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diff --git a/info/digests/texhax/txh/wujastyk.txh b/info/digests/texhax/txh/wujastyk.txh new file mode 100644 index 0000000000..84978c70b7 --- /dev/null +++ b/info/digests/texhax/txh/wujastyk.txh @@ -0,0 +1,2280 @@ +% Split this file into FONTMEMO.STY and FONTMEMO.TEX +% +% +% This is FONTMEMO.STY +% +%================================ CHANGES TO LATEX ARTICLE 10pt STYLE ======= +% REDUCE SPACING AROUND AND IN QUOTATIONS (TOPSEP AND ITEMSEP) AND +% FIRST LEVEL LISTS IN GENERAL, LIKE 'DESCRIPTION'. +% (Fiddle with the dimensions given in ART10.STY; see LaTeXbook, pp.113, 163) +% Old: +% \def\@listI{\leftmargin\leftmargini \parsep 4pt plus 2pt minus 1pt% +% \topsep 8pt plus 2pt minus 4pt% +% \itemsep 4pt plus 2pt minus 1pt} +% New: +\def\@listI{\leftmargin\leftmargini \parsep 0pt plus 1pt% +\topsep 2pt plus 1pt% +\itemsep 1pt plus .5pt} +% +%---------------------------------------------------------------------------- +% MAKE THE FIRST PARAGRAPH OF A QUOTATION FLUSH LEFT +\renewcommand{\quotation}{\list{}{\listparindent 1.5em +% \itemindent\listparindent % line commented out March 13, 1987, DW, to + % make 1st paragraph of a quotation not be indented + \rightmargin\leftmargin\parsep 0pt plus 1pt}\item[]} +% +%================================ METAFONT LOGO ============================= +% The hanky-panky below is a hack designed to integrate +% the LOGO font into LaTeX so that size changes are automatic. The command +% \mf is set up to invoke a LOGO font at the right size for the current LaTeX +% environment (heading, toc, text, footnote, etc.): +% +% The macro \@setsize below is taken from LFONTS.TEX with the addition of +% the assignment of the current font size to \@fontxsize: +% +\def\@setsize#1#2#3#4{\@nomath#1\let\@currsize#1\baselineskip + #2\setbox\strutbox\hbox{\vrule height.7\baselineskip + depth.3\baselineskip width\z@}\baselineskip\baselinestretch\baselineskip + \normalbaselineskip\baselineskip#3\let\@fontxsize#3 #4} +% +% Now the font macros: +\def\eightmf{\font\mfviii=logo8 \mfviii} +\def\ninemf{\font\mfix=logo9 \mfix} +\def\tenmf{\font\mfx=logo10 \mfx} +\def\elevenmf{\font\mfxi=logo10 scaled\magstephalf \mfxi} +\def\twelvemf{\font\mfxii=logo10 scaled\magstep1 \mfxii} +\def\fourteenmf{\font\mfxiv=logo10 scaled\magstep2 \mfxiv} +\def\seventeenmf{\font\mfxvii=logo10 scaled\magstep3 \mfxvii} +% +% Define \mf to select the font according to context: +\def\mf{\ifx\@fontxsize \viiipt \eightmf +\else \ifx\@fontxsize \ixpt \ninemf +\else \ifx\@fontxsize \xpt \tenmf +\else \ifx\@fontxsize \xipt \elevenmf +\else \ifx\@fontxsize \xiipt \twelvemf +\else \ifx\@fontxsize \xivpt \fourteenmf +\else \ifx\@fontxsize \xviipt \seventeenmf +\else \@warning{No Logo font available at this font size. Substituting +ten point font.} \tenmf +\fi\fi\fi\fi\fi\fi\fi} +%********************************************** +% Now define the Metafont logo: +\newcommand{\MF}{\protect{{\mf META}\-{\mf FONT}}} +\newcommand{\METAfont}{\protect{{\mf META}font}} % or would just {meta-font} +% be better? +% +%%================================ SET TUGBOAT DIMENSIONS ==================== +\setlength{\textwidth}{39pc} +\setlength{\textheight}{52pc} +\setlength{\topmargin}{0pc} +\setlength{\columnsep}{1.5pc} +\setlength{\columnseprule}{0pc} +% +%================================ SET COUNTERS ============================== +%\setcounter{tocdepth}{2} % !!! remove the % to get rid of subheadings !!! +\setcounter{secnumdepth}{2} +% +\sloppy % Ahem. Polite cough! +% +% +% This is FONTMEMO.TEX +% +% +\documentstyle[twocolumn,fontmemo]{article} % Draft of July 3, 1988 +% +\title{ The Many Faces of \TeX \\ +\normalsize A Survey of Digital \METAfont s +} +\author{ Dominik Wujastyk +} +\date{July 3, 1988} +% +\begin{document} +\maketitle +\tableofcontents % You'll probably want to get rid of this. +% +%========================== AND ... WE'RE OFF! ======================= +% +\section{Introduction} + +This article seeks to give a reasonably complete survey of the fonts +and \METAfont s that are currently available for use with \TeX. +Although I have been primarily interested in cataloguing fonts +designed with \MF, I also wanted to include information about any +other fonts that have been successfully used with \TeX, i.e., fonts +with \TeX\ Font Metric files, and a mechanism for the creation of the +appropriate ligatures and kerning pairs, be it within the {\tt TFM} +file, or by means of a preprocessor. + +I first started compiling this article late in 1987, as a note to +myself and my immediate Indological colleagues. But it seemed little +extra work to include more information in it about other fonts that I +had heard of, and doing this greatly widened its usefulness to \TeX\ +users in general. But you may still detect a slight Indic leaning. + +For those with access to the academic computer networks, I post +information about revisions of this article to \TeX hax from time to +time, and send the latest version of the article to {\tt +score.stanford.edu}, where it ends up as {\tt WUJASTYK.TXH} in the +directory {\tt TEX.TEXHAX}. This way, people will know from \TeX hax +whether there is enough new stuff for it to be worth downloading the +whole article afresh. + +I would be grateful for any relevant information that is not already +mentioned and, of course, for any corrections. While keeping the memo +reasonably concise, I have given all the useful information that I +currently have. I have also given everything I know about how to get +more information about each font, so follow those leads rather than +contacting me directly, in the first instance. + +This article is made up of information given to me by others, both in +person and through general publication in {\em TUGboat\/}, \TeX hax and the +net. My sincere thanks to all the contributors. + + +\section{Computer Modern} + +It may seem odd to start with Computer Modern (CM), the typeface +family that most \TeX\ users use most of the time, since it was +created side by side with \TeX, and is included in all distributions +of \TeX. Nevertheless, I feel that there is an important point to be +made about CM. + +When Knuth developed \MF, one of the central ideas of the whole +project was that of producing {\em parametrized\/} typefaces. In Douglas +Hofstadter's memorable phrase, \MF\ is a `knobbed category +machine'\footnote{Douglas R.~Hofstadter, `Metafont, Metamathematics +and Metaphysics: comments on Donald Knuth's Article ``The Concept of a +Meta-Font''\,', {\em Visible Language\/} {\bf 16} (1982), 309--338. This article, +and selections from the discussion which it engendered in the pages of +{\em Visible Language\/} (henceforth {\em VL\/}), were republished as chapter 13 of +Hofstadter's {\em Metamagical Themas\/} (New York, 1986$^2$).}, and when Knuth +announced the capabilities of \MF\ to the world in {\em Visible Language\/} it +was precisely this parametrization that he emphasized and demonstrated +so brilliantly.\footnote{'The Concept of a Meta-Font', {\em VL\/} {\bf 16} (1982), +3--27.} + +Later on, Knuth explained that the whole inspiration for \MF\ had +arisen from the three ideas of {\em pens, parameters\/} and +{\em programs\/}.\footnote{Donald E. Knuth, `Lessons Learned from Metafont', +{\em VL\/} {\bf 19} (1985), 35--53.} Hofstadter argued, wrongly I think, that this +idea contained basic flaws, and that some of Knuth's implications +about using \MF\ to generate different typefaces by twiddling the +`knobs' of a single underlying typeface description were +misleading.\footnote{I agree with the refutation by Geoffrey Sampson, +`Is Roman Type an Open-Ended System: A Response to Douglas Hofstadter' +{\em VL\/} {\bf 17} (1983), 410--412, in spite of Hofstadter's reply in pages +413--416 of the same issue.} Knuth made it clear that he had never +meant to imply that all typefaces could usefully be combined into one +single \METAfont (although he did not actually deny the feasibility of +such an endeavor), and again emphasized the desirability of trying to +incorporate variability into a design.\footnote{{\em VL\/} {\bf 17} (1983), 417.} + +In view of the vigor with which Knuth has maintained the idea of +parametrization, both in discussion and in the actual implementation +of Computer Modern, I am very surprised that the following survey of +\TeX\ fonts does not include a single example of a new typeface +created from CM by changing its parameters. In Knuth's own hands, CM +is utterly plastic, as was demonstrated so startlingly in his article +`The Concept of a Meta-Font' referred to above, and by the inclusion +of such fonts as Computer Modern Funny Roman ({\tt CMFF}), Unslanted +Text Italic ({\tt CMU}), and the delightful {\tt CMFIB} (which uses +the Fibonacci series for the ratios of several of the CM parameters)in the standard distributions of CM. But none of us has taken up the +challenge, implicit in the 62 parameters of CM, to produce a new face +for general distribution. It would be very nice, for example, to +produce a full set of {\tt CMFIB}, with bold, slanted, italic, +typewriter and other versions. And someone should pick up the gauntlet +thrown down by Hofstadter, and try to produce a Times Roman, or a +Baskerville or some other familiar face from the CM programs. Knuth +has said that we should not blindly copy the old masters, without +trying to understand why they produced what they did.\footnote{{\em VL\/} {\bf 17} +(1983), 417.} How interesting it might be, then, to try to manipulate +the parameters of CM to produce a different, but recognizable family +of faces. And if the experiment failed, the reasons why it did so +would themselves be of +great interest. The first sentences of the Introduction to {\em Computer\/} +{\em Modern\/} {\em Typefaces\/} are: +\begin{quotation} +Infinitely many alphabets can be generated by the programs in this +book. All you have to do is assign values to 62 parameters and fire +up the \MF\ system; then presto---out comes a new font of type. +\end{quotation} +Let's do it, but of course in the best possible taste! + + +\section{Devan\={a}gar\={\i}} + +Devan\={a}gar\={\i} is the alphabet used for writing and printing +Sanskrit, Hindi and several other languages of South Asia, both +ancient and modern. + +\subsection{Knuth} + +As far as I know, Donald Knuth coded the first Devan\={a}gar\={\i} +character to be created with \MF. This was the single syllable {\em la\/}, +which Matthew Carter gave to Knuth in 1980 as a challenge to test the +capabilities of the then nascent \MF. The smoke proof of the +character, and several interesting remarks about the experience, were +published as `My First Experience with Indian Scripts', in {\em CALTIS-84:\/} +{\em Special Issue on Calligraphy, Lettering \& Typography of Indian\/} +{\em Scripts\/}, (Proceedings of a Delhi 1984 conference). + +\subsection{Ghosh} + +An early Devan\={a}gar\={\i} font was designed with old \MF\ +(MF-in-SAIL) by P.~K.~Ghosh during a visit to Stanford in 1982--83. +Ghosh published what he had done as Stanford Computer Science Report +965: {\em An Approach to Type Design and Text Composition in Indian\/} +{\em Scripts\/} (Stanford, 1984). One of the valuable aspects of this work +was that Ghosh worked from Devan\={a}gar\={\i} characters designed and +drawn for him by the famous Bombay calligrapher R.~K.