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%
%================================ METAFONT LOGO =============================
% The hanky-panky below is a hack designed to integrate
% the LOGO font into LaTeX so that size changes are automatic.  The command 
% \mf is set up to invoke a LOGO font at the right size for the current LaTeX 
% environment (heading, toc, text, footnote, etc.):
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% The macro \@setsize below is taken from LFONTS.TEX with the addition of
% the assignment of the current font size to \@fontxsize:
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\def\@setsize#1#2#3#4{\@nomath#1\let\@currsize#1\baselineskip
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      depth.3\baselineskip width\z@}\baselineskip\baselinestretch\baselineskip
   \normalbaselineskip\baselineskip#3\let\@fontxsize#3 #4}
%
% Now the font macros:
\def\eightmf{\font\mfviii=logo8 \mfviii}
\def\ninemf{\font\mfix=logo9 \mfix}
\def\tenmf{\font\mfx=logo10 \mfx}
\def\elevenmf{\font\mfxi=logo10 scaled\magstephalf \mfxi}
\def\twelvemf{\font\mfxii=logo10 scaled\magstep1 \mfxii}
\def\fourteenmf{\font\mfxiv=logo10 scaled\magstep2 \mfxiv}
\def\seventeenmf{\font\mfxvii=logo10 scaled\magstep3 \mfxvii}
%
% Define \mf to select the font according to context:
\def\mf{\ifx\@fontxsize \viiipt \eightmf
\else \ifx\@fontxsize \ixpt \ninemf
\else \ifx\@fontxsize \xpt \tenmf
\else \ifx\@fontxsize \xipt \elevenmf
\else \ifx\@fontxsize \xiipt \twelvemf
\else \ifx\@fontxsize \xivpt \fourteenmf
\else \ifx\@fontxsize \xviipt \seventeenmf
\else \@warning{No Logo font available at this font size.  Substituting
ten point font.} \tenmf
\fi\fi\fi\fi\fi\fi\fi}
%**********************************************
% Now define the Metafont logo:
\newcommand{\MF}{\protect{{\mf META}\-{\mf FONT}}}
\newcommand{\METAfont}{\protect{{\mf META}font}} % or would just {meta-font} 
%						   be better?
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\documentstyle[twocolumn,fontmemo]{article} % Draft of July 3, 1988
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\title{              The Many Faces of \TeX \\
\normalsize       A Survey of Digital \METAfont s
}
\author{                  Dominik Wujastyk
}
\date{July 3, 1988}
%
\begin{document}
\maketitle
\tableofcontents % You'll probably want to get rid of this.
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%========================== AND ... WE'RE OFF! =======================
%
\section{Introduction}

This article seeks to give a reasonably complete survey of the fonts
and \METAfont s that are currently available for use with \TeX.
Although I have been primarily interested in cataloguing fonts
designed with \MF, I also wanted to include information about any
other fonts that have been successfully used with \TeX, i.e., fonts
with \TeX\ Font Metric files, and a mechanism for the creation of the
appropriate ligatures and kerning pairs, be it within the {\tt TFM}
file, or by means of a preprocessor.

I first started compiling this article late in 1987, as a note to
myself and my immediate Indological colleagues.  But it seemed little
extra work to include more information in it about other fonts that I
had heard of, and doing this greatly widened its usefulness to \TeX\
users in general.  But you may still detect a slight Indic leaning.

For those with access to the academic computer networks, I post
information about revisions of this article to \TeX hax from time to
time, and send the latest version of the article to {\tt
score.stanford.edu}, where it ends up as {\tt WUJASTYK.TXH} in the
directory {\tt TEX.TEXHAX}.  This way, people will know from \TeX hax
whether there is enough new stuff for it to be worth downloading the
whole article afresh.

I would be grateful for any relevant information that is not already
mentioned and, of course, for any corrections.  While keeping the memo
reasonably concise, I have given all the useful information that I
currently have.  I have also given everything I know about how to get
more information about each font, so follow those leads rather than
contacting me directly, in the first instance.

This article is made up of information given to me by others, both in
person and through general publication in {\em TUGboat\/}, \TeX hax and the
net.  My sincere thanks to all the contributors.


\section{Computer Modern}

It may seem odd to start with Computer Modern (CM), the typeface
family that most \TeX\ users use most of the time, since it was
created side by side with \TeX, and is included in all distributions
of \TeX.  Nevertheless, I feel that there is an important point to be
made about CM.

When Knuth developed \MF, one of the central ideas of the whole
project was that of producing {\em parametrized\/} typefaces.  In Douglas
Hofstadter's memorable phrase, \MF\ is a `knobbed category
machine'\footnote{Douglas R.~Hofstadter, `Metafont, Metamathematics
and Metaphysics: comments on Donald Knuth's Article ``The Concept of a
Meta-Font''\,', {\em Visible Language\/} {\bf 16} (1982), 309--338.  This article,
and selections from the discussion which it engendered in the pages of
{\em Visible Language\/} (henceforth {\em VL\/}), were republished as chapter 13 of
Hofstadter's {\em Metamagical Themas\/} (New York, 1986$^2$).}, and when Knuth
announced the capabilities of \MF\ to the world in {\em Visible Language\/} it
was precisely this parametrization that he emphasized and demonstrated
so brilliantly.\footnote{'The Concept of a Meta-Font', {\em VL\/} {\bf 16} (1982),
3--27.}

