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|
% maman.tex -- Top level of Malvern documentation
% Copyright 1994 P. Damian Cugley
%%% @TeX-document {
%%% filename = "maman.tex",
%%% version = "X",
%%% date = "pdc 1994.07.20",
%%% package = "Malvern 1.2",
%%% author = "P. Damian Cugley",
%%% email = "damian.cugley@comlab.ox.ac.uk",
%%% address = "Oxford University Computing Laboratory,
%%% Parks Road, Oxford OX1 3QD, UK",
%%% codetable = "USASCII",
%%% keywords = "Malvern, METAFONT, font, typefont, TeX",
%%% supported = "Maybe",
%%% abstract = "Character programs for the Malvern
%%% font family.",
%%% dependencies = "ma55doc.tex, pdc*.tex, maamac.tex, texnical.tex,
%%% mabib.tex, and many Malvern fonts",
%%% }
% This software is available freely but without warranty.
% See the file 0copying.txt for details.
%{{{ maman.tex
%{{{ Preamble
%**start of header
\input ma55doc
\input pdcidx
\input pdcdcap
%{{{ fonts
\twosidedfalse % change to TRUE for book-style printing, FALSE for 1-sided
\newif\ifPS \PSfalse % change to TRUE iff have PostScript fonts
\newif\iflong \longfalse % chnage to TRUE if you want as longer manual
\newfam\cpfam \newfam\xpfam \newfam\rmbfam \newfam\rmcfam \newfam\grfam
\newfam\rmxfam \newfam\rmsfam \newfam\cyfam
\def\extrafontsmap{\f{rmb}{ma55b}\f{rmc}{ma55c}%
\@\f{rmx}{fmvmq10}\@\f{rms}{fmvm10}%
\f{cp}{ma57a}\f{xp}{ma53a}\f{gr}{ma55g}\f{cy}{ma55c}}
\xfontset{tiny}\extrafontsmap{7}
\xfontset{small}\extrafontsmap{9}
\xfontset{note}\extrafontsmap{10}
\xfontset{body}\extrafontsmap{12}
\def\\{\macappend\BODYtemplate} \expandafter\\\expandafter{\extrafontsmap}
\bodyfonts
%}}} fonts
%{{{ customize footnotes & environments
\def\footnotetextmark#1{{\rmb#1}}
\def\footnotenotemark#1{{\rmb#1}}
\def\TOCentrysubsubsec#1#2#3{}
\def\n#1{$ \textfont0=\font #1 $}
\mathcode`\.="70AE % make "." in maths mode centred dot
% In the index, references are enclosed in $...$, so
% we have to change the "encapsulation" macros:
\def\idxunderline#1{\underline{#1}}
\def\see#1#2{$ {\rmb \char1 } #1 $}
%%%% \everylines={\smallfonts}
\everybnf={\def\>{{\rmb\char1 }}\def\\{{\rmb\char124 }}}
\def\notepar
{
\smallskip
\index{note}
\begingroup \it
\setbox\parbox=\hbox{\it note}
}
\def\endnotepar
{
\smallbreak
\endgroup
}
\def\example
{
\penalty\predisplaypenalty
\smallskip \parskip=0pt
\obeylines % every line is indented; blank lines ignored
\the\everylines
\let\end=\linesend
}
\def\endexample
{
\smallbreak \global\noindenttrue
}
%}}} environment tweaking
%{{{ full-page Part headings
% if in long mode, part headings omitted.
\def\BIGmap{\f{rm}{ma55a}\@\f{mf}{logo10}}
\fontset{big}\BIGmap{48}{56pt}{big}{big}
\ldfont\hugerm{ma75a72}
\def\part#1%
{%
\iflong
\advance\partno1
\mark{{\thesecno}{\thesecno}}
\vfill\eject
\iflong \line{} \vfill \fi
\begingroup
\parskip=0pt \parindent=0pt \hyphenpenalty=10000
\bigfonts
\rightskip=0pt plus 2em
\iflong
{\hugerm \thepartno}\bigskip
\else
\noindent\llap{\thepartno\enspace}%
\fi
#1 \par
\TOCwrite\TOCentrypart{\thepartno}{#1}
\counta=\secno \advance\counta1
\mark{{\n{\the\counta}}{\n{\the\counta}}}
\iflong \headline={\hfil} \footline={\hfil} \eject \fi
\endgroup
\fi
}
%}}} full-page part headings
%{{{ symbol tables
\def\symtabrule#1%
{%
\nointerlineskip
\moveleft\leftmargin \hbox
{%
\vrule height #1 width \dimen0 depth 0pt
}%
\nointerlineskip
}
\def\symtab
{%
\noindent$$ % matching $$ is in endsymtab
\def\dag{{\rm\char170 }}
\let\\=\symtabentry \counta=0
\openup1\jot
\dimen0\hsize \advance\dimen0\leftmargin
\halign to \hsize\bgroup\hskip-\leftmargin
\hfil##\unskip\hfil \tabskip=0pt plus 1em minus 0.5em
&\quad\tt##\unskip\hfil
&&\qquad\hfil##\unskip\hfil&\quad\tt##\unskip\hfil\cr
\noalign{\symtabrule{1pt}\medskip}%
}
\def\endsymtab
{%
\crcr
\noalign{\nobreak\medskip \symtabrule{0.5pt}}%
\egroup$$ %% matches $$ in above
}
\def\symtabentry#1|#2|%
{%
#1&
\def\tmp{#2}\expandafter\stripMacro\meaning\tmp
\global\advance\counta1
\ifnum\counta=3
\global\counta=0
\def\next{\cr}%
\else
\def\next{&}%
\fi
\next
}
\def\stripMacro#1:->{}
%}}} symbol tables
%{{{ font tables
%% Code to typeset a font table -- lifted from my testfont.tex
\newcount\tableN
\newcount\hexcount
\def\hexdigit#1{\ifcase#1\relax 0\or 1\or 2\or 3\or 4\or 5\or 6\or 7\or
8\or 9\or A\or B\or C\or D\or E\or F\fi}
\def\ntablecr
{%
\cr
\noalign{\nointerlineskip}
\multispan2\hfill &\multispan{33}\hrulefill
}
\def\ntable
{
\medskip
\begingroup \openup1\jot
\def\\{\char\tableN \global\advance\tableN 1}
\def\0##1{&\omit&\sevenrm##1}
\halign to \hsize
{%
\chartstrut\hss##\tabskip=0pt plus 10pt &
&\hss##\hss&##\vrule\cr
\lower 6.5pt\null
&\00\01\02\03\04\05\06\07\08\09\0A\0B\0C\0D\0E\0F
\ntablecr
\global\tableN=0
\ntablelines
\crcr
}
\medbreak
\endgroup
}
\def\ntablelines
{%
\ifnum\tableN<256
\let\next\ntablecontinuation
\else
\let\next\relax
\fi
\next
}
\newcount\ntabtmp
\def\ntablecontinuation
{%
% Find out if none of this row are defined by making a horizontal
% list of all of them preceeded by a penalty of 1; if any of them
% are defined then \lastpenalty will be something other than 1:
\setbox0=\hbox{\penalty1
\def~{\char\tableN \advance\tableN 1}%
~~~~~~~~~~~~~~~~\global\ntabtmp=\lastpenalty}%
% Now set the row in the table iff ntabtmp # 1:
\ifnum\ntabtmp=1
\global\advance\tableN 16 \let\next=\ntablelines
\else
\let\next=\ntablecontinuationcontinuation
\fi
\next
}
\def\ntablecontinuationcontinuation
{%
\cr
\noalign{\nointerlineskip \penalty5000 }
& \hexcount=\tableN \divide\hexcount16 \sevenrm\hexdigit\hexcount
&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&&\\&
\ntablecr
\ntablelines
}
\def\chartstrut{\lower 0.25\baselineskip \vbox to \baselineskip{}}
%}}} font tables
%{{{ aux file
%%
%% Hacks using the ".aux" file to store information between runs
%%
%% This allows cross-references and per-page footnotes.
%% Normally I don't bother if a document is short enough not to need
%% cross-references or an index.
%%
%% Often TeX must be run twice to get the Xrefs sorted out :-(
%%
%{{{ xrefs
% Cross-refernces require two passes; one to write the xref
% to the .aux file with \xreflabel, and one to use the resulting \def.
% A footnote to the effect that a ref has been omitted is generated.
% Perhaps this is not a great idea.
\def\xref#1%
{%
\expcs\ifx{xref-#1}\relax
\message{Warning: xref (#1) not known; you will need to TeX
this file again}%
<<{#1}>>%
\footnote{{\rm\dag}}{Cross-references in this document are
produced automatically. The values of Xrefs are written
into a file called \jobname.aux, which is read at the start of
the next run of \TeX\ on this file. Unknown Xrefs are replaced with the tag
name used within the document, enclosed in guillemets.}%
\gdef\xref##1{\expcs\ifx{xref-##1}\relax <<{##1}>>%
\else\csname xref-##1\endcsname\fi}%
\else
\csname xref-#1\endcsname
\fi
}
% #1 -- string of characters -- internal label for this xref
% #2 -- TeX text -- what is produced by \xref{#1} on subsequent runs.
\def\xreflabel#1#2%
{%
\edef\tmp{\string\expcs\def{xref-#1}{#2\ on page~\n{\noexpand\folio}}}%
\write\auxfile\expandafter{\tmp}%
}
\def\rcite#1{{\xref{#1}}} % direct reference
\def\cite#1{[{\xref{#1}\/}]} % parenthetically
\def\ncite#1#2{[{\xref{#1}\/}, #2]} % with a note
\def\lcite#1% #1 is \\-list macro of cites!
{%
\def\tmplist{#1}%
\lop\tmp\tmplist
[{\xref\tmp\def\\##1{, \xref{##1}}\tmplist}]%
}
%}}}
%{{{ footnotes -- numbered within pages!
% Data accumulated during the previous TeX run is used to
% number footnotes consecutively within pages. (Obviously
% this fails when footnotes changed -- but the same applies to
% xrefs anyway.)
% This is done by keeping two numbers per footnote -- the reference
% number (increases throughout the document, and is used internally)
% and the mark number (used in the completed document).
% Before the first footnote on a given page, the mark number is reset to 0.
% This can't be done by simply assigning it during the output routine
% because TeX might have set the footnote on the next page just before
% shipping out the current one. Therefore I keep a list -- call it xs
% -- of footnotes that were the 1st note on a page during the previous
% run. Thus xs will be an increasing list starting with 1 (because the
% 1st footnote in a file is automatically the first on a page!)
% Then the algorithm for each note is to increment the reference
% number, and check it against head(xs); if it is equal then set the
% mark number to 1 and xs := tail(xs). Otherwise, it is less than head(xs)
% hence on the same page as previously, so increment the mark number.
% For efficiency (ha!) xs is represented by \notelisthead (a countdef
% name, set to head(xs)), and \notelist (a list macro, set to tail(xs)).
\def\notelist{} % set by reading .aux file
\newcount\notelisthead
\newcount\notemarkcount
\newcount\noterefcount
\def\note % start a footnote
{%
\global\advance\noterefcount1
\ifnum\noterefcount=\notelisthead
\ifx\notelist\empty
\global\notelisthead=10000
\else
\glop\tmp\notelist
\global\notelisthead=\tmp
\fi
\notemarkcount=0
\fi
\global\advance\notemarkcount1
\edef\tmp{\string\notedatum{\the\noterefcount}{\noexpand\folio}}%
\write\auxfile\expandafter{\tmp}%
\footnote{\number\notemarkcount}%
}
% The data in the .aux file is (reference number, folio) pairs
% This is converted into a list of reference numbers for which
% the folio is different from the preceeding one, stored in macro
% \notedatumlastpage.
\def\notedatumlastpage{--!--}
\def\notedatum#1#2%
{
\def\tmp{#2}
\ifx\notedatumlastpage\tmp \else
\gappend\notelist{#1}
\gdef\notedatumlastpage{#2}
\fi
}
%}}} footnotes
\catcode`@=11
\inputifexists{\jobname.aux}
\catcode`@=12
\newwrite\auxfile \openout\auxfile=\jobname.aux
\ifx\notelist\empty
\notelisthead=10000 % No footnote data
\else
\lop\tmp\notelist \notelisthead=\tmp % set up notelisthead
\fi
%}}} aux file
%{{{ abbrevs
\def\url#1#2#3#4{(\urlnoparens{#1}{#2}{#3}{#4})}
\def\urlnoparens#1#2#3#4%
{%
URL {\tt#1:\allowbreak
//#2/\allowbreak
#3/\allowbreak
#4}%
}
\newif\ifkbnames
% Captions for \topins items
\newcount\tablecount
\def\caption#1{\global\advance\tablecount1
\medskip\noindent {\bf Table~\n{\the\tablecount}}\quad #1\par}
\def\cmrname#1{{\tt\lowercase{#1}}}
\def\ISO#1{ISO~\n{#1}}
% Use \vn{N} for version number after `\LaTeX' or `NFSS': \LaTeX\vn2e
% This is because they prefer no space between name and version ID
% whereas I think there ought to be one.
\def\vn{~\n}
\def\LaTeXe{\LaTeX\vn2e\note{Note that `\LaTeX\thinspace\n2\lower0.5ex\hbox{\gr
e}' and `\LaTeX\vn2e' are the same thing. The lowered `{\gr e}'
is merely an excessively fancy way of saying
`e'.}\global\def\LaTeXe{\LaTeX\vn2e}}
\def\texchar#1{\hbox{`{\tt#1}'}}
\def\oct#1{\hbox{\showmark\'$\it#1$}}
\def\hex#1{\hbox{\showmark\H\tt#1}}
\def\TUGboat{{\it TUGboat}}
\def\frac#1/#2%
{%
{\rmb\lowercase{#1}/\uppercase{#2}}%
}
\def\showmark#1% #1 is an \accent command
{\hbox to 0.5em{%
\def\typeImark##1{\char##1\relax}%
\def\typeIImark##1{\char##1\relax}%
\hss #1{}\hss
}}
\def\marginchar#1%
{%
\vadjust
{
\moveleft\leftmargin \vbox to 0pt
{
\vss
\hbox to \leftmargin{\bigrm \hss#1\hss\hskip1pc}%
}
}%
}
%% Put this LAST!!
\active\" \append\verbatimplains\"
\def"#1"{\hbox{\it#1\/}}
%}}} abbrevs
\def\package{Malvern~\n{1.2}}
\def\ttpackage{Malvern-1.2}
%**end of header
%}}} preamble
%{{{ Introduction
%{{{ demo
\vfill\eject
\begingroup \def\line#1{\hbox to \hsize{\kern-\leftmargin #1}}
\bigrm \baselineskip=52pt plus 1pt
\line{A\A\AE BCD\DH E\E FG\hfil.,:;`',,``''}
\line{HIJKL\L MN\NG O\O\OE\hfil?`!`!?}
\line{PQRST\TH UV\hfil a\a\ae bcd\dh\vd}
\line{WXYZ\hfil e\e f\/ff\/fi\/fl\/ffi\/fflgh\h i\i}
\line{-\/-->>\hfil j\j kl\l\vl mn\ng o\o\oe pqrs\ss}
\line{\copyright\registered\hfil <<--- t\vt\th uvwxy\&z}
\line{\rbrace\rbrack\char41 \rangle\hfil
>\degrees\char42 \trademark\Box \careof \char152\char153
\char155 <
\hfil \langle\char40 \lbrack\lbrace}
\line{\spaceskip=0pt plus 1fil
\dag\ \ddag\ \P{}\ \S{}\ @\ \#\ \$\ \%\ \&\ \cents\ \pounds\
\currency\ \permille\ \yen\ \florin}
\line{123456\hfil\cdot/+=\times\char175\bullet\hfil\uppercase{1234}}
\line{7890 \hfil\uppercase{567890}}
\vskip-\prevdepth
\nointerlineskip
\vbox to 0pt
{
\vss
\centerline{\headingrm 48-pt Malvern 55}
}
\headline={\hfil}
\eject
\endgroup
%}}} demo.tex
\part{Introduction}
\iflong
%{{{ about TeX and LaTeX
\section{About \TeX\ and \LaTeX}
\subsec{How to pronounce `\TeX'}
The "X" in "\TeX" is intended to stand for a Greek letter chi
({\gr Qq}), which is like the "ch" in Scottish "loch" or German
"ach", and is usually pronounced `k' by people whose languages
do not include that sound. Therefore `\TeX' should be
pronounced either `te"ch"' or simply `teck'. It is *not*
pronounced `tecks'.