~Joshi. Drawings +of these, on a grid, are published in the {\em Report\/}. Unfortunately, +Ghosh's work was done in a now superseded version of \MF, and was not +fully worked out at the keyboard level. It also lacked a number of +the conjunct consonant clusters necessary for fine Indian typography. +The report, however, remains of considerable interest for general +background. The source code is available at the University of +Washington, through Pierre MacKay (address below), and presumably at +Stanford (try Emma Pease). Ghosh has said explicitly that he has no +objection to others doing further work on it. + +\subsubsection{Contact} + +If you wish to contact Ghosh he can be reached at the following +address:\\ + National Centre for Software Technology,\\ + Gulmohar Cross Road 9,\\ + Juhu, Bombay 400 049,\\ + India. + +\subsection{Velthuis} + +The only fully worked out version of Devan\={a}gar\={\i} presently +available is that of Frans Velthuis. + +%\paragraph{Date of information} 25 December 1987. + +\subsubsection{The Font} + +In November 1987, Frans Velthuis completed version 1.0 of a +Devan\={a}gar\={\i} \METAfont\ for \TeX. He has written \MF\ code for +all the {\em ak\d{s}aras\/} (syllabic characters) necessary for Hindi, and +most of those for Sanskrit too, although in the latter case some +{\em vir\={a}mas\/} are used. Frans intends to produce a special Sanskrit +version of his font in the future. Also included are the +Devan\={a}gar\={\i} numerals, {\em anusv\={a}ra, vir\={a}ma, da\d{n}\d{d}a,\/} +{\em candrabindu, visarga, avagraha\/}, full stop, and the superscript +abbreviation circle. + +\subsubsection{Usage} + +You prepare your \TeX\ or \LaTeX\ file normally, and mark any Hindi +portions, typed in a simple Roman transliteration, with a font marker, +thus: \verb|{\dn ...}|. At the top of the \TeX\ file you +\verb|\input| a file called {\tt DNMACS}; in \LaTeX, a {\tt DEV.STY} +file is provided which inputs the necessary macros, and automatically +makes appropriate font size changes. Frans provides a preprocessor, +{\tt DEVNAG}, available compiled for several systems, or in Pascal or +C, which reads your file and converts the Hindi transliteration into +the appropriate codes for Frans's font. The converted file is then +processed by \TeX\ or \LaTeX\ in the normal way, and the resulting +{\tt DVI} file can be printed using a standard {\tt DVI} outputprogram. The portions of Hindi text originally in Roman +transliteration will be printed in Devan\={a}gar\={\i}, with full use +of conjunct consonants ({\em sandhyak\d{s}aras\/}), etc. + +\subsubsection{Quality} + +The quality of the typeface is excellent, with full calligraphic +molding of the curves and loops, like some of the best handwriting of +manuscript scribes using a broad nib. + +\subsubsection{Terms of Availability} + +Frans will sell a set of four or five sizes of the Devan\={a}gar\={\i} +fonts, at the printer resolution you specify (Epson-type 9 pin matrix, +24 pin matrix ($180\times 180, 360\times 360, 180\times 360$), +write-white laser, or write-black laser), together with the compiled +code (specify VAX/VMS, SUN, Cyber, IBM/PC, Atari ST) of the text +preprocessor DEVNAG, for \$119. The \MF\ source programs are not at +present being made generally available. + +\subsubsection{Contact} + +Frans J.~Velthuis,\\ + Nyensteinheerd 267,\\ + 9736 TV Groningen,\\ + The Netherlands.\\ + Bitnet: {\tt velthuis@hgrrug5} + +\subsubsection{Further information} + +A note about Velthuis's Devan\={a}gar\={\i} font appeared in \TeX hax, +1987, issue 93. Velthuis intends to publish a full account of his +font in a future +issue of {\em TUGboat\/}. + + +\section{Tamil} + +\subsection{Arthanari} + +According to Emma Pease (network response on 10 November 1987 to my +query in \TeX hax 1987, issue 93) a basic set of Tamil characters for +\TeX\ was designed at Stanford by T.~S.~Arthanari created when he was +at Stanford from May to July, 1985. Emma has the source code but does +not want to distribute it further without his knowledge. + +\subsubsection{The Font} + +There are approximately 160 characters in several styles written in a +pre-release version of the current \MF. Emma has only tried producing +characters for one style but had little difficulty in doing so (a few +commands had changed). They are rough but look fairly good. + +%\paragraph{Date of information} December 26, 1987. + +\subsubsection{Contact} + +T.~S.~Arthanari's last known address was:\\ + Quality Informatics Labs, Ltd.,\\ + 312, P.~M.~G.~Complex,\\ + 57, South Usman Road,\\ + Madras, 600 017, India. + +I wrote to Mr.~Arthanari in December 1987 to ascertain his intentions +concerning his work, and especially to learn whether he is willing and +able to allow the source code of his Tamil font to be distributed as +public domain software. There has been, as yet, no reply. A +colleague is visiting Madras in a few weeks, and will try to make +contact with him. + +\subsection{Ramanujan} + +%\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre +%MacKay). + +\subsubsection{The Font} + +According to information received by e-mail from Pierre MacKay (Fri +Jan 22, 1988), Ramanujan, a graduate student who worked at Washington +two years ago, designed a Tamil font in \MF84 (I think). According to +Pierre, the problem with this, as with Ghosh's Devan\={a}gar\={\i}, is +that it was arbitrarily developed in a framework that bears no +relation to the monotype-based character grid used for Computer +Modern, i.e., the characters do not sit in a box or on a baseline that +relates in an appropriate manner to CM; this is unfortunate, since it +makes it almost unusable in an environment with CM. Moreover, it does +not make much use of the macro capabilities of \MF. + +%\paragraph{Date of information} June 7, 1988. + +\subsection{Ridgeway and Schiffman} + +After a thorough evaluation of the Ramanujan characters, the +Humanities and Arts Computing Center at the University of Washington +decided that it was better to begin again. Dr.~Thomas Ridgeway, +director of the Center, in consultation with Prof.~Harold Schiffman +of the Department of Asian Languages, has almost completed a fully +vowelled \MF\ for Tamil. It will be tested during the summer, and +should be ready for release in early fall 1988, together with some +sort of macro package to make it usable from a Latin-letter keyboard. +Characters are arranged in the font in rough alphabetical order, +starting from position zero. We have not found any other coding +system which seems definite enough to use as a model. The Tamil +phonetic subset of ISCII does not provide nearly enough character +positions. It is expected that with this as with many other non-Latin +fonts some sort of input preprocessor will be used to mediate between +the code used for text-editing and the \TeX\ font coding. + +\subsubsection{Contact} + +Dr.~Thomas Ridgeway, Director \\ + Humanities and Arts Computing Center \\ + Mail~Stop DW-10 \\ + University of Washington \\ + Seattle, WA 98195, USA \\ + Phone: (206) 543-6259 \\ + Net: {\tt mackay@june.cs.washington.edu} + +\subsection{Other Developments} + +%\paragraph{Date of information} March 11, 1988. + +T.~K.~Rengarajan, a software engineer (Database Systems, Digital +Equipment Corporation), e-mailed me on Fri 5 Feb, 1988, and mentioned +that he may do a \MF\ Tamil. He can be contacted at:\\ + Net: {\tt ranga\%debit.DEC@decwrl.dec.com} + + +\section{Telugu} +Telugu is the name of the language and script used in Indian state of +Andhra Pradesh. +\subsection{Mukkavilli} + +%\paragraph{Date of information} March 11, 1988. + +\subsubsection{The Font} + +Recent mail from Lakshmi Mukkavilli indicates her intention, together +with her husband Lakshmankumar Mukkavilli, to implement a Telugu +script font in \MF. Their work on this font will intensify during the +summer of 1988. Incidentally, they are looking for a good Telugu +calligrapher and would welcome suggestions. In their opinion, +existing Telugu typefaces are not good, tending to be very heavy along +the baseline, which is hard on eyes. So they are not keen on +imitating existing typefaces, and will probably create their own. + +A note from Lakshmi in May 1988 said that she and her husband have now +started working full time on the Telugu fonts using \MF, and they +expect to start coding \MF\ programs in the second week of June. They +are at present deciding on parameters, and the characters for which +\MF\ programs are to be written. They are also concerned about how to +incorporate context analysis logic in the form of \TeX\ macros. +Entering text in Roman transliteration and preprocessing the text for +input to \TeX\ does not seem very attractive to them, although, in the +absence of widely available customizable terminals that could cope +with Telugu, they may be forced down this path. + +Another point of concern is their desire to use the ISCII standard (a +version of ASCII for Indian languages). This is the only really +widely published standard for the arrangement of the characters of +Indian languages in a font grid, and I suspect that all creators of +Indic fonts should be using it as far as possible. + +\subsubsection{Contact} + +Lakshmankumar Mukkavilli and \\ +Lakshmi Mukkavilli,\\ + 226 Computer Science,\\ + Iowa State University,\\ + Ames IA 50011, USA.\\ + Phone: (515) 296--7808\\ + CSnet: {\tt lakshmi@atanasoff.cs.iastate.edu}\\ + Uucp: {\tt lakshmi!atanasoff} + +\subsection{Other Developments} + +%\paragraph{Date of information} March 11, 1988. + +E-Mail from K.~Sankara Rao in March 1988 indicates his similar +intention to implement a Telugu font in \MF. He can be contacted +at:\\ + Department of Electrical Engineering \\ + North Dakota State University \\ + Fargo, ND 58105, USA. \\ + Bitnet: {\tt nu043109@ndsuvm1} + + +%\section{Mar\={a}\d{t}h\={\i}} + +%No known font, but the addition of a few extra characters, such as +%retroflex {\em la\/}, to Velthuis's Devan\={a}gar\={\i} (which he is +%considering) will make his font perfectly suitable for +%Mar\={a}\d{t}h\={\i}. + + +\section{Perso-Arabic} + +%\paragraph{Date of information} June 7, 1988. +\subsection{MacKay} + +Pierre A.~MacKay (TUG Site Coordinator for Unix-flavored \TeX) and the +Washington team have been working on an Arabic implementation of \TeX\ +for some years. Their plans are ambitious, and include building a +customized version of \TeX, called \TeX--XeT, which has a built-in +capability for handling bidirectional text. Details of this change to +\TeX\ were published by Don Knuth and Pierre MacKay in {\em TUGboat\/} {\bf 8}, +issue 1 (1987). This is an active project, but MacKay says wistfully +that Arabic remains a long-term dream. + +\subsubsection{Terms of Availability} + +\TeX-XeT can be compiled with the C compiler using {\tt WEB}-to-C and +the change file {\tt Cxet.ch}, both of which are part of the Unix +\TeX\ distribution. Several sites have actually made use of the +reflection primitives, and Larry Denenberg of BBN has rewritten the +{\tt dvi2ps} device driver to do the correct things with +right-to-left text. The Denenberg {\tt dvi2ps} is vastly superior to +the old {\tt dvi2ps} in many other ways, and it will become a part of +the distribution very shortly. (The driver is available as an {\tt +FTP} file from the {\tt pub} directory on {\tt +june.cs.washington.edu}. Look for \verb|ld_dvi2ps.tar.Z|.) {\tt +WEB}-to-C is also available as the file {\tt web2c.tar.Z}, along with +{\tt Cxet.ch.Z}. + +\subsubsection{Contact} + +Pierre MacKay, \\ + Department of Computer Science, FR-35,\\ + University of Washington,\\ + Seattle, WA 98195, USA.\\ + Phone: (206) 545-2386/543-6259.\\ + Net: {\tt MacKay@June.cs.Washington.edu} + +\subsection{Goldberg} + +%\paragraph{Date of information} February 3, 1988, February 11, 1988. + +On Monday, 18 Jan 1988, and again on 15 Feb 1988, Jacques J.~Goldberg +wrote to \TeX hax (1988, issues 7 and 15), giving details of a +package giving the capability of printing Hebrew. He said that an +article is currently being written about the package, for submission +to {\em TUGboat\/} (see under {\bf Hebrew}). At the same time he included a brief +note referring to a nearly completed Arabic font. + +\subsubsection{The Font} + +Goldberg said, +\begin{quotation} +An Arabic font is three characters away from completion, but the +MetaFounders are near midyear exams and unpaid, so the Arabic font +{\sl might} show up around mid March [1988]. (To be precise, their +font is Parsi, and some limited work is needed to extend it to full +Arabic). \ldots\ This needs {\sl no} change either in \TeX\ or in {\tt +DVI} drivers: a simple preprocessing of the \TeX\ input file and a +small additional macro package do it. +\end{quotation} + +\subsubsection{Terms of Availability} + +It is likely that the Arabic fonts and macros may be distributed on +similar terms to the Hebrew; see the {\bf Hebrew} section. + +\subsubsection{Contact} + +For Prof.