Later on, Knuth explained that the whole inspiration for \MF\ had
arisen from the three ideas of {\em pens, parameters\/} and
{\em programs\/}.\footnote{Donald E. Knuth, `Lessons Learned from Metafont',
{\em VL\/} {\bf 19} (1985), 35--53.}  Hofstadter argued, wrongly I think, that this
idea contained basic flaws, and that some of Knuth's implications
about using \MF\ to generate different typefaces by twiddling the
`knobs' of a single underlying typeface description were
misleading.\footnote{I agree with the refutation by Geoffrey Sampson,
`Is Roman Type an Open-Ended System: A Response to Douglas Hofstadter'
{\em VL\/} {\bf 17} (1983), 410--412, in spite of Hofstadter's reply in pages
413--416 of the same issue.}  Knuth made it clear that he had never
meant to imply that all typefaces could usefully be combined into one
single \METAfont (although he did not actually deny the feasibility of
such an endeavor), and again emphasized the desirability of trying to
incorporate variability into a design.\footnote{{\em VL\/} {\bf 17} (1983), 417.}

In view of the vigor with which Knuth has maintained the idea of
parametrization, both in discussion and in the actual implementation
of Computer Modern,  I am very surprised that the following survey of
\TeX\ fonts does not include a single example of a new typeface
created from CM by changing its parameters.  In Knuth's own hands, CM
is utterly plastic, as was demonstrated so startlingly in his article
`The Concept of a Meta-Font' referred to above, and by the inclusion
of such fonts as Computer Modern Funny Roman ({\tt CMFF}), Unslanted
Text Italic ({\tt CMU}), and the delightful {\tt CMFIB} (which uses
the Fibonacci series for the ratios of several of the CM parameters)in the standard distributions of CM.  But none of us has taken up the
challenge, implicit in the 62 parameters of CM, to produce a new face
for general distribution.  It would be very nice, for example, to
produce a full set of {\tt CMFIB}, with bold, slanted, italic,
typewriter and other versions. And someone should pick up the gauntlet
thrown down by Hofstadter, and try to produce a Times Roman, or a
Baskerville or some other familiar face from the CM programs.  Knuth
has said that we should not blindly copy the old masters, without
trying to understand why they produced what they did.\footnote{{\em VL\/} {\bf 17}
(1983), 417.}  How interesting it might be, then, to try to manipulate
the parameters of CM to produce a different, but recognizable family
of faces.  And if the experiment failed, the reasons why it did so
would themselves be of
great interest.  The first sentences of the Introduction to {\em Computer\/}
{\em Modern\/} {\em Typefaces\/} are:
\begin{quotation}
Infinitely many alphabets can be generated by the programs in this
book.  All you have to do is assign values to 62 parameters and fire
up the \MF\ system; then presto---out comes a new font of type.
\end{quotation}
Let's do it, but of course in the best possible taste!


\section{Devan\={a}gar\={\i}}

Devan\={a}gar\={\i} is the alphabet used for writing and printing
Sanskrit, Hindi and several other languages of South Asia, both
ancient and modern.

\subsection{Knuth}

As far as I know, Donald Knuth coded the first Devan\={a}gar\={\i}
character to be created with \MF.  This was the single syllable {\em la\/},
which Matthew Carter gave to Knuth in 1980 as a challenge to test the
capabilities of the then nascent \MF.  The smoke proof of the
character, and several interesting remarks about the experience, were
published as `My First Experience with Indian Scripts', in {\em CALTIS-84:\/}
{\em Special Issue on Calligraphy, Lettering \& Typography of Indian\/}
{\em Scripts\/}, (Proceedings of a Delhi 1984 conference).

\subsection{Ghosh}

An early Devan\={a}gar\={\i} font was designed with old \MF\
(MF-in-SAIL) by P.~K.~Ghosh during a visit to Stanford in 1982--83.
Ghosh published what he had done as Stanford Computer Science Report
965:  {\em An Approach to Type Design and Text Composition in Indian\/}
{\em Scripts\/} (Stanford, 1984).  One of the valuable aspects of this work
was that Ghosh worked from Devan\={a}gar\={\i} characters designed and
drawn for him by the famous Bombay calligrapher R.~K.~Joshi. Drawings
of these, on a grid, are published in the {\em Report\/}.  Unfortunately,
Ghosh's work was done in a now superseded version of \MF, and was not
fully worked out at the keyboard level.  It also lacked a number of
the conjunct consonant clusters necessary for fine Indian typography.
The report, however, remains of considerable interest for general
background.  The source code is available at the University of
Washington, through Pierre MacKay (address below), and presumably at
Stanford (try Emma Pease).  Ghosh has said explicitly that he has no
objection to others doing further work on it.

\subsubsection{Contact}

If you wish to contact Ghosh he can be reached at the following
address:\\
 National Centre for Software Technology,\\
 Gulmohar Cross Road 9,\\
 Juhu, Bombay 400 049,\\
 India.

\subsection{Velthuis}

The only fully worked out version of Devan\={a}gar\={\i} presently
available is that of Frans Velthuis.

%\paragraph{Date of information} 25 December 1987.

\subsubsection{The Font}

In November 1987, Frans Velthuis completed version 1.0 of a
Devan\={a}gar\={\i} \METAfont\ for \TeX.  He has written \MF\ code for
all the {\em ak\d{s}aras\/} (syllabic characters) necessary for Hindi, and
most of those for Sanskrit too, although in the latter case some
{\em vir\={a}mas\/} are used.  Frans intends to produce a special Sanskrit
version of his font in the future.  Also included are the
Devan\={a}gar\={\i} numerals, {\em anusv\={a}ra, vir\={a}ma, da\d{n}\d{d}a,\/}
{\em candrabindu, visarga, avagraha\/}, full stop, and the superscript
abbreviation circle.

