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-rw-r--r--info/digests/texline/no14/14a25
-rw-r--r--info/digests/texline/no14/14b25
-rw-r--r--info/digests/texline/no14/3-16139
-rw-r--r--info/digests/texline/no14/alison.tex102
-rw-r--r--info/digests/texline/no14/article.tex210
-rw-r--r--info/digests/texline/no14/c-t.tex30
-rw-r--r--info/digests/texline/no14/change.tex39
-rw-r--r--info/digests/texline/no14/components.tex536
-rw-r--r--info/digests/texline/no14/contrary.tex135
-rw-r--r--info/digests/texline/no14/ewart.tex11
-rw-r--r--info/digests/texline/no14/figcomp.tex72
-rw-r--r--info/digests/texline/no14/figtotal.tex181
-rw-r--r--info/digests/texline/no14/flow.def468
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-rw-r--r--info/digests/texline/no14/flowchart.tex425
-rw-r--r--info/digests/texline/no14/fonts.tex301
-rw-r--r--info/digests/texline/no14/frankie.tex417
-rw-r--r--info/digests/texline/no14/good-guys.tex90
-rw-r--r--info/digests/texline/no14/goodguys.tex90
-rw-r--r--info/digests/texline/no14/gut.tex276
-rw-r--r--info/digests/texline/no14/late.tex26
-rw-r--r--info/digests/texline/no14/mathtime.tex22
-rw-r--r--info/digests/texline/no14/offer.tex35
-rw-r--r--info/digests/texline/no14/picture.tex525
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diff --git a/info/digests/texline/no14/14a b/info/digests/texline/no14/14a
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+++ b/info/digests/texline/no14/14a
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+\input texline.head
+\vskip0.5in
+\begindoublecolumns
+\input article %Peter Cameron
+\bar\input offer
+\bar\input contrary %David F Rogers
+\bar\input c&t %Phil Taylor
+\bar\input alison %Alison Black
+\bar\input ewart
+\bar\input victor %Victor Eijkhout
+\bar\input components %Joachim Schrod
+\bar\input gut
+\bar\input 3.16 %Phil Taylor
+\bar\input change
+\bar\input frankie %Frank Mittelbach
+\bar\input radio4
+\bar\input mathtime
+\bar\input fonts
+\bar
+\hbox to\hsize{\hfil
+\scaledPicture 12.7pc by 14pc (hatter scaled 1000)%
+\hfil}
+
+\enddoublecolumns
+\tracingstats1
diff --git a/info/digests/texline/no14/14b b/info/digests/texline/no14/14b
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index 0000000000..03825ce9b5
--- /dev/null
+++ b/info/digests/texline/no14/14b
@@ -0,0 +1,25 @@
+%\input texline
+\pageno21
+\input ramek.tex
+\bar\smallskip
+\begindoublecolumns
+\input portland
+\bar\input sgml
+\bar\input uktexug
+\bar\input good_guys
+\bar\input late
+\bar\input toc
+\bar
+\enddoublecolumns
+\vskip0pt plus1filll
+
+{\leftskip0pt plus 1fill
+\rightskip0pt plus -1fill
+\parfillskip0pt plus2fill
+\noindent\strut \sf This edition of {\sl\TeXline} was made
+possible by funding from \TeX cel AS, Gaustadall\'een~21,
+0371~Oslo~3, Norway, suppliers of The Publisher in Europe.
+Thanks Bruce, yet again.
+
+}
+\end
diff --git a/info/digests/texline/no14/3-16 b/info/digests/texline/no14/3-16
new file mode 100644
index 0000000000..2422e27c04
--- /dev/null
+++ b/info/digests/texline/no14/3-16
@@ -0,0 +1,139 @@
+\def\stress#1{{\sl#1\/}}
+\title{Book Review}\noindent
+{\sl 3:16 Bible Texts Illuminated.} Donald E.~Knuth. A-R Editions, 1991.
+ISBN 0-89579-252-4, 268p.
+\smallskip
+\noindent
+Scholar, Mathematician, Computer Scientist,
+Typographer -- these are probably the designations that come to mind in
+conjunction with the name of Professor Donald E.~Knuth. But in {\sl 3.16\/}, his
+most recent work, Don reveals an entirely different side to his nature -- he
+is also a~Bible Class leader in Menlo Park, California, not far from Stanford
+University, Palo Alto, where he teaches and conducts his research.
+
+When I~was given {\sl 3.16\/} (as a~gift, not to review -- that committment came
+later!), I~confess to being a~little apprehensive: I~am neither a~practicing
+Christian, nor have I~any particular interest in matters either religious or
+historical, yet the subject matter of {\sl 3.16\/} -- an annotated quasi-random
+sampling of biblical texts -- seemed intended for either Christians or
+religio-historians; it~most certainly seemed uninspiring to an equestrian
+computer typesetter. On opening the book, I~felt even less interested: Knuth
+had chosen to set it~in Computer Modern, a~typeface which I~feel contributes
+little to the \ae sthetics of the printed page. it~was, therefore, with some
+foreboding that I~started to read {\sl 3.16\/}.
+
+And then a~miracle happened (no, I~wasn't converted to \LaTeX\ -- it~would take
+more than Don Knuth to achieve either of those miracles) -- I~found that I~was
+reading every word that Don had written, and thoroughly enjoying it. All of
+a~sudden, a~subject which had totally failed to catch my interest at school
+came to life under Knuth's guidance; the biblical characters, whose stories
+I~had been forced to learn at school, and whose stories I~had as rapidly
+forgotten, suddenly sprang to life for me; no longer dry-as-dust characters and
+events, learned by rote to avoid some unspeakable punishment, these were real
+people, living in real times, brought to life by Knuth's re-telling of their
+stories. And the Computer Modern? What Computer Modern? Within three pages,
+it~had fulfilled its r\^ole; it~had ceased to exist as a~typeface, and was
+simply the medium through which Knuth was recounting some of the finest stories
+ever told; no longer instrusive, no longer even noticed, it~had achieved the
+goal of every typeface: it~had become simply a~part of the printed page.
+
+But to begin at the beginning. {\sl 3.16\/} is the printed culmination of
+Don's efforts to lead a~Bible Study class in his home town of Menlo Park.
+Don had participated in Bible Study classes for some fifteen years before he
+felt confident enough to attempt to lead a~class of his own, and being the
+scholar that he is, he put as much effort into preparing the material for his
+new class as he would into preparing for any new academic venture. He
+considered, and rejected, three possible approaches to bible study: (a)~the
+systematic study of one book; (b)~the identification and discussion of
+recurring themes; and (c),~`lectionaries' -- texts or themes which have
+become associated with particular dates in the Christian calendar. Instead,
+he selected as his approach the concept of quasi-random, or stratified,
+sampling -- he would concentrate on just one verse from just one chapter in
+every book of the bible. By taking one verse from every book, he ensured that
+every biblical contributor was represented; and by taking the verses `at
+random' from each book, he ensured that the sample was representative of the
+bible as a~whole. But the verses were not truly selected at random; because
+the book evolved from a~taught Bible Study class, Knuth needed to be able to
+ensure that the verses for the whole course were predictable right from the
+outset; that way, even if a~student missed a~class or more, he or she could
+know which verse would be the subject of study when they next attended the
+class, and could thus study the material ahead of time, so as to be
+prepared. Knuth therefore decided that, each week, the \stress {same} verse
+from the \stress {same} chapter would be studied; only the \stress {book}
+would vary. (By `the same verse', and `the same chapter', I mean the verse
+and chapter with the same \stress {number}; obviously the \stress {content}
+of the chapter and verse changed with each book). As the chapter and verse
+wre not truly selected at random, it~was also necessary to ensure that the
+selected pair were reasonably representative of the book as a whole; if the
+verse occurred too early in the book, the author might not really be under
+way with the story; if it~occurred too late, there might be an embarrassing
+number of books which simply didn't have such a~chapter/verse! There was one
+final constraint: Knuth needed to be able to ensure that at least one
+book/chapter/verse would yield a~text that would truly merit study; after
+all, if chapters and verses are picked at random, there is a~distinct
+possibility that a~significant proportion might be monumentally boring; even
+the bible must have some flat bits in it, and a~random sample might
+accidentally hit on rather too many of these. He therefore decided to select
+the chapter/verse corresponding to one of the most well-known texts in the
+bible: that of John 3:16 (`For God so loved the world, that he gave his only
+begotten son, that whosoever believeth in him should be not
+perish, but have everlasting life'). Thus the texts selected for study were
+those from Chapter~3, verse~16, of each book in the bible.
+
+Unfortunately, not every book in the bible \stress {has} a~Chapter~3, and of
+those that do, not all have a~verse~16; Knuth decided to simply ignore those
+that have no Chapter~3, and those that have neither Chapter~3, verse~16 nor
+Chapter~4; for the others (those that do not have a~Chapter~3, verse~16, but
+which do have a~Chapter~4), Knuth chose simply to ignore the chapter boundary,
+and to take the sixteenth verse starting at Chapter~3, verse~1. The omitted
+books were Obadiah, Haggai, Titus, 2 John, 3 John and Jude; 59 books remained
+to be studied.
+
+Knuth is known to all of us as a~scholar supreme; none the less, it~may come
+as a surprise to many to discover that he was by no means willing simply to
+accept the received wisdom of the King James translation of the bible;
+instead, in preparing the material for {\sl 3.16\/}, he compared more than a~dozen of
+the best available translations, and went back to the original Greek or
+Hebrew whenever there was any doubt in his mind as to the best rendering of
+any particular phrase. The results speak for themselves; although they may
+seem strange to those of us weaned on King James (for example, he renders
+John 3:16 as `Yes, God loved the world so much that he gave his only child,
+so that all people with faith in him can escape destruction, and live
+forever'), there is no doubt that they are accurate renderings of the
+original.
+
+The book, as I~have already mentioned is typeset in Computer Modern. But
+the typesetting is deliberately plain in order to provide the maximum
+contrast with what must surely be the the most innovative element of the
+design: every text is reproduced on a~full page in the most beautiful
+calligraphy, hand lettered by 59 of the world's leading calligraphers.
+Herman Zapf has produced the cover and illustrated John 3:16; the other books
+have been illustrated by calligraphers from Anckers to Zig\'any, via
+Billawala and Kindersley. The results are outstanding, and worthy of a~place
+on any amateur calligrapher's wall (they are also available separately, on
+a~full colour poster, lest anybody is tempted to buy and destroy a~copy of
+the book simply for the calligraphy contained therein). Each text is treated
+in exactly four pages (and I~mean \stress {exactly} four pages -- Knuth has
+written the text so that not a~single page falls a~single line short); the
+opening spread for each text consists of a~discussion of the book as a~whole
+(verso), and the calligraphic illustration of the text (recto); the closing
+spread consists of a~small, conventionally lettered, version of the text,
+inset into the verso left margin, and a~two-page discussion of the text and
+of the many issues and questions which it~raises. The discussions are as
+erudite as the illustrations are beautiful; linguistics, theology, history,
+geography: all are treated to the benefit of Knuth's considerable intellect,
+and we, the readers, are the ultimate beneficiaries as he brings to life
+events which took place up to three and a~half thousand years ago.
+
+Criticisms? Only two. The book should be available case bound;
+Smythe-sewn binding doesn't do justice to a~work of this quality. And I'm
+sorry to see that Don has stopped putting circumflexes on his \stress
+{r\^ole}s\dots
+
+Afterthought: Almost as soon as I'd finished reading my copy, I~went out
+and bought two more, for friends who I~knew would appreciate both the subject
+matter and the treatment; if everyone who received a~copy did likewise,
+we~could start the most successful and well-intentioned chain letter in the
+world!
+\author{\copyright Philip Taylor}
+
diff --git a/info/digests/texline/no14/alison.tex b/info/digests/texline/no14/alison.tex
new file mode 100644
index 0000000000..3b838096cb
--- /dev/null
+++ b/info/digests/texline/no14/alison.tex
@@ -0,0 +1,102 @@
+\title{Reply}{\rightskip0pt plus1fil\hyphenpenalty100
+Thank you for your generous review of my book {\sl Typefaces for
+Desktop Publishing\/} in the last issue of the newsletter. I
+hope it will not sound peevish if I take up the issue of
+hyphenation which you mention in the review. I think its worth
+raising because it is something about which people have very
+definite views. Indeed witnesses may be able to tell of
+differences of opinion between myself and Paul Stiff, who
+designed the book, as we made individual decisions about
+hyphenation while working on the make up of the pages (although
+those who know us both may not be at all surprised at this). And
+anyone who has been involved in editorial work will know that
+hyphenation decisions can arouse great passion in the hearts of
+authors, whose natural concern is that their words be displayed
+in the best manner possible.
+
+That brings me to the first point. If you opt for hyphenation
+(in either justified or unjustified text) its unwise to rely on
+the hyphenation decisions made by your software. They will do as a
+first pass, but you need to check the decisions against a
+hyphenation dictionary, unless you have particularly good reason
+to be confident in your software. In other words, you have to
+override many of the software's decisions. Laborious, but
+necessary. Certainly I would not trust the hyphenation decisions
+of QuarkXPress, either in its previous or present version (just
+as I would not rely on a spelling checker, without checking a
+document myself). So any grouses about the hyphenation in my
+book have to be addressed to me, and not to Quark.
+
+On to the bigger issue of whether or not to hyphenate
+unjustified text. There are two preferences at work here, both
+of which can be supported by arguments about enhancing the
+readability of the text. But the preferences may also be founded
+on what we have grown accustomed to, and what we find pleasing
+aesthetically. Hyphenators will argue that using hyphenation to
+maintain a relatively smooth, and predictable, right-hand margin
+is likely to contribute to the efficiency of the saccadic
+movements of the eye, that underlie reading. Smoothing the
+right-hand margin seems especially important in narrow columns,
+where the visual impact of varying line endings can be dramatic.
+(Aesthetic sub-text: hyphenators like smooth right-hand margins,
+and are not squeamish about breaking up words, within limits.)
+Non-hyphenators will argue that hyphenation breaks up the
+profiles of words, which are so vital to word perception in
+reading, and so is likely to disrupt reading processes.
+(Aesthetic sub-text: non-hyphenators just don't like breaking up
+words.)
+
+The `truth' probably lies somewhere between the two: a smooth
+right-hand margin helps, and a degree of hyphenation to bring
+this about can be tolerated, but excessive disruption of words
+through hyphenation can get in the way of efficient reading.
+
+Its always hard to pitch the results of readability testing
+against preferences based on experience of one particular way of
+working. Nevertheless, for the record, can I quote research by
+Jim Hartley and Peter Burnhill (respectively, a psychologist and
+a typographer)? In a pilot study, they found that hyphenation
+at every line ending, within a single page text, slowed down
+reading for eight out of ten people tested, compared to a single
+page text with no hyphenation (none of us will be surprised at
+this). They then tested reading speed and comprehension of text,
+without hyphenation, and of text with hyphenation on roughly 33\%
+of line endings, and found no significant difference between the
+two conditions. None of the people tested noticed the difference
+in hyphenation between the two texts they had read, until it was
+pointed out to them. When they were shown the two texts side by
+side, significantly more said they preferred the un-hyphenated
+text to the hyphenated text (24 to 10, with a further 8
+expressing no preference). Just one of many cases in typographic
+research when preference does not map on to performance (another
+classic is the serif versus sans serif issue).
+
+As far as I know, no one has done eye-movement studies of the
+effects of justification and hyphenation on reading. In fact I
+think it might be impossible to prepare materials that would
+allow you to isolate those variables, given the sensitivity of
+eye movements to other factors that would co-vary with them. But
+that's another story.
+In sanguine mood (or maybe feeling more vulnerable than I will
+admit), I checked a few sample pages of my book and found (phew)
+that hyphenation is well within Hartley and Burnhill's 33\%
+range. For the non-hyphenator, however, reading hyphenated text
+can be like trying not to think of pink elephants once someone
+has reminded you not to do so: if you find hyphenation irksome,
+every instance will leap out of the page at you.
+
+Well, I have gone on at length. Someone who goes on at greater
+length, and makes an engaging read, is Ronald McIntosh, in his
+book Hyphenation. I recommend it to hyphenators and non-hyphenators alike.
+
+}
+
+{\frenchspacing\parindent0pt
+\everypar{\hangindent1.5em\hangafter1}
+
+
+J. Hartley, and P. Burnhill. Experiments with unjustified
+text. Visible Language, 5(3), 1971.
+
+R. McIntosh. Hyphenation. Bradford: Bradford Computer
+Hyphenation, 1990.
diff --git a/info/digests/texline/no14/article.tex b/info/digests/texline/no14/article.tex
new file mode 100644
index 0000000000..22e08f30c7
--- /dev/null
+++ b/info/digests/texline/no14/article.tex
@@ -0,0 +1,210 @@
+
+\title{Notes on graphics in \TeX}
+Getting pictures onto the printed page is a problematic process,
+basically because the quality you can achieve depends so heavily on
+the cost of the hardware at your disposal. This militates against
+portability, and is one of the reasons why \TeX\ (the ultimately
+portable DTP system) has trouble with graphics. What follows is
+in no sense state-of-the-art graphics typesetting. It is simply an
+account of how a \TeX\ {\it user}, having a variety of types of
+picture and needing to transport files between different machines,
+came up with some {\it ad hoc} solutions. Probably nobody else will
+have exactly the same requirements as I had, but the opportunities
+may have wider relevance.
+
+\section{Diagrams}
+There is a deep structure underlying large areas of mathematics, and
+manifesting itself in various ways, which is conventionally described
+by diagrams called {\it Coxeter-Dynkin diagrams}. Most of these
+consist of a number of nodes in a line, consecutive nodes joined by
+single or double bonds. However, there are some diagrams which have a
+three-way branch (one of the arms having length~1), such as $E_6$,
+which looks like this:
+$$\esix$$
+The straight-line diagrams can be drawn easily enough, using the
+{\tt\char`\\circ} character for nodes and rules for the arcs joining them.
+I found that some kerning was necessary. This had to be done by trial
+and error, with the disadvantage that what looks right on the screen
+may not do so on the laser printer (presumably a defect in the \dvi\
+drivers). Perhaps this could be improved by turning off the glue; but
+I decided that what I had was good enough.
+
+Recently, geometers have begun using these and similar diagrams to
+describe strange new geometries. It has become customary to attach
+labels to both nodes and arcs; in the case of nodes, different labels
+above and below carry different information. In Norbert Schwarz's {\sl
+Introduction to \TeX\ }[2], I found a macro for optional arguments.
+(There it is also used for superscripts and subscripts, though the
+details of the printing are a bit different). Using it, I can print
+diagrams like this one (a bit cluttered, for demonstration purposes):
+$$\node^{\rm point}_s \darc \node^{\rm line}_t \arc
+\node^{\rm quad}_q \stroke{L} \node^{\rm symp}_r$$
+Here, the superscripts and subscripts on the nodes are entered in the
+standard \TeX\ manner: for example, the input for the above diagram is
+\begintt
+$$\node^{\rm point}_s \darc
+ \node^{\rm line}_t \arc
+ \node^{\rm quad}_q \stroke{L}
+ \node^{\rm symp}_r$$
+\endtt
+
+This also enables the production of the three-way branching diagrams
+like $E_6$; just subscript a node with a little construction
+consisting of a vertical line with a node at the end.
+
+It's not perfect. Better kerning, and the possibility of changing
+the node character (e.g.\ to a filled or crossed circle) would be
+desirable.
+
+
+
+\section{Figures}
+Elementary geometry requires figures consisting of lines and circles
+intersecting in various ways. Graph theory needs figures a bit like
+the diagrams just discussed, but with much greater flexibility about
+where the nodes are placed and the slopes of the lines.
+
+\LaTeX\ provides a {\tt picture} environment for drawing such
+diagrams. It doesn't handle circles adequately (only very small sizes are
+available), but accurate lines are drawn. The difficulty is the famous
+restriction on the slopes of the lines. Any line which is not
+horizontal or vertical must have rational slope with numerator and
+denominator between 1 and 6 inclusive (possibly negative). Thus, just
+48 slopes are allowed.
+
+For simple pictures, this is OK: draw the picture in rough, choose
+slopes for the lines from the allowed set, and then work out where the
+points must be, by elementary coordinate geometry. There are a couple
+of programs available which take all the calculation out: you draw
+your picture using the mouse, and it is automagically compiled into
+\LaTeX\ source. But for more complicated figures, mathematical insight
+or computational power may be required. For example, consider the
+following ruled quadric.
+
+
+$$\hbox{%
+\setlength{\unitlength}{0.02mm}
+\picture(1200,1800)(-600,-100)
+\put(707,-141){\Line(0,1){1697}}
+\put(-707,-141){\Line(0,1){1697}}
+\put(-834,-110){\Line(1,6){282}}
+\put(834,-110){\Line(-1,6){282}}
+\put(-552,-167){\Line(-1,6){282}}
+\put(552,-167){\Line(1,6){282}}
+\put(-929,-74){\Line(1,3){558}}
+\put(929,-74){\Line(-1,3){558}}
+\put(-371,-186){\Line(-1,3){558}}
+\put(371,-186){\Line(1,3){558}}
+\put(-986,-33){\Line(1,2){822}}
+\put(986,-33){\Line(-1,2){822}}
+\put(-164,-197){\Line(-1,2){822}}
+\put(164,-197){\Line(1,2){822}}
+\put(69,-200){\Line(-2,3){1067}}
+\put(-69,-200){\Line(2,3){1067}}
+\put(-998,14){\Line(2,3){1067}}
+\put(998,14){\Line(-2,3){1067}}
+\put(1000,0){\Line(-5,6){1338}}
+\put(-1000,0){\Line(5,6){1338}}
+\put(338,-188){\Line(-5,6){1338}}
+\put(-338,-188){\Line(5,6){1338}}
+\put(924,-76){\Line(-1,1){1631}}
+\put(-924,-76){\Line(1,1){1631}}
+\put(707,-141){\Line(-1,1){1631}}
+\put(-707,-141){\Line(1,1){1631}}
+\endpicture}$$
+
+The obvious way to draw this is to take two horizontal circles, one
+above the other; take equally spaced points on one, and join them to
+the points a fixed angle in front or behind on the other, and then
+work out the plane projection in the usual way. With \LaTeX, it is
+necessary to work out a formula for the angle which will give the
+projected line a given slope, and solve it for various admissible
+slopes.
+
+An added complication here is that my first serious use of this
+mechanism was for a book [1] for which my co-author sent me his part
+(by email) in \AmSTeX. Converting it to plain \TeX\ was straightforward,
+but took time; I was not prepared to take the further step to
+\LaTeX. Malcolm Clark had told me that it was easy enough to convert
+the \LaTeX\ picture commands to plain \TeX; I couldn't find his
+version in the Aston archive, so I took him at his word and did it
+myself. Look at the book and judge the result!
+
+I learnt too late that \PiCTeX\ might have helped me here. But I
+believe that simpler tools have their place.
+
+\section{Pictures}
+Suppose you want to include in your document a picture not made up of
+geometric elements. If you are a \PS\ programmer or a \dvi\
+wizard, anything is possible; but the result will not be portable. I
+would like to be able to preview, print in draft on a 9-pin dot matrix
+printer, and send the file over the network to the laser printer.
+
+My terminal and my machine at home are both Atari STs. The commonest
+picture format for DTP on this machine, also used in the PC world, is
+the dreaded {\tt.img}. After combing the public domain for information on
+the {\tt.img} file format, I wrote a program to translate a {\tt.img} file into
+\TeX\ input consisting of long sequences of boxes and rules.
+
+It doesn't work on all inputs (I've never met anyone who claims to
+have a program which handles all {\tt.img} files!), but seems fine on mono
+screen snapshots. The \TeX\ file is liable to be very big, so this is
+only recommended for small images (logos, signatures, etc.) The result
+is (of course) as portable as any plain \TeX\ input, and can be re-%
+scaled by setting two pixel size parameters at the start of the file.
+Here, for example, is an image probably familiar to all GEM-based
+computer users.
+
+\input tiger
+$$\tiger$$
+
+{\frenchspacing
+\def\item#1{\par\hangindent1.5em\hangafter1{\noindent
+\hbox to 1.5em{#1\hfil}}}
+\def\bibitem#1#2{\item{{#1}}{#2}}
+\section{Bibliography}
+\bibitem{1}{{\sc P J Cameron \& J H van Lint,} {\sl Designs, Graphs, Codes and their
+Links}, London Math. Soc. Student Texts {\bf 22}, Cambridge Univ. Press,
+1991.}
+\bibitem{2}{{\sc Norbert Schwarz,} {\sl Introduction to \TeX}\ (transl. {\sc J Krieger}),
+Addison-Wesley, 1990.}
+\author{Peter Cameron}}
+
+
+\endinput Cameron}
+}
+
+
+\endinput90.}}
+
+\author{Peter Cameron}
+\endinputtle to be very big, so this is
+only recommended for small images (logos, signatures, etc.) The result
+is (of course) as portable as any plain \TeX\ input, and can be re-%
+scaled by setting two pixel size parameters at the start of the file.
+Here, for example, is an image probably familiar to all GEM-based
+computer users.
+
+\input tiger
+
+$$\tiger$$
+
+\medbreak
+
+\noindent{\sl References}
+\frenchspacing
+
+1. P. J. Cameron \& J. H. van Lint, {\sl Designs, Graphs, Codes and their
+Links}, London Math. Soc. Student Texts {\bf 22}, Cambridge Univ. Press,
+1991.