~Goldberg's address see under {\bf Hebrew}. + +\subsection{Other Developments} + +See also the bitmap Arabic (?) fonts distributed by the {\bf Austin Code} +{\bf Works}. + + +\section{Hebrew} + +%\paragraph{Date of information} February 3, 1988. + +\subsection{Goldberg} + +On Monday, 18 Jan 1988, and again on 15 Feb 1988, Jacques J.~Goldberg +wrote to \TeX hax (1988, issues 7 and 15), giving details of a +package giving the +capability of printing Hebrew. He said that an article is currently +being written about the package, for submission to {\em TUGboat\/}. + +\subsubsection{The Font} + +Goldberg says that the package comprises: +\begin{itemize} +\item a set of fonts at 8, 9, 10, 12, 17 points in regular type, 10 + points slanted and bold, and any magnification on request (1000 + off the shelf). +\item a 100\% portable preprocessor written in C (MSDOS users who do + not have a compiler can get the {\tt .COM} file). +\item a small set of \TeX\ macros. +\item a sample file. +\end{itemize} + +\subsubsection{Usage} +Hebrew words in Roman transliteration are inserted either by typing +first-typed-last-read with the font invoked, which is a pain but +`displays' in natural reading order, or by typing first typed first +read as argument of the \verb|\reflect| macro given by D.~Knuth and +P.~MacKay, {\em TUGboat\/} {\bf 8} (1987), p.\,14. Long Hebrew sequences are typed, +in first-typed-first-read order, within delimiters. The preprocessor +copies non Hebrew sequences to an auxiliary file. Hebrew sequences are +parsed into words, and written to the auxiliary file one word at a +time after each word has been reflected. \TeX\ is then invoked on the +file containing the macro package, which itself \verb|\inputs| the +auxiliary files, feeding \TeX\ with either normal English input or +\verb|\lines{ }| adjusted by the macro to the optimal number of Hebrew +words. + +\subsubsection{Quality} + +Goldberg is---I suspect unnecessarily---diffident about the quality of +the fonts. He calls them `ugly fonts not good for anything else than +Office documents (drafts, reports, \ldots)'. + +\subsubsection{Future development} + +Goldberg is looking for a convenient table representing the 22 Hebrew +letters by Roman letters. Then the preprocessor could translate to +standard ASCII the character codes used in Israel with their special +Hebrew terminals, so that anybody with an English-only terminal could +write in Hebrew. + +\subsubsection{Terms of Availability} + +Goldberg says, +\begin{quotation} +I do not expect any fee from individuals, but I would be happy if {\sl +institutions} that may use this package would later voluntarily +contribute \$25 to \$50 [payable to the Treasurer of the University] +to help my Department \ldots\ pay students employed on font +development. +\end{quotation} +He later added, +\begin{quotation} +All that project is stored and freely available on a Bitnet server. +To get the whole package, send an interactive message {\tt GET IVRITEX +PACKAGE} to {\tt LISTSERV@TAUNIVM}. Arpanet or other nets not +interactively connected to Bitnet, just send a {\tt MAIL} file to that +address, with the request {\tt GET IVRITEX PACKAGE} in the first line +({\sl not} Subject) of the message. Other useful commands to that +server are: +\begin{description} +\item[{\tt GET IVRITEX FILELIST}] to get a directory of the project, +and +\item[{\tt INFO FILES}] to get instructions how to sign up for +automatic updates. +\end{description} +\end{quotation} + +\subsubsection{Contact} + +Prof.~Jacques J.~Goldberg,\\ + Department of Physics,\\ + Technion-City,\\ + 32000 Haifa, Israel.\\ + Bitnet: {\tt phr00jg@technion}\\ + If you are not on Bitnet, try: \\ + {\tt phr00jg\%technion.bitnet} at \\ + {\tt forsythe.stanford.edu} + +\subsection{Other Developments} + +See also the experimental Hebrew font described under the heading +{\bf Georgia Tobin}, and the bitmaps distributed by the {\bf Austin Code Works}. + + +\section{Greek} + +%\paragraph{Date of information} January 21, 1988. + +\subsection{Levy} + +\subsubsection{The Font} + +Regular, bold, and typewriter versions of the Greek alphabet have been +coded in \MF84 by Silvio Levy of Princeton, starting from the Greek +character set created by Don Knuth as part of the CM family, but with +all accents, breathings, correct spacing, ligatures, and macros to +implement a convenient Roman transliteration for input. The font is +suitable for both classical and modern Greek. + +Full details and illustrations of the use of the fonts have been given +by Silvio Levy in his two publications: +\begin{description} +\item `Typesetting Greek', in {\em \TeX\ Users Group Eighth Annual Meeting:\/} +{\em Conference Proceedings\/}, edited by Dean Guenther (Providence: TUG, +1988), 27--33. +\item `Using Greek Fonts with \TeX', {\em TUGboat\/} {\bf 9} (1988), 20--24. +\end{description} + +\subsubsection{Terms of Availability} + +Silvio Levy has released his Greek fonts freely, without charge (andwithout any warranty). He maintains an electronic mailing list of +interested parties, and the \MF\ source is available to Arpanet users +by anonymous FTP from {\tt princeton.edu}. + +\subsubsection{Contact} + +Silvio Levy, \\ + Math Department, Fine Hall,\\ + Princeton University,\\ + Washington Road,\\ + Princeton, NJ 08544, USA.\\ + Phone: (609) 452-5790\\ + Net: {\tt levy@princeton.edu} + +\subsection{Kelly} + +Issue 14 of UK\TeX\ 1988 (Fri, May 20), the UK's answer to \TeX hax, +put out from Aston by Peter Abbott ({\tt abbottp@aston.ac.uk.bitnet}), +carried a notice by Christopher P.~Andrasic (of Cranfield) reporting +some Greek fonts. + +\subsubsection{The Fonts} + +Brian Hamilton Kelly (also at Cranfield) created these Greek fonts +using \MF84. The \MF\ sources of the non-Math Greek fonts are +contained in the files {\tt CMGI10.MF, CMGTT10.MF, CMG10.MF, +CMGB10.MF}, and {\tt GRKTXT.MF}. As far as I know, there are no +macros or preprocessor offered for implementing the font at the +keyboard level. + +\subsubsection{Terms of Availability} + +These fonts are being offered for general, free release. They are +available for FTP within the UK, from the directory {\tt +public.mffiles} of the UK\TeX\ archive at Aston. + +\subsubsection{Contact} + +Christopher P.~Andrasic \\ + Net: {\tt rm001a@uk.ac.cranfield.cdvc} + + +\section{Cyrillic} + +\subsection{MacKay} + +%\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre +%MacKay). + +Pierre MacKay reports that the Washington team is working on Old +Russian (more or less Old Church Slavonic, but specifically designed +for the Slovo). + +\subsubsection{Contact} + +For Prof.~MacKay's address see under {\bf Arabic}. + +\subsection{MF Slavic Family} + +This family of Cyrillic fonts is described under {\bf Georgia Tobin}. + +\subsection{AMS} + +The American Mathematical Society has developed a post revolution +Cyrillic font, in old \MF79, and a set of macros to implement it +comfortably. Details of the font, with examples of its use, and grids +of the character set were published in {\em TUGboat\/} {\bf 6} (1985), 124 ff. + +\subsubsection{Terms of Availability} + +Same terms and contact addresses as described under {\bf AMSfonts Package}. + +\subsection{Other Developments} + +See also the Cyrillic bitmap fonts distributed by the {\bf Austin Code} +{\bf Works}. + + +\section{Turkish} + +\subsection{Washington} + +%\paragraph{Date of information} June 7, 1988. (P. A. MacKay) + +\subsubsection{The Font} + +Pierre MacKay informs me (Jan 22 1988) that work on properly accented +Roman-letter Turkish fonts in \MF\ has been undertaken at the +University of Washington by himself and Walter Andrews. The accented +characters are developed from Computer Modern descriptions, so as to +maintain the maximum possible compatibility with the Computer Modern +faces. Andrews and MacKay have published a description of their work +as: +\begin{description} +\item `The Ottoman Texts Project' in {\em \TeX\ Users Group Eighth Annual\/} +{\em Meeting:\/} {\em Conference Proceedings\/}, edited by Dean Guenther (Providence: +TUG, 1988), 35--52. +\end{description} +Pierre also wrote on `Turkish Hyphenations for \TeX' in {\em TUGboat\/} {\bf 9} +(1988), 12--14. See also the note in {\em TUGboat\/} {\bf 8} (1987), 260. +\subsubsection{Terms of Availability} + +A first release is available for FTP on {\ tt june.cs.washington.edu} +in the {\tt pub} directory under the name {\tt turkish.tar.Z}. This +is a do-it-yourself kit, with driver files for {\tt WTKR10} and {\tt +WTKTI10} only. Fonts can be made up in 128-character form for drivers +which still use {\tt PXL} files, and in 256 character form for all +others. The 256 character form contains all the expected characters +of Computer Modern, and all except @ and \# are in the expected +places. + +\subsubsection{Usage} + +The {\tt turkish.tar} file includes the hyphenation table described in +the {\em TUGboat\/} article mentioned above, and a modified {\tt TPLAIN.TEX} +in which Turkish fonts will take the place of CM fonts, and the +messages will ultimately be translated into Turkish. There is a +good-sized sample of Ottoman literary text for testing. + +\subsubsection{Contact} + +For Prof.~MacKay's address see under {\bf Arabic}. + + +\section{Japanese} + +%\paragraph{Date of information} March 11, 1988 + +In order to typeset Japanese text it is insufficient merely to have a +Japanese font. There are several problems, including the very large +size of the Japanese character set, which mean that a modified +implementation of the \TeX\ system as a whole is necessary. + +Some of the issues concerned in using \TeX\ for typesetting Japanese +were surveyed by Nobuo Saito and Kazuhiro Kitagawa of Keio University, +Yokohama: \begin{description} +\item `What Should We Do for Japanese \TeX', in {\em \TeX\ Users Group\/} +{\em Eighth Annual\/} {\em Meeting: Conference Proceedings\/}, edited by Dean Guenther +(Providence: TUG, 1988), 53--56. +\end{description} + +Saito and Kitagawa have taken Pat Monardo's Common \TeX\ as the +starting point for a series of modifications to \TeX\ itself that have +some features in common with the ASCII Corporation's work, described +below. + +I recently received a comprehensive message from Edgar M.~Cooke about +the current state of \TeX\ in Japan. Most what follows is reproduced +verbatim from this message. + +At present, two publicly available versions of \TeX\ are being +distributed that support Japanese, and one further version is supposed +to become available shortly. These are not entirely mutually +compatible, and each has its strong and weak points. + +\subsection{ASCII Corporation} + +The ASCII Corporation is a microcomputer oriented publishing and +software house that has taken a strong interest in \TeX\ for their own +publishing work, and whose UNIX support section has produced and +distributes the Japanized version of \TeX. + +ASCII's version was implemented without concern for 100\% internal +compatibility with Knuth's \TeX, and cannot pass the {\tt TRIP} test +(N.B.: it is closer to passing as of version 1.0). However, the +output of an identical English \TeX\ input file is, to the best of my +knowledge, identical with that of standard \TeX. They have added a +few primitives (concerned with spacing between the ideographs and +letters, etc.) useful in handling Japanese or Japanese with Romanized +languages, and have created a variant of {\tt TFM} which they call +{\tt JFM} (but which still has the {\tt TFM} extension, although it is +internally identifiable by a coded ID byte). The purpose of this is +to allow one font to hold the more than 6000 characters of a typical +Japanese font. It also differs in other ways, notably that the +ligature table (unnecessary in Japanese) has been replaced by a `glue +table', which handles much of the information necessary concerning +spacing between the characters (which usually appear without +distinction between inter-character and inter-word spaces, unlike in +modern Western languages). + +\subsubsection{Terms of Availability} + +At present, the ASCII Corporation is freely distributing this +implementation in the form of sources including change files for +INI\TeX, VIR\TeX, and BiB\TeX, and Japanized macro files for plain +\TeX, \LaTeX, and Sli\TeX\ (with the \LaTeX\ style files), and they +include the source for a (just adequate) printer driver for the Canon +LBP--8 that uses its internal Japanese character set, and {\tt JFM} +files for point sizes 5 through 10 of a standard (`Mincho' = Ming +Dynasty style) typeface and of an emboldened (`Gothic') typeface which +can probably be used with a number of different pixel font sets, e.g., +the internal Canon LBP--8 set, (but which in ver.