\subsubsection{Usage}

You prepare your \TeX\ or \LaTeX\ file normally, and mark any Hindi
portions, typed in a simple Roman transliteration, with a font marker,
thus:  \verb|{\dn ...}|.  At the top of the \TeX\ file you
\verb|\input| a file called {\tt DNMACS}; in \LaTeX, a {\tt DEV.STY}
file is provided which inputs the necessary macros, and automatically
makes appropriate font size changes.  Frans provides a preprocessor,
{\tt DEVNAG}, available compiled for several systems, or in Pascal or
C, which reads your file and converts the Hindi transliteration into
the appropriate codes for Frans's font.  The converted file is then
processed by \TeX\ or \LaTeX\ in the normal way, and the resulting
{\tt DVI} file can be printed using a standard {\tt DVI} outputprogram.  The portions of Hindi text originally in Roman
transliteration will be printed in Devan\={a}gar\={\i}, with full use
of conjunct consonants ({\em sandhyak\d{s}aras\/}), etc.

\subsubsection{Quality}

The quality of the typeface is excellent, with full calligraphic
molding of the curves and loops, like some of the best handwriting of
manuscript scribes using a broad nib.

\subsubsection{Terms of Availability}

Frans will sell a set of four or five sizes of the Devan\={a}gar\={\i}
fonts, at the printer resolution you specify (Epson-type 9 pin matrix,
24 pin matrix ($180\times 180, 360\times 360, 180\times 360$),
write-white laser, or write-black laser), together with the compiled
code (specify VAX/VMS, SUN, Cyber, IBM/PC, Atari ST) of the text
preprocessor DEVNAG, for \$119. The \MF\ source programs are not at
present being made generally available.

\subsubsection{Contact}

Frans J.~Velthuis,\\
 Nyensteinheerd 267,\\
 9736 TV Groningen,\\
 The Netherlands.\\
 Bitnet: {\tt velthuis@hgrrug5}

\subsubsection{Further information}

A note about Velthuis's Devan\={a}gar\={\i} font appeared in \TeX hax,
1987, issue 93.  Velthuis intends to publish a full account of his
font in a future
issue of {\em TUGboat\/}.


\section{Tamil}

\subsection{Arthanari}

According to Emma Pease (network response on 10 November 1987 to my
query in \TeX hax 1987, issue 93) a basic set of Tamil characters for
\TeX\ was designed at Stanford by T.~S.~Arthanari created when he was
at Stanford from May to July, 1985.  Emma has the source code but does
not want to distribute it further without his knowledge.

\subsubsection{The Font}

There are approximately 160 characters in several styles written in a
pre-release version of the current \MF. Emma has only tried producing
characters for one style but had little difficulty in doing so (a few
commands had changed).  They are rough but look fairly good.

%\paragraph{Date of information} December 26, 1987.

\subsubsection{Contact}

T.~S.~Arthanari's last known address was:\\
 Quality Informatics Labs, Ltd.,\\
 312, P.~M.~G.~Complex,\\
 57, South Usman Road,\\
 Madras, 600 017, India.

I wrote to Mr.~Arthanari in December 1987 to ascertain his intentions
concerning his work, and especially to learn whether he is willing and
able to allow the source code of his Tamil font to be distributed as
public domain software.  There has been, as yet, no reply.  A
colleague is visiting Madras in a few weeks, and will try to make
contact with him.

\subsection{Ramanujan}

%\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre
%MacKay).

\subsubsection{The Font}

According to information received by e-mail from Pierre MacKay (Fri
Jan 22, 1988), Ramanujan, a graduate student who worked at Washington
two years ago, designed a Tamil font in \MF84 (I think).  According to
Pierre, the problem with this, as with Ghosh's Devan\={a}gar\={\i}, is
that it was arbitrarily developed in a framework that bears no
relation to the monotype-based character grid used for Computer
Modern, i.e., the characters do not sit in a box or on a baseline that
relates in an appropriate manner to CM;  this is unfortunate, since it
makes it almost unusable in an environment with CM.  Moreover, it does
not make much use of the macro capabilities of \MF.

%\paragraph{Date of information}  June 7, 1988.

\subsection{Ridgeway and Schiffman}

After a thorough evaluation of the Ramanujan characters, the
Humanities and Arts Computing Center at the University of Washington
decided that it was better to begin again.  Dr.~Thomas Ridgeway,
director of the Center, in  consultation with Prof.~Harold Schiffman
of the Department of Asian Languages,  has almost completed a fully
vowelled \MF\ for Tamil. It will be tested during  the summer, and
should be ready for release in early fall 1988, together with some
sort of macro package to make it usable from a Latin-letter keyboard.
Characters are arranged in the font in rough alphabetical order,
starting from position zero.  We have not found any other coding
system which seems definite enough to use as a model.  The Tamil
phonetic subset of ISCII does not provide nearly enough character
positions.  It is expected that with this as with many other non-Latin
fonts some sort of input preprocessor will be used to mediate between
the code used for text-editing and the \TeX\ font coding.

\subsubsection{Contact}

Dr.~Thomas Ridgeway, Director \\
 Humanities and Arts Computing Center \\
 Mail~Stop DW-10 \\
 University of Washington \\
 Seattle, WA 98195, USA \\
 Phone: (206) 543-6259 \\
 Net: {\tt mackay@june.cs.washington.edu}

\subsection{Other Developments}

%\paragraph{Date of information} March 11, 1988.

T.~K.~Rengarajan, a software engineer (Database Systems, Digital
Equipment Corporation), e-mailed me on Fri 5 Feb, 1988, and mentioned
that he may do a \MF\ Tamil.  He can be contacted at:\\
 Net: {\tt ranga\%debit.DEC@decwrl.dec.com}


\section{Telugu}
Telugu is the name of the language and script used in Indian state of
Andhra Pradesh.
\subsection{Mukkavilli}

%\paragraph{Date of information}  March 11, 1988.