+
+2. N. Schwarz, {\sl Introduction to \TeX}\ (transl. J. Krieger),
+Addison-Wesley, 1990.
+
+\medskip
+
+\line{\hfill\sl Peter Cameron}
+
+\bye
+
+
diff --git a/info/digests/texline/no14/c-t.tex b/info/digests/texline/no14/c-t.tex
new file mode 100644
index 0000000000..28fbf78e0c
--- /dev/null
+++ b/info/digests/texline/no14/c-t.tex
@@ -0,0 +1,30 @@
+\title{C\&T}
+At a recent meeting of the UK \TeX\ Users
+Group, a member asked if it was known whether volumes B \&
+D of {\sl Computers \& Typesetting\/} had been re-printed
+to take account of the changes involved in the
+transcendental versions of \TeX\ and \MF. No-one was able
+to give a definitive answer, so the oracle was consulted,
+and after enormous effort, Barbara Beeton was finally able
+to elicit the following information from the
+publishers\dots
+
+\halign{#\hfil&\quad #\hfil&&\hfil#\cr
+&&\multispan2{\hfil printing\hfil}\cr
+ref no&volume \& title&\omit\hfil
+no\hfil&\omit\hfil date\hfil\cr
+\noalign{hardback}
+13447&A The \TeX book&11th&\enspace June, 1991\cr
+13437&B \TeX: The Program&4th&May, 1991\cr
+13445&C The \MF book&4th&Sept, 1991\cr
+13438&D \MF: &4th&Oct, 1991\cr
+&\hfill The Program\cr
+13446&E Computer Modern &3rd&Aug, 1987\cr
+&\hfill Typefaces\cr
+\noalign{softback}
+13448&A The \TeX book&20th&May, 1991\cr
+13444&D The \MF book&6th&Feb, 1991\cr}
+
+\noindent
+Note that {\it all\/} printings are marked `with
+corrections'.
diff --git a/info/digests/texline/no14/change.tex b/info/digests/texline/no14/change.tex
new file mode 100644
index 0000000000..fae4adb1ca
--- /dev/null
+++ b/info/digests/texline/no14/change.tex
@@ -0,0 +1,39 @@
+\title{A few changes}
+Each edition of \TeXline\ includes a few changes. There
+are a couple of recent changes which require some
+comment.
+
+The first change is an addition: the addition of
+an ISSN -- \TeXline\ has become `official'. Apart from
+anything else, this carries the implication that it will
+last for at least a few more editions!
+
+The second change
+is a bit more subtle. Both this and the last edition were
+produced using \PS\ fonts. `So what?' you will say `\PS\
+is all around us, and after all everyone knows that \PS\
+fonts are better than that dreadful Computer Modern'.
+Look again. The typeface has not changed. We are now
+using Blue Sky's rendition of Computer Modern in \PS. I
+am delighted with it (not least because I can now have any
+Computer Modern font at some more convenient sizes).
+
+Two articles in this \Texline\ contain a copyright notice.
+Up to now we have tended to avoid these trappings of
+officialdom, but if authors wish to lay claim to their
+intellectual property, they must be given that
+opportunity.
+
+Another novelty has been the sponsorship received from
+\TeX cel for both this and the last edition. The
+willingness of \TeX cel to underwrite the costs of
+\TeXline\ has been a source of great encouragement,
+especially in these rather austere times. I would like to
+continue this idea, but there are many competing claims
+for money, not least the \LaTeX3 project. But if you are
+looking for a worthy cause to which to dispense some
+money, \TeXline\ would be happy to help you out.
+
+As ever, I am indebted to the large number
+of individuals and organisations who help: for example,
+Blue Sky often re-post \TeXline\ within the US, and \TeX
diff --git a/info/digests/texline/no14/components.tex b/info/digests/texline/no14/components.tex
new file mode 100644
index 0000000000..0f44047fb7
--- /dev/null
+++ b/info/digests/texline/no14/components.tex
@@ -0,0 +1,536 @@
+
+{\font\sans cmss10
+\newcount\lines
+\newcount\interval
+\newdimen\splitlength
+\interval\baselineskip
+\divide\interval by 100
+\multiply \interval by 100 %95
+\def\corner#1#2 #3\par{\setbox1\vbox{\hsize60pt
+\leftskip0pt plus 1fill\noindent\strut#1\break\strut}%
+\lines\dp1
+\advance\lines by\ht1
+\divide\lines by\interval
+\setbox0\vbox{\hangindent-60pt\hangafter-\lines#2
+ \strut#3\strut}%
+\splitlength\baselineskip
+\multiply\splitlength by\lines
+\setbox2\vsplit0 to\splitlength
+\hbox spread 15pt{\strut\copy2\hss\raise6pt\copy1}%
+\vskip-0.5em\unvbox0
+}
+%\def\ftype#1{{\tt \marginpar{\uppercase{#1}}\uppercase{#1}\/}}
+\def\ftype#1{{\tt\uppercase{#1}\/}}
+
+\overfullrule0pt
+\def\ie{that is}
+\def\eg{for example}
+\def\ref{}
+\let\label\ref
+\def\Plain{{\tt plain} \TeX}
+\def\MakeIndex{{\sans MakeIndex}}
+\def\LOG{{\tt LOG\/}}
+\def\INITeX{{\rm INI\TeX}}
+\def\LAMSTeX{%
+ L\raise.42ex\hbox{$\scriptstyle\kern-.3em\cal A$}\kern-.2em
+ \lower.376ex\hbox{$\cal M$}\kern-.125em $\cal S$%
+ -\TeX
+ }
+\def\FMT{{\tt FMT\/}}
+
+%========== etexkomp.tex ===================================================
+% etexkomp.tex 25 Mar 91
+%------------------------------------------------------------
+% (c) 1990 by J.Schrod (TeXsys).
+
+%
+% originally published in Die TeXnische Komoedie (DANTE e.V.) as:
+% Die Komponenten von TeX
+%
+% ILaTeX with standard styles and
+% style for reports about TeX
+
+% Changes made by Adrian Clark for publication in `Baskerville'
+% and editorial remarks by Malcolm Clark
+% incorporated.
+
+
+% terms `output' and `driver' in english, used in picture `figtotal'.
+\def\OutputInFigtotal{output}
+\def\DriverInFigtotal{\DVI{} driver}
+
+
+
+\title{The Components of \TeX{}}
+\TeX{} needs a great amount of supplementary components (files and
+programs) whose meaning and interaction are often unknown. This
+paper explains the components of the kernel system \TeX{} that are
+visible for the \TeX{} user and their inter-relations.
+
+
+
+
+\section{About this Report}
+\TeX{} is a typesetting system which offers authors easy usage of
+powerful typesetting features to produce printed matter which is the
+state of the art of computer typesetting. This is, however, not done by the
+\TeX{} program alone: a significant number of supplementary
+programs and files together form the complete typesetting and
+authoring system. Along with the programs that belong to \TeX{}
+directly, there exist two other major programs which were built by {\sc
+Donald Knuth} in connection with \TeX{} and must be included in an
+explanation of the full system: \MF{}, for the generation of fonts,
+and \WEB{}, a documentation and developing `language' for programming.
+\TeX{} and \MF{} are written in \WEB{}.
+
+This text describes this `kernel' \TeX{} from a user's viewpoint: at
+the end you should have an overview of the ingredients of the \TeX{}
+system, and about the files and support programs that are essential
+for you as a user. This will not, however, be an introduction to the
+capabilities of \TeX{} or how you may run \TeX{} on your computer.
+
+I will use `corner' notes to identify the places where terms are
+explained for the first time. Abbreviations for file types -- usually
+identified by common suffixes or extensions -- are set in a monospace
+type (`{\tt typewriter\/}'). Please note that these abbreviations are sometimes not
+identical with the file extensions (see also
+the table).
+
+This report is the start of a series that describes the subsystems
+mentioned above and their respective components. In that series each
+report will focus on one subsystem in a special point of view; it
+should not result in gigantic descriptions which tell everything (and
+then nothing). In my opinion the following reports will be of
+interest:
+\item{$\bullet$}the structure of a standard installation of \TeX{}
+\item{$\bullet$}\DVI{} drivers and fonts
+\item{$\bullet$}possibilities of graphics inclusion in \TeX{} documents
+\item{$\bullet$}the components of \MF{}
+\item{$\bullet$}the structure of a standard installation of \MF{}
+\item{$\bullet$}\WEB{} systems -- the concept of Literate Programming
+\item{$\bullet$}other (though not yet planned) themes of interest are
+perhaps
+\itemitem{$\triangleright$}differences between \TeX{} and DTP
+systems
+\itemitem{$\triangleright$}the way how \TeX{} works (there exists
+some good books on this topic!)
+\itemitem{$\triangleright$} the limits of
+\TeX{} \itemitem{$\triangleright$}\TeX{} as a programming language
+ %
+
+\noindent The reports will be published in this sequence.
+
+
+
+
+\section{What is \TeX{}?}
+\corner{markup,\break optical markup, logical markup}
+\strut \hskip-10pt\TeX{} is a typesetting system with great power for the
+typesetting of formulae. Its basic principle is that structures in the
+document are marked and transformed into typeset output. Providing such
+information about the structure of a document is known as {\it
+markup}. If the marks describe the look of the document, it is
+called {\it optical markup}, while, if document structures are
+marked, it is called {\it logical markup}. \TeX{} provides both
+forms of markup, \ie{}, exact control of the layout of parts of the
+document and their positioning as well as the markup of the structure
+of formulae or document components. The logical markup is mapped to
+the optical one by \TeX{} so that layout may serve for the
+identification of structures by the reader.
+ Layout -- and book design in general -- do not represent useless
+beauty. A good book design must first support the understanding of
+the content to produce readable text. So it is {\it
+\ae{}sthetic\/} in its best sense, since it connects form and contents
+and builts a new quality.
+
+\corner{typesetting machine \TeX82, macro package}
+The kernel of the \TeX{} typesetting system is the formatting program
+\TeX82, which is often simply called
+\TeX{}. This usage shall be adopted here whenever the difference
+between the complete system and the formatter is unimportant or
+obvious. \TeX82 is a big monolithic program which is published in the
+book {\it \TeX{}: The Program\/} by {\sc Donald Knuth}. Its features
+may be separated into two levels:
+\item{1~} \TeX82 formats text, that is, it breaks it into paragraphs
+(including automatic hyphenation) and produces page breaks.
+\item{2~} It provides the programming language \TeX{} which
+incorporates a macro
+mechanism. This allows new commands to be built to support markup
+at a higher level. {\sc Donald Knuth} presents an example in the
+\TeX{}book: \Plain{}. A collection of macros which supports a special
+task and has (hopefully) a common philosophy of usage is called a
+{\it macro package}.
+ %
+
+\noindent High level features for optical markup, as represented by \Plain{},
+allow one to build additional levels leading to full logical markup.
+At the moment, two macro packages for logical markup are widespread:
+\AmSTeX{} and \LaTeX{}. Both systems are built on top of \Plain{} to
+greater or lesser extents and the user can use the optical markup of
+\Plain{} in addition to logical markup if desired. This results in
+the effect that the author can use a mixture of structural
+information and explicit layout information -- a situation with a
+high potency of features that nevertheless can (and does) lead to a
+lot of typographic nonsense!
+
+\corner{supplementary programs}
+As \TeX82 was built only for typesetting texts and to allow the
+realization of new markup structures, many features are lacking which are
+required by authors. To provide features like the production of
+an index or a bibliography or the inclusion of graphics, additional
+programs have been written, which use
+information from a \TeX82 formatting run, process them, and provide
+them for the next \TeX82 run. Two supplementary programs are
+in widespread use and available for many computer/operating system
+combinations: \BibTeX{}, for the production of a bibliography from a
+reference collection, and \MakeIndex{}, for the production of an index.
+
+
+A special case of the processing of information provided by a \TeX{}
+run is the production of a table of contents or the usage of cross
+references in a text. For this only information about page numbers,
+section numbers, etc., are needed. These are
+provided by \TeX82 and can be processed by \TeX82 itself, so \TeX82 is
+used as its own post processor in this situation.
+
+We have now seen that the \TeX{} typesetting system is
+a collection of tools that consists of the typesetting `engine' \TeX82,
+macro packages (maybe several that are based on others) and
+supplementary programs, used together with these macro packages.
+This relation is illustrated by Figure~1.
+
+\topinsert
+\bgroup
+\input figcomp
+\egroup
+\smallskip
+\hbox to\pagewidth{\hfil Figure 1: The Components of \TeX{}\hfil}
+%
+\endinsert
+
+
+\section{Formatting}
+\corner{font}
+\strut \hskip-10ptThe formatting process of \TeX{} needs information about the
+dimensions of characters used for the paragraph breaking. A set
+of characters is grouped in {\it fonts}. (But this is a
+simplification as the notion `font' should be used for the
+realization of a type in a fixed size for a specific output device.)
+The dimensions of the characters of a font are called {\it font
+metrics}.
+
+
+The format in which the font metrics are used by \TeX{} was
+defined by {\sc Donald Knuth} and is called \ftype{tfm} format
+(`{\sl \TeX{} font metrics\/}'). In this format, every character is
+descibed as a {\it box\/} with a height, a depth, and a width.
+\TeX{} only needs these measurements, it is not interested in the shape
+of the character. It is even possible that the character may extend
+outside
+the box, which may result in an overlap with other characters.
+The character measures are specified in a device independent
+dimension because \TeX{} processes its breaking algorithm
+independent of any output device.
+
+\corner{hyphenation patterns}
+During paragraph breaking, \TeX{} hyphenates
+automatically, which can be done in a way almost independent of
+language. For the adaption to different languages, {\it hyphenation
+patterns\/} are needed to parametrize the hyphenation algorithm.
+
+\corner{\DVI{} driver}
+The result of a \TeX{} formatting run is a
+\ftype{DVI} document, in which the type and position on the page are
+specified for each character to be output. The resolution that is used is
+so small that every possible output device will have a coarser raster, so
+that the positioning is effectively device independent. The \DVI{} document
+specifies only types, not the fonts themselves, so that the name \DVI{}
+ (`{\sl device independent\/}') is accurate. (This name is a problem
+because ``DVI'' is a trademark of Intel Corp.\ now, but the name \DVI{} for
+\TeX{} output files pre-dates this.) To make the result of
+the formatting run available, the \DVI{} file must be output by a
+so-called \DVI{} driver on the desired output device.\looseness-1
+
+If problems occur during the formatting, error messages or warnings
+are output on the terminal. {\it Every\/} message that appears on the
+terminal will also be written into a protocol file named \ftype{log}
+file. In this \LOG{} file additional information may be placed that
+would have been too verbose for the output to the terminal. If this
+is the case, \TeX{} will tell the user so at the end of the
+formatting run. The messages of \TeX{} are not built in the program,
+they are stored in a (string) \ftype{pool} file. These messages must
+be read in at the beginning of a run.
+
+
+
+\section{Macro Packages}
+\corner{\Plain}
+\strut \hskip-10ptThe basic macro package is \Plain, developed by {\sc
+Donald Knuth} together with \TeX82. It parametrizes the \TeX82 typesetting
+machine so that it can typeset English texts with the Computer Modern type
+family. Additionally, \Plain{} provides optical markup features.
+\Plain{} is available as one source file, {\tt plain.tex}.
+
+\corner{\AmSTeX{}, \LaTeX{}, Macro\TeX{}, \LAMSTeX{}}
+All other macro packages known to the author are based on \Plain{},
+\ie{}, they contain the source file {\tt plain.tex\/} either
+originally or with modifications of less important parts. Next to
+\Plain{}, the most important (free) available macro packages are
+\AmSTeX{} by {\sc Michael Spivak} and \LaTeX{} by {\sc Leslie
+Lamport}. Other free macro packages are often of only local
+importance (\eg{} Blue\TeX{}, TEXT1, or \TeX{}sis) or are used in
+very special environments only (\eg{} {\tt texinfo\/} in the
+GNU~project or {\tt webmac\/} for \WEB{}). Important commercial macro
+packages are Macro\TeX{} by {\sc Amy Hendrickson} and
+\LAMSTeX{}, also written by {\sc Michael Spivak}.
+
+\corner{styles}
+These macro packages usually consist of a kernel that
+provides additional markup primitives. With such primitives,
+{\it document styles\/} can be built which realize logical
+markup by a corresponding layout. This layout can often be varied by
+{\it sub-styles\/} or {\it style options\/} which may also provide
+additional markup.
+
+\corner{supplementary files}
+The macro packages produce {\it supplementary files\/} which contain
+information about the page breaks or the document markup. This
+information may be used by support programs -- \eg{}, the
+specification of a reference from a bibliography database or the
+specification of an index entry with corresponding page number for the
+construction of an index. A special case is the information about
+cross references and headings for the building of a table of contents,
+as this information can be gathered and reused by \TeX{} directly.
+
+\corner{\SliTeX{}, \LAMSTeX{}, Macro\TeX{}}
+\SliTeX{} is a special component of \LaTeX{} for the preparation
+of slides with overlays. In TUGBoat volume~10, no.~3 (1989)
+\LAMSTeX{} was announced, which will provide the functionality of
+\LaTeX{} within \AmSTeX{}. Macro\TeX{} is a toolbox of macro
+``modules'' which may be used to realize new markup but, as it
+became available only short time ago, it is not yet widespread.
+
+\corner{additional fonts}
+For the usage of these (and other) macro packages, one must check
+whether they need additional fonts which do not belong to the Computer
+Modern type family. For \LaTeX{}, \eg{}, fonts with additional symbols
+and with invisible characters (for the slide overlays) are needed,
+while \AmSTeX{} needs several additional font sets with mathematical and
+Cyrillic characters.
+
+
+
+\section{Support Programs}
+\corner{\BibTeX{}, \MakeIndex{}}
+\strut \hskip-10ptOnly two support programs will be discussed here:
+\BibTeX{} by {\sc Oren Patashnik} for the preparation of bibliographies and
+\MakeIndex{} by {\sc Pehong Chen} and {\sc Michael Harrison} for
+the preparation of a sorted index. For both tasks exist other,
+funcionally equivalent, support programs. But the abovementioned are
+available on many operating systems, and have an `official' status
+as {\sc Leslie Lamport} encourages their usage with
+\LaTeX{} in his documentation, and TUG supports them for general
+use.\looseness-1
+
+There is no totally portable mechanism for the inclusion of general
+graphics in \TeX{} documents, so that there are no machine independent
+support programs available.
+
+\corner{cite keys, bibliography styles}
+\BibTeX{} is used to handle references collected in \ftype{bib}
+files. \TeX{} produces supplementary files which contain information
+about the required references, and \BibTeX{} generates from them a
+sorted bibliography in a \ftype{bbl} file which may be subsequently
+used by \TeX{}. The kind of sorting and the type of cite keys are
+defined by {\it bibliography styles\/}, specified in \ftype{bst}
+files. The messages of a \BibTeX{} run are written to a \ftype{blg}
+logfile.
+
+\corner{index style}
+\MakeIndex{} reads an \ftype{idx} support file that contains the index
+entries and the according page numbers, sorts these items, unifies
+them and writes them as \TeX{} input in an \ftype{ind} file. The
+formatting style may be specified by an {\it index style}. The
+messages of a \MakeIndex{} run are written to a \ftype{ilg} file.
+
+
+
+\section{Performance Improvements}
+Much of the work that \TeX82 has to do is the same for every
+document:
+%
+\item{1~}All text has to be broken into lines. Text pieces in the same
+language are hyphenated with the same hyphenation patterns.
+\item{2~}The basic markup of the corresponding macro packages must be
+available.
+\item{3~}The required font metrics are much alike for many documents, as
+the font set used usually does not differ that much.
+
+\noindent To improve \TeX{}'s performance, hyphenation, markup, and font
+metrics descriptions are converted from an external representation
+into an internal representation which can easily be used by \TeX82.
+In cases (1) and~(2) the external representation is textual.
+It is sensible to do this transformation only once, not for every
+document. The internal representation is stored in a \ftype{fmt} file.
+The storing is done with the \TeX{} command |\dump|, so that
+\FMT{} files often are called `{\it dumped formats}'. A \FMT{} file
+can be read at the beginning of a \TeX82 run and is thus available
+for the processing of the actual text.\looseness1
+
+\corner{\INITeX{}, production version}
+As the creation of a \FMT{} file is done infrequently -- usually
+for the update of a macro package -- the formatting of texts can be done
+with a reduced version of the \TeX82 program that doesn't contain the
+storage and the program parts for the transformation of the
+hyphenation patterns and for the dumping. The complete version of
+\TeX82 is needed in an initialization phase only and therefore called
+\INITeX{}. Additional improvements of the performance can be
+reached by the usage of production versions of \TeX82 from which
+parts for statistical analysis and for debugging are stripped.
+
+\corner{Vir\TeX{}}
+\TeX{} versions that have no dumped formats preloaded, have the
+ability to load a dumped format (\ie{} a \FMT{} file), and have no
+ability to dump a \FMT{} file (\ie{}, they are not \INITeX{}) are
+often called Vir\TeX{}, which stands for {\it virgin \TeX{}}.
+
+\topinsert
+\bgroup\input figtotal
+\egroup
+\smallskip
+\hbox to\pagewidth{\hfil Figure 2: The Connection of Components and File Types\hfil}
+%\smallskip
+\endinsert
+
+\vfill
+\noindent
+\vbox\bgroup % halign, LaTeX is too inflexible!!
+%
+\tabskip=1em\baselineskip11pt
+\catcode`\,=\active % Roman Komma, also in typewriter text!
+\def,{{\rm \char`\,\relax \space}\ignorespaces}
+
+\let\par=\cr \obeylines%
+\halign{\tt \hfil #\unskip\hfil & #\unskip\hfil & \tt #\unskip\hfil
+%
+\sc File & & \sc File suffix,
+\sc Type & \hfil \sc Explanation & \sc extension, etc.
+\noalign{\vskip 3pt}%
+%
+TEX & Text input & tex, ltx
+DVI & \TeX82 output,
+ & \hfil formatted text & dvi
+LOG & \TeX82 log file & log, lis, list
+HYP & Hyphenation patterns & tex
+TFM & Font metrics & tfm
+POOL & String pool & pool, poo, pol
+FMT & Format file & fmt
+MAC & \TeX{} macro file & tex, doc
+STY & \TeX{} style file & sty, tex, st, doc
+AUX & Support files & aux, toc, lot, lof,\unskip
+ & & glo, tmp, tex
+BIB & Reference collections & bib
+BBL & References or
+ & \hfil bibliographies & bbl
+BLG & \BibTeX{} log file & blg
+BST & \BibTeX{} style file & bst
+IDX & Unsorted index & idx
+IND & Sorted index & ind
+IST & Index markup
+ & \hfil specification &
+ILG & \MakeIndex{} log file & ilg
+\noalign{\vskip4pt}%
+\multispan3{\hfil\strut Table 1: File Types\hfil}
+}%
+%
+\egroup
+
+%\caption{File Types}
+%\label{tab:filetypes}
+%\end{center}
+%\end{table}
+
+\section{Connections Between File Types and Components}
+In the above sections, the components of the \TeX{} authoring system
+were described, and the files that are read or written by these
+components mentioned. The connections between them all is
+demonstrated graphically in Figure~2. In this graphic,
+file types are represented by rectangles, and programs by ovals. The
+arrows mean `is read by' or `is produced by.' The abbreviations
+of the file types are explained in the table, which
+also lists the file identifications (suffixes or extensions) that
+these files usually have (but note that other file identifications
+are also in use).
+
+
+
+
+
+\section{Acknowledgements}
+I would like to thank {\sc Christine Detig} who was so kind to
+provide the English translation. {\sc Nelson Beebe} suggested
+performing the translation. {\sc Klaus Guntermann} made
+valuable comments on the first (German) version. {\sc Nico
+Poppelier} contributed a new version of figure~2, better than my
+original one. Republication and distribution of this article is
+allowed under conditions analogous to the GNU General Public
+License. Previous revisions of this paper appeared in `Die
+\TeX{}nische Kom\"odie' and in `Baskerville.' \author{\copyright
+Joachim Schrod} }
+
+
+
+\endinput
+
+
+--
+
+To LaTeX the article five files are needed:
+
+ etexkomp.tex the real article
+ figkomp.tex a graphics with the relation of the components
+ figtotal.tex a graphics with all components and file types
+ texrep.sty the main style option, made for this article
+ names.sty is used by texrep.sty, definition of logos
+
+Please note that texrep.sty redefines ^. If you incorporate this
+report in an other document you should either typeset it in a group
+or you should have a look at texrep.sty and change the macros/the
+article.
+
+Happy hours.
+
+ Joachim
+
+---------------------------------------------------------------------------
+Detig Schrod TeXsys Email: xitijsch@ddathd21.bitnet
+Joachim Schrod
+Alexanderstr. 10
+D-6100 Darmstadt
+Germany
+
+Joachim Schrod Email: xitijsch@ddathd21.bitnet
+Computer Science Department
+Technical University of Darmstadt, Germany
+
+
+
+\titlenote{
+ \copyright{} Copyright 1990, 1991 by Joachim Schrod.
+ All rights reserved.
+ Republication and Distribution is allowed under conditions analogous
+ to the GNU General Public License.
+ Previous revisions of this paper appeared in `Die \TeX{}nische
+ Kom\"odie' and in `Baskerville.'
