the current transformation matrix) in which the \PS\ +included by the second \Special\ is executed. +The work of transforming the original figure is done by the +graphic transformation machinery in the %\PS\ +printer when the output is +printed. +This is in distinct contrast to the code needed in, say, a {\tt dvi} to LN03 +device driver to achieve the same effect, and exemplifies the power +and generality of the \PS\ language. + +To sum up, the \PSF\ package is a practical way of integrating figures +with \TeX\ documents. +Figures can be originated using any software package that can output \PS. +It requires only elementary device driver support for \Special s. +We have found it quite adequate for scientific papers and technical manuals +requiring, for example, graphs of experimental data or schematic +diagrams. +It's tolerably simple to use and works quite nicely with the \LaTeX\ +{\tt figure} environment. +Of course, \PSF\ is firmly in the \PS\ world. +The \LaTeX\ {\tt picture} environment and the Pic\TeX\ package are +device independent but the former supports only a limited range of vector +orientations and circle diameters and the latter, though general, is restricted +to relatively simple line graphics if \TeX's memory capacity is not to be +exceeded. +Under {\sc unix}, {\tt tpic} does for \TeX\ what {\tt pic} and its friends do +for {\tt troff}, but appears to be available only to licencees of {\sc at\&t'}s +{\tt ditroff} typesetting software. +The \TeX tyl system avoids overloading \TeX\ by passing graphics primitives +transparently in {\tt\bslash special}s and relying on a {\tt dvi} postprocessor +to expand them into a (large) {\tt\bslash special}-free {\tt dvi} file. +But for my money +\PS\ is really the only choice today if you must have integrated +text and graphics.\par +%(Sorry, Malcolm!) + +\rightline{\sl David Brightly} +%\leftline{Daresbury Laboratory, SERC} +%\leftline{Warrington, WA4 4AD} +%\leftline{0925 603574} +%\leftline{Janet: {\tt brightly @ daresbury}} +\enddoublecolumns +\toppic{\vbox{\centerline{\vbox to 4.7 in {\vss}}\medskip +\centerline{\bf Mapping the original picture {\it(left)\/} into the +\TeX\ page {\it(right)\/}}}} + +\end diff --git a/info/digests/texline/no7/public-do.tex b/info/digests/texline/no7/public-do.tex new file mode 100644 index 0000000000..fc6d2c479d --- /dev/null +++ b/info/digests/texline/no7/public-do.tex @@ -0,0 +1,69 @@ +\centerline{\bf Public Domain} +\medskip +\noindent +\TeX\ itself is public domain software, +but much of the support software that you +need, like drivers for screen or laser printer, +is not. However, if you are a confirmed +believer in the public domain, such that you are +prepared to spend some time getting +other people's programs to work on your system, +you can probably put together an entire +working \TeX\ system for (almost) free. +This is certainly true for {\sc ms-dos} systems. +The following note assumes that you have +access to some support software, like compilers +and an editor (although there are lots of +public domain editors around too). + +First, \TeX\ itself. There are a number of +sources for \TeX. I assume you don't want +to type it in yourself from the book. +There are the two C-\TeX\ versions mentioned +in the last \TeXline. Pat Monardo's certainly +works, and is fairly easily available over +{\sc janet} from Aston University's \TeX-archive. + +So far, so good. Preview on {\sc ms-dos} would seem to be +taken care of by Laurie Benfield's Hercules previewer. +If this does not suit you, there is a suite of +{\sc pc} previewers written by Will Sullivan at +University College, Dublin which is available from +the Lancaster University public domain archive. +I'll try to obtain more details on this for a future +\TeXline. + +Let's assume that you want a printer driver next. +Here there is quite a choice. Since \PS\ is obviously +what everyone wants, you can choose between +(at least) Andy Trevorrow's Modula-2 and Nelson Beebe's +C family. Again these are available from Aston. +On the other hand, because you are trying to +do this cheaply, you are more likely to have bought +a good cheap LaserJet Plus emulation laser printer +(say about \quid1600 rather than \PS's outrageous +\quid3500 plus), and one of the Beebe drivers is +probably a better bet. The only real difficulty +with the Aston archive is finding what you want. +There is so much stuff in there (some of it +looks duplicated) that I'm rarely sure that I've found +the right things. + +You might also want the \LaTeX\ style files mentioned +earlier in this issue, and again they are +available from Aston. + +In order to use the Aston archive you will need the +directory index file: this has the name\hfil\break +{\tt aston.kirk::[public]000directory.list} \hfil\break +If you cannot access {\sc janet} you are rather +left out. Some help is at hand. I can currently supply +C-\TeX\ and the \LaTeX\ style files on floppy. +I will shortly be evaluating the laser printer drivers, +and may be in a position to make them available +too, at some future date. In fact, my longer term +goal is to be able to provide a complete public +domain \TeX\ installation for {\sc ms-dos} including +device drivers. + +\rightline{\sl Malcolm W Clark} diff --git a/info/digests/texline/no7/reading-m.tex b/info/digests/texline/no7/reading-m.tex new file mode 100644 index 0000000000..b161e8da48 --- /dev/null +++ b/info/digests/texline/no7/reading-m.tex @@ -0,0 +1,252 @@ +\centerline{\bf Stuff to read} +\medskip +\noindent +$\star$Markup Systems and the Future of Scholarly Text +Processing, James H. Coombs, Allen H. Renear +and Steven J. DeRose, {\it Communications of the ACM}, +November 1987, 30(11) 933--947. + +Although this article promotes descriptive mark\-up +systems over procedural markup, it is really +supporting {\sc sgml}. They reject \LaTeX\ since +``even the beginning \LaTeX\ user must +think in terms of low-level markup'', and cite the +need to separate contiguous quotation marks by +a thin space. +\smallskip\noindent +$\star$\LaTeX, Reinhard Wonneberger, +{\it Addison-Wesley-Kom\-pakt\-f\"uhrer}, 141pp, {\sc isbn} +3-925118-46-2. + +A handbook of \LaTeX\ commands (in German). By page 3 +Reinhard has mentioned TUG, which I think is a record for +any \TeX-related book. From my very (very) limited +grasp of German, this looks quite useful. I +could understand the Appendices which, among other +things give a graphic demonstration of various +dimensions within some formats, and a useful conversion +table for some of the units which \TeX\ understands. +\smallskip\noindent +$\star$The pluses and minuses of \TeX, +Robert F. Goldstein, The Scientist, Jan.~11th 1988, p18. + +A short description of \LaTeX, and a brief discussion +of {\it wysiwyg} versus markup. The most significant +factor about this article is where it appears --- +in a periodical read by professional scientists. +\smallskip\noindent +$\star$Two all-in-one programs for the Mac, Malcolm +Brown (yes, the one who does \TeXhax), +{\it The Scientist}, Jan.~11th 1988, p19--20. + +A brief comparison +of \TeXtures\ and Mac\TeX. He scores \TeXtures\ slightly +higher, on the grounds of speed and price. +\smallskip\noindent +$\star${\sc ibm pc} versions: hard to go wrong with +either, Malcolm Brown, +{\it The Scientist}, Jan.~11th 1988, p20--21. + +Another brief review of two \TeX\ implementations, this time +micro\TeX\ and pc\TeX. He favours pc\TeX, +mainly on account of its +manual. Even Brown agrees that the \TeX book is ``a bit +harder to understand for those who are not technically +minded''. An interesting footnote is a benchmark of all +four implementations, using two test input files. +These reveal (to my astonishment) that the AT is +substantially faster than the Mac --- which does not +bear out my experience at all; that pc\TeX\ sometimes +runs out of memory, and that Mac\TeX\ is the slowest of them all. +\smallskip\noindent +$\star$Make my page!, Thom Holmes, +{\it Byte}, May 1987, p159--166. + +Basically a checklist of lots of `desktop publishing +programs', which happens to include three of the +\TeX-on-micros group. It also includes {\sc tyxset}, +which might be a \TeX78-based publishing package (anybody +know?). None of these are actually mentioned in the text. +In fact Holmes' list of features to look for in +a dtp package include ``can the programs create +equations as graphics elements in a document'', which +suggests he never did see \TeX\ in action. + +\smallskip\noindent +$\star$The Desktop-Publishing Phenomenon, John W. Seybold, +{\it Byte}, May 1987, p149--. + +Mildly interesting, but only included here since +\TeX\ gets one glancing mention. + +\smallskip\noindent +$\star${\sc sgml} and style sheets: the implications +for electronic document preparation, P. T. Warren, +{\it University Computing\/}, 1987, 9, p81--6. + +A remarkable attempt to simulate many of the features +in the {\sc sgml} starter set from MicroSoft {\it Word} +style sheets. + +\smallskip\noindent +$\star$Desktop publishers learn the language, +Anonymous, {\it Computer News}, July 23rd, 1987, p14--5. + +A lukewarm review of JustText and \TeXtures, which +ends by concluding that ``there will be users +though who need precision setting, or special maths +formulae and for them these packages will be ideal.'' + +\smallskip\noindent +$\star$Programming in \PS, Denis G. Pelli, {\it Byte}, May 87, 185--. + +A handy introduction, which includes some comments +on hardware and support software. He even dares to suggest +that \PS\ is not perfect. + +\smallskip\noindent +$\star$Designing a Raster-Image Processor, Jon Barrett and +Kirk Reistroffer, {\it Byte}, May 1987, p171--. + +A description of some page description languages +(Interpress, \PS, DDL, RIPrint), as well as a brief +discussion of laser printing. + +\smallskip\noindent +$\star$Tutorial: {\sc unix} Document Formatting and +Typesetting, Narain Gehani, {\it IEEE Software}, September 1986, +p15--24. + +Most of this is reasonably familiar, since the +basic assumptions of Troff and Nroff are pretty similar +to those of \TeX, and |eqn| is very similar, +although a trifle more verbose and clumsy. Curiously, +for a proponent of a typesetting system which +depends on pre- and post-processing, +Gehani criticises \TeX\ (wrongly) for its supposed inability to generate +the table of contents automatically, or to +number equations automatically. although he recognises that +\LaTeX\ will do this. Gehani also has a book out on +this subject: ``Document Formatting and Typesetting +on the {\sc unix} System'', Silicon Press, Summit, N.J., +364pp, \$33.95. + +\smallskip\noindent +$\star${\sc sgml}: Complement to Established Text Processing +Systems, {\it {\sc sgml} User's Group Bulletin}, 1987, +2(2), 119--120; {\bf and}\hfill\break +$\star$A Note comparing {\sc sgml} +to Text Processing Macro Languages, {\it ibid.}, 127. + +Both articles note a distinction to be made between +generic markup within {\sc sgml} and within a language +like \TeX. The distinction revolves around context +inadmissability. + +\smallskip\noindent +$\star$Seeing the light on lasers, Anonymous (?Chris Long), +{\it PC Magazine}, January 1988, 5(1), 34--. + +An extensive review of no less than 20 laser printers. +Unfortunately, retrieving the information I want +(will I be able to drive it from \TeX?) was difficult. +I have met too many Laser Jet Plus emulations which +don't. Almost every printer here claims it will emulate +the Laser Jet Plus, and most will also emulate +one or more of the Epson dot matrix printers, but only +two are \PS\ printers (the NEC Silentwriter LC-890 +and the TI Omnilaser 2115, +both of which do Laser Jet Plus emulation). +Still, a creditable attempt to summarise the information, +and the guys at PC Magazine really did try them all out. +No wonder they won `Best Technology Journal of the Year' +last year. Well done Chris. + +\rightline{\sl Malcolm W. Clark} +\bigskip + +\centerline{\bf Periodicals} +\medskip\noindent +$\star${\it Desktop Publisher}, edited +by Henry Budgett and James Johnstone, is now in its third year +of publication. It makes the proud claim that it is +``the first UK newsletter for users and specifiers of +electronic publishing systems''. At \quid125 per annum, +for 12 copies, it does seem rather pricey, but note +that what it is trying to be is a sort of UK `Seybold +Report'. I'm in no position to judge how far it +achieves that, since I don't get Seybold. I do find +it full of interesting stuff, and quite nicely written. +The newsletter itself is quite well produced (through +dtp) and printed on gloss paper. Photographs are included, +but they were pasted in at the printing stage (I've +always had a suspicion that that was the most straightforward +way to include many sorts of graphics). For more +information, contact +{\obeylines +The Desktop Publishing Co Ltd +43 Hithermoor Road, +Stanwell Moor +Staines +Middlesex TW19 6AH +tel: 0753-684633 +} +\medskip\noindent +$\star${\it DTP Desktop Publishing}, one of the Dennis stable +of publications (and looking rather like Mac\-User, if +a little thinner) +is a more recent contender. Again, I find it a useful +source for trying to keep some control over +the range of new products (both hardware and software) +which appear, and also keeping track of the latest +buzz words. If you already read Mac\-User, +you may find quite a degree of overlap in the +many short items which + read like manufacturers' press releases +(perhaps that's what press releases are for\dots). +The magazine's +dependence on advertising means that it is also a good +source for products. +One of the items which I have found +useful has been Max Whitby's accounts of the origins +of various well-known typefaces. +The monthly magazine is \quid2.95 per issue, but if obtained +on subscription, is considerably less (depending +on what offer is current). Contact: +{\obeylines +DTP Desktop Publishing +Dennis Publishing Ltd +14 Rathbone Place +London W1P 1DE +tel: 01 631 1433 +} +\medskip\noindent +$\star${\it Bitstream} looks much more like a traditional newsletter. +Typed, run off on the old Roneo and then stapled. +Curious though that a publication in the +general dtp area is not better produced --- it scarcely +seems a good advert. This does it an injustice. +Its content is good if not wholly original. +Try to put your prejudices to one side. It costs +\quid24.00 per year for 12 issues. +Contact: +{\obeylines +Citech Ltd +PO Box 565 +Iver +Bucks SL0 0QZ +tel: 0753 653967 +} +\medskip\noindent +$\star${\it TSI: Technique and Science of Informatics} +comes out in both a French and English version. In the +recent past they have produced issues which were +dominated by the electronic publishing area. +Contact:\goodbreak +{\obeylines +John Wiley \& Sons Ltd +Baffins Lane +Chichester +Sussex PO19 1UD +tel: 0243 779777 +} diff --git a/info/digests/texline/no7/second.tex b/info/digests/texline/no7/second.tex new file mode 100644 index 0000000000..9731917586 --- /dev/null +++ b/info/digests/texline/no7/second.tex @@ -0,0 +1,16 @@ +\input texline +\pageno=6 +%\begindoublecolumns +\input bcs-ep\bigskip +\input barb\bigskip +\input reading-matter\bigskip +\input kleper\bigskip +\input tom\bigskip +\input random\bye\bigskip +\input decus\bigskip +\input meetings\bye\bigskip +\input formulator\bigskip +\vfill\end\bigskip +\input amy +\input contributors +%\enddoublecolumns diff --git a/info/digests/texline/no7/tex88.tex b/info/digests/texline/no7/tex88.tex new file mode 100644 index 0000000000..aac376288b --- /dev/null +++ b/info/digests/texline/no7/tex88.tex @@ -0,0 +1,6 @@ +FRG --10 + 1 +Austria -- 2 + 0 +Netherlands -- 1 + 0 +USA -- 2 + 2 +UK --10 + 2 +Spain -- 1 + 0 diff --git a/info/digests/texline/no7/texline.tex b/info/digests/texline/no7/texline.tex new file mode 100644 index 0000000000..9db42a43a6 --- /dev/null +++ b/info/digests/texline/no7/texline.tex @@ -0,0 +1,65 @@ +\vsize720pt +\input double\input verb +\tolerance3000 +\raggedbottom +\font\sc=cmcsc10 +\font\mf=logo10 +\font\mfb=logobf10 +\def\MF{{\rm{\mf META}\-{\mf FONT}}} +\def\MFb{{\rm{\mfb META}\-{\mfb FONT}}} +\def\MarkUp{MarkUp '8\kern-0.2em\lower0.45ex\hbox{7}} +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\def\frac#1/#2{\leavevmode\kern0.1em + \raise0.5ex\hbox{\the\scriptfont0 #1}\kern-0.1em + /\kern-0.15em\lower0.25ex\hbox{\the\scriptfont0 #2}} +\baselineskip12pt +\parskip0pt +\parindent1em +\hfuzz1.5pt +\hyphenation{SGML SGML-ers} +\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi} + +\headline{\sl \TeX line 7 \hss \folio} +\nopagenumbers +\def\TeXline{{\sl\TeX line}} +\def\SGML{{\sc sgml}} +\def\PS{{\sc Post\-Script}} +\def\TeXtures{{\sc\TeX tures}} +\def\TeXhax{\TeX{\sc hax}} +\let\ps=\PS +\def\TS{Type \&~Set} +\def\dvi{{\tt dvi}} +\def\tfm{{\tt tfm}} +\def\quid{{\it\$}} +\def\DW{Dominik Wujastyk} +\def\AmSTeX{$\cal A$\kern-.1667em\lower.5ex\hbox{$\cal M$}\kern-.125em + $\cal S$-\TeX} +\def\BibTeX{{\sc Bib}\kern-.2em\TeX} +\def\SliTeX{{\sc Sli}\TeX} +\def\hax{\TeX{\sc hax}} +\abovedisplayskip0pt +\belowdisplayskip0pt +\def\nl{\hfill\break} +%\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt +% \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} +\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi} +% Look in the 'Windows' menu for the pictures window +% It's like the Scrapbook -- cut and paste pictures +% + +\def\picture #1 by #2 (#3){ + \vbox to #2{ + \hrule width #1 height 0pt depth 0pt + \vfill + \special{picture #3} % this is the low-level interface + } + } + +\def\scaledpicture #1 by #2 (#3 scaled #4){{ + \dimen0=#1 \dimen1=#2 + \divide\dimen0 by 1000 \multiply\dimen0 by #4 + \divide\dimen1 by 1000 \multiply\dimen1 by #4 + \picture \dimen0 by \dimen1 (#3 scaled #4)} + } diff --git a/info/digests/texline/no7/texlinehe.tex b/info/digests/texline/no7/texlinehe.tex new file mode 100644 index 0000000000..8ef41ca2c7 --- /dev/null +++ b/info/digests/texline/no7/texlinehe.tex @@ -0,0 +1,41 @@ +\nopagenumbers +\hsize=6.5in +\newbox\info +\newbox\banner +\newdimen\infoht +\newdimen\bannerht +\setbox\info=\vbox{% +\hsize=200pt% +\font\small=cmr7% +\baselineskip=7.5pt% +\small +\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 7, \monyr} +\line{ \hfill the Newsletter of \TeX\ users in UK and Ireland} +\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}} +\setbox\banner=\vtop{% +\hsize=220pt% +\font\huge=times at65pt% +\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 by 20pt\relax +\leavevmode + +\hbox to \hsize{\box\info\hfill\raise\infoht\box\banner} + +\bigskip diff --git a/info/digests/texline/no7/tom.tex b/info/digests/texline/no7/tom.tex new file mode 100644 index 0000000000..3cf2554bc7 --- /dev/null +++ b/info/digests/texline/no7/tom.tex @@ -0,0 +1,113 @@ +\centerline{\bf Mac\TeX\ --- a mathematician's view} +\medskip\noindent +There are two versions of \TeX\ that are available for use on the Macintosh, +namely \TeXtures\ (from Addison-Wesley) and Mac\TeX\ (from {\sl FTL systems +Inc} of Toronto). Of the two, Mac\TeX\ is the more sophisticated. I have +been using it for more than a year now and have found it a joy to work with. +It costs \quid595 (plus {\sc vat}), but educational discounts +are available (probably about 15\%). Included +in the package are {\sc initex} and \LaTeX\ , as well as useful +on-line help +files for control sequences, with page references to the \TeX book. Optional +extras include \AmSTeX\ +and the Computer Modern Fonts. The User Guide is both comprehensive and +clear. Currently available is Version 2. The basic package comes on four +800K disks, and it is recommended +that it be installed on a hard disc. + +Users of \TeX\ (on no matter which computer) will be aware that a considerable +amount of correcting and adjusting is always needed in processing every +job, be it because of input errors, overfull boxes, or page layout. It +is therefore essential to have +a system that is reasonably fast and user-friendly. Such is Mac\TeX. + As one would expect, it has embedded in it full word-processing facilities +so that +corrections to input material are easy to make. The editor also allows +you to choose your +favourite screen font in which to type your input material. Each input +file has to be named in the form |XYZ.tex| and, +following selection of the format (Plain, \LaTeX, or your own), +is typeset on a simple menu command. The speed +of operation depends on your Mac and +what kind of copy you are setting: for average mathematical input, on a +Macintosh II the +{\tt .dvi} file is created at a rate of about one page every six seconds, +which is of +the order of four times faster than on a MacPlus. When one has a lot of +material to process +and re-process, this can be a significant difference. Very complicated +pages, for example those containing complex diagrams created with +\LaTeX, can take considerably longer. + +In bearing in mind the needs of the users, the designers of Mac\TeX\ have +included several features that are noteworthy. Not least of these is the +possibility of including user-defined macros. Of course, every user of +\TeX\ will be aware that he can +use, for example, the command |\def\1| +to create a macro for which he may have +a lot of use in a particular document, for instance the instruction +|\smallskip\par\noindent|. + In Mac\TeX\ there is the option of doing the same by defining (in a +pull-down menu) |<command>1| to be +|\smallskip\par\noindent|. + The main difference between these two methods is that in the former only + |\1| appears as input on the screen whereas in the latter +the whole of +|\smallskip\par\noindent| +appears. This can be very useful if, like me, you use such things as +|\vartheta| a lot, want to see it on the screen as such, +and are not always successful in typing it! + +A very impressive feature of Mac\TeX\ is the clever way in which one can +include graphics from a variety of sources; for example, Super\-Paint files +(saved as paint files), MacDraw files (saved as {\sc pict} files), and Adobe +Illustrator files (saved as {\sc epsf} +files). This can be done by storing the graphic in the Scrapbook then, +as appropriate, using the command + |\special{!pict n}| followed by a |\vskip| + command, or the command +|\special{!epsf <filename>}|. + On previewing a {\tt .dvi} file with an included graphic, the blank area +that is left by the |\vskip| command has a grey area in it. +Any picture from the Scrapbook can be simply pasted into this area. Once +this has been done, it can be resized and positioned anywhere on the page! + + +Previewing {\tt .dvi} files can be done at normal size, at 2 times or +4 times +magnification, or at full page. If the standard 10\,pt size type is used +then normal screen size, +though readable, is not impressive where +subscripts are concerned. Better screen characters at 10\,pt or a normal + screen image at 12\,pt would be much more +useful to a mathematician. Up to four pages can be previewed simultaneously. +Graphics included as above can be resized or repositioned in any of these +magnifications. + With each {\tt .dvi} file there can be activated a {\tt .log} file which +gives useful error information. + A nice feature when typesetting is that if an error message appears then +on activating the Edit command in the menu bar one is taken to the precise +line in the input file where the error occurs. +Among other choices in the menu bar is a Help command. + + +As for printing, two outlets are available, one to the ImageWriter and +one to the LaserWriter. For the latter, Mac\TeX\ has +its own built-in high speed +spooler and all the necessary fonts are downloaded automatically. If you +share a LaserWriter with +other types of user then it may be necessary to switch it off then on again +before printing (this is probably to get rid of the stuff that +{\it PageMaker} leaves behind). + +Mac\TeX\ is a sophisticated package that contains a lot of useful and + impressive features. As with the Mac itself, in using it one soon gains +a feeling of deep satisfaction. Mac\TeX\ is distributed in the UK by +{\obeylines +McQueen +Buckholm +Galashiels TD1 3NL +tel: 0896 4866 +} + +\rightline{\sl Tom Blyth} diff --git a/info/digests/texline/no7/try.tex b/info/digests/texline/no7/try.tex new file mode 100644 index 0000000000..37fc784f22 --- /dev/null +++ b/info/digests/texline/no7/try.tex @@ -0,0 +1,41 @@ +\def\\{\char`134} +\newbox\arg +\newdimen\descwidth +\descwidth=\hsize +\advance\descwidth by-2truein +\newdimen\linewidth +\def\BibTeX{{\sc Bib}\kern-.2em\TeX} +\def\mitem#1#2{\setbox\arg\hbox{\tt#1}\linewidth=\wd\arg +\advance\linewidth by 10truept +\if\linewidth>2truein% +\vbox{\hbox to\hsize{\tt#1\hfil} +\hskip2truein\hbox{\vtop{\hsize\descwidth\noindent#2}}} +\else +\hbox to\hsize{% +\vtop{\hbox to2truein{\tt#1\hfil}} +\vtop{\hsize\descwidth\noindent#2}}% +\fi +\par} +\mitem{a4.sty}{set page size to A4} +\mitem{a4wide.sty}{adjusts width too +to suit A4} +\mitem{aaai-instructions}{intructions to authors} +\mitem{aaai-named.bst}{\BibTeX\ style for {\tt +aaai.sty}} +\mitem{aaai.sty}{style file for AAAI conference 1987} +\mitem{acm.bst}{ACM \BibTeX\ style} +\mitem{agugrl.sty}{AGU Geophysical Research Letters style} +\mitem{agugrl.sample}{{\it ditto}, sample} +\mitem{agujgr}{AGU J. Geophysical Research style} +\mitem{agujgr.sample}{{\it ditto}, sample} +\mitem{alltt.sty}{verbatim with embedded commands} +\mitem{amssymbols.sty}{load AMS symbol fonts} +\mitem{article.txt, art10.txt, art11.txt, art12.txt} +{standard files in text format, with places to make language +specific changes indicated} +\mitem{biihead.sty}{underlined heading} +\mitem{cyrillic.sty}{load Cyrillic font} +\mitem{dayofweek.tex}{macros to compute day of week and +phase of moon: examples of how to use \TeX's arithmetic +capabilities} +\bye diff --git a/info/digests/texline/no7/verb.tex b/info/digests/texline/no7/verb.tex new file mode 100644 index 0000000000..f10ed90ee0 --- /dev/null +++ b/info/digests/texline/no7/verb.tex @@ -0,0 +1,32 @@ +% 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$$} +% macros for verbatim scanning +\chardef\other=12 +\def\ttverbatim{\begingroup + \catcode`\\=\other + \catcode`\{=\other + \catcode`\}=\other + \catcode`\$=\other + \catcode`\&=\other + \catcode`\#=\other + \catcode`\%=\other + \catcode`\~=\other + \catcode`\_=\other + \catcode`\^=\other + \obeyspaces \obeylines \tt} + +\outer\def\begintt{$$\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}} + + diff --git a/info/digests/texline/no8/alien.tex b/info/digests/texline/no8/alien.tex new file mode 100644 index 0000000000..c0ceadb52c --- /dev/null +++ b/info/digests/texline/no8/alien.tex @@ -0,0 +1,106 @@ +\def\cmd#1{{$\backslash$\tt#1}} + + +\centerline{\bf What's New with \TeX?} +\medskip +\noindent +This is the first of what will, hopefully, be a regular +feature. Its purpose is to summarise recent developments in \TeX\ and +\TeX-related things, primarily for people who don't receive any of the +network mailings. + +{\bf \TeX\ itself} has now reached version 2.93b following the +discovery of a few bugs during the summer. Most of these are pretty +esoteric, although one could crop up if you use \TeX's \cmd{read} and +\cmd{write} frequently. The most recent \unix\ and VMS distribution +tapes both contain version 2.93b. The |plain| format has also been +updated slightly: anyone who claims to have a genuine \TeX\ 2.93 must +also have version 2.93 of the |plain| format (the version number is +near the bottom of |plain.tex|). \MFb\ is now at version 1.5, since +several of the problems with \TeX\ concerned memory allocation and +were therefore present in \MF\ too. + + +On the \unix\ front, the people at the University of Washington have +managed to produce a sort of {\WEB}-to-C translator. As well as +making \TeX\ and \MF\ more easily available on \unix\ system~V (which, I +am told, has a lousy {\sc pascal} compiler), the C translation +apparently runs over four times faster than the {\sc pascal} on +|bsd|-based systems! + +There has been a spate of large-memory versions of \TeX. Adrian +Clark, now at Essex University, was the first to report a large-memory +($>$64\,Kbyte) \TeX, which he used for typesetting halftone pictures. +(This uses a special font, designed by Knuth, for mapping characters +onto grey-values.) Users of \PiCTeX\ (see below) also require very +big-memory versions, so the \unix\ \TeX-in-C implementation is +normally quite large. + +The {\bf CM font family} has had a small number of tweaks made to it, +none of them being very significant (to the author's untrained eye). +John Sauter of DEC has made some minor (upwards-compatible) changes to +the font definitions which makes them more suitable for white-writing +laser printers such as the DEC~|LN03| (Ricoh print engine). He has +also devised a way of generating any CM font at any design size, +rather than using scaled 10-point (or whatever) fonts. This produces +more attractive characters, particularly when many magnified fonts +would otherwise be used (e.g., with \LaTeX). + +Non-English versions of \TeX\ are proliferating. These generally make +a stab at generating correct hyphenation patterns for the target +language. There are now versions to support most European languages, +as well as Japanese. Non-English fonts are also a topic of interest: +for example, there are now correctly-accented Greek and Turkish fonts. +These may cause problems with some {\dvi} drivers, since they +contain more than 128~glyphs. People have also been experimenting +with other, stranger fonts: Elvish (from {\it Lord of the Rings\/}), +bar-codes and electronic components all cropped up at the \TeX88 +jamboree at Exeter in July. + +The latest version of {\bf \LaTeX} is still 2.09, but dated {\bf +August 1988}; Leslie Lamport has made a few minor fixes. There is now +a large collection of style files for \LaTeX, including IEEE, ACM and +many other journal styles: copies of the collection are kept on-line +for network access at Clarkson University in the U.S.\ and at Aston +University in the U.K. They can also be obtained by conventional +mail, but not from Clarkson or Aston. + +\BibTeX, which maintains bibliographic databases for \LaTeX, appears +to have undergone a pretty major re-write. The most recent version I +know of is 0.99c. Alas, \BibTeX\ style files (|.bst| files) for the +new version are incompatible with those for older versions. The +standard ones (plain, alpha, etc.) have all been converted, as have +most of those submitted to the \LaTeX\ style collections. + +Anyone who has used \LaTeX\ in anger for book production will know the +hassle involved in generating the index. Although \LaTeX\ can +generate the page references for an index and has a suitable +environment for formatting it, the only way to sort the entries was by +hand. Thankfully, this is no longer the case: a few people have +written tools to automate sorting, such as |Idxtex| for VMS systems. +And there now appears to be a program, |makeindex|, which has the +Lamport seal of approval. As yet, I don't know anything about it; +I'll provide details in the next \TeXline. + +One interesting new facility is \PiCTeX, a macro package for drawing +figures and graphs, written by Michael J. Winchura of Chicago +University. It can be used with both |plain| \TeX\ and \LaTeX. +\PiCTeX\ does {\it not\/} work by generating \cmd{special}s for the +{\dvi} driver, unlike most other graphics facilities for \TeX: it +draws curved lines with closely-spaced dots. Although this works, in +principle at least, with {\it any\/} \TeX, it requires lots of memory, +both in \TeX\ and in the {\dvi} driver. The author has used +\PiCTeX\ successfully under both VMS and \unix. But it's unlikely to +work on any PC or Macintosh implementations of \TeX. The only +documentation, incidentally, is the \PiCTeX\ manual, sold by +the \TeX\ Users' Group. + +Finally, anyone who finds designing diagrams for inclusion in \TeX\ or +\LaTeX\ documents somewhat painful could look towards |fig|. This is +a {\it wysiwyg\/} program, rather similar to MacDraw, for SUN workstations. +It, and its accompanying |TransFig| package, can generate \PS, +\TeX, \LaTeX\ |picture| or \PiCTeX\ descriptions of the +interactively-generated figure. And there's a version which drives +|X|-windows, too. +\smallskip +\rightline{\sl Adrian F. Clark (no relation)} diff --git a/info/digests/texline/no8/announce.tex b/info/digests/texline/no8/announce.tex new file mode 100644 index 0000000000..6497638f1a --- /dev/null +++ b/info/digests/texline/no8/announce.tex @@ -0,0 +1,77 @@ +\centerline{\bf Ten Years of \TeX\ and \MFb} +\medskip\noindent + The 1989 \TeX\ Users Group Meeting, to be held at Stanford University + on August 21--23, marks the tenth annual meeting + of TUG. The theme of this meeting is ``Ten Years of + \TeX\ and \MF''. Our concern is + no longer how to get \TeX\ to work, but is now focused on + how \TeX\ should co-exist with other applications such as report + generation and office automation. + The keynote speaker for this year's meeting will be Don + Knuth. He will present his paper about the history of \TeX, + entitled ``The Errors of \TeX''. The 3-day annual meeting + in August will be conducted as the highlight of a 2-week + conference during which courses will be offered in \TeX\ and + \TeX-related subjects.\looseness=-1 +\smallskip +\leftline{\sl Call for Papers} +\noindent + In order to publish a preliminary program announcement in a + timely manner, it is requested that you contact the Program + Coordinator (at the address listed below) not later than + January 30th, informing him of the paper you intend to present, + and with a short abstract of the proposed paper. Papers will + be selected by February 20th, and authors notified as to whether + their paper may be presented or not. The finished abstract + is due by March 27th. The first draft of the paper for the + proceedings will be due by April 24th. The finished paper will + be due shortly after the conference. + + Depending on the number of requests to present a paper, + the conference may have some parallel sessions. Following are + some suggested topics, though papers are not limited to these: + +\item{$\bullet$}\TeX\ from the manager's viewpoint + \item{$\bullet$} Production Uses of \TeX; unusual situations we overcame + \item{$\bullet$} Integration of graphics, half-tones, and scanned images in + \TeX\ output; software, hardware, or methods + \item{$\bullet$} \MF\ fonts: font construction + \item{$\bullet$} Non-\MF\ fonts: availability and how to cope with + them + \item{$\bullet$} \LaTeX: Examples of success with difficult jobs; how to do + them + \item{$\bullet$} \TeX\ and \PS: hardware or software; what is used; + what is needed + \item{$\bullet$} \TeX\ Training: beginning, advanced, manuals; what works, + what doesn't + \item{$\bullet$} \TeX\ Adjuncts: Design, integration of the pieces, user + interfaces, problems + \item{$\bullet$} Using \TeX\ as part of a larger system (such as desktop + publishing); extensions to \TeX; subsets of \TeX + \item{$\bullet$} Call for problems; inherent limitations of \TeX. Why don't + you use \TeX? +\smallskip +\leftline{\sl Calendar} +\def\leaderfill{\leaders\hbox to1em{\hss.\hss}\hfill} +\line{Preliminary Notification \& Abstract\leaderfill January 30} +\line{Papers Selected\leaderfill February 20} +\line{Finished Abstract Due\leaderfill March 27} +\line{First Draft of Paper Due\leaderfill April 24} +\line{Annual Meeting\leaderfill August 21--23} +\smallskip +\leftline{\sl Program Coordinator} +\noindent + Preliminary Notification and Abstracts should be directed to: +{\obeylines +Dean Guenther +Washington State University +Pullman, WA 99164-1220, USA +Phone: 0101-509-335-0411 +Bitnet: |guenther@wsuvm1| +} +\smallskip\noindent +Questions concerning any other aspect of the meeting +(or + conference) should be directed to the TUG Office: 0101-401-751-7760 + or electronic mail: |tug@math.ams.com|. + diff --git a/info/digests/texline/no8/backnumber.tex b/info/digests/texline/no8/backnumber.tex new file mode 100644 index 0000000000..5b2b58b846 --- /dev/null +++ b/info/digests/texline/no8/backnumber.tex @@ -0,0 +1,23 @@ +\centerline{\bf Backnumbers} +\medskip +\noindent +There are a few backnumbers of \TeXline\ lying around on +my shelves. From time to time people ask for them, and +usually I cannot find any. However, I have located the +following: + +\centerline{% +\def\?