From e0c6872cf40896c7be36b11dcc744620f10adf1d Mon Sep 17 00:00:00 2001 From: Norbert Preining Date: Mon, 2 Sep 2019 13:46:59 +0900 Subject: Initial commit --- usergrps/uktug/baskervi/4_4/abbott1.tex | 82 + usergrps/uktug/baskervi/4_4/agm.tex | 231 + usergrps/uktug/baskervi/4_4/bailey.tex | 52 + usergrps/uktug/baskervi/4_4/bailey2.tex | 462 ++ usergrps/uktug/baskervi/4_4/bart.mf | 123 + usergrps/uktug/baskervi/4_4/bart.tex | 5 + usergrps/uktug/baskervi/4_4/bask4_4.brf | 10 + usergrps/uktug/baskervi/4_4/bask4_4.ps | 9989 ++++++++++++++++++++++++++++ usergrps/uktug/baskervi/4_4/bask4_4.rep | 33 + usergrps/uktug/baskervi/4_4/bask4_4.tex | 114 + usergrps/uktug/baskervi/4_4/baskerv.cls | 750 +++ usergrps/uktug/baskervi/4_4/burns.mf | 171 + usergrps/uktug/baskervi/4_4/chen.tex | 55 + usergrps/uktug/baskervi/4_4/clark.tex | 392 ++ usergrps/uktug/baskervi/4_4/consult.tex | 53 + usergrps/uktug/baskervi/4_4/ctanuk.tex | 256 + usergrps/uktug/baskervi/4_4/facts.tex | 225 + usergrps/uktug/baskervi/4_4/family.tex | 82 + usergrps/uktug/baskervi/4_4/fine.tex | 359 + usergrps/uktug/baskervi/4_4/foot.sty | 11 + usergrps/uktug/baskervi/4_4/form.tex | 99 + usergrps/uktug/baskervi/4_4/goossens.tex | 461 ++ usergrps/uktug/baskervi/4_4/homer.mf | 130 + usergrps/uktug/baskervi/4_4/lisa.mf | 108 + usergrps/uktug/baskervi/4_4/maggie.mf | 136 + usergrps/uktug/baskervi/4_4/makefile | 13 + usergrps/uktug/baskervi/4_4/marge.mf | 136 + usergrps/uktug/baskervi/4_4/ntuf.tex | 69 + usergrps/uktug/baskervi/4_4/review.tex | 189 + usergrps/uktug/baskervi/4_4/siep.tex | 429 ++ usergrps/uktug/baskervi/4_4/simpsons.900gf | Bin 0 -> 36608 bytes usergrps/uktug/baskervi/4_4/simpsons.doc | 23 + usergrps/uktug/baskervi/4_4/simpsons.mf | 309 + usergrps/uktug/baskervi/4_4/simpsons.sty | 97 + usergrps/uktug/baskervi/4_4/simpsons.tex | 125 + usergrps/uktug/baskervi/4_4/simpsons.tfm | Bin 0 -> 332 bytes usergrps/uktug/baskervi/4_4/snpp.mf | 89 + usergrps/uktug/baskervi/4_4/standard.tex | 98 + usergrps/uktug/baskervi/4_4/taylor.tex | 138 + usergrps/uktug/baskervi/4_4/tei.tex | 105 + 40 files changed, 16209 insertions(+) create mode 100644 usergrps/uktug/baskervi/4_4/abbott1.tex create mode 100644 usergrps/uktug/baskervi/4_4/agm.tex create mode 100644 usergrps/uktug/baskervi/4_4/bailey.tex create mode 100644 usergrps/uktug/baskervi/4_4/bailey2.tex create mode 100644 usergrps/uktug/baskervi/4_4/bart.mf create mode 100644 usergrps/uktug/baskervi/4_4/bart.tex create mode 100644 usergrps/uktug/baskervi/4_4/bask4_4.brf create mode 100644 usergrps/uktug/baskervi/4_4/bask4_4.ps create mode 100644 usergrps/uktug/baskervi/4_4/bask4_4.rep create mode 100644 usergrps/uktug/baskervi/4_4/bask4_4.tex create mode 100644 usergrps/uktug/baskervi/4_4/baskerv.cls create mode 100644 usergrps/uktug/baskervi/4_4/burns.mf create mode 100644 usergrps/uktug/baskervi/4_4/chen.tex create mode 100644 usergrps/uktug/baskervi/4_4/clark.tex create mode 100644 usergrps/uktug/baskervi/4_4/consult.tex create mode 100644 usergrps/uktug/baskervi/4_4/ctanuk.tex create mode 100644 usergrps/uktug/baskervi/4_4/facts.tex create mode 100644 usergrps/uktug/baskervi/4_4/family.tex create mode 100644 usergrps/uktug/baskervi/4_4/fine.tex create mode 100644 usergrps/uktug/baskervi/4_4/foot.sty create mode 100644 usergrps/uktug/baskervi/4_4/form.tex create mode 100644 usergrps/uktug/baskervi/4_4/goossens.tex create mode 100644 usergrps/uktug/baskervi/4_4/homer.mf create mode 100644 usergrps/uktug/baskervi/4_4/lisa.mf create mode 100644 usergrps/uktug/baskervi/4_4/maggie.mf create mode 100644 usergrps/uktug/baskervi/4_4/makefile create mode 100644 usergrps/uktug/baskervi/4_4/marge.mf create mode 100644 usergrps/uktug/baskervi/4_4/ntuf.tex create mode 100644 usergrps/uktug/baskervi/4_4/review.tex create mode 100644 usergrps/uktug/baskervi/4_4/siep.tex create mode 100644 usergrps/uktug/baskervi/4_4/simpsons.900gf create mode 100644 usergrps/uktug/baskervi/4_4/simpsons.doc create mode 100644 usergrps/uktug/baskervi/4_4/simpsons.mf create mode 100644 usergrps/uktug/baskervi/4_4/simpsons.sty create mode 100644 usergrps/uktug/baskervi/4_4/simpsons.tex create mode 100644 usergrps/uktug/baskervi/4_4/simpsons.tfm create mode 100644 usergrps/uktug/baskervi/4_4/snpp.mf create mode 100644 usergrps/uktug/baskervi/4_4/standard.tex create mode 100644 usergrps/uktug/baskervi/4_4/taylor.tex create mode 100644 usergrps/uktug/baskervi/4_4/tei.tex (limited to 'usergrps/uktug/baskervi/4_4') diff --git a/usergrps/uktug/baskervi/4_4/abbott1.tex b/usergrps/uktug/baskervi/4_4/abbott1.tex new file mode 100644 index 0000000000..425b6cb712 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/abbott1.tex @@ -0,0 +1,82 @@ +\title{Times and more Times} +\author[Peter Abbott]{Peter Abbott\\\texttt{p.abbott@aston.ac.uk}} +\begin{Article} +At the UKTUG meeting on 21st January 1994, during the discussion on +font variations, samples of fonts from different foundries were +circulated. Adobe Times is the most common Times Roman font used in +almost all postscript printers. Perhaps it comes as no surprise +therefore that Monotype Times Roman is rarely mentioned. + +Many users seem quite happy to accept the Adobe font without question. +It provides readable text but there is more to life that just readable +text. I do not intend to take sides and merely present information +about the two fonts. A sample paragraph for the two fonts +is presented below. + +Examination of the \TeX\ font metric file reveals one reason for the +differences, namely xheight and space: + +{\footnotesize\begin{tabular}{ll} +Monotye Times &Adobe Times\\[5pt] +(FAMILY TEX-RMNTM) & (FAMILY TEX-RPTMR) \\ +(FONTDIMEN & (FONTDIMEN \\ + (SPACE R 0.333) & (SPACE R 0.25) \\ + (STRETCH R 0.2) & (STRETCH R 0.2) \\ + (SHRINK R 0.1) & (SHRINK R 0.1) \\ + (XHEIGHT R 0.458) & (XHEIGHT R 0.448) \\ +\end{tabular}} + +These variances give rise to the +varied appearance of the text shown in the examples. I leave the reader to +decide which gives the best visual appeal. + +The Monotype Times font is available as part of the CHEST deal to +higher education. + + +\end{multicols} +\begin{tabular}{P{.45\textwidth}P{.45\textwidth}} +\fontfamily{ptm}\selectfont +Our task is to create a paragraph illustrating what a typical piece of text +looks like in a particular \TeX\ font. It should be stressed that not all +\TeX\ fonts can be used for typesetting text. We need to show most of the +characters in this font---for instance, something like ``the quick brown fox +jumps over a lazy dog'' would use all the lower-case letters. +How about ``THE QUICK BROWN FOX JUMPS OVER 9876543210 LAZY DOGS'' to make +sure we show all the upper-case letters and digits? Such a paragraph would +hardly be typical! Then there's ligatures (try and fit in words like fluffy, +waffle, firefly, difficult) and examples of kerning (boxer, AWAY, vowel). +But how do we put all this stuff into a paragraph that makes sense!? +& +\fontfamily{mnt}\selectfont +Our task is to create a paragraph illustrating what a typical piece of text +looks like in a particular \TeX\ font. It should be stressed that not all +\TeX\ fonts can be used for typesetting text. We need to show most of the +characters in this font---for instance, something like ``the quick brown fox +jumps over a lazy dog'' would use all the lower-case letters. +How about ``THE QUICK BROWN FOX JUMPS OVER 9876543210 LAZY DOGS'' to make +sure we show all the upper-case letters and digits? Such a paragraph would +hardly be typical! Then there's ligatures (try and fit in words like fluffy, +waffle, firefly, difficult) and examples of kerning (boxer, AWAY, vowel). +But how do we put all this stuff into a paragraph that makes sense!?\\ +\Large\fontfamily{ptm}\selectfont +Our task is to create a paragraph illustrating what a typical piece of text +looks like in a particular \TeX\ font. It should be stressed that not all +\TeX\ fonts can be used for typesetting text. We need to show most of the +characters in this font---for instance, something like ``the quick brown fox +jumps over a lazy dog'' would use all the lower-case letters. +& +\Large \fontfamily{mnt}\selectfont +Our task is to create a paragraph illustrating what a typical piece of text +looks like in a particular \TeX\ font. It should be stressed that not all +\TeX\ fonts can be used for typesetting text. We need to show most of the +characters in this font---for instance, something like ``the quick brown fox +jumps over a lazy dog'' would use all the lower-case letters.\\ +\fontsize{40}{40pt}\selectfont Firefly & +\fontsize{40}{40pt}\selectfont Firefly \\ +\multicolumn{1}{c}{Adobe Times} & +\multicolumn{1}{c}{Monotype Times}\\ +\end{tabular} +\begin{multicols}{2} +\end{Article} +\endinput diff --git a/usergrps/uktug/baskervi/4_4/agm.tex b/usergrps/uktug/baskervi/4_4/agm.tex new file mode 100644 index 0000000000..ded7ebe52e --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/agm.tex @@ -0,0 +1,231 @@ +\def\act#1{} +\title{Announcement of the Annual General Meeting} +\author[R.~A. Bailey]{R.~A. Bailey\\ +Honorary Secretary} +\newcommand{\NL}{\\[0.7\baselineskip]} +\begin{FArticle} +The Annual General Meeting of the \ukt\ will be held on the morning +of Wednesday 19~October 1994 at the University of Warwick, in the +Staff Club `Quiet Room' in Rootes Building. An agenda for the +meeting accompanies this announcement. + +Lunch will be available after the AGM, and will be followed by an +ordinary meeting on {\it What's up, Doc?} Further details of the +afternoon meeting, including a booking form, accompany this +announcement. There is no charge for the AGM itself, but members who +wish to stay for the afternoon meeting will have to pay. Non-members +are not permitted to participate in the AGM but are welcome to attend +the afternoon meeting. + +All members of the \ukt\ are urged to attend the AGM. Agenda item~11 +specifically seeks your opinion on future meetings: where? when? how +often? what topics? talks or training? regular or flexible schedule? +The Committee needs your input in order to plan the meetings that the +membership wants. + +The Constitution contains the following clauses: +\begin{quote} +17. \ The annual general meeting of the \ukt\ shall be +held in the United Kingdom not later than the last day of +November +in each year on a date and at a +time to be fixed by the Committee and notified to members +at least 35 days in advance for the +following purposes--- +\begin{enumerate} +\item to receive from the Committee a report balance sheet and statement of +accounts for the preceding financial year +\item to fill the vacancies in the Committee and to appoint auditors for the +ensuing year +\item to decide on any motion which may be proposed to the meeting in the +manner provided below +\item to fix the entrance fee (if any) and annual subscription +\end{enumerate} +18. \ Any member desirous of proposing any motion at the +annual general meeting shall give notice in writing to the secretary not +later than 14 days before the date of such meeting + +23. \ No amendment (other than a motion for adjournment) shall be moved to any +motion proposed at any annual or special general meeting unless written notice +of the amendment shall have been sent to the secretary prior to the meeting +\end{quote} + +I think that Clauses 17(3), 18 and 23 are self-explanatory. + +Having seen the enclosed draft agenda, anyone wishing to propose any +other motion to the AGM must send me, in writing, the text of the +proposed motion and their own name and address, to reach me by +5~October 1994. If there are any changes to the draft agenda, the +final agenda will be sent to members in the 14 days before the AGM. +Anyone wishing, at that stage, to move any amendment to any motion, +must send me, in writing, the text of the proposed amendment and their +own name and address, to reach me by 18 October 1994. + +As for vacancies on the Committee, C.~A.~Rowley will continue as Chair +in 1994--95 and P.~Abbott as Treasurer and Membership Secretary. +M.~Clark, J.~Fine and A.~S.~A.~Jeffrey are eligible and willing to +continue their Committee membership. C.~Hewlett and R.~Fairbairns must +retire but are eligible and willing to stand for re-election. Thus +there are up to 7~vacancies to be filled, and at least 5~nominations +are needed from outside the present Committee. + +The following parts of Clause~10 describe the procedure for +filling these vacancies: +\begin{quote} +(3) Any two members who are individuals may +nominate any member or members of the group who are individuals +to fill any of +the vacancies by giving at least 7~days notice in writing to the +secretary + +(4) If there are more nominations than vacancies then the membership +will be decided by an election by single transferable vote in which +every member of the \ukt\ who is an individual and is +present at the annual general meeting +shall be entitled but not obliged to vote +\end{quote} + +Nominations for Committee members in accordance with the above +sub-clauses are thus being sought. Written nominations for new +Committee members should be sent to me, to reach me by 12~October +1994. There is no official nomination form. If you like, you may use +the forms provided at the end of this notice. Otherwise, what you send +me should contain, clearly and legibly, +\begin{verse} + ---name and address of nominee\\ + ---declaration that (s)he is willing to stand for this + office, signed by the nominee\\ + ---name and address of the nominator\\ + ---statement nominating the nominee, signed by the + nominator\\ + ---name and address of seconder\\ + ---statement in support of the nomination, signed by + the seconder. +\end{verse} +The nominee, nominator and seconder should all be members of the +\ukt\, and the last two should be different from each other. + +Once elected, the Committee appoints officers from its membership. +Your present secretary is retiring (forced to under Clause~10~(1)) and +there is at present no Publicity person. Anyone with talents for +either of these jobs is strongly encouraged to stand for election to +the Committee. + +In all the above, `in writing' means `on paper', not email. + +Please put `UKTUG' on the outside of the envelope when you send me any +of the above. Otherwise, people may find themselves elected to the +wrong committee. + +My address is +\begin{verse} +School of Mathematical Sciences\\ +Queen Mary and Westfield College\\ +Mile End Road\\ +London E1 4NS +\end{verse} +from 1~September 1994. + +\begin{flushright} +R. A. Bailey\\ +Honorary Secretary\\ +\end{flushright} + +\subsection{AGM Agenda} +\act{CAR to welcome, then to introduce each item} +\begin{enumerate} +\item Receipt of the report of the 1993 AGM. \act{RAB to point to +Baskerville} +\item Chair's report. \act{CAR} +\item Treasurer's report. \act{PA} +\item Appointment of auditors. \act{CAR} +\item Approval of the annual subscription for individual members. \act{PA} +The committee proposes the following motion. +\begin{quote} +\it The membership fee for 1995 shall be \pounds 20.00 for full membership or +\pounds 10.00 for full-time student membership. Anyone who joins the UK \TeX\ +Users' Group on or after 1~October 1994 will, for the above fee, become a +member until 31~December 1995, although they will be ineligible to vote on +business of the UK \TeX\ Users' Group until 1~January 1995. +\end{quote} +\item Approval of the principles upon which the fees for +meetings and workshops are set. \act{PA} +The committee proposes the following motion. +\begin{quote} +\it +Meetings and workshops shall be costed to break even. The surcharge for +non-members +shall be the greater of \pounds 10 and rounded 10\% of the members' meeting +fee. +There shall be a +discount for booking before a specified date. +\end{quote} +\item Institutional membership. \act{RAB} +To note that, +in accordance with clauses 2(1) and 15(2) of +the Constitution, the committee has determined that the regulations for +institutional members should be: +\begin{quote} +\it +\begin{enumerate} +\item +Each institutional member shall +nominate a single person as a point of contact. +\item The person so nominated shall be entitled to +five copies of each issue of \BV. +\item +For each institutional member, +up to 20~people from that institution shall be allowed to attend +\ukt\ meetings at the members' rate, so long as they identify +themselves, on the booking form, as being among their institution's quota. +\end{enumerate} +\end{quote} +\item Approval of the annual subscription for institutional members. \act{PA} +The committee proposes the following motion. +\begin{quote} +\it The membership fee for 1995 shall be \pounds 100.00 for institutional +membership. +\end{quote} +\item Election of Committee Members. \act{RAB to display lists and orchestrate} +\item Report on {\em Baskerville}. \act{SPQR} +\item Topics for Meetings (to solicit ideas from the floor on theme, location, +timing and duration of forthcoming meetings). \act{?? could be RAB} +\item The future of the Archive. \act{PA??} +\item \TeX nical services to members. \act{?? could be SPQR} +\item Any other business. \act{CAR} +\end{enumerate} + +\end{FArticle} +\newpage +\noindent +\FullLine{Name of Nominee:} +\FullLine{Address:} +\FullLine{\phantom{Address:}} +\FullLine{\phantom{Address:}} +\FullLine{\phantom{Address:}} +I declare that I am a member of \ukt\ and am +willing to stand for election to the Committee of \ukt\ +for 1994--95. +\NL +\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL +\FullLine{Name of Nominator:} +\FullLine{Address:} +\FullLine{\phantom{Address:}} +\FullLine{\phantom{Address:}} +\FullLine{\phantom{Address:}} +I declare that I am a member of \ukt\ and that I nominate the above-named +person for election to the Committee of \ukt\ for 1994--95. +\NL +\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL +\FullLine{Name of Seconder:} +\FullLine{Address:} +\FullLine{\phantom{Address:}} +\FullLine{\phantom{Address:}} +\FullLine{\phantom{Address:}} +I declare that I am a member of \ukt\ and that I second the nomination of the +above-named +person for election to the Committee of \ukt\ for 1994--95. +\NL +\HalfLine{Signature:}\hspace{2em}Date: \hrulefill\NL + +\endinput diff --git a/usergrps/uktug/baskervi/4_4/bailey.tex b/usergrps/uktug/baskervi/4_4/bailey.tex new file mode 100644 index 0000000000..f7001cdd20 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/bailey.tex @@ -0,0 +1,52 @@ +\title{Topical Tip: making the TOC tick} +\author[R.~A. Bailey]{R.~A. Bailey\\Goldsmiths' + College, University of London} +\begin{Article} +\renewcommand{\thepreanswer}{} + +\begin{question} +I have a problem that I have not been able to solve by reading \lamport. +How can I force a table of contents to have entries for +`preface', `bibliography' and `index' (for example, like the table of contents +of \shortlamp\ itself has)? For example, if I use the +\verb+\chapter*{preface}+ +sectioning command, no entry for the table of contents +is generated; if I use +explicit commands such as +\verb+\addcontentsline{toc}{chapter}{Preface}+, it +works for the preface but it generates incorrect page numbers for the +index and bibliography (maybe I put the commands in the wrong place, +but it is not obvious to me where exactly I should put them). +\label{fabrizzio} +\end{question} + +\begin{answer} +The best way to get headings of funny `sections' like +prefaces in the the table of contents is to use the +counter \latexword{secnumdepth} described on pages~157 and~160 of +\shortlamp. I use +\begin{verbatim} + \setcounter{secnumdepth}{-1} + \chapter{preface} +\end{verbatim} +Of course, you have to set \latexword{secnumdepth} back to its usual value +(which is~2 in the standard styles, I think) before you do +any `section' which you want to be numbered. + +This is why it works. +\verb+\chapter+ + without the star does +\begin{enumerate} +\item put something in the \latexword{.toc} file; +\item write the chapter title; +\item if $\mbox{\latexword{secnumdepth}} \geq 0$ + then increase the counter for the + chapter and write it out. +\end{enumerate} + +The above behaviour is much more predictable than +\verb+\addtocontents+, +which, in my opinion, should be avoided if at all possible. +\end{answer} +\end{Article} + diff --git a/usergrps/uktug/baskervi/4_4/bailey2.tex b/usergrps/uktug/baskervi/4_4/bailey2.tex new file mode 100644 index 0000000000..eda6aee2b1 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/bailey2.tex @@ -0,0 +1,462 @@ +\hyphenation{super-script} +\title{Maths in \LaTeX: Part~1, Back to Basics} +\author[R.~A. Bailey]{R.~A. Bailey\\Goldsmiths' +College, University of London} + +\def\realrm{\rmfamily\upshape} +\newtheorem{prequestion}{Question} +\newtheorem{preanswer}{Answer} +\renewcommand{\thepreanswer}{} +\newenvironment{question}{\begin{prequestion}\realrm}{\end{prequestion}} +\newenvironment{answer}{\begin{preanswer}\realrm}{\end{preanswer}} +\newtheorem{preqn}{Exercise} +\newenvironment{qn}{\begin{preqn}\realrm}{\end{preqn}} +\newcommand{\latexword}[1]{{\ttfamily\upshape #1}} +\newcommand{\theoremheadfont}[1]{{\textbf{#1}}} + +\newcommand{\lamport}{{\it \LaTeX: A Document Preparation System\/} by Leslie +Lamport} +\newcommand{\shortlamp}{\emph{The Manual}} + +\begin{Article} +\section{Introduction} +The book \lamport\ is rather coy about Mathematics. It simply does not reveal +the full range of Mathematical expressions that can be correctly typeset +without going outside \LaTeX. The result is that some Mathematical authors, +while attracted to the generic mark-up of \LaTeX, believe that they need to use +plain \TeX\ or \AmSTeX\ +to write their documents. + +This sequence of tutorials seeks to correct that impression, by +explaining what Mathematical expressions can be typeset with \LaTeX\ +without the need for the \latexword{amstex} package. Perhaps this will +provoke someone else to write a tutorial on that package. The first +part is mostly, but not entirely, devoted to things which you can find +in \shortlamp, even though you may have overlooked some of them. +Succeeding parts (in the next and later issues of \BV) will be mostly +about Mathematical goodies provided by \TeX\ but upon which +\shortlamp\ is silent, even though they are necessary and quite easy +to use. The final part will deal with arrays, concentrating on their +use in Mathematics. + +These are tutorials, so I expect you, the reader, to do some work. +Every so often comes a group of exercises, which you are supposed to +do. Use \LaTeX\ to typeset everything in the exercise except sentences +in italics, which are instructions. If you are not satisfied that you +can do the exercise, then write to me with hard copy of your input and +output (no email address before we go to press, I'm afraid): I will +include a solution in the following issue of \BV. + +A word on fonts. Fonts in Mathematics are handled differently in +\LaTeX\ 2.09, in NFSS, and in \LaTeXe. Rather than compare these +systems every time that I mention fonts, I shall limit myself to +\LaTeX\ 2.09. With any luck, this will enrage some knowledgeable +person enough to write an article on handling of Maths fonts in +different flavours of \LaTeX. + +\section{What does it look like?} + +\subsection{Maths Mode} +\AllTeX\ has a special state, called {\em Maths mode}, which it must +be in to recognize Mathematical expressions and typeset them properly. +Maths mode in \LaTeX\ is everything between |\(| and~|\)|, +or, alternatively, everything between |$| and~|$|. The +parentheses are better for trapping errors, because it is obvious +whether the left or right one is missing, if any. A missing~|$| +causes \AllTeX\ to swap Maths mode and ordinary mode from then +onwards, giving strange output but no errors until it eventually meets +something like |x^2| that it cannot interpret in the wrong mode. +On the other hand, the dollar signs are easier to type, and easier to +see in your input file. + +In Maths mode most symbols are typeset as if they represent single-letter +variables. A string of three letters will be set as if those three variables +should be multiplied together. Fancy features like kerns and ligatures, which +are used in normal text to help the reader interpret letter-strings as words, +are turned off. Letters are set in the special font known as {\em Maths +italic\/} which is usually used for variables. + +Almost all spaces that you type are ignored. \AllTeX\ thinks that it +knows better than you do how Mathematics should be spaced, and it is +probably right to think so. + +Don't stay in Maths mode for too long just because you are too lazy to type a +few |$|~signs. Everything between the~|$|s should be Maths. A common +mistake by beginners is to forget that a punctuation sign, like a comma, may +have a different meaning in Maths from its meaning in text. In +\begin{quote} +the scalars $a$, $b$ and $c$ +\end{quote} +we have a textual list containing three mathematical objects, so the input file +contains +\begin{verbatim} + the scalars $a$, $b$ and $c$ +\end{verbatim} +That comma is a textual one. The lazy typist types +\begin{verbatim} + the scalars $a, b$ and $c$ +\end{verbatim} +and obtains +\begin{quote} + the scalars $a, b$ and $c$ +\end{quote} +On the other hand, in +\begin{quote} +the vector $(a,b,c)$ +\end{quote} +there is a single Mathematical object, so it is correct to type +\begin{verbatim} + the vector $(a,b,c)$ +\end{verbatim} +or, equally well, +\begin{verbatim} + the vector $(a, b, c)$ +\end{verbatim} +These commas are part of the Mathematical notation. + +\subsection{Basic symbols} +The basic symbols are the numerals {\tt 1}, {\tt 2}, \ldots, the Latin +letters {\tt a}, {\tt b}, \ldots, {\tt z}, {\tt A}, \ldots, {\tt Z}, and the +Greek letters |\alpha|, |\beta|, |\gamma|, \ldots, +|\omega|, |A|, |B|, |\Gamma|, \ldots,~|\Omega|. +If you don't know the standard English spellings of Greek letters, look on +page~43 of \shortlamp. Upper-case Greek letters which are conventionally the +same as their Latin equivalents do not have special commands. Some Greek letters +have variants: |\varepsilon|, for example. + +The obvious symbols for operators are the keyboard symbols |+| +and~{\tt -}. If you forget to go into Maths mode (a common temptation +when typing a table of data), the symbol~{\tt -} will not look like a +minus sign. Outside Maths mode the~|+| will look like a plus +sign, but the spacing will be wrong. In Maths mode \AllTeX\ knows what +is the proper spacing to put around binary operators like~\verb|+| +and~{\tt -}; it also knows the proper spacing to surround binary +relations like~{\tt =}. Try typing the following both inside Maths +mode and outside it, and compare the results. +\begin{verbatim} + 1 +2 = 3 4-1 = 3 + 1 -4 = -3 -2+7 =+5 +\end{verbatim} +Also try~{\tt >} outside Maths mode: you may be surprised. +\label{symsec} + +\subsection{Sub- and superscripts} +Subscripts are introduced with~|_|: for example, |x_n| gives~$x_n$. +If there is more than one thing in the subscript you have to use braces, as in +\verb!x_{n+1}! for~$x_{n+1}$. You can type |x_{n}| for $x_{n}$ if you +want, but it makes your input file less readable. + +Superscripts are done similarly, using~|^|: thus |y^3| for~$y^3$ and +|y^{-1}| for~$y^{-1}$. + +A sub- and superscript can be put on the same symbol in either order: +|x_n^2| and |x^2_n| both produce~$x_n^2$. Double subscripts or +superscripts are obtained by using braces in the obvious way: |x_{n_2}| +and |n^{m^2}|. + +To put a sub- or superscript {\em before\/} a symbol, precede it with +|{}|. Otherwise the sub- or superscript attaches itself to the previous +thing, which may well be something like $+$ or~$=$. + +In an expression such as ${(X+Y)^2}$, strictly speaking \TeX\ thinks it is +putting the superscript on the right parenthesis if +you type \verb!(X+Y)^2!, and +it positions the superscript in accordance with that thought. If this really +offends you, you can force \TeX\ to share your logic by typing +\verb!{(X+Y)}^2!, but you may not always prefer the result. + +\subsection{Modifying symbols} +To turn~$x$ into~$x'$ type~|x'|. You do not need to think of the prime as +a superscript. + +Some common modifiers are exemplified in +\[ +\begin{tabular}{cc@{\qquad}cc} +|\bar{x}| & $\bar{x}$ & |\tilde{x}| & $\tilde{x}$\\ +|\hat{x}| & $\hat{x}$ & |\vec{x}| & $\vec{x}$ +\end{tabular} +\] +A few more such decorations are shown on page~51 of \shortlamp. If any +of them is used over an~$i$ or a~$j$ then the dotless versions of +those letters should be used: |\imath| and |\jmath|. + +There are wide versions of |\hat| and |\tilde|: +\[ +\begin{tabular}{c@{\qquad}c} +\verb!\widehat{a+b}! & $\widehat{a+b}$\\ +|\widetilde{1-\theta}| & $\widetilde{1-\theta}$ +\end{tabular} +\] +There are also wide versions of |\bar| and |\vec| but with less +obvious names: I'll cover these in a later tutorial. + +Logically, a decoration such as |\hat| may modify the whole of a +subscripted expression such as~$x_2$; you usually mean `the estimate of~$x_2$' +rather than `the second part of~$\hat{x}$'. However, both $\hat{x_2}$ and +$\widehat{x_2}$ simply look wrong, so you have to let aesthetics triumph over +logic and type |\hat{x}_2|. + +\subsection{Dots} +To get a line of dots to show that some items have been missed out, use +|\ldots| if the missing items are normally aligned on their baselines, +such as letters, or |\cdots| if the missing items are normally aligned on +the centreline, such as binary operators. If the missing items are part of a +textual list, don't forget to come out of Maths mode and to put a comma at the +end of the dots. +\[ +\begin{tabular}{c} +|for $i=1$, $2$, \ldots, $10$|\\ +|the vector $(x_1, x_2, \ldots, x_n)$|\\ +|$a_1 + a_2 + \cdots + a_n$|\\ +|$y_1 = y_2 = \cdots = y_7$| +\end{tabular} +\] +If you think that the dollar signs round the numerals in the first example are +unnecessary, try embedding that phrase in a piece of italic text. + +\subsection{Square roots} +Type |\sqrt{2}| to obtain $\sqrt{2}$. The same technique works for more +complicated expressions than~$2$: you don't have to do anything to make the +root sign the right size. For example, +\begin{quote} +\verb!\sqrt{n^2+6}! \qquad $\sqrt{n^2+6}$ +\end{quote} +Other roots, such as cube roots, are obtained by putting in an optional +argument: +\begin{quote} +|\sqrt[3]{8} = 2| \qquad $\sqrt[3]{8} = 2$ +\end{quote} +The simple symbol for a square root is |\surd|. + +Don't abuse \TeX's wizardry by using |\sqrt| for a large expression in +text or in a complicated display. The mess obscures the message. + +\subsection{Displayed Maths} +To get a single line of displayed Maths, type the contents between |\[| +and~|\]|. You should not start a paragraph with displayed Maths, but may +end one. If the displayed Maths is in the middle of a paragraph, remember not +to leave blank lines around it in your input file. + +Displayed Maths may also be typed between |$$| and~|$$|, but the +effect is not quite the same. For example, the document option +\latexword{fleqn} aligns displayed Maths on the left if you use |\[| and +|\]|, but not if you use |$$|. + +To put a short piece of text in displayed Maths, insert it in |\mbox|, +remembering to include any necessary spaces that would be ignored in Maths +mode. +\begin{verbatim} + \[ a=b \mbox{ if } c=d \] +\end{verbatim} +Don't try to use |\mbox| in a similar way to put short text +between pieces of Maths in text: it inhibits line-breaks. + +\subsection{Words as labels} +Sometimes you want to attach natural-language words to Mathematical symbols to +label them. For example, you might have analogous quantities associated with +the rows and columns of a rectangular array, and wish to indicate this by using +the same symbol, say~$Q$, with different subscripts. It simply will not do to +type |Q_{rows}|, because this gives $Q_{rows}$, where the subscript looks +like the product of $r$~by $o$ by \ldots. And it is no good putting {\tt rows} +in an |\mbox|, because it will come out too big. Once something has been +put in a box, it doesn't change size. You have to type +|Q_{\rm rows}| to get $Q_\mathrm{rows}$. +(Did you remember the caveat about fonts?) + +If this seems too much trouble, you might decide to abbreviate to $Q_r$ +and~$Q_c$. But this will not do either, +because the subscripts look like variables +into which numbers, say, could be substituted. If you don't want to mislead +your readers, you should type |Q_{\rm r}|. + +\subsection{Fractions} +A built-up fraction is made with |\frac|: +\begin{quote} +|\frac{n}{m}| \qquad $\displaystyle\frac{n}{m}$ +\end{quote} +This comes out larger in displayed Maths than in text. It is better to use the +solidus, as in $n/m$, for most fractions in text, with the exception of a few +simple common fractions like~$\frac{1}{2}$. + +Of course, fractions can be put inside other fractions with no bother: +\[ +\begin{tabular}{c} +\verb!\frac{a(b+c)}{5 + \frac{1}{xy}}! \\[2\jot] +$\displaystyle \frac{a(b+c)}{5 + \frac{1}{xy}}$ +\end{tabular} +\] + +\subsection{Binary operators} +In the golden olden days of golf-ball typewriters, it was a luxury to +a Mathematician to have the symbol for direct sum, or for union. +\AllTeX\ not only has the symbols; it knows that they are operators, +and gives them the correct spacing for infix operators, and has +reasonably good ideas about where to break lines near them. A few of +the common ones are: +\[ +\begin{tabular}{cc@{\qquad}cc@{\qquad}cc} +\verb!