+ }
+\titlenote{
+ {\sl Actual address\/}:
+ Joachim Schrod, Detig$\,\cdot\,$Schrod \TeX{}sys,
+ Kranichweg 1, D-6074 R\"odermark, FR~Germany,
+ Email: {\tt xitijsch@ddathd21.bitnet}
+ }
+
+\maketitle
+
+
+
diff --git a/info/digests/texline/no14/contrary.tex b/info/digests/texline/no14/contrary.tex
new file mode 100644
index 0000000000..393ecacf51
--- /dev/null
+++ b/info/digests/texline/no14/contrary.tex
@@ -0,0 +1,135 @@
+\hyphenation{Spivak}%
+\title{\bf On Contrarian Views}
+In a recent \TeXline\ Michael Spivak commented on the question of
+extensions to \TeX\ (Ref.~1) and used a TUGboat article of mine
+to illustrate his position (Ref.~2). Unfortunately, Dr~Spivak's
+lack of scholarship and attention to detail necessitates both
+comment and reply.
+
+Dr~Spivak uses Ref.~2 as an illustration of a suggested {\it
+extension\/} to \TeX\ that makes `$\dots$ \TeX\ do things 100\%
+automatically that should be done 95\% automatically.' In Ref.~2 I
+issued a challenge to \TeX perts to develop a macro package for
+automatic figure placement and gave specifications for the macro.
+First, a macro is {\it not\/} an extension of \TeX\ in the sense that
+is currently being discussed and about which Dr~Spivak is
+complaining. Knuth, clearly provided for and intended that \TeX 's
+capabilities be {\it expanded\/} using macros. Second, I am quite in
+agreement with Dr~Spivak's 95/5\% automatic\slash manual rule as is
+clearly indicated on p293 of Ref.~2 where in describing the Challenge
+I said `The Challenge then is for the output macro gurus to write a
+figure placement macro that incorporates items 1--3 above {\it (4 and
+5 can be handled manually\/})'. Sounds to me like a request for a
+95\%/5\% automatic\slash manual solution.
+
+In Ref.~2 I used {\it Procedural Elements for Computer Graphics} (Ref.~3)
+to illustrate the complexity of the typesetting job required by a
+typical science/engineering text. Dr~Spivak obtained this book and
+agrees that it is typographically complex. Unfortunately, he failed
+to examine both the copyright page and the preface. Both clearly
+state that TYX Corporation (and not me) typeset the book using \TeX.
+In fact, the book was typeset using a version of \TeX\ based on
+\TeX80 and not \TeX82. It is true that I specified that \TeX\ be used
+and acted as the production controller on the book. Further, an
+examination of the copyright date on {\it Procedural Elements for
+Computer Graphics} and the date of the TUGboat article as well as the
+use of the word `Current' in the section head on page 292 of the
+article indicates that {\it Procedural Elements for Computer
+Graphics} was not the current book. If fact, {\it Procedural
+Elements for Computer Graphics} was typeset in the 1983/84 time frame.
+
+The book that generated {\it A Page Make-up Challenge} is {\it
+Mathematical Elements for Computer Graphics} (Ref.~4). This book
+is even more typographically complex than {\it Procedural Elements
+for Computer Graphics}. {\it Mathematical Elements for Computer
+Graphics} was the first book that we personally typeset using \TeX. We
+probably could not have picked a more typographically complex book to
+cut our teeth on. Which, brings me to Dr~Spivak's complaint about
+|\vfill\eject|. He suggests that it is {\it shameful\/}
+that the article appeared without the editor pointing out that
+|\vadjust\eject| should be used instead. Well, the paper was
+edited, by Barbara Beeton. At that time, I sure would have
+appreciated that information from Barbara or even Dr~Spivak since it
+would have saved a bit of manual work.
+
+The |\vadjust| comment points out both one of the strengths of
+\TeX\ and one of the serious weaknesses. \TeX's strength is that if
+you are willing to regard \TeX\ as a typesetting {\it system} rather
+than as a programming {\it language} and are willing to do a bit of
+manual work, you can frequently find a solution to an immediate
+problem. It may not be elegant, it might not even be efficient, but
+it will work, get the job done, and allow you to meet the deadline.
+The {\it shameful\/} weakness of \TeX\ is the index of {\sl the \TeX
+book\/} compounded by Knuth's sometimes convoluted scattered writing
+style. As an example, try looking up `page make-up' in the index.
+Eventually, you are led to the second and third paragraphs from the
+bottom on page~109. The third paragraph from the bottom suggests
+that you use |\vfill\eject| and the second paragraph from the
+bottom |\vadjust\eject|. {\it If} you don't already know
+the answer, then |\vfill\eject| is the obvious first try with the
+associated side effects and the iterative fix. We discovered
+|\vadjust\eject| a few months after Ref.~2 appeared when I
+sat down and reread the entire {\sl \TeX book\/}!!! Having now typeset
+several books our page make-up skills are quite a bit better. Still,
+manual work is required. Good automatic page make-up of
+typographically complex books such as {\it Procedural Elements for
+Computer Graphics} and {\it Mathematical Elements for Computer
+Graphics} is several years in the future -- if ever.
+
+I am pleased to see that Dr~Spivak used the Challenge in Ref.~2 as a
+starting point for his implemetation of an automatic figure placement macro
+in \LamsTeX. Unfortunately, he totally ignores the fact that Joost
+Zalmstra and I published an automatic figure placement macro called
+|\figplace| in TUGboat in 1989 (Ref.~5). Further, we included
+statistics on the efficiency of the algorithm. At that time roughly
+85\% of the figures and tables in {\it Mathematical Elements for
+Computer Graphics} were placed automatically using |\figplace|.
+With additional experience and tweaking of the code roughly 95\% are
+currently placed automatically. The remainder require manual work.
+That's acceptable.
+
+It's also unfortunate that Dr~Spivak, as well as many others, choose
+to embed macros of this nature in large packages such as \LamsTeX,
+\AmSTeX, \LaTeX, etc. I would rather see them made available as
+self-contained modules that can be easily incorporated into macro
+packages designed to accomplish specific purposes. Such
+self-contained modules are much needed by the \TeX\ community.
+
+Finally, because I am in basic agreement with Dr~Spivak, it is
+unfortunate that he chose this particular article (Ref.~2) to
+illustrate his position and thus necessitated this note. I agree that
+{\it any\/} extension of \TeX\ should be very carefully considered in
+the context of Knuth's purpose in developing \TeX\ i.e., to typeset
+beautiful {\it books} not Time or Newsweek or the local newspaper. I
+agree that good typesetting will {\it always} require a greater or
+lesser degree of manual work depending on the desired quality of the
+final product. I also agree that many of the called for {\it
+extensions} of \TeX\ should be handled by manipulating the {\tt.dvi}
+file with the output driver.
+
+What I would like to see is more flexible and modern {\it
+implementations} of \TeX, for example, a dynamic virtual memory
+implementation that automatically shows me the results of an editing
+change. Considerable computer power is needed to do this but that's
+either available or coming soon. For short documents I almost have
+this by using three windows on a Silicon Graphics Iris workstation.
+And no, I do not suggest a \wysiwyg\ system for \TeX.
+
+{\frenchspacing
+\def\item#1{\par\hangindent1.5em\hangafter1{\noindent
+\hbox to 1.5em{#1\hfil}}}
+\def\bibitem#1#2{\item{{#1}}{#2}}
+\section{Bibliography}
+\bibitem{1}{{\sc Michael Spivak,} {A Contrarian View On \TeX\
+Extensions, \TeXline~13, September 1991.}}
+\bibitem{2}{{\sc David F Rogers,} {A Page Make-up Challenge,
+TUGboat, Vol.~9, No.~3., pp 292--293, 1989.}}
+\bibitem{3}{{\sc David F Rogers,} {\it Procedural Elements for
+Computer Graphics}, McGraw-Hill Book Co., New York, 1985.}
+\bibitem{4}{{\sc David F Rogers \& J Alan Adams,} {\it
+Math\-ematical Elements for Computer Graphics}, McGraw-Hill Book Co.,
+New York, 1990.}
+\bibitem{5}{{\sc Joost Zalmstra \& David F Rogers,} {A Page
+Make-up Macro, TUGboat, Vol.~10, No.~1, pp 73--81, 1989.}}
+\author{David F Rogers}}
+
diff --git a/info/digests/texline/no14/ewart.tex b/info/digests/texline/no14/ewart.tex
new file mode 100644
index 0000000000..19dfca05c7
--- /dev/null
+++ b/info/digests/texline/no14/ewart.tex
@@ -0,0 +1,11 @@
+\title{Moving}
+Purchasers and users of the range of Personal \TeX\ Inc's
+software will need to know that their UK distributor,
+Uni\TeX\ has a new address. Contact
+{\obeylines
+Ewart North
+Uni\TeX\ systems
+7 Spring Mount
+Harrogate HG1 2HX
+tel: 0423 520902
+}
diff --git a/info/digests/texline/no14/figcomp.tex b/info/digests/texline/no14/figcomp.tex
new file mode 100644
index 0000000000..2360ee7f88
--- /dev/null
+++ b/info/digests/texline/no14/figcomp.tex
@@ -0,0 +1,72 @@
+
+%\input l_pic
+%\input l_frame
+\unitlength=5mm
+\newdimen\w % may be changed for DINA5
+\w=\fontdimen8\tenln %\@wholewidth % width of a rule
+\let\k=\unitlength % a box (in German: Kasten) on my drawing-paper...
+\let\LAMSTeX\LamsTeX
+\def\Plain{{\tt Plain} \TeX}
+\def\MakeIndex{{\sans MakeIndex}}
+\catcode`@=11 % at signs are letters
+\def\rule{\@ifnextchar[{\@rule}{\@rule[\z@]}}
+
+\def\@rule[#1]#2#3{\@tempdima#3\advance\@tempdima #1\leavevmode\hbox{\vrule
+ \@width#2 \@height\@tempdima \@depth-#1}}
+\catcode`@=12 % at signs are no longer letters
+%
+%========== figkomp.tex ====================================================
+% figkomp.tex 01 Oct 90
+%------------------------------------------------------------
+% (c) 1990 by J.Schrod (TeXsys).
+
+%
+% picture of the components of TeX (logical connection)
+%
+
+% NOTE: BibTeX was made available for Plain TeX recently. So the
+% graphic will be changed soon...
+
+
+\picture(23,14)(0,0)
+
+
+% TeX82
+\put( 3, 0){ \rule{\w}{3\k} }
+\put( 3, 3){ \rule{24\k}{\w} }
+\put(27, 0){ \rule{\w}{3\k} }
+\put( 3, 0){ \makebox(24,3){\TeX82} }
+
+% Plain TeX
+\put( 4, 3){ \framebox(22,3){\Plain} }
+
+% AmS-TeX
+\put( 5, 6){ \rule{\w}{5\k} }
+\put( 5,11){ \rule{5\k}{\w} }
+\put(10, 6){ \rule{\w}{5\k} }
+\put( 5, 6){ \makebox(5,3){\AmSTeX} }
+
+% LAmS-TeX
+\put( 6, 9){ \dashbox{.5}(4,2){\LAMSTeX} }
+
+% LaTeX
+\put(11, 6){ \framebox(6,5){\LaTeX} }
+
+% SliTeX
+\put(11,11){ \framebox(4,3){\SliTeX} }
+
+% BibTeX
+\put(14,11){ \rule{2\k}{\w} }
+\put(15,14){ \rule{4\k}{\w} }
+\put(19, 6){ \rule{\w}{8\k} }
+
+\put(15,11){ \makebox(4,3){\BibTeX} }
+
+% MakeIndex
+\put(20, 6){ \framebox(5,8){\MakeIndex} }
+
+\endpicture
+
+
+
+\endinput
diff --git a/info/digests/texline/no14/figtotal.tex b/info/digests/texline/no14/figtotal.tex
new file mode 100644
index 0000000000..204a950d86
--- /dev/null
+++ b/info/digests/texline/no14/figtotal.tex
@@ -0,0 +1,181 @@
+%\input l_pic
+%\input l_frame
+%\let\Line\line
+\def\DVI{{\tt DVI}}
+\def\OutputInFigtotal{output}
+\def\DriverInFigtotal{\DVI{} driver}
+
+%========== figtotal.tex ===================================================
+% figtotal.tex 25 Mar 91
+%------------------------------------------------------------
+% (c) 1991 by J.Schrod (TeXsys).
+
+%
+% Picture of the components and used file types of TeX (data flow)
+% (thanks to Nico Poppelier who contributed this better structured version)
+%
+% LaTeX picture
+
+
+% check if \OutputInFigtotal and \DriverInFigtotal is defined
+
+\ifx \OutputInFigtotal\undefined
+ \errhelp{It should be defined as the term `output' in the used language}
+ \errmessage{You must define \string\OutputInFigtotal}
+ \def\OutputInFigtotal{output}
+\fi
+\ifx \DriverInFigtotal\undefined
+ \errhelp{It should be defined as the term `driver' in the used language}
+ \errmessage{You must define \string\DriverInFigtotal}
+ \def\DriverInFigtotal{\DVI{} driver}
+\fi
+
+
+
+\def\file#1{\framebox(3,2){\tt \uppercase{#1}}}
+\def\prog(#1)#2{%
+ \oval(#1,2)%
+ \makebox(0,0){#2}%
+ }
+
+
+% X and Y variables
+
+\newcount\X \newcount\Y % needed for \Program
+
+% macros for objects
+
+\def\File(#1,#2)#3{%
+ \put(#1,#2){\framebox(20,10){\tt\uppercase{#3}}}}
+\def\CopyFile(#1,#2)#3{%
+ \put(#1,#2){\dashbox{2}(20,10){#3}}}
+\def\Program(#1,#2)#3{%
+ \X=#1 \Y=#2 \advance\X by 15 \advance\Y by 5
+ \put(\X,\Y){\oval(30,10)}%
+ \put(#1,#2){\makebox(30,10){#3}}}
+\def\Device(#1,#2)#3{%
+ \put(#1,#2){\Line(1,2){5}} \put(#1,#2){\Line(1,0){25}}
+ \X=#1 \Y=#2 \advance\X by 30 \advance\Y by 10
+ \put(\the\X,\the\Y){\Line(-1,-2){5}} \put(\the\X,\the\Y){\Line(-1,0){25}}
+ \put(#1,#2){\makebox(30,10){#3}}}
+
+
+% don't ask me why it's 0.7mm, that's from Nico! -js
+
+\unitlength=0.7mm
+
+
+\picture(260,160)(60,0) %40/80
+%
+% this code provides a dotted grid that makes modification easier
+%
+%\multiput( 70, 0)(10,0){20}{%
+% \vbox to 160\unitlength{%
+% \leaders
+% \vbox to 2.5\unitlength{%
+% \vfill
+% \hbox{\fivrm .}%
+% \vfill
+% }%
+% \vfill
+% }%
+% }
+%\multiput( 70, 0)(0,10){17}{%
+% \hbox to 190\unitlength{%
+% \leaders
+% \hbox to 2.5\unitlength{%
+% \hfill
+% \hbox{\fivrm .}%
+% \hfill
+% }%
+% \hfill
+% }%
+% }
+%
+%
+%
+% IniTeX block
+%
+ \File( 75,145){tfm} \File(105,145){hyp} \File(135,145){mac}
+ \File(165,145){pool}
+\multiput( 85,145)(30,0){4}{\Line(0,-1){5}}
+ \put( 85,140){\Line(1,0){90}}
+ \put(115,140){\vector(0,-1){5}}
+ \Program(100,125){\INITeX}
+ \put(115,125){\Line(0,-1){5}}
+ \put(100,120){\Line(1,0){30}}
+\multiput(100,120)(30,0){2}{\vector(0,-1){5}}
+ \File( 90,105){log}
+ \File(120,105){fmt} \File(150,105){tex}
+ \File(180,105){sty} \File(210,105){mac} \File(240,105){tfm}
+%
+%
+% TeX block
+%
+\multiput(130,105)(30,0){5}{\Line(0,-1){5}}
+ \put(130,100){\Line(1,0){120}}
+ \put(175,100){\vector(0,-1){5}}
+ \Program(160, 85){\TeX82}
+ \put(175, 85){\Line(0,-1){5}}
+ \put(130, 80){\Line(1,0){90}}
+\multiput(130, 80)(30,0){4}{\vector(0,-1){5}}
+ \File(120, 65){dvi} \File(150, 65){log}
+ \File(180, 65){idx} \File(210, 65){aux}
+% loop back to TeX
+ \put(230, 70){\Line(1,0){10}}
+ \put(240, 70){\vector(0,1){10}}
+ \put(240, 80){\Line(0,1){10}}
+%
+%
+% BibTeX block
+%
+ \File(195, 45){bib} \File(225, 45){bst}
+\multiput(205, 45)(30,0){2}{\Line(0,-1){5}}
+ \put(205, 40){\Line(1,0){30}}
+ \put(220, 65){\vector(0,-1){30}}
+ \Program(205, 25){\BibTeX}
+ \put(220, 25){\Line(0,-1){5}}
+ \put(205, 20){\Line(1,0){30}}
+\multiput(205, 20)(30,0){2}{\vector(0,-1){5}}
+ \File(195, 5){blg} \File(225, 5){bbl}
+% loop back to TeX
+ \put(245, 10){\Line(1,0){10}}
+ \put(255, 10){\vector(0,1){10}}
+ \put(255, 20){\Line(0,1){70}}
+%
+%
+% MakeIndex block
+%
+ \File(150, 45){ist}
+ \put(190, 65){\Line(0,-1){20}}
+\multiput(160, 45)(30,0){2}{\Line(0,-1){5}}
+ \put(160, 40){\Line(1,0){30}}
+ \put(175, 40){\vector(0,-1){5}}
+ \Program(160, 25){\MakeIndex}
+ \put(175, 25){\Line(0,-1){5}}
+ \put(145, 20){\Line(1,0){30}}
+\multiput(145, 20)(30,0){2}{\vector(0,-1){5}}
+ \File(135, 5){ilg} \File(165, 5){ind}
+% loop back to TeX
+ \put(175, 5){\Line(0,-1){5}}
+ \put(175, 0){\Line(1,0){85}}
+ \put(260, 0){\vector(0,1){10}}
+ \put(260, 10){\Line(0,1){80}}
+ \put(260, 90){\vector(-1,0){70}}
+%
+%
+% device driver block
+%
+ \File( 90, 65){fnt}
+\multiput(100, 65)(30,0){2}{\Line(0,-1){25}}
+ \put(100, 40){\Line(1,0){30}}
+ \put(115, 40){\vector(0,-1){5}}
+ \Program(100, 25){\DriverInFigtotal}
+ \put(115, 25){\vector(0,-1){10}}
+ \Device(100, 5){\OutputInFigtotal}
+%
+%
+\endpicture
+
+
+\endinput
diff --git a/info/digests/texline/no14/flow.def b/info/digests/texline/no14/flow.def
new file mode 100644
index 0000000000..edd063f09c
--- /dev/null
+++ b/info/digests/texline/no14/flow.def
@@ -0,0 +1,468 @@
+% April 12, 1991
+{\catcode`\|=0 |catcode`|\=12 |obeyspaces |let|m=|message
+|m{ }
+|m{ These macros may be used free of charge and without authorization }
+|m{ for scientific work only. Written permission is required for any }
+|m{ commercial use. If used in publications, citation similar to the }
+|m{ following reference is required: }
+|m{ }
+|m{ Michael Ramek, }
+|m{ ``Flow Charts With \TeX'', }
+|m{ in }
+|m{ \TeX line 13 (1991) ??-?? }
+|m{ }
+|m{ Questions and inquiries should be addressed to the author: }
+|m{ }
+|m{ Michael Ramek }
+|m{ Institut f\"ur Physikalische und Theoretische Chemie, }
+|m{ Technische Universit\"at Graz }
+|m{ Rechbauerstra{\ss}e 12 }
+|m{ A--8010 Graz }
+|m{ Austria }
+|m{ }|m{}}
+%
+% The following special characters are used in
+% this macro package:
+%
+% backslash: \
+% left brace: {
+% right brace: }
+% dollar sign: $
+% percent sign: %
+% number sign: #
+\def\flowptonemm{.1mm}\def\flowzerofive{05}%
+\def\flowten{10}\def\floweleven{11}\def\flowtwelve{12}%
+\def\flowthirteen{13}\def\flowfifteen{15}\def\flowsixteen{16}%
+\def\flowseventeen{17}\def\flownineteen{19}\def\flowtwenty{20}%
+\def\flowfortyfour{44}\def\flowfiftyfive{55}\def\flowsixtysix{66}%
+\def\flowsixtynine{69}\def\flowseventythree{73}%
+\def\flowseventyfour{74}\def\flowseventyfive{75}%
+\def\floweightytwo{82}\def\floweightyfour{84}\def\floweightyfive{85}%
+\def\floweightysix{86}\def\flowninetytwo{92}\def\flowhalf{.5}%
+\def\flowquarter{.25}\def\flowthreequarter{.\flowseventyfive}%
+\def\flowchart#1{{\def\flowinhalt{#1}\dimendef\lindent180%
+\countdef\chelp0\dimendef\rindent181\dimendef\fivemm\flowseventeen0%
+\dimendef\textw183\dimendef\vpos1\floweightyfour\dimendef\pt189%
+\dimendef\nullpt\flowseventeen9\dimendef\mvpos\flowseventeen1%
+\dimendef\entrydist1\floweightyfive\dimendef\breite\floweleven%
+\dimendef\laenge\flowtwelve\dimendef\hoehe\flowthirteen%
+\dimendef\tiefe14\dimendef\anstieg\flowfifteen%
+\dimendef\lvpos1\floweightysix\dimendef\texts1\floweightytwo%
+\dimendef\rvpos187\dimendef\dhelp188\dimendef\hstroke\flowtwenty%
+\countdef\mitte1\floweightyfour\countdef\decidelevel\flowtwenty0%
+\countdef\ahelp\flowten0\countdef\bhelp\flowten1%
+\countdef\ehelp\flowthirteen\pt1pt\nullpt0\pt%
+\def\rlap##1{\hbox to\nullpt{##1\hss}}%
+\def\llap##1{\hbox to\nullpt{\hss##1}}%
+\count\flowseventeen1=5\loop\count\flowseventeen0=0\flowflowchart%
+\ifdim\ht0>\vsize\advance\count\flowseventeen1-1\relax%
+\ifnum\count\flowseventeen1>2\count\flowseventeen0=1\fi\fi\relax%
+\ifnum\count\flowseventeen0=1\repeat\box0}
+}
+\def\flowflowchart{\setbox0\vbox{\lindent\flowquarter\hsize%
+\rindent\lindent\fivemm\count\flowseventeen1truemm\texts\fivemm%
+\textw.4\hsize\advance\textw-2\texts\mvpos\nullpt\vpos\nullpt%
+\mitte0\decidelevel0\entrydist\fivemm\relax\flowinhalt%
+\ifdim\mvpos>\nullpt\vskip-\vpos\vskip\mvpos\fi}%
+}
+\def\flowvrule#1#2#3{\vrule width#1 height#2 depth#3%
+}
+\def\flowbox#1{\hbox to\breite{#1}%
+}%
+\def\flowendmiddlepart{\advance\decidelevel-1%
+\ifdim\vpos>\mvpos\mvpos\vpos\fi%
+}
+\def\flowleftpart{\advance\lindent-\flowquarter\hsize%
+\advance\rindent\flowquarter\hsize\chelp2\flowten%
+\ifnum\mitte=0\chelp\flowtwenty0\fi\advance\chelp\decidelevel%
+\advance\mitte-1\vskip-\vpos\vskip\dimen\chelp\vpos\dimen\chelp%
+\advance\chelp\flowtwenty\entrydist\dimen\chelp%
+}
+\def\flowendleftpart{\advance\lindent\flowquarter\hsize%
+\advance\rindent-\flowquarter\hsize\advance\mitte1%
+\lvpos\vpos\ifdim\vpos>\mvpos\mvpos\vpos\fi%
+}
+\def\flowrightpart{\advance\lindent\flowquarter\hsize%
+\advance\rindent-\flowquarter\hsize\chelp2\flowten%
+\ifnum\mitte=0\chelp\flowtwenty0\fi\advance\chelp\decidelevel%
+\advance\mitte1\vskip-\vpos\vskip\dimen\chelp\vpos\dimen\chelp%
+\advance\chelp\flowtwenty\entrydist\dimen\chelp%
+}
+\def\flowendrightpart{\advance\lindent-\flowquarter\hsize%
+\advance\rindent\flowquarter\hsize\advance\mitte-1%
+\rvpos\vpos\ifdim\vpos>\mvpos\mvpos\vpos\fi%
+}
+\def\flowcombine{\dhelp\rvpos\relax%
+\ifdim\dhelp<\lvpos\dhelp\lvpos\fi\relax\advance\rvpos-\lvpos\relax%
+\ifdim\rvpos<\nullpt\rvpos-\rvpos\fi%
+\ifdim\vpos=\dhelp\vskip-\rvpos\advance\vpos-\rvpos\fi%
+\ifdim\lvpos=\dhelp%
+\flowline{\kern\flowhalf\hsize\flowvrule\pt\rvpos\nullpt}\else%
+\flowline{\flowvrule\pt\rvpos\nullpt\kern\flowhalf\hsize}\fi%
+\flowline{\flowvrule\pt\fivemm\nullpt\kern-\pt%
+\kern\flowhalf\hsize\flowvrule\pt\fivemm\nullpt}%
+\kern-2.64098\pt\hbox to\hsize{\hss\kern\lindent%
+\flowvrule{\flowquarter\hsize}\pt\nullpt%
+\setbox1\llap{$><$\hss}\lower1\flowhalf\pt\copy1%
+\lower2\pt\box1%
+\flowvrule{\flowquarter\hsize}\pt\nullpt\kern\rindent\hss}%
+\nointerlineskip\kern-2.64098\pt\advance\vpos\pt\mvpos\nullpt%
+}
+\def\flowmark#1{\flowline{\flowvrule\pt\fivemm\nullpt}%
+\dimen\flownineteen#1\vpos\count\flownineteen#1\mitte%
+}
+\def\flowleftconnect#1{\flowline{\flowvrule\pt\fivemm\nullpt}%
+\flowline{\flowvrule{\flowquarter\hsize}\pt\nullpt%
+\kern\flowquarter\hsize}\ifdim\vpos>\mvpos\mvpos\vpos\fi%
+\advance\lindent-\flowquarter\hsize%
+\flowconnect#1\advance\lindent\flowquarter\hsize%
+}
+\def\flowrightconnect#1{\flowline{\flowvrule\pt\fivemm\nullpt}%
+\flowline{\kern\flowquarter\hsize%
+\flowvrule{\flowquarter\hsize}\pt\nullpt}%
+\ifdim\vpos>\mvpos\mvpos\vpos\fi%
+\advance\lindent\flowquarter\hsize\flowconnect#1%
+\advance\lindent-\flowquarter\hsize%
+}
+\def\flowconnect#1{\ifdim\vpos>\dimen\flownineteen#1\vskip-\vpos%