Moreover, the lowering of the "E" in "\TeX" is intended to
remind us that it stands for epsilon ({\gr Ee}). When it is not
possible to print the "E" lowered, \TeX\ should be referred to
as `TeX' (but not `Tex' or `TEX').
^^{Lamport, Leslie} Lamport suggests that "\LaTeX" might be
pronounced `lay-\TeX', `lah-\TeX', or even `lay-teks'! On
systems without the capability to exactly reproduce his logo you
might try `L\kern-0.2em\raise 0.5ex\hbox{a}\TeX', `La\TeX', or
`LaTeX'.
\subsec{\TeX}
\TeX\ is a powerful and flexible typestting program. It was
devised by ^^{Knuth, Donald E.} Donald~E.\ Knuth with the
intention of producing with a computer typeset text (including
mathematics and complex tables) as good as that of a
professionally-produced book. \TeX\ goes to extraordinary
lengths to produce optimal line-breaks and correctly aligned and
spaced mathematics, in a way in which no DTP program currently
does. Because \TeX\ is a free program---that is, anyone can get
a copy of the |WEB| code and create a version that runs on their
computer---and uses plain text files, it is very widely used for
producing documents and exchanging them between different
computer systems, especially those containing a lot of
mathematical notation.
Knuth describes \TeX\ in {\it The \TeX book}~\cite{TeXbook}.
While this manual lacks the three-level section numbering that
computer users are accustomed to, it does describe everything
there is to know about \TeX, from writing simple manuscripts to
designing macros and producing new formats.
\TeX\ was designed to be used on a variety of different systems,
at a time when the pictorial user-interfaces popular today were
still rare. Therefore \TeX\ is entirely text-based: the user
feeds \TeX\ a manuscript with typesetting commands embedded in
it, produced with a normal text editor. \TeX\ operates in a
manner similar to a compiler, converting the textual
representation of the document into a compact format called DVI
(from `device-independent'), analogous to machine code. The
file of DVI information is printed using a separate
printer-driver program.
\subsec{\LaTeX}
\LaTeX\ is a front-end to \TeX, written in \TeX's own macro
language. It is often used in an attempt to evade the full
complexity of operating with \TeX. Strictly speaking, \LaTeX\
is a \TeX\ \dfn{format}, that is, a package of \TeX\ macros
compiled into a compact form.
As the first macro package to offer facilities for automated
sectioning, bibliography, and table-of-contents generation,
\LaTeX\ has become a very popular way of producing technical
documents.
The standard introduction to \LaTeX\ is {\it\LaTeX: A Document
Preparation System}~\cite{LaTeX} by the designer of \LaTeX,
^^{Lamport, Leslie} Leslie Lamport. This book includes a
summary of the \LaTeX\ macros, but stops short of describing how
to go about augmenting \LaTeX's facilities with new styles and
style options.
At the time of writing, two new versions of \LaTeX\ are under
development. \LaTeX\vn3 will be a complete rewrite; in the
meantime, \LaTeXe\ will be released as a new standard \LaTeX.
\subsec{Fonts for \TeX}
The fonts used with \TeX\ documents are described in two parts.
The first part, the font metrics (called the TFM file), is used
by \TeX\ itself when generating the DVI file. The second
describes how the characters are drawn by the printer; it is in
a format that depends on the particular font, driver and
printer. Common formats for the second part of a font
description are GF (`generic fonts' produced by \MF), PK
(produced from GF files and used by many printer drivers), VF
(composite fonts, that is, fonts formed by combining several
other fonts), and \PS\ types~$1$ or $3$ (used on \PS\ printers).
Normally, computer fonts are created from designs drawn on paper
at a large size (a cap-height of $100\,\rm mm$, say) and then
the outlines of the letters are scanned in by locating points
along the curves with a probe (or by scanning the shapes and
having a program calculate the outlines from the resulting
bitmaps). Normally by the time the font is being scanned, all
the design decisions have been taken and the role of the
computer operators is merely to produce a faithful rendering in
the correct format.
\MF\ is a program which converts outlines to bitmaps and creates
GF files (which contain a bitmap for each glyph). The outlines
are described using \MF's own programming language, with a
\dfn{character program} for each letter. Traditionally \MF\
font design delays some aesthetic decisions until well into the
programming stage---in Knuth's example ("\MF\/book", Ch.~$5$),
sixteen trial letters "I" are generated with different stem
widths so that they can be compared against a sample letter "O".
\MF\ programs can be arbitrarily complex (although the peverse
nature of the \MF\ language ensures that any attempt to be too
clever is severely punished). A given program can be used to
generate different fonts---light and boldface, for example.
Because \MF\ programs know what device the font is being
generated for, they can include code intended to make the font
digitize well (that is, ensure that the bitmaps resemble the
original intention of the designer even on low-resolution
devices). The practical upshot of this is that the facilities
of the latest fancy formats for other systems (`multiple
masters', `intelligent scaling', `hints') were available in \MF\
systems years ago, but the programming skill required to use
them prevented them from being widely used.
%}}} about TeX and LaTeX
\fi
%{{{ Nomenclature
\section{Conventions used in this handbook}
A distinctive font will be used for examples of literal text
such as commands to the computer and the contents and names of
text files:
\begin example
|ABCDEFGHIJKLMNOPQRSTUVWXYZ|
|abcdefghijklmnopqrstuvwxyz|
|0123456789"#$%&@*+-=,.;:?!|
|()<>[]{}`'\||/_^~|
\end example
Italic letters are used for the names of some \MF\ variables,
for metasyntactic variables, for words mentioned in sentences
(such as the word "word" here), and for the titles of books and
so on.
Boldface is sometimes used for \MF\ `sparks'. A bold italic
face is used for the first occurence of technical terms.
\subsec{Citations and references}
Numbers appearing in square brackets (for example, [$1$]) refer
the reader to other sources for more information; they are
listed in \xref{bib}.
\subsec{Syntax descriptions}
Occasional syntax descriptions will be given in the usual
^^{Backus--Naur formalism}^{extended Backus--Naur Formalism}
(extended BNF, or EBNF): in other words, an extension of the
notation described at the start of Chapter~$24$ of the {\it\TeX
book} \cite{TeXbook}, `Summary of Vertical Mode'. Syntactic
entities are written with angle brackets, thusly: \langle{\it
dimen\/}\rangle. The arrow `{\rmb\char1}' is read as `is
defined as', and the vertical bar `{\rmb\char124}' as `or'.
Literal text is enclosed in quotation marks.
Square brackets on the RHS of the arrow enclose optional text.
\iflong
As an example, take this definition from Chapter~$24$:
\begin bnf
\<unit of measure> \> \<optional spaces> \<internal unit>
\\~\<optional {\tt true}> \<physical unit>.
\<optional {\tt true}> \> |true| \\ \<empty>.
\<optional spaces> \> \<empty> \hfil\break
\\ \<space token> \<optional spaces>.
\end bnf
Using brackets the first two rules can be replaced by just one:
\begin bnf
\<unit of measure> \> \<optional spaces> \<internal unit>
\hfil\break
\\~[ |true| ] \<physical unit>.
\end bnf
\fi
Braces enclose text that may repeated, or rather text which may
appear any number of times including zero.
\iflong
For example,
\<optional spaces> can be defined as:
\begin bnf
\<optional spaces> \> \{ \<space token> \}.
\end bnf
Or we could rewrite the whole of the above definition of \<unit
of measure> as follows:
\begin bnf
\<unit of measure> \> \{ \<space token> \} \<internal unit>
\hfil\break
\\~[ |true| ] \<physical unit>.
\end bnf
\fi
There is no conflict with the use of brace tokens in the
{\it\TeX book}\/: all such tokens will be written in quotation
marks in syntax rules (`|{|' and `|}|' rather then \lbrace\ and
\rbrace), and besides, I~will not be referring to brace tokens.
\iflong
\subsec{Typefaces, founts and fonts}
In traditional English usage, a \dfn{typeface} (or \dfn{face})
is the design of a set of letters, figures and symbols at any
size: an abstract concept. A \dfn{fount} is an implementation
of a typeface at a particular size; normally this refers to a
phyiscal object, such as a set of punches or a phototypesetter
film strip. By analogy with "program", I will use "font" for an
analagous computer resource, whether it describes a typeface at
any size (as a \PS\ scalable font does) or at a particular
design size (as \TeX\ fonts do).
\subsec{Italic, slanted, oblique, latin, roman and upright}
The term \dfn{italic} used to refer to a cursive variation of a
typeface. In phototypesetting days, sanserif faces with no
italic could have an obliqued form produced using prisms.
Generally \dfn{slanted} was used to mean either italic (if
available) or obliqued. Nowadays almost all faces are supplied
with a slanted form; for sanserif fonts these are inconsistently
referred to as "italic" or "oblique". So far as I~know,
Computer Modern is the only type family to include three
different slanted alphabets---italic, obliqued and so-called
`math italic'.
The word "roman" is used to mean ordinary upright letters, as
distinct from italic or bold and the like. I~shall generally
distinguish between this use of "roman" and the use of "latin"
to refer to the alphabets derived from the alphabet devised for
writing the Latin language in classical times, as compared with
the Greek and Cyrillic alphabets, for example.
\iffalse
\subsec{Families and super-families}
A family is a collection of typefaces, intended to be compatible
with each other. For example, the ITC Avant-Garde Gothic family
has members such as ITC Avant-Garde Gothic Demi and ITC
Avant-Garde Gothic Light Oblique, and Univers has family members
(also called variants) like Univers~$55$ and Univers~$48$.
Most families consist of a few different weights of italic and
upright faces. There are a few `super-families', such as ITC
Stone, Lucida and Computer Modern, which contain many different
variants such as sanserif, typewriter, informal. ITC Stone
Sans, ITC Stone Serif and ITC Stone Informal may be viewed as
three separate families that were designed together
(collectively a `super-family'); or, ITC Stone can be viewed as
is a family with Sans Semibold Italic, Informal Italic and so on
as faces within it.
I~personally prefer the `splitter' approach; it keeps the number
of names of font variants a document manager needs to know about
relatively small, and does not greatly increase the number of
family names, because there are very few super-families compared
with the enormous number of normal-sized families. It also
makes the design of menu-based font-selectors more
straightforward. (The names Adobe uses for its fonts indicate
that they are `splitters' too.) Unfortunately, \LaTeX\ was
designed on the implicit assumption that `sans serif', `slanted'
and `caps and small caps' are variants present in *any* family.
Super-families are an intuitively pleasant concept for
classifying fonts, but they are not relevant to any
document-processing program I~can think of off the top of my
head. That is, given document~$A$ with ITC Stone Serif and Sans
and document~$B$ with Palatino and Univers, there's nothing
useful that a computer can do with the information that $A$
takes all its faces from one super-family and $B$ does not.
\fi % end of iffalse
\fi % end if iflong
\subsec{Composite letters}
I will use the phrase \dfn{composite letter} to refer to letters
which, regardless of their meaning in their respective
languages, are *written* (not necessarily typeset) as one of the
letters {\it A}--{\it Z} (called a \dfn{base glyph}) with that
addition of some sort \dfn{mark}. Thus composite letters
include German umlauts ({\it\"a}, {\it\"o}, {\it\"u}), accented
letters in languages like Spanish ({\it\'a}, {\it\'e}, etc.),
and special letters like {\it\aa}, {\it\"a} and {\it\"o} in
Scandinavian languages.
As well as marks that go above letters, there are some that go
below ({\it\c c}, {\it\a}) and through letters ({\it\l},
{\it\o}). Normally it will be useful to distinguish between
composite letters with the mark above them and the latter two
categories. For example, "\A" is the same height as the letter
"A", but if the letter "\AA" is to have the same height as "A"
then the base glyph must be shrunk slightly.
\subsec{Hyphens and dashes}
To prevent confusion, I~shall use the word "dash" to refer only
to the en- and em-dash symbols (`--' and `---'), and I~will use
the word "hyphen" for hyphens (`-').
\iflong
Hyphens (produced with
one ASCII minus sign) are used in English for joining words
("ear-ring", "get-at-able"), to disambiguate a few odd compounds
("re-cover", "co-operate"), and when dividing words at the ends
of lines. Short (en) dashes (|--|) are used in joining pairs
where there is movement or tension between them ("London--Oxford
route", "\n{1980}--\n{85}"). Long (em) dashes (|---|) are used
in a similar way to parentheses or a colon.
\fi
\subsec{Sundry quotation marks}
In English printing, the ^{quotation marks} are an ^{apostrophe}
(') and an ^{inverted comma}---with hot metal typesetting this
was a literally a ^{comma} that had been put in place
upside-down. In German, a rather more sensible arrangement is
used where two commas start quotations, and two inverted commas
close them: ,,so``. To prevent confusion, I~shall consistently
refer to the character `\,`\,' as an inverted comma rather than
`^{left quote}', because it is not always a *left* quotation mark:
\begin display
, & comma & ,, & double comma\cr
` & inverted comma & `` & double inverted comma\cr
' & apostrophe & '' & double apostrophe\cr
\end display
There is some potential for confusion with regards to the ASCII
characters `|`|'and `|'|', used by \TeX\ to stand for an
inverted comma and apostrophe respectively. ASCII was designed
with typewriter-like devices in mind, and |'| was intended as a
combined neutral single quotation mark, acute accent and
apostrophe, which is not quite the same as \TeX's use for it.
Traditional UNIX names for these two characters are \dfn{quote}
and \dfn{backquote}.
When I~am referring to French ^{guillemets}, I~shall use `left
guillemet' to refer to the one that points to the left (<<). In
French and many other languages, this is used as an opening
quotation mark <<\,thus\,>>; in German it is sometimes used as a
closing quotation mark >>so<<.
\subsec{How to refer to Malvern fonts}
The name `Malvern' is spelled as a normal proper noun (no fancy
typography is necessary). In English it is pronounced with the
accent on the first syllable, with the "a" pronounced as in
either "pal" or "pall" (natives of the town it is named after
say `*mawl*-v{\rmb\char116 }n', I~tend to pronounce it
`*mal*-v{\rmb\char116 }n'). In other languages it may as well
be pronounced and declined according to the orthography of the
language.
When describing a particular version of Malvern, convention
favours an unbreakable space between name and number:
Malvern~$1.1$ is `|Malvern~1.1|' (like Henry~VIII, Occam~$2$,
Fortran~$9$X). The same applies to naming members of the
Malvern font family (Malvern~$55$, Malvern~$76$) and Malvern
font encoding family (Malvern~A, Malvern~B). In the latter case
the letters need not be italicized.