+! & $+$ & \verb!-! & $-$ & \verb!\pm! & $\pm$\\ +\verb!\times! & $\times$ & \verb!\div! & $\div$ & \verb!\oplus! & $\oplus$\\ +\verb!\cup! & $\cup$ & \verb!\cap! & $\cap$ & \verb!\wedge! & $\wedge$. +\end{tabular} +\] +There are many more on page~44. + +In fact, \AllTeX\ is even cleverer than this. If a binary operator +doesn't find itself between two things it can operate on then it +becomes a simple symbol, and spaces and line-breaks adjust +accordingly. You should have noticed this if you did the exercise +suggested above.%in Section~\ref{symsec}. + +\subsection{Binary relations} +\AllTeX\ also knows about infix relations, such as +\[ +\begin{tabular}{cc@{\qquad}cc@{\qquad}cc} +\verb!=! & $=$ & \verb!\in! & $\in$ & \verb!\subset! & $\subset$\\ +\verb!e_2 +\geq e_3$. This implies that $p(x)^{e_1}\mid\eta(x)^{e_1-d}$ and hence that +$\eta(x) = \psi(x)p(x)^d$ for some polynomial $\psi(x)$. +\end{qn} + + +\begin{qn} +We have $t\in A\setminus B$ if and only if \[t \in A \mbox{ and } t\notin B.\] +\end{qn} + + +\begin{qn} +Pascal's triangle is based on the identity +\[ +{}^{n-1}\mathrm{C}_{k} + {}^{n-1}\mathrm{C}_{k-1} = {}^{n}\mathrm{C}_{k}. +\] +\end{qn} + +\end{Article} diff --git a/usergrps/uktug/baskervi/4_4/bart.mf b/usergrps/uktug/baskervi/4_4/bart.mf new file mode 100644 index 0000000000..f37d35cd3f --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/bart.mf @@ -0,0 +1,123 @@ +% bart.mf by Raymond Chen (rjc@math.princeton.edu) + +% Bart Simpson. + +pictureof(Bart, 24u#, 24u#, 0); + pickup thinpen; + + localpath eye_left, eye_right; + eye_right = superellipse( (16.6u, 11.5u), (14u, 13.7u), (11.5u, 11u), + (13.5u, 9u), .7); + draw eye_right; + + localpath nose; + nose = preclip((15u, 10u).. (17.5u, 10.8u){right} ... + (20u, 9.7u){down} ... (16.7u, 8.2u){left}, eye_right); + draw nose; + + localpath dimple; + z1d = (12.8u, 6.3u); + z2d = (12.2u, 5.2u); + dimple = z1d{(z2d-z1d) rotated dimple_depth}.. + {(z2d-z1d) rotated -dimple_depth}z2d; + draw dimple; + labels(1d, 2d); + + localpath mouth; + mouth = prepostclip( + (18u, 9u).. tension infinity and 3.. + (19.6u, 5.3u) .. + (19u, 5u){left} .. + (14.3u, 5u) .. + (12u, 6.2u), nose, dimple); + draw mouth; + + eye_left = prepostclip( + (18u, 9.7u){right}.. + (20u, 12.2u){up}.. + (18u, 14.2u){left}.. + {down}(15.5u, 12u), nose, eye_right); + draw eye_left; + + % The spikes of the hair are equally spaced along a path. + % (Which means they really aren't equally spaced, since speed + % along a path is nonconstant. But that's good, because + % that introduces variability.) + % + % n is two less than the number of spikes atop Bart's head. Although + % you can choose any value you want, the official Bart has 9 spikes, + % so you should set n to 7. + % + + localpath hair_top, hair_bot; + local(numeric)(bumpiness, n); + bumpiness = 5; n = 7; + + z0h = (18.3u, 13u); z3h = (8.8u, 5.5u); + z1h = (15.5u, 22u); z2h = (4u, 18.6u); + z4h = (8.5u, 3.8u); + + hair_top = z1h{(z2h-z1h) rotated -bumpiness} .. + {(z2h-z1h) rotated bumpiness}z2h; + z1h' = z1h - 2u * (z1h-z0h) / length(z1h-z0h); + z2h' = z2h - (2u * (z2h-z3h) / length(z2h-z3h)) rotated 10; + hair_bot = z1h'{(z2h-z1h) rotated -bumpiness} .. + {(z2h-z1h) rotated bumpiness}z2h'; + + % What we want is for the valleys to be equally spaced, but 50% + % further from the ends. + numeric t[]; + + % The following wild macro makes t0 ... t[n] equally spaced. + + for i = 1 upto 2n: t[i] - t[i-1] = endfor + + % and we make them 50% further from the far endpoints 0 and 1. + + .6(t0 - 0) = .6(1 - t[2n]); + + % But we allow the points to vary randomly, so it doesn't look + % too computerized. + + localpath hair; + hair = preclip(z0h --- z1h --- + for i = 0 upto n-1: + point t[2i] of hair_bot + shifted (kemptness*(normaldeviate, normaldeviate)) --- + point t[2i+1] of hair_top + shifted (kemptness*(normaldeviate, normaldeviate)) --- + endfor + point t[2n] of hair_bot --- + z2h .. tension infinity and 1 .. z3h{down} .. z4h, eye_left); + draw hair; + + numeric t; + + localpath ear; + ear = (9.5u, 8.9u) .. (8u, 7.5u) ..(9.3u, 6.5u); + erase fill ear .. cycle; + draw ear; + + drawtau( (8.5u, 7.8u), (9.5u, 8.2u), (9.1u, 7u), (9.1u, 8.3u) ); + + % chin and neck + z.chin = (14.4u, 2u); + draw preclip( + (17u, 5u){down} .. (16u, 4u){left} .. {(-1/2, -2)}z.chin, + mouth); + + % Bart's shirt + z1s = (x4h - 1.2u, 0u); + z2s = z4h + (-.5u, -.8u); + z3s = z.chin + (.2u, -.2u); + z4s = (x.chin + .3u, 0u); + draw z1s + .. {z2s-z1s}z2s + .. {dir -45}z4h + .. (12u, 1.8u){right} + ... z.chin & + flex(z.chin, z3s, z4s); + labels(1s, 2s, 4h); + + eyepos(Bart, 13.5u#, 11.2u#, 17.5u#, 12u#); +endpicture; diff --git a/usergrps/uktug/baskervi/4_4/bart.tex b/usergrps/uktug/baskervi/4_4/bart.tex new file mode 100644 index 0000000000..70ccee1f0c --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/bart.tex @@ -0,0 +1,5 @@ +\documentclass{article} +\usepackage{simpsons} +\begin{document} +\Bart Use \TeX, dude! +\end{document} diff --git a/usergrps/uktug/baskervi/4_4/bask4_4.brf b/usergrps/uktug/baskervi/4_4/bask4_4.brf new file mode 100644 index 0000000000..34ca611625 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/bask4_4.brf @@ -0,0 +1,10 @@ +\backcite {treebus}{{\uppercase {ii}}{4}{Hfootnote.7}} +\backcite {mclean}{{\uppercase {ii}}{4}{Hfootnote.7}} +\backcite {lamport}{{\uppercase {ii}}{4}{Hfootnote.7}} +\backcite {bernard}{{\uppercase {ii}}{5}{Hfootnote.7}} +\backcite {lamport}{{\uppercase {ii}}{5}{Hfootnote.7}} +\backcite {bernard}{{A}{5}{section.2.1}} +\backcite {grecon}{{B}{6}{section.2.2}} +\backcite {bernard}{{C}{7}{section.2.3}} +\backcite {bernard}{{D}{7}{section.2.4}} +\backcite {abbott:exeter}{{A}{30}{section.11.1}} diff --git a/usergrps/uktug/baskervi/4_4/bask4_4.ps b/usergrps/uktug/baskervi/4_4/bask4_4.ps new file mode 100644 index 0000000000..bf0a3e3d0b --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/bask4_4.ps @@ -0,0 +1,9989 @@ +%!PS-Adobe-2.0 +%%Creator: dvipsk 5.66a Copyright 1986-97 Radical Eye Software (www.radicaleye.com) +%%Title: bask4_4.dvi +%%Pages: 32 +%%PageOrder: Ascend +%%BoundingBox: 0 0 596 842 +%%DocumentFonts: Times-Bold Times-Roman Courier Times-Italic Symbol +%%+ CMMI10 CMR10 Times-BoldItalic CMSY10 Helvetica Helvetica-Oblique +%%+ ZapfChancery-MediumItalic CMEX10 CMR12 +%%DocumentPaperSizes: A4 +%%EndComments +%DVIPSCommandLine: dvips -Pcmps bask4_4.dvi -o +%DVIPSParameters: dpi=600, compressed +%DVIPSSource: TeX output 1997.09.30:1542 +%%BeginProcSet: texc.pro +%! 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The only Windows +% ANSI characters not available are those that make no sense for +% typesetting -- rubout (127 decimal), nobreakspace (160), softhyphen +% (173). quotesingle and grave are moved just because it's such an +% irritation not having them in TeX positions. +% +% (2) Remaining characters are assigned arbitrarily to the lower part +% of the range, avoiding 0, 10 and 13 in case we meet dumb software. +% +% (3) Y&Y Lucida Bright includes some extra text characters; in the +% hopes that other PostScript fonts, perhaps created for public +% consumption, will include them, they are included starting at 0x12. +% +% (4) Remaining positions left undefined are for use in (hopefully) +% upward-compatible revisions, if someday more characters are generally +% available. +% +% (5) hyphen appears twice for compatibility with both ASCII and Windows. +% +/TeXBase1Encoding [ +% 0x00 (encoded characters from Adobe Standard not in Windows 3.1) + /.notdef /dotaccent /fi /fl + /fraction /hungarumlaut /Lslash /lslash + /ogonek /ring /.notdef + /breve /minus /.notdef +% These are the only two remaining unencoded characters, so may as +% well include them. + /Zcaron /zcaron +% 0x10 + /caron /dotlessi +% (unusual TeX characters available in, e.g., Lucida Bright) + /dotlessj /ff /ffi /ffl + /.notdef /.notdef /.notdef /.notdef + /.notdef /.notdef /.notdef /.notdef + % very contentious; it's so painful not having quoteleft and quoteright + % at 96 and 145 that we move the things normally found there down to here. + /grave /quotesingle +% 0x20 (ASCII begins) + /space /exclam /quotedbl /numbersign + /dollar /percent /ampersand /quoteright + /parenleft /parenright /asterisk /plus /comma /hyphen /period /slash +% 0x30 + /zero /one /two /three /four /five /six /seven + /eight /nine /colon /semicolon /less /equal /greater /question +% 0x40 + /at /A /B /C /D /E /F /G /H /I /J /K /L /M /N /O +% 0x50 + /P /Q /R /S /T /U /V /W + /X /Y /Z /bracketleft /backslash /bracketright /asciicircum /underscore +% 0x60 + /quoteleft /a /b /c /d /e /f /g /h /i /j /k /l /m /n /o +% 0x70 + /p /q /r /s /t /u /v /w + /x /y /z /braceleft /bar /braceright /asciitilde + /.notdef % rubout; ASCII ends +% 0x80 + /.notdef /.notdef /quotesinglbase /florin + /quotedblbase /ellipsis /dagger /daggerdbl + /circumflex /perthousand /Scaron /guilsinglleft + /OE /.notdef /.notdef /.notdef +% 0x90 + /.notdef /.notdef /.notdef /quotedblleft + /quotedblright /bullet /endash /emdash + /tilde /trademark /scaron /guilsinglright + /oe /.notdef /.notdef /Ydieresis +% 0xA0 + /.notdef % nobreakspace + /exclamdown /cent /sterling + /currency /yen /brokenbar /section + /dieresis /copyright /ordfeminine /guillemotleft + /logicalnot + /hyphen % Y&Y (also at 45); Windows' softhyphen + /registered + /macron +% 0xD0 + /degree /plusminus /twosuperior /threesuperior + /acute /mu /paragraph /periodcentered + /cedilla /onesuperior /ordmasculine /guillemotright + /onequarter /onehalf /threequarters /questiondown +% 0xC0 + /Agrave /Aacute /Acircumflex /Atilde /Adieresis /Aring /AE /Ccedilla + /Egrave /Eacute /Ecircumflex /Edieresis + /Igrave /Iacute /Icircumflex /Idieresis +% 0xD0 + /Eth /Ntilde /Ograve /Oacute + /Ocircumflex /Otilde /Odieresis /multiply + /Oslash /Ugrave /Uacute /Ucircumflex + /Udieresis /Yacute /Thorn /germandbls +% 0xE0 + /agrave /aacute /acircumflex /atilde + /adieresis /aring /ae /ccedilla + /egrave /eacute /ecircumflex /edieresis + /igrave /iacute /icircumflex /idieresis +% 0xF0 + /eth /ntilde /ograve /oacute + /ocircumflex /otilde /odieresis /divide + /oslash /ugrave /uacute /ucircumflex + /udieresis /yacute /thorn /ydieresis +] def + +%%EndProcSet +%%BeginProcSet: texps.pro +%! +TeXDict begin /rf{findfont dup length 1 add dict begin{1 index /FID ne 2 +index /UniqueID ne and{def}{pop pop}ifelse}forall[1 index 0 6 -1 roll +exec 0 exch 5 -1 roll VResolution Resolution div mul neg 0 0]/Metrics +exch def dict begin Encoding{exch dup type /integertype ne{pop pop 1 sub +dup 0 le{pop}{[}ifelse}{FontMatrix 0 get div Metrics 0 get div def} +ifelse}forall Metrics /Metrics currentdict end def[2 index currentdict +end definefont 3 -1 roll makefont /setfont cvx]cvx def}def /ObliqueSlant +{dup sin S cos div neg}B /SlantFont{4 index mul add}def /ExtendFont{3 -1 +roll mul exch}def /ReEncodeFont{/Encoding exch def}def end + +%%EndProcSet +%%BeginProcSet: special.pro +%! +TeXDict begin /SDict 200 dict N SDict begin /@SpecialDefaults{/hs 612 N +/vs 792 N /ho 0 N /vo 0 N /hsc 1 N /vsc 1 N /ang 0 N /CLIP 0 N /rwiSeen +false N /rhiSeen false N /letter{}N /note{}N /a4{}N /legal{}N}B +/@scaleunit 100 N /@hscale{@scaleunit div /hsc X}B /@vscale{@scaleunit +div /vsc X}B /@hsize{/hs X /CLIP 1 N}B /@vsize{/vs X /CLIP 1 N}B /@clip{ +/CLIP 2 N}B /@hoffset{/ho X}B /@voffset{/vo X}B /@angle{/ang X}B /@rwi{ +10 div /rwi X /rwiSeen true N}B /@rhi{10 div /rhi X /rhiSeen true N}B +/@llx{/llx X}B /@lly{/lly X}B /@urx{/urx X}B /@ury{/ury X}B /magscale +true def end /@MacSetUp{userdict /md known{userdict /md get type +/dicttype eq{userdict begin md length 10 add md maxlength ge{/md md dup +length 20 add dict copy def}if end md begin /letter{}N /note{}N /legal{} +N /od{txpose 1 0 mtx defaultmatrix dtransform S atan/pa X newpath +clippath mark{transform{itransform moveto}}{transform{itransform lineto} +}{6 -2 roll transform 6 -2 roll transform 6 -2 roll transform{ +itransform 6 2 roll itransform 6 2 roll itransform 6 2 roll curveto}}{{ +closepath}}pathforall newpath counttomark array astore /gc xdf pop ct 39 +0 put 10 fz 0 fs 2 F/|______Courier fnt invertflag{PaintBlack}if}N +/txpose{pxs pys scale ppr aload pop por{noflips{pop S neg S TR pop 1 -1 +scale}if xflip yflip and{pop S neg S TR 180 rotate 1 -1 scale ppr 3 get +ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg TR}if xflip yflip +not and{pop S neg S TR pop 180 rotate ppr 3 get ppr 1 get neg sub neg 0 +TR}if yflip xflip not and{ppr 1 get neg ppr 0 get neg TR}if}{noflips{TR +pop pop 270 rotate 1 -1 scale}if xflip yflip and{TR pop pop 90 rotate 1 +-1 scale ppr 3 get ppr 1 get neg sub neg ppr 2 get ppr 0 get neg sub neg +TR}if xflip yflip not and{TR pop pop 90 rotate ppr 3 get ppr 1 get neg +sub neg 0 TR}if yflip xflip not and{TR pop pop 270 rotate ppr 2 get ppr +0 get neg sub neg 0 S TR}if}ifelse scaleby96{ppr aload pop 4 -1 roll add +2 div 3 1 roll add 2 div 2 copy TR .96 dup scale neg S neg S TR}if}N /cp +{pop pop showpage pm restore}N end}if}if}N /normalscale{Resolution 72 +div VResolution 72 div neg scale magscale{DVImag dup scale}if 0 setgray} +N /psfts{S 65781.76 div N}N /startTexFig{/psf$SavedState save N userdict +maxlength dict begin /magscale true def normalscale currentpoint TR +/psf$ury psfts /psf$urx psfts /psf$lly psfts /psf$llx psfts /psf$y psfts +/psf$x psfts currentpoint /psf$cy X /psf$cx X /psf$sx psf$x psf$urx +psf$llx sub div N /psf$sy psf$y psf$ury psf$lly sub div N psf$sx psf$sy +scale psf$cx psf$sx div psf$llx sub psf$cy psf$sy div psf$ury sub TR +/showpage{}N /erasepage{}N /copypage{}N /p 3 def @MacSetUp}N /doclip{ +psf$llx psf$lly psf$urx psf$ury currentpoint 6 2 roll newpath 4 copy 4 2 +roll moveto 6 -1 roll S lineto S lineto S lineto closepath clip newpath +moveto}N /endTexFig{end psf$SavedState restore}N /@beginspecial{SDict +begin /SpecialSave save N gsave normalscale currentpoint TR +@SpecialDefaults count /ocount X /dcount countdictstack N}N /@setspecial +{CLIP 1 eq{newpath 0 0 moveto hs 0 rlineto 0 vs rlineto hs neg 0 rlineto +closepath clip}if ho vo TR hsc vsc scale ang rotate rwiSeen{rwi urx llx +sub div rhiSeen{rhi ury lly sub div}{dup}ifelse scale llx neg lly neg TR +}{rhiSeen{rhi ury lly sub div dup scale llx neg lly neg TR}if}ifelse +CLIP 2 eq{newpath llx lly moveto urx lly lineto urx ury lineto llx ury +lineto closepath clip}if /showpage{}N /erasepage{}N /copypage{}N newpath +}N /@endspecial{count ocount sub{pop}repeat countdictstack dcount sub{ +end}repeat grestore SpecialSave restore end}N /@defspecial{SDict begin} +N /@fedspecial{end}B /li{lineto}B /rl{rlineto}B /rc{rcurveto}B /np{ +/SaveX currentpoint /SaveY X N 1 setlinecap newpath}N /st{stroke SaveX +SaveY moveto}N /fil{fill SaveX SaveY moveto}N /ellipse{/endangle X +/startangle X /yrad X /xrad X /savematrix matrix currentmatrix N TR xrad +yrad scale 0 0 1 startangle endangle arc savematrix setmatrix}N end + +%%EndProcSet +%%BeginProcSet: color.pro +%! +TeXDict begin /setcmykcolor where{pop}{/setcmykcolor{dup 10 eq{pop +setrgbcolor}{1 sub 4 1 roll 3{3 index add neg dup 0 lt{pop 0}if 3 1 roll +}repeat setrgbcolor pop}ifelse}B}ifelse /TeXcolorcmyk{setcmykcolor}def +/TeXcolorrgb{setrgbcolor}def /TeXcolorgrey{setgray}def /TeXcolorgray{ +setgray}def /TeXcolorhsb{sethsbcolor}def /currentcmykcolor where{pop}{ +/currentcmykcolor{currentrgbcolor 10}B}ifelse /DC{exch dup userdict exch +known{pop pop}{X}ifelse}B /GreenYellow{0.15 0 0.69 0 setcmykcolor}DC +/Yellow{0 0 1 0 setcmykcolor}DC /Goldenrod{0 0.10 0.84 0 setcmykcolor} +DC /Dandelion{0 0.29 0.84 0 setcmykcolor}DC /Apricot{0 0.32 0.52 0 +setcmykcolor}DC /Peach{0 0.50 0.70 0 setcmykcolor}DC /Melon{0 0.46 0.50 +0 setcmykcolor}DC /YellowOrange{0 0.42 1 0 setcmykcolor}DC /Orange{0 +0.61 0.87 0 setcmykcolor}DC /BurntOrange{0 0.51 1 0 setcmykcolor}DC +/Bittersweet{0 0.75 1 0.24 setcmykcolor}DC /RedOrange{0 0.77 0.87 0 +setcmykcolor}DC /Mahogany{0 0.85 0.87 0.35 setcmykcolor}DC /Maroon{0 +0.87 0.68 0.32 setcmykcolor}DC /BrickRed{0 0.89 0.94 0.28 setcmykcolor} +DC /Red{0 1 1 0 setcmykcolor}DC /OrangeRed{0 1 0.50 0 setcmykcolor}DC +/RubineRed{0 1 0.13 0 setcmykcolor}DC /WildStrawberry{0 0.96 0.39 0 +setcmykcolor}DC /Salmon{0 0.53 0.38 0 setcmykcolor}DC /CarnationPink{0 +0.63 0 0 setcmykcolor}DC /Magenta{0 1 0 0 setcmykcolor}DC /VioletRed{0 +0.81 0 0 setcmykcolor}DC /Rhodamine{0 0.82 0 0 setcmykcolor}DC /Mulberry +{0.34 0.90 0 0.02 setcmykcolor}DC /RedViolet{0.07 0.90 0 0.34 +setcmykcolor}DC /Fuchsia{0.47 0.91 0 0.08 setcmykcolor}DC /Lavender{0 +0.48 0 0 setcmykcolor}DC /Thistle{0.12 0.59 0 0 setcmykcolor}DC /Orchid{ +0.32 0.64 0 0 setcmykcolor}DC /DarkOrchid{0.40 0.80 0.20 0 setcmykcolor} +DC /Purple{0.45 0.86 0 0 setcmykcolor}DC /Plum{0.50 1 0 0 setcmykcolor} +DC /Violet{0.79 0.88 0 0 setcmykcolor}DC /RoyalPurple{0.75 0.90 0 0 +setcmykcolor}DC /BlueViolet{0.86 0.91 0 0.04 setcmykcolor}DC /Periwinkle +{0.57 0.55 0 0 setcmykcolor}DC /CadetBlue{0.62 0.57 0.23 0 setcmykcolor} +DC /CornflowerBlue{0.65 0.13 0 0 setcmykcolor}DC /MidnightBlue{0.98 0.13 +0 0.43 setcmykcolor}DC /NavyBlue{0.94 0.54 0 0 setcmykcolor}DC +/RoyalBlue{1 0.50 0 0 setcmykcolor}DC /Blue{1 1 0 0 setcmykcolor}DC +/Cerulean{0.94 0.11 0 0 setcmykcolor}DC /Cyan{1 0 0 0 setcmykcolor}DC +/ProcessBlue{0.96 0 0 0 setcmykcolor}DC /SkyBlue{0.62 0 0.12 0 +setcmykcolor}DC /Turquoise{0.85 0 0.20 0 setcmykcolor}DC /TealBlue{0.86 +0 0.34 0.02 setcmykcolor}DC /Aquamarine{0.82 0 0.30 0 setcmykcolor}DC +/BlueGreen{0.85 0 0.33 0 setcmykcolor}DC /Emerald{1 0 0.50 0 +setcmykcolor}DC /JungleGreen{0.99 0 0.52 0 setcmykcolor}DC /SeaGreen{ +0.69 0 0.50 0 setcmykcolor}DC /Green{1 0 1 0 setcmykcolor}DC +/ForestGreen{0.91 0 0.88 0.12 setcmykcolor}DC /PineGreen{0.92 0 0.59 +0.25 setcmykcolor}DC /LimeGreen{0.50 0 1 0 setcmykcolor}DC /YellowGreen{ +0.44 0 0.74 0 setcmykcolor}DC /SpringGreen{0.26 0 0.76 0 setcmykcolor} +DC /OliveGreen{0.64 0 0.95 0.40 setcmykcolor}DC /RawSienna{0 0.72 1 0.45 +setcmykcolor}DC /Sepia{0 0.83 1 0.70 setcmykcolor}DC /Brown{0 0.81 1 +0.60 setcmykcolor}DC /Tan{0.14 0.42 0.56 0 setcmykcolor}DC /Gray{0 0 0 +0.50 setcmykcolor}DC /Black{0 0 0 1 setcmykcolor}DC /White{0 0 0 0 +setcmykcolor}DC end + +%%EndProcSet +TeXDict begin @defspecial + + /DvipsToPDF { 72.27 mul Resolution div } def /PDFToDvips { 72.27 div +Resolution mul } def /HyperBorder { 1 PDFToDvips } def /HyperVoff { +currentpoint exch pop vsize 72 sub exch DvipsToPDF sub /pdf@voff exch +def } def /HyperAutoVoff { currentpoint exch pop vsize 72 sub exch +DvipsToPDF HyperBasePt sub sub /pdf@voff exch def } def /HyperStart +{ currentpoint HyperBorder add /pdf@lly exch def dup DvipsToPDF /pdf@hoff +exch def HyperBorder sub /pdf@llx exch def } def /HyperAutoEnd { currentpoint +HyperBaseDvips sub /pdf@ury exch def /pdf@urx exch def } def /HyperEnd +{ currentpoint HyperBorder sub /pdf@ury exch def HyperBorder add /pdf@urx +exch def } def systemdict /pdfmark known not {userdict /pdfmark systemdict +/cleartomark get put} if + +@fedspecial end +%%BeginFont: CMR12 +%!PS-AdobeFont-1.1: CMR12 1.0 +%%CreationDate: 1991 Aug 20 16:38:05 + +% Copyright (C) 1997 American Mathematical Society. All Rights Reserved. + +11 dict begin +/FontInfo 7 dict dup begin +/version (1.0) readonly def +/Notice (Copyright (C) 1997 American Mathematical Society. All Rights Reserved) readonly def +/FullName (CMR12) readonly def +/FamilyName (Computer Modern) readonly def +/Weight (Medium) readonly def +/ItalicAngle 0 def +/isFixedPitch false def +end readonly def +/FontName /CMR12 def +/PaintType 0 def +/FontType 1 def +/FontMatrix [0.001 0 0 0.001 0 0] readonly def +/Encoding 256 array +0 1 255 {1 index exch /.notdef put} for +dup 161 /Gamma put +dup 162 /Delta put +dup 163 /Theta put +dup 164 /Lambda put +dup 165 /Xi put +dup 166 /Pi put +dup 167 /Sigma put +dup 168 /Upsilon put +dup 169 /Phi put +dup 170 /Psi put +dup 173 /Omega put +dup 174 /ff put +dup 175 /fi put +dup 176 /fl put +dup 177 /ffi put +dup 178 /ffl put +dup 179 /dotlessi put +dup 180 /dotlessj put +dup 181 /grave put +dup 182 /acute put +dup 183 /caron put +dup 184 /breve put +dup 185 /macron put +dup 186 /ring put +dup 187 /cedilla put +dup 188 /germandbls put +dup 189 /ae put +dup 190 /oe put +dup 191 /oslash put +dup 192 /AE put +dup 193 /OE put +dup 194 /Oslash put +dup 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All Rights Reserved. + +11 dict begin +/FontInfo 7 dict dup begin +/version (1.00B) readonly def +/Notice (Copyright (C) 1997 American Mathematical Society. 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{Baskerville}\ articles needed> +(newarticle.2) +(section.2.1) +(section.2.2) +(section.2.3) +(section.2.4) +(newarticle.3) +(section.3.1) +(section.3.2) +(section.3.3) +(newarticle.4) +(newarticle.5) +(newarticle.6) +(newarticle.7) +(section.7.1) +(section.7.2) +(section.7.3) +(section.7.4) +(section.7.5) +(section.7.6) +(section.7.7) +(newarticle.8) +(newarticle.9) +(section.9.1) +(section.9.2) +(newarticle.10) +(newarticle.11) +(section.11.1) +(section.11.2) +(section.11.3) +(section.11.4) +(section.11.5) diff --git a/usergrps/uktug/baskervi/4_4/bask4_4.tex b/usergrps/uktug/baskervi/4_4/bask4_4.tex new file mode 100644 index 0000000000..256aed0e32 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/bask4_4.tex @@ -0,0 +1,114 @@ +\documentclass{baskrep} +\usepackage{foot} +\usepackage{simpsons} +\BASKvol{4} +\BASKno{4} +\begin{document} +\vspace*{-1cm} +\begin{multicols}{2}[\makeBSKtitle] +\begin{raggedright} +\tableofcontents +\end{raggedright} +\title{Editorial} +\begin{article} +\def\fortex{\leavevmode\lower.5ex\hbox{4}\kern-.1667em\TeX} +\section{\BV\ articles needed} +\BV\ has been getting good articles this year, and I am very grateful +to all the contributors. But I need more! Please delight fellow \TeX\ +users with your words of wisdom. +\emph{Please note the following schedule of copy deadlines}: + +\def\Thead#1{\makebox[1.7cm][c]{\rotatebox{30}{ +\parbox{2.4cm}{\raggedright #1}}}} +\begin{quote} +\begin{tabular}{llll} +\em \rotatebox{30}{Issue}& +\em \Thead{Submit material for publication}& +\em \Thead{Submit last-minute notices}& +\em \Thead{Anticipated posting date}\\ +4.5&Oct 17&Oct 24&Nov 10\\ +4.6&Dec 19&Dec 22&Jan 9\\ +\end{tabular} +\end{quote} +Please also note the changed email and paper mail addresses for the +editor in the banner heading above. + +Each issue of \BV\ will have a special theme, although articles on any +\TeX-related subject are always welcome. Contributions on the themes +for the remainder of 1994 are eagerly solicited: +\BV\ 4.5 will try and go beyond \TeX, to see what is on the +horizon, and \BV\ 4.6 will be about font-encoding if past history is anything + to go by \ldots + +\subsection{\TeX\ goes CD-ROM} + +In the last \BV, the Dutch-produced \fortex\ CD was advertised, and +shortly afterwards a box of them arrived in the UK. They were promptly +snapped up by discerning members, and back-orders to Holland from +around the world soon accounted for all the copies which were made. +If you do manage to find one, it's a real treasure trove (you can see +one of my `finds' later) of fonts, macros, programs, articles, all +piled together moderately higgledy-piggledy. NTG and the \fortex\ team +are to be enthusiastically thanked for this product. I couldn't get +too excited about \fortex\ itself (it's a DOSsy shell for \TeX), but I +have used the disk over and over again to find odd files. Are any \BV\ +readers who bought the CD willing to write a full review? + +If that wasn't enough, those of us who attended TUG94 were given +another CD, `\TeX cetera', courtesy of Prime Time Freeware. This +is an almost-complete copy of the CTAN archives as of mid June (they +left out a few monolithic items like the Archimedes \TeX\ setup to +make it fit a single disk), collected and compressed into (usually) +meaningful bundles. They couldn't just dump the whole archive since a) +its too big, and b) the ISO 9660 file system on the CD couldn't cope +with the names and the level of subdirectories. This CD is a Really +Useful Thing! I recommend all or any \TeX\ persons reading this to buy +a copy now, and encourage Prime Time Freeware to issue regular +editions. Details of suppliers are given in the regular section at the +back of \BV. + +\subsection{The archive is dead, long live the archive\ldots} +Later in this issue, Martyn Johnson and Robin Fairbairns explain why +and how the UK's \TeX\ Archive has moved to Cambridge. I join them in +a tremendous vote of thanks to Peter Abbott for the way he stood +behind the archive for years at Aston; without him we would have none +of today's fancy CTANs. At the same time, I would like to record again +the hallowed names of those pioneer archivists who worked so hard on +the old archive: Adrian Clark, Malcolm Clark, Brian Hamilton Kelly, +Niel Kempson, David Osborne, Sebastian Rahtz, Chris Rowley and Phil +Taylor. David's (ongoing) work on the +\texttt{uktex} and \texttt{texhax} bulletins +also deserves the fullest recognition here. + +\subsection{Colophon} + +This issue of the journal was created entirely with the new standard +\LaTeX\ and printed on a Hewlett Packard LaserJet~4. +\BV\ is set in ITC New Baskerville Roman and Gill Sans, +with Computer Modern Typewriter +for literal text. Production and distribution was undertaken in +Cambridge by Robin Fairbairns and Jonathan Fine. +\end{article} +\end{multicols} +\input{siep} +\Dings +\MakeShortVerb{|} +\input{bailey2} +\DeleteShortVerb{|} +\MakeShortVerb{+} +\input{fine} +\input{taylor} +\input{chen} +\DeleteShortVerb{+} +\input{goossens} +\input{ntuf} +\input{clark} +\input{bailey} +\MakeShortVerb{|} +\input{ctanuk} +\DeleteShortVerb{|} +\Dings +\input{consult} + +\end{document} + diff --git a/usergrps/uktug/baskervi/4_4/baskerv.cls b/usergrps/uktug/baskervi/4_4/baskerv.cls new file mode 100644 index 0000000000..ee90bf0e0a --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/baskerv.cls @@ -0,0 +1,750 @@ +% Baskerville.cls: +% Adrian Clark +% Sue Brooks +% Sebastan Rahtz +% +% based on the original LaTeX ARTICLE DOCUMENT STYLE +% +% for LaTeX2e +% +\def\filedate{94/08/15} +\def\fileversion{3.4} +% 29.5.94 added ISSN +% 2.6.94 corrected \ukt\ macro +% 7.6.94 centered captions +% 15.8.94 changed editor names etc +% Journals use two-sided printing. +% +\NeedsTeXFormat{LaTeX2e} +\ProvidesClass{baskerv}[\filedate, Baskerville newsletter class \fileversion] +\DeclareOption*{\PassOptionsToClass{\CurrentOption}{article}} +\ProcessOptions +\LoadClass{article} +\RequirePackage[noisy]{textfit} +\RequirePackage{pifont} +\DeclareFontShape{T1}{pnb}{m}{sl}{<->ssub * pnb/m/it}{} +\renewcommand{\sfdefault}{pgs} +\renewcommand{\rmdefault}{pnb} +\fontfamily{pnb}\selectfont +\RequirePackage{t1enc} +\RequirePackage{array} +\RequirePackage{shortvrb} +\RequirePackage{mflogo} +\RequirePackage[dvips]{epsfig} +\RequirePackage[dvips]{color} +\RequirePackage{multicol} +%\RequirePackage{footcols} +\newcommand\bs{{\ttfamily\upshape\char'134}} +\def\arraybackslash{\let\\=\@arraycr} +\newcolumntype{P}[1]{>{\raggedright\arraybackslash}p{#1}} +\newcolumntype{C}[1]{>{\centering\arraybackslash}p{#1}} +\lineskip 1pt +\normallineskip 1pt +\def\baselinestretch{1} +\renewcommand\normalsize{% + \@setfontsize\normalsize\@xpt\@xiipt + \abovedisplayskip 4\p@ \@plus1\p@ \@minus1\p@ + \abovedisplayshortskip \z@ \@plus3\p@ + \belowdisplayshortskip 4\p@ \@plus3\p@ + \belowdisplayskip \abovedisplayskip + \let\@listi\@listI} +\let\@normalsize\normalsize +\normalsize +\renewcommand\small{% + \@setfontsize\small\@ixpt{10.5}% + \abovedisplayskip 4\p@ \@plus1\p@ \@minus1\p@ + \abovedisplayshortskip 4\p@ \@plus1\p@ + \belowdisplayshortskip \abovedisplayshortskip + \def\@listi{\leftmargin\leftmargini + \topsep 2\p@ \@plus1\p@ \@minus1\p@ + \parsep \z@ + \itemsep 2\p@}% + \belowdisplayskip \abovedisplayskip +} +\renewcommand\footnotesize{% + \@setfontsize\footnotesize\@viiipt{9}% + \abovedisplayskip 4\p@ \@plus1\p@ \@minus1\p@ + \abovedisplayshortskip \z@ \@plus\p@ + \belowdisplayshortskip 3\p@ \@plus\p@ \@minus2\p@ + \def\@listi{\leftmargin\leftmargini + \topsep 1\p@ \@plus1\p@ \@minus1\p@ + \parsep \z@ + \itemsep 2\p@}% + \belowdisplayskip \abovedisplayskip +} +\renewcommand\scriptsize{\@setfontsize\scriptsize\@viipt\@viiipt} +\renewcommand\tiny{\@setfontsize\tiny\@vpt\@vipt} +\renewcommand\large{\@setfontsize\large\@xipt{12}} +\renewcommand\Large{\@setfontsize\Large\@xiipt{14}} +\renewcommand\LARGE{\@setfontsize\LARGE\@xivpt{17}} +\renewcommand\huge{\@setfontsize\huge\@xviipt{20}} +\renewcommand\Huge{\@setfontsize\Huge\@xxpt{30}} +\normalsize +\DeclareOldFontCommand{\rm}{\normalfont\rmfamily}{\mathrm} +\DeclareOldFontCommand{\sf}{\normalfont\sffamily}{\mathsf} +\DeclareOldFontCommand{\tt}{\normalfont\ttfamily}{\mathtt} +\DeclareOldFontCommand{\bf}{\normalfont\bfseries}{\mathbf} +\DeclareOldFontCommand{\it}{\normalfont\itshape}{\mathit} +\DeclareOldFontCommand{\sl}{\normalfont\slshape}{\@nomath\sl} +\DeclareOldFontCommand{\sc}{\normalfont\scshape}{\@nomath\sc} + +% **************************************** +% * PAGE LAYOUT * +% **************************************** +% +% SIDE MARGINS: +\oddsidemargin -2.5pc \evensidemargin -2.5pc +\marginparwidth 4pc % don't use marginal notes... +\marginparsep 0.5pc % ...in the UK TUG newsletter + +% VERTICAL SPACING: +\topmargin -3pc +\headheight 12pt +\headsep 15pt +\topskip 10pt +\footskip 15pt + +% DIMENSION OF TEXT: + +\textheight 250mm % height of text on a page (A4 paper) +\textwidth 180mm % total width of a page +\columnseprule 0.5pt % width of line in the inter-column gutter +\columnsep 10mm % space between columns +\tolerance 9999 % make those columns justify + +% FOOTNOTES: +\footnotesep 6pt +\skip\footins 19.5pt plus 12pt minus 1pt + +% FLOATS: +\floatsep 12pt plus 5.5pt minus 1pt +\textfloatsep 15pt plus 4.5pt minus 3pt +\intextsep 12pt plus 5.5pt minus 2pt +\dblfloatsep 12pt plus 5.5pt minus 2pt +\dbltextfloatsep 15pt plus 4.5pt minus 3pt +\@fptop 0pt plus 0fil +\@fpsep 12pt plus 0fil +\@fpbot 0pt plus 3fil +\@dblfptop 0pt plus 0fil +\@dblfpsep 12pt plus 0fil +\@dblfpbot 0pt plus 3fil +\marginparpush 5pt + +% **************************************** +% * PARAGRAPHING * +% **************************************** +% +\parindent 1em +\parskip \z@ plus .1pt +\partopsep 0pt plus 1pt +\@lowpenalty 51 +\@medpenalty 151 +\@highpenalty 301 +\@beginparpenalty -\@lowpenalty +\@endparpenalty -\@lowpenalty +\@itempenalty -\@lowpenalty +\clubpenalty=0 +\widowpenalty=10000 + +% **************************************** +% * SKIPS * +% **************************************** +% +\newskip\@indentskip +\newskip\smallindent +\newskip\@footindent +\newskip\@leftskip +\@indentskip=1.25pc +\smallindent=\parindent +\@footindent=\smallindent +\@leftskip=\z@ + + +% **************************************** +% * SECTIONS * +% **************************************** +% +\def\Section{\@startsection{newarticle}{0}{\z@} + {-24pt plus -12pt minus -.1pt} + {12pt plus 1pt} + {\raggedright\Large\bfseries}} +\def\section{\@startsection {section}{1}{\z@} + {-12pt plus -6pt minus -.1pt} + {6pt} + {\raggedright\large\bfseries}} +\def\subsection{\@startsection{subsection}{2}{\z@} + {-6pt plus -6pt minus -.1pt} + {0.1pt plus 2pt} + {\raggedright\normalsize\bfseries}} +\def\subsubsection{\@startsection{subsubsection}{3}{\z@} + {-6pt plus -6pt minus -.1pt} + {0.1pt plus 2pt} + {\raggedright\normalsize\it}} +\def\paragraph{\@startsection{paragraph}{4}{\z@} + {12pt plus 2.25pt minus 1pt} + {-0.5em} + {\normalsize\bfseries}} +\def\subparagraph{\@startsection{subparagraph}{5}{\z@} + {12pt plus 2.25pt minus 1pt} + {-0.5em} + {\normalsize\it}} +\setcounter{secnumdepth}{-1} +% +\def\appendix{\par + \setcounter{section}{0} + \setcounter{subsection}{0} + \def\thesection{\Alph{section}}} + +% **************************************** +% * PARTS & SECTIONS NUMBERS * +% **************************************** +% +\newcounter{newarticle} +\@newctr{section}[newarticle] +\def\thenewarticle {\Alph{newcounter}} + +% **************************************** +% * LISTS * +% **************************************** +% +\leftmargini \@indentskip +\leftmarginii 1pc +\leftmarginiii 1pc +\leftmarginiv 1pc +\leftmarginv 1pc +\leftmarginvi 1pc +\leftmargin\leftmargini +\labelsep 0.5em +\labelwidth\leftmargini\advance\labelwidth-\labelsep +% +% label macros for Range-Left and Range-Right labels +\def\makeRLlabel#1{\rlap{#1}\hss} +\def\makeRRlabel#1{\hss\llap{#1}} +% +\def\@listI{\leftmargin\leftmargini + \parsep \z@ + \topsep 6pt plus 1pt minus 1pt + \itemsep \z@ plus .1pt +} +\let\@listi\@listI +\@listi +\def\@listii{\leftmargin\leftmarginii + \labelwidth\leftmarginii\advance\labelwidth-\labelsep + \topsep 6pt plus 1pt minus 1pt + \parsep \z@ + \itemsep \z@ plus .1pt +} +\def\@listiii{\leftmargin\leftmarginiii + \labelwidth\leftmarginiii\advance\labelwidth-\labelsep + \topsep 6pt plus 1pt minus 1pt + \parsep \z@ + \partopsep \z@ + \itemsep \topsep +} +\def\@listiv{\leftmargin\leftmarginiv + \labelwidth\leftmarginiv\advance\labelwidth-\labelsep +} +\def\@listv{\leftmargin\leftmarginv + \labelwidth\leftmarginv\advance\labelwidth-\labelsep +} +\def\@listvi{\leftmargin\leftmarginvi + \labelwidth\leftmarginvi\advance\labelwidth-\labelsep +} +% +% ITEMIZE +\def\itemize{\ifnum \@itemdepth >3 \@toodeep + \else \advance\@itemdepth \@ne + \edef\@itemitem{labelitem\romannumeral\the\@itemdepth}% + \list{\csname\@itemitem\endcsname}% + {\let\makelabel\makeRRlabel}% + \fi} +\def\labelitemi{$\bullet$} +\def\labelitemii{--} +\def\labelitemiii{$\cdot$} +\def\labelitemiv{*} +% +% ENUMERATE with optional argument to set left margin... +\def\enumerate{\ifnum \@enumdepth >3 \@toodeep \else + \advance\@enumdepth \@ne + \edef\@enumctr{enum\romannumeral\the\@enumdepth}% + \fi + \@ifnextchar [{\@enumeratetwo}{\@enumerateone}% +} +\def\@enumeratetwo[#1]{% + \list{\csname label\@enumctr\endcsname}% + {\settowidth\labelwidth{[#1]} + \leftmargin\labelwidth \advance\leftmargin\labelsep + \usecounter{\@enumctr} + \let\makelabel\makeRRlabel} +} +\def\@enumerateone{% + \list{\csname label\@enumctr\endcsname}% + {\usecounter{\@enumctr} + \let\makelabel\makeRRlabel}} +% +\def\labelenumi{\theenumi} +\def\theenumi{\arabic{enumi}.