+\vskip\dimen\flownineteen#1\kern-4.14098\pt%
+\centerline{\advance\lindent\flowquarter\hsize%
+\texts2\hsize\advance\texts-\count\flownineteen#1\hsize%
+\divide\texts4\textw\hsize\advance\textw-\lindent%
+\advance\textw-\texts\advance\vpos-\dimen\flownineteen#1%
+\advance\vpos\flowhalf\pt\ifdim\textw>\nullpt\kern\lindent%
+\flowvrule\pt\nullpt\vpos\kern-\pt%
+\flowvrule\textw\pt\nullpt\setbox1\llap{$>$}%
+\lower1\flowhalf\pt\copy1\lower2\pt\copy1\else%
+\advance\lindent\textw\advance\texts\textw%
+\kern\lindent\setbox1\rlap{$<$}%
+\lower1\flowhalf\pt\copy1\lower2\pt\copy1%
+\flowvrule{-\textw}\pt\nullpt\kern-\pt%
+\flowvrule\pt\nullpt\vpos\fi\kern\texts}\else%
+\centerline{\advance\lindent\flowquarter\hsize%
+\texts2\hsize\advance\texts-\count\flownineteen#1\hsize%
+\divide\texts4\textw\hsize\advance\textw-\lindent%
+\advance\textw-\texts\advance\vpos-\dimen\flownineteen#1%
+\advance\vpos-\flowhalf\pt\ifdim\textw>\nullpt\kern\lindent%
+\flowvrule\pt{-\vpos}\nullpt\kern-\pt%
+\flowvrule\textw\pt\nullpt\setbox1\llap{$>$}%
+\lower1\flowhalf\pt\copy1\lower2\pt\copy1\else%
+\advance\lindent\textw\advance\texts\textw\kern\lindent%
+\setbox1\rlap{$<$}%
+\lower1\flowhalf\pt\copy1\lower2\pt\copy1%
+\flowvrule{-\textw}\pt\nullpt\kern-\pt%
+\flowvrule\pt{-\vpos}\nullpt\fi\kern\texts}%
+\vpos\dimen\flownineteen#1\advance\vpos3.14098\pt\fi\nointerlineskip%
+}
+\def\flowline#1{\setbox\flowtwenty\hbox to\hsize{\hss\kern\lindent#1%
+\kern\rindent\hss}\advance\vpos\ht\flowtwenty%
+\advance\vpos\dp\flowtwenty%
+\box\flowtwenty\nointerlineskip\entrydist\fivemm%
+}
+\def\flowoutput#1{\flowline{\vbox{\flowanfang{#1}%
+\ifdim\breite<1.6cm\breite1.6cm\fi\flowanfangv%
+\flowbox{\hss\flowvrule\breite\pt\nullpt\hss}%
+\flowbox{\flowvrule\pt\laenge{-\flowquarter cm}%
+\hfill\box\floweleven\hfill\flowvrule\pt\laenge{3mm}}%
+\kern-6mm\flowbox{\ehelp14\loop\advance\ehelp1\hoehe5cm%
+\divide\hoehe\ehelp\anstieg\ehelp sp%
+\multiply\anstieg-23\floweightysix\advance\anstieg1.9\pt%
+\ifdim\anstieg<\pt\anstieg\pt\fi\tiefe-\hoehe\advance\tiefe\anstieg%
+\flowvrule{\flowptonemm}\hoehe\tiefe\ifnum\ehelp<89\repeat%
+\leaders\vrule height\hoehe depth\tiefe\hfill%
+\flowvrule\pt\hoehe{3mm}\leaders\vrule height\hoehe depth\tiefe\hfill%
+\loop\advance\ehelp-1\hoehe-5cm\divide\hoehe\ehelp%
+\advance\hoehe.\floweleven24cm\anstieg\ehelp sp%
+\multiply\anstieg-23\floweightysix\advance\anstieg1.9\pt%
+\ifdim\anstieg<\pt\anstieg\pt\fi%
+\tiefe-\hoehe\advance\tiefe\anstieg%
+\flowvrule{\flowptonemm}\hoehe\tiefe\ifnum\ehelp>14\repeat}}}%
+}
+\def\flowanfang#1{\parindent\nullpt\setbox\flowtwelve\hbox{#1}%
+\setbox\floweleven\hbox{\vbox{%
+\ifdim\wd\flowtwelve<\textw\hsize\wd\flowtwelve%
+\else\hsize\textw\fi\leftskip\nullpt plus.1\textw%
+\rightskip\nullpt plus.1\textw\parfillskip\nullpt%
+\hbadness\flowten000 #1\vskip\texts}}\offinterlineskip%
+\breite\wd\floweleven\advance\breite2\texts\laenge\ht\floweleven%
+\advance\laenge\dp\floweleven\advance\laenge\texts%
+}
+\def\flowanfangv{\flowbox{\hss\flowvrule\pt\entrydist\nullpt\hss}%
+\kern-5\flowhalf\flowfiftyfive57\pt\flowbox{%
+\hss\setbox\flowfifteen\hbox{$\vee$}%
+\copy\flowfifteen\kern-\wd\flowfifteen\kern.4\pt\box\flowfifteen\hss}%
+}
+\def\flowcompute#1{\flowline{\vbox{\flowanfang{#1}\flowanfangv%
+\flowbox{\hss\flowvrule\breite\pt\nullpt\hss}%
+\flowbox{\flowvrule\pt\laenge\nullpt%
+\hfill\box\floweleven\hfill\flowvrule\pt\laenge\nullpt}%
+\flowbox{\hss\flowvrule\breite\pt\nullpt\hss}%
+}}%
+}
+\def\flowinput#1{\flowline{\vbox{\flowanfang{#1}\flowanfangv%
+\setbox\flowthirteen\hbox{\it/}\anstieg-\ht\flowthirteen%
+\advance\anstieg-\dp\flowthirteen\flowbox{\copy\flowthirteen%
+\kern-\wd\flowthirteen\kern.4\pt\copy\flowthirteen%
+\advance\breite-\wd\flowthirteen\hoehe\ht\flowthirteen\tiefe\hoehe%
+\advance\tiefe-\pt\hss\flowvrule\breite\hoehe{-\tiefe}}\kern\anstieg%
+\advance\anstieg\laenge\flowbox{\flowvrule\pt\anstieg\nullpt%
+\hfill\box\floweleven\hfill\flowvrule\pt\laenge\nullpt}%
+\flowbox{\hss\flowvrule\breite\pt\nullpt\hss}%
+}}%
+}
+\def\flowstart{\flowline{\vbox{\flowanfang~%
+\hbox to1cm{\hss\flowvrule{1cm}\pt\nullpt\hss}\kern-\pt%
+\hbox to1cm{\hss\hoehe\nullpt\loop\tiefe\hoehe\advance\tiefe-2\pt%
+\flowvrule{\flowptonemm}\hoehe{-\tiefe}%
+\advance\hoehe-.\flowseventeen321mm\relax%
+\ifdim\hoehe>-8.\flowsixtysix mm\repeat\loop\tiefe\hoehe%
+\advance\tiefe-2\pt\flowvrule{\flowptonemm}\hoehe{-\tiefe}%
+\advance\hoehe.\flowseventeen321mm\ifdim\hoehe<\nullpt\repeat\hss}}}%
+}
+\def\flowend{\flowline{\vbox{\flowanfang~\flowanfangv%
+\flowbox{\hss\hoehe\nullpt\loop\tiefe\hoehe\advance\tiefe-2\pt%
+\flowvrule{\flowptonemm}\hoehe{-\tiefe}%
+\advance\hoehe.\flowseventeen321mm\relax%
+\ifdim\hoehe<8.\flowsixtysix mm\repeat\loop\tiefe\hoehe%
+\advance\tiefe-2\pt\flowvrule{\flowptonemm}\hoehe{-\tiefe}%
+\advance\hoehe-.\flowseventeen321mm\ifdim\hoehe>\nullpt\repeat\hss}%
+\kern-\pt\flowbox{\hss\flowvrule{1cm}\pt\nullpt\hss}}}%
+}
+\def\flowisthereablank#1 #2;{\chelp0\if*#2\else\chelp1\fi%
+}
+\def\flowdecide#1#2#3#4{\chelp\flowtwenty0\ifnum\mitte=0\else%
+\chelp2\flowten\fi\advance\chelp\decidelevel\dimen\chelp\vpos%
+\advance\dimen\chelp\entrydist\flowline{\hstroke\flowhalf\hsize%
+\vbox{\hsize\flowhalf\hsize\parindent\nullpt%
+\flowisthereablank#4 *;\setbox1\hbox{#4}\setbox0\hbox{#4}%
+\ifnum\chelp>0\setbox0\vbox{\dimen1.33\hsize%
+\rightskip\nullpt plus1fil minus.2\dimen1\overfullrule\nullpt%
+\leftskip\nullpt plus1fil minus.2\dimen1\hbadness\flowten000%
+\parfillskip\nullpt\chelp\wd1\divide\chelp\dimen1\advance\chelp2%
+\ahelp\flowten0\count2\chelp\advance\count2-1\divide\count2 2%
+\dimen2\flowquarter\dimen1\ifnum\count2>0\divide\dimen2\count2\fi%
+\count3\nullpt\loop\count4\count2\advance\count4-\count3%
+\dimen\ahelp\count4\dimen2\bhelp\ahelp%
+\advance\bhelp1\dimen\bhelp\dimen1\advance\dimen\bhelp-2\dimen\ahelp%
+\ifdim\dimen\ahelp>\nullpt\advance\ahelp2\advance\count3 1%
+\repeat\ifodd\chelp\advance\ahelp1\else\bhelp\ahelp\advance\ahelp2%
+\dimen\ahelp\dimen\bhelp\advance\bhelp1\advance\ahelp1%
+\dimen\ahelp\dimen\bhelp\fi\advance\ahelp1\advance\count3-1\loop%
+\count4\count2\advance\count4-\count3%
+\dimen\ahelp\count4\dimen2\bhelp\ahelp%
+\advance\bhelp1\dimen\bhelp\dimen1\advance\dimen\bhelp-2\dimen\ahelp%
+\ifnum\count3>0\advance\ahelp2\advance\count3-1\repeat%
+\parshape=\chelp%
+\dimen\flowten0\dimen\flowten1\dimen\flowten2\dimen\flowten3%
+\dimen\flowten4\dimen1\flowzerofive\dimen\flowten6\dimen\flowten7%
+\dimen\flowten8\dimen\flowten9\dimen\floweleven0\dimen\floweleven1%
+\dimen\floweleven2\dimen\floweleven3\dimen\floweleven4%
+\dimen\floweleven5\dimen\floweleven6\dimen\floweleven7%
+\dimen\floweleven8\dimen\floweleven9\dimen1\flowtwenty%
+\dimen\flowtwelve1\dimen\flowtwelve2\dimen\flowtwelve3%
+\dimen\flowtwelve4\dimen\flowtwelve5\dimen\flowtwelve6%
+\dimen\flowtwelve7\dimen\flowtwelve8\dimen\flowtwelve9%
+\dimen\flowthirteen0\dimen\flowthirteen1\dimen\flowthirteen2%
+\dimen\flowthirteen3\dimen\flowthirteen4\dimen\flowthirteen5%
+\dimen\flowthirteen6\dimen\flowthirteen7%
+\dimen\flowthirteen8\dimen\flowthirteen9%
+\parindent\nullpt\hsize\dimen1 #4}\fi\relax\ifdim\ht0=\ht1%
+\setbox0\vbox{\hsize\wd1\parindent\nullpt\relax #4}%
+\fi\relax\setbox\floweleven\vbox{\box0\vskip\texts}\offinterlineskip%
+\breite\wd\floweleven\advance\breite2\texts\laenge\ht\floweleven%
+\advance\laenge\dp\floweleven\advance\laenge\texts%
+\advance\breite2\texts\centerline{\vbox{\flowanfangv}}%
+\setbox\flowthirteen\hbox{\hoehe\nullpt\loop\tiefe\hoehe%
+\advance\tiefe-1.\flowfifteen47\pt%
+\flowvrule{\flowptonemm}\hoehe{-\tiefe}%
+\advance\hoehe.\flowzerofive77mm\relax%
+\ifdim\hoehe<.2887\breite\repeat}\hoehe\ht\flowthirteen%
+\setbox14\hbox{\loop\tiefe\hoehe\advance\tiefe-1.\flowfifteen47\pt%
+\flowvrule{\flowptonemm}\hoehe{-\tiefe}%
+\advance\hoehe-.\flowzerofive77mm%
+\ifdim\hoehe>\nullpt\repeat}\setbox\flowfifteen\hbox{#1}%
+\setbox\flowsixteen\hbox{#2}\anstieg\nullpt%
+\ifdim\wd\flowfifteen>\nullpt\anstieg\pt\fi\dimen\flowsixteen\nullpt%
+\ifdim\wd\flowsixteen>\nullpt\dimen\flowsixteen\pt\fi%
+\advance\hstroke-\breite\hbox{\rlap{\kern\flowhalf\hstroke%
+\llap{\raise3\pt\box\flowfifteen\kern3\pt}}%
+\flowvrule{\flowhalf\hstroke}\nullpt\anstieg%
+\flowbox{\hss\copy\flowthirteen\copy14\hss}%
+\flowvrule{\flowhalf\hstroke}\nullpt{\dimen\flowsixteen}%
+\rlap{\kern-\flowhalf\hstroke\kern3\pt\raise3\pt\box\flowsixteen}%
+}\hoehe\ht\floweleven\advance\hoehe-\texts\kern-\flowhalf\hoehe%
+\kern-\flowthreequarter\pt\centerline{\box\floweleven}%
+\kern\flowthreequarter\pt\kern-\flowhalf\hoehe\kern-\texts%
+\kern-1\flowhalf\pt\hbox{\kern\flowhalf\hstroke%
+\flowbox{\hss\copy14\copy\flowthirteen\hss}\kern\flowhalf\hstroke}%
+\centerline{\vbox to\fivemm{\vss\rlap{\kern3\pt #3}\vss}}%
+\vskip-\fivemm}}\chelp\flowtwenty0\ifnum\mitte=0\else\chelp2\flowten\fi%
+\relax\advance\chelp\decidelevel\advance\dimen\chelp\vpos%
+\count1\chelp\advance\count1 \flowtwenty%
+\dimen\count1\vpos\dimen\chelp\flowhalf\dimen\chelp%
+\advance\dimen\count1-\dimen\chelp\advance\decidelevel1%
+}
+\def\flowkreis{%
+\flowrule{3\floweightysix\flowfiftyfive6}%
+{\flowseventeen\flowseventyfive29}%
+\flowrule{425\floweleven0}{2506\flownineteen}%
+\flowrule{459\flowsixtynine2}{3\flowzerofive627}%
+\flowrule{49\floweleven40}{35\floweleven\flowfiftyfive}%
+\flowrule{5\flowtwenty025}{39\flowzerofive34}%
+\flowrule{546\flowseventyfive2}{4254\flowseventyfive}%
+\flowrule{57\flowsixteen24}{45\flowsixtynine96}%
+\flowrule{5948\flowseventyfour}{4\floweightyfive763}%
+\flowrule{61\flowsixtysix\floweightyfive}{5\flowtwelve241}%
+\flowrule{637\flowtwenty5}{5367\flowsixtynine}%
+\flowrule{656\flowfiftyfive5}{\flowfiftyfive9603}%
+\flowrule{6\flowseventyfour836}{580943}%
+\flowrule{\flowsixtynine2\flowthirteen3}{600948}%
+\flowrule{70\floweightyfive\flowseventeen}%
+{6\flownineteen\flowseventyfour8}%
+\flowrule{724\flowzerofive0}{63\flowseventyfour48}%
+\flowrule{\flowseventythree8787}{654\flowthirteen9}%
+\flowrule{\flowseventyfive27\flowseventyfour}{\flowsixtysix9896}%
+\flowrule{7\flowsixtysix\flowzerofive2}%
+{6\floweightyfour7\floweightytwo}%
+\flowrule{77\floweightysix57}%
+{\flowsixtynine88\flowfiftyfive}%
+\flowrule{790622}{7\flowtwelve\flowsixteen2}%
+\flowrule{80\flownineteen\flowseventyfive}{724\flowseventyfour5}%
+\flowrule{8\flowtwelve\flowseventyfour1}%
+{\flowseventythree\flowsixtysix41}%
+\flowrule{\floweightytwo2945}{\flowseventyfour78\floweightyfour}%
+\flowrule{832606}{\flowseventyfive\floweightyfive01}%
+\flowrule{\floweightyfour1\flowseventyfour3}%
+{76\floweightyfive\flowtwenty}%
+\flowrule{\floweightyfive03\flowseventyfour}{777963}%
+\flowrule{\floweightyfive\floweightyfive\flowtwelve}%
+{7\floweightysix\floweightyfive1}%
+\flowrule{8\flowsixtysix\flowseventeen3}{795\flowtwenty3}%
+\flowrule{8\flowseventythree3\flowsixtynine}{803035}%
+\flowrule{880\floweleven1}{8\flowten362}%
+\flowrule{8\floweightysix4\flowten}{8\flowseventeen\flownineteen8}%
+\flowrule{8\flowninetytwo2\flowseventyfour}%
+{\floweightytwo3\flowfiftyfive6}%
+\flowrule{8977\flowthirteen}{\floweightytwo9\flowfortyfour6}%
+\flowrule{902\flowseventythree4}{834877}%
+\flowrule{90\flowseventythree45}{839\floweightysix0}%
+\flowrule{9\floweleven\flowfiftyfive0}%
+{\floweightyfour\flowfortyfour02}%
+\flowrule{9\flowfifteen357}{\floweightyfour\floweightyfive\flowten}%
+\flowrule{9187\flowsixtynine}{\floweightyfive2\flownineteen0}%
+\flowrule{\flowninetytwo\flowseventeen\flowninetytwo}%
+{8\flowfiftyfive\flowfortyfour8}%
+\flowrule{\flowninetytwo\flowfortyfour28}%
+{\floweightyfive\floweightytwo88}%
+\flowrule{\flowninetytwo\flowsixtysix\floweightytwo}%
+{\floweightysix07\flowfifteen}%
+\flowrule{\flowninetytwo8\flowfiftyfive6}%
+{\floweightysix2\flowseventythree3}%
+\flowrule{930\flowzerofive3}{\floweightysix43\flowfortyfour}%
+\flowrule{93\floweleven\flowseventyfour}%
+{\floweightysix\flowfiftyfive50}%
+\flowrule{93\flownineteen\flowtwenty}{8\flowsixtysix353}%
+\flowrule{932293}{8\flowsixtysix\flowseventyfive4}%
+\flowrule{932293}{8\flowsixtysix\flowseventyfive4}%
+\flowrule{93\flownineteen\flowtwenty}{8\flowsixtysix353}%
+\flowrule{93\floweleven\flowseventyfour}%
+{\floweightysix\flowfiftyfive50}%
+\flowrule{930\flowzerofive3}{\floweightysix43\flowfortyfour}%
+\flowrule{\flowninetytwo8\flowfiftyfive6}%
+{\floweightysix2\flowseventythree3}%
+\flowrule{\flowninetytwo\flowsixtysix\floweightytwo}%
+{\floweightysix07\flowsixteen}%
+\flowrule{\flowninetytwo\flowfortyfour28}%
+{\floweightyfive\floweightytwo88}%
+\flowrule{\flowninetytwo\flowseventeen\flowninetytwo}%
+{8\flowfiftyfive\flowfortyfour8}%
+\flowrule{9187\flowsixtynine}{\floweightyfive2\flownineteen0}%
+\flowrule{9\flowfifteen357}{\floweightyfour\floweightyfive\flowten}%
+\flowrule{9\floweleven\flowfiftyfive0}%
+{\floweightyfour\flowfortyfour02}%
+\flowrule{90\flowseventythree45}{839\floweightysix0}%
+\flowrule{902\flowseventythree4}{834878}%
+\flowrule{8977\flowthirteen}{\floweightytwo9\flowfortyfour6}%
+\flowrule{8\flowninetytwo2\flowseventyfour}%
+{\floweightytwo3\flowfiftyfive6}%
+\flowrule{8\floweightysix4\flowten}{8\flowseventeen\flownineteen9}%
+\flowrule{880\floweleven1}{8\flowten362}%
+\flowrule{8\flowseventythree3\flowsixtynine}{803035}%
+\flowrule{8\flowsixtysix1\flowseventyfour}{795\flowtwenty3}%
+\flowrule{\floweightyfive\floweightyfive\flowthirteen}%
+{7\floweightysix\floweightyfive2}%
+\flowrule{\floweightyfive03\flowseventyfour}{777963}%
+\flowrule{\floweightyfour1\flowseventyfour4}%
+{76\floweightyfive\flowtwenty}%
+\flowrule{832606}{\flowseventyfive\floweightyfive02}%
+\flowrule{\floweightytwo2945}{\flowseventyfour78\floweightyfour}%
+\flowrule{8\flowtwelve\flowseventyfour2}%
+{\flowseventythree\flowsixtysix41}%
+\flowrule{80\flownineteen\flowseventyfive}{724\flowseventyfour5}%
+\flowrule{790622}{7\flowtwelve\flowsixteen2}%
+\flowrule{77\floweightysix58}{\flowsixtynine88\flowfiftyfive}%
+\flowrule{7\flowsixtysix\flowzerofive2}{6\floweightyfour783}%
+\flowrule{\flowseventyfive27\flowseventyfive}{\flowsixtysix9896}%
+\flowrule{\flowseventythree8788}{654140}%
+\flowrule{724\flowzerofive1}{63\flowseventyfour49}%
+\flowrule{70\floweightyfive\flowseventeen}%
+{6\flownineteen\flowseventyfour8}%
+\flowrule{\flowsixtynine2\flowthirteen3}{600949}%
+\flowrule{6\flowseventyfour837}{5809\flowfortyfour}%
+\flowrule{656\flowfiftyfive6}{\flowfiftyfive9604}%
+\flowrule{637\flowtwenty6}{536770}%
+\flowrule{61\flowsixtysix\floweightyfive}{5\flowtwelve242}%
+\flowrule{5948\flowseventyfour}{4\floweightyfive764}%
+\flowrule{57\flowsixteen25}{45\flowsixtynine97}%
+\flowrule{546\flowseventyfive3}{425476}%
+\flowrule{5\flowtwenty026}{39\flowzerofive36}%
+\flowrule{49\floweleven41}{35\floweleven57}%
+\flowrule{459\flowsixtynine3}{3\flowzerofive628}%
+\flowrule{425\floweleven1}{250621}%
+\flowrule{3\floweightysix\flowfiftyfive7}%
+{\flowseventeen\flowseventyfive32}%
+}
+\def\flowendcircle#1{\flowline{\vbox{\flowanfang~\flowanfangv%
+\flowflowcircle{#1}}}%
+}
+\def\flowstartcircle#1{\flowline{\vbox{\flowanfang~%
+\flowflowcircle{#1}%
+}}%
+}
+\def\flowflowcircle#1{\flowbox{\hss%
+\def\flowrule##1{\flowvrule{\flowptonemm}{##1sp}{##1sp}}%
+\flowrule{\flowthirteen\flowfifteen23}\flowrule{22\flowsixtysix56}%
+\flowrule{29\floweleven23}\flowrule{342\flowsixtynine0}%
+\def\flowrule##1##2{\flowvrule{\flowptonemm}{##1sp}{-##2sp}}%
+\flowkreis%
+\def\flowrule##1{\flowvrule{\flowptonemm}{##1sp}{##1sp}}%
+\flowrule{342\flowsixtynine2}\flowrule{29\floweleven25}%
+\flowrule{22\flowsixtysix59}\flowrule{\flowthirteen\flowfifteen27}%
+\kern-.96cm%
+\def\flowrule##1##2{\flowvrule{\flowptonemm}{-##2sp}{##1sp}}%
+\flowkreis\kern-.46cm\setbox0\llap{#1\hss}%
+\lower\flowhalf\ht0\copy0\kern5mm\hss}%
+}
+\def\flowchartsnomOre{\def\flowchart{}\def\flowendmiddlepart{}%
+\def\flowleftpart{}\def\flowendleftpart{}\def\flowrightpart{}%
+\def\flowendrightpart{}\def\flowcombine{}\def\flowmark{}%
+\def\flowleftconnect{}\def\flowrightconnect{}\def\flowvrule{}%
+\def\flowconnect{}\def\flowline{}\def\flowoutput{}\def\flowrule{}%
+\def\flowanfang{}\def\flowanfangv{}\def\flowcompute{}%
+\def\flowinput{}\def\flowbox{}\def\flowstart{}\def\flowend{}%
+\def\flowisthereablank{}\def\flowdecide{}\def\flowkreis{}%
+\def\flowendcircle{}\def\flowstartcircle{}\def\flowflowcircle{}%
+\def\flowptonemm{}\def\flowzerofive{}\def\flowten{}\def\floweleven{}%
+\def\flowtwelve{}\def\flowthirteen{}\def\flowfifteen{}%
+\def\flowsixteen{}\def\flowseventeen{}\def\flownineteen{}%
+\def\flowtwenty{}\def\flowfortyfour{}\def\flowfiftyfive{}%
+\def\flowsixtysix{}\def\flowsixtynine{}\def\flowseventythree{}%
+\def\flowseventyfour{}\def\flowseventyfive{}\def\floweightytwo{}%
+\def\floweightyfour{}\def\floweightyfive{}\def\floweightysix{}%
+\def\flowninetytwo{}\def\flowhalf{}\def\flowquarter{}%
+\def\flowthreequarter{}%
+}
+\def\nomoreflowcharts{\flowchartsnomOre\def\flowchartsnomOre{}%
+}
+\endinput
+------------------------------ End of body part 2
diff --git a/info/digests/texline/no14/flow.fg1 b/info/digests/texline/no14/flow.fg1
new file mode 100644
index 0000000000..46ff5a6868
--- /dev/null
+++ b/info/digests/texline/no14/flow.fg1
@@ -0,0 +1,9 @@
+%flow.fg1
+\flowchart{\flowstart\flowinput{$a,b,c$}
+\flowcompute{$d={b^2-4ac}$}
+\flowcompute{$\displaystyle
+x_1={b+\sqrt d\over-2a\strut}$
+% \strut inhibits touching of the two
+% formulae in a vertical arrangement
+$\displaystyle x_2={b-\sqrt d\over-2a}$}
+\flowoutput{$x_1,x_2$}\flowend}
diff --git a/info/digests/texline/no14/flow.fg2 b/info/digests/texline/no14/flow.fg2
new file mode 100644
index 0000000000..c9bd9744c5
--- /dev/null
+++ b/info/digests/texline/no14/flow.fg2
@@ -0,0 +1,9 @@
+%flow.fg2:
+\flowchart{\flowstart\flowinput{$x$}
+\flowdecide{Y}{N}{}{$x<0$}
+\flowendmiddlepart
+\flowleftpart\flowcompute{$|x|=-x$}
+\flowendleftpart
+\flowrightpart\flowcompute{$|x|=x$}
+\flowendrightpart\flowcombine
+\flowoutput{$|x|$}\flowend}
diff --git a/info/digests/texline/no14/flow.fg3 b/info/digests/texline/no14/flow.fg3
new file mode 100644
index 0000000000..51b4135afd
--- /dev/null
+++ b/info/digests/texline/no14/flow.fg3
@@ -0,0 +1,18 @@
+%flow.fg3:
+\centerline{\hsize=1.7\hsize
+\flowchart{\def\b{$\backslash$}
+\flowdecide N{}Y{Study this chart?}%%%%%%%
+\flowcompute{This is \b flowcompute.} %
+\flowmark7 %
+\flowinput{There's also a \b flowinput} %
+\flowoutput{\dots\ and a \b flowoutput.} %
+\flowdecide{}YN{Repeat the I/O part?}%% %
+\flowmark1 % %
+\flowendmiddlepart%%%%%%%%%%%%%%%%%%%%% %
+\flowrightpart %
+\flowconnect7 %
+\flowendrightpart %
+\flowendmiddlepart%%%%%%%%%%%%%%%%%%%%%%%%
+\flowleftpart
+\flowconnect1
+\flowendleftpart}}
diff --git a/info/digests/texline/no14/flow.fg4 b/info/digests/texline/no14/flow.fg4
new file mode 100644
index 0000000000..79fa5a8aa5
--- /dev/null
+++ b/info/digests/texline/no14/flow.fg4
@@ -0,0 +1,26 @@
+%flow fg4:
+\flowchart{\flowstart\flowmark0
+\flowcompute{$F=1$}\flowmark1
+\flowinput{$\quad n\quad$}
+\flowdecide{}{no}{yes}{$n$ integer}
+\flowdecide{$<$}{$=$}{$>$}{$n$ : 0}
+\flowcompute{$i=0$}\flowmark2
+\flowcompute{$i=i+1;$ $F=F\times i$}
+\flowdecide{yes}{}{no}{$i<n$}\flowmark3
+\flowdecide{no}{yes}{}{$F<0$}
+\flowendmiddlepart
+\flowleftpart\flowoutput{$F$}
+\flowdecide{no}{yes}{}{quit?}
+\flowendmiddlepart\flowrightpart
+\flowend\flowendrightpart
+\flowleftpart\flowconnect0\flowendleftpart
+\flowendleftpart\flowrightpart
+\flowoutput{Error message}
+\flowrightconnect0\flowendrightpart
+\flowendmiddlepart
+\flowleftpart\flowconnect2\flowendleftpart
+\flowendmiddlepart\flowrightpart
+\flowconnect3\flowendrightpart
+\flowleftpart\flowconnect1\flowendleftpart
+\flowendmiddlepart\flowrightpart
+\flowconnect1\flowendrightpart}
diff --git a/info/digests/texline/no14/flow.fg5 b/info/digests/texline/no14/flow.fg5
new file mode 100644
index 0000000000..4d81eab9b4
--- /dev/null
+++ b/info/digests/texline/no14/flow.fg5
@@ -0,0 +1,21 @@
+%flow.fg5:
+\centerline{\kern.2\hsize \hsize=.87\hsize
+\flowchart{\flowstartcircle1
+\flowdecide NY{}{skip?}\flowendmiddlepart
+\flowleftpart\flowdecide Y{}N{last atom?}
+\flowmark0\flowmark0\flowmark0\flowmark0
+\flowdecide{}YN{first coordinate?}
+\flowmark0\flowmark0\flowendmiddlepart
+\flowrightpart\flowdecide~~{}{case 1 or 2?}
+\flowendmiddlepart\flowrightpart
+\flowcompute{case 2}\flowendrightpart
+\flowleftpart\flowcompute{case 1}
+\flowendleftpart\flowcombine
+\flowcompute{cases 1 \& 2}
+\flowendcircle4\flowendrightpart
+\flowendmiddlepart
+\flowleftpart\flowcompute{cleanup}
+\flowendcircle3\flowendleftpart
+\flowendleftpart
+\flowrightpart\flowcompute{restore}
+\flowendcircle2\flowendrightpart}}
diff --git a/info/digests/texline/no14/flowchart.tex b/info/digests/texline/no14/flowchart.tex
new file mode 100644
index 0000000000..df17c850f4
--- /dev/null
+++ b/info/digests/texline/no14/flowchart.tex
@@ -0,0 +1,425 @@
+% malcolm,
+% please note that the placement of most figures has to be
+% optimized manually! furthermore, the standard \vsize is
+% assumed for one or two figures.