{\phantom{0}}\vbox{\halign{\hfil#\hfil&#\quad&#\hfil&#\quad&\hfil#\hfil\cr +\omit\it Issue&&\omit\hfil\it Date\hfil&&\omit +\it Quantity\cr +1&&August 1985&&\?1\cr +2&&November 1985&&\?2\cr +3&&April 1986&&14\cr +4&&March 1987&&none\cr +5&&May 1987&&\?2\cr +6&&October 1987&&\?1\cr +7&&February 1988&&\?3\cr}}} + +\noindent I will be happy to dispose of these to anyone who +wants them. + diff --git a/info/digests/texline/no8/bcs.display b/info/digests/texline/no8/bcs.display new file mode 100644 index 0000000000..53ae1fef8c --- /dev/null +++ b/info/digests/texline/no8/bcs.display @@ -0,0 +1,149 @@ +\centerline{\bf BCS Displays Group} +\medskip +\noindent +The programme for the BCS Displays Group meeting +held at the Rutherford Appleton Laboratory ({\sc ral}) on +October 26th sounded rather close to what I would from the +BCS Electronic Publishing Group. The meeting was rather +grandly titled `Interactive Documents: Today and Tomorrow' +and described as an `International State of the Art +Seminar'. + +The first talk was from Angela Scheller on `Graphics in +Document Standards', a popular topic these days, perhaps +as a reaction to the apparent ease with which graphics +are pasted into your average dtp package. Why should they +have all the fun? Here the accent was on `standards' +(real, {\sc iso} standards, not the {\it de facto} ones). +The two document standards which were examined here were +\sgml\ and {\sc oda} (Office Document Architecture). Of +course, there are other `standards' or quasi-`standards' +like telex, telefax\slash facsimile, teletext, {\sc +ccitt} and {\sc ecma}. There is a bit of politicking +going on at the moment between \sgml\ and {\sc oda}, due +partly to their origins (\sgml\ has its origins in +publishing, and {\sc oda} in computer vendors). {\sc oda} +is claimed to be an `open system'. I'm still waiting for +a clear and concise description of {\sc oda}, but the +points I gathered here were that it involved a +hierarchical structure, with defined inter-relationships; +it supported the notion of logical views and layout views +(conceptually orthogonal); and that it allowed +interchange between different systems. When {\sc oda} +handles graphics, it does so with respect to other +standards, in one of three modes: character based, +raster based, and geometric. Obviously~(?) the most +powerful mode is geometric, where {\sc cgm} is considered +the standard. Clearly there are limitations, but most are +due to the degree to which the standards themselves have +evolved: areas like colour\slash grey scale, moving +images, business graphics, 3D, {\sc cadcam} and maps +still need to be incorporated, beside image overlay, +handling of non-rectangular areas, and also `external +references' (e.g.~images from a picture database). + +\sgml\ offers a different approach. While graphics in +{\sc oda} have limited functionality, but are (or should +be) usable in open systems, graphics in \sgml\ have +unlimited functionality, but only within special +applications environments. In \TeX\ we could contrast +this with the \LaTeX\ picture environment (which offers +limited functionality) over all systems (`open'), and the +use of |\special|s, which have unlimited functionality, +but are system specific. One of \sgml's interesting +features is its `let-out' clause, where it can allow part +of a document to be coded in a non-`standard' ({\it sensu +ISO\/}) way. The usual example is maths, where \sgml\ +usually hands over to \TeX, but here the appropriate +example is some alternative graphics language or system. + +John Harris made some interesting observations on `Demand +Printing': his main objective was to give some +explanation of why demand publishing had not mushroomed. +He presented a vision of bookshops which stocked +hundreds\slash thousands of titles which would then be run +off on the local laser printer, stitched, bound, +dust-jacketed, and placed in the customer's hands, all +within a few minutes. At last, \PS\ reared its head. Harris +concentrated on the fact that \PS\ is a common {\it de +facto} standard, pointing out that it was just what the +record industry had been waiting for (alluding +to one of the examples in the {\sl Cookbook\/}). But he +felt that \PS\ offered us too much: text is essentially +orthogonal, and therefore \PS's capability to skew and +rotate text was usually redundant. He argued that \PS\ +solved many problems we didn't know we had. The key +difficulty for demand publishing was speed and cost. +Taking a minimum desirable throughput at 200\,ppm, at +300\,dpi resolution this comes out at about 3\,Mbytes/sec +transmission speed. For bulk printing a 10-fold +improvement was needed. The rip (raster image processor) +could be speeded up, for example by using Transputers +(there is already a \PS\ clone typesetter which uses +Transputers, and is substantially faster than your average +Linotron rip). But technological changes are also needed, +like continuous paper rolls. + +Although I enjoyed the knockabout with \PS, I was left +doubting whether demand publishing was ever +likely to come about, and that even if it did, it +wouldn't make books any cheaper. + +Crispin Goswell of {\sc ral}, gave the paper I had been +waiting for, `\PS\ in the real world'. I'm not convinced +that {\sc ral} is quite my notion of the real world, +but they have done a great deal with \PS. I recall +a BCS-EP meeting some years ago where someone from +{\sc ral} described early encounters with the +language. Goswell has written a public domain display +\PS\ for the Sun workstation which was shown at the +meeting. This facility goes a long way to resolving one of +the persistent problems with \PS\ --- the lack of +screen preview. I find development work with \PS\ a +nightmare. An aside: how is it that \PS\ is wonderful, and +has been embraced by all my user-% + friendly {\it wysiwyg\/} +chums, despite its obvious unfriendliness, while \TeX\ +remains an anathema to them: could it be something to do +with marketing? + +Goswell's talk was extremely competent, and neutral. +Fortunately here was someone who knew enough about \PS\ +to know its strong and weak points. One of the items he +covered was the problem of device independence. In +theory, sending your \PS\ file to a laser printer, then to +a typesetter should only change the resolution --- the +document should look the same, only better. +Unfortunately, as we all (?) know, this is not always the +case. Rules in particular can change their appearance; +memory usage is different in different rips (i.e.~your +pages may not print at all), and of course the fonts you +think you have used may not be available. Most \PS\ users +will also have encountered the `preamble' problem --- and +will know that there are lots of different releases of +the \PS\ software for printers, all with different bugs +(Let's ignore the clone problem for now.) + +Looking at \PS\ as a programming language, he pointed out +that it is a plain text language -- you can read it --- +it is complete, and it really is a language, not data. As +a programming language it offers extensibility: Goswell +saw no reason why \PS\ could not offer non-linear font +scaling (a charge often levied against it). But he also +noted that the language did encourage hacking, that it +could be hard to read, and was difficult to debug --- +consequences of the dynamic binding of the language and +the ability to redefine anything whenever you pleased. +Portability was generally good, although there were +problems with manufacturer-specific extensions (as +usual), and with fonts. + +This was very useful, evenly balanced and informative +talk which may have swept away some of the +misunderstandings and misconceptions which surround \PS. + +There were three other talks, from Heather Brown, Wendy +Hall, and J\"urgen Sch\"onhut, but none were \TeX-relevant. +\smallskip +\rightline{\sl Malcolm Clark} + diff --git a/info/digests/texline/no8/bnb.tex b/info/digests/texline/no8/bnb.tex new file mode 100644 index 0000000000..87eaf12ee3 --- /dev/null +++ b/info/digests/texline/no8/bnb.tex @@ -0,0 +1,196 @@ + +\centerline{\bf \TeX\ and TUG Go International} +\centerline{\bf A Trip Report} +\medskip +\noindent +This summer, I had the pleasure of attending two +major \TeX\ meetings --- ``\TeX eter'' and the annual TUG +meeting, in Montr\'eal. Both (particularly Exeter) were +notable for the number of new faces that could be attached +to names, and the quality and content of the technical +programs made it abundantly clear that \TeX\ is no longer +just a computer hobbyist's playground (if it ever was). + +\medskip +\leftline{\bf \TeX88, Exeter} +\smallskip\noindent +Exeter is an old town in the south west of England, on the Exe river. The +university was founded in this century, in the grounds of an old estate +which is also a botanical garden and arboretum. The conference was +most competently arranged by Malcolm Clark and Cathy Booth, with help +from Ewart North. A three-day program was surrounded by short courses +and workshops. + +Before the conference proper, I was kindly permitted to sit in on the +second day of the session on document design. This was led by Paul Stiff, +of the University of Reading. +As we all have heard many times before, it was stressed that the real +purpose of technical (and other) documents is communication, to provide a +means by which an author's ideas can be communicated to a reader. +Anything that gets in the way of that goal is thus poor design, whether or +not the appearance of the document is attractive. (A pleasing appearance +is desirable, but secondary.) +Though there seems to be no ``cookbook'' that one can refer to, keeping in +mind how a document is to be used should prompt its creator to do the +``right'' thing. And looking at many instances of similar documents, +deciding which are most effective at their task of communication and why, +is one of the best ways to develop a sense of appropriate design. + +The conference program consisted of talks on various topics related to \TeX\ +and \MF, with a break on the second afternoon for an excursion on an old +steam train and a cruise up the Dart River. Malcolm Clark presented a +memorable harangue on how \TeX\ users should make their presence better +known in the composition world. + +Several speakers presented their experiences providing \TeX\ production +services. (My favorite quote was: ``Academic publishers have to live +day by day with the lunatic fringe --- they are our authors!'' +from Rod Mulvey, Cambridge University Press.) +Publishers are interested in lower costs, but without sacrificing +quality. With some adustments (e.g., more traditional fonts), \TeX\ is +becoming accepted in this environment. One speaker offered this warning +about working directly with authors --- authors are often willing to +accept the limitations of {\it wysiwyg\/} word processors, but if they +know that the back end of a system is \TeX, they can and will choose +to subvert any style filter provided for them. + +Several papers were presented on experiments with \MF. Two authors +spoke on extracting \MF's spline information for use with other +graphic processors. Victor Ostromoukhov has developed a method for +delivering the splines to \PS, and his demonstration (on a Mac, in +the evening) of letters wrapped around spheres and other ``solid'' +objects was quite captivating. + +Other topics covered by the talks included support for authors (usually, +but not always, in academic environments), language-specific processing +(including the use of non-latin scripts), graphics inclusion in +\TeX\ documents (including two papers on chemistry), \TeX\ and databases, +and a description of the Aston \TeX\ archive. Space prevents inclusion +of the full program in this issue, but the Proceedings will be published +early next year --- I am looking forward to reading them. + +A topic of particular interest, though nowhere was it listed formally on +the program, was how to deal effectively with A4 paper. \TeX, and even +more explicitly, \LaTeX, assume the use of 8\frac1/2${}\times 11''$ paper; +and output drivers assume that the reference point of a page (the +top left corner) is one inch from the top and one inch from the left edge +of the paper. These assumptions are +not ideal for A4 paper ($ \hbox{297\,mm}\times \hbox{210\,mm}$), and much +discussion was devoted to how best to adjust both the dimensions specified +in \TeX\ macro files and \LaTeX\ style files and/or the output drivers' +assumed reference point to compensate for the different dimension systems. +However, one of the philosophical underpinnings of \TeX\ is the ability to +move documents from place to place with the assumption that they will get +the same treatment and presentation. No good answer was found, but it seems +clear that this is an area that could benefit from rethinking, as \TeX\ is +accepted in Europe and other areas of the world even more readily (if +possible) than in North America. + +In the evenings, there was plenty of time to discuss the day's events and +other topics of mutual interest. Several personal computers were set up +in the lounge of the residence hall, and experiments were encouraged. +Chris Rowley and I were ``fingered'' to lead a clinic one evening; +apparently, most of the attendees didn't have many problems, since only +a few came to visit. There was, however, a request for an +open problems session that couldn't be accommodated at Exeter, but should +be seriously considered for inclusion at the next Euro\TeX\ conference. + +After the close of \TeX88 proper, I attended another workshop, on the +hackery of \LaTeX\ style files, led by Sue Brooks. +Once again, the A4 controversy surfaced. When someone asked what was the +\hbox{reason} for the ``one inch'' reference-point, I said that, to the +best of my knowledge, it was arbitrary, to define +some standard to which output device drivers could be written. +\medskip +\leftline{\bf TUG annual meeting, Montr\'eal} +\smallskip\noindent +Montr\'eal is a beautiful city, with a cosmopolitan French flavour unique +in North America. The meeting was held at McGill University, in a new +high-rise building at the edge of the campus. The city surrounding was +evident in many ways, not the least of which was the ubiquitous construction +that seemed at times to be tunneling under the very foundations of the +building where we were meeting. The program was put together by Dean +Guenther (again), Christina Thiele and Shawn Farrell; Shawn also coordinated +the local arrangements. As at Exeter, the main program was preceded and +followed by short courses and workshops. + +The evening before the meeting, almost everyone gathered at Le Festin du +Gouverneur, an eating place set up in Montr\'eal's old fort, where a feast +and entertainment in the style of the 17th century French settlers were +provided. (Picture yourself eating a several-course meal with only a +knife between you and bad table manners.) As the TUG contingent was the +largest of several groups present, the erstwhile Gouverneur was chosen +from our ranks --- none other than Bart Childs. The Master of the Feast +saw to it that the serving wenches were most attentive. It should be +noted, though, that Bart was on hand the next morning in time to +present the annual introduction for new members. A worthy performance. + +The general theme of the meeting was \TeX\ in production environments. +The variety of publications ``produced'' by \TeX\ is truly astounding. +When I was first introduced to \TeX\ it was still the preserve of +computer science students and a few visionary mathematicians and +physicists. {\sc nasa} technical reports, textbooks and computer reference +manuals are natural applications for \TeX; more surprising are the +kennel club yearbooks and TV~Guide, for which the first copies with +feature pages prepared by \TeX\ rolled off the press in May. + +There seemed to be no common hardware or operating environment among the +installations reported on, or even a common approach. What was common, +however, were the reasons that \TeX\ was selected, and the fact that most +production sites have tried to integrate \TeX\ into an existing operation. +One speaker % Mary McCaskill of NASA Langley +described her role as ``managing a system +of hardware, software and people''. These features --- an existing +operation, comprising both skilled people and good resources --- are +characteristic of a production system. + +Two areas in which it was perceived that \TeX\ could be stronger are +fonts and graphics. Ordinarily, only Computer Modern fonts are +delivered with \TeX{}. To install other fonts requires, at the very +least, some effort; however, production users of composition services +are simply accustomed to having a richer selection of fonts. With +respect to graphics, the most available technique is still pasteup, +whether physical or electronic (through the output driver). This was +a design decision by Knuth, and an extension to \TeX\ would be +required to overcome the limitation. + +\medskip +\def\bull{$\bullet$} +\def\1 {\par\noindent{\bull}\ignorespaces} +\noindent +Some sensible recommendations were made by the speakers: +\1 Management {\sl must\/} coordinate all areas involved, and make + them work together. +\1 To be successful, don't scrimp --- make sure the hardware and + software resources are adequate. +\1 User support is important. It isn't sufficient to hand \TB\ to + a prospective user. Training time is an investment that pays off. +\1 User training is best done in a language the users understand. When + training a design staff, use ``typesetter's terms''. +\1 Users will be at different levels; a reasonable support level might + be 1~guru~:\ 5~macro hackers~:\ $n$ ordinary users. +\1 Use or build tools when appropriate. If something happens more + than 5~times, automate it; if you build a tool more than 5~times, + build a tool-builder. +\1 Macros should be designed for optimum data-entry use, as well as to + produce the correct format. +\1 Remember that even \TeX\ has limitations. Instead of simply trying to + implement an old, unsuitable format, consider how a new approach + might be better not only for \TeX, but also for the product. +\1 For a first project, avoid one with a ``drop-dead'' deadline, if possible. +\medskip +\noindent +And several challenges were raised: + +\1 To \TeX\ developers, make \TeX\ part of a {\sl complete\/} publishing + system, including graphics. +\1 \TeX\ should be more cooperative about fine-tuning; a small change + shouldn't lead to possible changes several pages later. +\1 Translation between other competent systems ({\it nroff}, etc.)\ and + \TeX\ should be investigated and implemented. +\medskip +\noindent +Proceedings of both \TeX88 and the TUG meeting will be published. +Both will be available from TUG early in 1989. +\smallskip +\rightline{\sl Barbara Beeton} diff --git a/info/digests/texline/no8/chris.tex b/info/digests/texline/no8/chris.tex new file mode 100644 index 0000000000..a7b08e66cb --- /dev/null +++ b/info/digests/texline/no8/chris.tex @@ -0,0 +1,41 @@ + +\centerline{\bf Leslie's friend says\dots} +\medskip +\noindent +I agree entirely with Leslie Lamport on the relative ease +of changing the handful of parameters in \LaTeX\ +which affect the overall page layout. It is one of the most staightforward +changes to a style file. It is also one of the few which is clearly +and reasonably comprehensively explained in the manual: one warning is, +however, needed here --- anything you read about the parameter |\footheight| +is probably false --- the truth, as Leslie admits in the January 88 version +of the macros, is that |\footheight| is never (!!!) used, although it is +religiously defined in every style file. As far as I know, no correction to the +manual has been issued on this one. + +I also agree with him that, like so many things in the typographic world, +making it easy means that it is easy to produce ``execrable'' results. +So either get yourself a designer you like and can understand, or, and this +is quite feasible for this type of design change, find a similar document +which has been professionally designed (NB: for the same type and size of +font) and which you like, \dots\ and copy it! + +The people/person I disagree with is whoever was the ``professional'' who +produced the designs for the standard Latex styles: I, and my ``professional +advisers'' find them execrablissimo(mi?). + +Modesty does not forbid me to add that if you want a large source of +well-designed (well, professionally designed) A4 format publications on a +variety of topics and a in a wealth of different typographic styles, then you +need look no further than the enormous output of the Open University over the +last 19 years (help, if the OU is that old, I must be due for retirement soon). +\smallskip +\rightline{\sl Chris Rowley} +\smallskip +\leftline{\sl Another editor's note:} +\noindent +Although I have been unable to trace any reference from LL which gives a clue to who +might be responsible for the styles, he does credit Marshall Hendrichs, Lynne +Ruggles and Richard Southall for ``what little I know about typography''. In a recent +\TeXhax\ he +fingered Hendrichs as contributing to the design of the \LaTeX\ book. diff --git a/info/digests/texline/no8/ero.tex b/info/digests/texline/no8/ero.tex new file mode 100644 index 0000000000..71d7b90db0 --- /dev/null +++ b/info/digests/texline/no8/ero.tex @@ -0,0 +1,153 @@ +\magnification\magstep1 +\def\Afour{\hsize=6.25truein\vsize=9.5truein}%A4 page dimensions +\Afour +\font\sc=cmcsc10 +\font\mf=logo10 +\font\mfb=logobf10 +\font\mfsl=logosl10 +\def\MF{{\rm{\mf META}\-{\mf FONT}}} +\def\MFb{{\bf{\mfb META}\-{\mfb FONT}}} +\def\MFsl{{\sl{\mfsl META}\-{\mfsl FONT}}} +\font\big=cmr17 +\font\med=cmbx12 +\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt + \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} +\def\SGML{{\sc sgml}} +\let\sgml\SGML +\def\PS{{\sc Post\-Script}} +\def\center#1{\hbox to 5truein{\hfill #1\hfill}} +\newdimen\wide +\newbox\wb +\setbox\wb\hbox{Affiliation\quad} +\wide\wd\wb +\def\leaderfill{\leaders\hrule\hfill} +\def\lbox#1{\line{\hbox to\wide{#1\hfill}\leaderfill}} +\def\shortbox#1{\hbox to 3truein{\hbox to\wide{#1\hfill}\leaderfill}} +\def\square{\leavevmode\boxit{\hbox to 5pt{\vrule width0pt height5pt depth0pt}}\quad} + +\nopagenumbers + +\centerline{\big First Announcement and Call for Papers} +\bigskip +\centerline{\boxit{% +\smallskip +\center{\med 4th Annual Meeting of European \TeX\ Users} +\smallskip +\center{\med\TeX89} +\smallskip +\center{\med September 11--13, 1989, Karlsruhe, FRG} +\smallskip}} + + +\bigskip\noindent +\TeX89, the 4th European \TeX\ Conference, will take place at Karlsruhe +University, FRG, from Monday, September 11th, to Wednesday, +September 13th, 1989. The conference will be organized by +Anne Br\"uggemann-Klein, Department of Computer Science, University +of Freiburg, and Rainer Rupprecht, Computing Center, +University of Karlsruhe. +\bigskip\noindent +Following the tradition of last years' conferences, contributions +are welcome from all areas of \TeX, \MF, and related subjects. +Likely themes might include: +\item{$\ast$}document structures (\LaTeX, \SGML, ODA,\dots) +\item{$\ast$} non-technical \TeX\ (humanities, music, exotic languages,\dots) +\item{$\ast$} other technical areas (chemistry, physics, biology,\dots) +\item{$\ast$} difficult jobs with \TeX, \LaTeX,\dots +\item{$\ast$} graphics and \TeX +\item{$\ast$} \TeX\ training +\item{$\ast$} \TeX\ as part of a larger system (user interfaces, +tools, environments,\dots) +\item{$\ast$} \TeX\ as a production tool +\item{$\ast$} fonts to use with \TeX\ (\MF\ and other systems) +\item{$\ast$} \TeX\ and \PS +\item{$\ast$} Macro packages +\item{$\ast$} public domain \TeX\ vs. commercial \TeX +\bigskip\noindent +Besides traditional paper sessions, discussion groups on special +subjects and exhibitions will be organized. In a special session +at the end of the conference, highlights of the discussion groups +will be presented to the general audience. Conference proceedings +will be published after the conference. +\bigskip\noindent +Various workshops and participatory seminars will be offered +before and after the conference. Proposals for topics and +voluntary tutors are welcome. +\bigskip\noindent +The conference fee will be approximately DM 280,--. The fee includes +registration materials, lunches, social events and a copy of the +conference proceedings. +\bigskip\noindent +A second circular containing a preliminary program will be out +by March 31st, 1989. + + +\eject + + +\baselineskip15pt\parindent0pt + +\centerline{\big RETURN BEFORE FEBRUARY 28, 1989} +\bigskip\vfill +\lbox{Name} +\lbox{Affiliation} +\lbox{Address} +\lbox{} +\lbox{} +\shortbox{Telephone} +\shortbox{email} + +\vfill +Please tick where appropriate: +\smallskip + +\square Please add my name to the \TeX89 mailing list. + +\square I am seriously considering attending the conference. + +\square I would like to present a paper. + +\qquad The title will be: + +\lbox{} +\lbox{} + +\qquad My talk will take $\underline{\qquad}$ minutes. + The abstract (1 page) is included. +\vfill +\square I would like to contribute to or participate in discussion + groups on: + +\lbox{} +\lbox{} +\vfill +\square I would like to offer a workshop before or after the + conference on: + +\lbox{} +\lbox{} +\vfill +\square + I would like to participate in a workshop before or after the + conference on: + +\lbox{} +\lbox{} +\vfill +Send to: +{\obeylines\baselineskip12pt \parindent20pt + Rainer Rupprecht + Rechenzentrum + Universit\"at Karlsruhe + Postfach 6980 + 7500 Karlsruhe 1, FRG +\smallskip + email: RZ32@DKAUNI48 (bitnet) +} +\vfill +\centerline{\big RETURN BEFORE FEBRUARY 28, 1989} + +\end + diff --git a/info/digests/texline/no8/euro.tex b/info/digests/texline/no8/euro.tex new file mode 100644 index 0000000000..5c493e809c --- /dev/null +++ b/info/digests/texline/no8/euro.tex @@ -0,0 +1,44 @@ +\centerline{\bf \TeX89} +\medskip +\noindent +\TeX89, the 4th European \TeX\ Conference, will take place +at Karlsruhe University, FRG, from Monday, September 11th, +to Wednesday, September 13th, 1989. + +Following the tradition of last years' conferences, contributions +are welcome from all areas of \TeX, \MF, and related subjects. +Likely themes might include: +\item{$\ast$}document structures (\LaTeX, \SGML, ODA,\dots) +\item{$\ast$} non-technical \TeX\ (humanities, music, exotic languages,\dots) +\item{$\ast$} technical areas (chemistry, physics, +biology,\dots) +\item{$\ast$} difficult jobs with \TeX, +\LaTeX,\dots \item{$\ast$} graphics and \TeX +\item{$\ast$} \TeX\ training +\item{$\ast$} \TeX\ as part of a larger system (user interfaces, +tools, environments,\dots) +\item{$\ast$} \TeX\ as a production tool +\item{$\ast$} fonts to use with \TeX\ (\MF\ and other systems) +\item{$\ast$} \TeX\ and \PS +\item{$\ast$} Macro packages +\item{$\ast$} public domain \TeX\ vs. commercial \TeX + +\noindent +Besides traditional paper sessions, discussion groups on special +subjects and exhibitions will be organized. In a special session +at the end of the conference, highlights of the discussion groups +will be presented to the general audience. Conference proceedings +will be published after the conference. + +Various workshops and participatory seminars will be offered +before and after the conference. Proposals for topics and +voluntary tutors are welcome. + +The conference fee will be approximately DM 280,--. The fee includes +registration materials, lunches, social events and a copy of the +conference proceedings. + +A second circular containing a preliminary program will be out +by March 31st, 1989. +\smallskip +\rightline{\sl Rainer Rupprecht} diff --git a/info/digests/texline/no8/fallen.tex b/info/digests/texline/no8/fallen.tex new file mode 100644 index 0000000000..3ab5f23f4d --- /dev/null +++ b/info/digests/texline/no8/fallen.tex @@ -0,0 +1,62 @@ +\centerline{\bf Fallen by the wayside} +\medskip +\noindent +Over the last year or so, many of the commercial \TeX +ware vendors have changed. Some are merely name changes, +but since this lack of continuity is confusing, at best, +and damaging, at worst, it is useful to detail the +metamorphoses. + +The first player to fall was Addison Wesley. AW are still +\DEK's publisher, and continue to publish all the \TeX\ +books. What has changed is their +attachment to software. At one time they supplied both +the {\sc ibm pc} micro\TeX, and the Macintosh +\TeXtures{}. Of these, perhaps the most noticeable loss +was for micro\TeX, since AW `disinvested' at just the +time that the AM fonts were being replaced by the CMs. +After a very long hiatus, ArborText picked up micro\TeX, +and will market it as $\mu$\TeX{}. There appears to have +been a fair amount of development work going on, and +apart from some qualms about supply and support outside +the US, this change is to be welcomed. + +\TeXtures\ had only just reached its `full-release' when +AW returned to books. In any case \TeXpert\ quickly +stepped in; there is at least one other supplier, but she +remains well hidden. + +Shortly after \TeXtures\ reached full release status, +Kellerman \& Smith, who supplied not only \TeXtures, but +also a {\sc vax vms} implementation of the \TeX ware, +parted company, to become Blue Sky Research (the Barry +Smith, \TeXtures\ part) and Northlake Software (the David +Kellerman, {\sc vax vms} part). This came as a surprise +to many of us. + +ArborText themselves had changed their name from TextSet. +If you have a pc version of \TeX, micro\TeX\ or +pc\TeX, you are probably using one of their driver +programs. The probable reason for changing their name was +to avoid confusion with Texet, who are involved in the +same general area of document software. Or rather, {\it +were} in the same general area. Texet folded last year. +Perhaps TextSet\slash ArborText should have waited. + +One other casualty seems to have been {\sl FTL +systems\/}' Mac\TeX{}. Nothing has been heard of them for +some time. They made no appearance at Montreal, nor have +there been any advertisements in \TUGboat{}. McQueen, who +supplied the software in this country have themselves +abandoned all software sales, returning to `real' +printing. + +Even in the Atari world the pattern is repeated. Kettler +{\sc edv}, who were supplying one of the two German Atari +\TeX\ versions folded last year, but the software is now +handled by \TeX sys (who are essentially the people who +implemented the software). + +I suppose this is all inevitable with software, +but it does confuse, and makes the \TeX\ world look a +little unstable from some viewpoints. diff --git a/info/digests/texline/no8/first.tex b/info/digests/texline/no8/first.tex new file mode 100644 index 0000000000..6afd3db6c1 --- /dev/null +++ b/info/digests/texline/no8/first.tex @@ -0,0 +1,66 @@ +\hyphenation{Addison} +\input texline +\def\PCTeX{{\sc pc}\kern-0.1em\TeX} +\def\bi{\item{$\bullet$}} +\def\section#1{\medskip\leftline{\sl #1}\par\noindent\ignorespaces} + +\vsize8.5truein +\input resolution %Bill Noble, Vardas, +\eject +\vsize=9.5truein +\input pole %Janusz Bie\'n, +\bigskip +\input alien %Adrian Clark, +\bigskip +\input bnb %Barbara Beeton, +\bigskip +\input mont.real %Cathy Booth, +\bigskip +\input st.tex %Bijan Djahansouzi +\bigskip +\input larry3 %Stephen Pollock, Larry Siebenmann +\bigskip +\input maria %Maria Tuck +\bigskip +\input oddtypes +\bigskip +\input rept %Carol Hewlett, Sebastian Rahtz +\bigskip +\input roger %Roger Horne +\bigskip +\input fontmemo %Dominik Wujastyk +\eject +\input review +\bigskip +\input sgml-review +\vfill +\bigskip +\input green %Brendan Molloy +\vfill +\eject +\input salton +\bigskip +\input chris %Chris Rowley +\bigskip +\input announce +\bigskip +\input snip +\bigskip +\input fallen +\bigskip +\input backnumber +\bigskip +\input gut %Bernard Gaulle +\vfill +\eject +\input euro.tex +\bigskip +\input bcs.display +\bigskip +\input more.sgml +\vfill\eject +\bigskip +\input late.news +\bigskip +\input thanks +\bye diff --git a/info/digests/texline/no8/fontmemo.refs b/info/digests/texline/no8/fontmemo.refs new file mode 100644 index 0000000000..0ac39320af --- /dev/null +++ b/info/digests/texline/no8/fontmemo.refs @@ -0,0 +1,119 @@ +{\frenchspacing\parindent0pt\parskip\smallskipamount +\def\VL{{\it Visible Language}} +\def\DEK{Donald E. Knuth} +\leftline{\sl References and Reading} +\smallskip +In the Following list, TUG88 is used as an abbreviation for: {\it \TeX\ Users +Group Eighth Annual\/} {\it Meeting:\/} {\it Conference Proceedings\/}, edited +by Dean Guenther (Providence: TUG, 1988). + +Barbara Beeton, `Mathematical Symbols and Cyrillic Fonts Ready for +Distribution', \TUGboat\ {\bf 6} (1985), 59--63. + +Barbara Beeton, `Mathematical Symbols and Cyrillic Fonts Ready for +Distribution (Revised)', \TUGboat\ {\bf 6} (1985), 124--128. + +W. Andrews \& P. MacKay, `The Ottoman Texts Project' in TUG88, 35--52. + +W. Andrews \& P. MacKay, `Turkish Hyphenations +for \TeX' in {\TUGboat\/} {\bf 9} (1988), 12--14. See also the note in +{\TUGboat\/} {\bf 8} (1987), 260. + +Anon, `Alumna Designs First LaserWriter Typeface', {\it Harvard +Extension Newsletter\/} {\bf 8}(2) (Spring 1988). + +C.~Bigelow and K.~Holmes, `The Design of Lucida: an Integrated +Family of Types for Electronic Literacy', in {\it Text Processing and\/} +{\it Document Manipulation\/} edited by J.~C.~van Vliet (Cambridge, 1986), +1--17. + +Jonathan A.~Epstein, `Best Font Forward', {\it Digital Review\/} (July +1986), 82--87. + +Aarno Hohti \& Okko Kanerva, `Generating an APL +Font' {\TUGboat\/} {\bf 8} (1987), 275--278 + +Douglas R.~Hofstadter, `Metafont, Metamathematics +and Metaphysics: comments on Donald Knuth's Article ``The Concept of a +Meta-Font''\,', {\VL\/}, {\bf 16} (1982), 309--338 + +Douglas R. Hofstadter {\it Metamagical Themas}, (New York, +1986). + +\DEK, `The Concept of a Meta-Font', {\VL\/} {\bf 16} (1982), +3--27. + +\DEK, `My First Experience with Indian Scripts', in {\it CALTIS-84:\/} +{\it Special Issue on Calligraphy, Lettering \& Typography of Indian +Scripts\/}, (Proceedings of a Delhi 1984 conference). + +\DEK, `Lessons Learned from Metafont', +{\VL\/}, {\bf 19} (1985), 35--53. + +\DEK, {\it Computer Modern Typefaces\/}, (Reading etc., Addison-Wesley +Publishing,1986), 588pp. + +\DEK, R. Graham \&\ O. Patashnik, {\it Concrete Mathematics}, (Reading etc., Addison-Wesley +Publishing,1989), 250pp. + +\DEK\ \& P.~MacKay, `Mixing right-ro-left texts with left-to-right +texts' {\TUGboat\/}, {\bf 8.1} (1987), 14--25. + + +\DEK, `A Punk +Meta-font', {\TUGboat\/} {\bf 9.2} (1988), 152--168. + +Silvio Levy, +`Typesetting Greek', in TUG88, 27--33. + +Silvio Levy, `Using Greek Fonts with \TeX', {\TUGboat\/} {\bf 9} (1988), + 20--24. + +P. K. Ghosh, Stanford Computer Science Report +965: {\it An Approach to Type Design and Text Composition in Indian +Scripts\/}, (Stanford, 1984). + +Robert Messner `Blackboard Bold' {\TUGboat\/} {\bf 9} +(1988), 19--20. + +Geoffrey K.~Pullum and William A.