} +\def\labelenumii{(\theenumii)} +\def\theenumii{\alph{enumii}} +\def\p@enumii{\theenumi} +\def\labelenumiii{\theenumiii} +\def\theenumiii{\roman{enumiii}} +\def\p@enumiii{\theenumi(\theenumii)} +\def\labelenumiv{\theenumiv} +\def\theenumiv{\Alph{enumiv}} +\def\p@enumiv{\p@enumiii\theenumiii} +% ARRAY AND TABULAR +% +\arraycolsep 5pt +\tabcolsep 6pt +\arrayrulewidth .5pt +\doublerulesep 1.5pt + +% **************************************** +% * TITLES AND ABSTRACT * +% **************************************** +% +\def\BASKvol#1{\gdef\BASK@vol{#1}} +\gdef\BASK@vol{?} +\def\BASKno#1{\gdef\BASK@no{#1}} +\gdef\BASK@no{?} +\def\makeBSKtitle{\par + \begingroup + \vspace*{-\headheight}% +% \vspace*{-\headsep}% + \@maketitle + \bigskip\hrule\bigskip + \thispagestyle{plain} + \endgroup + \let\maketitle\relax + \let\@maketitle\relax +% \let\thanks\relax +} +\newcount \scalefactor +\newbox\BSKbox +\def\editor{Sebastian Rahtz\\Elsevier Science Ltd} +\def\@maketitle{% +\centerline{{\bfseries \scaletowidth{\textwidth}{B\,a\,s\,k\,e\,r\,v\,i\,l\,l\,e}}} + \medskip + \hbox to \textwidth{\bfseries The Annals of the UK \TeX\ Users' + Group\hfill Editor: Sebastian Rahtz \hfill Vol.~\BASK@vol\ No.~\BASK@no} + \smallskip\hbox to \textwidth{\bfseries ISSN 1354--5930 +\hfill \thismonth\ 1994} + \medskip + \noindent Articles may be submitted via electronic mail to + \texttt{baskerville@tex.ac.uk}, or on MSDOS-compatible discs, + to Sebastian Rahtz, Elsevier Science Ltd, The Boulevard, Langford +Lane, Kidlington, Oxford OX5 1GB + to whom any correspondence concerning \BV\ should also be addressed. + Guidelines for submission of articles may be obtained from the Editor. +} + +\def\and{\end{tabular}\vskip 6pt\par + \begin{tabular}[t]{@{}l@{}}} +% +\def\abstract{\@abstract} +%\def\endabstract{\endlist} +%\def\@abstract{\list{}{\leftmargin \z@\rightmargin\z@ +% \parsep 0pt plus 1pt}\item[]\normalsize{\bfseries Summary}\\} +\def\endabstract{\par} +\def\@abstract{\subsection*{Summary}} + +% **************************************** +% * PAGE STYLES * +% **************************************** +% +\mark{{}{}} +\gdef\@author{} +\def\author{\@ifnextchar [{\@authortwo}{\@authorone}} +\def\@authortwo[#1]#2{\gdef\@author{#2}\gdef\@shortauthor{#1}} +\def\@authorone#1{\gdef\@author{#1}\gdef\@shortauthor{#1}} +\gdef\@shortauthor{Dummy Author} +\gdef\@title{Dummy Article Title} +\def\title{\@ifnextchar [{\@titletwo}{\@titleone}} +\def\@titletwo[#1]#2{\gdef\@title{#2}\gdef\@shorttitle{#1}} +\def\@titleone#1{\gdef\@title{#1}\gdef\@shorttitle{#1}} +\gdef\@shorttitle{Dummy Title} + +% +% \ps@empty defined in LATEX.TEX +% +\def\ps@plain{\let\@mkboth\markboth + \def\@oddhead{} + \def\@evenhead{} + \def\@oddfoot{\rm \hfil --\thepage--\hfil} + \def\@evenfoot{\rm \hfil --\thepage--\hfil} +} +\def\ps@headings{\let\@mkboth\markboth + \def\@oddhead{\emph{\rightmark}} + \def\@oddfoot{\rm \hfil --\thepage--\hfil} + \def\@evenhead{\it Baskerville \hfill Volume \BASK@vol, Number \BASK@no} + \def\@evenfoot{\rm \hfil --\thepage--\hfil} +} +\def\ps@myheadings{\let\@mkboth\@gobbletwo + \def\@oddhead{\it\@shortauthor \hfill \rightmark} + \def\@oddfoot{\rm \hfil --\thepage--\hfil} + \def\@evenhead{\it Baskerville \hfill Volume \BASK@vol, Number \BASK@no} + \def\@evenfoot{\rm \hfil --\thepage--\hfil} + \def\sectionmark##1{} + \def\subsectionmark##1{}} + +% **************************************** +% * TABLE OF CONTENTS, ETC. * +% **************************************** +% +\def\@pnumwidth{1.2pc} +\def\@tocrmarg {2pc} +\def\@dotsep{10} +\setcounter{tocdepth}{0} +%\def\tableofcontents{\@restonecolfalse +% \if@twocolumn\@restonecoltrue\onecolumn\fi +% \section*{Contents} \@starttoc{toc} +% \if@restonecol\twocolumn\fi \par\vspace{12pt}} +\def\tableofcontents{\Section*{Contents}\@starttoc{toc}} +\def\l@part#1#2{\addpenalty{-\@highpenalty} + \addvspace{2.25em plus 1pt} + \begingroup + \parindent \z@ \rightskip \@pnumwidth + \parfillskip -\@pnumwidth + {\normalsize\rm + \leavevmode \hspace*{3pc} + #1\hfil \hbox to\@pnumwidth{\hss \ }}\par + \nobreak \global\@nobreaktrue + \everypar{\global\@nobreakfalse\everypar{}}\endgroup} +\def\dotfil{\cleaders\hbox{$\m@th \mkern1.5mu.\mkern1.5mu$}\hfil\kern\z@} +\def\l@newarticle#1#2{\addpenalty{\@secpenalty} +% \addvspace{1.0em plus 1pt} + \@tempdima 1.5em % width of box holding section number + \begingroup + \parindent \z@ \rightskip \@pnumwidth + \parfillskip -\@pnumwidth + \leavevmode + #1\dotfil \hbox to\@pnumwidth{\hss #2}\par + \endgroup} +\def\l@section{\@dottedtocline{1}{\z@}{1.5em}} +\def\l@subsection{\@dottedtocline{2}{1.5em}{2.3em}} +\def\l@subsubsection{\@dottedtocline{3}{3.8em}{3.2em}} +\def\l@paragraph{\@dottedtocline{4}{7.0em}{4.1em}} +\def\l@subparagraph{\@dottedtocline{5}{10em}{5em}} +\def\listoffigures{\@restonecolfalse + \if@twocolumn\@restonecoltrue\onecolumn\fi + \section*{List of Figures\@mkboth{List of Figures}{List of Figures}} + \@starttoc{lof} \if@restonecol\twocolumn\fi} +\def\l@figure{\@dottedtocline{1}{1.5em}{2.3em}} +\def\listoftables{\@restonecolfalse + \if@twocolumn\@restonecoltrue\onecolumn\fi + \section*{List of Tables\@mkboth{List of Tables}{List of Tables}} + \@starttoc{lot} \if@restonecol\twocolumn\fi} +\let\l@table\l@figure + +% **************************************** +% * BIBLIOGRAPHY * +% **************************************** +% +\def\thebibliography#1{\section*{\refname}\list + {\@biblabel{\arabic{enumiv}}}{\settowidth\labelwidth{\@biblabel{#1}}% + \leftmargin\labelwidth + \advance\leftmargin\labelsep + \usecounter{enumiv}% + \let\p@enumiv\@empty + \def\theenumiv{\arabic{enumiv}}}% + \def\newblock{\hskip .11em plus.33em minus.07em}% + \small\raggedright + \parskip\z@ plus .1pt\relax + \parindent\z@ + \sloppy\clubpenalty4000\widowpenalty4000 + \sfcode`\.=1000\relax} +\def\refname{References} +\def\endthebibliography{% + \def\@noitemerr{\@warning{Empty `thebibliography' environment}}% + \endlist} + +\setcounter{topnumber}{2} +\def\topfraction{.9} +\setcounter{bottomnumber}{1} +\def\bottomfraction{.9} +\setcounter{totalnumber}{3} +\def\textfraction{.1} +\def\floatpagefraction{.75} +\setcounter{dbltopnumber}{2} +\def\dbltopfraction{.9} +\def\dblfloatpagefraction{.75} + +\long\def\@makecaption#1#2{\vskip 6pt + \setbox\@tempboxa\hbox{\small{\bfseries #1.} #2} + \ifdim \wd\@tempboxa >\hsize + \small{\bfseries #1.} #2\par + \else + \hbox to\hsize{\hfill\box\@tempboxa\hfill} + \fi + \vskip 6pt +} + + +% --- ----------------------------------------------------------------- +% --- Shorthands for non-English abbreviations and words. +% --- ----------------------------------------------------------------- + +\def\foreign{\em} +\def\etc{{\foreign etc.}} % etc. +\def\eg{{\foreign e.g.~}\ignorespaces} % e.g. +\def\egc{{\foreign e.g.,~}\ignorespaces} % e.g., +\def\ie{{\foreign i.e.~}\ignorespaces} % i.e. +\def\iec{{\foreign i.e.,~}\ignorespaces} % i.e., + +% --- ----------------------------------------------------------------- +% --- Tex-related mnemonics. +% --- ----------------------------------------------------------------- + + +\def\logo{\fontfamily{logo}\selectfont} +\def\MF{{\logo META}\-{\logo FONT}\spacefactor1000 } +\def\La{\protect\p@La} +\def\p@La{L% + {\setbox0\hbox{T}% + \setbox2\vbox to\ht0{\kern.07ex\hbox{% + \csname S@\f@size\endcsname + \math@fontsfalse + \fontsize\sf@size\z@\selectfont + A}% + \vss}% + \kern-.5\wd2 + \box2 + }} +\def\AllTeX{(\La)\TeX} +\def\AmSTeX{$\mathcal{A}\kern-.1667em\lower.5ex\hbox{$\mathcal{M}$}\kern-.125em S$\TeX} +\def\LamsTeX{$\mathcal{L}\mathcal{A}% +\kern-.1667em\lower.5ex\hbox{$\mathcal{M}$}\kern-.125em S$\TeX} +\def\BibTeX{{\rmfamily B\kern-.05em\textsc{i\kern-.025em b}\kern-.08em\TeX}} +\def\INRStex{T\kern-.1667em\lower.5ex\hbox{\^E}\kern-.125emX} +\def\JTeX{\leavevmode\hbox{\lower.5ex\hbox{J}\kern-.18em\TeX}} +\def\LAMSTeX{L\kern -0.4 em \raise 0.3 ex \hbox {$\scriptstyle \mathcal{A$}}% + \kern -0.25 em \lower 0.4 ex \hbox {$\cal M$}% + \kern -0.1 em \hbox {$\mathcal{S}$}-\TeX} +\def\AMSLaTeX{{$\mathcal{A}$\kern-.1667em\lower.5ex\hbox{$\mathcal{M}$}\kern-.125em + $\mathcal{S}$-\LaTeX}} +\def\MakeIndex{{\itshape MakeIndex}} +\def\PiC{P\kern-.12em\lower.5ex\hbox{I}\kern-.075emC} +\def\PiCTeX{\PiC\kern-.11em\TeX} +% SliTeX from the SliTeX Documentation +\def\SLiTeX{S\kern-.065em L\kern-.18em\raise.32ex\hbox{\textsc{i}}\kern-.03em\TeX} +\let\SliTeX\SLiTeX +\def\POBox{P.\thinspace O.~Box } +\let\METAFONT\MF +\let\Metafont\MF +\def\TeXhax{\TeX hax} +\def\TeXXeT{\TeX--X\kern-.125em\lower.5ex\hbox{E}\kern-.1667emT} +\def\TUB{\emph{TUGboat}} +\def\DVI{\texttt{dvi}} +\def\VF{\textsc{vf}} +\def\BV{\emph{Baskerville}} +\def\UKTUG{UK \TeX\ Users' Group} +\newcommand{\CTAN}{\texttt{CTAN}} +\def\ukt{{\footnotesize UK}TUG} +\def\PS{\textsc{PostScript}} +\newcommand{\payuk}{UK TeX Users' Group} +\newcommand{\Newline}{\\[0.7\baselineskip]} +\newcommand{\FullLine}[1]{% + \makebox[\textwidth][l]{#1\hrulefill}\Newline} +\newcommand{\HalfLine}[1]{% + \makebox[0.5\textwidth][l]{#1\hrulefill}} + +\def\Dash{---} + + +% --- ----------------------------------------------------------------- +% --- Additional commands. +% --- ----------------------------------------------------------------- + +\let\maketitle\make@articletitle +\def\make@articletitle{\Section{\@title}} + +\def\article{% + \setcounter{figure}{0}% + \setcounter{table}{0}% + \Section{\@title}% + \let\maketitle\relax + \markright{\@shortauthor\hfill\@shorttitle}% +} +% +% Article is when the title is double column +\def\Article{% + \setcounter{figure}{0}% + \setcounter{table}{0}% + \begin{multicols}{2}[\Section{\@title}]% + \let\maketitle\relax + \markright{\@shortauthor\hfill\@shorttitle}% +} +% Article is when the title is double column +\def\FArticle{% + \setcounter{figure}{0}% + \setcounter{table}{0}% + \begin{multicols}{2}[\Section*{\@title}]% +} +\def\endarticle{\@signature + \gdef\@author{\mbox{}}} + +\def\endArticle{\@signature + \gdef\@author{\mbox{}}\end{multicols}% +} +\let\endFArticle\endArticle +\def\newarticlemark#1{} + +% --- Macros for cross-referencing tables and figures. + +\def\figref#1{Figure~\ref{#1}} +\def\tabref#1{Table~\ref{#1}} + +% --- Output the attribution at the end of an article. +\def\emptysig{} +\def\@signature{% + \ifx\@author\emptysig\else + \begin{flushright}\begin{tabular}{@{}r@{}}\@author\end{tabular}% + \end{flushright}\fi} + +\def\signature#1{\begin{flushright} + \begin{tabular}{@{}r@{}}#1\end{tabular}% + \end{flushright}} + +% --- ------------------------------------------------------------------ +% --- The following macros are taken from Adrian F. Clark's LaTeX style +% --- file `dates.sty', which provides fairly flexible date inclusions. +% --- ------------------------------------------------------------------ + +\def\today{\thisdayofweek\ \thisdayth\ \thismonth\ \thisyear} + +\def\thisday{\number\day} + +\def\thisdayth{\thisday \ifcase\day + \or\st\or\nd\or\rd\or\th\or\th\or\th\or\th\or\th\or\th\or\th + \or\th\or\th\or\th\or\th\or\th\or\th\or\th\or\th\or\th\or\th + \or\st\or\nd\or\rd\or\th\or\th\or\th\or\th\or\th\or\th\or\th\or\st\fi} + +\def\thisdayofweek{\dayofweek{\year}{\month}{\day}} + +\def\thismonth{\ifcase\month\or \January\or \February\or \March\or + \April\or \May\or \June\or \July\or \August\or \September\or + \October\or \November\or \December\fi} + +\def\thisyear{\number\year} + +% --- Names of days of the week and the months. +% --- This makes it easier to change them for languages other than English. +% --- (And that's why they're not \@Sunday, etc). + +\def\Sunday{Sunday} +\def\Monday{Monday} +\def\Tuesday{Tuesday} +\def\Wednesday{Wednesday} +\def\Thursday{Thursday} +\def\Friday{Friday} +\def\Saturday{Saturday} + +\def\January{January} +\def\February{February} +\def\March{March} +\def\April{April} +\def\May{May} +\def\June{June} +\def\July{July} +\def\August{August} +\def\September{September} +\def\October{October} +\def\November{November} +\def\December{December} + +% --- Counters. Note that we use the same registers as TeX holds other +% --- things in (e.g., \count0 holds the page number). This requires +% --- that \@savestyle, \@setstyle, and \dayofweek perform all +% --- their register manipulations within a group. This may seem +% --- a bit messy, but it saves having eight registers permanently set +% --- aside just for date calculation. + +\def\@cent{\count0 } % century number (1979 == 20) +\def\@diy{\count1 } % day in the year +\def\@dow{\count2 } % gets day of the week +\def\@epact{\count3 } % age of the moon on Jan. 1 +\def\@golden{\count4 } % Moon's golden number +\def\@leap{\count5 } % leap year fingaler +\def\@x{\count6 } % temp register +\def\@y{\count7 } % another temp register + +\def\st{\alien@up{st}} +\def\nd{\alien@up{nd}} +\def\rd{\alien@up{rd}} +\def\th{\alien@up{th}} + +\def\alien@up#1{{\@savestyle\thinspace$^{\underline{\hbox{% + \scriptsize\@setstyle#1\fam=-1 }}}$}} + +% --- Macros to save and restore the font family. + +\def\@savestyle{\count0=\the\fam} + +\def\@setstyle{\ifcase\count0\rm\or\mit\or\cal\or\rm% what's family 3? + \or\it\or\sl\or\bfseries\or\tt\fi} + +% --- The day of the week (\Sunday, etc.) is inserted into the text +% --- by \dayofweek. (This uses registers \@dow, \@leap, \@x and \@y.) +% --- I acquired this from elsewhere; it was apparently written by +% --- Martin Minow, now a DEC employee. + +\def\dayofweek#1#2#3{{% + \@leap=#2 \advance\@leap by -14 \divide\@leap by 12 + \advance\@leap by #1 + \@dow=#2 \advance\@dow by 10 + \@y=\@dow \divide\@y by 13 \multiply\@y by 12 + \advance\@dow by -\@y \multiply\@dow by 13 \advance\@dow by -1 \divide\@dow by 5 + \advance\@dow by #3 \advance\@dow by 77 + \@x=\@leap \@y=\@x \divide\@y by 100 \multiply\@y by 100 \advance\@x by -\@y + \multiply\@x by 5 \divide\@x by 4 \advance\@dow by \@x + \@x=\@leap \divide\@x by 400 \advance\@dow by \@x + \@x=\@leap \divide\@x by 100 \multiply\@x by 2 \advance\@dow by -\@x + \@x=\@dow \divide\@x by 7 \multiply\@x by 7 \advance\@dow by -\@x + \ifcase\@dow \Sunday\or \Monday\or \Tuesday\or \Wednesday\or + \Thursday\or \Friday\or \Saturday\fi}} + +% **************************************** +% * INITIALIZATION * +% **************************************** +% +\ps@headings +\pagenumbering{arabic} +\sloppy +\flushbottom +\frenchspacing + +\extrarowheight2pt +\setlength{\multicolsep}{6pt} +\let\sl\it +\newcommand{\meta}[1]{{$\langle$\itshape #1\/$\rangle$}} + +% no rule in footcols + +\def\@makecol@ftn{% + \vskip \skip\footins + \footnoterule + \footnotesize + \multicolsep\z@\relax + \hsize\textwidth + \@parboxrestore + % {\showoutput\batchmode\showbox\footins}% + \raggedcolumns + \bgroup \columnseprule 0pt + \begin{multicols}{\the\ftn@col@number}% + \unvbox \footins + \end{multicols}% + \egroup +} +% +% available for inter-article dinglines +% +\def\Dings{\nopagebreak{\footnotesize\dingline{167}}} +% +% breakable, no brackets, cites +\def\@cite#1#2{{#1\if@tempswa , #2\fi}} +\hyphenpenalty200 +\doublehyphendemerits20000 +\endinput +% +%% diff --git a/usergrps/uktug/baskervi/4_4/burns.mf b/usergrps/uktug/baskervi/4_4/burns.mf new file mode 100644 index 0000000000..e60d2309bf --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/burns.mf @@ -0,0 +1,171 @@ +% burns.mf by Raymond Chen (rjc@math.princeton.edu) + +% Monty Burns. + +pictureof(Burns, 24u#, 24u#, 0); + pickup thinpen; + + localpath ear; + ear = (8u, 15u) .. (6u, 15.9u) .. (4.4u, 14.5u) .. (5.5u, 12.4u) .. + (6.7u, 12.8u); + % We don't draw the ear until it's been clipped by Burns' sideburns. + + localpath head; + z1h = (9u, 20.6u); % join point for Burns' hair + z2h = (7u, 13u); % terminal join point for interpathing + z1e = (12u, 15u); % beginning of Burns' eye + z2e = (16u, 12u); % end of Burns' eye + z3e = (20u, 14u); % where Burns' eyebrow might be + z4e = (20.5u, 17u); % the forward lobe of his forehead + labels(1h, 2h, 1e, 2e, 3e, 4e); + head = postclip( + z1e .. tension 3 and 1 .. + z2e{dir -5} .. + z3e .. + z4e{up} .. + (16 u, 21.8u) .. + (12 u, 21.6u) .. + z1h .. tension 1 and 2 .. + ( 5.7u, 19 u) .. % inflection upwards slightly + ( 3.7u, 16.5u){down} .. +% ( 5 u, 14 u) + z2h + , ear); + +% Now split the head at z1h into the forehead and the hair. +% Although the intersectiontimes should give us an integer, we round just +% in case something got lost in translation. + + numeric t; t = round xpart(head intersectiontimes z1h); + if t < 0: errmessage("Unable to find Burns' hairline"); fi + + localpath outerhair; + outerhair = subpath(t, infinity) of head; + head := subpath(0, t) of head; + + localpath innerhair; % the inner boundary of Burns' hair, + % and his sideburns. + innerhair = + z1h{direction 0 of outerhair} .. + (8.8u, 16u){down} .. + (8.3u, 12.5u) .. + (8u, 12.3u) .. tension 2 .. + z2h .. tension 2 .. + (8u, 16u) .. + (8.5u, 18u) .. + {up} z1h; + + draw preclip(ear, innerhair); % now the ear can be drawn + drawtau( (5.2u, 14.5u), (6.7u, 15u), (6.1u, 13.4u), (6.3u, 15.5u) ); + +% Now split innerhair at z2h. + + numeric t; t = round xpart(innerhair intersectiontimes z2h); + if t < 0: errmessage("Unable to find Burns' sideburns"); fi + + localpath interhair; + interhair = reverse subpath(t, length innerhair - .5) of innerhair; + innerhair := subpath(0,t) of innerhair; + +% Now we can clip the innerhair so his sideburns stop at the hairline + draw innerhair; + draw preclip(interhair, innerhair); + +% Now what's left of Burns' hair can be drawn + for i= 0 step .3 until .8: + draw prepostclip(interpath(i, outerhair, interhair), innerhair, ear); + endfor + + localpath beak; + z1b = (17 u, 12.5u); % first two beak points + z2b = (20.3u, 8.5u); + % Beak contains an inflection point + beak = z1b{(z2b-z1b) rotated -5} .. z2b .. + (21.6u, 6 u) .. tension 1 and 3 .. + (21.7u, 3.8u) .. tension 3 and 3 .. + (20.3u, 5.3u) .. + (18 u, 7 u) .. + (17 u, 8 u){up} .. + {right}(18.4u, 9 u); + + draw (reverse beak) hardjoin head; + +% Now Burns' right eye. + draw subpath(0,1) of head; + localpath eye_bottom; + eye_bottom = z1e {direction 0 of head} .. + (14.5u, 10.9u) .. {dir 40} z2e; + draw eye_bottom; +% The bag under Burns' eye. + draw (subpath(.4, 1) of eye_bottom) shifted (-.3u, -.5u); + +% Burns' left eye. + draw prepostclip( + (18u, 10.5u) .. (19.8u, 12u) .. (19u, 13u), + beak, head); + + localpath mouth; + mouth = preclip( + (18.5u, 7u) .. tension 1 and 2 .. + (18u, 4.5u) .. tension 2 and 1 .. + (10u, 7.8u) .. + (8.2u, 7.5u), beak); + draw mouth; + +if false: + % back of neck + localpath neck; + neck = preclip( + (9u, 7u){down} .. %tension .9 and 3 .. + {-(1,1.5)}(7.2u, 0u), ear); + draw neck; + +fi + + % Burns' fangs, err, teeth. Must be drawn after the chin. + numeric n; n = 5; % number of teeth, minus 1 + % n points equally spaced. + numeric t[]; + + % The following wild macro makes t0 ... t[n] equally spaced. + + for i = 1 upto n: t[i] - t[i-1] = endfor whatever; + t0 = 1.1; t[n] = 2; + + localpath teeth; + teeth = + for i = 1 upto n: + hide( makelabel.top(decimal(i-1), point t[i-1] of mouth); ) + bend(60, point t[i-1] of mouth, point t[i] of mouth) & + endfor + bend(60, point 2 of mouth, point 3 of mouth); + draw teeth; + + z1c = (13.3u, 5.5u); % the inner cavity of the chin + z2c = (9.5u, 0u); % the bottom tip of the neck + z3c = (5.5u, 4u); % the bottom of the back of the neck + labels(1c, 2c, 3c); + + localpath neck; + neck = prepostclip( (15u, 7u) .. z1c .. tension 2 .. z2c & + bend(20, z2c, z3c) & + z3c{dir 80}.. (6.4u, 13u), teeth, ear); + draw neck; + + % Draw Burns' suit jacket + draw z3c .. {curl5} (2.5u, 0u); + draw z3c .. (6u, 0u); + + z1j = neck intersectionpoint ((0u, 3u) .. (24u, 3u)); + draw z1j .. (14.3u, 0u); + draw z1j .. (11.4u, 0u); + +% Burns' age spots. + localpath agespot; + agespot = fullcircle xscaled 1.5 scaled .4u rotated -15; + draw agespot shifted (12u, 19.5u); + draw agespot shifted (10.4u, 17.4u); + draw agespot shifted (12.8u, 15.8u); + + eyepos(Burns, 14.2u#, 12.1u#, 18.6u#, 12.0u#); +endpicture; diff --git a/usergrps/uktug/baskervi/4_4/chen.tex b/usergrps/uktug/baskervi/4_4/chen.tex new file mode 100644 index 0000000000..4978132816 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/chen.tex @@ -0,0 +1,55 @@ +\title{A \protect\MF\ of `Simpsons' characters} +\author[Raymond Chen]{Raymond Chen \\\texttt{rjc@math.princeton.edu}} +\begin{Article} + +\begin{quote}\em +[Editor's note: I found this issue's `stocking filler' on the NTG +CD-ROM; correspondences between Simpsons characters and well-known \TeX xies +do tend to come to mind. ] +\end{quote} +\noindent +The author can type +\Lisa+, +\Homer+, +\Bart+, or +\Marge+ to produce the +corresponding character. The default is to draw the character facing +to the right and looking directly at you. To modify this, you can +prefix the macro +\Left+ to get the character face left instead of right, +\eg +\Left\Lisa+. + +You can also prefix the macro +\Goofy+ and suffix two pairs of +coordinates, which modify how the pupils are drawn. E.g., ++\Goofy\Lisa(7,5)(5,5).+ The first pair of coordinates is applied to the +right pupil (which is the one on the left when printed) and the second +pair to the left pupil. The units are relative to the size of the +character. (So if you say +\font\simpsons=simpsons scaled 1200+ you +don't have to modify all the coordinates in the +\Goofy+'s.) + +If you uses both prefixes, as in +\Goofy\Left+, then the +mirror-image-reversal takes place \emph{after} the goofiness is applied. +This is so that you can just say +\Goofy\Left\Lisa(7,5)(5,5)+ to get a +mirror image of +\Goofy\Lisa(7,5)(5,5)+. + +Some sample Simpsons: +\begin{description} +\item[\Goofy\Homer(6,4)(4,4)] D'oh! + +\item[\Goofy\Lisa(7,5)(5,5)] + This is Lisa Simpson. + She's smart, she's sweet, she's sensitive\dots but + don't hold that against her. + +\item[\Bart] I'm Bart Simpson. Who the hell are you? + +\item[\Left\Marge] Mmmm\dots +\item[\Left\Maggie] Suck. Suck. +\end{description} +The characters were obtained from: + \begin{description} +\item[Lisa] Simpsons Illustrated, Summer 91, cover +\item[Homer] Simpsons Illustrated, Fall 91, cover +\item[Bart] Simpsons Illustrated, Fall 91, article on Dan Castellaneta +\item[Marge] Simpsons Illustrated, Fall 91, article on Dan Castellaneta +\item[Burns] Simpsons Illustrated, Fall 91, article on Dan Castellaneta +\item[Maggie] Simpsons 1992 calendar, ``Phone pranks'' +\item[SNPP] Simpsons Illustrated, Fall 91, Homer's job file +\end{description} +They were traced and transferred to graph paper, then magnified fourfold. +\end{Article} \ No newline at end of file diff --git a/usergrps/uktug/baskervi/4_4/clark.tex b/usergrps/uktug/baskervi/4_4/clark.tex new file mode 100644 index 0000000000..617a583229 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/clark.tex @@ -0,0 +1,392 @@ +\title{Malcolm's Gleanings} +\author[Malcolm Clark]{Malcolm Clark\\\texttt{m.clark@warwick.ac.uk}} +\begin{Article} + +\section{TUG94, The Conference} +My impressions of the TUG94 conference in Santa Barbara will be pretty +general:\footnote{Readers who want a different view can peruse Michel + Goossens' article earlier in this issue of \BV.} I did not sit +through every session and listen to every talk. To be frank, that's +not really what I go to these events for. Since we had the preprints +as part of the conference pack, I could (if I wanted) flick through +and pick out the potentially interesting ones. Or better, see what was +really dire, and ignore them. Since I seemed to be roped in to other +conference stuff anyway, I kept having to disappear and find people. + +One distressing feature I did note was the inability of many speakers +to address an audience. We are in a fairly large auditorium. +Fortunately there are microphones, but in US style these are fixed +rather than throat or lapel mikes. This does make mobility a problem, +especially when you are trying to use overheads. So many people turn +to the projected slide and point to it instead of pointing to the +slide on the ohp and talking to the audience. A microphone simply +does not catch your voice if you turn the back of your head to it. +Honest. One other thing I notice is that the \TeX\ Users Group (or +perhaps \TeX\ users) have little charisma. I suppose when the +material is so worthy (\ie high in \emph{content}), the +presentation (\ie the \emph{form}) shouldn't matter. I'm sorry, but +it does. But again, when addressing an audience of presumed converts, +perhaps we shouldn't worry about a lack of presentation skills. Again, +I think not. It does make us look very amateurish, and not everyone in +the audience is a convert. + +The conference had a number of `big names'. At least, it had some +people who were well known, but not frequent attendees at the annual +meeting. The first coup was Chuck Bigelow, who gave an entertaining +enough talk, but its relevance to \TeX\ was not clear. Leslie Lamport's +contribution was interesting, although when he started talking about \LaTeX4 +a shudder seemed to run through the \LaTeX3 team. He had something to +say about structure editors, but informal discussions later suggested +that he maligned them unfairly. If you want to visualise LL as you +read the \LaTeX\ book, the Bibby lion cartoons in it are +remarkably similar. Oren Patashnik +also talked about \BibTeX. I had imagined someone at least seven feet tall. +Perhaps the other `newcomer' I was hoping to see was Norm Walsh +whose book `Making \TeX\ work' had just been published. (He nearly is +seven feet tall.) Apart from that it was the usual gaggle of \TeX ies. + +In general the conference seemed to run smoothly, or at least, not +many people saw the hitches. The most obvious hitch was the lack of +tea or coffee on the afternoon of the first day. The overhead projectors +could have been better. The vendors could also have had a better deal. +To get to the vendors you had to poke your way through an apparent +dead end, past a few bins and through a nondescript door. And all they +had were a few tables. + +The social programme was slightly chaotic: it started with a reception +where keg of Sierra Nevada turned out to be Michelob, but the bowling +turned out well, with some pleasant surprises (the usual performances +from Nelson Beebe and Ken Dreyhaupt, and a cute native American rain +dance from Don `do people really think I'm a nerd' Hosek); the +barbecue at the beach benefited from some real Sierra Nevada (as well +as copious quantities of other comestibles); the boat trip was +apparently a success, despite some upchucking and no whales -- and +much confusion on how or when to get to the boat; the banquet (a +buffet, actually) was limited in choice, but agreeable enough, and the +music improved enormously as the evening progressed -- enough to get a +surprising number of people on their feet, notably Tom `party animal' +Rokicki. + +Now, I wouldn't like you to get the idea that we're only here to have +a good time, but the social side really is valuable. You end up +talking to all sorts of people and probably learn more useful stuff +this way than in the rest of the conference. I toy with the idea of +having one single parallel session and devoting the rest of the time +to constructive socialisation. + +The `Tugly Telegraph' made its appearance each day. It's useful, +since it has a more accurate daily programme, as well as instructions +on how to get to `events', and other general bits and pieces. It is +perhaps less successful than last year's at Aston, but then, its +editor, John Berlin, is doing other jobs too (unlike last year's +editor), and only occasional extra help with the newsletter. In any +event, he manages to get each edition out before midnight on the +preceding day. The crossword flops: no correct entries are submitted. +Peter Flynn is obviously too subtle or devious. + +I'm told that the TUG general meeting overruns. This was one event I +was determined to miss. The next two talks are more or less cancelled. +As a result, there is a proposal that next year's general meeting +will be open ended. This is naive. Given a choice between a general +meeting at (say) four o'clock, which might run on till the evening, +and catching a few rays on the beach, I know where I will be. On the +other hand, slotting the meeting in at the beginning of the afternoon, +I might just be carried along by inertia and attend. Of course, I'm +jaded by the TUG board stuff. I've been there and I know that nothing +changes, no matter how strongly you feel about it, and how sincerely +you want to get things done. By not attending, I surrender my rights +to comment. But I had a wonderful afternoon instead. How often do you +get the chance to swim with dolphins? + +Apparently there is also some bizarre notion to reduce the membership +fees, but to make \TUB\ optional. Somehow TTN will become a more +general `journal', carrying some of \TUB's present material. What +present material you may ask? It is now August 12th and no sign has +been seen of the second edition of 1994 (volume 15 number 2). \TUB's +calendar suggested that this edition would be mailed on May 23rd. +When last year's final copies came out more or less on time I had +supposed that it had finally managed to get its act together and was +to be produced on a regular and reliable basis. Clearly I was deluded. +What is the problem? I refuse to accept the usual story that it is a +complex journal and that to achieve the standards required the devoted +and underpaid or unpaid editorial volunteers have to devote limitless +time and energy to it. \TUB\ is dying at the altar of quality. If the +journal is to have any credibility it has to come out regularly. Maybe +it really is too complex and \TeX\ is not really up to the production. +Commercial publishers -- to whom we direct much encouragement to use +\TeX\ -- could not allow themselves to be sucked into this cuckoo's +nest. TUG has to try to be realistic and trim the sails of \TUB\ so +that it can leave port. There are enough enemies of TUG, inside and +outside the user group, who wish to see it dismembered, and who do not +need to be able to point to \TUB\ to see graphic demonstration (or +non-demonstration) of the health of the whole organisation. + + +Another canard flies: despite the manifest evidence that this +is an international conference (add up the speakers from outside +the US) the old bogey that TUG is essentially a North American +organisation reappears in discussions with some board members. +They want some umbrella organisation to be formed from +representatives of TUG (North America TUG), and the other +user groups, which will somehow `direct' \TeX\ research +and development. A likely tale. However, if TUG does uncouple +itself from \TUB, this could be a serious proposal. If \TUB\ +is separate, I won't buy it, because the package of TUG plus +\TUB\ membership will be too expensive. The only benefits +that remain of TUG membership are cheaper fees to the +annual meeting, and TTN. Only a very small proportion of +TUG members go to the annual meeting (about 140 this year), and +frankly, \BV\ is a far better deal than TTN (and similarly +for most of the other user group newsletters). Anything +important will appear in the local newsletters. So membership +of TUG will decline further, since there are no perceived +benefits. + + +Eventually the conference winds down. Christina Thiele --- +out-going (no pun intended, or even possible) President of TUG --- +makes the closing announcements, failing to thank any +of the local people who actually did make the conference work. +Let me then record a sincere vote of thanks to John Berlin and +Janet Sullivan of the TUG office, who were the `official' TUG representation, +and who held the whole thing together. Similarly, the volunteer +helpers of Suki Bhurji, Wendy Mckay and Katherine Butterfield +were indispensable. Conferences don't run themselves. +Since John is now leaving to continue his studies at UCLA +(doing a course on multimedia) he will be sorely missed at +the TUG office. + +What does next year hold? St Petersburg: the one in Florida, +not the revisionist Leningrad or Petrograd. We are promised +a hotel venue and an appeal to the publishing fraternity. +My heart sinks into the alligator infested swamps. + +I think the conference was, on the whole, good value. +It was probably too long. There is always a problem +about fitting the talks in, and thoughts are expressed that +some of the talks should not have been presented. This would +of course cut down on the overall