+% good luck!
+%
+
+\input texline
+\pageno6
+\input flow.def
+\begingroup
+\let\Alisttt\tt
+\let\Alistrm\rm
+\def\uncatcodespecials{\def\do##1{\catcode`##1=12 }\dospecials}
+\def\listing#1{\par\begingroup\setupverbatim\input#1 \endgroup}
+\def\setupverbatim{
+ \Alisttt\lineskip=1truept
+ \lineskiplimit=1truept\topskip=0pt
+ \def\par{\leavevmode\egroup\box0\endgraf}
+ \obeylines \uncatcodespecials \obeyspaces
+ \catcode`\`=\active \catcode`\^^I=\active
+ \everypar{\startbox}}
+\newdimen\w \setbox0=\hbox{\Alisttt\space} \w=8\wd0
+\def\startbox{\setbox0=\hbox\bgroup}
+{\catcode`\^^I=\active
+ \gdef^^I{\leavevmode\egroup
+ \dimen0=\wd0
+ \divide\dimen0 by\w
+ \multiply\dimen0 by\w
+ \advance\dimen0 by\w
+ \wd0=\dimen0 \box0 \startbox}}
+{\obeyspaces\global\let =\ }
+{\catcode`\`=\active \gdef`{\relax\lq}}
+
+\begindoublecolumns
+
+
+\fontdimen16\tensy=2.7pt
+\fontdimen17\tensy=2.7pt
+\fontdimen3\tenbf=4pt
+\fontdimen3\tenrm=4pt
+
+\parskip0pt
+
+
+
+\hyphenation{Theo-re-ti-sche end-insert flow-chart flow-left-con-nect}
+\hyphenation{flow-right-con-nect}
+
+\tracingstats=2
+
+
+{\vfuzz10pt
+\title{\bf Flow charts with \TeX}
+\section{Introduction and connection to plain \TeX}
+The purpose of this contribution is to describe usage and
+limitations of the macro |\flowchart| and a set of secondary
+macros, which allow an easy generation of flow charts (of limited
+complexity) within \TeX. The macros themselves will be described
+in detail elsewhere; they are available from the Aston \TeX\ server
+or directly from the author.
+
+The macros are designed to work in the plain
+\TeX\ environment. No additional font tables are required;
+instead, the printer driver, which converts the \dvi\ file into the
+actual print file, {\it must\/} be able to handle rules correctly.
+
+The command |\flowchart| generates a |vbox|. Although the typical use of this
+|vbox| will be in combination with |\topinsert| and |\endinsert|,
+it may be used in any other box operation. The macros are quite
+economical: |\flowchart| requires 4393 words of \TeX's memory for
+macro definition; most of this memory can be released by the command
+|\nomoreflowcharts|.
+
+The secondary macros mentioned before are intended to be used as
+commands inside the argument of |\flowchart|. In most cases an
+outside use will cause \TeX\ to interrupt and complain about some
+undefined control sequence. If, by chance, all those control
+sequences are also defined outside of |\flowchart|, an {\it
+outside\/} use of the flow chart commands will cause severe
+problemss by changing registers, dimensions, and boxes. By
+exploiting the grouping effect of boxes in \TeX, the outside
+definitions of all control sequences will be restored upon
+completion of |\flowchart|. Some additional macros are used by the
+secondary macros; with the exception of |\nomoreflowcharts|, the
+names of all of these macros are prefixed with `{\tt
+flow}'.\looseness1
+
+\section{Start and stop}
+The commands |\flowstart| and |\flowend| are available for use
+within the argument of |\flowchart| to mark the begin and the end.
+In detail, |\flowchart{\flowstart}| yields
+$$\flowchart{\flowstart}$$
+and |\flowchart{\flowend}| gives
+$$\hphantom.\kern1cm
+\hbox to0cm{\hss\flowchart{\flowend}\hss}\kern1cm.$$
+
+Basically |\flowchart| arranges the individual entries vertically
+and centered without an |\interlineskip| to form a linear stream
+of operations; thus |\flowchart{\flowstart\flowend}| produces
+$$\hphantom.\kern1cm
+\hbox to0cm{\hss\flowchart{\flowstart\flowend}\hss}\kern1cm.$$
+
+The related commands |\flowstartcircle| and |\flowendcircle|,
+produce circles instead of triangles to mark points of
+continuation. Both require one argument, which
+is placed in the centre of the circle. Since one token (digit
+or letter) is sufficient to distinguish different points of
+continuation, the size of the circle is independent of the length
+of the argument. Continuing the previous examples,
+|\flowchart{\flowstartcircle1}| and
+|\flowchart{\flowendcircle{\it The End}}| result in
+$$\hphantom.\kern1cm
+\hbox to0cm{\hss\flowchart{\flowstartcircle1}\hss}
+\hbox to3cm{\hfill and\hfill}
+\hbox to0cm{\hss\flowchart{\flowendcircle{\it The End}}\hss}\kern1cm
+\hbox{.}$$\looseness-1
+
+\section{Basic operations}
+Three commands are available to insert symbols for basic
+operations: |\flowcompute|, |\flowinput|, and |\flowoutput|. Each
+command requires one argument, which must consist of
+`horizontal material'. The argument will be placed in a |hbox|,
+or, if the width of this |hbox| would exceed |0.4\hsize|, it will
+be typeset by \TeX\ as a paragraph with a maximum width of
+|0.4\hsize|. This |hbox| (or paragraph) will be surrounded by a
+properly shaped symbol and placed as the next item in the flow
+chart. To make the text inside the flow chart symbols look nice, it is
+processed with stretchable |\leftskip| and |\rightskip| and zero
+|\parfillskip|. (If this produces unwanted effects, alternate values
+for the named parameters may be specified as part of the
+argument.) An example is shown in %\nextabb,
+Figure~1, demonstrating that the symbols grow with the amount of text
+given.\looseness-1
+
+\section{Decisions}
+%
+Decisions are certainly the most important elements of flow
+charts; within the argument of |\flowchart|, decisions are
+generated with the command |\flowdecide| which requires
+four arguments illustrated by the example
+|\flowchart{\flowdecide{A}{B}{C}{D}}|: \hskip0pt plus1em\relax
+which produces the display
+$$\hphantom.\kern1in\hbox to0cm{%
+\hss\flowchart{\flowdecide{A}{B}{C}{D}}\hss}\kern1in.$$
+}
+\enddoublecolumns
+\eject
+\begindoublecolumns
+
+
+
+{
+\input flow.fg1
+\medskip\noindent
+Figure 1: The flow chart of the solution of the quadratic equation
+$ax^2+bx+c=0$ was generated via
+\smallskip\begingroup\parindent0pt
+\listing{flow.fg1}
+\endgroup
+\medskip
+\hrule}
+
+\medskip
+
+\noindent The first two arguments must be non-empty
+in order to generate the horizontal strokes:
+|\flowchart{\flowdecide{}{B}{C}{D}}|
+yields
+$$\flowchart{\flowdecide{}{B}{C}{D}}$$
+\medskip\noindent
+and |\flowchart{\flowdecide{~}{}{}{D}}|
+gives
+$$\hphantom.\kern2cm\hbox to0cm{%
+\hss\flowchart{\flowdecide{~}{}{}{D}}\hss}\kern2cm.$$
+
+\fontdimen4\tentt=3pt
+The rhombic shape generated by |\flowdecide| grows with the amount
+of text passed as the fourth argument, and the text will be
+typeset as a properly shaped paragraph as shown below. The rhombic
+shape, however, cannot exceed a maximum horizontal size of
+|0.33\hsize|${}+{}$|1truecm|;
+the text therefore has to be cautiously limited
+to fit into the decision symbol.
+\vadjust{$$\centerline{\hsize=2.75\hsize \flowchart{
+\flowdecide{}{}{}{\dots\
+and the text will be typeset as a properly shaped paragraph.}}}$$}%
+(This is especially important for small values of |\hsize|
+like the one used in this double column style. The above display
+was generated with an enlarged |\hsize| value using the
+input\hfil\break
+|$$\centerline{\hsize=2.75\hsize|\hfil\break
+|\flowchart{\flowdecide{}{}{}{...}}}$$|.)
+
+The decision branches the flow chart in a maximum of three parts,
+which will be named `left', `middle', and `right' in the
+following.
+$$\flowchart{\flowdecide~~~~
+\flowcompute{middle}\flowendmiddlepart
+\flowleftpart
+\flowcompute{left}\flowendleftpart
+\flowrightpart
+\flowcompute{right}\flowendrightpart}$$
+
+All items following |\flowdecide| will be placed below the
+decision symbol to form the middle part until the command
+|\flowendmiddlepart| is encountered. After this, the commands
+|\flowleftpart|, |\flowendleftpart|, |\flowrightpart|, and
+|\flowendrightpart| are available to commence and terminate the
+left and the right part after the decision. Left and right part
+may be specified in arbitrary sequence, except in case of
+connections between these parts (see next section).
+
+If the arguments to the basic operations in the various parts are
+not restricted to such short words as in the display above, the
+left or right part will interfere with a middle part, since the
+horizontal strokes of the decision symbol will extend |0.25\hsize|
+left and right from the current stream of operations. Therefore
+the use of either a left and a right part without a middle part is
+recommended, or the use of a middle part in combination with
+backward or forward jumps in the side parts.
+
+\enddoublecolumns
+\eject
+\begindoublecolumns
+
+Left and right parts may be recombined by using the command
+|\flowcombine| after |\flowleftpart| and |\flowrightpart|, as
+shown in Figure 2.
+
+
+\bigskip\hrule\medskip
+\input flow.fg1
+\medskip
+{\catcode`\|=12
+\input flow.fg2
+\medskip\noindent
+Figure 2: This flow chart was generated by the input
+\smallskip\begingroup\parindent0pt
+\listing{flow.fg2}
+\endgroup
+\bigskip
+\hrule}
+
+\medskip
+
+Additional |\flowdecide| commands may follow in any of the parts;
+in such cases the commands |\flowdecide| and |\flowendmiddlepart|,
+as well as |\flowleftpart| and |\flowendleftpart| (and
+|\flowrightpart| and |\flowendrightpart|) act as opening and
+closing operations (like brackets in mathematical equations).
+Figures~3--5 make use of this feature.
+
+
+\section{Jumps}
+The jump definitions are the most tricky part of |\flowchart|,
+designed to make things as simple as possible for the user. Jumps
+are defined with the command |\flowmark| and one of the commands
+|\flowleftconnect|, |\flowrightconnect|, and |\flowconnect|. Each
+of these commands requires one of the ten digits as its argument.
+
+The command |\flowmark|$n$ adds a vertical stroke to the last flow
+chart entry and marks its end as position~$n$ ($0\le n\le9$).
+Positions may be marked in any order, as long as they are defined
+before they are used.
+
+The command |\flowrightconnect|$n$ or
+|\flowleftconnect|\kern0pt$n$ is used {\rm after\/} one of the
+{\it basic operations\/} to produce an arrow pointing to position
+$n$. As indicated by the command name, the arrow will be drawn to
+the left or to the right of the current main stream. For example,
+the input
+|\flowchart{\flowstart \flowmark1 \flowcompute~
+\flowrightconnect1}|
+will produce
+
+\centerline{$\hphantom.$\kern3cm\hbox to0cm{\hss
+\flowchart{\flowstart \flowmark1 \flowcompute~
+\flowrightconnect1}\hss}\kern3cm.}
+\vskip\belowdisplayskip
+The command |\flowconnect| is to be used in the left or the right
+part after a {\it decision\/} only. If given, it must be the only
+command in this specific part. |\flowconnect|$n$ will also result
+in an arrow pointing to position $n$. Although the use of
+|\flowconnect| appears to be rather simple, the definition of flow
+charts with several decisions and jumps may require some planning.
+Figure~3 gives a simple example, Figures~4 and~5 show more complicated
+flow charts.
+
+Figure~5 also shows that repetitive |\flowmark| commands
+can be used to elongate vertical strokes. This may help to avoid
+overlapping entries in those cases in which a combination of a
+middle part and a left or right part after a decision cannot be
+avoided.\looseness-1
+
+\section{Size adjustment}
+In some cases it will be necessary to change the {\it
+horizontal\/} size of the charts generated by |\flowchart|,
+because the macros work expecting a certain maximum width:
+this maximum width is reached by a decision followed by a left and
+a right part, both of which contain additional decisions.
+Figure~5 presents an example of the assumed maximum width.\looseness-1
+
+Flow charts without left or right parts (or with only jumps as
+left or right part) will therefore be limited to |0.5\hsize| and
+may benefit from an enlarged |\hsize| value (demonstrated in
+Figure~3). The opposite is true where the left
+(or right) part after a decision which itself is placed in the
+left (or right) part after a previous decision contains
+operations other than a jump: these will require careful reduction of
+|\hsize| and proper |\kern|ing ({\it cf.{}}
+Figure~5).\looseness-1
+
+
+{\vfill\hrule\medskip
+\input flow.fg1
+}
+\goodbreak
+{\input flow.fg3
+\noindent
+Figure~3: This flow chart was generated by the following input, in
+which the matching commands |\flowdecide| and |\flowendmiddlepart|
+are connected by percent signs.
+\smallskip
+\parindent0pt
+\listing{flow.fg3}
+\medskip\hrule}
+
+\eject
+
+
+
+{\input flow.fg4
+\goodbreak
+\parindent0pt\frenchspacing
+Figure~4: This flow chart was generated by the input
+\smallskip\listing{flow.fg4}
+\bigskip\hrule}%
+
+\bigskip
+Such changes of |\hsize| have to be made outside of |\flowchart|,
+since a number of internal dimensions are derived from |\hsize|
+before the argument of |\flowchart| is processed. The best way
+certainly is to make use of \TeX's rules and limit the range of
+the altered |\hsize| value to a surrounding group.
+The following plain \TeX\ commands, which are of interest in
+combination with |\flowchart|, do this automatically:
+|\centerline|, |\topinsert|\dots\hskip0pt|\endinsert|,
+|\midinsert|\dots\hskip0pt|\endinsert|,
+and |\pageinsert|\dots\hskip0pt|\endinsert|.
+
+The {\it vertical\/} dimension of the |\flowchart| output is
+adjusted automatically using the following procedure. At first,
+|5truemm| are used for two distances: the white space between the
+text in the basic operation boxes and the surrounding box symbols,
+and the distance between individual flow chart entries. If the
+height of the |vbox| generated this way exceeds |\vsize|, the
+chart is re-generated using distances of |4truemm| and eventually
+once more with |3truemm|.
+(Figure~4 exhibits an example of such a reduced size: the initial
+interentry distance of |5truemm| gave a box height of |676.3pt|;
+reduction to |4truemm| diminished the box height to |577.7pt|,
+which is the size actually used in Figure~4.)
+
+\eject
+
+
+
+{\input flow.fg5
+\bigskip
+\noindent
+Figure~5: This flow chart shows a sequence of decisions used in a
+special variant of quantum chemical MO calculations. If processed
+normally, this chart would extend too far to the left. The input used
+to generate the chart, which is reproduced below, takes care of this by
+a |\kern|ing, which compensates the left half of the `cleanup'-box
+(with a maximum width of |0.2\hsize|), and the subsequent definition of
+a new |\hsize| value. This new value was calculated from the width of
+the `skip'-box (which, including both strokes, is |0.5\hsize|),
+the width of the left half of the `last atom'-box (which,
+including the stroke, is |0.25\hsize|), the width of the left and
+the right half of the `cleanup'- and the `restore'-box (which
+both have a maximum value of |0.2\hsize|). This gives a maximum
+total width of |1.15\hsize|, hence |\hsize| was scaled by
+$1 / 1.15 = 0.86956\ldots\,.$}
+\goodbreak
+
+
+{\parindent0pt\frenchspacing
+\listing{flow.fg5}
+\medskip\hrule}
+
+\section{Acknowledgement}
+The author is grateful to the students Michaela Flock and Ulrike
+Seebacher for testing the macro package in the course of writing
+up their diploma works.
+\author{Michael Ramek}
+
+\enddoublecolumns
+\endgroup
+\endinput
+
+
+\bigskip
+
+\smallskip
+Institut f\"ur Physikalische und Theoretische Chemie,
+Technische Universit\"at Graz, \hbox{A--8010} Graz, Austria}
+
+
+\endinput
+\def\kap#1 {\advance\kapno1\goodbreak%
+\vskip 3\bigskipamount\vbox{\bf \setbox0\hbox{\the\kapno. }%
+\parindent\wd0\item{\the\kapno.}#1\bigskip}\nobreak\noindent}
+
+\newcount\abbno\abbno0
+\def\abb{\global\advance\abbno1\noindent Fig.~\the\abbno\thinspace: }
+\def\thisabb{Fig.~\the\abbno}
+\def\nextabb{{\advance\abbno1Fig.~\the\abbno}}
+\def\nextnextabb{{\advance\abbno2Fig.~\the\abbno}}
+\def\nextnextnextabb{{\advance\abbno3Fig.~\the\abbno}}
+\def\nextthreeabb{{\advance\abbno1Figs.~\the\abbno%
+ \advance\abbno2--\the\abbno}}
+\def\nexttwoabb{{\advance\abbno1Figs.~\the\abbno\advance\abbno1\ %
+ and \the\abbno}}
diff --git a/info/digests/texline/no14/fonts.tex b/info/digests/texline/no14/fonts.tex
new file mode 100644
index 0000000000..1f31bb9740
--- /dev/null
+++ b/info/digests/texline/no14/fonts.tex
@@ -0,0 +1,301 @@
+\title{BCS ep group meetings}
+The next meeting of the BCS ep group
+is at the School of Oriental and African Studies (SOAS) in
+London on Wednesday 1st~April and will be
+concerned with `Text Management and
+Indexing', or `how to help the reader find what
+s/he wants'. Topics to be covered will include:
+`The way in' to documents; aspects of indexing
+and indexing software; databases, both text
+and relational; various case studies.