%}}} Nomenclature
%{{{ Numeric style suffixes
\section{Malvern's font names}
%{{{ Univers
\subsec{Numeric style codes}
The first font family designed as a unit was ^{Univers}. The
designer, Adrien Frutiger\index{Frutiger, Adrien}, introduced
two-figure codes to describe the different variations, instead
of a names like `bold italic' and `light condensed'. For
example, the `roman' face is called Univers~$55$, italic
Univers~$56$, boldface Univers~$75$ and lightweight condensed
italic Univers~$38$. Frutiger has used his system in all his
subsequent font families. ^{Malvern} and other new fonts I~make
use a similar system.
%}}} univers
%{{{ Malvern suffixes
\subsec{The style codes used with Malvern}
\xreflabel{s-stylecodes}{\S\thesecno}
Just as with Frutiger's system, the first digit gives the weight
of the font and the second digit gives the width (in the sense
of `{\cp compressed}' vs.\ `{\xp expanded}'), as in the
following table:
\begin table \strut$#$\hfil\quad&#\hfil\qquad&$#$\hfil\quad&#\hfil\cr
& \it first digit & & \it second digit\cr
\noalign{\smallskip}%
1 & ultra-light (hairline) & 1, 2 & extra expanded \cr
2 & extra-light (thin) \cr
3 & light & 3, 4 & expanded/extended \cr
4 & book (semi-light) \cr
5 & medium & 5, 6 & normal width \cr
6 & demi (semi-bold) \cr
7 & bold & 7, 8 & condensed/compressed \cr
8 & extra-bold \cr
9 & ultra-bold & 9, 0 & extra compressed \cr
%%%% 0 & black \cr
\end table
The second digit is even for a slanted face, odd for an
upright face---so that the italic version of Malvern~$55$ is
$56$, and of $19$ is~$10$.
This in theory gives $90$ styles. The middle odd-numbered
weights ($3$, $5$, and $7$) are expected to be the more commonly
used ones. Similarly, the three middle widths are expected to
be used more often than $1$ and~$9$. The practical upshot of
this is (a)~they are more likely to be available as \mc{PK}
files and (b)~they are more likely to have had their \MF\
programs tested and debugged.
This system of names only allows one slanted form and cannot
distinguish `compressed' from `condensed'. Normally this
fine---before Knuth's Computer Modern came along, it was only
heretics with \PS\ or phototypesetters without italics available
who would resort to obliqued fonts. The \MF\ programs that
describe Malvern have the capacity to produce `vertical italic'
and obliqued forms, but these are not part of the standard
Malvern pantheon. They are *not* intended to be used in normal
bookwork.
%}}} Malvern suffixes
%{{{ TeX fonts names
\subsec{\TeX\ font names}
\xreflabel{s-font-names}{\S\thesecno}
The question now is how to represent these fonts using
reasonably portable \TeX\ font names. Recall that only
lowercase letters and digits can be used, and that names must be
limited to a length that even stupid filesystems like ^{MS-DOS}
can handle.
I~have my own system of external font names of the following
form:
\begin bnf
^\<font name> \> \<family> \<style> \<encoding> \<size>.
\<family> \> \{ \<letter> \\ \<digit> \} \<letter>.
\<style> \> \<digit> \<digit>.
\<encoding> \> \<letter> [ \<letter> ].
\end bnf
Where a \<size> is the design size in points, possibly including
`|p|' as a decimal point, or `|m|' to indicate millimetres:
\begin bnf
^\<size> \> \<points> \\ \<millimetres>.
\<points> \> \<digits> [ |p| \<digits> ].
\<millimetres> \> \<digits> |m| [ \<digits> ].
\<digits> \> \<digit> \{ \<digit> \}.
\end bnf
In the case of Malvern, the \<family> is |ma|. The \<encoding>
describes the subset of all the Malvern characters that this
font contains---for example |s| is the \TeX\ Text character set.
Thus $10$-pt Malvern~$55$ with \TeX\ Text encoding is
given the name |ma55s10|, which fits nicely into the eight
characters allowed by ^{MS-DOS} filenames. More eccentric
sizes, like $7\cdot2\pt$ have names like |ma55s7p2| (eight
characters) or |ma55s12p5| (nine characters).
Here's a partial list of encoding codes:
\begin display
\tt a& Malvern A (latin), see \xref{tab-charcodes-a}\cr
\tt b& Malvern B (supplement), see \xref{tab-charcodes-b}\cr
\tt c& Malvern C (Cyrillic), see \xref{tab-charcodes-c}\cr
\tt g& Malvern G (Greek), see \xref{tab-charcodes-g}\cr
\tt s& \TeX\ Text \cite{TeXF1}\cr
\tt az& \TeX\ Text with old-style numerals\cr
\tt aa& \TeX\ Text with small capitals replacing lower case letters\cr
\tt ab& \TeX\ Text with old-style numerals and small capitals\cr
\tt ar& \TeX\ Extended Text---Latin (Cork) \cite{Cork}\cr
\tt as& Cork with old-style numerals\cr
\tt at& Cork with small capitals\cr
\tt au& Cork with old-style numerals and small capitals\cr
\end display
\xreflabel{tab-encoding-codes}{\S\thesecno}
%}}} TeX fonts names
%{{{ Berry's scheme
\subsec{Naming Malvern fonts in Karl Berry's system}
Karl Berry has described a system for naming fonts newly
introduced to the `\TeX\ world' \lcite{\\{Berry}\\{Berry2}}. A
subset of the Karl Berry's syntax for font names is as follows:
\begin bnf
\<font name> \> |fmv| \<style> \<size>.
\<style> \> \<weight> \<variant> \{ \<variant> \} [ |r| \\ \<width> ]
\hfil\break \\ \<weight> |r| \<width>
\hfil\break \\ \<weight>.
\<weight> \> |t| \\ |i| \\ |l| \\ |k| \\ |m| \\ |d| \\ |b| \\
|x| \\ |u| \\ |c|.
\<variant> \> |i| \\ |9| \\ |o| \\ |u| \\ |q| \\ |c|.
\<width> \> |x| \\ |c|.
\<size> \> \<digit> [ \<digit> ].
\end bnf
This definition is incomplete, because the rules governing the
order of variant letters and when variant and width letters may
be omitted are complicated\iffalse:
\begin bullets
\\
If \<variant> letters are present, arrange them in alphabetical
order.
\\
If there is a \<variant>, and there is no \<width>, and the
last \<variant> is a digit or a valid \<width>, then the
trailing |r| must be present. Otherwise it must be omitted.
\end bullets
\else.\fi
The \<weight> letters listed above correspond to the first
digit's values of $1$, \dots, $9$, $0$. A \<variant> of |i|,
|o| or |u| indicates a slanted, obliqued or `upright italic'
style instead of upright; |9| is old-style digits; |c| is caps
\& small caps; |q| is the Cork encoding (instead of the \TeX\
Text encoding). Fonts with |c| or |q| variants have to be
created as virtual fonts, using Alan Jeffrey's ^|fontinst|
package (\xref{s-fontinst}). Fonts using \TeX\ Text encoding
may be generated directly with \MF.
This gives names like `|fmvm12|' for $12$-point Malvern~$55$,
`|fmvdic18|' for Malvern~$68$. Malvern~\n{55} with old-style
numerals would be |fmvm9r10|. On the other hand, Malvern~\n{68}
with old-style numerals would be `|fmvd9ic10|'---nine
characters---and we haven't even specified a base encoding yet.
\ifkbnames\else
\begin notepar
As of October~\n{1994}, the font names standard does not allow
for combinations for more than two variants (where `variants'
includes encodings and font shape) without breaking the
\n8-character limit imposed by stupid filesystems like MS-DOS
and ISO~\n{9960}. The only temporary solution I~can offer is to
extend the nonstandard `\/{\tt ma}\/-' naming scheme to include
encoding codes for the fonts used by plain \LaTeX, NFSS and
NFSS\vn2. Therefore `\/{\tt fmv}\/-' names are not used at
present.
\end notepar
\fi
\xreflabel{s-kb-names}{\S\thesecno}
%}}} Berry's scheme
%}}}
%}}} Introduction
%{{{ Using Malvern
\part{Using Malvern in \TeX\ documents}
%{{{ LaTeX 2e
\section{Using Malvern with \LaTeXe\ or NFSS\vn2}
\index{LaTeX2e@\LaTeXe|+}
\index{NFSS\vn2|+}
\subsec{Background to \LaTeXe}
The release of the so-called New Font Selection Scheme (^{NFSS})
has left the \LaTeX\ world in a slightly confused state, with
neither plain \LaTeX\ nor \LaTeX\ augmented with NFSS considered
`standard' anymore. This is partly because \LaTeX+NFSS is not
quite compatible with plain \LaTeX, so older documents might
have to be edited to suit the new system.
\LaTeX\ version \n3 is intended to put an end to this confusion,
but it will be some time before ^^{LaTeX3@\LaTeX\vn3} \LaTeX\vn3
is generally available. In the meantime a new, `standard'
version has been released, called \LaTeXe. \LaTeXe\ is
backwards-compatible with \LaTeX-\n{2.09} documents, using a new
syntax to access the newer features.
\subsec{NFSS\vn2}
\LaTeXe\ includes a new FSS called NFSS\vn2 which uses font
family definition ({\tt fd}) files to tell it how to obtain
fonts in a given font family and encoding family. For example,
a file describing Cork-encoded Malvern is called `^|T1fmv.fd|':
"T\n1" is the NFSS\vn2 code for the Cork encoding, and "fmv" is
Karl Berry's code for Malvern. Once such an {\tt fd} file is
installed, to use Malvern fonts in a document you would use
something like the following:
\begin display
|\fontencoding{T1}|\cr
|\fontfamily{fmv}|\cr
|\selectfont|\cr
\end display
This might go in a document preamble, but normally such changes
to the overall look of a document belong in a package.
\subsec{Malvern in NFSS\vn2}
The Malvern includes a sample set of {\tt tfm}, driver, {\tt vf}
and {\tt fd} files so that Malvern should be usable with
\LaTeXe\ or NFSS\vn2 without very much effort, both with the
\TeX\ Text and Cork encodings (OT$1$ and T$1$). This assumes
that
\begin bullets
\\ {\tt dvi} previewers and printer drivers that understand virtual
fonts are available;
\\ printer fonts (such as {\tt pk} files) will be generated
automatically when needed (for example, by invoking a
^|MakeTeXPK| script on UNIX-\TeX\ systems).
\end bullets
These files were generated with ^^{Jeffrey, Alan} Alan Jeffrey's
^|fontinst| package (see \xref{s-fontinst}). They do not
include support for italic caps-and-small-caps because there is
at present no font-shape name for this combination.
\index{LaTeX2e@\LaTeXe|-}
\index{NFSS\vn2|-}
%}}} LaTeX 2e
%{{{ LaTeX/NFSS
\section{Using Malvern with \LaTeX~\n{2.09}}
\index{LaTeX2.09@\LaTeX~\n{2.09}|+}
In \LaTeX, It is possible to use a font or two in an
ad-hoc fashion using the ^|\newfont| command:
\begin display
|\newfont{twlgr}{ma55g12}|\cr
|\newcommand{\textgreek}[1]{{\twlgr#1}}|\cr
\end display
Then `|\textgreek{alfa}|' generates `{\gr alfa}'. The problem
here is that fonts loaded this way do not change size
automatically when commands like ^|\footnotesize| or ^|\large|
are used; as a result they will not work properly in footnotes
or section headings. They also will not work in maths mode.
\subsec{Using NFSS}
The so-called New Font Selection Scheme (^{NFSS}) is an
extension of \LaTeX~\n{2.09} to make it easier to switch between
fonts \cite{NFSS}. The \LaTeX\ system I have access to does not
use NFSS, so I~can not test NFSS code and I~do not know how much
documentation on adding new fonts is supplied with the package.
I have included \index{Rahtz, Sebastian P.~Q.} Sebastian Rahtz's
^|malvern.sty| \cite{nfss-malvern}, and also style files named
^|fmvnfss.sty| and ^|fmv9nfss.sty|\note{"Fmv" is Karl Berry's
code for Malvern, and "nfss" distinguishes it from the plain
\LaTeX\ version and any \LaTeXe\ version. The digit `$9$' is
the Berry code for old style figures.} which are modelled on
|malvern.sty|, but which use the fonts included in the Malvern
distribution. They do not have support for the ^|\sc|
declaration.
\subsec{Making fonts change size without NFSS}
To make fonts that change size properly requires a style file
that reprograms plain \LaTeX's size-changing commands (I~shall
refer to \LaTeX\ version~\n{2.09} without NFSS as `plain
\LaTeX~\n{2.09}', and to \LaTeX~\n{2.09} with NFSS as
\LaTeX~\n{2.09} + NFSS'). To do this requires some knowledge of
the way plain \LaTeX's size-changing and font-changing commands
work \cite{lfonts}.
The ^{size-changing commands} like |\normalsize| and
|\footnotesize| work by calling internal commands |\|"size"|pt|
and |\@|"size"|pt|, where "size" is the type size in points,
expressed as roman numerals. For example, in a $10$-pt
document, |\normalsize| invokes |\xpt| and |\@xpt| in order.
The |\@|"size"|pt| macros are initially defined to expand to
nothing. The |\|"size"|pt| macros link font nicknames |\rm|,
|\it| etc.\ with real fonts like |\tenrm| or invocations of
|\@getfont|\index{getfont@{\tt\char92\char64 getfont}}. The
macro |\@getfont| allows some fonts to be loaded on demand
rather than preloaded when \LaTeX\ starts up (saving some memory
when they are not used). When expanded, |\@getfont| appends
assignments to |\@|"size"|pt| that override the definition in
|\|"size"|pt|. The practical upshot of this is that |\@getfont|
is only invoked the first time the font is referred to;
subsequent uses of that font use the assignment added to
|\@|"size"|pt|.
There are two ways to add new fonts to add new fonts to \LaTeX's
lists. The quick kludge is to let |\@getfont| do the work. For
example, the following code might go in a {\tt sty} file:
\ifkbnames
\begin lines
|\@getfont{\prm}{0}{\@xpt}{fmvr10}|
|\@getfont{\prm}{0}{\@xipt}{fmvr11}|
|\@getfont{\prm}{0}{\@xiipt}{fmvr12}|
\smallskip
|\@normalsize|
\end lines
\else
\begin lines
|\@getfont{\prm}{0}{\@xpt}{ma55s10}|
|\@getfont{\prm}{0}{\@xipt}{ma55s11}|
|\@getfont{\prm}{0}{\@xiipt}{ma55s12}|
\smallskip
|\@normalsize|
\end lines
\fi
This loads the fonts and adds assignments to the |\@|-commands
so that they are used in $10$, $11$ and $12$-pt text. It also
has unwanted side-effects like changing the size and current
font, which are cancelled out by the
^^{normalsize@{\tt\char92\char64 normalsize}} |\@normalsize| at
the end.
A solution that is more efficient if more than a handful of
fonts are being changed is to make a copy of |lfonts.tex| and
edit it to load Malvern fonts instead of Computer Modern fonts.
This approach allows the new fonts to be demand-loaded using
^^{getfont@{\tt\char92\char64 getfont}} |\@getfont| and so on.
This is used two sample style files included in the
distribution, ^|fmvpltx.sty| and ^|fmv9pltx.sty|.\note{"Fmv" is
the code for Malvern in Karl Berry's system, and "pltx" short
for `plain \LaTeX'.} They do not include support for the
caps-and-small-caps declaration ^|\sc|.
