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+\centerline{\bf Fonts}
+\medskip
+\noindent
+The following article first appeared in \TUGboat\ 9(2) in
+August of 1988. A version had previously appeared through
+\hax, and at that time I asked \DW, its author, if I could
+reprint it in \TeXline. Despite the fact that it has appeared
+in \TUGboat, it still seems worthwhile printing it here.
+Firstly, Dominik has added an appreciable amount of
+material to it, and secondly, not all \TeXline\ readers are
+\TUGboat\ readers. Perhaps this article may encourage them
+to join TUG and receive the journal. In its original form,
+the article ran to about 15--16 pages. It has been ruthlessly
+cut. I have omitted some `frivolous' sections, and some where
+the work was really `work in progress'. Perhaps more
+damaging, I have omitted all the contacts and details of availability.
+{\bf Do not contact Dominik to find out how to get these fonts.}
+Please. First, consult \TUGboat; or failing that, if you have email access, try
+accessing the complete source file, as listed at the end of the article;
+and then, when all else fails, ring me. Do not be upset
+when my ansaphone takes the message.
+\smallskip
+\rightline{\sl Malcolm Clark}
+\bigskip
+\newcount\num
+\newcount\subnum
+\def\METAfont{meta-font}
+\def\section#1{\medskip\global\advance\num by1
+\global\subnum0\noindent{\sl\the\num. #1} \par\noindent\ignorespaces}
+\def\subsection#1{\global\advance\subnum by 1\smallskip\leftline{$\bullet$\sl
+\enspace\the\num.\the\subnum\enspace#1}\par\noindent\ignorespaces}
+\def\subsubsection#1{\par\leftline{\quad$\circ$\sl
+#1}\par\noindent\ignorespaces}
+\def\verb{}
+\centerline{\bf The Many Faces of \TeX}
+\medskip
+\leftline{\sl Introduction}
+\noindent
+This article seeks to give a survey of the fonts
+currently available for use with \TeX.
+Although I have been primarily interested in cataloguing fonts
+designed with \MF, I also wanted to include information about any
+other fonts that have been successfully used with \TeX, i.e., fonts
+with \TeX\ Font Metric files, and a mechanism for the creation of the
+appropriate ligatures and kerning pairs, be it within the {\tfm}
+file, or by means of a preprocessor.
+
+I first started compiling this article late in 1987, as a note to
+myself and my immediate Indological colleagues. But it seemed little
+extra work to include more information in it about other fonts that I
+had heard of, and doing this greatly widened its usefulness to \TeX\
+users in general. But you may still detect a slight Indic leaning.
+
+
+People interested in \MF\ should be aware that in addition to
+past issues of {\TUGboat\/}, \hax\ and UK\TeX, Don Hosek's network
+magazine \TeX MaG has regularly included information about fonts,
+and is required reading for \MF ers. Volume 2, issue 5, in
+particular, was dedicated to non-English \TeX, and discussed
+Icelandic, German, French, ancient Irish, and the problems of
+foreign language hyphenation. Earlier issue of \TeX Mag have
+also contained technical descriptions of \TeX\ font file formats,
+etc.
+
+This article is made up of information given to me by others, both in
+person and through general publication in \TUGboat\/, \hax\ and the
+various electronic networks. My sincere thanks to all the contributors.
+
+
+\section{\sl Computer Modern}
+\noindent
+It may seem odd to start with Computer Modern (CM), the typeface
+family that most \TeX\ users use most of the time, since it was
+created side by side with \TeX, and is included in all distributions
+of \TeX. Nevertheless, I feel that there is an important point to be
+made about CM.
+
+When Knuth developed \MF, one of the central ideas of the whole
+project was that of producing {\it parametrized\/} typefaces.
+Later on, Knuth explained that the whole inspiration for \MF\ had
+arisen from the three ideas of {\it pens, parameters\/} and
+{\it programs\/}. Knuth made it clear that he had never
+meant to imply that all typefaces could usefully be combined into one
+single \METAfont\ (although he did not actually deny the feasibility of
+such an endeavor), and again emphasized the desirability of trying to
+incorporate variability into a design.
+
+In view of the vigour with which Knuth has maintained the idea of
+parametrization, both in discussion and in the actual implementation
+of Computer Modern, it is surprising that there seems to be no example of a new
+typeface created from CM by changing its parameters. (Since this article was
+written, Knuth's `Concrete Modern', derived from CM, has been used in his new,
+jointly-authored book, `Concrete Mathematics' --- this is designed to blend in
+with the Euler maths font developed at the AMS: it is not immediately clear
+whether this is yet another CM realisation, or a new typeface.) In Knuth's own
+hands, CM is utterly plastic, as was demonstrated so startlingly in his article
+`The Concept of a Meta-Font' referred to above, and by the inclusion of such
+fonts as Computer Modern Funny Roman ({\tt CMFF}), Unslanted Text Italic ({\tt
+CMU}), and the delightful CM Fibonacci {\tt CMFIB} in the standard
+distributions. But none of us has taken up the challenge, implicit in the 62
+parameters of CM, to produce a new face for general distribution. It would be
+very nice, for example, to produce a full set of {\tt CMFIB}, with bold,
+slanted, italic, typewriter and other versions. Knuth has said that we should
+not blindly copy the old masters, without trying to understand why they produced
+what they did. How interesting it might be, then, to try to manipulate the
+parameters of CM to produce a different, but recognizable family of faces. And
+if the experiment failed, the reasons why it did so would themselves be of great
+interest. The first sentences of the Introduction to {\it Computer
+ Modern Typefaces\/} are:
+{\it
+``Infinitely many alphabets can be generated by the programs in this
+book. All you have to do is assign values to 62 parameters and fire
+up the \MFsl\ system; then presto --- out comes a new font of type.''
