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authorNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
committerNorbert Preining <norbert@preining.info>2019-09-02 13:46:59 +0900
commite0c6872cf40896c7be36b11dcc744620f10adf1d (patch)
tree60335e10d2f4354b0674ec22d7b53f0f8abee672 /usergrps/uktug/baskervi/5_3
Initial commit
Diffstat (limited to 'usergrps/uktug/baskervi/5_3')
-rw-r--r--usergrps/uktug/baskervi/5_3/LOG1
-rw-r--r--usergrps/uktug/baskervi/5_3/abbott.tex41
-rw-r--r--usergrps/uktug/baskervi/5_3/abbott2.tex30
-rw-r--r--usergrps/uktug/baskervi/5_3/agm.tex185
-rw-r--r--usergrps/uktug/baskervi/5_3/bailey.tex1065
-rw-r--r--usergrps/uktug/baskervi/5_3/barron.tex175
-rw-r--r--usergrps/uktug/baskervi/5_3/bask5_2.tex46
-rw-r--r--usergrps/uktug/baskervi/5_3/bask5_3.rep40
-rw-r--r--usergrps/uktug/baskervi/5_3/bask5_3.tex59
-rw-r--r--usergrps/uktug/baskervi/5_3/baskerv.cls766
-rw-r--r--usergrps/uktug/baskervi/5_3/booth.tex103
-rw-r--r--usergrps/uktug/baskervi/5_3/clark.tex148
-rw-r--r--usergrps/uktug/baskervi/5_3/downes.tex79
-rw-r--r--usergrps/uktug/baskervi/5_3/dpc.tex33
-rw-r--r--usergrps/uktug/baskervi/5_3/drawing.tex769
-rw-r--r--usergrps/uktug/baskervi/5_3/editor.tex125
-rw-r--r--usergrps/uktug/baskervi/5_3/files8
-rw-r--r--usergrps/uktug/baskervi/5_3/form.tex72
-rw-r--r--usergrps/uktug/baskervi/5_3/goossens.tex570
-rw-r--r--usergrps/uktug/baskervi/5_3/group.tex41
-rw-r--r--usergrps/uktug/baskervi/5_3/honmem.tex31
-rw-r--r--usergrps/uktug/baskervi/5_3/info-int.pic14
-rw-r--r--usergrps/uktug/baskervi/5_3/info-ome.pic18
-rw-r--r--usergrps/uktug/baskervi/5_3/minion.eps43
-rw-r--r--usergrps/uktug/baskervi/5_3/mm.sty5
-rw-r--r--usergrps/uktug/baskervi/5_3/mmblowup.eps2349
-rw-r--r--usergrps/uktug/baskervi/5_3/mmdesign.eps1661
-rw-r--r--usergrps/uktug/baskervi/5_3/mmfour.eps1644
-rw-r--r--usergrps/uktug/baskervi/5_3/myriad.eps1883
-rw-r--r--usergrps/uktug/baskervi/5_3/noinfo.pic8
-rw-r--r--usergrps/uktug/baskervi/5_3/norm.tex502
-rw-r--r--usergrps/uktug/baskervi/5_3/psfonts.tex77
-rw-r--r--usergrps/uktug/baskervi/5_3/robin.tex372
-rw-r--r--usergrps/uktug/baskervi/5_3/standard.tex216
-rw-r--r--usergrps/uktug/baskervi/5_3/stereo.ps352
-rw-r--r--usergrps/uktug/baskervi/5_3/t1zmn.fd114
-rw-r--r--usergrps/uktug/baskervi/5_3/taylor.tex44
-rw-r--r--usergrps/uktug/baskervi/5_3/tds.tex39
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diff --git a/usergrps/uktug/baskervi/5_3/LOG b/usergrps/uktug/baskervi/5_3/LOG
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@@ -0,0 +1 @@
+bash: ../place: No such file or directory
diff --git a/usergrps/uktug/baskervi/5_3/abbott.tex b/usergrps/uktug/baskervi/5_3/abbott.tex
new file mode 100644
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--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/abbott.tex
@@ -0,0 +1,41 @@
+\title{Membership Data}
+\author[Peter Abbott]{Peter Abbott\\Honorary Treasurer}
+\begin{Article}
+As at 20th March 1995 the membership stood at
+
+\begin{tabular}{lr}
+UKTUG & 62\\
+UKTUG(Student) & 2\\
+Full TUG and UKTUG & 98\\
+Basic TUG and UKTUG & 6\\
+Full TUG and UKTUG (Student) & 4\\
+Basic TUG and UKTUG (Student) & 1\\
+Institutional & 4\\
+Full TUG & 2\\
+Basic TUG & 0\\
+TUG and UKTUG (Student)& \\
+\hline
+Total & 182\\
+\hline
+\end{tabular}
+
+
+
+\section{Membership Services}
+
+Agreement has been reached to but site licences for the software
+listed below. A member of the UK \TeX\ User's Group is permitted to
+use the software (which is usually shareware) without additional
+payment as long as they are a member of the group. It is provided
+for personal use only.
+\begin{itemize}
+\item OzTeX version 1.8 -- Either obtain a copy from the CTAN archive,
+or available from me.
+\item Dvips and \MF\ Mac -- Licence code details not yet
+known, contact me.
+\item Alpha -- a text editor for OzTeX obtainable from CTAN or me.
+\item Eddi4TeX -- a \TeX\ shell and text editor
+for MS DOS obtainable from me (The access
+code will be mailed direct from Germany).
+\end{itemize}
+\end{Article}
diff --git a/usergrps/uktug/baskervi/5_3/abbott2.tex b/usergrps/uktug/baskervi/5_3/abbott2.tex
new file mode 100644
index 0000000000..89a91437dc
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/abbott2.tex
@@ -0,0 +1,30 @@
+Return-Path: <Peter.Abbott@cl.cam.ac.uk>
+Delivery-Date:
+Received: from ouse.cl.cam.ac.uk (user pa10007 (rfc931)) by swan.cl.cam.ac.uk
+ with SMTP (PP-6.5) to cl; Tue, 21 Mar 1995 14:27:17 +0000
+To: Sebastian.Rahtz@cl.cam.ac.uk
+From: Peter.Abbott@tex.ac.uk
+Subject: Booklist
+Date: Tue, 21 Mar 1995 14:27:04 +0000
+Sender: Peter.Abbott@cl.cam.ac.uk
+Message-ID: <"swan.cl.cam.:253320:950321142738"@cl.cam.ac.uk>
+
+Sebastian
+
+Please may I have the source of the booklist for updating and
+issue to enquiries.
+
+Also 0 201 52372 8 Thinking in Postscript by Gleen reid is out of
+print and Addison-Wesley say unlikely to be reprinted.
+
+Please can you add this to my report for Baskerville and delete
+from the booklist.
+
+Thanks
+
+Peter
+
+PS Don't forget I still need unzip for discs 8 and 9, I have
+an outstanding request for a copy.
+
+
diff --git a/usergrps/uktug/baskervi/5_3/agm.tex b/usergrps/uktug/baskervi/5_3/agm.tex
new file mode 100644
index 0000000000..90c8a2ec88
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/agm.tex
@@ -0,0 +1,185 @@
+\title{The 1995 Annual General Meeting}
+\author{}
+\begin{Article}
+The Annual General Meeting of the \ukt\ will almost certainly be held on the
+morning of Wednesday 18~October 1995. The place is not yet known. Full details
+will be given in \BV~5.4. The preliminary announcement appears now to ensure
+that Clause~17 (below) is fulfilled even if \BV~5.4 is delivered later than
+scheduled.
+
+The Constitution contains the following clauses:
+\begin{quote}
+17. \ The annual general meeting of the \ukt\ shall be
+held in the United Kingdom not later than the last day of
+November
+in each year on a date and at a
+time to be fixed by the Committee and notified to members
+at least 35 days in advance for the
+following purposes---
+
+(1) to receive from the Committee a report balance sheet and statement of
+accounts for the preceding financial year
+
+(2) to fill the vacancies in the Committee and to appoint auditors for the
+ensuing year
+
+(3) to decide on any motion which may be proposed to the meeting in the
+manner provided below
+
+(4) to fix the entrance fee (if any) and annual subscription
+
+18. \ Any member desirous of proposing any motion at the
+annual general meeting shall give notice in writing to the secretary not
+later than 14 days before the date of such meeting
+
+23. \ No amendment (other than a motion for adjournment) shall be moved to any
+motion proposed at any annual or special general meeting unless written notice
+of the amendment shall have been sent to the secretary prior to the meeting
+\end{quote}
+
+I think that Clauses 17~(3), 18 and 23 are self-explanatory.
+
+A draft agenda, covering items~(3) and~(4) will appear in \BV~5.4. In the
+meantime,
+anyone wishing to propose
+ any motion to the AGM must send me, in writing, the
+ text of the proposed motion and their own name and
+ address, to reach me by 4~October 1995.
+If there are any changes to the draft agenda, the final agenda will be sent to
+members in the 14 days before the AGM.
+%Anyone wishing, at that stage, to move
+%any amendment to any motion, must send me, in writing, the
+% text of the proposed amendment and their own name and
+% address, to reach me by 19 October 1993.
+
+The chair's term of office ends at this AGM. The following clause
+from the constitution describes the procedure which should be followed.
+\begin{quote}
+11. \ (1) The chair of the group shall be the chair of
+the committee
+
+(2) The chair of the group shall retire after completion of two
+consecutive years but shall be eligible for re-election
+
+(3) Any two members who are individuals may
+nominate any member of the group who is an individual
+to be the chair in writing to the
+secretary not less than two months before the date of retirement
+
+(4) If there are two or more nominations then the chair
+will be decided by a postal ballot by single transferable vote
+in which
+every member of The UK \TeX\ Users' Group who is an individual
+shall be entitled but not obliged to vote
+\end{quote}
+
+ Nominations for the chair should be made in writing
+ and sent to me, to reach me by 18~August 1995. There
+ is no official nomination form.
+If you like, you may use the
+forms provided at the end of this notice. Otherwise, what you send
+ me should contain, clearly and legibly,
+\begin{verse}
+ ---name and address of nominee\\
+ ---declaration that (s)he is willing to stand for this
+ office, signed by the nominee\\
+ ---name and address of the nominator\\
+ ---statement nominating the nominee, signed by the
+ nominator\\
+ ---name and address of seconder\\
+ ---statement in support of the nomination, signed by
+ the seconder.
+\end{verse}
+ The nominee, nominator and seconder should all be members
+ of the UK \TeX\ Users' Group,
+and the last two should be different from each
+ other.
+
+%The present incumbent has indicated that he does not wish to be
+%nominated. Two nominations have been received but the committee felt that,
+%since many members may not have been aware of the situation and of the
+%constitutional closing date for nominations, that this date should be
+%extended until 23 September.
+
+
+As for other vacancies on the Committee,
+%C.~A.~Rowley will continue as Chair in
+%1994--94 and P.~Abbott as Treasurer and Membership Secretary.
+Clause~10 of the Constitution implies that
+at most~3 members of the present Committee may continue without
+being re-elected.
+Thus Clause~9
+%As regards the election of Committee members,
+implies that there are
+at least 8~vacancies to be filled.
+
+The following parts of Clause~10 describe the procedure for
+filling these vacancies:
+\begin{quote}
+(3) Any two members who are individuals may
+%%CAR
+nominate any member or members of the group who are individuals
+% propose any candidate or candidates
+to fill any of
+the vacancies by giving at least 7~days notice in writing to the
+secretary
+
+%%CAR
+(4) If there are more nominations than vacancies then the membership
+will be decided by an election by single transferable vote in which
+every member of the \ukt\ who is an individual and is
+present at the annual general meeting
+shall be entitled but not obliged to vote
+%for as
+%many candidates as there are vacancies to be filled and no more
+\end{quote}
+
+Nominations for committee members in accordance with the above
+sub-clauses are thus being sought.
+Written nominations for new committee
+ members should be sent to me, to reach me by 11~October
+ 1995.
+There
+ is no official nomination form. If you like, you may use the
+forms provided at the end of this notice. Otherwise, what you send
+ me should contain, clearly and legibly,
+\begin{verse}
+ ---name and address of nominee\\
+ ---declaration that (s)he is willing to stand for this
+ office, signed by the nominee\\
+ ---name and address of the nominator\\
+ ---statement nominating the nominee, signed by the
+ nominator\\
+ ---name and address of seconder\\
+ ---statement in support of the nomination, signed by
+ the seconder.
+\end{verse}
+ The nominee, nominator and seconder should all be members
+ of the \ukt\,
+and the last two should be different from each
+ other.
+
+Once elected, the Committee appoints officers from its membership.
+%Your present secretary is retiring (forced to under Clause~10~(1)) and there is
+%at present no Publicity person. Anyone with talents for either of these jobs
+%is strongly encouraged to stand for election to the Committee.
+
+ In all the above, `in writing' means `on paper', not email.
+
+ Please put `UKTUG' on the outside of the envelope when you
+send me any of the above. Otherwise, people may find themselves
+elected to the wrong committee.
+
+My address is
+\begin{verse}
+School of Mathematical Sciences\\
+Queen Mary and Westfield College\\
+Mile End Road\\
+London E1 4NS
+\end{verse}
+
+\begin{flushright}
+R. A. Bailey\\
+Honorary Secretary\\
+\end{flushright}
+\end{Article}
diff --git a/usergrps/uktug/baskervi/5_3/bailey.tex b/usergrps/uktug/baskervi/5_3/bailey.tex
new file mode 100644
index 0000000000..961324c4d5
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/bailey.tex
@@ -0,0 +1,1065 @@
+\title{Maths in \protect\LaTeX: Part~5, Getting started on arrays}
+%%%
+\author[R.~A.~Bailey]{R.~.A.~Bailey\\
+Queen Mary and Westfield College\\University of London}
+%%%
+%%% here are extra environments that I have used in this article.
+%%% I hope that they do not conflict with anything of the editor's.
+%%%
+%%%
+\newcommand{\writer}[1]{{\sc #1}:}
+\newcommand{\book}[1]{{\it #1},}
+\newcommand{\publish}[2]{{\rm #1, #2,}}
+\newcommand{\byear}[1]{{\rm (#1).}}
+\newtheorem{preqn}{Exercise}
+\newenvironment{qn}{\preqn\rm}{\endpreqn}
+%%% Dear Mr Editor, I should like the content of exercises
+%%% to come out in what all copy-editors call ROMAN, not in what
+%%% Frank Mittelbach calls roman. And this should be irrespective
+%%% of the surrounding text.
+%%%
+\newcommand{\latexword}[1]{{\tt #1}}
+%%% and the above should be in typewriter-ordinary IRRESPECTIVE of the
+%%% surrounding fonts
+%%%
+%%%
+%%% editor: I have been as generic as I can, but of course you can't
+%%% put \verb inside a \newcommand. I have consistently used + as the
+%%% delimiter for \verb, except when I needed the + in Maths!
+%%%
+\newcommand{\lamport}{{\it \LaTeX: A Document Preparation System\/} by Leslie
+Lamport}
+\newcommand{\shortlamp}{{\it The Manual}}
+\let\torl\AllTeX
+\newcommand{\phz}{\phantom{0}}
+\newcommand{\dfrac}[2]{\displaystyle\frac{#1}{#2}}
+\newcommand{\CS}{\mathop{{\rm CS}}\nolimits}
+\newcommand{\normof}[1]{{\left\Vert#1\right\Vert}^2}
+\newcommand{\littlehead}[1]{\textit{#1}}
+
+\begin{Article}
+\section*{Recall}
+This is the fifth part of a sequence of tutorials on typesetting Mathematics in
+\LaTeX. The first four appeared in issues~4.4, 4.5, 5.1 and~5.2 of \BV.
+The series
+includes some things which can be found in \cite{leslie}, but I am
+working in more things which, while straightforward and necessary for
+Mathematical work, are not in \cite{leslie} or \cite{newleslie}. In this
+tutorial and the next
+I cover arrays: matrices, tables of data, aligned equations, and other
+items with a two-dimensional layout.
+
+I do not cover the extra array goodies
+provided by packages such as Frank Mittelbach's \latexword{array.sty}, David
+Carlisle's plethora of array add-ons or the new packages from the American
+Mathematical Society. I hope that someone else will write a follow-on article
+describing some or all of those, particularly if they can give easier methods
+of doing some of the more cumbersome items in this tutorial.
+
+In case you missed the previous
+tutorials, I remind you that
+I expect you, the reader, to do some work. Every so
+often comes a group of exercises, which you are supposed to do. Use \LaTeX\ to
+typeset everything in the exercise except sentences in italics, which are
+instructions. If you are not satisfied that you can do the exercise, then tell
+me. Either write to me at
+\begin{verse}
+School of Mathematical Sciences\\
+Queen Mary and Westfield College\\
+Mile End Road\\
+London E1 4NS
+\end{verse}
+with hard copy of your input and output,
+or email me at \mbox{\tt r.a.bailey@qmw.ac.uk}
+with a copy of the
+smallest possible piece of \LaTeX\ input file that contains your
+attempt at the answer.
+In either case
+I will include a solution in the following issue of \BV: you will remain
+anonymous if you wish.
+
+\addtocounter{section}{7}
+\section{Mathematical arrays}
+\subsection{Basics}
+The \latexword{array} environment is used to set all manner of aligned
+Mathematics. A simple example is:
+\[
+\begin{array}{l}
+\verb+\begin{array}{lrrr}+\\
+\verb+x & 1 & 2 & 5\\+\\
+\verb+x^2 & 1 & 4 & 25 \\+\\
+\verb+\end{array}+
+\end{array}
+\quad \qquad
+\begin{array}{lrrr}
+x & 1 & 2 & 5\\
+x^2 & 1 & 4 & 25
+\end{array}
+\]
+This array has four columns. The alignment of these columns is shown in the
+argument \latexword{lrrr} of the environment. The first column is left-aligned;
+the other three are right-aligned. It is also possible to have a centred
+column, shown by a~\latexword{c}. Typically columns of Mathematical symbols are
+centred, integers are right-aligned and powers of a single symbol are
+left-aligned.
+>From now on I shall refer to the argument such as \latexword{lrrr} as the
+{\em columns specifier}.
+
+Entries in each row of the \latexword{array} are separated by ampersands.
+The end of a row
+(except the last one) is shown by \verb+\\+. If the last few entries in a row
+are blank there is (usually) no need to put in all the ampersands.
+
+The \latexword{array} environment can be used only in Maths mode. All its
+entries are automatically in Maths mode, in \verb+\textstyle+.
+If you have fractions or summations in an array you may want to precede them by
+\verb+\displaystyle+.
+
+Each entry is in a separate `box',
+which is typeset before the array is built up. Thus switches such as
+\verb+\bf+, \verb+\displaystyle+ and \verb+\raggedright+ extend no further than
+the end of the current entry. If a binary relation or operator, such as~$=$
+or $+$, occurs at the beginning or end of an entry \torl\ cannot give it the
+proper spacing relative to the previous or succeeding entry.
+
+\subsection{Matrices and vectors}
+The most obvious use for \latexword{array} is for a matrix. Use \verb+\left+
+and \verb+\right+ to surround the matrix with fences of the right size.
+For example, the matrix in Figure~\ref{mv} begins
+\begin{verbatim}
+ \left(
+ \begin{array}{rrr}
+\end{verbatim}
+
+\begin{figure*}
+\begin{minipage}{.5\textwidth}
+\[
+\left(
+\begin{array}{rrr}
+2 & -1 & -1\\
+-1 & 3 & -1\\
+-1 & -1 & 4
+\end{array}
+\right)
+\left(
+\begin{array}{r}
+5\\-3\\8
+\end{array}
+\right)
+ =
+\left(
+\begin{array}{r}
+5\\-22\\30
+\end{array}
+\right)
+\]
+\caption{A matrix equation}
+\label{mv}
+\end{minipage}
+\begin{minipage}{.5\textwidth}
+\[
+\renewcommand{\arraystretch}{2}
+\det \left [
+\begin{array}{cccc}
+\dfrac{\partial h_1}{\partial y_1} & \dfrac{\partial h_1}{\partial y_2} &
+ \cdots & \dfrac{\partial h_1}{\partial y_n}\\
+\dfrac{\partial h_2}{\partial y_1} & \dfrac{\partial h_2}{\partial y_2} &
+ \cdots & \dfrac{\partial h_2}{\partial y_n}\\
+\vdots & \vdots &\ddots & \vdots\\
+\dfrac{\partial h_n}{\partial y_1} & \cdots & \cdots &
+ \dfrac{\partial h_n}{\partial y_n}
+\end{array}
+ \right]
+\]
+\caption{The Jacobian of~$h$}
+\label{jacob}
+\end{minipage}
+\end{figure*}
+
+The commands \verb+\vdots+ and \verb+\ddots+ are useful in matrices. They are
+both used in Figure~\ref{jacob}.
+
+
+An array can have a single column, as in the column vectors in Figure~\ref{mv},
+or a single row, which is useful for a permutation or a row vector.
+
+\subsection{Arrays of arrays}
+Try to think logically, rather than visually, about the contents of an array.
+For example, if you have six $5\times 5$ Latin squares set out in a $2 \times
+3$ rectangle then you might think that you have $10~$rows and $15$~columns.
+However, it is more logical to do \verb+\begin{array}{ccc}+ and then make each
+entry in this array a new array with five centred columns. One advantage of
+this approach is that it makes editing
+the file much easier when you decide to
+change the order of the Latin squares, or to lay them out in a $3\times 2$
+rectangle.
+
+\subsection{Changing the row spacing}
+The default spacing between the rows of an \latexword{array} is fine for simple
+matrices with numbers in, but is often insufficient for large entries,
+particularly if you use \verb+\displaystyle+. To adjust the amount of space
+after the current row, put an explicit length in square brackets after the
+\verb+\\+: for example, \verb+\\[20pt]+.
+
+I find it useful to work in multiples
+of \verb+\jot+: this length is the usual extra space between lines of displayed
+Mathematics. Curiously, \verb+\jot+ is equal to $3$~points in all of \LaTeX's
+three point sizes, so an adjustment in a $10$~pt document may not be correct if
+you change the document to $11$~pt. If you work in multiples of
+the length \verb+\baselineskip+
+then no extra adjustment is needed if the point size of the
+document is changed.
+
+Because of the complicated way in which the row-spacing in an array is adjusted
+to fit the contents, the length given in \verb+[ ]+ is not exactly an {\em
+addition}. You have to experiment to find out what works best: doubling the
+length given does not usually double the space between the rows.
+
+The existence of this optional length parameter to \verb+\\+ implies that no row
+of an array may start with \verb+[+. If you need to do this,
+precede it with an emtpy pair of braces: \verb+{}[...+.
+
+Changing the inter-row spacing for the whole array is much simpler than
+changing it for a single row. This spacing is governed by the value of the
+number
+\verb+\arraystretch+, whose default setting is~$1$.
+Between the rows of an array, the length \verb+\baselineskip+ is multiplied by
+\verb+\arraystretch+.
+In Figure~\ref{jacob},
+the rows have been spread out by putting
+\begin{verbatim}
+ \renewcommand{\arraystretch}{2}
+\end{verbatim}
+before the \verb+\begin{array}+. However, this command was given {\em after\/}
+the start of the displayed Maths, so that it remained local to that particular
+display. If you experiment with other values of \verb+\arraystretch+ in this
+example you will find that there is virtually no separation between the first
+two rows when \verb+\arraystretch+ is smaller than~$2$.
+Figure~\ref{ima} also shows an array in which \verb+\arraystretch+
+has been altered.
+
+Arrays inside arrays can have different values of \verb+\arraystretch+.
+For example, in
+\begin{verbatim}
+ \[
+ \renewcommand{\arraystretch}{2}
+ \begin{array}{ccc}
+ A & B &
+ \renewcommand{\arraystretch}{1.2}
+ \begin{array}{lr}
+ ...
+\end{verbatim}
+the outer array has \verb+\arraystretch+ equal to~$2$, while the inner
+array which is the third entry in the first row
+has \verb+\arraystretch+ equal to~$1.2$.
+
+\begin{figure*}
+\[
+\renewcommand{\arraystretch}{2}
+\addtolength{\arraycolsep}{1.5\arraycolsep}
+\begin{array}{cccp{1.5in}c}
+W_{1_G} & V_0 & 1 & one stratum\\
+W_\psi &\left(V_{\rm rows} + V_{\rm cols} \right) \cap V_0^\perp &
+2(q^2 + q) &
+\raggedright
+direct sum of two
+unidentifiable strata
+&
+\\
+W_\eta &\left(V_{\rm rows} + V_{\rm cols} \right) ^\perp & q^3 & one stratum
+\end{array}
+\]
+\caption{A table of mathematical information}
+\label{ima}
+%This gives four candidates for automorphisms:
+\[
+\begin{array}{l@{\colon p + q\omega + r \omega^2 +
+s\omega^3 + t\omega^4 \mapsto p +
+{}}r@{\omega + {}}r@{\omega^2 + {}}r@{\omega^3 + {}}r@{\omega^4}}
+\alpha_1 & q & r & s & t\\
+\alpha_2 & s & q & t & r\\
+\alpha_3 & r & t & q & s\\
+\alpha_4 & t & s & r & q
+\end{array}
+\]
+\caption{Four automorphisms of a splitting field}
+\label{galois}
+\end{figure*}
+
+\subsection{Changing the column spacing}
+The default inter-column spacing in an array is one quad. To change the spacing
+between a pair of adjacent columns, use \verb+@{...}+ between their alignment
+codes in the columns specifier, putting inside the braces
+the actual horizontal space
+required. For example,
+\verb+\begin{array}{cc@{\qquad}c@{}c}+
+produces an array with four centred columns in which the inter-column spaces
+are, in order, one quad, two quads and zero.
+
+At the start and end of the array there is usually a space of width half the
+inter-column space. These can be suppressed by putting \verb+@{}+ at the start
+and end of the columns specifier.
+
+The overall inter-column spacing is controlled by the value of the length
+\verb+\arraycolsep+, which is half the default inter-column space.
+This can be changed by using \verb+\addtolength+ in the
+usual way. I like to alter \verb+\arraycolsep+ by multiples of itself.
+%, so that
+%the changes are correct no matter what the point size of the document.
+For example, to treble the size of \verb+\arraycolsep+ do
+\begin{verbatim}
+ \addtolength{\arraycolsep}{2\arraycolsep}
+\end{verbatim}
+while to halve it make the last parameter \verb+-0.5\arraycolsep+.
+In Figure~\ref{ima}, \verb+\arraycolsep+ has been multiplied by~$2.5$.
+
+Finally, the command \verb+\extracolsep+ inside an \verb+@{...}+
+can be used to insert extra space to the left of all subsequent columns:
+for example, \verb+@{\extracolsep{1em}}+. This is not suppressed by a
+subsequent \verb+@{...}+.
+
+My remarks about quads above are not strictly true unless your current text font
+is Computer Modern roman in $10$~pt. A quad length is defined to be $1$~em,
+whose size depends on the current font, whereas \verb+\arraycolsep+ is defined
+to be $5$~pt, irrespective of the point size of the document. I find it very
+odd that \LaTeX, which has been so carefully set up so that the user can
+apparently change painlessly
+between $10$~pt, $11$~pt and $12$~pt, does not change the
+size of Maths lengths like \verb+\jot+ and \verb+\arraycolsep+ in the different
+point sizes.
+
+\subsection{Words in arrays}
+The odd word or two in an array can be put in by using \verb+\mbox+. But what
+should you do when you have a verbal phrase extending over more than one line,
+as in the final column of Figure~\ref{ima}?
+
+Most people's first thought is to have a separate line of the array for each
+line of text. As usual, this visual approach is inferior to the logical one
+when it comes to revising your file. Hard experience has shown me that you have
+to keep altering which words go on which lines as you alter other parts of the
+array. It is better to use the fourth type of column code~\verb+p+, which
+creates a paragraph box of a specified width. Thus the
+columns specifier in Figure~\ref{ima} is actually
+\verb+cccp{1.5in}+. Just guess a length to put inside
+\verb+p{...}+ at first: changing it later is much simpler than shuffling words
+around.
+
+Figure~\ref{ima} demonstrates another good reason to use the \verb+p+ code.
+The rows are far apart, because \verb+\arraystretch+ has been magnified. But we
+{\em don't\/} want the lines of text at the end of the second row to be that
+far apart. We could make an inner array with a smaller value of
+\verb+\arraystretch+, but it's simpler to use~\verb+p+.
+
+The only problem with the naked \verb+p+ columns is that they are set
+justified on both sides, which is absurd in narrow columns. I usually put
+\verb+\centering+ or \verb+\raggedright+ at the beginning of every entry in
+such a column. Unfortunately, you cannot do this in the final column of an
+array, because \LaTeX\ gets confused about whether \verb+\\+ refers to the row
+of the array or the line in the paragraph. If necessary, I get round this by
+adding a dummy unused column at the end of the array. Thus I told a lie above:
+the columns specifier in Figure~\ref{ima} is really
+\verb+cccp{1.5in}c+.
+
+\subsection{Inter-column constants}
+The code \verb+@{...}+ can be used for putting anything between two columns
+that must appear in every row, not just spaces. This is convenient for any
+repeated items. For example, the columns specifier in
+Figure~\ref{galois} is
+\begin{verbatim}
+ {l@{\colon p + q\omega + r \omega^2 +
+ s\omega^3 + t\omega^4 \mapsto p +
+ {}}r@{\omega + {}}r@{\omega^2 +
+ {}}r@{\omega^3 + {}}r@{\omega^4}}
+\end{verbatim}
+while the first row is just
+\begin{verbatim}
+ \alpha_1 &q & r & s & t
+\end{verbatim}
+Notice the pairs \verb+{}+ that have been inserted to make $+$ behave
+as a binary operator.
+
+
+\subsection{Positioning}
+By default, each array is positioned so that it is centred vertically. In
+Figure~\ref{mv}, the equals sign is aligned with the centre of each of the
+three arrays. To align an array on its top row, start it with
+\verb+\begin{array}[t]{...}+;
+to align it on its bottom row, use \verb+[b]+ in place of \verb+[t]+.
+
+These positionings work well for simple tables of numbers. However, the
+logical interaction between them and \verb+\left+ and \verb+\right+ fences
+produces bizarre results (try it!). If you want matrices aligned on their top
+rows, as in Figure~\ref{topmat}, you have to do something quite complicated,
+which I shall come back to later.
+
+\begin{figure*}
+\newcommand{\topthing}[1]{\begin{array}{@{}c@{}}#1\\\phz\end{array}}
+\newcommand{\vecmu}{\mbox{\boldmath$\mu$}}
+\newcommand{\vecx}{{\bf x}}
+\[
+\topthing{3(\vecx - \vecmu)^{\rm T} \Sigma^{-1} (\vecx - \vecmu) = (x-1,y+2)}
+\left[\begin{array}{rr}
+4&1\\1&1
+\end{array}
+\right]
+\left(\begin{array}{c}
+x-1\\y+2
+\end{array}
+\right)
+\]
+\caption{Matrices aligned on their top rows}
+\label{topmat}
+\end{figure*}
+
+\subsection{Cases}
+We often write equations where the value on the right-hand side depends on some
+condition, as in
+%The $(\omega,t)$-entry of~$X$ is defined by
+\begin{equation}
+X(\omega,t) = \cases{1 & if $\phi(\omega) = t$\cr
+ 0 & otherwise.}
+\label{eqncase}
+\end{equation}
+You can do the right-hand side of this using an \latexword{array}, but it is
+simpler to use the direct plain \TeX\ command \verb+\cases+. The right-hand
+side of Equation~(\ref{eqncase}) was produced with
+\begin{verbatim}
+ \cases{1 & if $\phi(\omega) = t$\cr
+ 0 & otherwise.}
+\end{verbatim}
+The argument of \verb+\cases+ is like a two-column array, with its rows
+separated by \verb+\cr+ instead of \verb+\\+. The first entry in each row is in
+Maths mode; the second is in non-Maths mode. Both
+columns are left-aligned.
+
+\subsection{Binomial coefficients}
+If you write your binomial coefficients as
+$6 \choose 2$ rather than ${}^6{\rm C}_2$
+you may be tempted to build them with an
+\latexword{array}. Don't. Use the plain \TeX\ infix command \verb+\choose+, as
+follows.
+\[
+\verb+6 \choose 2+ \quad \qquad {6 \choose 2}
+\]
+It comes out rather differently in \verb+\textstyle+ and in
+\verb+\displaystyle+.
+
+Because \verb+\choose+ does not have its two arguments in braces, it is
+safest if you enclose the whole expression in grouping braces, as in
+\verb+{6 \choose 2}+, to ensure that \verb+\choose+ does not search too far
+back or too far forward for its arguments.
+If you need to use this a lot, make a \LaTeX-style macro such as
+\begin{verbatim}
+ \newcommand{\binom}[2]{{#1\choose#2}}
+\end{verbatim}
+
+
+The command \verb+\atop+ works similarly, but omits the parentheses.
+
+\section*{Exercises}
+\addtocounter{preqn}{54}
+\begin{qn}
+The matrix $\left[\begin{array}{cc}
+1 & 3\\
+3 & 5
+\end{array}
+\right]$
+is symmetric.
+\end{qn}
+
+\begin{qn}
+The determinant is given by
+\[
+\det A = \left |
+\begin{array}{ccc}
+a_{11} & \ldots & a_{1n}\\
+\vdots & \ddots & \vdots\\
+a_{n1} & \ldots & a_{nn}
+\end{array}
+\right|
+\]
+\end{qn}
+
+\begin{qn}
+For a rotation,
+\[
+\left(\begin{array}{rr}
+\cos \theta & \sin \theta\\
+-\sin \theta & \cos \theta
+\end{array}
+\right)
+\left(\begin{array}{c}x \\ y\end{array}\right)
+ =
+\left(\begin{array}{c}
+x\cos \theta + y\sin \theta\\
+y\cos\theta - x\sin\theta
+\end{array}
+\right).
+\]
+\end{qn}
+
+\begin{qn}
+Here is a pair of mutually orthogonal Latin squares:
+\[
+\begin{array}{cc}
+\begin{array}{ccc}
+A & B & C\\
+B & C & A\\
+C & A & B\\
+\end{array}
+&
+\begin{array}{ccc}
+\alpha & \beta & \gamma\\
+\gamma & \alpha & \beta\\
+\beta & \gamma & \alpha
+\end{array}
+\\ \\
+\mbox{Square 1} & \mbox{Square 2}
+\end{array}
+\]
+\end{qn}
+
+\begin{qn}
+A few real functions:
+\[
+\begin{array}{lp{2in}c}
+x \mapsto x^2 & \raggedright differentiable everywhere & \\
+x \mapsto \left| x\right | & \raggedright
+differentiable everywhere except at the origin &\\
+x \mapsto \lfloor x \rfloor & \raggedright
+continuous everywhere except at the integers
+\end{array}
+\]
+\end{qn}
+
+\begin{qn}
+\it Typeset the table in Figure~\ref{ima}.
+\end{qn}
+
+\begin{qn}
+\addtolength{\arraycolsep}{-0.5\arraycolsep}
+Pascal's Triangle begins
+\[
+\begin{array}{*{13}{c}}
+ & & & & & & 1 & & & & & & \\
+ & & & & & 1 & & 1 & & & & & \\
+ & & & & 1 & & 2 & & 1 & & & &\\
+ & & & 1 & & 3 & & 3 & & 1 & & &\\
+ & & 1 & & 4 & & 6 & & 4 & & 1 & &\\
+ & 1 & & 5 & & 10 & & 10 & & 5 & & 1 &\\
+ 1 & & 6 & & 15 & & 20 & & 15 & & 6 & & 1
+\end{array}
+\]
+\end{qn}
+
+\begin{qn}
+The Stirling numbers of the second kind are defined by
+\[
+S(n,k) = \frac{1}{k!} \sum_{j=1}^{k} (-1)^{k-j} {k \choose j} j^n.
+\]
+\end{qn}
+
+\begin{qn}
+If the random variable $X$ is symmetric about~$0$ and if $Y = X^2$ then
+\[
+f_Y(y) = \cases{ 0 & if $y \leq 0$ \cr
+ \dfrac{f_X(\sqrt{y})}{\sqrt{y}} & if $y > 0$.}
+\]
+\end{qn}
+
+\begin{qn}
+\[
+\left[
+\begin{array}{cccc}
+\sigma_{11} & \sigma_{12} &\cdots & \sigma_{1n}\\
+\sigma_{21} & \sigma_{22} &\cdots & \sigma_{2n}\\
+ \vdots & \cdots & \ddots& \vdots\\
+\sigma_{1n} & \cdots & \cdots & \sigma_{nn}
+\end{array}
+\right]
+\]
+\end{qn}
+
+\begin{qn}
+\[
+\begin{array}{ccccccccc}
+M_0 & \subseteq & M_1 & \subseteq & M_2 & \subseteq & \cdots & \subseteq &
+M_m\\
+\uparrow && \uparrow && \uparrow\\
+\mbox{null} && \mbox{linear} && \mbox{quadratic}
+\end{array}
+\]
+\end{qn}
+
+\section{Tables of data}
+\subsection{General}
+The extra topics
+that I cover in this section are most pertinent to tables of data, but do
+sometimes arise in Mathematical arrays. Likewise,
+many considerations about Mathematical arrays also apply to tables of data.
+For example, the table in Figure~\ref{eel} does not really have eight columns:
+it has two long columns but has been broken down into four parts to fit on the
+page nicely. So it is set as an array with one row and four
+columns, each of whose entries is an array with two columns.
+
+\LaTeX\ has another environment, called \latexword{tabular}, which is very
+similar to \latexword{array}. It may be used inside or outside Maths mode. By
+default, each of its entries is set in ordinary mode. However, any
+extra space on either side of the ampersands has no effect.
+The length \verb+\arraycolsep+ is replaced by the length
+\verb+\tabcolsep+.
+Tables of data often have
+a mix of words and symbols, and you have to decide which is less trouble: using
+an \latexword{array} and putting the words in \verb+mbox+es or
+\verb+p+~columns, or using a \latexword{tabular} and putting the symbols in
+\verb+$...$+. If the latter, don't forget to put numbers in \verb+$...$+ if
+they involve a minus sign.