\subsubsection{The Font}

Recent mail from Lakshmi Mukkavilli indicates her intention, together
with her husband Lakshmankumar Mukkavilli, to implement a Telugu
script font in \MF. Their work on this font will intensify during the
summer of 1988. Incidentally, they are looking for a good Telugu
calligrapher and would welcome suggestions.  In their opinion,
existing Telugu typefaces are not good, tending to be very heavy along
the baseline, which is hard on eyes.  So they are not keen on
imitating existing typefaces, and will probably create their own.

A note from Lakshmi in May 1988 said that she and her husband have now
started working full time on the Telugu fonts using \MF, and they
expect to start coding \MF\ programs in the second week of June.  They
are at present deciding on parameters, and the characters for which
\MF\ programs are to be written. They are also concerned about how to
incorporate context analysis logic in the form of \TeX\ macros.
Entering text in Roman transliteration and preprocessing the text for
input to \TeX\ does not seem very attractive to them, although, in the
absence of widely available customizable terminals that could cope
with Telugu, they may be forced down this path.

Another point of concern is their desire to use the ISCII standard (a
version of ASCII for Indian languages).  This is the only really
widely published standard for the arrangement of the characters of
Indian languages in a font grid, and I suspect that all creators of
Indic fonts should be using it as far as possible.

\subsubsection{Contact}

Lakshmankumar Mukkavilli and \\
Lakshmi Mukkavilli,\\
 226 Computer Science,\\
 Iowa State University,\\
 Ames IA 50011, USA.\\
 Phone: (515) 296--7808\\
 CSnet:	{\tt lakshmi@atanasoff.cs.iastate.edu}\\
 Uucp:	{\tt lakshmi!atanasoff}

\subsection{Other Developments}

%\paragraph{Date of information}  March 11, 1988.

E-Mail from K.~Sankara Rao in March 1988 indicates his similar
intention to implement a Telugu font in \MF.  He can be contacted
at:\\
 Department of Electrical Engineering \\
 North Dakota State University \\
 Fargo, ND 58105, USA. \\
 Bitnet:  {\tt nu043109@ndsuvm1}


%\section{Mar\={a}\d{t}h\={\i}}

%No known font, but the addition of a few extra characters, such as
%retroflex {\em la\/}, to Velthuis's Devan\={a}gar\={\i} (which he is
%considering) will make his font perfectly suitable for
%Mar\={a}\d{t}h\={\i}.


\section{Perso-Arabic}

%\paragraph{Date of information}  June 7, 1988.
\subsection{MacKay}

Pierre A.~MacKay (TUG Site Coordinator for Unix-flavored \TeX) and the
Washington team have been working on an Arabic implementation of \TeX\
for some years.  Their plans are ambitious, and include building a
customized version of \TeX, called \TeX--XeT, which has a built-in
capability for handling bidirectional text.  Details of this change to
\TeX\ were published by Don Knuth and Pierre MacKay in {\em TUGboat\/} {\bf 8},
issue 1 (1987). This is an active project, but  MacKay says wistfully
that Arabic remains a long-term dream.

\subsubsection{Terms of Availability}

\TeX-XeT can be compiled with the C compiler using {\tt WEB}-to-C and
the  change file {\tt Cxet.ch}, both of which are part of the Unix
\TeX\  distribution.  Several sites have actually made use of the
reflection  primitives, and Larry Denenberg of BBN has rewritten the
{\tt dvi2ps} device  driver to do the correct things with
right-to-left text.  The Denenberg  {\tt dvi2ps} is vastly superior to
the old {\tt dvi2ps} in many other ways,  and it will become a part of
the distribution very shortly.  (The driver is  available as an {\tt
FTP} file from the {\tt pub} directory on {\tt
june.cs.washington.edu}.  Look for \verb|ld_dvi2ps.tar.Z|.)  {\tt
WEB}-to-C is also available as the file {\tt web2c.tar.Z}, along with
{\tt Cxet.ch.Z}.

\subsubsection{Contact}

Pierre MacKay, \\
 Department of Computer Science, FR-35,\\
 University of Washington,\\
 Seattle, WA 98195, USA.\\
 Phone: (206) 545-2386/543-6259.\\
 Net: {\tt MacKay@June.cs.Washington.edu}

\subsection{Goldberg}

%\paragraph{Date of information} February 3, 1988, February 11, 1988.

On Monday, 18 Jan 1988, and again on 15 Feb 1988, Jacques J.~Goldberg
wrote to \TeX hax (1988, issues 7 and 15),  giving details of a
package giving the capability of printing Hebrew.   He said that an
article is currently being written about the package, for submission
to {\em TUGboat\/} (see under {\bf Hebrew}).  At the same time he included a brief
note referring to a nearly completed Arabic font.

\subsubsection{The Font}

Goldberg said,
\begin{quotation}
An Arabic font is three characters away from completion, but the
MetaFounders are near midyear exams and unpaid, so the Arabic font
{\sl might} show up around mid March [1988].  (To be precise, their
font is Parsi, and some limited work is needed to extend it to full
Arabic). \ldots\ This needs {\sl no} change either in \TeX\ or in {\tt
DVI} drivers: a simple preprocessing of the \TeX\ input file and a
small additional macro package do it.
\end{quotation}

\subsubsection{Terms of Availability}

It is likely that the Arabic fonts and macros may be distributed on
similar terms to the Hebrew; see the {\bf Hebrew} section.

\subsubsection{Contact}

For Prof.~Goldberg's address see under {\bf Hebrew}.

