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+% 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}
+
+