+
+\begin{figure*}
+\[
+\begin{tabular}{c|c|c|c}
+\begin{tabular}{cc}
+Year 1 & Year 2\\
+\hline
+269 & 466\\
+100 & 219\\
+197 & 421\\
+216 & 708\\
+\end{tabular}
+&
+\begin{tabular}{cc}
+Year 1 & Year 2\\
+\hline
+134 & 590\\
+\phz 74 & 137\\
+\phz 88 & 356\\
+\phz 25 & 212
+\end{tabular}
+&
+\begin{tabular}{cc}
+Year 1 & Year 2\\
+\hline
+211 & 505 \\
+102 & 363\\
+191 & 563\\
+\phz 67 & 338\\
+\end{tabular}
+&
+\begin{tabular}{cc}
+Year 1 & Year 2\\
+\hline
+209 & 352\\
+\phz 29 & 254\\
+\phz 19 & 106\\
+\phz 44 & 268
+\end{tabular}
+\end{tabular}
+\]
+\caption{Number of eelworms in two successive years}
+\label{eel}
+\end{figure*}
+
+\subsection{Horizontal rules}
+
+\begin{figure*}[hbtp]
+\[
+\begin{tabular}{l@{\qquad}l@{\qquad}lrrrrrrrrr}
+\hline
+ & & & \multicolumn{3}{c}{1961} & \multicolumn{3}{c}{1971} &
+\multicolumn{3}{c}{1981}\\
+\hline
+\multicolumn{3}{l}{Billion passenger kilometres travelled by:}\\
+ & \multicolumn{2}{l}{Air} && 1 &&& 2 &&& 3&\\
+ & \multicolumn{2}{l}{Rail} && 39 &&& 36 &&& 34&\\
+ & \multicolumn{2}{l}{Road}\\
+ & & Buses and coaches && 67 &&& 51 &&& 42&\\
+ & & Cars, taxis and two-wheeled motor vehicles && 142 &&& 284 &&& 380&\\
+ & & Bicycles && 10 &&& 4 &&& 4&\\
+\cline{4-12}
+ & \multicolumn{2}{l}{Total} && 259 &&& 377 &&& 406&\\
+\hline
+\end{tabular}
+\]
+\caption{Passenger transport (from \protect\cite{keyd})}
+\label{cars}
+\end{figure*}
+
+To obtain a horizontal rule stretching the full width of the array, use
+\verb+\hrule+. Don't forget to finish the previous row with \verb+\\+, even if
+it is the last row of the array, as at the end of Figure~\ref{cars}. Two or
+more \verb+\hrule+s can follow each other with no intervening \verb+\\+.
+A little vertical space is put between two such horizontal rules.
+However, any vertical rules in the array (see below) will be suppressed between
+the successive horizontal rules.
+
+For a horizontal rule spanning only columns \mbox{$2$--$4$}, say, use
+\verb+\cline{2-4}+. Again, finish the preceding row with \verb+\\+.
+Figure~\ref{cars} shows an example of this.
+Successive
+\verb+\cline+s will be interpreted as being in the same row, as in
+\verb+\cline{2-4}\cline{7-7}+, for example, so that
+\verb+\cline{2-4}\cline{2-4}+ does {\em not\/} produce two horizontal lines
+with a little space between them. Likewise, there is no space between an
+\verb+\hline+ and an immediately preceding or succeeding \verb+\cline+.
+
+\subsection{Vertical rules}
+
+A vertical rule is obtained by putting \verb+|+ at the appropriate place in the
+columns specifier. For example, the columns specifier for the
+\latexword{tabular} in Figure~\ref{travel} is
+\begin{verbatim}
+ |r@{ Month}l@{\quad\pounds}r|
+\end{verbatim}
+Two or more \verb+|+s may come next to each other.
+
+\begin{figure*}
+\begin{minipage}{.5\textwidth}
+\[
+\begin{tabular}{|r@{ Month}l@{\quad\pounds}r|}
+\hline
+\multicolumn{3}{|c|}{Premiums}\\
+\hline
+1 & & 18\\
+3 & s & 48\\
+6 & s & 95 \\
+9 & s & 136\\
+\hline
+\end{tabular}
+\]
+\caption{Travel insurance}
+\label{travel}
+\end{minipage}
+\begin{minipage}{.5\textwidth}
+
+\[
+\begin{tabular}{lr@{}l}
+Bootstrap & 0.301\\
+Jackknife & 0.314\\
+Delta method & 0.244& *\\
+Half-samples & 0.364 & \dag\\
+Random subsampling & 0.423 & \ddag\\
+Normal theory & 0.302
+\end{tabular}
+\]
+\caption{Sticking out to the right (from \protect\cite{brad})}
+\label{efron}
+\end{minipage}
+\end{figure*}
+
+For a vertical rule in a single item, stretching from the top to bottom of its
+row, use \verb+\vline+. This cannot be used in a \verb+p+~column, but may be
+put inside \verb+@{...}+.
+
+If you omit the trailing ampersands in a row with few items the trailing
+vertical rules will also be omitted. This can be a nuisance in a sparse table.
+If you want a vertical rule at each side of a sparse table, consider doing
+this:
+\begin{verbatim}
+ \begin{array}{|c|}
+ \begin{array}{@{}...@{}}
+ ...
+ \end{array}
+ \end{array}
+\end{verbatim}
+
+The length \verb+\arrayrulewidth+ controls the thickness of all the horizontal
+and vertical rules just described. The width of the space between the vertical
+rules created by \verb+||+ in a the columns specifier is controlled by the
+length \verb+\doublerulesep+, as is the vertical space between two successive
+\verb+\hline+s.
+
+\subsection{Spanning several columns}
+The \verb+\multicolumn+ command is used to create an entry spanning several
+columns. It takes three arguments. The first is the number of columns to be
+spanned; the second is the code for the type of column to be used;
+the third is the text of the entry.
+\begin{verbatim}
+ \begin{tabular}{crrrr}
+ Type & \multicolumn{4}{c}{Grade}\\
+ \cline{2-5}
+ & 12 & 16 & 24 & 30\\
+ \hline
+ $A$ & 0 & 1 & 21 & 24\\
+ $B$ & 1 & 6 & 24 & 13
+ \end{tabular}
+\end{verbatim}
+\[
+\begin{tabular}{crrrr}
+Type & \multicolumn{4}{c}{Grade}\\
+\cline{2-5}
+ & 12 & 16 & 24 & 30\\
+\hline
+$A$ & 0 & 1 & 21 & 24\\
+ $B$ & 1 & 6 & 24 & 13
+\end{tabular}
+\]
+
+Any \verb+|+ in the columns specifier is
+regarded as belonging to its preceding column, and may be overwritten by
+\verb+\multicolumn+ unless it is included in the second argument. The exception
+is any \verb+|+ to the left of the first column, which is regarded as part of
+the first column.
+For example, the first row in Figure~\ref{travel} is
+\begin{verbatim}
+ \multicolumn{3}{|c|}{Premiums}\\
+\end{verbatim}
+Expressions \verb+@{...}+ in the columns specifier are similarly assigned to
+columns and similarly overwritten.
+
+Indented row labels for subheadings can also be conveniently obtained by using
+\verb+\multicolumn+. The \latexword{tabular} in Figure~\ref{cars} begins with
+three \verb+l+~columns. The first row after the second horizontal rule is a
+\verb+\multicolumn+ spanning three columns; the next begins with \verb+&+
+followed by a
+\verb+\multicolumn+ spanning two columns.
+
+Unfortunately, if the width of a multicolumn entry spanning three or more
+columns is more than the total width of the spanned columns, \LaTeX\ cannot
+adjust the spacing between those columns to make it equal: it puts all the
+extra space to the left of the last of the spanned columns. The only way that
+I know
+around this is to use \verb+@{...}+ to put the same amount of extra space
+between each adjacent pair of the spanned columns.
+
+\subsection{Changing the type of an entry}
+Although its name does not suggest it, the command
+\verb+\multicolumn+ is also used to
+change the type of a single entry. This is most often used to give a centred
+heading to a column of right-aligned data.
+\begin{verbatim}
+ \begin{array}{rrr}
+ \multicolumn{1}{c}{n} &
+ \multicolumn{1}{c}{n^2} &
+ \multicolumn{1}{c}{\phi(n)}\\
+ 9 & 81 & 6\\
+ 10 & 100 & 4\\
+ 11 & 121 & 10
+ \end{array}
+\end{verbatim}
+\[
+\begin{array}{rrr}
+\multicolumn{1}{c}{n} & \multicolumn{1}{c}{n^2}
+& \multicolumn{1}{c}{\phi(n)}\\
+9 & 81 & 6\\
+10 & 100 & 4\\
+11 & 121 & 10
+\end{array}
+\]
+As this example shows, this works fine when the centred heading is narrower
+than the widest other entry in the column. However, when it is wider then all
+the other entries in the column are aligned with its right-hand edge, when
+probably what you wanted was to have them right-aligned among themselves and
+then all centred under the heading.
+How can this be fixed?
+
+If most of the numbers are the same length, a reasonable solution is to make the
+whole column centred and put in \verb+\phantom{0}+s to make the shorter numbers
+as long as the longest. This works because all digits have the same width.
+ That is what I did in Figure~\ref{eel}.
+
+I adopted a different solution in Figure~\ref{cars}, where I decided that the
+year headings, not being numbers to be added to other numbers in their columns,
+should be centred. This time I used the columns specifier \verb+rrr+ for each
+column of data. In the headings I used \verb+\multicolumn{3}{c}{...}+ and in
+the data rows I left one blank entry either side of each data entry. The result
+is rather widely spaced: space could be saved by using \verb+@{...}+ between
+each data column and its blank neighbours.
+
+The command
+\verb+\multicolumn{1}+ can also be used to remove a vertical rule or the
+contents of an \verb+@{...}+ from one particular row. For example, if the
+columns specifier is \verb+l|r+ then the vertical rule is missing from any row
+whose first entry is made with \verb+\multicolumn{1}{l}+.
+
+\subsection{Decimal tabulation}
+Sometimes a column of numbers with decimal points should be aligned
+on those decimal points. If they all have the same number of digits after the
+point, there is no problem: simply use an \verb+r+ column. If only a few numbers
+are missing a few digits after the point, fill in the spaces with
+\verb+\phantom{0}+ and still use an \verb+r+ column. Only if you have a long
+column of numbers with very variable numbers of digits after the point is it
+worth going to the trouble of using the columns specifier \verb+r@{.}l+ and
+entering a number such as 3.142 as \verb+3 & 142+.
+
+\subsection{Things that stick out}
+Sometimes you have a column of numbers that should be right-aligned but some of
+the entries have accretions that should stick out to the right, as in
+Figure~\ref{efron}, or a left-aligned column with pieces sticking out to the
+left. There are three ways of dealing with this, each appropriate in different
+circumstances.
+
+
+If the pieces that stick out are all digits, use \verb+\phantom{0}+ as
+described above.
+
+Sometimes the piece that sticks out is very small and occurs in only one row.
+If a displayed Mathematical array ends the sentence
+then sometimes the full stop needs to
+come outside the array, vertically centred (with \verb+\end{array}.\]+); but
+sometimes the final row of the array
+needs a full stop at the end of it without upsetting the column alignment.
+Then the trick is to add the full stop in such a way that \torl\ thinks that it
+doesn't take up any space. According to \cite[page~98]{leslie}, you do this
+with
+\verb+\makebox[0pt][l]{.}+, but the plain \TeX\ \verb+\rlap{.}+ is shorter and
+achieves the same effect. For a small item sticking out on the left use
+\verb+\makebox[0pt][r]{ }+ or \verb+\llap{ }+. Of course, the content of
+\verb+\makebox{ }+ or \verb+\rlap+ or \verb+\llap+ is not in Maths mode.
+
+Statisticians sometimes put a question mark to indicate dubious data, and
+scientists often decorate numbers with stars to show statistical significance.
+In such cases it is best to use the columns specifier \verb+r@{}l+ for the
+column: the \verb+r+ part is used for the numbers and the \verb+l+ part is used
+for any decorations.
+In Figure~\ref{efron} the columns specifier is \verb+lr@{}l+ and
+the fourth line is
+\begin{verbatim}
+ Half-samples & 0.364 & \dag\\
+\end{verbatim}
+
+To see the difference between these last two solutions, compare the following.
+\begin{center}
+$
+\begin{array}{ll}
+\begin{array}{l}
+\verb+\begin{array}{|r@{}l|}+\\
+\verb!20 & ++!\\
+\verb+\end{array}+
+\end{array}
+&
+\begin{array}{|r@{}l|}
+20 & ++
+\end{array}
+\\ \\
+\begin{array}{l}
+\verb+\begin{array}{|r|}+\\
+\verb!20 \rlap{$++$}!\\
+\verb+\end{array}+
+\end{array}
+&
+\begin{array}{|r|}
+20 \rlap{$++$}
+\end{array}
+\end{array}
+$
+\end{center}
+
+\subsection{Columns specifiers}
+We have seen that a columns specifier is a string of the following objects:
+\verb+r+, \verb+l+, \verb+c+, \verb+p{...}+, \verb+@{...}+ and \verb+|+. It is
+easy to lose track when setting up the column specifier for a complicated
+array. However, repeated elements may be simplified by using \verb+*+. Thus an
+array with $15$~centred columns can be specified with \verb+*{15}{c}+. This
+shorthand is really advantageous for something complicated like
+\verb+l|*{4}{r@{}lrr|}+. Moreover, \verb+*+~expressions can be nested within
+each other.
+
+\section*{Exercises}
+\begin{qn}
+\renewcommand{\arraystretch}{1.6}
+\[
+\begin{array}{c|ccccc}
+\multicolumn{6}{c}{\mbox{Values of $\nu_{\gamma\chi}$ for the design}}\\
+\hline
+\gamma & \chi_0 & \chi_1 & \chi_2 &\chi_3 & \chi_4\\
+\hline
+\mu & 1 & 0 & 0 & 0 & 0 \\
+\sigma & 1 & 0 & 0 & 0 & 0\\
+\rho & 1 & 0 & 0 & \frac{1}{4} & 0\\
+\kappa & 1 & \displaystyle\frac{3 + e_2 - e_1}{36} &
+\displaystyle\frac{3 + e_4 - e_2}{36} & 0 &
+\displaystyle\frac{3 + e_1 - e_4}{36}\\
+\varepsilon & 1 & 1 & 1 & 1 & 1\\
+\hline
+\end{array}
+\]
+\end{qn}
+
+\begin{qn}
+Table of results:
+\[
+\begin{array}{l|cc|r}
+ & B_1 & B_2\\
+\hline
+A_1 & 37 & \phz53 & 90\\
+A_2 & 41 & \phz48 & 89\\
+\hline
+ & 78 & 101 & 179
+\end{array}
+\]
+\end{qn}
+
+\begin{qn}
+\it Typeset the table in Figure~\ref{eel}.
+\end{qn}
+
+\begin{qn}
+\[
+\begin{array}{lrrrr@{.}l}
+\mbox{Source} & \mbox{df} & \multicolumn{1}{c}{\mbox{SS}} &
+\multicolumn{1}{c}{\mbox{MS}} & \multicolumn{2}{c}{\mbox{VR}}\\
+\hline
+x_1 & 1 & 104474 & 104474 & 1220 & 5\\
+x_2 \mid x_1 & 1 & 2284 & 2284 & 26 & 68\\
+\cline{1-3}
+\mbox{regression} & 2 & 106758\\
+\mbox{residual} & 15 & 1284 & 85.6\\
+\cline{1-3}
+\mbox{`total'} & 17 & 108042
+\end{array}
+\]
+\end{qn}
+
+\begin{qn}
+\it Typeset the table in Figure~\ref{cars}.
+\end{qn}
+
+\begin{qn}
+\[
+\begin{tabular}%
+{||r@{ }l|r@{}l|cr@{}lc|@{}c@{\hspace{\arraycolsep}\pounds}r||}
+\multicolumn{2}{||c|}{Date} & \multicolumn{2}{c|}{Miles} &
+\multicolumn{4}{c|}{Gallons} & \multicolumn{2}{c||}{Cost}\\
+\hline
+27 & December & 46674 & && 4 & .18 &&& 5.56\\
+3 & January & 46038 & & &3 & .93 && &5.00\\
+6 & January & 47956 & ? && 7 & .1 && &10.50\\
+10 & January & 47292 & && 7 & .89&& & 10.50\\
+17 & January & 47464 &&& 4 & &&&5.00\\
+\multicolumn{10}{||c||}{\dotfill}\\
+3 & February & 48112 &&& 6 & .88 &&& 9.00
+\end{tabular}
+\]
+\end{qn}
+
+\begin{thebibliography}{9}
+\bibitem{keyd}
+\writer{Central Statistical Office}
+\book{Key Data 1986}
+\publish{Her Majesty's Stationery Office}{London}
+\byear{1986}
+
+\bibitem{brad}
+\writer{Efron,~B.}
+\book{The Jackknife, the Bootstrap and Other Resampling Plans}
+\publish{Society for Industrial and Applied Mathematics}{Philadelphia}
+\byear{1982}
+
+\bibitem{leslie}
+\writer{Lamport,~L.}
+\book{\LaTeX: A Document Preparation System}
+first edition,
+\publish{Addison-Wesley}{Reading, Mass.}
+\byear{1986}
+
+\bibitem{newleslie}
+\writer{Lamport,~L.}
+\book{\LaTeX: A Document Preparation System}
+second edition,
+\publish{Addison-Wesley}{Reading, Mass.}
+\byear{1994}
+
+\end{thebibliography}
+\end{Article}
+
+
diff --git a/usergrps/uktug/baskervi/5_3/barron.tex b/usergrps/uktug/baskervi/5_3/barron.tex
new file mode 100644
index 0000000000..224f7d2320
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/barron.tex
@@ -0,0 +1,175 @@
+\title{Portable Documents: Why Use SGML?}
+\author[David Barron]{David Barron\\
+Department of Electronics and Computer Science\\
+University of Southampton}
+\begin{Article}
+\section{Introduction}
+In this article we present a few ideas as a framework for the
+discussion of portable documents. We address a number of questions:
+\begin{itemize}
+\item What are portable documents?
+\item Who needs them, and why?
+\item How to produce them, now and in the future
+\end{itemize}
+
+\section{Documents}
+Traditionally, a document was a file (or a deck of cards),
+and consisted solely of text.
+Today, documents are typically {\em compound}, a
+mixture of text and graphics (bit-map or line art) that can be
+rendered on paper or screen. Additionally, they may include
+hypertext links (in which case they can only be viewed on screen).
+A recent development is the ability to incorporate video
+and sound in a compound document, either embedded
+within the document or linked by a pointer:
+such a document is a {\em multimedia} document. Hypertext-style links
+may also be included to form a {\em hypermedia} document: evidently,
+multimedia and hypermedia documents can only be `read' on a suitably
+equipped computer system.
+
+World Wide Web (WWW) documents are a special case of
+compound hypermedia documents
+where the links are to other documents elsewhere on the Internet
+They can be regarded as virtual documents, in the sense that the
+whole document never exists as a single identifiable object.
+More generally, we can define a {\em virtual document} as
+a structured collection of information from which instances of
+documents and other resources can be derived. Examples include:
+\begin{itemize}
+\item The Oxford English Dictionary which exists as a database
+from which are derived various printed editions (Shorter, Concise,
+Pocket etc.), as well as the CD-ROM version
+\item Critical editions of a literary text, where a single source
+`document' contains all the variations, and can be printed out using
+different variants as the base text
+\end{itemize}
+
+\section{Portability}
+The definition of portability that we shall use in this discussion is
+the ability to transmit the document digitally (over a network,
+or on a disk or CD-ROM) and re-create a faithful rendering of the document
+after transmission, if need be
+on a different hardware and/or software platform
+from that on which the document was originally created.
+It is important to observe that there are three different forms in
+which the text and graphics in a document might be re-created:
+\begin{itemize}
+\item with absolute visual fidelity
+\item with approximate visual fidelity
+\item retaining content only
+\end{itemize}
+
+\section{Who needs portable documents, and why?}
+
+Three different needs for portable documents can be adduced
+\begin{enumerate}
+\item Publishers need them in order to distribute electronic
+books and journals
+\item Communities with common interests
+who need to share information need them. An example is a
+scientific research community whose members use diverse hardware and
+software
+\item Librarians responsible for digital archives need
+portable documents, since they cannot assume that a particular
+hardware/software platform will exist in perpetuity
+\end{enumerate}
+
+\section{Examples of successful portability}
+\begin{itemize}
+\item Computer science researchers and software manufacturers
+distribute documents as PostScript files. This works well
+if the fonts employed are restricted to the basic 35, and
+the use of Adobe Acrobat (pdf files) increases portability when other
+fonts are used.
+
+\item The Physics pre-print library at Los Alamos National Laboratory
+is used by many physicists world-wide: over 10,000 retrievals per day
+are reported. The archive holds pre-prints in \LaTeX\ and PostScript
+formats (figures in PostScript only). This is successful because the
+Physics community has for some years used \TeX\ as its preferred means
+of exchanging information.
+
+\item WWW documents are highly portable, since
+their rendering is (almost entirely) determined by the
+browser software, and the use of a common mark-up language (HTML)
+ensures portability
+\end{itemize}
+
+\section{Achieving portability}
+At first sight it appears that portability might be achieved
+by agreeing standards (e.g. \LaTeX, PostScript, ODA, HTML).
+At present there is too much choice, and no obvious winner,
+especially in hypermedia documents. This is a sign of an
+immature technology. Another important fact to take into account
+is that it is difficult to impose standards in some environments
+e.g. acadaemia, where personal preferences lead to the equivalent of
+religious wars.
+
+Particular problems in achieving portability arise from varying
+fonts and character codes e.g. in handling European languages.
+Unicode will go a long way towards solving the character
+codes problem.
+
+\section{Why use SGML?}
+SGML provides a formal and portable definition of document structure.
+SGML syntax can define a hierarchical structure of embedded document parts,
+and can associate a type with each component in the hierarchy.
+By associating a rendering definition with each type of component,
+it is possible to achieve a portable document. In particular,
+SGML provides a uniform archive format for a library of portable
+documents.
+
+\subsection{An example}
+Suppose it is required to maintain a library of technical
+documents in an environment where some authors use \LaTeX,
+whilst others use Microsoft Word. We can define an SGML
+DTD for the document structure, together with \LaTeX and Word
+styles to define the rendering.
+This opens up three possibilities:
+\begin{enumerate}
+\item Author in SGML and use a tool to produce a \LaTeX\ or
+Word version from which the printed version can be produced.
+\item Author in \LaTeX\ and use a tool to translate to SGML to
+produce the archive copy
+\item Author in Word and use a tool to translate the RTF form to
+SGML to produce the archive copy
+\end{enumerate}
+
+In addition to the SGML version of the documents, the
+archive must contain the Word and \LaTeX\ style files and the
+translation tools. Once this is done, anyone can collect a
+document, the required style files and tools and produce a copy of
+the document.
+This will of course only work for text documents. For any
+document with graphics content, and for hypermedia
+documents, more is required. This is possible in
+principle, but much remains to be done
+
+\section{The future}
+A combination of SGML and OpenDoc is probably the best way forward.
+OpenDoc provides an architecture for portable documents:
+it treats a
+document as a container for a collection of `parts', each of which can
+have other parts embedded within it. Each type of part has
+associated programs to edit and render it, so that
+documents can be re-created with varying degrees of fidelity
+depending on the availability of rendering software
+for the particular varieties of parts that it includes.
+
+OpenDoc is a dynamic architecture, and assumes that a new type
+of part may occur at any time.
+In principle SGML can be used to describe the static
+structure of an OpenDoc document, providing the final link in the
+portability chain.
+\end{Article}
+Sir -- Philip Taylor is to be complimented on a fine display of pedantry
+in the best academic tradition, the kind of tradition that gives academics
+a bad name amongst normal folk. In computing we use lots of everyday
+words with specialised meanings, and most of us find no difficulty
+in using the context of an utterance to achieve any necessary disambiguation.
+With regard to his criticism of my use of the term "multimedia document",
+I agree that I don't plug my computer into a multiways socket. But then,
+I don't attend a performance of an operum at Covent Garden, either.
+
+Yours sincerely
+
diff --git a/usergrps/uktug/baskervi/5_3/bask5_2.tex b/usergrps/uktug/baskervi/5_3/bask5_2.tex
new file mode 100644
index 0000000000..f0297c2d73
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/bask5_2.tex
@@ -0,0 +1,46 @@
+\documentclass[]{baskerv}
+\BASKvol{5}
+\BASKno{2}
+\def\thisyear{1995}
+\def\thismonth{March}
+\begin{document}
+\vspace*{-1cm}
+\begin{multicols}{2}[\makeBSKtitle]
+\begin{raggedright}
+\tableofcontents
+\end{raggedright}
+\input editor
+\end{multicols}
+\input taylor1
+\input carlisle
+\input taylor2
+\Dings
+\input barron
+\Dings
+\input fine
+\Dings
+\input flynn
+\newpage
+\input granger
+\Dings
+\input key
+\Dings
+\input szillat
+\Dings
+\input panel
+\Dings
+\input bailey
+\Dings
+\input kees
+\Dings
+\input cameron
+\Dings
+\input clark
+\Dings
+\input eurotex
+%\Dings
+%\input group
+%\newpage
+%\setcounter{tocdepth}{-2}
+%pagestyle{empty}\advance\textwidth by -1.5in
+\end{document}
diff --git a/usergrps/uktug/baskervi/5_3/bask5_3.rep b/usergrps/uktug/baskervi/5_3/bask5_3.rep
new file mode 100644
index 0000000000..481534cc2c
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/bask5_3.rep
@@ -0,0 +1,40 @@
+(newarticle.1) <Editorial>
+(section.1.1) <Calling on you>
+(section.1.2) <Looking different>
+(section.1.3) <Sad resignation of {\relax \fontsize {8}{9}\selectfont \abovedisplayskip 4\p@ plus1\p@ minus1\p@ \abovedisplayshortskip \z@ plus\p@ \belowdisplayshortskip 3\p@ plus\p@ minus2\p@ \def \leftmargin \leftmargini \parsep \z@ \topsep 2\p@ plus1\p@ minus1\p@ \itemsep \z@ plus.1\p@ {\leftmargin \leftmargini \topsep 1\p@ plus1\p@ minus1\p@ \parsep \z@ \itemsep 2\p@ }\belowdisplayskip \abovedisplayskip UK}TUG\ committee member>
+(section.1.4) <Whither \LaTeX ?>
+(newarticle.2) <Cathy Booth Memorial>
+(newarticle.3) <Cathy Booth 1952--1991>
+(newarticle.4) <Honorary Member>
+(newarticle.5) <Letter to the editor>
+(newarticle.6) <Using Adobe Type 1 Multiple Master fonts with \TeX >
+(section.6.1) <Introduction>
+(section.6.2) <Multiple Master overview>
+(section.6.3) <Multiple Master Font Programs>
+(section.6.4) <Using Multiple master fonts with TeX{}>
+(section.6.5) <In practice>
+(newarticle.7) <Maths in \LaTeX : Part\nobreakspace {}5, Getting started on arrays>
+(section.7.8) <Mathematical arrays>
+(section.7.9) <Tables of data>
+(newarticle.8) <Report of visit to CERN to attend presentation of $\Omega $>
+(section.8.1) <Introduction>
+(section.8.2) <What \emph {is} \Om ?>
+(section.8.3) <Why Unicode?>
+(section.8.4) <Virtual Metafont and Fonts to Support Unicode>
+(newarticle.9) <A.N.Other's Gleanings>
+(section.9.1) <Framed, or a boojum?>
+(section.9.2) <Lettres>
+(section.9.3) <To be taken daily>
+(section.9.4) <Web>
+(section.9.5) <Deathwish 1996>
+(section.9.6) <Another famous Belgian>
+(section.9.7) <Thank you>
+(newarticle.10) <New PostScript font metrics for \LaTeX >
+(newarticle.11) <Standard for TeX\ Directory Structures>
+(newarticle.12) <The 1995 Annual General Meeting>
+(newarticle.13) <The UK TeX\ Users Group>
+(section.13.1) <Group aims and activities>
+(section.13.2) <Programme of meetings for 1995>
+(newarticle.14) <Obtaining TeX>
+(newarticle.15) <Membership Data>
+(section.15.1) <Membership Services>
diff --git a/usergrps/uktug/baskervi/5_3/bask5_3.tex b/usergrps/uktug/baskervi/5_3/bask5_3.tex
new file mode 100644
index 0000000000..840726cd8d
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/bask5_3.tex
@@ -0,0 +1,59 @@
+\errorcontextlines=10
+\documentclass[]{baskrep}
+\special{header=MinionMM.PFA}
+\BASKvol{5}
+\BASKno{3}
+\def\thisyear{1995}
+\def\thismonth{June}
+\usepackage{afterpage}
+\DeclareRobustCommand{\Om}{\ensuremath{\Omega}}
+\makeatletter
+\def\LaTeX{L\kern-.24em
+ {\setbox0\hbox{T}%
+ \vbox to\ht0{\hbox{$\m@th$%
+ \csname S@\f@size\endcsname
+ \fontsize\sf@size\z@
+ \math@fontsfalse\selectfont
+ A}%
+ \vss}%
+ }%
+ \kern-.10em
+ \TeX}
+\makeatother
+\begin{document}
+\vspace*{-1cm}
+\begin{multicols}{2}[\makeBSKtitle]
+\begin{raggedright}
+\tableofcontents
+\end{raggedright}
+\input editor
+\end{multicols}
+\Dings
+\input booth
+\Dings
+\input honmem
+\Dings
+\input taylor
+\newpage
+\input goossens
+\Dings
+\DeleteShortVerb{\|}
+\input bailey
+\Dings
+\input robin
+\Dings
+\input clark
+\Dings
+\input psfonts
+\Dings
+\input tds
+\Dings
+\input agm
+\Dings
+\input standard
+\input abbott
+\newpage
+\setcounter{tocdepth}{-2}
+\pagestyle{empty}\advance\textwidth by -1.5in
+\input form
+\end{document}
diff --git a/usergrps/uktug/baskervi/5_3/baskerv.cls b/usergrps/uktug/baskervi/5_3/baskerv.cls
new file mode 100644
index 0000000000..37874bc409
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/baskerv.cls
@@ -0,0 +1,766 @@
+% Baskerville.cls:
+% Adrian Clark
+% Sue Brooks
+% Sebastan Rahtz
+%
+% based on the original LaTeX ARTICLE DOCUMENT STYLE
+%
+% for LaTeX2e
+%
+\def\filedate{1995/01/30}
+\def\fileversion{3.10}
+% 29.5.94 added ISSN
+% 2.6.94 corrected \ukt\ macro
+% 7.6.94 centered captions
+% 15.8.94 changed editor names etc
+% 2.11.94 use Alan Jeffrey's code for paths, emails, URLs etc
+% from faq.sty
+% put PA address in mast head
+% Journals use two-sided printing.
+% 1.12.94 cleaned again for FAQ issue.
+% 6.12.94 more little fixes for FAQ issue
+% 14.3.95 parameterized date
+% 12.6.95 removed JF
+\NeedsTeXFormat{LaTeX2e}
+\ProvidesClass{baskerv}[\filedate, Baskerville newsletter class \fileversion]
+\DeclareOption*{\PassOptionsToClass{\CurrentOption}{article}}
+\ProcessOptions
+\LoadClass{article}
+\RequirePackage[noisy]{textfit}
+\RequirePackage{pifont}
+\RequirePackage{latexsym}
+\RequirePackage{calc}
+\RequirePackage{ifthen}
+\RequirePackage{longtable}
+\renewcommand{\rmdefault}{mbvx}
+\renewcommand{\sfdefault}{cmss}
+\renewcommand{\ttdefault}{cmtt}
+\fontfamily{mbv}\selectfont
+\DeclareFontShape{T1}{mbv}{m}{sl}{<->ssub * mbv/m/it}{}
+\RequirePackage{t1enc}
+\RequirePackage{array}
+\RequirePackage{shortvrb}
+\RequirePackage[dvips]{epsfig}
+\RequirePackage[dvips]{color}
+\RequirePackage{multicol}
+\RequirePackage{faq}
+\RequirePackage{mflogo}
+%\RequirePackage{footcols}
+\newcommand\bs{{\ttfamily\upshape\char'134}}
+\def\arraybackslash{\let\\=\@arraycr}
+\newcolumntype{P}[1]{>{\raggedright\arraybackslash}p{#1}}
+\newcolumntype{C}[1]{>{\centering\arraybackslash}p{#1}}
+\lineskip 1\p@
+\normallineskip 1\p@
+\def\baselinestretch{1}
+\renewcommand\normalsize{%
+ \@setfontsize\normalsize\@xpt\@xiipt
+ \abovedisplayskip 4\p@ \@plus1\p@ \@minus1\p@
+ \abovedisplayshortskip \z@ \@plus3\p@
+ \belowdisplayshortskip 4\p@ \@plus3\p@
+ \belowdisplayskip \abovedisplayskip
+ \let\@listi\@listI}
+\let\@normalsize\normalsize
+\normalsize
+\renewcommand\small{%
+ \@setfontsize\small\@ixpt{10.5}%
+ \abovedisplayskip 4\p@ \@plus1\p@ \@minus1\p@
+ \abovedisplayshortskip 4\p@ \@plus1\p@
+ \belowdisplayshortskip \abovedisplayshortskip
+ \def\@listi{\leftmargin\leftmargini
+ \topsep 2\p@ \@plus1\p@ \@minus1\p@
+ \parsep \z@
+ \itemsep 2\p@}%
+ \belowdisplayskip \abovedisplayskip
+}
+\renewcommand\footnotesize{%
+ \@setfontsize\footnotesize\@viiipt{9}%
+ \abovedisplayskip 4\p@ \@plus1\p@ \@minus1\p@
+ \abovedisplayshortskip \z@ \@plus\p@
+ \belowdisplayshortskip 3\p@ \@plus\p@ \@minus2\p@
+ \def\@listi{\leftmargin\leftmargini
+ \topsep 1\p@ \@plus1\p@ \@minus1\p@
+ \parsep \z@
+ \itemsep 2\p@}%
+ \belowdisplayskip \abovedisplayskip
+}
+\renewcommand\scriptsize{\@setfontsize\scriptsize\@viipt\@viiipt}
+\renewcommand\tiny{\@setfontsize\tiny\@vpt\@vipt}
+\renewcommand\large{\@setfontsize\large\@xipt{12}}
+\renewcommand\Large{\@setfontsize\Large\@xiipt{14}}
+\renewcommand\LARGE{\@setfontsize\LARGE\@xivpt{17}}
+\renewcommand\huge{\@setfontsize\huge\@xviipt{20}}
+\renewcommand\Huge{\@setfontsize\Huge\@xxpt{30}}
+\normalsize
+\DeclareOldFontCommand{\rm}{\normalfont\rmfamily}{\mathrm}
+\DeclareOldFontCommand{\sf}{\normalfont\sffamily}{\mathsf}
+\DeclareOldFontCommand{\tt}{\normalfont\ttfamily}{\mathtt}
+\DeclareOldFontCommand{\bf}{\normalfont\bfseries}{\mathbf}
+\DeclareOldFontCommand{\it}{\normalfont\itshape}{\mathit}
+\DeclareOldFontCommand{\sl}{\normalfont\slshape}{\@nomath\sl}
+\DeclareOldFontCommand{\sc}{\normalfont\scshape}{\@nomath\sc}
+
+% ****************************************
+% * PAGE LAYOUT *
+% ****************************************
+%
+% SIDE MARGINS:
+\oddsidemargin -2.5pc \evensidemargin -2.5pc
+\marginparwidth 4pc % don't use marginal notes...
+\marginparsep 0.5pc % ...in the UK TUG newsletter
+
+% VERTICAL SPACING:
+\topmargin -3pc
+\headheight 12\p@
+\headsep 15\p@
+\topskip 10\p@
+\footskip 15\p@
+
+% DIMENSION OF TEXT:
+
+\textheight 250mm % height of text on a page (A4 paper)
+\textwidth 180mm % total width of a page
+\columnseprule 0.5\p@ % width of line in the inter-column gutter
+\columnsep 10mm % space between columns
+\tolerance 9999 % make those columns justify
+
+% FOOTNOTES:
+\footnotesep 6\p@
+\skip\footins 19.5\p@ plus 12\p@ \@minus 1\p@
+
+% FLOATS:
+\floatsep 12\p@ plus 5.5\p@ \@minus 1\p@
+\textfloatsep 15\p@ plus 4.5\p@ \@minus 3\p@
+\intextsep 12\p@ plus 5.5\p@ \@minus 2\p@
+\dblfloatsep 12\p@ plus 5.5\p@ \@minus 2\p@
+\dbltextfloatsep 15\p@ plus 4.5\p@ \@minus 3\p@
+\@fptop 0\p@ plus 0fil
+\@fpsep 12\p@ plus 0fil
+\@fpbot 0\p@ plus 3fil
+\@dblfptop 0\p@ plus 0fil
+\@dblfpsep 12\p@ plus 0fil
+\@dblfpbot 0\p@ plus 3fil
+\marginparpush 5\p@
+
+% ****************************************
+% * PARAGRAPHING *
+% ****************************************
+%
+\parindent 12\p@
+\parskip \z@ plus .1\p@
+\partopsep 0\p@ plus 1\p@
+\@lowpenalty 51
+\@medpenalty 151
+\@highpenalty 301
+\@beginparpenalty -\@lowpenalty
+\@endparpenalty -\@lowpenalty
+\@itempenalty -\@lowpenalty
+\clubpenalty=0
+\widowpenalty=10000
+
+% ****************************************
+% * SKIPS *
+% ****************************************
+%
+\newskip\@indentskip
+\newskip\smallindent
+\newskip\@footindent
+\newskip\@leftskip
+\@indentskip=1.25pc
+\smallindent=\parindent
+\@footindent=\smallindent
+\@leftskip=\z@
+
+
+% ****************************************
+% * SECTIONS *
+% ****************************************
+%
+\def\Section{\@startsection{newarticle}{0}{\z@}
+ {-24\p@ \@plus -12\p@ \@minus -.1\p@}
+ {12\p@ \@plus 1\p@}
+ {\raggedright\Large\bfseries}}
+\def\section{%\typeout{** section!}%
+\@startsection {section}{1}{\z@}
+ {-12\p@ \@plus -6\p@ \@minus -.1\p@}
+ {6\p@}
+ {\raggedright\large\bfseries}}
+\def\subsection{\@startsection{subsection}{2}{\z@}
+ {-4\p@ \@plus -2\p@ \@minus -.1\p@}
+ {0.1\p@ \@plus 2\p@}
+ {\raggedright\normalsize\itshape}}
+\def\subsubsection{\@startsection{subsubsection}{3}{\z@}
+ {-6\p@ \@plus -3\p@ \@minus -1\p@}
+ {0.1\p@ \@plus 2\p@}
+ {\raggedright\normalsize\it}}
+\def\paragraph{\@startsection{paragraph}{4}{\z@}
+ {12\p@ \@plus 2.25\p@ \@minus -1\p@}
+ {-0.5em}
+ {\normalsize\bfseries}}
+\def\subparagraph{\@startsection{subparagraph}{5}{\z@}
+ {12\p@ \@plus 2.25\p@ \@minus 1\p@}
+ {-0.5em}
+ {\normalsize\it}}
+\setcounter{secnumdepth}{-1}
+%
+\def\appendix{\par
+ \setcounter{section}{0}
+ \setcounter{subsection}{0}
+ \def\thesection{\Alph{section}}}
+
+% ****************************************
+% * PARTS & SECTIONS NUMBERS *
+% ****************************************
+%
+\newcounter{newarticle}
+\@newctr{section}[newarticle]
+\def\thenewarticle {\Alph{newarticle}}
+
+% ****************************************
+% * LISTS *
+% ****************************************
+%
+\leftmargini \@indentskip
+\leftmarginii 1pc
+\leftmarginiii 1pc
+\leftmarginiv 1pc
+\leftmarginv 1pc
+\leftmarginvi 1pc
+\leftmargin\leftmargini
+\labelsep 0.5em
+\labelwidth\leftmargini\advance\labelwidth-\labelsep
+%
+% label macros for Range-Left and Range-Right labels
+\def\makeRLlabel#1{\rlap{#1}\hss}
+\def\makeRRlabel#1{\hss\llap{#1}}
+%
+\def\@listI{\leftmargin\leftmargini
+ \parsep \z@
+ \topsep 2\p@ \@plus 1\p@ \@minus 1\p@
+ \itemsep \z@ \@plus .1\p@
+}
+\let\@listi\@listI
+\@listi
+\def\@listii{\leftmargin\leftmarginii
+ \labelwidth\leftmarginii\advance\labelwidth-\labelsep
+ \topsep 2\p@ \@plus 1\p@ \@minus 1\p@
+ \parsep \z@
+ \itemsep \z@ \@plus .1\p@
+}
+\def\@listiii{\leftmargin\leftmarginiii
+ \labelwidth\leftmarginiii\advance\labelwidth-\labelsep
+ \topsep 1\p@ \@plus 1\p@ \@minus 1\p@
+ \parsep \z@
+ \partopsep \z@
+ \itemsep \topsep
+}
+\def\@listiv{\leftmargin\leftmarginiv
+ \labelwidth\leftmarginiv\advance\labelwidth-\labelsep
+}
+\def\@listv{\leftmargin\leftmarginv
+ \labelwidth\leftmarginv\advance\labelwidth-\labelsep
+}
+\def\@listvi{\leftmargin\leftmarginvi
+ \labelwidth\leftmarginvi\advance\labelwidth-\labelsep
+}
+%
+% ITEMIZE
+\def\itemize{\ifnum \@itemdepth >3 \@toodeep
+ \else \advance\@itemdepth \@ne
+ \edef\@itemitem{labelitem\romannumeral\the\@itemdepth}%
+ \list{\csname\@itemitem\endcsname}%
+ {\let\makelabel\makeRRlabel}%
+ \fi}
+\def\labelitemi{$\bullet$}
+\def\labelitemii{--}
+\def\labelitemiii{$\cdot$}
+\def\labelitemiv{*}
+%
+% ENUMERATE with optional argument to set left margin...