~1.0 is based on the +Dai Nippon Printing Co.~[DNP] fonts). A printer driver and X-windows +previewer handling the DNP fonts is now available. + +\subsubsection{Contact} + +ASCII Corporation,\\ + Sumitomo Minamiaoyama Building,\\ 5--1--5 Minamiaoyama Minato-ku,\\ + Tokyo 107, Japan. + +\subsection{J\TeX} + +The following articles on J\TeX\ and its fonts, by Yasuki Saito, have +appeared: +\begin{description} +\item `Japanese \TeX', {\em TUGboat\/} {\bf 8} (1987), 103--116. +\item `\TeX: J\TeX', in {\em \TeX\ Users Group Eighth Annual Meeting:\/} +{\em Conference\/} {\em Proceedings\/}, edited by Dean Guenther (Providence: TUG, +1988), 57--68. +\end{description} +J\TeX\ was developed by Yasuki Saito of Nippon Telephone \& Telegraph +(NTT). Saito's policy has been to attempt to avoid radical changes to +standard \TeX\ as much as possible, but this increased compatibility +has led to problems: since a font can have only 256 characters, the +number of fonts one needs even to support a single real Japanese font +set (33) tends to be quite large, even if one only declares the fonts +corresponding to the various sections of the original font that +include characters that have actually been input into the document. + +A standard (but ugly) set of Japanese characters that is in the public +domain (known as the JIS fonts, for the Japanese Industrial Standards +Institute, which is responsible for the (abjectly arbitrary) standard +coding of Japanese characters and for making the font set available) +is included with J\TeX. This originally consisted of only 1 size, +namely characters described in a 24-dot square matrix, but Saito +mechanically generated 36-, 48-, and 72-dot fonts to imitate other +point sizes or \verb|\magsteps|. This set is not very high quality by +any standard, but it is the only public domain font known to me +[Cooke]. + +Yasuki Saito has also collaborated with Dai Nippon Printing Co.~to +make their industry standard fonts available---but for a price: 95,000 +Japanese yen.\footnote{ASCII and SONY are also negotiating with Dai +Nippon to allow similar font sets to become available for different +resolutions of printers, and, if we are lucky, a vector stroke +typeface of high quality that is applicable to various sizes and +resolutions may become available next year.} + +Saito's 1988 article, cited above, includes a section describing the +JIS and DNP Japanese fonts, with illustrations. +J\TeX\ has 240, 300, 400, and 480 dpi fonts available currently. +Please note that 6000+ characters makes for a largish distribution +tape---the rudimentary set of JIS fonts in an adapted {\tt GF} format +with {\tt TFM}s takes up about 10 M of disk space, while the {\tt +PXL}, {\tt GF}, and {\tt TFM} files for the DNP Mincho and Gothic +fonts very nearly fill an entire 2400 ft magtape at 6250 bpi! I had a +chance to measure these more carefully: +\begin{center} +\begin{tabular}{lrlr} +\hline +\multicolumn{2}{c}{DNP fonts} &\multicolumn{2}{c}{JIS +fonts}\\ +\hline {\tt GF} Mincho & 49,312,713 & {\tt PXL} & +11,321,384\\ +{\tt GF} Gothic & 43,401,652 & {\tt GF} & 7,729,124\\ +{\tt TFM}s & 559,152 & {\tt TFM}s & 137,417 \\ +{\bf Total bytes} & 93,273,517 & & 19,187,925 +\end{tabular} +\end{center} +In other words, non-trivial. + +\subsubsection{Terms of Availability} + +J\TeX\ is in the public domain, and comes free with the JIS fonts. In +Japan, the Japan Society for Software Science and Technology +distributes it. + +J\TeX\ is is available in the US by anonymous FTP from {\tt +turing.stanford.edu}. The Tops-20 version is installed on {\tt +Turing} in directory \verb|PS:<JTEX>|. + +The UNIX version is being distributed for the time being by Yasuki +Saito, with source files for pretty much what ASCII has, but with an +Imagen printer driver that handles external Japanese font data and an +X-windows previewer for J\TeX, as well as a version of DVI2PS +supporting Japanese, but no support for BiB\TeX\ or Sli\TeX\ is +offered. + +But in a note to \TeX hax 1987, issue 106 (Fri 25 Dec), Hideki Isozaki +announced that he has prepared \LaTeX\ and Sli\TeX\ files to work with +J\TeX. + +\subsubsection{Contacts} + +%\paragraph{Date of information} Fri 25 Dec 1987, given in \TeX hax +%1987, issue \#106. + +Yasuki Saito, \\ + NTT Electrical Communications Laboratories, \\ + NTT Corp., 3-9-11\\ + Midori-cho Musashina-shi,\\ + Tokyo 180, Japan.\\ + Phone: +81 (422) 59-2537\\ + Net: {\tt yaski\%ntt-20@sumex-aim.stanford.edu}\\[1.5ex] +Hideki Isozaki, \\ + NTT Software Laboratories,\\ + JUNet: {\tt isozaki@ntt-20.ntt.junet}\\ CSNet: {\tt isozaki@ntt-20.ntt.jp}\\ + Arpa: {\tt isozaki\%ntt-20@sumex-aim.stanford.edu} + +\subsection{Other Developments} + +There is a version of Japanese \TeX\ that is likely to become +available from Canon which resembles J\TeX, but it may take a {\sl +long} time for the management at Canon to make anything available to +the public domain, so it may not be available until some time next +year. + +Similarly, IBM Japan has a Japanese version based on the Canon +algorithm (which was also the stimulus for the Saito's J\TeX). + +The Bitstream Kanji fonts could almost certainly be integrated into +the above Japanese \TeX\ implementations (see {\bf Bitstream}). + +\subsection{Conclusion} + +There has been a meeting of the leaders and interested parties of +J-TUG about whether it is possible to merge these three versions, and +a number of suggestions and guidelines have been set forth. But +lacking a central authority figure along the lines of a Donald Knuth +has limited this from going beyond recommendations. + +All three parties are working on improving the inherent quality and +mutual compatibility of their versions, and I expect that they will be +working on this throughout the next year (all this being more or less +volunteer work). Except for the fact that just about none of the other +utilities ({\tt DVITYPE}, etc.) seem to work with the ASCII version +(except {\tt TFtpPL} and {\tt PLTOTF} to preen {\tt JFM}s), I suspect +that it is a leading contender, because \begin{itemize} +\item they are promoting it through prompt and widespread distribution +of the sources advertised in their own and others' publications, and +\item because they have obviously lavished a good deal of care in +attending to details of Japanese printing practice that make it at +least as good as either of the others---in addition, of course, to +removing the burden of having to deal with a plethora of fonts each +comprising a tiny fragment of a whole Japanese font set. +\end{itemize} + +\subsubsection{Contact for all Japanese \TeX} + +Edgar M.~Cooke is prepared to act as a clearing house for \TeX\ going +into and coming out of Japan. He can be contacted at:\\ + Software Research Association Inc.,\\ + 1--1--1 Hirakawa-cho,\\ + Chiyoda-ku,\\ + Tokyo 102, Japan.\\ + Net: {\tt cooke\%srava.sra.junet@uunet.uu.NET}\footnote{N.B. It is +possible to reply to any mail he will send you by `{\tt R}' or `{\tt +r}' from the Unix {\tt mail(1)} program, but then it will come via +CSnet, which (although days faster) is prohibited to non-member, +non-academic institutions such as his.} + +Edgar Cooke is in close touch with Pierre MacKay, and has sent Pierre +the two +versions of Japanese \TeX\ (ASCII Corp.~and J\TeX) mentioned above. + + +\section{Chinese} + +Work done on a Chinese \METAfont\ by Gu Guoan and John D.~Hobby is +available by anonymous FTP from {\tt june.cs.washington.edu}, in the +directory {\tt /pub}, as the (large) file {\tt CHINESE.TAR.Z}. This +was written up in {\em TUGboat\/} {\bf 5} (1984), pp.119--136. (This is a reprint +of the Stanford Computer Science Report 974 by Gu Guoan and +J.~D.~Hobby: {\em A Chinese Meta-font\/} (Stanford, 1983).) + + +\section{International Phonetic Alphabet} + +\subsection{Washington State University} + +Dean Guenther informs me (June 22, 1988) that Washington State +University has an IPA font available. It contains 128 popular IPA +characters and diacritics as specified in the {\em Phonetic Symbol Guide\/} by +Geoffrey K.~Pullum and William A.~Ladusaw (Chicago, London, 1986). +Janene Winter did the \MF\ work on this font. The character positions +were coordinated with help from Helmut Feldweg at the +Max-Planck-Institut f\"{u}r Psycholinguistik in the Netherlands, +Christina Thiele at Carleton University and some ideas from Brian +MacWhinney at Carnegie Mellon and Karen Mullen at the University of +Kentucky at Louisville. + +The font also comes with a set of macros to access the characters +easily. For +example, \verb|\schwa| prints what you would expect. + +\subsubsection{Terms of Availability} + +The Washington IPA is available for \$100. The package includes {\tt +GF}, {\tt PXL} or {\tt PK} fonts at 9, 10 and 12 point (together) in +the Roman face. The typeface is designed to match the CM Roman +face. The \MF\ source is not included. + +\subsubsection{Contact} + +Send a note to Dean Guenther at {\tt guenther@wsuvm1} on Bitnet, or +write to:\\ {\sl \TeX T1\/} Distribution,\\ + Computing Service Center,\\ + Washington State University,\\ + Pullman, WA 99164--1220, USA. + +\subsection{Other Developments} + +Georgia Tobin (q.\,v.) has an IPA font, created in old \MF79. + +A bitmap IPA font, {\tt ph10}, was created by Jean Pierre Paillet for +use with \TeX\ for typesetting the {\em Canadian Journal of Linguistics\/}. +This font is described, with a printout of the character grid, by +Christina Thiele in +\begin{description} +\item `\TeX, Linguistics, and Journal Production' in {\em \TeX\ Users Group\/} +{\em Eighth\/} {\em Annual Meeting: Conference Proceedings\/}, edited by Dean Guenther +(Providence: TUG, 1988), 5--26. +\end{description} +{\tt ph10} is now superseded by the Washington font. + +According to a note from G.~Toal in UK\TeX\ 1988, issue 2, Tibor +Tscheke's company, St\"{u}rtze AG, also has an IPA font for sale. +Toal does not state whether this font was created with \MF, but the +implication is that it is usable with \TeX. Contact:\\ + Tibor Tscheke, \\ + Head, Computer Science Department,\\ + Universit\"{a}tsdruckerei,\\ + H.~St\"{u}rtze AG,\\ + Beethovenstra$\beta$e 5, \\ + D--8700 Wurzburg, \\ + West Germany. + +Kris Holmes and Chuck Bigelow also report that they have a bitmap IPA +font. See {\bf Lucida}. + +%\paragraph{Date of information} June 7, 1988. + +\subsection{Ridgeway} + +A phonetic alphabet has been developed by Thomas Ridgeway for a large +subrange of American Indian languages. The first active projects +using this are in Salish and Navajo. This font is presently being +tested and will be available from the Humanities and Arts Computing +Center at the University of Washington in early fall 1988. + +\subsubsection{Contact} + +See under {\bf Tamil} above. + + +\section{Elvish} + +Elvish, or more properly, Tengwar, is the script used by the elves of +Middle Earth. It was described by J.~R.~R.