+
+The next two planned meetings will be on
+Thursday 4th June, again at SOAS, when the
+topic will be `Input and Output Devices', and
+Tuesday 2nd September at Nottingham. The
+latter meeting is at the invitation of Professor
+David Brailsford and his Electronic
+Publishing Research Group and will centre on
+the work they are doing. This is mainly in the
+area of document structure. It is planned that,
+as well as speakers from Nottingham, there
+will be other speakers on this topic.
+
+For more details, contact
+
+{\parindent10pt\obeylines
+David Penfold
+BCS ep Office
+30 Edgerton Road
+Huddersfield HD3 3AD
+tel: 0484 519462}
+
+
+\bar
+\title{Typefaces Meeting}
+The BCS Electronic Publishing group held a
+meeting on 15th October 1991 at
+the St Bride Foundation Institute (just
+off Fleet Street), a suitable
+venue in view of its historical relevance to
+printing (unfortunately, not so suitable
+acoustically, with much of the audience
+finding it difficult to hear all the speakers,
+having to deal with poor sound dispersion,
+echoes, and street sounds!).
+
+Alison Black, who is freelance consultant on
+information design, and Paul Stiff of Reading
+University (hence, Stiff\&Black) began, with a talk entitled `Cut the
+Hype about Type'. They looked at a number
+of `received wisdoms', especially those foisted
+on us by manufacturers, and compared these
+with the customers' requirements. For
+example, there is the `democratic fallacy' --
+everyone will be able to have typefaces to suit
+their personal needs. But the problem is
+not enough fonts, but not enough users who
+know how to use those that are already
+available. The manufacturers are not so much
+responding to demand but creating it, to
+produce a world of type-fanciers and type-%
+addicts who will need more and more fonts to
+satisfy their cravings!
+
+James Mosley (St Bride Printing Library)
+took us on what he called 'a brief canter
+through history', tracing the development of
+the Bodoni typeface and the historical
+influences that have a bearing on modern text
+design, including the thick\slash thin stresses that
+arose from using reeds, quills and brushes,
+and the pure geometry of styles on wax.
+Bodoni is characterised by very pronounced
+thicks and thins, which required exceptional
+press work to reproduce well in letterpress;
+offset litho helped to refine them even further.
+
+Mary Dyson (Reading University) updated us
+on the {\sc didot} (Digitising and Designing for
+Type) project. This multinational European
+project has been going for just over a year and
+has another two to run. Its main activity for
+the next two years is to design, implement and
+evaluate a curriculum for digital typography.
+It will also organise
+seminars, workshops and summer schools for
+typographers\slash graphic artists and computer
+specialists, trying to bring these two fields
+together. The computer specialists tend to see
+`digital typography' in terms of type design,
+font acquisition, font manipulation and
+rendering, whereas the typographers tend to
+be interested in the broader context of letter
+spacing, word spacing, leading, line length,
+type area, page margins. Bringing them
+together allows useful exploration of such
+issues as image processing, printing and
+display technology, character recognition,
+curve-fitting techniques, cultural and artistic
+tradition, visual perception, {\sc cad}, and
+knowledge-based systems. To date, {\sc didot}
+seminars have been more successful in
+attracting designers, but later meetings have
+been better balanced.
+
+Probably the most controversial presenation
+was given by Lyn Woosey of Adobe. She
+gamely introduced us to Multiple Mastering
+(MM) which is an extension to Adobe's Type~1
+font format. Instead of using hints and
+encryptions to cope with the problems of
+scaling one master outline font, MM gives you
+different masters for different sizes. This
+doesn't mean you'll have to buy a master for
+every conceivable point size because MM
+allows interpolation between master designs.
+That is, if you buy a 6\,pt master and a 12\,pt
+master but you want 8\,pt, MM will be able to
+produce this by `intelligent interpolation'. But
+interpolation doesn't stop there -- you can
+interpolate between roman and italic,
+condensed and expanded, even serif and san-%
+serif if the font is available in both varieties --
+you name a set of typographic variables and
+you can interpolate to your heart's content, at
+least in principle. Now, it seems only fair to
+point out that this horrified the audience
+rather than gratified them. Remembering
+Alison Black and Paul Stiff's strictures earlier
+in the day, we had visions of font anarchy.
+However, it looks likely that Adobe will not
+give its customers a completely free hand.
+Some practical examples of the uses of MM
+were given, for example, fitting type to measure,
+equalising columns of text translated into
+various languages, simulating character
+widths when there is a need to print from a
+printer not loaded vith the right typeface.
+However, the examples tended to be seen as
+either solvable by other means, of limited
+application, or trivial. The first multiple
+masters should be available early 1992.
+
+Following lunch, Peter Rosenfeld spoke about
+Font Technology and Intelligent Font Scaling.
+Peter works for URW, a German company
+who produce type tools such as Ikarus
+(designing typefaces), Linus (autotracing) and
+Nimbus (intelligent font scaling). They
+digitise about 200 new typefaces a year. Most
+of this is hand-digitised (using a digitising
+tablet) rather than scanned, and most designs
+are created manually rather than designed on
+screen. (Screens are not accurate enough, and
+a design takes longer, especially if corrections
+are required.)
+
+The day ended with Glenn Jones giving a
+fascinating account of the effect of desktop
+publishing on his
+company (GBM), an advertising typesetting
+house in Manchester. This used to be a
+Berthold house, and resisted moving to
+Macintoshes initially because of the lower
+quality. However, Macintoshes allowed access
+to a much wider type library and the ability to
+create one's own type, which is very important
+in this market. Berthold were dragging their
+feet, so the plunge to Macs was made. Two
+years ago, there were ten advertising
+typesetters in Manchester, all Berthold; now
+there are two, both using Macs. Their work
+has diversified, so that in addition to
+typesetting, they now also offer bureau work
+and font digitisation. They are very pleased to
+find that, as the requirement for trade
+typesetting has declined (with the recession
+hitting advertising badly, and many companies
+now producing their own adverts), they have
+found a future that builds upon their previous
+experience.
+
+The formal part of the meeting ended with a
+lively question-and-answer session, following
+which all attendees were kindly invited by
+James Mosley to take a look around the
+Printing Library -- a wonderful opportuniy to
+see some mediaeval digitisation, interpolated
+on the fly!\author{Cliff Morgan}
+
+\bar\title{Update on Didot}
+With the {\sc didot} (Digitising and Designing of
+Type) project now in its second year, it must
+be time to look at some of the past
+activities.
+
+We should remind ourselves of the
+aims of this three year, {\sc comett ii} project.
+These are to:
+\bitem design, implement and evaluate a
+curriculum for digital typography,
+\bitem organise seminars\slash workshops for
+typographers\slash graphic artists and
+computer specialists;
+\bitem publish and distribute information.
+
+The main activities to date have been:
+ 1990,18th--19th September, Introduction to
+\PS, held in Lausanne; 23 October,
+Presentation of {\sc didot} project, also in
+Lausanne; 4 December, Fonts, in Paris.
+1991: 28th February--1st March, Type design:
+radition and innovation, held in Reading;
+23rd--28th September, First European Summer
+School in Digital Typography, in Lausanne,
+yet again.
+
+In more detail, the 1991 activities started off
+with a seminar\slash workshop at Reading University.
+We worked together with our partners at
+Basel, Sch\"ule f\"ur Gestaltung, and with the UK
+Associate of URW to put on this
+seminar\slash workshop. The main purpose of this
+workshop was to explore ways of introducing
+people to some of the issues surrounding
+letterform design.
+
+Workshop activities ranged from exercises in
+producing letterforms by making marks on
+paper, to demonstrations of type production
+methods. The traditional methods of punch
+cutting, matrix making and type casting were
+contrasted with computer-based methods,
+IkarusM.
+
+Seminars dealt with the concept of a
+workshop, in conjunction with workshop
+activities. There were also lectures which gave
+us an insight into the major influences on the
+development of the letterform, and a view of
+what digital techniques have done to the
+relationship between designer, production
+method and final result.
+
+We were hoping to meet designers, educators,
+and computer scientists, but the 30
+participants were mostly from backgrounds of
+type design or production, and education.
+Despite this bias, the meeting did bring
+together an unlikely mix of people, and an
+unusual juxtaposition of old and new
+technologies. The problem with mixing
+people in this way is that we don't know how
+to talk to each other. The language of the
+seminars was not the normal language of
+computer scientists. But, we hope that {\sc didot}
+and more of these meetings will break down
+these barriers.
+
+The next activity, the Lausanne Summer School was a larger
+scale affair, lasting a week, with about fifty
+participants. Activities spanned technical
+talks, talks combined with workshops,
+computer-aided type design workshops, and
+lectures on relaed issues. If we chose to be
+technical in the mornings, we learned about
+font metrics, rasterisation grid fitting
+techniques, splines, autohinting, font
+descriptions, autotracing, and type forms for
+grey scale. If we preferred getting our hands
+on mice and keyboards, we were given
+opportunities with workshops on
+Fontographer, {\sc Typo}, Ikarus, the design of
+grey level fonts, or grappling with complexity
+in font design.
+
+Because of the choice provided in the
+programme, a sense of frustration did develop
+amongst those people who wished to do all
+things. But a very positive aspect of the week
+was the flexible organisation. In response to
+demand, we were offered mini workshops to
+enable us to sample virtually all the systems.
+The only difficulty remaining was to decide
+whether to wear a technical hat or a design
+hat. Don't we wear the one that we know fits
+us well, so that we don't have to struggle in the
+wind? Yes, there we were in our niches,
+confirming the need for the {\sc didot} project.
+
+
+If you would like to be added to the database
+of those interested in the project, you can
+contact Jacques Andr\'e directly (project
+coordinator) or I will pass on your details:
+Jacques Andr\'e (email: {\tt jandre@irisa.fr}).
+\author{Mary Dyson}
+
+
+
+\endinput
diff --git a/info/digests/texline/no14/frankie.tex b/info/digests/texline/no14/frankie.tex
new file mode 100644
index 0000000000..8f192a17d0
--- /dev/null
+++ b/info/digests/texline/no14/frankie.tex
@@ -0,0 +1,417 @@
+\font\sfviii cmss10 at8pt
+\def\LaTeXsf{{\sf L\kern-.36em\raise.35ex\hbox{\sfviii A}\kern-.15em
+ T\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}}
+
+
+\title{\LaTeXbf2.09$\rightarrow$\LaTeXbf3}
+Asked to speak about \LaTeX2.09$\rightarrow$\LaTeX3 I will
+try to give a you a picture of the history, the current
+state, and the future of the \LaTeX3 project.
+
+\section{Historical Remarks}
+Whenever the future is somewhat unpredictable it
+seems wise to take a look into history -- to find out
+what has already been achieved and what remains to be
+tackled.
+
+From the history of the \LaTeX3 project we
+will first take a look at the growing bulk of syntax
+descriptions and (partial) implementations that are
+the results of three years' work.
+
+\setbox0\vbox{\sf
+\halign{\vrule~#~\hfil&\strut#\hfil~\vrule\cr
+\noalign{\hrule}
+\multispan2{\vrule\strut\hfil Milestones:\hfil\vrule }\cr
+\multispan2{\vrule\strut\hfil Syntax and implementation\hfil\vrule}\cr
+\noalign{\hrule}
+1988&Some bug fixes send to Dr Lamport\cr
+&Four page sketch of NFSS\cr
+&\hfill(New Font Selection Scheme)\cr
+1989&First implementation of NFSS\cr
+1990&New tabular implementation by D Duchier\cr
+&First attribute prototype (thrown
+away)\cr
+&First kernel prototype\cr
+&First recovery/help prototype\cr
+1991&Second kernel prototype\cr
+&Sketches for style designer interface\cr
+&Second description of the attribute
+concept\cr
+&Extended description of the help
+facility\cr
+&Syntax for extended NFSS\cr
+&Third kernel prototype\cr
+&Release of \LaTeXsf2.09 international with\cr
+&\hfill NFSS support\cr
+\noalign{\hrule}}}
+
+\smallskip
+\hbox to\hsize{\hfil\copy0\hfil}
+\smallskip
+The \LaTeX3 project was initiated at the Stanford
+annual meeting in 1989. But the first vague plans were
+already formulated in 1988 when Rainer Sch\"opf and
+I, after sending several pages of bug fixes for \LaTeX2.09
+to Leslie Lamport, received a positive answer.
+
+Given the original goals for a reimplementation
+described in the Stanford paper, nearly everything
+seems to have been achieved.
+\bitem NFSS provides a far more general font
+selection. The extended syntax
+also provides for font scaling (a prototype
+implementation has been completed).
+\bitem The mathematical capabilities
+of \LaTeX\ have reached the standard
+of \AmSTeX\ with {\tt amstex.sty}.
+\bitem Tabular processing has reached very high
+quality with the new tabular implementation by
+Denys Duchier (superceding {\tt array.sty})
+and valuable suggestions by several others.
+\bitem The new help/recovery concepts give a safe
+and easy-to-learn environment
+for novice users.
+\bitem The partially finished concept for
+specifying attributes to environments and
+functions, provides a more flexible input language. This
+also allows easy conversion from SGML to \LaTeX3 DTDs.
+
+How did this happen?
+
+\setbox0\vbox{\sf\halign{\vrule~#~\hfil&#~\strut\hfil\vrule\cr
+\noalign{\hrule}
+\multispan2{\vrule\strut\hfil Milestones:\hfil\vrule}\cr
+\multispan2{\vrule\strut\hfil Meetings, Workshops and
+Correspondence\hfil\vrule}\cr
+\noalign{\hrule}
+1988&Non-flame answer from Dr. Lamport\cr
+1989&Talk in Stanford\cr
+&Meetings with Leslie in Stanford\cr
+&Talks in Karlsruhe\cr
+1990&Mega-bytes of email correspondence\cr
+&Working week in Mainz with Leslie\cr
+&Talk in Cork\cr
+1991&More mega-bytes of email correspondence\cr
+&Workshop in London\cr
+&Meeting with Leslie and Chris Rowley\cr
+&\hfill in London\cr
+&Workshop in Dedham\cr
+&Working week in Providence with\cr
+&\hfill Chris and Michael Downes\cr
+&Working week in Mainz with Chris\cr
+\noalign{\hrule}}}
+
+\smallskip
+\hbox to\hsize{\hfil\copy0\hfil}
+\smallskip
+All this work has been carried out in the free time
+of several individuals and involves, as you can see,
+some enthusiasm to keep the project alive. So far,
+more than thirty people have contributed in one
+way or the other.
+
+One of the major problems is to bring people
+together to discuss the open questions and find new
+solutions. This must also involve people outside the
+project since we need the opinion and experience
+of typesetters, publishers, etc.\ to eliminate the flaws
+in the system and find new and better
+solutions.\looseness-1
+
+In this regard both the London and the Dedham
+workshops have been a great success but further
+workshops of this kind are definitely necessary to
+provide \LaTeX3 with a suitable designer interface.
+
+So why is it that we feel that this project is still
+at its beginning? Because we have learned that our
+original goals have not yet touched the real problems as
+we now see them.
+
+\section{Change of focus}
+We now feel that one does not gain much by providing
+further specialized style files to solve this
+or that special problem. Instead, we think that
+the major effort in the future has to go into the
+design of a suitable style interface to allow easy
+implementation of various layouts. (Easy, of course,
+is relative: easy compared to the complexity of the
+task.)
+
+This change of focus implies:
+\bitem The development of a new internal language
+that is more suited to
+express visual components of the layout process.
+\bitem The development of high-level generic functions
+that allow expression of most
+commonly used layout components in an easy way.
+\bitem The development of a model for specifying
+and modifying parameters that influence
+the layout.
+
+Since the syntax for this internal language is
+still changing on a daily basis and generic functions
+mostly depend on it, I like to concentrate here on
+the model for parameter setting.
+
+\medskip
+{\offinterlineskip
+\halign to\hsize{\sl#\hfil\tabskip0pt plus1fil
+ &\tabskip0pt\vrule\quad\hfil\it#%
+ &\quad\sf#\enspace\hfil\strut\vrule\cr
+&\multispan2{\hrulefill}\cr
+&i&document context\cr
+&ii&section context\cr
+Context&iii&heading context\cr
+&iv&title context\cr
+&v&number context\cr
+&\multispan2{\hrulefill}\cr
+}}
+\smallskip
+
+\noindent The `context' concept encapsulates our main idea for
+maintaining parameters in the \LaTeX3 system.
+
+On every point in the document we are in
+some context that is given by the the nesting and
+sequencing of entities processed so far.
+
+The major idea of the new system is to allow
+the specification of parameters within such contexts
+in a very general way. For example, it is possible
+to redefine the behavior of lists within footnotes
+by specifying the values of list-parameters in the
+context of `footnotes' differently from those applied
+in the context of, say `floats'.
+
+Parameter is meant in a very general way,
+for example, the code that some entity runs is internally a
+parameter, so that via this concept different generic
+functions can be run in different contexts.
+\smallskip
+\setbox0\vbox{\sf\hsize0.9\hsize
+\hbox to\hsize{\hfil The concept of a context\strut\hfil}
+\hbox to\hsize{\hfil Some observations\hfil}
+\bitem The nesting of entities forms the major component
+for describing layout via contexts.
+\bitem The specification of layout by a sequence
+of contexts is important.
+\bitem The context of some entity in a document is
+not simply given by nesting and sequencing
+of surrounding entities.
+\bitem The context of some entity has a logical and
+a visual component. The visual component
+depends on the formatting of other entities.\strut}
+
+\smallskip
+\hbox to\hsize{\sf \hfil\vbox{\halign{\vrule\enspace#\enspace\vrule\cr
+\noalign{\hrule}
+\copy0\cr
+\noalign{\hrule}}}\hfil}
+\smallskip
+
+As a further example, the layout attributes for a
+table entity in a float may be different than for
+tables in the main text.
+
+Sequencing is, for example, important in
+heading$\rightarrow$heading situations where intermediate
+spacing and penalties change if headings follow
+directly after each other, in list$\rightarrow$text/par situations
+and many other places.
+
+Take, for example, the situation of some
+footnote or float that appears in a list and itself
+contains a list. Because of an improper handling
+of contexts in the current \LaTeX\ the inner list is
+typeset as a second level list. In other words an
+entity must be able to (partially) forget about
+its context, or more generally must be able to
+manipulate its context.
+
+The fourth point is of a theoretical nature. All of
+the currently available formatters format document
+entities in a predetermined visual context, that is, they
+assume that the visual context can be determined
+by the logical nesting and sequencing of entities. To
+a certain extent \TeX\ is an exception as it applies
+dynamic programming to the process of paragraph
+formatting which involve recomputation of contexts
+for ligatures etc.
+As an example for the wrong visual context
+consider a hyphen at the end of a page, that is
+avoided by \TeX\ by moving the line instead of
+recomputing the paragraph.
+
+\setbox0\vbox{\sf
+\hsize0.9\hsize
+\hbox to \hsize{\hfil The concept of a context\strut\hfil}
+\hbox to \hsize{\hfil Some problems\hfil}
+\bitem The user input is not at normalized
+document -- it may contain hidden entities
+inside of user-defined shorthands that can
+not be prescanned easily.
+\bitem The specification of contexts by sequencing
+is important but partially restricted by the
+underlying \TeX\ engine.
+\bitem Taking the visual component of contexts
+into account requires the use of a multi-pass
+system.\strut}
+
+\smallskip
+\hbox to\hsize{\hfil\vbox{\halign{\vrule\enspace#\enspace\vrule\cr
+\noalign{\hrule}
+\copy0\cr
+\noalign{\hrule}}}\hfil}
+\smallskip
+
+The problem here is that we do not deal with
+normalized documents (where every entity is fully
+tagged) and therefore can not scan for further begin
+or end tags before we start typesetting. This means
+that certain decisions have to be taken without
+knowing what follows. The only solutions to this
+problem are
+\bitem dissallow the use of user defined shorthands
+
+\bitem the use of a two-pass system that normalize
+the document in the first pass
+
+\bitem the use of a multi-pass system that use
+sequencing information from the last run.
+
+None of the solutions seem to be feasible for a
+system that uses \TeX\ as the input language but
+should be explored further.
+
+Deferring the typesetting process is generally
+possible in \TeX's vertical mode where we can wait
+for the next |\everypar| to regain control.
+
+But \TeX\ has no built in mechanism to detect
+whether plain character material after a given
+point is about to be contributed to some horizontal
+list. Only after material has been contributed to
+the horizontal list can one deduce this fact by
+`dirty tricks' with special kerns. But this can be
+used only for interrupting a context sequence --
+the contributed material can not be manipulated
+further.
+
+This will draw the boundary (beside processing
+time) between the ideal model and the real world.
+So let us now turn to the question of how this
+context-model is placed within the \LaTeX\ system.
+
+\section{The Structure of the \LaTeXsl3 System}
+There are many interwoven structures of the
+\LaTeX3 system that are worth talking about. In
+the following I will show how the results already achieved
+and the ideas about contexts fit together in
+an extensible modular system.
+
+The \LaTeX3 system will consist of a kernel
+system that provides the basic data structures such
+as lists, stacks, etc.\ to program higher modules. It
+will also contain arithmetic functions for integers
+and dimensions, for example, it will be possible to express
+relationships between individual parameters by
+specifying assignments that contain expressions.
+\smallskip
+
+{\hrule
+\sf\centerline{\strut The Structure of the \LaTeXsf3 System}
+\centerline{System}
+\smallskip
+{\font\sfbig cmss17\sf
+\input l_pic
+\input l_frame
+\unitlength4mm
+\picture(16,12)(-0.5,0)
+
+\put(0,9){\framebox(4,3){\shortstack[l]{Help\\system}}}
+\put(6,9){\framebox(4,3){\shortstack[l]{Generic-\\functions}}}
+\put(12,9){\framebox(4,3){\shortstack[l]{Style-\\designer\\language}}}
+
+\put(2,4){\framebox(6,4){\shortstack[l]{\sfbig Kernel\\\sfbig system}}}
+\put(10,4.5){\framebox(6,3){\shortstack[l]{Parameter\\database}}}
+
+\put(0,0){\dashbox(4,3){}}
+\put(6,0){\dashbox(4,3){}}
+\put(12,0){\dashbox(4,3){}}
+
+\endpicture}
+\smallskip
+\hrule}
+\smallskip
+On top of the kernel are built manipulation functions for the
+parameter database and generic functions.
+They form the platform for the style designer
+language.
+
+One important component of the system will
+be an interactive help system that allows extensive
+help texts as well as the possibility to define system
+reaction depending on user action. Help messages
+and such additional error-correcting code will be
+held in external files that are read in when an
+error is detected by the system. In this way an
+elaborate help and error correcting mechanism
+will be available while keeping the \LaTeX3 kernel
+compact.
+
+We distinguish between document styles that
+are written in the style designer language (and
+will probably contain nearly no \TeX\ code in the
+traditional sense) and additional modules that
+provide entities for specialized documents. This will
+include, for example, higher math and we hope that
+we can provide a programming interface with the new kernel,
+one that makes the development of further
+modules a possible task.
+
+Let me close with this quotation from some
+unknown novice of \LaTeX.\smallskip
+
+\setbox0\vbox{\hsize0.9\hsize\sf\narrower\noindent
+\strut Dear Sir,
+
+\noindent
+I have successfully installed \LaTeXsf\ from the
+distribution -- the file {\tt sample} has just been printed.
+However, somewhere in the {\tt readme} files
+a similar program called \TeX\ is mentioned.
+Could you please explain to me how to install
+this program?\dots\smallskip}
+
+\hbox to\hsize{\sf \hfil\vbox{\halign{\vrule\enspace#\enspace\vrule\cr
+\noalign{\hrule}
+\copy0\cr
+\noalign{\hrule}}}\hfil}
+
+\noindent
+At first this might sound funny, but this extreme is
+not so far from reality.
+
+\bitem Today, there are not many users who have a
+deep understanding of the underlying
+system structure.
+
+\bitem Today, the majority of users use \LaTeX\
+only. They usually have no knowledge of
+the \TeX book. This class of users can be
+nicely classified as `has heard of {\sl macros},
+but has never seen one'.
+
+\TeX\ and \LaTeX\ as its major front-end has
+to compete with the so called Desktop Publishing
+systems. To keep them alive we have to bridge
+the gap between the `implementor\slash wizard' type
+of user of the '80s and the new type who uses
+the system just as one tool out of many, without
+understanding its internals.
+
+With the \LaTeX3 project we hope to achieve
+this goal -- as far as the front end is concerned.