length. I honestly +don't know. The written abstract which speakers +submit is rarely a good yardstick for selecting +the papers. The best suggestion I have heard was from Angus +Duggan, who suggested a day in which speakers had ten minutes +each to present their abstracts, then a massive set of parallel sessions +the following day(s). You choose what to go to on the basis of the +ten minute abstract. It might be worth trying. At least we +would then have some time for the informal discussions and +scheduled workshops. The venue was certainly good, the residences +were fair, the food edible, the lack of a bar was a blow, +the lecture theatre was too far away, the beach was excellent, +the sun shone relentlessly, +there were plenty meeting rooms/common rooms in the +residence, conference services tended to verge towards the non-sexist +airhead quality, the TUG helpers were overstretched. I do think +it gelled pretty well. It's the most enjoyable TUG conference I've been +to. An experience worth sharing. + + +\section{Offizin} +Whenever I pontificate about publishing with +\TeX, someone will always bring me to +earth by pointing out that the proceedings +of the 1988 \TeX\ conference in Exeter took +an interminable time to hit the bookshops. +The figure is about two years (I was busy\dots). +It was therefore a pleasant relief to +receive \emph{Offizin} earlier this year +This is a production of \textsc{Dante}, the german-speaking +\TeX\ group. It is a publication designed +to disseminate some of the lectures given +at the group's `\TeX\ days'. I +worked out just when I presented the paper which +is produced in translation: it +was February 1991. That makes the \TeX88 book +look much less laggardly! Of course, what I had to say, about +\emph{\TeX\ in Europe and America}, is hopelessly +out of date, but when it appears in my list +of publications, no-one will know that! + +Putting this schadenfreude aside, it is an +interesting volume. It should be the first in +a series, a series published by Addison Wesley +(Germany). According to other bits of Addison Wesley, +they don't do conference proceedings, so someone did +some fancy footwork to get this through. Well done. + +One quote I managed to extract was `typography +has its experts, but they have no audience'. + + +\end{Article} +\endinput +\section{A cautionary tale} +Background: I went to the \TeX\ Users Group Annual Meeting. +I taught the \LaTeXe\ course which took place +just before the meeting itself. + +Imagine the scene: the course starts at 9 on the Tuesday; I've managed +to arrive in Santa Barbara by 8.30pm on Monday, expecting to be picked +up and taken to the University (UCSB) and do a few last minute things. +At 9 o'clock the lift arrived. The first thing to do is to get copies +of the course notes. As the last bastion of the Empire, the US rarely +uses A4 paper, so although I had a paper copy of the notes on A4, I +hadn't expected to be able to copy those, and had both the source, and +a suitable \texttt{dvi} file to print out, held on both Msdos and Mac +floppies. But I didn't have a machine to print out on. The situation +was confused, but apparently the original plan had been to use +Macintoshes for the courses, but at the last moment it had been +realised that 2Mbyte Macs are not really sufficient to run \LaTeXe, +and the room had had a small network of NeXT machines installed +instead. What was not installed at that time was \TeX\ and \LaTeX, or +\LaTeXe. Fortunately my fears about a lack of A4 were unfounded and we +could copy from my originals. At least we did have the new Lamport +\LaTeX\ manual, and I was able to spend the Tuesday morning before +breakfast reading it, just in case there is something in it I hadn't +expected. There isn't. + +By the time I got to the teaching lab next day, \TeX\ and \LaTeX\ +were installed. The astute will note that I don't say that \LaTeXe\ was +installed. It wasn't. At no point do my notes use \verb+\documentstyle+, +and in fact, I've tried to eliminate all reference to the obsolete +version. Starting off by dropping back to \LaTeX2.09 was not what I +had planned. And of course there was the nagging worry of when +\LaTeXe\ would be installed. I knew it had to be, since Frank +Mittelbach and Michel Goosens were about to start their course the next day, +using the same machines. + +Naturally I start off with a spiel and then get down to hammering the +keyboards a little later. Unlike most previous TUG classes I've +taught, I had no locals who knew the system, or even a local guru to +fall back on. Thus when we came to log on we had a minor upset -- +what's the account and password? Solved by a phone call to the TUG +office. Ever used a NeXT? It's a sort of cross between a reasonable +Unix GUI and a Mac. But it was unfamiliar to all the students (and +me). The dyed in the wool Unix buff found this mouse stuff a bit +painful, and the rest of us found the command line interface lurking +below the surface just a little off-putting. But in general we managed +to cope. The NeXT comes with an excellent \TeX\ implementation from +Tom Rokicki with a good previewer and \textsf{dvips}. It's a fair +\TeX\ engine, although perhaps a shade slow by current standards, but +adequate for teaching. The main delays in hardware were from the +server, where the disk seemed very slow. One point of confusion to the +students was that we were all in the same account, so we had +sub-directories for each student. Sometimes people worked in the +higher directory. I would not recommend sharing the same directory in +class teaching. Of course this is the same directory that Frank \& +Michel were going to use too, with all of their class\dots + +By restructuring the order of presentation I was able +to keep away from topics which were \LaTeXe\ specific. +This was starting to become a problem on the next day, when we +still didn't have the new implementation. I had brought +the latest CTAN installation on floppy, partly anticipating +this problem. Why then didn't I just install it? +\begin{enumerate} +\item it was a set of \textsf{zip}ped MSDOS files; +\item I didn't have any root or system privileges on the server +\end{enumerate} +or why didn't I just download from CTAN? +\begin{enumerate} +\item[3] we were not on the Internet +\end{enumerate} +Eventually we did find a PC (and I had brought \textsf{pkunzip}) and +downloaded onto floppies which the NeXT could read. By this +time Frank and a local systems person arrived and they happily +spent the afternoon installing stuff. By now we are in +contention with Frank \& Michel for the use of the room. +Naturally we both want access when the class requires it, +and none of us had anticipated structuring our classes to +accommodate this sort of sharing. At least by late on the second +day we could start using \LaTeXe. Things were getting better. + +On Thursday, the system was dead. It had crashed. How do you +reboot a NeXT server system? Naturally, Unix systems people +at UCSB are techno-weenies and spend their nights doing +whatever Unix people do with their lives. They don't come in till +about 11 at the earliest. This is not good. When all else +fails, you can always try a power interrupt (\ie switch it +off and on again). Ever found the on/ off switch on a NeXT? It +is well hidden. Fortunately, John Berlin of the TUG office managed +to get things going. This eats into our lab time, with Frank \& Michel breathing +down our necks. And although I supposedly have a seminar room +in the same building, no-one seems to know where it is, exactly: +hand waving `down the corridor and up some stairs' descriptions lack +precision. + +This morning (Friday), the laser printer is out of paper. +We have a sort of arrangement with the reception desk +that they will do little gofering jobs. This seems to +fit the bill. A digression. UCSB is famous for a couple of +courses. Surfing 101 and Tanning 101 are among these. The latter +is designed for the more intellectually able. Rachel, on the desk, +was majoring in Surfing. The exchange ran approximately +as follows: +\begin{description} +\item[me:]We seem to be out of paper for the laser printer. +\item[Rachel:] Oh, really? +\item[me:] Is there a number to ring to obtain some more? +\item[Rachel:]Yes. +\item[me:]Could you do that for me? +\item[Rachel]Uh-huh. +\end{description} +She picks up phone, dials, I return to the lab. +A few minutes later she pops her head round the +door to announce that `We don't have any small paper, will +the larger size do?' +A little startled by the idea +of using the A3 equivalent, I grunted assent. +As you will probably have guessed, +we got 12 inch fan fold continuous printer paper. That's what +computers use. One of the class took over and obtained +a ream of copy paper. Simple. +The remainder of the day has few problems. By this time +I had managed to obtain a copy of the Companion, so that the +class has a chance to see what extra goodies are available. +They already have Lamport's new \LaTeX~2e (2nd edition) book, +although I had forbidden them to read it until +after the course ended. + +What lessons can be learned? The first thing that struck me was +that \LaTeXe\ is perhaps not quite as widely adopted, +or even known about, as I had anticipated. People coming on courses +are seldom TUG members, and are along either as a sort of refresher, +or to add to their existing `document processing' skills. I had +some secretarial staff and some editorial staff (and a sort of overviewer). +They are not mainstream \TeX ies who read \texttt{comp.text.tex}, or TTN, +and far less \TUB. Most of them would be going back to a \LaTeX2.09 +installation, although I hope I gave them enough impetus to +get their systems people to install \LaTeXe. +We really have to push information about \LaTeXe\ out more +widely. + +It does help to have liaison at hand. And to have someone +come and check that all is well each morning. In an ideal world, +the logging on/ password, NeXT familiarisation, +the system crash or the paper shortage would have +been but minor hiccups. + +The small class size (about 7) was a boon. I reckon it takes four +days to get through my course. Thanks to the ease of use of the NeXT, +the keyboard skills of the class (and their general computer +familiarity), and the small class size, I think we could have +trimmed that down to three and a half. The problem is always +getting round each member of the class. If you spend 5 minutes +with each, a class of twelve takes an hour to get round. Simple +arithmetic. +Extra exercises for the swift are useful. It gives you something +to absorb their enthusiasm, while allowing the slower members to +concentrate on reinforcing the essentials. + +Sharing a lab reduces flexibility and requires that you plan things +much more carefully. Knowing the requirement in advance helps. + +Ensure that the class eat together. This sounds weird, but let me +explain. Some of the class did not live in the residences on campus. +Their course fee did not cover lunch. Therefore they had to go and eat +somewhere else. They didn't then know when the rest of us were +heading back, and this could delay starting the afternoon session. A +small point, but it all adds or subtracts to the smooth running of the +class. After all, these people pay good money to come on this course, +we have to ensure they get a fair deal. + + diff --git a/usergrps/uktug/baskervi/4_4/consult.tex b/usergrps/uktug/baskervi/4_4/consult.tex new file mode 100644 index 0000000000..0aaa040428 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/consult.tex @@ -0,0 +1,53 @@ +\title{UK \TeX\ Consultants} +\author{} +\begin{Article} +\begin{quote} +[Editor's note: in the last issue we asked people who were interested +in doing \TeX\ consultancy work to come forward and identify +themselves. We only had a couple of responses, so their manifestos are +given in full. Let's expand this list, and \BV\ will keep publishing +it. ] +\end{quote} +\paragraph{Jonathan Fine} has trained and worked as a research mathematician. +He is part way through a large \TeX{} macro project, to create tools +and methods that will allow \TeX{} to go beyond what are commonly +perceived to be its limits. These new products are intended to +provide an improved macro development environment, with support for +modules, identifier declarations, incremental development, and a +run-time debugger; and also support for more general input syntax, +such as SGML and program source files, as well as more graceful +recovery from errors in mark-up, and fresh typographic possibilities. + +Until these products are available for release, he would like to +support himself with more traditional \TeX{} consulting work. He +will write macros and style files, provide instruction, create and +revise compuscripts, provide support, and so forth. + +\begin{quote} +Jonathan Fine, \\203 Coldhams Lane, \\Cambridge, CB1 3HY.\\ +Tel: (01223) 215389 Email: \texttt{J.Fine@pmms.cam.ac.uk} +\end{quote} + +\paragraph{David Evans} has experience +in the following areas, and is particularly interested in +any consultancy involving \LaTeX\ styles, or \TeX\ installation: +\begin{itemize} +\item \TeX\ macros +\item \TeX\ (e.g. EmTeX/Y\&Y's \TeX) installation +\item Font installation and setup with \TeX/\LaTeX +\item Configuration of dvips etc +\item Macros for automating Acrobat output +\end{itemize} +\begin{quote} +Dr David Evans, Partner\\ +Merlin Open Systems\\ +4 Oxbow Close\\ +The Meadows\\ +Nottingham NG2 2NN\\ +Tel. (01602) 860048 (answerphone), (01602) 514230 (day)\\ +E-mail: \texttt{dre@cs.nott.ac.uk} +\end{quote} + +\end{Article} + + diff --git a/usergrps/uktug/baskervi/4_4/ctanuk.tex b/usergrps/uktug/baskervi/4_4/ctanuk.tex new file mode 100644 index 0000000000..234f9db60d --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/ctanuk.tex @@ -0,0 +1,256 @@ +\title{Moving the UK CTAN} +\author[Martyn Johnson and Robin Fairbairns]{Martyn Johnson (\texttt{maj@cl.cam.ac.uk})\\ + and\\ + Robin Fairbairns (\texttt{rf@cl.cam.ac.uk})} +\begin{Article} +\section{The background (RF)} + +The UK node of the Comprehensive \TeX{} Archive Network (\CTAN) has a +long and honourable history, which starts long ago in the recognition +(by Peter Abbott at Aston~--- see \cite{abbott:exeter}) of the need to +provide an archive of \TeX-related material within the UK. At the +time that the Aston archive was created, \TeX-related material was +mostly made available \emph{ad hoc} by its originators~--- there was +no site with ambitions to provide a \emph{complete} set of systems, +macros, and so on. Furthermore, access from within the UK to overseas +material was less than straightforward (access to ftp, using an +account at UCL, was severely restricted). + +The Aston archive was originally a VMS-based facility, offering +connection via the Janet coloured-book protocols to machines that were +part of Aston's centrally-provided service. Later, the archive group +were given a second-hand VAX, and later still a parallel version of +the archive was established on a SparcStation that sat on Peter +Abbott's desk. This machine (with the net name |ftp.tex.ac.uk|) +eventually became part of \CTAN, offering access via anonymous +ftp to all and sundry throughout the world. + +At the beginning of this year, Peter Abbott told your committee that +he would be retiring (early) at the end of July; the implication was +that it would be unlikely that we could count on Aston's willingness +to offer a home to the archive beyond that date. + +The committee discussed whether it was reasonable even to consider +maintaining a CTAN node in the UK (covering the world with two sites +in Europe and one in the USA is hardly a convincing approach); and if +the node was to be retained, the implications of so doing. After much +soul-searching, we decided that it wasn't reasonable to spend \UKTUG{} +funds on a new home for the archive; we concluded that our membership +is such a small proportion of the \TeX{} community within the +UK\footnote{In contrast to the situation, say, in Germany, where +\DANTE{} owns the archive machine.}, that group funds really +\emph{shouldn't} be expected to cough up for support of the community +at large. + +In parallel with these discussions, the committee investigated +alternative new sites for the archive; candidates were the +Universities of Warwick, Sussex and Cambridge, the National +Typesetting service (at Oxford) and the Hensa\footnote{Higher +Education National Software Archive.}. While the typesetting archive +looked promising at first, they eventually +suggested that we should approach Hensa (which had already been on our +list of possible candidates). Hensa in fact maintains two archives, +one for micros and one for Unix; since \CTAN{} is a cross-architecture +service, offering support for micros, Unix machines and others, it was +obvious that Hensa couldn't maintain a \CTAN{} node. Sebastian Rahtz, +who's the only volunteer effort that the UK \CTAN{} node has, was +unwilling to maintain an archive that wasn't \CTAN, so we decided to +look elsewhere. + +Warwick (in the person of Malcolm Clark~--- he of the +\emph{Gleanings}) concluded that they would need to be provided with +some extra disk space before they could offer to host the service. +Sussex would very much like to host the service, but were unwilling to +do so until their connection to SuperJanet went live. Cambridge +expressed an early interest, whereafter very little (that was visible +to the committee) happened for some time while Martyn Johnson +established what was necessary and acquired agreement from the head of +the department and from the rest of the Computer Laboratory's systems +group. + +\section{The Archive Operational Requirement} + +Towards the end of June Sebastian Rahtz wrote an `operational +requirement', which described the facilities provided by the Aston +archive, and explained which were essential and which might, at a +pinch, be dropped. + +The complexity of it all was quite a surprise. The primary service is +an ftp server, but it needs to be able to perform many automatic +transformations, such as packing a directory into a |zip| image. +Gopher and WWW services were also provided at Aston. Behind the +scenes, there was a mechanism which kept the main \CTAN{} nodes in +step with each other whilst maintaining a peer relationship between +them. The archive maintainers needed remote access to the machine and +the ability to manipulate the archive. Finally, there were several +well-publicised mail addresses at |ftp.tex.ac.uk|. + +\section{Meeting the Operational Requirement (MAJ)} + +Whilst it was clear that we had the resources available to run the +archive, there were a number of awkward decisions to be made. The main +question was ``which machine?''; we certainly didn't have a machine +available to dedicate to the task. My initial assumption was that I +would put the service on one of our main fileserver machines, a +Digital Alpha/AXP 3000/500S, since that machine had plenty of disc +space available. But I was worried about security~--- we don't even +allow our own users to log in to our fileservers. Then I realised +that one of our most public machines (another Alpha) had a 1Gbyte disc +which could be made available, and the decision was made. A welcome +side effect of this choice was that it made it easier for me to +provide external access to the archive through NFS without +compromising the security of the internal services. + +Transferring the data from Aston to Cambridge was the least of the +problems. Not very long ago, moving such a large amount of data over +the network would have been unthinkable. I just did it, using a +standard ``mirror'' script running in the background. It took about a +day to pull the archive across, and a few minutes each day thereafter +to keep it up to date. + +It was obvious that the standard ftp daemon supplied with OSF/1 +wasn't up to the job of running the archive. The only sensible choice +was \texttt{wu-ftpd}, as used at the other \CTAN{} nodes. This +compiled easily enough for the Alpha, and initially appeared to work. +However, none of the document conversion scripts would function at +all, and the bug\footnote{Overwriting the daemon's own argument and + environment strings for cosmetic reasons, so that subprocesses start + up with a corrupt environment which the OSF/1 shell takes umbrage + at.} was only found after a great deal of detective work. Once found, +the problem was easy to fix, but even then, one of the document +conversion scripts still didn't work\footnote{But it didn't work at + Aston either, and has been mended.}. + +After those and other bugs\footnote{Notably the bug that made + \texttt{zoo}'s `portability library' not port to 64-bit machines.} +had been mended, there were still the Gopher and WWW services to +consider. We had not previously run a Gopher server, and I was not +very keen on doing it, but Sebastian assured me that the service was +well used and would be missed if we didn't provide it. In the end the +Gopher service turned out to be straightforward to make available, +though we decided to not to attempt to set up WAIS indexing initially. + +WWW was even easier, since we already ran a suitable server on another +machine, and we merely had to copy the data into it. Or did we? All +of the Aston archive's services were published as being available from +the machine |ftp.tex.ac.uk|, and this could obviously not be made an +alias for two different machines. I really did not want to run a +second WWW server, so we decided that the world would just have to +change. Each service offered by the archive now has its own name: +|ftp.tex.ac.uk|, |gopher.tex.ac.uk|, |nfs.tex.ac.uk| and +|www.tex.ac.uk|. While we were at it, we thought that a better name +for the mail domain would be simply |tex.ac.uk|, though we intend to +continue to accept mail using the old addresses for some time. + +Of course we cannot force people to use the correct name. In fact only +the mail and WWW services are provided on machines other than +|ftp.tex.ac.uk|. Mail is not a problem since there are +well-established mechanisms for redirecting it to a site hub. In order +that the WWW service should not seem to have disappeared to people +following old links, I wrote a tombstone service. No +matter what you ask for, it always returns a fixed page, which +explains that the server has moved, and offers a link to the new +place. + +The mail facilities were provided by configuring a logically separate +mail system within our mail hub, which runs the PP mailer. We did not +want to do anything which would make a further move of the archive +more difficult, so we were very keen to ensure that users could not +confuse the mail domains |tex.ac.uk| and |cl.cam.ac.uk|. We cannot +prevent them being confused, but at least we can ensure that they will +be told that they are confused by having incorrectly addressed mail +returned to them. + +It was always part of the agreement that the remote management of the +archive by Sebastian Rahtz, David Osborne and others should continue. +It is easy enough to give those users login access to the archive +machine, but they needed to be able to manipulate the archive without +needing ``|root|'' privilege. The archive is owned by a pseudo-user +``|ctan|'', and the archivists do their work using a local command +which allows them to pretend to be |ctan|, provided that they can +quote the password. Much of the maintenance of the archive is handled +automatically, by passing mail around and running periodic jobs. All +we had to do was arrange to deliver the mail~--- Sebastian did the rest! + +All of a sudden, it seemed that we were ready to go live. We had +already taken over control of the |tex.ac.uk| domain of the DNS +(a saga in itself) and simply had to flip over the addresses and watch +the traffic come in. And that is exactly what happened. + +Three days before he retired, Peter Abbott sent a message to the +committee mailing list saying that Aston did indeed want to reallocate +the Archive machine from the day that Peter left; the move was `just +in time'! + +\section{The first six weeks (MAJ)} + +We received remarkably little mail concerning the changeover, so it +must be considered a success. A handful of people had bound to the +old address and needed to be told the new one, but it seems that the +vast majority of clients simply did not notice any change. One person +complained that the Gopher service was not quite what it was, and this +is indeed an area which needs some more work. So far, after nearly 6 +weeks of operation, the new archive has shipped some 11Gbytes of stuff +via ftp. Equally encouragingly, there have been no complaints from +local users of the machine, for whom it is a compute server, that the +archive activities are having any impact on their work. In fact the +Alpha is a very fast machine, and provided that there is enough +memory, a few ftp sessions are hardly noticeable. + +By a curious twist of fate, the service offered in the first few weeks +has not been as good as we might have hoped. One of the reasons we +chose to use the Alpha machine we did was that in practice its +hardware and software have been highly reliable. Unfortunately there +have been three serious problems since we transferred the archive. + +The first was a spectacular thunderstorm in the Cambridge area which +caused widespread disruption to our equipment. The server itself +recovered with little difficulty, but the network problems were more +serious and our whole department was cut off from the outside world +for some time. + +The next weekend, the archive machine itself failed. The front +panel lights were dim and flickery, but this `obvious' power supply fault +was actually being provoked by a faulty system disc, so a replacement +had to be sent for, and the system had then to be restored from backup +tapes. This meant that the service was down for most of the weekend +and the following Monday. + +The third failure again started during a weekend. The machine simply +froze, and when rebooted, did exactly the same thing again. The +problem was tracked down to the NFS server, which was being fed +``poison packets'' by a machine in Norway. The machine's +administrator didn't respond to mail, but back-door intervention on +the archive machine had the required effect. We're told that the bug +in OSF/1 which made it crash on receiving the bad packet is mended in +the next release. + +Fortunately the user community has been very tolerant of these early +problems, and we very much hope that the next few weeks will be better. + +\section{Conclusion (RF)} + +The archive has grown from humble beginnings as a side service on a +VAX/VMS machine using protocols only (significantly) available within +the UK, to become part of an internationally-coordinated group of +archive sites offering services to anyone who chooses to use it in the +world at large. As a community, we have many reasons to thank Peter +Abbott for his foresight, and Aston University for hosting the archive +for many years. + +For the time being, Cambridge University has taken over the torch; let +us hope that the \CTAN{} network can continue to serve as a beacon +leading progress in the use of \TeX{} world-wide. + +\begin{thebibliography}{\bf{Abbott}90} + +\bibitem[Abbott 1990]{abbott:exeter} +Peter Abbott. +\newblock {\em {UK\TeX} and the Aston Archive}. +\newblock In Malcolm Clark, editor, {\em {\TeX} Applications, Uses, Methods}, + pages 109--114. Ellis Horwood, 1990. +\newblock Proceedings of {\TeX}eter (1988). + +\end{thebibliography} + +\end{Article} diff --git a/usergrps/uktug/baskervi/4_4/facts.tex b/usergrps/uktug/baskervi/4_4/facts.tex new file mode 100644 index 0000000000..c56707a5c5 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/facts.tex @@ -0,0 +1,225 @@ +\pagestyle{empty} +\section*{Book Discounts for \protect\ukt\ members} +The UK \TeX\ User group has been in discussion with a number +of publishers to arrange discounts on publications which +may be of interest to members. We recently re-established +our relationship with Addison-Wesley. The agreed list +of books is given below, together with the discounted price. +The quoted price includes the cost of postage and packing. +You will note that we are attempting to stem the tide of silly prices +and round to a convenient 50p. In every case the discount is at least +10\%. + +We also have an arrangement with International Thomson Publishing to +supply any of the very excellent O'Reilly \& Associates Inc.\ series +of books to members, at a similar discount. A list and prices will be +published in the next \BV, but for the time being, we will accept +orders for any of this series at a flat rate 10\% discounted price. + +We would like to extend this service to members. If you have contacts +with the sales and marketing parts of any publisher who publishes +relevant books, please inform us and we will try to +arrange something mutually convenient and beneficial. + +We are only allowed to offer this service to \textbf{current} members +of the UK \TeX\ User Group and/or members of TUG. Please send your +order (including a self addressed label) and cheque (in UK \pounds +only) to +\begin{flushleft} + UK TeX User Group\\ c/o 1 Eymore Close\\ Selly Oak\\ Birmingham B29 + 4LB\\ +\end{flushleft} + +Make cheques payable to `UKTUG' please. +\end{multicols} + +\bgroup\small + +\begin{tabular}{|p{0.33\linewidth}p{0.33\linewidth}lcr|} +\hline +\multicolumn{5}{|c|}{\textbf{Addison-Wesley Books}}\\ +\hline +The \TeX\ book&Donald E Knuth&0 201 13448 9&paper&20.50\\ +The \TeX\ book&Donald E Knuth&0 201 13447 0&hard&29.50\\ +\TeX\ the program&Donald E Knuth&0 201 13437 3&hard&34.00\\ +The \MF book&Donald E Knuth&0 201 13444 6&paper&18.50\\ +The \MF book&Donald E Knuth&0 201 13445 4&hard&29.50\\ +\MF\ the program&Donald E Knuth&0 201 13438 1&hard&34.00\\ +Computer Modern Type\-faces&Donald E Knuth&0 201 13446 2&hard&34.00\\ +3:16 Bible texts illuminated\kern0pt&Donald E Knuth&0 895 79252 4&paper&19.50\\ +The CWEB system of structured documentation& +Donald E Knuth \& Silvio Levy&0 201 57569 8&paper&17.00\\ +\LaTeX: a document preparation system, second edition& +Leslie Lamport&0 201 52983 1&paper&24.00\\ +The \LaTeX\ Companion&Michael Goosens, Frank Mittelbach \& Alexander Samarin& +0 201 54199 8&paper&24.00\\ +Introduction to \TeX&Norbert Schwarz&0 201 51141 X&paper&19.50\\ +A guide to \LaTeX&Helmut Kopka \& Patrick Daly&0 201 56889 6&paper&22.00\\ +\TeX\ by topic&Victor Eijkhout&0 201 56882 9&paper&22.00\\ +\TeX\ for the impatient&Paul~W~Abrahams, Kath\-ryn Hargreaves \& Karl Berry& +0 201 51375 7&paper&20.50\\ +\hline +Postscript language program manual&Adobe&0 201 18127 4&paper&24.00\\ +Postscript language, tutorial \& cook\-book&Adobe&0 201 10179 3&paper&15.00\\ +Portable Document Format Reference Manual&Adobe&0 201 62628 4&paper&18.50\\ +The Postscript Font hand\-book&Jonathon~Grosvenor, Kay Morrison \& Alexander Pim& +0 201 56893 4&paper&22.00\\ +Postscript by example&Henry McGilton \& Mary Campione&0 201 63228 4&paper&23.00\\ +Thinking in Postscript&Glenn Reid&0 201 52372 8&paper&18.50\\ +\hline +Collier's rules for desktop design and typography&David Collier&0 201 54416 4&paper&15.00\\ +Interactive Typography&David~Collier \& Ian Martin&0 201 63167 9&cd-rom&tba\\ +\hline +\end{tabular} + +\egroup + +\begin{multicols}{2} + +\section*{Obtaining \TeX} +\subsection*{From the network} + +The UK \TeX\ Archive on \texttt{ftp.tex.ac.uk} is part of the CTAN +(Comprehensive \TeX\ Archive Network) collaborating network of +archives on the Internet organised by the +\TeX\ Users Group. The three main archives follow the same structure +and have identical files ({\tt ftp.tex.ac.uk}, {\tt ftp.shsu.edu} and +{\tt ftp.dante.de}). + +The CTAN archives all run an enhanced {\em ftp} server which supports +dynamic compression, uncompression, and archive creation options. +Fetch the top-level file {\tt README.archive-features} for +information. The server also supports site-defined commands to assist +you. Please read {\tt README.site-commands} for a brief overview. + +The main directories which make up CTAN are listed below; readers are +referred to David Jones\rq{} {\em Index of \TeX\ Styles and Macros} for +details of macro packages and individual style files. This can be +found in CTAN as {\tt info/tex-styles-and-macros.txt} + +{\small +\begin{description} +\item[biblio] bibliography-related files, such as + \BibTeX. +\item[digests] back issues of \TeX-related periodicals +\item[dviware] contains the various dvi-to-whatever filters and drivers. +\item[fonts] fonts, both sources and pre-compiled +\item[graphics]utilities and macros related to graphics. +\item[help] overviews of the archive and the \TeX\ system +\item[info] files and tutorials which document various aspects of \TeX +\item[indexing] utilities and related files for indexing +\item[language] material for typesetting non-English documents +\item[macros] macros packages for \TeX\ and style files +\item[support] programs which can be used in support of \TeX +\item[systems] complete system setups, organized by operating + system +\item[tools] the various archiving tools used on CTAN +\item[web] contains WEB-related files and utilities +\end{description} +} + +Details of where to find public domain, or shareware, +\TeX\ packages for different machines and operating +systems are given below. + +\end{multicols} + +\bgroup +\small +\begin{center} +\begin{tabular}{|lllp{2.5in}|} +\hline Name & Environment & CTAN path & Notes\\ \hline + em\TeX & DOS, OS/2 & systems/msdos/emtex &the betatest drivers, + and 386-specific versions of \TeX\ and MF, are in the {\tt + betatest} subdirectory \\ + sb\TeX & DOS & systems/msdos/sbtex & includes latest \TeX\ and + \Metafont\\ + g\TeX & DOS & systems/msdos/gtex & 386-only \TeX\ and \Metafont, + which replace parts of em\TeX, and work with Windows memory + management\\ +% \TeX as & DOS & systems/msdos/texas & Large \TeX, +% which replaces \TeX386 in em\TeX, and works with Windows memory +% management\\ + \hline + Oz\TeX & Mac & systems/mac/oztex & This package is shareware\\ + CMac\TeX & Mac & systems/mac/cmactex & Port of Unix \TeX, + including Rokicki\rq{}s dvips. A fuller version (with large memory) + can be purchased.