~Tolkien. + +\subsection{Urban} + +%\paragraph{Date of information} February 3, 1988. + +On 4 Dec 1986 ({\em sic\/}) Mike Urban released the \MF\ code for the Tengwar +script through the Usenet newsgroup {\tt comp.text}. + +\subsubsection{The Font} + +Mike said the following: +\begin{quotation} +[Here are the] \MF\ sources for a digitized version of the Tengwar +(Elvish script) created by J.~R.~R.~Tolkien. They have only been +tested on a 300dpi laser printer. No guarantee of the quality of +either the code or the output is offered. I'm not particularly +satisfied with the quality of the code (my first non-trivial attempt +to use \MF), but the results look OK to me. +\end{quotation} + +\subsubsection{Contact} + +Michael Urban,\\ + TRW Inc., R2/2009 \\ + One Space Park,\\ + Redondo Beach, CA 90278, USA.\\ + Phone: (213) 812-0632\\ + Net: {\tt urban@spp2.UUCP} + + +\subsection{Other Developments} + +See also the Elvish bitmap fonts available from the {\bf Austin Code Works}. + + +\section{Georgia Tobin} + +Georgia Tobin is well known to readers of {\em TUGboat\/} as the editor of, +and chief contributor to, the `Font Forum' section of the journal. +She has been working with \MF\ since 1982, and between 1982 and 1987 +she created several complete families of fonts for use with \TeX. +(Georgia's husband Rick works with her on the fonts.) Because much of +her earlier work was done using \MF79, which is now superseded, only +the bitmaps of these early fonts are available but not the \MF\ source +code. +The bitmap fonts are mostly at 300dpi, and are optimized for +write-black imaging machines (i.e., Apple, Canon, HP, and certain +other laser printers). The fonts are available at a wide range of +sizes ranging from 5 to 72 points (some of less common fonts are +available in a narrower range of sizes, say from 5 to 36 point). One +particular subset of these fonts, marketed by Personal \TeX\ Inc.\ as +a package called MF Medley, consists of the Chel fonts at 5, 7, 10 and +12 point sizes, with Copperplate and Schoolbook at 36 and 48 point, +and Black Letter at 36 point. The MF Medley is available at 180, 240 +and 300dpi, with some fonts available at 118dpi too, and costs \$100. + +An important point to notice is that the Roman, Chel and Schoolbook +families described below include math symbol and extensible fonts, +like Knuth's CM, so that these fonts can be used for the full range of +mathematical and technical typesetting as defined in the {\tt PLAIN} +format and \LaTeX. + +Georgia's newer work on Schoolbook, Hebrew, ALA and Special Effects +typefaces, described below, is all done in \MF84, the current and +stabilized version of \MF, and is therefore much more flexible. Fonts +of these faces can be generated at any reasonable resolution, and for +any marking engine with a defined {\tt mode}. One hopes that Georgia +will find some way of making her \MF\ source code available to bona +fide users of her newer typefaces, without of course jeopardizing her +livelihood. + +\subsection{MF Chel Family} + +The Chel (`Computer Helvetica') family of sans-serif fonts was +initially +created by Thom Hickey in a Tandem TAL translation of \MF79 (later +recoded into +Apollo Pascal using the MAP preprocessor). He began work on the font +in the +winter of 1980, and continued to work on the font until +1982.\footnote{Reference to Hickey's work on Chel, with an +illustration of the MF code for the letters `B' and `b', is made in +Knuth's `Lessons Learned from Metafont' (1985), 37--38.} Chel was +later completed and extensively reworked by Georgia Tobin. In its +finished form, Chel has been described as `lighter and more compact' +than the Computer Modern sans-serif ({\tt CMSS}) which was designed by +Richard Southall and is included in all CM distributions. Chel +comprises fifteen fonts including Chel Book, Slant, Medium Bold, +Slanted Medium Bold, Bold, Slanted Bold, Extra Bold, Slanted Extra +Bold, Math Symbols, Bold Math Symbols, Math Italic, Bold Math Italic, +Math Extensible, Elite, Bold Elite, Pica and Bold Pica. + +\subsection{MF Roman Family} + +This family comprises more than nineteen Times Roman style seriffed +fonts, including Roman Text, Slanted Text, Italic, Unslanted Italic, +Medium Bold, Medium Bold Italic, Bold, Bold Italic, Extra Bold, Extra +Bold Italic, Titling (Small Caps), Slanted Titling, Math Symbol, Bold +Math Symbols, Math Italic, Bold Math Italic, Math Extensible, Elite +and Pica. The last two fonts are 12~cpi and 10~cpi typewriter style +fonts respectively, and include slanted and emboldened versions. + +\subsection{MF Slavic Family} + +The Slavic Family of fonts includes all the fonts necessary for +sophisticated typesetting in Russian. The family includes +Chel-compatible and Roman-compatible versions of Cyrillic in Book, +Slant, Bold and Bold Slant versions, and also an Italic version of the +Roman-compatible face. There are further `additional' fonts +corresponding to each of these categories which contain extra accents +and characters used in typesetting other Slavic languages. + +\subsection{MF Decorative Family} + +Also offered is a decorative package of fonts which includes six +typefaces, including Black Letter, a Copperplate Script, Hodge Podge +(including assorted dingbats, pharmacy and planetary symbols, a turtle +and a frog), an Outline Helvetica (upper case), and a Slanted Outline +Helvetica (also upper case), and an Uncial Majuscule which emulates a +medieval manuscript script. + +\subsection{Century Schoolbook} + +Georgia is close to finalizing a first release version of a Century +Schoolbook typeface. This is the first fruits of her work with the +new \MF84. Her goal has been to create a complete Century Schoolbook +style typeface that is clean and legible from very low resolutions +(about 72dpi is the lowest so far) to very high, and in point sizes +from 5 to 96 or so. + +\subsection{MF ALA} + +Another project has been the creation of \MF\ fonts which include the +special character set defined as a standard by the American Library +Association (ALA) and used by the Library of Congress and other bodies +influential in the library automation world, such as OCLC. This set +of characters and accents was designed to make possible the +representation, if necessary in a standard Roman transliteration, of +virtually all the world's languages. The characters include items +like upper and lower case thorn, Polish dark {\em el\/} (with a cross bar), +eth, and several other unusual signs and accents. There is even a +{\em candrabindu\/} for Sanskritists! Georgia did this work for the Library +of Congress. The font is available in Text, Bold, Italic, and Bold +Italic. +The ALA fonts contain 256 character positions, and therefore require a +robust DVI driver program such as the members of Nelson Beebe's DVI +driver family or the latest release of the Arbortext drivers. + +\subsection{Hebrew} + +Georgia is developing a Hebrew typeface, which is still at an +experimental stage. At the present time it consists of 27 characters, +with more calligraphic molding of the strokes than is shown in +Goldberg's font. However, Georgia has not developed any macros or +preprocessors for inputting Hebrew text in quantities, as Goldberg +has. It would be advantageous if Georgia and Goldberg were to +standardize on a common font layout, so that any macro\slash input +system would be able to access either of their fonts. + +\subsection{Special Effects} + +Georgia published `The ABC's of Special Effects' in {\em TUGboat\/} {\bf 9} (1988), +15--18, in which are demonstrated several fascinating typographical +effects that are relatively simple to produce with clever use of +\MF84\ macros. The article includes the \MF\ code illustrating how +the effects were produced. + +\subsubsection{Terms of Availability} + +The Chel, Roman, Slavic, Decorative and Century Schoolbook font +families are available on a commercial basis from the following +sources:\\ +ASCII Corporation,\\ +Sumitomo Minami Aoyama Bldg.,\\ + 5--11--5 Minami Aoyama,\\ + Minato-ku,\\ + Tokyo 107, Japan.\\[1.5ex] +Docusoft Publishing Technologies, \\ + Suite 300,\\ + 1120 Hamilton Street,\\ + Vancouver, B.~C.~VV6B 2S2, \\ + Canada.\\[1.5ex] +Interbase,\\ + Dantes Plads 1,\\ + DK--1556 Copenhagen V,\\ + Denmark.\\[1.5ex] +Personal \TeX, Inc.,\\ + 12 Madrona Avenue,\\ + Mill Valley, CA 94941,\\ + USA.\\[1.5ex] +\TeX pert Systems Ltd.,\\ + 5 Northernhay Square,\\ + Exeter EX4 3ES,\\ + Devon, UK. + +Georgia has some fine catalogues illustrating the Roman, Chel and +Decorative families: send a cheque for \$6 (\$15 outside USA or +Canada) to:\\ + Georgia Tobin,\\ + 1888 Barnard Drive,\\ + Powell,\\ + Ohio 43065.\\ + Phone: (614) 764--9863. + + +\section{Blackboard Bold} + +\subsection{Robert Messer} + +Robert Messer published an article `Blackboard Bold' in {\em TUGboat\/} {\bf 9} +(1988), 19--20, in which he generalized a method used by Knuth in {\em The\/} +{\em \TeX book\/} to produce such characters. This is a series of Plain \TeX\ +macros which jiggle the characters of CM around, using small kerns and +the capital I and small rules, to produce a `poor person's blackboard +bold'. + +\subsection{Other Developments} + +See also {\bf Custom fonts \& Pandora}, and the {\bf AMSfonts Package} package. + + +\section{APL} + +The APL programming language requires many unusual symbol characters, +which often baffle normal typesetting and word processing systems. + +\subsection{Hohti and Kanerva} + +Aarno Hohti and Okko Kanerva of the University of Helsinki have +developed an APL font for use with \TeX. They have `raided' the CM +character set to this end, so the characters should be similar in +weight and style with CM. + +The font is described in the article `Generating an APL Font' in +{\em TUGboat\/} {\bf 8} (1987), 275--278. + +\subsubsection{Terms of Availability} + +The authors can be contacted at:\\ + University of Helsinki,\\ + Department of Mathematics,\\ + Hallituskatu 15,\\ + SF--00100 Helsinki,\\ + Finland. +I assume that the fonts are being freely distributed, since the \MF\ +code for them is available for anonymous FTP as file {\tt CMAPL10} +from {\tt score.stanford.edu}, in directory \verb|<TEX.TUGBOAT>|. + + +\section{AMSfonts Package} + +The American Mathematical Society (AMS) has developed several fonts of +symbols and alphabets intended for use in mathematical notation. + +\subsection{The Fonts} + +Three alphabets, collectively known as Euler, were designed by Hermann +Zapf and implemented in \MF\ at Stanford as part of the \TeX\ project. +They come in both medium and bold weights, and include Fraktur, script +and an upright cursive alphabet, which was intended to minimize +problems with the placement of accents and indices. The Euler fonts +are considered proprietary, and sources +are available only under lease. + +Two fonts of symbols, including a Blackboard Bold alphabet, are also +available. Details of these fonts, including character grids, were +published in {\em TUGboat\/} {\bf 6}(3), 124 ff. These fonts are still rendered in +\MF79, which is totally incompatible with the current \MF, so +distribution of the sources is pointless; arrangements are being made +for their re-implementation in new \MF, but the schedule is uncertain. + +\subsection{Terms of Availability} + +Together with Cyrillic (see under {\bf Cyrillic}) fonts, this collection is +called AMSFonts. A set of {\tt TFM} and 300{\tt GF} files ({\tt +magstep0} only) is available: +\begin{itemize} +\item by anonymous FTP from the directory \verb|<TEX.AMSfonts>| at +{\tt score.stanford.edu}; +\item as part of the standard distribution from Maria Code; +\item as part of other major \TeX\ distributions. +\end{itemize} +The AMSFonts are available from the AMS in a full range of +magnifications and in additional resolutions on IBM PC-compatible and +Macintosh diskettes and on mag tape in VAX/VMS format. For +information, contact:\\ +AMS \TeX\ Library,\\ + American Mathematical Society,\\ + P.~O.~Box 6248,\\ + Providence, RI 02940, USA.