~Ladusaw {\it Phonetic Symbol Guide\/}, +(Chicago, London, 1986). + +Nobuo Saito `Japanese \TeX', {\TUGboat\/} {\bf 8} (1987), 103--116. + +Nobuo Saito \& K. Kitagawa, `What Should We Do for Japanese \TeX', TUG88, 53--56. + +Nobuo Saito `\TeX: J\TeX', TUG88, 57--68. + +Geoffrey Sampson, +`Is Roman Type an Open-Ended System: A Response to Douglas Hofstadter' +{\VL\/} {\bf 17} (1983), 410--412. + +John Sauter, {\TUGboat\/} 7.3 (1986), 151--152. + +Christina Thiele, +`\TeX, Linguistics, and Journal Production' in TUG88, 5--26. + + +Georgia Tobin,`The ABC's of Special Effects' +in {\TUGboat\/} {\bf 9} (1988), +15--18. + +Georgia Tobin, `Designing for Low-Res Devices', {\TUGboat\/} {\bf 9.2} (1988), +126--128. + +\DW, `The Many Faces of \TeX\ a Survey of Digital {\mf META}fonts', +{\TUGboat\/} {\bf 9.2} (1988), +131--151. Slso see the follow-up article in {\bf 9.3}. + +} + + + + + + + + + + diff --git a/info/digests/texline/no8/fontmemo.tex b/info/digests/texline/no8/fontmemo.tex new file mode 100644 index 0000000000..d5943363d3 --- /dev/null +++ b/info/digests/texline/no8/fontmemo.tex @@ -0,0 +1,1033 @@ +\centerline{\bf Fonts} +\medskip +\noindent +The following article first appeared in \TUGboat\ 9(2) in +August of 1988. A version had previously appeared through +\hax, and at that time I asked \DW, its author, if I could +reprint it in \TeXline. Despite the fact that it has appeared +in \TUGboat, it still seems worthwhile printing it here. +Firstly, Dominik has added an appreciable amount of +material to it, and secondly, not all \TeXline\ readers are +\TUGboat\ readers. Perhaps this article may encourage them +to join TUG and receive the journal. In its original form, +the article ran to about 15--16 pages. It has been ruthlessly +cut. I have omitted some `frivolous' sections, and some where +the work was really `work in progress'. Perhaps more +damaging, I have omitted all the contacts and details of availability. +{\bf Do not contact Dominik to find out how to get these fonts.} +Please. First, consult \TUGboat; or failing that, if you have email access, try +accessing the complete source file, as listed at the end of the article; +and then, when all else fails, ring me. Do not be upset +when my ansaphone takes the message. +\smallskip +\rightline{\sl Malcolm Clark} +\bigskip +\newcount\num +\newcount\subnum +\def\METAfont{meta-font} +\def\section#1{\medskip\global\advance\num by1 +\global\subnum0\noindent{\sl\the\num. #1} \par\noindent\ignorespaces} +\def\subsection#1{\global\advance\subnum by 1\smallskip\leftline{$\bullet$\sl +\enspace\the\num.\the\subnum\enspace#1}\par\noindent\ignorespaces} +\def\subsubsection#1{\par\leftline{\quad$\circ$\sl +#1}\par\noindent\ignorespaces} +\def\verb{} +\centerline{\bf The Many Faces of \TeX} +\medskip +\leftline{\sl Introduction} +\noindent +This article seeks to give a survey of the fonts +currently available for use with \TeX. +Although I have been primarily interested in cataloguing fonts +designed with \MF, I also wanted to include information about any +other fonts that have been successfully used with \TeX, i.e., fonts +with \TeX\ Font Metric files, and a mechanism for the creation of the +appropriate ligatures and kerning pairs, be it within the {\tfm} +file, or by means of a preprocessor. + +I first started compiling this article late in 1987, as a note to +myself and my immediate Indological colleagues. But it seemed little +extra work to include more information in it about other fonts that I +had heard of, and doing this greatly widened its usefulness to \TeX\ +users in general. But you may still detect a slight Indic leaning. + + +People interested in \MF\ should be aware that in addition to +past issues of {\TUGboat\/}, \hax\ and UK\TeX, Don Hosek's network +magazine \TeX MaG has regularly included information about fonts, +and is required reading for \MF ers. Volume 2, issue 5, in +particular, was dedicated to non-English \TeX, and discussed +Icelandic, German, French, ancient Irish, and the problems of +foreign language hyphenation. Earlier issue of \TeX Mag have +also contained technical descriptions of \TeX\ font file formats, +etc. + +This article is made up of information given to me by others, both in +person and through general publication in \TUGboat\/, \hax\ and the +various electronic networks. My sincere thanks to all the contributors. + + +\section{\sl Computer Modern} +\noindent +It may seem odd to start with Computer Modern (CM), the typeface +family that most \TeX\ users use most of the time, since it was +created side by side with \TeX, and is included in all distributions +of \TeX. Nevertheless, I feel that there is an important point to be +made about CM. + +When Knuth developed \MF, one of the central ideas of the whole +project was that of producing {\it parametrized\/} typefaces. +Later on, Knuth explained that the whole inspiration for \MF\ had +arisen from the three ideas of {\it pens, parameters\/} and +{\it programs\/}. Knuth made it clear that he had never +meant to imply that all typefaces could usefully be combined into one +single \METAfont\ (although he did not actually deny the feasibility of +such an endeavor), and again emphasized the desirability of trying to +incorporate variability into a design. + +In view of the vigour with which Knuth has maintained the idea of +parametrization, both in discussion and in the actual implementation +of Computer Modern, it is surprising that there seems to be no example of a new +typeface created from CM by changing its parameters. (Since this article was +written, Knuth's `Concrete Modern', derived from CM, has been used in his new, +jointly-authored book, `Concrete Mathematics' --- this is designed to blend in +with the Euler maths font developed at the AMS: it is not immediately clear +whether this is yet another CM realisation, or a new typeface.) In Knuth's own +hands, CM is utterly plastic, as was demonstrated so startlingly in his article +`The Concept of a Meta-Font' referred to above, and by the inclusion of such +fonts as Computer Modern Funny Roman ({\tt CMFF}), Unslanted Text Italic ({\tt +CMU}), and the delightful CM Fibonacci {\tt CMFIB} in the standard +distributions. But none of us has taken up the challenge, implicit in the 62 +parameters of CM, to produce a new face for general distribution. It would be +very nice, for example, to produce a full set of {\tt CMFIB}, with bold, +slanted, italic, typewriter and other versions. Knuth has said that we should +not blindly copy the old masters, without trying to understand why they produced +what they did. How interesting it might be, then, to try to manipulate the +parameters of CM to produce a different, but recognizable family of faces. And +if the experiment failed, the reasons why it did so would themselves be of great +interest. The first sentences of the Introduction to {\it Computer + Modern Typefaces\/} are: +{\it +``Infinitely many alphabets can be generated by the programs in this +book. All you have to do is assign values to 62 parameters and fire +up the \MFsl\ system; then presto --- out comes a new font of type.'' +} + +\subsection{Non-standard sizes of CM} +John Sauter (1986), reported that he has +re-parameterized CM so that any of the existing Computer Modern +family may be created with any design size. For example, most of +us, when requiring an 11\,pt CM Roman will use {\tt CMR10} at +|\magstephalf|. Apparently this is not satisfactory to the +most discerning, and Sauter's algorithms permit one to generate a +true {\tt CMR11} face. They go further, of course, and permit +the generation of any of the CM faces in any (reasonable) point +size. This is done by algorithms which interpolate or extrapolate +from the values used by Knuth in the \MF\ parameter files for CM. +If a standard value, such as 10\,pt, is chosen, then Sauter's +algorithms will produce CM fonts identical to the standard ones. +The {\tfm}\ files for all sizes match exactly. +Don Hosek notes that some of the fonts may start looking +bad at larger sizes, lacking inter-character space, and so on. + +\subsection{Hosek Pica} +Don Hosek has created a +CM Pica, using the \MF\ code of the typewriter style font, {\tt +CMTT}, of Computer Modern as his point of departure. CM Pica is +more or less a 10\,cpi version of {\tt CMTT} with heightened +ascenders and x-height, similar to the Xerox 1200 {\sc pica} font in +appearance. + +CM Pica is designed as a sop to University authorities, +some publishers' editors and those who insist on having a +typescript manuscript marked up in the traditional manner, i.e., +with a squiggly line under bold characters, and underlining under +characters which would be italicized in print. + +To achieve this, Don created `bold' and `italic' fonts ({\tt +CMPICAB.MF, CMPICATI.MF}) in which each character includes an +under-squiggle, or underline respectively. He also modified the +{\tt ligtable} commands controlling begin- and end-quotes and also +hyphens, so that {\tt ``} and {\tt ''} both become \verb|"|, +while {\tt `} and {\tt '} both become {\tt \char'15} (the single +straight quote symbol at code '015 in {\tt CMTT}). Similarly, on +output, `\verb|--|' becomes `\verb|-|' and `\verb|---|' becomes +`\verb|--|'. + +One can code up a document in normal \TeX\ +fashion and then, by setting the fonts to be Hosek's Pica, it +will print out looking as though it had been typed, with `italic' +text underlined and `bold' text under-squiggled, etc. Merely +reset the fonts to {\tt CMR} (or whatever) and it will be +properly typeset with all the variety of fonts and refinement of +punctuation of which \TeX\ is capable. + +\section{\tt PUNK} +Don Knuth (1988) presented `A Punk +Meta-font'. Perhaps the most +extraordinary part of that article is Don's description of how he +coded the font, extremely rapidly, and with no reference at all +to drawings for the letters from V to Z, producing the \MF\ code +as fast as he could type! This demonstrates a completely new +paradigm of typeface design and creation, which many graphic +designers will find alien, but which evidently works for some +people, at least for smallish projects such as the punk typeface. + +\section{\sl Devan\={a}gar\={\i}} +\noindent +Devan\={a}gar\={\i} is the alphabet used for writing and printing +Sanskrit, Hindi and several other languages of South Asia, both +ancient and modern. + +\subsection{Knuth} +As far as I know, Donald Knuth coded the first Devan\={a}gar\={\i} +character to be created with \MF. This was the single syllable {\it la\/}, +which Matthew Carter gave to Knuth in 1980 as a challenge to test the +capabilities of the then nascent \MF. The smoke proof of the +character, and several interesting remarks about the experience, were +published as Knuth (1984). + + +\subsection{Velthuis} +The only fully worked out version of Devan\={a}gar\={\i} presently +available is that of Frans Velthuis. +Recently Velthuis completed version 1.2 of a +Devan\={a}gar\={\i} \METAfont\ for \TeX. He has written \MF\ code for +all the {\it ak\d{s}aras\/} (syllabic characters) necessary for Hindi, and +most of those for Sanskrit too, although in the latter case some +{\it vir\={a}mas\/} are used. Frans intends to produce a special Sanskrit +version of his font in the future. Also included are the +Devan\={a}gar\={\i} numerals, {\it anusv\={a}ra, vir\={a}ma, da\d{n}\d{d}a,\/} +{\it candrabindu, visarga, avagraha\/}, full stop, and the superscript +abbreviation circle. +A preprocessor, +\hbox{\tt DEVNAG}, available compiled for several systems, or in Pascal or +C, reads your file and converts the Hindi transliteration into +the appropriate codes for Frans's font. The converted file is then +processed by \TeX\ or \LaTeX\ in the normal way, and the resulting +\dvi\ file can be printed using a standard \dvi\ outputprogram. +The portions of Hindi text originally in Roman +transliteration will be printed in Devan\={a}gar\={\i}.\looseness=1 + + +\subsection{Ridgeway and Schiffman} +Dr.~Thomas Ridgeway, +director of the Center, in consultation with Prof.~Harold Schiffman +of the Department of Asian Languages, has almost completed a fully +vowelled \MF\ for Tamil. It will be tested during the summer, and +should be ready for release in early autumn 1988, together with some +sort of macro package to make it usable from a Latin-letter keyboard. +Characters are arranged in the font in rough alphabetical order, +starting from position zero. + + + +\section{\sl Perso-Arabic} +%\paragraph{Date of information} June 7, 1988. +\subsection{MacKay} +Pierre A.~MacKay (TUG Site Coordinator for \unix-flavoured \TeX) and the +Washington team have been working on an Arabic implementation of \TeX\ +for some years. Their plans are ambitious, and include building a +customized version of \TeX, called \XeT, which has a built-in +capability for handling bidirectional text. + + +\subsection{Goldberg} +%\paragraph{Date of information} February 3, 1988, February 11, 1988. +Early in 1988, Jacques J.~Goldberg +wrote to \hax, giving details of a +package giving the capability of printing Hebrew. He said that an +article was currently being written about the package, for submission +to \TUGboat\ (see also under {Hebrew}). +At the same time he referred to a nearly completed Arabic font. +In early September Goldberg noted that there has been a +lot of progress with the Arabic font. The font consists of: +\item{$\star$} a complete font of 29 characters each at 2 or 4 glyphs +(position dependent, isolated, first, middle, last in word). +\item{$\star$} a preprocessor with customizable mapping of the basic 29 +chars to a--z, A--Z areas of an {\sc ascii} keyboard, that will generate an +intermediary file with which unmodified \TeX\ plus a few macros correctly +composes bidirectional texts. The preprocessor reassigns the correct glyph from +the isolated form glyph depending on the position in word. +\smallskip\noindent +All this will continue to be made available free to the academic +community. + + + +\section{\sl Hebrew} +%\paragraph{Date of information} February 3, 1988. +\subsection{Goldberg} +Jacques J.~Goldberg also gave details of a package giving the +capability of printing Hebrew. He said that an article was currently +being written about the package, for submission to \TUGboat. +The package comprises: +\item{$\star$} a set of fonts at 8, 9, 10, 12, 17 points in regular type, 10 + points slanted and bold, and any magnification on request (1000 + off the shelf). +\item{$\star$} a 100\% portable preprocessor written in C (MSDOS users who do + not have a compiler can get the {\tt .COM} file). +\item{$\star$} a small set of \TeX\ macros. +\item{$\star$} a sample file. + +\noindent +Hebrew words in Roman transliteration are inserted either by typing +first-typed-last-read with the font invoked, which +`displays' in \hbox{natural} reading order, or by typing first-typed-% +first-read as argument of the |\reflect| macro given by Knuth \& +MacKay, 1987. Long Hebrew sequences are typed +in first-typed-first-read order, within delimiters. The preprocessor +copies non Hebrew sequences to an auxiliary file. Hebrew sequences are +parsed into words, and written to the auxiliary file one word at a +time after each word has been reflected. \TeX\ is then invoked on the +file containing the macro package, which itself |\inputs| the +auxiliary files, feeding \TeX\ with either normal English input or +\hbox{|\lines{ }|} adjusted by the macro to the optimal number of Hebrew +words. + +\subsection{Other Developments} +See also the experimental Hebrew font described under the heading +{Georgia Tobin}, and the bitmaps distributed by the {Austin Code Works}. + + +\section{\sl Greek} +%\paragraph{Date of information} January 21, 1988. +\subsection{Levy} +Regular, bold, and typewriter versions of the Greek alphabet have been +coded in \MF\ by Silvio Levy of Princeton, starting from the Greek +character set created by Don Knuth as part of the CM family, but with +all accents, breathings, correct spacing, ligatures, and macros to +implement a convenient Roman transliteration for input. The font is +suitable for both classical and modern Greek. + +Full details and illustrations of the use of the fonts have been given +by Silvio Levy in his two publications (1988a, 1988b). + + + +\subsection{Hamilton Kelly} +Brian Hamilton Kelly created Greek fonts +using \MF. +Brian completed this work before hearing of Silvio Levy's work at +Princeton, but continues to use his own Greek since it does not +require a \dvi\ driver which can read fonts of 256 +characters. +He has now written a small macro package which eases +considerably the selection of the Greek fonts; this is for use +under \LaTeX. He has also +written a short paper, describing what he has generated, and his +future directions. He has recently been refining the character +programs, to make some of the letters more textual in appearance +(for example, the alpha was very wide; fine for maths, but not in +text). + +\section{\sl Cyrillic} +\subsection{MacKay} +%\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre +%MacKay). +Pierre MacKay reports that the Washington team is working on Old +Russian (more or less Old Church Slavonic, but specifically designed +for the Slovo). + +\subsection{MF Slavic Family} +This family of Cyrillic fonts is described under Georgia Tobin. + +\subsection{AMS} +The American Mathematical Society (Beeton, 1985) has developed a post revolution +Cyrillic font, in old \MF79, and a set of macros to implement it +comfortably. Details of the font, with examples of its use, and grids +of the character set were published in \TUGboat. + +\section{\sl Turkish} +%\paragraph{Date of information} June 7, 1988. (P. A. MacKay) +Pierre MacKay informs me that work on properly accented +Roman-letter Turkish fonts in \MF\ has been undertaken at the +University of Washington by himself and Walter Andrews. The accented +characters are developed from CM descriptions, so as to +maintain the maximum possible compatibility with the CM +faces. Andrews and MacKay have published a description of their work +(Andrews and MacKay, 1988). +Pierre also wrote on Turkish hyphenations (MacKay, 1988). + + + +\section{\sl Japanese} +%\paragraph{Date of information} March 11, 1988 +In order to typeset Japanese text it is insufficient merely to have a +Japanese font. There are several problems, including the very large +size of the Japanese character set, which mean that a modified +implementation of the \TeX\ system as a whole is necessary. +Some of the issues concerned in using \TeX\ for typesetting Japanese +were surveyed by Nobuo Saito and Kazuhiro Kitagawa of Keio University, +Yokohama: (Saito \& Kitagawa, 1988). + + +\subsection{ASCII Corporation} +The ASCII Corporation is a microcomputer oriented publishing and +software house that has taken a strong interest in \TeX\ for their own +publishing work, and whose \unix\ support section has produced and +distributes the Japanized version of \TeX. + + +\subsection{J\TeX} +Two articles on J\TeX\ and its fonts have +appeared (Saito, 1987, 1988). +J\TeX\ was developed by Yasuki Saito of Nippon Telephone \& Telegraph +(NTT). His policy has been to attempt to avoid radical changes to +standard \TeX\ as much as possible, but this increased compatibility +has led to problems: since a font can have only 256 characters, the +number of fonts one needs even to support a single real Japanese font +set (33) tends to be quite large, even if one only declares the fonts +corresponding to the various sections of the original font that +include characters that have actually been input into the document. + + +Yasuki Saito has also collaborated with Dai Nippon Printing Co.~to +make their industry standard fonts available. ASCII and SONY are also +negotiating with Dai Nippon to allow similar font sets to become available for +different resolutions of printers, and, if we are lucky, a vector stroke +typeface of high quality that is applicable to various sizes and +resolutions may become available next year. + +Saito's 1988 article includes a section describing the +JIS and DNP Japanese fonts, with illustrations. +J\TeX\ has 240, 300, 400, and 480 dpi fonts available currently. +Please note that 6000+ characters makes for a largish distribution +tape --- the rudimentary set of JIS fonts in an adapted {\tt gf} format +with {\tt tfm}s takes up about 10\,Mbyte of disk space, while the {\tt +pxl}, {\tt gf}, and {\tt tfm} files for the DNP Mincho and Gothic +fonts very nearly fill an entire 2400\,ft magtape at 6250\,bpi! + + +\subsection{Other Developments} +There is a version of Japanese \TeX\ that is likely to become +available from Canon which resembles J\TeX, but it may take a {\it +long} time for the management at Canon to make anything available to +the public domain, so it may not be available until some time next +year. + +Similarly, IBM Japan has a Japanese version based on the Canon +algorithm (which was also the stimulus for the Saito's J\TeX). + +The Bitstream Kanji fonts could almost certainly be integrated into +the above Japanese \TeX\ implementations (see {Bitstream}). + + + +\section{\sl International Phonetic Alphabet} +\subsection{Washington State University} +Dean Guenther informs me that Washington State +University has an IPA font available. It contains 128 popular IPA +characters and diacritics as specified in Pullum \& Ladusaw (1986). + Janene Winter did the \MF\ work on this font. The character +positions were coordinated with help from Helmut Feldweg, +Christina Thiele and some ideas from Brian +MacWhinney and Karen Mullen. + +The font also comes with a set of macros to access the characters +easily. For +example, |\schwa| prints what you would expect. + + +\subsection{Other Developments} +Georgia Tobin (q.\,v.) has an IPA font, created in old \MF79. + +A bitmap IPA font, {\tt ph10}, was created by Jean Pierre Paillet for +use with \TeX\ for typesetting the {\it Canadian Journal of Linguistics\/}. +This font is described, with a printout of the character grid, by +Christina Thiele (1988). +{\tt ph10} is now superseded by the Washington font. + + +Kris Holmes and Chuck Bigelow also report that they have a bitmap IPA +font. See {Lucida}. + +%\paragraph{Date of information} June 7, 1988. + +\subsection{Ridgeway} +A phonetic alphabet has been developed by Thomas Ridgeway for a large +subrange of American Indian languages. The first active projects +using this are in Salish and Navajo. + + +\section{\sl Georgia Tobin} +Georgia Tobin is well known to readers of \TUGboat\ as the editor of, +and chief contributor to, the `Font Forum' section of the journal. +She has been working with \MF\ since 1982, and between 1982 and 1987 +she created several complete families of fonts for use with \TeX. +(Georgia's husband Rick works with her on the fonts.) Much of +her earlier work was done using \MF79, which is now superseded. Only +the bitmaps of these early fonts are available, not the \MF\ sources. + +An important point to notice is that the Roman, Chel and Schoolbook +families described below include math symbol and extensible fonts, +like Knuth's CM, so that these fonts can be used for the full range of +mathematical and technical typesetting as defined in the {\tt plain} +format and \LaTeX. + +Georgia's newer work on Schoolbook, Hebrew, ALA and Special Effects +typefaces, described below, is all done in the current and +stabilized version of \MF, and is therefore much more flexible. Fonts +of these faces can be generated at any reasonable resolution, and for +any marking engine with a defined {\tt mode}. One hopes that Georgia +will find some way of making her \MF\ source code available to bona +fide users of her newer typefaces, without of course jeopardizing her +livelihood. + +\subsection{MF Chel Family} +The Chel (`Computer Helvetica') family of sans-serif fonts was +initially +created by Thom Hickey in \MF79. Chel was +later completed and extensively reworked by Georgia Tobin. In its +finished form, Chel has been described as `lighter and more compact' +than the Computer Modern sans-serif ({\tt CMSS}) which was designed by +Richard Southall and is included in all CM distributions. Chel +comprises fifteen fonts including Chel Book, Slant, Medium Bold, +Slanted Medium Bold, Bold, Slanted Bold, Extra Bold, Slanted Extra +Bold, Math Symbols, Bold Math Symbols, Math Italic, Bold Math Italic, +Math Extensible, Elite, Bold Elite, Pica and Bold Pica. + +\subsection{MF Roman Family} +This family comprises more than nineteen Times Roman style seriffed +fonts, including Roman Text, Slanted Text, Italic, Unslanted Italic, +Medium Bold, Medium Bold Italic, Bold, Bold Italic, Extra Bold, Extra +Bold Italic, Titling (Small Caps), Slanted Titling, Math Symbol, Bold +Math Symbols, Math Italic, Bold Math Italic, Math Extensible, Elite +and Pica. The last two fonts are 12\,cpi and 10\,cpi typewriter style +fonts respectively, and include slanted and emboldened versions. + +\subsection{MF Slavic Family} +The Slavic Family of fonts includes all the fonts necessary for +sophisticated typesetting in Russian. The family includes +Chel-compatible and Roman-compatible versions of Cyrillic in Book, +Slant, Bold and Bold Slant versions, and also an Italic version of the +Roman-compatible face. There are further `additional' fonts +corresponding to each of these categories which contain extra accents +and characters used in typesetting other Slavic languages. + +\subsection{MF Decorative Family} +Also offered is a decorative package of fonts which includes six +typefaces, including Black Letter, a Copperplate Script, Hodge Podge +(including assorted dingbats, pharmacy and planetary symbols, a turtle +and a frog), an Outline Helvetica (upper case), and a Slanted Outline +Helvetica (also upper case), and an Uncial Majuscule which emulates a +medieval manuscript script. + +\subsection{Century Schoolbook: Liber} +Georgia is close to finalizing a first release version of a Century +Schoolbook typeface. This is the first fruits of her work with the +new \MF84. Her goal has been to create a complete Century Schoolbook +style typeface that is clean and legible from very low resolutions +(about 72\,dpi is the lowest so far) to very high, and in point sizes +from 5 to 96 or so. +In \TUGboat\ {\bf 9.2}, Georgia gave more information about the process +of designing the Century Schoolbook typeface she has been working +on. The face is now christened Liber, and the article was +printed in the new face, at a resolution of 300\,dpi. + + +\subsection{MF ALA} +Another project has been the creation of \MF\ fonts which include the +special character set defined as a standard by the American Library +Association (ALA) and used by the Library of Congress and other bodies +influential in the library automation world, such as OCLC. This set +of characters and accents was designed to make possible the +representation, if necessary in a standard Roman transliteration, of +virtually all the world's languages. The characters include items +like upper and lower case thorn, Polish dark {\it el\/} (with a cross bar), +eth, and several other unusual signs and accents. There is even a +{\it candrabindu\/} for Sanskritists! Georgia did this work for the Library +of Congress. The font is available in Text, Bold, Italic, and Bold +Italic. + +\subsection{Hebrew} +Georgia is developing a Hebrew typeface, which is still at an +experimental stage. At the present time it consists of 27 characters, +with more calligraphic molding of the strokes than is shown in +Goldberg's font. However, Georgia has not developed any macros or +preprocessors for inputting Hebrew text in quantities, as Goldberg +has. + +\subsection{Special Effects} +Georgia published `The ABC's of Special Effects' (1988), in which are +demonstrated several fascinating typographical effects that are relatively +simple to produce with clever use of \MF\ macros. The article includes the +\MF\ code illustrating how the effects were produced. + + + +\section{\sl Blackboard Bold} +\subsection{Robert Messer} +Robert Messer published an article (Messner, 1988), in which he generalized a +method used by Knuth in the {\TeXbook\/} to produce such +characters. This is a series of |plain| \TeX\ macros which jiggle the characters +of CM around, using small kerns and the capital I and small rules, to produce a +`poor person's blackboard bold'. + +\subsection{Other Developments} +See also {Custom fonts \& Pandora}, and the {AMSfonts Package} package. + + +\section{\sl APL} +The APL programming language requires many unusual symbol characters, +which often baffle normal typesetting and word processing systems. +Aarno Hohti and Okko Kanerva (1987) have +developed an APL font for use with \TeX. They have `raided' the CM +character set to this end, so the characters should be similar in +weight and style with CM. + + +\section{\sl AMSfonts Package} +The American Mathematical Society has developed several fonts of +symbols and alphabets intended for use in mathematical notation. +Three alphabets, collectively known as Euler, were designed by Hermann +Zapf and implemented in \MF\ at Stanford as part of the \TeX\ project. +They come in both medium and bold weights, and include Fraktur, script +and an upright cursive alphabet, which was intended to minimize +problems with the placement of accents and indices. The Euler fonts +are considered proprietary, and sources +are available only under lease. + +Two fonts of symbols, including a Blackboard Bold alphabet, are also +available. Details of these fonts, including character grids, were +published in Beeton (1985). These fonts are still rendered in +\MF79, which is totally incompatible with the current \MF, so +distribution of the sources is pointless; arrangements are being made +for their re-implementation in new \MF, but the schedule is uncertain. + + +\section{\sl Custom Fonts \& Pandora} +\subsection{Custom Fonts} +If you are desperate for a \TeX\ font that does not yet exist, why not +commission a \MF\ programmer to create it? +Neenie N.~Billawala advertises her services as a \MF\ consultant in +{\TUGboat\/}. She is responsible for creating the fine calligraphic +capitals that are part of the Computer Modern typeface family (in the +{\tt CMSY} fonts). + +\subsection{Pandora} +Neenie, a designer, has also created a new typeface called Pandora, +which is part of a larger research project concerning the possibility +of breaking the elements of typeface design down into general reusable +components such as serifs (and terminal endings), bowls, circular +shapes, arms and so on. Pandora is the result of setting the +parameters for these components to one particular set of values, but +many others could be chosen. In this sense, Pandora explores further +the `parametrization' which is at the heart of Knuth's endeavor with +\MF. Neenie is writing a Stanford Computer Science +Report about this, called {\it Meta-Marks: Preliminary Studies for a +Pandora's Box of shapes\/} (to appear). + +The Pandora typeface is intended to be a `bread and butter' text face +and has been generated in seriffed, sans-serif and fixed width +versions. The character set of Pandora coincides with {\tt CMR} and +{\tt CMTT}, etc., and thus it does not include the math symbol +characters and extensibles. + + +\subsection{Blackboard Bold \& Outline} +Neenie is also working on a Blackboard Bold, to be compatible with +Times Roman, for the AMS, and an outline font. + + + +\section{\sl Bitstream Font Family} +%\paragraph{Date of information} March 10, 1988 +One of the most exciting developments in the area of Roman +alphabet typeface availability for \TeX\ has been the recent +announcement by Personal \TeX\ Inc., of the PTI Font Interface Package +(FIP). This is an MS DOS program which converts the outline typefaces +of the Bitstream typeface library into {\tt pxl} (and then {\tt pk}) +fonts, with associated {\tt tfm} files, for use with \TeX\ in a manner +analogous to the use of the use of the Computer Modern fonts. + +Since the Bitstream typeface outline files for any given font contain +more than the 128 characters usual in a \TeX\ font, the extra +Bitstream characters can be +generated in a second, complement font. The Bitstream fonts generated +by the FIP contain the same characters as {\tt CMR10}. However, +equivalents of the math italic, math symbol and extensible fonts of +the CM family are not provided, so the Bitstream fonts are for use in +typesetting predominantly textual matter. (One could, of course, mix +the fonts, using Bitstream for the text and CM for the mathematics.) + + +The Bitstream typeface library advertised by Personal \TeX\ at present +includes the following typefaces, each consisting of a regular, an +italic, a bold and a bold italic face: +Baskerville, +Bitstream Charter, +Bitstream Cooper Light, +Century Schoolbook, +Courier, +Dutch (i.e., Times Roman), +Futura Book, +Futura Light, +Futura Medium, +Goudy Old Style, +ITC Avant Garde Gothic, +ITC Bookman Light, +ITC Galliard, +ITC Garamond Condensed, +ITC Garamond, +ITC Korinna, +ITC Souvenir Light, +Letter Gothic, +News Gothic, +Prestige, +Serifa, +Swiss (i.e., Helvetica), +Swiss Condensed, +Swiss Light, +Zapf Calligraphic (i.e., Palatino), +Zapf Humanist (i.e., Optima), +and a selection of Headline faces including +Bitstream Cloister Black, +Broadway, +Cooper Black, and +University Roman. + + + +The creation of the font bitmaps is done using what +Bitstream calls `smart outlines'. Typographic rules are stored with +the typeface outlines and are applied at the time of bitmap +generation, using artificial intelligence algorithms (originally +implemented on Symbolics 3600 Lisp workstations) to tailor significant +features of the font to its point size, and the resolution and marking +characteristics of the printing device. Some typographically +significant features that are so treated are the stem weight, +x-height, cap height, side bearings, and baseline alignment. So a 6 +point Bitstream font is not a mere linear reduction of some larger +design size, just as {\tt CMR6} is not simply a small {\tt CMR10}. +This is very significant for the high quality of the fonts at small or +large sizes, and goes some of the way towards meeting the argument +made by Knuth in the \TeXbook\ (p.16), against scaling fonts much +beyond their design size. + + + + +\section{\sl Lucida} +Lucida is the name of one of the typefaces designed by Kris Holmes and +Chuck Bigelow. Its main design aim is that it be legible and +beautiful at low as well as high resolutions, and it is probably the +first original typeface family produced for digital printers and +displays. (Another font with some similar design goals is +Matthew Carter's Bitstream Charter.) By low resolution, Holmes and +Bigelow mean laser printers and computer screens. The font has been +discussed in Epstein (1986), Bigelow and Holmes (1986) and Anon (1988). +The second of these articles is itself printed in the Lucida typeface. +It goes into detail about the design concepts of Lucida, with +illustrations. + +The Lucida family includes the following eight fonts: Roman, Italic, +Bold, and Bold Italic, in both seriffed and sans-serif styles. Lucida +has been called a `super family' because of the wide range of +characters and fonts it provides, including compatibility with the +full CM character set. Unusual features of Lucida fonts include the +fact that the italic sans-serif is a true cursive style, rather than a +slanted \hbox{Roman}, and that there are alternate sets of capitals, +one heavier in weight, for English and French typographers, and one +lighter, for Germanic texts which use extensive capitalization, and +therefore need de-emphasized capitals. + +The screen `versions' of Lucida are at such low resolution +(75--100\,dpi) that they cannot be regarded as straight reproductions of +their higher resolution counterparts. They are therefore called +Pellucida, to suggest that the designs are related to Lucida, but +optimized for `pel' based screen displays. + +\subsection{Adobe} +Chuck Bigelow informed me in April 1988 that Adobe Systems is dealing +with the release of several Lucida typefaces for use with \TeX. + +The following faces have already been released by Adobe as +downloadable PostScript fonts on both Mac and PC disks: +Lucida Roman (seriffed), + Italic, + Bold, + Bold Italic, + Sans Roman (sans-serif), +Sans Italic, + Sans Bold, and + Sans Bold Italic. + + +The following will be released soon: + \TeX\ Math Italic, + \TeX\ Math Symbol, + \TeX\ Math Extension, and + Sans Typewriter. + +The Math fonts have the same character sets as shown in +appendix F of the \TeXbook. The Lucida Sans Typewriter has another +union of Adobe's standard set, this time with the \TeX\ text +typewriter set, shown in figure 3 in the same appendix. + + +\subsection{Imagen} +Chuck Bigelow also noted that the Imagen Corporation currently offers +various Lucida typefaces, and an upgrade to the full \TeX\ character +set will be released in July 1988. These will include the +Lucida seriffed family, the +Lucida Sans family, and the +Lucida Sans Typewriter family. Imagen will produce the \TeX\ Math +fonts if there is demand from their users. Imagen Lucida will be +available in outline format for their {\sc UltraScript} (\PS\ clone) +and {\sc ddl} language printers, and for their im{\sc press} printers. The Imagen +fonts should be metrically compatible with the Adobe fonts. They are +made from exactly the same outline data. + +\subsection{Compugraphic} +Bigelow informs me that Compugraphic Corporation has +licensed the Lucida seriffed family (roman, italic, bold, bold italic) +and the three basic \TeX\ math fonts (math italic, math symbol, math +extension) for their 8600 and 9600 typesetters, and perhaps the 8400 +as well. + + +\subsection{Some others} +Atari is to bundle the Lucida donts with its \PS\ clone upgrade for +its laser printer, the {\sc slm} 804. Imagen will +also be supplying the Lucida math fonts for Atari systems later +this year. The Lucida fonts will also be bundled with UltraScript +(a \PS\ clone) from {\sc qms}. + + Bigelow \& Holmes +are also working on outline versions of several of the additional +fonts shown in Knuth's Volume E of {\it Computers and + Typesetting\/}, and fonts analogous to the Euler family, including +Bold Greek, +Bold Script, +Bold Symbol font, +Small Capitals, as well as a +Chancery, +lower-case Script, +Fraktur, +Hebrew, and others. +Light and Demibold versions of both seriffed and sans-serif families +are also in progress, as well as the `Bright' versions used in +Scientific American. However, these must await a distributor like +Adobe or Imagen to reach the market. + + + + +\section{\sl Icelandic} +%\paragraph{Date of information} March 10, 1988, from \hax\ 1988, +%issue 22. +Jorgen Pind reported in \hax\ +that he is running an unmodified \TeX\ with new fonts and formats +(including hyphenation) which cater for Icelandic. + Pind +had written a full account of his work on Icelandic \TeX\ which +appeared in Don Hosek's \TeX Mag, 2(5). + + + + + +\section{Hershey Fonts} +Just as I had begun wondering about the Hershey fonts, Jim +Seidman asked about them in \hax\ 1988, issue 70. + +\subsection{Guthery} +Dean Guenther answered in issue +73 that Scott Guthery, has the Hershey +fonts with {\tfm}s for a nominal fee. + +\subsection{Kesner} +A few weeks later, \hax\ 1988, issue 90, carried a letter from +Oliver Kesner, also in answer to Seidman's +query, describing his own work converting Hershey fonts for use +with \TeX. +The character set includes, besides several Roman +typefaces, Greek, Russian, German Fraktur, and a variety of +graphic symbols, Hiragana, +Katakana, and 623 Kanji characters. + + +\section{Logic Diagrams} +Rick Simpson created a font called {\tt +milstd.mf} for drawing electrical +symbols. He included the \MF\ source code for the font, and in +the following issue of UK\TeX, a small set of \TeX\ macros were +published, for making the logical symbols easier to use within +plain \TeX\ or \LaTeX. The font consists of the following 25 +symbols: slanting line at 45-degree angle for marking busses in +logic diagrams; |and|, |nand|, |or|, |nor| gates, facing to the right, +down, left and up; buffer and inverter, each facing to the right, +down, left and up. + +\section{Music} +UK\TeX\ 1988, issues 28 and 29, carried an exchange of +information recently, concerning the use of \TeX\ to typeset +music. This very challenging application has been receiving some +attention, and the work to date was announced in the Music +Research Digest. Thence it found its way to UK\TeX. Phillip +T.