\subsec{Which fonts to use with \LaTeX\ \n{2.09}}
In the ^{Malvern~\n{1.0}} documentation I~suggested that Malvern
fonts with the standardized font names
\lcite{\\{Berry}\\{Berry2}} and Cork encoding \cite{Cork} be
used with \LaTeX, on the grounds that the Cork encoding is due
to become the standard for \LaTeX. Since then the situation has
changed a little. The introduction of NFSS\vn2 means that
future versions of \LaTeX\ will not be tied down to just one
encoding scheme after all. Also, new versions of the
font-naming scheme include encoding codes amongst the variant
letters, implying that the default is the standard \TeX\ Text
encoding.
It follows that the standard names (starting `{\tt fmv}-')
should be used with the standard `\TeX\ Text' encoding when
using Malvern fonts with \LaTeX~\n{2.09}, whether with NFSS or
not. This way the macros that work with the old encoding (such
as |\ae|, |\'|, and the like) will not need to be changed.
NFSS~\n2 will take care of redefining these macros when
appropriate.
\ifkbnames\else
\begin notepar
As of October~\n{1994}, the font names standard does not allow
for combinations for more than two variants (where `variants'
includes encodings and font shape) without breaking the
\n8-character limit imposed by stupid filesystems like MS-DOS
and ISO~\n{9960}. The only temporary solution I~can offer is to
extend the nonstandard `\/{\tt ma}\/-' naming scheme to include
encoding codes for the fonts used by plain \LaTeX, NFSS and
NFSS\vn2. Therefore `\/{\tt fmv}\/-' names are not used at
present.
\end notepar
\fi
\xreflabel{s-LaTeX-fnames}{\S\thesecno}
\ifkbnames
Malvern \n{75} is intended as the boldface counterpart to
Malvern~\n{55}, so the font used for \n{10}-pt |\bf| should be
|fmvb10| rather than |fmvbrx10|.
\fi
\index{LaTeX2.09@\LaTeX~\n{2.09}|-}
%}}} LaTeX/NFSS
%{{{ plain TeX -- maamac.tex
\section{Using Malvern with plain \TeX: {\tt maamac.tex}}
\xreflabel{s-maamac}{\S\thesecno}
This ^^{maamac.tex@{\tt maamac.tex}|+} section describes a file
^|maamac.tex| of definitions to customize \TeX\ to work with the
Malvern~A conventions. It covers roughly the same territory as
Chapter~\n9 of the "\TeX book" \cite{TeXbook}, and assumes you
have already have macros in place to load Malvern fonts with the
Malvern~A encoding \lcite{\\{TeXB4}\\{TeXE}}. At a minimum:
\begin example
|\input maamac|
|\font rm=ma55a10 \rm|
\end example
\begin notepar
The file |maamac.tex| (`*Ma*lvern *A* *mac*ros') was formerly
called simply ^|malvern.tex|. The new name is intended to be
less ambiguous, while still acceptable to file systems with
short file names.
\end notepar
\subsec{Ligatures}
The letter ligatures "ff", "fi", "fl", "ffi", "ffl" and
punctuation ligatures `--', `---', `!`', `?`',
`\thinspace``\thinspace' and `\thinspace''\thinspace' work as in
Computer Modern. In addition, |fj| produces "fj" and |<<| and
|>>| produce the guillemets `<<' and `>>'. Note that you must
use `|''|' to stand for a double-apostrophe---with Computer
Modern, some people use `|"|', which will not work.
\subsec{Special letters}
In addition to the special letters "\oe", "\ae", "\aa", "\o",
"\l", "\ss", "\i" and "\j" there are:
\begin display
|\A|&\A&|\a|&\a& Polish "a" with ogonek\cr
|\E|&\E&|\e|&\e& Polish "e" with ogonek\cr
|\TH|&\TH&|\th|&\th& Icelandic thorn\cr
|\DH|&\DH&|\dh|&\dh& Icelandic eth\cr
|\NG|&\NG&|\ng|&\ng& Lappish eng\cr
|\vd|&\vd&|\vt|&\vt& alternatives to "\v d", "\v t"\cr
|\vl|&\vl&|\h|&\h& alternatives to "\v l", "\^h"\cr
\end display
The commands producing composite letters (|\'e| for "\'e",
etc.)\ work as before, except that they use different marks on
capital letters: "\'E" instead of "\accent8 E"\iflong\space (see
\xref{s-composites} for more information)\fi.
\subsec{Sundry symbols}
The commands |\$|, |\#|, |\%| and |\&| produce `\$', `\#', `\%'
and `\&' as in plain \TeX\ (|\$| does not produce a pounds sign
`\pounds' in italics).
In addition, the commands |\P|, |\S|, |\dag| and |\ddag| produce
signs "\P", "\S", "\dag", "\ddag" that come from the current
font rather than the mathematical symbol font.
There are the following additional symbols:
\begin display
^|\pounds|& \pounds&
Pounds-sterling sign\cr
^|\cents|& \cents&
Cents sign (alternative to "c")\cr
^|\currency|& \currency&
Currency sign\iflong , see \cite{s-currency}\fi\cr
^|\permille|& \permille&
Per-mille (per-thousand) sign\cr
^|\yen|& \yen&
Japanese Yen sign\cr
^|\florin|& \florin&
Florin sign (alternative to italic "f\/")\cr
\noalign{\smallbreak}%
^|\times|& \times&
multiplication sign\cr
^|\minus|& \minus&
minus sign\cr
^|\langle|, ^|\rangle|& \langle, \rangle&
angle brackets\cr
|\{|, |\}|& \{, \}&
braces\cr
^|\cdot|& \cdot&
raised dot (British decimal point)\cr
^|\bullet|& \bullet&
a bullet\cr
^|\Box|& \Box&
a ballot box\cr
^|\degrees|& \degrees&
degrees sign\cr
\noalign{\smallbreak}%
^|\Mc|& \Mc&
`Mac', as in \Mc{Donald}\cr
^|\No|& \No&
`Number' or `numero'\cr
^|\orda|& \orda&
feminine ordinal numbers\cr
^|\ordo|& \ordo&
masculine ordinal numbers\cr
^|\careof|& \careof&
indicates indirect address\cr
^|\copyright|& \copyright&
international sign of copyright\cr
^|\registered|& \registered&
registered trade mark sign\cr
^|\trademark|& \trademark&
trade mark sign\cr
\end display
The inclusion of `\times', `\minus', `\degrees', `\cdot' makes
it possible to say `\minus17\cdot6\thinspace\degrees C' or
`50\thinspace mm \times\ 100\thinspace mm' without using maths
mode (and therefore in the current font). The symbols that are
named the same as mathematics symbols in plain \TeX\ use
|\ifmmode| so that they can use the plain \TeX\ definition in
formulas and the Malvern character in horizontal mode.
\subsec{Old-style and ranging numerals}
By default, ^{old style numerals} are used: 0123456789. These
are for use in non-technical text, where old style numerals are
usual when using serif fonts. To get ^{ranging numerals}
$0123456789$ use one of:
\begin display
|$0123456789$|\cr
|$\textfont0=\font 0123456789$|\cr
|\uppercase{0123456789}|\cr
|\caps{0123456789}|\cr
\end display
The switch to ranging numerals in mathematics mode reflects the
assumption that mathematics mode is mainly used in documents
with technical content (besides, old style numerals look wrong
in anything but the simplest formulas). Normally a given
document should not use both styles---which implies that if you
are using formulas then all numerals in the manuscript must be
encosed in mathematics delimiters.
\xreflabel{s-ranging}{\S\thinspace\thesecno}
\subsec{Small captials}
The following macros do not work in \TeX's mouth, meaning that
they will not have the intended result when expanded in an
|\edef|, for example\iflong
\space (see \xref{s-alphabets} for more
information)\fi.
\begin display
|\sc{ABC\DH}|&\sc{ABC\DH}&
Even small capitals\cr
|\mc{ABC\DH}|&\mc{ABC\DH}&
Medium capitals\cr
|\csc{ABC\DH abc\dh}|&\csc{ABC\DH abc\dh}&
Caps and small caps\cr
|\caps{ABC\DH abc\dh}|&\caps{ABC\DH abc\dh}&
All-capitals\cr
|\lc{ABC\DH abc\dh}|&\lc{ABC\DH abc\dh}&
Lower case\cr
\end display
^^|\csc| ^^|\sc| ^^|\mc| ^^|\caps| ^^|\lc| For example, I set my
postcode with `|\sc{OX1~3QD}|' to get `\sc{OX1~3QD}', and I can
write `\csc{PostScript}' with `|\csc{PostScript}|'. Because the
small capital alphabets are included in all styles, we can write
`|\csc{\it Fred}|' to get `\csc{\it Fred}', and even produce the
\LaTeX\ logo in italics: {\it\LaTeX}. Note that these macros
work differently from the ^|\sc| or ^|\smc| declarations in
\LaTeX\ and other formats, which switch to ^|cmcsc10|, a
separate caps-and-small-caps font.
The last two transliterate into capitals and lower case---the
differences between these macros and the |\uppercase| and
|\lowercase| primitives are:
\begin bullets
\\ |\caps| and |\lc| (and all the others) make assignments, and so
can not be expanded in \TeX's mouth; and
\\ |\uppercase| and |\lowercase| do not affect letters like {\it\O}
and {\it\ae} when they are produced with control sequences (like
^|\O| and ^|\ae|).
\end bullets
The practical upshot is that the primitives are useful when
implementing strange macros involving creating control sequence
names on the fly etc.\ and for introducing strange characters
into definitions, whereas to produce an all-capitals headline
(or whatever), the macros are better.
^^{maamac.tex@{\tt maamac.tex}|-}
%}}} plain TeX -- maamac.tex
\iflong
\input texnical
\fi
% \input ldfontsdoc
%}}} Unsing Malvern
\iflong
%{{{ Implementing Malvern
\part{Implementing Malvern}
\iffalse % This section largely superceeded by the installation summary
%{{{ organization of the files
\section{Organization of the files}
The implementation of Malvern is split into several files. The
file |ma.mf| is the `root' file, also called the generic driver
file. This reads in |makit.mf| (a collection of macros which
describe various pieces of letters), |maparams.mf| (which sets
most of the {\it ad hoc} parameters, and |maencode.mf| (which
describes the character encoding to be used), before reading in
the program files (which contain `character programs' which
actually produce the glyphs) and producing the ligature table.
\subsec{The generic driver file}
The difference between my generic driver file and a driver file
like |cmbx12.mf| is that it must have certain variables given
values before it is read. At the very least the internal
\MF\ variable $designsize$ (set with the {\bf font\_size}
macro) should have a value. Other variables can be given values
to signal to the driver to produce a font other than roman (with
the \TeX\ text encoding):
\begin table $#$\hfil
& \quad\vtop{\hsize=0.75\hsize \noindent#\strut\smallskip}\hfil\cr
weight & Controls the average thickness of the strokes that make up the
letterforms. A value of $1$ means the normal weight, $1\cdot5$
is bolder, $0\cdot75$ is lighter.\cr
hratio & Horizontal ratio: controls the average width of the characters.
The shapes of the characters will be squeezed or expanded (as if
by a |xscaled| transform) but the thickness of strokes will
remain the same. This is used to obtain compressed or expanded
fonts.\cr
slant & The transform `slanted $slant$' is catenated to
$currenttransform$, so that all the glyphs are obliqued.
Normally only non-zero if $italicness$ is defined and
nonzero.\cr
italicness & A number from $0$ to $1$, where $1$ represents an italic
font (some letters are drawn in a more flamboyant manner) and
$0$ a roman font.\cr
encoding & An integer, used to select one of a set of character
encodings for the font (see \xref{s-encoding}).\cr
\end table
If these are left unknown, then $weight$ and $hratio$ default to
$1\cdot0$ (medium, normal width), $slant$ and $italicness$
default to $0$ (upright) and $encoding$ defaults to $0$ (the
standard \TeX\ encoding).
\subsec{Creating a font}
The procedure for creating Malvern fonts is not much different
from normal \MF\ fonts. Normally the \MF\ program
is run with a `first line' (after the `|**|' prompt) along the
lines of
\begin example
|\mode=...; font_size 10pt#; weight=1.4; input ma; bye|
\end example
This produces files called something like `|ma.tfm|' and
`|ma.200gf|'. These generic file names must be changed to
`|ma65s10.tfm|' and `|ma65s10.200gf|', say, and the |gf| file
might need to be converted into a different format used by the
printer driver (for example, |GFtoPK| might be used to create a
file `|ma65s10.200pk|').
\subsubsec{Automating this process with {\tt mff}}
This is altogether too much bother, especially if, like me, you
must produce fonts on demand rather than installing a large
number of them once and for all. I~use a small UNIX program
|mff| which does all the above automatically: it deduces the
values for the parameters $weight$ etc.~from the font name. The
command
\begin example
|mff ma65s10|
\end example
will do all the above automagically. (The tables used to parse
the font name are described in a file |mff.rc| shipped with the
\MF\ files, and also allow the use of names in Karl
Berry's font-naming scheme, such as `|fmvd10|'.)
The |mff| is intended to be useful for maintaining any family of
\MF\ fonts, not just Malvern\allowbreak---I~use it for all my
fonts. It should be available from the same source that
you obtained Malvern itself (the current version is $2.9$).
\subsubsec{An alternative approach using less-generic driver files}
It is possible to avoid having to type such long commands to
\MF, at the expense of having many more small files lying
about. The setting of parameters is performed by small driver
files along these lines:
\begin lines
|% fmvd.mf -- generic driver for demibold Malvern|
\smallskip
|weight := 1.4; % demibold|
|encoding := -200; % Cork TeX Extended Text -- Latin |
|input ma|
|bye|
\end lines
Then the command line to \MF\ is reduced to
\begin example
|\mode=localfont; font_size 10pt#; input fmvd|
\end example
(The files produced by \MF\ will now have names starting
`|fmvd.|', and will still need to be renamed.)
This can be taken one step further, by having driver files for
every font, thus |fmvd10.mf| would contain just the line
`|font_size 10pt#; input fmvd|'. Then the basename of the |.mf|
file is the same as that which the font is to be installed as.
(This is less of an advantage than it might at first seem,
because installing a font normally requires moving it into a
different file area, and therefore a renaming operation.)
\subsubsec{Automating the process with {\tt MFjob}}
The program |MFjob| is part of em\TeX, a public-domain \TeX\
distribution for IBM PS/$1$s and PS/$2$s. It has the capacity
to generate use driver files in the style of |fmvd.mf| above to
create fonts at arbitrary sizes.
%}}} organization
\fi
%{{{ file names
\section{File names}
\MF\ source files for Malvern have names starting with with
`|ma|' (for "Malvern"). I have tried to choose names that fit
in with MS-DOS's lamentable naming conventions.
\begin table \tt#\hfil&&\quad#\hfil\cr
ma.mf& Top-level generic driver file\cr
maaenc.mf& Malvern A encoding description\cr
mabenc.mf& Malvern B encoding description\cr
macenc.mf& Malvern C encoding description\cr
macy.mf& Malvern Cyrillic\cr
madenc.mf& Malvern D encoding description\cr
maencode.mf& Malvern encoding vectors\cr
mafigs.mf& glyph programs for numerals\cr
magenc.mf& Malvern G encoding description\cr
maglcaps.mf& glyph programs for Greco-latin capital letters\cr
magrcaps.mf& glyph programs for Greek capital letters\cr
magrlc.mf& glyph programs for Greek lower case\cr
makit.mf& macro definitions\cr
malc.mf& glyph programs for lower case\cr
malcco.mf& glyph programs for lower case Composite-Only\cr
malcnc.mf& glyph programs for lower case Non-Composite\cr
mamarks.mf& glyph programs for marks for making composites\cr
maparams.mf& computing the ad-hoc paramters\cr
mapunct.mf& glyph programs for punctuation\cr
masenc.mf& \TeX\ Text encoding description\cr
masyms.mf& glyph programs for miscellaneous symbols\cr
\end table
%}}} file names
\iffalse
%{{{ macro conventions
\section{Conventions for macros that draw letters}
Definitions for macros that draw letters are written so that
they may be used to draw that letter in an position---for
example, so that the program for `c' may be used in drawing
`\copyright'.