+\def\enumerate{\ifnum \@enumdepth >3 \@toodeep \else
+ \advance\@enumdepth \@ne
+ \edef\@enumctr{enum\romannumeral\the\@enumdepth}%
+ \fi
+ \@ifnextchar [{\@enumeratetwo}{\@enumerateone}%
+}
+\def\@enumeratetwo[#1]{%
+ \list{\csname label\@enumctr\endcsname}%
+ {\settowidth\labelwidth{[#1]}
+ \leftmargin\labelwidth \advance\leftmargin\labelsep
+ \usecounter{\@enumctr}
+ \let\makelabel\makeRRlabel}
+}
+\def\@enumerateone{%
+ \list{\csname label\@enumctr\endcsname}%
+ {\usecounter{\@enumctr}
+ \let\makelabel\makeRRlabel}}
+%
+\def\labelenumi{\theenumi}
+\def\theenumi{\arabic{enumi}.}
+\def\labelenumii{(\theenumii)}
+\def\theenumii{\alph{enumii}}
+\def\p@enumii{\theenumi}
+\def\labelenumiii{\theenumiii}
+\def\theenumiii{\roman{enumiii}}
+\def\p@enumiii{\theenumi(\theenumii)}
+\def\labelenumiv{\theenumiv}
+\def\theenumiv{\Alph{enumiv}}
+\def\p@enumiv{\p@enumiii\theenumiii}
+% ARRAY AND TABULAR
+%
+\arraycolsep 5\p@
+\tabcolsep 6\p@
+\arrayrulewidth .5\p@
+\doublerulesep 1.5\p@
+
+% ****************************************
+% * TITLES AND ABSTRACT *
+% ****************************************
+%
+\def\BASKvol#1{\gdef\BASK@vol{#1}}
+\gdef\BASK@vol{?}
+\def\BASKno#1{\gdef\BASK@no{#1}}
+\gdef\BASK@no{?}
+\def\makeBSKtitle{\par
+ \begingroup
+ \vspace*{-\headheight}%
+ \@maketitle
+ \bigskip\hrule\bigskip
+ \thispagestyle{plain}
+ \endgroup
+ \let\maketitle\relax
+ \let\@maketitle\relax
+}
+\newbox\BSKbox
+\def\@maketitle{%
+\centerline{{\bfseries \scaletowidth{\textwidth}{B\,a\,s\,k\,e\,r\,v\,i\,l\,l\,e}}}
+ \medskip
+ \hbox to \textwidth{\bfseries The Annals of the UK \TeX\ Users'
+ Group\hfill Editor: Sebastian Rahtz\hfill Vol.~\BASK@vol\ No.~\BASK@no}
+ \smallskip\hbox to \textwidth{\bfseries ISSN 1354--5930
+\hfill \thismonth\ \thisyear}
+ \medskip
+ \noindent Articles may be submitted via electronic mail to
+ \texttt{baskerville@tex.ac.uk}, or on MSDOS-compatible discs,
+ to Sebastian Rahtz, Elsevier Science Ltd, The Boulevard, Langford
+Lane, Kidlington, Oxford OX5 1GB, to whom any correspondence
+concerning \BV\ should also be addressed. \BV\ is set in Monotype
+Baskerville, with Computer Modern Typewriter for literal
+text, and printed on a Xerox Docutech. Production and distribution is
+undertaken in Cambridge by Robin Fairbairns. Back
+issues from the previous 12 months may be ordered from \ukt\ for
+\pounds2 each; earlier issues are archived on \textsc{ctan} in
+\texttt{usergrps/uktug}.
+
+Please send \ukt\ subscriptions, and book or software orders, to
+Peter Abbott, 1 Eymore Close, Selly Oak, Birmingham B29 4LB.
+Fax/telephone: 0121 476 2159. Email
+enquiries about \ukt\ to \protect\texttt{uktug-enquiries@tex.ac.uk}.
+ }
+
+\def\and{\end{tabular}\vskip 6pt\par
+ \begin{tabular}[t]{@{}l@{}}}
+%
+\def\abstract{\@abstract}
+%\def\endabstract{\endlist}
+%\def\@abstract{\list{}{\leftmargin \z@\rightmargin\z@
+% \parsep 0\p@ \@plus 1\p@}\item[]\normalsize{\bfseries Summary}\\}
+\def\endabstract{\par}
+\def\@abstract{\subsection*{Summary}}
+
+% ****************************************
+% * PAGE STYLES *
+% ****************************************
+%
+\mark{{}{}}
+\gdef\@author{}
+\def\author{\@ifnextchar [{\@authortwo}{\@authorone}}
+\def\@authortwo[#1]#2{\gdef\@author{#2}\gdef\@shortauthor{#1}}
+\def\@authorone#1{\gdef\@author{#1}\gdef\@shortauthor{#1}}
+\gdef\@shortauthor{Dummy Author}
+\gdef\@title{Dummy Article Title}
+\gdef\@longtitle{Dummy Article Title}
+\def\title{\@ifnextchar [{\@titletwo}{\@titleone}}
+\def\@titletwo[#1]#2{\gdef\@title{#1}\gdef\@longtitle{#2}}
+\def\@titleone#1{\gdef\@title{#1}\gdef\@longtitle{#1}}
+\gdef\@longtitle{Dummy Title}
+
+%
+% \ps@empty defined in LATEX.TEX
+%
+\def\ps@plain{\let\@mkboth\markboth
+ \def\@oddhead{}
+ \def\@evenhead{}
+ \def\@oddfoot{\rm \hfil --\thepage--\hfil}
+ \def\@evenfoot{\rm \hfil --\thepage--\hfil}
+}
+\def\ps@headings{\let\@mkboth\markboth
+ \def\@oddhead{\hfill\emph{\@title}\hfill}
+ \def\@oddfoot{\rm \hfil --\thepage--\hfil}
+ \def\@evenhead{\it Baskerville \hfill Volume \BASK@vol, Number \BASK@no}
+ \def\@evenfoot{\rm \hfil --\thepage--\hfil}
+}
+\def\ps@myheadings{\let\@mkboth\@gobbletwo
+ \def\@oddhead{\it\@shortauthor \hfill \@title}
+ \def\@oddfoot{\rm \hfil --\thepage--\hfil}
+ \def\@evenhead{\it Baskerville \hfill Volume \BASK@vol, Number \BASK@no}
+ \def\@evenfoot{\rm \hfil --\thepage--\hfil}
+ \def\sectionmark##1{}
+ \def\subsectionmark##1{}}
+
+% ****************************************
+% * TABLE OF CONTENTS, ETC. *
+% ****************************************
+%
+\def\@pnumwidth{1.4pc}
+\def\@tocrmarg {2pc}
+\def\@dotsep{10}
+\setcounter{tocdepth}{0}
+%\def\tableofcontents{\@restonecolfalse
+% \if@twocolumn\@restonecoltrue\onecolumn\fi
+% \section*{Contents} \@starttoc{toc}
+% \if@restonecol\twocolumn\fi \par\vspace{12\p@}}
+\def\tableofcontents{\Section*{Contents}\@starttoc{toc}}
+\def\l@part#1#2{\addpenalty{-\@highpenalty}
+ \addvspace{2.25em \@plus 1\p@}
+ \begingroup
+ \parindent \z@ \rightskip \@pnumwidth
+ \parfillskip -\@pnumwidth
+ {\normalsize\rm
+ \leavevmode \hspace*{3pc}
+ #1\hfil \hbox to\@pnumwidth{\hss \ }}\par
+ \nobreak \global\@nobreaktrue
+ \everypar{\global\@nobreakfalse\everypar{}}\endgroup}
+\def\dotfil{\cleaders\hbox{$\m@th \mkern1.5mu.\mkern1.5mu$}\hfil\kern\z@}
+\def\l@newarticle#1#2{\addpenalty{\@secpenalty}
+% \addvspace{1.0em \@plus 1\p@}
+ \@tempdima 1.5em % width of box holding section number
+ \begingroup
+ \parindent \z@ \rightskip \@pnumwidth
+ \parfillskip -\@pnumwidth
+ \leavevmode
+ #1\dotfil \hbox to\@pnumwidth{\hss #2}\par
+ \endgroup}
+\def\l@section{\@dottedtocline{1}{\z@}{1.5em}}
+\def\l@subsection{\@dottedtocline{2}{1.5em}{2.3em}}
+\def\l@subsubsection{\@dottedtocline{3}{3.8em}{3.2em}}
+\def\l@paragraph{\@dottedtocline{4}{7.0em}{4.1em}}
+\def\l@subparagraph{\@dottedtocline{5}{10em}{5em}}
+\def\listoffigures{\@restonecolfalse
+ \if@twocolumn\@restonecoltrue\onecolumn\fi
+ \section*{List of Figures\@mkboth{List of Figures}{List of Figures}}
+ \@starttoc{lof} \if@restonecol\twocolumn\fi}
+\def\l@figure{\@dottedtocline{1}{1.5em}{2.3em}}
+\def\listoftables{\@restonecolfalse
+ \if@twocolumn\@restonecoltrue\onecolumn\fi
+ \section*{List of Tables\@mkboth{List of Tables}{List of Tables}}
+ \@starttoc{lot} \if@restonecol\twocolumn\fi}
+\let\l@table\l@figure
+
+% ****************************************
+% * BIBLIOGRAPHY *
+% ****************************************
+%
+\def\thebibliography#1{\section*{\refname}
+ \small
+\list
+ {\@biblabel{\arabic{enumiv}}}{\settowidth\labelwidth{\@biblabel{#1}}%
+ \leftmargin\labelwidth
+ \advance\leftmargin\labelsep
+ \usecounter{enumiv}%
+ \let\p@enumiv\@empty
+ \def\theenumiv{\arabic{enumiv}}}%
+ \def\newblock{\hskip .11em plus.33em minus.07em}%
+ \parskip\z@ \@plus .1pt\relax
+ \clubpenalty4000\widowpenalty4000\sfcode`\.=1000\relax}
+\def\refname{References}
+\def\endthebibliography{%
+ \def\@noitemerr{\@warning{Empty `thebibliography' environment}}%
+ \endlist}
+
+\setcounter{topnumber}{2}
+\def\topfraction{.9}
+\setcounter{bottomnumber}{1}
+\def\bottomfraction{.9}
+\setcounter{totalnumber}{3}
+\def\textfraction{.1}
+\def\floatpagefraction{.75}
+\setcounter{dbltopnumber}{2}
+\def\dbltopfraction{.9}
+\def\dblfloatpagefraction{.75}
+
+\long\def\@makecaption#1#2{\vskip 6\p@
+ \setbox\@tempboxa\hbox{\small{\bfseries #1.} #2}
+ \ifdim \wd\@tempboxa >.8\hsize
+ \small{\bfseries #1.} #2\par
+ \else
+ \hbox to.8\hsize{\hfill\box\@tempboxa\hfill}
+ \fi
+ \vskip 6\p@
+}
+
+
+% --- -----------------------------------------------------------------
+% --- Shorthands for non-English abbreviations and words.
+% --- -----------------------------------------------------------------
+
+\def\foreign{\em}
+\def\etc{{\foreign etc.}} % etc.
+\def\eg{{\foreign e.g.~}\ignorespaces} % e.g.
+\def\egc{{\foreign e.g.,~}\ignorespaces} % e.g.,
+\def\ie{{\foreign i.e.~}\ignorespaces} % i.e.
+\def\iec{{\foreign i.e.,~}\ignorespaces} % i.e.,
+
+% --- -----------------------------------------------------------------
+% --- Tex-related mnemonics.
+% --- -----------------------------------------------------------------
+
+
+\def\La{\protect\p@La}
+\def\p@La{L%
+ {\setbox0\hbox{T}%
+ \setbox2\vbox to\ht0{\kern.07ex\hbox{%
+ \csname S@\f@size\endcsname
+ \math@fontsfalse
+ \fontsize\sf@size\z@\selectfont
+ A}%
+ \vss}%
+ \kern-.5\wd2
+ \box2
+ }}
+\def\AllTeX{(\La)\TeX}
+\def\AmSTeX{$\mathcal{A}\kern-.1667em\lower.5ex\hbox{$\mathcal{M}$}\kern-.125em S$\TeX}
+\def\LamsTeX{$\mathcal{L}\mathcal{A}%
+\kern-.1667em\lower.5ex\hbox{$\mathcal{M}$}\kern-.125em S$\TeX}
+\def\BibTeX{{\rmfamily B\kern-.05em\textsc{i\kern-.025em b}\kern-.08em\TeX}}
+\def\INRStex{T\kern-.1667em\lower.5ex\hbox{\^E}\kern-.125emX}
+\def\JTeX{\leavevmode\hbox{\lower.5ex\hbox{J}\kern-.18em\TeX}}
+\def\LAMSTeX{L\kern -0.4 em \raise 0.3 ex \hbox {$\scriptstyle \mathcal{A}$}%
+ \kern -0.25 em \lower 0.4 ex \hbox {$\cal M$}%
+ \kern -0.1 em \hbox {$\mathcal{S}$}-\TeX}
+\def\AMSLaTeX{{$\mathcal{A}$\kern-.1667em\lower.5ex\hbox{$\mathcal{M}$}\kern-.125em
+ $\mathcal{S}$-\LaTeX}}
+\def\MakeIndex{{\itshape MakeIndex}}
+\def\PiC{P\kern-.12em\lower.5ex\hbox{I}\kern-.075emC}
+\def\PiCTeX{\PiC\kern-.11em\TeX}
+% SliTeX from the SliTeX Documentation
+\def\SLiTeX{S\kern-.065em L\kern-.18em\raise.32ex\hbox{\textsc{i}}\kern-.03em\TeX}
+\let\SliTeX\SLiTeX
+\def\POBox{P.\thinspace O.~Box }
+\def\TeXhax{\TeX hax}
+\def\TeXXeT{\TeX--X\kern-.125em\lower.5ex\hbox{E}\kern-.1667emT}
+\def\TUB{\emph{TUGboat}}
+\def\DVI{\texttt{dvi}}
+\def\VF{\textsc{vf}}
+\def\BV{\emph{Baskerville}}
+\def\UKTUG{UK \TeX\ Users' Group}
+\def\ukt{{\footnotesize UK}TUG}
+\let\shortuktug\ukt
+\def\PS{\textsc{PostScript}}
+\newcommand{\payuk}{UK TeX Users' Group}
+\newcommand{\Newline}{\\[0.7\baselineskip]}
+\newcommand{\FullLine}[1]{%
+ \makebox[\linewidth][l]{#1\hrulefill}\Newline}
+\newcommand{\HalfLine}[1]{%
+ \makebox[0.5\linewidth][l]{#1\hrulefill}}
+
+\def\Dash{---}
+
+
+% --- -----------------------------------------------------------------
+% --- Additional commands.
+% --- -----------------------------------------------------------------
+
+\let\maketitle\make@articletitle
+\def\make@articletitle{\Section{\@longtitle}}
+
+\def\article{%
+ \setcounter{figure}{0}%
+ \setcounter{table}{0}%
+ \Section{\@longtitle}%
+ \let\maketitle\relax
+ \markright{\@shortauthor\hfill\@longtitle}%
+}
+%
+% Article is when the title is double column
+\def\Article{%
+ \setcounter{figure}{0}%
+ \setcounter{table}{0}%
+ \begin{multicols}{2}[\Section{\@longtitle}]%
+ \let\maketitle\relax
+ \markright{\@shortauthor\hfill\@longtitle}%
+}
+% Article is when the title is double column
+\def\FArticle{%
+ \setcounter{figure}{0}%
+ \setcounter{table}{0}%
+ \begin{multicols}{2}[\Section*{\@longtitle}]%
+}
+\def\endarticle{\@signature
+ \gdef\@author{\mbox{}}}
+
+\def\endArticle{\@signature
+ \gdef\@author{\mbox{}}\end{multicols}%
+}
+\let\endFArticle\endArticle
+\def\newarticlemark#1{}
+
+% --- Macros for cross-referencing tables and figures.
+
+\def\figref#1{Figure~\ref{#1}}
+\def\tabref#1{Table~\ref{#1}}
+
+% --- Output the attribution at the end of an article.
+\def\emptysig{}
+\def\@signature{%
+ \ifx\@author\emptysig\else
+ \begin{flushright}\begin{tabular}{@{}r@{}}\@author\end{tabular}%
+ \end{flushright}\fi}
+
+\def\signature#1{\begin{flushright}
+ \begin{tabular}{@{}r@{}}#1\end{tabular}%
+ \end{flushright}}
+
+% --- ------------------------------------------------------------------
+% --- The following macros are taken from Adrian F. Clark's LaTeX style
+% --- file `dates.sty', which provides fairly flexible date inclusions.
+% --- ------------------------------------------------------------------
+
+\def\today{\thisdayofweek\ \thisdayth\ \thismonth\ \thisyear}
+
+\def\thisday{\number\day}
+
+\def\thisdayth{\thisday \ifcase\day
+ \or\st\or\nd\or\rd\or\th\or\th\or\th\or\th\or\th\or\th\or\th
+ \or\th\or\th\or\th\or\th\or\th\or\th\or\th\or\th\or\th\or\th
+ \or\st\or\nd\or\rd\or\th\or\th\or\th\or\th\or\th\or\th\or\th\or\st\fi}
+
+\def\thisdayofweek{\dayofweek{\year}{\month}{\day}}
+
+\def\thismonth{\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}
+
+\def\thisyear{\number\year}
+
+% --- Names of days of the week and the months.
+% --- This makes it easier to change them for languages other than English.
+% --- (And that's why they're not \@Sunday, etc).
+
+\def\Sunday{Sunday}
+\def\Monday{Monday}
+\def\Tuesday{Tuesday}
+\def\Wednesday{Wednesday}
+\def\Thursday{Thursday}
+\def\Friday{Friday}
+\def\Saturday{Saturday}
+
+\def\January{January}
+\def\February{February}
+\def\March{March}
+\def\April{April}
+\def\May{May}
+\def\June{June}
+\def\July{July}
+\def\August{August}
+\def\September{September}
+\def\October{October}
+\def\November{November}
+\def\December{December}
+
+% --- Counters. Note that we use the same registers as TeX holds other
+% --- things in (e.g., \count0 holds the page number). This requires
+% --- that \@savestyle, \@setstyle, and \dayofweek perform all
+% --- their register manipulations within a group. This may seem
+% --- a bit messy, but it saves having eight registers permanently set
+% --- aside just for date calculation.
+
+\def\@cent{\count0 } % century number (1979 == 20)
+\def\@diy{\count1 } % day in the year
+\def\@dow{\count2 } % gets day of the week
+\def\@epact{\count3 } % age of the moon on Jan. 1
+\def\@golden{\count4 } % Moon's golden number
+\def\@leap{\count5 } % leap year fingaler
+\def\@x{\count6 } % temp register
+\def\@y{\count7 } % another temp register
+
+\def\st{\alien@up{st}}
+\def\nd{\alien@up{nd}}
+\def\rd{\alien@up{rd}}
+\def\th{\alien@up{th}}
+
+\def\alien@up#1{{\@savestyle\thinspace$^{\underline{\hbox{%
+ \scriptsize\@setstyle#1\fam=-1 }}}$}}
+
+% --- Macros to save and restore the font family.
+
+\def\@savestyle{\count0=\the\fam}
+
+\def\@setstyle{\ifcase\count0\rm\or\mit\or\cal\or\rm% what's family 3?
+ \or\it\or\sl\or\bfseries\or\tt\fi}
+
+% --- The day of the week (\Sunday, etc.) is inserted into the text
+% --- by \dayofweek. (This uses registers \@dow, \@leap, \@x and \@y.)
+% --- I acquired this from elsewhere; it was apparently written by
+% --- Martin Minow, now a DEC employee.
+
+\def\dayofweek#1#2#3{{%
+ \@leap=#2 \advance\@leap by -14 \divide\@leap by 12
+ \advance\@leap by #1
+ \@dow=#2 \advance\@dow by 10
+ \@y=\@dow \divide\@y by 13 \multiply\@y by 12
+ \advance\@dow by -\@y \multiply\@dow by 13 \advance\@dow by -1 \divide\@dow by 5
+ \advance\@dow by #3 \advance\@dow by 77
+ \@x=\@leap \@y=\@x \divide\@y by 100 \multiply\@y by 100 \advance\@x by -\@y
+ \multiply\@x by 5 \divide\@x by 4 \advance\@dow by \@x
+ \@x=\@leap \divide\@x by 400 \advance\@dow by \@x
+ \@x=\@leap \divide\@x by 100 \multiply\@x by 2 \advance\@dow by -\@x
+ \@x=\@dow \divide\@x by 7 \multiply\@x by 7 \advance\@dow by -\@x
+ \ifcase\@dow \Sunday\or \Monday\or \Tuesday\or \Wednesday\or
+ \Thursday\or \Friday\or \Saturday\fi}}
+
+% ****************************************
+% * INITIALIZATION *
+% ****************************************
+%
+\ps@headings
+\pagenumbering{arabic}
+\sloppy
+\flushbottom
+\frenchspacing
+
+\extrarowheight2\p@
+\setlength{\multicolsep}{6\p@}
+\let\sl\it
+\newcommand{\meta}[1]{{$\langle$\itshape #1\/$\rangle$}}
+\def\Gin@extensions{eps,ps,psz}
+\def\Gin@sepdefault{.}%
+\@namedef{Gin@rule@psz}#1{{eps}{bb}{`gunzip -c #1}}
+
+% no rule in footcols
+
+\def\@makecol@ftn{%
+ \vskip \skip\footins
+ \footnoterule
+ \footnotesize
+ \multicolsep\z@\relax
+ \hsize\textwidth
+ \@parboxrestore
+ % {\showoutput\batchmode\showbox\footins}%
+ \raggedcolumns
+ \bgroup \columnseprule 0\p@
+ \begin{multicols}{\the\ftn@col@number}%
+ \unvbox \footins
+ \end{multicols}%
+ \egroup
+}
+%
+% available for inter-article dinglines
+%
+\def\Dings{\nopagebreak{\footnotesize\dingline{167}}}
+%
+% breakable, no brackets, cites
+\def\@cite#1#2{{#1\if@tempswa , #2\fi}}
+\@twosidetrue \@mparswitchtrue
+\endinput
+%%
diff --git a/usergrps/uktug/baskervi/5_3/booth.tex b/usergrps/uktug/baskervi/5_3/booth.tex
new file mode 100644
index 0000000000..f8515bd3a9
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/booth.tex
@@ -0,0 +1,103 @@
+\title{Cathy Booth Memorial}
+\author{}
+\begin{Article}
+ At the 1992 AGM it was agreed that the \ukt\ would establish the
+ Cathy Booth Memorial Fund, to be used ``to support education and
+ research in electronic publishing in general and in the use and
+ development of \TeX\ and its relatives in particular, and for other
+ charitable purposes connected with education''.
+
+ The committee intended to set up a charitable trust to administer
+ the fund, and then to collect money for it (cheques cannot be
+ written to a trust which does not yet exist). However, both trusts
+ and charities are covered by various laws, and the legal hurdles
+ proved too much for the committee. Accordingly, at its meeting in
+ February 1995, the committee decided to adopt a simpler way of
+ honouring Cathy Booth's memory, but with the same aim.
+ Specifically, it was decided to do something in Cathy Booth's name,
+ at least once in each calendar year, supported by money if
+ appropriate, for the purpose ``of furthering research and education
+ in relation to electronic publishing in general and the use and
+ development of the public domain typesetting program \TeX\ and
+ related programs in particular''. (This wording is taken from the
+ draft trust document.)
+
+ As it's first act in Cathy Booth's memory, the committee gave
+ support, in two ways, to the April 1995 GUTenberg meeting on the
+ $\Omega$~project. It donated \pounds 200 to the meeting. It also
+ sent Robin Fairbairns to the meeting as its delegate. A report of
+ that meeting appears elsewhere in this issue.
+
+\begin{flushright}
+R. A. Bailey\\
+Honorary Secretary 1991--1995
+\end{flushright}
+\end{Article}
+\author{Chris Rowley and Malcolm Clark}
+\title{Cathy Booth 1952--1991}
+\begin{Article}
+Cathy Booth\footnote{This article is based on one that appeared in
+ \TeX line in 1991}
+died on June 27th, 1991. She had known that she had cancer
+of the kidneys for just about a year. She had undergone a major
+operation the previous summer, but sadly the extensive surgery
+performed at that time was too late to control the cancer. During
+that last year she fought the disease consistently, cheerfully and
+resolutely; she was determined that she should not be treated any
+differently, despite the gradual decline in mobility and energy which
+ensued. Ultimately she was confined to a wheel chair and she 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 as normal. However, this was not to be: she died, peacefully
+and gracefully, at the hospice with most of her close family at her
+side.
+
+Cathy was born on June 19th, 1952. She attended Exeter University,
+where she completed a BSc in Geography. She fell in love with Exeter
+and spent the rest of her life that area. 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 took a post as Computing Development
+Officer back at Exeter University. One of her first responsibilities
+was support of \TeX. As a result, 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 (Strasbourg
+1986, Karlsruhe 1989 and Cork 1990), as well as TUG meetings in
+North America (Montreal 1988 and Stanford 1989), and some of the
+GUTenberg meetings in Paris. But it will be the \TeX88 conference
+held at Exeter University for which she will be best remembered by
+many in the \TeX\ world. Cathy was the local organiser for this
+meeting and its huge success was due in no small way to, on the one
+hand, her vivacity and personal magnetism and, equally important, a
+lot of detailed planning and hard work that she undertook during the
+run up to the conference. She thus ensured the smooth running of the
+conference and various associated events: in particular, the memorable
+excursion to Totnes which included travel by both steam train and
+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 and she was very energetic in organising other TUG
+courses in Europe. 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; these
+later led to her completion of an Art History course. The course
+results were published only a few days before she died and,
+characteristically, hers were excellent.
+
+She was a founding member of the UK \TeX\ Users Group and of its
+committee; she was also a member of the committee of the BCS
+Electronic Publishing Specialist Group. Those of us lucky enough to be
+on either of those committees at that time will recall her very real
+contribution to the work of these groups: her range of innovative
+ideas, coupled with her down to earth attention to detail, resulted in
+significant improvements to the activities of both these
+organisations.
+\end{Article}
+
+\endinput \ No newline at end of file
diff --git a/usergrps/uktug/baskervi/5_3/clark.tex b/usergrps/uktug/baskervi/5_3/clark.tex
new file mode 100644
index 0000000000..925dc6464d
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/clark.tex
@@ -0,0 +1,148 @@
+\newcommand{\sgml}{\textsc{sgml}}
+\title{A.N.Other's Gleanings}
+\author{}
+\begin{Article}
+\section{Framed, or a boojum?}
+In the latest Nesletter of the BCS eletronic publishing specialist
+group, my colleague Conrad Taylor points out the following: ``it
+strikes me as odd that people often choose for \emph{electronic}
+publishing a tool named after the quark, since an electron is, of
+course, a lepton -- just as a muon is -- and nary a quark goes into
+making one up.'' We can carry this a little further by noting one of
+the many definitions of Frame: ``concoct a false charge or
+accusation'', or even recalling that ``the Word was with God''. But as
+someone who has to state that he ``works in latex'', it is dangerous
+to bandy these words about. On the other hand, you do get invited to
+some very interesting parties\dots\ What is in a name anyway? I have
+to admire the sheer chutzpah of naming your product after a zone in an
+industrial park in Swindon. Trivial Pursuit question: to which vastly
+under-rated electronic publishing package do I refer?
+
+\section{Lettres}
+I continue to be pleasantly surprised by the uniform and high standard
+of the \emph{Lettres Gutenberg}, the newsletter of our French sister
+organisation. In fact, you have to admire them even more when you
+appreciate that they produce not only this excellent newsletter, but a
+journal which easily stands shoulder to shoulder with \TUB. Our recent
+joint meeting on Portable Documents was paralleled by a very similar
+meeting of theirs in Nanterre. Many of the papers presented appeared
+in \emph{Cahier GUTenberg 19}, making a rather interesting contrast
+with those published in the last edition of \BV. The future holds
+similar excitements: next is a special edition on character encoding
+(it will be difficult to inject excitement into this dry topic, but if
+it can be done, it will be done); and in early June, the annual
+conference takes/took place. This picks up the theme of electronic
+documents and their distribution once more. Slipping the magic words
+`Internet' `World Wide Web' and `Acrobat' into your programme is a
+sure-fire way of packing the halls. I wish them much success: I have
+many pleasant memories of events organised by GUTenberg: I commend
+their meetings to you, and urge you to demonstrate your commitment to
+the progressive forces in Europe by taking the train to their next
+meeting.
+
+\section{To be taken daily}
+A copy of Kopka \& Daly's \emph{A Guide to \LaTeXe} arrived the
+other day. I have long been an admirer of the first edition of this
+book. The second edition, which, as its new title implies, reflects
+the \LaTeXe\ standard, maintains the former high level. I think it
+fairly neatly bridges the gap between Lamport's rather terse account
+and the uneven whirlwind tour of thousands of packages in the `three
+men and a dog' tome which unleashed the new release upon us. I find it
+intriguing that in a book of over 500 pages, less than 300 are given
+directly to \LaTeXe, and 200 to appendices. The book is published by
+Addison-Weley, ISBN 0-201-42777-X.
+
+\section{Web}
+As the World Wide Web continues its inexorable conquest of the world,
+let's stand back for a moment and see how \TeX\ fits in. First, look
+at its origins. Consider the primitive nature of the early HTML
+`standard'. Can you guess why it was so brain dead? If you look at it
+closely, you'll see that apart from its hypertext anchors, its two
+main features were tons of headings and various types of list
+structures. In fact, it was modelled closely on \texttt{texinfo}, a
+variant \TeX-macro package used chiefly by the Free Software
+Foundation afficionados. Consider too what stroke of chance it was
+that led Tim Berners-Lee to sit down with one of \textsc{cern}'s tribe
+of \sgml{} people for coffee one morning. Sheer luck (or genius) which
+has done more for the street credibility of \sgml{} than years of
+conferences in exotic climes and hob-nobbing with the
+militarly-industrial complex. Consider also what might have happened
+if it had been Michel Goossens who had that fateful cup of coffee with
+Tim. The world would now be beating a path to the door of \LaTeX. Or
+would it? Nevertheless, \LaTeX\ is re-appearing within HTML
+developments. The new `standard', very much still in draft, includes
+maths and tables. There is a test-bed available, called \emph{Arena}
+which will allow you to see what is planned. The encoding of maths is
+essentially that of \LaTeX. And surprisingly, the encoding of tables
+looks currently just like \LaTeX\ too -- I say surprisingly since
+\texttt{tbl} is more powerful and equally stable.
+
+\subsubsection{The Trojan horse option}
+I wonder though if we are not missing a real opportunity. While
+Acrobat, or \texttt{pdf}, is now an `official' \textsc{mime} type
+(implying that it can be happily included on the Web, and browsers can
+be configured to handle it in a standardised way), \texttt{dvi} has
+not yet made it to this status. Consider that Acrobat readers are
+available for Sun machines running Solaris (and Motif), and not for
+the other myriad of Unix boxes. What is present on almost every Unix
+box? Why, \TeX\ and \LaTeX, and therefore something like \texttt{xdvi}
+which will display \texttt{dvi} files. Acrobat is therefore not quite
+as widely available as we would like (only Solaris, Mac and Windows),
+while \TeX\ and \LaTeX\ are not as widespread as we would like on Mac
+and Windows (it's not that people can't afford the disk space, since
+you can hardly buy a machine these days with less than 500Mbyte of
+disk, but rather that the installation is still such a pig). The Unix
+piece of the problem is simple, since downloading a \texttt{dvi} file
+over the Web would mererly fire up \texttt{xdvi} or some similar
+previewer. With Windows, the situation is more difficult. If we had a
+nice simple installation of a previewer which could use Multiple
+Master fonts, a \texttt{dvi} \textsc{mime} type might be a success.
+All I'm talking about is a previewer, not the whole \TeX/\LaTeX\
+installation. Using Adobe's Multiple Master fonts appeals to me as a
+way of piggy backing off their technology, and also means that in font
+terms, it can do at least anything that Acrobat can. Of course, we
+have to change the name of \texttt{dvi}, since it is a registered
+trade mark (of Intel?) for digital video\dots One advantage is that
+all the archives of scientific papers created using \TeX, \LaTeX\ or
+\texttt{groff} are available no matter what platform you use. It would
+also be a very open standard, with no whiff of proprietary
+machinations. It's so obvious that someone is bound to have done it
+already.
+
+\section{Deathwish 1996}
+Am I alone in thinking that there are some odd decisions being made on
+the location of TUG conferences? The notion of going to Florida in the
+summer didn't appeal to me (although I appreciate that there may have
+been a sub-text which somehow equated TUG and Disneyworld), but next
+year's conference location outdoes this: Russia. At least I think
+that's what they said. Maybe it will really be in Moscow (that's a wee
+place in Ayrshire). With at least two TUG members in Russia, it
+promises to be an unforgettable meeting.
+
+
+\section{Another famous Belgian}
+
+You will remember the parlour game where you were challenged to name
+ten famous Belgians (it isn't really that difficult). There is now an
+eleventh! Michel Goossens of \emph{Companion} fame will be President
+of TUG. This makes three non-US Presidents in a row, neatly
+confounding any claims that it is solely a US organisation. Someone
+unkindly remarked upon the similarity between Michel and Tin-tin, but
+apart from the dogs and the nationality I can't see this. Perhaps we
+should be told.
+
+\section{Thank you}
+
+This edition of \BV\ carries an announcement of the elevation of M
+Clark to Honorary Membership of the group. In a rare interview MC told
+me how deeply moved he was by this singular honour, all the more so,
+he said, since the committee at that time had been populated by a
+large number of people who he held in high regard. He went on to say
+that one of the things he enjoyed most about the \TeX\ (and \LaTeX)
+world was the comradeship and good fellowship which characterised
+it. Almost without exception, \TeX\ people helped one another, and did
+so in a friendly and concerned way. If anything, they were sometimes
+too nice, he added with a twinkle in his eye (too many bottles of Cab
+Sov). He asked your correspondent to convey his heartfelt thanks to
+all those involved.
+\end{Article}
diff --git a/usergrps/uktug/baskervi/5_3/downes.tex b/usergrps/uktug/baskervi/5_3/downes.tex
new file mode 100644
index 0000000000..bfe430eab1
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/downes.tex
@@ -0,0 +1,79 @@
+Replied: Fri, 24 Mar 1995 15:08:00 +0000
+Replied: "Michael Downes <MJD@MATH.AMS.ORG> R A Bailey <R.A.Bailey@qmw.ac.uk>, baskerville@tex.ac.uk"
+Return-Path: <MJD@MATH.AMS.ORG>
+Delivery-Date:
+Received: from axp14.ams.org (no rfc931) by swan.cl.cam.ac.uk
+ with SMTP (PP-6.5) outside ac.uk; Fri, 24 Mar 1995 13:31:09 +0000
+Received: from AXP14.AMS.ORG by AXP14.AMS.ORG (PMDF V4.3-10 #7286)
+ id <01HOIAHQZZ1S0002BP@AXP14.AMS.ORG>;
+ Fri, 24 Mar 1995 08:30:35 -0500 (EST)
+Date: Fri, 24 Mar 1995 08:30:35 -0500 (EST)
+From: Michael Downes <MJD@MATH.AMS.ORG>
+Subject: Re: amslatex
+In-reply-to: <16618.9503201129@galois.maths.qmw.ac.uk>
+To: R A Bailey <R.A.Bailey@qmw.ac.uk>
+Cc: MJD@MATH.AMS.ORG, baskerville@tex.ac.uk
+Message-id: <796051835.339546.MJD@MATH.AMS.ORG>
+MIME-version: 1.0
+Content-type: TEXT/PLAIN; CHARSET=US-ASCII
+Content-transfer-encoding: 7BIT
+Mail-System-Version: <MultiNet-MM(369)+TOPSLIB(158)+PMDF(4.3)@MATH.AMS.ORG>
+
+> I am writing a series of tutorials on doing Maths in LaTeX which are
+> appearing in Baskerville, the magazine of the UK TeX Users Group.
+> In No. 2 I introduced \emptyset. This provoked a query from a reader,
+> to which I replied in No. 3. My reply was not very polite about the
+> AMS, so I will send you the article right after this so that, if you want
+> to, you can respond with a letter to the editor or a short note.