\subsection{Other Developments}

See also the bitmap Arabic (?) fonts distributed by the {\bf Austin Code}
{\bf Works}.


\section{Hebrew}

%\paragraph{Date of information} February 3, 1988.

\subsection{Goldberg}

On Monday, 18 Jan 1988, and again on 15 Feb 1988, Jacques J.~Goldberg
wrote to \TeX hax (1988, issues 7 and 15),  giving details of a
package giving the
capability of printing Hebrew.   He said that an article is currently
being written about the package, for submission to {\em TUGboat\/}.

\subsubsection{The Font}

Goldberg says that the package comprises:
\begin{itemize}
\item a set of fonts at 8, 9, 10, 12, 17 points in regular type, 10
      points slanted and bold, and any magnification on request (1000
      off the shelf).
\item a 100\% portable preprocessor written in C (MSDOS users who do
      not have a compiler can get the {\tt .COM} file).
\item a small set of \TeX\ macros.
\item a sample file.
\end{itemize}

\subsubsection{Usage}
Hebrew words in Roman transliteration are inserted either by typing
first-typed-last-read with the font invoked, which is a pain but
`displays' in natural reading order, or by typing first typed first
read as argument of the \verb|\reflect| macro given by D.~Knuth and
P.~MacKay, {\em TUGboat\/} {\bf 8} (1987), p.\,14.  Long Hebrew sequences are typed,
in first-typed-first-read order, within delimiters.  The preprocessor
copies non Hebrew sequences to an auxiliary file. Hebrew sequences are
parsed into words, and written to the auxiliary file one word at a
time after each word has been reflected.  \TeX\ is then invoked on the
file containing the macro package, which itself \verb|\inputs| the
auxiliary files, feeding \TeX\ with either normal English input or
\verb|\lines{ }| adjusted by the macro to the optimal number of Hebrew
words.

\subsubsection{Quality}

Goldberg is---I suspect unnecessarily---diffident about the quality of
the fonts.  He calls them `ugly fonts not good for anything else than
Office documents (drafts, reports, \ldots)'.

\subsubsection{Future development}

Goldberg is looking for a convenient table representing the 22 Hebrew
letters by Roman letters.  Then the preprocessor could translate to
standard ASCII the character codes used in Israel with their special
Hebrew terminals, so that anybody with an English-only terminal could
write in Hebrew.

\subsubsection{Terms of Availability}

Goldberg says,
\begin{quotation}
I do not expect any fee from individuals, but I would be happy if {\sl
institutions} that may use this package would later voluntarily
contribute \$25 to \$50 [payable to the Treasurer of the University]
to help my Department \ldots\ pay students employed on font
development.
\end{quotation}
He later added,
\begin{quotation}
All that project is stored and freely available on a Bitnet server.
To get the whole package, send an interactive message {\tt GET IVRITEX
PACKAGE} to {\tt LISTSERV@TAUNIVM}.  Arpanet or other nets not
interactively connected to Bitnet, just send a {\tt MAIL} file to that
address, with the request {\tt GET IVRITEX PACKAGE} in the first line
({\sl not} Subject) of the message.  Other useful commands to that
server are:
\begin{description}
\item[{\tt GET IVRITEX FILELIST}] to get a directory of the project,
and
\item[{\tt INFO FILES}] to get instructions how to sign up for
automatic updates.
\end{description}
\end{quotation}

\subsubsection{Contact}

Prof.~Jacques J.~Goldberg,\\
 Department of Physics,\\
 Technion-City,\\
 32000 Haifa, Israel.\\
 Bitnet: {\tt phr00jg@technion}\\
 If you are not on Bitnet, try: \\
 {\tt phr00jg\%technion.bitnet} at \\
 {\tt forsythe.stanford.edu}

\subsection{Other Developments}

See also the experimental Hebrew font described under the heading
{\bf Georgia Tobin}, and the bitmaps distributed by the {\bf Austin Code Works}.


\section{Greek}

%\paragraph{Date of information} January 21, 1988.

\subsection{Levy}

\subsubsection{The Font}

Regular, bold, and typewriter versions of the Greek alphabet have been
coded in \MF84 by Silvio Levy of Princeton, starting from the Greek
character set created by Don Knuth as part of the CM family, but with
all accents, breathings, correct spacing, ligatures, and macros to
implement a convenient Roman transliteration for input.  The font is
suitable for both classical and modern Greek.

Full details and illustrations of the use of the fonts have been given
by Silvio Levy in his two publications:
\begin{description}
\item `Typesetting Greek', in {\em \TeX\ Users Group Eighth Annual Meeting:\/}
{\em Conference Proceedings\/}, edited by Dean Guenther (Providence: TUG,
1988), 27--33.
\item `Using Greek Fonts with \TeX', {\em TUGboat\/} {\bf 9} (1988), 20--24.
\end{description}

\subsubsection{Terms of Availability}

Silvio Levy has released his Greek fonts freely, without charge (andwithout any warranty).  He maintains an electronic mailing list of
interested parties, and the \MF\ source is available to Arpanet users
by anonymous FTP from {\tt princeton.edu}.

\subsubsection{Contact}

Silvio Levy, \\
 Math Department, Fine Hall,\\
 Princeton University,\\
 Washington Road,\\
 Princeton, NJ 08544, USA.\\
 Phone: (609) 452-5790\\
 Net: {\tt levy@princeton.edu}

\subsection{Kelly}

Issue 14 of UK\TeX\ 1988 (Fri, May 20), the UK's answer to \TeX hax,
put out from Aston by Peter Abbott ({\tt abbottp@aston.ac.uk.bitnet}),
carried a notice by Christopher P.~Andrasic (of Cranfield) reporting
some Greek fonts.