~Conrad provided summaries of the work of Dunne and +J\"{u}rgensen, that of Schofer and Steinbach, and of his own. + +\subsection{Dunne and J\"{u}rgensen} +Dunne and J\"{u}rgensen conducted research at the University of +Western Ontario; they defined the concept of i-marks and p-marks. +I-marks are invariant marks, the kind of marks that can be put +into a font and typeset easily with \TeX. P-marks are +parameterized marks whose shape and size varies according to +certain parameters. The only p-marks \TeX\ is capable of +typesetting are the horizontal and vertical rules. Dunne and +J\"{u}rgensen use \PS\ to augment the capability of \TeX\ +with a special version of {\tt dvi2ps}. + + +\subsection{Schofer and Steinbach} +There is a thesis written by Angelika Schofer and Andrea +Steinbach at the Institut f\"{u}r Angewandte Mathematik at the +Rheinische Friedrich-Wilhelms-Universit\"{a}t at Bonn, entitled +{\it Automatisierter Notensatz mit \TeX}. + +Schofer and Steinbach operated from the assumption that a font of +beams and slurs is in fact feasible; they appear to have +generated just such a font, and they use plain \TeX\ alone. +Their system appears to `understand' some form of +music-description language, and to apply music-setting rules +automatically. The music is printed with \TeX\ by means of the +special fonts. + + +\subsection{Conrad} +Phillip T. Conrad noted that he is currently (August 1988) +finishing a Master's thesis, which presents a prototype system for typesetting +music notation with \TeX, building on the previous work at the Ohio State + University of Gourlay et al. + +\section{\sl Miscellaneous} +\subsection{{\tt SPRITE.STY}} +If you use \LaTeX, and you only need one or two extra characters, an +ingenious and very easy way to generate them has been devised by +Martin Costabel. It is a \LaTeX\ style called {\tt SPRITE}, and the +code and documentation were published in issue 1.8 +of \TeX Mag. More recently a newer version was published in \hax. +It included a macro for use in |plain| \TeX. Essentially, {\tt SPRITE} is a macro +that allows you to define your own symbols in a quick and dirty way. Define the +character as a dot pattern on your screen enclosing it by + |\sprite| and |\endsprite| commands. If you just need +one special character or some cute little symbol whatever is necessary for a +professional solution, this may produce acceptable results. + + +Using {\tt SPRITE.STY} one `draws' the character to be defined as a +pattern of characters on a grid. The figure below shows how {\it schwa\/} is +done. +\begintt +\def\schwa{\FormOfSchwa\kern1pt} +% Only necessary if \kern... is wanted +\sprite{\FormOfSchwa}(16,24)[0.4em,1ex] +% Resolution ca. 200x340 dpi. +:.......BBBBBBBBBB.......|char'174 +:....BBBB........BBBB....|char'174 +:..BBB.............BBBB..|char'174 +:.BB.................BBB.|char'174 +:.B...................BBB|char'174 +:.....................BBB|char'174 +:.....................BBB|char'174 +:.....................BBB|char'174 +:BBBBBBBBBBBBBBBBBBBBBBBB|char'174 +:BBB..................BBB|char'174 +:BBB..................BBB|char'174 +:BBB.................BBB.|char'174 +:.BBB...............BBB..|char'174 +:..BBBB...........BBBB...|char'174 +:....BBBBB.....BBBBB.....|char'174 +:.......BBBBBBBB.........|char'174 +\endsprite +\endtt +To use this character in your document, all you have to do is +use the command |\schwa|. This method uses a lot of \TeX's +memory, and is only suitable for characters which are used rarely, say +a few times on a page. + +\subsection{Austin Code Works} +The Austin Code Works has a large collection of bitmap fonts that work +with \TeX, and which were originally created at SAIL (Stanford +Artificial Intelligence Lab). +Because these fonts are not coded in up-to-date \MF, what you get is +what you get, i.e., you cannot change the size or resolution of the +fonts. I believe they are all (or most) 200\,dpi fonts. Bear in mind +that although you might get, say, a Hebrew font, there are no +accompanying macros to implement it at the keyboard level. + +The 137 KST fonts +include Hebrew, Greek, Old English, Old German, Cyrillic, hand (sign +alphabet), and Tengwar alphabets in addition to the Roman alphabet in +a large number of styles. +The also fonts include such essentials as single character fonts for the +Stanford and MIT logos (separate fonts for each, naturally), two views +of Snoopy, two views of Starship Enterprise, three fonts of chess +pieces, several sans-serif fonts, and what looks as if it might be a +very tiny Arabic font. + +\subsection{HP2TEX (HP Font Conversion)} +%\paragraph{Date of information} March 11, 1988. +In February 1988, a file {\tt HP2TEX} appeared +on Usenet. It included the Turbo Pascal 3.0 +source code and a compiled DOS version of {\tt HP2TEX}, a program to +read a Hewlett Packard soft font and generate two files useful to +\TeX\ users, a {\tt PL} and a {\pxl} file. + + + + +\subsection{Old English} +\subsubsection{Henderson} +Doug Henderson has implemented \MF\ on the PC/AT family of personal +computers, and is also responsible for generating the high resolution +bitmaps of several of the non-standard fonts illustrated in recent +issues of \TUGboat\/, such as the APL and Greek fonts. + +He has created a few characters like the Old English characters thorn +(upper/lower case) and eth (upper/lower case). These will probably be the first +in a series of ad-hoc characters created for various folks in need. For now, +they are compatible with {\tt CMR10}. + + + +\subsubsection{Ridgeway and Barnett} +%\paragraph{Date of information} June 7, 1988, Pierre MacKay +A font to supplement the basic Latin alphabet of Computer Modern with +Old English characters will be released in Autumn of this year by the +University of Washington Humanities and Arts Computing Center. +Macros for direct input and translators from various Personal +Computer editor files will accompany the release. + + +\section{\sl The PostScript Question} +This article does not deal with the availability of \PS\ fonts, +because it would double its length to do so, and because the author +has never used a \PS\ device, and really would not know what he was +talking about. Suffice it to say that instead of sending a bitmap to +the printer, a \PS\ output file sends the printer instructions +on how to construct character bitmaps at the time of printing. These +\PS\ bitmaps are created in a manner analogous to running \MF, +in that the characters are encoded in a high level language, which +gives the outline, filling or stroke routines for creating glyphs. +Like \TeX\ {\tfm} files, \PS\ fonts have their own font metric files, +called {\tt afm} (Adobe Font Meric) files. With a bit of +tinkering, it is perfectly feasible to use \PS\ fonts in a \TeX\ +document. + +\medskip +\input fontmemo.refs +\medskip +\leftline{\sl Updates} +\noindent +For those with access to the academic computer networks, I post +information about revisions of this article to \hax\ and UK\TeX\ +from time to time. This way, people will know +whether there is enough new stuff for it to be worth downloading the +whole article afresh. To those with access to the Aston (UK\TeX) +archive the files are stored in the directory |public.score.texhax| as +|wujastyk.txh| and |wujasty2.txh|. +\smallskip +\rightline{\sl\DW} diff --git a/info/digests/texline/no8/green.tex b/info/digests/texline/no8/green.tex new file mode 100644 index 0000000000..c365feaa60 --- /dev/null +++ b/info/digests/texline/no8/green.tex @@ -0,0 +1,70 @@ +\centerline{\bf Book Review} +\medskip +\noindent +{\it +PostScript Language Program Design, +Adobe Systems Incorporated, 226pp, +Addison-Wesley Publishing Company, +{\sc isbn:} 0 201 14396 8.} +\smallskip +\noindent +PostScript Language Program Design is designed to +be a companion volume to Adobe's {\it PostScript Reference Manual\/} +and {\it PostScript Cookbook\/}. The blue covered {\it Cookbook\/} gave a +tutorial covering the main features of \PS\ followed +by a number of example programs, while the red covered +{\it Reference Manual\/} is just that. + + + +The green covered {\it PostScript Language Program Design} takes this a stage +further. It is designed for people who are writing large applications that will +generate \PS\ output. It describes how to write efficient \PS\ and says +what to avoid in order to reduce the time taken to print the final document. The +book assumes that the reader already knows \PS. This is particularly +apparent in the examples which often contain commands that are not described in +the text. For this reason the ``Red'' book is a essential companion when reading +``Green'' book. Unlike the ``Red'' or ``Blue'' books {\it PostScript Language +System Design} does not include a summary of all \PS\ commands which would +enable the book to stand on its own: this would be useful addition to future +editions. + + + +{\it PostScript Language Program Design} is organised into two parts. The first +part deals with how \PS\ works. It treats each feature of the language in +more detail than the ``Red'' book and is quite hard reading but very useful. The +second part of the book deals with techniques. There are chapters on writing +printer emulators as well as on the best way to handle graphics and text from +within large applications. There are also chapters on how to structure generated +\PS\ programs, and how to ensure that they are bug free. In general this +second part is a lot easier to read than the first part of the book. + + + +This book has been produced using a desk top publishing package and this, +unfortunately, shows. There are large gaps between words (very wide indeed +during the Preface). There are signs that it had been written in one order, and +then reordered using an editor. There are several sections that appear out of +place: a glaring example is a paragraph that appears to be introducing Chapter 4 +occurs about halfway through Chapter 3! It is also the only book I have ever seen +to have a reference to the index within the index! These are only very minor +points, and should not detract from the books usefulness, but it is a pity that +a book which describes how to write good \PS, and hence professional +looking documents and books, should not take the care to ensure that its own +layout is correct. + + + +This book is likely to be very useful to anyone writing a \PS\ rear end for +a large application, and this is the audience it is aimed at. It may also be of +some use to those who write small \PS\ programs and who are interested in +the deeper workings of \PS. But for those who just need a working +knowledge then the ``Red'' and ``Blue'' books should be sufficient. The one thing +{\it PostScript Language Program Design} is not is a simple introduction to +\PS. Anyone requiring such an introduction should turn to the ``Blue'' +{\it Cookbook\/} or to {\it Understanding PostScript Programming\/} by David A. +Holzgang (Sybex). +\smallskip +\rightline{\sl Brendan Molloy} + diff --git a/info/digests/texline/no8/gut.tex b/info/digests/texline/no8/gut.tex new file mode 100644 index 0000000000..f2ca23b1f7 --- /dev/null +++ b/info/digests/texline/no8/gut.tex @@ -0,0 +1,17 @@ +\centerline{\bf Call for papers} +\medskip +\noindent +GUTenberg's next meeting will be held at Paris on May +16th--17th 1989. (GUTenberg is the \TeX\ Users Group of French speaking people). +The main topic is: ``How can graphics be included within \TeX\ output?'' +This topic starts with graphics made in \TeX\ (like \PiCTeX), +continues with the |\special| \TeX\ command and ends with \MF, +\PS, etc. This is a very large subject opened to all aspects +of graphics\slash methods and all micro\slash mini\slash maxi computers. +The official language is French but English speakers are welcome. + Deadline for submitting an abstract: Christmas 88. +Other deadlines will be sent after abstract acceptance. +Please, send abstracts directly to me: +|ucir001@frors31.bitnet| + \smallskip +\rightline{\sl Bernard Gaulle (GUTenberg president)} diff --git a/info/digests/texline/no8/larry3.tex b/info/digests/texline/no8/larry3.tex new file mode 100644 index 0000000000..8b7ad0e413 --- /dev/null +++ b/info/digests/texline/no8/larry3.tex @@ -0,0 +1,293 @@ +\centerline{\bf The uphill struggle of \TeX} +\medskip\noindent +The following article is a translation of a piece by Laurent Siebenmann +which originated as a paper delivered to a gathering of the French \TeX\ user +group GUTenberg (Groupe des Utilisateurs de \TeX) and which is to appear in +the Gazette of the French Mathematical Society. + +I am proud to say +that the author himself concurs with my translation. In fact, he could very +well have written it himself in English. + +Even so, both of us +had difficulty with a few translations. For example, what should the +English title of this piece be? In French it was ``Evolution en amont de +\TeX''. Should this be rendered as ``The uphill struggle of \TeX'' or more +felicitously as ``The progressive evolution of \TeX''. There are also some +wonderful French phrases which acquire colour by virtue of linguistic +confusions to which the French themselves are probably immune. Take for +example ``dactylographe chevronn\'e''. For me, this conjures up the image of +a she-goat. However, nothing so ungallant is intended; and I think that the +translation can only be ``seasoned typist''. + +The piece serves +to show just how vigorously \TeX\ is progressing ``on the continent''. +\smallskip +\rightline{\sl Stephen Pollock} +\bigskip +\rm\def\tem#1{\par\noindent#1\enspace\ignorespaces} +\def\bull{\par\noindent$\bullet$\ignorespaces} +\centerline{\bf The evolution of the \TeX\ user interface} +\medskip +\leftline{\sl Preprocessors for Mathematics Texts} +\noindent +The task of transforming a manuscript into a printed document of high +quality is particularly difficult whenever mathematics are involved. Since +Donald Knuth conceived \TeX\ partly for the purpose of resolving this +notorious problem --- which was directly affecting his own books --- it will +probably be of interest to the participants of the Gutenberg Seminar +(including the non-mathematicians) to hear that a variety of solutions are +now on offer. In fact, the ideas which are being pursued have a wide range +of application. However, the specific preprocessors which I am going to +itemise here, and, in particular, my own Sweet-teX, do not, at present, +have the applicability outside the realm of mathematics that \TeX\ has. +These preprocessors are specialised tools whose uses are largely confined +to the tasks which they perform to the greatest advantage. + + At present there +are two well-established classes of preprocessors for mathematical +manuscripts: +\smallskip\noindent +\frenchspacing +{\sl Category I:} Text-Orientated Preprocessors +\bull STRATEC: a +preprocessor for the Victor(``Sirius'') by D. Foata, J.J. Pansoit and Y. Roy, +Laboratoire de Typographie Informatis\'ee, 7, rue R. Descartes, Univ. L. +Pasteur, 67084-Strasbourg, France; Tel (16)-88-41-63-45. A +long-awaited version for the IBM PC has recently appeared as well as a +version (unexpected) for the Macintosh. See [TSD1] +\bull Easy\TeX\ for +the IBM PC, by a team from Milan: E. Crisanti, Alberto Formigoni and P. La +Bruna; Te.CoGraf. snc, via Pacini 11, I-20131 Milan, Italy. This +preprocessor has a twin in Category II. +\bull Sweet-teX is +a preprocessor for the Macintosh by Laurent Siebenmann, Math\'ematique, +Bat. 425, Univ. de Paris-Sud, 91405-Orsay, France; Tel (1)-69-41-79-49. +Available for the classic Mac and the Mac Plus; versions planned for the +Mac II and the Mac SE. French version and English version. See [Sieb] +\bull Mathor, for the +IBM PC, Novedit, avenue Hoggar, ZI Courtaboeuf, 91 Les Ulis, France. Tel +(1)-69-07-36-88. +\bull Easy\TeX\ (bis!), +for the Macintosh, written by O. Pironneau and distributed by Numerica, 23 +Boulevard de Brandebourg, BP 215, 94203 Ivry-sur-Seine, France. A desk +accessory which works with the MacWrite word processor. +\bull Grife, for the +IBM AT and the Sun, by Vincent Quint and Ir\`ene Vatton, INRIA et +Laboratoire de G\'enie Informatique, BP 53X, 3801-Grenoble : Tel +(16)-76-51-48-59. See [TSD], [FQA]. Grife is not yet widely available; but +it is the only processor which aims to be a fully-featured ``dream system''. +\bull ChiWriter, for +the IBM PC, by the American Cay Horstmann; available in France from +Churing, 20 rue Condorcet, Paris 9. Tel (33-1)-40-15-07-47. ChiWriter is +a mathematical word processor which has recently been equipped with a +\TeX\ code generator. +\bull Publishing +companion 1.03 for WordPerfect (and others?) for the IBM PC, K-talk +communications, 3920 Olentangy River Rd., Columbus, Ohio 43214, USA, tel +(614)-459-9711. +\bull \TeX mate for +the IBM PC, by A. Lannes, Tr\'ema PAO, 18 Place Margnac, 31520 Toulouse. +\smallskip +\leftline{\sl Category II: Equation Editors} +\noindent +An equation editor offers an interactive environment for constructing +mathematical formulae in isolation. The formul\ae\ created in this way are +inserted subsequently into the mathematical article. (See also [Pal] and +the advertisements in Notices of the AMS, Jan. 1988.) +\bull Easy\TeX, for the IBM PC. See Category I. +\bull MathWriter, +Cooke Publications, PO Box 448, Ithaca, NY14852, USA. Tel +(607)-272-2708. +\bull MathType, +Design Science, 6475-B E. Pacific Highway, Suite 392, Long Beach, +CA9080. Tel (213)-433-0605. +\bull Formulator, by +Bob Pollard, Icon Technology Ltd., 9, Jarrom Street, Leicester LE2 7DH, +England. +\nonfrenchspacing +\medskip +I have listed only those preprocessors which are (or are claimed to be) in +service and which, during the composition of a document, display on the +screen something resembling the final printed text. The list is already +considerable and, doubtless, it is incomplete. + +The preprocessors of Category I are not homogeneous. One can begin by +distinguishing those which are word processors in their own right. This is +the case for Mathor and Grife. By contrast, STRATEC Sweet-teX and +easy\TeX\ (Mac) are grafted onto preexisting word processors; which serves +to make them inexpensive and adaptable. (Sweet-teX works with any word +processor for the Mac using standard menu resources.) Next one can +distinguish the sub-category of preprocessors which exploit the concept +of ``high-level formatting''. This is true of Sweet-teX and Grife. In +contrast, this concept is largely neglected by Easy\TeX\ (Mac) and Mathor. + +In Category I, one +sees a Latin dominance, which has a large French contingent, whilst in +Category II one sees an Anglo Saxon dominance. This should improve +international trade in both directions; for the two types are +complementary and, moreover, they can collaborate easily in the same +manuscript without any special programming to integrate them. + + Suppose that, in +using the Type I preprocessor, one encounters an excessively complicated +formula. One might format it with the Type II formula processor (which is +often a desk accessory on the Macintosh) and proceed to transfer it into the +Type I manuscript using the clipboard to give visual continuity to the document. +To guarantee the correct insertion of the formula in the version of the +document formatted by \TeX, one could, for example, type, at the +appropriate insertion point, the command |\input Formula.tex| and then +give the name |Formula.tex| to the \TeX\ code generated by the Type II +preprocessor. This presupposes that the Type I preprocessor accepts \TeX\ +code whenever one wishes, and that it will ignore the corresponding +graphical object. + + I must admit that I +have not tried all of these preprocessors; and therefore my intention is to +make people aware of their potentialities rather than to conduct a detailed +assessment of them. +\medskip +\leftline{\sl What one may expect of a \TeX\ Preprocessor?} + +\bull A device to help in learning \TeX{}. It is no longer necessary to +memorise accurately a long list of \TeX\ commands. STRATEC and Easy\TeX\ (Mac) are +both good tools for learning. + + (My own +Sweet-teX is inferior in this respect because its high level formatting, +which is put into effect by a system of signposts or Icons, itself demands +some practice. Moreover, to enable it to collaborate with several +different word processors, Sweet-\TeX\ has hitherto employed a system of +invisible characters, which have proved hazardous for beginners. To +overcome this problem, I have recently constructed an enhanced version +which exploits the internal file structure of MacWrite). + +\bull A way of preparing \TeX\ files which is significantly faster. The +speed advantage of preprocessors is not manifested for all typists nor for all +articles; but it does seem to me that it is overwhelmingly confirmed when +complicated mathematical articles are being processed by professional +typists. + +\bull A working environment for the mathematician which, under favourable +conditions, can also become an environment for drafting and even for +research. This is likely to work best when the screen image is convincing +and the effort involved is modest. + +\bull A better environment for correcting and polishing \TeX\ files. Even +typists who learn to write the \TeX\ code of complicated articles with +fluency tend to tear their hair when it comes to corrections; because the +effort of decoding (ie. of reading) \TeX\ is an exacting task. By contrast, +with a preprocessor, one can often, in making corrections, rely upon a +display of the mathematical formulae which is infinitely more readable. + +\bull Versatility in formatting. One can hope to be able freely to change +the version of \TeX\ (Plain, \AmSTeX\ , \LaTeX\dots) and even to be able to quit +\TeX\ altogether to the extent that the article can be typed entirely in the +language of the preprocessor. This will certainly require, for each version +of \TeX\ , a specialised configuration of the transcoding mechanism. (At +present, Sweet-teX is adapted to plain \TeX\ and to \AmSTeX.) + +\bull A more effective use of the (rare and expensive) talents of the +\TeX perts. A \TeX pert printer can supervise the work of a large number of +(less expensive) typists trained only in the use of the preprocessor, and he +can busy himself in proofreading their work in order to make corrections +and to enhance it with snippets of pure \TeX\ . The readability of the display +generated by the high-level formatter is the crucial factor here. For the +benefit of professional typesetters, I should emphasise that such a system +allows a master printer effectively to supervise the work of his +apprentices and to guarantee its quality. + +\bull A compatibility between \TeX\ and the conventional way of typing +papers destined for journals printed in the traditional manner. Few +typists can be expected to work simultaneously in the more than one style +of technical publishing. It is too much to ask of them. Sweet-teX, Mathor +and Grife attempt to achieve this compatibility by offering a document +preparation style which is essentially the same for both \TeX\ and +traditional printing. + +To summarise, there exist several new user interfaces for \TeX\ which, for +the first time, are compatible with the traditional methods of technical +typing. I predict that, in consequence, the seasoned professional typists +within our scientific institutions will progressively take over an large +proportion of the \TeX\ installations. As for commercial printers, it is to be +expected that they will replace their current keyboarding systems by +up-market preprocessors such as Grife. + +\medskip +\noindent{\sl What the Preprocessors Can Expect from the Mathematics Community?} +\bull A greater social awareness on the part of mathematicians who are +experts in \TeX! Following the lead of those rare colleagues who have +authored a collection of macros for \TeX\ , it behoves them to question +whether, instead of coding their own manuscripts in \TeX\ , their time would +be better spent in guiding typists in the use of a \TeX\ system allied to a +preprocessor. My colleagues are often quite proficient as \TeX\ typists; but, +in view of their superior salaries, I often ask myself whether their +undeniable talents for abstraction would not be better employed in another +task which is a bit more subtle and a lot more pressing: namely to acquire +a knowledge of how to maintain such a system. Fortunately there exists, +to support such activity, an excellent little manual --- in French --- which is +about to be published [S\'er]. Also, fraternal assistance is now available via +GUTenberg [GUT] which is the French \TeX\ user group. + +\bull A greater rigour on the part of mathematicians in the way they present +their articles. Only by grasping a complete and correct grammatical +structure can a typist settle questions of formatting. The advent of \TeX\ +has abridged many traditional steps on the way to printed mathematics; +the remaining ones require and deserve additional care and attention. + +\bull Training for typists involved with \TeX. Occasionally a typist who +starts with a preprocessor will become, by stages, a seasoned \TeX pert +typesetter. + +\bull A greater appreciation of good typography on the part of scientific +administrators, allied with a concern for quality/price ratios. One +wonders what the typography of the Bourbaki seminar volumes etc. will be +like a few years hence. These are publications which are often the highest +mathematical quality, but which are still, in the main, produced with +typewriters. + +\medskip +{\leftline{\sl References}\frenchspacing\parindent0pt\parskip3pt + +[TSD1] Proceedings of the First European Conference on \TeX\ for Scientific +Documentation, Como, Italy, Addison-Wesley, 1985. + +[TSD2] \TeX\ for Scientific Documentation, Springer Lecture Notes in +Computer Sci. 236, Ed. J. D\'esarmenien. + +[FQA] R. Furuta, Vincent Quint, Jacques Andr\'e, Interactively editing +structured documents, Electronic Publishing 1, (April 1988), 19-44, +Pergamon Press. + +[Pal] R. Palais, Mathematical Text Processing (last article), Notices Amer. +Math. Soc. (Mar., 1988), pages 391-396. + +[Sieb] L. Siebenman, Towards Wider Use of \TeX\ Typesetting: A pre-\TeX\ +Manifesto, Notices Amer. Math. Soc. 33 (Aug., 1986), pages 597-607. + +[S\'er] R. S\'eroule, Le Petit Livre de \TeX, (in preparation), Laboratoire de +Typographie Informatis\'ee, 7 rue R. Descartes, Univ. L. Pasteur, +67084-Strasbourg, France. + +[GUT] GUTenberg: Groupe francophone des Utilisateurs de \TeX{}. The group's +electronic message board has recently been inaugurated at the E.N.S., 45 +rue d'Ulm, Paris V.