+
+I'm glad that you brought this question to my attention because it seems
+to be a simple misunderstanding that can be easily cleared up. :-) The
+question is, to be precise,
+
+ Why does "The LaTeX Companion" show a version of the symbol \emptyset
+ in Table 8.7 (p 219) that is a circle with a diagonal line through it,
+ in contradiction to the actual symbol that most LaTeX users will get
+ from the \emptyset command, i.e. a slashed zero?
+
+and
+
+ Why does "The LaTeX Companion" show a slashed zero for the command
+ \varnothing in Table 8.20, which purports to show the symbols provided
+ in the extra math fonts of the AMSFonts distribution?
+
+Your conjecture was that the AMS had done something to swap around the
+usual symbol for \emptyset with the other symbol that is provided in the
+msbm font. As it turns out, however, that conjecture is false; a search
+of all the files in the AMSFonts and AMSLaTeX distributions reveals that
+there is not even so much as a mention of \emptyset anywhere. And if you
+look at the AMSFonts User's Guide, you'll see that the symbol shown in
+the symbol tables for \varnothing is not the slashed-zero but the other
+one.
+
+The crucial point seems to be that "The LaTeX Companion" used Lucida
+math fonts (if I recall correctly) and therefore the math symbols shown
+in *all* of the Tables 8.3--8.20 are actually Lucida math symbols, and
+*not* symbols from the fonts (cmsy, cmex, msam, msbm) that most LaTeX
+users will see.
+
+I therefore offer two counter-conjectures:
+
+1. One of the authors of "The LaTeX Companion" is of like mind with you
+that the AMS \varnothing symbol (plump circle with diagonal line) is
+actually the preferred symbol of mathematicians for `empty set' and
+explicitly swapped the definitions of \emptyset and \varnothing in the
+preamble of "The LaTeX Companion".
+
+2. The makers of the Lucida symbol fonts intentionally placed a
+right-thinking empty-set symbol in the font position that is occupied in
+the cmsy font by the slashed-zero symbol. And they put a slashed-zero
+symbol in the font position that corresponds to the font position
+in the msam font of the plump-circle-with-diagonal symbol.
+
+I'd wager on the second conjecture. It would probably be a good idea if
+you pointed out to the authors of "The LaTeX Companion" that their use
+of the Lucida math fonts has led to some confusion and they ought to do
+something for future reprintings to counteract the natural tendencies of
+the Lucida fonts with respect to the two symbols in question :-)
+
+Regards, Michael
diff --git a/usergrps/uktug/baskervi/5_3/dpc.tex b/usergrps/uktug/baskervi/5_3/dpc.tex
new file mode 100644
index 0000000000..6538f8fb0e
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/dpc.tex
@@ -0,0 +1,33 @@
+Given the time scale I would probably let it lie, but I'm still not
+convinced by the aufflamen example on page 17.
+
+The new PS file says
+
+(T)q(he)h(printing)f(r)o(esult)i(is)e(\252auff)q
+(lammen)n(\272)1995 4334 y(instead)21 b(of)g(\252auf)q(\257ammen)n
+
+Which looks like the first example is printing
+ f f l
+and the second example is
+ f <fl>
+
+The second example would be consistent with BV not using the expert
+set, but I wonder how using "| to put a visual break between the two
+f's managed to break the following fl ligature in the first example?
+
+I would have thought that actually you would want
+auf"|flamen
+to produce
+
+ f <fl> (as opposed to <ffl>) (or <ff> l if no <ffl> ligature)
+
+and that you would need something like
+auf"|f"|lamen
+
+to break both ligatures.
+
+So I would leave it this time, but perhaps could check what the VPL
+file is doing with f ligs one day?
+
+David
+
diff --git a/usergrps/uktug/baskervi/5_3/drawing.tex b/usergrps/uktug/baskervi/5_3/drawing.tex
new file mode 100644
index 0000000000..50a9abdc4a
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/drawing.tex
@@ -0,0 +1,769 @@
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% This is DRAWING.TEX v.1.0a revised 1994/01/25
+% This contribution is written in LaTeX so that everybody can make a
+% "pretty printout".
+% In order to print it you need VERBATIM.STY by Rainer Sch"opf. This
+% style is available from many archives.
+% You of course need METAFONT and GFTOPK to generate the pictures.
+% (Ask your local wizard for help)
+% DRAWING.MF will be generated when you run this file through
+% LaTeX the first time.
+
+\ifx\selectfont\undefined
+\documentstyle[verbatim]{article}
+\else
+\documentstyle[oldlfont,verbatim]{article}
+\fi
+\makeatletter
+% Read the documentation of verbatim.sty and you will understand
+% what I am doing.
+\newif\ifmf@open \mf@openfalse
+\newwrite\mf@out
+\def\mfcode{\@bsphack
+ \ifmf@open \else
+ \typeout{Writing "drawing.mf"}
+ \immediate\openout\mf@out\mf@name\relax
+ \global\mf@opentrue
+ \fi
+ \let\do\@makeother\dospecials
+ \catcode`\^^M\active%
+ \def\verbatim@processline{%
+ \immediate\write\mf@out{\the\verbatim@line}}%
+ \verbatim@start}
+\def\ednmfcode{\@esphack}
+% We must specify the file name where the METAFONT source is to be
+% written
+\def\mf@name{drawing.mf}
+\let\DW\relax % the font does not exist at the first run
+% We define a macro which writes into drawing.aux. It is similar
+% to \mfcode
+\def\auxwrite{\@bsphack
+ \let\do\@makeother\dospecials
+ \catcode`\^^M\active%
+ \def\verbatim@processline{%
+ \immediate\write\@mainaux{\the\verbatim@line}}%
+ \verbatim@start}
+\def\ednmfcode{\@esphack}
+% Now we define \info to be used at the end of the document
+\def\info{\ifmf@open\immediate\closeout\mf@out\fi
+\typeout{^^J
+==================================================================^^J
+This was the first run. It created "drawing.mf" and "\jobname.dvi"^^J
+is useless. Now you have to generate the pictures. You should ask^^J
+the local wizard to help you with METAFONT. You should invoke it^^J
+by the command:^^J
+^^J
+>mf &plain mode:=localfont; \string\input\space drawing^^J
+^^J
+where "localfont" should most probably be replaced with another^^J
+mode depending upon your hardware. METAFONT will generate the^^J
+metric file "drawing.tfm" and the font file "drawing.XXX" where^^J
+the extension depends on the mode and METAFONT will tell you.^^J
+Afterwards you have to call^^J
+^^J
+>gftopk drawing.XXX^^J
+^^J
+Your local wizard will tell you whether you have to move^^J
+"drawing.tfm" and "drawing.pk" into another directory. Then you^^J
+run LaTeX again and you will get the document with pictures (it^^J
+should work even on a PC).^^J
+Remember that you might need a different font for the screen and^^J
+the printer.^^J
+=================================================================^^J
+Note: If you do not see the whole message on screen, you can find^^J
+it in "\jobname.log".}}
+\makeatother
+% METAFONT logo
+\newfont{\logo}{logo10}
+\newfont{\llogo}{logo10 scaled \magstep2}
+\newfont{\Llogo}{logo10 scaled \magstep3}
+\def\mf{{\logo META}\-{\logo FONT}}
+\def\lmf{{\llogo META}\-{\llogo FONT}}
+\def\Lmf{{\Llogo META}\-{\Llogo FONT}}
+% We will need hash, therefore we define it.
+\begingroup \catcode`\#12
+ \gdef\hash{{\catcode`\#12#}}
+\endgroup
+% Page layout
+\textwidth 16cm
+\oddsidemargin 0pt
+\evensidemargin 0pt
+\marginparwidth 0pt
+\marginparsep 0pt
+% Useful macro
+\def\vs{\vspace{5mm}\par}
+% Special hack
+\newif\ifdoc \doctrue
+% Now the document begins
+\begin{document}
+% Now we use a dirty trick to write something to the aux-file
+\begin{auxwrite}
+\ifdoc
+\global\font\DW=drawing
+\global\let\info\relax
+\global\let\mfcode\verbatim
+\global\let\endmfcode\endverbatim
+\fi
+\end{auxwrite}
+%%%%%%%%%%%%%%%%%%%% Read the text from here %%%%%%%%%%%%%%%%
+\title{Simple drawings with \Lmf}\author{Zden\v{e}k Wagner}
+\maketitle
+\section*{Introduction}
+This contribution explains how to use \mf\ for simple drawings. To
+make the text shorter, some commands are not described. The reader
+is kindly asked to look into this source to see how it was done.
+
+Nobody can guarantee that \mf\ is exactly what you need. the
+simple rules say:
+\begin{itemize}
+\item Use \TeX\ where \TeX\ is good.
+\item Use \mf\ where \mf\ is good.
+\item Use other tools where other tools are good.
+\end{itemize}
+Here you can see examples where \mf\ is good.
+
+\section*{Why not other packages?}
+Though it might look strange I prefer explaining it here. The
+selection of tools is more (or less) a matter of personal taste.
+But there should be some reasoning behind it. If you want to make
+simple drawings, you may choose either MFpic or a similar package
+or directly \mf. In either case you must learn some new commands.
+However, MFpic supports only a subset of \mf. Later, if you need
+more complex pictures, you have to learn a new tool. With \mf\
+it's a bit easier. You just learn some more commands.
+
+It's not a good practice to reject everything what has been done.
+you can find files with \mf\ macros which can be used in a similar
+way as \LaTeX\ styles. This can make life much easier.
+
+\section*{Principle of \lmf\ pictures}
+The principle is to make a new font where a picture is some
+``character''. When we want to place the picture into the
+document, we change the font and type appropriate character. If
+the picture is too large or too complex, it is better to divide it
+into several characters and overlay them with \verb|\llap| or
+\verb|\rlap| commands or simply place the characters in the
+correct order (we will see it later).
+
+\section*{Initial commands}
+It is clever not to use absolute dimensions in the drawings. If we
+measure everything as a multiple of a unit length, we can easily
+scale the whole font. The unit length should be specified in sharp
+units (designated with \hash) which are device independent. We
+must then convert it into device dependent number of pixels by
+calling \verb|define_pixels|. To do this, \mf\ must know the
+properties of the output device. To set everything up, you should
+call \verb|mode_setup| at the very beginning and supply the
+correct mode when you call \mf.
+
+It may be interesting to see on screen how \mf\ is drawing the
+picture. It is accomplished by \verb|screenstrokes|. The
+beginning of \mf\ source file may therefore look as:
+\begin{mfcode}
+% This is drawing.mf, an example file
+% (C) Z. Wagner, 23 Jan 1993, revised 25 Jan 1994
+% This file must not be distributed separately. It is an integral
+% part of drawing.tex. It may be placed at any computer in case
+% drawing.tex is available at an appropriate directory.
+mode_setup;
+u# := 1.0mm#;
+define_pixels(u);
+screenstrokes;
+\end{mfcode}
+
+\section*{Assignments and equations}
+As the title says, \mf\ can solve equations. Thus you can write
+($3a$ is a shorthand for $3 * a$)
+\begin{verbatim}
+3a + b = 5;
+2a - 3b = 7;
+\end{verbatim}
+After reading these equations the values of $a$ and $b$ are fully
+defined.
+
+In the previous section we used \verb|:=| which denotes
+assignment. If you now say
+\begin{verbatim}
+a := 13;
+\end{verbatim}
+it will instruct \mf\ to forget whatever value $a$ might have had
+and assign 13 ti it. In the previous case, when reading the
+equation $2a - 3b = 7$, \mf\ already knows that $a = (-b + 5)/3$
+and these together enable the evaluation of $a$ and $b$. This is
+the difference between assignments and equations.
+
+\section*{Points, coordinates and simple curves}
+The position of points are specified using Cartesian coordinates.
+since \mf\ works inside a plane, we need a pair of numbers, namely
+the x and y coordinates.
+
+The \mf\ character is usually defined by many points. It is
+therefore comfortable to index them. \mf\ uses convention known
+from programming languages, i.e. the index is placed in square
+bracket as in z[7k-6]. It would be very tedious to write z[3].
+Therefore \mf\ offers a shorthand: one simply types z3.
+
+When defining the position of any point, you can either use the
+pair variable in the equation or you can access the x and y
+coordinates directly. Thus
+\begin{verbatim}
+z3 = (7.3u,-13.4u);
+\end{verbatim}
+is equivalent to
+\begin{verbatim}
+x3 = 7.3u; y3 = -13.4u;
+\end{verbatim}
+whereas $u$ was defined above.
+
+Later in the \mf\ definitions we will use commands as $z3 =
+t[z1,z2]$. This means that z3 lies on the straight line defined by
+z1 and z2. If $t = 0$, z3 is equivalent to z1. Equivalence between
+z2 and z3 holds if $t = 1$. In case $t = \frac{1}{2}$, z3 lies in
+the middle between z2 and z3.
+
+\begin{figure}[hbt]
+\centerline{{\DW A}}\vs
+\caption{Simple curves}\label{fig:curves}
+\end{figure}
+The drawings are composed of Bezier curves. To draw a Bezier curve
+through z1, z2, z3, we simply write:
+\begin{verbatim}
+draw z1..z2..z3;
+\end{verbatim}
+
+Sometimes we need better control. It may be achieved by specifying
+a direction at one or more points. This was illustrated in
+fig.~\ref{fig:curves}. The angles are always specified in degrees.
+Before we write the \mf\ program for the curves, we must say
+something about other commands.
+
+The \verb|beginchar| commands starts the definition of a
+character. The first parameter says what character it is to be
+assigned to. The next parameters specify the width, height, and
+depth (how far below the baseline it should extend), respectively.
+The dimensions must be given in sharp units unless they are zero.
+To draw something we must first pickup a pen of appropriate
+thickness. To make a dot wit a pen, we use \verb|drawdot|. The
+program for the character ends with \verb|endchar|. Now we can
+look at it:
+\begin{mfcode}
+beginchar("A",50u#,50u#,0);
+z1 = (5u,3u); z2 = (37u,43u);
+x3 = 1/3[x2,x1]; y3 = 1/3[y1,y2];
+pickup pencircle scaled .4pt;
+draw z1..z3{dir 45}..z2;
+draw z1..z3{dir 105}..z2;
+draw z1..z3{dir -20}..z2;
+pickup pencircle scaled 2u;
+drawdot z1; drawdot z2; drawdot z3;
+endchar;
+\end{mfcode}
+
+The command \verb|flex(z1,z2,z3)| draws a Bezier curves through
+z1, z2, z3, where the direction at z2 is equal to the slope of the
+straight line from z1 to z3. Make it as your own exercise.
+
+\section*{Changing curvature with tension}
+Bezier spline is a cubic curve. Therefore, you need four points
+for full specification. However, every Bezier segment in previous
+examples was defined only by two endpoints. It means that \mf\ has
+its own algorithm for finding the remaining two points. If you
+want to control the curvature, you must have the possibility to
+influence this algorithm. One way is to use \verb|tension|.
+
+You can define tension at any point of any segment. The general
+syntax is
+\begin{verbatim}
+z1..tension a and b..z2
+\end{verbatim}
+If $a = b$, we can simplify this to
+\begin{verbatim}
+z1..tension a..z2
+\end{verbatim}
+The simple case \verb|z1..z2| is a shorthand for\footnote{This is
+not the whole truth but you can live with this small lie. If you
+wish to know more details, you have to study \mf\-book.}
+\begin{verbatim}
+z1..tension 1..z2
+\end{verbatim}
+
+\begin{figure}[hbt]
+\centerline{{\DW abc}}\vs
+\caption{Frame}\label{fig:frame}
+\end{figure}
+In the next example, we will need some more definitions. You
+should already understand the first two lines. The next line
+defines some parameters which will be used later. Then we declare
+the array of paths to be drawn, the array of cnt and pen widths
+which are both numeric variables. Then we assign some values to
+them.
+\begin{mfcode}
+height#=50u#; width#=50u#;
+define_pixels(height,width);
+
+relsh:=.005; tens:=3;
+
+path p[];
+numeric cnt[], penw[];
+penw0=3pt; penw1=1pt; penw2=.3pt;
+cnt1=.95; cnt2=.92;
+\end{mfcode}
+Afterwards we have to specify a number of points and the three
+curves. We will use a predefined constant $origin$ which means
+(0,0). To simplify the task we also use loops. The loop starts with
+the \verb|for| token and carries out the commands up to
+\verb|endfor| for the specified values of the loop control
+variable. In the firs loop, when $k = 1$, the inner loop defines
+points $z20, z21, \ldots, z32$. The token \verb|shifted| means
+that the point is shifted by the specified vector. The vectors
+\verb|right|, \verb|left|, \verb|up|, \verb|down|, are the unit
+vectors in the named direction. The token \verb|scaled| means
+scaling (multiplication) of the vector. In the equations below it
+defines the length of the vector.
+
+The definition of paths (curves) end with \verb|cycle|. This means
+that the curve is cyclical. If you say
+\begin{verbatim}
+draw z1..z2..z3..z1;
+\end{verbatim}
+the curve will most probably have a sharp edge at z1. You must
+say
+\begin{verbatim}
+draw z1..z2..z3..cycle;
+\end{verbatim}
+in order to make the curve smooth.
+
+\begin{mfcode}
+z0=origin; z1=(0,height); z2=(width,height); z3=(width,0);
+z5=.5[z0,z1]; z6=.5[z3,z2];
+z7=.64[z0,z5] shifted (right scaled (relsh*width));
+z8=.64[z1,z5] shifted (right scaled (relsh*width));
+z9=.64[z2,z6] shifted (left scaled (relsh*width));
+z10=.64[z3,z6] shifted (left scaled (relsh*width));
+z11=.5[z1,z2] shifted (down scaled (relsh*height));
+z12=.5[z0,z3] shifted (up scaled (relsh*height));
+z13=(.5width,.5height);
+for k:=1 upto 2:
+ m:=20k;
+ for j:=0 upto 12 :
+ z[j+m]=cnt[k][z13,z[j]];
+ endfor;
+endfor;
+for k:=0 upto 2:
+m:=20k;
+p[k]=z[m]..tension tens and 1..z[m+7]..z[m+5]..z[m+8]..tension 1 and tens..
+ z[m+1]..tension tens and 1..z[m+11]..tension 1 and tens..z[m+2]..
+ tension tens and 1..z[m+9]..z[m+6]..z[m+10]..tension 1 and tens..z[m+3]..
+ tension tens and 1..z[m+12]..tension 1 and tens..cycle;
+endfor;
+\end{mfcode}
+
+Now we draw the curves. Notice that we used zero widths for the
+first two characters in order to simplify overlapping (look how
+fig.~\ref{fig:curves} was done).
+
+\begin{mfcode}
+beginchar ("a",0,height#,0);
+pickup pencircle scaled penw0; draw p0;
+endchar;
+
+beginchar ("b",0,height#,0);
+pickup pencircle scaled penw1; draw p1;
+endchar;
+
+beginchar ("c",width#,height#,0);
+pickup pencircle scaled penw2; draw p2;
+endchar;
+\end{mfcode}
+
+\section*{Skip this at the first reading}
+We have made some global definitions which might spoil further
+work. We therefore undefine the points. It is achieved by
+assigning \verb|whatever|. It is done here for safety because the
+examples are extracted from several \mf\ files designed by the
+author and the global definitions might interfere with something.
+However, a normal user usually does not need it.
+\begin{mfcode}
+for k:=0 upto 60: z[k]=(whatever,whatever); endfor;
+\end{mfcode}
+
+\section*{Scientific graph}
+Now we make an example of presentation of scientific results.
+Imagine that we have measured vapour pressures of some chemical
+species and afterwards we have found the best fit in the form
+
+\begin{equation}
+\log p = A - \frac{B}{t+C}\label{eqn:vap}
+\end{equation}
+
+where $t$ is temperature in degrees Centigrade and $p$ is pressure
+in kilopascals. Numerical values of parameters $A, B, C$ are
+defined later in the \mf\ source.
+
+\newcommand{\dgC}{$~{\circ}$C}
+As you can see, the temperature ranges from 60\dgC\ to 90\dgC\ and
+pressure ranges from 80\,kPa to 170\,kPa. We therefore need some
+scaling and shift of the origin. A novice might read about
+\verb|currenttransform| and try to harness it. This, however, has
+undesirable side-effects and therefore we suggest to avoid it. It
+is better to use simple linear transform defined with macros.
+\begin{mfcode}
+def degC = degCa + degCb enddef;
+def kPa = kPaa + kPab enddef;
+\end{mfcode}
+
+Now let's examine what happens if we write 75degC. This expression
+expands to 75degCa + degCb. It's clear how the transform works. We
+must only emphasize that 75degC is not equal to degC*75 because
+degC is not a variable but a macro.
+
+Now we can start the plot. We specify the dimensions of the
+character, define the temperature--pressure coordinates of the
+lower left and upper right corners (\mf\ evaluates degCa, degCb,
+kPaa, kPab for us) and specify parameters A, B, C and seven
+experimental points.
+
+You will see special variables $w$ and $h$. At the time of reading
+\verb|beginchar| \mf\ assigns width to $w$, height to $h$ and
+depth to $d$. All these variables are expressed in pixels rounded
+to whole numbers.
+\begin{mfcode}
+beginchar("B",100u#,99u#,0);
+origin = (50degC,50kPa); (w,h) = (100degC,200kPa);
+A = 3194; B = 605; C = 232;
+z1 = (60degC,80kPa); z2 = (65degC,92kPa); z3 = (70degC,105kPa);
+z4 = (75degC,119kPa); z5 = (80degC,134kPa);
+z6 = (85degC,151kPa); z7 = (90degC,170kPa);
+\end{mfcode}
+It is tedious to type this by hand but it can be prepared by the
+program which is used for finding the best fit.
+
+In this case the best fit was expressed in a way which can be
+evaluated with \mf. This is not a frequent situation. The easiest
+way is to tabulate the best fit in many points (do it with your
+software and make the output suitable for input to \mf) and
+connect them with a crooked line. You will use a similar
+technique as below. The only difference is that you will define
+the points but we are calculating them. It is of course possible
+to draw a curve which is not mathematically defined as the best
+fit. In such a case you should specify a very small number of
+points and play with directions and tensions. The next part shows
+that the index expression may even be a real number.
+
+\begin{mfcode}
+for t := 55 step .3 until 95:
+x[t] = t*degC;
+y[t] = (mexp(A - 1000/(t+C)*B))*kPa;
+endfor;
+pickup pencircle scaled 1.5pt;
+draw z55 for t:= (55+.3) step .3 until 95: --z[t] endfor;
+\end{mfcode}
+
+\mf\ has some limitation for calculations. Value 4096 is treated
+as infinity. Greater values can appear in calculations but they
+must be less that 32768. Therefore, the values $B = 605000$ would
+cause arithmetic overflow. Due to it we had to modify
+equation~\ref{eqn:vap}.
+
+We have seen another useful feature of \mf. The loop command may
+even be used in the middle of expression. Here it was used inside
+the \verb|draw| command.
+
+We also want to see the experimental points. We will draw them as
+squares.
+
+\begin{mfcode}
+pickup pensquare scaled 4u;
+for k:= 1 upto 7: drawdot z[k]; endfor;
+\end{mfcode}
+
+At last we draw the frame with marks for 75\dgC, 100\,kPa, and
+150\,kPa.
+\begin{mfcode}
+pickup pensquare scaled .7pt;
+draw origin--(0,h)--(w,h)--(w,0)--cycle;
+pickup pencircle scaled .3pt;
+draw (75degC,0)--(75degC,5u);
+draw (0,100kPa)--(5u,100kPa);
+draw (0,150kPa)--(5u,150kPa);
+endchar;
+\end{mfcode}
+
+Notice that we specified the position of marks in the
+corresponding units. We could as well use $w/2$ or even $50u$
+instead of $75degC$. Such things are, however, too absolute. If
+you for some reason change the with to $150u\hash$, $50u$ will no
+longer correspond to 75\dgC. You can change the temperature range
+to 60\dgC--120\dgC\ and now $w/2$ corresponds to 90\dgC. It is
+clear that $75degC$ is invariate under such changes.
+
+\begin{figure}[hbt]
+\setlength{\unitlength}{1truemm}
+\newcommand{\x}{-5}
+\newcommand{\y}{-6}
+\begin{picture}(130,120)(-30,-20)\sf
+\put(0,0){\makebox(100,99)[lb]{{\DW B}}}
+\put(0,\y){\makebox(4,4)[lt]{50}}
+\put(48,\y){\makebox(4,4)[t]{75}}
+\put(96,\y){\makebox(4,4)[tr]{100}}
+\put(\x,0){\makebox(4,4)[br]{50}}
+\put(\x,31){\makebox(4,4)[r]{100}}
+\put(\x,64){\makebox(4,4)[r]{150}}
+\put(\x,95){\makebox(4,4)[tr]{200}}
+\put(0,-9){\makebox(90,4)[br]{t\,[\dgC]}}
+\put(-30,90){\makebox(20,4)[br]{p\,[kPa]}}
+\end{picture}
+\caption{Vapour pressure curve}\label{fig:vap}
+\end{figure}
+
+Look how figure~\ref{fig:vap} has been done. It might look
+horrible but after some practice you will find it easy.
+
+\mf\ has more advanced mechanisms which could be harnessed for
+transfer of dimensions and coordinates. Some macro packages as
+\verb|incpic.mf| and \verb|incpic.tex| by Old\v{r}ich Ulrych make
+use of it. But this is for experts (or those who do not care how
+it works inside). A novice would have hard times to understand it.
+If you know the mechanism, you cam find your own bugs and you can
+modify it so that it satisfies your personal needs.
+
+The easiest way seems to be the standard \LaTeX' picture
+environment. To avoid some calculations, we place the origin of
+the environment into the origin of our graph. All texts are aligned
+using \verb|\makebox| commands. The dimensions are specified in
+truemm and truecm. These units remain the same if you change the
+\verb|\magnification|. It cannot be done in \LaTeX\ but it is used
+here in case someone would like to incorporate similar concepts
+into plain \TeX.
+
+\section*{More complex examples}
+This section can be too difficult for novices. We show more
+advanced macro definitions. If you cannot understand it at the
+first reading, just skip this chapter and return here after you
+make several own pictures. However, {\bf do not forget to read the
+important warning later in this document!}
+
+The next part of \mf\ code is best placed at the beginning of the
+file so that you can fiddle with the parameters. In this example
+it is placed here in order not to disturb the initial explanation
+with hard to understand commands.
+
+We start with some parameter definitions. Note that two variables
+are declared as \verb|pair|.
+
+\begin{mfcode}
+pair tieshift, tiedepth;
+smallcorner = 1.5u; bigcorner = 7.5u;
+slope = 3;
+tieshift = down scaled 2.5u;
+tiedepth = down scaled 4.5u;
+tv = 3; % this is tension for ties
+\end{mfcode}
+
+We have already seen commands for pen selection. They are quite
+slow. If we pick up the same pen many times, it is faster to store
+the pen in some variable using \verb|savepen|. We do that with two
+different pens.\footnote{It may seem rather useless for two
+pictures but remember that this example is a small part of a large
+font.}
+
+\begin{mfcode}
+pickup pencircle scaled 1pt;
+normalpen := savepen;
+
+pickup pencircle scaled .4pt;
+penfortie := savepen;
+\end{mfcode}
+
+\begin{figure}[hbt]
+\centerline{{\DW C\hspace{1cm}D}}\vs
+\caption{Drawings of marquees}\label{fig:marquee}
+\end{figure}
+
+Now we define a macro with parameters. This macro should draw a
+single segment of a tie. As you can see in
+fig.~\ref{fig:marquee}, the tie is quite a complicated path. It
+should be composed of many segments. Therefore there is no
+semicolon inside the macro definition.
+
+\begin{mfcode}
+def tiebelowline(expr l, r, t, u) =
+(t[l,r] shifted tieshift)..tension tv and 1..
+ ((.5[t,u])[l,r] shifted tiedepth)..tension 1 and tv
+enddef;
+\end{mfcode}
+
+We will need two different round corners. There's another place
+for macro with parameters. It contains cryptic commands. So we
+write the macro and explain it below.
+
+\begin{mfcode}
+def roundcorner(expr a, b, c, r) =
+begingroup save q, w; pair q, w;
+hide(save __p; path __p;
+__p = fullcircle scaled r shifted b;
+q := (a--b) intersectionpoint __p;
+w := (b--c) intersectionpoint __p; )
+a--q{b-a}..{c-b}w--c
+endgroup
+enddef;
+\end{mfcode}
+
+This macro should draw a line from $a$ to $c$ where the sharp
+corner at $b$ is replaced by a part of circle of diameter $r$. the
+macro uses its own internal variables. Not to spoil other things
+in our source, we close the calculations into a group. It is
+similar to \TeX\ groups but the behaviour is slightly different.
+We must explicitly \verb|save| the variables. After that \mf\
+forgets whatever meaning they might have had and then we can
+define them. similarly as \verb|tie|, macro \verb|roundcorner|
+expands to a segment of a longer path. Therefore we must hide the
+calculations so that \mf\ does not see them when constructing the
+path. This is by saying \verb|hide| and closing the hidden code
+into parentheses.
+
+The hidden code starts with saving \verb|__p| and declaring it as a
+variable of type \verb|path|. It is then defined to be a circle of
+diameter $r$ with the centre at point $b$. The next two lines of
+code calculate the points of intersection of the full circle (path
+\verb|__p|) with straight lines (\verb|a--b|) and (\verb|b--c|)
+and assigns them to $q$ and $w$, respectively. now we can
+construct the segment. We specify directions st $q$ and $w$. Again
+semicolon does not appear here because it should be used as a part
+of a longer path.
+
+We have said that $w$ contains the width of the character rounded
+to the whole number of pixels. Now we use it as a variable of type
+pair. You may wonder why \mf\ does not get confused. The reason is
+that we did the change inside a group. We saved the old meaning
+which is automatically restored when \mf\ performs
+\verb|endgroup|.
+
+We are going to draw two similar marquises. They will differ in
+one parameter only. Therefore we write another macro. First we
+define some points. These definitions must be global. We will use
+variable $i$ for some calculations. We adopt a rule that this
+variable serves as a loop control variable and is not used for any
+other purpose. Therefore we need not save it.
+
+We will see a new token \verb|rotated|. This denotes rotation of
+the endpoint around origin.
+
+Scaling, shift and rotation are transformations. Shift and
+rotation are not commutative. It means that it is important to
+apply them in the correct order. In the following macro you can
+find
+\begin{verbatim}
+z[i+10] = right scaled 35u rotated slope shifted z[i];
+\end{verbatim}
+As an exercise change it to\footnote{If you happen to corrupt
+drawing.mf, do not despair. Just erase drawing.aux and run
+drawing.tex through {\rm\normalsize\LaTeX}. It will recreate
+drawing.mf.}
+\begin{verbatim}
+z[i+10] = right shifted z[i] scaled 35u rotated slope;
+\end{verbatim}
+and look what it makes with the marquise\footnote{Are you really
+doing the exercise or just reading the text? your own practice
+will give you much more. Of course you can also try your own
+pictures.}
+
+\begin{mfcode}
+def Kcxi(expr corner) =
+z1 = origin;
+z2 = right scaled 13u rotated -16;
+z3 = right scaled 13u rotated 16;
+z4 = right scaled 13u rotated 40;
+z5 = right scaled 14u rotated 65;
+z6 = (0,15u);
+for i := 2 upto 6:
+z[i+10] = right scaled 35u rotated slope shifted z[i];
+endfor;
+pickup normalpen;
+draw roundcorner(z1,z2,z12,corner);
+for i := 3 upto 6:
+ draw roundcorner(z1,z[i],z[i+10],corner)--z[i+9];
+endfor;
+pickup penfortie;
+draw z1--tiebelowline(z1,z2,0,1/3)..tiebelowline(z1,z2,1/3,2/3)
+ ..tiebelowline(z1,z2,2/3,1)..
+ for i := 1 upto 8: tiebelowline(z2,z12,(i-1)/8,i/8)..endfor
+ z12 shifted tieshift--z12;
+enddef;
+\end{mfcode}
+
+The forming of the marquises is now easy. We just call the macro
+with the correct corner. Please notice that those characters have
+nonzero depths.
+
+\begin{mfcode}
+beginchar("C",50u#,16u#,12u#);
+Kcxi(smallcorner);
+endchar;
+
+beginchar("D",50u#,16u#,12u#);
+Kcxi(bigcorner);
+endchar;
+\end{mfcode}
+
+\section*{Important warning}
+At the end of the \mf\ code we have to place
+\begin{mfcode}
+end
+\end{mfcode}
+Semicolon is not required here (but you can use it) because \mf\
+ignores everything which might appear after the \verb|end| token.
+{\bf It is important to place end--of--line character at the last
+line of code.} If you forget it, \mf\ will award you with a
+horrible message
+\begin{verbatim}
+! METAFONT capacity exceeded, sorry [buffer size=500].
+l.132
+ end^^?^^?^^?^^?^^?^^?^^?^^?^^?^^?^^?^^?^^?^^?^^?^^?^^?...
+If you really absolutely need more capacity,
+you can ask a wizard to enlarge me.
+\end{verbatim}
+
+\section*{Conclusion}
+We have seen simple examples of drawings produced by \mf. There
+are plenty of other commands which we have not discussed here. One
+of them is \verb|fill| which fills in a cyclic path (try to define
+one and fill it by saying e.g.
+\begin{verbatim}
+fill z1..z2..z3..cycle;
+\end{verbatim}
+where all points were previously defined). If you master \mf, you
+can make lots of tricks.
+
+I said that MFpic inserts an additional step which slows down the
+progress when you need to fine tune the curves. From this document
+it may seem that I did not make any improvement. The truth is that
+in your life you will not use the \verb|mfcode| environment. It is
+used in this example to ensure that everything is distributed
+together. Normally the \mf\ source code is written directly and is
+not created by running \TeX.
+
+I wanted to demonstrate that you have to know relatively small
+number of \mf\ commands in order to draw simple pictures. If you
+try this, it will encourage you to study \mf\-book. It is useful
+although you will probably never design your own letters.
+
+It may happen that \mf\ is extremely cumbersome for some
+particular case. Then you are free to scan an image using your
+scanner, modify it with e.g. Corel Draw, overlap it with pictures
+designed with \mf\ and texts written in \TeX, cut and paste it
+using the functions provided by dvidot or other drivers and polish
+it by means of {\sl PostScript\/} features. The only limitation is
+the availability of different soft- and hardware tools and your
+own invention.
+\nopagebreak\vspace{1cm}\nopagebreak\par\nopagebreak
+\begin{flushright}\interlinepenalty10000
+Zden\v{e}k Wagner\\
+E. H\'ala Laboratory of Thermodynamics\\
+Institute of Chemical Process Fundamentals\\
+Academy of Sciences of the Czech Republic\\
+CZ--165 02 Prague\\[2ex]
+e--mail: {\tt wagner@csearn.bitnet, wagner@earn.cvut.cz}
+\end{flushright}
+\docfalse\info
+\end{document}
diff --git a/usergrps/uktug/baskervi/5_3/editor.tex b/usergrps/uktug/baskervi/5_3/editor.tex
new file mode 100644
index 0000000000..b4b771696a
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/editor.tex
@@ -0,0 +1,125 @@
+\title{Editorial}
+\begin{article}
+\section{Calling on you}
+It seems to have been a while since we had a `normal' issue of \BV;
+after the effort last autumn to get the FAQ issue to our readers,
+events keep overtaking us, and the last issue was so full it omitted
+almost all our regular information. Even now, with summer upon us, and
+\TeX\ conferences coming up thick and fast, \BV\ still needs quality
+articles. Please send in material to benefit fellow \TeX xies.
+
+The deadline for \BV\ is always the same --- the beginning of the
+last week of odd months.
+
+\section{Looking different}
+Have you noticed anything strange about this \BV\ yet? Yes, it is not typeset
+in the eponymous Baskerville font.
+Since the article later in this issue by Michel Goossens
+and Sebastian Rahtz discusses how to create instances of Adobe's Multiple
+Master fonts, and \TeX\ metrics for those instances. it seemed a useful
+idea to set a whole issue in Minion, as a practical demonstration.
+We do not claim that the variables chosen to make the instances are
+especially good (our bold is rather weedy, for instance), but we hope
+it will interest some readers. Make of it
+what you will --- Baskerville itself will be back next time.
+
+\section{Sad resignation of \ukt\ committee member}
+At the committee meeting of \ukt\ in May, Jonathan Fine announced his
+resignation because of ongoing disagreement with other
+committee members, and that he would not be standing for re-election.
+Admirers of \BV's regular appearance
+over the last 18 months have reason to regret his departure, as he
+played a great part in the \BV\ distribution and (like all the
+committee) worked hard at proof-reading. We hope his regular supply of
+articles (interrupted for this issue) will not cease.
+
+\section{Whither \protect\LaTeX?}
+Earlier this year, \ukt\ wrote to all 1994 members who had not
+renewed to ask if they were sure; Richard Preston of Oxford University
+Press took the trouble to write back and made some interesting points which
+are worth answering publicly. He said:
+``\ldots While I have the opportunity, I might as well air one or two
+frustrations:
+
+1. I don't know what form \LaTeX3 is going to take, but it seems
+to me that if \TeX\ is not going to become the Betamax of DTP
+systems then it has to have a WYSIWYG interface. The current
+palaver that one has to go through even to change fonts really
+isn't acceptable to 99\% of the people who use these systems.
+Ideally it should be possible to view a WYSIWYG window and a
+window containing the source code, with changes made in either
+window being immediately reflected in the other (I believe
+Borland's Delphi works on this principle for Pascal
+programming).
+
+2. I now work in OUP's electronic publishing department, and many
+of our products are simultaneous book and CD-ROM publications,
+using essentially the same text data. There is an obvious need
+for a typesetting system that can produce typeset pages based on
+tagged ASCII files, which can then be used in the CD-ROM
+version. We currently have to translate typesetters coded files
+into SGML tagged text, and while this is not difficult, a system
+that could translate \LaTeX's generic codes into SGML would be a
+godsend.
+
+3. \TeX\ and \LaTeX\ appear to have become the DTP equivalent of
+UNIX --- an extremely powerful whole built up from many powerful
+sub-units, but usable only by those with enough time and
+enthusiasm to really learn it. As an example, we bought Y\&Y
+\TeX's setup for use here; it is extremely good and has served us
+very well, but the initial installation and messing around with
+font encoding nearly drove me insane. I know this is a
+commercial product and is nothing to do with TUG, but it does
+reflect the willingness of the TeX community to accept that
+using TeX should be a struggle. Compare this with the `install
+and away you go' use of Quark or Pagemaker.
+
+This letter seem to have turned into something of a rant, and
+I'm sorry for that, but it is born out of a genuine concern that
+a work of genius like \TeX\ is being denied the usage it deserves
+because of a lack of awareness within TUG. I've sat through too
+many lectures on how to use Cyrillic or Hebrew, or the merits or
+de-merits of \verb|\frenchspacing| to believe that this letter will
+alter \TeX's course one iota, but at least it's made me feel
+better.''