\\ + Direct\TeX & Mac & systems/mac/directtex & \\ + \hline + pas\TeX & Amiga & systems/amiga/pastex & \\ + \hline + --- & Atari & systems/atari/lindner-tex-packed-disks & \\ + --- & Atari & systems/atari/cs-tex & \\ + \hline + web2c \TeX & Unix & systems/unix/web2c & a complete source kit for + \TeX\ and \Metafont, which should compile on most Unix boxes; needs + a C compiler.\\ +% sparctex & Sun Sparc & systems/unix/unixkit & \\ +% --- & DEC Alpha & systems/unix/alpha & for Alpha running Unix\\ +% --- & Xenix & systems/unix/xenix & \\ + \hline + --- & VAX & systems/vms/vms &Alpha and VMS \\ + %\hline + %GhostScript & * & support/ghostview & PostScript previewer for + %many platforms, including Mac\\ + %dvips & * & dviware/dvips & popular {\tt dvi} to PostScript + %driver\\ + %--- & --- & biblio/bibtex/styles/contrib & \BibTeX\ style files\\ + %--- & --- & web/knuth & The files maintained by Don Knuth\\ + \hline +\end{tabular} +\end{center} + +\egroup + +\begin{multicols}{2} + + Please report any problems with CTAN archives via email to + \texttt{ctan-mgr@shsu.edu}. The entire archive is available on + CDROM as the `\TeX cetera' package from Prime Time Freeware, 370 Altair Way, + Suite 150, Sunnyvale, CA 94086 USA (\texttt{ptf@cfcl.com}). This is + also distributed by the TUG office, and in the UK by Lasermoon Ltd + (email \texttt{info@lasermoon.co.uk}, phone 0329 826444). + +\subsection*{Unix tapes} +For a complete Unix \TeX\ distribution, a +1/4 inch cartridge, QIC-120 or QIC-150 format (DC600A or DC6150) +can sent with envelope {\em and} stamps for return postage to: +\begin{quote} + David Osborne\\ + Cripps Computing Centre, \\ + University of Nottingham, \\ + Nottingham NG7 2RD +\end{quote} +Due to currency exchange, this service is offered only within the UK. + +\subsection*{PC and Mac disks} +The \ukt\ distributes an em\TeX\ kit for PCs, +and an Oz\TeX\ kit for Macintosh. The cost covers copying and postage +costs, and the shareware fee for Oz\TeX. Each set costs \pounds30, +and is available from Peter Abbott, 1 Eymore Close, Selly Oak, +Birmingham B29~4LB. Cheques must be payable to \lq{}UKTUG\rq{}. Please note +that this service \emph{is available to \ukt\ members only.} Each set +comes with an installation guide, and (at least) full \TeX\ and \MF, a +previewer, a PostScript driver, and CM fonts. Two update disks a year +will be sent out automatically, with the current version of \LaTeXe, +and other goodies. A subscription service will be available for +subsequent years. In addition, subscribers can request up to 3 disks a +year with any material from the CTAN archives, but this will be +supplied \lq{}as is\rq{}, without instructions. + +Enquiries for \TeX\ for the Atari ST etc. can be directed to: The Fast +Club, 7 Musters Road, Nottingham NG2 7PP. Phone 0602 455250, fax 0602 +455305. They also supply a variety of \TeX-related software in Atari format. + +The international \TeX\ Users Group can also supply many \TeX\ +materials on disk. Contact: +\begin{quote} + \TeX\ Users Group\\ + PO Box 869\\ + Santa Barbara, CA 93102\\ + USA\\ + {\em Phone:} 010 1 805 963 1338 \emph{email}: {\tt tug@tug.org} +\end{quote} +\endinput diff --git a/usergrps/uktug/baskervi/4_4/family.tex b/usergrps/uktug/baskervi/4_4/family.tex new file mode 100644 index 0000000000..01a3691358 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/family.tex @@ -0,0 +1,82 @@ +% family.tex, sample usage of simpsons.tex +% +% by Raymond Chen (rjc@math.princeton.edu) + +\input simpsons + +\font\cmcsc=cmcsc10 + +\vtop to 0pt{\kern0pt + \rightline{``A Nuclear Power Plant in\strut} + \rightline{the Springfield Tradition.''\strut}\vss} +\nointerlineskip +\centerline{\cmcsc Springfield\strut} +\centerline{\SNPP} +\nointerlineskip \vskip1pt +\centerline{\cmcsc Nuclear Power Plant\strut} + +\vskip .5in + +\def\boxup#1{\vbox{\hrule \hbox{\vrule#1\vrule}\hrule\kern0pt}} +{\setbox0=\hbox{\hskip1em\boxup{\Left\Burns}} + \hbox to\hsize{\hss\vtop to0pt{\kern0pt\copy0\vss}}\nointerlineskip + \advance\hsize-\wd0 + \centerline{\bf A Letter from Our President and CEO\strut} + \vskip .25in + + \noindent Dear Visitor: + + This nuclear power plant was not always the towering triumph + you see before you today. + Although it may seem to many of you to be an eternal part of + Springfield (especially considering the lengthy half-life of + many of our byproducts), it began years ago as a simple + dream---the dream of a humble man possessed only of a vast parcel + of undeveloped real estate, several million dollars, and a burning + desire for a tax-advantaged investment opportunity. \par +} + + I'd like to thank you for helping me realize my dream by + visiting the Springfield Nuclear Power Plant. + While you're here, you might want to thank + your lucky stars that Springfield doesn't get its + energy from some noisy hydroelectric dam or dark, + stuffy coal mine which doesn't offer tours. + \vskip10pt + \hbox{\hskip3in Very Sincerely,} + \hbox{\hskip3in C.\ Montgomery Burns} + \hbox{\hskip3in President and CEO} + + \vfil\eject + +\def\<#1#2{\setbox0=\hbox{#1}% + \hbox{\copy0 + \advance\hsize-\wd0 + \parindent0pt + \vbox{#2\strut}}} + +\def\>#1#2{\setbox0=\hbox{#1}% + \hbox{% + \advance\hsize-\wd0 + \parindent0pt \leftskip0pt plus 1fil \rightskip0pt + \vbox{#2\strut}\copy0}} + +\hbox{\raggedright\divide\hsize2 +\vtop{\kern0pt +\<{\Goofy\Homer(6,4)(4,4)}{D'oh!} + +\<{\Goofy\Lisa(7,5)(5,5)}{% + This is Lisa Simpson. + She's smart, she's sweet, she's sensitive\dots but + don't hold that against her.} + +\<{\Bart}{I'm Bart Simpson. Who the hell are you?} + +}\vtop{\kern0pt + +\>{\Left\Marge}{Mmmm\dots} +\>{\Left\Maggie}{Suck. Suck.} +}} + + +\end diff --git a/usergrps/uktug/baskervi/4_4/fine.tex b/usergrps/uktug/baskervi/4_4/fine.tex new file mode 100644 index 0000000000..ee9d53d1f2 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/fine.tex @@ -0,0 +1,359 @@ +\title{Backslash---Mathematical Activity} +\author[Jonathan Fine]{Jonathan Fine\\\texttt{J.Fine@uk.ac.cam.pmms}} + +\begin{Article} + +\noindent +First an apology. I did not allow time to proof my last article and +so did notice many small errors. None were \TeX{}nically important, +except the solution to exercise 3. I thank David Carlise for +pointing out that although \verb"\par" and \verb"\xyz" might have the +same meaning, only \verb"\long" macros will accept a \verb"\par" in +their parameter text. I guess I also forgot to mention that when used +as a macro parameter delimiter, the meaning of a control sequence has +no bearing but the name is everything. And in the middle of page~17, +right column, the line +\begin{quote}\quad\verb!\spaceit \endspaceit!\end{quote} +\noindent should be deleted. + +The themes of this \BV\ issue are mathematics and tables. Siep +Kroonenberg's article on tables is excellent. Here is a little +trick for use within mathematics. It involves active characters. The +sort of thing one might wish to do is have, say, \verb"[[" act as a +sort of ligature for a compound math character, such as $[\![$. + +For every character code 0--255 there is a mathcode, which controls +just how that character should be typeset, when in mathematics. More +exactly, it gives the class or part of mathematical speech, the font +family to use, and the location with the font family. + +A little known and little used feature of \TeX{} is, +\begin{quote} +A \verb"\mathcode" can also have the special value \verb+"8000"+, +which causes the character to behave as if it has catcode 13 +(active). Appendix~B uses this feature to make \verb"'" expand to +\verb"^{\prime}" in a slightly tricky way. +\end{quote} +Knuth writes on [155] (this means page 155 of the {\em \TeX book}). +This feature is not used by \verb"plain" for any other purpose. This +remark is flagged as a `double dangerous bend' and so this article +may not be suitable for all readers. + +As a result of this magic value for mathcode, a character can be made +to act as if it were active when it is in mathematics mode, but not +in text mode. This is done without changing the catcodes, and so even +if ordinary letters are so made special, formation of control +sequence names proceeds as usual. Moreover, math macros such as +\verb"\matrix" and \verb"\eqalign" read their text as a parameter, and +this fixes the category codes. (The \verb"plain" footnote macro goes +to some length to avoid this [363], so as to allow category code +changes to occur within the text of the footnote. This enable +verbatim text to there appear.) + +Knuth [48] ``discourage[s] people from making extensive use of +\verb"\catcode" changes except in unusual circumstances'' precisely +because ``when the arguments to a macro are first scanned \ldots{} +their categories are fixed once and for all at that time.'' A +\verb"\matrix" may contain math and ordinary text, or may itself be +the argument to another macro (this is why verbatim does not work +properly within \LaTeX{} section titles). Thus, to achieve a smart +\verb"[[" by category code changes would be difficult, and create +many unwelcome side effects. + +However, mathcode \verb+"8000+ does not have these problems, because +it is not a category code change. To understand the use of this +unusual mathcode, let us change the math code of \verb"[" to this new +value in such a way that ordinary documents will process exactly as +before. The line +\begin{verbatim} +\mathcode '\[ "8000 +\end{verbatim} +will change the mathcode to the magic value, but the previous +value---which controlled its conduct---is now lost. So we shall +first save it. In fact the code below +\begin{verbatim} +\ifnum \mathcode`\[ = "8000 +\else + \begingroup + \catcode `\[ =13 + \global \mathchardef [ \mathcode`\[ + \endgroup + \mathcode `\[ = "8000 +\fi +\end{verbatim} +will first test that we haven't monkeyed with it before, and if safe +to do so, will \verb"\mathchardef" an {\em active\/} \verb"[" to the +original mathcode value, and finally set the mathcode of \verb"[" to +the magic value. + +These changes (unless \verb"[" already has an active meaning, say for +use within ordinary text) should have no effect whatsoever on the +processing of manuscripts. So what have we gained? + +Previously the mathcode of \verb"[" caused the appropiate character +to be looked up from the appropiate font, and used as a mathematical +part of speech of the appropiate class. Now the mathcode of \verb"[" +will cause the meaning of active character \verb"[" to be looked up. +The current value of this meaning is a mathchar which causes the +previous appropiate action. {\em This meaning can now be changed}, +to produce new behaviour. This is the gain. + +Our example is that we wanted \verb"[[" to produce $[\![$. This +compound symbol fragment was produced using \verb"$[\![$", where +\verb"\!" gives a negative thin space. To obtain this same result, +but using \verb"[[" as input, we must reset the value for active +\verb"[". + +Here's how. Active \verb"[" must inspect the next token. To avoid +\verb"\futurelet" complications, I will assume is not a brace or a +space, and so can be read as a parameter. If it is another \verb"[" +we produce the compound symbol, otherwise we produce a single $[$ and +restore the parameter to the input stream. +\begin{verbatim} +\def \next #1% +{% + \ifx #1[% + \lbrack@\!\lbrack@ + \else + \lbrack@ + \expandafter #1% + \fi +} +\end{verbatim} + +\begin{verbatim} +\begingroup + \catcode`\[=13 % active + \global \let [ \next +\endgroup +\end{verbatim} +The control sequence \verb"\next" is used to hold the value until we +change the catcode of \verb"[" to access active \verb"[". If we +tried to make the definition all at once, we would find that we would +no longer have access to regular \verb"[". The command +\verb"\lbrack@" has been freshly introduced, to hold the customary +mathcode of \verb"[". This could have been obtained via +\begin{verbatim} +\mathchardef \lbrack@ \mathcode`[ +\end{verbatim} +if we had though to {\em before\/} we started changing things. As it +now is, we can use +\begin{verbatim} +\mathchardef \lbrack@ "405B +\end{verbatim} +which value comes from \verb"plain.tex" (see [344]). + +The \verb"\expandafter" in the above definition is to prevent code +such as +\begin{verbatim} +$ [ \mathmacro { argument } ] $ +\end{verbatim} +producing a disaster, where \verb"\mathmacro" takes a single +parameter. Stepping through the above code for active \verb"[" +we will we get +\begin{verbatim} +\lbrack@ \expandafter +\mathmacro \fi { argument } +\end{verbatim} +as an intermediate result. Without the \verb"\expandafter", the +\verb"\mathmacro" would get \verb"\fi" as its argument, and that is +totally wrong. As it is, the \verb"\expandafter" causes the token +{\em after\/} the \verb"\mathmacro", which is the \verb"\fi", to be +expanded {\em before} \verb"\mathmacro" does its piece. When +\verb"\fi" is expanded [213], +\begin{quote} +\TeX{} reads to the end of any text that ought to be skipped. The +``expansion'' of a conditional is empty. +\end{quote} +and this is just what we want. The \verb"\fi" is gone, and so now +\verb"\mathmacro" gets its proper argument. + +This device, which I call {\em active mathematical characters\/} makes +all sort of dirty trickery possible. Mathematicians have a wide +range of complicated symbols, diagrams, matrices, and so forth. +Perhaps use of this device will allow for improved input syntax for +at least some of these devices. + +Finally, problems and solutions. Problem~5 from last issue has a +short solution (six lines of 80~column code) but seems to require a +long explanation. The solution to Problem~6 will be given in the +next issue. There are two new problems for this issue. The solution +to Problem~7 is in the {\em \TeX{}book}. Problem~8 asks a question +about possible \verb"\mathchar" values. + +\noindent +{\bf Solution 5.} +{\em The problem was to write a macro which will trim the leading and +trailing spaces from user supplied text.} +Assume that +\verb"\text" is a macro whose expansion is the user-supplied text, +such as +\begin{verbatim} +\def \text { apples and oranges } +\end{verbatim} +and that \verb"\trim" \verb"\text" is to redefine \verb"\text" as +\begin{verbatim} +\def \text {apples and oranges} +\end{verbatim} +which is as before, but without leading and trailing spaces. +However, the original value of \verb"\text" may contain macros, +nested braces, and perhaps even conditionals. + +Here is the solution, with comments as we go along. +\begin{verbatim} +\catcode`\@=11 % @ is a letter +\def\trim #1{% + \expandafter\trim@ + \expandafter{#1 }% + #1% +} +\end{verbatim} +If \verb"\text" is the argument to \verb"\trim", the expansion of +\verb"\trim" will result in \verb"\trim@" being called with two +parameters. The first will be, enclosed in braces, the user +supplied text {\em but with an additional trailing space} (the +reason for which will be given later) and the second the name of the +control sequence (\verb"\text") whose redefinition is sought. + +We now set things up to remove the leading space, if any. We use +\verb"@" as a private delimiter, for it cannot occur {\em with +category code 11\/} in user supplied text. The expansion of +\begin{verbatim} +\def\trim@ #1{\trim@@ @#1 @ #1 @ @@} +\end{verbatim} +will cause \verb"\trim@@" to see before it {\em two\/} copies of the +user-supplied text, both with (another) additional trailing space, +the first copy without and the second with an additional leading space. +This whole mess is closed with \verb"@@", which functions as a +delimiter. + +The trick now is to have \verb"\trim@@" look for text delimited on +both left and right by the pair \verb*"@ " of tokens (being an \verb"@" +followed by a space). If the user-text has a leading space, such +occurs around the first copy. If not, around the second copy. The +parameter delimiters of +\begin{verbatim} +\def\trim@@ #1@ #2@ #3@@{% + \trim@@@\empty #2 @% +} +\end{verbatim} +select the appropiate copy of the user-text to be parameter +\verb"#2". The rest of the arguments can be thrown away, +all the way up to the \verb"@@" delimiter. The parameter \verb"#2" +will be the user-text, with a trailing space added twice +(by \verb"trim" and by \verb"trim@" also), and with the leading space +(if present) stripped. + +We are nearly done now. The purpose of the \verb"\empty" (a macro +which expands to nothing) will be explained later. We copy the user +supplied text with yet another trailing space (that's the third time +we've done this) and call \verb"\trim@@@" with \verb"@" as a +delimiter. + +Here come the final and amusing macro. We wish to strip the trailing +space, if present. Perversely, we have three times added a trailing +space. Now {\em in regular user defined text, by virtue of \TeX's +reading rules [37], it is impossible for user supplied text to +contain two successive explicit space characters}. So we use two +successive spaces characters as a delimiter, to strip trailing +spaces. This is why we have been so assiduously been building them +up at the end. + +We need a helper macro +\begin{verbatim} +\def\unbrace#1{#1} +\end{verbatim} +to allow the construction of the final macro +\begin{verbatim} +\unbrace{\def\trim@@@ #1 } #2@#3 +{% + \expandafter\def + \expandafter #3% + \expandafter {% + #1}% +} +\catcode`\@=12 % restore @ +\end{verbatim} +whose first parameter \verb"#1" is delimited by {\em two space +characters}. This strips the trailing space, and we discard any +other spaces there may be, up to the trailing \verb"@". The third +parameter \verb"#3" is the control sequence (\verb"\text" in our +case) whose stripped redefinition we seek. + +By now, \verb"#1" is stripped of leading and trailing space, and has +an \verb"\empty" prepended. This is `stripped' via the +\verb"\expandafter"'s. The macro is finished. + +Some further explanations are required. A trailing space is added +{\em three\/} times when it might seem that twice is enough, to cover +the case that \verb"\text" is empty. In that situation the first +added {\em trailing\/} space will also be a {\em leading\/} space, +and will be treated as such. The purpose of the \verb"\empty" is to +forestall \TeX's (usually helpful) custom of stripping ``the +outermost braces enclosing the argument'' [204]. Without this sweet +nothing, the macros produce from +\begin{verbatim} +\def\text {{well wrapped}} +\end{verbatim} +the new value +\begin{verbatim} +\def\text {well wrapped} +\end{verbatim} +which is wrong! Earlier in the expansion the trailing space(s) +stopped this happening. + +Finally, an acknowledgement. The basic ideas for dealing with the +leading space are due to Donald Arseneau, but the trailing double +space trick is all my own work. + +\noindent +{\bf Exercise 7.} +What reason does Knuth give for choosing \verb"$" as the math +bracket. Hint: mathematics and tables are known as `penalty work' +because they will attract an extra charge from the typsetter. The +solution in on [127]. + +\noindent +{\bf Exercise 8.} +Why should the value \verb+"8000+ be forbidden [155] as mathchar +(rather then mathcode) value? And why not? + +\end{Article} +\endinput + + + + + + + + +\catcode`\@=11 + +\ifnum \mathcode`\[ = "8000 +\else + \begingroup + \catcode `\[ =13 + \global \mathchardef [ \mathcode`\[ + \endgroup + \mathcode `\[ = "8000 +\fi +\def \next #1% +{% + \ifx #1[% + \lbrack@\!\lbrack@ + \else + \lbrack@ + \expandafter #1% + \fi +} +\begingroup + \catcode`\[=13 % active + \global \let [ \next +\endgroup +\mathchardef \lbrack@ "405B + + +\catcode`\@=12 +\end{Article} +\endinput diff --git a/usergrps/uktug/baskervi/4_4/foot.sty b/usergrps/uktug/baskervi/4_4/foot.sty new file mode 100644 index 0000000000..9ddd73c5d1 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/foot.sty @@ -0,0 +1,11 @@ +\newcommand{\myfoot}{% +\long\def\@makefntext##1{\parindent 1em\noindent\$@thefnmark$.~~##1}} + +\newcommand{\mpfoot}{% + + \long\def\@makefntext##1{\scriptsize\sf\parindent 1em% + \noindent\@thefnmark.~~##1} + + \def\footnoterule{\vspace*{-\arrayrulewidth}% + \rule{\linewidth}{\arrayrulewidth}\vspace*{2.6pt}} +} diff --git a/usergrps/uktug/baskervi/4_4/form.tex b/usergrps/uktug/baskervi/4_4/form.tex new file mode 100644 index 0000000000..9779009b6e --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/form.tex @@ -0,0 +1,99 @@ +\newpage +\pagestyle{empty} + +\newcommand{\uktug}{the UK \TeX\ Users Group} +\newcommand{\Uktug}{The UK \TeX\ Users Group} +\newcommand{\ukug}{UK \TeX\ Users Group} + +\newcommand{\ruled}[1]{\makebox[\textwidth]{#1\leaders\hrule\hfill}} +\newcommand{\partruled}[2] + {\makebox[\textwidth]{#1\leaders\hrule\hfill + \qquad #2\leaders\hrule\hfill}} + +\newcommand{\daytitle}{Annual General Meeting: \\ + \emph{and} What's up, Doc?} +\newcommand{\where}{Staff Club Quiet Room, University of Warwick} +\newcommand{\when}{October 19th 1994} + +\begin{center} +\textbf{\LARGE The UK \TeX\ Users Group} + +\vspace{12pt} + +\textbf{\Huge\daytitle} + +\vspace{16pt} + +\textbf{\LARGE\where} + +\vspace{12pt} + +\textbf{\LARGE\when} + +\vspace{16pt} + +\textbf{\Huge Booking Form} + +\end{center} +\vspace{1cm} +\section{Booking Arrangements} +\begin{description} +\item[AGM] All members of \uktug{} may attend the AGM +without payment. Refreshments will be available. The AGM is +scheduled to start at 10.30 and finish at 12.00. +\item[What's up, Doc?] This will occupy the period from 12.00 +to 5.00. +For members of \uktug{}, there is a charge of \pounds20, +which includes a buffet lunch and afternoon refreshments. +For non-members, the charge +is \pounds30. There is a \pounds5 discount for early payment. +\end{description} + +\section{Booking Details} +I wish to attend the meeting on \when: + +{\renewcommand{\baselinestretch}{1.4}\Huge\normalsize + +\ruled{Name: } +\ruled{Organisation: } +\ruled{Address: } +\ruled{} +\ruled{} +\partruled{Telephone: }{Email: } +\ruled{Please specify any special dietary requirements: } + + +\begin{flushright} +\begin{tabular*}{0.75\textwidth}{@{\extracolsep{\fill}}llp{0.25\textwidth}} + &Payment enclosed$^1$ &\\ +or&purchase order number$^2$ &\\ \cline{3-3} + &\multicolumn{1}{r}{Signed:}&\\ \cline{3-3} + &\multicolumn{1}{r}{Date:} &\\ \cline{3-3} +\end{tabular*} +\end{flushright} +} + +\section{Notes} +\begin{enumerate}\small +\item Payment for the meeting is \pounds20 for +members of \uktug{}, and \pounds30 for non-members. +Cheques should be made payable to `UK TeX Users Group'. +Those paying before September 20th may \textbf{deduct} \pounds5 +from their payment. +\item A Purchase Order, with an order number, is an +acceptable alternative method of payment, but +will attract a \pounds10 surcharge on the amount due. +\end{enumerate} + +\section{Payment Address} +Please send this completed booking form, together +with your payment, to: +\begin{center} +\begin{tabular}{ll@{ }l} +Malcolm Clark&&\\ +Computing Services&& \\ +University of Warwick& &\\ +Coventry CV4 7AL +\end{tabular} +\end{center} +\endinput diff --git a/usergrps/uktug/baskervi/4_4/goossens.tex b/usergrps/uktug/baskervi/4_4/goossens.tex new file mode 100644 index 0000000000..be39d5feee --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/goossens.tex @@ -0,0 +1,461 @@ +\newcommand{\Lcs}[1]{\mbox{\normalfont\ttfamily\bs#1}} +\title{The 15th Annual \TeX\ Users Group Meeting} +\author[Michel Goossens]{Michel Goossens\\CERN, +Geneva\\\texttt{m.goossens@cern.ch}} + +\begin{Article} + +\section{Introduction} +July 31st, Santa Barbara, California, USA.\footnote{For another view +of TUG94, see \emph{Malcolm's Gleanings} later in this \BV.} +Just the right combination +of sunshine, temperature, and sea breeze. The mountains in the +background, the beach nearby, the food nearly perfect. The ideal +setting for a conference. And here we were, some 120 \TeX{} +enthusiasts, coming from many countries and cultures, to meet +each other, and talk about and listen to presentations of the +latest developments in the area of high quality typesetting. + +We were not disappointed. The quality of the presented papers was +uniformly good, or even outstanding, so many Birds of a Feather (BoFs) +were going on in parallel that it was impossible to keep track of the +many hot topics being debated by specialists and users in these +informal meetings that took place when there were no formal +presentations. + +The formal theme of the conference was ``Innovation''. Malcolm Clark +and Sebastian Rahtz brought together a tremendous programme that +clearly showed how \TeX{} is now making inroads in many areas of book +production, like colour support, more flexible page layouts, scholarly +and non-Latin alphabet editions. Several groups are working on +extending \TeX{} or \LaTeX{} so that these tools become ever better +adapted to the demands of present-day document handling and are +integrated more readily into electronic distribution networks or +databases. Several new approaches introduce object-oriented +programming techniques, and hence show that \TeX{} forms an integral +part of a modern computing development environment. + +I hope that the following detailed overview will give you a flavour of +all these developments, and that it will convince you that you want to +know more about one or more points. You can obtain the proceedings of +the Conference by becoming a TUG member for \$60, which entitles you +to four issues of TUGboat and of \TeX{} and TUG News, or else for \$30 +you can obtain a copy of the Proceedings only. For more details +contact the TUG office. +% at the following address +% +%\begin{tabular}{@{}l@{\quad}ll} +%\TeX{} Users Group & Phone: +1 (805) 963-1338\\ +%P.O. Box 869 & Fax: +1 (805) 963-8358\\ +%Santa Barbara, CA 93102, USA & E-mail: tug@tug.org +%\end{tabular} + +It all started on Saturday July 30th in the evening with the +traditional Welcome Party. This where one meets old friends and +colleagues or discovers new faces; the latter are at first looking +around with somewhat anxious eyes, but are quickly surrounded by +reassuring oldies, shaking hands, and being welcomed to the +``Family''. The Californian wine, beer, or lemonade flowed freely, and +by the end of the evening all ice was broken and the atmosphere was +one of harmonious warmth and unity. + +The Conference was formally opened the next day by TUG'S +Executive Director, and local organizer, Patricia Monohon, and +Christina Thiele, TUG's President also spoke a few words of welcome. + +\section{Publishing, languages, literature and fonts.} +It was Charles (Chuck) Bigelow who had the honour to present +the first paper. He started by looking back at letter forms over the +past 2500 years or so, and then discussed work---together with Kris +Holmes---on the Lucida Sans Unicode font, that contains at present +some 1700 alphabetic and mathematical symbols and is or will be +available with the multi-byte operating systems Windows/NT, Apple GX +and AT\&T Plan 9. + +Frank Mittelbach then discussed some of the dos and don'ts that he +learned while preparing the \emph{\LaTeX{} Companion}. From the +discussions following the talk it seemed that his impressions were +shared by many other authors/editors who are in the publishing +business. + +Just before tea it was Yannis Haralambous who showed off his artistic +talents using \MF{} when he presented his work on +typesetting the Holy Bible in biblical Hebrew using his \emph{Tiqwah} +system, that will make it possible, for the first time, to use the +typographic powers of \TeX{} to typeset high-quality Bible editions. +Together with his work on typesetting the Holy Koran using several +thousand ligatures, and his font developments for many other scripts, +(as described at earlier conferences, and later in the present one) +this will allow scholars in many disciplines to typeset their works +at affordable prices using \TeX{} and any computer. + +Michael Cohen, an American teaching at the University of Aizu in +Japan, explained how his \emph{Zebrackets} system of meta-\MF{}s +can generate striated parenthetical delimiters on demand. This offers +the reader a more complete graphical picture of the relationship +between various document elements by augmenting the information +content of their representation. + +Yannis Haralambous then came back on stage to present ``Humanist'', +his new system to ``humanize'' \LaTeX. +Document input, markup and editing is performed using any word +processor that supports RTF output (like Word, WordPerfect), +that will then be turned into \LaTeX{} code by the Humanist system. +A user can thus work on a text in the most friendly and natural way +(\ie without a single \LaTeX{} command), but will get syntactically +correct \LaTeX{} output so that the powerful \TeX{} +engine can be used to obtain high-quality typeset output. + +The final paper of the Sunday was by Basil Malyshev, on converting \MF{} +fonts automatically into PostScript Type~1 outlines. +It was read by Alan Hoenig in the author's absence. +Various techniques to perform the conversion in question were presented +and the one chosen for the creation of the \emph{Paradissa Fonts +Collection} was described. This collection offers a freely available +set of PostScript Type~1 renderings of all Computer Modern, Euler, CM +Cyrillic and \LaTeX{} fonts. + +\section{Colour, and \LaTeX} +Leslie Lamport started the presentations of the second day. He gave +us his ideas on ``\LaTeX4'', a \textsc{wysiwyg}-like, though +structured text editor, well integrated into the user environment. + +James Hafner gave a short historical overview of how colour was +first implemented in Tom Rokicki's dvips {\tt.dvi} driver to provide an +efficient and simple method for specifying colour with \TeX. +Tom Rokicki then discussed a new implementation of colour +support and proposed a standard way for specifying colour and +colour-like specials, implemented by modular C-code, that can be +easily integrated into the {\tt.dvi} drivers. +Angus Duggan described his program DVISep, +a simple colour separator for {\tt.dvi} files, as well of some other tools +for working with {\tt.dvi} files. +Sebastian Rahtz provided an introduction to the colour commands available +in \LaTeXe{} and showed some interesting examples. +Michel Goossens discussed some of the more basic issues concerning the use +of colour in documents. He emphasized that the colour dimension has to +be used with great care, so as not to distract the reader from the +main message. Colour, like typography, has a set of rules, that have +to be learnt and applied for greater effectiveness. +Friedhelm Sowa presented his original and device-independent approach to +colour support and showed some results obtained using BM2FONT on a Hewlett +Packard inkjet printer. +Michael Sofka gave an overview of the various stages in the +production of a colour book. He addressed the issues involved in +professional colour separation, and demonstrated how \TeX{}, with a +suitable driver, can be used to produce high-quality custom and process +colour books. +Then Sebastian Rahtz returned to the spotlight, +with a presentation of PSTricks, a paper by Denis +Girou and Timothy van Zandt, who could not be present. +Sebastian, in his usual clear style, showed how PSTricks provides a +convenient interface to PostScript from within \TeX. It allows one to +draw any kind of graphics object, like circles, polygons, curves, +springs. It offers several drawing tools, grids and has various +commands to place text along a path. Objects and text can be rotated, +scaled and tilted, and 3-D effects are available. Framing and clipping +are supported, as is a general tree-drawing package. +A package for generating slides, \texttt{seminar}, exists, and an early +version of a plotting package is also ready. + +After the presentations on colour our attention turned to the subject +of general \LaTeX{}-related developments. +First, Jon Stenerson showed us his system for creating +customized \LaTeX{} style files via a graphical user interface, +composed of menus, windows, and dialog boxes. It is at present closely +linked to the Scientific Word text processor, although, in principle, +it could be used with any \LaTeX{} environment. +Johannes Braams provided a clear introduction to +classes and packages and \LaTeXe. +He started