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diff --git a/info/digests/texline/no8/fontmemo.tex b/info/digests/texline/no8/fontmemo.tex new file mode 100644 index 0000000000..d5943363d3 --- /dev/null +++ b/info/digests/texline/no8/fontmemo.tex @@ -0,0 +1,1033 @@ +\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} |