\subsubsection{The Fonts}

Brian Hamilton Kelly (also at Cranfield) created these Greek fonts
using \MF84. The \MF\ sources of the non-Math Greek fonts are
contained in the files {\tt CMGI10.MF, CMGTT10.MF, CMG10.MF,
CMGB10.MF}, and {\tt GRKTXT.MF}.  As far as I know, there are no
macros or preprocessor offered for implementing the font at the
keyboard level.

\subsubsection{Terms of Availability}

These fonts are being offered for general, free release.  They are
available for FTP within the UK, from the directory {\tt
public.mffiles} of the UK\TeX\ archive at Aston.

\subsubsection{Contact}

Christopher P.~Andrasic \\
 Net: {\tt rm001a@uk.ac.cranfield.cdvc}


\section{Cyrillic}

\subsection{MacKay}

%\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre
%MacKay).

Pierre MacKay reports that the Washington team is working on Old
Russian (more or less Old Church Slavonic, but specifically designed
for the Slovo).

\subsubsection{Contact}

For Prof.~MacKay's address see under {\bf Arabic}.

\subsection{MF Slavic Family}

This family of Cyrillic fonts is described under {\bf Georgia Tobin}.

\subsection{AMS}

The American Mathematical Society has developed a post revolution
Cyrillic font, in old \MF79, and a set of macros to implement it
comfortably.  Details of the font, with examples of its use, and grids
of the character set were published in {\em TUGboat\/} {\bf 6} (1985), 124 ff.

\subsubsection{Terms of Availability}

Same terms and contact addresses as described under {\bf AMSfonts Package}.

\subsection{Other Developments}

See also the Cyrillic bitmap fonts distributed by the {\bf Austin Code}
{\bf Works}.


\section{Turkish}

\subsection{Washington}

%\paragraph{Date of information}  June 7, 1988. (P. A. MacKay)

\subsubsection{The Font}

Pierre MacKay informs me (Jan 22 1988) that work on properly accented
Roman-letter Turkish fonts in \MF\ has been undertaken at the
University of Washington by  himself and Walter Andrews.  The accented
characters are developed from Computer Modern descriptions, so as to
maintain the maximum possible compatibility with the Computer Modern
faces. Andrews and MacKay have published a description of their work
as:
\begin{description}
\item `The Ottoman Texts Project' in  {\em \TeX\ Users Group Eighth Annual\/}
{\em Meeting:\/} {\em Conference Proceedings\/}, edited by Dean Guenther (Providence:
TUG, 1988), 35--52.
\end{description}
Pierre also wrote on `Turkish Hyphenations for \TeX' in {\em TUGboat\/}  {\bf 9}
(1988), 12--14.  See also the note in {\em TUGboat\/} {\bf 8} (1987), 260.
\subsubsection{Terms of Availability}

A first release is available for FTP on {\ tt june.cs.washington.edu}
in the {\tt pub} directory under the name {\tt turkish.tar.Z}.  This
is a  do-it-yourself kit, with driver files for {\tt WTKR10} and {\tt
WTKTI10} only. Fonts can be made up in 128-character form for drivers
which still use {\tt PXL} files, and in 256 character form for all
others.  The 256 character form contains all the expected characters
of Computer Modern, and all except @ and \# are in the expected
places.

\subsubsection{Usage}

The {\tt turkish.tar} file includes the hyphenation table described in
the {\em TUGboat\/} article mentioned above, and a modified {\tt TPLAIN.TEX}
in which Turkish fonts will take the place of CM fonts, and the
messages will ultimately be translated into Turkish.  There is a
good-sized sample of Ottoman literary text for testing.

\subsubsection{Contact}

For Prof.~MacKay's address see under {\bf Arabic}.


\section{Japanese}

%\paragraph{Date of information} March 11, 1988

In order to typeset Japanese text it is insufficient merely to have a
Japanese font.  There are several problems, including the very large
size of the Japanese character set, which mean that a modified
implementation of the \TeX\ system as a whole is necessary.

Some of the issues concerned in using \TeX\ for typesetting Japanese
were surveyed by Nobuo Saito and Kazuhiro Kitagawa of Keio University,
Yokohama: \begin{description}
\item `What Should We Do for Japanese \TeX', in {\em \TeX\ Users Group\/}
{\em Eighth Annual\/} {\em Meeting: Conference Proceedings\/}, edited by Dean Guenther
(Providence: TUG, 1988), 53--56.
\end{description}

Saito and Kitagawa have taken Pat Monardo's Common \TeX\ as the
starting point for a series of modifications to \TeX\ itself that have
some features in common with the ASCII Corporation's work, described
below.

I recently received a comprehensive message from Edgar M.~Cooke about
the current state of \TeX\ in Japan.  Most what follows is reproduced
verbatim from this message.

At present, two publicly available versions of \TeX\ are being
distributed that support Japanese, and one further version is supposed
to become available shortly. These are not entirely mutually
compatible, and each has its strong and weak  points.

\subsection{ASCII Corporation}

The ASCII Corporation is a microcomputer oriented publishing and
software house that has taken a strong interest in \TeX\ for their own
publishing work, and whose UNIX support section has produced and
distributes the Japanized version of \TeX.

ASCII's version was implemented without concern for 100\% internal
compatibility with Knuth's \TeX, and cannot pass the {\tt TRIP} test
(N.B.: it is closer to passing as of version 1.0).  However, the
output of an identical English \TeX\ input file is, to the best of my
knowledge, identical with that of standard \TeX.  They have added a
few primitives (concerned with spacing between the ideographs and
letters, etc.) useful in handling Japanese or Japanese with Romanized
languages, and have created a variant of {\tt TFM} which they call
{\tt JFM} (but which still has the {\tt TFM} extension, although it is
internally identifiable by a coded ID byte).  The purpose of this is
to allow one font to hold the more than 6000 characters of a typical
Japanese font.  It also differs in other ways, notably that the
ligature table (unnecessary in Japanese) has been replaced by a `glue
table', which handles much of the information necessary concerning
spacing between the characters (which usually appear without
distinction between inter-character and inter-word spaces, unlike in
modern Western languages).