+
+in reply to which your \BV\ editor and the \ukt\ chairman made the
+following points:
+\begin{enumerate}
+\item Indeed, you can have this effect of immediate feedback if you
+ use Blue Sky Research's excellent Lightning Textures product. I
+ think the interface you get should be separated from the underlying
+ structure of \TeX and \LaTeX3, and that style design is not a matter
+ of daily usage. You don't change fonts in a document, you change it
+ in a style file
+\item There are various projects to translate \LaTeX\ to SGML
+ reliably; interested parties may like to contact Seamus McCague of
+ ICPC, Dublin (\texttt{seamus@icpc.ie}) who have developed a
+ sophisticated solution.
+\item It is true that some publications need, and can afford, the
+ detailed level of hand-crafted design that an interactive system can
+ provide when used by a skilled operator; however I imagine that, for
+ example, you do not typeset your dictionaries on such a
+ system---there is an important part of publishing where highly
+ automated and high quality typesetting is needed and this includes a
+ lot of technical publishing where accuracy of layout is too vital to
+ be left to individual operators.
+\end{enumerate}
+We appreciate Richard's points, but what exactly do you (our members)
+and those of TUG, want us to do? The various \TeX\ user groups are
+aware of these issues, but they do not control software development,
+and largely act as communication channels and meeting points. We (the
+\ukt\ committee) very much welcome suggestions and guidance about
+actions you think we can take.
+
+%\section{Coming up}
+%Would you believe that Fig.~\ref{stereo} came from a set of \TeX\
+%macros? Details in a future issue of Tugboat or \BV.
+%
+%\begin{figure*}
+%\centerline{\epsfig{figure=stereo.ps,clip}}
+%\caption{``Autostereogram'' generated using \TeX\ by Jacques Richer
+ %(Montreal)}
+%\label{stereo}
+%\end{figure*}
+\end{article}
diff --git a/usergrps/uktug/baskervi/5_3/files b/usergrps/uktug/baskervi/5_3/files
new file mode 100644
index 0000000000..cebc18ca5b
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/files
@@ -0,0 +1,8 @@
+CM PK files after pruning: 476 4016k
+PS PK files after pruning: 3558 7079k (includes CM)
+TFM files: 513 880k
+vf files: 177 405k
+STY files 186 1380k
+CLS 86 3552
+EXE files: 60, 3771 > 38, 2617
+ \ No newline at end of file
diff --git a/usergrps/uktug/baskervi/5_3/form.tex b/usergrps/uktug/baskervi/5_3/form.tex
new file mode 100644
index 0000000000..0857a34ad7
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/form.tex
@@ -0,0 +1,72 @@
+%%%start of form for chair
+\newcommand{\NL}{\\[0.7\baselineskip]}
+\begin{multicols}{2}
+\noindent
+\FullLine{}
+{\bf Election for chair}\NL
+\FullLine{Name of Nominee:}
+\FullLine{Address:}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+I declare that I am a member of \ukt\ and am
+willing to stand for election for the chair of \ukt\
+for 1995--97.
+\NL
+\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL
+\FullLine{Name of Nominator:}
+\FullLine{Address:}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+I declare that I am a member of \ukt\ and that I nominate the above-named
+person for the chair of \ukt\ for 1995--97.
+\NL
+\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL
+\FullLine{Name of Seconder:}
+\FullLine{Address:}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+I declare that I am a member of \ukt\ and that I second the nomination of the
+above-named
+person for the chair of \ukt\ for 1995--97.
+\NL
+\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL
+%%%end of form for chair
+
+%%%start of form for committee members
+\noindent
+\FullLine{}
+{\bf Election for committee member}\NL
+\FullLine{Name of Nominee:}
+\FullLine{Address:}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+I declare that I am a member of \ukt\ and am
+willing to stand for election to the Committee of \ukt\
+for 1995--96.
+\NL
+\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL
+\FullLine{Name of Nominator:}
+\FullLine{Address:}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+I declare that I am a member of \ukt\ and that I nominate the above-named
+person for election to the Committee of \ukt\ for 1995--96.
+\NL
+\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL
+\FullLine{Name of Seconder:}
+\FullLine{Address:}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+\FullLine{\phantom{Address:}}
+I declare that I am a member of \ukt\ and that I second the nomination of the
+above-named
+person for election to the Committee of \ukt\ for 1995--96.
+\NL
+\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL
+%%%end of form for committee members
+\end{multicols}
diff --git a/usergrps/uktug/baskervi/5_3/goossens.tex b/usergrps/uktug/baskervi/5_3/goossens.tex
new file mode 100644
index 0000000000..15fe1a70cb
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/goossens.tex
@@ -0,0 +1,570 @@
+\newcommand{\Lit}[1]{\texttt{#1}}
+\let\Lfn\Lit
+\let\fn\Lit
+\let\vref\ref
+
+\title{Using Adobe Type 1 Multiple Master fonts with \protect\TeX}
+\author[Michel Goossens and Sebastian Rahtz]{Michel Goossens\\
+CERN, Geneva\\\texttt{m.goossens@cern.ch}\\ and\\
+Sebastian Rahtz\\Elsevier Science Ltd\\\texttt{s.rahtz@elsevier.co.uk}}
+\begin{Article}
+
+\section{Introduction}
+The multiple master font format is an extension of the Type 1 font
+format, which allows the generation of a wide variety of typeface
+styles from a single font program. This capability allows users and
+applications control over the typographic parameters of
+fonts used in their documents, in a manner reminiscent of Knuth's
+ground-breaking \MF. This article describes the multiple master system
+in some detail, and describes the procedures needed to make instances,
+and create the appropriate font metrics for use with \TeX.
+
+\section{Multiple Master overview}
+A multiple master font program contains two or more outline typefaces
+called \emph{master designs}, which describe one or more \emph{design
+ axes}. The master designs that constitute a design axis represent a
+dynamic range of one typographic parameter, such as the weight or
+width. This range of styles is defined in a multiple master font
+program by specifying one master design to represent each end of an
+axis, such as a \emph{light} and \emph{extra-bold} weight, as well as
+any \emph{intermediate master designs} that are required. The maximum
+number of master designs allowed is sixteen.
+
+A \emph{font instance}
+consists of a font dictionary derived from the multiple master
+font program (or from another font instance).
+It contains a \Lit{WeightVector}
+array with \emph{k} values that sum to 1.0 and
+which determine the relative contributions of each master design
+to the resulting interpolated design.
+
+All derived font instances share the \Lit{CharStrings} dictionary and
+\Lit{Subrs} array of the main multiple master font program, making it
+relatively economical to generate a variety of font instances.
+Multiple master fonts can be made compatible with the installed base
+of PostScript language interpreters by including several PostScript
+language procedures and a new set of \Lit{OtherSubrs} routines in the
+font program. The procedures include the new \Lit{makeblendedfont}
+operator, the interpolation procedure \Lit{\$Blend} and a new
+definition of the \Lit{findfont} operator.
+
+\subsection{Multiple Master Design Space}
+
+It is possible to think of the master designs as being arranged in a
+1, 2, 3, or 4 dimensional space with various font instances
+corresponding to different locations in that space. The entries in
+the \Lit{FontInfo} dictionary specify what this space is and where the
+master designs are located in it. This information is necessary for
+interactive programs that allow users to create new font instances,
+and should be included in the font's s Adobe Multiple Font Metrics
+(\Lfn{AMFM}) file.
+
+\begin{figure*}
+\begin{minipage}{.5\textwidth}
+\centerline{\epsfig{file=mmdesign.eps,width=.8\linewidth}}
+\caption{Multiple master typeface design space arrangement}
+\label{fig:MMdesignspace}
+\end{minipage}
+\begin{minipage}{.5\textwidth}
+\centerline{\epsfig{file=mmfour.eps,width=.8\linewidth}}
+\caption{Arrangement of the multiple master design space
+ for a four axis font}
+\label{fig:MMfouraxes}
+\end{minipage}
+\end{figure*}
+
+Fig.~\ref{fig:MMdesignspace} illustrates an example of the design
+space of a three axis multiple master font. In this example, the axes
+are \emph{weight}, \emph{width}, and \emph{optical} size. It is
+recommended that a font program be organized to have the lightest
+weight, narrowest width, and smallest design size mapped to the origin
+of the blend space.
+
+Multiple master coordinates are of two types: those which represent
+the design space and those which represent the blend space. Design
+coordinates are integers whose range for a particular typeface is
+chosen by the designer. They are used in font names and in the user
+interface for software which creates and manipulates multiple master
+font programs. The theoretical range for a weight or width axis is
+from 1 to 999 design units; however a typical typeface, with styles
+ranging from light to black, might have a dynamic range of from 200
+(for light) to 800 units (for black).
+
+Another type of optional axis would be for optical size, in which the
+character design changes with the point size. The design coordinates
+for the optical size axis might have a dynamic range of from 6- to
+72-point, which represents the practical extremes of sizes for
+typefaces designed for publishing purposes.
+
+\emph{Blend coordinates} are normalized values, in the range of 0 to
+1, which correspond to the minimum and maximum design space
+coordinates. They are used by the Type~1 rasterizer because they are
+more convenient for mathematical manipulations. The linear space of
+blend coordinates is related to the (potentially) non-linear space of
+the design coordinates by the \Lit{BlendDesignMap} entry in the font
+dictionary.
+
+
+Fig.~\vref{fig:MMfouraxes} illustrates how a four axis design might
+be represented. An example of a fourth axis would be having an axis
+for a typographic style (serif/sans serif) or contrast (high/low: the
+ratio of thick to thin stem widths). This diagram illustrates that if
+four axes are defined, sixteen master designs are required. Also,
+since sixteen is the maximum number of designs allowed, there can be
+no intermediate designs with four axes.
+
+\section{Multiple Master Font Programs}
+
+Multiple master typefaces may contain from two to sixteen master
+designs, organized as having from one to four design axes.
+The maximum number of master designs allowed in a multiple master
+font is expressed by the equation \(2^n + x = 16\), where
+\(n\) is the number of design axes, \(x\) is the number of
+intermediate designs, and 16 is the maximum allowed number of
+master designs.
+
+The values used for calculating the weighted average are stored in the
+font dictionary in an array named \Lit{WeightVector}. The multiple
+master font program, as shipped by the font vendor, can have a default
+setting for the \Lit{WeightVector}; it is recommended that it is set
+so the default font instance will be the normal roman design for that
+typeface.
+
+\subsection{Multiple Master Keywords}
+
+\Lit{BlendAxisTypes} is a (required) array of \emph{n}
+PostScript language strings where \emph{n}
+is the dimensionality of the design space and hence the number of
+axes.
+Each string specifies the corresponding axis type.
+In the case of 3-axis example, this value would be:
+\begin{verbatim}
+/BlendAxisTypes [/Weight /Width /OpticalSize]
+\end{verbatim}
+
+\Lit{BlendDesignPositions} is a (required) array of \emph{k} arrays
+giving the locations of the \emph{k} master designs in the design
+space. Each location subarray has \emph{n} numbers giving the
+location of the design in the \emph{n} dimensions of the design space,
+with a minimum value of zero and a maximum value of one.
+Table~\vref{tab:MMdesign} with eight master designs is based on the
+example shown in Fig.~\vref{fig:MMdesignspace}. It corresponds to
+the design space for the Minion 3-axis multiple master font.
+
+\begin{table*}
+\centering
+\begin{tabular}{@{}l@{\qquad}l}
+\hline
+\emph{Design label} & \emph{Blend space coordinates} \\
+\hline
+design 1: light condensed small & 0 0 0 \\
+design 2: black condensed small & 1 0 0 \\
+design 3: light expanded small & 0 1 0 \\
+design 4: black expanded small & 1 1 0 \\
+design 5: light condensed large & 0 0 1 \\
+design 6: black condensed large & 1 0 1 \\
+design 7: light expanded large & 0 1 1 \\
+design 8: black expanded large & 1 1 1 \\
+\hline
+\end{tabular}
+\caption{Design labels and blend space values for the Minion 3-axis multiple master font}
+\label{tab:MMdesign}
+\end{table*}
+
+The \Lit{BlendDesignPositions} array corresponding to this
+case is:
+\begin{verbatim}
+/BlendDesignPositions
+ [[0 0 0][1 0 0][0 1 0][1 1 0]
+ [0 0 1][1 0 1][0 1 1][1 1 1]] def
+\end{verbatim}
+
+\Lit{BlendDesignMap} is a required entry consisting
+of an array of \emph{n} arrays where \emph{n}
+is the dimensionality of the design space.
+Each array contains \emph{m} subarrays
+that describe the mapping of design coordinates into
+normalized coordinates for that design axis.
+The minimum value allowed for \emph{m} is two,
+and the maximum is twelve.
+The order of the subarrays corresponds to the order
+of design axes in \Lit{BlendAxisTypes}.
+In the case of the Minion font this array is
+three dimensional ($n=3$) and has the following
+form:
+
+\begin{small}
+\begin{verbatim}
+/BlendDesignMap [
+ [[345 0] [620 1]] [[450 0] [600 1]]
+ [[6 0] [8 0.35] [11 0.5] [18 0.75] [72 1]] ]
+\end{verbatim}
+\end{small}
+The first number in an individual subarray is in design coordinates
+with a minimum value of 1 and a maximum value of 999. The second
+number in the subarray is in normalized coordinates, that is, in the
+range of 0 to 1. In the above example, the weight ranges from 345 to
+620, while the width ranges from 450 to 600 in design space. The
+third axis, optical size, ranges from 6 to 72 (corresponding to the
+point sizes for which the typeface can be adjusted for optimal
+legibility).
+
+\subsection{The \texttt{makeblendedfont} Operator}
+
+\noindent\fbox{\textit{blendedfontdict weightvector}
+ \textbf{makeblendedfont} \textit{blendedfontdict}}
+
+This operator creates a font dictionary with blended entries.
+The \textit{blendedfontdict} argument is a font dictionary of
+an existing multiple master font; it can be from either the
+original multiple master font itself, or from an interpolated font
+instance since any \Lit{Blend} dictionary contains all elements
+needed to derive additional font instances.
+
+The \textit{weightvector} argument is an array of numbers summing to
+1.0 to be used as the weights for creating the new font instance. The
+value of \Lit{WeightVector} in \textit{blendedfontdict'} is set to the
+values in the array weightvector. Blended values are calculated for
+entries in the \Lit{Private} and \Lit{FontInfo} dictionaries. The
+result is a font dictionary that can be used as an argument to
+\Lit{definefont}. The resulting dictionary and its contents are still
+read-write, so the caller of \Lit{makeblendedfont} can make further
+modifications if necessary.
+
+The \Lit{Blend} dictionary data structures provide the
+information needed by the \Lit{makeblendedfont}
+operator, without needing to have the specific
+list of entries to be blended built into the procedure.
+This allows a single copy of the procedure to be used even
+if the set of entries to be blended varies in future fonts.
+
+\subsection{Multiple Master findfont Procedure}
+
+Multiple master font programs from Adobe include a procedure which
+redefines the \Lit{findfont} operator in \Lit{systemdict}. This is
+necessary because of the need to generate font instances on-the-fly to
+satisfy multiple master font references in a PostScript language
+document. The procedure creates all necessary font instances before
+calling the standard \Lit{findfont} procedure.
+
+Two procedures,
+\Lit{NormalizeDesignVector} and \Lit{ConvertDesignVector},
+which are referenced in \Lit{findfont}, must be
+configured for the number of axes and master designs in the font
+program in which they are used. The \Lit{NormalizeDesignVector}
+procedure must calculate the normalized equivalent of the design
+coordinates in the FontName, using the values in the
+\Lit{BlendDesignMap} array. These normalized coordinates must be left
+on the stack for the \Lit{ConvertDesignVector} procedure. This
+procedure should take the normalized coordinates, generate
+\Lit{WeightVector} values, and leave them on the stack for the
+\Lit{makeblendfont} operator.
+\begin{figure*}
+\begin{small}
+\begin{verbatim}
+/y 140 def
+300 100 700 % outer loop on width>>>>>>>>>>>>+
+ { /x 25 def % reset x v
+ /y y 25 sub def % calculate y v
+ /Wi exch def % width from for loop<<+
+ 220 100 820 % inner loop on weight>>>>>>>>>>>+
+ { x y moveto % go to new coordinate v
+ /We exch def % weight from for loop<<+
+ /MM /MyriadMM findfont dup begin [
+ We Wi NormalizeDesignVector ConvertDesignVector
+ ] end makeblendedfont definefont 20 scalefont setfont
+ (Hxkp) show
+ /x x 55 add def % recalculate x
+ } for
+ } for
+\end{verbatim}
+\end{small}
+\caption[PostScript code to instantiate a multiple master font]%
+ {PostScript code for generating a
+ a two-dimensional matrix showing instances of the multiple
+ master font Myriad}
+\label{fig:minionprogram}
+
+\begin{minipage}{.5\textwidth}
+\centering\epsfig{file=myriad.eps,width=\textwidth}
+\caption[Two dimensional matrix showing multiple master Myriad font]%
+ {Two dimensional grid showing various instances of the two
+ axes multiple master Myriad sans serif font. }
+\label{fig:minionmatrix}
+\end{minipage}
+\begin{minipage}{.5\textwidth}
+\centering\epsfig{file=minion.eps,width=\textwidth}
+\caption[The three axes multiple master Minion serif font]%
+ {The three axes multiple master Minion serif font.
+ \begin{small}The top line shows various optical sizes (6pt, 8pt,
+ 11pt, 18pt, 40pt, and 72pt) normalized to 20pt.
+ The bottom matrix shows various weights
+ (increasing from left to right) and widths
+ (increasing from top to bottom).\end{small}}
+\label{fig:myriadmatrix}
+\end{minipage}
+\end{figure*}
+
+\section{Using Multiple master fonts with \TeX{}}
+
+Multiple master fonts come with a set of multiple master AFM
+files, which are called ``AMFM'' (Adobe Master Font Metrics) files.
+This file contains information about the number of master designs,
+the number of axes, the \texttt{BlendDesignPositions} and
+\texttt{BlendDesignMap} arrays, as well as the names, and \texttt{weightvector}
+for the master designs, from which all font instances are derived.
+
+To get the actual metric information for the characters in a font
+instance, one has to combine the metric information of the
+master designs (eight, in the case of Minion).
+To do this one needs to calculate the \texttt{weightvector} for the
+given instance. Starting from design-coordinate space one can use the
+\texttt{NormalizeDesignVector} operator to transform to the normalized
+coordinate space, and from there with the \texttt{ConvertDesignVector}
+operator one obtains the weightvector.
+These two operators are particular to a font (since they depend
+on the master designs), and are present in the multiple master
+font dictionary. One can decode the \PS{} code for calculating
+the weightvector and translate it into another
+computer language, and then use the procedure to combine the
+values in the AFM files for the master designs to calculate
+the values needed for the font instance.
+For instance, in the case of the MinionMM font, the \PS{} code
+defines the eight components of the weightvector
+as follows:
+
+\[
+\begin{array}{ccc@{\quad}ccc}
+w_1 & = & x y z& w_2 & = & (1-x) y z \\
+w_3 & = & x (1-y) z & w_4 & = & (1-x) (1-y) z \\
+w_5 & = & x y (1-z) & w_6 & = & (1-x) y (1-z) \\
+w_7 & = & x (1-y) (1-z) & w_8 & = & \sum_{n=1}^7 w_n
+\end{array}
+\]
+where $x$ is the normalized weight, $y$ the normalized
+width, and $z$ the normalized optical size.
+
+These eight numbers $w_i$ allow the calculation of all needed
+parameters in an \fn{afm} file for a font instance.
+One reads each parameter value in turn in the
+eight master design \fn{afm} files, applies the relevant weight,
+and the weighted sum thus obtained is the desired interpolated
+value of the given parameter for the font instance.
+
+Myriad is a sans serif companion font to Minion.
+It has two design axes and four master designs.
+The weights for deriving font-instance parameters in
+normalized coordinate space in function of
+the four master designs are given by:
+\[
+\begin{array}{ccc@{\quad}ccc}
+w_1 & = & (1-x)(1-y)& w_2 & = & (1-x) y \\
+w_3 & = & x (1-y) & w_4 & = & xy
+\end{array}
+\]
+where $x$ is the normalized weight and $y$ the normalized
+width.
+The corresponding mapping parameters between design space and
+normalized coordiantes are:
+
+\begin{verbatim}
+BlendDesignPositions [ [0 0] [1 0] [0 1] [1 1] ]
+BlendDesignMap [[[215 0][830 1]][[300 0][700 1]]]
+BlendAxisTypes [/Weight /Width ]
+\end{verbatim}
+
+Now one can extract any of the boundingbox and kern entries for
+a given font instance by getting the element in question from
+the eight (or four, in the case of Myriad) master files and
+calculating the interpolated value.
+To make matters simpler an explicit example will be given for
+the Myriad font, since it involves only four numbers in each case.
+Fig.~\vref{fig-Myriadcalculate-afm} shows some parts of the
+four master-design \fn{afm} files
+%% 1322 7802 26322 afm/MyriaMMLigCn.AFM
+%% 1322 7802 26322 afm/MyriaMMBlaCn.AFM
+%% 1322 7803 26489 afm/MyriaMMLigSemEx.AFM
+%% 1322 7803 26731 afm/MyriaMMBlaSemEx.AFM
+\begin{figure*}
+\begin{tiny}
+\begin{multicols}{4}
+\begin{verbatim}
+FontName MyriadMM-LightCn
+FamilyName Myriad MM
+Weight Light
+ItalicAngle 0
+IsFixedPitch false
+FontBBox -52 -250 970 818
+...
+StartKernPairs 974
+KPX A z 10
+KPX A y -31
+KPX A x 4
+KPX A w -36
+KPX A v -42
+KPX A u -9
+KPX A t -17
+KPX A s 0
+KPX A r -4
+KPX A quoteright -90
+KPX A quotedblright -90
+KPX A q -9
+KPX A p -4
+KPX A o -12
+ ...
+EndKernPairs
+\end{verbatim}
+\newpage
+\begin{verbatim}
+StartFontMetrics 2.0
+FontName MyriadMM-BlackCn
+FamilyName Myriad MM
+Weight Black
+ItalicAngle 0
+IsFixedPitch false
+FontBBox -64 -250 970 843
+...
+StartKernPairs 974
+KPX A z 10
+KPX A y -10
+KPX A x 0
+KPX A w -10
+KPX A v -10
+KPX A u 0
+KPX A t 0
+KPX A s 10
+KPX A r 0
+KPX A quoteright -20
+KPX A quotedblright -20
+KPX A q 0
+KPX A p 0
+KPX A o 0
+ ...
+EndKernPairs
+\end{verbatim}
+\newpage
+\begin{verbatim}
+FontName MyriadMM-LightSemiEx
+FamilyName Myriad MM
+Weight Light
+ItalicAngle 0
+IsFixedPitch false
+FontBBox -58 -250 1100 825
+...
+StartKernPairs 974
+KPX A z 25
+KPX A y -10
+KPX A x 0
+KPX A w -10
+KPX A v -25
+KPX A u -10
+KPX A t 0
+KPX A s -10
+KPX A r 0
+KPX A quoteright -30
+KPX A quotedblright -30
+KPX A q -10
+KPX A p 0
+KPX A o -10
+ ...
+EndKernPairs
+\end{verbatim}
+\newpage
+\begin{verbatim}
+FontName MyriadMM-BlackSemiEx
+FamilyName Myriad MM
+Weight Black
+ItalicAngle 0
+IsFixedPitch false
+FontBBox -48 -250 1432 867
+...
+StartKernPairs 974
+KPX A z 7
+KPX A y -44
+KPX A x -6
+KPX A w -47
+KPX A v -62
+KPX A u -22
+KPX A t -32
+KPX A s -6
+KPX A r -10
+KPX A quoteright -90
+KPX A quotedblright -90
+KPX A q -18
+KPX A p -10
+KPX A o -18
+ ...
+EndKernPairs
+\end{verbatim}
+\end{multicols}
+\end{tiny}
+\caption{The four \fn{afm} files for the Myriad master designs}
+\label{fig-Myriadcalculate-afm}
+ \centerline{\epsfig{figure=mmblowup.eps,width=.6\textwidth}}
+\caption{Minion instances from opposite ends of the optical size axis
+ set at the same size (exaggerated)}
+\label{mmblowup}
+\end{figure*}
+
+When the instance \fn{afm} file has been created, a suitable metric
+for \TeX\ can be built with \Lit{afm2tfm} or the \emph{fontinst}
+package.
+
+\section{In practice}
+We have instantiated the ideas outlined above by developing Unix shell
+scripts, and adapting an AFM-parsing program distributed by Adobe.
+The main script takes the following actions:
+\begin{enumerate}
+\item create a small PostScript file to invoke multiple master operators
+with values passed to the script;
+\item run GhostScript on this file to derive normalized weights, and
+ write them to a temporary file;
+\item run our ``mmafm'' program to read master AFM files, write a
+ new instance AFM file, and create a \TeX\ metric (our initial setup
+ uses \Lit{afm2tfm} to create 8r base-encoded metrics, and EC-encoded
+ virtual fonts for actual use);
+\item write a \Lit{dvips} map entry and header file to tell the driver
+ about the new font.
+\end{enumerate}
+Thus a call to our script consists of the parameters \texttt{MinionMM
+ zmnl8ac6 360 460 6}; this creates a metric file called
+\Lit{zmnl8ac6}, using Karl Berry's scheme to name ``Minion, light
+weight, 8a-encoded, condensed, at 6pt design size''. The entry in the
+map file reads \texttt{zmnl8rc6 zmnl8ac6 " TeXBase1Encoding
+ ReEncodeFont " <8r.enc <MinionMM.pfb <zmnl8ac6.pro}, and
+\Lit{zmnl8ac6.pro} contains the code:
+\begin{verbatim}
+/zmnl8ac6 /MinionMM findfont
+dup begin [
+ 360 460 6 NormalizeDesignVector
+ ConvertDesignVector
+ ] end makeblendedfont definefont
+\end{verbatim}
+In addition, we hand-wrote ``fd'' files to tell \LaTeX\ how to match
+up the various weight and width instances we created to its notions of
+series and shape. The only complication here was that the Minion font
+has an optical size axis, and we built four instances which we wanted
+\LaTeX\ to use at different user sizes:
+\begin{verbatim}
+\DeclareFontShape{T1}{zmn}{lc}{n}{%
+ <-7>zmnl8tc6 %
+ <7-10>zmnl8tc8 %
+ <10-15>zmnl8tc11 %
+ <15->zmnl8tc18}
+{}
+\end{verbatim}
+The effect of the optical sizes is demonstrated by Fig.~\ref{mmblowup}
+which shows the 6pt and 18pt instances scaled to the same size. The
+differences in design are as apparent as a corresponding examples
+from Computer Modern would be.
+
+The tools we developed served to test the ideas, and build a set of
+metrics; they are available from us on request, but users should
+beware that they are neither intuitive in use, nor robust. It is to be
+hoped that a more functional, portable, solution will be developed in
+time. The keen \TeX xie may be interested in developing a
+\Lit{MakeTeXTFM} script for Unix \Lit{web2c} systems to apply the
+programs on the fly from within \TeX.
+\afterpage{\clearpage}
+\end{Article}
+\endinput
diff --git a/usergrps/uktug/baskervi/5_3/group.tex b/usergrps/uktug/baskervi/5_3/group.tex
new file mode 100644
index 0000000000..49a781c2f1
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/group.tex
@@ -0,0 +1,41 @@
+%\newenvironment{meeting}{\begin{trivlist}\item[]$\bullet$}{\end{trivlist}}
+%\newcommand{\squad}{\hspace{10pt plus1pt minus1pt}}
+\begin{multicols}{2}
+\title{The UK \TeX\ Users Group}
+\author{}
+\begin{article}
+\section{Group aims and activities}
+The \ukt\ was founded in 1989; its activities and benefits include:
+\begin{itemize}
+ \item Regular meetings covering both \TeX{}nical matters and general
+typographic subjects;
+ \item Visits to publishers, font suppliers and book producers;
+ \item In-depth workshops, with hands-on computer sessions where
+appropriate;
+ \item Negotiation of discounts on \TeX\ relevant books with publishers.
+ \item Distribution of public domain \TeX\ implementations (in
+cooperation with the international \TeX\ archives);
+ \item Discount on joint UK \TeX\ Users Group/TUG membership;
+ \item Reduction in conference fees for the TUG annual meeting and the
+annual European meetings;
+ \item The publication and distribution of \BV\ (the annals of
+the UK \TeX\ Users Group).
+ \end{itemize}
+
+\section{Programme of meetings for 1995}
+\begin{description}
+\item[July, 1995] (\TeX\ Users Group Annual Meeting in Florida)
+\item[August, 1995:] em\TeX\ in depth:
+a training meeting on MSDOS \TeX, with Sebastian Rahtz
+Location: Oxford.
+\item[September, 1995] (Euro\TeX\ meeting in the Netherlands)
+\item[October 1995:] AGM, at Queen Mary and Westfield College,
+University of London, with sessions on `non-traditional' \TeX.
+\end{description}
+
+\noindent All members of \ukt{} will be provided with more details of
+these meetings as they become available. Reports of the meetings will
+appear in \BV, the organ of the group.
+
+\end{article}
+\end{multicols}
diff --git a/usergrps/uktug/baskervi/5_3/honmem.tex b/usergrps/uktug/baskervi/5_3/honmem.tex
new file mode 100644
index 0000000000..c7d9aa1744
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/honmem.tex
@@ -0,0 +1,31 @@
+\title{Honorary Member}
+\author{}
+\begin{Article}
+
+
+In November 1991 the Committee of the \ukt\
+decided to award Honorary Life Membership of the Group
+to Malcolm Clark in recognition of his efforts and achievements in the creation
+and establishment of the \ukt.
+
+It had been planned to announce this at the 1992 AGM. Unfortunately, Malcolm,
+who knew nothing about this, did not attend that AGM, so the announcement was
+postponed. For various reasons, including the chair's continuing illness, the
+secretary's incompetence and the arrangements for TUG~'93 in Aston, the issue
+was shelved. However, we are now delighted to announce the award,
+however belatedly, and we apologize to Malcolm for the delay.
+
+Members may note that
+Clause~15~(2) of the constitution empowers the Committee to award Honorary
+Membership (so long as the total number of such members does not exceed~25);
+and also that the Committee at the time consisted of the following persons:
+Peter Abbott (chair), Ian Hall (treasurer), Rosemary Bailey (secretary),
+David Penfold (membership secretary), Sue Brooks, Geeti Granger,
+David Eckersley, Carol Hewlett, James Petts,
+Philip Taylor.
+\begin{flushright}
+R. A. Bailey\\
+Honorary Secretary 1991--1995
+\end{flushright}
+
+\end{Article}
diff --git a/usergrps/uktug/baskervi/5_3/info-int.pic b/usergrps/uktug/baskervi/5_3/info-int.pic
new file mode 100644
index 0000000000..8d4358072c
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/info-int.pic
@@ -0,0 +1,14 @@
+\unitlength=1.00mm
+\linethickness{0.4pt}
+\begin{picture}(95.00,32.00)
+\put(1.00,18.00){\framebox(22.00,11.00)[cc]{\shortstack{local\\layer}}}
+\put(1.00,9.00){\framebox(22.00,7.00)[cc]{ASCII}}
+\put(24.00,20.00){\vector(1,0){10.00}}
+\put(35.00,14.00){\framebox(24.00,12.00)[cc]{information}}
+\put(60.00,20.00){\vector(1,0){10.00}}
+\put(71.00,14.00){\framebox(24.00,11.00)[cc]{typography}}
+\put(47.00,14.00){\line(0,-1){6.00}}
+\put(48.00,8.00){\oval(2.00,2.00)[bl]}
+\put(48.00,7.00){\vector(1,0){9.00}}
+\put(58.00,7.00){\makebox(0,0)[cl]{use for communication}}
+\end{picture}
diff --git a/usergrps/uktug/baskervi/5_3/info-ome.pic b/usergrps/uktug/baskervi/5_3/info-ome.pic
new file mode 100644
index 0000000000..477c91ebeb
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/info-ome.pic
@@ -0,0 +1,18 @@
+\unitlength=1.00mm
+\linethickness{0.4pt}
+\begin{picture}(95.00,32.00)
+\put(1.00,15.00){\framebox(22.00,14.00)[cc]{\shortstack{Input\\encoding}}}
+\put(24.00,21.00){\vector(1,0){10.00}}
+\put(35.00,15.00){\framebox(24.00,14.00)[cc]{\shortstack{information\\
+ (Unicode)}}}
+\put(60.00,21.00){\vector(1,0){10.00}}
+\put(71.00,16.00){\framebox(24.00,11.00)[cc]{typography}}
+\put(42.00,15.00){\line(0,-1){6.00}}
+\put(43.00,9.00){\oval(2.00,2.00)[bl]}
+\put(43.00,8.00){\line(1,0){8.00}}
+\put(51.00,9.00){\oval(2.00,2.00)[br]}
+\put(52.00,9.00){\vector(0,1){6.00}}
+\put(29.00,23.50){\makebox(0,0)[cc]{\small OTP}}
+\put(65.00,23.50){\makebox(0,0)[cc]{\small OTP}}
+\put(47.00,10.50){\makebox(0,0)[cc]{\small OTP}}
+\end{picture}
diff --git a/usergrps/uktug/baskervi/5_3/minion.eps b/usergrps/uktug/baskervi/5_3/minion.eps
new file mode 100644
index 0000000000..f2adb0cc4d
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/minion.eps
@@ -0,0 +1,43 @@
+%! Showfonti.ps
+%%BoundingBox: 24 15 350 192
+%%Title: (Print a series of words going along two axes)
+%%Creator: Michel Goossens CERN CN/ASD
+%%CreationDate: Feb. 15th 1994
+%%DocumentNeededResources: font(s) defined by user
+%%EndComments
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% MAIN ROUTINE %
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+/y 170 def
+/x 25 def
+
+[6 8 11 18 40 72]% loop on optical size>>>>>>>>>>>>>+
+ { % v
+ x y moveto % go to new coordinate v
+ /Si exch def % Size from forall loop<<+
+ /MM /MinionMM findfont dup begin [
+ 400 500 Si NormalizeDesignVector ConvertDesignVector
+ ] end makeblendedfont definefont 20 scalefont setfont
+ (Hxkp) show
+ /x x 55 add def % calculate x
+ } forall
+
+450 30 600 % outer loop on width>>>>>>>>>>>>>+
+ { % v
+ /x 25 def % reset x v
+ /y y 25 sub def % calculate y v
+ /Wi exch def % width from for loop<<+
+ 360 50 610 % inner loop on weight>>>>>>>>>>>>+
+ { % v
+ x y moveto % go to new coordinate v
+ /We exch def % weight from for loop<<+
+ /MM /MinionMM findfont dup begin [
+ We Wi 72 NormalizeDesignVector ConvertDesignVector
+ ] end makeblendedfont definefont 20 scalefont setfont
+ (Hxkp) show
+ /x x 55 add def % calculate x
+ } for
+ } for
+showpage
+%%EOF
diff --git a/usergrps/uktug/baskervi/5_3/mm.sty b/usergrps/uktug/baskervi/5_3/mm.sty
new file mode 100644
index 0000000000..b8ab603e78
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/mm.sty
@@ -0,0 +1,5 @@
+\RequirePackage[T1]{fontenc}
+\def\rmdefault{zmn}
+\def\sfdefault{zmy}
+\def\ttdefault{cmtt}
+\endinput \ No newline at end of file
diff --git a/usergrps/uktug/baskervi/5_3/mmblowup.eps b/usergrps/uktug/baskervi/5_3/mmblowup.eps
new file mode 100644
index 0000000000..03373ec7fb
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/mmblowup.eps
@@ -0,0 +1,2349 @@
+%!PS-Adobe-2.0 EPSF-2.0
+%%Title: foo.eps
+%%Creator: XV Version 3.00 Rev: 3/30/93 - by John Bradley
+%%BoundingBox: -125 41 723 809
+%%Pages: 1
+%%DocumentFonts:
+%%EndComments
+%%EndProlog
+
+%%Page: 1 1
+
+% remember original state
+/origstate save def
+
+% build a temporary dictionary
+20 dict begin
+
+% define string to hold a scanline's worth of data
+/pix 106 string def
+
+% lower left corner
+-125 41 translate
+
+% size of image (on paper, in 1/72inch coords)
+848.01600 768.02400 scale
+
+% dimensions of data
+848 768 1
+
+% mapping matrix
+[848 0 0 -768 0 768]
+
+{currentfile pix readhexstring pop}
+image
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+
+
+showpage
+
+% stop using temporary dictionary
+end
+
+% restore original state
+origstate restore
+
+%%Trailer
diff --git a/usergrps/uktug/baskervi/5_3/mmdesign.eps b/usergrps/uktug/baskervi/5_3/mmdesign.eps
new file mode 100644
index 0000000000..c07269bf84
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/mmdesign.eps
@@ -0,0 +1,1661 @@
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: Adobe Illustrator(TM) 3.2gm5
+%%For: (Terry) (Adobe Systems)
+%%Title: (MM 3 D Space Diagr)
+%%CreationDate: (10/1/91) (1:38 PM)
+%%BoundingBox: 127 282 451 541
+%%DocumentProcessColors: Black
+%%DocumentFonts: Helvetica
+%%DocumentSuppliedResources: procset Adobe_packedarray 2.0 0
+%%+ procset Adobe_cmykcolor 1.1 0
+%%+ procset Adobe_cshow 1.1 0
+%%+ procset Adobe_customcolor 1.0 0
+%%+ procset Adobe_typography_AI3 1.0 1
+%%+ procset Adobe_IllustratorA_AI3 1.0 1
+%AI3_ColorUsage: Black&White
+%AI3_TemplateBox: 306 396 306 396
+%AI3_TileBox: -522 761 30 1491
+%AI3_DocumentPreview: Macintosh_Pic
+%%EndComments
+%%BeginProlog
+%%BeginResource: procset Adobe_packedarray 2.0 0
+%%Title: (Packed Array Operators)
+%%Version: 2.0
+%%CreationDate: (8/2/90) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+userdict /Adobe_packedarray 5 dict dup begin put
+/initialize % - initialize -
+{
+/packedarray where
+ {
+ pop
+ }
+ {
+ Adobe_packedarray begin
+ Adobe_packedarray
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ userdict 3 1 roll put
+ } forall
+ end
+ } ifelse
+} def
+/terminate % - terminate -
+{
+} def
+/packedarray % arguments count packedarray array
+{
+array astore readonly
+} def
+/setpacking % boolean setpacking -
+{
+pop
+} def
+/currentpacking % - setpacking boolean
+{
+false
+} def
+currentdict readonly pop end
+%%EndResource
+Adobe_packedarray /initialize get exec
+%%BeginResource: procset Adobe_cmykcolor 1.1 0
+%%Title: (CMYK Color Operators)
+%%Version: 1.1
+%%CreationDate: (1/23/89) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_cmykcolor 4 dict dup begin put
+/initialize % - initialize -
+{
+/setcmykcolor where
+ {
+ pop
+ }
+ {
+ userdict /Adobe_cmykcolor_vars 2 dict dup begin put
+ /_setrgbcolor
+ /setrgbcolor load def
+ /_currentrgbcolor
+ /currentrgbcolor load def
+ Adobe_cmykcolor begin
+ Adobe_cmykcolor
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ pop pop
+ } forall
+ end
+ end
+ Adobe_cmykcolor begin
+ } ifelse
+} def
+/terminate % - terminate -
+{
+currentdict Adobe_cmykcolor eq
+ {
+ end
+ } if
+} def
+/setcmykcolor % cyan magenta yellow black setcmykcolor -
+{
+1 sub 4 1 roll
+3
+ {
+ 3 index add neg dup 0 lt
+ {
+ pop 0
+ } if
+ 3 1 roll
+ } repeat
+Adobe_cmykcolor_vars /_setrgbcolor get exec
+pop
+} def
+/currentcmykcolor % - currentcmykcolor cyan magenta yellow black
+{
+Adobe_cmykcolor_vars /_currentrgbcolor get exec
+3
+ {
+ 1 sub neg 3 1 roll
+ } repeat
+0
+} def
+currentdict readonly pop end
+setpacking
+%%EndResource
+%%BeginResource: procset Adobe_cshow 1.1 0
+%%Title: (cshow Operator)
+%%Version: 1.1
+%%CreationDate: (1/23/89) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_cshow 3 dict dup begin put
+/initialize % - initialize -
+{
+/cshow where
+ {
+ pop
+ }
+ {
+ userdict /Adobe_cshow_vars 1 dict dup begin put
+ /_cshow % - _cshow proc
+ {} def
+ Adobe_cshow begin
+ Adobe_cshow
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ userdict 3 1 roll put
+ } forall
+ end
+ end
+ } ifelse
+} def
+/terminate % - terminate -
+{
+} def
+/cshow % proc string cshow -
+{
+exch
+Adobe_cshow_vars
+ exch /_cshow
+ exch put
+ {
+ 0 0 Adobe_cshow_vars /_cshow get exec
+ } forall
+} def
+currentdict readonly pop end
+setpacking
+%%EndResource
+%%BeginResource: procset Adobe_customcolor 1.0 0
+%%Title: (Custom Color Operators)
+%%Version: 1.0
+%%CreationDate: (5/9/88) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_customcolor 5 dict dup begin put
+/initialize % - initialize -
+{
+/setcustomcolor where
+ {
+ pop
+ }
+ {
+ Adobe_customcolor begin
+ Adobe_customcolor
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ pop pop
+ } forall
+ end
+ Adobe_customcolor begin
+ } ifelse
+} def
+/terminate % - terminate -
+{
+currentdict Adobe_customcolor eq
+ {
+ end
+ } if
+} def
+/findcmykcustomcolor % cyan magenta yellow black name findcmykcustomcolor
+%%+ object
+{
+5 packedarray
+} def
+/setcustomcolor % object tint setcustomcolor -
+{
+exch
+aload pop pop
+4
+ {
+ 4 index mul 4 1 roll
+ } repeat
+5 -1 roll pop
+setcmykcolor
+} def
+/setoverprint % boolean setoverprint -
+{
+pop
+} def
+currentdict readonly pop end
+setpacking
+%%EndResource
+%%BeginResource: procset Adobe_typography_AI3 1.1 0
+%%Title: (Typography Operators)
+%%Version: 1.0
+%%CreationDate:(5/31/90) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_typography_AI3 47 dict dup begin put
+/initialize % - initialize -
+{
+/TZ
+ where
+ {
+ pop
+ }
+ {
+ Adobe_typography_AI3 begin
+ Adobe_typography_AI3
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ pop pop
+ } forall
+ end
+ Adobe_typography_AI3 begin
+ } ifelse
+} def
+/terminate % - terminate -
+{
+currentdict Adobe_typography_AI3 eq
+ {
+ end
+ } if
+} def
+% [ number value stream [ array for encoding modification ] modifyEncoding
+%%+ ==> [ modified array ]
+/modifyEncoding
+{
+ /_tempEncode exch ddef
+
+ % pointer for sequential encodings
+ /_pntr 0 ddef
+
+ {
+ % get bottom object
+ counttomark -1 roll
+ % is it a mark ?