+}
+
+\subsection{Non-standard sizes of CM}
+John Sauter (1986), reported that he has
+re-parameterized CM so that any of the existing Computer Modern
+family may be created with any design size. For example, most of
+us, when requiring an 11\,pt CM Roman will use {\tt CMR10} at
+|\magstephalf|. Apparently this is not satisfactory to the
+most discerning, and Sauter's algorithms permit one to generate a
+true {\tt CMR11} face. They go further, of course, and permit
+the generation of any of the CM faces in any (reasonable) point
+size. This is done by algorithms which interpolate or extrapolate
+from the values used by Knuth in the \MF\ parameter files for CM.
+If a standard value, such as 10\,pt, is chosen, then Sauter's
+algorithms will produce CM fonts identical to the standard ones.
+The {\tfm}\ files for all sizes match exactly.
+Don Hosek notes that some of the fonts may start looking
+bad at larger sizes, lacking inter-character space, and so on.
+
+\subsection{Hosek Pica}
+Don Hosek has created a
+CM Pica, using the \MF\ code of the typewriter style font, {\tt
+CMTT}, of Computer Modern as his point of departure. CM Pica is
+more or less a 10\,cpi version of {\tt CMTT} with heightened
+ascenders and x-height, similar to the Xerox 1200 {\sc pica} font in
+appearance.
+
+CM Pica is designed as a sop to University authorities,
+some publishers' editors and those who insist on having a
+typescript manuscript marked up in the traditional manner, i.e.,
+with a squiggly line under bold characters, and underlining under
+characters which would be italicized in print.
+
+To achieve this, Don created `bold' and `italic' fonts ({\tt
+CMPICAB.MF, CMPICATI.MF}) in which each character includes an
+under-squiggle, or underline respectively. He also modified the
+{\tt ligtable} commands controlling begin- and end-quotes and also
+hyphens, so that {\tt ``} and {\tt ''} both become \verb|"|,
+while {\tt `} and {\tt '} both become {\tt \char'15} (the single
+straight quote symbol at code '015 in {\tt CMTT}). Similarly, on
+output, `\verb|--|' becomes `\verb|-|' and `\verb|---|' becomes
+`\verb|--|'.
+
+One can code up a document in normal \TeX\
+fashion and then, by setting the fonts to be Hosek's Pica, it
+will print out looking as though it had been typed, with `italic'
+text underlined and `bold' text under-squiggled, etc. Merely
+reset the fonts to {\tt CMR} (or whatever) and it will be
+properly typeset with all the variety of fonts and refinement of
+punctuation of which \TeX\ is capable.
+
+\section{\tt PUNK}
+Don Knuth (1988) presented `A Punk
+Meta-font'. Perhaps the most
+extraordinary part of that article is Don's description of how he
+coded the font, extremely rapidly, and with no reference at all
+to drawings for the letters from V to Z, producing the \MF\ code
+as fast as he could type! This demonstrates a completely new
+paradigm of typeface design and creation, which many graphic
+designers will find alien, but which evidently works for some
+people, at least for smallish projects such as the punk typeface.
+
+\section{\sl Devan\={a}gar\={\i}}
+\noindent
+Devan\={a}gar\={\i} is the alphabet used for writing and printing
+Sanskrit, Hindi and several other languages of South Asia, both
+ancient and modern.
+
+\subsection{Knuth}
+As far as I know, Donald Knuth coded the first Devan\={a}gar\={\i}
+character to be created with \MF. This was the single syllable {\it la\/},
+which Matthew Carter gave to Knuth in 1980 as a challenge to test the
+capabilities of the then nascent \MF. The smoke proof of the
+character, and several interesting remarks about the experience, were
+published as Knuth (1984).
+
+
+\subsection{Velthuis}
+The only fully worked out version of Devan\={a}gar\={\i} presently
+available is that of Frans Velthuis.
+Recently Velthuis completed version 1.2 of a
+Devan\={a}gar\={\i} \METAfont\ for \TeX. He has written \MF\ code for
+all the {\it ak\d{s}aras\/} (syllabic characters) necessary for Hindi, and
+most of those for Sanskrit too, although in the latter case some
+{\it vir\={a}mas\/} are used. Frans intends to produce a special Sanskrit
+version of his font in the future. Also included are the
+Devan\={a}gar\={\i} numerals, {\it anusv\={a}ra, vir\={a}ma, da\d{n}\d{d}a,\/}
+{\it candrabindu, visarga, avagraha\/}, full stop, and the superscript
+abbreviation circle.
+A preprocessor,
+\hbox{\tt DEVNAG}, available compiled for several systems, or in Pascal or
+C, reads your file and converts the Hindi transliteration into
+the appropriate codes for Frans's font. The converted file is then
+processed by \TeX\ or \LaTeX\ in the normal way, and the resulting
+\dvi\ file can be printed using a standard \dvi\ outputprogram.
+The portions of Hindi text originally in Roman
+transliteration will be printed in Devan\={a}gar\={\i}.\looseness=1
+
+
+\subsection{Ridgeway and Schiffman}
+Dr.~Thomas Ridgeway,
+director of the Center, in consultation with Prof.~Harold Schiffman
+of the Department of Asian Languages, has almost completed a fully
+vowelled \MF\ for Tamil. It will be tested during the summer, and
+should be ready for release in early autumn 1988, together with some
+sort of macro package to make it usable from a Latin-letter keyboard.
+Characters are arranged in the font in rough alphabetical order,
+starting from position zero.
+
+
+
+\section{\sl Perso-Arabic}
+%\paragraph{Date of information} June 7, 1988.
+\subsection{MacKay}
+Pierre A.~MacKay (TUG Site Coordinator for \unix-flavoured \TeX) and the
+Washington team have been working on an Arabic implementation of \TeX\
+for some years. Their plans are ambitious, and include building a
+customized version of \TeX, called \XeT, which has a built-in
+capability for handling bidirectional text.
