From e0c6872cf40896c7be36b11dcc744620f10adf1d Mon Sep 17 00:00:00 2001 From: Norbert Preining Date: Mon, 2 Sep 2019 13:46:59 +0900 Subject: Initial commit --- info/digests/texline/no11/cahiers5.tex | 160 +++++++++++++++++++++++++++++++++ 1 file changed, 160 insertions(+) create mode 100644 info/digests/texline/no11/cahiers5.tex (limited to 'info/digests/texline/no11/cahiers5.tex') diff --git a/info/digests/texline/no11/cahiers5.tex b/info/digests/texline/no11/cahiers5.tex new file mode 100644 index 0000000000..8df4ddf02f --- /dev/null +++ b/info/digests/texline/no11/cahiers5.tex @@ -0,0 +1,160 @@ +\def\talk#1#2{\medskip\noindent\ignorespaces{% +\def\PS{{\it P{\iteight OST\-}S{\iteight CRIPT}}}% +\def\sgml{{\iteight SGML}}% +\def\LaTeX{{\it L\kern-.36em\raise.3ex\hbox{\iteight +A}\kern-.15emT\kern-.1667em\lower.7ex\hbox{E}\kern-.125emX}}% +\it #1\/}: #2.\quad} + +\centerline{\bf Cahiers GUTenberg} +\smallskip +\leftline{\bf Summaries from Number 5, May +1990:} +\frenchspacing +\talk{Une \`ere nouvelle: \TeX~3.0}{Michael Ferguson} +3--7; This paper presents some preliminary observations on +the new capabilities of \TeX\ 3.0 and their relationship to +the current capabilities of Multilingual \TEX. The paper +discusses a simple modification that unlocks features +that give it approximately the capability of the curent +\TEX. Discusses some deficiencies of the new versions and +makes some recommendations for electronic document +exchange. + +\talk{Vers l'introduction de la coleur dans +\TeX}{\hfil\break Christophe C\'erin \& Beno\^\i t Lemaire, +8--15} Colour printers have become available over the last +year. If they are destined to invade our offices, it is +advisable that \TeX\ takes into account their new +possibilities for a better computer assisted publishing +($\approx$DTP). + +In this article we discuss, in the first place, colour in +general (e.g.~its specification), then, through some +examples, we try to bring out the classes of problems +which call for classes of common solutions and common +algorithms. This leads us to propose a minimal group of +primitives permitting the resolution of the following +problems: +\item{$\bullet$}action on a syntactic element (letter, +word, phrase, paragraph\dots). We distinguish two sub +classes: +\itemitem{$\triangleright$}the simple use of constructions +of the type |\begincolor|\dots|\endcolor|; +\itemitem{$\triangleright$}more complex actions where the +colour of a letter depends on that of its neighbours, or, +more generally, parameters specifying the interaction of +colours. +\item{$\bullet$}action on a graphic entity like a +rule(s), or elements from the picture environment. + +\noindent +The implementation of the commands is through \PS\ +|\special|\/s used with Tom Rokicki's |dvips| driver. The +macros were written to be used with \LaTeX. The printer +employed is the QMS Color\-Script. + +\talk{D\'ebuter avec \LaTeX}{Jeannine Grimault \& Agn\`es +Isambard, 16--19} +This article summarises the problems encountered by +non-computer science beginners who wanted to make \LaTeX\ +into a professional publishing tool. As ``non computer +scientists'' some of the ideas given here require the +indulgence of experienced \TeX ers. To begin with, we try +to summarise our questions and express our hopes, and +lastly we present ways to tailor the Mac to make \Textures\ +even easier to use. + + +\talk{Pourquoi \TeX? Et pourquoi pas?\dots}{\hfil +Maurice\break Laugier, 20--25}This article presents several +examples of work typeset commercially with \TeX\ by +Imprimerie Louis-Jean, indicating the range and ease with +which \TeX\ sets such material. The examples range through +Greek, Russian and `linguistic' texts, to chemical +formul\ae\ and database publishing. It also mentions +several programs which can convert wordprocessed material +to \TeX. + + + +\talk{Sur les codes \`a barre EAN}{Laurent Guillop\'e, +26--29} This article describes the structure of the +barcodes of the EAN family (an EAN13 code is often printed +nowadays on the last cover page of a book) and a set of +\TeX\ macros used to realise them. It ends with some +remarks on the practical implementation of these macros. + + +\talk{Typographie de programmes Ada}{P Naudin \& C Quitte, +30--40}In this article, we introduce a tool for typesetting +programs written in a programming language with +keywords. We propose a style derived from the one used by +the {\tt WEB} system to typeset Pascal programs. The +strength of the set of macros that really do the job lies +in the internal mechanisms of \TeX\ in order to recognize +the keywords, and thus no complex automated definition is +required. This way the process is reasonably efficient, +in contrast with the horrible slowness of a +classical method written with \TeX. + + +\talk{De la construction de diagrammes}{Francis Borceux, +41--48} The {\tt diagram} style macros allow the automatic +typesetting of diagrams made up of various types of arrows +joining ``vertices'' which take the form of mathematical +expressions. The program automatically calculates the +length and position of each element. The use is able to +impose a convenient scale factor on each diagram. + +\talk{Typesetting Bridge via \TeX}{Kees van der Laan, +49--61} Enhanced plain \TeX\ macros and a bidding +environment for typesetting bridge card distributions and +bidding sequences are given. Macros for annotated printing +of the course of the play are provided. Examples of use are +given. (see also TUGboat 10(1), 113--116 \& 11(2), +265--276). + + +\talk{Musique en \TeX: \'ecriture +de musique polyphonique ou instrumentale en ``plain +\TeX''}{Daniel Taupin, 62--73} +The possibilities which \TeX\ offers in combining a wide +range of symbols and horizontal and vertical lines, +together with its versatility as a procedural language +has often encouraged musicians in the temptation to use +\TeX\ to typeset music. + +We have been unable to resist this temptation and present +a set of macros which allow the setting of polyphonic or +orchestral music for between one and nine instruments (or +voices), each able to have its score +written in a number of staves varying from zero (for +example for the words of a song) up to four. + +The difficulties are of two kinds: on the one hand from +the absence of musical symbols in the standard \TeX\ +fonts (notably clefs and beams), and on the other hand +the fact that polyphonic or orchestral music is not just +a linear expression like monodic scores, but is two +dimensional. + +The first problem has been resolved partly by using the +semi-graphical fonts ({\tt linew10}, {\tt circlew10}), +giving results which are aesthetically questionable, but +are portable and readable, and partly by using special +music fonts ({\tt musicx16}, {\tt slur16} and {\tt +beam16}). The second problem is the essential part of our +work and we are able to offer widest range of +possibilities to the composer or transcriber. + +Several examples are included. + + +\talk{\TeX\ and SGML}{Kees van der Laan, 74--81} +Terse text outlining what SGML is and is not, what \TeX\ +is, and their inter-relationship. Contains examples of +the same tasks (a letter, bridge card deal and some maths) +expressed in \LaTeX\ and SGML. + +\nonfrenchspacing +\author{\mwc} -- cgit v1.2.3