\\ + Phone: (401) 272-9500 or (800) 556-7774\\ + Internet: {\tt sse@math.AMS.com}\\[1.5ex] +Contact for technical inquiries:\\ + Barbara Beeton,\\ + (same address)\\ + Phone: (401) 272-9500\\ + Internet: {\tt bnb@seed.AMS.com} or\\ + {\tt bnb@xx.lcs.MIT.edu} + + +\section{Custom Fonts \& Pandora} + +\subsection{Custom Fonts} + +If you are desperate for a \TeX\ font that does not yet exist, why not +commission a \MF\ programmer to create it? + +Neenie N.~Billawala advertises her services as a \MF\ consultant in +{\em TUGboat\/}. She is responsible for creating the fine calligraphic +capitals that are part of the Computer Modern typeface family (in the +{\tt CMSY} fonts). + +\subsection{Pandora} + +Neenie, a designer, has also created a new typeface called Pandora, +which is part of a larger research project concerning the possibility +of breaking the elements of typeface design down into general reusable +components such as serifs (and terminal endings), bowls, circular +shapes, arms and so on. Pandora is the result of setting the +parameters for these components to one particular set of values, but +many others could be chosen. In this sense, Pandora explores further +the `parametrization' which is at the heart of Knuth's endeavor with +\MF. Neenie has nearly finished writing a Stanford Computer Science +Report about this, called {\em Meta-Marks: Preliminary Studies for a\/} +{\em Pandora's Box of shapes\/} (to appear). Knuth describes this study as +`lavishly illustrated studies in parameter variation, leading to the +design of a new typeface called Pandora'.\footnote{{\em Computer Modern\/} +{\em Typefaces\/} (Reading etc., 1986), xiii.} + +The Pandora typeface is intended to be a `bread and butter' text face +and has been generated in seriffed, sans-serif and fixed width +versions. The character set of Pandora coincides with {\tt CMR} and +{\tt CMTT}, etc., and thus it does not include the math symbol +characters and extensibles. + +\subsubsection{Terms of Availability} + +Neenie hopes, in the longer run, to donate Pandora to the \TeX\ +community, perhaps submitting it for inclusion in the standard +distributions. + +\subsection{Blackboard Bold \& Outline} +Neenie is also working on a Blackboard Bold, to be compatible with +Times Roman, for the AMS, and an outline font. + +\subsubsection{Contact} + +Neenie Billawala,\\ + 841 Stendhal Lane,\\ + Cupertino, CA 95104, USA.\\ + Phone: (408) 253-4833\\ + Uucp: {\tt (ihnp4, seismo, decwrl, \\ + ucbvax, \ldots\ )!sun!metamarks!nb} + + +\section{Bitstream Font Family} + +%\paragraph{Date of information} March 10, 1988 + +\subsection{The Fonts} + +In my view, one of the most exciting developments in the area of Roman +alphabet typeface availability for \TeX\ has been the recent +announcement by Personal \TeX\ Inc., of the PTI Font Interface Package +(FIP). This is an MS DOS program that converts the outline typefaces +of the Bitstream typeface library into {\tt PXL} (and then {\tt PK}) +fonts, with associated {\tt TFM} files, for use with \TeX\ in a manner +analogous to the use of the use of the Computer Modern fonts. + +Since the Bitstream typeface outline files for any given font contain +more than the 128 characters usual in a \TeX\ font, the extra +Bitstream characters can be +generated in a second, complement font. The Bitstream fonts generated +by the FIP contain the same characters as {\tt CMR10}. However, +equivalents of the math italic, math symbol and extensible fonts of +the CM family are not provided, so the Bitstream fonts are for use in +typesetting predominantly textual matter. (One could, of course, mix +the fonts, using Bitstream for the text and CM for the mathematics.) + +The method of producing the font bitmaps is exactly the same, in +principle, as using \MF, except that one has no access to the +underlying character descriptions. The FIP reads the typeface outline +data and generates bitmap fonts at any desired point size between 6 +and 72 points and above, and at any resolution, from below 100dpi for +IBM PC screens, to over 1000dpi for typesetters. + +The Bitstream typeface library advertised by Personal \TeX\ at present +includes the following typefaces, each consisting of a regular, an +italic, a bold and a bold italic face: +Baskerville, +Bitstream Charter, +Bitstream Cooper Light, +Century Schoolbook, +Courier, +Dutch (i.e., Times Roman), +Futura Book, +Futura Light, +Futura Medium, +Goudy Old Style, +ITC Avant Garde Gothic, +ITC Bookman Light, +ITC Galliard, +ITC Garamond Condensed, +ITC Garamond, +ITC Korinna, +ITC Souvenir Light, +Letter Gothic, +News Gothic, +Prestige, +Serifa, +Swiss (i.e., Helvetica), +Swiss Condensed, +Swiss Light, +Zapf Calligraphic (i.e., Palatino), +Zapf Humanist (i.e., Optima), +and a selection of Headline faces including +Bitstream Cloister Black, +Broadway, +Cooper Black, and +University Roman. + +New Fontware outline typefaces are regularly released by Bitstream: +their catalogue currently has 40 faces. + +Users of operating systems other than MS DOS can presumably use the +Bitstream {\tt PXL} or {\tt PK} fonts (with {\tt TFM}s) once generated +on a PC/AT, just by uploading them with, say, Kermit. Some discussion +of this possibility has just appeared in \TeX hax (30 June 1988, issue +60). Peter Flynn reports having done exactly the above (fonts +generated on a PC and Kermitted up to a VAX) with technical success +but aesthetic failure: apparently the Bitstream fonts don't look nice +on a LN03. Because he says that his Bitstream fonts only contain the +ASCII characters 33--126, it seems to me that he cannot be using the +FIP to generate his {\tt PK} and {\tt TFM} files, but some other +utility ({\tt HP2TEX}?). In the same \TeX hax issue, Joachim Schrod +has a technical note about the format of Bitstream {\tt PK} and {\tt +PXL} fonts as revealed by {\tt PKtype}: apparently they are faulty, +and may not be correctly printed by all {\tt DVI} driver programs. + +\subsection{Quality} + +The creation of the font bitmaps is done by the FIP using whatBitstream calls `smart outlines'. Typographic rules are stored with +the typeface outlines and are applied at the time of bitmap +generation, using artificial intelligence algorithms (originally +implemented on Symbolics 3600 Lisp workstations) to tailor significant +features of the font to its point size, and the resolution and marking +characteristics of the printing device. Some typographically +significant features that are so treated are the stem weight, +x-height, cap height, side bearings, and baseline alignment. So a 6 +point Bitstream font is not a mere linear reduction of some larger +design size, just as {\tt CMR6} is not simply a small {\tt CMR10}. +This is very significant for the high quality of the fonts at small or +large sizes, and goes some of the way towards meeting the argument +made by Knuth in {\em The \TeX book\/} (p.16), against scaling fonts much +beyond their design size. + +Optional software switches set when running the FIP permit the +adjustment of accents and letter spacing. The newest release of the +Fontware software also includes the choice of producing bitmaps +appropriate to write-white as well as write-black marking engines. In +the former case, the software will add a half-pixel layer all the way +around a character to compensate for the erosion that occurs on white +writers. + +A recent discussion of fonts in {\em PC Magazine\/} (March 15, 1988, issue +{\bf 7}(5), p.\,238) noted that: +\begin{quotation} +Bitstream fonts are the same ones you get in already-generated form +from H[ewlett] P[ackard], are widely (though not exclusively) used in +the printing industry, and are used in our Tegra galley-generating +machine. +\end{quotation} + +A useful article comparing Bitstream fonts with Adobe PostScript fonts +was published in the magazine {\em Publish!\/} (March 1988, issue {\bf 3}(3), pp.46 +ff.). It included valuable illustrations of both manufacturers' fonts +at several different resolutions. + +I myself have only experimented with the Dutch and Swiss fonts at +10pt, and then only on a $640\times400$ pixel screen, and at 240dpi on +a 9-pin matrix printer. On both these devices the Bitstream fonts +appear {\sl much} superior to the nearest CM equivalents, ({\tt CMR10} +and {\tt CMSS10}). The characters are somewhat broader, with +relatively rounder bowls and shorter ascenders, and give a more even, +regular appearance across the page. They make the CM fonts look very +uneven by comparison (and I am a great fan of CM). I suspect that the +CM fonts would compare more favorably at higher resolutions, since +they were not designed for such poor output devices. + +The Bitstream Font Interface Package offers \TeX\ users (without +access to +PostScript printers) access for the first time to a proper typeface +catalogue, and a highly professional one at that. + +\subsection{Other Developments} + +Although Bitstream has released 40 Fontware outline typefaces, it +actually has a library of over 1000 digital typefaces waiting in the +wings. This collection includes traditional designs, original +designs, pi-fonts, and non-Latin fonts such as Arabic, Cyrillic, +Greek, Gujarati, Hebrew, Laotian, and Tai Dan. However, all these +exist in plain digital outline format only, which means that the +outlines have not had the AI scaling optimization rules added to them, +and are thus not `smart outlines' such as can be used with the +Fontware Installation packages. They are are thus not at present +marketed widely. + +Intelligent font scaling for Kanji fonts (Nippon Information Science +Ltd.~Iwata Gothic, with other faces to follow) was announced in March +1988, and is offered to OEMs. + +\subsection{Terms of Availability} + +The Fontware Installation Kit costs \$195, and normally comes with the +Swiss font family (one can make a special request to have the Dutch +family instead). + +\subsection{Contacts} +Personal \TeX\ Inc.,\\ + 12 Madrona Avenue, \\ + Mill Valley, CA 94941.\\ + Phone: 415 388-8853. \\ + Telex: 51060 10672 PCTEX.\\ + Fax: 415 388-8865. \\[1.5ex] +Bitstream,\\ + Athenaeum House,\\ + 215 First Street,\\ + Cambridge, MA 02142.\\ + Phone: 617 497-622.2\\ + Telex: 467237.\\ + Fax: 617 868-4632. + + +\section{Times Roman in \protect\MF} % use a big logo font if +% you've got one. +%\paragraph{Date of information} March 10, 1988, from \TeX hax 1988, +%issue 22. + +\subsection{Kemmish} + +\subsubsection{The Font} +The creator of the font, Ian Kemmish, writes: +\begin{quotation} +I have a Times font in \MF\ which I have been tinkering with over the +past six or seven months. It is modelled on Monotype Times New Roman +(visually---no calipers in sight!) The standard of rasterization is +about comparable to a LaserWriter, but the typography is of necessity +a lot more amateurish. The regular font is largely OK, the italic is +a few weeks behind and probably needs some tweaking. There is a +rather lumpy semibold which needs parameter tweaking. I suspect a +genuine bold needs a new set of minuscule routines. I also have a +typewriter font generated from it, and am working on a Nebiolo +Eurostyle sans-serif font. (I needed something easy after the Times! +I want to do Helvetica sometime soon.) +\end{quotation} + +\subsubsection{Terms of Availability} + +Ian Kemmish writes: +\begin{quotation} +I'd be happy to distribute what I have, though I suspect my employers +would want to charge something for it. Ideally, I'd like to send out +some {\tt GF} files first to people who are interested in test-driving +them and can make constructive comments about how to improve them. +The \MF\ code is still in a state of flux. I'd hate to distribute it +and have a lot of unco-ordinated changes being made to it all! +\end{quotation} + +\subsubsection{Contact} + +Ian Kemmish can be contacted at: \\ + Whitechapel Workstations, \\ + 75 Whitechapel Road, \\ + London E1 1DU, England.