+
+
+\subsection{Goldberg}
+%\paragraph{Date of information} February 3, 1988, February 11, 1988.
+Early in 1988, Jacques J.~Goldberg
+wrote to \hax, giving details of a
+package giving the capability of printing Hebrew. He said that an
+article was currently being written about the package, for submission
+to \TUGboat\ (see also under {Hebrew}).
+At the same time he referred to a nearly completed Arabic font.
+In early September Goldberg noted that there has been a
+lot of progress with the Arabic font. The font consists of:
+\item{$\star$} a complete font of 29 characters each at 2 or 4 glyphs
+(position dependent, isolated, first, middle, last in word).
+\item{$\star$} a preprocessor with customizable mapping of the basic 29
+chars to a--z, A--Z areas of an {\sc ascii} keyboard, that will generate an
+intermediary file with which unmodified \TeX\ plus a few macros correctly
+composes bidirectional texts. The preprocessor reassigns the correct glyph from
+the isolated form glyph depending on the position in word.
+\smallskip\noindent
+All this will continue to be made available free to the academic
+community.
+
+
+
+\section{\sl Hebrew}
+%\paragraph{Date of information} February 3, 1988.
+\subsection{Goldberg}
+Jacques J.~Goldberg also gave details of a package giving the
+capability of printing Hebrew. He said that an article was currently
+being written about the package, for submission to \TUGboat.
+The package comprises:
+\item{$\star$} a set of fonts at 8, 9, 10, 12, 17 points in regular type, 10
+ points slanted and bold, and any magnification on request (1000
+ off the shelf).
+\item{$\star$} a 100\% portable preprocessor written in C (MSDOS users who do
+ not have a compiler can get the {\tt .COM} file).
+\item{$\star$} a small set of \TeX\ macros.
+\item{$\star$} a sample file.
+
+\noindent
+Hebrew words in Roman transliteration are inserted either by typing
+first-typed-last-read with the font invoked, which
+`displays' in \hbox{natural} reading order, or by typing first-typed-%
+first-read as argument of the |\reflect| macro given by Knuth \&
+MacKay, 1987. Long Hebrew sequences are typed
+in first-typed-first-read order, within delimiters. The preprocessor
+copies non Hebrew sequences to an auxiliary file. Hebrew sequences are
+parsed into words, and written to the auxiliary file one word at a
+time after each word has been reflected. \TeX\ is then invoked on the
+file containing the macro package, which itself |\inputs| the
+auxiliary files, feeding \TeX\ with either normal English input or
+\hbox{|\lines{ }|} adjusted by the macro to the optimal number of Hebrew
+words.
+
+\subsection{Other Developments}
+See also the experimental Hebrew font described under the heading
+{Georgia Tobin}, and the bitmaps distributed by the {Austin Code Works}.
+
+
+\section{\sl Greek}
+%\paragraph{Date of information} January 21, 1988.
+\subsection{Levy}
+Regular, bold, and typewriter versions of the Greek alphabet have been
+coded in \MF\ by Silvio Levy of Princeton, starting from the Greek
+character set created by Don Knuth as part of the CM family, but with
+all accents, breathings, correct spacing, ligatures, and macros to
+implement a convenient Roman transliteration for input. The font is
+suitable for both classical and modern Greek.
+
+Full details and illustrations of the use of the fonts have been given
+by Silvio Levy in his two publications (1988a, 1988b).
+
+
+
+\subsection{Hamilton Kelly}
+Brian Hamilton Kelly created Greek fonts
+using \MF.
+Brian completed this work before hearing of Silvio Levy's work at
+Princeton, but continues to use his own Greek since it does not
+require a \dvi\ driver which can read fonts of 256
+characters.
+He has now written a small macro package which eases
+considerably the selection of the Greek fonts; this is for use
+under \LaTeX. He has also
+written a short paper, describing what he has generated, and his
+future directions. He has recently been refining the character
+programs, to make some of the letters more textual in appearance
+(for example, the alpha was very wide; fine for maths, but not in
+text).
+
+\section{\sl Cyrillic}
+\subsection{MacKay}
+%\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre
+%MacKay).
+Pierre MacKay reports that the Washington team is working on Old
+Russian (more or less Old Church Slavonic, but specifically designed
+for the Slovo).
+
+\subsection{MF Slavic Family}
+This family of Cyrillic fonts is described under Georgia Tobin.
+
+\subsection{AMS}
+The American Mathematical Society (Beeton, 1985) has developed a post revolution
+Cyrillic font, in old \MF79, and a set of macros to implement it
+comfortably. Details of the font, with examples of its use, and grids
+of the character set were published in \TUGboat.
+
+\section{\sl Turkish}
+%\paragraph{Date of information} June 7, 1988. (P. A. MacKay)
+Pierre MacKay informs me that work on properly accented
+Roman-letter Turkish fonts in \MF\ has been undertaken at the
+University of Washington by himself and Walter Andrews. The accented
+characters are developed from CM descriptions, so as to
+maintain the maximum possible compatibility with the CM
+faces. Andrews and MacKay have published a description of their work
+(Andrews and MacKay, 1988).
+Pierre also wrote on Turkish hyphenations (MacKay, 1988).
+
+
+
+\section{\sl Japanese}
+%\paragraph{Date of information} March 11, 1988
+In order to typeset Japanese text it is insufficient merely to have a
+Japanese font. There are several problems, including the very large
+size of the Japanese character set, which mean that a modified
+implementation of the \TeX\ system as a whole is necessary.
+Some of the issues concerned in using \TeX\ for typesetting Japanese
+were surveyed by Nobuo Saito and Kazuhiro Kitagawa of Keio University,
+Yokohama: (Saito \& Kitagawa, 1988).
+
+
+\subsection{ASCII Corporation}
+The ASCII Corporation is a microcomputer oriented publishing and
+software house that has taken a strong interest in \TeX\ for their own
+publishing work, and whose \unix\ support section has produced and
+distributes the Japanized version of \TeX.