} +\smallskip +\rightline{\sl Laurent Siebenmann} + + + + + + + + + + + + + + + + + diff --git a/info/digests/texline/no8/late.news b/info/digests/texline/no8/late.news new file mode 100644 index 0000000000..c61e9d84e3 --- /dev/null +++ b/info/digests/texline/no8/late.news @@ -0,0 +1,24 @@ +\centerline{\bf Late News} +\medskip +\noindent +After Stephen Pollock had sent me the translation of Larry +Siebenmann's article, Larry sent me an update. Briefly, +he had included uncovered no less than three more of +his {\sl Category I: Text-Oriented Preprocessors}, namely: +\frenchspacing +\item{$\bullet$} The Publisher: for the Sun and IBM PC from +ArborText, 535 William Street, Suite 300, Ann Arbor MI +48103; Tel (313) 996 3566. This will shortly be provided +with an {\sc sgml} editor. +\item{$\bullet$} {\sc Multitext}: for the IBM PC, by Eric Amar, +Math\'ematiques Pures, Univ. de Bordeaux 1, 22405, +Talence; Bitnet |ericama@frbox11|. A recent enhancement +to a scientific text processor of the same name. +\item{$\bullet$} a{\sc text}: for the IBM PC, by Patrice Assouad, +Math\'ematique, Univ. de Paris-Sud, 94105-Orsay; Tel 6941 +6082. Based on the word processor known as +P-mate. +\nonfrenchspacing + +\noindent He also notes that Grife is able to handle {\sc +sgml} encoded material. diff --git a/info/digests/texline/no8/maria.tex b/info/digests/texline/no8/maria.tex new file mode 100644 index 0000000000..a9ba010e4d --- /dev/null +++ b/info/digests/texline/no8/maria.tex @@ -0,0 +1,138 @@ +\centerline{\bf\TeX\ as a Feminist Issue} +\medskip\noindent +I work in the Polytechnic of Central London's Computer Centre as an +Applications Programmer and I've been wrestling with \TeX\ since early 1986, +long enough to have been taken over by the \TeX\ world, to have become +unhealthily obsessed. For me, working in computing is a feminist issue. +Not only is computing dominated by men but it's seen as a {\it science} +and so a male preserve in all senses. But that is not why I believe \TeX\ +is a feminist issue. \TeX\ seems capable of changing the world in a way +that particularly affects women. + +Look about at the academic \TeX\ community. At first glance it appears that +\TeX\ is by men and for men. How many women do you notice contributing to the +distribution lists? I am on \hax\ and {\sc uk}\TeX\ and I do find +myself scanning for female names amongst the Peters, Grahams, Michaels and +Phils, not to mention Malcolms. Barbara Beeton is of course a heroine but +apart from her I seem to remember about four women on \hax\ and +one on {\sc uk}\TeX. This is not to say that women are not reading the lists. +List contributions often seem to be a particularly macho affair; try not +to mail a question without pointing out why you think the question should +never have arisen and what you would do to fix it. I know this is an +exaggeration but the tone of many of the contributions shows me that they +are most unlikely to have been written by women. + +Count the women on the \TeX\ Users Group Steering Committee and Site +Coordinators list. There are only three (or possibly two if Rilla is a male +name) out of the total of twenty eight. Sebastian Rahtz commented in the +last issue of \TeX line that at the Seattle TUG Meeting men discussed {\tt +dvi} driver standards and women discussed standards of macros. I was +surprised and pleased to hear that women dominated any of the discussions, +(and not at all surprised by which standards they were interested in). + +Installing \TeX\ in 1986 was a tricky business. The distribution tape that +I got assumed that you knew not only what \TeX\ was but also {\IniTeX, +\WEB, \Tangle, {\sc Vir\TeX} and so on. Pointers were given to where files were +without any description of why you might need them. At one point, having +decided I wanted to know a little about \TeX\ before I rushed out and bought +a laser printer, I tried to get Andrew Trevorrow's \DVItoVDU program going. +I kept notes on the problems I encountered. These started: + +\item{1}What, which, where pixel files? +\item{2}Looks like I need \MF\ to create them (from reading {\tt pxl.inf} +file). +\item{3}No documents on \MF, try {\sc TUGboat}. +\item{4}Cannot find \MF\ program in source or executable. +\item{5}Seem to have some documentation in \TeX\ format, but can't preview it +because no pixel files \dots + +\noindent +All this seems laughable now, but I really was going spare then. If I hadn't +gone and spoken to William Black at Oxford I don't think I'd have got anywhere. +That combined with my programming abilities of course and knowledge of the +VMS operating system. My initial problems may seem irrelevant to feminism but +if the only way to get a system running is through programming ability and +contacts in the \TeX\ world women are going to be at a disadvantage. There +are less of them and certainly far less qualified in Computer Science. + +Where \TeX\ really becomes a feminist issue is over the problem of who uses +\TeX\ and how. \TeX\ exists to format text. Traditionally the people who +enter text onto computers and the people who type text out on word-processors +and typewriters are {\it women}. Hundreds of women in offices all over the +world sitting over keyboards using their hard-won typing and layout skills to +produce mountains of paper. Now what has happened? Suddenly a tool exists +(and this applies to all sorts of desktop publishing software as well) +that not only is esoteric and needs skill to use, but also allows +far greater control over and quality in the output, and {\it men} start to enter +their own text! Male research students typing their own theses instead of +paying typists, male lecturers typing their own notes, male writers typing +their own books. And of course they are most likely to be male because +we're talking about {\it scientific} typesetting here. + +My first reaction to this is great joy. It's about time the boring job +of copy-typing disappeared. A work's author is likely to take more care +over its appearance and correctness than anyone else. Why should tasks +be subdivided into interesting and boring parts, and the majority of the +boring parts handed to women? But this being a male dominated society we +live in, things are not so simple. What will happen to the displaced typists? +Surely they too should have the opportunity to use \TeX? And of course +once the novelty of \TeX\ has worn off the boring bits are handed back to +the women. We get highly paid programmers and designers to write the macros +and build up the style sheets and then the typists get to use them without +a proper explanation of how \TeX\ works or what they can do to manipulate +the results themselves. + +In our Computer Centre our head's first reaction to \TeX\ was very +enthusiastic. Having seen a demonstration that I gave and printed out a +letter for himself using the standard letter macro, he decided that we should +offer a `typesetting service' on a small scale to the rest of the Poly. +We would undertake to produce pretty laser printed output from people's +rough drafts. The person to do all the work was a woman who is employed +here as a data-entry clerk. She duly started to learn \TeX\ and was enjoying +it. Picking the different typefaces and learning tricks of layout are far +more satisfying (and I'm sure less bad for the health) than typing in files +of meaningless numbers. She has never done any programming and the approach +was new and intriguing for her. But when it became clear to our head that even +after a week she could not produce fancy ruled tables he decided not to pursue +the matter. I did suggest that she be sent on a \TeX\ training course, +but it would have cost more than we get for our whole Applications Programming +team annual training budget. + +I give this story as an example of the problems lying in the way of any +individual woman trying to use \TeX\ to her advantage rather than letting +\TeX\ lead to a decrease in demand for her skills. It is difficult. Even +those women who can get to a training course may find it inappropriate. +The Advanced \TeX\ course that I went on last year was addressed to +programmers. The opening remarks were about structured programming and +the format of dvi files, neither of which are extremely relevant to a very +skilled technical typist. + +What I would like to see happen is \TeX\ being made more accessible to +everyone. By this I mean the whole of \TeX{}. I don't think people necessarily +need protecting from complexity, that often make things less flexible and +less interesting. I would like recognition to be given to the skills of +typists, they often know far more about what makes good layout than we +programmers, and can type a lot better. Electronic publishing is recognised +as taking skills out of the hands of printers and I would like to see those +skills given to a wide range of people, not just concentrated in the hands +of a few men once again. Care should be taken by those responsible for +introducing new technologies to make sure that their effects are beneficial, +it doesn't do to just let things loose on the world and see what happens. +Things are not equal. + +Practical steps to be taken are: +\item{$\bullet$}make the distribution tapes self explanatory, +\item{$\bullet$}carry on with the work on standardisation which can only make things +easier for newcomers, +\item{$\bullet$}design training courses both with and for non-computer people, +\item{$\bullet$}watch out around you for who is being taught what, and try +to stop obvious injustices, +\item{$\bullet$}have a feminist revolution. +\smallskip +\noindent +Meanwhile; is anyone else interested in this issue? I would be very interested in hearing from women +using \TeX\ to know what you think about the way that \TeX\ is presented +and taught. +\smallskip +\rightline{\sl Maria Tuck} + diff --git a/info/digests/texline/no8/mont.real b/info/digests/texline/no8/mont.real new file mode 100644 index 0000000000..1622dc53bc --- /dev/null +++ b/info/digests/texline/no8/mont.real @@ -0,0 +1,476 @@ +% +\centerline{\bf The 9th Annual \TeX\ Users Group Meeting} +\medskip +\noindent +The Montreal meeting, held at McGill University in the centre of cosmopolitan +Montreal was was the first TUG meeting to be held outside the {\sc usa}. +There was no campus housing, so delegates were liberally sprinkled +amongst various downtown hotels. Lunch and dinner were not an integral part of +the proceedings, so I didn't get the same sense of atmosphere and contact as at +European meetings. The only real opportunities were at coffee breaks --- when +grotesque chocolate croissants were on offer, or the afternoon breaks +when we were converted to health-giving fruit juices. Everyone would + disperse in small groups for lunch and dinner. + +The TUG meeting programme did in any event contain other +opportunities for social contact --- although the +pre-conference dinner on the Sunday night rather +restricted conversation to be with those sitting +immediately next to you --- all of us wrestling with +eating food in the style of Old French Canada +in 1691, armed with only a knife. The cocktails +before the dinner were more informative, but +involved a lot of peering at lapel badges in mere 10 point +CMR, to try and put faces to the famous (and not so +famous) \TeX\ notables. + +The best opportunity for social advancement with a range of \TeX ies +was the wine and cheese party hosted by Lance Carnes of Personal \TeX\ Inc. +That was on the Monday night after we had all had a chance to sample the +daytime talks and get into the swing of the conference. + +There were in all around 160 people attending the conference. There were only +a handful from Europe --- 1 from Finland, 1 from Holland, and 2 from the {\sc +uk}. If you count Israel as `European', that makes 5 in total. +The rest were North American, bar 1 from Thailand, 1 from Australia, +and a contingent of 4 from Japan. + +The main theme of the conference was `\TeX\ in the Production +Environment'. Nearly the whole of the first day (Monday) +was devoted to this topic --- 10 presentations in all. +This theme was further subdivided into 3 `slightly +arbitrary' topics of `In-House Systems', `Case Studies' and +`\TeX nical Solutions'. Taking these 10 talks as a whole, +the main pointers that emerged in relation to \TeX\ and +Production were: +{\parindent10pt\parskip0pt +\bi Integration --- +the pros and cons of integrating \TeX with older\slash other\slash current +text production systems. +\bi +Management --- +the need for good management to co-ordinate the computing and publishing +sides, with teamwork essential to manage a system of software, hardware +and people. +\bi +Macros --- +everyone was writing their own local macros. +\bi +Databases --- +the adaptability of \TeX\ to provide a useful link with a range of databases. +Advance planning essential to provide all the hooks: \TeX\ only used at the +end of a very long process. +\bi +Schedules --- +the effect on and analysis of production schedules: +choosing appropriate documents to process through \TeX. +\bi +Fine Tuning --- +the disproportionate time taken in fine tuning the layout. +\bi +Training --- +the great need for good training in \TeX. + +} + +\section{\TeX\ in Production: In-House Systems} +There were 5 speakers talking on in-house systems for document production. +Mary McCaskil from {\sc nasa} described the setting up of their system --- +starting with dedicated word processors and culminating in the present set-up +involving \TeX\ input from IBM-PCs, Macs and Sun workstations, +with preview on the Suns, laser proofing on Lasergrafix and typesetting +on Autologic. She did some analysis of production schedules, and found +it much quicker if figures and illustrations are pasted in by hand, +rather than automated. + +Time required to produce 1 page of {\it draft} output with 1--4 equations +per page: +$$\vbox{\halign{#\hfil\quad&\hfil# minutes\cr +Text (typeset) & 22\cr +Tables (typeset) & 73\cr +Figures (captions \& pasting) & 5\cr +Corrections (2 cycles) & 16\cr +}}$$ +(This compared to 1 hour per page for a manual, as cited by Eric Jul of OCLC.) + +She regarded the overall advantages of \TeX\ as being: +quick training, +satisfactory productivity, +outstanding typography and +device independence. +And concluded that management {\it must} co-ordinate computing and +publishing, with teamwork essential to manage a system of software, +hardware and people. + +The second talk came from Tom Renfrow, also of {\sc nasa}, but from a different +division. He described the +production of technical manuals and other documentation, +all based very much on the use of databases and locally +written macros. He stressed +the need for advance planning when building databases, so +all the hooks are there, and that \TeX\ only makes an +appearance at the very end of the long process. His +system allowed very long documents (around 600 pages) to +be turned around within a week --- and this included lots +of graphics and tables, all of which were automatically +included and automatically numbered, with +cross-referencing of section numbers (up to 15 levels of +sections). + +This talk was followed by one given by David Ness of TV +Guide. Again they found \TeX\ very adaptable for use with +large amounts of database information. Their system pulls +out macro definitions from the database relevant to +particular documents, such as docket numbers, date or time +modified, or status. Tools in the database can provide +summaries of all documents by purpose\slash date etc. The +system also remaps macro definitions, sorts the numbers +and manipulates the data. + +The fourth talk was by Laurie Mann (female) from Stratus +Computers. They produce families of computing manuals --- +such as on Fortran, Basic or PL/1 --- whereby each manual +has the same source text, such as the description of a +subroutine, but macros will automatically insert the +appropriate computer language name (as in Fortran) +together with examples of use, and correct number of +parameters to commands. The |\languagecase| macro for +example has arguments for each of 6 supported languages, +and can also be used to `turn on' all 6 languages, such as +for a review. This she terms `single sourcing' resulting +in fewer unique files per manual. + +The final talk on in-house systems was from Jean Pollari +from Rockware International, describing government +standard documentation. Again the stress was on lots of +locally written macros to simplify text input, and the +need for training in \TeX. + +\section{\TeX\ in Production: Case Studies} +The conference then moved on to 3 case studies of \TeX\ +in Production. These ranged from Eric Jul of OCLC who +described the problems of integrating \TeX\ with +older\slash other text production systems. Training was +again of paramount importance, plus the need to +differentiate between documents that would\slash could be +produced in \TeX, and those that are better produced by +other systems --- as determined by the effect on +production schedules. He regarded 1 hour per page to +produce a manual as acceptable, but there was a +disproportionate amount of time occupied by one person +fine tuning the layout or editing the text. + +At the other end of the scale of case studies was Robert +Harris from Kennel Club Yearbooks, whose main problems +stemmed from mistakes made in matching up the photograph +with the correct pedigree entry. But again he stressed +how well \TeX\ was suited for documents using information +extracted from databases. + +In between these two talks was the third case stude --- by James Mooney --- +on his experiences with textbook production. He regarded +\TeX\ as having far greater control than \LaTeX\ (in fact +\LaTeX\ was barely mentioned in the conference as a whole, +although it did boast the largest Birds of a Feather +group). James Mooney used separate sets of macros for +draft printouts, as compared to the typeset version of the +textbooks. The draft versions had simpler layouts and +extra spacing for reviews. His main problems related to +correction and fine tuning --- he found it hard to process +only selected pages, and that minor changes could disrupt +following pages even if the page break hadn't been +altered. He concluded that \TeX\ should become more +co-operative and allow itself to be fine tuned more easily +--- he found it particularly difficult to amend \TeX's +vertical spacing, and floating inserts were occasionally +out of sequence. + +\section{\TeX\ in Production: \TeX nical Solutions} +The two final sessions on \TeX\ in Production related to +`\TeX nical Solutions'. +David Ness from TV Guide re-emerged to describe how they +had solved problems such as filling an exact number of +pages with text, or piecing streams of text together with +an output routine. They solved one particular |\parshape| +problem by using APL to write \TeX\ to produce very long +|\parshape| commands. Their approach attempted to convert +content driven typesetting into layout driven typesetting, +again using an elaborate live database. They regarded +\TeX\ as an ``assembly language program for text''. + +The final speaker on \TeX\ in Production was the sole +Australian representative --- he described how and why a +trade typesetter chose \TeX\ in preference to newer DTP +systems or older single supplier typesetting systems. He +listed the commercial advantages of \TeX\ as a front end +as: {\parindent10pt\parskip0pt +\bi +Quality --- +provides high quality typesetting and captures some of the old craft. +\bi +Maths --- +excellent for mathematical typesetting (the best). +\bi +Hardware Adaptability --- +availability on a wide variety of computers, and from a wide range of +suppliers. Users can start with a cheap MS-DOS system and work up to +larger systems without losing any of the old work. +\bi +Drivers --- +various typesetter drivers, plus 300\,dpi. Arbortext +drivers for Compugraphic, Autologic and PostScript +(Linotronic). +\bi +Documentation --- +good quality\dots +\bi +TUG --- for information sharing. +\par} +The rest of the TUG meeting contained more varied talks on \TeX, plus +the usual exhibitor presentations. + +\section{\TeX\ Training} +There were two talks specifically on training in \TeX\ --- the one by +Berkeley Parks of Washington State University +concentrated on tips to get started --- ranging from +progressively moving the |\bye| command lower down the +file to isolate errors, to innovative uses of |\halign| +for complex mathematical layouts. + +The other training talk was by Alan Wittbecker, the new TUG employee with +the unenviable task of constantly travelling America teaching a succession +of 2, 3 and 5 day courses. He listed several factors as important for new +users to gain productivity: +{\parindent10pt\parskip0pt +\bi +relevance of the commands to users' needs. +\bi +simplicity --- ease of understanding +\bi +efficiency --- a typist should understand the command --- simple and mnemonic. +\bi +consistency --- produce the same quality from different versions of \TeX. +\bi +quality (standards) --- portable between devices, style file changes, macros. +\par} +This brought in the more general topic of applying standards to all TUG +courses, so that having completed a course a student is known to have covered +certain sets of commands and topics, irrespective of where he or she was +taught. Alan provided a suggested syllabus for each of the 5 day beginning, +intermediate and advanced \TeX\ courses. Comments were invited. +Doug Henderson also provided a similar list for the Metafont course. + +As a TUG course instructor myself, I had some initial +comments and queries. It wasn't clear as to the +flexibility of the syllabus for, say, a 5 day intensive +beginning\slash intermediate course as compared to two +separate 5 day courses. The timescale would inevitably +mean omitting some of the topics --- it would therefore be +useful to differentiate `essential' from `additional' +topics in each course. There was also very little maths +covered in either the beginning or intermediate courses, +whereas this is frequently the initial impetus for people +wanting to learn \TeX. From my experience, students regard +the maths as very straightforward as compared to the +intricacies of text-type layouts. As well as providing +more maths, it is obvious that the courses should be +tailored to people's needs, particularly if it is an +in-house course. I was also surprised to find several +topics in the proposed syllabus that were not |plain| \TeX, +such as Stephan's |\hboxr| command, which could easily +cause confusion. + +Another teaching proposal was a `self-test' --- a series +of questions to help the wavering student to decide which +level of expertise he or she was at, before booking for +the appropriate course. + +The one talk in the whole conference that specifically +referred to \LaTeX\ was by Shawn Farrell of McGill +University (the local organiser), who suggested ways of +choosing between \TeX\ and \LaTeX. The usual advantages +and disadvantages of each was cited, and he concluded that +there was a place for both \TeX\ and \LaTeX\ for the right +user. Inevitable maybe. + +\section{Non-English \TeX} +Two other main topics were covered in the conference --- +Non-English \TeX\ and \TeX\ and \sgml. I unfortunately had +to miss the Japanese contingent talking about Mathematics +Textbook Publishing with Japanese \TeX. However Jacques +Goldberg's talk on Semi-\TeX\ was very amusing, talking +about the problems of mixing right to left Hebrew with +left to right maths. He runs his system on IBM-PCs and +VAXes. On the VAX he has set up the DEC VT keyboard so it +can switch between Hebrew and English on screen, but not +display both at once. He mentioned the \XeT\ program which +needs changes to \TeX\ and the \dvi\ drivers. He suggested +writing a \dvi\ t\dvi\ DVI convertor to allow any existing +driver to take \XeT\ output. He is also still working on an Arabic \TeX. + +Michael Ferguson then described his Multilingual \TeX\ +yet again, followed by Kauko Saarinen who listed his +experiences with \TeX\ in Finland --- largely to do with +keyboard character deficiencies, especially in relation to +\LaTeX. + +\section{\TeX\ and \SGML} +Moving on to \TeX\ and \SGML, Stephan Bechtolsheim +described his modifications to the {\sc emacs} editor to safely +edit \TeX\ files and translate \SGML\ into \TeX. The mods +included error checking to prevent the more trivial +mistakes, prior to running the file through \TeX. He uses +{\sc lisp} to program in such features as inserting pairs of +braces with the cursor positioned in between, or easily +checking the nested braces for such functions as +superscripts of superscripts. Inevitably there are +problems in that the editor is fairly complex and uses a +lot of CPU time. It doesn't run on PCs, but other +alternative editors (called epsilon and joe) will +apparently soon be available for PCs (joe will also be +available on the Mac, and is free). + +Lynne Price ran over the basics of using \SGML\ and \TeX\ +to produce user documentation. Her main aims are +markup minimisation and automatic error checking. + +\section{\TeX nical Support} +The final talks of the conference were a varied bunch, +banded together under the heading `\TeX nical Support'. +Ken Yap, +talking about \dvi\ previewers, described possible +alternatives to the typical low-res 80\,dpi screen +preview. These included generating fonts at the required +screen resolution using Metafont, and bit sampling where +sub-samples of printer fonts are used for the screen +(e.g.~reduce each 4$\times$4 pixel block to 1~pixel). +This cuts down on the number of additional font files +required, but needs CPU intensive raster processing. Other +partial remedies included abandoning the idea of full +pages on screen, or using higher resolution screens at say +160\,dpi, or grey scale fonts, where brightness is traded +for resolution. The only `full' solution was a proper +hi-res screen. The main problems with previewers as a +whole were seen to be how to preview printer resident +fonts, and that printer |\special|s weren't previewable. + +Robert Kruse from Nova Scotia then outlined some Software +for Technical Book Production --- comparing the author's +perspective (flexibility, simplicity, minimal logical +markup) with that of the publisher (design, copy editing +and markup, co-ordination, page makeup and typesetting), +and also with the macro programmers' perspective (the need +to accommodate flexibility, modular macros, consistent +syntax, robustness). He suggested a Pre\TeX\ +pre-processor to simplify \TeX\ for the author, such that +quotes would automatically be converted, and the italic +correction automatically inserted. + +Mike Schmidt then described his CAP\TeX, or industrial +strength \TeX, which is a menu-driven control program with +access to a spell checker, index filter etc, and specific +to technical publishing in larger organisations such as in +the aircraft industry. Features include font controls, +predefined table templates and structures, control over +figures and graphs, mulit-column layouts and automatic +generation of tables of contents and indexing. The system +assumes many technical writers and therefore uses minimum +markup and enforceable document styles. It uses |plain| +\TeX\ and is 99\% structure oriented. For a slight +variation on a theme, the \TeX\ files were read {\it into} +a database. + +The last speaker was Paul Muller with \FASTeX\ --- an integrated front end +to \TeX\ that uses an editor with {\sc ascii} input and output, together +with a \TeX-compatible macro system, and typesets with simultaneous +screen preview. + +\section{Exhibitor Presentations} +Exhibitor presentations included a description of TEXT1 +from Washington State +University --- a package of macros including indexing and +table-of-contents. It is available +on IBM-PCs, but must surely be usable elsewhere. They also +have availably the International Phonetic Alphabet, as +advertised in TUGboat. + +Barry Smith, of Blue Sky Research, assured everyone +that \TeX{\sc tures} was under stable +ownership, and that new developments were proceeding +apace. He is moving into the graphic arts field by +providing an interactive {\it back} end to \TeX{\sc tures}, +whereby typeset text can be skewed or rotated through an +interface with Adobe Illustrator --- a sort of back end +automatic paste-up on screen. He is also extending into +colour printing on dot matrix, and full colour separation +on the typesetter. Lucida fonts are also in the offing +(including maths) plus all the 75 CM typefaces as +PostScript outlines --- although the results at 300\,dpi +are apparently not as good as Metafont. + +Mr \PCTeX, the charismatic Lance Carnes, described the very complete selection of +software available for \TeX\ from Personal \TeX\ Inc. There are now over 60 +products --- drivers, macro packages, Metafont 1.3 and an interface to +Bitstream fonts (over 30 typeface families). He compared +maths output using Bitstream Times with Computer Modern maths. +He also announced the PTIView Previewer. +Personal \TeX\ Inc.\ also now have a phototypesetter --- a Chelgraph +IBX2000 all the way from England. It provides 2000\,dpi, onto paper or film, +and can set any Metafont or bitmapped character. They have developed their +own driver and will provide a typesetting service from October, with 300\,dpi +laser proofs also available. + +Richard Kinch of Kinch Computer Co.\ swept the field by giving away +complete copies of his Turbo\TeX --- a Pascal translation to C for the IBM-PC, +portable to Unix. It has a virtual memory subsystem added onto the DOS +implementation and used a swap file on disc or the RAM drive. + +Bob Kaister of K-Talk Communications described Publishing Companion, +which translates Word Perfect to \TeX. Other convertors are now also +available for other word processors as an add-on. I believe Ewart North of +Uni\TeX\ sells +this in the U.K. K-Talk also sell Math Editor for the PC for +{\it wysiwyg} equation generation, which outputs a \TeX\ file. + +Stephan Bechtolsheim then did a wonderful job of selling himself: his master +work, `Another Look at \TeX', has now reached 975 pages, in two volumes, and +still growing. In the absence of a publisher he sells the book at \$57. + +Arbortext also came up with some new announcements. +Publisher version 1.0 was released in November 1987. +Version 2.0 is now due (August\slash September 1988). +It boasts faster performance, copy and paste between the document and +Sun Windows, a re-engineered editor and higher compatibility with `raw' \TeX. +It has \TeX\ and \LaTeX\ modes (??), with equation\slash table\slash +graphics editors, as well as integration with \SGML. +Other possible Publisher platforms should be announced this Autumn --- +this could include Apollo, DEC, HP, Mac II and OS/2. +Arbortext have also taken on Micro\TeX\ from Addison Wesley. They intend +using Micro\TeX\ to build a second generation product under a new name --- +$\mu$\TeX. +This will include a module for an editor (based on {\sc emacs}), \TeX\ and +Preview, with simplified keyboard mappings and a streamlined installation +program. + +\section{TUG European Co-ordinator} +Ray Goucher had nominated Malcolm for +the new post of European Co-ordinator, which was agreed in committee. +I had been requisitioned to +take his place at the committee meetings in his absence. +The actual functions of the post +still aren't clear, but are to be discussed between Malcolm and Ray. +In essence the post revolves around acting as a focus for improved two-way +communications between America and Europe, and stimulating TUG awareness +and membership in Europe --- acting as a representative and platform for +European views, whilst keeping tabs on all European \TeX\ activities. + +\section{The 1989 TUG Meeting} +And now for next year\dots\ \ Dates for the 10th Anniversary TUG meeting +have now been finalised. The meeting will be at Stanford (where else) +on August 21st--23rd 1989, with the usual courses before and afterwards. +This meeting will be the 10th annual meeting of TUG. The keynote +speaker will be Donald Knuth, who will present a paper entitled ``The +Errors of \TeX''. Be there. +\smallskip \rightline{\sl Cathy Booth} + + diff --git a/info/digests/texline/no8/more.sgm b/info/digests/texline/no8/more.sgm new file mode 100644 index 0000000000..525ecb3d97 --- /dev/null +++ b/info/digests/texline/no8/more.sgm @@ -0,0 +1,108 @@ + +\centerline{\bf More SGML} +\medskip +\noindent +The \sgml\ Users Group has regular meetings, +often held at the British Standards Institute in +London. This is a rather pleasant venue, since the +building in Green Street (just off Park Lane) is rather +old, with all sorts of fancy ceilings +and ornamentation --- just the thing to distract and +amuse. The Users Group meetings are (to my mind) rather +sparsely attended (usually no more than 20--30), but it +is always fascinating to see what \sgml\ is up to. I want +to comment on presentations made at two meetings: one held +on September 12th, and the other held on December +2nd. + +The relevant paper at the earlier meeting was from Eric +van Herwijnen of the Data Handling Division at {\sc +cern}, Geneva. He was concerned with promoting +the use of \sgml\ in an environment which +boasted a wide range of computing equipment, +from personal machines through Suns and VAXes to +Crays. He presented a checklist which was designed to +help identify those documents which ought to be coded in +\sgml: +\item{$\bullet$}will the document be kept after it has been +read? +\item{$\bullet$}will the document be updated later? +\item{$\bullet$}does the document have a complicated +structure? +\item{$\bullet$}is the document longer than a few +pages? +\item{$\bullet$}will the document be added to a +database? +\item{$\bullet$}does the document have to follow the +{\sc cern} house style? +\item{$\bullet$}does the user already know \sgml\ or an +existing \sgml\ tool? + +\noindent A positive answer to any of these questions +indicated that \sgml\ ought to be given serious +consideration. The alert and observant will be saying +`Why not use \LaTeX\ instead?' Eric had a response: he +considered that \sgml\ had the following advantages over +\LaTeX +\item{$\bullet$}\sgml\ is an {\sc iso} standard, while \LaTeX\ +is not. +\item{$\bullet$}{\sc cern} will register its DTD (Document +Type Definition) in accordance with the ISO rules. +\item{$\bullet$}input systems for \sgml\ are becoming +available (Author/Editor, {\sc mark-it}, Publisher, +Grife). +\item{$\bullet$}\sgml\ is being adopted by the +publishing world. +\item{$\bullet$}\sgml\ is suited to document database +applications. +\item{$\bullet$}\sgml\ support is easier. +\item{$\bullet$}\sgml\ has been chosen by Eric's department +for the future office system at {\sc cern}. + +\noindent It wasn't clear to me why \sgml\ was the +obvious candidate, but it is obvious that systems which +have the label `standard', and which have some sort of +economic or commercial clout behind them appear more +attractive to large organisations. + +The other paper was from Paul Ellison at Exeter +University, who discussed how maths could be handled in +\sgml{}. As I have noted elsewhere, \sgml\ usually opts out +of maths, and leaves it up to some competent system to +handle. Usually this is either |eqn| or \TeX{}. Paul +showed how maths could be coded in \sgml{}. One of the +\sgml-based criticisms of \TeX\ is the way it handles +superscripts and powers: how do you distinguish between +|x^2| where the 2 is a power, and |x^2| where the 2 is a +superscript. Well, the short answer is that no +mathematician in his right mind would use such ambiguous +notation. Of course there is an +easy solution to this. There is no reason why |\sp| +shouldn't mean `superscript' and |^| mean `power'. Try +writing |\sp| sometime and see what it does. Paul had +confused a |plain|\TeX\ facility with a coincidence of +expression. But it is a point which Knuth treats +ambiguously too --- but hardly a reason to discard \TeX! +In his examples of \sgml\ coding Paul also tackled the +problem of `pre-scripts' like $_nx$, which have to be +handled in a rather awkward, although very explicit, way. +I have never been too happy with the \TeX\ coding here, +since eventually you end up having to say things like +|_na+{}_nb| in order to guarantee the spacing of +$_na+{}_nb$. The |{}_nb|, if it is read as |{}_n|, followed +by |b|, is meaningless. I really cannot see \sgml\ coding +of maths catching on. With very few exceptions, \TeX\ is +unambiguous in its treatment of maths; +a little extra exposition and discipline would have been +sufficient to remove any problem areas. The extra +pain and effort of invoking \sgml\ seems out of all +proportion. + +Apart from these two \TeX-relevant talks, \sgml\ User Group +meetings are also quite useful as a way of keeping in touch +with some other aspects of the `structured documentation' +world. Many of the speakers are from commercial +organisations, and it is always of interest to see how +real world problems are identified and solved. +\smallskip +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no8/oddtypes.tex b/info/digests/texline/no8/oddtypes.tex new file mode 100644 index 0000000000..92ca69242d --- /dev/null +++ b/info/digests/texline/no8/oddtypes.tex @@ -0,0 +1,212 @@ +\centerline{\bf Odd Types} +\medskip\noindent +The BCS Electronic Publishing Group has a well-justified +reputation for its one day meetings at the School of +Oriental and African Studies. The meeting on +September 29th easily maintained that reputation, and, +for perhaps the first time, exploited its venue more +fully. The morning session was devoted to mathematical +typesetting, but the afternoon was concerned with +non-Roman text, and the accompanying problems and +solutions. Hence the (witty?) title, `Odd Types'. + +David Penfold of the Charlesworth Group started off the +day by laying the foundations of mathematical +typesetting, covering some aspects of the history. Even +up to the 1950's, maths was set by hand, in cold metal. +The mind reels at the thought of the skills needed to +adequately typeset a moderately complex page of maths by +hand. David also described Monotype's `four-line' +equation, which was set from a keyboard. In my naivety I +had assumed this really meant four lines of equations, but +all it really means is being able to set something like +$${g_{b^2d_4}X^{a^1c_3}}\over{b_{f^el_n}Y^{b^kd_\gamma}}$$ +which {\tt eqn} and \TeX\ users rather take for granted +now. Maybe there has been progress. It is always a +fascination to see how far technology limits our forms of +expression. Filmsetting on a matrix obviously poses +problems of positioning for maths. Similarly, when +symbols are obtained from a disc (before the days of +floppies), there are limits on the number of symbols +which can be placed on the one disc. To some extent, +Monotype seem to have dominated math typesetting, and +many of us feel at home with their Roman typeface for +maths (No.