By convention the header for letter "a" looks like:
\begin display
|vardef draw_|"a"|@#(expr l, b, r, t, bl)|"other parameters"| =|
\end display
Where $(l, b)$ is the bottom left and $(r,t)$ the top right
corner of the cell in which the glyph will be drawn, and $bl$ is
the $y$-value of the baseline. All should be whole numbers.
For a normal letter, they are |(l, -d, r, h, 0)|. The "other
parameters" are parameters specific to the letter itself: for
example, giving the relative distance between certain features
within the letter.
%}}} macros conventions
\fi
\iflong
\input encoding
\fi
% \input multiple
%}}} Implementing Malvern
%{{{ About Malvern
\part{About Malvern}
%{{{ design
\section{The design of the Malvern font}
This section describes some of the design decisions made for
Malvern---this may not be strictly relevant to most people's use
of it. I~will start with general, overall style and then
continue to more specific details.
My main motivation for developing Malvern was that I~was that
I~do not use \TeX\ exclusively for technical documents.
I~produce leaflets, booklets and magazines in
non-scientific fields, where the determinedly old-fashioned
appearance of Computer Modern would jar terribly. These were
the sorts of situations where the simplicity and informality of
a sanserif font would be best suited.\note{Americans seem to be
more frail than Europeans when it comes to reading sanserif
text. It is true that serif faces---particularly oldstyle and
transitional faces---are more readable in continuous text, but
the difference is not so great as to override all other design
considerations. (The United States is noted for its addiction
to Bodoni, which is neither particularly readable nor
particularly legible, and is ugly besides.) Perhaps this
handbook is rather long to be set all in sanserif; I~hope that
not too many readers will be struck blind as a result, and that
they will allow that it is reasonable for the handbook to act as
a showcase for the typeface it describes.}
%{{{ types of sanserif
\subsec{Types of sanserif font}
One way of sub-dividing sanserif fonts is into the four flavours
\dfn{grotesque}, \dfn{humanist}, \dfn{geometric} and
\dfn{neo-grotesque}. While these are not cut-and-dried
divisions (there are many faces with a flavour all their own),
they can be a useful approach to thinking about the design of
typefaces.
\subsubsec{Grotesque}
The grotesque styles were created during the Victorian period,
when poster printers out-did each other in combining as many
different typestyles as possible (one of many examples of how
the Victorians, who considered themselves the acme of civility
and good taste, exhibited terrible taste). They were so dubbed
because contemporary designers thought they were horribly ugly.
Today `grotesque' is simply a label, and has no more inherent
meaning than `modern' or `dutch' do when applied to serif
styles. Computer Modern Sans Serif is derived from Computer
Modern in the same way that grotesque fonts were derived from
the modern fonts (variations on Bodoni) of the time, so it might
be described as a grotesque.
\subsubsec{Humanist}
The humanist styles emerged from the calligraphy revival of the
early twentieth century. They reflected the new emphasis on
carefully-crafted letter-shapes and proportions embodied in
Edward Johnston's Foundational Hand. Gill Sans and Johnston's
Underground Font---used in all London Regional Transport---are
examples.
\subsubsec{Geometric}
The Bauhaus movement in $1930$s Germany gave rise to geometric
styles, in which the letter-shapes were progressively simplified
and unified, producing alphabets composed of arcs of circles and
straight lines, with many letters sharing components.
Latter-day geometric styles retain the appearance of being
constructed with ruler and compass, but incorporate subtle
shadings and distortions that allow for optical illusions and
distortions due to printing technology. ITC Avant Garde Gothic
is an example of a geometric font.
\subsubsec{Neo-Grotesque}
Finally, neo-grotesques are more refined descendants of the
original grotesque typefaces. Neo-grotesque designs emphasize
legibility and uniformity of design. Their function is to
deliver the text of a message to the reader in as unobtrusively
as possible---they are ideal for signs, where legibility is of
paramount importance (more important than readability, for
example). The British Rail Alphabet---used in airports and the
like as well as BR itself---and the ubiquitous Helvetica are
neo-grotesque designs.
%}}} types of sanserif
%{{{ what flavour is Malvern?
\subsec{What flavour is Malvern?}
When designing Malvern, I~was aiming for a mixture of geometric
and humanist features. I~have always liked the look of humanist
faces like Johnston's Underground Font. They are described as
crude, but I~think that this gives them more character than the
refined and refined neo-grotesques: Helvetica is a very
well-designed typeface, but text set in Helvetica looks boring.
I~wanted a face that was appealing to read in itself.
At the same time I~wanted to make a typeface that was simple and
elegant, without (apparant) variation in stroke width and with
an emphasis on rounded shapes (I~particularly wanted to have a
circular `O'). Since this was my first attempt to design a
typesetter font it seemed sensible to aim for character and
simplicity rather than sophistication.
%}}} what flavour is Malvern?
%{{{ global design features
\subsec{Global design features}
There is one feature of Malvern that I~based on the Johnston
Underground Font, which is that the bowls and arches of letters
join the stems at a large angle, rather than curving toward a
tangent with the stem:
\begin display
\font\sf=cmss17 scaled \magstep1\sf bpnu&
\ifPS \font\sf=phvr at 18pt \sf bpnu& \fi
\headingrm bpnu \cr
\noterm CMSS\n{17}&
\ifPS \noterm Helvetica& \fi
\noterm Malvern \n{65}\cr
\end display
As well as forming a nice, uncluttered shape, this avoids having
to narrow the width of the stroke to avoid dark spots. (A
fortuitous side-effect is that these joins have a good chance of
digitizing well at low resolutions.)
Malvern has rounded terminals---that is, the ends of the strokes\marginchar{nb}
are rounded rather than squared off. Together with the lack of
tapering at curve joins, this means that Malvern looks as if it
were drawn with a circular pen. All this makes Malvern rather
easier to implement than most typefaces would be, because \MF\
has built-in operators to produce just such an effect. This was
not the reason for choosing to make Malvern look this way,
although it did affect my decision to make a stab at producing
Malvern rather than some other typeface.
%}}} global design features
%{{{ currency sign
\subsec{The ISO currency symbol}
The symbol `\currency' is the \ISO{646} currency symbol. It
takes the place of the dollar sign in position \n{36} of the
\ISO{646} character encoding (which is the international
standard equivalent of ASCII). Thus, in theory, non-Americans
should all use \currency\ instead of \${}, and it should stand
for the local currency. (It has been used in some Scandinavian
countries at least: I~remember a book on \mc{BASIC} which had
\mc{A\currency\ = CHR\currency}($13$) instead of \mc{A\${} =
CHR\${}}($13$)).
Most fonts I~have encountered which have a `\currency'
character\marginchar{\currency} draw it as a small circle with
the four `ears' at right angles to each other: a small, square,
symbol that floats above the baseline like a binary operator.
My design is unusual, but I~prefer it, because is is the same
approximate size as other currency symbols (and looks like it
belongs in the font).
\xreflabel{s-currency}{\S\thesecno}
%}}} currency sign
%{{{ odd symbols
\subsec{Sundry oddly shaped symbols}
With some symbols, like the the per-cent sign, I have
deliberately ignored their origins, so `\%' does not much
resemble `$0/0$' or `\frac0/0', `\S' does not look much like two
`s's stacked on top of each other, and `\pounds' does not look
much like a script letter "L". This is partly in recognition of
the fact that they have long since been used as symbols in and
of themselves, and the link to their origins is weak.
So `\%' has similar proportions to other currency-like
signs\marginchar{\%\S{}} (\${}, \yen, \P, and the like), while
still having two generously-sized, circular rings. (My first
reaction to CM Typewriter was `How can I change that per cent
sign?') The crooked design for the section sign `\S{}' was
partly an attempt to ensure that the lines met at large angles,
to avoid blots without making it a taller character than the
dollar sign.
%}}} odd symbols
%}}} design
%}}} About Malvern
\fi
%{{{ Appendix
\part{Appendix}
%{{{ encoding
\section{The encoding of Malvern fonts}
An \dfn{encoding} for a computer font is a mapping from a
\dfn{character code} (a nonnegative integer less than
$256$) to characters in the font. (Encodings are like the `code
pages' defined by ISO standards such as $646$ and $8859$.)
Unlike \PS, any given \TeX/\MF\ font has its encoding hard-wired
into it, because characters are always referred to by code.
This section discusses some general aspects of \TeX\ font
encodings, and some `standard' font encodings, before describing
the Malvern font encodings. The encoding used is reflected in
the external name of the font (see \xref{s-font-names}).
\iflong
%{{{ in put != output
\subsec{Input and output encodings need not be the same}
\xreflabel{s-input-output}{\S\thesecno}
For the purposes of this handbook, we shall only need to discuss
the encodings of fonts produced with \MF\ to be used to typeset
pages produced by \TeX. The encoding used to interpret the
characters used as input to \TeX\ is usually different, because
it is usually dictated by what symbols the computer keyboard has
printed on its keys and how they are displayed on the screen,
whereas the encodings of fonts referred to by \mc{DVI} files
suffer no such restriction.
In fact, the encoding used for \TeX's output fonts need have *no
connection whatever* to the ASCII character set. This is
important, because good typesetting requires glyphs like `fi',
`\thinspace``\thinspace', `\S{}' and the like that do not exist
in the ASCII\ or \ISO{8859} characters sets (instead they have
characters like `{\rmb\char34 }' and `{\rmb\char94 }' which are
not of use in fine printing, except when simulating a computer
or typewriter).
In practice, the (assumed) input encoding and the encoding of
latin text fonts will have a common sub-encoding, because it is
so much easier if we arrange that the code of common characters
is the same as the code of the corresponding character in \TeX's
internal encoding. Thus `A', say, has encoding $65$ in text
fonts, matching the character `|A|' in position $65$ of ASCII.
%}}} input != output
%{{{ tex text
\subsec{The \TeX\ Text encoding}
The encoding used for the Computer Modern text fonts is simply
called `\TeX\ Text' \cite{MFApp.F}, which has two
variations, `\TeX\ Typewriter Text' and `\TeX\ Text without
f-ligatures' (if changing the dollar sign into a pounds-sterling
sign in \mc{CM} Text-Italic is not counted as a different
encoding). The first two of these are displayed in Appendix~F of
the {\it\TeX book}.
Knuth stresses that other \TeX\ fonts might have different
conventions (addressed with different macros), so perhaps the
use of `\TeX' rather than `Computer Modern' in those names
should be interpreted as a historical artefact from the days
when \TeX\ and Computer Modern were almost synonymous. (Calling
them `CM Text', `CM Typewriter Text' etc.~would not have
prevented non-CM fonts from using the CM conventions, of
course.)
The \TeX\ Text encodings were devised when many programs in the
\TeX/\MF\ system limited fonts to $128$ characters, and so it
only uses the first $128$ codes. As well as the capital and
lowercase alphabets, ranging figures and usual punctuation and
symbols, it includes the ligatures used in Englsh-language
typesetting ("fi", "ffl", etc.), marks to make composite letters
with, and the uppercase ^{Greek} letters that do not have
similar Latin letters: {\gr G}\negthinspace, {\gr D},
\dots\thinspace, {\gr W}.
It lacks the Polish ogonek mark (\showmark\ogonek\enspace) used
to make "\A", "\E", "\a" and "\e";\note{And Lithuanian "\ogonek
i" and "\ogonek u" \cite{Pei}?} guillemets (the quotation marks
<< and >>); pounds-sterling and a few other currency-sign-like
symbols (like "\yen" and "\P{}").
Malvern fonts named using \index{Berry, Karl} Karl Berry's
standard short font names (|fmv|\dots) use this encoding if no
other encoding is specified.
\medskip
{\rms \ntable}
\medskip
\noindent
Notes:
\smallskip
\halign
{#\hfil\quad&\hfil#&\quad\hfil#&\quad#\hfil\cr
\oct{000}--\oct{012}&\hex{00}--\hex{0A}&$0$--$10$&
non-latin Greek letters\cr
\oct{022}--\oct{030}&\hex{12}--\hex{18}&$18$--$24$&
marks for composite letters\cr
\oct{040}&\hex{20}&$32$&
slash that makes "\l" and "\L"\cr
}
%}}} tex text
%{{{ Cork
\subsec{The Cork encoding}
A new proposed standard encoding is described by Michael
Ferguson \cite{Cork}. I shall refer to this as the Cork
encoding, because it was devised at the \TeX\ users conference
held in Cork in September~$1990$. I~think that it is intended to
be used as \TeX's internal encoding as well as for `standard'
text fonts.\note{\TeX\ converts documents from the local
character set to its own as the first stage of the parsing
process---normally the local character set is ASCII, the same as
\TeX, so this stage is transparent. The advantage of extending
\TeX's internal encoding to include composite letters, assuming
\TeX\ is configured properly, would be that the code for
`{\tt\accent'23 e}' on a user's keyboard would be transformed
into the code for `\'e' in the Cork encoding. The disadvantage
of using the same encoding for \TeX's internal representation of
the input file and in the DVI file is that it requires the \MF\
fonts to match ASCII for codes $33$--$126$ (|'|, |-| and |`| are
each used in ASCII to stand for several different symbols, so
the match can't be exact). It also requires the input encoding
to include characters like `ffl', which are of little or no
utility in a computer character set. I feel it would make more
sense to have two encodings.} The Cork encoding includes a large
number of composite letters (all those of \ISO{8859/1} and
\ISO{8859/2}), so that most European languages can be typeset
without using the |\accent| primitive (Esperanto and some
European languages are not covered; and it lacks the dotted
consonants used when setting Irish in the traditional Celtic
alphabet, and dotted/underlined letters used in transliterating
Arabic).
It also includes a duplicate hyphen, and the \dfn{compound word
mark} (cwm), an invisible character. The point of cwm is to
allow the breaking of ligatures; in a language like German where
the `fl' ligature is sometimes used but is incorrect if the `f'
ends a syllable, this would be written as |f^^Wl| (or a control
sequence expanding to this).
The duplicate hyphen is intended as a kludge to cope with the
fact that \TeX\ will not break words containing hyphens except
at the hyphens, even if those hyphens are really part of a dash
ligature. The relevant paragraph of the article\note{`It
includes both a ``dash'' and an explicit ``hyphen char''. This
capability allows font designers the option of replacing the
``-'' with an ``='' without losing the dash. Since the ``-'' is
no longer the hyphen char, it allows words with explicit dashes,
such as INRS-T\'el\'ecommunications[,] to be hyphenated.'} is
unclear because Ferguson uses `dash' without specifying whether
he includes hyphens as dashes. My guess is that the hyphen and
its duplicate are expected to both look the same, and that they
intend that \TeX\ normally be set up to hyphenate with character
$45$ as usual. People who want to treat hyphens as a normal
letter character will set |\hyphenchar| to the duplicate hyphen.
A discouraging point in the article is that the inclusion of the
typewriter-style ugly quotation mark character is described as a
desirable feature of the proposed standard:
\begin quotation
This \dots\ removes an irritant in the use of [double quote
ligatures] in these fonts. The font designer can decide whether
[``], [''], and [{\rmb\char34 }] are distinguishable.