+
+
+\subsection{J\TeX}
+Two articles on J\TeX\ and its fonts have
+appeared (Saito, 1987, 1988).
+J\TeX\ was developed by Yasuki Saito of Nippon Telephone \& Telegraph
+(NTT). His policy has been to attempt to avoid radical changes to
+standard \TeX\ as much as possible, but this increased compatibility
+has led to problems: since a font can have only 256 characters, the
+number of fonts one needs even to support a single real Japanese font
+set (33) tends to be quite large, even if one only declares the fonts
+corresponding to the various sections of the original font that
+include characters that have actually been input into the document.
+
+
+Yasuki Saito has also collaborated with Dai Nippon Printing Co.~to
+make their industry standard fonts available. ASCII and SONY are also
+negotiating with Dai Nippon to allow similar font sets to become available for
+different resolutions of printers, and, if we are lucky, a vector stroke
+typeface of high quality that is applicable to various sizes and
+resolutions may become available next year.
+
+Saito's 1988 article includes a section describing the
+JIS and DNP Japanese fonts, with illustrations.
+J\TeX\ has 240, 300, 400, and 480 dpi fonts available currently.
+Please note that 6000+ characters makes for a largish distribution
+tape --- the rudimentary set of JIS fonts in an adapted {\tt gf} format
+with {\tt tfm}s takes up about 10\,Mbyte of disk space, while the {\tt
+pxl}, {\tt gf}, and {\tt tfm} files for the DNP Mincho and Gothic
+fonts very nearly fill an entire 2400\,ft magtape at 6250\,bpi!
+
+
+\subsection{Other Developments}
+There is a version of Japanese \TeX\ that is likely to become
+available from Canon which resembles J\TeX, but it may take a {\it
+long} time for the management at Canon to make anything available to
+the public domain, so it may not be available until some time next
+year.
+
+Similarly, IBM Japan has a Japanese version based on the Canon
+algorithm (which was also the stimulus for the Saito's J\TeX).
+
+The Bitstream Kanji fonts could almost certainly be integrated into
+the above Japanese \TeX\ implementations (see {Bitstream}).
+
+
+
+\section{\sl International Phonetic Alphabet}
+\subsection{Washington State University}
+Dean Guenther informs me that Washington State
+University has an IPA font available. It contains 128 popular IPA
+characters and diacritics as specified in Pullum \& Ladusaw (1986).
+ Janene Winter did the \MF\ work on this font. The character
+positions were coordinated with help from Helmut Feldweg,
+Christina Thiele and some ideas from Brian
+MacWhinney and Karen Mullen.
+
+The font also comes with a set of macros to access the characters
+easily. For
+example, |\schwa| prints what you would expect.
+
+
+\subsection{Other Developments}
+Georgia Tobin (q.\,v.) has an IPA font, created in old \MF79.
+
+A bitmap IPA font, {\tt ph10}, was created by Jean Pierre Paillet for
+use with \TeX\ for typesetting the {\it Canadian Journal of Linguistics\/}.
+This font is described, with a printout of the character grid, by
+Christina Thiele (1988).
+{\tt ph10} is now superseded by the Washington font.
+
+
+Kris Holmes and Chuck Bigelow also report that they have a bitmap IPA
+font. See {Lucida}.
+
+%\paragraph{Date of information} June 7, 1988.
+
+\subsection{Ridgeway}
+A phonetic alphabet has been developed by Thomas Ridgeway for a large
+subrange of American Indian languages. The first active projects
+using this are in Salish and Navajo.
+
+
+\section{\sl Georgia Tobin}
+Georgia Tobin is well known to readers of \TUGboat\ as the editor of,
+and chief contributor to, the `Font Forum' section of the journal.
+She has been working with \MF\ since 1982, and between 1982 and 1987
+she created several complete families of fonts for use with \TeX.
+(Georgia's husband Rick works with her on the fonts.) Much of
+her earlier work was done using \MF79, which is now superseded. Only
+the bitmaps of these early fonts are available, not the \MF\ sources.
+
+An important point to notice is that the Roman, Chel and Schoolbook
+families described below include math symbol and extensible fonts,
+like Knuth's CM, so that these fonts can be used for the full range of
+mathematical and technical typesetting as defined in the {\tt plain}
+format and \LaTeX.
+
+Georgia's newer work on Schoolbook, Hebrew, ALA and Special Effects
+typefaces, described below, is all done in the current and
+stabilized version of \MF, and is therefore much more flexible. Fonts
+of these faces can be generated at any reasonable resolution, and for
+any marking engine with a defined {\tt mode}. One hopes that Georgia
+will find some way of making her \MF\ source code available to bona
+fide users of her newer typefaces, without of course jeopardizing her
+livelihood.
+
+\subsection{MF Chel Family}
+The Chel (`Computer Helvetica') family of sans-serif fonts was
+initially
+created by Thom Hickey in \MF79. Chel was
+later completed and extensively reworked by Georgia Tobin. In its
+finished form, Chel has been described as `lighter and more compact'
+than the Computer Modern sans-serif ({\tt CMSS}) which was designed by
+Richard Southall and is included in all CM distributions. Chel
+comprises fifteen fonts including Chel Book, Slant, Medium Bold,
+Slanted Medium Bold, Bold, Slanted Bold, Extra Bold, Slanted Extra
+Bold, Math Symbols, Bold Math Symbols, Math Italic, Bold Math Italic,
+Math Extensible, Elite, Bold Elite, Pica and Bold Pica.