+\author{Frank Mittelbach}
diff --git a/info/digests/texline/no14/good-guys.tex b/info/digests/texline/no14/good-guys.tex
new file mode 100644
index 0000000000..25c081539b
--- /dev/null
+++ b/info/digests/texline/no14/good-guys.tex
@@ -0,0 +1,90 @@
+\title{Good Guys}
+{\obeylines\parindent0pt\parskip0pt
+\vbox{Peter Abbott
+Computing Services
+University of Aston, Aston Triangle
+Birmingham, B4 7ET, UK
+{\tt pabbott@uk.ac.aston}}
+\medskip\goodbreak
+\vbox{Alison Black
+7 The Ridgeway
+Caversham
+Reading RG4 8NX, UK}
+\medskip\goodbreak
+\vbox{Peter Cameron
+School of Mathematical Sciences
+Queen Mary \& Westfield College
+Mile End Road
+London E1 4NS, UK
+{\tt pjc@uk.ac.qmw.maths}}
+\medskip\goodbreak
+\vbox{Mary Dyson
+Department of Typography \&
+\quad Graphic Communication
+University of Reading
+PO Box 239
+Reading RG6 2AU, UK
+{\tt ltsdyson@uk.ac.reading.susssys1}}
+\medskip\goodbreak
+\vbox{Victor Eijkhout
+Dept of Computer Science
+107 Ayers Hall
+University of Tennessee at Knoxville
+Knoxville, TN 37996-1301, USA
+{\tt eijkhout@cs.utk.edu}}
+\medskip\goodbreak
+\vbox{Doug Henderson
+Blue Sky Research
+534 SW Third Avenue
+Portland, Oregon 97204, USA
+{\tt dlatex@earn.ucbcmsa}}
+\medskip\goodbreak
+\vbox{Mimi Jett
+ETP Services Co
+2906 NE Glisan
+Portland, Oregon 97232, USA
+{\tt mimi@etp.com}}
+\medskip\goodbreak
+\vbox{Frank Mittelbach
+EDS
+Eisenstra\ss e 56 N15
+D6090 R\"usselheim, Germany
+{\tt mittelbach@de.uni-mainz.zdv.mzdmza}}
+\medskip\goodbreak
+\vbox{Cliff Morgan
+John Wiley \& Sons
+Baffins Lane
+Chichester
+West Sussex PO19 1UD, UK
+0243 779777}
+\medskip\goodbreak
+\vbox{Michael Ramek
+Institut f\"ur Physikalische
+\quad und Theoretische Chemie
+Technische Universit\"at Graz
+\hbox{A--8010} Graz, Austria
+{\tt ramek@at.ada.tu-graz.kop}}
+\medskip\goodbreak
+\vbox{David F Rogers
+Department of the Navy
+United States Military Academy
+Annapolis
+Maryland 21402-5000, USA
+{\tt dfr@usna.navy.mil}}
+\medskip\goodbreak
+\vbox{Joachim Schrod
+Detig$\,\cdot\,$Schrod \TeX{}sys
+Kranichweg 1
+D-6074 R\"odermark, Germany
+{\tt xitijsch@ddathd21.bitnet}}
+\medskip\goodbreak
+\vbox{Philip Taylor
+Computer Centre, RHBNC
+Egham Hill, Egham
+Surrey TW20 0EX, UK
+{\tt p.taylor@uk.ac.rhbnc.vax}\strut}
+}
+
+
+
+\endinput
diff --git a/info/digests/texline/no14/goodguys.tex b/info/digests/texline/no14/goodguys.tex
new file mode 100644
index 0000000000..25c081539b
--- /dev/null
+++ b/info/digests/texline/no14/goodguys.tex
@@ -0,0 +1,90 @@
+\title{Good Guys}
+{\obeylines\parindent0pt\parskip0pt
+\vbox{Peter Abbott
+Computing Services
+University of Aston, Aston Triangle
+Birmingham, B4 7ET, UK
+{\tt pabbott@uk.ac.aston}}
+\medskip\goodbreak
+\vbox{Alison Black
+7 The Ridgeway
+Caversham
+Reading RG4 8NX, UK}
+\medskip\goodbreak
+\vbox{Peter Cameron
+School of Mathematical Sciences
+Queen Mary \& Westfield College
+Mile End Road
+London E1 4NS, UK
+{\tt pjc@uk.ac.qmw.maths}}
+\medskip\goodbreak
+\vbox{Mary Dyson
+Department of Typography \&
+\quad Graphic Communication
+University of Reading
+PO Box 239
+Reading RG6 2AU, UK
+{\tt ltsdyson@uk.ac.reading.susssys1}}
+\medskip\goodbreak
+\vbox{Victor Eijkhout
+Dept of Computer Science
+107 Ayers Hall
+University of Tennessee at Knoxville
+Knoxville, TN 37996-1301, USA
+{\tt eijkhout@cs.utk.edu}}
+\medskip\goodbreak
+\vbox{Doug Henderson
+Blue Sky Research
+534 SW Third Avenue
+Portland, Oregon 97204, USA
+{\tt dlatex@earn.ucbcmsa}}
+\medskip\goodbreak
+\vbox{Mimi Jett
+ETP Services Co
+2906 NE Glisan
+Portland, Oregon 97232, USA
+{\tt mimi@etp.com}}
+\medskip\goodbreak
+\vbox{Frank Mittelbach
+EDS
+Eisenstra\ss e 56 N15
+D6090 R\"usselheim, Germany
+{\tt mittelbach@de.uni-mainz.zdv.mzdmza}}
+\medskip\goodbreak
+\vbox{Cliff Morgan
+John Wiley \& Sons
+Baffins Lane
+Chichester
+West Sussex PO19 1UD, UK
+0243 779777}
+\medskip\goodbreak
+\vbox{Michael Ramek
+Institut f\"ur Physikalische
+\quad und Theoretische Chemie
+Technische Universit\"at Graz
+\hbox{A--8010} Graz, Austria
+{\tt ramek@at.ada.tu-graz.kop}}
+\medskip\goodbreak
+\vbox{David F Rogers
+Department of the Navy
+United States Military Academy
+Annapolis
+Maryland 21402-5000, USA
+{\tt dfr@usna.navy.mil}}
+\medskip\goodbreak
+\vbox{Joachim Schrod
+Detig$\,\cdot\,$Schrod \TeX{}sys
+Kranichweg 1
+D-6074 R\"odermark, Germany
+{\tt xitijsch@ddathd21.bitnet}}
+\medskip\goodbreak
+\vbox{Philip Taylor
+Computer Centre, RHBNC
+Egham Hill, Egham
+Surrey TW20 0EX, UK
+{\tt p.taylor@uk.ac.rhbnc.vax}\strut}
+}
+
+
+
+\endinput
diff --git a/info/digests/texline/no14/gut.tex b/info/digests/texline/no14/gut.tex
new file mode 100644
index 0000000000..c7b9d62dd6
--- /dev/null
+++ b/info/digests/texline/no14/gut.tex
@@ -0,0 +1,276 @@
+\def\gut#1:#2:#3*#4.{\smallskip\noindent {\it #1\/}: #2, pp.#4:
+#3\smallskip}
+\catcode`\<=\active
+\def<{%
+\ifmmode\ll\else\leavevmode\raise1pt\hbox{$\scriptscriptstyle\ll$}\fi}
+\catcode`\>=\active
+\def>{%
+\ifmmode\gg\else\leavevmode\raise1pt\hbox{$\scriptscriptstyle\gg$}\fi}
+
+\centerline{\bf Cahiers GUTenberg}
+\centerline{\bf Summaries from Number 9, July 1991:}
+\gut Polices, \TeX\ et Cie: Alain Cousquer \& \'Eric
+Picheral: The purpose of this paper is to introduce the
+principles of the handling of the fonts in \TeX\ together
+with their usage, and the pattern of the fonts which is
+more straightforward than in \PS. We also explain the
+complex mechanisms of selection which do not usually
+appear, and finally we present virtual fonts as well as
+various files used with \TeX.*3--31.
+
+\gut Lucida, une fonte compl\`ete pour \LaTeXsl, et son
+installation: Philippe Louarn: This paper presents an
+experimentation of using the font Lucida and its math
+extension inside \LaTeX\ documents. We explain our
+choice, and we show benefits, and also disadvanages, of
+this choice. The last part of the paper is a brief
+summary ofthe installation procedure.*32--40.
+
+\gut The Economist polit ses polices: Olivier Nicole
+(translator): In its issue dated May 25th, The Economist
+devoted a full spread to the reasons behind its change of
+type face. The British economic weekly magazine's effort
+at giving full information on a `face lift' that may go
+unnoticed by most readers illustrates a trend which is
+about to revolutionize the publishing trades.*41--48.
+
+\gut Grif et l'\'edition de documents structur\'es:
+nouveaux d\'eveloppements: Vincent Quint, Ir\`ene
+Vatton, Jacques Andr\'e \& H\'el\`ene Richy: Grif is an
+interactive system for the production and viewing of
+structured documents. It allows manipulation of complex
+documents containing mathematical formulas, tables,
+schemas, etc., placing the stress on the logical
+organisation of the documents. This article presents the
+pricipal characteristics of the system in its present
+state and highlights the line of its future
+development.*49--65.
+
+\gut Typographie du jeu d'\'echecs: Henry Thomas:
+Presents different solutions for typesetting chess, in
+\LaTeX, \PS, and Macintosh specific applications.*66--73.
+
+\gut Star-\TeX: Andr\'e Heck: \TeX\ and \LaTeX\ have been
+used from the beginning and are still extensively used by
+astronomers and space scientists around the world for
+their mail, for writing papers, for putting together
+newsletters, proceedings, reports, books and so on. Some
+publishers have also set up their own sets of macros for
+journals and\slash or book series. It seems however that
+there is a tendency to pull out of \TeX\ and go towards
+more user friendly systems.*75--78.
+
+\gut Quand \TeX\ rencontre Mozart\dots: Yannis
+Haralambous: A report of the \Dante\ meeting held in
+Vienna on 20th--22nd February 1991.*79--81.
+
+\gut L'association\dots\ fait la force: Bernard Gaulle:
+The recent events in the {\La}\TeX\ world like the work
+on fonts with 256 characters or the first book published
+by \GUTenberg\ or lastly the preparation of the 6th
+European \TeX\ Conference, demonstrate the usefuleness
+and the benefit of the association of people working in a
+team. This article ends with a call for
+volunteers.*83--85.
+
+\medskip
+\centerline{\bf Summaries from Number 10--11,}
+\centerline{\bf September 1991:} \smallskip
+\gut Russian \TeX: Basil Malyshev, Alaxander Samarin \&
+Dimitri Vulis: This article presents the \TeX\ extension
+for processing the russian texts. Russian \TeX\ is based
+on version 3.0 and virtual fonts. The different coding
+schemes for russian characters are allowed.*1--6.
+
+
+\gut \TeX niques in Siberia: Theo Jurriens: This article
+summarizes the problems of giving a \LaTeX\ course in
+Siberia. It concludes with an overview concerning the
+future of \TeX\ inside the USSR.*7--13.
+
+
+\gut \TeX\ and Africa: J\"org Knappen: At the present
+time, \TeX\ is not usable for typesetting many african
+languages. They use special letters which do not occur in
+the standard fonts (and are not included in the
+ec-scheme). The letters used in the major languages of
+africa can be put into {\it one} font. A font encoding
+scheme (fc) and some \MF\ code is prepared. There is some
+work in progress on hausa \TeX.*15--24.
+
+
+\gut Vers une version arabis\'ee de \TeX: Oussama
+Boughaba, Seifeddine Boutalbi \& Michel Fanton: This
+paper presents the state of development of an arabicized
+version of \TeX.*25--44.
+
+\gut \TeX\ integrated shell for IBM pc: Basil Malyshev \&
+Alexander Samarin: This article presents the \TeX\
+Integerated Shell (TIS) -- special environment for \TeX\
+on IBM pc to conceal some problems from an ordinary user.
+TIS contains the screen interface for different actions
+during \TeX ing. It can be configured to satisfy the
+user's requirements and hardwre and software conditions.
+It downloads only the files to be used, in particular,
+pixel font files are required for a given \dvi\
+file.*45--55.
+
+\gut Automatic generation of virtual fonts with accented
+letters of \TeX: Ji\v r\'\i\ Zlatu\v ska: This paper
+presents an approach towards deriving fonts with accented
+letters for European languages using virtual fonts as an
+alternative to the development of genuine new fonts in
+the \MF. The {\tt accents} processor is presented as a
+tool for mechanization of the process by enabling
+automatic generation of accented font layout and the
+virtual font definition from the \tfm\ file of the source
+font in the \TeX\ text encoding, and from an auxiliary
+input containing corrections of accent placement for
+specific characters.*57--68.
+
+
+
+\gut Scholar\TeX: Yannis Haralambous: Scholar\TeX\ is a software package
+consisting of fonts, \TeX-executables, and a detailed
+manual with examples and exercises. Scholar\TeX\ allows
+easy and efficient use of \TeX\ for typesetting in
+Arabic, Persian, Ottoman, Pashto, Urdu, Hebrew, Yiddish,
+Estrangelo, Armenian, Greek, Latin, Fraktur, Schabacher,
+Anglo-Saxon: others are planned.*69--70.
+
+
+
+\gut Babel, a multilingual style-option system: \hskip-4ptJohannes
+Braams: The babel system of style options attempts to
+adapt (\La)\TeX\ to a multi-lingual environment.*71--2.
+
+\gut \TeX\char'72\ les limites du multingualisme: Michel Fanton:
+This paper describes the specific features of arabic
+typesetting and gives an account ofthe price to pay in
+developing an arabicized version of \TeX.*73--79.
+
+\gut An international version of makeindex: Joachim
+Schrod: makeindex\ is a powerful and portable index
+processor which may be used with several formatters. But
+it is only usable for English texts; non-English texts,
+especially with non-Latin alphabets, like Russian,
+Arabic, or Chinese, may bot be easily worked on. The
+tagging of index entries is often tedious and
+error-prone. If a markup is used with the index key, an
+explicit sort key must be given. A new version of
+\makeindex\ is presented which allows the automatic
+creation of sort keys from index keys by user specific
+mappings. Furthermore it needs less main memory than the
+former one, and may now be used for large indexes even on
+small computers.*81--90.
+
+\gut Conversion of Microsoft Word into \LaTeXsl: Paul
+Bacsich, Ethel Hayes, Paul Lefrere \& Geoff Yarwood: We
+describe a program which converts Microsoft Rich Text
+Format files into standard \LaTeX. This program converts
+glyphs, character attributes, style information, fonts,
+lists and tables to their `equivalents' (if any) to
+\LaTeX. The latest version of the program also converts
+mathematical mark-up on Word Formula Mode to the \LaTeX\
+equivalents.*91.
+
+\gut AsTeX: an integerated and customizable multiwindow
+environment for scientific research: Michael Lavaud:
+As\TeX\ is a program that runs on a pc under the control
+of Framework 3, and trabsforms it into an integrated and
+customizable multiwindow environment for scientific
+research, as comfortable to use as the one of a
+workstation. It includes a hypertext-like file manager
+which allows classificationa nd archiving of all teh
+files related to the current document by means of a
+hierarchy of explicit titles. It also has an interface
+with a local or remote Fortran compiler, allowing
+numerical computations from a \LaTeX\ document. Similarly
+there is an interface to the computer algabra program
+Maple.*93--116.
+
+\gut Tailored database publishing with \TeX: Steen Larsen
+\& Arne Flemming Jensen: \TeX\ is well suited to produce
+inventories such as bibliographies or dictionaries. Such
+publications are characterized by a large number of
+entries, a high uniformity of structure, typographical
+variation, and high demands on line and page breaking.
+Sorting of entries and compiling of indices will often be
+necessary. The paper presents an approach chosenwhen
+establishing a tailored \TeX-based database publishing
+system for the bibliography Nordic Archaeological
+Abstracts. The solution was implemented by combining
+theree different systems: an interface management system,
+a database management system, and \TeX. The system is
+described and compared to the previous editor-based
+production, and future possibilities are briefly
+sketched.*117--134.
+
+
+\gut Drawing tree structures with GWEZ: Bernard Leguy:
+GWEZ is a set of macros able to build tree structures and
+to draw them; these macros are written with \TeX; they
+use only plain \TeX\ commands and fonts and can be used
+as well with \LaTeX.*135--146.
+
+\gut Math into BLUes\char'72\ Sing your song: Kees van der Laan:
+\TeX ing mathscripts is not simply typing. Math has to be
+translated into \TeX\ commands. First the motivation for
+this work is given. Next traditional math page make-up is
+summarized along with the macroscopic math \TeX\
+commands. After answering `Why is \TeX ing mathscripts
+difficult?' an anthology of \TeX\ falls and their
+antidotes is discussed. At the end suggestions are given
+in order to lessen the difficulties.*147--170.
+
+\gut Organizing a large collection of stylefiles:
+Angelika Binding: Springer Verlag has to maintain a large collection of
+macro packages for different layouts, for which there are versions both
+for plain \TeX\ and \LaTeX\ and for different sets of fonts. We
+therefore designed a concept of modularising these packages and have
+implemented mechanisms to creat format files loading our individual set
+of fonts without changing the syandard format files |plain| and
+|lplain|.*171--184.
+
+
+\gut Typesetting SGML documents using \TeX: Andrew E Dobrowolski:
+Since its publication as an international standard in 1986, the Standard
+Generlaized Markup Language (\sgml) has become the preferred document
+markup standard within many industries. The users have devekloped their
+own document type definitions (DTDs) which define the elements (tag
+sets) for their documents. However, if \sgml\ is to become a universally
+accepted standard of document interchange then a standard way to specify
+formatted output and a means of producing that output will be needed.
+\TeX\ can be used as the formatting engine to implement FOSI-based
+(Formatted Output Specification Instance) formatting, as required by the
+CALS (Computer-aided Acquisition and Logistic Support) initiative which
+selected \sgml\ as the text interchange standard, and FOSI as the means
+of formatted output specification exchange. Without extending
+\TeX\ not every FOSI formatting request can be fulfilled.
+Converesely, certain \TeX\ capabilities cannot be formulated in terms of
+FOSI characteristics. However, a FOSI/\TeX\ based formatting system
+would be a major advance towards fulfilling the document interchange
+needs of a growing community of \sgml\ users.*185--196.
+
+\gut Vers la construction de macros de mise en coleur
+pour \TeX: Christophe C\'erin: Presents a step-by-step approach to
+putting colour in \TeX\ documents.*197--206.
+
+\gut Wysiwyg-\TeX-editors on the basis of object-oriented
+system technology: Bernd Schmid: Describes the motivation behind the
+development of a \wysiwyg-editor which is based on an object-oriented
+programming methodology and \TeX.*208.
+
+
+\gut Lucida, une fonte compl\`ete pour \LaTeXsl\ et son
+installation: Philippe Louarn: Presents an experiment in using the
+Lucida fonts including the maths and extension fonts, in \LaTeX\
+documents. We explain the benefits and disadvantages of this choice. We
+also include a short summary of installation procedures.*208.
+
+\gut Composition des formules chimiques en \TeX: Maurice
+Laugier: Formatting chemical formulae with \TeX\ needs some special
+macros to describe links and ramifications. Here are presented some
+macros to format equations.*209--221.
+
+
diff --git a/info/digests/texline/no14/late.tex b/info/digests/texline/no14/late.tex
new file mode 100644
index 0000000000..99c3a5e697
--- /dev/null
+++ b/info/digests/texline/no14/late.tex
@@ -0,0 +1,26 @@
+\def\BV{{\fib Baskerville}}
+\title{Late News}
+\bitem\TUGboat, volume 12, numbers 3 and 4
+should have been mailed by the time you read
+this. The astute will note that the two issues are the
+conference proceedings for the Dedham meeting. Originally
+it had been hoped to produce a single conference
+proceedings issue, and a `normal' issue. The extent of the
+financial crisis facing TUG was evident in the autumn of
+last year, and reluctantly it was decided to take this
+expedient. One effect is a backlog of articles intended
+for `normal' \TUGboat\ issues.
+
+\bitem{\sl\TeX\ \& TUG News}: the
+issue planned for late 1991 was cancelled outright,
+despite the essential nature of some of the articles --
+for example, some explanation about the solicitations in
+the TUG dues renewal for funds for \LaTeX3 and {\tt
+texhax}! {\sl TTN\/} should be in your hands about
+now.\looseness-1
+
+\bitem\BV, the near-legendary uk\TeX ug `annals' is
+reputedly nearing publication too. The problem was less one
+of cash or copy, but of finding someone prepared to fill
+Adrian (no relation) Clark's editorial and production
+shoes. Phil Taylor is producing this second edition.
diff --git a/info/digests/texline/no14/mathtime.tex b/info/digests/texline/no14/mathtime.tex
new file mode 100644
index 0000000000..ff00ded07b
--- /dev/null
+++ b/info/digests/texline/no14/mathtime.tex
@@ -0,0 +1,22 @@
+\title{MathT\i me}
+One of the great deficiencies of Adobe's Times Roman has
+been its sparse support of maths. Mike Spivak, known for
+his love of \TeX\ and loathing of Computer Modern, has
+made good this deficiency with the release of MathT\i me,
+a font family consisting of three downloadable hinted \PS\
+fonts, designed for use with Times Roman. He is now
+providing a package which comprises the fonts, their
+{\tfm} files and a macro package for using the fonts with
+\TeX. There is also a manual explaining installation and
+use. What do you need? A minimum of \TeX3, a \PS\ driver
+and a \PS\ printer. At present the fonts are available in
+`standard' form which may be used on pcs and other
+systems, and for use with \OzTeX. The whole package is
+\$135, with a suitable hefty discount for educational
+users. Contact {\obeylines
+\TeX plorators
+3701 W Alabama
+Suite 450-273
+Houston TX 77027
+USA
+}
diff --git a/info/digests/texline/no14/offer.tex b/info/digests/texline/no14/offer.tex
new file mode 100644
index 0000000000..f7dc20c741
--- /dev/null
+++ b/info/digests/texline/no14/offer.tex
@@ -0,0 +1,35 @@
+\title{Archivist offers the best!}
+The highly coveted and practical Aston Archivists
+t-shirts and sweat shirts are again available. These
+garments represent tremendous value, are suitably
+fashionable and chic, {\sl and\/} give you the opportunity
+to promote the Archive. You may now bask in the warmth of a
+magnificent blend of altruism and self-preservation! The
+t-shirts are available in `medium blue', and the
+sweatshirts in `terracotta'. Since all the archivists are
+suitably large (except one or two extremely wimpy ones),
+only one size, XL, is available. By standardising on
+colour and size, the price has been constrained to a
+minimal \quid5 for the t-shirts and \quid10 for the
+sweatshirts. Post and packing have to be added to this:
+\smallskip
+\centerline{\vbox{\halign{#\quad\hfil&&\hfil\quid#\quad\cr
+\it p\&p&\omit&\multispan2{\hfil elsewhere\hfil}\cr
+&\omit\hfil UK\quad&\omit\hfil surface\quad&\omit\hfil
+air\quad\cr
+t-shirts&1.00&2.00&4.00\cr
+sweatshirts&2.00&3.50&6.00\cr}}}
+
+\noindent To obtain one (or more) of these excellent
+garments, send a sterling cheque to
+
+{\obeylines
+Chris Rowley
+1 Regency Lawn
+Croftdown Road
+London NW5 1HF
+UK
+}
+
+\noindent together with your own name and address. If
+demand is great enough, other colours and sizes may
diff --git a/info/digests/texline/no14/picture.tex b/info/digests/texline/no14/picture.tex
new file mode 100644
index 0000000000..4832b80a3b
--- /dev/null
+++ b/info/digests/texline/no14/picture.tex
@@ -0,0 +1,525 @@
+% ********************************
+% * PICTURE MACROS *
+% ********************************
+%
+% This file contains the \LaTeX picture commands, adapted for use in
+% plain \TeX.
+%
+% Hacked by Peter Cameron, 70 Godstow Road, Wolvercote, Oxford OX2 8NY,
+% U.K., on 26 April 1990. (If you report problems to me, I will try
+% to help; but I'm no expert, so nothing is guaranteed.)
+%
+% This file may be freely distributed, but no warranty of any kind,
+% explicit or implicit, is given as to its performance.
+%
+% \unitlength = value of dimension argument; set with \setlength
+%
+% enclose pictures with \picture and \endpicture
+%
+% The \LaTeX commands \put, \multiput, \circle, \oval, \thinlines,
+% \thicklines, \vector, and the frame and box commands, all work
+% as in the \LaTeX book. (I hope!)
+%
+% NOTE WELL: the \LaTeX command \line has been replaced by \Line
+% to avoid conflict with plain \TeX's very different use of \line.
+%
+% If converting a \LaTeX file, change \line to \Line everywhere, and
+% change \begin{picture} to \picture, \end{picture} to \endpicture.
+%
+% For program documentation, see LATEX.TEX!
+%
+% FONTS
+% *******
+% You need these, in whatever sizes you scale your document to.