\ 327 for text, 569 for maths) where every +superior and inferior has to be separate type, with a +different design size. As an aside, \TeX's favourite +typeface, Computer Modern, is a derivative of one of +Monotype's maths typefaces. This is perhaps not +completely aside, since one feature which became apparent +was the inherent conservatism of the customer (and +perhaps the printing industry). With technical +typesetting, innovation in typefaces is hardly likely to +enhance the result. It was with this problem of +appropriate representation that David had begun his talk, +with three (fairly well-known) representations of +Creation: Genesis, Maxwell's equations, and Haydn's score. +All quite different, but in a sense saying much the same +thing, although to rather different audiences. David also +showed some rather good bad examples of mathematical +typesetting, but unfortunately would not name the +perpetrators. His conclusion of `no general solution' was +not entirely unexpected, and perhaps a blow to some of us. +\looseness=-1 + +Tibor Tscheke from St\"urtz (part of Springer-Verlag's +empire) discussed some of the problems which they had +encountered in adopting an electronic approach to their +journal production. It comes as no huge surprise that +author input on electronic input does not entirely solve +all problems. Authors do not necessarily understand the +remainder of the publishing process, and their own +assumptions may make life very difficult. Coupled with +the fact that the correction process may actually be more +expensive than key-boarding we see some problems looming +for publishers who are continually under pressure from +authors to accept electronic input (and give them higher +royalties). Since St\"urtz used Unix, it was no real +surprise that their initial attempts were with {\tt +troff}. But since they were using Lasercomp typesetters, +and {\tt troff} was really intended for the obsolete CAT +typesetter, this proved difficult. So to \TeX{}. One of +the recurrent problems with \TeX\ is its insistence on +knowing a lot about the character set you are using. And +most of that information was lacking for the Monotype +fonts which were to be used. So a great deal of work had +to be done by hand to create the information for the font +metric files. At least this is a one-time job. Some of +\TeX's font-dependency also became apparent, since some +of the standard macros do not work well outside +the Computer Modern Family, and had to be rewritten. +There was also a problem to be solved in screen +representation. Since we can see \TeX\ on the screen for +some kind of crude proofing, we have to adopt some scheme +of font substitution (we don't have screen +representations of the Lasercomp's fonts). Substituting +the Computer Moderns directly gave a rather +unsatisfactory result, with overwriting on the screen and +ragged margins. This rather upset people. In the end, the +approach was to generate new versions of the Computer +Moderns, but with the width characteristics of the +corresponding Lasercomp fonts. This ensured that +everything was in the right place on the screen, even if +typographically it was not perfect (since we're dealing +with an IBM pc, with not very good graphics anyway, +typographic purity is hardly a key issue). Of course, the +reason that \TeX\ is amenable to this approach is by way +of \MF{}. Part of \MF's beauty +is its power to allow modification of existing fonts +created through \MF\ --- hence the `meta' part of the +name. St\"urtz are also moving on to other fonts, like +Fraktur, phonetic, Hebrew and so on. One of their problems +is in finding a way of giving them away --- Monotype and +St\"urtz are still exploring this. + +Unfortunately Mike Glover, from Icon Technology, who was +to have talked about Formulator could not be present. +Formulator is a Macintosh tool which allows equations to +be typeset in a {\it wysiwyg} fashion. The resulting +equation may then be pasted into a MacAuthor document, or +may be represented in \TeX\ format, for inclusion into a +\TeX\ document. Contrasting reviews of Formulator have +appeared in \TeXline\ 7, the November issue of {\sl Desktop +Publishing Today} and the October issue of {\sl Apple +Business}. It is hoped that Mike will be able to present +Formulator at some future date. + +The afternoon moved into even more exotic areas, starting +with Dominik Wujastyk's description of typesetting some +South Asian languages. There is perhaps one key point to +be made about the afternoon's presentations: the fonts +were really designed for Western use, rather than by the +native speakers of the languages. In a sense, the markets +are rather small, and we are moving into areas where +electronic (or desktop) publishing really can make an +impact, permitting things to be published which could not +have been done by traditional techniques. Dominik is a +Sanskritist by calling, and a curator at the Wellcome +Institute by profession. Some of his work there has been +in publishing Sanskrit editions concerned with the history +of medicine. Taking Sanskrit as an example, there are +several ways to represent this in typeset form. We can +use the Roman alphabet in a standardised transliteration. +This is obviously attainable with the present levels of +word processing. Or we can move to `real' Sanskrit fonts, +when we input with a standard keyboard (i.e.~Roman +alphabet) and somehow massage this into the Sanskrit +alphabet. Dominik showed examples of these approaches. +One area which he also touched on was the use of +preprocessors, where, prior to the `typesetting' stage +(naturally performed by \TeX/\LaTeX), the input (here +Note Bene/Xywrite) was transformed. Again there are +several ways to do this, from the obvious --- write your +own program, to the slightly more subtle --- configure the +editor's printer driver to do the transformation for you. + +Paul Thompson of SOAS gave an account of the approaches +which could be employed in setting Chinese. As we know, +Chinese (and we can include variants, from the pure +unmodified Chinese, or Hanzi, through the hybrids, the +Japanese Kanji and Kani, and the Korean Hancha and +Hangul, to the modified Vietnamese), has a rather large +character set. Just how large is unresolved. The Chinese +national dictionary will use about 60,000 different +characters, but only about a maximum of 15,000 are needed +for modern styles, and the Chinese standard character set +is a mere 7,000. But even this, in two different styles +and at 4 standard sizes, gives 56,000 characters. Clearly +there are a few storage problems for electronic +representation. Whatever problems are there are made less +straightforward by the presence of three different +standards --- Japanese, Taiwanese and Chinese. + +We are probably all aware that there are certain +assumptions made in the way we handle characters +electronically; operating systems and applications tend +to depend on the assumption that character sets are not +larger than the {\sc ascii} set. One way of addressing the +problem here has been to use 2 {\sc ascii} characters to +represent chinese script. + +Again the cultural biases were apparent when Paul +described the evolution of techniques to handle text +creation (i.e.~typing). One reasonably successful +technique was based on telegraphic techniques, where a +pair of `western' characters represented a chinese one. A +large number of telegraph operators were very familiar +with this technique, and although it took some time to +learn, it was fast and of fairly low cost. Many of the +newer techniques which had been tried were either slower +or more expensive. On the other hand they tended to be +faster to learn. In general the trend seems to be towards +using a `standard' keyboard and inputing phonemes, at +either the syllabic or entire word level. With +improvements in artificial intelligence this appears to +be a viable route. + +Lastly, Michael Mann described a number of case studies +drawn from various departments within SOAS. As a hardened +markup man, I was forced to admit that {\it wysiwyg} could +sometimes come up with a reasonable published product. +It was perhaps in the area of very odd scripts +that the versatility of the Mac (in the right hands) +shone through. Some of the fonts had to be designed by +hand, but effectively what they replaced was doing the +whole job by hand --- at last electronic publishing was +doing something which was otherwise impossible. It was +interesting to see that hyphenation problems were still +present in Amharic, but since no-one was very clear where +the hyphens ought to be anyway\dots\ The limitations of +technology were again apparent by the problem of having +to use monospacing to accommodate the Mac's handling of +accents. The school also uses Ready Set Go!{} in an Arabic +version --- that means the menus are in Arabic too --- +highlighting another Mac-factor. Although the Mac can be +`localised' that means it becomes completely localised. +Michael even touched on subjects like Microsoft's +{\sc rtf} (rich text format) which is usually a fairly +well-hidden secret, and the problems in finding out about +Apple's Scriptmanager. All of which added weight to his +contention that Babel still reigned. +\smallskip +\rightline{\sl Malcolm W Clark} diff --git a/info/digests/texline/no8/pole.tex b/info/digests/texline/no8/pole.tex new file mode 100644 index 0000000000..876bcd3d04 --- /dev/null +++ b/info/digests/texline/no8/pole.tex @@ -0,0 +1,141 @@ +\def\ogonek{\hbox{\seveni\char'054}} +\def\eog{e\kern-.26em\lower.77ex\ogonek} +\def\aog{a\kern-.21em\lower.79ex\ogonek} + +\centerline{\bf Polish Language and {\TeX}} +\medskip +\leftline{\sl Introduction} +\noindent +Similarily as for other languages, adapting {\TeX} to Polish +requires solving several problems ([RS85], [HK88], +[HK87]). I will discuss here only one of them. It concerns a +diacritical sign called in Polish --- and also e.g.~in [ISO83] --- +{\it ogonek\/}. It is completely missing in the Computer Modern family but +used, apart from Polish, also in Lithuanian. It may be familiar to +the reader as the component of e.g.~the name Lech Wa\l\eog sa. +\medskip +\leftline{\sl Using standard fonts} +\noindent +The obvious solution to the {\it ogonek\/} problem is to use some +other character as a substitute. {\it Cedilla} bears some resemblance +to {\it ogonek}, but it is clearly recognised as a non-Polish +character, so it is of no use for high quality printing. +Several users experimented independently with such characters as +the apostrophe; as far as I know, the best results were +obtained by Jerzy Ryll using the 7 point |\lhook| symbol +for the 10 point AM roman font +and placing it in the following way: +\begintt +\def\ogonek{\hbox{\seveni\char'054}} +a\kern-.21em\lower.79ex\ogonek +A\kern-.21em\lower.79ex\ogonek +e\kern-.26em\lower.77ex\ogonek +E\kern-.26em\lower.77ex\ogonek +\endtt +We use his solution here after +incorporating it into a tentative |PL| \LaTeX\ style, providing e.g.~% +for the appropriate depth of the letters \aog\ and \eog. +\medskip +\leftline{\sl Modifying pixel files}\noindent +A more general solution was offered by Hanna Ko\l odziejska, who +wrote a small program creating a copy of a pixel file with {\it cedilla} +substituted by its symmetric reflection; the \tfm\ file for +the new font is just an exact copy of the old one. After +switching to the new fonts, {\it ogonek\/} can be accessed by the |\c| +command and +its position adjusted to the letter in question. +The results can +be seen e.g.~in the paper [HK88] which was printed using +this technique. The drawback of this approach consists in +doubling the number of the pixel files. +In practice, however, the program can be placed on the hard disk +and the new fonts created on demand. +\medskip +\leftline{\sl Creating special fonts} +\noindent +Creating special fonts for Polish using \MF\ should not be a +difficult task, at least in principle. The question is where to +place the Polish national letters. The solution advocated here +consists in preserving all Computer Modern characters and to +assign the Polish letters to the codes greater then 127. To +allow hyphenation, these codes have to be accessed through +ligatures; the obvious candidate for the character introducing +these ligatures is the character +\char'40\ (code |'040|), +as its only +function in standard {\TeX} text fonts +is to serve as a component of the +Polish letters \L\ and \l. The \tfm\ files for Computer Modern +and equivalent Polish fonts should differ respectively in +their ligature +tables. This approach allows to take advantage of the fact that +more and more drivers --- including the public domain Beebe +family of drivers [B87] --- provide for the user +controlled font substitution. With appropriate substitution +directives, the standard font glyph files |gf|, |pk| +or |pxl| files) can be get rid of as the same information is +contained in their Polish equivalents +(of course, \tfm\ files are to stay). When the disk space is +important, this seems to be the ideal solution. As for the +drawbacks, not every driver is able to handle the characters with +the codes greater then 127; however, this is an evident fault of +drivers implementors, which should be corrected in the future. +\medskip +\leftline{\sl Conclusion}\noindent +One of the important advantages of {\TeX} is its standarization. +It is a pity it is monolingual by design (with some unnecessary +assumptions underlying the hyphenation algorithm), but we have to +live with it. However, the standards for drivers are only +beginning to emerge and +some aspects of +multilingual text +processing can be solved by creating such drivers +which allow to `cheat' {\TeX} to obtain the desired results. The +use of font substitution described above is an example of this +approach. +\smallskip +\leftline{\sl References} +{\frenchspacing\parindent0pt\parskip3pt +Nelson~H.~F. Beebe. +Public domain {\TeX} {DVI} driver family. +{\TUGboat}, 8(1):41--42, April 1987. + +[ISO83] +International~Organisation for~Standarization. +Information processing --- coded character sets for text + communication. +Standard No. ISO 6937, 1983. + +[HK87] +Hanna Ko\l odziejska. +{\it Dzielenie wyraz\'ow polskich w systemie {\TeX} [Polish + hyphenation patterns for {\TeX}; in Polish]}. +IInf UW Report~165, Institute of Informatics, Warsaw +University, + 1987. + +[HK88] +Hanna Ko\l odziejska. +Le traitement des textes polonais avec le logiciel {\TeX}. +{\it Cahiers GUTenberg}, (Num\'ero z\'ero):3--10, Avril +1988. + +[RS85] +Staffan Romberger and Yngve Sundblad. +Adapting {\TeX} to languages that use {L}atin alphabetic +characters. +In Dario Lucarella, editor, {\it +Proceedings of the First European + Conference on {\TeX} for Scientific Documentation}, pages~27--40, + Addison-Wesley, Reading, Massachusetts, 1985. +} +\smallskip +\rightline{\sl Janusz S. Bie\'n} +\smallskip +\leftline{\it Editor's Note:} +\noindent +Although Janusz refers to AM in the article, everything here is +of course set with the CM fonts. To my untutored eye the ogonek looks +fine, but I am unwilling to take this for granted until it is confirmed. +A `Polish' style file has been submitted to the Aston \TeX\ archive. + diff --git a/info/digests/texline/no8/pounds.tex b/info/digests/texline/no8/pounds.tex new file mode 100644 index 0000000000..2bc4b92498 --- /dev/null +++ b/info/digests/texline/no8/pounds.tex @@ -0,0 +1,106 @@ +\font\tenu=cmu10 % unslanted text italic +\font\twelveu=cmu10 scaled \magstep1 +\font\twelvebfit=cmbxti10 scaled \magstep1 +\font\tenbfit=cmbxti10 +\font\twelvetiit=cmitt10 scaled \magstep1 +\font\tentiit=cmitt10 +\font\twelverm=cmr12 +\font\eightrm=cmr8 +\font\sixrm=cmr6 +\font\eighti=cmmi8 +\font\sixi=cmmi6 +\font\eightsy=cmsy8 +\font\sixsy=cmsy6 +\font\twelveit=cmti12 +\font\twelvebf=cmbx12 +\font\eightbf=cmbx8 +\font\sixbf=cmbx6 +\font\twelvesl=cmsl12 +\font\twelvett=cmtt12 +% Now add the poundsign macros: +\def\rmpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.0em} +\def\itpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.09em} +\def\slpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.07em} +\def\bfpo{\leavevmode + \pmb{\lower.025ex\hbox{\$}\kern-.04em}} +\def\ttpo{\leavevmode + \lower.0ex\hbox{\$}\kern0em} +\def\ttkludgepo{\leavevmode + \epmb{\lower.0ex\hbox{\$}\kern-.0em}} +\def\pmb#1{\setbox0=\hbox{#1}% + \kern-.025em\copy0\kern-\wd0 + \kern.05em\copy0\kern-\wd0 + \kern-.025em\raise.0003em\box0 } +% Extremely poor man's bold +\def\epmb#1{\setbox0=\hbox{#1} + \kern-.005em\copy0\kern-\wd0 + \raise.01em\copy0\kern-\wd0 + \kern.01em\copy0\kern-\wd0 + \kern-.005em\raise.01em\box0 } +%This is adapted from the 10-point +%manmac macros: although this article +%uses 10 point, who else does? +\def\twelvepoint{% + \def\rm{\def\pounds + {{\twelveu\rmpo}}\fam0\twelverm}% + \textfont0=\twelverm + \scriptfont0=\eightrm + \scriptscriptfont0=\sixrm + \textfont1=\teni \scriptfont1=\eighti + \scriptscriptfont1=\sixi + \textfont2=\tensy \scriptfont2=\eightsy + \scriptscriptfont2=\sixsy + \textfont3=\tenex \scriptfont3=\tenex + \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\itpo}}% + \fam\itfam\twelveit}% + \textfont\itfam=\twelveit + \def\sl{% + \def\pounds{{\twelveit\slpo}}% + \fam\slfam\twelvesl}% + \textfont\slfam=\twelvesl + \def\bf{% + \def\pounds{{\twelveu\bfpo}}% + \fam\bffam\twelvebf}% pmb poundsign + \textfont\bffam=\twelvebf + \scriptfont\bffam=\eightbf + \scriptscriptfont\bffam=\sixbf + %\def\tt{\def\pounds{{\twelvetiit\ttpo}}% ugh! + % \fam\ttfam\twelvett}% ugh! + \def\tt{\def\pounds{{\tenu\$}}% + \fam\ttfam\twelvett}% odd poundsign + \textfont\ttfam=\twelvett + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=20pt + \def\caps{\def\pounds{~}\fourteencaps} +% don't use the pound sign + \def\scaps{% + \def\pounds{{\twelveu\rmpo}}\twelvecaps} + \setbox\strutbox= + \hbox{\vrule height14pt depth6pt width0pt}% + \normalbaselines\rm} +\def\tenpoint{\def\rm{\def\pounds{{\tenu\rmpo}}\fam0\tenrm}% + \textfont0=\tenrm \scriptfont0=\sevenrm \scriptscriptfont0=\fiverm + \textfont1=\teni \scriptfont1=\seveni \scriptscriptfont1=\fivei + \textfont2=\tensy \scriptfont2=\sevensy \scriptscriptfont2=\fivesy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\itpo}}\fam\itfam\tenit}% + \textfont\itfam=\tenit + \def\sl{\def\pounds{{\tenit\slpo}}\fam\slfam\tensl}% + \textfont\slfam=\tensl + \def\bf{\def\pounds{{\tenu\bfpo}}\fam\bffam\tenbf}% + \textfont\bffam=\tenbf \scriptfont\bffam=\sevenbf + \scriptscriptfont\bffam=\fivebf + \def\tt{\def\pounds{{\tentiit\ttpo}}\fam\ttfam\tentt}% + \textfont\ttfam=\tentt + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=12pt +% \normalbaselineskip=15pt% + \def\caps{\def\pounds{{\twelveu\rmpo}}\twelvecaps} + \def\scaps{\def\pounds{{\tenu\rmpo}}\tencaps} +% \setbox\strutbox=\hbox{\vrule height8.5pt depth3.5pt width0pt}% + \setbox\strutbox=\hbox{\vrule height10pt depth5pt width0pt}% + \normalbaselines\rm} diff --git a/info/digests/texline/no8/rept.tex b/info/digests/texline/no8/rept.tex new file mode 100644 index 0000000000..ba96893c10 --- /dev/null +++ b/info/digests/texline/no8/rept.tex @@ -0,0 +1,342 @@ + +%Carol Hewlett's report on UK TUG, held at Nottingham University on +% 4 November 1988. +% +\centerline{\bf UK \TeX\ Users' Group} +\medskip +\noindent +The Inaugural Meeting of the UK \TeX\ Users' Group was held at the +University of Nottingham, on 4 November 1988. +\smallskip +\leftline{Summary of Papers:} +\par +\noindent{\it\MFsl\ ---\ An Overview: Charles Curran, Oxford University} + +\noindent +Charles Curran started out by asking What is \MF? He then proceeded to give +some reasons why it might be used: +\item{1} to design `odd characters', but not usually a whole +fount; +\item{2} there were problems with +different device drivers and these +could be cured via \MF\ by altering the device +parameters for various printers, +particularly with reference to the write-white versus write-black enigma; +\item{3} sometimes defective characters needed redesigning. + +\noindent +He said that existing characters can often be adapted; +he suggested people speak to Dominik Wujastyk if they needed to get founts for +alphabets other than european. +He then showed diagrammatically the relationship between \MF\ and \TeX\ and +the various ouput files, some of which should be tuned to the desired output +device. +Various implementations of \MF\ exist, running on {\sc vms}, {\sc sun} and +Macintosh. Some have preview capability. + +Charles said that \MF\ can be used to +generate Computer Modern fonts at various +resolutions\slash magnifications; to generate device-specific fonts by modifying +e.g., |waits.mf|, |local.mf|; and to generate odd characters. + +It was possible that there was a need for a UK \MF\ group, although the +r\^ole of answering \MF\ problems was currently dealt with by newsletters +and bulletin boards. + +Charles then made a number of general points about the matching of founts +to page-printers. It was not generally known which print engine +was used in which page-printer (and it could be very difficult to find out). +Further, the average user (or implementer) didn't always know +how a fount {\it should} look and whether +what was being produced was the best possible. This suggested another +area for the exchange of information: information on page-printers and their +print engines and examples of the best possible printing that could be +achieved with any given machine. Another field for discussion/education +was that of type design in general. + +In the discussion that followed Charles' paper, it was suggested that +a sample book be put together. The relationship (if that's the right +word) between \MF\ and \PS\ was mentioned: will \PS\ take over +all that \MF\ now does? +Finally it was pointed out that while \MF\ can be used to design {\it families}, +programs like Fontographer were good for single characters but needed a +lot of work to retain any consistency when designing more than a few +characters. +\medskip +\noindent{\it Installing \TeX\ --- the scenic route: David Osborne, Nottingham +University} + +\noindent +David Osborne's paper had a subtitle --- the long road to implementing \TeX. +At Nottingham, several years had been spent in trying to provide a \TeX\ +user service. David explained that they had +originally obtained a \WEB\ source +for their VAX machines. \WEB\ contains both the program source and +its documentation. The code is run through a program called \Tangle, which +gives Pascal program output and documentation separately; the documentation +file then goes through \Weave\ to produce the real documentation and the Pascal +compiler is used to produce the \TeX\ executable program. \Tangle\ needs to +read a system-specific change file as well as \WEB. + +There was lots of documentation, but very little help as to where to start +reading it. However, most of these problems were solved reasonably quickly. +The real difficulty came when trying to fix the printer for \TeX. That +particular problem had still not been solved, although they were now +considering an AGFA PostScript page-printer, which promised a reasonable +printing speed and for which a \TeX-\PS\ driver could be used. + +He summed up by giving three points which new implementers of \TeX\ should +follow: +\item{$\bullet$} Choose the output device {\it first\/}. +\item{$\bullet$} Allow plenty of time for the implementers to become familiar with +the package and documentation. +\item{$\bullet$} Allow plenty of time for the implementation + +\noindent +David further suggested that better documentation directed at implementers +was needed; and that there were implications for training both users +and those who would advise them. +\medskip +\noindent{\it An Introduction to \LaTeX: Sue Brooks, Bradford University +Software Services Limited} + +\noindent +Sue Brooks gave a very persuasive talk about the benefits of using \LaTeX. +She set out a number of questions that were asked and told us her answers. + +First, what was \LaTeX? It was a macro package that was somewhat similar to +Scribe (which was itself like Troff). The assumption was made that a +document had a structure; additionally, \LaTeX\ was able to handle book-like +items like table of contents. + +Second, why use \LaTeX? Because it uses a document model rather than a +page description, as |plain| + \TeX\ did. It also included certain other sets +of macros, namely \BibTeX\ and \SliTeX. Sue compared \LaTeX\ to DTP packages +where she felt that \LaTeX\ won hands down. + +Third, why did Sue use \LaTeX? Partly this was historical --- she had learned +\LaTeX\ while at the Open University. She still felt that it was the best +way for her to do her current publishing work. It provided a user service, +without the need for the user to write macros. + +Fourth, who would benefit from using it? Authors (especially when +collaborating), authors' minions and documentation producers. + +Fifth, what was wrong with \LaTeX? For a start, it was too structured; the +style files were not fully understood (except by Leslie Lamport?) and there +was no good {\it reference} manual (although the `User's Manual' was fine). +But there was no alternative, either! + +Next, Sue said that \LaTeX\ was certainly not going to disappear, but there +were a number of things that would improve it, especially for the UK. In +particular, the distribution needed sorting out; more information should be +available on the implementation details and style files. There should be +a |doc| to |sty| convertor and English hyphenation. + +Finally, to ease the user's burden, Sue suggested: good editing interfaces, +\LaTeX-intelligent spelling checkers, indexing tools, \BibTeX, \SliTeX\ and +its fonts, and style files. +\medskip +\noindent{\it TUG, Montr\'eal 1988 Conference: Cathy~Booth, Exeter +University} + +\noindent +Cathy's report appears in full +elsewhere in \TeXline. +\medskip +\noindent{\it\TeX\ in Germany: report from Freiburg Meeting: +Chris~Rowley, Open University} + +\noindent +Chris opened his report by saying that there was a lot of \TeX\ going on +in W. Germany. \TeX\ does acknowledge that there are countries other than +the US, so is welcomed by Germans. It seems to be widely used at the high-end +by commercial users. Among other things, there is work on fount design. +The meeting had held a `problem session', in which there was a discussion +of extensions to \TeX. A program of development for \TeX\ and \LaTeX\ was +proposed, for which 24 extensions were suggested. +\medskip +Sebastian~Rahtz (Southampton University) +was due to present a paper on Picture Languages, but as the proceedings +were running late, it was omitted. Peter Abbott (Aston University) asked for +\TeX\ contributions for an issue of {\it University Computing}. He also +asked for volunteers to help with the task of checking over the Aston +Archive to try to keep duplicated material to a minimum and to make sure +that what was there was up-to-date. +\medskip +\noindent{\it A UK TUG?: Malcolm Clark, Imperial College} + +\noindent +Malcolm started by giving the meeting a pep talk, which he said was his +review of the world through \TeX-coloured glasses. He outlined the activities +of TUG, which included a newsletter, courses, annual conference, hotline +support (and email), products and a speakers bureau. He reminded the meeting +of the three electronic \TeX\ things --- \TeXhax, UK\TeX\ and the Aston +Archive. Malcolm noted the other European countries with \TeX\ groups of +various sorts, including \TeX interessen (W. Germany and Austria), Gutenberg +in France, a Dutch group, a Nordic grouping, +a \TeX-produced journal in Spain and also activity in Poland, Israel and Eire. +He listed the European \TeX\ meetings, in Italy in 1985, Strasbourg, 1986, +Exeter, 1988 and to come, Karslruhe/Freiburg or Stockholm in 1989 and Cork in +1990. The last topic of his review was of other groups with an interest +in electronic typesetting --- the Electronic Publishing Specialist Group of +the British Computer Society, the British Computer Society's Displays +Group and the \sgml\ users' group. + +It had been revealed to the meeting that Malcolm had been asked to be +the European co-ordinator for TUG. His next points were on the subject +of what we wanted from TUG and what we could do. On the second point, +be believed that the big thing was to try to solve the ignorance factor. + +\item{$\bullet$}we could produce a brief flyer to define \TeX; answer such +questions as where can \dvi\ files be typeset; perhaps document and provide an +index to the other \LaTeX\ style files and exchange \hbox{information} on +implementing \TeX. + +\item{$\bullet$}someone could make a map showing the interrelation between \WEB, +\Weave, \Tangle, \TeX, Pascal, C, |gf|, |pk|, |pxl|, etc. + +\item{$\bullet$}pronounciation could be standardised. + +\item{$\bullet$}\TeX\ could be taught English hyphenation. (It was agreed that +Charles~Curran and Chris~Martin would investigate this area.) + +\item{$\bullet$}perhaps even more use could be made of bulletin boards, electronic +mail and the Aston Archive. + +\item{$\bullet$}workshops could be arranged on certain subjects, such as \MF\ type +design, macros, style files, graphics, etc. + +\noindent +The rest of Malcolm's talk, group discussion and so forth was not so +structured. Although no conclusion was reached, there was much talk about +the relationship between any UK \TeX\ group and TUG. It was suggested +that we could be a {\sc TUG} subgroup, such that a subscription to the UK +Group would also form a subscription to TUG itself. +Then UK subscribers could get `local' services and {TUG\sc boat}. +Alternately, could the +UK group merely collect subscriptions in sterling on behalf of TUG, +to save us from buying \$ drafts or using credit cards? How did Europe as +a whole fit in? The only conclusion reached was that there should be a +group of some sort concerned with \TeX\ that holds regular meetings. It +was agreed that there would be another meeeting to be held in London, +probably in March, after Malcolm got back from the US where he would have +found out more about what being European co-ordinator entailed. + +Another subject that was raised from time to time was the fact that +the Nottingham conference had been arranged at short notice (about 3 weeks) +and was successful because those attending had been sent electronic mail +over {\sc janet}. This gave University staff an advantage over commercial users. +It was established that commercial companies could have a +legitimate {\sc janet} address if they wished to communicate with the academic +community. They were not supposed to use {\sc janet} to communicate with other +commercial users. For the purposes of receiving UK\TeX, etc., +provided mail boxes could be established, +there was no reason why commercial users should not be able to have +a {\sc janet} address. +It was suggested that universtity recipients of UK\TeX\ send one +(printed) copy to a non-email user. + +The meeting ended with a very warm vote of thanks to David Osborne who made all +the local arrangements. +\smallskip +\rightline{\sl Carol Hewlett} +\bigskip +\centerline{\bf A UK \TeX\ Users Group?} +\medskip\noindent +On Friday November 4th I had the pleasure of attending a meeting +organised in Nottingham for the purpose of discussing a possible +UK \TeX\ Users Group. The impetus for this came from the very successful +\TeX88 conference, one of an informal series of get-togethers for +European \TeX ies, coupled with the remarkable rise to power of the +UK's own \TeX\ Archive at Aston under the benign leadership of Peter +Abbott. David Osborne put together a colloquium at short notice in the +congenial surroundings of the Cripps Computing +Centre, and about 40 people were able +to come. The problem with the short notice was that David perforce +used electronic mail to advertise the event, leading to a high +proportion of committed gurus present, not many dumb users and more or +less nobody from outside academia. + +The day started officially at 11\,am. For some of us, this meant rising +at 5\,am, tripping over the cat and stumbling onto a train at 6\,am. Thank +god for British Rail egg and cress sandwiches. Anyway, at 11 or +thereabouts, Charles Curran from Oxford ambled onto the stage and +started talking about \MF. He claimed to have had his brief +changed 2 minutes before, but managed somehow to suggest that since +Computer Modern and \MF\ won't go away in the near future, and since the whole +situation of different printers and drivers is a mess, it would not do any harm +at all to have a UK group advising neophytes on which files to +sacrifice black cocks in front of (this apparently being the correct +way to get a good value for `blacker' in your |local.mf| file). Anyone +in the audience who still thought \TeX\ was something you bought off the +shelf at Safeway were then disillusioned by David Osborne's outline of +\TeX\ installation at Nottingham. While his problems revolved mainly +around printers, it was clear that the apparent `free' nature of \TeX\ +is more than paid for by the arcane nature of the installation from a +raw tape. Again, it was clear that new people would benefit from +experience from a local group. + +A breath of fresh air came from Sue Brooks (late of the OU, now in +commercial software documentation) with her unashamed plug for +writers (as opposed to \TeX ies) to use Lamport's \LaTeX\ macros; she +gave a clear outline of the advantages and even some solutions to the +answers to problems. She was followed after a fine lunch by +Cathy Booth (Exeter) who told us about the \TeX\ Users Group meeting in +Montreal; the interest here was in its concentration on \TeX\ in +real world production environments, which confirmed the impression +given in Seattle that \TeX\ has gone beyond implementation details (a +lesson the UK group could take on board?). Cathy also passed on some +gob-smacking gossip from commercial vendors about their new products. She was +followed by the most valuable talk (to me), a report by Chris Rowley (OU) on the +most recent German \TeX interessen meeting, in which he gave an impression of +what went on in German \TeX ery. Their work on customizing \TeX\ for German, +writing new books and listing the definite things a NEW\TeX\ should do, shows +up how lax we have been in the UK in simply accepting what the Americans give +us --- as was pointed out, we still lack English hyphenation +patterns. The Germans (and other European groups) seemed to be putting +more effort than the British into getting \LaTeX\ right, and this seemed +to be an area where progress could actually be expected. + +I was scheduled to give a talk on picture languages in the afternoon, +but in the interests of discussion I agreed to be left out; Malcolm +Clark, the charismatic Leaderene of \TeX88, and +editor of the prestigious \TeXline, then took the stage and +harangued the populace on the State of the World according to \TeX, +outlining what sources of information we had now in Europe and the UK, +what the \TeX\ Users Group does, and what we needed in the UK. It turned +out that Malcolm had been unilaterally appointed European Coordinator +for TUG, so he was able to promise +a firm presentation of our desires to TUG. He outlined issues that +needed to be addressed, such as general ignorance in the world at +large about what \TeX\ was and how to get it, hyphenation problems, +teaching \TeX\ etc. Finally, we got around to the question of whether a +formal British group was needed, as opposed to simply sticking with +the main TUG or forming a pan-European group. Dissatisfaction over +what we got from TUG for the money prompted suggestions of an +autonomous group, while others wanted an affiliated chapter --- the +consensus seemed to me that we would like to join a UK version of TUG +which charged us a subscription, but sent most of it off to America +and joined TUG on our behalf, saving us bank charges etc., and +(hopefully) letting TUG ease administration and postage costs. Three +problems prevented a formal constitution being set up on the spot: a) +we did not know how TUG would react --- Malcolm would find this out in +January; b) nobody had tabled any suggestions, and it was getting +dark; c) we were not at all representative of UK \TeX\ users (i.e.