+
+\subsection{MF Roman Family}
+This family comprises more than nineteen Times Roman style seriffed
+fonts, including Roman Text, Slanted Text, Italic, Unslanted Italic,
+Medium Bold, Medium Bold Italic, Bold, Bold Italic, Extra Bold, Extra
+Bold Italic, Titling (Small Caps), Slanted Titling, Math Symbol, Bold
+Math Symbols, Math Italic, Bold Math Italic, Math Extensible, Elite
+and Pica. The last two fonts are 12\,cpi and 10\,cpi typewriter style
+fonts respectively, and include slanted and emboldened versions.
+
+\subsection{MF Slavic Family}
+The Slavic Family of fonts includes all the fonts necessary for
+sophisticated typesetting in Russian. The family includes
+Chel-compatible and Roman-compatible versions of Cyrillic in Book,
+Slant, Bold and Bold Slant versions, and also an Italic version of the
+Roman-compatible face. There are further `additional' fonts
+corresponding to each of these categories which contain extra accents
+and characters used in typesetting other Slavic languages.
+
+\subsection{MF Decorative Family}
+Also offered is a decorative package of fonts which includes six
+typefaces, including Black Letter, a Copperplate Script, Hodge Podge
+(including assorted dingbats, pharmacy and planetary symbols, a turtle
+and a frog), an Outline Helvetica (upper case), and a Slanted Outline
+Helvetica (also upper case), and an Uncial Majuscule which emulates a
+medieval manuscript script.
+
+\subsection{Century Schoolbook: Liber}
+Georgia is close to finalizing a first release version of a Century
+Schoolbook typeface. This is the first fruits of her work with the
+new \MF84. Her goal has been to create a complete Century Schoolbook
+style typeface that is clean and legible from very low resolutions
+(about 72\,dpi is the lowest so far) to very high, and in point sizes
+from 5 to 96 or so.
+In \TUGboat\ {\bf 9.2}, Georgia gave more information about the process
+of designing the Century Schoolbook typeface she has been working
+on. The face is now christened Liber, and the article was
+printed in the new face, at a resolution of 300\,dpi.
+
+
+\subsection{MF ALA}
+Another project has been the creation of \MF\ fonts which include the
+special character set defined as a standard by the American Library
+Association (ALA) and used by the Library of Congress and other bodies
+influential in the library automation world, such as OCLC. This set
+of characters and accents was designed to make possible the
+representation, if necessary in a standard Roman transliteration, of
+virtually all the world's languages. The characters include items
+like upper and lower case thorn, Polish dark {\it el\/} (with a cross bar),
+eth, and several other unusual signs and accents. There is even a
+{\it candrabindu\/} for Sanskritists! Georgia did this work for the Library
+of Congress. The font is available in Text, Bold, Italic, and Bold
+Italic.
+
+\subsection{Hebrew}
+Georgia is developing a Hebrew typeface, which is still at an
+experimental stage. At the present time it consists of 27 characters,
+with more calligraphic molding of the strokes than is shown in
+Goldberg's font. However, Georgia has not developed any macros or
+preprocessors for inputting Hebrew text in quantities, as Goldberg
+has.
+
+\subsection{Special Effects}
+Georgia published `The ABC's of Special Effects' (1988), in which are
+demonstrated several fascinating typographical effects that are relatively
+simple to produce with clever use of \MF\ macros. The article includes the
+\MF\ code illustrating how the effects were produced.
+
+
+
+\section{\sl Blackboard Bold}
+\subsection{Robert Messer}
+Robert Messer published an article (Messner, 1988), in which he generalized a
+method used by Knuth in the {\TeXbook\/} to produce such
+characters. This is a series of |plain| \TeX\ macros which jiggle the characters
+of CM around, using small kerns and the capital I and small rules, to produce a
+`poor person's blackboard bold'.
+
+\subsection{Other Developments}
+See also {Custom fonts \& Pandora}, and the {AMSfonts Package} package.
+
+
+\section{\sl APL}
+The APL programming language requires many unusual symbol characters,
+which often baffle normal typesetting and word processing systems.
+Aarno Hohti and Okko Kanerva (1987) have
+developed an APL font for use with \TeX. They have `raided' the CM
+character set to this end, so the characters should be similar in
+weight and style with CM.
+
+
+\section{\sl AMSfonts Package}
+The American Mathematical Society has developed several fonts of
+symbols and alphabets intended for use in mathematical notation.
+Three alphabets, collectively known as Euler, were designed by Hermann
+Zapf and implemented in \MF\ at Stanford as part of the \TeX\ project.
+They come in both medium and bold weights, and include Fraktur, script
+and an upright cursive alphabet, which was intended to minimize
+problems with the placement of accents and indices. The Euler fonts
+are considered proprietary, and sources
+are available only under lease.
+
+Two fonts of symbols, including a Blackboard Bold alphabet, are also
+available. Details of these fonts, including character grids, were
+published in Beeton (1985). These fonts are still rendered in
+\MF79, which is totally incompatible with the current \MF, so
+distribution of the sources is pointless; arrangements are being made
+for their re-implementation in new \MF, but the schedule is uncertain.
+
+
+\section{\sl Custom Fonts \& Pandora}
+\subsection{Custom Fonts}
+If you are desperate for a \TeX\ font that does not yet exist, why not
+commission a \MF\ programmer to create it?
+Neenie N.~Billawala advertises her services as a \MF\ consultant in
+{\TUGboat\/}. She is responsible for creating the fine calligraphic
+capitals that are part of the Computer Modern typeface family (in the
+{\tt CMSY} fonts).
+
+\subsection{Pandora}
+Neenie, a designer, has also created a new typeface called Pandora,
+which is part of a larger research project concerning the possibility
+of breaking the elements of typeface design down into general reusable
+components such as serifs (and terminal endings), bowls, circular
+shapes, arms and so on. Pandora is the result of setting the
+parameters for these components to one particular set of values, but
+many others could be chosen. In this sense, Pandora explores further
+the `parametrization' which is at the heart of Knuth's endeavor with
+\MF. Neenie is writing a Stanford Computer Science
+Report about this, called {\it Meta-Marks: Preliminary Studies for a
+Pandora's Box of shapes\/} (to appear).