\end quotation
Presumably the aim here is to make it as easy for \TeX ers to
produce lousy typesetting as it is for people using Macintoshes
and \MSDOS\ machines. I can accept that if it is assumed that
the same encoding must be used for \TeX's internal encoding as
for DVI output, then the ugly-quote character is unavoidable;
but it pains me to see it presented primarily as a boon for lazy
typists. One of the worst effects of the `DTP revolution' has
been the way in which typewriter-style quotation marks and
apostrophes have become common in typeset text, because they are
so much easier to generate on a Macintosh than the correct
quotation marks.
% The article also states
%\begin quotation
% The standard also includes |<| |>| in the normal ASCII
% location[s].
%\end quotation
% but this does not address the fact that the ASCII symbols `|<|'
% and `|>|' are used both as the less-than and greater-than
% relations {\rmb<} and {\rmb>} and as angle brackets \langle\ and
% \rangle. These keys might also reasonably be used for single
% guillemets < and > or normal (double) guillemets << and >>.
Future versions of \LaTeX\ will expect fonts using this encoding
to exist. In the Malvern~\n{1.0} documentation I~suggested that
\index{Berry, Karl} Karl Berry's names be used for these; there
is now a specal code letter `|q|' for the Cork encoding.
\medskip
{\rmx \ntable}
\medskip
\noindent
Notes:
\smallskip
\halign
{#\hfil\quad&\hfil#&\quad\hfil#&\quad#\hfil\cr
\oct{000}--\oct{014}&\hex{00}--\hex{0C}&$0$--$12$&
marks for composite letters\cr
\oct{015}&\hex{0D}&$13$&
German single quotation mark\cr
\oct{016}--\oct{017}&\hex{0E}--\hex{0F}&$14$--$15$&
single guillemets\cr
\oct{027}&\hex{17}&$23$&
compound word mark (cwm)\cr
\oct{030}&\hex{18}&$24$&
ring that combines with \% to make \permille\cr
\oct{040}&\hex{20}&$32$&
visible space\cr
\oct{042}&\hex{22}&$34$&
typewriter-style neutral quotation mark\cr
\oct{136}&\hex{5E}&$94$&
ASCII circumflex\cr
\oct{137}&\hex{5F}&$95$&
ASCII under{\rmb\char95 }score\cr
\oct{176}&\hex{7E}&$126$&
ASCII tilde/swung dash\cr
\oct{177}&\hex{7F}&$127$&
duplicate hyphen\cr
}
%}}} Cork
%{{{ bag-of-characters
\subsec{The `bag-of-characters' alternative}
The Cork encoding has as a central assumption that it is
possible and overridingly desirable to have *one* encoding that
is used in typesetting anything, and that this encoding shall be
used for input to \TeX, fonts used in DVI files, and as the
output of \MF. I~am of the opinion that it is not useful or
convenient to try to impose One True Encoding on all text fonts.
In fact, the Cork article does have as an unstated assumption
that different fonts are used for different languages (or rather
groups of languages): for example, the discussion of the use of
the cwm to separate ligatures in German but to join ligatures in
other contexts suggests a plethora of fonts with the identical
encoding and glyphs but different ligtables.
I~would argue that if separate fonts are being used then they
might as well have different encodings as well. This would
allow a German font to omit, say, "ffl" and "ffi" (not used in
German) and perhaps add "ck", "tz", "ch" ligatures. True {\it
Fraktur} faces require more ligatures, but do not include
composite letters other than umlauts. Guillemets for French use
should be created with extra space inside them <<\thinspace like
so\thinspace>>, whereas Germanic fonts should have guillemets
without the extra space >>like so<< \cite{Hart's102}. Allowing
different encodings would put Esperanto, Irish, Lappish, Welsh
etc.\ on equal footing with the larger languages. Assuming that
switching between languages already implies a switch in
hyphenation tables and other parameters of \TeX, switching fonts
as well seems like a minor problem, especially as it allows
great benefits.
Furthermore, the best way within the \TeX\ system to produce
several different fonts with almost the same collection of
glyphs is to use composite fonts. A composite font can draw its
characters from one or more base fonts. These base fonts are in
effect a bag of characters from which different selections can
be drawn to form language-group-specific fonts. There is no
reason for the base font(s) to have the same encoding as the
tailored fonts used by \TeX\ itself.
%}}} bag-of-characters
\fi
%{{{ Malvern
\subsec{The Malvern font-encoding conventions}
The Malvern typeface includes more than $256$ characters, so it
follows that no one font will contain every Malvern character.
Instead I have coding schemes called Malvern~A, Malvern~B,
Malvern~C and Malvern~G.\note{The use of `Malvern' in these
names is in order give them a unique name, not to restrict the
use of these encodings to Malvern fonts. If the encoding
conventions of later versions of Malvern are different for some
reason, then the version number can be appended to distinguish
the different encodings, giving `Malvern A $1.0$', say.}
Malvern~A is the simple latin text font; it has the base
alphabets (that is, it has "A--Z" and the rest but not "\`A--\v
Z"). Malvern~C and G are Cyrillic and Greek respectively
(Malvern~C is stil incomplete). Malvern~B is the latin text
supplement. (There might also be a Malvern~E of composite
letter glyphs in the future.)
\xreflabel{tab-charcodes}{\S\thesecno}
%}}} Malvern
%{{{ macros for table notes
% Much to my annoyance, the smart play is to give the codes in octal
% since TeX can convert to hex and decimal easily.
\def\hexnumber#1%
{%
\hex{\chardef\tmp=#1 \expandafter\striptodoublequote\meaning\tmp}%
}
\begingroup\catcode`\"=12 \toks0={\endgroup
\def\striptodoublequote#1"{}
}\the\toks0
\def\decnumber#1%
{%
\n{\number#1}%
}
\def\noteone#1#2%
{%
\oct{#1}&\hexnumber{'#1}&\decnumber{'#1}\cr
}
\def\notetwo#1#2#3%
{%
\oct{#1}, \oct{#2}&
\hexnumber{'#1}, \hexnumber{'#2}&
\decnumber{'#1}, \decnumber{'#2}\cr
}
\def\noterange#1#2#3%
{%
\oct{#1}--\oct{#2}&
\hexnumber{'#1}--\hexnumber{'#2}&
\decnumber{'#1}--\decnumber{'#2}\cr
}
%}}} macros for table notes
%{{{ Malvern A
%{{{ insert table
\pageinsert % this one is too big for a normal insert
\ntable
\medskip
\noindent
Notes:
\smallskip
\halign
{#\hfil\quad&#\hfil&\quad#\hfil&\quad#\hfil\cr
\oct{006}--\oct{017}&\hex{086}--\hex{0F}&$6$--$15$&
marks for l.c. composites\cr
\oct{026}--\oct{027}&\hex{16}--\hex{17}&$22$--$23$&
marks for U\&lc composites\cr
\oct{060}--\oct{071}&\hex{30}--\hex{39}&$48$--$57$&
oldstyle digits\cr
\oct{074}, \oct{076}&\hex{3C}, \hex{3E}&$60$, $62$&
single guillemets\cr
\oct{206}--\oct{217}&\hex{86}--\hex{8F}&$134$--$143$&
marks for cap.\ composites\cr
\oct{234}&\hex{9C}&$156$& lower-case "d" with hook (\,=\,"\v d")\cr
\oct{235}&\hex{9D}&$157$& lower-case "t" with hook (\,=\,"\v t")\cr
\oct{236}&\hex{9E}&$158$& lower-case "h" with circumflex\cr
\oct{237}&\hex{9F}&$159$& lower-case "L" with hook (\,=\,"\v l"?)\cr
\oct{240}&\hex{A0}&$160$& ballot box\cr
\oct{244}&\hex{A4}&$164$& ISO-$646$ currency sign\cr
\oct{251}&\hex{A9}&$169$& `florin sign' (variant italic "f")\cr
\oct{256}&\hex{AE}&$174$& raised dot (British decimal point)\cr
\oct{260}--\oct{271}&\hex{B0}--\hex{B9}&$176$--$185$&
ranging figures\cr
\oct{300}&\hex{C0}&$192$& degrees sign\cr
\oct{333}, \oct{335}&\hex{DB}, \hex{DD}&$219$, $221$&
angle brackets\cr
}
\caption{Malvern A encoding.}
\xreflabel{tab-charcodes}{Table~\n{\the\tablecount}}
\endinsert
%}}} insert table
\subsec{Malvern A Encoding}
\xreflabel{tab-charcodes-a}{\S\thesecno}
This is the latin text font, containing alphabets, two sets of
figures, punctuation marks, various symbols, and some special
letters. Although the eventual plan is that language-group
specific fonts be created, this encoding has been designed so
that it can be used on its own at a pinch. As with the \TeX\
Text encoding, words with composite letters in them will not
hyphenate properly, and any composite-letter characters
available on the user's keyboard will have to be made to expand
to control sequences to generate that character.
As well as the usual (large) capitals and lower case alphabets,
Malvern has two more capital alphabets: small capitals and
medium capitals. The font is divided into two halves, with the
first $128$ slots being an extension of a subset of normal
ASCII, and the upper $128$ characters largely `shadowing' the
lower half. For example, small capitals and medium capitals
`shadow' the lower case and large capital alphabets (`a' is
character \hex{61}, and `\sc{A}' (small cap.)\ is $\hex{61} +
\hex{80} = \hex{E1}$).
There are two sets of digits: old style (\lowercase{1234567890})
are the default; to get ranging digits (\uppercase{1234567890})
see \xref{s-ranging}. The usual block of marks (which may be
used to make composite letters) is designed to suit the lower
case letters, and the shadow set is designed to suit the medium
capitals\iflong (see \xref{sec-type-A})\fi.
%}}} malvern A
%{{{ Malvern B
%{{{ insert table
\topinsert
{\rmb \ntable}
\medskip
\noindent
Notes:
\smallskip
\halign
{#\hfil\quad&\hfil#&\quad\hfil#&\quad#\hfil\cr
\noteone{40}{blank space}
\noteone{42}{seconds (and ASCII doublequote)}
\noteone{45}{Cork's ring for per mille}
\noteone{47}{minutes (and ASCII quote)}
\noteone{54}{German single quote}
\noteone{56}{three-dot ellipsis\dag}
\noteone{57}{slash for fractions}
\noterange{60}{72}{infoerior figures}
\noterange{60}{72}{inferior figures}
\notetwo{74}{76}{greater- \& less-than signs}
\noterange{101}{105}{Old English caps\dag}
\noterange{106}{145}{Old English lower case\dag}
\noterange{146}{153}{Ligatures "ch", "ck", "ct", "ft", "ij", "ll"\dag}
\noterange{154}{163}{Long "s" and ligatures}
\noteone{164}{Schwa}
\noterange{165}{173}{Font-specific variant letters}
\noterange{134}{137}{Cork glyphs}
\noteone{140}{reverse tick (ASCII backquote)}
\noteone{240}{Cork visible space}
\noterange{241}{246}{ISO \n{8859}/\n{1} glyphs}
}
\caption{Malvern B encoding.}
\endinsert
%}}} inster table
\subsec{Malvern B Encoding}
\xreflabel{tab-charcodes-b}{\S\thesecno}
This font is essentially a collection of random symbols and
alphabetical characters, some of them mathematical. I~have not
yet settled on a firm design for it---most of it is left as gray
areas to be filled in in later versions of Malvern. Also, even
in the final form of this font, some areas will be designated as
`font-specific'; other fonts using the Malvern conventions will
use them for whatever variant letters and unique characters the
designer wishes to include.
Superior and inferior---that is, raised and lowered---figures
(\lowercase{{\rmb 1234567890}}/\uppercase{{\rmb 123456789}})
take the place of the old-style and ranging figures. The glyphs
required by the Cork encoding, such as this visible space
`{\rmb\char160 }' and ASCII doublequote `{\rmb\char34 }', are
also included here.
%}}} malvern B
%{{{ Malvern C
\subsec{Malvern C Encoding}
\xreflabel{tab-charcodes-c}{\S\thesecno}
This will be the ^{Cyrillic} subset of Malvern, using the same
or simlar conventions to the existing ^|wncy| fonts. As yet,
several of these glyphs are missing. (Perversely enough, mainly
the ones appearing in the Latin and Greek alphabets, so I can
only say `AH{\gr G}{\cy LIQ}AH{\cy I}H' by borrowing `A' and `H'
from Malvern~A and `{\gr G}' from Malvern~G!) I'm not really in
a good position to produce a good Cyrillic font---I don't have
the slightest knowledge of Russian or any other language using
the Cyrillic alphabet.
\topinsert
{\rmc \ntable}
\caption{Malvern~C encoding (so far).}
\endinsert
%}}} Malvern C
%{{{ Malvern G
\subsec{Malvern G encoding}
\xreflabel{tab-charcodes-g}{\S\thesecno}
This is the ^{Greek} text font encoding, based largely on the
Greek\TeX\ \cite{KD} fonts, so that, for example, `|<'a|||'
produces an alpha with breathing, accent and iota subscript:
`{\gr <'a\char124 }'. The document |magrman.tex| in the Malvern
distribution describes the use of this font.
\topinsert
{\gr \ntable}
\caption{Malvern G encoding.}
\endinsert
%}}} Malvern G
%}}} encoding
\dosupereject
\iflong
%{{{ type sizes
\vfil
\penalty-100
\vfilneg
\section{Sizes of type}
This is a table of sizes of type, descibed both in \TeX's
Anglo-American points ($0\cdot351\,{\rm mm}$ or $0\cdot01383''$)
and in millimetres, and also the cap heights for Malvern~55.
The choice of point sizes is a mixture of traditional sizes
($10\pt$, $12\pt$, \dots, $48\pt$, $60\pt$ etc.) and the sizes
Computer Modern fonts are supplied in ($10\pt$, $12\pt$,
$17\cdot28\pt$ etc.), and a few sizes that are round figures in
metric units ($10\mm$ etc.).
\medskip
\moveleft\leftmargin\vbox{\advance\hsize\leftmargin
\halign to \hsize{\hfil $#$\tabskip=0pt& $#$\hfil \tabskip=0pt plus 1fil&
&\quad\hfil $#$\tabskip=0pt& $#$\hfil \tabskip=0pt plus 1fil
\cr
\noalign{\hrule height 1pt \vskip 1.5\jot}%
\multispan4Body size\hfil &
\multispan4\quad Cap.\ ht\hfil &
\multispan8\quad Pixels per em\hfil\cr
\noalign{\vskip\jot\nointerlineskip}%
\multispan4\hrulefill &
\multispan4\quad\hrulefill &
\multispan{12}\quad\hrulefill \cr
\multispan2pt\hfil &
\multispan2\quad mm\hfil &
\multispan2\quad pt\hfil &
\multispan2\quad mm\hfil &
\multispan2\quad $120$ &
\multispan2\quad $200$ &
\multispan2\quad $300$ &
\multispan2\quad $400$ &
\multispan2\quad $600$ &
\multispan2\quad $1000$\cr
\noalign{\vskip\jot \hrule \vskip 1.5\jot}%
\input typesizes
\noalign{\vskip2\jot \hrule height 1pt}
}}
\smallskip
%}}} type sizes
\fi
%{{{ composite letters
\section{Composite letters used in some languages}
This table lists composite letters listed as being
required to typeset several European languages. This list is
not particularly canonical\allowbreak---I~have merely combined
the OUP list \cite{ODWEacc}, the resources of my local library,
and \TUGboat\ articles \lcite{\\{Bien}\\{Hara}}. There are
probably omissions, especially of composites used in
loan-words\allowbreak---and I~would appreciate any information
which I~can include in later revisions.
%{{{ macros to do footnotes in table
\newcount\tabcount
%\tabcount=7 \multiply\tabcount16 \advance\tabcount\itfam
%\multiply\tabcount256 \advance\tabcount`a \advance\tabcount-1
%% Normally footnotes into a table are lowercase letters
%% In this case it seemed better to use numbers given that the
%% entries are all letters...