~we were +mostly academic \TeX bores). It was therefore decided to hold another +meeting in London in February, with wider invitations, when we would +formally set up a group (or not, as the meeting went!). + +\TeX\ is hampered by its free image, to the same extent as it is aided +by its free image. Without commercial support, it can only exist if a +committed user group continues to keep its distribution and use at a +high standard. Ten years after the foundation of TUG, are cracks +showing? Will \TeX\ survive in the `real world'? Chaotic and inefficient +as it was (I did not see why a full meeting of users could not have +taken place later on without this initial peculiar subset), the +meeting in Nottingham was another valuable contribution to The Cause +of keeping the \TeX\ flame alight. Let us hope a UK group is successfully +formed. +\smallskip +\rightline{\sl Sebastian Rahtz} diff --git a/info/digests/texline/no8/resolution.tex b/info/digests/texline/no8/resolution.tex new file mode 100644 index 0000000000..163e5acd61 --- /dev/null +++ b/info/digests/texline/no8/resolution.tex @@ -0,0 +1,122 @@ +\centerline{\bf Resolution} +\smallskip +\noindent +You may notice a few things about this edition +of \TeXline{}. There are the obvious things like lateness +and bulk, but also a few more which are less apparent. +Right at the masthead \TeXline\ is now subtitled `a +newsletter of the \TeX\ community'. It used to be `the +newsletter of \TeX\ users in the UK and Ireland'. There +are a couple of reasons for doing this, which reflect +some changes in my view of the \TeX\ world. When it +started, the intention of the newsletter was to try to +provide a connection between people who came in contact +with \TeX\ (and \LaTeX\ and \MF\dots). They didn't even +need to exhibit missionary zeal. The common ingredient was +\TeX{}. +A large proportion of the +growth in the list was from outside the UK and Ireland. +With this issue, I have included all the participants to +\TeX88. It seems inappropriate to make it appear that +\TeXline\ is directed only to the European offshore +islands. + +I've never liked to be called a `user'. It has slightly +perjorative associations. Much nicer to be part of a +community than to be a user. But what about the +\TeX\ bit? Is `\TeX' a sufficiently generic term that the +\MF\ eccentrics, the \LaTeX\ hordes, and the lone \AmSTeX +er don't feel slighted? Come up with a better term and +I'll use it. + +Having said all that, the newsletter cannot be `the' +newsletter, it has to be `a'. I would be delighted to see +others. The +French group `GUTenberg' ({\it Groupe (francophone) des +Utilisateurs de \TeX\/}) are producing their +journal-like {\it Cahiers de GUTenberg\/}, and it would be +surprising if other national groupings, like the Germans +or Dutch didn't do something similar too. + +When you look at the contents of this edition, you will +notice that the sources of several articles are from +outside the British Isles: in particular, the article +from Janusz Bie\'n on Polish \TeX\ illustrates some of +the problems that are encountered in employing \TeX{}. +Larry Siebenman's article was presented at a GUTenberg +meeting last April (and will be published elsewhere in +French), the originals of \DW's article were published in +\TUGboat, and we have an account of \TeX88 and the TUG +meeting from Barbara Beeton, which will also have +appeared in \TUGboat{}. My own `Odd types' review +appears in the BCS-EP newsletter. +It is not my plan that \TeXline\ will merely plagiarise +other material. But I hope that by +showing material which has its origin in \TUGboat, +people will be encouraged to join TUG. + +Another item to note is a new email address. I have +eventually tired of having mail bounced through the Kent +\unix\ Gateway. To ensure contact with non \Janet\ +networks this new address, |mwc@doc.ic.ac.uk| is probably +preferred. + +\vfill +\bigskip +\centerline{\bf Parochial matters} \smallskip +\noindent +Last year saw the first meeting in the UK of a local +\TeX\ grouping. Perhaps just as GUTenberg produced their +first {\it Cahiers} as `num\'ero z\'ero', this should be +described as the zero-eth meeting. Two accounts of the +meeting appear in the newsletter. Everyone in the UK who +receives \TeXline\ will receive details of the next +meeting, which will be held in London (either at the +London School of Economics or at Imperial College) in early +March. The program will be arranged on the theme of +`Pictures in \TeX'. Part of the meeting will be given +over to making some concrete proposals for the formation +and organisation of a \TeX\ group. I would hope that by +organising a group like this, it would not +inhibit smaller, regional groupings. It is obviously +difficult to arrange any meetings which are truly +`national'. But there are `pockets' of people who might +find it useful to get together. I will be pleased to make +the \TeXline\ mailing list available to anyone who wants +to find out who else there is in their own area who talks +\TeX{}. + +\vfill +\bigskip +\font\palb=palatinob at 9pt +\font\pal=palatino at 9pt +\centerline{\palb \TeX puter} +\smallskip +\noindent +{\pal \TeX puter} is a super seedy implementation of +\TeX{}. It differs from other implementations only in +speed. Typically taking less than one second for each +typeset page it is roughly five times faster than a +similar implementation of \TeX\ on an {\sc ibm} pc/AT +compatible. + +{\pal \TeX puter} is available for the following +transputer based systems: +\item{$\bullet$}the Meiko Computing Surface +\item{$\bullet$}the Cesius Scientific Accelerator +\item{$\bullet$}any system running the Helios operating +system +\item{$\bullet$}B004 compatible {\sc ibm} pc add-on +boards. +\smallskip +Development is continuing on two more \TeX\ products +which will produce similar stunning advances: +\item{$\bullet$}{\pal ps\TeX}: a version of \TeX\ which +generates \PS\ code instead of \dvi\ files: +\item{$\bullet$} {\pal ps$^{\bf 2}$\TeX}: a parallel +processing version of \TeX{}. This will be fast enough to +allow (almost) instantaneous previewing of ammended pages. +\smallskip +\rightline{\sl Bill Noble} + + diff --git a/info/digests/texline/no8/review.tex b/info/digests/texline/no8/review.tex new file mode 100644 index 0000000000..ffde5ce315 --- /dev/null +++ b/info/digests/texline/no8/review.tex @@ -0,0 +1,105 @@ +\centerline{\bf Book Review} +\medskip +\noindent {\it Digital Typography, An Introduction to Type and Composition for +Computer System Design, Richard Rubinstein, 340pp, +Addison Wesley Publishing Company, \quid26.95, {\sc isbn:} +0 201 17633 5.} +\smallskip +\noindent +From the Preface (and the subtitle, `An Introduction to Type and Composition for +Computer System Design') this book would seem to have a +rather specialised and limited readership. If this is the +intent, it is a great pity, since almost anyone with any +concern or interest in typography, let alone digital +typography (can you separate them now?) will find much that +is stimulating and valuable in this book. True, it has its +faults (the selection of Goudy Old Style for what is +essentially a text book). The rather haphazard structure is +due in part to the immature nature of the subject. It +brings together a wealth of material from quite varied +sources, presenting them in a form that most of us would +find easy and straightforward to assimilate. + +Rubinstein, unlike many typographers with a strict art and design background +does not appeal immediately to aesthetics, unless he can underpin them with a +few numbers (and even some science). Take the issue of readibility of serif and +sans serif typefaces (forgetting along the way the `serifs lead the eye' +nonsense): the spatial sensitivity of the eye peaks at about 6--8 cycles per +degree of visual angle (trust me). If we look at the power spectrum of printed +text (in other words, generated from the alternation of black and white), a +Times style typeface (as an example of sans serif) peaks at about 8 cycles per +degree, and Helvtica at about 7 cycles per degree. Clearly, +both values fall within the range of sensitivity, but +Helvtica has a pronounced subsidiary peak at about +12--14 cycles per degree --- a higher frequency harmonic +which tends to confuse and confound. The Times spectrum is +clearer and has less power distributed in such harmonics. A +really dire example is something like a monospaced Courier, +which has a whole series of regularly spaced harmonics. +Although not a point which Rubinstein really makes, my +feeling was that the spikey nature of the spectra were +closely correlated with readibility. So what do serifs do? +Consider a group of letters in a word like `minute': The +serifs enable the interletter spacing in the pairs `mi', +`in' and so on to remain about constant and to be about the +same as the distances between the verical stems of the `m', +`n', etc. If we then look at the same situation in a sans +serif `{\sans minute}', we can see that the inter letter +spacings are much smaller, contributing to the subsidiary +peak in the power spectrum. At least, that's my guess. + +This discussion of the physiology of the eye is also used to explain the +necessity of scanning at very high resolutions in order to be able to +re-present the information at (say) 300\,dpi. In order to account for +information at the eye's limit of sensitivity (about 60 cycles per degree), +Rubinstein considers a scanning resolution of 1200 lines per inch is needed. + +A large proportion of the book is given over to a discussion of the technical +characteristics of screens, marking engines and all the other physical +bits and pieces we use. This is clearly reflected in the problems of matching +screen output and page output. One rather fascinating example showed how it is +possible to exploit the characteristics of charge deposition from a laser +printer in order to create sharp corners, although a naive approach would have +led to any corners being rounded as charge leaked away. Eventually this leads +back to real typefaces, which are (or should be) designed to take into account +the characteristics of the output environment --- paper, inks, printing +pressure etc. Rubinstein points out that type wears out; if we copy an old +typeface, we may be copying from old founts, or from old printed marks (seldom +will we ever have the original drawings) --- only one realisation of the +typefaces; and the creator will have designed his typeface to account for +current papers and inks --- is there any point trying to turn (say) Garamond or +Bodoni into a digital typeface? +Even more modern typefaces like Zapf's Optima are not necessarily rendered +easily into a digital form. Optima is `characterised by subtle changes in width +and near-vertical edges' which are `difficult to represent digitally' (tell +that to Adobe). + +Rubinstein also considers other topics, including, greyscale +fonts, the typographic terms `colour', `weight', `contrast' +and `bright', and gives a very good example of the +difficulties inherent in type design on a small grid. +Ennumerating the possible weights and contrasts of designs +based on a 12 pixel high cell, he shows that all +possibilities fall outside the generally accepted standards +of weight and contrast.This is not the end of the story, +since greyscale fonts could help here, and are starting to +appear. + +The traditional aspects of kerning (pairwise or in context --- words like DAWN +are not easily kerned, if approached in a pairwise fashion). He has some of the +usual guidelines about layout, and a useful discusison about hyphenation and +rivers. + +The book is quite nicely rounded out by an Appendix which suggested avenues of +future research and development. One begins ``create a set of \TeX\ +macros\dots'' Hmm. + +The apparent haphazard structure of the book is reflection of the many +apparently disparate topics which it covers. It may well be the only book which +has seriously tried to approach current typography in this technological way, +appealing to verifiable observation, rather than to opinion and dogma. I've heard +it described as `typographically naive', but until there are intelligible, +factual, scientific books which are typographically astute, it will be an +extremely useful source. +\smallskip +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no8/rhfmt.tex b/info/digests/texline/no8/rhfmt.tex new file mode 100644 index 0000000000..5c644149b2 --- /dev/null +++ b/info/digests/texline/no8/rhfmt.tex @@ -0,0 +1,441 @@ +%This is RHfmt, R.C-H.H's first attempt at a large format file. +%It takes chunks from manmac.tex relating to font sizing +%and amends those to include poundsigns +%It also takes footnotes from AMSptt.sty +%It also contains clause-numbering macros +%It also defines today & signed etc +%Last modified 12th October 1988 +% +\ifx\rhfmtisloaded\relax\endinput\else\let\rhfmtisloaded=\relax\fi + +\catcode`@=11 % borrow the private macros of PLAIN (with care) + +\font\tentex=cmtex10 +\font\twelverm=cmr12 +\font\ninerm=cmr9 +\font\eightrm=cmr8 +\font\sixrm=cmr6 +\font\fiverm=cmr5 + + +\font\twelvei=cmmi12 +\font\ninei=cmmi9 +\font\eighti=cmmi8 +\font\sixi=cmmi6 +\font\fivei=cmmi5 +\skewchar\twelvei='177 +\skewchar\ninei='177 \skewchar\eighti='177 \skewchar\sixi='177 + +\font\twelvesy=cmsy10 scaled \magstep1 +\font\ninesy=cmsy9 +\font\eightsy=cmsy8 +\font\sixsy=cmsy6 +%\font\fivesy=smsy5 +\skewchar\twelvesy='60 +\skewchar\ninesy='60 \skewchar\eightsy='60 \skewchar\sixsy='60 + +\font\twelvebf=cmbx12 +\font\ninebf=cmbx9 +\font\eightbf=cmbx8 +\font\sixbf=cmbx6 +\font\fivebf=cmbx5 + + +\font\twelvett=cmtt12 +\font\ninett=cmtt9 +\font\eighttt=cmtt8 +%there is no cmtt6, or cmsl6 + +\font\twelvesl=cmsl12 +\font\ninesl=cmsl9 +\font\eightsl=cmsl8 + +\font\twelveit=cmti12 +\font\nineit=cmti9 +\font\eightit=cmti8 +\font\sixit=cmti7 % ! + +% Now the poundsign fonts: +\font\tenu=cmu10 % unslanted text italic +\font\twelveu=cmu10 scaled \magstep1 +\font\twelvebfit=cmbxti10 scaled \magstep1 +\font\tenbfit=cmbxti10 +\font\twelvetiit=cmitt10 scaled \magstep1 +\font\tentiit=cmitt10 + +%add these: +%\font\fourteencaps=cmcsc10 scaled \magstep2 +\font\twelvecaps=cmcsc10 scaled \magstep1 +\font\tencaps=cmcsc10 + +% Now add the poundsign macros: +\def\rmpo{\leavevmode\lower.055ex\hbox{\$}\kern-.0em} +\def\itpo{\leavevmode\lower.055ex\hbox{\$}\kern-.09em} +\def\slpo{\leavevmode\lower.055ex\hbox{\$}\kern-.07em} +\def\bfpo{\leavevmode\pmb{\lower.025ex\hbox{\$}\kern-.04em}} +\def\ttpo{\leavevmode\lower.0ex\hbox{\$}\kern0em} +\def\ttkludgepo{\leavevmode\epmb{\lower.0ex\hbox{\$}\kern-.0em}} + +\def\pmb#1{\setbox0=\hbox{#1}% + \kern-.025em\copy0\kern-\wd0 + \kern.05em\copy0\kern-\wd0 + \kern-.025em\raise.0003em\box0 } + +\def\epmb#1{\setbox0=\hbox{#1}% Extremely poor man's bold + \kern-.005em\copy0\kern-\wd0 + \raise.015em\copy0\kern-\wd0 + \kern.01em\copy0\kern-\wd0 + \kern-.005em\raise.015em\box0 } + +\newskip\ttglue +%This is adapted from the 10-point manmac macros: +\def\twelvepoint{\def\rm{\def\pounds{{\twelveu\rmpo}}\fam0\twelverm}% +% \textfont0=\twelverm \scriptfont0=\eightrm \scriptscriptfont0=\sixrm + \textfont0=\twelverm \scriptfont0=\sevenrm \scriptscriptfont0=\sixrm + \textfont1=\twelvei \scriptfont1=\eighti \scriptscriptfont1=\sixi + \textfont2=\twelvesy \scriptfont2=\eightsy \scriptscriptfont2=\sixsy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex +% \def\it{\def\pounds{{\itpo}}\fam\itfam\twelveit}% + \def\it{\def\pounds{{\itpo}}\fam\itfam\twelveit}% + \textfont\itfam=\twelveit + \def\sl{\def\pounds{{\twelveit\slpo}}\fam\slfam\twelvesl}% + \textfont\slfam=\twelvesl +% \def\bf{\def\pounds{{\twelvebfit\$}}\fam\bffam\twelvebf}% %no poundsign + \def\bf{\def\pounds{{\twelveu\bfpo}}\fam\bffam\twelvebf}% % pmb poundsign + \textfont\bffam=\twelvebf \scriptfont\bffam=\eightbf + \scriptscriptfont\bffam=\sixbf + \def\tt{\def\pounds{{\tenu\ttkludgepo}}\fam\ttfam\twelvett}% ! poundsign + \textfont\ttfam=\twelvett + \tt \ttglue=.5em plus.25em minus.15em + %\normalbaselineskip=15pt + \normalbaselineskip=20pt + \bigskipamount=20pt plus 4pt minus 4pt + \def\caps{\def\pounds{~}\fourteencaps} % don't use the pound sign + \def\scaps{\def\pounds{{\twelveu\rmpo}}\twelvecaps} +% \setbox\strutbox=\hbox{\vrule height10.5pt depth4.5pt width\z@}% + \setbox\strutbox=\hbox{\vrule height14pt depth6pt width\z@}% + + \normalbaselines\rm} + +\def\tenpoint{\def\rm{\def\pounds{{\tenu\rmpo}}\fam0\tenrm}% + \textfont0=\tenrm \scriptfont0=\sevenrm \scriptscriptfont0=\fiverm + \textfont1=\teni \scriptfont1=\seveni \scriptscriptfont1=\fivei + \textfont2=\tensy \scriptfont2=\sevensy \scriptscriptfont2=\fivesy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\itpo}}\fam\itfam\tenit}% + \textfont\itfam=\tenit + \def\sl{\def\pounds{{\tenit\slpo}}\fam\slfam\tensl}% + \textfont\slfam=\tensl + \def\bf{\def\pounds{{\tenu\bfpo}}\fam\bffam\tenbf}% + \textfont\bffam=\tenbf \scriptfont\bffam=\sevenbf + \scriptscriptfont\bffam=\fivebf + \def\tt{\def\pounds{{\tentiit\ttpo}}\fam\ttfam\tentt}% + \textfont\ttfam=\tentt + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=12pt +% \normalbaselineskip=15pt% + \def\caps{\def\pounds{{\twelveu\rmpo}}\twelvecaps} + \def\scaps{\def\pounds{{\tenu\rmpo}}\tencaps} +% \setbox\strutbox=\hbox{\vrule height8.5pt depth3.5pt width\z@}% + \setbox\strutbox=\hbox{\vrule height10pt depth5pt width\z@}% + \normalbaselines\rm} + +\def\ninepoint{\def\rm{\def\pounds{{\nineit\slpo}}\fam0\ninerm}% + \textfont0=\ninerm \scriptfont0=\sixrm \scriptscriptfont0=\fiverm + \textfont1=\ninei \scriptfont1=\sixi \scriptscriptfont1=\fivei + \textfont2=\ninesy \scriptfont2=\sixsy \scriptscriptfont2=\fivesy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\nineit\itpo}}\fam\itfam\nineit}% + \textfont\itfam=\nineit + \def\sl{\def\pounds{{\nineit\slpo}}\fam\slfam\ninesl}% + \textfont\slfam=\ninesl + \def\bf{\def\pounds{~}\fam\bffam\ninebf}% % pound sign to be added + \textfont\bffam=\ninebf \scriptfont\bffam=\sixbf + \scriptscriptfont\bffam=\fivebf + \def\tt{\def\pounds{~}\fam\ttfam\ninett}% no pound sign + \textfont\ttfam=\ninett + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=11pt + \setbox\strutbox=\hbox{\vrule height8pt depth3pt width\z@}% + \normalbaselines\rm} + +\def\eightpoint{\def\rm{\def\pounds{{\eightit\itpo}}\fam0\eightrm}% + \textfont0=\eightrm \scriptfont0=\sixrm \scriptscriptfont0=\fiverm + \textfont1=\eighti \scriptfont1=\sixi \scriptscriptfont1=\fivei + \textfont2=\eightsy \scriptfont2=\sixsy \scriptscriptfont2=\fivesy + \textfont3=\tenex \scriptfont3=\tenex \scriptscriptfont3=\tenex + \def\it{\def\pounds{\itpo}\fam\itfam\eightit}% + \textfont\itfam=\eightit + \def\sl{\def\pounds{\eightit\itpo}\fam\slfam\eightsl}% + \textfont\slfam=\eightsl + \def\bf{\def\pounds{~}\fam\bffam\eightbf}% + \textfont\bffam=\eightbf \scriptfont\bffam=\sixbf + \scriptscriptfont\bffam=\fivebf + \def\tt{\def\pounds{~}\fam\ttfam\eighttt}% + \textfont\ttfam=\eighttt + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=9pt + \setbox\strutbox=\hbox{\vrule height7pt depth2pt width\z@}% + \normalbaselines\rm} + +%This is where the footnote part of amstex is added: +%first, the definition of relaxnext +\def\relaxnext@{\let\next\relax} +% then the footnote macros +\newcount\footmarkcount@ +\def\clearnotenumber{\footmarkcount@\z@} +\footmarkcount@\z@ + +% This is where AMSPPT.STY is added: +\def\footmarkform@#1{$^{#1}$} +\let\thefootnotemark\footmarkform@ +\def\makefootnote@#1#2{\insert\footins + {\interlinepenalty\interfootnotelinepenalty +% \eightpoint\splittopskip\ht\strutbox\splitmaxdepth\dp\strutbox + \ninepoint\splittopskip\ht\strutbox\splitmaxdepth\dp\strutbox + \floatingpenalty\@MM\leftskip\z@\rightskip\z@\spaceskip\z@\xspaceskip\z@ +% \noindent{#1}\footstrut\ignorespaces#2\unskip\lower\dp\strutbox + \fitem{#1}\footstrut\ignorespaces#2\unskip\lower\dp\strutbox + \vbox to\dp\strutbox{}}} +\footmarkcount@\z@ +\def\footnotemark{\let\@sf\empty\relaxnext@\ifhmode\edef + \@sf{\spacefactor\the\spacefactor}\/\fi + \def\next@{\ifx[\next\let\next\nextii@\else + \ifx"\next\let\next\nextiii@\else + \let\next\nextiv@\fi\fi\next}% + \def\nextii@[##1]{\footmarkform@{##1}\@sf}% + \def\nextiii@"##1"{{##1}\@sf}% + \def\nextiv@{\global\advance\footmarkcount@\@ne + \footmarkform@{\number\footmarkcount@}\@sf}% + \futurelet\next\next@} +\def\footnotetext{\relaxnext@ + \def\next@{\ifx[\next\let\next\nextii@\else + \ifx"\next\let\next\nextiii@\else + \let\next\nextiv@\fi\fi\next}% + \def\nextii@[##1]##2{\makefootnote@{\footmarkform@{##1}}{##2}}% + \def\nextiii@"##1"##2{\makefootnote@{##1}{##2}}% + \def\nextiv@##1{\makefootnote@{\footmarkform@{\number\footmarkcount@}}{##1}}% + \futurelet\next\next@} +\def\footnote{\let\@sf\empty\relaxnext@\ifhmode\edef + \@sf{\spacefactor\the\spacefactor}\/\fi + \def\next@{\ifx[\next\let\next\nextii@\else + \ifx"\next\let\next\nextiii@\else + \let\next\nextiv@\fi\fi\next}% + \def\nextii@[##1]##2{\footnotemark[##1]\footnotetext[##1]{##2}}% + \def\nextiii@"##1"##2{\footnotemark"##1"\footnotetext"##1"{##2}}% + \def\nextiv@##1{\footnotemark\footnotetext{##1}}% + \futurelet\next\next@} +\def\adjustfootnotemark#1{\advance\footmarkcount@#1\relax} +% +%\count\footins=750 % footnote magnification factor (9 to 12) +% +% Adapt \hang etc (Vol.B p.355) +\newdimen\footindent \footindent=10pt % Footnotes indented +\def\fang{\hangindent\footindent} +%\def\toeindent#1{\noindent\hskip\footindent\llap{#1\enspace}\ignorespaces} +\def\fitem{\par\fang\toeindent} +%\def\toeindent#1{\noindent\hbox to \footindent{#1\hfil}} +\def\toeindent#1{\noindent\hbox to \footindent{\hfil#1\thinspace}} + +% Now the automatic clause numbering: +% First the new `if's +\newif\ifgreek +\newif\ifcard +\newif\ifclind +\newif\ifcontents + +\newcount\recno % recitals +\newcount\clno \newcount\sclno % clauses and sub-clauses +\newcount\ssclno \newcount\sssclno \newcount\ssssclno % sub-sub etc +\newcount\sssssclno +\newcount\greekno \newcount\cardno + +% These numbers will all be increased by one the first time they are used +\def\r@set{\recno=64 % 65 being `A' +\clno=0 \sclno=0 \ssclno=96 \sssclno=0 \ssssclno=96 \sssssclno=96 % 97 is `a' +\greekno="010A \cardno="027B +\clearnotenumber} +\r@set + + +\newdimen\clindent \newdimen\sclindent % indentation +\newdimen\ssclindent \newdimen\sssclindent \newdimen\ssssclindent +\newdimen\sssssclindent +\newdimen\expindent \newdimen\nexpindent \newdimen\lexpindent + +\clindent=25pt \sclindent=50pt \ssclindent=70pt +\sssclindent=90pt \ssssclindent=115pt \sssssclindent=145pt + +\newdimen\hclindent \newdimen\hsclindent % hanging indentation +\newdimen\hssclindent \newdimen\hsssclindent \newdimen\hssssclindent +\newdimen\hsssssclindent + +\hclindent=0pt \hsclindent=\clindent \hssclindent=\sclindent +\hsssclindent=\ssclindent \hssssclindent=\sssclindent +\hsssssclindent=\ssssclindent + +\parindent=0pt \expindent=3.25in \nexpindent=2.75in +\lexpindent=1.75in + +% I think this can go +\def\exp#1={\par +\hangindent=\expindent \hangafter=1 +\leavevmode\hbox to \expindent{\hskip +\sclindent\vbox{\hsize=\lexpindent #1}\hfil} +\def\par{\endgraf\hangindent=\expindent +\hangafter=0}} + +% Recitals have the same indentation as Clauses. +% Modified 12 Oct 1988 +\def\rec{\sclno=0 \advance\recno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifclind \hangindent=\clindent \else\hangindent=\hclindent\fi +\hangafter=1 +\medskip +\leavevmode\hbox to \clindent{(\char\the\recno)\hfil}\ignorespaces +\parindent=\the\dimen0} + +\def\srec{\ssclno=96 \advance\sclno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifnum\prevgraf=0 \kern-\clindent\else\smallskip\fi +\ifclind \hangindent=\sclindent \else\hangindent=\hsclindent\fi +\hangafter=1 +%\smallskip % I have not included any skip in subsequent subs. +\leavevmode\hbox to \sclindent{\hskip% +\clindent(\romannumeral\the\sclno)\hfil}\ignorespaces +\parindent=\the\dimen0} + +\def\cl{\sclno=0 \advance\clno by 1 +\dimen0=\the\parindent \parindent=0pt % This is for odd clauses in opinions +\ifclind \hangindent=\clindent \else\hangindent=\hclindent\fi +%\def\index#1{#1} %or, \def\index#1{\N\the\clno.#1} +%\ifcontents\N\the\clno\index\fi +\hangafter=1 +\medskip +\leavevmode\hbox to \clindent{\the\clno.\hfil}\ignorespaces +\parindent=\the\dimen0} + +\def\scl{\ssclno=96 \advance\sclno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifnum\prevgraf=0 \kern-\clindent\else\smallskip\fi +\ifclind \hangindent=\sclindent \else\hangindent=\hsclindent\fi +\hangafter=1 +%\smallskip % I have not included any skip in subsequent subs. +\leavevmode\hbox to \sclindent{\hskip% +\clindent(\the\sclno)\hfil}\ignorespaces +\parindent=\the\dimen0} + +\def\sscl{\sssclno=0 \advance\ssclno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifdim\hangindent>0pt \kern-\sclindent\fi +\ifclind \hangindent=\ssclindent \else\hangindent=\hssclindent\fi +\hangafter=1 +\leavevmode\hbox to \ssclindent{\hskip% +\sclindent(\char\the\ssclno)\hfil}\ignorespaces\parindent=\the\dimen0} + +\def\ssscl{\ssssclno=96 \greekno="10A \advance\sssclno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifdim\hangindent>0pt \kern-\ssclindent\fi +\ifclind \hangindent=\sssclindent \else\hangindent=\hsssclindent\fi +\hangafter=1 +\leavevmode\hbox to \sssclindent{\hskip% +\ssclindent(\romannumeral\the\sssclno)\hfil}\ignorespaces\parindent=\the\dimen0} + +\def\sssscl{\sssssclno=96 \cardno="027B +\dimen0=\the\parindent \parindent=0pt +\advance\ssssclno by 1\advance\greekno by 1 +\ifdim\hangindent>0pt \kern-\sssclindent\fi +\ifclind \hangindent=\ssssclindent \else\hangindent=\hssssclindent\fi +\hangafter=1 +\leavevmode\hbox to \ssssclindent +\ifgreek{\hskip\sssclindent($\mathchar\the\greekno$)\hfil}% +\else{\hskip\sssclindent(\char\the\ssssclno\char\the\ssssclno)\hfil}\fi% +\ignorespaces\parindent=\the\dimen0} + +\def\ssssscl{\advance\sssssclno by 1\advance\cardno by 1 +\dimen0=\the\parindent \parindent=0pt +\ifdim\hangindent>0pt \kern-\ssssclindent\fi +\ifclind \hangindent=\sssssclindent \else\hangindent=\hsssssclindent\fi +\hangafter=1 +\leavevmode\hbox to \sssssclindent +\ifcard{\hskip\ssssclindent($\mathchar\the\cardno$)\hfil}% +\else\ifgreek{\hskip\ssssclindent(\char\the\sssssclno\char +\the\sssssclno)\hfil}% +\else{\hskip\ssssclindent(\char\the\sssssclno\char\the\sssssclno +\char\the\sssssclno)\hfil}\fi\fi\ignorespaces\parindent=\the\dimen0} + +%today etc +\newif\ifnocommaindate +\def\today{\ignorespaces +\ifcase\day\or{} +1st\or{}2nd\or{}3rd\or{}4th\or{}5th{}\or{}6th\or{}7th +\or{}8th\or{}9th\or{}10th\or{}11th\or{}12th\or{}13th\or{}14th +\or{}15th\or{}16th\or{}17th{}\or{}18th\or{}19th\or{}20th\or{}21st +\or{}22nd\or{}23rd\or{}24th\or{}25th\or{}26th +\or{}27th\or{}28th\or{}29th\or{}30th\or{}31st\fi +\unskip\space +\ifcase\month\or + January\or February\or March\or April\or May\or June\or + July\or August\or September\or October\or November\or December\fi + \unskip\ifnocommaindate\space\else,\space\fi + \number\year.} + +\def\enddoc{\par\vfill\supereject\r@set\pageno=1} +\def\lincoln{\vbox{\hbox{Lincoln's Inn,}\hbox{\today}}} +\def\signed{\nobreak\vbox{\bigskip\bigskip\hskip3.0in\lincoln}} +\def\settled{\nobreak\vbox{\hskip3.5in\vbox{\hbox{Settled,}\vskip1in +\lincoln}}\enddoc} + +\def\ssd#1{\vskip0.5in%\raggedbottom +\raggedright\tolerance=1000\pretolerance=500\parskip=0pt +\vbox{$\left.\vbox{\hsize2.85in{\hbox{SIGNED SEALED AND DELIVERED} by the said +#1 in the presence of---}}\right\}$}} + +\def\ssdc#1{\vskip0.5in%\raggedbottom +\raggedright\tolerance=1000\pretolerance=500\parskip=0pt +\vbox{$\left.\vbox{\hsize2.85in{\hbox{THE COMMON SEAL of the said} + #1 was\hfil\break affixed hereto in the presence of---}}\right\}$}} + + + +\def\ssdp#1{\vskip0.5in%\raggedbottom +\raggedright\tolerance=1000\pretolerance=500\parskip=0pt +\vbox{$\left.\vbox{\hsize2.85in{\hbox{SIGNED SEALED AND DELIVERED} by the said +#1 acting by Francis Eager as aforesaid in the presence of---}}\right\}$}} + +\def\noaddr{\phantom{11 Railway } \phantom{Cuttings } \phantom{Cheam } +\phantom{London } \phantom{SW12 3DR}} + +\def\ca{\def\v{\unskip\/\ {\rm v}}\begingroup\it} +\def\se{\endgroup\ } + +\def\ref{\unskip\footnote} % Remove space from \se if necessary + +\def\version#1{\footline={\llap{\fiverm#1}\hss\tenrm\folio\hss}} + +% Amstex oldnos macros: +\def\oldnos#1{\ifmmode{\mathcode`\,="013B \fam\@ne#1}\else + \leavevmode\hbox{$\mathcode`\,="013B \fam\@ne#1$}\fi} +%Temporary alteration; +\def\fmc{\footmarkcount@} +% +% These ``quote'' macros require attention: +\newif\ifq +\newif\ifqlap % Don't use this! +\def\beginquote{\par\begingroup\tenpoint\parskip=3pt plus 1pt minus 1pt +\advance\leftskip by \parindent\par\noindent +\ifqlap\parfillskip=0pt\fi +\ifq\llap{``}\fi\ignorespaces} +\def\endquote{\ignorespaces\ifq\rlap{''}\fi\par\endgroup\twelvepoint} + +\catcode`\@=12 +\def\rh{Roger C{\raise.25ex\hbox{-}}H. Horne} +\greektrue +\cardtrue +\clindtrue +\nocommaindatefalse +\qfalse % No quotes in quotations +\tenpoint +\rm +\def\fmtname{RHfmt}\def\fmtversion{0.30} +\message{Version \fmtversion} diff --git a/info/digests/texline/no8/roger.tex b/info/digests/texline/no8/roger.tex new file mode 100644 index 0000000000..b2aa9260fd --- /dev/null +++ b/info/digests/texline/no8/roger.tex @@ -0,0 +1,232 @@ +{\input pounds +\def \itp{{\it \$}} +\def \uitp{{\tenu \$}} % Upright pound sign for demo +\def\footnoterule{} +% +% +\tenpoint\rm +\centerline{\bf Noughts and Crosses} +\medskip\noindent +I discovered \TeX\ as a result of breaking my leg. I needed something to +read in hospital and, having read a review of \TB\ in {\it Byte\/}, +purchased a copy. I was hooked, but it took me another year to get \TeX\ +working. During that time I acquired an Acorn {\it Archimedes\/} and the +Stanford tapes and spent a long time trying to persuade \TeX\ to run. However, +while {\Tangle} tangles itself, compiles and runs without difficulty, and +\TeX\ tangles and compiles, {\IniTeX} seems to be too large a program to +compile on a one-megabyte Archie. I find this surprising (but perhaps this is +because I am a lawyer rather than a computer professional and so don't +understand these things). + +It seems from Volume B of {\it Computers \& Typesetting} and from the {\Tangle} +documentation that a lot of the procedures and functions in {\IniTeX} are +surplus --- after all, no-one uses {\IniTeX} for actual typesetting. I +accordingly spent many hours chopping ``unnecessary'' parts out of the Pascal +code, with extremely interesting, but largely unsuccessful, results. At this +stage I took to heart the advice Malcolm Clark gave in \TeXline\ No.~6, and +tried asking a human. Naturally I chose Malcolm. Within a fortnight I was +parted from my money and attending \TeX 88 and there I was introduced to +Graham Toal who kindly transferred his version of Common \TeX\ to my machine. + I am delighted with the results, and it does seem to be quite fast. The +Professor claims in the {\Tangle} documentation that \TeX\ will \TeX\ +\TeX{} on a DEC~10 in 3600 seconds, that is to say, roughly an hour. +Common \TeX\ on the {\it Archimedes} takes approximately 19 minutes, 58.16 +seconds. + +Malcolm himself won the prize for the best paper delivered at the Conference, +which he called ``Whither \TeX?'' or ``Why has \TeX\ not taken over the +world?''. He drew our attention to the fact that \TeX\ is mainly used by +academics and not by those of us in the outside world, and those of us out +here +tend to have no contact with you lot. I agree, but the reason why \TeX\ has +not taken over the British Isles is, it seems to me, far simpler. Plain +\TeX\ is intended to be used with the Computer Roman fonts. But these fonts +were designed by someone who, it seems, had never heard of the ``special +relationship''. Who in the British Isles, apart from the occasional Spaniard +or homesick Australian wants to typeset a Spanish Shriek, whatever that may be?` +However, although academics consider that money is something that should not be +discussed in public, most of us in the outside world frequently need to use a +pound sign. Many Americans apparently do not +know what a pound sign is. Even the Index to \TB\ says ``pound +sign, {\it see\/} hash mark'' (see also {\bf Macros for Outlining} by James +W.~Walker in {\sc TUGboat} Volume 9, No.~1, p.~61: ``I chose to mark a new topic +with a pound sign (\#)''). + +Exercise 9.7 in \TB\ says that ``in plain \TeX's italic font, the +`\$' sign comes out as`{\it \$\/}'. This gives you a way to refer to pounds +sterling''. Wow. And this comes from someone who at the end of the \TeX book +exhorts us to ``{\sc Go Forth} now and create {\sl masterpieces of the +publishing art!\/}''. An italic pound sign looks awful: +{\obeylines +\itp 396, \itp943.56, \itp0.87. +} +In an article in \TeX niques No.~6, Christina Thiele pointed out +that the unslanted italic font contains an unslanted pound sign, and this is +considerably better than the normal version: +{\obeylines +\uitp 396, \uitp943.56, \uitp0.87. +} +\noindent However, it is only available directly, that is to say, without using +magnified fonts, in the ten-point size. Further I still find it subjectively +wrong. It is too high, and in some fonts too far away from the money. +For some reason it seems better for the lower squiggle of the pound to descend +below the baseline, which is, of course, the way that the pound sign is used in +longhand. My own macros therefore put the pound sign into an |\hbox| which is +then shifted in the appropriate directions. Traditionally lawyers in this +country have tended to use 12-point type with footnotes at a smaller size, and +so I have modified the size-switching {\tt manmac} macros in Appendix E of the +\TeX book to provide me with what I consider to be reasonable pound signs in +various sizes, although I have found that the different sizes require different +amounts of correction to be added: +\par +12-point Roman:\nl +\indent{\twelvepoint\pounds 396, \pounds 943.56, \pounds 0.87}\nl +\indent{12-point Slanted:}\nl +\indent{\twelvepoint\sl\pounds 396, \pounds 943.56, \pounds 0.87}\nl +\indent{12-point Italic:}\nl +\indent{\twelvepoint\it\pounds 396, \pounds 943.56, \pounds 0.87}\nl +\indent{\rm 10-point Roman:}\nl +\indent\indent\pounds 396, \pounds 943.56, \pounds 0.87\nl +\indent{10-point Slanted:}\nl +\indent\indent{\sl \pounds 396, \pounds 943.56, \pounds 0.87}\nl +\indent{10-point Italic:}\nl +\indent\indent{\it\pounds 396, \pounds 943.56, \pounds 0.87} +\par\noindent +It will be seen that I find that the position of the pound sign can even be +improved in the sloping fonts. So far as the bold font is concerned, +the italic pound sign looks distinctly odd: + +%\noindent \bf \pounds 396, \pounds 943.56, \pounds 0.87 +{\def\bpounds{{\tenbfit\$}} +\bf \bpounds 396, \bpounds 943.56, \bpounds 0.87} + +\noindent A version using ``poor man's bold'' (page 386 of \TB) can be used, +but is far from perfect: + +{\bf \pounds 396, \pounds 943.56, \pounds 0.87} + +\noindent +The typewriter font has an italic poundsign, but it is quite ghastly. +In 12-point the upright italic 10-point pound sign can be used at a pinch: + +{\def\pounds{{\twelvetiit\ttpo}} +12-point, tt-style pound sign:\nl +\indent{\twelvepoint\tt \pounds 396, \pounds 943.56, \pounds 0.87}\nl +{\def\pounds{{\tenu\$}} +\indent10-point, upright italic pound sign:\nl +\indent\indent\tt\pounds 396, \pounds 943.56, \pounds 0.87} + +\noindent +Some people might consider that a version using +``extremely poor man's bold'' (or ``somewhat gaunt and +undernourished man's bold'') was better: + +{\def\pounds{{\epmb\$}} +10-point ``epmb'' pound sign:\nl +\indent\indent\tt \pounds 396, \pounds 943.56, \pounds 0.87}} + +The relevant parts of the macros which I use are as follows --- +\smallskip +{\abovedisplayskip=0pt\belowdisplayskip=0pt\parindent=0pt +\begintt +% First the poundsign fonts: +\font\tenu=cmu10 % unslanted text italic +\font\twelveu=cmu10 scaled \magstep1 +\font\twelvebfit=cmbxti10 scaled \magstep1 +\font\tenbfit=cmbxti10 +\font\twelvetiit=cmitt10 scaled \magstep1 +\font\tentiit=cmitt10 +% Now add the poundsign macros: +\def\rmpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.0em} +\def\itpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.09em} +\def\slpo{\leavevmode + \lower.055ex\hbox{\$}\kern-.07em} +\def\bfpo{\leavevmode + \pmb{\lower.025ex\hbox{\$}\kern-.04em}} +\def\ttpo{\leavevmode + \lower.0ex\hbox{\$}\kern0em} +\def\ttkludgepo{\leavevmode + \epmb{\lower.0ex\hbox{\$}\kern-.0em}} +\def\pmb#1{\setbox0=\hbox{#1}% + \kern-.025em\copy0\kern-\wd0 + \kern.05em\copy0\kern-\wd0 + \kern-.025em\raise.0003em\box0 } +% Extremely poor man's bold +\def\epmb#1{\setbox0=\hbox{#1} + \kern-.005em\copy0\kern-\wd0 + \raise.01em\copy0\kern-\wd0 + \kern.01em\copy0\kern-\wd0 + \kern-.005em\raise.01em\box0 } +%This is adapted from the 10-point +%manmac macros: although this article +%uses 10 point, who else does? +\def\twelvepoint{% + \def\rm{\def\pounds + {{\twelveu\rmpo}}\fam0\twelverm}% + \textfont0=\twelverm + \scriptfont0=\eightrm + \scriptscriptfont0=\sixrm + \textfont1=\teni \scriptfont1=\eighti + \scriptscriptfont1=\sixi + \textfont2=\tensy \scriptfont2=\eightsy + \scriptscriptfont2=\sixsy + \textfont3=\tenex \scriptfont3=\tenex + \scriptscriptfont3=\tenex + \def\it{\def\pounds{{\itpo}}% + \fam\itfam\twelveit}% + \textfont\itfam=\twelveit + \def\sl{% + \def\pounds{{\twelveit\slpo}}% + \fam\slfam\twelvesl}% + \textfont\slfam=\twelvesl +\endtt +\begintt + \def\bf{% + \def\pounds{{\twelveu\bfpo}}% + \fam\bffam\twelvebf}% pmb poundsign + \textfont\bffam=\twelvebf + \scriptfont\bffam=\eightbf + \scriptscriptfont\bffam=\sixbf +%\def\tt{\def\pounds{{\twelvetiit\ttpo}}%ugh +% \fam\ttfam\twelvett}% ugh! + \def\tt{\def\pounds{{\tenu\$}}% + \fam\ttfam\twelvett}% odd poundsign + \textfont\ttfam=\twelvett + \tt \ttglue=.5em plus.25em minus.15em + \normalbaselineskip=20pt + \def\caps{\def\pounds{~}\fourteencaps} + \def\scaps{% don't use the pound sign + \def\pounds{{\twelveu\rmpo}}\twelvecaps} + \setbox\strutbox= + \hbox{\vrule height14pt depth6pt width\z@}% + \normalbaselines\rm} +\endtt} +And this brings me back to the point of this article. In my view \TeX\ will +never suceeed in the British Isles unless it is supplied with fonts which +contain proper pound signs. +Although Professor Knuth naturally wants to preserve control over the +Computer Modern fonts, a version of most of the 76 fonts containing a pound +sign must be produced if \TeX\ is to stand any chance at all of taking over the +British Isles, or even of being used by more than a few eccentric +mathematicians. For some years I have used an old Diablo daisy~wheel printer. +I have had no difficulty in purchasing daisy~wheels (with the `UK' suffix) which +contain a pound sign. There should similarly be a standard set of Computer +Modern UK fonts. + +There are, of course, two difficulties. The first is where the pound sign +should be positioned in the fonts. The answer would seem to be, follow {\sc +ibm} and make the pound sign a `top-bit-set' noughts and crosses sign. The +second is who would produce the fonts? The ideal person would be Professor +Knuth, but this is not essential so long as he approves them so that they +can properly be described as Computer Modern. It seems from {\sl Computers \& +Typesetting} that at Stanford a lot of the work on \TeX\ and related subjects +has been done by students. Would it be possible for a graduate or undergraduate +student in Britain to do the necessary work on the fonts as part of his course? +If any large companies use \TeX\ it might, perhaps, be possible to persuade them +to fund this work and, as a result, achieve Malcolm's objective of bringing the +academic and outside worlds together in the use of \TeX. +\smallskip +\rightline{\sl Roger C-H. Horne}} + diff --git a/info/digests/texline/no8/salton.tex b/info/digests/texline/no8/salton.tex new file mode 100644 index 0000000000..715c9601bb --- /dev/null +++ b/info/digests/texline/no8/salton.tex @@ -0,0 +1,62 @@ +\centerline{\bf Book Review} +\medskip +\noindent{\it Automatic Text Processing, the +Transformation, Analysis and Retrieval of Information by +Computer, Gerard Salton, 530pp, Addison-Wesley Publishing, +\quid36.85, {\sc isbn:} 0 201 12227 8.