+ dup type dup /marktype eq
+ {
+ % exit
+ pop pop exit
+ }
+ {
+ % ... object ... type ....
+ % insert if a nametype
+ /nametype eq
+ {
+ % insert the name at _pntr and increment pointer
+ _tempEncode /_pntr dup load dup 3 1 roll 1 add ddef 3 -1 roll
+ put
+ }
+ {
+ % reset _pntr if it's a number
+ /_pntr exch ddef
+ }
+ ifelse
+ }
+ ifelse
+ }
+ loop
+
+ % return the modified encoding
+ _tempEncode
+}
+def
+/TE % Set std platform encoding % (encoding pairs) TE -
+{
+ StandardEncoding 256 array copy modifyEncoding
+ /_nativeEncoding exch def
+} def
+% re-define font
+% expected arguments
+% for 'normal fonts :
+% [ /_Helvetica-Bold/Helvetica-Bold direction fontScript defaultEncoding TZ
+%
+% for cartographic, pictographic, and expert fonts :
+% [ ... number value stream ... /_Symbol/Symbol
+% direction fontScript defaultEncoding TZ
+% for blended fonts w/ default encoding :
+% [ /_AdobeSans_20ULig1XCond-Bold/AdobeSans
+% direction fontScript defaultEncoding [ w0 w1 ... wn ] TZ
+% for blended fonts w/ special encoding :
+% [ ... number value stream ... /_AdobeSans_20ULig1XCond/AdobeSans
+% direction fontScript defaultEncoding [ w0 w1 ... wn ] TZ
+/TZ
+{
+ % set weight vector (if present)
+ dup type /arraytype eq {/_wv exch def} {/_wv 0 def} ifelse
+ % platform dependent coding flag
+ /_useNativeEncoding exch def
+ % pop fontScript & direction
+ pop pop
+
+ % create a new dictionary with length
+ % equal to original dictionary length + 2
+ % copy all the key/value pairs except FID
+ % call makeblended font with the weight values if _wv is an array
+ findfont _wv type /arraytype eq {_wv makeblendedfont} if dup length 2 add
+ dict
+
+ begin
+
+ % copy all the values but the FID
+ % into the new dictionary
+ mark exch
+ {
+ 1 index /FID ne { def } if cleartomark mark
+ }
+ forall
+ % discard last mark
+ pop
+
+ % define FontName
+ /FontName exch def
+
+ % if no re-encoding stream is present
+ % then if the base encoding vector of the font
+ % is the same as StandardEncoding
+ % and the use platform encoding flag is true
+ % then install AI platform encoding
+ % else leave the base encoding in effect
+ counttomark 0 eq
+ {
+ 1 _useNativeEncoding eq
+ {
+ /Encoding _nativeEncoding def
+ }
+ if
+ % clean up
+ cleartomark
+ }
+ {
+ % custom encoding to be done
+ % start off with a copy of the font's standard encoding
+ /Encoding load 256 array copy
+ modifyEncoding /Encoding exch def
+ }
+ ifelse
+ FontName currentdict
+ end
+
+ % register the new font
+ definefont pop
+}
+def
+% text painting operators
+/tr % string tr ax ay string
+{
+_ax _ay 3 2 roll
+} def
+/trj % string trj cx cy fillchar ax ay string
+{
+_cx _cy _sp _ax _ay 6 5 roll
+} def
+/a0
+{
+/Tx % text % textString Tx -
+ {
+ dup
+ currentpoint 3 2 roll
+ tr _psf
+ newpath moveto
+ tr _ctm _pss
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ dup
+ currentpoint 3 2 roll
+ trj _pjsf
+ newpath moveto
+ trj _ctm _pjss
+ } ddef
+
+} def
+/a1
+{
+/Tx % text % textString Tx -
+ {
+ dup currentpoint 4 2 roll gsave
+ dup currentpoint 3 2 roll
+ tr _psf
+ newpath moveto
+ tr _ctm _pss
+ grestore 3 1 roll moveto tr sp
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ dup currentpoint 4 2 roll gsave
+ dup currentpoint 3 2 roll
+ trj _pjsf
+ newpath moveto
+ trj _ctm _pjss
+ grestore 3 1 roll moveto tr sp
+ } ddef
+
+} def
+/e0
+{
+/Tx % text % textString Tx -
+ {
+ tr _psf
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ trj _pjsf
+ } ddef
+} def
+/e1
+{
+/Tx % text % textString Tx -
+ {
+ dup currentpoint 4 2 roll gsave
+ tr _psf
+ grestore 3 1 roll moveto tr sp
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ dup currentpoint 4 2 roll gsave
+ trj _pjsf
+ grestore 3 1 roll moveto tr sp
+ } ddef
+} def
+/i0
+{
+/Tx % text % textString Tx -
+ {
+ tr sp
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ trj jsp
+ } ddef
+} def
+/i1
+{
+W N
+} def
+/o0
+{
+/Tx % text % textString Tx -
+ {
+ tr sw rmoveto
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ trj swj rmoveto
+ } ddef
+} def
+/r0
+{
+/Tx % text % textString Tx -
+ {
+ tr _ctm _pss
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ trj _ctm _pjss
+ } ddef
+} def
+/r1
+{
+/Tx % text % textString Tx -
+ {
+ dup currentpoint 4 2 roll currentpoint gsave newpath moveto
+ tr _ctm _pss
+ grestore 3 1 roll moveto tr sp
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ dup currentpoint 4 2 roll currentpoint gsave newpath moveto
+ trj _ctm _pjss
+ grestore 3 1 roll moveto tr sp
+ } ddef
+} def
+% font operators
+% Binding
+/To % begin text % bindType To -
+{
+ pop _ctm currentmatrix pop
+} def
+/TO % end text % TO -
+{
+ Te _ctm setmatrix newpath
+} def
+% Text paths
+/Tp % begin text path % a b c d tx ty startPt Tp -
+{
+ pop _tm astore pop _ctm setmatrix
+ _tDict begin /W {} def /h {} def
+} def
+/TP % end text path % TP -
+{
+ end
+ iTm 0 0 moveto
+} def
+% Render mode & matrix operators
+/Tr % begin render % render Tr -
+{
+ _render 3 le {currentpoint newpath moveto} if
+ dup 8 eq {pop 0} {dup 9 eq {pop 1} if} ifelse
+ dup /_render exch ddef
+ _renderStart exch get load exec
+} def
+/iTm % internal set text matrix % - iTm - (uses _tm as implicit argument)
+{
+_ctm setmatrix _tm concat 0 _rise translate _hs 1 scale
+} def
+/Tm % set text matrix % a b c d tx ty Tm -
+{
+_tm astore pop iTm 0 0 moveto
+} def
+/Td % translate text matrix % tx ty Td -
+{
+_mtx translate _tm _tm concatmatrix pop iTm 0 0 moveto
+} def
+/Te % end render % - Te -
+{
+ _render -1 eq {} {_renderEnd _render get dup null ne {load exec} {pop}
+ ifelse} ifelse
+ /_render -1 ddef
+} def
+% Attributes
+/Ta % set alignment % alignment Ta -
+{
+pop
+} def
+/Tf % set font name and size % fontname size Tf -
+{
+dup 1000 div /_fScl exch ddef
+exch findfont exch scalefont setfont
+} def
+/Tl % set leading % leading paragraphLeading Tl -
+{
+pop
+0 exch _leading astore pop
+} def
+/Tt % set user tracking % userTracking Tt -
+{
+pop
+} def
+/TW % set word spacing % minSpace optSpace maxSpace TW -
+{
+3 npop
+} def
+/Tw % set computed word spacing % wordSpace Tw
+{
+/_cx exch ddef
+} def
+/TC % set character spacing % minSpace optSpace maxSpace TC -
+{
+3 npop
+} def
+/Tc % set computed char spacing % charSpace Tc -
+{
+/_ax exch ddef
+} def
+/Ts % set super/subscripting (rise) % rise Ts -
+{
+/_rise exch ddef
+currentpoint
+iTm
+moveto
+} def
+/Ti % set indentation % firstStartIndent otherStartIndent stopIndent Ti -
+{
+3 npop
+} def
+/Tz % set horizontal scaling % scalePercent Tz -
+{
+100 div /_hs exch ddef
+iTm
+} def
+/TA % set pairwise kerning % autoKern TA -
+ % autoKern = 0 -> no pair kerning
+ % = 1 -> automatic pair kerning
+{
+pop
+} def
+/Tq % set hanging quotes % hangingQuotes Tq -
+ % hangingQuotes = 0 -> no hanging quotes
+ % = 1 -> hanging quotes
+{
+pop
+} def
+% Text Bodies
+/TX {pop} def
+%/Tx % non-justified text % textString Tx -
+%/Tj % justified text % textString Tj -
+/Tk % kern % autoKern kernValue Tk -
+ % autoKern = 0 -> manual kern, = 1 -> auto kern
+ % kernValue = kern value in em/1000 space
+{
+exch pop _fScl mul neg 0 rmoveto
+} def
+/TK % non-printing kern % autoKern kernValue TK -
+{
+2 npop
+} def
+/T* % carriage return & line feed % - T* -
+{
+_leading aload pop neg Td
+} def
+/T*- % carriage return & negative line feed % - T*- -
+{
+_leading aload pop Td
+} def
+/T- % print a discretionary hyphen % - T- -
+{
+_hyphen Tx
+} def
+/T+ % discretionary hyphen hyphen % - T+ -
+{} def
+/TR % reset pattern matrix % a b c d tx ty TR -
+{
+_ctm currentmatrix pop
+_tm astore pop
+iTm 0 0 moveto
+} def
+/TS % special chars % textString justified TS -
+{
+0 eq {Tx} {Tj} ifelse
+} def
+currentdict readonly pop end
+setpacking
+%%EndResource
+%%BeginResource: procset Adobe_IllustratorA_AI3 1.0 2
+%%Title: (Adobe Illustrator (R) Version 3.0 Abbreviated Prolog)
+%%Version: 1.0
+%%CreationDate: (7/22/89) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_IllustratorA_AI3 61 dict dup begin put
+% initialization
+/initialize % - initialize -
+{
+% 47 vars, but leave slack of 10 entries for custom Postscript fragments
+userdict /Adobe_IllustratorA_AI3_vars 57 dict dup begin put
+% paint operands
+/_lp /none def
+/_pf {} def
+/_ps {} def
+/_psf {} def
+/_pss {} def
+/_pjsf {} def
+/_pjss {} def
+/_pola 0 def
+/_doClip 0 def
+% paint operators
+/cf currentflat def % - cf flatness
+% typography operands
+/_tm matrix def
+/_renderStart [/e0 /r0 /a0 /o0 /e1 /r1 /a1 /i0] def
+/_renderEnd [null null null null /i1 /i1 /i1 /i1] def
+/_render -1 def
+/_rise 0 def
+/_ax 0 def % x character spacing (_ax, _ay, _cx, _cy follows awidthshow
+%%+ naming convention)
+/_ay 0 def % y character spacing
+/_cx 0 def % x word spacing
+/_cy 0 def % y word spacing
+/_leading [0 0] def
+/_ctm matrix def
+/_mtx matrix def
+/_sp 16#020 def
+/_hyphen (-) def
+/_fScl 0 def
+/_cnt 0 def
+/_hs 1 def
+/_nativeEncoding 0 def
+/_useNativeEncoding 0 def
+/_tempEncode 0 def
+/_pntr 0 def
+/_tDict 2 dict def
+% typography operators
+/Tx {} def
+/Tj {} def
+% compound path operators
+/CRender {} def
+% printing
+/_AI3_savepage {} def
+% color operands
+/_gf null def
+/_cf 4 array def
+/_if null def
+/_of false def
+/_fc {} def
+/_gs null def
+/_cs 4 array def
+/_is null def
+/_os false def
+/_sc {} def
+/_i null def
+Adobe_IllustratorA_AI3 begin
+Adobe_IllustratorA_AI3
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ pop pop
+ } forall
+end
+end
+Adobe_IllustratorA_AI3 begin
+Adobe_IllustratorA_AI3_vars begin
+newpath
+} def
+/terminate % - terminate -
+{
+end
+end
+} def
+% definition operators
+/_ % - _ null
+null def
+/ddef % key value ddef -
+{
+Adobe_IllustratorA_AI3_vars 3 1 roll put
+} def
+/xput % key value literal xput -
+{
+dup load dup length exch maxlength eq
+ {
+ dup dup load dup
+ length 2 mul dict copy def
+ } if
+load begin def end
+} def
+/npop % integer npop -
+{
+ {
+ pop
+ } repeat
+} def
+% marking operators
+/sw % ax ay string sw x y
+{
+dup length exch stringwidth
+exch 5 -1 roll 3 index 1 sub mul add
+4 1 roll 3 1 roll 1 sub mul add
+} def
+/swj % cx cy fillchar ax ay string swj x y
+{
+dup 4 1 roll
+dup length exch stringwidth
+exch 5 -1 roll 3 index 1 sub mul add
+4 1 roll 3 1 roll 1 sub mul add
+6 2 roll /_cnt 0 ddef
+{1 index eq {/_cnt _cnt 1 add ddef} if} forall pop
+exch _cnt mul exch _cnt mul 2 index add 4 1 roll 2 index add 4 1 roll pop pop
+} def
+/ss % ax ay string matrix ss -
+{
+4 1 roll
+ { % matrix ax ay char 0 0 {proc} -
+ 2 npop
+ (0) exch 2 copy 0 exch put pop
+ gsave
+ false charpath currentpoint
+ 4 index setmatrix
+ stroke
+ grestore
+ moveto
+ 2 copy rmoveto
+ } exch cshow
+3 npop
+} def
+/jss % cx cy fillchar ax ay string matrix jss -
+{
+4 1 roll
+ { % cx cy fillchar matrix ax ay char 0 0 {proc} -
+ 2 npop
+ (0) exch 2 copy 0 exch put
+ gsave
+ _sp eq
+ {
+ exch 6 index 6 index 6 index 5 -1 roll widthshow
+ currentpoint
+ }
+ {
+ false charpath currentpoint
+ 4 index setmatrix stroke
+ }ifelse
+ grestore
+ moveto
+ 2 copy rmoveto
+ } exch cshow
+6 npop
+} def
+% path operators
+/sp % ax ay string sp -
+{
+ {
+ 2 npop (0) exch
+ 2 copy 0 exch put pop
+ false charpath
+ 2 copy rmoveto
+ } exch cshow
+2 npop
+} def
+/jsp % cx cy fillchar ax ay string jsp -
+{
+ { % cx cy fillchar ax ay char 0 0 {proc} -
+ 2 npop
+ (0) exch 2 copy 0 exch put
+ _sp eq
+ {
+ exch 5 index 5 index 5 index 5 -1 roll widthshow
+ }
+ {
+ false charpath
+ }ifelse
+ 2 copy rmoveto
+ } exch cshow
+5 npop
+} def
+% path construction operators
+/pl % x y pl x y
+{
+transform
+0.25 sub round 0.25 add exch
+0.25 sub round 0.25 add exch
+itransform
+} def
+/setstrokeadjust where
+ {
+ pop true setstrokeadjust
+ /c % x1 y1 x2 y2 x3 y3 c -
+ {
+ curveto
+ } def
+ /C
+ /c load def
+ /v % x2 y2 x3 y3 v -
+ {
+ currentpoint 6 2 roll curveto
+ } def
+ /V
+ /v load def
+ /y % x1 y1 x2 y2 y -
+ {
+ 2 copy curveto
+ } def
+ /Y
+ /y load def
+ /l % x y l -
+ {
+ lineto
+ } def
+ /L
+ /l load def
+ /m % x y m -
+ {
+ moveto
+ } def
+ }
+ {%else
+ /c
+ {
+ pl curveto
+ } def
+ /C
+ /c load def
+ /v
+ {
+ currentpoint 6 2 roll pl curveto
+ } def
+ /V
+ /v load def
+ /y
+ {
+ pl 2 copy curveto
+ } def
+ /Y
+ /y load def
+ /l
+ {
+ pl lineto
+ } def
+ /L
+ /l load def
+ /m
+ {
+ pl moveto
+ } def
+ }ifelse
+% graphic state operators
+/d % array phase d -
+{
+setdash
+} def
+/cf {} def % - cf flatness
+/i % flatness i -
+{
+dup 0 eq
+ {
+ pop cf
+ } if
+setflat
+} def
+/j % linejoin j -
+{
+setlinejoin
+} def
+/J % linecap J -
+{
+setlinecap
+} def
+/M % miterlimit M -
+{
+setmiterlimit
+} def
+/w % linewidth w -
+{
+setlinewidth
+} def
+% path painting operators
+/H % - H -
+{} def
+/h % - h -
+{
+closepath
+} def
+/N % - N -
+{
+_pola 0 eq
+ {
+ _doClip 1 eq {clip /_doClip 0 ddef} if
+ newpath
+ }
+ {
+ /CRender {N} ddef
+ }ifelse
+} def
+/n % - n -
+{N} def
+/F % - F -
+{
+_pola 0 eq
+ {
+ _doClip 1 eq
+ {
+ gsave _pf grestore clip newpath /_lp /none ddef _fc
+ /_doClip 0 ddef
+ }
+ {
+ _pf
+ }ifelse
+ }
+ {
+ /CRender {F} ddef
+ }ifelse
+} def
+/f % - f -
+{
+closepath
+F
+} def
+/S % - S -
+{
+_pola 0 eq
+ {
+ _doClip 1 eq
+ {
+ gsave _ps grestore clip newpath /_lp /none ddef _sc
+ /_doClip 0 ddef
+ }
+ {
+ _ps
+ }ifelse
+ }
+ {
+ /CRender {S} ddef
+ }ifelse
+} def
+/s % - s -
+{
+closepath
+S
+} def
+/B % - B -
+{
+_pola 0 eq
+ {
+ _doClip 1 eq % F clears _doClip
+ gsave F grestore
+ {
+ gsave S grestore clip newpath /_lp /none ddef _sc
+ /_doClip 0 ddef
+ }
+ {
+ S
+ }ifelse
+ }
+ {
+ /CRender {B} ddef
+ }ifelse
+} def
+/b % - b -
+{
+closepath
+B
+} def
+/W % - W -
+{
+/_doClip 1 ddef
+} def
+/* % - [string] * -
+{
+count 0 ne
+ {
+ dup type (stringtype) eq {pop} if
+ } if
+_pola 0 eq {newpath} if
+} def
+% group operators
+/u % - u -
+{} def
+/U % - U -
+{} def
+/q % - q -
+{
+_pola 0 eq {gsave} if
+} def
+/Q % - Q -
+{
+_pola 0 eq {grestore} if
+} def
+/*u % - *u -
+{
+_pola 1 add /_pola exch ddef
+} def
+/*U % - *U -
+{
+_pola 1 sub /_pola exch ddef
+_pola 0 eq {CRender} if
+} def
+/D % polarized D -
+{pop} def
+/*w % - *w -
+{} def
+/*W % - *W -
+{} def
+% place operators
+/` % matrix llx lly urx ury string ` -
+{
+/_i save ddef
+6 1 roll 4 npop
+concat pop
+userdict begin
+/showpage {} def
+0 setgray
+0 setlinecap
+1 setlinewidth
+0 setlinejoin
+10 setmiterlimit
+[] 0 setdash
+newpath
+0 setgray
+false setoverprint
+} def
+/~ % - ~ -
+{
+end
+_i restore
+} def
+% color operators
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+{
+0 ne
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+} def
+/R % flag R -
+{
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+} def
+/g % gray g -
+{
+/_gf exch ddef
+/_fc
+{
+_lp /fill ne
+ {
+ _of setoverprint
+ _gf setgray
+ /_lp /fill ddef
+ } if
+} ddef
+/_pf
+{
+_fc
+fill
+} ddef
+/_psf
+{
+_fc
+ashow
+} ddef
+/_pjsf
+{
+_fc
+awidthshow
+} ddef
+/_lp /none ddef
+} def
+/G % gray G -
+{
+/_gs exch ddef
+/_sc
+{
+_lp /stroke ne
+ {
+ _os setoverprint
+ _gs setgray
+ /_lp /stroke ddef
+ } if
+} ddef
+/_ps
+{
+_sc
+stroke
+} ddef
+/_pss
+{
+_sc
+ss
+} ddef
+/_pjss
+{
+_sc
+jss
+} ddef
+/_lp /none ddef
+} def
+/k % cyan magenta yellow black k -
+{
+_cf astore pop
+/_fc
+{
+_lp /fill ne
+ {
+ _of setoverprint
+ _cf aload pop setcmykcolor
+ /_lp /fill ddef
+ } if
+} ddef
+/_pf
+{
+_fc
+fill
+} ddef
+/_psf
+{
+_fc
+ashow
+} ddef
+/_pjsf
+{
+_fc
+awidthshow
+} ddef
+/_lp /none ddef
+} def
+/K % cyan magenta yellow black K -
+{
+_cs astore pop
+/_sc
+{
+_lp /stroke ne
+ {
+ _os setoverprint
+ _cs aload pop setcmykcolor
+ /_lp /stroke ddef
+ } if
+} ddef
+/_ps
+{
+_sc
+stroke
+} ddef
+/_pss
+{
+_sc
+ss
+} ddef
+/_pjss
+{
+_sc
+jss
+} ddef
+/_lp /none ddef
+} def
+/x % cyan magenta yellow black name gray x -
+{
+/_gf exch ddef
+findcmykcustomcolor
+/_if exch ddef
+/_fc
+{
+_lp /fill ne
+ {
+ _of setoverprint
+ _if _gf 1 exch sub setcustomcolor
+ /_lp /fill ddef
+ } if
+} ddef
+/_pf
+{
+_fc
+fill
+} ddef
+/_psf
+{
+_fc
+ashow
+} ddef
+/_pjsf
+{
+_fc
+awidthshow
+} ddef
+/_lp /none ddef
+} def
+/X % cyan magenta yellow black name gray X -
+{
+/_gs exch ddef
+findcmykcustomcolor
+/_is exch ddef
+/_sc
+{
+_lp /stroke ne
+ {
+ _os setoverprint
+ _is _gs 1 exch sub setcustomcolor
+ /_lp /stroke ddef
+ } if
+} ddef
+/_ps
+{
+_sc
+stroke
+} ddef
+/_pss
+{
+_sc
+ss
+} ddef
+/_pjss
+{
+_sc
+jss
+} ddef
+/_lp /none ddef
+} def
+% locked object operator
+/A % value A -
+{
+pop
+} def
+currentdict readonly pop end
+setpacking
+% annotate page operator
+/annotatepage
+{
+} def
+%%EndResource
+%%EndProlog
+%%BeginSetup
+%%IncludeFont: Helvetica
+Adobe_cmykcolor /initialize get exec
+Adobe_cshow /initialize get exec
+Adobe_customcolor /initialize get exec
+Adobe_typography_AI3 /initialize get exec
+Adobe_IllustratorA_AI3 /initialize get exec
+[
+39/quotesingle 96/grave 128/Adieresis/Aring/Ccedilla/Eacute/Ntilde/Odieresis
+/Udieresis/aacute/agrave/acircumflex/adieresis/atilde/aring/ccedilla/eacute
+/egrave/ecircumflex/edieresis/iacute/igrave/icircumflex/idieresis/ntilde
+/oacute/ograve/ocircumflex/odieresis/otilde/uacute/ugrave/ucircumflex
+/udieresis/dagger/degree/cent/sterling/section/bullet/paragraph/germandbls
+/registered/copyright/trademark/acute/dieresis/.notdef/AE/Oslash
+/.notdef/plusminus/.notdef/.notdef/yen/mu/.notdef/.notdef
+/.notdef/.notdef/.notdef/ordfeminine/ordmasculine/.notdef/ae/oslash
+/questiondown/exclamdown/logicalnot/.notdef/florin/.notdef/.notdef
+/guillemotleft/guillemotright/ellipsis/.notdef/Agrave/Atilde/Otilde/OE/oe
+/endash/emdash/quotedblleft/quotedblright/quoteleft/quoteright/divide
+/.notdef/ydieresis/Ydieresis/fraction/currency/guilsinglleft/guilsinglright
+/fi/fl/daggerdbl/periodcentered/quotesinglbase/quotedblbase/perthousand
+/Acircumflex/Ecircumflex/Aacute/Edieresis/Egrave/Iacute/Icircumflex
+/Idieresis/Igrave/Oacute/Ocircumflex/.notdef/Ograve/Uacute/Ucircumflex
+/Ugrave/dotlessi/circumflex/tilde/macron/breve/dotaccent/ring/cedilla
+/hungarumlaut/ogonek/caron
+TE
+%AI3_BeginEncoding: _Helvetica Helvetica
+[/_Helvetica/Helvetica 0 0 1 TZ
+%AI3_EndEncoding AdobeType
+%%EndSetup
+0 A
+u
+0 R
+0 G
+0 i 0 J 0 j 1.7 w 4 M []0 d
+%AI3_Note:
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+-11.5326 0 Td
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+(Expanded\r) Tx
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+U
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+TP
+0 Tr
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+(Light\r) Tx
+T*
+(Condensed\r) Tx
+T*
+(Large\r) Tx
+T*
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+TO
+U
+U
+u
+u
+0 To
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+TP
+0 Tr
+/_Helvetica 9 Tf
+13.2001 0 Tl
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+(design axis 1: weight) Tx
+(\r) TX
+TO
+U
+U
+u
+u
+0 To
+0.7711 0.6367 -0.6367 0.7711 212.5 323.5 0 Tp
+TP
+0 Tr
+(design axis 3: size) Tx
+(\r) TX
+TO
+U
+U
+u
+u
+0 To
+0 1 -1 0 206.5 344 0 Tp
+TP
+0 Tr
+(design axis 2: width) Tx
+(\r) TX
+TO
+U
+U
+%%PageTrailer
+gsave annotatepage grestore showpage
+%%Trailer
+Adobe_IllustratorA_AI3 /terminate get exec
+Adobe_typography_AI3 /terminate get exec
+Adobe_customcolor /terminate get exec
+Adobe_cshow /terminate get exec
+Adobe_cmykcolor /terminate get exec
+Adobe_packedarray /terminate get exec
+%%EOF
diff --git a/usergrps/uktug/baskervi/5_3/mmfour.eps b/usergrps/uktug/baskervi/5_3/mmfour.eps
new file mode 100644
index 0000000000..7967c3c63f
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/mmfour.eps
@@ -0,0 +1,1644 @@
+%!PS-Adobe-3.0 EPSF-3.0
+%%Creator: Adobe Illustrator(TM) 3.2gm5
+%%For: (Terry) (Adobe Systems)
+%%Title: (MM.4D.Space.Diagr)
+%%CreationDate: (2/18/92) (6:40 PM)
+%%BoundingBox: 192 317 429 488
+%%DocumentProcessColors: Black
+%%DocumentFonts: Helvetica
+%%DocumentSuppliedResources: procset Adobe_packedarray 2.0 0
+%%+ procset Adobe_cmykcolor 1.1 0
+%%+ procset Adobe_cshow 1.1 0
+%%+ procset Adobe_customcolor 1.0 0
+%%+ procset Adobe_typography_AI3 1.0 1
+%%+ procset Adobe_IllustratorA_AI3 1.0 1
+%AI3_ColorUsage: Black&White
+%AI3_TemplateBox: 306 396 306 396
+%AI3_TileBox: -552 730 0 1460
+%AI3_DocumentPreview: Macintosh_Pic
+%%EndComments
+%%BeginProlog
+%%BeginResource: procset Adobe_packedarray 2.0 0
+%%Title: (Packed Array Operators)
+%%Version: 2.0
+%%CreationDate: (8/2/90) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+userdict /Adobe_packedarray 5 dict dup begin put
+/initialize % - initialize -
+{
+/packedarray where
+ {
+ pop
+ }
+ {
+ Adobe_packedarray begin
+ Adobe_packedarray
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ userdict 3 1 roll put
+ } forall
+ end
+ } ifelse
+} def
+/terminate % - terminate -
+{
+} def
+/packedarray % arguments count packedarray array
+{
+array astore readonly
+} def
+/setpacking % boolean setpacking -
+{
+pop
+} def
+/currentpacking % - setpacking boolean
+{
+false
+} def
+currentdict readonly pop end
+%%EndResource
+Adobe_packedarray /initialize get exec
+%%BeginResource: procset Adobe_cmykcolor 1.1 0
+%%Title: (CMYK Color Operators)
+%%Version: 1.1
+%%CreationDate: (1/23/89) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_cmykcolor 4 dict dup begin put
+/initialize % - initialize -
+{
+/setcmykcolor where
+ {
+ pop
+ }
+ {
+ userdict /Adobe_cmykcolor_vars 2 dict dup begin put
+ /_setrgbcolor
+ /setrgbcolor load def
+ /_currentrgbcolor
+ /currentrgbcolor load def
+ Adobe_cmykcolor begin
+ Adobe_cmykcolor
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ pop pop
+ } forall
+ end
+ end
+ Adobe_cmykcolor begin
+ } ifelse
+} def
+/terminate % - terminate -
+{
+currentdict Adobe_cmykcolor eq
+ {
+ end
+ } if
+} def
+/setcmykcolor % cyan magenta yellow black setcmykcolor -
+{
+1 sub 4 1 roll
+3
+ {
+ 3 index add neg dup 0 lt
+ {
+ pop 0
+ } if
+ 3 1 roll
+ } repeat
+Adobe_cmykcolor_vars /_setrgbcolor get exec
+pop
+} def
+/currentcmykcolor % - currentcmykcolor cyan magenta yellow black
+{
+Adobe_cmykcolor_vars /_currentrgbcolor get exec
+3
+ {
+ 1 sub neg 3 1 roll
+ } repeat
+0
+} def
+currentdict readonly pop end
+setpacking
+%%EndResource
+%%BeginResource: procset Adobe_cshow 1.1 0
+%%Title: (cshow Operator)
+%%Version: 1.1
+%%CreationDate: (1/23/89) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_cshow 3 dict dup begin put
+/initialize % - initialize -
+{
+/cshow where
+ {
+ pop
+ }
+ {
+ userdict /Adobe_cshow_vars 1 dict dup begin put
+ /_cshow % - _cshow proc
+ {} def
+ Adobe_cshow begin
+ Adobe_cshow
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ userdict 3 1 roll put
+ } forall
+ end
+ end
+ } ifelse
+} def
+/terminate % - terminate -
+{
+} def
+/cshow % proc string cshow -
+{
+exch
+Adobe_cshow_vars
+ exch /_cshow
+ exch put
+ {
+ 0 0 Adobe_cshow_vars /_cshow get exec
+ } forall
+} def
+currentdict readonly pop end
+setpacking
+%%EndResource
+%%BeginResource: procset Adobe_customcolor 1.0 0
+%%Title: (Custom Color Operators)
+%%Version: 1.0
+%%CreationDate: (5/9/88) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_customcolor 5 dict dup begin put
+/initialize % - initialize -
+{
+/setcustomcolor where
+ {
+ pop
+ }
+ {
+ Adobe_customcolor begin
+ Adobe_customcolor
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ pop pop
+ } forall
+ end
+ Adobe_customcolor begin
+ } ifelse
+} def
+/terminate % - terminate -
+{
+currentdict Adobe_customcolor eq
+ {
+ end
+ } if
+} def
+/findcmykcustomcolor % cyan magenta yellow black name findcmykcustomcolor
+%%+ object
+{
+5 packedarray
+} def
+/setcustomcolor % object tint setcustomcolor -
+{
+exch
+aload pop pop
+4
+ {
+ 4 index mul 4 1 roll
+ } repeat
+5 -1 roll pop
+setcmykcolor
+} def
+/setoverprint % boolean setoverprint -
+{
+pop
+} def
+currentdict readonly pop end
+setpacking
+%%EndResource
+%%BeginResource: procset Adobe_typography_AI3 1.1 0
+%%Title: (Typography Operators)
+%%Version: 1.0
+%%CreationDate:(5/31/90) ()
+%%Copyright: ((C) 1987-1990 Adobe Systems Incorporated All Rights Reserved)
+currentpacking true setpacking
+userdict /Adobe_typography_AI3 47 dict dup begin put
+/initialize % - initialize -
+{
+/TZ
+ where
+ {
+ pop
+ }
+ {
+ Adobe_typography_AI3 begin
+ Adobe_typography_AI3
+ {
+ dup xcheck
+ {
+ bind
+ } if
+ pop pop
+ } forall
+ end
+ Adobe_typography_AI3 begin
+ } ifelse
+} def
+/terminate % - terminate -
+{
+currentdict Adobe_typography_AI3 eq
+ {
+ end
+ } if
+} def
+% [ number value stream [ array for encoding modification ] modifyEncoding
+%%+ ==> [ modified array ]
+/modifyEncoding
+{
+ /_tempEncode exch ddef
+
+ % pointer for sequential encodings
+ /_pntr 0 ddef
+
+ {
+ % get bottom object
+ counttomark -1 roll
+ % is it a mark ?
+ dup type dup /marktype eq
+ {
+ % exit
+ pop pop exit
+ }
+ {
+ % ... object ... type ....