\subsubsection{Terms of Availability}

At present, the ASCII Corporation is freely distributing this
implementation in the form of sources including change files for
INI\TeX, VIR\TeX, and BiB\TeX, and Japanized macro files for plain
\TeX, \LaTeX, and Sli\TeX\ (with the \LaTeX\ style files), and they
include the source for a (just adequate) printer driver for the Canon
LBP--8 that uses its internal Japanese character set, and {\tt JFM}
files for point sizes 5 through 10 of a standard (`Mincho' = Ming
Dynasty style) typeface and of an emboldened (`Gothic') typeface which
can probably be used with a number of different pixel font sets, e.g.,
the internal Canon LBP--8 set, (but which in ver.~1.0 is based on the
Dai Nippon Printing Co.~[DNP] fonts).  A printer driver and X-windows
previewer handling the DNP fonts is now available.

\subsubsection{Contact}

ASCII Corporation,\\
 Sumitomo Minamiaoyama Building,\\ 5--1--5 Minamiaoyama Minato-ku,\\
 Tokyo 107, Japan.

\subsection{J\TeX}

The following articles on J\TeX\ and its fonts, by Yasuki Saito, have
appeared:
\begin{description}
\item `Japanese \TeX', {\em TUGboat\/} {\bf 8} (1987), 103--116.
\item `\TeX: J\TeX', in {\em \TeX\ Users Group Eighth Annual Meeting:\/}
{\em Conference\/} {\em Proceedings\/}, edited by Dean Guenther (Providence: TUG,
1988), 57--68.
\end{description}
J\TeX\ was developed by Yasuki Saito of Nippon Telephone \& Telegraph
(NTT). Saito's policy has been to attempt to avoid radical changes to
standard \TeX\ as much as possible, but this increased compatibility
has led to problems: since a font can have only 256 characters, the
number of fonts one needs even to support a single real Japanese font
set (33) tends to be quite large, even if one only declares the fonts
corresponding to the various sections of the original font that
include characters that have actually been input into the document.

A standard (but ugly) set of Japanese characters that is in the public
domain (known as the JIS fonts, for the Japanese Industrial Standards
Institute, which is responsible for the (abjectly arbitrary) standard
coding of Japanese characters and for making the font set available)
is included with J\TeX.  This originally consisted of only 1 size,
namely characters described in a 24-dot square matrix, but Saito
mechanically generated 36-, 48-, and 72-dot fonts to imitate other
point sizes or \verb|\magsteps|.  This set is not very high quality by
any standard, but it is the only public domain font known to me
[Cooke].

Yasuki Saito has also collaborated with Dai Nippon Printing Co.~to
make their industry standard fonts available---but for a price: 95,000
Japanese yen.\footnote{ASCII and SONY are also negotiating with Dai
Nippon to allow similar font sets to become available for different
resolutions of printers, and, if we are lucky, a vector stroke
typeface of high quality that is applicable to various sizes and
resolutions may become available next year.}

Saito's 1988 article, cited above, includes a section describing the
JIS and DNP Japanese fonts, with illustrations.
J\TeX\ has 240, 300, 400, and 480 dpi fonts available currently.
Please note that 6000+ characters makes for a largish distribution
tape---the rudimentary set of JIS fonts in an adapted {\tt GF} format
with {\tt TFM}s takes up about 10 M of disk space, while the {\tt
PXL}, {\tt GF}, and {\tt TFM} files for the DNP Mincho and Gothic
fonts very nearly fill an entire 2400 ft magtape at 6250 bpi! I had a
chance to measure these more carefully:
\begin{center}
\begin{tabular}{lrlr}						
\hline
\multicolumn{2}{c}{DNP fonts} 		&\multicolumn{2}{c}{JIS
fonts}\\
\hline {\tt GF} Mincho 	&  49,312,713	& {\tt PXL}  	&
11,321,384\\
{\tt GF} Gothic 	&  43,401,652 	& {\tt GF}   	&  7,729,124\\
{\tt TFM}s 		&  559,152 	& {\tt TFM}s 	&  137,417 \\
{\bf Total bytes}		&  93,273,517 	& 		&  19,187,925
\end{tabular}
\end{center}
In other words, non-trivial.

\subsubsection{Terms of Availability}

J\TeX\ is in the public domain, and comes free with the JIS fonts.  In
Japan, the Japan Society for Software Science and Technology
distributes it.

J\TeX\ is is available in the US by anonymous FTP from {\tt
turing.stanford.edu}.  The Tops-20 version is installed on {\tt
Turing} in directory \verb|PS:<JTEX>|.

The UNIX version is being distributed for the time being by Yasuki
Saito, with source files for pretty much what ASCII has, but with an
Imagen printer driver that handles external Japanese font data and an
X-windows previewer for J\TeX, as well as a version of DVI2PS
supporting Japanese, but no support for BiB\TeX\ or Sli\TeX\ is
offered.

But in a note to \TeX hax 1987, issue 106 (Fri 25 Dec), Hideki Isozaki
announced that he has prepared \LaTeX\ and Sli\TeX\ files to work with
J\TeX.

\subsubsection{Contacts}

%\paragraph{Date of information} Fri 25 Dec 1987, given in \TeX hax
%1987, issue \#106.