} +\smallskip +\noindent +As the subtitle implies, Salton covers much more than +simple `text processing' in this book. He covers a wide +variety of computer techniques which apply in some way to +textual material. Along the way, this includes the +automated office, text compression, encrytion, text +retreival, automatic indexing, and so on. The book is +structured that the four parts can be +read separately, and even within each part Salton indicates +which bits are `essential', rather than `optional'. He +classifies his readership into three main categories: +`trained computer science students and computer +professisonals', `computational linguitics and +language-processing researchers' and `students in library +or information science, or science and technology +programs'. For each group he outlines a rather different +reading pattern. + +Given the encyclopaedic scope of the book this selection +is quite welcome. But the scope also means that some +material is a little dated. Some areas +have a dated feel anyway --- text compression is not one +of the most vigorous areas in computing, and many of the +references are quite old. But take \TeX, since I've heard +of it before: Salton's contact with \TeX\ (indexed as `TeX +editing program') is through the 1978 `\TeX\ and Metafont' +book. While the underlying box and glue model is +unchanged, the discussion of hyphenation \`a la \TeX\ is +obselete. His account of the {\sc unix} tools seems +better. \MF\ is also described in terms of the earlier +version --- and a rather more radical rethink took place +before it acheived its present incarnation. On the other +hand, Salton skips from |troff|/\TeX\ to {\it wysiwyg\/} +processors like MacWrite, and from there to systems using +`property sheets' (Lara, Bravo, etc.). The survey is +therefore a bit spotty. + +His chapter on automatic indexing is interesting. I've +often wondered how to tackle this (or even if you +should). Part Four, covering text analysis +and language processing, was the highlight of the book +for me. At the completely trivial level, his discusison +of the {\sc unix} Writers Workbench reminded me that the +reason {\sc unix} people write such clear, unambiguous +prose is the availability of such tools. + +It is not a book to read from cover to cover. +For many of its topics it is a good place to start. The +references seem to cover the ground well, and there are a +fair sprinkling of fairly recent references too. Its +sheer scope means that some topics are examined less +deeply, but it is still a useful, comprehensive synthesis +of the wider field of `text processing'.\looseness-1 +\smallskip +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no8/sdouble.tex b/info/digests/texline/no8/sdouble.tex new file mode 100644 index 0000000000..b985391fa7 --- /dev/null +++ b/info/digests/texline/no8/sdouble.tex @@ -0,0 +1,18 @@ +\message{double column macros from the TeXbook} +\def\makeheadline{\vbox to 0pt{\vskip-22.5pt + \fullline{\vbox to 8.5pt{}\the\headline}\vss}\nointerlineskip} +\def\makefootline{\baselineskip=24pt \fullline{\the\footline}} +\newdimen\fullhsize +\fullhsize=6.5in \hsize=3.1in +\def\fullline{\hbox to\fullhsize} +\let\lr=L \newbox\leftcolumn +\output={\if L\lr + \global\setbox\leftcolumn=\columnbox \global\let\lr=R + \else + \doubleformat \global\let\lr=L\fi + \ifnum\outputpenalty>-20000 \else\dosupereject\fi} + \def\doubleformat{\shipout\vbox{\makeheadline + \fullline{\box\leftcolumn\hfil\columnbox} + \makefootline} + \advancepageno} + \def\columnbox{\leftline{\pagebody}} diff --git a/info/digests/texline/no8/second.tex b/info/digests/texline/no8/second.tex new file mode 100644 index 0000000000..00f45a6b2f --- /dev/null +++ b/info/digests/texline/no8/second.tex @@ -0,0 +1,18 @@ +\hyphenation{Addison} +\input texline +\vsize=9.5truein +\def\PCTeX{{\sc pc}\kern-0.1em\TeX} +\def\bi{\item{$\bullet$}} +\def\section#1{\medskip\leftline{\sl #1}\par\noindent\ignorespaces} + +\pageno=38 +\input euro.tex +\bigskip +\input bcs.display +\bigskip +\input more.sgml +\vfill\eject +\input late.news +\bigskip +\input thanks +\bye diff --git a/info/digests/texline/no8/sgml-review.tex b/info/digests/texline/no8/sgml-review.tex new file mode 100644 index 0000000000..de5c58d751 --- /dev/null +++ b/info/digests/texline/no8/sgml-review.tex @@ -0,0 +1,117 @@ +\centerline{\bf SGMLware} +\medskip +\noindent +{\it SGML An Author's Guide to the Standard Genralized Markup Language, +Martin Bryan, 364pp, Addison Wesley Publishing Company, \quid21.95, +{\sc isbn:} 0 201 17535 5.} +\smallskip +\noindent +{\it SoftQuad Author/Editor: (an SGML application for the +Macintosh conforming to the ISO standard). Evaluation copy available from +SOBEMAP for {\sl\$}35.} +\smallskip +\noindent +{\it SGML: the User's Guide to ISO 8879, Joan M. Smith \& Robert +Stutely, 175pp, Ellis Horwood Publishers, \quid22.50, {\sc isbn:} +0 7458 0221 4.} +\smallskip\noindent +Bryan's book is a very welcome addition to the range of \sgml-related products +now available. But it is not what it says it is. It is not `an author's guide'. +I would no more give this book to a prospective author than I would give him or +her the \TeXbook{}. In fact, he or she would probably get a lot further +with the \TeXbook, but this is more a feature of \sgml{}. Given that +both \sgml\ and \LaTeX\ are (to some extent) concerned with document +structure to the exclusion of layout, Lamport's book does allow someone +to do something fairly quickly. You will have to work hard before you +can get anything out of \sgml{}. Why? Essentially, \sgml\ is in a +similar position to that of \TeX\ in 1978--84, when each user of \TeX\ +also had to provide his or her own `base' --- all the things we take for +granted in a plain or \LaTeX\ format (times were hard then, you don't +realise how easy you have it now). \sgml\ requires a DTD (a document +type definition), which is rather close in concept to a \LaTeX\ style. +There are a few `public', or publicised DTDs, but not so many, and so +you cannot guarantee that someone else shares yours (except by enclosing +it as part of your document). The commercial aspect of \sgml\ contrasts +interestingly with \TeX's public domain approach. While adherence to the +public domain presents some problems, \sgml's embedding within the +commercial world presents others. The availability and distribution of +DTDs could be an issue here. I suspect that widespread use of \sgml\ +will not be acheived until there are a fair number of publicly +available, well-documented DTDs. Of course, if you are involved in the +bureaucracy of the EEC, or the US DoD, you will have to use \sgml\ +anyway (which is why \sgml\ will succeed, irrespective of any intrinsic +merits). + +But Bryan's book is useful, and provides a readable account of the language. It +is a bit matter of fact --- opinions or explanations rarely intrude. The +examples are rather limited and it can be tricky to work out how to do other +things. There are no exercises, often a useful way to test your comprehension. + +Another key problem with \sgml\ is that it is a statement of a `standard', not +a description of a working implementation. In other words, you can't go and try +things out on a convenient working system: since the implementations are +commercial, you'll have to pay. There is a cheap alternative. SoftQuad's +Author/Editor (obtainable through Sobemap) is available in an evaluation +copy, for only \$35.00. This allows you to develop some feeling for +\sgml, using some prepackaged DTDs. The evaluation copy retricts you to +a fairly short document, but nevertheless it is a very useful starting +point. The manual which accompanies the software is probably worth the +\$35. The full price is \$715.00, and obviously does not suffer +the same restrictions. + +\sgml\ has strengths and weaknesses. One of its weaknesses is its inadequate +handling of `penalty copy'. To set maths you can opt out by using an entity +declaration which says that `this bit will be done in \TeX' (or some other +suitable system). If you are going to do this, you may ask why not use \TeX\ +entirely (or \LaTeX, since the boundary is more blurred here). In fact it would +not be so difficult to create a \TeX\ format which looked like \sgml. The chief +difficulty, it seems to me, is \sgml's `tag minimisation', where you don't have +to end a tag, if logically another tag implies that it must have terminated its +scope. To take an example, in \TeX\ we might start a bit of display maths with +the double dollar delimiter, do a bit of maths, then have a heading. Since a +heading (logically) cannot exist in maths mode, maths mode is terminated before +the heading is processed. I think this is dreadful. It suits compositors who +are obsessed with keystroke ninimisation, but for the casual user this is a +nightmare. Tables are difficult too. Note that both maths and tables require a +bit of `conceptual' formatting --- there is an implied layout. Since the core +of \sgml\ denies the relevance of layout or format, being concerned `only' with +structure, handling anything with layout structure is obviously a real problem. +(Curiously formatting commands are creeping into \sgml, just as some structural +notions are creeping into Ventura and PageMaker.) + +As you may guess, Bryan's account of \TeX\ is neither extensive nor fulsome +and he makes the rather curious claim that ``experience has shown that \TeX\ +programs cannot always be simply transferred between machines''. It is unclear +wherher he is referring to \TeX\ the program or to a text file to be run +through \TeX{}. More perplexing is Bryan's omission of any discussion of +\LaTeX{}. This is doubly odd since he is aware of Reid's Scribe. The +introduction attempts, but does not succeed, in providing some good reasons +why you should use \sgml{}. This is a pity, if the intention is to encourage +the novice or casual potential user to embark on \sgml. + +In short, despite my reservations and criticisms, I can recommend the book. It is +a solid description of the language. It is generally readable, with an adequate +index. It is easily the most accessible book on the subject. But do not be +fooled by the title. It is more accurately described as `a Guide to the +Standard Generalized Markup Language'. Forget the `Author'. + +Smith and Stutely's book also claims to be a Guide to the \sgml\ standard. The +necessity of their book was a reflection of the inadequacy of the standard. The +book has five parts. One of them is an index --- an index to the standard, not +one to the book! For me, the most useful part is the third part, `Character +Entities and Graphic Representations'. This includes a list of almost all +conceivable characters which we might want to use. Unfortunately the naming +convention does not quite parallel \TeX\ or \AmSTeX\ (mainly because the names +are restricted to six characters, so that what Smith \& Stutely call +|angmsd| is called |\measuredangle| by \AmSTeX). But at last there is a +reasonably comprehensive list of symbols used in printing. I can't see +anything they have missed, except perhaps the \Mac\ symbol I sometimes +use. If you are an \sgml\ user, this is really an essential adjunct to +the standard. On its own, it is of rather limited value. + +Taken together these two books and the software must be welcomed. They make +\sgml\ much more accessible to those outside the \sgml\ laager. It is a pity +that critical evaluation of \sgml\ is limited to a few heretics, and that we +tend to accept `standards' (real and {\it de facto\/}) so uncritically. +\smallskip +\rightline{\sl Malcolm Clark} diff --git a/info/digests/texline/no8/snip.tex b/info/digests/texline/no8/snip.tex new file mode 100644 index 0000000000..08b23b25a0 --- /dev/null +++ b/info/digests/texline/no8/snip.tex @@ -0,0 +1,81 @@ +\centerline{\bf Multilingual \TeX\ distribution} +\medskip +\noindent +Michael Ferguson's Multilinual \TEX, and the associated +macro package INRS\TeX\ is available for {\sc vax vms} +and {\sc sun unix} environments from Berger-Levrault. +\TEX\ is a modification of \TeX\ which allows hyphenation +of accented words and also the dynamic loading of various +hyphenation patterns during a single run. INRS\TeX\ is a +macro package for document preparation. It offers similar +functional scope to \LaTeX, but is completely compatible +with |plain| \TeX. The distribution is available in a +variety of formats. There are some restrictions +associated with the distribution: briefly they may be +summarised as, a single license covers up to 16 +workstations connected on a local area network, the +manual may not be reproduced, and commercial use is +prohibited. The price for this distribution is about +1500\,FF, with the manual an extra 200\,FF. For further +information, contact: +{\obeylines +Berger-Levrault +Advanced Information Systems +34 Avenue du Roule +92200 Neuilly sur Seine +France +} + +\bigskip +\centerline{\bf Atari!} +\medskip +\noindent +It should be obvious that the Atari is useful for a few +more things than merely playing games. In some respects, +it even has a few advantages over the Macintosh, which is +now very corporate-credible. {\sl ST World Magazine\/} ran +a feature on DTP which managed to mention \TeX{}. Like many +reputable magazines and newsletters, they stole the +information from elsewhere --- the ST Club Newsletter. +From the rather brief account, it would appear that +\DEK's series, `Art of Computer Programming' has been cut +to only six volumes, and of course they trot out the +usual nonsense about `not as easy to use' and `not nearly +as user-friendly', which really is becoming the bane of +my life. But let's leave this aside and note that ``if +there is some interest, we will run a feature on \TeX''. +Generate some interest. {\sl ST World\/}'s number is 0243 +783932, and the editor's name is Hugh Gollner. + +\bigskip +\centerline{\bf Electronic Publishing Technologies} +\medskip +\noindent +The January 1988 edition of {\sl Computer}, published by +the Computer Society of the IEEE was given over entirely +to the subject of `electronic publishing technologies +interpreted in the broadest possible sense'. Apart from +the usefulness of an overview, and the possibility of +picking up a few more buzz words, a couple of the +articles were of more specific relevance to \TeX{}. + +Pehong Chen and Michael Harrison discuss some aspects of +\VorTeX\ (Visually Oriented \TeX). It is quite arresting +to hear \TeX\ described as `traditional document +development systems', but essentially \TeX's contribution +to \VorTeX\ is really as an underlying (replacable) +formatting engine, which allows Harrison's team to make +their notions of `multiple representation' more concrete. + +Jeff Johnson and Rick Beach examine various styles in +document editing systems, and provide a useful history of +{\it wysiwyg\/} systems. There is much else which is +relevant in this paper, but providing a synopsis would be +a real challenge. Janet Walker also provides some useful +insights into the DTP arena. +The remainder of the articles are concerned mainly with +hypertext. Interesting in their own right, they are +probably not immediately relevant to \TeX\ --- until we +stumble into Hyper\TeX{}. However, I do now know that +what I am seeking to achieve is a `seamless information +environment'. diff --git a/info/digests/texline/no8/st.tex b/info/digests/texline/no8/st.tex new file mode 100644 index 0000000000..538a897e7b --- /dev/null +++ b/info/digests/texline/no8/st.tex @@ -0,0 +1,112 @@ +\centerline{\bf Atari-ST \TeX} +\medskip +\noindent +In the February issue of \TeXline, an implementation of \TeX\ for +the {\sc Atari-ST}~(by Tools {\sc gmbh}) was reviewed. An alternative +implementation, this time by the \TeX sys, {\sc st\TeX}, +is the subject of the present review. The review copy was supplied as six +diskettes in compressed format contain \TeX, \IniTeX, \LaTeX, \BibTeX, \SliTeX, +\AmSTeX, as well as the screen preview program and associated fonts for a +wide range of magnifications. A shell menu, installation program +and a number of other utility programs are also included. The +review program was version~1.0 of \TeX~(version~2.92) and runs on +the 1040~STF and any of the larger machines. The use of a hard +disk is highly recommended, though the program will run happily on +a two disk drive system. + +To start with, it's good to see that the program comes equipped +with a {\sc gem}-style shell environment, so that the cycle of editing, +processing and previewing~(and even printing) can all be achieved +without the need to revert back to the desktop to load in the +individual application programs. To help tailor your own shell +environment and to deal with different system configurations, the +use of environment-variables~(similar to {\sc unix}) is supported and +these can be specified in a set-up file either using an editor or +from within the shell environment itself. Options specified in the +set-up file appear highlighted in the menu and can be invoked +either by using the mouse to select the desired option or by +directly using the function keys, the meanings of which are +reflected in a separate bar menu at the bottom of the screen. +Additionally, the use of command interpreters, for those who +prefer it to the menu, is also supported.\par +The present implementation was tested using \LaTeX\ sample files. +The format~(e.g. |lplain.fmt|) to be used can be specified in the +shell menu and is automatically loaded whenever \TeX\ is invoked. +As expected, no major problems were encountered.\par +Unlike the Tools implementation, here the screen previewing and +printing are done by separate programs. Although printer drivers +were not supplied, it appears from the documentation that a number +of printers are supported, including {\sc Epson-fx}, {\sc Epson-lq} and the +{\sc hp}-Laserjet. Consequently, as regards print quality, this could +not be properly assessed.\par +The screen preview program once started, loads in the \dvi\ +file of the current document being processed showing the first +page by default. Alternatively, the various options for the +preview program can be prespecified in the set-up file or set from +the shell menu. The display uses a default screen resolution of +100 dpi, and the text appears quite legible. The physical page +limits are also highlighted by default. The text can be moved +around by selecting the appropriate option from the menu bar or +alternatively using the cursor keys short cuts provided. The +{\sc return} key pressed repeatedly has a stepping action, moving the +text from right to left and then down when the right edge of the +text is reached. The mouse can be used to set the top-left or +bottom-right corners of the text. This can be forced to be +the new reference point which can then be returned to using the +{\sc home} key. Options for moving to the next or previous page as well +as skipping a number of pages in either direction have also been +provided. In addition, the text can be viewed at standard +reduction ratios of 4:1 and 9:1. Other magnification factors can +also be selected as long as the appropriate fonts are available, +otherwise the program automatically uses substitute fonts. The +standard fonts supplied cover a range from |\magstep0| through +to |\magstep5|. As an added bonus, the preview program permits +the inclusion of bit-mapped graphics. Graphical data stored in +{\sc degas} format need to be converted first using a utility program +supplied as part of the package. Unfortunately, despite numerous +attempts, the preview program kept complaining about `Bad File' +format, thus ignoring the graphical information. + +I am +impressed with this latest effort, which is quite thorough and +does not appear to have any serious bugs. Details of the various +aspects of the implementation are covered in accompanying +leaflets, a copy of which is included on the diskettes in \dvi\ +format. It is also encouraging to see that some of the +enhancements suggested in the February issue of \TeXline\ have been +implemented here. + +Finally, I would like to suggest a number of improvements for +future versions. To begin with, the use of environment variables +should be extended to allow the path for various output +files~(e.g. {\dvi}, {|.log|, {|.aux|}, etc.) and also the +read-, write- and even graphic files to be independently +specified. Secondly, I feel that inclusion of {\sc gem} slider bars in +the preview program would be a very welcomed addition, since +it provides an indication of what portion of the text is being +viewed and is more natural for people familiar with {\sc gem} for moving +around a document. Provision of some sort of magnifying glass for +viewing a selectable portion of text at a readable magnification, +while in reduced or tiny modes, would be an added advantage. One +last point concerns the log file of the preview program. At +present any warning messages or messages regarding font +substitutions are written to a file and on exit the user is +reminded to read this log file if it has been generated. This is +inconvenient since it would mean either leaving the shell menu or +loading this log file into the editor in order to read it. Apart +from this I have noticed that this log file keeps ending up in the +editor sub-directory~(Why?). I suggest that an option be provided +for the user to assign a separate window to this log file so that +any messages issued by the program can be read and acted upon by +the user interactively. + +The price of {\sc st}\TeX\ on its own, as described above, is \quid85.00, +but when bought together with the {\sc hp} LaserJet driver the figure is +\quid188.00. Bought with the dot matrix drivers, the combined total ({\sc +st}\TeX\ with {\sc dvidot}) is \quid160.00. Both driver packs can be bought +separately, at \quid128.00 and \quid100.00 respectively. \TeX sys also offer +{\sc st}{\mf MF}, their \MF\ implementation at \quid68.00. It is difficult to +say whether the iniquitous {\sc vat} would be applicable if you purchased +directly from \TeX sys. +\smallskip +\rightline{\sl Bijan Djahansouzi} diff --git a/info/digests/texline/no8/texline.tex b/info/digests/texline/no8/texline.tex new file mode 100644 index 0000000000..c722c1c9e1 --- /dev/null +++ b/info/digests/texline/no8/texline.tex @@ -0,0 +1,98 @@ +\message{TeXline macros} +\input sdouble +\input verbar +\tolerance3000 +\doublehyphendemerits15000 +%\raggedbottom +\vsize9.5in +\hfuzz1.5pt + +\font\sans=cmss10 +\font\sc=cmcsc10 +\font\mf=logo10 +\font\mfb=logobf10 +\font\mfsl=logosl10 +\def\MF{{\rm{\mf META}\-{\mf FONT}}} +\def\MFb{{\bf{\mfb META}\-{\mfb FONT}}} +\def\MFsl{{\sl{\mfsl META}\-{\mfsl FONT}}} +\font\symb=symbol at 10pt +\chardef\apple='360 +\def\Mac{{\symb\apple}} + + +\def\MarkUp{MarkUp '8\kern-0.2em\lower0.45ex\hbox{7}} +\def\LaTeX{{\rm L\kern-.36em\raise.3ex\hbox{\sc a}\kern-.15em + T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}} + +\def\frac#1/#2{\leavevmode\kern0.1em + \raise0.5ex\hbox{\the\scriptfont0 #1}\kern-0.1em + /\kern-0.15em\lower0.25ex\hbox{\the\scriptfont0 #2}} +\baselineskip12pt +\parskip0pt +\parindent1em +\hyphenation{SGML SGML-ers} +\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi} + +\headline{\ifnum\pageno>1\sl \TeX line 8 \hss \folio +\else\hfil\fi} +\nopagenumbers +\def\TeXline{{\sl\TeX line}} +\def\SGML{{\sc sgml}} +\let\sgml\SGML +\def\PS{{\sc Post\-Script}} +\def\TeXtures{{\sc\TeX\kern-0.1667em tures}} +\def\TeXpert{{\sl\TeX\kern-0.1em pert systems\/}} +\def\TeXhax{\TeX{\sc hax}} +\def\TeXbook{{\sl \TeX book}} +\let\ps\PS +\def\TS{Type \&~Set} +\def\dvi{{\tt dvi}} +\def\tfm{{\tt tfm}} +\def\pxl{{\tt pxl}} +\def\WEB{{\tt WEB}} +\def\Weave{{\tt Weave}} +\def\Tangle{{\tt Tangle}} +\def\quid{{\it\$}} +\def\unix{{\sc unix}} +\def\DW{Dominik Wujastyk} +\def\AmSTeX{$\cal A$\kern-.1667em\lower.5ex\hbox{$\cal M$}\kern-.125em + $\cal S$-\TeX} +\def\VorTeX{V\kern-.2em\lower.5ex\hbox{O}\kern-.125em R\TeX} +\def\BibTeX{{\sc Bib}\kern-.2em\TeX} +\def\SliTeX{{\sc Sli}\TeX} +\def\IniTeX{{\sc Ini}\TeX} +\def\TEX{T\kern-0.1667em\lower0.5ex\hbox{\^E}\kern-0.125em X} +\def\DEK{D\kern-0.1667em\lower0.5ex\hbox{E}\kern-0.125em K} +\def\hax{\TeX{\sc hax}} +\def\TB{{\it The \TeX book}} +\def\JANET{{\sc Janet}} +\let\Janet\JANET +\def\DVItoVDU{DVIto\kern-.15em VDU} +\def\PiCTeX{PiC\kern-.11em\TeX} +\def\XeT{X\kern-0.1667em\lower.5ex\hbox{E}\kern-.125em T-\TeX} +\def\FASTeX{F\kern-.1667em \lower.5ex\hbox{A}\kern-.1667em S\TeX} +\def\TUGboat{{\sc TUGboat}} +\abovedisplayskip0pt +\belowdisplayskip0pt +\def\nl{\hfill\break} +%\def\boxit#1{\vbox{\hrule\hbox{\vrule\kern3pt +% \vbox{\kern3pt#1\kern3pt}\kern3pt\vrule}\hrule}} +\def\,{\ifmmode\mskip\thinmuskip\else\thinspace\fi} +% Look in the 'Windows' menu for the pictures window +% It's like the Scrapbook -- cut and paste pictures +% + +\def\picture #1 by #2 (#3){ + \vbox to #2{ + \hrule width #1 height 0pt depth 0pt + \vfill + \special{picture #3} % this is the low-level interface + } + } + +\def\scaledpicture #1 by #2 (#3 scaled #4){{ + \dimen0=#1 \dimen1=#2 + \divide\dimen0 by 1000 \multiply\dimen0 by #4 + \divide\dimen1 by 1000 \multiply\dimen1 by #4 + \picture \dimen0 by \dimen1 (#3 scaled #4)} + } diff --git a/info/digests/texline/no8/texlinehead.tex b/info/digests/texline/no8/texlinehead.tex new file mode 100644 index 0000000000..d7e329b296 --- /dev/null +++ b/info/digests/texline/no8/texlinehead.tex @@ -0,0 +1,41 @@ +\nopagenumbers +\hsize=6.5in +\font\huge=palatino at65truept% +\newbox\info +\newbox\banner +\newbox\long +\newdimen\infoht +\newdimen\bannerht +\setbox\info=\vbox{% +\font\small=cmr7 at 7truept% +\baselineskip=7.5truept% +\small +\setbox\long\hbox{printed at Imperial College Computer Centre}% +\hsize=\wd\long +\def\monyr{\ifcase\month\or January\or February\or March\or April + \or May\or June\or July\or August\or September\or October + \or November\or December\fi\ \number\year}% +\line{\hfill Number 8, \monyr} +\line{\hfill a Newsletter of the \TeX\ community} +\line{\hfill printed at Imperial College Computer Centre} +\line{\hfill edited and assembled by} +\line{\hfill Malcolm W Clark} +\line{\hfill Imperial College Computer Centre} +\line{\hfill Exhibition Road} +\line{\hfill London SW7 2BX} +\line{\hfill Tel: 01 589 5111 ex 4949} +\line{\hfill Fax: 01 584 7596} +\line{\hfill Janet: texline@uk.ac.ic.cc.vaxa} +\line{\hfill Unix: mwc@doc.ic.ac.uk}} +\setbox\banner\vbox{\hsize=225pt% +\huge\TeX\kern-0.2ex line} +\infoht=\ht\info +\advance\infoht by\dp\info +\bannerht=\ht\banner +\advance\bannerht by\dp\banner +\advance\infoht by-\bannerht +\divide\infoht by2 +\advance\infoht by3ex +\centerline{\box\info\qquad\raise\infoht\box\banner} + +\bye diff --git a/info/digests/texline/no8/thanks.tex b/info/digests/texline/no8/thanks.tex new file mode 100644 index 0000000000..0d038518e6 --- /dev/null +++ b/info/digests/texline/no8/thanks.tex @@ -0,0 +1,52 @@ +\centerline{\bf Thanks} +\medskip +{\parskip1.5pt\parindent0pt +This issue of \TeXline\ would not have +been possible without: + +Barbara Beeton, +AMS, |bnb@com.ams.seed| + +Janusz Bie\'n, Warsaw University + +Cathy Booth, Exeter University,\hfil\break\hfill +|cm.booth@uk.ac.exeter| + +Adrian Clark (no relation), Essex +University,\hfil\break\hfill |alien@uk.ac.essex.ese| + +Bijan Djahansouzi, Aeronautics Dept, Imperial +College + +Bernard Gaulle, {\sc circe}-Orsay,\hfil\break +|ucir001@frors31.bitnet| + +Carol Hewlett, LSE, +|hewlett@uk.ac.lse.vaxb| + +Roger Horne, Lincoln's Inn, 01 405 1266 + +Brendan Molloy, Imperial College,\hfil\break\hfill +|b.molloy@uk.ac.ic.cc.vaxa| + +Bill Noble, Vardas, 0272 428709 + +Stephen Pollock, Economics Dept, QMC + +Sebastian Rahtz, Southampton University,\hfil\break\hfill +|spqr@uk.ac.soton.cm| + +Chris Rowley, Open University, \hfil\break\hfill|ca_rowley@uk.ac.ou.vaxa| + +Rainer Rupprecht, Universit\"at Karlsruhe, \hfil\break +|rz32@dkauni48| + +Laurent Siebenmann, Universit\'e de Paris-Sud, \hfil\break\hfill010 33 69 +41 7049 + +Maria Tuck, The Independent, 01 253 1222 + +Dominik Wujastyk, Wellcome Institute,\hfil\break\hfill +|wujastyk@uk.ac.ucl.euclid| + +} diff --git a/info/digests/texline/no8/verbar.tex b/info/digests/texline/no8/verbar.tex new file mode 100644 index 0000000000..4f35eb46ac --- /dev/null +++ b/info/digests/texline/no8/verbar.tex @@ -0,0 +1,33 @@ +% verbatim macros from the TeXbook +\newskip\ttglue +\ttglue=0.5em plus 0.25em minus 0.15em +\outer\def\begindisplay{\obeylines\startdisplay} +{\obeylines\gdef\startdisplay#1 + {\catcode`\^^M=5$$#1\halign\bgroup\indent##\hfil&&\qquad##\hfil\cr}} +\outer\def\enddisplay{\crcr\egroup$$} +% macros for verbatim scanning +\chardef\other=12 +\def\ttverbatim{\begingroup + \catcode`\\=\other + \catcode`\{=\other + \catcode`\}=\other + \catcode`\$=\other + \catcode`\&=\other + \catcode`\#=\other + \catcode`\%=\other + \catcode`\~=\other + \catcode`\_=\other + \catcode`\^=\other + \obeyspaces \obeylines \tt} +{\obeyspaces\gdef {\ifvmode\indent\fi\space}}% a little extra + +\outer\def\begintt{$$\let\par=\endgraf \ttverbatim \parskip=0pt + \catcode`\|=0 \rightskip-5pc \ttfinish} +{\catcode`\|=0 |catcode`|\=\other % | is temporary escape character + |obeylines % end of line is active + |gdef|ttfinish#1^^M#2\endtt{#1|vbox{#2}|endgroup$$}} + +\catcode`\|=\active +{\obeylines \gdef|{\ttverbatim \spaceskip\ttglue \let^^M=\ \let|=\endgroup}} + + 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}} + + diff --git a/info/digests/texline/read.me b/info/digests/texline/read.me new file mode 100644 index 0000000000..b18e9ce310 --- /dev/null +++ b/info/digests/texline/read.me @@ -0,0 +1,76 @@ +TeXline + +TeXline is produced with plain TeX. It was never designed +for electronic dissemination. However, it seems reasonable +to archive some, at least, of the source files in the +Aston Archive (or anywhere else that wants them). I have +taken the step of including everything I could find, without +consulting the original authors, who may, or may not, +have copyright on the material. Given TeX's public domain +image and status, it would seem churlish to insist on +copyright of this material. Nevertheless, if you do +steal/borrow/plagiarise (depending on your status), you +could at least give some credit to the author (or even +TeXline). + +The newsletter uses double columning. I am still not +entirely happy with my double columning macros (other +people's double columning macros). Since I anticipate +that use of the material will not be to print out your +own copy on your own laser printer, I do not see this +as a problem. I also paste-up the masthead. I see nothing +wrong with paste-up. It has worked for several centuries. + +TeXline is now prepared on a Macintosh (with TeXtures). +This gives rather different opportunities for file names, +which I have tended to exploit (more than six characters, +inclusion of spaces and any other character I like, not +necessary to have a .tex extension, etc.). I shall +probably try to standardise on simpler, more `standard', +less-friendly file names in the future. I have tried +to make the file names correspond correctly to their +\input name for VMS, but in the case of `conflict', you +are on your own (in keeping with the pd image of TeX). +Life is too short to sort such problems out. + +In very general terms, TeXline is organised along the +following lines (this is a sort of meta-description -- +almost all specific examples will be different): +texline.tex: a file of macros which sets up most + of the environment +double.tex: one of two double column macros: i sometimes + use one set which enclose the whole setup + in \begindoublecolumns/\enddoublecolumns, + which has the advantage of allowing some + mixing of single and double columning; + and another set which just modifies the + \output routine and only gives double columns. +verb.tex a verbatim macro (now usually called verbar.tex + to remind me that the | character is the + important one. +head.tex does the mast head (sometimes uses PostScript + fonts). +contents.lis this reveals the order of assembly of + TeXline. it has a few \TeX\ commands, but + it is usually simplified (without the \ejects + and other nasties which get inserted). also + sometimes given names like tl1-9 (for pages 1--9). + +All the other file names are bit arbitrary, depending on my +mood. They are of course, the articles themselves. +From time to time one of these input files may call +another one. These extra `lower' files are the ones most +likely to be omitted or with non-standard names (because +I didn't notice them). Note that Kermit has a tendency to +replace characters it does not like with `X'. + +Sometimes I organise things in little batches of a few files, +and sometimes I don't. It depends. + +And sometimes there are pictures. Usually I paste them in. +In other words, you won't find them here. Until the graphics +people get their act together, transmitting device independent +graphics is going to be awkward. Another reason for sticking +to real paper instead of this electronic nonsense. + +malcolm clark |