+ % insert if a nametype
+ /nametype eq
+ {
+ % insert the name at _pntr and increment pointer
+ _tempEncode /_pntr dup load dup 3 1 roll 1 add ddef 3 -1 roll
+ put
+ }
+ {
+ % reset _pntr if it's a number
+ /_pntr exch ddef
+ }
+ ifelse
+ }
+ ifelse
+ }
+ loop
+
+ % return the modified encoding
+ _tempEncode
+}
+def
+/TE % Set std platform encoding % (encoding pairs) TE -
+{
+ StandardEncoding 256 array copy modifyEncoding
+ /_nativeEncoding exch def
+} def
+% re-define font
+% expected arguments
+% for 'normal fonts :
+% [ /_Helvetica-Bold/Helvetica-Bold direction fontScript defaultEncoding TZ
+%
+% for cartographic, pictographic, and expert fonts :
+% [ ... number value stream ... /_Symbol/Symbol
+% direction fontScript defaultEncoding TZ
+% for blended fonts w/ default encoding :
+% [ /_AdobeSans_20ULig1XCond-Bold/AdobeSans
+% direction fontScript defaultEncoding [ w0 w1 ... wn ] TZ
+% for blended fonts w/ special encoding :
+% [ ... number value stream ... /_AdobeSans_20ULig1XCond/AdobeSans
+% direction fontScript defaultEncoding [ w0 w1 ... wn ] TZ
+/TZ
+{
+ % set weight vector (if present)
+ dup type /arraytype eq {/_wv exch def} {/_wv 0 def} ifelse
+ % platform dependent coding flag
+ /_useNativeEncoding exch def
+ % pop fontScript & direction
+ pop pop
+
+ % create a new dictionary with length
+ % equal to original dictionary length + 2
+ % copy all the key/value pairs except FID
+ % call makeblended font with the weight values if _wv is an array
+ findfont _wv type /arraytype eq {_wv makeblendedfont} if dup length 2 add
+ dict
+
+ begin
+
+ % copy all the values but the FID
+ % into the new dictionary
+ mark exch
+ {
+ 1 index /FID ne { def } if cleartomark mark
+ }
+ forall
+ % discard last mark
+ pop
+
+ % define FontName
+ /FontName exch def
+
+ % if no re-encoding stream is present
+ % then if the base encoding vector of the font
+ % is the same as StandardEncoding
+ % and the use platform encoding flag is true
+ % then install AI platform encoding
+ % else leave the base encoding in effect
+ counttomark 0 eq
+ {
+ 1 _useNativeEncoding eq
+ {
+ /Encoding _nativeEncoding def
+ }
+ if
+ % clean up
+ cleartomark
+ }
+ {
+ % custom encoding to be done
+ % start off with a copy of the font's standard encoding
+ /Encoding load 256 array copy
+ modifyEncoding /Encoding exch def
+ }
+ ifelse
+ FontName currentdict
+ end
+
+ % register the new font
+ definefont pop
+}
+def
+% text painting operators
+/tr % string tr ax ay string
+{
+_ax _ay 3 2 roll
+} def
+/trj % string trj cx cy fillchar ax ay string
+{
+_cx _cy _sp _ax _ay 6 5 roll
+} def
+/a0
+{
+/Tx % text % textString Tx -
+ {
+ dup
+ currentpoint 3 2 roll
+ tr _psf
+ newpath moveto
+ tr _ctm _pss
+ } ddef
+/Tj % justified text % textString Tj -
+ {
+ dup
+ currentpoint 3 2 roll
+ trj _pjsf
+ newpath moveto
+ trj _ctm _pjss
+ } ddef
+
+} def
+/a1
+{
+/Tx % text % textString Tx -
+ {
+ dup currentpoint 4 2 roll gsave
+ dup currentpoint 3 2 roll
+ tr _psf
+ newpath moveto
+ tr _ctm _pss
+ grestore 3 1 roll moveto tr sp
+ } ddef
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+%%PageTrailer
+gsave annotatepage grestore showpage
+%%Trailer
+Adobe_IllustratorA_AI3 /terminate get exec
+Adobe_typography_AI3 /terminate get exec
+Adobe_customcolor /terminate get exec
+Adobe_cshow /terminate get exec
+Adobe_cmykcolor /terminate get exec
+Adobe_packedarray /terminate get exec
+%%EOF
diff --git a/usergrps/uktug/baskervi/5_3/myriad.eps b/usergrps/uktug/baskervi/5_3/myriad.eps
new file mode 100644
index 0000000000..5511c757c1
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/myriad.eps
@@ -0,0 +1,1883 @@
+%! Showfonti.ps
+%%BoundingBox: 24 10 414 134
+%%BeginFont: MyriadMM
+%!PS-AdobeFont-1.0: MyriadMM 001.000
+%%CreationDate: Mon Jan 27 13:20:33 1992
+%%VMusage: 64760 77552
+%% Myriad is a trademark of Adobe Systems Incorporated.
+16 dict begin
+/FontInfo 13 dict dup begin
+/version (001.000) readonly def
+/Notice (Copyright (c) 1992 Adobe Systems Incorporated. All Rights Reserved.Myriad is a trademark of Adobe Systems Incorporated.) readonly def
+/FullName (Myriad MM) readonly def
+/FamilyName (Myriad MM) readonly def
+/Weight (All) readonly def
+/isFixedPitch false def
+/ItalicAngle 0 def
+/UnderlinePosition -100 def
+/UnderlineThickness 50 def
+/BlendDesignPositions [ [0 0] [1 0] [0 1] [1 1] ] def
+/BlendDesignMap [[[215 0][830 1]][[300 0][700 1]]] def
+/BlendAxisTypes [/Weight /Width ] def
+end readonly def
+/FontName /MyriadMM def
+/Encoding StandardEncoding def
+/PaintType 0 def
+/FontType 1 def
+/WeightVector [0.17 0.08 0.52 0.23 ] def
+/$Blend {0.08 mul exch 0.52 mul add exch 0.23 mul add add } bind def
+/FontMatrix [0.001 0 0 0.001 0 0] readonly def
+/UniqueID 37984 def
+/FontBBox{-55.16 -250.00 1143.86 834.91 }readonly def
+/Blend 3 dict dup begin
+/FontBBox{{-52 -64 -58 -48 }{-250 -250 -250 -250 }{970 970 1100 1432 }{818 843 825 867 }}def
+/Private 14 dict def
+end def
+/shareddict where
+{ pop currentshared { setshared } true setshared shareddict }
+{ {} userdict } ifelse dup
+/makeblendedfont where {/makeblendedfont get dup type /operatortype eq {
+pop false} { 0 get dup type /integertype ne
+{pop false} {8 lt} ifelse} ifelse } {true}ifelse
+{/makeblendedfont {
+8 pop
+2 copy length exch /WeightVector get length eq
+{ dup 0 exch {add} forall 1 sub abs .01 gt }
+{ true } ifelse
+{ /makeblendedfont cvx errordict /rangecheck get exec } if
+exch dup maxlength dict begin {
+false {/FID /UniqueID /XUID } { 3 index eq or } forall
+ { pop pop } { def } ifelse
+} forall
+{ /Private /FontInfo } {
+dup load dup maxlength dict begin {
+false { /UniqueID /XUID } { 3 index eq or } forall
+{ pop pop }{ def } ifelse } forall currentdict end def
+} forall
+dup /WeightVector exch def
+dup /$Blend exch [
+exch false exch
+dup length 1 sub -1 1 {
+1 index dup length 3 -1 roll sub get
+dup 0 eq {
+pop 1 index {/exch load 3 1 roll} if
+/pop load 3 1 roll
+} {dup 1 eq {pop}
+{2 index {/exch load 4 1 roll} if
+3 1 roll /mul load 3 1 roll } ifelse
+1 index {/add load 3 1 roll} if
+exch pop true exch} ifelse
+} for
+pop { /add load } if
+] cvx def
+{2 copy length exch length ne {/makeblendedfont cvx errordict /typecheck get exec}if
+0 0 1 3 index length 1 sub {
+dup 4 index exch get exch 3 index exch get mul add
+} for
+exch pop exch pop}
+{{dup type dup /arraytype eq {
+ pop 1 index /ForceBold eq {
+ 5 index 0 0 1 3 index length 1 sub {
+ dup 4 index exch get {2 index exch get add } {pop} ifelse
+ } for exch pop exch pop
+ 2 index /ForceBoldThreshold get gt 3 copy} {
+{length 1 index length ne { pop false } {
+true exch { type dup /integertype eq exch /realtype eq exch or and } forall
+} ifelse }
+2 copy 8 index exch exec {pop 5 index 5 index exec}
+{exch dup length array 1 index xcheck { cvx } if
+dup length 1 sub 0 exch 1 exch {
+dup 3 index exch get dup type /arraytype eq {
+dup 10 index 6 index exec {
+9 index exch 9 index exec} if } if 2 index 3 1 roll put
+} for exch pop exch pop
+} ifelse 3 copy
+1 index dup /StemSnapH eq exch /StemSnapV eq or {
+dup length 1 sub {dup 0 le { exit } if
+dup dup 1 sub 3 index exch get exch 3 index exch get 2 copy eq {
+pop 2 index 2 index 0 put 0 } if le {1 sub}
+{dup dup 1 sub 3 index exch get exch 3 index exch get
+3 index exch 3 index 1 sub exch put
+3 copy put pop
+2 copy exch length 1 sub lt {1 add} if} ifelse} loop pop
+dup 0 get 0 le {
+dup 0 exch {0 gt { exit } if 1 add} forall
+dup 2 index length exch sub getinterval} if } if } ifelse put }
+{/dicttype eq {6 copy 3 1 roll get exch 2 index exec}
+{/makeblendedfont cvx errordict /typecheck get exec} ifelse
+} ifelse pop pop } forall pop pop pop pop }
+currentdict Blend 2 index exec
+currentdict end
+} bind put
+/$fbf {FontDirectory counttomark 3 add -1 roll known {
+cleartomark pop findfont}{
+] exch findfont exch makeblendedfont
+dup /Encoding currentfont /Encoding get put definefont
+} ifelse currentfont /ScaleMatrix get makefont setfont
+} bind put } { pop pop } ifelse exec
+/NormalizeDesignVector {
+ exch 215 sub 615 div
+ exch 300 sub 400 div
+} bind def
+/ConvertDesignVector {
+ 1 2 index sub 1 2 index sub mul 3 1 roll
+ 1 index 1 2 index sub mul 3 1 roll
+ 1 2 index sub 1 index mul 3 1 roll
+ 1 index 1 index mul 3 1 roll
+ pop pop
+} bind def
+/$mmff_origfindfont where {
+ pop save { restore } { pop pop }
+} { {} { def } } ifelse
+/setshared where { pop true } { false } ifelse
+/findfont where pop dup systemdict eq {
+pop { currentshared {{}} { true setshared { false setshared } } ifelse shareddict
+} {{} userdict } ifelse begin
+} { begin { currentdict scheck } { false } ifelse {
+currentshared {{}} { true setshared { false setshared } } ifelse
+} { {} } ifelse } ifelse
+/$mmff_origfindfont /findfont load 3 index exec
+/findfont {
+dup FontDirectory exch known
+{ dup FontDirectory exch get /FontType get 3 ne}
+{ dup SharedFontDirectory exch known
+{ dup SharedFontDirectory exch get /FontType get 3 ne}
+{ false} ifelse} ifelse
+{$mmff_origfindfont} { dup dup length string cvs (_) search {
+cvn dup dup FontDirectory exch known exch SharedFontDirectory exch known or {
+$mmff_origfindfont begin pop
+[ exch { (_) search { { cvr } stopped { pop pop } {
+exch pop exch } ifelse
+} { pop exit } ifelse } loop false /FontInfo where {
+pop FontInfo /BlendAxisTypes 2 copy known {
+get length counttomark 2 sub eq exch pop
+} { pop pop } ifelse } if {
+NormalizeDesignVector
+ConvertDesignVector
+] currentdict exch makeblendedfont
+2 copy exch /FontName exch put
+definefont} { cleartomark $mmff_origfindfont } ifelse end
+} { pop pop pop $mmff_origfindfont } ifelse
+} { pop $mmff_origfindfont } ifelse } ifelse
+} bind 3 index exec
+/SharedFontDirectory dup where { pop pop } { 0 dict 3 index exec } ifelse
+end exec pop exec
+currentdict end
+currentfile eexec
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+0000000000000000000000000000000000000000000000000000000000000000
+cleartomark
+%%EndFont
+%%Title: (Print a series of words going along two axes)
+%%Creator: Michel Goossens CERN CN/ASD
+%%CreationDate: Feb. 15th 1994
+%%DocumentNeededResources: font(s) defined by user
+%%EndComments
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% MAIN ROUTINE %
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%
+/y 140 def
+300 100 700 % outer loop on width>>>>>>>>>>>>+
+ { % v
+ /x 25 def % reset x v
+ /y y 25 sub def % calculate y v
+ /Wi exch def % width from for loop<<+
+ 220 100 820 % inner loop on weight>>>>>>>>>>>+
+ { % v
+ x y moveto % go to new coordinate v
+ /We exch def % weight from for loop<<+
+ /MM /MyriadMM findfont dup begin [
+ We Wi NormalizeDesignVector ConvertDesignVector
+ ] end makeblendedfont definefont 20 scalefont setfont
+ (Hxkp) show
+ /x x 55 add def % calculate x
+ } for
+ } for
+showpage
+%%EOF
diff --git a/usergrps/uktug/baskervi/5_3/noinfo.pic b/usergrps/uktug/baskervi/5_3/noinfo.pic
new file mode 100644
index 0000000000..9bcf405916
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/noinfo.pic
@@ -0,0 +1,8 @@
+\unitlength=1.00mm
+\linethickness{0.4pt}
+\begin{picture}(78.00,23.00)
+\put(0.00,10.00){\framebox(25.00,13.00)[cc]{\shortstack{local\\layer}}}
+\put(0.00,0.00){\framebox(25.00,8.00)[cc]{ASCII}}
+\put(29.00,12.00){\vector(1,0){20.00}}
+\put(53.00,6.00){\framebox(25.00,11.00)[cc]{typography}}
+\end{picture}
diff --git a/usergrps/uktug/baskervi/5_3/norm.tex b/usergrps/uktug/baskervi/5_3/norm.tex
new file mode 100644
index 0000000000..1a1e9fa202
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+ Fri, 10 Mar 1995 14:17:10 -0500
+Date: Fri, 10 Mar 1995 14:17:10 -0500
+From: norm@ora.com (Norman Walsh)
+Message-ID: <199503101917.OAA02753@jasper.ora.com>
+To: TWG-TDS@SHSU.edu
+Subject: Re: Editorial comments, etc.
+References: <9503101745.AA03188@cfcl.com>
+Reply-To: TWG-TDS@SHSU.edu
+
+On 10 March 1995 at 09:45:40, Rich Morin wrote:
+> Norm, is there *any* chance that your appendix could be freed up for
+> public domain use? It looks like you have a good start on the kind of
+> documentation I have in mind, and I'd hate to have to recapitulate it!
+
+Ask and ye shall receive. I can reproduce App A in the TDS. I've
+attached it below. Rich, if you could add the new bits ;-)
+
+But first, here's the definition of iplist, 'cause you'll need that
+to format it. LaTeX gurus who wish to laugh at my style are requested
+to do it quietly ;-)
+
+----
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+% An IP list is a configurable ``description'' like environment. The
+% width of the first column is set by a parameter.
+%
+\def\iplabel#1{\hbox{\labeltextfont{#1}}\hss}
+
+\newdimen\ipindent
+\def\ipitem[#1]{%
+ \item[#1]
+ \setbox0=\hbox{#1}%
+ \ifdim\wd0>\ipindent\leavevmode\par\fi%
+}
+
+\def\ip@list[#1]#2{\list{}{\labelwidth#2 \itemindent\z@ \leftmargin#2
+ \advance\leftmargin\labelsep
+ \ipindent=#2\relax
+ \let\labeltextfont=#1\relax
+ \let\makelabel\iplabel}}
+
+\def\iplist{\@ifnextchar [% ]
+ {\ip@list}{\ip@list[\textbf]}}
+
+\let\endiplist\endlist
+
+\let\wrapipitem=\item
+----
+
+\chapter{Filename Extension Summary}
+\RCSID$Id: ap01.tex 2.10 1994/07/28 15:04:21 deutsch Exp norm $
+\label{chap:fileext}
+
+\def\extitem[#1]{%
+ {\fontsize{11}{13pt}\selectfont%
+ \ipitem [ \textit{\textbf{\uppercase{#1}}} ]
+ }
+}
+
+\ifincludechapter\else\endinput\fi
+
+This chapter summarizes many common filename extensions. The extensions
+are listed in alphabetical order. All extensions can be shortened
+to three letters for consistency with operating systems that do not allow
+longer file extensions. On other file systems, they may be slightly
+different. For example, \ext{EPS} files are sometimes called
+\ext{EPSF} files on \Unix\ systems, which allow longer filenames.
+
+\begin{iplist}{.25in}
+
+\extitem [abf] An Adobe binary screen font file contains a binary encoding
+of a BDF (bitmap distribution format) file. Binary encoding makes the
+files smaller, but it also makes
+them less portable and unintelligible to humans. The binary format is
+described in Adobe's ABF Format Specification~\cite{abffiles}.
+BDF files are described below.
+
+\extitem [afm] Adobe font metrics files are ASCII files distributed with
+\ps\ Type~1 fonts. Type~1 fonts are the linearly scalable fonts that
+\ps\ printer users are most familiar with. Bounding boxes, an encoding
+vector (what characters go where),
+kerning,
+and
+ligature
+information
+are among the things described in this file. The AFM file format is
+described completely in Adobe's AFM Format
+Specification~\cite{afmfiles}.
+
+\ps\ fonts (available through commercial vendors or from the
+Internet) are supplied with AFM files. Generally, the only occasion
+that you would have to modify an AFM file would be to change the
+encoding vector.
+
+\extitem [aux] Auxiliary files are built by \LaTeX\ each time it formats
+a document. \LaTeX\ writes information about cross references, citations,
+etc., to the auxiliary file for post-processing by other tools, or
+for \TeX\ processing the next time this document is formatted.
+
+\newpage
+\extitem [bbl] Bibliography files are created by \BibTeX\ from the citations in
+your document, the bibliography databases (BIB) that you specify, and the
+bibliography style (BST) you use. \BibTeX\ writes the resulting
+bibliography to the BBL file, which is automatically included in your \LaTeX\
+document at the place where you define the bibliography.
+
+\extitem [bdf] Bitmap distribution format files are ASCII files that describe
+a bitmap font. They are frequently used to distribute bitmap versions of
+scalable fonts in screen resolution at common sizes. They are resolution
+specific, but they are portable from one architecture to another. The BDF
+file format is described completely in Adobe's BDF Format
+Specification~\cite{bdffiles}.
+
+Some fonts packages are distributed with BDF files.
+Other BDF files are created as part of the conversion process from native
+format to X11 format. It is unlikely that you would ever create one purely
+by hand.
+
+\extitem [bib] Bibliography databases contain bibliographic information.
+These are generally handwritten and may contain bibliographic information
+for all of the sources that you are (ever) likely to cite. The \BibTeX\
+program reads information about each work that you \verb|\cite{}| from
+the BIB file. Consult the documentation for \BibTeX\ for more information
+about the format of BIB files.
+
+\extitem [blg] \BibTeX\ log files record the status of the last run of
+\BibTeX.
+
+\extitem [bst] Bibliography style files are used by \BibTeX\ to define the layout
+of the citations. \BibTeX\ produces \LaTeX\ commands in the BBL file that
+define the citations in the format specified by the BST file.
+
+You may eventually write or modify a bibliography style file, but it is less
+common than modifying \LaTeX\ style files because bibliographies
+have a more rigidly defined format. Consult the documentation for \BibTeX\ for
+more information about the format of BST files.
+
+\extitem [bzr] The GNU fontutils define the BZR format to hold
+generic scalable font data. The file actually contains the specification
+for a series of bezier curves. The BZR file format is defined in
+the \TeXinfo\ pages that accompany the GNU fontutils.
+The GNU fontutils create BZR files.
+
+\newpage
+\extitem [dvi] \TeX\ produces device-independent output in the DVI file.
+This file describes the \TeX{}ed document in a simple stack language that can
+be rendered on any device. The format of DVI files is described in the
+\web\ documentation for \program{DVItype}, or in {\em The DVI Drivers
+Standard}~\cite{dvi:standard}.
+
+\TeX\ (and some \program{MFware} utilities) produces DVI files.
+
+\hyphenation{encap-sulated}
+\extitem [epsf] Encapsulated \ps\ files contain scalable \ps\ images and extra information (such as the size of
+the image's bounding box) that is necessary to scale the image appropriately
+for printing, unlike generic \ps. Using encapsulated \ps\ images in your \TeX\ document
+requires a DVI driver that understands \ps\ \verb|\special|s. How to include
+pictures and figures via encapsulated PostScript is described
+in detail in Chapter~\ref{chap:pictures}, {\it \nameref{chap:pictures}}.
+
+You are unlikely to create encapsulated \ps\ files by hand, but many
+drawing and drafting programs can create them for you.
+
+\extitem [fig] FIG files are created by the \program{XFig} program (and
+possibly other programs). The scalable representation of a collection of
+graphics objects is stored in ASCII form in FIG files. The
+\program{transfig} program can translate FIG files into a number of
+other formats including EPSF, HPGL, and a variety of \LaTeX\ environments.
+
+\extitem [fli] Font libraries are distributed with \emTeX. They contain a
+collection of PK files. Font libraries have several advantages over
+a directory full of PK files: they are easier to maintain (because you
+don't have to deal with hundreds of files); they are faster to search (because
+they are indexed more efficiently than a directory); they are smaller
+(because {\em each} PK file wastes an average of half a cluster of
+disk space); and the name of each font is not limited to eight characters as
+it is under MS-DOS file naming conventions.
+
+Note: \program{dvips} can also use \emTeX\ FLI files.
+
+\extitem [gf] Generic font files contain bitmap data for the characters of a
+font. The GF format is very simple, and many \TeX\ related programs that
+create fonts produce GF files. The disadvantage of GF files is that they are
+very large (because no compression is performed). The format of GF files is
+described in the \web\ documentation for \program{GFtoPK} (or any of the
+GF-related \program{MFware} programs).
+
+\MF\ is the primary source for GF files. Some other programs (some
+of the GNU fontutils, for example) also produce GF files.
+
+\extitem [gif] Graphics interchange format is a CompuServe bitmap graphics
+standard. GIF files are very popular, and a number of converters (e.g.,
+\program{BM2FONT}) can translate GIF files into a format usable by \TeX.
+
+\extitem [glo] Glossary files are produced by the \LaTeX\ \verb|\glossary|
+command. They are analogous to the IDX files produced by the \verb|\index|
+commands. The glossary is inserted in your document wherever the
+\verb|\makeglossary| command occurs.
+
+\extitem [gsf] Ghostscript fonts are scalable fonts very similar
+to \ps\ Type~1 fonts. Theoretically, \program{Ghostscript} can
+use \ps\ Type~1 fonts directly, although I have never tried.
+Several GSF fonts are distributed with \program{Ghostscript}.
+
+\extitem [hpgl] Hewlett-Packard GL is a plotter language. Many programs can
+produce vector graphics in HPGL format.
+
+\extitem [hptfm] Hewlett-Packard tagged font metric files are a lot like \TeX\
+TFM files. It is unfortunate that both files have the extension TFM
+because they are completely incompatible. You can generate \TeX\ TFM files
+from HPTFMs with the \program{HPTFM2PL} program.
+
+\extitem [idx] Index files are produced automatically when you use the
+\verb|\index| commands in \LaTeX. The IDX file contains raw indexing data
+that will be used by the \program{MakeIndex} program to build an index for
+your document. You must include the \filename{makeidx} style in your
+\verb|documentstyle| command, and you must turn on indexing with
+\verb|\makeindex| in the preamble of your document if you wish to (re)build
+the index. See the entry for IND files below for more information.
+
+\extitem [ilg] \program{MakeIndex} log files record the status of the last run of
+\program{MakeIndex}.
+
+\extitem [img] The IMG format is a particular bitmapped image
+format used by the GEM Window System (a PC-based windowed desktop
+interface product). The GNU fontutils read IMG files as their default
+format.
+The \program{PBMplus} utilities\footnote{The
+\program{PBMplus} utilities are a collection of programs that allow conversion between
+different graphic formats by using the PBM format as a transition step.}
+can convert between many graphics file formats, including IMG.
+
+\newpage
+Some scanning software produces IMG files directly. Other IMG files
+are distributed by the Free Software Foundation as part of an ongoing
+project to produce high-quality, free typefaces.
+
+\extitem [ind] Index files are produced by the \program{MakeIndex} and
+automatically get included into your \LaTeX\ document wherever you
+put the \verb|\printindex| command. The \verb|\index| commands in your
+\LaTeX\ document write raw indexing data to the IDX file. \program{MakeIndex}
+reads the IDX file, sorts and formats the index according to the IST file,
+and produces an IND file for your document.
+
+\extitem [ist] Index specification files are used by \program{MakeIndex} to
+format the index file. Consult the documentation for \program{MakeIndex}
+for more information.
+
+\extitem [jpeg] JPEG files are compressed bitmap images. Because JPEG files
+use a ``lossy'' compression algorithm, they are frequently much smaller
+than other formats.
+
+\extitem [lof] List of figures files are produced by the \verb|\listoffigures|
+command in \LaTeX. After seeing \verb|\listoffigures|, \LaTeX\ writes
+figure captions to the LOF file. The next time the document is formatted,
+\LaTeX\ will insert the LOF file at the point where you issue the
+\verb|\listoffigures| command.
+
+\extitem [log] Log files are always produced by \TeX\ and \MF. The LOG file is
+generally uninteresting. Status and warning messages deemed too trivial (or
+too detailed) for the display are written to the log file (all messages
+written to the display are also written to the log).
+
+\extitem [lot] List of tables files are exactly analogous to LOF files.
+
+\extitem [mf] Just as \TeX\ reads TEX files, which are plain ASCII
+descriptions of a typeset document, \MF\ reads MF files, which are plain
+ASCII descriptions of a typeface. \MF\ and MF files are the topic of
+Knuth's \MFbook~\cite{kn:mfbook}. Unlike \ps\ fonts, \MF\ fonts are
+not linearly scaled.\footnote{Linear versus non-linear scaling is a typographic
+issue better discussed elsewhere. I mention it here just for
+completeness.}
+
+The standard \TeX\ distribution contains the MF files for the Computer
+Modern fonts. Knuth has produced several more MF files to demonstrate \MF.
+The American Mathematical Society has extended Computer Modern with several
+more. The \program{MFpic} macro package produces MF files from a picture-like
+environment in \TeX. \TheMFbook\ describes how to create your own fonts
+with \MF.
+
+The {\em List of MetaFonts}~\cite{lreq:metafonts} is posted
+occasionally to the newsgroups \path|comp.text.tex| and \path|comp.fonts|.
+
+Chapter~\ref{chap:mf}, {\it \nameref{chap:mf}}, describes \MF\ in more detail.
+The \TeX\ fonts available in \MF\ format are listed in
+Chapter~\ref{chap:fonts}, {\it \nameref{chap:fonts}}.
+
+\extitem [mfj] MFjob files are plain ASCII files that contain instructions for
+\program{MFjob}, an \emTeX\ program that builds groups of
+\MF\ fonts. MFJ files can be created by hand to automate the process of
+building a set of fonts. They are also created by the \emTeX\ DVI drivers if
+automatic font generation is being used.
+
+\extitem [msp] Microsoft Paint files contain bitmapped graphic images. They
+can be included in a \TeX\ document with \verb|\special| commands recognized
+by the \emTeX\ DVI drivers.
+
+\extitem [pbm] The portable bitmap format is a flexible bitmap
+representation introduced by the \program{PBMplus} package. The \program{PBMplus}
+utilities allow for the conversion of PBM format files to and from
+almost anything else. The PBM format (and all the utilities) are
+described in the manpages that accompany the \program{PBMplus} toolkit
+distribution.
+
+The PBM toolkit and many other X11 graphics utilities can read and
+write PBM files (e.g. XV).
+
+\extitem [pcf] The PCF format is one of several X11 bitmap font formats.
+Architecture-specific versions of X11 use PCF files. Other architectures use
+one of a number of other architecture-specific formats (e.g., SNF). PCF files
+are used by at least the DEC versions of the X11 server. The X11
+distribution for your architecture includes a program that will convert BDF
+files to the standard adopted for your architecture.
+
+PCF files are almost invariably created from some other source.
+It is unlikely that you will ever create one by hand.
+
+\extitem [pcl] PCL files contain printer commands for HP LaserJet printers.
+DVI drivers for HP LaserJet printers create PCL files. It is possible to
+get information out of some PCL files with \program{pcltomsp}.
+
+\extitem [pcx] PCX files contain bitmapped graphic images. They
+can be included in a \TeX\ document with \verb|\special| commands recognized
+by the \emTeX\ DVI drivers.
+
+\extitem [pfa] Printer font ASCII files contain scalable outline data that
+describes each character in a Type~1 font. A large portion of this file is
+encrypted, so it is an ASCII file only in the sense that the binary portion
+is represented as a string of hexadecimal ASCII digits. This is
+traditional \ps\ because it is pure ASCII. See PFB below.
+
+Type~1 outline fonts are created by special font editing programs or
+conversion tools (e.g. the GNU fontutils).
+
+\extitem [pfb] Printer font binary files, like PFA files, contain the
+outline data for \ps\ Type~1 fonts. The binary format was adopted to save
+space (they are generally about half the size of their PFA
+counterparts).\footnote{The proof is left as an exercise to the reader (I
+always wanted to say that).}
+Because they are binary files, it is more difficult to transfer them from
+one architecture to another (endian-ness, binary transmission, etc.). \ps\
+purists are apt to disparage them.
+
+\extitem [pfm] Printer font metric files are a Microsoft Windows standard.
+They are encountered frequently in archives that contain Type~1 fonts.
+Unfortunately, these archives occasionally fail to include AFM files,
+which are more standard outside of the Windows community. Even more
+unfortunately, PFM files do not contain all of the information that is
+in an AFM file. However, the \program{PFM2AFM} program can construct a
+partial AFM file. I believe that the PFM file format is described
+in a Microsoft technical note; however, I have never seen it.
+
+Unless you use Microsoft Windows, PFM files are likely to be
+useless. If you need PFM files, the MS-DOS program \program{Refont} can
+create them from AFM files.
+
+\extitem [pk] Most \TeX\ DVI conversion programs read packed bitmap font
+files. The PK font format defines a clever scheme that allows
+bitmap fonts to be compressed significantly. The format of PK files is
+described in the \web\ documentation for \program{PKtype} (or any of the
+PK-related \program{MFware} programs).
+
+You are unlikely to create PK files by hand, per se, but there are a number
+of utility programs that ultimately create PK files (e.g., \program{GFtoPK},
+\MF, \program{MFpic}, \program{PS2PK}).
+
+\extitem [pl] A property list file contains an ASCII representation of a
+binary file. The property list format was created during \TeX\ development to
+allow binary files (specifically TFM files) to be hand-coded. Most users have
+no reason to create PL files; however, some programs create PL files that must
+be converted into TFM files with the \TeX{}ware program \program{PLtoTF}. The
+PL format is described in the \web\ documentation for \program{PLtoTF}.
+
+If you need to edit \TeX\ font metric information for a particular
+font, you will almost certainly do so by editing the PL file. You can create
+a PL file from a TFM file with the \program{TFtoPL} utility.
+
+\extitem [ps] \ps\ is a page description language. The \ps\ language
+is described in a series of volumes from Adobe Systems. PS is a
+common extension for \ps\ files.
+
+Unless you are inclined to enter the Obfuscated \ps\ Contest, you
+are unlikely to create \ps\ files by hand. \ps\ files are created by many
+common tools.
+
+\extitem [pxl] This format is obsolete. It has been completely superseded
+by the PK format. If you still have PXL files, you can convert
+them to PK format with the \program{PXtoPK} program. If you are still
+using a DVI driver that needs PXL files, you need an upgrade.
+
+\extitem [sfl] These files contain HP LaserJet softfonts in landscape
+orientation. LaserJet softfonts are device specific bitmap representations of
+a typeface. The bitmap versions are described thoroughly in the {\em LaserJet
+Technical Reference Manual\/}~\cite{pcl5:techref} for each of the HP LaserJet
+printers. Newer laser printers can perform automatic rotation of fonts (in 90
+degree increments, at least), so the distinction between landscape and portrait
+font files is disappearing.
+
+\extitem [sfp] These files contain HP LaserJet softfonts in portrait
+orientation. See the entry for SFL files, above.
+
+\extitem [sfs] Scalable softfonts are HP LaserJet softfonts for the
+new (HPLJ III and higher) LaserJet printers. These are really in AGFA
+IntelliFont Scalable format~\cite{intellifont}.
+
+\extitem [snf] Server native format fonts are another version of X11
+bitmap font. See the entry for PCF files, above, for more information.
+
+\extitem [sty] Style files are used by \LaTeX\ to define the layout of
+a \LaTeX\ document (by redefining the meaning of commands like
+\verb+\section{}+, for example). They are also used commonly to extend
+\LaTeX. See the \LaTeX{} manual~\cite{ll:latexbook} for more information.
+
+Style files are really just \TeX\ files that perform specific tasks. You
+will eventually write or modify a style file, but it isn't something you
+are likely to do every day.
+
+\newpage
+\extitem [tex] TEX files describe the layout of a typeset document in the
+\TeX\ programming language,\footnote{You already knew this, didn't you?}
+as defined by {\em The \TeX{}book}~\cite{kn:texbook}. Most
+people use some form of macro package on top of \TeX\ to make the language
+easier to swallow. If a \TeX\ file begins with \verb+\documentstyle{}+ or has
+\verb+\begin{document}+ somewhere near the top, it is probably a \LaTeX\
+document. Otherwise, look for the \verb+\input+ commands to see what macro
+packages are being included.
+
+Documents that do not appear to be \LaTeX\ documents and do not appear to
+\verb|\input| special macro packages may be using a special {\em format}.
+Formats are fast-loading precompiled macro packages. If you know the name
+of the format file, you can tell \TeX\ to use it by typing \&{\em
+format-name\/} as a parameter to \TeX.
+
+\extitem [tiff] TIFF files contain bitmapped or vector graphic images in a
+very flexible form. The ``T'' in TIFF stands for ``tagged.'' All of the
+different kinds of information (regarding number of colors, compression,
+etc.) that might appear in a TIFF file are given unique tags that allow
+a TIFF file reader to skip over information that it does not
+understand.
+
+\extitem [tfm] \TeX\ font metric files contain information about fonts.
+\TeX\ doesn't know anything about the intrinsic shape of the
+characters that it lays down on the page. \TeX\ deals entirely with boxes.
+Every character is described by the rectangular box that (usually)
+surrounds it. The TFM file for a font describes the size of each
+character's box, as well as ligature and kerning information for the font.
+A human-readable version of a
+TFM file can be produced with the \program{TFtoPL} program. The format of
+TFM files is described thoroughly in the \web\ documentation for
+\program{TFtoPL}.
+
+If you have reason to modify a TFM file, you will almost certainly do
+so by converting it to PL format first. You can convert it back into a TFM
+file with the \program{PLtoTF} utility.
+
+See also HPTFM files.
+
+\extitem [toc] Table of contents files are produced by the
+\verb|\tableofcontents| command in \LaTeX. After seeing
+\verb|\tableofcontents|, \LaTeX\ writes chapter, section, subsection, etc.,
+names to the TOC file. The next time the document is formatted, \LaTeX\ will
+insert the TOC file at the point where you issue the \verb|\tableofcontents|
+command.
+
+\extitem [txt] Generic ASCII text.
+
+\extitem [vf] Virtual font files. They are described in more detail in
+Chapter~\ref{chap:fonts}, {\it\nameref{chap:fonts}}. In short, a virtual
+font maps a character to an arbitrary sequence of \ext{DVI} file commands.
+This may be another character in a different font, a different character
+in the same font, or something else entirely.
+
+\extitem [vpl] The virtual property list is a property list file for virtual
+fonts (as opposed to being some sort of property list file that was itself
+virtual ;-). VPL files serve the same purpose for VF files that PL files
+serve for TFM files. The VPL format is defined in the \web\ documentation
+for \program{VPtoVF}.
+
+\extitem [xbm] X11 bitmap files contain a bitmapped image. X11 icons are
+frequently stored in XBM files. They also occur in {\tt .icon} files and
+files without extensions (e.g., in \filename{/usr/include/X11/bitmaps}). I mention them here only because I like to use
+icons on my X11 desktop, and I have used \program{PKtoBM} to create several
+nice ones from \TeX\ PK files.
+
+X11 bitmap files are used for all bitmap displays in the X11 server
+(not just icons). Because they are ASCII and not binary, they are
+architecture independent, which makes them very portable.\par
+
+\end{iplist}
+ \ No newline at end of file
diff --git a/usergrps/uktug/baskervi/5_3/psfonts.tex b/usergrps/uktug/baskervi/5_3/psfonts.tex
new file mode 100644
index 0000000000..b306f4036b
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/psfonts.tex
@@ -0,0 +1,77 @@
+\title{New PostScript font metrics for \protect\LaTeX}
+\author{Sebastian Rahtz}
+\begin{Article}
+Over the last 9 months, a group of people have been working on a
+revamp of \TeX\ font metrics for PostScript fonts. We are now ready
+(finally!) to release this, together with a new release of the
+PSNFSS package for \LaTeXe, and a new version of the Karl Berry font-naming
+scheme. The maintainers of PSNFSS, \emph{fontinst}, \emph{web2c}, and
+\emph{dvips} all urge
+you to start using this new setup, so that all the bothersome variants
+can be abolished by the end of the year.
+
+The entire distribution is on the CTAN hosts in
+\texttt{fonts/psfonts.beta}. Its big --- don't pull all the files on spec!
+Get what you need. Prepackaged sets for Textures users are also available.
+
+These files will replace both the \LaTeX\ PSNFSS (currently on CTAN in
+\texttt{fonts/metrics}) and the font metrics distributed with dvips.
+Both of these packages contained virtual fonts which more or less
+mimicked the original \TeX\ text encoding, and (in the case of PSNFSS)
+the Cork encoding. However, the two packages used different base
+fonts, thus making previewing painful (and wasting disk space). Now,
+everything uses a single base font in a new encoding named 8r (see
+\texttt{tools/8r.enc} or \texttt{tools/8r.etx}).
+
+This new base encoding is \emph{not} Adobe Standard Encoding, because that
+does not provide access to all of the 228 characters normally supplied
+with a Type 1 font. Therefore, you must use a DVI-to-PostScript driver
+which can perform reencoding, such as dvips(k), Y\&Y's drivers, OzTeX,
+Textures etc.
+
+We are still contemplating whether the base encoding should be the
+current one (mostly compatible with Windows), the texnansi encoding
+promulgated by Y\&Y (see \texttt{tools/texnansi.vec}), or something else.
+Comments are welcome.
+
+Aside from the base font, there are other small changes in the new
+fonts. For the Cork-encoded fonts, the stretch and shrink of the
+interword spacing has been changed; this will almost certainly
+change again for the final release, and we welcome comments.
+ For the dvips fonts, the positions
+of the preaccented characters have been fixed (e.g., Aring is at the
+same position in every font). Therefore, the font checksums are
+different. The actual character dimensions, however, remain unchanged.
+
+The new fonts (mostly) have new names! You can get the new fontname
+distribution from \texttt{ftp.cs.umb.edu} in
+\texttt{private/tex/fontname-*.tar.gz or} in the \texttt{tools/}
+subdirectory of this distribution.
+
+This distribution includes support the standard 35 fonts, various freely
+available fonts (with Type1 sources), and many commercial-only fonts (no
+Type1s). Smallcaps and obliqued versions are available in bold and
+normal variants, where applicable. All fonts have ligatures and
+kerning (no ``raw'' fonts); therefore, even the base fonts can be
+used for real typesetting. An experimental support is provided in
+PSNFSS for this.
+
+We built these fonts using both \emph{fontinst} and \emph{afm2tfm}
+(and other
+utilities). Both required changes, which will be merged into the next
+releases.