\\ + Phone: (+44) 01 377 8680 \\ + Telex: (UK) 885300 WCW G \\ + Fax: (+44) 01 247 4589 \\ + Uucp: {\tt ian@wcw.co.uk}\\ + OldUucp: {\tt \ldots !mcvax!ukc!wcwvax!ian} + +\subsection{Other Developments} + +See also the MF Roman Family by {\bf Georgia Tobin}, and the Dutch typeface +by {\bf Bitstream}. + + +\section{Lucida} + +Lucida is the name of one of the typefaces designed by Kris Holmes and +Chuck Bigelow. Its main design aim is that it be legible and +beautiful at low as well as high resolutions, and it is probably the +first original typeface family produced for digital printers and +displays.\footnote{Another font with some similar design goals is +Matthew Carter's Bitstream Charter.} By low resolution, Holmes and +Bigelow mean laser printers and computer screens. The font has been +discussed in the following publications: +\begin{description} +\item Jonathan A.~Epstein, `Best Font Forward', {\em Digital Review\/} (July +1986), 82--87. +\item C.~Bigelow and K.~Holmes, `The Design of Lucida: an Integrated +Family of Types for Electronic Literacy', in {\em Text Processing and\/} +{\em Document Manipulation\/} edited by J.~C.~van Vliet (Cambridge, 1986), +1--17. +\item `Alumna Designs First LaserWriter Typeface', {\em Harvard Extension\/} +{\em Newsletter\/} {\bf 8}(2) (Spring 1988). +\end{description} +The second of these articles is itself printed in the Lucida typeface. +It goes into detail about the design concepts of Lucida, with +illustrations. + +\subsection{The Fonts} + +The Lucida family includes the following eight fonts: Roman, Italic, +Bold, and Bold Italic, in both seriffed and sans-serif styles. Lucida +has been called a `super family' because of the wide range of +characters and fonts it provides, including compatibility with the +full CM character set. Unusual features of Lucida fonts include the +fact that the italic sans-serif is a true cursive style, rather than a +slanted Roman, and that there are alternate sets of capitals, one +heavier in weight, for English and French typographers, and one +lighter, for Germanic texts which use extensive capitalization, and +therefore need de-emphasized capitals. + +The screen `versions' of Lucida are at such low resolution +(75--100dpi) that they cannot be regarded as straight reproductions of +their higher resolution counterparts. They are therefore called +Pellucida, to suggest that the designs are related to Lucida, but +optimized for `pel' based screen displays. + +\subsubsection{Adobe} + +Chuck Bigelow informed me in April 1988 that Adobe Systems is dealing +with the release of several Lucida typefaces for use with \TeX. Dan +Mills, Manager of Typography at Adobe informed me later in the same +month that: +\begin{quotation} +Knowing people would want these fonts for use with \TeX\ (because of +the Math versions, \ldots), we purposely extended our normal character +set for these fonts (by about 16 characters) to cover the `\TeX\ text' +set (Figure 1 in Appendix F of {\em The \TeX book\/}). What I mean is, thesefonts have a union of our standard character set and the \TeX\ text +set. +\end{quotation} + +The following faces have already been released by Adobe as +downloadable PostScript fonts on both Mac and PC disks: +Lucida Roman (seriffed), +Lucida Italic, +Lucida Bold, +Lucida Bold Italic, +Lucida Sans Roman (sans-serif), +Lucida Sans Italic, +Lucida Sans Bold, and +Lucida Sans Bold Italic. + +The following will be released soon: +Lucida \TeX\ Math Italic, +Lucida \TeX\ Math Symbol, +Lucida \TeX\ Math Extension, and +Lucida Sans Typewriter. +Dan notes that the Math fonts have the same character sets as shown in +appendix F of {\em The \TeX book\/}. The Lucida Sans Typewriter has another +union of Adobe's standard set, this time with the \TeX\ text +typewriter set, shown in figure 3 in the same appendix. + +Bigelow suggested that for dates of release and information on {\tt +TFM} files, etc., one should contact Adobe. Once again, Dan Mills was +most helpful. He said: +\begin{quotation} +As for {\tt TFM}'s, we've been getting a lot of help from Barry Smith +of Kellerman \& Smith \ldots\ to produce these. We aren't finished. +If you are a \TeX tures user, they will certainly be willing to help +you out. If not, we plan to make these metrics available to the +general \TeX\ community `somehow' in the near future. Exactly how they +will be distributed remains to be decided. +\end{quotation} + +\subsubsection{Imagen} + +Chuck Bigelow also noted that the Imagen Corporation currently offers +various Lucida typefaces, and an upgrade to the full \TeX\ character +set will be released in July 1988. These will include the +Lucida seriffed family, the +Lucida Sans family, and the +Lucida Sans Typewriter family. Imagen will produce the \TeX\ Math +fonts if there is demand from their users. Imagen Lucida will be +available in outline format for their UltraScript (PostScript clone) +and DDL language printers, and for their imPRESS printers. The Imagen +fonts should be metrically compatible with the Adobe fonts. They are +made from exactly the same outline data. + +\subsubsection{Compugraphic} + +Chuck informs me (Fri Jun 17) that Compugraphic Corporation has +licensed the Lucida seriffed family (roman, italic, bold, bold italic) +and the three basic \TeX\ math fonts (math italic, math symbol, math +extension) for their 8600 and 9600 typesetters, and perhaps the 8400 +as well. Contact Cynthia Marsh or Norbert Florendo at CG for estimate +of availability, price, etc. Compugraphic Corporation, Type Division, +Wilmington, MA. + +(This appears to raise the possibility of Lucida being available for +the Compugraphic typesetters before CM, although Compugraphic are in +principle committed to providing CM too (for a price). + +\subsubsection{Other Developments} + +A maker of inexpensive personal computers and printers will announce +Lucida availability very shortly. The fonts will be metrically +compatible with Adobe and Imagen. + +Chuck and Kris are also working on outline versions of several of the +additional fonts shown in Knuth's Volume E of {\em Computers and\/} +{\em Typesetting\/}, and fonts analogous to the Euler family, including +Bold Greek, +Bold Script, +Bold Symbol font, +Small Capitals, as well as a +Chancery, +lower-case Script, +Fraktur, +Hebrew, and others. +Light and Demibold versions of both seriffed and sans-serif families +are also in progress, as well as the `Bright' versions used in +Scientific American. However, these must await a distributor like +Adobe or Imagen to reach the market. + +Chuck also reports that in their studio, Bigelow \& Holmes, he and +Kris have produced bitmap fonts in the \TeX\ character set (as well as +PostScript character set) in {\tt PXL} format for the Lucida seriffed +and Lucida Sans families in the following point sizes, at 300dpi: 6, +8, 10, 12, 14, 18, 24, and the same sizes, excepting 6 point, for 75 +dpi and 100 dpi screens. Currently there is no distributor for these. +These are hand-tuned bitmaps that are slightly different for each +size, and therefore have their own (simple) {\tt TFM} files that are +not fully compatible with those for the Adobe PostScript outlines. +However, they feel that the quality of the hand-tuned fonts is usually +higher than that of the algorithmically produced bitmaps from +outlines. They haven't finished bitmap versions of the math fonts or +the typewriter fonts yet, but they do have an International PhoneticAlphabet and some other oddities in bitmap. + +\subsection{Contacts} + +Chuck Bigelow can be reached at the Department of Computer Science at +Stanford:\\ + Phone: (415) 723 3827\\ + Arpa: {\tt cab@sail.stanford.edu}, \\ + or at his San Francisco studio, Bigelow \& Holmes:\\ + Phone: (415) 326-8973.\\[1.5ex] +Dan Mills can be reached at:\\ + Adobe Systems Inc.,\\ + 1585 Charleston Road, P.~O.~Box 7900,\\ + Mountain View, CA 94039-7900, USA.\\ + Phone: (415) 962-2100\\ + Net: {\tt adobe!mills@decwrl}), (and possibly\\ + {\tt mills@ucbvax.berkeley.edu}) + + +\section{Icelandic} + +%\paragraph{Date of information} March 10, 1988, from \TeX hax 1988, +%issue 22. + +\subsection{Pind} + +\subsubsection{The Font} + +On March 10, 1988, Jorgen Pind reported in \TeX hax 1988, issue 22, +that he is running an unmodified \TeX\ with new fonts and formats +(including hyphenation) which cater for Icelandic. + +\subsubsection{Contact} + +Jorgen Pind, \\ + Institute of Lexicography, \\ + University of Iceland,\\ + Reykjavik 101, Iceland.\\ + Internet: {\tt jorgen@lexis.hi.is}\\ + Uucp: {\tt \ldots mcvax!hafro!rhi!lexis!jorgen} + + +\section{OCR--A} + +%\paragraph{Date of information} Information given in \TeX hax 1987, +%issue \#106. + +\subsection{Lillqvist} + +In \TeX hax 1987, issue 106, information was given about an OCR--A +font coded in \MF84 by Tor Lillqvist, VTT/ATK (Technical Research +Centre of Finland, Computing Services). + +\subsubsection{The Font} + +Lillqvist's OCR--A is based on ISO Recommendation R1073, 1st ed., May +1969 (which he thinks is probably obsolete by now). + +\subsubsection{Terms of Availability} + +The font is distributed free of charge. On 1 June 1987, Brandon +S.~Allbery ({\tt allbery@ncoast.UUCP}) and Michael Lichter posted the +\MF\ sources for the OCR--A on Usenet, in {\tt comp.sources.misc}. + +\subsubsection{Contact} + +Tor Lillqvist,\\ + VTT/ATK,\\ + Lehtisaarentie 2,\\ + SF--00340 Helsinki, Finland.\\ + Net: {\tt tml@fingate.bitnet}, or\\ + {\tt tml@santra.UUCP}, or \\ + {\tt mcvax!santra!tml}. + + +\section{Miscellaneous} + +\subsection{Austin Code Works} + +The Austin Code Works has a large collection of bitmap fonts that work +with \TeX, and which were originally created at SAIL (Stanford +Artificial Intelligence Lab) in the late 60s or early 70s (I think). +Because these fonts are not coded in up-to-date \MF, what you get is +what you get, i.e., you cannot change the size or resolution of the +fonts. I believe they are all (or most) 200dpi fonts. Bear in mind +that although you might get, say, a Hebrew font, there are no +accompanying macros to implement it at the keyboard level. + +\subsubsection{The Fonts} + +The `KST Fonts by Les Earnest' are described thus in the ACW handout: +\begin{quotation} +Originally developed for the Xerox XGP printer, the 137 KST fonts +include Hebrew, Greek, Old English, Old German, Cyrillic, hand[sign +alphabet], and Tengwar alphabets in addition to the Roman alphabet in +a large number of eclectic styles. Specify \TeX\ or bitmap format. +Both come with an extraction and display program. +\end{quotation} +The fonts include such essentials as single character fonts for the +Stanford and MIT logos (separate fonts for each, naturally), two viewsof Snoopy, two views of Starship Enterprise, three fonts of chess +pieces, several sans-serif fonts, and what looks as if it might be a +very tiny Arabic font. + +\subsubsection{Terms of Availability} + +The collection of fonts costs \$30. + +\subsubsection{Contact} + +The Austin Code Works,\\ + 11100 Leafwood Lane,\\ + Austin, Texas 78750-3409, USA.\\ + Phone: (512) 258-0785\\ + BBS: (512) 258-8831\\ + FidoNet: 1:382/12\\ + Net: {\tt acw!info@uunet.uu.net} + +\subsection{{\tt SPRITE.STY}} + +If you use \LaTeX, and you only need one or two extra characters, an +ingenious and very easy way to generate them has been devised by +Martin Costabel. It is a \LaTeX\ style called {\tt SPRITE}, and the +code and documentation were published on 14 November 1987 in issue 1.8 +of \TeX Mag, an online \TeX\ magazine put out by Don Hosek ({\tt +dhosek@hmcvax.Bitnet}). Here is an extract from Martin's +documentation: +\begin{quotation} +{\tt SPRITE.STY} is a \LaTeX\ macro that allows you to define in a +quick and dirty way your own symbols. You just have to define the +character as a dot pattern on your screen and enclose it by +\verb|\sprite| and \verb|\endsprite| commands. Of course, I know, +\TeX\ is awfully professional and this primitive technique will not +provide results as good as a \MF--designed character or even one drawn +using device-dependent \verb|\special| commands, but if you just need +one special character or some cute little symbol and you don't have +the time\slash brains\slash Macintosh\slash superuser-privilege\slash +money-for-AMS-fonts\slash or whatever-is-necessary for a professional +solution, this might produce acceptable results. +\end{quotation} + +Using {\tt SPRITE.STY} one `draws' the character to be defined as a +pattern of characters on a grid. Figure \ref{fig1} shows how {\em schwa\/} is +done. +\begin{figure}[htb] +\begin{center} +\mbox{}\hrulefill\mbox{} +\begin{verbatim} +\def\schwa{\FormOfSchwa\kern 1 pt} + % Only necessary if \kern... is wanted +\sprite{\FormOfSchwa}(16,24)[0.4 em, 1 ex] + % Resolution ca. 200x340 dpi. +:.......BBBBBBBBBB....... | +:....BBBB........BBBB.... | +:..BBB.............BBBB.. | +:.BB.................BBB. | +:.B...................BBB | +:.....................BBB | +:.....................BBB | +:.....................BBB | +:BBBBBBBBBBBBBBBBBBBBBBBB | +:BBB..................BBB | +:BBB..................BBB | +:BBB.................BBB. | +:.BBB...............BBB.. | +:..BBBB...........BBBB... | +:....BBBBB.....BBBBB..... | +:.......BBBBBBBB......... | +\endsprite +\end{verbatim} +\caption{\label{fig1}{\tt SPRITE.STY} commands for {\em schwa\/}.