by relating +the \LaTeXe{} packages and classes to \LaTeX~2.09 major and minor +styles. Then he discussed how old styles can be most easily upgraded. +In the last part of his talk he gave a +concise overview of the document +classes and packages that come with \LaTeXe. +The last talk of the day was by Alan Jeffrey, who covered the +subject of using PostScript fonts with \LaTeXe. He described the +\LaTeXe{} font packages \texttt{psnfss} and \texttt{mathptm} and some +of the design decisions made in their development. + +Before the dinner ``on the beach'' several BoF sessions took place. +One was on ``colour'', coordinated by David Carlisle, another on +``practical indexing'', coordinated by Nelson Beebe, and one on ``font +encoding'', coordinated by Alan Jeffrey. +Many of the discussions in the BoFs carried over into the beach +dinner time, but, as families were also present, other more +mundane subjects were also addressed. It was one more golden +occasion to get to know each other in a more personal context, +without reference to glue, (coloured) boxes or other \TeX{} speak. + +\section{\TeX\ Tools} +Tuesday morning was devoted to ``Tools'', and started with a +presentation by Oren Patashnik, the author of \BibTeX{}. +He first took a look back and explained why some of the +design decisions of \BibTeX{} were made. Then he discussed some of the +features that he plans to include in the new version, such as an +easier interface to create non-standard bibliographies, support for +national languages and the possibility of multiple bibliographies +in a single document. +The next talk was by Pierre MacKay, who presented his typesetter's +toolkit, which includes tools for remapping fonts and generating +composite glyphs, and a program for generating AFM PostScript metric +files for the Computer Modern fonts. +Michael Barnett described a remarkable application where a combined +use was made of electronic typesetting and symbolic computations. +His work seems to indicate that a considerable amount of time and +effort can be saved when complex formulae are obtained symbolically by a +computer program, like \textsc{Mathematica}. +Minato Kawaguti, of Japan, proposed a new and efficient method to edit +\AllTeX{} source files by combining an emacs-type editor and a special +version of \texttt{xdvi}, where the two windows (emacs and \texttt{xdvi}) are +displayed simultaneously, and pointing to a portion of the document in +the \texttt{xdvi} window positions the text in the editing window in +the same region. + +After coffee Yannis Haralambous showed his work on the Indica system, +and a completely new \TeX{} system for Sinhalese. The Indica system is +a generalized preprocessor for Indic scripts (scripts of languages +used on the Indian subcontinent, plus Sanskrit and Tibetan). Urdu, +where the Arabic script is used, is not supported. Various input +encodings are accepted and with the help of \texttt{flex}, a {\sc + unix}-based lexical analyser generator, are translated into \TeX{} +commands. Identical input encodings can be used for different +languages, thus minimizing user retraining when inputting in different +languages. The Sinhalese \TeX{} system is a complete typesetting +workbench for that language, containing specially designed fonts. +Jean-luc Doumont explained how pretty-printing of Pascal programs can +be done entirely within \TeX{}, without the need of a preprocessor. +He showed how this approach of ``preprocessing within \TeX{}'', using +two-token tail-recursion, can also be applied to other situations, +\eg, for an elementary chemistry mode. + +After lunch we had the afternoon off and most of us spent it in +the nice town of Santa Barbara. +In fact, during the Tuesday afternoon we were supposed to +go and have a look near the Santa Barbara Channel Islands, that provide +a shelter for the area between the islands and the mountains, thus giving +Santa Barbara its unique sub-tropical climate. The plan was to go and +spot a few whales, but the sea was somewhat rough, and the captain +preferred to take us on a 3-hour tour along the coast. Even so quite +a few of our passenger-colleagues felt sick, and it was with some +relief that many of us set foot ashore again around 7 pm, and set off +to go and pick a restaurant to enjoy the local food. + +\section{Futures} +The next day's theme was ``Futures'', and Joachim Schrod thought that +interactivity was the way forward. He emphasized that Knuth already +very early on thought that an interactive \TeX{} would be useful. Many +\TeX{} systems have been built that contain some interactivity. To +better understand the actions of \TeX{} he proposes that a formal +approach should be used since, according to his views, informal +descriptions have failed. As part of a solution he presented, after +developing an abstract decomposition, a formal description for +\TeX{}'s macro language. The latter can be interpreted by a Common +Lisp system and the resulting Executable \TeX{} Language Specification +(ETLS) can be used as the basis for a debugger of \TeX{} macros. +Chris Rowley then reviewed some of the investigations of the \LaTeX3{} +team in the area of modeling and specifying page layouts. One of the +questions that they asked themselves was how well \LaTeX{} can cope +with that job compared to other text processing software systems, and +whether a complete redesign of the system is needed. He also +mentioned the wider question of how these aspects should be addressed +in future typesetting systems. Don Hosek gave an overview of various +page layouts he had tried for his new magazine \textit{Serif}, and +showed how he could massage \TeX{} into doing (almost) everything he +wanted, mainly using code from the infamous Appendix~D of \textit{The + \TeX book}. John Plaice then reported on the present status of the +Omega project, which is a series of extensions to \TeX{} to improve +its multi-lingual abilities. It supports multiple input and output +character sets and allows any input encoding. Transformations from one +coding to the other are supported. Even scripts requiring a very +complex contextual analysis, such as Arabic or Khmer, can be handled +elegantly using 16-bit or 32-bit virtual fonts. + +After a short break Arthur Ogawa showed ways of combining +within \TeX{} the descriptive markup and object-oriented +programming (OOP) paradigms. He discussed an extension to \LaTeX's markup +scheme that more effectively addresses the needs for a production +environment, and for implementing such a system he heavily relied on +the use of OOP techniques, where \LaTeX{} +environments can be thought of as objects, and several environments +can share functionality of a common, more general object. +In his companion talk to Ogawa's, William Baxter went on to describe +the actual implementation of an OOP system in \TeX{}, where formatting +procedures and markup are strictly decoupled, so that, indeed, +designers can fully benefit from the OOP techniques available. + +The afternoon started with the TUG Business meeting, where decisions +taken by the TUG Board of Directors for the coming year were +presented, explained, and discussed. These decisions will be +presented elsewhere. +The Knuth Scholar was also announced: +Shelly Lee Ames of the University Manitoba, +where she works for the Canadian Mathematical +Society (Soci\'et\'e math\'ematique du Canada) preparing +formats and proofing all papers published by the society in their +Journal and Bulletin. +This involves handling submissions in many different flavours of \TeX, +and initiating the development of macros to implement their formatting +requirements. + +After the meeting Yannis Haralambous, in a companion paper to Plaice's +on the Omega project, showed a few applications for fully +diacriticized scholarly Greek, vowelized Arabic, properly kerned +Khmer, and for Adobe's calligraphic Poetica font. Then Phil Taylor +reported progress on the NTS project. This project was started in 1992 +by the German-speaking \TeX{} user's group, DANTE, and has as its main +task the development of a successor to Donald Knuth's now frozen +\TeX{} system. In fact two paths, one evolutionary, with e-\TeX{}, and +one more revolutionary, with NTS (New Typesetting System) are at +present being investigated. As the \TeX{} typesetting system consists +of a rather complex set of tools, the group proposes to define a +``canonical \TeX{} kit'', which is assumed to be present at every +installation. The status of the e-\TeX{} project was reviewed by +Peter Breitenlohner. At present this involves improved control over tracing, +additional math delimiters, improved access to the current interaction +mode, checking for the existence of a control sequence, alternative +ligature/kerning, extensions to the set of valid prefixes for macro +definitions (\eg, \Lcs{protect} and \Lcs{bind}), support for colour. +Finally it was Ji\v{r}\'{\i} Zlatu\v{s}ka who told us about the team's +present thinking on the more ambitious NTS project. He sees +essentially a two-phase approach, namely first a re-implementation in +a rapid-prototype language such as CLOS or Prolog, so that one can +experiment easily with various modular representations of the present +\TeX{} engine. Using this model one will try and identify functionally +independent units, for which various alternate ways of extensions can +then be proposed and tested. Based on the knowledge gained in phase +one, the second phase will then see the step-by-step re-implementation +of the functional units in a more efficient and widely available +programming language, such as C++. Initially only e-\TeX{} will be +implemented in NTS, but later on alternate algorithms can be included +to perform some of the typesetting tasks better. The long-term aim of +NTS is thus to make maximum use of the phase-1 test bed to investigate +and evaluate possible approaches to overcome various of \TeX{}'s +perceived shortcomings. A lively discussion followed these +presentations, and then the participants went off into one of the +three BoF sessions. The first was on WWW servers, coordinated by Peter +Flynn and Norman Walsh, where the latter discussed at some length his +paper describing his WWW interface to the CTAN archive, which provides +an attractive means to combine different views of the archive into a +single view. Marko Grobelnik coordinated a BoF on database +publishing, while Oren Patashnik discussed extensions to \BibTeX{} in +his BoF. At the Banquet, that started at 19:30, all participants had +one last chance together with their families to socialize, and enjoy +the good food, wine (some had original 16 year old cask Caol Ila malt +whisky\ldots), and the music. + +\section{Publishing and design} +It was a little difficult for some of the participants +to get up on time for the last morning. +Yannis Haralambous and Maurice Laugier discussed some of the tools +used at the Louis-Jean Printing house in Gap (France) to typeset +books. The Trad\TeX{}-SGML program was introduced. It is used +to convert \TeX{} and \LaTeX{} files into SGML. The tool is presently +implemented on a Macintosh and is in real-life production. eDVItor is +a program that allows interactive editing of a {\tt.dvi} file, using a +mouse-driven cursor to move blocks of text, insert illustrations, +change colours, etc. It runs on both DOS and Macs. +Michel Downes stated that the American Mathematical Society produces +almost all its publications (a couple of dozen journals and book +series) with \TeX{} using AMS-developed macro packages. About two +years ago a major overhaul of the macros package was decided, one of +the goals being to ease revisions to the visual design. +In this new approach the design specifications are kept outside of the +\TeX{} code in an element specification template that is relatively easy to +understand and modify by traditional book designers. +Alan Hoenig then showed us some examples of +visually pleasing page layouts, which most \TeX{} users only +thought possible with PageMaker or Quark Express. +His secret is to turn off some of the \TeX{} functions, like vertical +glue or tall characters, and all lines are assumed to have the same +height and depth. It is to be said that this +arguably restrictive set of conditions still allows one to typeset +probably at least 99\% of all printed material in the world. +And, indeed, the model is not so limited as it seems, since with some +work one can include section heads, display material, and so on. +Just before the coffee break, Malcolm Clark presented Jonathan Fine's +paper in his absence. He described first some historic aspects of the +\TeX{} typesetting program, leading to a discussion of strategies for +possible future extensions. He strongly believes that with improved +macro packages and {\tt.dvi} processors many of the present problems will +be solved. Also imposing a more rigorous syntax for input +compuscripts should help. This will not only allow the source to be +used with a possible future successor of \TeX{}, but also ensure +re-use with other, not-necessarily typesetting, applications. + +Marko Grobelnik presented a \TeX-based system developed in Slovenia +for publishing dictionaries, lexicons and encyclopedia. The \TeX{} +macros are augmented with many special purpose written editing tools to +assist the editor, who looks after the contents and form of the +publications. The final talk was by Henry Baragar, who showed how +special purpose (``small'') languages can be used for documenting +Knowledge bases so that \LaTeX{} can be augmented by adding +expressiveness for specific tasks. He introduced the language TESLA, +that allows Expert System analysts to mark up groups of rules into +tables so that the logical structure of the database becomes clear. +The system generates \LaTeX{} tables, that can be typeset in tabular +form to be used by expert system programmers or typeset as text, to +be used by Domain experts, thus yielding presentation forms adapted to +the targeted audience. + +The conference was brought to a close by Christina Thiele, but not +before Mimi Burbank, coordinator of next year's TUG meeting, gave us a +short outline of plans for the 1995 meeting, to be held during +the week of July 24--28th 1995 in the Trade Winds Hotel in Florida. +It was also the occasion to honour the winners of the trophies for +the best papers, namely Alan Hoenig, Yannis Haralambous and Tom +Rokicki, who were presented with EPODD CD-ROMs by Nelson Beebe. + +\section{Conclusion} +I think that I can safely suppose that at the end of our five day +conference all participants left the University of California, Santa +Barbara Campus satisfied to have taken part in this unique event. Even +though most of us, Internet addicts, were a little surprised to find +only very limited access to the Internet, this fact might indeed have +been more of a blessing than a shortcoming, since in this way we were +not distracted by having to answer e-mail or otherwise respond to +``urgent requests'' from home. In any case it certainly benefitted +contacts between the participants and hence contributed to the +friendly atmosphere. Another positive factor was the hard work of +John Berlin and Janet Sullivan of the TUG office, who did their best +almost 24 hours per day to help solve problems, or better, trying to +prevent them before they occurred. Their kindness and helpfulness were +truly appreciated by all those present. Thanks once again to John, +editor of the \emph{The~TUGly~Telegraph} (and his partner in crime, +Malcolm Clark), which kept us informed of the latest conference news, +and to Katherine Butterfield, Suki Bhurji, and Wendy McKay for helping +with staffing the on-campus TUG office. +\end{Article} +\endinput +%%% +%%% ommitted from Baskerville to save space +%%% + (the town itself has a population of +86,000, while the county counts about 360,000 inhabitants). The town lies +about 150 km north of Los Angeles, and 530 km south of San Francisco. +The climate is sunny and temperately warm (average temperature is +about 12 centigrades in December, and 20 in July). The architecture of +the town offers a unique blend of Chumash, Spanish, Mexican and +American heritage. State Street, Santa Barbara's main +and most famous street, whose lower lying part was rebuilt after the +1925 earthquake as a beautiful Spanish-style avenue, lined with trees, +plants, benches, and lamps is the town's favorite shopping area. +At the end of State Street Stearn's Wharf, built in 1872, and the oldest +operating wharf on the west coast, offers a lot of restaurants, gift +and souvenir shops, wine tasting, a seafood market and other small +shops. From the wharf one has a marvelous view of the mountains, the +ocean and the yacht harbor. + +Santa Barbara also has an interesting history, and many of its +buildings and museums will give the visitor an overview of what happened +since 1542, when the first European, Juan Cabrillo, set foot in the +area. +But it was not until 1782 that the Spaniards came to stay, and also +around that time they established a military presidio and the now +famous Mission, established in 1786. Its beautiful setting, unique +twin bell towers and lovely facade have earned it the title ``Queen of +the Missions''. +Santa Barbara, heart of the American Riviera, also offers white-sand +beaches, whale watching, mountain biking, sailing, and many good +restaurants. \ No newline at end of file diff --git a/usergrps/uktug/baskervi/4_4/homer.mf b/usergrps/uktug/baskervi/4_4/homer.mf new file mode 100644 index 0000000000..31557a6a79 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/homer.mf @@ -0,0 +1,130 @@ +% homer.mf by Raymond Chen (rjc@math.princeton.edu) + +% Homer Simpson. + +pictureof(Homer, 24u#, 24u#, 0); + pickup thinpen; + + localpath eye_left, eye_right; + eye_right = superellipse( (14.2u, 14.5u), (12.2u, 16.3u), + (10u, 14u), (12u, 12u), .7); + draw eye_right; + + localpath nose; % extends down and around to chin + nose = preclip((12u, 13u).. + (16u, 13.2u).. + (17.7u, 12.5u){down} .. + (16u, 11.5u).. + (10u, 7u){down}.. + (12.5u, 4u){right}..tension 1 and 6.. + (14.7u, 6.5u).. + (15.7u, 6.8u).. + {up}(15.7u, 8u), eye_right); + localpath dimple; + z1d = (11.3u, 8.1u); + z2d = (10.9u, 6.8u); + dimple = z1d{(z2d-z1d) rotated dimple_depth}.. + {(z2d-z1d) rotated -dimple_depth}z2d; + draw dimple; + + localpath mouth; + mouth = prepostclip( + (16u, 12u).. tension infinity and 3.. + (17.7u, 8u){down} .. tension 2 and 1 .. + (15.7u, 7.2u){left}.. + (12.2u, 7.7u){left}.. + (0u, 7u), nose, dimple); + draw mouth; + + nose := postclip(nose, mouth); + draw nose; + + eye_left = prepostclip( + (15u, 12.6u){right}.. + (17.2u, 14.5u){up}.. + (15.5u, 16.4u){left}.. + {down}(13.1u, 14.2u), nose, eye_right); + draw eye_left; + + localpath scalp; + scalp = preclip( + (16u, 15.3u) .. tension 1.5 .. + (12u, 20u) .. + (9.5u, 20.8u){left}.. tension 1 .. + (4u, 16.4u){down} .. tension 1 .. + (7.4u, 7u) .. + (5.4u, 0u), eye_left); + + % scalp and collar interact + localpath collar; + collar = (11.4u, 2.3u) .. tension infinity and 1 .. + (7u, 4.2u) .. (6.7u, 4.7u) .. + (9u, 6u) .. tension 1 and infinity .. (15.2u, 2.5u); + z0c = point 0 of collar; + draw postclip(scalp, collar); + draw postclip(collar, scalp); + + % the rest of the collar is also tricky + numeric t; + t = directiontime dir (90-starch) of collar; + z1c = point t of collar; + x2c = 5u; z1c - z2c = whatever * dir (90-starch); + draw z1c -- z2c & reverse subpath (0,t) of collar shifted (z2c-z1c) -- z0c; + y.bottom = ypart (z0c + (z2c-z1c)); + numeric t; + + % while I'm here, I may as well finish the right collar + draw postclip (z0c .. (z0c + 100u * dir -machismo), + (0u,y.bottom)..(100u,y.bottom)); + + localpath ear; + ear = (7.5u, 11.5u) .. % (6.8u, 11.6u) .. + (6u, 11.3u) .. + (5.7u, 10u) .. (6.6u, 8.5u) .. (7.5u, 9u); + erase fill ear .. cycle; + draw ear; + + drawtau( (6.2u, 10.5u), (7.4u, 11u), (6.8u, 9.3u), (6.8u, 11.1u) ); + + % tufts on top + draw postclip ( + (5.2u, 17.7u){dir 100} ... (6u, 22u) ... {dir -60}(9.3u, 19.5u), scalp); + localpath tuft; + tuft = (6.2u, 18.7u){dir 100} ... (8u, 22.3u) ... {dir -70}(10.8u, 19.5u); + draw subpath (0,1) of tuft & + postclip(subpath (1,2) of tuft, scalp); + numeric tuft; + + % the tuft by the ear + draw (4.5u, 11.5u) --- (4.6u, 14u) --- (6.1u, 12.2u) + --- (6.4u, 14.4u) --- (7.7u, 12.5u); + + % The interaction between the left collar and the front of the neck + % is also messy. + + % shift part of left collar + localpath lcollar; + z2cr = point infinity of collar; + y1cr = y.bottom; z2cr - z1cr = whatever * dir machismo; + lcollar = z2cr .. z1cr; + draw lcollar; + + % now the front of the neck + localpath neck; + neck = prepostclip( + (13u, 7u){down} .. (14.7u, 0u), nose, lcollar); + draw neck; + + % now the top of the left collar + draw preclip(collar, neck); + + % and the other side of the left collar. + z2cr - z3cr = 1.5u * dir machismo; + z4cr - z3cr = whatever * dir (270+starch+30); + z4cr - z2cr = whatever * dir (270+starch); + draw z2cr -- z4cr -- z3cr; + labels(1cr, 2cr, 3cr, 4cr); + + eyepos(Homer, 11.5u#, 14u#, 15.2u#, 14.5u#); + +endpicture; diff --git a/usergrps/uktug/baskervi/4_4/lisa.mf b/usergrps/uktug/baskervi/4_4/lisa.mf new file mode 100644 index 0000000000..5586d4cdb9 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/lisa.mf @@ -0,0 +1,108 @@ +% lisa.mf by Raymond Chen (rjc@math.princeton.edu) + +% Lisa Simpson. + +% Dependencies: +% +% eye_right dimple tau +% | | | +% nose | vertical part of tau +% | \ | +% | mouth +% ear eye_left | +% | \ / | chin +% neck hair lashes / +% \ / +% \ / +% pearls +% +% The ordering is so that we draw the pearls as early as possible. + +pictureof(Lisa, 24u#, 24u#, 0); + pickup thinpen; + + localpath eye_left, eye_right; + eye_right = superellipse( (16u, 10.1u), (14u, 12u), (11.5u, 10u), + (13.75u, 8u), .7); + draw eye_right; + + localpath nose; + nose = preclip((14u, 10u).. (16.5u, 8.7u){right} ... + (19.3u, 7.5u){down} ... (17u, 6.5u){left}, eye_right); + draw nose; + + localpath dimple; dimple = dimplepath( (11.8u, 6u), (10.9u, 5.5u)); + draw dimple; + + localpath mouth; + mouth = prepostclip( + (18.3u, 6.8u).. tension infinity and 3.. + (20u, 5.6u){down} .. tension 5 and 1 .. + (16u, 4.7u){left} .. + (11.5u, 5.8u), nose, dimple); + draw mouth; + + localpath ear; + ear = (8.5u, 7.9u) .. (7u, 6.5u) ..(8.3u, 5.5u); + draw ear; + + localpath chin; + z1c = (15.7u, 5.5u); + z2c = (15.5u, 4.1u); + z3c = (15u, 3.6u); + z4c = (13.5u, 0u); + chin = preclip(z1c{down}..z2c..z3c..{z4c-z3c}z4c, mouth); + draw chin; + + localpath neck; + neck = preclip((8u, 5.8u){dir -60}..{-dir 60}(8u,3.2u)..(6.75u,u), ear); + draw neck; + + % For efficiency, we draw the pearls as soon as it becomes possible. + if pearl > 0: + pickup lacepen; + overdraw fullcircle scaled .9pearl shifted (7.5u, 2.7u); % far left + overdraw fullcircle scaled .95pearl shifted (13.7u, 1.4u); % far right + overdraw fullcircle scaled .95pearl shifted (8.8u, 2.3u); % left of center + overdraw fullcircle scaled pearl shifted (12u, 1.5u); % right of center + overdraw fullcircle scaled pearl shifted (10.3u, 1.7u); % center + pickup thinpen; + fi + + drawtau( (7.5u, 6.8u), (8.5u, 7.2u), (8.1u, 6u), (8.1u, 7.3u) ); + + eye_left = prepostclip( + (17.2u, 8.2u){right}.. + (19.25u, 10.5u){up}.. + (17u, 12.2u){left}.. + {down}(15.3u, 10.5u), nose, eye_right); + draw eye_left; + + localpath hair; + hair = prepostclip((18u, 11.3u) :: (21u, 13u) :: + %(18.5u, 16u) :: + (18.7u, 15.5u) :: + %(19.25u, 19.25u) :: + (19.5u, 19u) :: + (16u, 18u) :: (14u, 21u) :: (11.6u, 18.7u) :: + (8u, 20u) ..tension 3.. (7u, 17.5u) ..tension 3.. (3u, 16u) :: + (4.75u, 13.75u) :: (2.5u, 11.5u) :: (4.5u, 9.5u) :: (3.3u, 7u) :: + (6u, 6.7u) :: (6.5u, 4.25u) :: (8u, 5.8u), eye_left, ear); + draw hair; + + pickup lashpen; + localpath lash; + + rlash((12u, 10.5u), (11u, 11.7u), 3); + rlash((12.75u, 11.25u), (12.2u, 12.8u), 3); + rlash((14u, 12u), (14.2u, 13.5u), -3); + rlash((15u, 11.7u), (15.5u, 12.9u), -3); + + llash((17.0u, 12.0u), (17.6u, 13.1u), -3); + llash((18.2u, 11.8u), (18.9u, 13.1u), -2); + llash((18.9u, 11.4u), (19.8u, 12.1u), -2); + llash((19.0u, 10.4u), (20.3u, 11.1u), -2); + + eyepos(Lisa, 12.5u#, 9.75u#, 16.8u#, 9.75u#); + +endpicture; diff --git a/usergrps/uktug/baskervi/4_4/maggie.mf b/usergrps/uktug/baskervi/4_4/maggie.mf new file mode 100644 index 0000000000..700ce386a1 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/maggie.mf @@ -0,0 +1,136 @@ +% maggie.mf by Raymond Chen (rjc@math.princeton.edu) + +% Maggie Simpson. + +pictureof(Maggie, 20u#, 20u#, 0); + pickup thinpen; + + localpath eye_right; + z.eye_right = (8u, 8u); % base for right eye + + eye_right = (superellipse( (3.6u, 0u), (1.5u, 2u), + (-.8u, 0u), (1.5u, -2u), .7) ) shifted z.eye_right; + draw eye_right; + + localpath nose; + z.nose = (12u, 4u); % base for nose + z1n = (.8u, .9u); % where nose meets pacifier + z1n.dir = -dir10; % direction through z1n + z2n = (xpart z1n, -2.7u); % bottom turn of pacifier + labelsoffset(z.nose, 1n, 2n, 3n); % Label the points + nose = preclip( ( + (-u, 3u) --- (1u, 3u) .. % bridge of nose + (2u, 2u) .. % tip + z1n{z1n.dir} .. % through here + (0u, .8u) .. % return + (-1.7u, -1.4u) .. % back of pacifier + (0u, -3u) .. % bottom of pacifier + z2n .. % turn + tension 2 .. + {z1n.dir}z1n % end of front of pacifier + )shifted z.nose, eye_right); + draw nose; + + % The handle of the pacifier + numeric t; t = 1.2u; % handle thickness + + penpos1p(t, 0); % hump of the bowl + penpos2p(t, 90); % upper handle + penpos3p(t,-90); % lower handle + z1p = z.nose + (1.3u, -1u); + x2p = + x3p = xpart z.nose + .2u; + y1p = 1/2[y2p, y3p]; + y2p - y1p = .8u; + + penlabels(1p, 2p, 3p); + + overdraw z1p.l{up} .. z2p.l{left} .. z2p.r{right} .. + z1p.r{down} .. z3p.r{left} .. z3p.l{right} .. cycle; + + localpath eye_left; + z.eye_left = (12u, 8u); + + eye_left = prepostclip( ( + (1u, -1.3u){right}.. + (2.7u, .5u){up}.. + (1u, 2u){left}.. + {down}(-.8u, .5u) ) shifted z.eye_left, nose, eye_right); + draw eye_left; + + localpath hair; + hair = preclip( + (14u, 7.5u) :: + (16.2u, 8.8u) :: + (15u, 9.1u) :: + (17u, 11u) :: + (14.7u, 11.8u) :: + (15.4u, 14.4u) :: + (13u, 14u) :: + (10.7u, 16.4u) :: + (8.7u, 13.9u) :: + (5.3u, 15.5u) :: + (4u, 12u) :: + (1.4u, 11u) :: + (2.8u, 8u) :: + (1.1u, 6u) :: + (4.2u, 4.5u) :: + (3u, 2.5u) :: + (6u, 2.6u) .. (6u, 1.5u) .. (8u, .7u){right} .. + (10.3u, 1u), eye_left); + z1h = point infinity of hair; + draw hair; + + % Maggie's adorable bow + numeric t; t = .7u; % size of knot + def ::: = ..tension 2 .. enddef; % for bow drawing + z.bow = (11u, 13u); + z1b = (-t, t); % 7\ /5 + z2b = ( t, t); % | \ / | + z3b = ( t, -t); % | 1--2 | + z4b = (-t, -t); % | | | | + z5b = (3t, 2.5t); % | 4--3 | + z6b = (3t, -2t); % | / \ | + z7b = (-3.5t, 3t); % 8/ \6 + z8b = (-3.2t, -2.5t); + + overdraw (z2b ::: z5b ::: z6b ::: z3b -- cycle) shifted z.bow; % right bow + overdraw (z1b ::: z7b ::: z8b ::: z4b -- cycle) shifted z.bow; % left bow + overdraw (z1b ::: z2b ::: z3b ::: z4b ::: cycle) shifted z.bow; % the knot + + labelsoffset(z.bow, 1b, 2b, 3b, 4b, 5b, 6b, 7b, 8b); + + % Maggie's ear + z.ear = (5u, 5u); + draw ( (1.5u, 1u) .. (-.2u, -.4u) .. (1.5u, -1.4u) ) shifted z.ear; + + drawtau( z.ear + (.3u, -.5u), + z.ear + (1.3u, .5u), + z.ear + (1u, -1.1u), + z.ear + (1u, .5u) ); + + % Maggie's chin (and mouth, sucking on the pacifier) + draw postclip( + ( (-.4u, .2u) .. (0,0) .. (2u, 1u) ) shifted z1h, nose); + + % The front of the Maggie baggie + draw bend(20, z1h, (.3u + xpart z1h, 0)); + + % The back of the Maggie baggie + draw postclip( + (4.2u, 0u){dir 60} .. {dir 45}(5.5u, 2.5u), hair); + + pickup lashpen; + localpath lash; + + rlash( (0 u, .8u), (-.6u, 1.8u), 0); + rlash( (1 u, 1.6u), ( .8u, 2.4u), 0); + rlash( (2.5u, 1.5u), (2.7u, 2.2u), 0); + + llash( ( .5u, 1.9u), ( .4u, 2.3u), 0); + llash( (1.8u, 1.9u), (1.9u, 2.3u), 0); + llash( (2.5u, 1.5u), (2.7u, 1.8u), 0); + + eyepos(Maggie, 9.2u#, 8.1u#, 12.7u#, 8.1u#); + +endpicture; diff --git a/usergrps/uktug/baskervi/4_4/makefile b/usergrps/uktug/baskervi/4_4/makefile new file mode 100644 index 0000000000..f9f36df6a0 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/makefile @@ -0,0 +1,13 @@ +# Makefile for 300 lines per inch utility fonts. + +SIZ = 300gf + +FACE = simpsons + +default: $(FACE) + +all: $(FACE) + +$(FACE): $$@.mf Makefile + make -f ../Makefile SIZES="$(SIZ)" FONT="$@" $@.tfm' + diff --git a/usergrps/uktug/baskervi/4_4/marge.mf b/usergrps/uktug/baskervi/4_4/marge.mf new file mode 100644 index 0000000000..35f8897997 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/marge.mf @@ -0,0 +1,136 @@ +% marge.mf by Raymond Chen (rjc@math.princeton.edu) + +% Marge Simpson. + +pictureof(Marge, 22u#, 40u#, 0); + pickup thinpen; + + localpath eye_left, eye_right; + eye_right = superellipse( (15.5u, 11.5u), (13.5u, 13.5u), (11.2u, 11.3u), + (13.5u, 9.5u), .7); + draw eye_right; + localpath nose; + nose = preclip((15u, 10.5u).. + (16.3u,10.1u) .. + (18 u,10 u){right} .. + (18.8u, 9.5u){down} ... + {-dir 30}(17 u, 8 u), eye_right); + draw nose; + + localpath dimple; + z1d = (12.5u, 7.4u); + z2d = (11.8u, 6.8u); + dimple = z1d{(z2d-z1d) rotated dimple_depth}.. + {(z2d-z1d) rotated -dimple_depth}z2d; + draw dimple; + labels(1d, 2d); + + localpath mouth; + mouth = prepostclip( + (17u, 8.8u).. tension infinity and 3.. + (19.6u, 7.5u) .. + (17u, 6.5u){left} .. + (14u, 7u) .. + (12u, 7.1u), nose, dimple); + draw mouth; + + eye_left = prepostclip( + (17u, 9.7u){right}.. + (19u, 12u){up}.. + (17u, 13.6u){left}.. + {down}(14.7u, 11u), nose, eye_right); + draw eye_left; + + localpath ear; + ear = (9.5u, 9.6u) .. (8.1u, 8.3u) ..