%%
\def\tabnote#1%
{%
\global\advance\tabcount1
\global\edef#1{\footnotetextmark{\the\tabcount}}%
#1%
}
\def\tabnotetext#1%
{%
% \ifvmode
% \noindentfalse
% \leavevmode\llap{#1}%
% \else
% \unskip \penalty10000 \hbox to \parindent{\hfil#1}%
% \fi
\par \indent\llap{#1\enspace}%
\ignorespaces
}
%}}}
%{{{ the table
\medskip
\moveleft\leftmargin\vbox\bgroup
\advance\hsize\leftmargin
\hrule height 1pt
\vskip2\jot
\halign to \hsize\bgroup #\unskip\hfil \tabskip=3pt plus 10pt&&#\unskip\hfil\cr
Czech & \'a & \v c \v D\vd\tabnote\czech
&\'e\v e& & \'\i & \v n & \'o
& \v r\v s \v T\vt\czech
& \'u\ringmark u
& & \'y & \v z \cr
Danish &\aa & & & & & & \o & & & & & & \ae \cr
Dutch\tabnote\dutch & & &\'e\"e & & & &\'o\"o \cr
English &\aa\tabnote\angstrom
& \c c &\'e\`e\tabnote\egravenote\"e
& &\"\i
& &\^o\"o\tabnote\odiaeresis &&& & & & \ae\oe\tabnote\aelig \cr
Esperanto & & \^c & & \^g\h & & \^\j & & \^s & \u u \cr
Finnish &\aa\"a
& & & & & & \"o \cr
French%\tabnote\frenchnote
&\`a\^a & \c c & \'e\`e\"e & &\^\i\"\i
& & \^o & & \`u\^u\"u \cr
German & \"a & & & & & & \"o & & \"u & & & & \ss%\tabnote\eszetnote
\cr
Hungarian & \'a & & \'e & &\'\i & &\'o\"o\H o & & \'u\"u\H u \cr
Icelandic & \'a & & \'e & &\'\i & & & & & & & & \th\dh \cr
Norwegian &\aa
& & & & & & \o & & & & & & \ae \cr
Polish & \a & \'c & \e & & & \l\'n & \'o & \'s & & & & \'z\.z \cr
Portuguese & \'a\`a\^a\~a
& \c c & \'e\`e\^e & &\'\i\`\i
& & \'o\`o\^o\~o && \'u\`u\"u\tabnote\portuguese \cr
Romanian & \`a\^a\u a & & \`e & &\`\i\^\i && &\c{s}\c{t}
& \`u \cr
Russian\tabnote\russian && &\`e\"e & &\u{\i} & &
& & & & \=y & \v z & \rmb '\thinspace \char34 \cr
Spanish%\tabnote\spanish
& \'a & & \'e & &\'\i
& \~n & \'o & & \'u\"u \cr
Swedish &\aa\"a && & & & & \"o \cr
Turkish & \^a & \c c & &\u{g}
&\.I\i\tabnote\turkish \^\i
& & \"o &\c{s}
& \"u \cr
Welsh%\tabnote\welsh
&\^a\'a & &\^e\"e & &\^\i\"\i
& & \^o\"o & &\^u & \^w & \^y \cr
\crcr \egroup
\vskip1\jot
\hrule height 1pt
\egroup
\smallskip
%}}}
%{{{ text of footnotes
\tabnotetext\czech
The letters "\vd" and "\vt" are used as alternatives to placing
a \showmark\v on letters with ascenders. They can also be
written \xyaccent{0.4 }{\dimen0=0pt }{13}{d} and \v{t}.
\tabnotetext\dutch
"IJ~ij" counts as one letter.
\tabnotetext\angstrom
"\aa ngstr\"om".
\tabnotetext\egravenote
In poetry, "-\`ed" is us\`ed to show a syllable normally mute is
to be separately pronounced \cite{Hart's30}.
\tabnotetext\odiaeresis
American "co\"operate" (Br. spelling is "co-operate"), "\aa ngstr\"om".
\tabnotetext\aelig
Using the vowel ligatures "\ae" and "\oe" in English words
with Latin roots is a Victorian affectation---it is usual
nowadays to write "aesthetic", not "\ae sthetic"
\cite{Hart's62}. Americans write "esthetic", of
course.
\tabnotetext\portuguese
The letter "\"u" is used in Brazil but not in Portugal
\cite{Hart's135}.
\tabnotetext\russian
These are letters used in transliterating Russian and the other
languages that use the Cyrillic alphabet (Belorussian etc.)
\cite{Hart's120}.
\tabnotetext\turkish
In Turkish, "I~\i" and "\.I~i" are separate letters. Sometimes
"\ringmark \i" or "\=\i" is used in manuscripts to indicate~"\i"
\cite{Hart's135}.
%\tabnotetext\spanish
% The digraphs "ch" and "ll" count as single letters.
%\tabnotetext\welsh
% Has $7$~digraphs: "ch", "dd", "ff", "ng" (ranked after "g"),
% "ll", "ph", "rh" (except after vowels), "th".
%\tabnotetext\eszetnote
% "Es-zet", or `sharp "s"', originating as a {\it Fraktur\/}
% ligature for long "s" and "z" ("\char157 3"), but treated as
% "ss" in alphabetizing, and the upper-case equivalent is "SS".
%\tabnotetext\ocircumflex
% This is inconsistently used for words naturalized from French --
% "role" (no circumflex) but "m\^el\'ee" \cite{ODWE}.
%}}}
%}}} composite letters
\iflong
%{{{ list maamac.tex
\section{Listing of {\tt malvern.tex}}
This is a complete listing of |maamac.tex|, a file of \TeX\
definitions that redefine the usual accent commands etc.\ and
make some other definitions appropriate to the Malvern encoding.
It might be used by plain~\TeX
\everylisting{\smallfonts}
\listing{maamac.tex}
%}}} malvern.tex
\fi
%{{{ installation hints
\section{Installation summary}
\subsec{Getting Malvern via FTP}
Malvern should be available from CTAN (the
Comprehensive \TeX\ Archive Network), in directory
|fonts/malvern|.
Where appropriate, Malvern now uses the same naming convention
as GNU software, so there should be a bundled distribution
called something like
\begin display
{\tt\ttpackage.tar.gz}
\end display
The file, as the suffix suggests, is a |tar| archive compressed
with GNU Zip, and on UNIX systems will likely be unpacked with
something like
\begin display
{\tt zcat \ttpackage.tar.gz \char`\| tar xvf -}
\end display
A version which has been `patched' will have a version ID like
`$1.2.05$', the `$05$' being the \dfn{patch level}. You apply
the patches (with ^^{Wall, Larry} Larry Wall's ^|patch|
program) in order (patch $01$ first, then $02$, and so on) to
the main distribution. Patch files have names like
`|malvern-1.2-patch05|'.
There is a document |dvi/install.dvi| included in teh package
that contains installation hints.
\subsec{Generic driver file}
Malvern is unusual amongst \MF\ families in that it is supplied
with one {\it generic driver file} instead of one driver file
for each size and style the family comes in.\note{The package
also includes a selection of driver files.} The generic driver
file ({\tt ma.mf}) inspects the values of variables like
"designsize" and "weight" and gives the ad-hoc parameters
appropriate values, before reading the program files. On some
UNIX systems a small program called ^|mff| can be used to
generate fonts using this system. Otherwise other measures will
have to be taken, described below.
\subsec{Malvern encodings}
Malvern uses a nonstandard encoding---in fact a family of
encodings, for example, Malvern~A (latin alphabets) and
Malvern~G (Greek). To create fonts for use with \LaTeXe\ and
the NFSS\vn2 font selection macros, use ^^{Jeffrey, Alan} Alan
Jeffrey's ^|fontinst| package \cite{fontinst} (see also
\xref{s-fontinst}). This generates the |fd| files and virtual
fonts so that Malvern fonts may be used in the same way as other
\LaTeXe\ families. (The glyphs needed to make fonts with the
Cork (T$1$) encoding are in Malvern~A and Malvern~B.) This has
already been done for you to make a selection of styles
available with both \TeX\ Text and T\n1 encodings.
\subsec{Malvern font names}
The Malvern fonts generated with \MF\ will have \TeX\ names of
the following form:
$$
\hbox{{\tt ma}\<style>\<encoding>\<size>}
$$
where the \<style> is a two digit style code (described below),
\<encoding> is a code identifying a Malvern encoding (such as
`{\tt s}' or `{\tt az}'), and \<size> is the size in points
(e.g., `{\tt 12}' for $12\pt$). Thus {\tt ma55a12} ($12$-pt
Malvern $55$, encoding~A).
The two-digit style codes are based on Adrian Frutiger's system,
devised for the Univers family; see \xref{s-stylecodes}.
The \MF\ programs can also produce fonts in ^^{Berry, Karl}
Karl Berry's font naming scheme, with the \TeX\ Text encoding.
The names start with `{\tt fmv}'. This is so that these fonts
may be used in plain-\TeX\ and \LaTeX-$2.09$ documents without
too much confusion. The correspondance between Malvern's style
digits and weight, variant and expansion letters is given in the
tables below. NFSS\vn2 systems (indeed, any that use
non-\TeX-text encodings) will have to use virtual fonts.
\ifkbnames\else
\begin notepar
`\/{\tt fmv}\/-' names are not used at present; use
corresponding `\/|ma|\/-' names instead. See the note at the
end of \xref{s-kb-names}.
\end notepar
\fi
\subsec{Unpacking Malvern}
The Malvern distribution includes \MF\ source files, some \TeX\
files such as this documentation, and a few other miscellaneous
files.
\subsubsec{Source files ({\tt/source})}
On most \TeX\ systems, \MF\ fonts end up with their source files
stored in \MF's input file area. I~suggest that Malvern instead
be given its own file area. This avoids problems with different
font families having files with the same name, and makes it easy
to replace all the Malvern files in one go if you upgrade to a
newer version of Malvern.
With a new-style directory tree,\note{At the time of writing,
the \TeX\ Directory Standard (TeDiouS) is still in discussion.
This is my best guess based on a \TeX\ system I~recently had
installed.} the {\tt\ttpackage} directory may be placed in the
`|texmf/fonts/public|' directory, and the directories |source|
and |drivers| merged and renamed so that \MF\ can find them.
The files {\tt mff.rc} and {\tt fmv.mff} are input files for
{\tt mff} and may be ignored if you are not using {\tt mff} to
generate fonts.
\subsubsec{Driver files ({\tt/drivers})}
These files are not strictly necessary but are included for
convenience. They are used when assignments to the generic
driver file's parameters on the \MF\ command line is impossible,
such as when using the standard {\tt MakeTeXPK} script. A
driver file is included for each {\tt tfm} supplied.
\subsubsec{\TeX\ input files ({\tt/tex})}
These files belong in a system-wide \TeX\ inputs area. The
files ending with `|.fd|' are font family definition files,
used by NFSS\vn2 and \LaTeXe.
On new-style directory trees, the best approach is probably to
link or rename {\tt texmf/fonts/public/\ttpackage/tex} to
{\tt texmf/tex/\ttpackage}.
\subsubsec{Documentation files ({\tt/doc}, {\tt/dvi})}
Files ending in `{\tt.tex}' are plain \TeX\ documents, and will
not work with \LaTeX. Compiled ({\tt dvi}) files are supplied
to save the installer having to run \TeX. Read {\tt
install.tex}, first. The ^{Greek} text encoding is described in
|magrman.tex|.
The "Malvern Handbook", |maman.tex| produces cross-references
automatically via an |aux| file, and will need to be run through
\TeX\ twice to get the cross-references right. The front matter
(preface and table of contents) are printed *last* and should be
transferred to the front of the handbook before binding.
\begin notepar
Please do not install any of the macro files used to typeset the
documentation in the system-wide \TeX\ inputs area. They are
not supported, not necessarily generally useful, and very
nonstandard. Earlier releases of Malvern gave the macro files
generic enough names that they might clash with other macro
files. They have been renamed to start with `{\tt pdc}' in the
hope that this will avoid clashes if they are accidentally
installed.
\end notepar
\subsubsec{Virtual font files ({\tt/vf})}
These virtual fonts are generated using ^^{Jeffrey, Alan}Alan
Jeffrey's ^|fontinst| package \cite{fontinst}, and are Malvern
fonts with the Cork encoding. With NFSS\vn2 (or \LaTeXe) they
are used by specifying encoding `{\tt T1}' and family `{\tt
fmv}'. See \xref{tab-encoding-codes} for a list of encoding
codes.
\subsubsec{Font metric files ({\tt/tfm})}
A selection of precompiled font metric files, including those
for virtual fonts in {\tt /vf} and the actual fonts needed to
use them, as well as fonts needed to print the documentation in
{\tt/dvi}.
\subsec{Using mff to generate Malvern fonts}
First, install {\tt mff} and arrange that \MF\ will be able to
find the {\tt mf} files. Then to create a Malvern font, for
example $12$-pt Malvern~$55$ ({\tt ma55a12}), give the command:
\begin example
|mff ma55a12|
\end example
To generate Malvern~$55$ and $56$ at magsteps $0$, \frac1/2 and
$1$, for $300$-dpi and $1000$-dpi printers, you would type:
\begin example
|mff --magstep=0,h,1 --dpi=300,1000 ma55a10 ma56a10|
\end example
If all goes well, the {\tt tfm} and {\tt pk} files generated
will be installed in the correct directories automatically.
\subsec{Generating Malvern fonts without mff}
This section presumes you know how to install a normal \MF\
font.
Create a driver file for each style of Malvern you want to be
able to use. It should have the following form:
\begin lines
|% |\<name of file>| -- generate |\<size>|-pt Malvern |\<style>
\smallskip
|font_size |\<size>| pt#;|
|encoding = |\<number>|; |
|weight = |\<number>|; hratio = |\<number>|;|
|slant = |\<number>|; italicness = |\<number>|;|
|input ma|
|bye.|
\end lines
where \<size> is the design size in points, and the
values for the various variables are given below. The \<style>
is the two-digit style code described in \xref{s-stylecodes}.
These driver files should be named after the font they
correspond to---for example, `{\tt ma76a12.mf}' to generate
Malvern~$76$. Then they are used as usual with \MF:
\begin example
|mf \mode=luxo; mag=|\<number>|; input ma55a12|
\end example
where the \<number> is the magnification wanted, or `{\tt 1.0}'
for no magnification.
\subsubsec{Values for {\it encoding}}
The variable {\it encoding} specifies the encoding to use---in
other words, the subset of Malvern's glyphs to be generated. It
should be given one of the following values:
\begin display
\it Encoding&\it Letter&\it Description\cr
\noalign{\kern\jot\hrule\kern1.5\jot}
${\it encoding} = 1$& \tt a&
Malvern A (latin alphabets ABCdef.)\cr
${\it encoding} = 2$& \tt b&
Malvern B (superscripts, symbols etc.)\cr
${\it encoding} = 3$& \tt c&
Malvern C (Cyrillic A{\cy DIlz\char126 })\cr
${\it encoding} = 5$& \tt e&
Malvern E (composite letters \AA \c C\^D\'e\u g\^\i)\cr
${\it encoding} = 7$& \tt g&
Malvern G (Greek letters {\gr ABGdez})\cr
${\it encoding} = 19$& \tt s&
\TeX\ text \cite{TeXF1}\cr
${\it encoding} = 26$& \tt az&
\TeX\ text, old-style numerals\cr
\end display
The letter is the letter used in the font name -- for example,
{\tt ma55s10} for Malvern with the \TeX\ text encoding (${\it
encoding} = 19$), and so on.