+
+The Pandora typeface is intended to be a `bread and butter' text face
+and has been generated in seriffed, sans-serif and fixed width
+versions. The character set of Pandora coincides with {\tt CMR} and
+{\tt CMTT}, etc., and thus it does not include the math symbol
+characters and extensibles.
+
+
+\subsection{Blackboard Bold \& Outline}
+Neenie is also working on a Blackboard Bold, to be compatible with
+Times Roman, for the AMS, and an outline font.
+
+
+
+\section{\sl Bitstream Font Family}
+%\paragraph{Date of information} March 10, 1988
+One of the most exciting developments in the area of Roman
+alphabet typeface availability for \TeX\ has been the recent
+announcement by Personal \TeX\ Inc., of the PTI Font Interface Package
+(FIP). This is an MS DOS program which converts the outline typefaces
+of the Bitstream typeface library into {\tt pxl} (and then {\tt pk})
+fonts, with associated {\tt tfm} files, for use with \TeX\ in a manner
+analogous to the use of the use of the Computer Modern fonts.
+
+Since the Bitstream typeface outline files for any given font contain
+more than the 128 characters usual in a \TeX\ font, the extra
+Bitstream characters can be
+generated in a second, complement font. The Bitstream fonts generated
+by the FIP contain the same characters as {\tt CMR10}. However,
+equivalents of the math italic, math symbol and extensible fonts of
+the CM family are not provided, so the Bitstream fonts are for use in
+typesetting predominantly textual matter. (One could, of course, mix
+the fonts, using Bitstream for the text and CM for the mathematics.)
+
+
+The Bitstream typeface library advertised by Personal \TeX\ at present
+includes the following typefaces, each consisting of a regular, an
+italic, a bold and a bold italic face:
+Baskerville,
+Bitstream Charter,
+Bitstream Cooper Light,
+Century Schoolbook,
+Courier,
+Dutch (i.e., Times Roman),
+Futura Book,
+Futura Light,
+Futura Medium,
+Goudy Old Style,
+ITC Avant Garde Gothic,
+ITC Bookman Light,
+ITC Galliard,
+ITC Garamond Condensed,
+ITC Garamond,
+ITC Korinna,
+ITC Souvenir Light,
+Letter Gothic,
+News Gothic,
+Prestige,
+Serifa,
+Swiss (i.e., Helvetica),
+Swiss Condensed,
+Swiss Light,
+Zapf Calligraphic (i.e., Palatino),
+Zapf Humanist (i.e., Optima),
+and a selection of Headline faces including
+Bitstream Cloister Black,
+Broadway,
+Cooper Black, and
+University Roman.
+
+
+
+The creation of the font bitmaps is done using what
+Bitstream calls `smart outlines'. Typographic rules are stored with
+the typeface outlines and are applied at the time of bitmap
+generation, using artificial intelligence algorithms (originally
+implemented on Symbolics 3600 Lisp workstations) to tailor significant
+features of the font to its point size, and the resolution and marking
+characteristics of the printing device. Some typographically
+significant features that are so treated are the stem weight,
+x-height, cap height, side bearings, and baseline alignment. So a 6
+point Bitstream font is not a mere linear reduction of some larger
+design size, just as {\tt CMR6} is not simply a small {\tt CMR10}.
+This is very significant for the high quality of the fonts at small or
+large sizes, and goes some of the way towards meeting the argument
+made by Knuth in the \TeXbook\ (p.16), against scaling fonts much
+beyond their design size.
+
+
+
+
+\section{\sl Lucida}
+Lucida is the name of one of the typefaces designed by Kris Holmes and
+Chuck Bigelow. Its main design aim is that it be legible and
+beautiful at low as well as high resolutions, and it is probably the
+first original typeface family produced for digital printers and
+displays. (Another font with some similar design goals is
+Matthew Carter's Bitstream Charter.) By low resolution, Holmes and
+Bigelow mean laser printers and computer screens. The font has been
+discussed in Epstein (1986), Bigelow and Holmes (1986) and Anon (1988).
+The second of these articles is itself printed in the Lucida typeface.
+It goes into detail about the design concepts of Lucida, with
+illustrations.
+
+The Lucida family includes the following eight fonts: Roman, Italic,
+Bold, and Bold Italic, in both seriffed and sans-serif styles. Lucida
+has been called a `super family' because of the wide range of
+characters and fonts it provides, including compatibility with the
+full CM character set. Unusual features of Lucida fonts include the
+fact that the italic sans-serif is a true cursive style, rather than a
+slanted \hbox{Roman}, and that there are alternate sets of capitals,
+one heavier in weight, for English and French typographers, and one
+lighter, for Germanic texts which use extensive capitalization, and
+therefore need de-emphasized capitals.
+
+The screen `versions' of Lucida are at such low resolution
+(75--100\,dpi) that they cannot be regarded as straight reproductions of
+their higher resolution counterparts. They are therefore called
+Pellucida, to suggest that the designs are related to Lucida, but
+optimized for `pel' based screen displays.
+
+\subsection{Adobe}
+Chuck Bigelow informed me in April 1988 that Adobe Systems is dealing
+with the release of several Lucida typefaces for use with \TeX.
+
+The following faces have already been released by Adobe as
+downloadable PostScript fonts on both Mac and PC disks:
+Lucida Roman (seriffed),
+ Italic,
+ Bold,
+ Bold Italic,
+ Sans Roman (sans-serif),
+Sans Italic,
+ Sans Bold, and
+ Sans Bold Italic.
+
+
+The following will be released soon:
+ \TeX\ Math Italic,
+ \TeX\ Math Symbol,
+ \TeX\ Math Extension, and
+ Sans Typewriter.