} +\mbox{}\hrulefill\mbox{} +\end{center} +\end{figure} +To use this character in your \LaTeX\ document, all you have to do is +use the command \verb|\schwa|. This method uses a lot of \TeX's +memory, and is only suitable for characters which are used rarely, say +a few times on a page. + +\subsubsection{Contact} + +Martin Costabel.\\ + Net: {\tt xbr1da29@ddathd21.bitnet} + +\subsection{HP2TEX (HP Font Conversion)} + +%\paragraph{Date of information} March 11, 1988. + +\subsubsection{The Program} + +In February 1988, the uuencoded {\tt ARC} file {\tt HP2TEX} appeared +on Usenet, in {\tt comp.text}. It included the Turbo Pascal 3.0 +source code and a compiled DOS version of {\tt HP2TEX}, a program to +read a Hewlett Packard soft font and generate two files useful to +\TeX\ users, a {\tt PL} and a {\tt PXL} file. + +Since the HP soft fonts are bitmap fonts generated from the Bitstream +outline typefaces (see the {\bf Bitstream} section), this is another way to +produce the latter family of fonts. However, the {\tt TFM} file +produced by {\tt HP2TEX} does not contain the information required tomake ligatures, etc.\ (see below), so in practice, if real quality is +sought, it would be better to buy the FIP from Personal \TeX\ Inc. + +\subsubsection{Usage} + +The {\tt HP2TEX} program prompts the user for the names of the font +files for input and output, and also for the original design size of +the HP font, and its magnification (so that a 12pt HP font can make a +12pt {\tt PXL} font, or a 10pt {\tt PXL} font magnified +\verb|\magstep1|). Names can be supplied on the command line, and +will be given appropriate extensions if necessary. The output is a +{\tt PXL} font with its associated property list ({\tt PL}) file. The +{\tt PL} file can be converted to a {\tt TFM} file (with or without +editing: see below) by the \TeX ware program {\tt PLtoTF} (compiled +DOS version available on the PC\TeX\ Bulletin board: (415) 388-1708). +The {\tt PXL} file can be left as it is, or converted to a smaller +{\tt PK} file by {\tt PXtoPK} (also on the same BBS). + +The {\tt PL} file generated by this program contains several +parameters that determine the appearance of the \TeX\ output. These +parameters control the inter-word glue, the space after a period, the +size of a quad and em space, and the parameters determining accent +placement. The `correct' values for these parameters are NOT +contained in the HP soft fonts. They are estimated by {\tt HP2TEX}, +and might not be very good estimates. If your output is visually bad, +read about {\tt fontdimen} parameters in the back of {\em The \TeX book\/} (or +{\em The \MF{}book\/}) and adjust their values in the {\tt PL} file. Then +generate a new {\tt TFM} file. The authors have not attempted to deal +with kerns, although you could add those to the {\tt PL} file as well. +Ligatures require the same action, assuming the ligature glyph is in +the font at all. + +The authors note that certain fonts generated by GLYPHIX appear to +convert with a bad underscore character that is far too low. This is +in fact how the underscore is encoded in the font, not an artifact of +the conversion. + +\subsubsection{Terms of Availability} + +{\tt HP2TEX} was written by David Strip, with help from Dimitri Vulis. +The program is copyrighted, and in keeping with the spirit of the +\TeX\ community, you are granted permission to copy and redistribute +it so long as you provide the source and the {\tt README} file along +with any executable. In addition, you may not charge any fee in excess +of the actual cost of the media and reasonable labor charges. This +charge may not exceed \$3.00 per disk plus shipping costs. + +{\tt HP2TEX} is available on {\tt SIMTEL20} (FTP or Listserve access) +and GENIE, as well as some BBSs. + +\subsubsection{Contact} + +David Strip,\\ + 431 Camino de la Sierra NE,\\ + Albuquerque, NM 87123, USA.\\ + Arpa: {\tt drstrip@sandia-2.arpa}\\ + Uucp: {\tt \ldots(ucbvax, cmu!rice, ihnp4!lanl, \\ + gatech)!unmvax!intvax!drstrip}\\[1.5ex] +Dimitri L.~Vulis,\\ + 529 W.~111 Street, \#61\\ + New York, NY 10025-1943, USA.\\ + Bitnet: {\tt dlv@cunyvms1} + +\subsection{Bar Codes} + +Issue 94 of \TeX hax 1987 carried the following note from Dimitri +Vulis: +\begin{quotation} +I was amazed to find out that business people pay enormous money for +the ability to produce bar codes. This ought to be {\sl trivial} with +\TeX. So, I got hold of a public domain BASIC program that supposedly +does that and lifted the codes and put them into \MF\ (it was {\sl +easy}). Caveat(s): I have never tested these codes with an OCR. The +BASIC program said it used `3 of 9' encoding. I presume it's not the +same as UPC. The sizes may be off---I took them from the BASIC +program that used HP LJ's 100dpi graphics mode. + +Remarks: +\begin{itemize} +\item White space is a displayable character. +\item There are 9 significant strips, bwbwbwbwb; 3 of them are wide. +\item The \verb|white_naro| at the end of each code is the inter-code +spacing. +\end{itemize} +The original BASIC program was written by `Bill Wood Mil., WI' and +later re-written by `Bill Baines, Enfield, CT.' +\end{quotation} +Dimitri notes that he has not tested the bar codes. + +\subsubsection{Terms of Availability} + +The \MF\ code for the bar codes is available for anonymous FTP from +{\tt score.stanford.edu} as file \verb|<TEX.TEXHAX>VULIS.TXH|. A copy +has also been forwarded to \TeX -L for BITNETers. + +\subsubsection{Contact} + +For Vulis's address see under {\bf HP2TEX}. + +\subsection{Old English} +\subsubsection{Henderson} +Doug Henderson has implemented \MF\ on the PC/AT family of personal +computers, and is also responsible for generating the high resolution +bitmaps of several of the non-standard fonts illustrated in recent +issues of {\em TUGboat\/}, such as the APL and Greek fonts. + +On Tuesday May 3, 1988, Doug wrote to me with several useful +corrections to the present article, and included the following +information: +\begin{quotation} +I have recently created a few characters for an associate at the +International Christian University by the name of William Schipper. +He requested that the Old English characters thorn (upper/lower case) +and eth (upper/lower case) be created for him. As he was referred to +me by Knuth, I decided to take this challenge and create the +characters. Mainly, they are variations of characters found in +Computer Modern already, with some polishing up. + +This will probably be the first in a series of ad-hoc characters I +create for various folks in need, and I will keep them in a sort-of +miscellaneous font category. For now, they are compatible with {\tt +CMR10}. +\end{quotation} + +Doug is willing to distribute the Old English characters free of +charge. He says that the final versions should be done in time for +this year's TUG conference in Montr\'{e}al. Contact Doug at:\\ + Division of Library Automation,\\ + University of California, Berkeley,\\ + 186 University Hall,\\ + Berkeley, CA 94720, USA.\\ + Bitnet: {\tt dlatex@ucbcmsa}\\ + Arpa: {\tt dlatex\%ucbcmsa.cc@berkeley} + +\subsubsection{Curran} + +Charles Curran of the Oxford University Computing Service notes that +he is `generating odd squiggles for a user's medieval English', but he +feels that the quality isn't adequate for wider dissemination at +present. Contact Charles at:\\ + OUCS,\\ + 13 Banbury Road,\\ + Oxford, OX2 6NN, England.\\ + Phone: (UK) 0865 56721\\ + Net: {\tt charles@vax.oxford.ac.uk} + + +\subsubsection{Bradfield} +%\paragraph{Date of Information} June 15, 1988, Christina Thiele + +In a note to \TeX hax 1987, issue 73 (sent on Fri, 04 Sep 1987), +Julian Bradfield reported that he has preliminary versions of the +letters eth, thorn and yogh for Computer Modern. He said: +\begin{quotation} +They are rather hastily cobbled together from bits of real CM letters, +so are not very robust at present; in particular my yogh is not yet +very +happy on lowres devices, though I hope to fix that soon. They look OK +(to me!) in roman, italic, bold and sans-serif at 300 dpi, which is +the highest resolution available to me. +\end{quotation} +If you want to use these characters, mail Julian at:\\ + c/o Christ's College, \\ + Cambridge, CB2 3BU, England.\\ + Janet: {\tt jcb7@uk.ac.cam.phx}\\ + Earn/Bitnet: {\tt jcb7@phx.cam.ac.uk}\\ + +\subsubsection{Ridgeway and Barnett} +%\paragraph{Date of information} June 7, 1988, Pierre MacKay + +A font to supplement the basic Latin alphabet of Computer Modern with +Old English characters will be released in Autumn of this year by the +University of Washington Humanities and Arts Computing Center. +Macros for direct input and translators from various Personal +Computer editor files will accompany the release. + +For the contact address, see under {\bf Tamil} above. + +\subsection{Vietnamese} + +A note from Trung Dung at the end of March 1988 signalled his +intention of using \MF\ to create a Vietnamese font. This uses a +Roman character set, with a wide range of diacritical marks. Trung +hopes to finish some time this summer. He can be contacted at {\tt +trung@umb.edu}. + + +\section{The PostScript Question} + +This article does not deal with the availability of PostScript fonts, +because it would double its length to do so, and because the author +has never used a PS device, and really wouldn't know what he was +talking about. Suffice it to say that instead of sending a bitmap to +the printer, a PostScript output file sends the printer instructions +on how to construct character bitmaps at the time of printing. These +PostScript bitmaps are created in a manner analogous to running \MF, +in that the characters are encoded in a high level language, which +gives the outline, filling or stroke routines for creating glyphs. +Like \TeX\ {\tt TFM} files, PostScript fonts have their own fontmetric files, called {\tt AFM} files. A utility program called {\tt +AFtoTFM} exists to convert {\tt AFM} files to {\tt TFM} ones (a copy +compiled and ready to run under DOS is available on the Personal \TeX\ +BBS). Since all the font information \TeX\ needs to create a {\tt +DVI} file is in the {\tt TFM} file, \TeX\ can thus create {\tt DVI} +files ready to be printed using PostScript fonts. All that is needed +is a {\tt DVI} driver that knows how to call for a PostScript font in +the right way, and such drivers are available. Thus, with a bit of +tinkering, it is perfectly feasible to use PostScript fonts in a \TeX\ +document, and there is a large and growing catalogue of such fonts. +Adobe themselves have a catalogue of fonts which they market directly, +which currently includes 230 individual fonts (several for most +typefaces). There are also several other companies and individuals +producing PostScript fonts in various styles and for a wide range of +languages, using such font creation tools as Fontographer on the Mac, +or Publisher's Type Foundry on the PC. + +\end{document} + + |