+The changes to \emph{fontinst} are extensive, and if you are not
+confident you understand them, please wait until the author finds time
+to merge them into a complete new release later this year.
+
+\begin{quote}
+\emph{Primary perpetrators:} Sebastian Rahtz, Alan Jeffrey, Karl
+Berry.\\ \emph{Chief Tester and Bugfinder:} Constantin Kahn.\\
+\emph{Aiders and abettors:} Tom Rokicki, Ciar\'an \'O Duibh\'{\i}n,
+Pierre MacKay, Rob Hutchings, Berthold Horn, Damian Cugley.
+\end{quote}
+Please send any questions, comments, or suggestions
+to \texttt{tex-fonts@math.utah.edu}. (Email
+\texttt{tex-fonts-request@math.utah.edu} to
+join the list.)
+\end{Article}
diff --git a/usergrps/uktug/baskervi/5_3/robin.tex b/usergrps/uktug/baskervi/5_3/robin.tex
new file mode 100644
index 0000000000..c44f5df3d8
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/robin.tex
@@ -0,0 +1,372 @@
+
+\MakeShortVerb\|
+%
+%
+\providecommand{\ordinal}[1]{#1}
+\providecommand{\PS}{\textsc{PostScript}}
+\providecommand{\UKTUG}{\textsc{UKtug}}
+\providecommand{\TeXXeT}{\TeX-{}-X\kern-.125em\lower.5ex\hbox{E}\kern-.1667emT}
+\providecommand{\WWW}{\textsc{www}}
+%
+\title{Report of visit to CERN to attend presentation of $\Omega$}
+\author[Robin Fairbairns]{Robin Fairbairns\\
+ University of Cambridge Computer Laboratory}
+\begin{Article}
+\section{Introduction}
+As you will have seen in earlier \BV{}s of this year, the Francophone
+\TeX{} users' group, Gutenberg, arranged a meeting in March at CERN
+(Geneva) to `launch' \Om. \UKTUG{} responded to Gutenberg's plea for
+support to enable \TeX{} users from impoverished countries to attend,
+by making the first disbursement from \UKTUG's newly-established Cathy
+Booth fund. That money (together with some of the outstanding surplus
+from \TeX{}eter '88), was used in the meeting's fund that supported
+the attendance of four representatives of CyrTUG (which covers Russian
+and other users of the Cyrillic alphabet) and of one representative of
+CSTUG (Czech republic and---still---Slovakia). Apart from these,
+there was a large contingent from France, several from Switzerland
+(including one German-speaking Swiss and one Englishwoman working in
+Lausanne), and one each from Germany, the Netherlands, Spain,
+Australia\footnote{Richard Walker, who is currently working in
+ Germany} and the UK (me).
+
+%Richard Walker richard@cs.anu.edu.au
+%Department of Computer Science Aust: (06) 249 5689
+%The Australian National University Intl: +61 6 249 5689
+%Canberra, ACT 0200, Australia Fax: +61 6 249 0010
+%His present email addres is: walker@ipd.info.uni-karlsruhe.de
+
+The speakers at the meeting were Michel Goossens (the president of
+Gutenburg, as host for Gutenberg and as an expert on background to,
+and the use of Unicode), and Yannis Haralambous and John Plaice, \Om's
+two developers.
+
+The meeting can be accounted a success; all that attended enjoyed
+themselves, and also learnt a lot. This article is the first of (at
+least) two in which I will describe the thinking that led to the
+production of \Om, the problems that it addresses and the ways it
+solves those problems.
+
+\section{What \emph{is} \Om?}
+
+\Om{} is an extension of \TeX{} and related programs that has been
+designed and written by Yannis Haralambous (Lille) and John Plaice
+(Universit\'e Laval, Montr\'eal). It follows on quite naturally from
+Yannis' work on exotic languages, which have always seemed to me to be
+bedevilled by problems of text encoding.
+
+Simply, \Om{} (the program) is able to read scripts that are encoded
+in Unicode (or in some other code that is readily transformable to
+Unicode), and then to process them in the same way that \TeX{} does.
+Parallel work has defined formats for fonts and other necessary files
+to deal with the demands arising from Unicode input, and upgraded
+versions of \MF{}, the virtual font utilities, and so on, have been
+written. \Om{} itself is based on the normal |Web2C| distribution
+that is at the base of most modern Unix implementations, and of at
+least one of the PC versions that is freely available.
+
+\section{Why Unicode?}
+
+Michel explained to us the sorry history of the development of
+character sets for use in computing\footnote{This is an area where I
+ have some expertise, too, so not all of this comes from Michel}.
+There are something between~3000 and~6000 languages in use in the
+world, for which a writing system exists. (The set of languages is
+shrinking all the time as the deadening effect of cultural intrusion,
+primarily through the electronic media, overwhelms the desire to
+support existing cultures to the extent of teaching their language to
+the young.) The distribution of languages is by no means even
+throughout the globe (Michel showed us a map), and there are many that
+have not been and will presumably now never be formally recorded.
+
+When we come to writing systems, we find almost every variation
+imaginable in use somewhere in the world. The Latin-like system
+(written left to right with modest numbers of diacritics simply
+arranged) has very wide penetration, not least because so many
+languages were first written down by Western European missionaries or
+other explorers. Languages such as Vietnamese are classified as
+`complex Latin-like', with $\geq2$ diacritics per character; an
+artificial example of the same effect is IPA (the International
+Phonetic Alphabet) which has sub- and super-scripts and joining marks.
+Languages such as Hebrew and Arabic are written right to left, and
+constitute another class. Then there are the multiple-ligature
+writing systems typified by the Indic languages such as Devanagari (of
+which we had a fascinating exposition at the 1993 \UKTUG{} Easter
+meeting on `non-American' languages, from Dominik Wujastyk), and
+finally the syllabic scripts (such as Korean Hangul and Japanese
+Hiragana and Katakana), and the ideographic scripts (Chinese and
+Japanese Kanji).
+
+Encodings are needed for computer operations on language of any sort.
+There are differences between the coded representation and the written
+(or printed) representation. Everyone who's read about \TeX{} at all
+will know about ligatures (the CM fonts, and most \PS{} fonts,
+implement ligatures so that, for example, `|fl|' typed appears as `fl'
+printed). More significantly, almost all adults in Western cultures
+write `joined-up', which is in itself application of a form of
+ligature. All these ligatures are for presentation, not for
+information, and so it is unreasonable for them to be represented in a
+character set. Other ligatures, however, form real characters in some
+languages (examples are \ae{} in Danish and Norwegian, and \oe{} in
+French).
+
+In the dark ages (in fact, as recently as the early 1960s, when I
+started computing), every make of computer system had its own
+character code, many of them based on the 5-bit teleprinter codes used
+in telex printers. Eventually, the rather more sophisticated
+teletypes appeared, which used seven bits of an eight-bit code; this
+7-bit codification was standardised as ASCII (the American Standard
+Code for Information Interchange), which was (in the area of
+application it was designed for) an excellent code. It had all the
+properties needed for many of the significant development of computers
+in the 1960s, but it had one serious flaw: it was not able to encode
+diacritics, which are used in almost every language (but which your
+all-American information interchanger would seldom have a need for).
+
+To regularise the resulting mess, ISO adopted the ASCII standard as
+the basis for an international 7-bit character set, ISO~646. ISO~646
+is identical to ASCII in the code points that it specifies; however,
+some of the characters that ASCII does specify are left ``for national
+variation'' in ISO 646; ASCII itself then became the USA national
+variation of ISO 646. An example of national variation is defined for
+the UK, which specifies that the code point that holds `|#|' in ASCII
+should hold a pounds sign (\pounds). There are versions for various
+Nordic languages that include characters such as \ae{} or \aa in place
+of braces, a version for French with acute, grave and
+circumflex-accented letters, one for German that offers umlauts and
+`sharp s' (\ss).
+
+There were various attempts at mechanisms to assign different
+character sets for use by those who need to use characters from
+several different sets (for example, someone writing an
+Swedish-English Dictionary); an example is ISO~2022, which defines
+escape sequences such switches. These efforts proved impractical (at
+least they seemed so to me), and 8-bit developments of ISO 646 arose,
+with the ability (comfortably) to express more than one language.
+
+Thus were born the ISO~8859 character sets. The commonest of these
+(at least in the ken of most English speakers) is ISO~Latin-1
+(ISO~8859-1, that is part one of the multi-part standard), which was
+designed for use by Western Europeans. As well as the `basic ASCII
+set' in the first 128 characters, it has diphthongs and vowels
+appropriate to most Western European languages. Oddly, it omits the
+\oe{} dipthong that French uses, and (perhaps less
+surprisingly\footnote{Given that Wales would have been represented by
+ the BSI in the standardisation process}) it omits some of the accent
+forms used by Welsh. ISO~8859 didn't stop with part~1, though; there
+are variants that accomodate Cyrillic (for Russian, Serbian, and
+several other languages of the old Soviet Union), Arabic, Hebrew, and
+so on.
+
+This is all well and good, but it doesn't answer the needs of a writer
+preparing multilingual documents, except in the case that the multiple
+languages are accomodated in the same part of ISO~8859: it will happen
+some of the time, but most `interesting' combinations will require
+switches of character set whenever the language changes.
+
+So ISO (by this time, jointly with IEC) started development of an
+all-encompassing character set, to be numbered ISO/IEC~10646 (the
+difference of 10~000 is no accident). ISO/IEC~10646 was to accomodate
+every possible language in the world by the simple expedient of
+allowing 32-bit characters. Of course, no-one can comprehend a 32-bit
+character set, and so the set was to be structured, as a hypercube of
+different repertoires; the $(0,0,0,0)$ repertoire would be the same
+ISO-Latin~1, but all the other sets could be accomodated, too.
+
+Independently, Apple and Microsoft got together to found the Unicode
+consortium, whose aim was to define 16-bit characters that would cover
+all the economically important world. This criterion of economic
+importance could easily have brought down the whole edifice: the
+(increasingly important) languages of the Far East are at best
+syllabic (e.g., Korean; Korea claims 11~000 of the code points in
+Unicode), or even one character per word (e.g., Chinese; a full
+classical Chinese repertoire would require well in excess of 65~536
+characters, thus sinking a 16-bit code single-handedly).
+
+Unicode's sponsors therefore enforced a process called `Han
+unification', which aims to put the `same' character in any of
+Chinese, Japanese and Korean in the same slot in the table. This
+unification is a distinctly dubious exercise: the same character may
+have different significance in the different languages, but they are
+all represented by the same code point. Contrariwise, the Latin `H',
+the Russian `H' (which sounds as Latin `N') and the Greek `H' (capital
+`$\eta$') all get different code points despite having the same paper
+representation. For this reason (among others), there remain doubts
+as to whether the Japanese, in important particular, will adopt
+Unicode as a long-term replacement for their own national standards.
+
+In the shorter term, however, there remained the possibility that
+there would be two conflicting standards for the future of character
+codes~--- a \emph{de facto} one (Unicode) and ISO/IEC~10646. The
+ISO/IEC standard reached its (nominal) final ballot without addressing
+the relation to Unicode~\dots{}\ but (fortunately) it failed at that
+hurdle, and for that reason. Standards people are notorious for
+ignoring the real world\footnote{The author has spent an
+ unconscionable long period of his life on these things, and is
+ therefore in a position to know}, but this time, they conceded
+defeat. ISO/IEC~10646 was edited to have the whole of Unicode as its
+$(0,0,*,*)$ plane, and it has thus passed into the canon of published
+standards.
+
+So we may now discuss Unicode without running out against the ISO/IEC
+standard: a splendid example of the behaviour known as ``common sense
+prevailing''.
+
+\section{Virtual Metafont and Fonts to Support Unicode}
+
+It is known that \TeX{} is a general-purpose programming language. In
+`plain' text, we would type |"hello world"|. For \TeX{} output we
+would type |``hello world''|, which would be transparently
+converted to ``hello world''. Thus, the two grave accents and the two
+single quotes constitute `programming'. In the last analysis, you can
+``do everything with \TeX{}''.
+
+When English is typeset, the convention is that the space, after the
+full stop is the end of a sentence, is expanded; \TeX{} makes
+provision for this to happen by way of the |\sfcode| mechanism. When
+French is typeset, the convention is that the space is not expanded;
+the |\sfcode| mechanism can provide this style of typesetting, as
+well (cf.~the |\frenchspacing| macro of plain \TeX).
+
+Other features of French typesetting are more difficult to provide in
+\TeX{}. For example, an exclamation mark is separated from the
+sentence: ``en fran\c cais\thinspace!''; to program this, the
+exclamation mark needs to become an `active character', which is
+always a tricky thing to do.
+
+Setting the French quotation marks (known as guillemets) becomes even
+more tricky; the guillemets look like little |<<| and |>>|, and the
+natural way to program them is by using repeated |<| or |>|
+characters; Bernard Gaulle's |french.sty| does this (also setting a
+space between the text quoted and the guillemets), but it's becoming
+more and more complicated; even more so when we consider the French
+rules for quotes within quotes.
+
+More problems arise when we consider the question of diacritics.
+English rather infrequently has diacritics, so it's not surprising
+that \TeX{}'s method of dealing with them isn't perfect. To typeset
+an accented character, e.g.~\"a, one must type |\"a|; which is typeset
+as two little boxes stacked on top of one another, rather like
+\shortstack{\fboxsep0.5pt\fbox{..}\\\fboxsep0.5pt\fbox{a}}. This does
+work, but these composite glyphs no longer qualify (to \TeX{}) as
+something that it's willing to hyphenate---\TeX{} only hyphenates
+`words' made up of sequences of letters. A language such as German,
+with hyphenation suppressed for many words, is hardly a language at
+all. These observations are what led to the definition of the Cork
+font encoding, in which a goodly proportion of Western European
+letters with diacritics appear as single characters; if they are this
+represented, words containing them may be hyphenated.
+
+%\TeX{} is designed (in the last analysis) to typeset English, so that
+%typesetting French, German, or other `foreign' languages is a second
+%priority; this is the problem \Om{} is attempting to address.
+
+With the Cork encoding, which is in effect an output encoding, we
+encounter a further problem relating to the nature of communication.
+The problem arises from the nature of character sets; while there are
+many well-established character sets, there are seriously different
+camps into which they fall. For example, the character
+`{\fontencoding{T1}\selectfont\TH}' (Thorn), appears in Microsoft Windows'
+character set but not in the Macintosh set, while `$\Omega$' appears
+in the Macintosh set but not in the Windows set; both of these sets
+are based on ASCII. To solve this problem, of encoding all everything
+that appears in any character set, there has to be a super-encoding.
+This can be either a multi-character representation, as in the \WWW{}
+encoding, html (for example the encoding would for \'e would be
+|&eacute;|), or a super-character set, as in Unicode.
+
+In the present arrangement of typesetting technology, we have the
+situation where non-English users sit at a computer, and express their
+own language via a local layer in ASCII or a derivative of it~--- i.e.,
+we have a picture like:
+
+\begin{center}
+ \input{noinfo.pic}
+\end{center}
+
+In this arrangement, the human interface allows the use of local
+characters, and the display will show what's typed. The typography
+does the display job again (possibly differently); however,
+communication of the text to be typeset is difficult, because of the
+local nature of the interface.
+
+The information to be transmitted needs to be encoded. There is no
+limit to the number of local encodings that may exist; equally, there
+is no constraint on the representations used by the typographic
+system. However, to facilitate the transmission of information, a
+common schema of its representation in the coded date must exist.
+
+\begin{center}
+ \input{info-int.pic}
+\end{center}
+
+The ultimate mechanism for ensuring that such a schema exists is to
+require that everything be transmitted in a common encoding scheme;
+\Om{} employs ISO~10646/Unicode for this. Input text is transformed
+into \Om{}'s internal `information' by an Omega Translation
+Process~(OTP); OTPs may also be used to transform the information
+during its processing withing \Om{}, and an OTP is also used to derive
+the coding of the font, to be used for typesetting, from the
+Unicode-encoded information within \Om{}:
+
+\begin{center}
+ \input{info-ome.pic}
+\end{center}
+
+At this point, we're beginning to trespass on the subject matter of
+the next article: the internal workings of \Om. That article is to
+appear in the next edition of \BV{}.
+\end{Article}
+\endinput
+
+\section{Pretty Pictures}
+
+\begin{figure}[htbp]
+ \begin{center}
+ \leavevmode
+ \includegraphics[width=0.75\textwidth]{pics/baseplane.eps}
+ \end{center}
+ \caption{baseplane.eps}
+ \label{fig:baseplane}
+\end{figure}
+
+\begin{figure}[htbp]
+ \begin{center}
+ \leavevmode
+ \includegraphics[width=0.75\textwidth]{pics/ucs.eps}
+ \end{center}
+ \caption{ucs.eps}
+ \label{fig:ucs}
+\end{figure}
+
+\begin{figure}[htbp]
+ \hbox to\textwidth{\hfill
+ \subfigure[unicode-home]%
+ {\includegraphics[width=0.45\textwidth]{pics/unicode-home.eps}}%
+ \label{fig:unicode-home}%
+ \hfill
+ \subfigure[unicode-resources]%
+ {\includegraphics[width=0.45\textwidth]{pics/unicode-resources.eps}}%
+ \label{fig:unicode-resources}%
+ \hfill}
+ \caption{unicode-www}
+ \label{fig:unicode-www}
+\end{figure}
+
+\begin{figure}[htbp]
+ \begin{center}
+ \leavevmode
+ \includegraphics[width=0.75\textwidth]{pics/uninew.eps}
+ \end{center}
+ \caption{uninew}
+ \label{fig:uninew}
+\end{figure}
+
+\begin{figure}[htbp]
+ \begin{center}
+ \leavevmode
+ \includegraphics[height=0.8\textheight]{pics/unicodet.eps}
+ \end{center}
+ \caption{unicodet}
+ \label{fig:unicodet}
+\end{figure}
+
diff --git a/usergrps/uktug/baskervi/5_3/standard.tex b/usergrps/uktug/baskervi/5_3/standard.tex
new file mode 100644
index 0000000000..87a64c285b
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/standard.tex
@@ -0,0 +1,216 @@
+\begin{multicols}{2}
+\title{The UK \TeX\ Users Group}
+\author{}
+\begin{article}
+\section{Group aims and activities}
+The \ukt\ was founded in 1989; its activities and benefits include:
+\begin{itemize}
+ \item Regular meetings covering both \TeX{}nical matters and general
+typographic subjects;
+ \item Visits to publishers, font suppliers and book producers;
+ \item In-depth workshops, with hands-on computer sessions where
+appropriate;
+ \item Negotiation of discounts on \TeX\ relevant books with publishers.
+ \item Distribution of public domain \TeX\ implementations (in
+cooperation with the international \TeX\ archives);
+ \item Discount on joint UK \TeX\ Users Group/TUG membership;
+ \item Reduction in conference fees for the TUG annual meeting and the
+annual European meetings;
+ \item The publication and distribution of \BV\ (the annals of
+the UK \TeX\ Users Group).
+ \end{itemize}
+
+\section{Programme of meetings for 1995}
+\begin{description}
+\item[July, 1995] (\TeX\ Users Group Annual Meeting in Florida)
+\item[September, 1995:] em\TeX\ in depth:
+a training meeting on MSDOS \TeX, with Sebastian Rahtz
+Location: Oxford.
+\item[September, 1995] (Euro\TeX\ meeting in the Netherlands)
+\item[October 1995:] AGM, at Queen Mary and Westfield College,
+University of London, with sessions on `non-traditional' \TeX.
+\end{description}
+
+\noindent All members of \ukt{} will be provided with more details of
+these meetings as they become available. Reports of the meetings will
+appear in \BV, the organ of the group.
+
+
+\section*{The 1994--95 \ukt\ committee}
+\begin{tabular}{lp{2in}}
+C.~A.~Rowley & Chair\\
+P.~Abbott & Treasurer and \\ & Membership Secretary\\
+R.~A.~Bailey & Committee Secretary\\
+M.~Clark & Meetings Secretary\\
+S.~P.~Q.~Rahtz & \BV\ editor\\
+\end{tabular}
+
+\noindent D.~P.~Carlisle; R. Fairbairns;
+C.~Hewlett; A.~S.~A.~\mbox{Jeffrey}.
+
+
+\section*{Book Discounts for \protect\ukt\ members}
+The UK \TeX\ User group has been in discussion with a number of
+publishers to arrange discounts on publications which may be of
+interest to members. We have arrangements with Addison-Wesley for
+their well-known \TeX-related publications, and with International
+Thomson Publishing to supply any of the very excellent O'Reilly \&
+Associates Inc.\ series of books to members.
+
+The agreed list of books, together with the discounted (at least 10\%)
+price, is distributed occasionally with \BV, but is always available
+from the Treasurer, Peter Abbott. The quoted price includes the cost
+of postage and packing.
+
+We would like to extend this service to members. If you have contacts
+with the sales and marketing parts of any publisher who publishes
+relevant books, please inform us and we will try to
+arrange something mutually convenient and beneficial.
+
+We are only allowed to offer this service to \textbf{current} members
+of the UK \TeX\ User Group and/or members of TUG. Please send your
+order and cheque (in UK \pounds) to Peter Abbott (address in \BV\ masthead).
+Make cheques payable to `UKTUG' please.
+Books from Addison-Wesley are delivered direct but books from
+O'Reilly will be routed through \ukt. \emph{In all cases} please
+notify Peter Abbott
+by email, phone, fax or letter when books are delivered.
+
+\end{article}
+
+\title{Obtaining \TeX}
+\author{edited by Sebastian Rahtz}
+\begin{article}
+\subsection*{From the network}
+
+The UK \TeX\ Archive on \texttt{ftp.tex.ac.uk} is part of the CTAN
+(Comprehensive \TeX\ Archive Network) collaborating network of
+archives on the Internet organised by the
+\TeX\ Users Group. The three main archives follow the same structure
+and have identical files ({\tt ftp.tex.ac.uk}, {\tt ftp.shsu.edu} and
+{\tt ftp.dante.de}).
+
+The CTAN archives all run an enhanced {\em ftp} server which supports
+dynamic compression, uncompression, and archive creation options.
+Fetch the top-level file {\tt README.archive-features} for
+information. The server also supports site-defined commands to assist
+you. Please read {\tt README.site-commands} for a brief overview.
+
+Details of where to find public domain, or shareware,
+\TeX\ packages for different machines and operating
+systems are given below.
+
+
+ Please report any problems with CTAN archives via email to
+ \texttt{ctan@shsu.edu}. The entire archive is available on
+ CDROM as the `\TeX cetera' package from Prime Time Freeware, 370 Altair Way,
+ Suite 150, Sunnyvale, CA 94086 USA (\texttt{ptf@cfcl.com}). This is
+ also distributed by the TUG office, and in the UK by Lasermoon Ltd
+ (email \texttt{info@lasermoon.co.uk}, phone 01329 826444).
+
+\subsection*{Unix tapes}
+For a complete Unix \TeX\ distribution, a
+1/4 inch cartridge, QIC-120 or QIC-150 format (DC600A or DC6150)
+can sent with envelope {\em and} stamps for return postage to:
+\begin{quote}
+ David Osborne\\
+ Cripps Computing Centre, \\
+ University of Nottingham, \\
+ Nottingham NG7 2RD
+\end{quote}
+Due to currency exchange, this service is offered only within the UK.
+
+\subsection*{PC and Mac disks}
+The \ukt\ distributes an em\TeX\ kit for PCs,
+and an Oz\TeX\ kit for Macintosh. The cost covers copying and postage
+costs, and the shareware fee for Oz\TeX. Each set costs \pounds30,
+and is available from Peter Abbott, 1 Eymore Close, Selly Oak,
+Birmingham B29~4LB. Cheques must be payable to \lq{}UKTUG\rq{}. Please note
+that this service \emph{is available to \ukt\ members only.} Each set
+comes with an installation guide, and (at least) full \TeX\ and \MF, a
+previewer, a PostScript driver, and CM fonts. Two update disks a year
+will be sent out automatically, with the current version of \LaTeXe,
+and other goodies. A subscription service will be available for
+subsequent years. In addition, subscribers can request up to 3 disks a
+year with any material from the CTAN archives, but this will be
+supplied \lq{}as is\rq{}, without instructions.
+
+Enquiries for \TeX\ for the Atari ST etc. can be directed to: The Fast
+Club, 7 Musters Road, Nottingham NG2 7PP. Phone 01602 455250, fax 01602
+455305. They also supply a variety of \TeX-related software in Atari format.
+
+\end{article}
+\end{multicols}
+\bgroup
+\small
+\begin{center}
+\begin{tabular}{|lllp{2.5in}|}
+\hline Name & Environment & CTAN path & Notes\\ \hline
+ em\TeX & DOS, OS/2 & systems/msdos/emtex &the betatest drivers,
+ and 386-specific versions of \TeX\ and MF, are in the {\tt
+ betatest} subdirectory \\
+ sb\TeX & DOS & systems/msdos/sbtex & includes latest \TeX\ and
+ \MF\\
+ g\TeX & DOS & systems/msdos/gtex & 386-only \TeX\ and \MF,
+ which replace parts of em\TeX, and work with Windows memory
+ management\\
+% \TeX as & DOS & systems/msdos/texas & Large \TeX,
+% which replaces \TeX386 in em\TeX, and works with Windows memory
+% management\\
+ \hline
+ Oz\TeX & Mac & systems/mac/oztex & This package is shareware\\
+ CMac\TeX & Mac & systems/mac/cmactex & Shareware port of Unix \TeX\\
+ Direct\TeX & Mac & systems/mac/directtex & This package is shareware\\
+ \hline
+ pas\TeX & Amiga & systems/amiga/pastex & \\
+ \hline
+ --- & Atari & systems/atari/lindner-tex-packed-disks & \\
+ --- & Atari & systems/atari/cs-tex & \\
+ \hline
+ web2c \TeX & Unix & systems/unix/web2c & a complete source kit for
+ \TeX\ and \MF, which should compile on most Unix boxes; needs
+ a C compiler.\\
+% sparctex & Sun Sparc & systems/unix/unixkit & \\
+% --- & DEC Alpha & systems/unix/alpha & for Alpha running Unix\\
+% --- & Xenix & systems/unix/xenix & \\
+ \hline
+ --- & VMS & systems/vms &Alpha and VAX versions available \\
+ %\hline
+ %GhostScript & * & support/ghostview & PostScript previewer for
+ %many platforms, including Mac\\
+ %dvips & * & dviware/dvips & popular {\tt dvi} to PostScript
+ %driver\\
+ %--- & --- & biblio/bibtex/styles/contrib & \BibTeX\ style files\\
+ %--- & --- & web/knuth & The files maintained by Don Knuth\\
+ \hline
+\end{tabular}
+\end{center}
+\egroup
+\endinput
+The main directories which make up CTAN are listed below; readers are
+referred to David Jones\rq{} {\em Index of \TeX\ Styles and Macros} for
+details of macro packages and individual style files. This can be
+found in CTAN as {\tt info/tex-styles-and-macros.txt}
+
+{\small
+\begin{description}
+\item[biblio] bibliography-related files, such as
+ \BibTeX.
+\item[digests] back issues of \TeX-related periodicals
+\item[dviware] contains the various dvi-to-whatever filters and drivers
+\item[fonts] fonts, both sources and pre-compiled
+\item[graphics]utilities and macros related to graphics
+\item[help] overviews of the archive and the \TeX\ system
+\item[info] files and tutorials which document various aspects of \TeX
+\item[indexing] utilities and related files for indexing
+\item[language] material for typesetting non-English documents
+\item[macros] macros packages for \TeX\ and style files
+\item[support] programs which can be used in support of \TeX
+\item[systems] complete system setups, organized by operating
+ system
+\item[tools] the various archiving tools used on CTAN
+\item[web] contains WEB-related files and utilities
+\end{description}
+}
+\end{article}
+\end{multicols}
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+(||\177|~|}~\177\177||\177|~|}~\177\177||\177|~|}~\177\177||\177~|}~\177\177)
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+(}\177}\177~|~\177}~}\177}\177~|~\177}~}\177}\177~|~\177}~}\177}\177~|~\177)p
+(}~}\177}\177~|~\177}~}\177}\177~|~\177}~}\177)o(}\177~|~\177}~}\177})-26
+1836 y(\177\177|}||\177\177~~\177\177|)o
+(}||\177\177~~\177\177|}||\177\177~~\177\177|}||\177\177~~\177\177|}||\177)p
+(\177~~\177\177|}||\177\177~~\177\177|}||\177\177~~\177\177|}|)o
+(|\177\177~~\177\177|}||)-26 1856 y(}\177\177}|~~||}}\177\177)o
+(}|~~||}}\177\177}|~~||}}\177\177}|~~||}}\177\177}|~~||}}\177\177}|~~||}}\177)
+p(\177}|~~||}}\177\177}|)o(~~||}}\177\177}|~)-26 1877 y
+(~\177\177\177|~}~~~~\177\177)o
+(\177|~}~~~~\177\177\177|~}~~~~\177\177\177|~}~~~~\177\177\177|~}~~~~\177\177)
+p(\177|~}~~~~\177\177\177|~}~~~~\177\177\177|)o(~}~~~~\177\177\177|~)-120
+2285 y Fc(Pro)q(dondeur=)p Fb(\006)p Fc(1)995 2697 y Fa(1)p
+eop
+%%Trailer
+end
+userdict /end-hook known{end-hook}if
+%%EOF
diff --git a/usergrps/uktug/baskervi/5_3/t1zmn.fd b/usergrps/uktug/baskervi/5_3/t1zmn.fd
new file mode 100644
index 0000000000..b59778e379
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/t1zmn.fd
@@ -0,0 +1,114 @@
+\ProvidesFile{T1zmn.fd}[1995/06/11 font definitions for T1/zmn.]
+
+\DeclareFontFamily{T1}{zmn}{}
+% condensed width
+\DeclareFontShape{T1}{zmn}{lc}{n}{%
+ <-7>zmnl8tc6 %
+ <7-10>zmnl8tc8 %
+ <10-15>zmnl8tc11 %
+ <15->zmnl8tc18}
+{}
+\DeclareFontShape{T1}{zmn}{lc}{it}{%
+ <-7>zmnli8tc6%
+ <7-10>zmnli8tc8%
+ <10-15>zmnli8tc11%
+ <15->zmnli8tc18}{}
+\DeclareFontShape{T1}{zmn}{mc}{n}{%
+ <-7>zmnm8tc6
+ <7-10>zmnm8tc8
+ <10-15>zmnm8tc11
+ <15->zmnm8tc18}{}
+\DeclareFontShape{T1}{zmn}{mc}{it}{%
+ <-7>zmnmi8tc6%
+ <7-10>zmnmi8tc8%
+ <10-15>zmnmi8tc11%
+ <15->zmnmi8tc18}{}
+\DeclareFontShape{T1}{zmn}{bc}{n}{%
+ <-7>zmnb8tc6
+ <7-10>zmnb8tc8
+ <10-15>zmnb8tc11
+ <15->zmnb8tc18}{}
+\DeclareFontShape{T1}{zmn}{bc}{it}{%
+ <-7>zmnbi8tc6%
+ <7-10>zmnbi8tc8%
+ <10-15>zmnbi8tc11%
+ <15->zmnbi8tc18}{}
+
+% normal normal
+\DeclareFontShape{T1}{zmn}{l}{n}{%
+ <-7>zmnl8t6%
+ <7-10>zmnl8t8%
+ <10-15>zmnl8t11%
+ <15->zmnl8t18}{}
+\DeclareFontShape{T1}{zmn}{l}{it}{%
+ <-7>zmnli8t6%
+ <7-10>zmnli8t8%
+ <10-15>zmnli8t11%
+ <15->zmnli8t18}{}
+\DeclareFontShape{T1}{zmn}{m}{n}{%
+ <-7>zmnm8t6%
+ <7-10>zmnm8t8%
+ <10-15>zmnm8t11%
+ <15->zmnm8t18}{}
+\DeclareFontShape{T1}{zmn}{m}{it}{%
+ <-7>zmnmi8t6%
+ <7-10>zmnmi8t8%
+ <10-15>zmnmi8t11%
+ <15->zmnmi8t18}{}
+\DeclareFontShape{T1}{zmn}{bx}{n}{%
+ <-7>zmnb8t6%
+ <7-10>zmnb8t8%
+ <10-15>zmnb8t11%
+ <15->zmnb8t18}{}
+\DeclareFontShape{T1}{zmn}{bx}{it}{%
+ <-7>zmnbi8t6%
+ <7-10>zmnbi8t8%
+ <10-15>zmnbi8t11%
+ <15->zmnbi8t18}{}
+
+% expanded width
+\DeclareFontShape{T1}{zmn}{lx}{n}{%
+ <-7>zmnl8tx6%
+ <7-10>zmnl8tx8%
+ <10-15>zmnl8tx11%
+ <15->zmnl8tx18}{}
+\DeclareFontShape{T1}{zmn}{lx}{it}{%
+ <-7>zmnli8tx6%
+ <7-10>zmnli8tx8%
+ <10-15>zmnli8tx11%
+ <15->zmnli8tx18}{}
+\DeclareFontShape{T1}{zmn}{mx}{n}{%
+ <-7>zmnm8tx6%
+ <7-10>zmnm8tx8%
+ <10-15>zmnm8tx11%
+ <15->zmnm8tx18}{}
+\DeclareFontShape{T1}{zmn}{mx}{it}{%
+ <-7>zmnmi8tx6%
+ <7-10>zmnmi8tx8%
+ <10-15>zmnmi8tx11%
+ <15->zmnmi8tx18}{}
+\DeclareFontShape{T1}{zmn}{bx}{n}{%
+ <-7>zmnb8tx6%
+ <7-10>zmnb8tx8%
+ <10-15>zmnb8tx11%
+ <15->zmnb8tx18}{}
+\DeclareFontShape{T1}{zmn}{bx}{it}{%
+ <-7>zmnbi8tx6%
+ <7-10>zmnbi8tx8%
+ <10-15>zmnbi8tx11%
+ <15->zmnbi8tx18}{}
+% small caps
+
+\DeclareFontShape{T1}{zmn}{m}{sc}{%
+ <-7>zmnmc8t6%
+ <7-10>zmnmc8t8%
+ <10-15>zmnmc8t11%
+ <15->zmnmc8t18}{}
+\DeclareFontShape{T1}{zmn}{bx}{sc}{%
+ <-7>zmnbc8t6%
+ <7-10>zmnbc8t8%
+ <10-15>zmnbc8t11%
+ <15->zmnbc8t18}{}
+\DeclareFontShape{T1}{zmn}{bx}{sc}{<->sub * zmn/b/sc}{}
+\DeclareFontShape{T1}{zmn}{l}{sc}{<->sub * zmn/m/sc}{}
+\endinput
diff --git a/usergrps/uktug/baskervi/5_3/taylor.tex b/usergrps/uktug/baskervi/5_3/taylor.tex
new file mode 100644
index 0000000000..2e8e29f79e
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/taylor.tex
@@ -0,0 +1,44 @@
+\title{Letter to the editor}
+\author[Philip Taylor]{Philip Taylor\\RHBNC}
+\setcounter{figure}{0}%
+\setcounter{table}{0}%
+\begin{multicols}{2}[\Section{Letter to the editor}]
+Sir -- many congratulations on an excellent and informative issue of
+Baskerville (Vol.~5, No.~2); my only queries concern the article on
+``Portable documents: Why Use SGML'' by Professor David Barron, in
+which he writes: ``Traditionally, a document was a file (or a deck of
+cards), and consisted solely of text''. I am surprised that Professor
+Barron is apparently unaware of a far older tradition, in which a
+document consisted of a series of sheets of paper (earlier, vellum or
+papyrus) of uniform size, bound between two slightly larger and more
+rigid sheets of board, and containing not only text but also illustrations
+and other entities; this style of document, apparently common until at
+least the end of the twentieth century, was called a ``book'', and
+was highly portable, requiring very little in the way of support hardware
+apart from some equally portable optical enhancement devices (``glasses'',
+or ``spectacles'') for the visually challenged. Professor Barron then
+goes on to write: ``[\ldots]: such a document is a \emph {multimedia}
+document'': surely such a document is better termed a \emph {multimedium}
+document, by analogy with existing \emph {multi\dots} words; I am sure
+Professor Barron has never used a \emph {multipasses} compiler, plugged
+in his computer to a \emph {multiways} socket outlet, or augmented
+his computer system with a \emph {multipurposes} adapter.
+
+Yours very sincerely,
+
+\makeatletter
+\@signature
+\makeatother
+
+\begin{quote}
+\emph{Professor Barron replies:}
+Sir -- Philip Taylor is to be complimented on a fine display of pedantry
+in the best academic tradition, the kind of tradition that gives academics
+a bad name amongst normal folk. In computing we use lots of everyday
+words with specialised meanings, and most of us find no difficulty
+in using the context of an utterance to achieve any necessary disambiguation.
+With regard to his criticism of my use of the term ``multimedia document'',
+I agree that I don't plug my computer into a multiways socket. But then,
+I don't attend a performance of an operum at Covent Garden, either.
+\end{quote}
+\end{multicols}
diff --git a/usergrps/uktug/baskervi/5_3/tds.tex b/usergrps/uktug/baskervi/5_3/tds.tex
new file mode 100644
index 0000000000..62725b90ab
--- /dev/null
+++ b/usergrps/uktug/baskervi/5_3/tds.tex
@@ -0,0 +1,39 @@
+\title{Standard for \TeX\ Directory Structures}
+\author{}
+\begin{Article}
+The TUG Working Group on a \TeX\ Directory Structure announces that
+a draft of the proposed \TeX\ Directory Structure standard is available
+for public review.
+
+You can get it by FTP from:
+\begin{verbatim}
+ <CTAN host>:/tex-archive/tds/draft-standard
+\end{verbatim}
+
+Comments and suggestions are welcome. Please communicate them by email to
+\texttt{twg-tds@shsu.edu}
+or by paper mail to
+\begin{quote}
+ Norman Walsh\\
+ O'Reilly \& Associates, Inc.\\
+ 90 Sherman Street\\
+ Cambridge, MA 02140 \\
+ USA
+\end{quote}
+
+The primary purpose of this document is to describe a standard \TeX\
+Directory Structure (TDS) for macros, fonts, and other such
+implementation-independent \TeX\ files. As a matter of practicality, it
+also suggests ways to incorporate the rest of the \TeX\ files into a
+single structure. In the not-so-long run a consistent directory
+structure will make it much easier to install and maintain \TeX. We
+hope that administrators and developers of both free and commercial
+implementations of \TeX\ will adopt this standard. It has been designed
+to work on all modern systems. In particular, this Technical Working
+Group (TWG) believes it is usable under Unix, MS-DOS, OS/2, MacOS, and
+VMS.
+
+We hope to publish another draft, or make the final release (depending
+on the volume of comments and concerns) shortly after TUG 95.
+
+\end{Article} \ No newline at end of file