\begin notepar
The Malvern programs used to attempt to generate other encoding
schemes; with ^|fontinst| this all becomes redundant and
those codes are obsolete.
\end notepar
\subsubsec{Values for {\it weight}}
The variable {\it weight} specifies the weight (boldness) of the
font. It has the following values:
\begin display
\it Weight&\it Style&\it NFSS\vn2& \it Berry&\it Description\cr
&\it digit&\it code&\it code\cr
\noalign{\kern\jot\hrule\kern1.5\jot}
${\it weight} = 1/4$& \tt 1& \tt ul& \tt t& ultra-light\cr
${\it weight} = 1/2$& \tt 2& \tt el& \tt i& extra-light\cr
${\it weight} = 3/4$& \tt 3& \tt\ l& \tt l& light\cr
${\it weight} = 7/8$& \tt 4& \tt sl& \tt b& semi-light\cr
${\it weight} = 1$& \tt 5& \tt\ m& \tt r& medium\cr
${\it weight} = 1.3$& \tt 6& \tt sb& \tt d& semi-bold\cr
${\it weight} = 1.6$& \tt 7& \tt\ b& \tt b& bold \cr
${\it weight} = 2$& \tt 8& \tt eb& \tt x& extra-bold\cr
${\it weight} = 3$& \tt 9& \tt ub& \tt u& ultra-bold\cr
\end display
The `style digit' is the first digit in the two-digit style
codes described in \xref{s-stylecodes}. The `NFSS\vn2\ code' is the
first half of a corresponding NFSS\vn2\ `font series' code. The
`Berry code' is the code for this weight in Karl Berry's font
naming scheme.
Note that some of the character programs produce ugly results
for large values of {\it weight}.
\subsubsec{Values for {\it hratio}}
The variable {\it hratio} specifies the ratio between horizontal
and vertical measurements: in other words, whether the font is
compressed or expanded. It may have the following values:
\begin display
\it Hratio&\it Style&\it NFSS\vn2& \it Berry&\it Description\cr
&\it digit&\it code&\it code\cr
\noalign{\kern\jot\hrule\kern1.5\jot}
${\it hratio} = 0.50$& {\tt 9} or {\tt 0}&
\tt ec&\tt o& extra compressed\cr
${\it hratio} = 0.80$& {\tt 7} or {\tt 8}&
\tt\ c&\tt c& compressed\cr
${\it hratio} = 1.00$& {\tt 5} or {\tt 6}&
\tt\ m&\tt r& normal width\cr
${\it hratio} = 1.15$& {\tt 3} or {\tt 4}&
\tt\ x&\tt x& expanded\cr
${\it hratio} = 1.30$& {\tt 1} or {\tt 2}&
\tt ex&\tt w& extra expanded\cr
\end display
The `style digit' is the second half of the two-digit style
codes described in \xref{s-stylecodes}. The `NFSS\vn2\ code' is the
second half of an NFSS\vn2\ `font series' code (for example,
bold expanded is ${\tt b} + {\tt x} = {\tt bx}$, compressed is
${\tt m} + {\tt c} = {\tt c}$). The `Berry code' is for Karl
Berry's scheme.
Beware that the character programs do not all produce good
results when {\it hratio} is not $1$.
\subsubsec{Values for {\it slant} and {\it italicness}}
These two variables between them specify whether a font is to be
produced with italic letterforms or not:
\begin display
\it Slant&\it Italic? &\it Style&\it NFSS\vn2&\it Berry&\it Description\cr
&&\it digit&\it code&\it code\cr
\noalign{\kern\jot\hrule\kern1.5\jot}
${\it slant} = 0$& ${\it italicness} = 0$& odd&
\tt n& \tt r& upright\cr
${\it slant} = 1/8$& ${\it italicness} = 1$& even&
\tt it& \tt i& italic\cr
${\it slant} = 0$& ${\it italicness} = 1$& odd&
\tt ui& \tt u& upright italic (!)\cr
${\it slant} = 1/8$& ${\it italicness} = 0$& even&
\tt sl& \tt o& oblique\cr
\end display
The `NFSS\vn2\ code' is the `font shape' code. The `Berry
codes' are variant letters for Karl Berry's font naming scheme.
The variable {\it slant} is common to many \MF\ programs, and
causes the glyphs to be obliqued. The {\it italicness} variable
signals that italic letterforms should be used for some letters.
It is possible to generate an obliqued font or an `upright
italic' with appropriate settings, but these cannot have `{\tt
ma}-' names, because I~have not defined style codes for them.
%}}} installation hints
%{{{ availability
\section{Copying Malvern and reporting bugs}
Like \TeX\ and \MF\ themselves, the implementation of Malvern in
\MF\ for use with \TeX\ is free software in the sense used by
the ^{Free Software Foundation} \cite{GPL}. (The word `free' is
used to mean `free of restrictions', rather than `available for
free'; free software may be bought and sold on the understanding
that the buyer may make copies and distribute them.)
^^{distribution}
^^{copying}
There is a ^{mailing list} for discussion of Malvern problems
and solutions. Send ^^{bugs} bug reports, suggestions, and
ideas to |malvern@comlab.ox.ac.uk|. To subscribe to the list,
mail me at |malvern-request@comlab.ox.ac.uk|.
%}}} availability
%{{{ fontinst
\section{Fontinst}
^^{Jeffrey, Alan} Alan Jeffrey's ^|foninst| package
\cite{fontinst} is a set of \TeX\ macros which allows users to
install ^{virtual fonts}. It can combine fonts represented by
Adobe Font Metric ({\tt afm}) or \TeX\ font metric ({\tt pl})
files into virtual fonts. These virtual fonts can then be used
by \TeX.
\xreflabel{s-fontinst}{\S\thesecno}
The package
\begin bullets
\\ is written in \TeX, for maximum portability (at the cost of
speed);
\\ supports the full ^{Cork encoding};
\\ allows arbitrary `fake' glyphs -- for example, creating an "ij"
ligature by placing "i" next to a "j";
\\ allows capital-and-small-capital fonts with letter-spacing and
kerning;
\\ allows kerning information to be copied between glyphs -- for
example "ij" can be made to kern on the left like "i" and on the
right like "j";
\\ allows glyphs from several fonts to be combined to make a new one;
\\ automatically generates a {\tt fd} file for NFSS~\n2 and \LaTeXe;
\\ can deal with arbitrary font encodings.
\end bullets
The current version is a beta release. It can be obtained from
the Comprehensive \TeX\ Archive Network (CTAN), in directory
|fonts/utilities/fontinst|.
By including some Cork-specific glyphs in the Malvern B
encoding, I~have managed to spin Cork-encoded Malvern fonts
(with variant encodings like cap \& small caps) from Malvern~A
and B fonts. The fonts generated have names in Karl Berry's
scheme, like `|fmvmq12|'.
%}}} fontinst
%{{{ to do
\section{To-do list}
So far both Malvern and this handbook is incomplete---Malvern is
a spare-time project and progress has slowed to a crawl over the
last few months. For the present, the best strategy seems to be
to release a version that can be picked apart by more
knowledgable people in order that a later, complete, release be
that much better.
Tasks that need attention include:
\begin bullets
\\
Make guillemets space themselves automagically.
%\\
% Fix design of ogonek letters \A, \E, \a, \e.
\\
Make head of \P{} solid.
%\\
% Tidy up the ^|fontinst| encoding files so that they can be
% included in future releases.
%\\
% Need a two drop-in \LaTeX\ style option files---one for standard
% \LaTeX, one for \LaTeX+NFSS.
\\
The kerning table is incomplete---I need to develop a
systematic method for thrashing one out in the absence of a
decent typesetter or enough specialized knowledge. Donation of
a kerning table or clever software for generating same would be
appreciated.
%\\
% Need some way of generating VF or VPL files automatically.
\\
Some composite letters are missing or hastily designed. I need
to do more research into other latin-alphabet languages (so that
I know how to draw their special letters).
\\
Find example texts containing some of the more esoteric special
letters (such as "\NG").
\\
Rethink the proportions of small-capital letters.
%\\
% Obtain more greek newspapers and magazines and design a
% lower-case greek alphabet.
\\
Learn Russian and design a Cyrillic alphabet.
\\
Script alphabets. (Just an idea.)
%\\
% The figures need to be overhauled---the `8' fails horribly in
% all sorts of conditions.
%\\
% Lower-case "e" should be different in italic.
\\
Documentation of the \MF\ code is incomplete---and some of the
code might usefully be rationalized.
\end bullets
%}}} to do
\input mabib
%{{{ index
\vfill\eject
\begingroup \leftmargin=0pt \setncolumns3 \notefonts
\section{Index}
\leftskip=1em \parindent=-\leftskip \parskip=0pt plus 1pt
\let\vn=\n
\inputifexists{\jobname.ind}
\vfill\eject
\endgroup
\index{New Font Selection Scheme|see{NFSS}}
%}}} index
\iflong
%{{{ colphon
\vfill\eject
\section{Colophon}
This manual was of course typeset using \TeX\ with Malvern
fonts. The manuscript was edited using Richard Stallman's GNU
Emacs extensible text-editor, with the CMU\TeX\ Major Mode by
Olin Shivers et al. The DVI files were previewed with |xdvi|,
and converted into \PS\ using Tomas Rokicki's excellent |dvips|
printer driver.
The body text is set in 10/12 pt Malvern~55, with Malvern~56
italics and Malvern~75 boldface.
%}2}} colphon
\fi
%}}} Appendix
%{{{ preliminary matter
\vfill\eject
\pageno=-1
\mark{{}{}}
\begingroup
\headline={\hfil} \footline={\hfil}
\iftwosided
%{{{ half-title
\null
\vskip 0pt plus 1fil
\line{\bigrm\spaceskip=0pt plus 1fil M A L V E R N}
\vskip 0pt plus 1.5fil
\eject
\line{}\vfill\eject % fronticepiece
%}}}
\fi
%{{{ title page + title verso
\null
\vfill
\leftline{\bigrm The \iflong\else abridged\fi}
\vskip 24pt
\leftline{\hugerm\spaceskip=-0.05em M A L\kern-0.1em V E R N}
\vskip 18pt
\rightline{\hugerm\spaceskip=-0.05em h a n d b o\kern-0.025em o k}
\vskip36pt
\leftline{\headingfonts P. Damian Cugley}
\vfill
\iftwosided
Alleged Literature, Oxford.
\eject\null\vfill
\fi
\parindent=0pt \parskip=1ex \leftskip=-\leftmargin
\copyright\ $1991$--$1994$ P. Damian Cugley.
The right of Damian Cugley to be identified as the author of
this work has been asserted in accordance with British copyright
law.
Permission is granted by the copyright holder to copy, use and
and distribute verbatim copies of the Malvern package and this
handbook without fee so long as ($1$)~the above copyright
messages and this permissions message are preserved intact on
all copies; and ($2$)~neither the name of Damian Cugley nor that
of Oxford University be used in any related promotion or
advertising without prior written consent. (Merely
acknowledging copyright would not count as contradicting~($2$).)
{\bf Caveat}\quad This documentation is incomplete.
\bigskip
This document describes \package.
\TeX\ was run on this file on \today.
\eject
%}}}
\endgroup
%{{{ preface
\sectionheading{Preface}
\dropcap\hugerm
Malvern is a sanserif typeface family: a collection of typefaces
that have been designed together and are intended to coordinate
with each other. (`Sanserif' comes from the French {\it sans
serif\/} and means that the arms and stems of letters do not
have the small finishing strokes called serifs.) This handbook
describes an implementation of Malvern created for use with
\TeX, a fiendish typesetting system devised by ^^{Knuth, Donald
E.} Donald~E.\ Knuth. Like Knuth's own Computer Modern family,
Malvern is implemented as a set of files which are interpreted
by \MF, a companion program to \TeX\ which is included in most
\TeX\ systems.
\iflong
The reader may be surprised that a typeface needs a `handbook'
like this one at all---after all, we do not see books called
`The Garamond User Guide' or `How to get more from your Bodoni'.
This is partly because of the nature and rarity of \MF\ fonts: they
are individually-crafted programs, whereas commercial fonts are
produced systematically using standard software. Partly it is
because the Computer Modern family is so thoroughly installed
into plain \TeX\ and standard \LaTeX\ that some effort is needed
to switch it over to another font family. And finally, there is
the fact that Malvern is itself eccentric and these
eccentricities need explaining.
My motivation to create Malvern comes from two sources.
Firstly, the \TeX\ system has always suffered from a dearth of
font designs: In the standard \TeX\ distribution, there are two
sanserif families (Computer Modern Sans Serif and CM Sans Serif
Quotation) both of which are derived from the same character
programs as the Computer Modern fonts. This is a nice gimmick,
but in practice the natures of sanserif and serif faces are so
much at odds that they cannot be usefully merged into one
`meta-design'.
% In particular, the capitals of \cmrname{CMSS}
% and \cmrname{CMSSQ} do not seem to me to coordinate well with
% their lower case. The $x$-height for \cmrname{CMSS} is small
% for a sanserif font, and makes it look top-heavy---but a
% side-effect of increasing the $x$-height in \cmrname{CMSSQ} is
% to make the capitals so extended as to be distended.
% My attempts to coax what I~considered to be a nice sanserif face
% out of the CM programs---with all sorts of hacks and
% fudges---became more and more elaborate, but to no avail.
Of course there are many wonderful faces available
commercially---but I have no money with which to buy them. (One
of the great things about \TeX\ is that it is free, so that
quality typesetting is available to any sufficiently-motivated
pauper with access to a computer.)
The second main impetus was more immediate---it was the
publication of the proposed standard \TeX\ font encoding in
\TUGboat\ (the \TeX\ User Group journal). I~wanted to write an
article or letter about this---but to do so I~needed to be able
to include many peculiar symbols in a \TeX\ document. After my
first attempts (creating a font to augment Computer Modern) it
seemed obvious that designing a new font from scratch would be
less effort in the long run than trying to come up with a bodge
to patch existing fonts.
\fi
This handbook describes my implementation of Malvern and some
ways in which Malvern can be used with \TeX\ (both plain \TeX\
and with the \LaTeX\ macro package).
\iflong
It also includes
information that relates to Malvern in general, as opposed to
any one implementation in particular. It is possible that at
some future date someone will make versions of Malvern fonts for
other systems, in which case they will surely supply their own
handbook to supplement this one.
Different parts of this handbook will be relevant to different
people. The first sections describe Malvern as it is used in
\TeX\ (or \LaTeX) documents, including the developement of \TeX\
macros to take advantage of Malvern's features (these are aimed
at \TeX\ experts and should be ignored by people who want merely
to have a system that works).
Later sections give an outline of the \MF\ code used to
implement Malvern. I~will not describe it in great detail but
I~will attempt to outline some of its weirder features. This
section is for the satisfaction of myself and other \MF-hackers,
and is of even less interest to the typical Malvern user than
the \TeX\ programming.
\fi
The appendix includes a summary of how to install Malvern, some
of the code described in previous sections, some tables (useful
or otherwise) and a list of books and articles referenced
elsewhere.
\rightline{Damian Cugley, June \n{1994}}
%}}}
%{{{ TOC
\sectionheading{Table of Contents}
\immediate\closeout\TOCfile
\begingroup
\def\TOCentrysubsec#1#2#3{#1\ #2\quad}
\input \jobname.toc
\endgroup
%}}}
%}}} preliminary matter
\bye
%}}} maman.tex
%Local variables:
%fold-folded-p: t
%tex-has-children: t
%fill-prefix: "\t"
%End:
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