+
+The Math fonts have the same character sets as shown in
+appendix F of the \TeXbook. The Lucida Sans Typewriter has another
+union of Adobe's standard set, this time with the \TeX\ text
+typewriter set, shown in figure 3 in the same appendix.
+
+
+\subsection{Imagen}
+Chuck Bigelow also noted that the Imagen Corporation currently offers
+various Lucida typefaces, and an upgrade to the full \TeX\ character
+set will be released in July 1988. These will include the
+Lucida seriffed family, the
+Lucida Sans family, and the
+Lucida Sans Typewriter family. Imagen will produce the \TeX\ Math
+fonts if there is demand from their users. Imagen Lucida will be
+available in outline format for their {\sc UltraScript} (\PS\ clone)
+and {\sc ddl} language printers, and for their im{\sc press} printers. The Imagen
+fonts should be metrically compatible with the Adobe fonts. They are
+made from exactly the same outline data.
+
+\subsection{Compugraphic}
+Bigelow informs me that Compugraphic Corporation has
+licensed the Lucida seriffed family (roman, italic, bold, bold italic)
+and the three basic \TeX\ math fonts (math italic, math symbol, math
+extension) for their 8600 and 9600 typesetters, and perhaps the 8400
+as well.
+
+
+\subsection{Some others}
+Atari is to bundle the Lucida donts with its \PS\ clone upgrade for
+its laser printer, the {\sc slm} 804. Imagen will
+also be supplying the Lucida math fonts for Atari systems later
+this year. The Lucida fonts will also be bundled with UltraScript
+(a \PS\ clone) from {\sc qms}.
+
+ Bigelow \& Holmes
+are also working on outline versions of several of the additional
+fonts shown in Knuth's Volume E of {\it Computers and
+ Typesetting\/}, and fonts analogous to the Euler family, including
+Bold Greek,
+Bold Script,
+Bold Symbol font,
+Small Capitals, as well as a
+Chancery,
+lower-case Script,
+Fraktur,
+Hebrew, and others.
+Light and Demibold versions of both seriffed and sans-serif families
+are also in progress, as well as the `Bright' versions used in
+Scientific American. However, these must await a distributor like
+Adobe or Imagen to reach the market.
+
+
+
+
+\section{\sl Icelandic}
+%\paragraph{Date of information} March 10, 1988, from \hax\ 1988,
+%issue 22.
+Jorgen Pind reported in \hax\
+that he is running an unmodified \TeX\ with new fonts and formats
+(including hyphenation) which cater for Icelandic.
+ Pind
+had written a full account of his work on Icelandic \TeX\ which
+appeared in Don Hosek's \TeX Mag, 2(5).
+
+
+
+
+
+\section{Hershey Fonts}
+Just as I had begun wondering about the Hershey fonts, Jim
+Seidman asked about them in \hax\ 1988, issue 70.
+
+\subsection{Guthery}
+Dean Guenther answered in issue
+73 that Scott Guthery, has the Hershey
+fonts with {\tfm}s for a nominal fee.
+
+\subsection{Kesner}
+A few weeks later, \hax\ 1988, issue 90, carried a letter from
+Oliver Kesner, also in answer to Seidman's
+query, describing his own work converting Hershey fonts for use
+with \TeX.
+The character set includes, besides several Roman
+typefaces, Greek, Russian, German Fraktur, and a variety of
+graphic symbols, Hiragana,
+Katakana, and 623 Kanji characters.
+
+
+\section{Logic Diagrams}
+Rick Simpson created a font called {\tt
+milstd.mf} for drawing electrical
+symbols. He included the \MF\ source code for the font, and in
+the following issue of UK\TeX, a small set of \TeX\ macros were
+published, for making the logical symbols easier to use within
+plain \TeX\ or \LaTeX. The font consists of the following 25
+symbols: slanting line at 45-degree angle for marking busses in
+logic diagrams; |and|, |nand|, |or|, |nor| gates, facing to the right,
+down, left and up; buffer and inverter, each facing to the right,
+down, left and up.
+
+\section{Music}
+UK\TeX\ 1988, issues 28 and 29, carried an exchange of
+information recently, concerning the use of \TeX\ to typeset
+music. This very challenging application has been receiving some
+attention, and the work to date was announced in the Music
+Research Digest. Thence it found its way to UK\TeX. Phillip
+T.~Conrad provided summaries of the work of Dunne and
+J\"{u}rgensen, that of Schofer and Steinbach, and of his own.
+
+\subsection{Dunne and J\"{u}rgensen}
+Dunne and J\"{u}rgensen conducted research at the University of
+Western Ontario; they defined the concept of i-marks and p-marks.
+I-marks are invariant marks, the kind of marks that can be put
+into a font and typeset easily with \TeX. P-marks are
+parameterized marks whose shape and size varies according to
+certain parameters. The only p-marks \TeX\ is capable of
+typesetting are the horizontal and vertical rules. Dunne and
+J\"{u}rgensen use \PS\ to augment the capability of \TeX\
+with a special version of {\tt dvi2ps}.
+
+
+\subsection{Schofer and Steinbach}
+There is a thesis written by Angelika Schofer and Andrea
+Steinbach at the Institut f\"{u}r Angewandte Mathematik at the
+Rheinische Friedrich-Wilhelms-Universit\"{a}t at Bonn, entitled
+{\it Automatisierter Notensatz mit \TeX}.
+
+Schofer and Steinbach operated from the assumption that a font of
+beams and slurs is in fact feasible; they appear to have
+generated just such a font, and they use plain \TeX\ alone.
+Their system appears to `understand' some form of
+music-description language, and to apply music-setting rules
+automatically. The music is printed with \TeX\ by means of the
+special fonts.
+
+
+\subsection{Conrad}
+Phillip T. Conrad noted that he is currently (August 1988)
+finishing a Master's thesis, which presents a prototype system for typesetting
+music notation with \TeX, building on the previous work at the Ohio State
+ University of Gourlay et al.