(10u, 6.9u); + draw ear; + + drawtau( (8.7u, 8.5u), (9.7u, 8.9u), (9.3u, 7.7u), (9.3u, 9.0u) ); + + % chin + draw preclip( + (16.3u, 6.5u){down} .. + (16u, 6u){-dir30} .. + (15u, 4u){down} .. + (16.5u, 0u), + mouth); + + % back of neck + localpath neck; + neck = preclip( + (9u, 7u){down} .. %tension .9 and 3 .. + {-(1,1.5)}(7.2u, 0u), ear); + draw neck; + + if pearl > 0: + pickup lacepen; + overdraw fullcircle scaled .9pearl shifted (8.7u, 3u); % far left + overdraw fullcircle scaled .95pearl shifted (15u, 2u); % far right + overdraw fullcircle scaled .95pearl shifted (10.1u, 2.2u); % left of center + overdraw fullcircle scaled pearl shifted (13.3u, 1.9u); % right of center + overdraw fullcircle scaled pearl shifted (11.6u, 1.8u); % center + pickup thinpen; + fi + + % Marge's beehive 'do + draw preclip( puffhair( + (18.3u, 12.6u), % 1 + (18.6u, 16.5u), % 2 + (18.6u, 19 u), % 3 + (17.8u, 22.8u), % 4 + (17 u, 26 u), % 5 + (16 u, 29 u), % 6 + (14.8u, 32.7u), % 7 + (13 u, 35 u)),% 8 + eye_left); + + curlers := curlers + 10; % more curliness on top + + draw puffhair( + (13 u, 35 u), % 1 + (10 u, 37 u), % 2 + ( 6 u, 37 u), % 3 + ( 4 u, 35 u), % 4 + ( 2.6u, 32 u), % 5 + ( 3.3u, 28 u));% 6 + + curlers := curlers - 10; % back to normal curliness + draw postclip( puffhair( + ( 3.3u, 28 u), % 1 + ( 5.2u, 25.2u), % 2 + ( 6.3u, 22.6u), % 3 + ( 6.5u, 18.5u), % 4 + ( 6.1u, 14.4u), % 5 + ( 6.4u, 11.1u), % 6 + ( 7.3u, 8.7u), % 7 + ( 9.3u, 6 u)),% 8 + neck); + + % And the hairline above her eyes + draw postclip( puffhair( + ( 9.5u, 9.6u), % 1 + ( 9.5u, 12.2u), % 2 + (10 u, 14.3u), % 3 + (11.7u, 15 u), % 4 + (13.8u, 15 u), % 5 + (16.5u, 15.2u), % 6 + (17.9u, 14.1u), % 7 + (18.3u, 12.6u)),% 8 + eye_left); + + % And finally, the eyelashes + pickup lashpen; + localpath lash; + + rlash((12.0u, 12.5u), (11.8u, 14.0u), 3); + rlash((13.0u, 13.2u), (13.0u, 14.4u), 2); + rlash((14.1u, 13.2u), (14.2u, 14.4u),-2); + rlash((14.9u, 12.8u), (15.5u, 14.2u),-3); + + llash((16.5u, 13.4u), (16.6u, 14.3u),-1); + llash((17.3u, 13.4u), (17.6u, 14.4u),-2); + llash((18.0u, 13.0u), (18.5u, 14.4u),-3); + llash((18.7u, 13.0u), (19.6u, 13.9u),-3); + + eyepos(Marge, 12.5u#, 11.4u#, 16.5u#, 11.7u#); +endpicture; diff --git a/usergrps/uktug/baskervi/4_4/ntuf.tex b/usergrps/uktug/baskervi/4_4/ntuf.tex new file mode 100644 index 0000000000..8cb141afbf --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/ntuf.tex @@ -0,0 +1,69 @@ +\title{The National Typesetter Users' Forum (NTUF)} +\author[Philip Taylor]{Philip +Taylor\\Chairman, National Typesetter Users' +Forum\\\texttt{P.Taylor@Vax.Rhbnc.Ac.Uk}} +\begin{Article} + +\noindent +Although the majority of \TeX\ users are content to produce their final copy +using a laser printer or similar, those who are preparing so-called `camera +ready copy' for use by professional publishing houses, printers, etc., need to +be able to produce their final copy to a somewhat higher standard. A typical +laser printer operates at 300 dpi, which will produce acceptable results only +if (a) the typeface is not too small, and (b) the typeface does not exploit +exceptionally thin lines (Computer Modern at 300 dpi is noticeably poor in this +respect). A better quality laser printer operates at 600 dpi, and at this +resolution both small fonts (say down to 5 pt) and thin lines (as in Computer +Modern) can be resolved reasonably well, although an unfortunate combination of +both a small font and thin lines will still usually lead to break-up. + +Phototypesetters start where laser printers leave off; the lowest +resolution of a typesetter is of the order of 635 dpi, and resolutions +of 1270 and even 2540 dpi are by no means uncommon. At 1270 dpi, +fonts as small as 3 pt, and extremely fine lines, can both be resolved +reasonably well, and for normal textual work there is usually no need +to consider higher resolutions. However, if gently sloping lines +(usually from a graphic or from a custom glyph) are to be resolved +without the eye detecting a disturbing step function in their +rendering, then the highest possible resolutions, of 2540 dpi or more, +are required. + +The National Typesetter Users' Forum provides an opportunity for both +existing and potential users of a phototypesetter to meet to discuss +problems of common interest. The meetings take place both physically +(the group meets once per term) and electronically (there is an e-mail +list, \texttt{Typesetting@Vax.Rhbnc.Ac.Uk}); at the physical meetings +there are regular reports both from service providers (\eg the +Phototypesetter support group at the University of London Computer +Centre) and from what would elsewhere be termed `special interest' +groups (\eg \TeX, PostScript, Apple Macintosh, IBM PC, etc.) The +most recent meeting was also addressed by a guest speaker (on this +occasion, Ian Chivers speaking on Adobe Acrobat), and it is hoped to +arrange further speakers for forthcoming meetings. + +All members of the UK \TeX\ community, whether or not they are already +users of a phototypesetter, are welcome to join the group; those with +access to e-mail may send their electronic subscriptions to +\texttt{Listserv@Vax.Rhbnc.Ac.Uk}, in the normal Listserv form +(Subscribe typesetting \emph{given name SURNAME}), whilst those +restricted to more traditional means of communication should send a +note or fax to Ian Chivers, NTUF Secretary, The Computer Centre, +Kings College, University of London (E-mail: +\texttt{I.Chivers@Kcl.Ac.Uk}; telephone: 0171-333 4339; fax: 0171 937 +7783). + +The next (physical) meeting is scheduled for 14:15 on Tuesday 18th +October at the University of London Computer Centre; anyone wishing to +take part in a pre-meeting \emph{dim sum} lunch is invited to contact +me personally for further information. I hope to see many of you +there. + +% Philip Taylor, +% Chairman, National Typesetter Users' Forum. +% E-mail: +% Telephone: 01784 443172 +% Facsimile: 01784 434348 +\end{Article} + + + diff --git a/usergrps/uktug/baskervi/4_4/review.tex b/usergrps/uktug/baskervi/4_4/review.tex new file mode 100644 index 0000000000..1c5f7d4dff --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/review.tex @@ -0,0 +1,189 @@ +\newcommand{\NW}{Norm} + +\title{Book Review --- `Making \TeX\ Work'} +\author[Malcolm Clark]{Malcolm Clark\\ +\texttt{m.clark@warwick.ac.uk}} +\begin{Article} + +\begin{verbatim} +@book{Walsh94, + title="Making TeX Work", + author="Norman Walsh", + publisher="O'Reilly & + Associates, Inc.", + address="Sebastopol, CA", + ISBN="1-56592-051-1", + pages=483} +\end{verbatim} + +This is truly a niche market book. Until I read it, I didn't realise +there was a need for it. Basically it tries to describe the many tools +and tool fragments which exist for use with \TeX\ (and \MF). In +general terms we are talking of tools available through the Internet, +and most probably those available at your nearest convenient \CTAN\ +host. It is therefore encyclopedic rather than especially +profound. You are unlikely to gain any new insights into the working +of \TeX\ and its friends, but you will probably meet lots of new +friends, whose existence you never even imagined (I excuse a couple of +people from this: almost inevitably our esteemed editor will be aware +of everything mentioned here, and probably has a list of other tools +which should have been included). Given the nature of the Internet +world, and \TeX, this can be no more than a snapshot which is probably +already out of date: for example, the IP address for +\texttt{ftp.tex.ac.uk} has changed.\footnote{For the curious, it is now +128.232.1.87 --- Editor} + +The book was first published in April 1994, and by July had been +reprinted with `minor corrections'. The reprinted edition was one of +the goodies at this year's TUG conference in Santa Barbara, Thank you +O'Reilly \& Associates, Inc. + +\NW{} describes \CTAN\ as `a fully-mirrored anonymous FTP hierarchy on +three continents' -- but the three continents are North America, +Europe and, er, Europe. He makes the common mistake of equivalencing +UK with England. World Wide Web makes an appearance indirectly, rather +than as a \CTAN\ supported service (so much easier to use); to be fair +he does mention the WWW interface available through O'Reilly's server, +\begin{verbatim} +http://jasper.ora.com/CTAN/ctan.html +\end{verbatim} +If you try this \textsc{url}\footnote{If you are +confused by all this stuff, help may be at hand. We hope +that a future edition of \BV\ will discuss the +\TeX\ resources available through World Wide Web, and give +some clear pointers, as well as filling in some of the +background.}, you will find it would have been better +to go straight to +\begin{verbatim} +http://jasper.ora.com/ctan.html +\end{verbatim} +You may be concluding by now that we are strongly oriented towards electronic +networks. This is true, although \NW{} does list some ways of obtaining +distributions through more traditional means. But imagine you wanted to get +hold of em\TeX\ or Oz\TeX: \NW{} merely refers you to \CTAN\ for em\TeX\ +and omits any contact at all for Oz\TeX. This despite the trailer at the +end of every UKTeX Digest + list with details of how to obtain this software on disc. +Similarly he seems to have missed the (admittedly fairly recent) +\textsc{cd-rom} offerings from both the Dutch-speaking users group and from +PrimeTime Software which contain gobs of material useful to those with and +without electronic connection -- let's not forget that those of us on +SuperJanet are still a minority. Many \TeX\ users still access a network (if +they access one at all) over a telephone line, and the thought of downloading +all these files, even if you can locate them, is daunting. + +We are also fairly Unix oriented. This is hardly surprising, given +that this is an O'Reilly book, and they have made their name by +producing books, which if not 100\% Unix in flavour, are at least very +oriented towards Unix and GNU / Free Software Foundation. Thus +there is a sort of assumption that you can probably write +\emph{Perl}, and fairly readily modify the \emph{Perl} scripts +which \NW{} includes. He uses \emph{Perl} because it is a scripting +language available on all the platforms he discusses -- Unix, MSDOS +(and Windows), OS/2 and the Macintosh. Sadly he doesn't tell me how to +get hold of \emph{Perl}. It is this Unix bias which leads him to +assert that `Unix is probably the most common \TeX\ platform' and to +go on to note that the emphasis of the book is Unix workstations +running X11 producing output for PostScript and HP LaserJet printers. + +\NW{} suggests that his description of \TeX\ is really for the systems +administrator who wants to know a bit more about this behemoth which +he has been persuaded to let occupy her or his system. The computer +naive, or just those wanting to get on with some documents are given +scant regard. Although he does include some discussion of Ms-dos and +of OS/2, this is really because many tools have been ported to these +platforms from Unix. The inclusion of the Macintosh is intriguing, but +other than ghettoising it by giving it its own exclusive chapter out +of the sixteen, it makes little appearance, and the repeated themes of +command lines and restricted file names does demonstrate that it was +something of an afterthought. The really useful fact of Mac filenames +-- that they should not contain a blank space if you hope to use +\LaTeX, is omitted. + +In general, there also seems to be a bias towards \TeX, rather than +the more accessible extensions like \LaTeX, although again \NW{} does +mention \LaTeX, Lollipop (a little surprisingly) and Texinfo +(unsurprisingly, although again demonstrating the Unix bias). + +I have some misgivings when I start with \NW{}'s description `What is +\TeX'. The first aesthetic principle which he ascribes to \TeX\ is: +`The right margin is justified' (page~3). Besides being a rather +contested aesthetic principle, \TeX\ of course allows you to set +ragged right, or ragged left (or even both). He also claims `ladders +are avoided'. None of my books on typography mention ladders: I assume +them to be equivalent to rivers, and while this is certainly a claim +by Knuth \& Plass, \emph{and} I have yet to see rivers created by +\TeX, I'm still not convinced of its universal truth. + +I'm made uncomfortable by the first table (page~9), where among the +special characters for plain \TeX, \NW{} suggests using \verb+<+ for +!` (the usual recommendation is to access it by \verb+!`+), and +\verb+>+ for ?` (usually \verb+?`+). This smacks of the shortcut `it +works!' approach which always makes me nervous. He also notes the use +of \verb+|+ to obtain an em-dash! I begin to despair. This way lies +madness. And why would you want a `lone' tilde character or an +underscore in your document? Yes I know they are widely used in Unix +for paths in directory and file names, but that's hardly mainstream +\TeX\ usage. I would be wary of defining a command \verb+\big+ in +plain \TeX\ (as on page 100), since it could easily confuse maths +typesetting (try \verb+\big\lbrace+ after you have redefined +\verb+\big+). And it must be incorrect to maintain (page 21) that if a +document contains `no forward references then it can be formatted in +one pass'. If it contains no references at all, yes, this is true, but +if there are any references (i.e.~\verb+\label+ commands) the +\texttt{aux} file has to be written out fully and read again on the +next run to resolve the reference(s). In reality this is hardly a +problem. I've never yet been able to write a document in one `pass'. +There is always some other reason for having to run \LaTeX\ again. +Where it does matter is with a document you either receive, or one you +pick up from a server. You have to know to run it \emph{at least} +twice, and perhaps more times. Basically, keep running it until +\LaTeX\ stops carping. + +To me a section entitled, `\TeX\ for beginners' contains a bizarre, +almost oxymoronic, concept. I no longer believe that you should be +taught \TeX, until you have mastered \LaTeX. If you need to go further +than \LaTeX, then it is worthwhile finding out how \TeX\ works. Most +of us don't really need to know first about macros and registers, far +less `token lists' (unless of course we already have a few computer +languages to our credit). There also seems to be some confusion in +describing what \TeX\ is. \NW{} writes ``\TeX\ allows you to separate +markup and layout. Logical divisions in the text (chapters, sections, +itemized lists, etc.) are identified by control sequences''. Yes this +is true, but it is closer to a description of \LaTeX. On page~14 we +have a supposed comparison of \TeX\ and \emph{troff} commands, +except the \TeX\ is \LaTeX. In passing, why \emph{troff}? Surely +no-one would select \emph{troff} over \LaTeX\ given a free choice. +Ten or fifteen years ago, and tied to Unix, maybe there was a contest, +but today? Similarly the \TeX\ macros on page 43 are for \LaTeX\ (to +be fair, he does say that they are from the \CTAN\ directory +\texttt{macros/latex/contrib/misc} so I should have been able to work +that one out by myself. If \NW{}'s contention was that to talk of +\TeX\ was to imply \LaTeX, I wouldn't mind, but there is just too much +jumble here, and even I'm getting confused. Am I just quibbling? I +don't think so. The seeds of confusion are being sown. + +Having said all this, I think the book is very useful, and it contains +answers to many questions. Just ignore the bits about \TeX\ and +concentrate on the tools. It almost answered my query about PFM files +and how to convert them to \texttt{tfm}s. Simply by recording where +many things are in the \CTAN\ archives is a great boon. I can happily +spend all day searching through \CTAN, but my chances of coming across +something useful are slim. Now I have a better idea of what is there +and my searching is more directed. In some areas \NW\ does go into +reasonable detail -- for example the installation of em\TeX, or +describing how to use new PostScript fonts in \TeX. He also usefully +spends a little time and effort describing how to get pictures into +\TeX, describing the problems and pitfalls, as well as actually doing +it. It is a useful addition to my library of \TeX\ books, if only +because it more easily enables me to answer those `is there a public +domain driver for \textit{xxx}?' questions. I'm not sure I enjoy the +format very much. Paragraphs without indentation and a paragraph +separation of about one line height make me shudder a bit, but many +manuals have this sort of form, and maybe that's what \NW\ wanted. I +don't think it shows \TeX\ off to advantage, although he did make a +real effort by eschewing Computer Modern and using Garamond instead. + +\end{Article} + + diff --git a/usergrps/uktug/baskervi/4_4/siep.tex b/usergrps/uktug/baskervi/4_4/siep.tex new file mode 100644 index 0000000000..e129727c2f --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/siep.tex @@ -0,0 +1,429 @@ +\newcommand{\px}[1]{{\parbox[t]{1.1in}{\raggedright #1}}} +\newcommand{\py}[1]{{\parbox[t]{1.7in}{\raggedright #1}}} +\newcommand{\dbr}{\discretionary{}{}{}} +\newcommand{\mydefaults}{% + \renewcommand{\baselinestretch}{1.1}% + \sf + \scriptsize} + + +\title{Table design} +\author[Siep Kroonenberg]{Siep Kroonenberg\\ +\texttt{N.S.Kroonenberg@eco.rug.nl}} +\begin{Article} + +\begin{figure*} + +{\sf\bf Example: before and after} + +\vspace{9pt} + +\footnotesize +\noindent +\begin{minipage}[t]{3.2in} +{\bf Economic forecasts for 1992} + +\begin{tabular}{|l|r@{}l|r@{}l|} +\hline + & \multicolumn{4}{c|}{forecast}\\ +\cline{2-5} +variable & \multicolumn{2}{c|}{Grecon} & + \multicolumn{2}{c|}{CPB} \\ + & & & + \multicolumn{2}{c|}{(MEV '92)}\\ +\hline + &\multicolumn{4}{l|}{\% mutations}\\ + &\multicolumn{4}{l|}{w.r.t. 1991}\\ +\cline{2-5} +real consumption ($c$) & 1&.1 &1&.25\\ +price index consumption ($p_c$) & 2&.6 &3&.25\\ +real investments ($i_m$) &1&.4 &-2&.5\\ +export price index ($p_b$) & 3&.5 &3&.25\\ +real import of goods ($m$) & 4&.1 &3&\\ +real output of goods ($v'$) &2&.5 &2&.1\footnote{% + The quantities $v'$ and $bpr$ aren't given as such by the CPB. The + CPB data presented here are computed using their GRECON definitional + equations. For details, see appendix D.} \\ +real domestic production ($bpr$) &1&.4 &1&.6\\ +private employment ($a$) &0&.32 &0&\\ +wage rate ($l$) &4&.0 &4&\\ +government income (\%) &-0&.1 & \multicolumn{2}{c|}{--\footnote{% +Not available.} +}\\ +\ \ from output of goods ($iso'$) &&&&\\ +\cline{2-5} +& \multicolumn{4}{l|}{absolute quantities}\\ +\cline{2-5} +unemployment ($\times$1000 persons) &510&\footnote{% + Not a model outcome: see text in par.\ 3.1 and 3.2.} & 525&\\ +balance of payments ($10^9$ Hfl) &24&.4&25&.0 \\ +\hline +\end{tabular} +\end{minipage}\hfill% +% +\begin{minipage}[t]{3.1in} +\mydefaults +\mpfoot +{\bf\small Economic forecasts for 1992} + +\vspace{-3pt} + +\noindent\rule{\linewidth}{1pt} + +\vspace*{3pt} +\begin{tabular*}{\linewidth}{@{}l@{~~~~}r@{}lr@{}l@{}} + & \multicolumn{4}{l@{}}{\bf\sf Grecon~~~~~CPB\footnote{MEV '92}} + \\[3pt] +\hline \\[-6pt] +\em mutations w.r.t. 1991 \\ +real consumption ($c$) & 1&.1 &1&.25 \\ +price index consumption ($p_c$) & 2&.6 &3&.25 \\ +real investments ($i_m$) &1&.4 &$-$2&.5 \\ +export price index ($p_b$) & 3&.5 &3&.25 \\ +real import of goods ($m$) & 4&.1 &3 \\ +real output of goods ($v'$) &2&.5 &2&.1\footnote{% + The quantities $v'$ and $bpr$ aren't given as such by the CPB. The + CPB data presented here are computed using their GRECON definitional + equations. For details, see appendix D.} \\ +real domestic production ($bpr$) + &1&.4 &1&.6 \\ +private employment ($a$) + &0&.32 &0 \\ +wage rate ($l$) &4&.0 &4 \\ +government income (\%) \\ +\ \ from output of goods ($iso'$) &$-$0&.1 &--&{}\footnote{% + Not available}\\[6pt] +\em absolute quantities \\ +unemployment ($\times$1000) & 510 &\footnote{% + Not a model outcome: see text in par.\ 3.1 and 3.2.} & 525 \\ +balance of payments (10$^9$ Hfl) &24&.4 & 25&.0 +\end{tabular*} +\vspace*{-6pt} +\end{minipage} + +\vspace{9pt} + +\end{figure*} + +\begin{quote} +{\em [Editor's note: I am grateful to +Siep Kroonenberg and Gerard van Nes (editor) for permission to reprint this +article from MAPS, the journal of the Nederlandstalige \TeX\ +Gebruikersgroep.]} +\end{quote} + +\noindent +\LaTeX\ users generally seem unaware of current ideas on table design. +The following table is a typical \LaTeX\ production: + +\vspace{6pt} + +{\footnotesize +\begin{tabular}{|l|rr|} +\hline +\multicolumn{3}{|c|}{\bf \LaTeX\ table design}\\ +\hline + & 1991 & 1992 \\ +\hline +Unemployment ($\times$1000) & 500 & 600 \\ +Balance of Payments (10$^9$ Hfl) & 24 & 25 \\ +\hline +\end{tabular}} + +\vspace{6pt} + +In a professionally-designed publication, the above table would +probably look more like this: + +\vspace{6pt} + +{\mydefaults +\begin{tabular}{@{}lrr@{}} +\multicolumn{3}{@{}l@{}}{\small\bf Common sense table design} \\[3pt] +\hline \\[-6pt] + & \bf 1991 & \bf 1992 \\ [3pt] +\cline{2-3} \\[-6pt] +Unemployment ($\times$1000) & 500 & 600 \\ +Balance of Payments (10$^9$ Hfl) & 24 & 25 \\ +\end{tabular}} + +\vspace{6pt} + +If you read a book on typography, \eg \cite{treebus} or \cite{mclean}: +you'll find that they use rules and boxes with far more restraint, and +rely more on white space and variation in typefaces for organization. + +The table examples in \cite{lamport} were (I hope) merely intended to +demonstrate techniques. However, their style was almost unanimously +adopted by \LaTeX\ users. + +So I think that some design education is in order. I am not a +design professional. However, many people never even think about +table design; so if I set them thinking and they start reading books on +typography by real professionals then this paper has served its purpose. + +{\bf Note.} This is not meant to be a technical exposition. +\cite{bernard} and \cite{lamport} tell you most of the technical things +you need to know. All the same, I have indicated here and there with +what codes or constructs you might accomplish certain effects. + +\section{Basics of table design} + +A table should present its information as clearly as possible. +Typographic means to organize this information includes rules, white +space, choice of typefaces and appropriate headings and captions. But +if a feature doesn't help to make a table clearer, it had better be +left out. + +\vspace{6pt} + +{\mydefaults +\noindent\begin{tabular*}{\linewidth}{@{}lll@{}} +\multicolumn{3}{@{}l@{}}{\small\bf Macroeconomic memoranda} \\[3pt] +\hline \\[-9pt] +1. & \px{Karl L\"ausche, Maria Vader, Theo Zernike} & + \py{Money illusion and savings illusion; an illusionistic look + on neo-\dbr Hegel\-ian monetary theory} \\ \\[-6pt] +\hline \\[-9pt] +2. & \px{Hendrik Kooy\-ker, Johan Zonder\-link} & + \py{BIGTHUMB, a software package for handling missing and politically + incorrect data} \\ \\[-6pt] +\hline \\[-9pt] +3. & Anneke~Draaijer & + \py{Consumer behavior, expectation formation and the long-term + economic effects of risk-aversion} \\ \\[-6pt] +\hline +\end{tabular*}} + +\vspace{6pt} + +\subsection*{Rules and boxes} +Rules have their uses. They can emphasize headings. They can also +separate different items and unite the several data for one item, as in +the table above. Vertical rules, as in the table below, would have the +opposite effect and would be no help at all in making the table easier +to read. + +\vspace{6pt} + +{\mydefaults +\noindent\begin{tabular*}{\linewidth}{@{}l|l|l@{}} +\multicolumn{3}{@{}l@{}}{\small\bf Macroeconomic memoranda} \\[3pt] +\hline && \\ +1. & \px{Karl L\"ausche, Maria Vader, Theo Zernike} & + \py{Money illusion and savings illusion; an illusionistic look + on neo-\dbr Hegel\-ian monetary theory} \\ && \\ +2. & \px{Hendrik Kooy\-ker, Johan Zonder\-link} & + \py{BIGTHUMB, a software package for handling missing and politically + incorrect data} \\ && \\ +3. & Anneke~Draaijer & + \py{Consumer behavior, expectation formation and the long-term + economic effects of risk-aversion} \\ && \\ +\hline +\end{tabular*}} + +\vspace{6pt} + +But even in the earlier example one might wonder whether white space +wouldn't have been more effective than rules. + +A table may also be boxed to set it off from the surrounding text. But +\LaTeX\ users normally don't go through the trouble of wrapping text +around tables and figures; therefore, there is little reason to box in +a table. + +In all cases, there should be enough space between rules and text. A +rule too close to text interferes with readability and makes the text +look cramped. + +An alternative to rules or boxes is a shaded background, preferably in +a second colour. This is not supported by \LaTeX\ as far as I know, +although with PostScript some tricks are possible (see \eg +\cite{bernard} section 11.6). This formatting device requires high +output quality in order to look good. + +\subsection*{Alignment and justification} + +A column of text labels can be left- or right-aligned, or centered. If +the table has any length at all, a centered column can easily look +sloppy. With left- or right-alignment there is at least one straight +edge to give the column structure. Think twice before centering a +column in a longer table. + +A column of figures is usually decimally aligned (see below +for some technical issues). If the figures are unrelated, +you may consider right- or left-alignment instead. + +Don't justify text inside a narrow column or you'll end up with large +distracting holes between words. This is easier said than done, but +see further below. + +\subsection*{Headings} +Headings may get added emphasis by setting them bold, italic, at a +larger point size or in a different typeface. Don't go overboard, +though. The heading of a centered or decimally-aligned column may need +some manual adjustment. + +\section{An example} +We illustrate some of these points with the `before-and-after' example. +It is sufficiently complex to illustrate a number of points; I +am not implying that it is any worse than other \LaTeX\ tables I have +seen. The `before' table is a \LaTeX\ remake of a table from +\cite{grecon}. At an earlier occasion, it has been used as a +demonstration of \LaTeX's table-making capabilities. + +The example table contains footnotes; therefore it is enclosed in a +minipage environment. + +\subsection*{Rules} +The most conspicuous shortcoming of the `before' example is the tight +spacing between horizontal lines and text. I am not aware of a +parameter which controls this distance; however, the `\verb+\\+' +command takes an optional length parameter, also in a \verb+tabular+ +environment. + +In this case, as in most cases, the vertical rules are better left out. +It is advisable to begin and end the column specification with +\verb+@{}+: + +\begin{verbatim} +\begin{tabular}{@{}l@{}r@{}lr@{}l@{}} +\end{verbatim} + +Without vertical rules, no white space needs to be reserved +at the left- and righthand sides. + +Actually, I used a \verb+tabular*+ environment, which allowed me to +set the width to \verb+\linewidth+: exactly the width of the +minipage. + +Another unfortunate detail is the footnote rule next to the bottom +rule. I solved this by dropping the bottom rule. Also, I redefined in a +separate style file several aspects of minipage footnotes: among +others, the footnote rule now stretches across the width of the +minipage. + +The rule under the title is not part of the +\verb+tabular+ environment, but is constructed +as a `\verb+\rule+'-rule. This made it easy to give it a custom +thickness. Again, the length was set to \verb+\linewidth+. + +\subsection*{Headings} +As to the various headings: the word {\em forecast} repeated +information from the table header and was dropped. The word {\em +variable} could also safely be omitted. + +Aligning the Grecon- and CPB headings at the bottom instead of the top +would have been an improvement, but moving the text `{\em MEV '92}' to +a footnote was even better. Their horizontal positioning was adjusted +by hand, adding `\verb+~+' here and there. + +The `{\em \% mutations...}' and `{\em absolute quantities}' headings +looked rather jarring in the figures columns, and were moved to the +left column. + +\subsection*{Fonts} +Sans serif faces are especially appropriate for tabular material. At +small sizes serifed faces easily look fussy, especially if the output +quality is not top notch. Sans serif faces suffer much less from +scaling down. A sans serif face also helps to set off the table from +the surrouding text. + +Several sizes and weights are used (typographers talk about an italic +{\em weight}; the \TeX\ community should realize that they entertain +rather off-beat ideas about font families). And hyphens are replaced by +proper minus-signs. + +\section{Technical issues}\label{tech} +Some things in \LaTeX\ are harder than they should be. Two notorious +examples are table-related: aligning a column of figures on the decimal +point, and setting text in a table cell ragged right. + +\subsection*{Decimal alignment} +There are at least three ways in \LaTeX\ to accomplish decimal +alignment: +\begin{itemize} +\item If all numbers have the same number of digits after the decimal +point, decimal alignment coincides with right alignment, since in most +fonts all digits have the same width. +\item Split the numbers right before the decimal point, i.e. put an +ampersand `\verb+&+' before the decimal point (or after the number, if +it has none). The column formatting for the resulting two columns +should be \verb+r@{}l+: right-align the part before the decimal point, +left-align the remainder, and put no white space in between. +\item Use the {\tt dcolumn} package by David Carlisle. This is +documented in \cite{bernard} section 5.5.1. +\end{itemize} + +\subsection*{Ragged right justification} +You may have noticed that \verb+\raggedright+ simply doesn't work in a +tabular environment. Again, let me suggest a couple of brute-force +workarounds. +\begin{itemize} +\item Divide the text manually between rows. Of course, this is +practical only in very simple cases. +\item Put a parbox around the text, \eg \\ +\verb+\parbox{1in}{\raggedright+\ {\em text...}\verb+}+ \\ +This is simple enough, but not very elegant since it involves +specifying column widths outside the \verb+\begin{tabular}+ command. +\end{itemize} + +Goossens \emph{et al.} give a more sophisticated solution in section 5.3.1, +`{\em Typesetting Narrow Columns.}' As in the last of the above two +workarounds, it adds code to make \verb+\raggedright+ operational again. + +\section{The trouble with \LaTeX} +It took me a lot of time to prepare the examples in this paper. Even +the standard \LaTeX\ \verb+tabular+ environment has plenty of quirks, +and extension packages such as {\tt array} or {\tt tabularx} only add +to them. Too often, it was a matter of trial and error what would work +and what wouldn't, and that might depend on the package used. In the +end I didn't use any of the table extension packages for this paper. + +In \LaTeX, some aspects of layout and typography can be controlled by +changing a few parameters or by replacing some simple code out of a +style file. But there are quite a few rough spots: sometimes the code +is too cryptic for easy modification and sometimes the code is not in +the style file at all. When typesetting tables one tends to run into +such rough spots. + +Besides \LaTeX, I use high-end wordprocessors and low-end desktop +publishing software. I am exceedingly frustrated that simple things +that you just do in a commercial program, require hours or days of +study and experimentation in \LaTeX. + +Still, \LaTeX\ can't be beaten (yet) for long documents or for +automation. It remains robust and efficient whatever the size and +complexity of the job. So I keep using it for certain types of work. + +I hope that \AllTeX\ developers are seriously addressing \LaTeX's +shortcomings. What is really needed is a more accessible basic \LaTeX\ +system, which doesn't require wizardry to tailor to one's own +preferences, and which can put an end to the current proliferation of +style files to patch up its defects. + +Finally I want to mention that \cite{bernard} was a great help in +preparing this paper, even though the solutions proposed there didn't +always work out. + +\begin{thebibliography}{[GMS94]} + +\bibitem[Treebus 1982]{treebus} Treebus, K. F. {\em Tekstwijzer.} SDU 1982. + +\bibitem[McLean 1980]{mclean} McLean, Ruari. {\em Typography.} Thames and +Hudson 1980. + +\bibitem[Lamport 1986]{lamport} Lamport, Leslie. {\em \LaTeX, A Document +Preparation System.} Addison-Wesley 1986. + +\bibitem[Goossens \emph{et~al.}~1994]{bernard} +Goossens, Michel, Frank Mittelbach, Alexander +Samarin. {\em The \LaTeX\ Companion.} Addison-Wesley 1994. + +\bibitem[DV91]{grecon} Dietzenbacher, H.W.A., W. Voorhoeve. {\em Het +model GRECON 91-D. Septembervoorspellingen voor 1992}. +Onderzoeksmemorandum no. 450. Economics Department, Groningen +University 1991. + +\end{thebibliography} +\end{Article} diff --git a/usergrps/uktug/baskervi/4_4/simpsons.900gf b/usergrps/uktug/baskervi/4_4/simpsons.900gf new file mode 100644 index 0000000000..3cf92b7757 Binary files /dev/null and b/usergrps/uktug/baskervi/4_4/simpsons.900gf differ diff --git a/usergrps/uktug/baskervi/4_4/simpsons.doc b/usergrps/uktug/baskervi/4_4/simpsons.doc new file mode 100644 index 0000000000..93fd36c4b0 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/simpsons.doc @@ -0,0 +1,23 @@ +The Simpsons Font by Raymond Chen (rjc@math.princeton.edu) + +The main driver is simpsons.mf. Typical usage is + + mf \mode=local_mode; input simpsons + +with the usual additional backwhacks on UNIX systems. + +The characters were obtained from... + +Lisa -- Simpsons Illustrated, Summer 91, cover +Homer -- Simpsons Illustrated, Fall 91, cover +Bart -- Simpsons Illustrated, Fall 91, article on Dan Castellaneta +Marge -- Simpsons Illustrated, Fall 91, article on Dan Castellaneta +Burns -- Simpsons Illustrated, Fall 91, article on Dan Castellaneta +Maggie -- Simpsons 1992 calendar, ``Phone pranks'' +SNPP -- Simpsons Illustrated, Fall 91, Homer's job file + +They were traced and transferred to graph paper, then magnified fourfold. + +The original graph paper was ruled at 1u = 1/4in, whence the units involved. + +Major landmarks tend to be near multiples of 4u. diff --git a/usergrps/uktug/baskervi/4_4/simpsons.mf b/usergrps/uktug/baskervi/4_4/simpsons.mf new file mode 100644 index 0000000000..7a1f991f85 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/simpsons.mf @@ -0,0 +1,309 @@ +% simpsons.mf by Raymond Chen (rjc@math.princeton.edu) + +mode_setup; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Parameters (and typical values) +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Pen control +% +% u# the basic unit. +% A choice of 1/16in# makes Lisa fit into a 1.5" square. +% +% thin# The pen used for everything, unless otherwise noted. +% A value of 1/18u# produces a razor-sharp-ish pen, +% good for low resolution work (and which scales nicely). +% But a value of 1/9u# produces a slightly thicker line +% which might show up better. +% And a value of 1/5u# produces a heavy pen, more in keeping +% with MG's drawing style. +% +% fine# For fine detail, like the atom logo on the SNPP cooling tower. +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Physical attributes for everybody +% +% tau_top Curviness of the top part of the little `t' that +% forms the ridges inside the ear. Recommend 45. +% +% tau_side Curviness of the side part of the little `t' that +% forms the ridges inside the ear. Recommend 45. +% +% dimple_depth Amount of curve (in degrees) to give the dimple. +% Positive value makes the cheeks puffier. +% Negative value makes the dimple deeper. +% Recommend -10. +% +% innocence# Size of pupils. Suggest 0.5u#. +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Controls for the ladies +% +% lace# The pen used for necklaces. Recommend = thin#. +% +% pearl# Size of pearls in the necklace. Set pearl < 0 +% to suppress the necklace altogether. +% Recommend 1.9u#. +% +% mascara Thickness of the eyelashes, relative to thin#. +% 1.5 means eyelashes are 1.5 times thicker than regular strokes. +% Recommend a value of 1.0. +% +% seductiveness Curliness of the eyelashes. In degrees. Suggest 5. +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Controls for the kids +% +% spikiness Controls spikiness (tension) of Lisa and Maggie's hair. +% Lower numbers make it wavier, +% higher numbers make it spikier. 