+
+\font\tenln=line10
+\font\tenlnw=linew10
+\font\tencirc=circle10
+\font\tencircw=circlew10
+
+% CONTROL MACROS FROM LATEX.TEX
+% *******************************
+
+\catcode`\@=11
+
+\newdimen\@wholewidth
+\newdimen\@halfwidth
+\newdimen\unitlength \unitlength =1pt
+\newbox\@picbox
+\newdimen\@picht
+
+\newwrite\@unused
+\newcount\@tempcnta
+\newcount\@tempcntb
+\newif\if@tempswa\@tempswatrue
+
+\newdimen\@tempdima
+\newdimen\@tempdimb
+
+\newbox\@tempboxa
+
+\newskip\@flushglue \@flushglue = 0pt plus 1fil
+\newskip\@tempskipa
+\newskip\@tempskipb
+\newtoks\@temptokena
+
+\def\setlength#1#2{#1#2\relax}
+
+\def\@height{height}
+\def\@depth{depth}
+\def\@width{width}
+
+\def\@ifnextchar#1#2#3{\let\@tempe #1\def\@tempa{#2}\def\@tempb{#3}\futurelet
+ \@tempc\@ifnch}
+\def\@ifnch{\ifx \@tempc \@sptoken \let\@tempd\@xifnch
+ \else \ifx \@tempc \@tempe\let\@tempd\@tempa\else\let\@tempd\@tempb\fi
+ \fi \@tempd}
+
+\def\@whilenoop#1{}
+\def\@whilenum#1\do #2{\ifnum #1\relax #2\relax\@iwhilenum{#1\relax
+ #2\relax}\fi}
+\def\@iwhilenum#1{\ifnum #1\let\@nextwhile=\@iwhilenum
+ \else\let\@nextwhile=\@whilenoop\fi\@nextwhile{#1}}
+
+\def\@whiledim#1\do #2{\ifdim #1\relax#2\@iwhiledim{#1\relax#2}\fi}
+\def\@iwhiledim#1{\ifdim #1\let\@nextwhile=\@iwhiledim
+ \else\let\@nextwhile=\@whilenoop\fi\@nextwhile{#1}}
+
+\def\@whileswnoop#1\fi{}
+\def\@whilesw#1\fi#2{#1#2\@iwhilesw{#1#2}\fi\fi}
+\def\@iwhilesw#1\fi{#1\let\@nextwhile=\@iwhilesw
+ \else\let\@nextwhile=\@whileswnoop\fi\@nextwhile{#1}\fi}
+
+\def\@nnil{\@nil}
+\def\@empty{}
+\def\@fornoop#1\@@#2#3{}
+
+\def\@for#1:=#2\do#3{\edef\@fortmp{#2}\ifx\@fortmp\@empty \else
+ \expandafter\@forloop#2,\@nil,\@nil\@@#1{#3}\fi}
+
+\def\@forloop#1,#2,#3\@@#4#5{\def#4{#1}\ifx #4\@nnil \else
+ #5\def#4{#2}\ifx #4\@nnil \else#5\@iforloop #3\@@#4{#5}\fi\fi}
+
+\def\@iforloop#1,#2\@@#3#4{\def#3{#1}\ifx #3\@nnil
+ \let\@nextwhile=\@fornoop \else
+ #4\relax\let\@nextwhile=\@iforloop\fi\@nextwhile#2\@@#3{#4}}
+
+\def\@tfor#1:=#2\do#3{\xdef\@fortmp{#2}\ifx\@fortmp\@empty \else
+ \@tforloop#2\@nil\@nil\@@#1{#3}\fi}
+\def\@tforloop#1#2\@@#3#4{\def#3{#1}\ifx #3\@nnil
+ \let\@nextwhile=\@fornoop \else
+ #4\relax\let\@nextwhile=\@tforloop\fi\@nextwhile#2\@@#3{#4}}
+
+\def\@ifstar#1#2{\@ifnextchar *{\def\@tempa*{#1}\@tempa}{#2}}
+
+% PICTURE MACROS
+% ****************
+%
+% Put and Multiput
+% ------------------
+
+\def\picture(#1,#2){\@ifnextchar({\@picture(#1,#2)}{\@picture(#1,#2)(0,0)}}
+
+\def\@picture(#1,#2)(#3,#4){\@picht #2\unitlength
+\setbox\@picbox\hbox to #1\unitlength\bgroup
+\hskip -#3\unitlength \lower #4\unitlength \hbox\bgroup\ignorespaces}
+
+\def\endpicture{\egroup\hss\egroup\ht\@picbox\@picht
+\dp\@picbox\z@\leavevmode\box\@picbox}
+
+% In the definitions of \put and \multiput, \hskip was replaced by \kern
+% just in case arg #3 = ``plus''. (Bug detected by Don Knuth.
+% changed 20 Jul 87).
+%
+\long\def\put(#1,#2)#3{\@killglue\raise#2\unitlength\hbox to \z@{\kern
+#1\unitlength #3\hss}\ignorespaces}
+
+\long\def\multiput(#1,#2)(#3,#4)#5#6{\@killglue\@multicnt=#5\relax
+\@xdim=#1\unitlength
+\@ydim=#2\unitlength
+\@whilenum \@multicnt > 0\do
+{\raise\@ydim\hbox to \z@{\kern
+\@xdim #6\hss}\advance\@multicnt \m@ne\advance\@xdim
+#3\unitlength\advance\@ydim #4\unitlength}\ignorespaces}
+
+\def\@killglue{\unskip\@whiledim \lastskip >\z@\do{\unskip}}
+
+\def\thinlines{\let\@linefnt\tenln \let\@circlefnt\tencirc
+ \@wholewidth\fontdimen8\tenln \@halfwidth .5\@wholewidth}
+\def\thicklines{\let\@linefnt\tenlnw \let\@circlefnt\tencircw
+ \@wholewidth\fontdimen8\tenlnw \@halfwidth .5\@wholewidth}
+
+\def\linethickness#1{\@wholewidth #1\relax \@halfwidth .5\@wholewidth}
+
+\def\shortstack{\@ifnextchar[{\@shortstack}{\@shortstack[c]}}
+
+\def\@shortstack[#1]{\leavevmode
+\vbox\bgroup\baselineskip-1pt\lineskip 3pt\let\mb@l\hss
+\let\mb@r\hss \expandafter\let\csname mb@#1\endcsname\relax
+\let\\\@stackcr\@ishortstack}
+
+\def\@ishortstack#1{\halign{\mb@l ##\unskip\mb@r\cr #1\crcr}\egroup}
+
+
+\def\@stackcr{\@ifstar{\@ixstackcr}{\@ixstackcr}}
+\def\@ixstackcr{\@ifnextchar[{\@istackcr}{\cr\ignorespaces}}
+
+\def\@istackcr[#1]{\cr\noalign{\vskip #1}\ignorespaces}
+
+% Lines
+% -------
+
+\newif\if@negarg
+
+\def\Line(#1,#2)#3{\@xarg #1\relax \@yarg #2\relax
+\@linelen=#3\unitlength
+\ifnum\@xarg =0 \@vline
+ \else \ifnum\@yarg =0 \@hline \else \@sline\fi
+\fi}
+
+\def\@sline{\ifnum\@xarg< 0 \@negargtrue \@xarg -\@xarg \@yyarg -\@yarg
+ \else \@negargfalse \@yyarg \@yarg \fi
+\ifnum \@yyarg >0 \@tempcnta\@yyarg \else \@tempcnta -\@yyarg \fi
+\ifnum\@tempcnta>6 \@badlinearg\@tempcnta0 \fi
+\ifnum\@xarg>6 \@badlinearg\@xarg 1 \fi
+\setbox\@linechar\hbox{\@linefnt\@getlinechar(\@xarg,\@yyarg)}%
+\ifnum \@yarg >0 \let\@upordown\raise \@clnht\z@
+ \else\let\@upordown\lower \@clnht \ht\@linechar\fi
+\@clnwd=\wd\@linechar
+\if@negarg \hskip -\wd\@linechar \def\@tempa{\hskip -2\wd\@linechar}\else
+ \let\@tempa\relax \fi
+\@whiledim \@clnwd <\@linelen \do
+ {\@upordown\@clnht\copy\@linechar
+ \@tempa
+ \advance\@clnht \ht\@linechar
+ \advance\@clnwd \wd\@linechar}%
+\advance\@clnht -\ht\@linechar
+\advance\@clnwd -\wd\@linechar
+\@tempdima\@linelen\advance\@tempdima -\@clnwd
+\@tempdimb\@tempdima\advance\@tempdimb -\wd\@linechar
+\if@negarg \hskip -\@tempdimb \else \hskip \@tempdimb \fi
+\multiply\@tempdima \@m
+\@tempcnta \@tempdima \@tempdima \wd\@linechar \divide\@tempcnta \@tempdima
+\@tempdima \ht\@linechar \multiply\@tempdima \@tempcnta
+\divide\@tempdima \@m
+\advance\@clnht \@tempdima
+\ifdim \@linelen <\wd\@linechar
+ \hskip \wd\@linechar
+ \else\@upordown\@clnht\copy\@linechar\fi}
+
+\def\@hline{\ifnum \@xarg <0 \hskip -\@linelen \fi
+\vrule \@height \@halfwidth \@depth \@halfwidth \@width \@linelen
+\ifnum \@xarg <0 \hskip -\@linelen \fi}
+
+\def\@getlinechar(#1,#2){\@tempcnta#1\relax\multiply\@tempcnta 8
+\advance\@tempcnta -9 \ifnum #2>0 \advance\@tempcnta #2\relax\else
+\advance\@tempcnta -#2\relax\advance\@tempcnta 64 \fi
+\char\@tempcnta}
+
+\def\vector(#1,#2)#3{\@xarg #1\relax \@yarg #2\relax
+\@tempcnta \ifnum\@xarg<0 -\@xarg\else\@xarg\fi
+\ifnum\@tempcnta<5\relax
+\@linelen=#3\unitlength
+\ifnum\@xarg =0 \@vvector
+ \else \ifnum\@yarg =0 \@hvector \else \@svector\fi
+\fi
+\else\@badlinearg\fi}
+
+\def\@hvector{\@hline\hbox to 0pt{\@linefnt
+\ifnum \@xarg <0 \@getlarrow(1,0)\hss\else
+ \hss\@getrarrow(1,0)\fi}}
+
+\def\@vvector{\ifnum \@yarg <0 \@downvector \else \@upvector \fi}
+
+\def\@svector{\@sline
+\@tempcnta\@yarg \ifnum\@tempcnta <0 \@tempcnta=-\@tempcnta\fi
+\ifnum\@tempcnta <5
+ \hskip -\wd\@linechar
+ \@upordown\@clnht \hbox{\@linefnt \if@negarg
+ \@getlarrow(\@xarg,\@yyarg) \else \@getrarrow(\@xarg,\@yyarg) \fi}%
+\else\@badlinearg\fi}
+
+\def\@getlarrow(#1,#2){\ifnum #2 =\z@ \@tempcnta='33\else
+\@tempcnta=#1\relax\multiply\@tempcnta \sixt@@n \advance\@tempcnta
+-9 \@tempcntb=#2\relax\multiply\@tempcntb \tw@
+\ifnum \@tempcntb >0 \advance\@tempcnta \@tempcntb\relax
+\else\advance\@tempcnta -\@tempcntb\advance\@tempcnta 64
+\fi\fi\char\@tempcnta}
+
+\def\@getrarrow(#1,#2){\@tempcntb=#2\relax
+\ifnum\@tempcntb < 0 \@tempcntb=-\@tempcntb\relax\fi
+\ifcase \@tempcntb\relax \@tempcnta='55 \or
+\ifnum #1<3 \@tempcnta=#1\relax\multiply\@tempcnta
+24 \advance\@tempcnta -6 \else \ifnum #1=3 \@tempcnta=49
+\else\@tempcnta=58 \fi\fi\or
+\ifnum #1<3 \@tempcnta=#1\relax\multiply\@tempcnta
+24 \advance\@tempcnta -3 \else \@tempcnta=51\fi\or
+\@tempcnta=#1\relax\multiply\@tempcnta
+\sixt@@n \advance\@tempcnta -\tw@ \else
+\@tempcnta=#1\relax\multiply\@tempcnta
+\sixt@@n \advance\@tempcnta 7 \fi\ifnum #2<0 \advance\@tempcnta 64 \fi
+\char\@tempcnta}
+
+\def\@vline{\ifnum \@yarg <0 \@downline \else \@upline\fi}
+
+\def\@upline{\hbox to \z@{\hskip -\@halfwidth \vrule \@width \@wholewidth
+ \@height \@linelen \@depth \z@\hss}}
+
+\def\@downline{\hbox to \z@{\hskip -\@halfwidth \vrule \@width \@wholewidth
+ \@height \z@ \@depth \@linelen \hss}}
+
+\def\@upvector{\@upline\setbox\@tempboxa\hbox{\@linefnt\char'66}\raise
+ \@linelen \hbox to\z@{\lower \ht\@tempboxa\box\@tempboxa\hss}}
+
+\def\@downvector{\@downline\lower \@linelen
+ \hbox to \z@{\@linefnt\char'77\hss}}
+
+% Frames and boxes
+% ------------------
+
+\def\makebox{\@ifnextchar ({\@makepicbox}{\@ifnextchar
+ [{\@makebox}{\mbox}}}
+
+\def\mbox#1{\leavevmode\hbox{#1}}
+
+\def\@makebox[#1]{\leavevmode\@ifnextchar [{\@imakebox[#1]}{\@imakebox[#1][x]}}
+
+\long\def\@imakebox[#1][#2]#3{\hbox to#1{\let\mb@l\hss
+\let\mb@r\hss \expandafter\let\csname mb@#2\endcsname\relax
+\mb@l #3\mb@r}}
+
+\def\@makepicbox(#1,#2){\leavevmode\@ifnextchar
+ [{\@imakepicbox(#1,#2)}{\@imakepicbox(#1,#2)[]}}
+
+\long\def\@imakepicbox(#1,#2)[#3]#4{\vbox to#2\unitlength
+ {\let\mb@b\vss \let\mb@l\hss\let\mb@r\hss
+ \let\mb@t\vss
+ \@tfor\@tempa :=#3\do{\expandafter\let
+ \csname mb@\@tempa\endcsname\relax}%
+\mb@t\hbox to #1\unitlength{\mb@l #4\mb@r}\mb@b}}
+
+\def\savebox#1{\@ifnextchar ({\@savepicbox#1}{\@ifnextchar
+ [{\@savebox#1}{\sbox#1}}}
+
+\def\sbox#1#2{\setbox#1\hbox{#2}}
+
+\def\@savebox#1[#2]{\@ifnextchar [{\@isavebox#1[#2]}{\@isavebox#1[#2][x]}}
+
+\long\def\@isavebox#1[#2][#3]#4{\setbox#1 \hbox{\@imakebox[#2][#3]{#4}}}
+
+\def\@savepicbox#1(#2,#3){\@ifnextchar
+ [{\@isavepicbox#1(#2,#3)}{\@isavepicbox#1(#2,#3)[]}}
+
+\long\def\@isavepicbox#1(#2,#3)[#4]#5{\setbox#1 \hbox{\@imakepicbox
+ (#2,#3)[#4]{#5}}}
+
+\def\usebox#1{\leavevmode\copy #1\relax}
+
+%% The following definition of \frame was written by Pavel Curtis
+%% (Extra space removed 14 Jan 88)
+\long\def\frame#1{\leavevmode
+ \hbox{\hskip-\@wholewidth
+ \vbox{\vskip-\@wholewidth
+ \hrule \@height\@wholewidth
+ \hbox{\vrule \@width\@wholewidth #1\vrule \@width\@wholewidth}\hrule
+ \@height \@wholewidth\vskip -\@halfwidth}\hskip-\@wholewidth}}
+
+\newdimen\fboxrule
+\newdimen\fboxsep
+
+\long\def\fbox#1{\leavevmode\setbox\@tempboxa\hbox{#1}\@tempdima\fboxrule
+ \advance\@tempdima \fboxsep \advance\@tempdima \dp\@tempboxa
+ \hbox{\lower \@tempdima\hbox
+ {\vbox{\hrule \@height \fboxrule
+ \hbox{\vrule \@width \fboxrule \hskip\fboxsep
+ \vbox{\vskip\fboxsep \box\@tempboxa\vskip\fboxsep}\hskip
+ \fboxsep\vrule \@width \fboxrule}
+ \hrule \@height \fboxrule}}}}
+
+\def\framebox{\@ifnextchar ({\@framepicbox}{\@ifnextchar
+ [{\@framebox}{\fbox}}}
+
+\def\@framebox[#1]{\@ifnextchar [{\@iframebox[#1]}{\@iframebox[#1][x]}}
+
+\long\def\@iframebox[#1][#2]#3{\leavevmode
+ \savebox\@tempboxa[#1][#2]{\kern\fboxsep #3\kern\fboxsep}\@tempdima\fboxrule
+ \advance\@tempdima \fboxsep \advance\@tempdima \dp\@tempboxa
+ \hbox{\lower \@tempdima\hbox
+ {\vbox{\hrule \@height \fboxrule
+ \hbox{\vrule \@width \fboxrule \hskip-\fboxrule
+ \vbox{\vskip\fboxsep \box\@tempboxa\vskip\fboxsep}\hskip
+ -\fboxrule\vrule \@width \fboxrule}
+ \hrule \@height \fboxrule}}}}
+
+\def\@framepicbox(#1,#2){\@ifnextchar
+ [{\@iframepicbox(#1,#2)}{\@iframepicbox(#1,#2)[]}}
+
+\long\def\@iframepicbox(#1,#2)[#3]#4{\frame{\@imakepicbox(#1,#2)[#3]{#4}}}
+
+\def\parbox{\@ifnextchar [{\@iparbox}{\@iparbox[c]}}
+
+\long\def\@iparbox[#1]#2#3{\leavevmode \@pboxswfalse
+ \if #1b\vbox
+ \else \if #1t\vtop
+ \else \ifmmode \vcenter
+ \else \@pboxswtrue $\vcenter
+ \fi
+ \fi
+ \fi{\hsize #2\@parboxrestore #3}\if@pboxsw $\fi}
+
+\def\dashbox#1(#2,#3){\leavevmode\hbox to \z@{\baselineskip \z@%
+\lineskip \z@%
+\@dashdim=#2\unitlength%
+\@dashcnt=\@dashdim \advance\@dashcnt 200
+\@dashdim=#1\unitlength\divide\@dashcnt \@dashdim
+\ifodd\@dashcnt\@dashdim=\z@%
+\advance\@dashcnt \@ne \divide\@dashcnt \tw@
+\else \divide\@dashdim \tw@ \divide\@dashcnt \tw@
+\advance\@dashcnt \m@ne
+\setbox\@dashbox=\hbox{\vrule \@height \@halfwidth \@depth \@halfwidth
+\@width \@dashdim}\put(0,0){\copy\@dashbox}%
+\put(0,#3){\copy\@dashbox}%
+\put(#2,0){\hskip-\@dashdim\copy\@dashbox}%
+\put(#2,#3){\hskip-\@dashdim\box\@dashbox}%
+\multiply\@dashdim 3
+\fi
+\setbox\@dashbox=\hbox{\vrule \@height \@halfwidth \@depth \@halfwidth
+\@width #1\unitlength\hskip #1\unitlength}\@tempcnta=0
+\put(0,0){\hskip\@dashdim \@whilenum \@tempcnta <\@dashcnt
+\do{\copy\@dashbox\advance\@tempcnta \@ne }}\@tempcnta=0
+\put(0,#3){\hskip\@dashdim \@whilenum \@tempcnta <\@dashcnt
+\do{\copy\@dashbox\advance\@tempcnta \@ne }}%
+\@dashdim=#3\unitlength%
+\@dashcnt=\@dashdim \advance\@dashcnt 200
+\@dashdim=#1\unitlength\divide\@dashcnt \@dashdim
+\ifodd\@dashcnt \@dashdim=\z@%
+\advance\@dashcnt \@ne \divide\@dashcnt \tw@
+\else
+\divide\@dashdim \tw@ \divide\@dashcnt \tw@
+\advance\@dashcnt \m@ne
+\setbox\@dashbox\hbox{\hskip -\@halfwidth
+\vrule \@width \@wholewidth
+\@height \@dashdim}\put(0,0){\copy\@dashbox}%
+\put(#2,0){\copy\@dashbox}%
+\put(0,#3){\lower\@dashdim\copy\@dashbox}%
+\put(#2,#3){\lower\@dashdim\copy\@dashbox}%
+\multiply\@dashdim 3
+\fi
+\setbox\@dashbox\hbox{\vrule \@width \@wholewidth
+\@height #1\unitlength}\@tempcnta0
+\put(0,0){\hskip -\@halfwidth \vbox{\@whilenum \@tempcnta < \@dashcnt
+\do{\vskip #1\unitlength\copy\@dashbox\advance\@tempcnta \@ne }%
+\vskip\@dashdim}}\@tempcnta0
+\put(#2,0){\hskip -\@halfwidth \vbox{\@whilenum \@tempcnta< \@dashcnt
+\relax\do{\vskip #1\unitlength\copy\@dashbox\advance\@tempcnta \@ne }%
+\vskip\@dashdim}}}\@makepicbox(#2,#3)}
+
+% Circles and ovals
+% -------------------
+
+\newif\if@ovt
+\newif\if@ovb
+\newif\if@ovl
+\newif\if@ovr
+\newdimen\@ovxx
+\newdimen\@ovyy
+\newdimen\@ovdx
+\newdimen\@ovdy
+\newdimen\@ovro
+\newdimen\@ovri
+
+%% \advance\@tempdima 2pt\relax added 1 Nov 88 to fix bug in which
+%% size of drawn circle not monotonic function of argument of \circle,
+%% caused by different rounding for dimensions of large and small circles.
+%
+\def\@getcirc#1{\@tempdima #1\relax \advance\@tempdima 2pt\relax
+ \@tempcnta\@tempdima
+ \@tempdima 4pt\relax \divide\@tempcnta\@tempdima
+ \ifnum \@tempcnta > 10\relax \@tempcnta 10\relax\fi
+ \ifnum \@tempcnta >\z@ \advance\@tempcnta\m@ne
+ \else \@warning{Oval too small}\fi
+ \multiply\@tempcnta 4\relax
+ \setbox \@tempboxa \hbox{\@circlefnt
+ \char \@tempcnta}\@tempdima \wd \@tempboxa}
+
+\def\@put#1#2#3{\raise #2\hbox to \z@{\hskip #1#3\hss}}
+
+\def\oval(#1,#2){\@ifnextchar[{\@oval(#1,#2)}{\@oval(#1,#2)[]}}
+
+\def\@oval(#1,#2)[#3]{\begingroup\boxmaxdepth \maxdimen
+ \@ovttrue \@ovbtrue \@ovltrue \@ovrtrue
+ \@tfor\@tempa :=#3\do{\csname @ov\@tempa false\endcsname}\@ovxx
+ #1\unitlength \@ovyy #2\unitlength
+ \@tempdimb \ifdim \@ovyy >\@ovxx \@ovxx\else \@ovyy \fi
+ \@getcirc \@tempdimb
+ \@ovro \ht\@tempboxa \@ovri \dp\@tempboxa
+ \@ovdx\@ovxx \advance\@ovdx -\@tempdima \divide\@ovdx \tw@
+ \@ovdy\@ovyy \advance\@ovdy -\@tempdima \divide\@ovdy \tw@
+ \@circlefnt \setbox\@tempboxa
+ \hbox{\if@ovr \@ovvert32\kern -\@tempdima \fi
+ \if@ovl \kern \@ovxx \@ovvert01\kern -\@tempdima \kern -\@ovxx \fi
+ \if@ovt \@ovhorz \kern -\@ovxx \fi
+ \if@ovb \raise \@ovyy \@ovhorz \fi}\advance\@ovdx\@ovro
+ \advance\@ovdy\@ovro \ht\@tempboxa\z@ \dp\@tempboxa\z@
+ \@put{-\@ovdx}{-\@ovdy}{\box\@tempboxa}%
+ \endgroup}
+
+\def\@ovvert#1#2{\vbox to \@ovyy{%
+ \if@ovb \@tempcntb \@tempcnta \advance \@tempcntb by #1\relax
+ \kern -\@ovro \hbox{\char \@tempcntb}\nointerlineskip
+ \else \kern \@ovri \kern \@ovdy \fi
+ \leaders\vrule width \@wholewidth\vfil \nointerlineskip
+ \if@ovt \@tempcntb \@tempcnta \advance \@tempcntb by #2\relax
+ \hbox{\char \@tempcntb}%
+ \else \kern \@ovdy \kern \@ovro \fi}}
+
+\def\@ovhorz{\hbox to \@ovxx{\kern \@ovro
+ \if@ovr \else \kern \@ovdx \fi
+ \leaders \hrule height \@wholewidth \hfil
+ \if@ovl \else \kern \@ovdx \fi
+ \kern \@ovri}}
+
+\def\circle{\@ifstar{\@dot}{\@circle}}
+\def\@circle#1{\begingroup \boxmaxdepth \maxdimen \@tempdimb #1\unitlength
+ \ifdim \@tempdimb >15.5pt\relax \@getcirc\@tempdimb
+ \@ovro\ht\@tempboxa
+ \setbox\@tempboxa\hbox{\@circlefnt
+ \advance\@tempcnta\tw@ \char \@tempcnta
+ \advance\@tempcnta\m@ne \char \@tempcnta \kern -2\@tempdima
+ \advance\@tempcnta\tw@
+ \raise \@tempdima \hbox{\char\@tempcnta}\raise \@tempdima
+ \box\@tempboxa}\ht\@tempboxa\z@ \dp\@tempboxa\z@
+ \@put{-\@ovro}{-\@ovro}{\box\@tempboxa}%
+ \else \@circ\@tempdimb{96}\fi\endgroup}
+
+\def\@dot#1{\@tempdimb #1\unitlength \@circ\@tempdimb{112}}
+
+\def\@circ#1#2{\@tempdima #1\relax \advance\@tempdima .5pt\relax
+ \@tempcnta\@tempdima \@tempdima 1pt\relax
+ \divide\@tempcnta\@tempdima
+ \ifnum\@tempcnta > 15\relax \@tempcnta 15\relax \fi
+ \ifnum \@tempcnta >\z@ \advance\@tempcnta\m@ne\fi
+ \advance\@tempcnta #2\relax
+ \@circlefnt \char\@tempcnta}
+
+
+% INITIALIZATION
+% ****************
+
+\thinlines
+
+\newcount\@xarg
+\newcount\@yarg
+\newcount\@yyarg
+\newcount\@multicnt
+\newdimen\@xdim
+\newdimen\@ydim
+\newbox\@linechar
+\newdimen\@linelen
+\newdimen\@clnwd
+\newdimen\@clnht
+\newdimen\@dashdim
+\newbox\@dashbox
+\newcount\@dashcnt
+
+\catcode`\@=12