+
+\section{\sl Miscellaneous}
+\subsection{{\tt SPRITE.STY}}
+If you use \LaTeX, and you only need one or two extra characters, an
+ingenious and very easy way to generate them has been devised by
+Martin Costabel. It is a \LaTeX\ style called {\tt SPRITE}, and the
+code and documentation were published in issue 1.8
+of \TeX Mag. More recently a newer version was published in \hax.
+It included a macro for use in |plain| \TeX. Essentially, {\tt SPRITE} is a macro
+that allows you to define your own symbols in a quick and dirty way. Define the
+character as a dot pattern on your screen enclosing it by
+ |\sprite| and |\endsprite| commands. If you just need
+one special character or some cute little symbol whatever is necessary for a
+professional solution, this may produce acceptable results.
+
+
+Using {\tt SPRITE.STY} one `draws' the character to be defined as a
+pattern of characters on a grid. The figure below shows how {\it schwa\/} is
+done.
+\begintt
+\def\schwa{\FormOfSchwa\kern1pt}
+% Only necessary if \kern... is wanted
+\sprite{\FormOfSchwa}(16,24)[0.4em,1ex]
+% Resolution ca. 200x340 dpi.
+:.......BBBBBBBBBB.......|char'174
+:....BBBB........BBBB....|char'174
+:..BBB.............BBBB..|char'174
+:.BB.................BBB.|char'174
+:.B...................BBB|char'174
+:.....................BBB|char'174
+:.....................BBB|char'174
+:.....................BBB|char'174
+:BBBBBBBBBBBBBBBBBBBBBBBB|char'174
+:BBB..................BBB|char'174
+:BBB..................BBB|char'174
+:BBB.................BBB.|char'174
+:.BBB...............BBB..|char'174
+:..BBBB...........BBBB...|char'174
+:....BBBBB.....BBBBB.....|char'174
+:.......BBBBBBBB.........|char'174
+\endsprite
+\endtt
+To use this character in your document, all you have to do is
+use the command |\schwa|. This method uses a lot of \TeX's
+memory, and is only suitable for characters which are used rarely, say
+a few times on a page.
+
+\subsection{Austin Code Works}
+The Austin Code Works has a large collection of bitmap fonts that work
+with \TeX, and which were originally created at SAIL (Stanford
+Artificial Intelligence Lab).
+Because these fonts are not coded in up-to-date \MF, what you get is
+what you get, i.e., you cannot change the size or resolution of the
+fonts. I believe they are all (or most) 200\,dpi fonts. Bear in mind
+that although you might get, say, a Hebrew font, there are no
+accompanying macros to implement it at the keyboard level.
+
+The 137 KST fonts
+include Hebrew, Greek, Old English, Old German, Cyrillic, hand (sign
+alphabet), and Tengwar alphabets in addition to the Roman alphabet in
+a large number of styles.
+The also fonts include such essentials as single character fonts for the
+Stanford and MIT logos (separate fonts for each, naturally), two views
+of Snoopy, two views of Starship Enterprise, three fonts of chess
+pieces, several sans-serif fonts, and what looks as if it might be a
+very tiny Arabic font.
+
+\subsection{HP2TEX (HP Font Conversion)}
+%\paragraph{Date of information} March 11, 1988.
+In February 1988, a file {\tt HP2TEX} appeared
+on Usenet. It included the Turbo Pascal 3.0
+source code and a compiled DOS version of {\tt HP2TEX}, a program to
+read a Hewlett Packard soft font and generate two files useful to
+\TeX\ users, a {\tt PL} and a {\pxl} file.
+
+
+
+
+\subsection{Old English}
+\subsubsection{Henderson}
+Doug Henderson has implemented \MF\ on the PC/AT family of personal
+computers, and is also responsible for generating the high resolution
+bitmaps of several of the non-standard fonts illustrated in recent
+issues of \TUGboat\/, such as the APL and Greek fonts.
+
+He has created a few characters like the Old English characters thorn
+(upper/lower case) and eth (upper/lower case). These will probably be the first
+in a series of ad-hoc characters created for various folks in need. For now,
+they are compatible with {\tt CMR10}.
+
+
+
+\subsubsection{Ridgeway and Barnett}
+%\paragraph{Date of information} June 7, 1988, Pierre MacKay
+A font to supplement the basic Latin alphabet of Computer Modern with
+Old English characters will be released in Autumn of this year by the
+University of Washington Humanities and Arts Computing Center.
+Macros for direct input and translators from various Personal
+Computer editor files will accompany the release.
+
+
+\section{\sl The PostScript Question}
+This article does not deal with the availability of \PS\ fonts,
+because it would double its length to do so, and because the author
+has never used a \PS\ device, and really would not know what he was
+talking about. Suffice it to say that instead of sending a bitmap to
+the printer, a \PS\ output file sends the printer instructions
+on how to construct character bitmaps at the time of printing. These
+\PS\ bitmaps are created in a manner analogous to running \MF,
+in that the characters are encoded in a high level language, which
+gives the outline, filling or stroke routines for creating glyphs.
+Like \TeX\ {\tfm} files, \PS\ fonts have their own font metric files,
+called {\tt afm} (Adobe Font Meric) files. With a bit of
+tinkering, it is perfectly feasible to use \PS\ fonts in a \TeX\
+document.
+
+\medskip
+\input fontmemo.refs
+\medskip
+\leftline{\sl Updates}
+\noindent
+For those with access to the academic computer networks, I post
+information about revisions of this article to \hax\ and UK\TeX\
+from time to time. This way, people will know
+whether there is enough new stuff for it to be worth downloading the
+whole article afresh. To those with access to the Aston (UK\TeX)
+archive the files are stored in the directory |public.score.texhax| as
+|wujastyk.txh| and |wujasty2.txh|.
+\smallskip
+\rightline{\sl\DW}