5 seems about right. +% +% kemptness# How uniform the spikes of Bart's hair are. +% Higher values make Bart's hair more erratic. +% A value of 0 makes them perfectly evenly spaced. +% I think 0.05u# looks about right. +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Controls for Homer +% +% starch How much Homer's collar points flare outwards. +% Larger values make Homer's collar stick out more. +% In degrees 0..90. Recommend 30. +% +% machismo How much the front of Homer's shirt opens. +% Larger values make it more open. Degrees 0..90. Recommend 60. +% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Controls for Marge +% +% curlers How large to make the `bumps' the make up Marge's hair. +% In degrees. Suggest 30. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +u# = 1/80in#; +%thin# = 1/9 u#; % heavy lines +thin# = 1/5 u#; % realistically heavy +fine# = 1/9u#; + +tau_top := 45; +tau_side := 45; +dimple_depth = -10; +innocence# := .5u#; + +lace# = thin#; +pearl# = 1.9u#; +mascara = 1.0; +seductiveness := 7; + +spikiness := 5; +kemptness# := 1/20u#; + +starch := 30; +machismo := 60; + +curlers := 30; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Preparing to do business + +define_pixels(u, pearl, innocence, kemptness); +define_whole_blacker_pixels(thin, fine, lace); + +pickup pencircle scaled thin; thinpen = savepen; +pickup pencircle scaled fine; finepen = savepen; +pickup pencircle scaled (thin * mascara); lashpen = savepen; +pickup pencircle scaled lace; lacepen = savepen; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Private macros +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +def openit = % so screen previewing works better + openwindow currentwindow from origin to (screen_rows, screen_cols) + at (0, screen_rows-1) enddef; + +def :: = ..tension spikiness.. enddef; % For drawing the kids' spiky hair. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% preclip -- clips the path p to start at q. +% postclip -- clips the path p to end at r. +% prepostclip -- clips the path p to start at q and end at r. +% hardjoin -- start on p and end on q, transition when they intersect + +def preclip(expr p,q)= + subpath (xpart(p intersectiontimes q), infinity) of p enddef; +def postclip(expr p, r) = reverse preclip(reverse p, r) enddef; +def prepostclip(expr p, q, r) = postclip(preclip(p, q), r) enddef; + +secondarydef p hardjoin q = + begingroup dz_ := p intersectiontimes q; + subpath (0, xpart dz_) of p .. subpath(ypart dz_, infinity) of q + endgroup enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Drawing bent lines (i.e., shallowly curved).. Positive theta curves +% to the left, negative to the right. + +vardef bend(expr theta, p, q) = + p{(q-p) rotated theta}.. + {(q-p) rotated -theta}q enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Drawing opaquely +def overdraw expr c = erase fill c; draw c enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Labelling shifted points +vardef labelsoffset@#(expr offset)(text t) = + if proofing > 1: forsuffixes $=t: makelabel@#(str$, z$+offset); endfor + fi enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Facial features + +def dimplepath(expr p, q) = % top coordinate first + if proofing>1: hide( makelabel("", p); makelabel("", q); ) fi +% p{(q-p) rotated dimple_depth}.. +% {(q-p) rotated -dimple_depth}q + bend(dimple_depth, p, q) +enddef; + +% _s__q +% p/ | +% | +% \r + +def drawtau(expr p, q, r, s) = + if proofing>1: makelabel("p", p); makelabel("q", q); + makelabel("r", r); makelabel("s", s); fi + c_ := p{(q-p) rotated tau_top}..q; + draw c_; +% draw postclip( (r{(s-r) rotated tau_side}.. +% {(s-r) rotated -tau_side}s), c_) enddef; + draw postclip( bend(tau_side, r, s), c_) enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Eyelashes either bend clockwise or counter-clockwise as they leave +% the eye. +% +% p = starting point, q = ending point, d = delta +% d>0 = curves right, d<0 = curves left. Bigger d means more curve. + +def makelash(expr ofs,p,q,d) = + if proofing>1: hide( makelabel("", ofs+p); makelabel("", ofs+q); ) fi + bend(d*seductiveness, ofs+p, ofs+q) enddef; + +% Right lashes clip to the right eye, left lashes to the left eye_ +vardef rlash@#(expr p,q,d) = + lash@# := preclip(makelash( + if known z.eye_right: z.eye_right else:origin fi, p,q,d), + eye_right); + draw lash@# enddef; +vardef llash@#(expr p,q,d) = + lash@# := preclip(makelash( + if known z.eye_left: z.eye_left else:origin fi, p, q, d), + eye_left); + draw lash@# enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Marge's hair contains little puffs. + +def puffhair(text t) = % t is a list of pairs + hide( n_ := 0; for z=t: z_[incr n_] := z; + if proofing>1: makelabel(decimal n_, z); fi endfor) + z_1 + for k = 2 upto n_: + {(z_[k] - z_[k-1]) rotated -curlers} .. + {(z_[k] - z_[k-1]) rotated curlers} z_[k] + endfor enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Character positions + +def simpdochar(expr c, ht, wd, dp, name) = + beginchar(c, ht, wd, dp); name enddef; + +string current_char_name; +def pictureof(suffix c)(expr wd, ht, dp) = + beginchar(2c, wd, ht, dp); + current_char_name := str c; + current_char_name & " looking right, no pupils" enddef; + +def endpicture = + pic_ := currentpicture; + endchar; + + beginchar(incr charcode, charwd, charht, chardp); + current_char_name & " looking left, no pupils"; + currentpicture := pic_ reflectedabout ((.5w, 0), (.5w, h)); + endchar; + pic_ := nullpicture enddef; + +def unreflectedpictureof(suffix c)(expr wd, ht, dp) = + beginchar(c, wd, ht, dp); str c enddef; + +let unreflectedendpicture = endchar; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Draw grid marks during proofing + +def makebox(text rule) = + for y = 0 step 4u.o_ until charht*hppp: + rule((0, y), (w, y)); + endfor + rule((0, charht*hppp), (w, charht*hppp)); + rule((0, chardp*hppp), (w, chardp*hppp)); + + for x = 0 step 4u until charwd*hppp: + rule ((x, -d.o_), (x, h.o_)); + endfor + rule ((charwd*hppp, -d.o_), (charwd*hppp, h.o_)); +enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Eye positions +% +% Eye positions are stored in the fontdimens. + +def eyepos(expr p, a, b, c, d) = fontdimen 4 + 4p: a, b, c, d enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% Local variables + +def local(text t, v) = + forsuffixes $=v: save v; t v; endfor enddef; + +def localpath text v = local(path)(v) enddef; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +Lisa = 1; +Homer = 2; +Bart = 3; +Marge = 4; +Maggie = 5; +Burns = 6; + +proofing:=2; +% screenstrokes; + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +beginchar(0, 0, innocence#, 0); "A pupil (no width)"; + fill fullcircle scaled innocence; +endchar; + +% and character 1 is SNPP. +input snpp + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +% The x-height is 1pt. The purpose of this is so that pupil positioning +% can be done in ex-units, which will therefore scale properly if the +% font is loaded at nonstandard magnifications. + +fontdimen 5: 1pt#; + +input lisa +input homer +input bart +input marge +input maggie +input burns +end diff --git a/usergrps/uktug/baskervi/4_4/simpsons.sty b/usergrps/uktug/baskervi/4_4/simpsons.sty new file mode 100644 index 0000000000..1db47f1309 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/simpsons.sty @@ -0,0 +1,97 @@ +% simpsons.sty -- macros for using the Simpsons font. +% +% by Raymond Chen (rjc@math.princeton.edu) +% +\ProvidesPackage{simpsons} +\let\ifGoofy=\iffalse + \def\Goofy{\let\ifGoofy\iftrue} \def\unGoofy{\let\ifGoofy\iffalse} +\let\ifLeft=\iffalse + \def\Left {\let\ifLeft \iftrue} \def\unLeft {\let\ifLeft \iffalse} + +\font\simpsons=simpsons scaled 1500 + +% \Simps@nEyeball +% +% On entry: +% \count@ points to the first fontdimen for the current character +% \box0 contains the character being typeset (used only if Left) +% +% Uses: \dimen@ for scratch computations +% +% Pseudocode: +% +% If left: \dimen@ = \wd0 - first fontdimen +% If right: \dimen@ = first fontdimen +% +% Advance \count@ to the second fontdimen (must do now, outside a group) +% +% Build a zero-width box containing { +% If left: \dimen@ = \dimen@ - #1ex +% If right: \dimen@ = \dimen@ + #1ex +% Move right \dimen@ +% +% \dimen@ = second fontdimen + #2ex +% Move up \dimen@ +% Place the eyeball +% } +% Advance \count@ to the next fontdimen (ready for next iteration) +% +% But note that the ``If left: ... If right: ...'' stuff is done +% extraordinarily dastardlyly. + +\def\Simps@nEyeball(#1,#2){% + \dimen@ \ifLeft \wd\z@ \advance\dimen@-\fi \fontdimen\count@\simpsons + \advance\count@\@ne + \hbox to\z@{\advance\dimen@\ifLeft-\fi#1ex + \kern\dimen@ + \dimen@\fontdimen\count@\simpsons + \advance\dimen@#2ex + \raise\dimen@\hbox{\char0}\hss}% + \advance\count@\@ne} + +% \doSimpson +% +% Uses: All register usage is localized to a group. +% +% Pseudocode: +% +% \leavevmode, in case we were in vertical mode +% Begin a group +% Switch to simpsons font. +% Set \count@ = 2 * #1 +% Set \box0 to \char\count@ (or \char(\count@+1) if left) +% Set \count@ = 4 + 4 * #1 +% \Simps@nEyeball the right eyeball +% \Simps@nEyeball the left eyeball +% Emit \box0 +% End the group +% Reset \Goofy and \Left + +\def\doSimpson#1(#2,#3)(#4,#5){\leavevmode + {\simpsons + \count@=#1% + \advance\count@\count@ + \setbox\z@=\hbox{\ifLeft\advance\count@\@ne\fi + \char\count@}% + \advance\count@\tw@ + \multiply\count@\tw@ + \Simps@nEyeball(#2,#3)% + \Simps@nEyeball(#4,#5)% + \box\z@}\unGoofy\unLeft} + +\def\Simpson{\ifGoofy\let\next\doSimpson\else\let\next\normalSimpson\fi\next} +\def\normalSimpson#1{\doSimpson#1(0,0)(0,0)} + +\chardef\f@ur=4 +\chardef\f@ve=5 +\chardef\s@x=6 + +\def\Lisa{\Simpson\@ne} +\def\Homer{\Simpson\tw@} +\def\Bart{\Simpson\thr@@} +\def\Marge{\Simpson\f@ur} +\def\Maggie{\Simpson\f@ve} +\def\Burns{\Simpson\s@x} +\def\SNPP{{\simpsons\@ne}} + +\endinput diff --git a/usergrps/uktug/baskervi/4_4/simpsons.tex b/usergrps/uktug/baskervi/4_4/simpsons.tex new file mode 100644 index 0000000000..5e2e12623e --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/simpsons.tex @@ -0,0 +1,125 @@ +% simpsons.tex -- macros for using the Simpsons font. +% +% by Raymond Chen (rjc@math.princeton.edu) +% +% You say \Lisa, \Homer, \Bart, or \Marge to typeset the corresponding +% character. The default is to draw the character facing to the right +% and looking directly at you. To modify this, you can do the following: +% +% Prefix the csname \Left to get the character face left instead of right. +% E.g., \Left\Lisa +% +% Prefix the csname \Goofy and suffix two pairs of coordinates, which +% modify how the pupils are drawn. E.g., \Goofy\Lisa(7,5)(5,5) +% The first pair of coordinates is applied to the right pupil (which +% is the one on the left when printed) and the second pair to the left +% pupil. The units are relative to the size of the character. +% (So if you say ``\font\simpsons=simpsons scaled 1200'' you don't have +% to modify all the coordinates in the \Goofy's.) +% +% If you prefix \Goofy\Left, then the mirror-image-reversal takes place +% <> the goofiness is applied. This is so that you can just say +% \Goofy\Left\Lisa(7,5)(5,5) to get a mirror image of \Goofy\Lisa(7,5)(5,5). +% +% Sample goofinesses: +% +% \Goofy\Lisa(7,5)(5,5) +% \Goofy\Homer(6,4)(4,4) +% + +\let\ifGoofy=\iffalse + \def\Goofy{\let\ifGoofy\iftrue} \def\unGoofy{\let\ifGoofy\iffalse} +\let\ifLeft=\iffalse + \def\Left {\let\ifLeft \iftrue} \def\unLeft {\let\ifLeft \iffalse} + +\font\simpsons=simpsons \nopagenumbers + +\count255=\catcode`\@ % save the old catcode + +\catcode`\@=11 + +% \Simps@nEyeball +% +% On entry: +% \count@ points to the first fontdimen for the current character +% \box0 contains the character being typeset (used only if Left) +% +% Uses: \dimen@ for scratch computations +% +% Pseudocode: +% +% If left: \dimen@ = \wd0 - first fontdimen +% If right: \dimen@ = first fontdimen +% +% Advance \count@ to the second fontdimen (must do now, outside a group) +% +% Build a zero-width box containing { +% If left: \dimen@ = \dimen@ - #1ex +% If right: \dimen@ = \dimen@ + #1ex +% Move right \dimen@ +% +% \dimen@ = second fontdimen + #2ex +% Move up \dimen@ +% Place the eyeball +% } +% Advance \count@ to the next fontdimen (ready for next iteration) +% +% But note that the ``If left: ... If right: ...'' stuff is done +% extraordinarily dastardlyly. + +\def\Simps@nEyeball(#1,#2){% + \dimen@ \ifLeft \wd\z@ \advance\dimen@-\fi \fontdimen\count@\simpsons + \advance\count@\@ne + \hbox to\z@{\advance\dimen@\ifLeft-\fi#1ex + \kern\dimen@ + \dimen@\fontdimen\count@\simpsons + \advance\dimen@#2ex + \raise\dimen@\hbox{\char0}\hss}% + \advance\count@\@ne} + +% \doSimpson +% +% Uses: All register usage is localized to a group. +% +% Pseudocode: +% +% \leavevmode, in case we were in vertical mode +% Begin a group +% Switch to simpsons font. +% Set \count@ = 2 * #1 +% Set \box0 to \char\count@ (or \char(\count@+1) if left) +% Set \count@ = 4 + 4 * #1 +% \Simps@nEyeball the right eyeball +% \Simps@nEyeball the left eyeball +% Emit \box0 +% End the group +% Reset \Goofy and \Left + +\def\doSimpson#1(#2,#3)(#4,#5){\leavevmode + {\simpsons + \count@=#1% + \advance\count@\count@ + \setbox\z@=\hbox{\ifLeft\advance\count@\@ne\fi + \char\count@}% + \advance\count@\tw@ + \multiply\count@\tw@ + \Simps@nEyeball(#2,#3)% + \Simps@nEyeball(#4,#5)% + \box\z@}\unGoofy\unLeft} + +\def\Simpson{\ifGoofy\let\next\doSimpson\else\let\next\normalSimpson\fi\next} +\def\normalSimpson#1{\doSimpson#1(0,0)(0,0)} + +\chardef\f@ur=4 +\chardef\f@ve=5 +\chardef\s@x=6 + +\def\Lisa{\Simpson\@ne} +\def\Homer{\Simpson\tw@} +\def\Bart{\Simpson\thr@@} +\def\Marge{\Simpson\f@ur} +\def\Maggie{\Simpson\f@ve} +\def\Burns{\Simpson\s@x} +\def\SNPP{{\simpsons\@ne}} + +\catcode`\@=\count255 % restore the catcode diff --git a/usergrps/uktug/baskervi/4_4/simpsons.tfm b/usergrps/uktug/baskervi/4_4/simpsons.tfm new file mode 100644 index 0000000000..8093260c15 Binary files /dev/null and b/usergrps/uktug/baskervi/4_4/simpsons.tfm differ diff --git a/usergrps/uktug/baskervi/4_4/snpp.mf b/usergrps/uktug/baskervi/4_4/snpp.mf new file mode 100644 index 0000000000..2b03af17ae --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/snpp.mf @@ -0,0 +1,89 @@ +% snpp.mf by Raymond Chen (rjc@math.princeton.edu) + +% The SNPP logo. + +beginchar(1, 8u#, 8u#, 0); "Springfield Nuclear Power Plant"; + + % We will need 8 symmetrically paired points + forsuffixes $=range 1 thru 8: x$ = w - x$'; y$ = y$'; endfor + + pickup thinpen; + save u; u = w/8; % IMPORTANT! + save v; v = h/8; % IMPORTANT! + + z0 = (4u, 4v); % = 1/2(w,h), the center. + + % The circular seal + numeric r; r = y0; + draw fullcircle scaled 2r shifted z0; + + % The cooling tower + + localpath tower; + + z1 = (2.2u, 4v); + z2 = (2.5u, 3.5v); + z3 = (1.7u, 0); + + tower = z3 .. tension 3 .. z2 .. + z1{up} .. tension 3 .. z1'{down} .. + z2'.. tension 3 .. z3'; + draw prepostclip(tower, quartercircle scaled 2r rotated 180 shifted z0, + quartercircle scaled 2r rotated -90 shifted z0); + + % The atom logo + % The ellipse is 2u by .5u. + x4 = .5w; + y4 + u * sind 60 = y2; + + pickup finepen; + draw fullcircle xscaled 2u yscaled .5v shifted z4; + draw fullcircle xscaled 2u yscaled .5v rotated 60 shifted z4; + draw fullcircle xscaled 2u yscaled .5v rotated-60 shifted z4; + pickup thinpen; + + % The rising fumes + z5 = (.5w - .8u, 6v); + z5 - z5a = z5a - z5b = z5b - z5'; % equally spaced + y5a := y5a + .3v; + y5b := y5b - .3v; + + forsuffixes $=,a,b,': draw preclip( (x5$,0) .. z5$, tower); endfor + + % The outer cloud + localpath cloud; + y6 = y5; + x6 = xpart z0 - (r +-+ (y6-y0)); % length(z0 - z6) = r + + cloud = bend(-30, z6, z6'); + + localpath puffcloud; + numeric n; n = 13; + puffcloud = + point 0 of cloud + for k = 1 upto n: + {direction (k+.5)/n of cloud rotated -80} .. + {direction (k+.5)/n of cloud rotated 80} point k/n of cloud + endfor; + + draw postclip(puffcloud, (x5, 0) .. z5); + draw preclip(puffcloud, (x5', 0) .. z5'); + + % the inner cloud + y7 = h - v; + x7 = 1/3[x5, x6]; + + cloud := bend(-20, z7, z7'); + n := 5; + draw + point 0 of cloud + for k = 1 upto n: + {direction (k+.5)/n of cloud rotated -80} .. + {direction (k+.5)/n of cloud rotated 80} point k/n of cloud + endfor; + + labels(1', 2', 3', 4', 5', 6', 7'); + labels(range 0 thru 7); +endchar; + +endinput diff --git a/usergrps/uktug/baskervi/4_4/standard.tex b/usergrps/uktug/baskervi/4_4/standard.tex new file mode 100644 index 0000000000..b2775e1656 --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/standard.tex @@ -0,0 +1,98 @@ +\section{Group aims and activities} +The \ukt\ was founded in 1989; its activities and benefits include: +\begin{itemize} + \item Regular meetings covering both \TeX{}nical matters and general +typographic subjects; + \item Visits to publishers, font suppliers and book producers; + \item In-depth workshops, with hands-on computer sessions where +appropriate; + \item Negotiation of discounts on \TeX\ relevant books with publishers. + \item Distribution of public domain \TeX\ implementations (in +cooperation with the international \TeX\ archives); + \item Discount on joint UK \TeX\ Users Group/TUG membership; + \item Reduction in conference fees for the TUG annual meeting and the +annual European meetings; + \item The publication and distribution of \BV\ (the annals of +the UK \TeX\ Users Group). + \end{itemize} +\newcommand{\squad}{\hspace{10pt plus1pt minus1pt}} +\newenvironment{meeting}{\begin{trivlist} + \item[]$\bullet$}{\end{trivlist}} + +\section{Programme of meetings for 1994--5} + + +\begin{meeting} +19th October, 1994: {\em Annual General Meeting}\squad To be held at Warwick +University, (note change of venue). +Your annual chance to make suggestions for future +meetings, elect committee members, and to raise anything else you wish to about +the workings and activities of the Group. + +{\em What's new in \TeX?} The AGM will be followed by +a review of new developments, perhaps including highlights from +the TUG annual meeting in Santa Barbara, and the Euro\TeX\ meeting +in Sobieszewo. +Local organizers: Malcolm Clark \& Peter Abbott. +Programme organizer: Robin Fairbairns. +\end{meeting} + +\begin{meeting} +Winter, 1994/5: {\em \TeX, SGML \& electronic publishing}\squad +Exact date, speakers and location unconfirmed (at least we've got a title!). +Programme organizers: Jonathan Fine \& Malcolm Clark. +\end{meeting} + +\begin{meeting} +Easter, 1995: {\em Training day}\squad +This meeting will focus on support programs like \BibTeX, +\MakeIndex\ and others. {\em Tentative.} +Programme organizer: R A Bailey. +\end{meeting} + +\begin{meeting} +June or July, 1995: {\em ???}\squad Likely location `central England'; +likely topic `undecided, various'. +\end{meeting} + +\noindent All members of \ukt{} will be provided with more details of +these meetings as they become available. Reports of the meetings will +appear in \BV, the organ of the group. + + + +\section{The 1993--94 \ukt\ committee} +\begin{tabular}{lP{2in}} +C.~A.~Rowley & Chair\\ +P.~Abbott & Treasurer and \\ & Membership Secretary\\ +R.~A.~Bailey & Committee Secretary\\ +M.~Clark & Meetings Secretary\\ +S.~P.~Q.~Rahtz & \BV\ editor\\ +R.~Fairbairns\\ +J.~Fine\\ +C.~Hewlett\\ +A.~S.~A.~Jeffrey\\ +A.~Nimmo\\ +\end{tabular} + +\section*{How to contact the \ukt} +To enquire about joining the \ukt, or about forthcoming meetings, either +\begin{itemize} +\item write (including your full postal address) to +\begin{verse} +J.~Fine,\\ 203~Coldhams Lane,\\ +Cambridge CB1~3HY, +\end{verse} +or +\item send an email message to \[\mbox{\ttfamily + uktug-enquiries@tex.ac.uk}.\] +\end{itemize} +Please note that the group does not have a fax number. + +\begin{flushright} +Rosemary Bailey\\Honorary Secretary +\end{flushright} +\end{Article} +\endinput + + diff --git a/usergrps/uktug/baskervi/4_4/taylor.tex b/usergrps/uktug/baskervi/4_4/taylor.tex new file mode 100644 index 0000000000..9614d41a7c --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/taylor.tex @@ -0,0 +1,138 @@ +\title{Hyphenating British English} +\author[Philip Taylor]{Philip Taylor\\RHBNC\\\texttt{P.Taylor@Vax.Rhbnc.Ac.Uk}} +\begin{Article} + +\noindent +Many members of \ukt\ will already be aware that an enormous debt of +gratitude is owed to Dominik Wujastyk, who undertook the initial +generation of a set of hyphenation patterns for \TeX\ which were based +on a British (as opposed to American) dictionary. That debt of +gratitude is also owed to Oxford University Press, who donated their +internal word-list of some 160$\,$000 entries with primary, secondary and +tertiary breakpoints shewn as well as a `frequency-of-use' index for +each word. + +Dominik struggled against seemingly insuperable odds to process this +vast word-list; the standard \emph{Patgen} simply wasn't up to the task, and +despite the best efforts of Peter Breitenlohner, Wayne Sullivan and +many others, an attempt to build a suitably large DOS/Pascal version +was doomed to failure. In the end, Dominik discovered the \emph{web2c} +implementation of Karl Berry, and this, together with D J Delorie's +DJGPP C compiler, eventually enabled him to build a version of \emph{Patgen} +which could cope with a 160$\,$000-entry word-list. + +But although he did not know it, his troubles were but starting: once +he could read the word-list, he had to supply values for three of the +most cryptic and arcane variables in the known \TeX\ world: +good_wt+, ++bad_wt+ and +threshold+. These three variables control the entire pattern +generation process, yet even their inventor, Frank Liang, was forced to +confess in his Ph.D thesis (``Word Hy-phen-a-tion by Com-put-er'') that +he was unable to justify the values which he had used to generate the +American patterns other than by purely empirical means. And so Dominik, +too, used Frank's values, and produced patterns which, statistically +at least, were as valid as Frank Liang's. Dominik recorded +his experiences in a talk which he gave to the UK \TeX\ Users' Group +Easter meeting which was held at RHBNC last year. + +However, the generation of patterns is not a once-and-forever task: +those patterns which Dominik had produced were larger than the +American equivalent, requiring for some systems at least either a +specially `large' \TeX\ or at least a \TeX\ tuned to accommodate a +larger pattern set. Furthermore it correctly hyphenated only 90\% of +the words in the 160$\,$000-entry word-list, missing about 10\% +completely. There were also a few words which it was known would be +hyphenated incorrectly using Dominik's patterns, and which were +subsequently documented in the distributed \texttt{ukhyphen.tex}. + +With a sabbatical year in India on the horizon, Dominik felt that it +was time to hand over the baton; he had created a viable set of +patterns, and if someone else wanted to improve on them, that was up +to them. As Dominik knew that I had a considerable interest in +pattern generation, and that I had, in fact, offered to run +\emph{Patgen} on my VAX/VMS system if he had been unable to get a copy +working on any of the systems to which he had access, he asked if I +would like to become `custodian of the patterns', and I willingly +agreed. After all, Dominik had done all the hard work --- acquired a +suitable machine-readable dictionary, created the initial pattern set, +ascertained suitable values for +good_wt+, +bad_wt+, ++threshold+{\ldots} So my task should be infinitely more +straightforward: just build on what Dominik had already done. + +But of course, life is rarely that straightforward: as soon as I came +to build a large \emph{Patgen} for VAX/VMS, I discovered that the +Kellerman \& Smith changefile which I had no longer worked. +Furthermore, K\&S were unwilling to allow it to pass into the public +domain, so any development work on it would have been futile. My +saviour turned out to be Christian Spieler, who had already ported the +remainder of the standard \TeX\ distribution to Alpha/VMS; only +\emph{Patgen} remained, and once I had explained to him the importance +of that little-known utility, he willingly and promptly undertook an +Alpha/VMS port, including as standard the additional workspace which +it was known would be required. Within 24 hours a test version was +ready, and it worked beyond my wildest dreams: no second version was +needed, the very first version went straight into production, and that +same day I was able to produce a set of patterns which, statistically +at least, were as good as those produced by Dominik. + +But just as Dominik had had to battle with +good_wt+, +bad_wt+ and ++threshold+, I too had my own windmills at which to tilt: in my case +the problem came about because Christian had, very reasonably, based +\emph{his} implementation on \emph{Patgen2} (Peter Breitenlohner's +8-bit modifications to DEK's standard 7-bit Patgen). And Patgen2 has +four new variables with which to cope: +hyph_start+, +hyph_finish+, ++pat_start+ and +pat_finish+! + +Fortunately for me, these are nowhere near as arcane as +good_wt+ and +its ilk: the two +hyph_+ parameters allow multiple passes through the +dictionary to be subsumed into a single run, whilst the two +pat_+ +parameters allow the minimum and maximum length of pattern for each +pass to be separately specified. I do not pretend for one instant +that I \emph{fully} understand these, and I certainly don't pretend to +have more than the vaguest comprehension of the full implications of ++good_wt+, etc., but at least I can now generate patterns to my +heart's content, and the Alpha is busy doing that at the very time +that I am writing this report\ldots + +Between now and the time of publication of the next \BV, I hope to +have a much clearer understanding of the possible interactions between +the various parameters to \emph{Patgen}. And I hope, too, to have +prepared a new set of patterns which the UK community will be able to +adopt as a standard, together with a minimal set of exceptions which I +am sure will still be necessary. But work will not then stop: I have +already enlisted the help of a friend and sometime colleague, Chris +McManus, who I hope will be able to define some \emph{rules} for the +choice of values for the various parameters (Chris is a medic, +statistician and polymath \emph{extraordinaire}, and if anyone can +formulate rules for this problem, I am convinced that it is he); and +between us I hope that we will be able to publish some guidelines for +the use of \emph{Patgen2} --- guidelines which are sadly lacking at +the moment. + +And finally I hope that you, too --- the UK \TeX\ Community --- will +contribute to this project: for someone has to identify the mistakes +which the patterns allow, and such a task is far beyond the ability of +any one individual to undertake. Once a new definitive set of +patterns is announced, I will ask you all to look carefully at every +document that you typeset thereafter; and note whenever a hyphenation +looks strange; and to check it with a definitive list of valid +hyphenation points (I am using ``The Oxford Minidictionary of Spelling +and Word-Division'', but pointers to other definitive sources will be +most welcome); and if you find a genuine instance of a +wrongly-hyphenated word, then \emph{please} report it to me. I will +probably set up an e-mail list solely for this purpose, since I lose +paper mail almost by definition whilst e-mail remains accessible in +perpetuity. + +So, to summarise: building on previous work by Don Knuth, Frank Liang, +Peter Breitenlohner, The Oxford University Press, Dominik Wujastyk and +Christian Spieler (doubtless among many others), I am now in a +position to generate British English hyphenation patterns. In +conjunction with Chris McManus, I hope that we will be able to +formalise much that has been heuristic, or at best stochastic, in the +past. And with your help, I hope to be able to produce not only a +definitive set of British English patterns, but an equally definitive +(but, one hopes, very small!) set of exceptions. I look forward to +this challenge very much indeed. + +\end{Article} + diff --git a/usergrps/uktug/baskervi/4_4/tei.tex b/usergrps/uktug/baskervi/4_4/tei.tex new file mode 100644 index 0000000000..113399cd2e --- /dev/null +++ b/usergrps/uktug/baskervi/4_4/tei.tex @@ -0,0 +1,105 @@ +\title{Text Encoding Initiative publishes guidelines} +\author{} +\begin{Article} + +\noindent +On May 16, the Text Encoding Initiative (TEI) published its +`Guidelines for Electronic Text Encoding and Interchange.' + +This report is the product of several years' work by over a hundred +experts in fields ranging from computational linguistics to Ancient +Greek literature. The Guidelines define a format in which electronic +text materials can be stored on, or transmitted between, any kind of +computer from a personal microcomputer to a university mainframe. The +format is independent of the proprietary formats used by commercial +software packages. + +The TEI came into being as the result of the proliferation of mostly +incompatible encoding formats, which was hampering cooperation and reuse +of data amongst researchers and teachers. Creating good electronic texts +is an expensive and time-consuming business. The object of the TEI was +to ensure that such texts, once created, could continue to be useful +even after the systems on which they were created had become obsolete. +This requirement is a particularly important one in today's rapidly +evolving computer industry. + +To make them `future-proof', the TEI Guidelines use an international +standard for text encoding known as SGML, the Standard Generalized +Markup Language. SGML was originally developed by the publishing +industry as a way of reducing the costs of typesetting and reuse of +electronic manuscripts but has since become widely used by software +developers, publishers, and government agencies. It is one of the +enabling technologies which will help the new Digital Libraries take +shape. + +The TEI Guidelines go beyond many other SGML applications currently in +use. Because they aim to serve the needs of researchers as well as +teachers and students, they have a particularly ambitious set of goals. +They must be both easily extensible and easily simplified. And their +aim is to specify methods capable of dealing with all kinds of texts, in +all languages and writing systems, from any period in history. + +Consequently, the TEI Guidelines provide recommendations not only for +the encoding of prose texts, but also for verse, drama and other +performance texts, transcripts of spoken material for linguistic +research, dictionaries, and terminological data banks. + +The Guidelines provide detailed specifications for the documentation of +electronic materials, their sources, and their encoding. These +specifications will enable future librarians to catalogue electronic +texts as efficiently and reliably as they currently catalogue printed +texts. + +The TEI Guidelines also provide optional facilities which can be added +to the set of basic recommendations. These include methods for encoding +hypertext links, transcribing primary sources (especially manuscripts), +representing text-critical apparatus, analyzing names and dates, +representing figures, formulae, tables, and graphics, and categorizing +of texts for corpus-linguistic study. The Guidelines also define +methods of providing linguistic, literary, or historical analysis and +commentary on a text and documenting areas of uncertainty or ambiguity. + + +The TEI Guidelines have been prepared over a six-year period with grant +support from the U.S. National Endowment for the Humanities, +Directorate General XIII of the Commission of the European Union, the +Andrew W. Mellon Foundation, and the Social Science and Humanities +Research Council of Canada. The effort is largely the product of the +volunteer work of over a hundred researchers who donated time to share +their experience in using computers and to work out the specific +recommendations in the Guidelines. + +The project is sponsored by three professional societies active in the +area of computer applications to text-based research: the Association +for Computers and the Humanities, the Association for Literary and +Linguistic Computing, and the Association for Computational Linguistics, +which have a combined membership of thousands of scholars and +researchers worldwide. + +Many projects in North America and Europe have already declared their +intention of applying the TEI Guidelines in the creation of the large +scale electronic textual resources which are increasingly dominating the +world of humanities scholarship. + +The Guidelines are available in paper form or electronic form over the +Internet. For more information contact the TEI editors by e-mail at +\texttt{tei@uic.edu} or \texttt{lou@vax.ox.ac.uk}. Orders may be +placed at the TEI offices in Chicago, Oxford or Chiba, addresses of +which follow: + +\begin{quote} +\emph{In Europe:} TEI Orders, Oxford University Computing Services,\\ + 13 Banbury Road, Oxford OX2 6NN, UK\\ + fax +44 865 273275\\ + \\ +\emph{In East Asia:} Prof. Syun Tutiya, Department of Philosophy\\ + Chiba University, 1-33 Yayoi-cho Inage-ku\\ + Chiba 263, Japan\\ + fax: +81 43 290 2287\\ + \\ +\emph{Rest Of World:} C. M. Sperberg McQueen, University of Illinois at\\ + Chicago, Academic Computing Center (M/C 135), 1940 W. Taylor, \\ + Rm. 124, Chicago IL 60612-7352, USA \\ + fax: +1 312 668 6834\\ +\end{quote} +\end{Article} \ No newline at end of file -- cgit v1.2.3