Yasuki Saito, \\
 NTT Electrical Communications Laboratories, \\
 NTT Corp., 3-9-11\\
 Midori-cho Musashina-shi,\\
 Tokyo 180, Japan.\\
 Phone: +81 (422) 59-2537\\
 Net: {\tt yaski\%ntt-20@sumex-aim.stanford.edu}\\[1.5ex]
Hideki Isozaki, \\
 NTT Software Laboratories,\\
 JUNet: {\tt isozaki@ntt-20.ntt.junet}\\ CSNet: {\tt isozaki@ntt-20.ntt.jp}\\
 Arpa: {\tt isozaki\%ntt-20@sumex-aim.stanford.edu}

\subsection{Other Developments}

There is a version of Japanese \TeX\ that is likely to become
available from Canon which resembles J\TeX, but it may take a {\sl
long} time for the management at Canon to make anything available to
the public domain, so it may not be available until some time next
year.

Similarly, IBM Japan has a Japanese version based on the Canon
algorithm (which was also the stimulus for the Saito's J\TeX).

The Bitstream Kanji fonts could almost certainly be integrated into
the above Japanese \TeX\ implementations (see {\bf Bitstream}).

\subsection{Conclusion}

There has been a meeting of the leaders and interested parties of
J-TUG about whether it is possible to merge these three versions, and
a number of suggestions and guidelines have been set forth.  But
lacking a central authority figure along the lines of a Donald Knuth
has limited this from going beyond recommendations.

All three parties are working on improving the inherent quality and
mutual compatibility of their versions, and I expect that they will be
working on this throughout the next year (all this being more or less
volunteer work). Except for the fact that just about none of the other
utilities ({\tt DVITYPE}, etc.) seem to work with the ASCII version
(except {\tt TFtpPL} and {\tt PLTOTF} to preen {\tt JFM}s), I suspect
that it is a leading contender, because \begin{itemize}
\item they are promoting it through prompt and widespread distribution
of the sources advertised in their own and others' publications, and
\item because they have obviously lavished a good deal of care in
attending to details of Japanese printing practice that make it at
least as good as either of the others---in addition, of course, to
removing the burden of having to deal with a plethora of fonts each
comprising a tiny fragment of a whole Japanese font set.
\end{itemize}

\subsubsection{Contact for all Japanese \TeX}

Edgar M.~Cooke is prepared to act as a clearing house for \TeX\ going
into and coming out of Japan.  He can be contacted at:\\
 Software Research Association Inc.,\\
 1--1--1 Hirakawa-cho,\\
 Chiyoda-ku,\\
 Tokyo 102, Japan.\\
 Net: {\tt cooke\%srava.sra.junet@uunet.uu.NET}\footnote{N.B. It is
possible to reply to any mail he will send you by `{\tt R}' or `{\tt
r}' from the Unix {\tt mail(1)} program, but then it will come via
CSnet, which (although days faster) is prohibited to non-member,
non-academic institutions such as his.}

Edgar Cooke is in close touch with Pierre MacKay, and has sent Pierre
the two
versions of Japanese \TeX\ (ASCII Corp.~and J\TeX) mentioned above.


\section{Chinese}

Work done on a Chinese \METAfont\ by Gu Guoan and John D.~Hobby is
available by anonymous FTP from {\tt june.cs.washington.edu}, in the
directory {\tt /pub}, as the (large) file {\tt CHINESE.TAR.Z}.  This
was written up in {\em TUGboat\/} {\bf 5} (1984), pp.119--136.  (This is a reprint
of the Stanford Computer Science Report 974 by Gu Guoan and
J.~D.~Hobby:  {\em A Chinese Meta-font\/} (Stanford, 1983).)


\section{International Phonetic Alphabet}

\subsection{Washington State University}

Dean Guenther informs me (June 22, 1988) that Washington State
University has an IPA font available. It contains 128 popular IPA
characters and diacritics as specified in the {\em Phonetic Symbol Guide\/} by
Geoffrey K.~Pullum and William A.~Ladusaw (Chicago, London, 1986).
Janene Winter did the \MF\ work on this font.  The character positions
were coordinated with help from Helmut Feldweg at the
Max-Planck-Institut f\"{u}r Psycholinguistik in the Netherlands,
Christina Thiele at Carleton University and some ideas from Brian
MacWhinney at Carnegie Mellon and Karen Mullen at the University of
Kentucky at Louisville.

The font also comes with a set of macros to access the characters
easily.  For
example, \verb|\schwa| prints what you would expect.

\subsubsection{Terms of Availability}

The Washington IPA is available for \$100.  The package includes {\tt
GF}, {\tt PXL} or {\tt PK} fonts at 9, 10 and 12 point (together) in
the Roman face.    The typeface is designed to match the CM Roman
face.  The \MF\ source is not included.

\subsubsection{Contact}

Send a note to Dean Guenther at {\tt guenther@wsuvm1} on Bitnet, or
write to:\\ {\sl \TeX T1\/} Distribution,\\
 Computing Service Center,\\
 Washington State University,\\
 Pullman, WA  99164--1220, USA.

\subsection{Other Developments}

Georgia Tobin (q.\,v.) has an IPA font, created in old \MF79.

A bitmap IPA font, {\tt ph10}, was created by Jean Pierre Paillet for
use with \TeX\ for typesetting the {\em Canadian Journal of Linguistics\/}.
This font is described, with a printout of the character grid, by
Christina Thiele in
\begin{description}
\item `\TeX, Linguistics, and Journal Production' in {\em \TeX\ Users Group\/}
{\em Eighth\/} {\em Annual Meeting: Conference Proceedings\/}, edited by Dean Guenther
(Providence: TUG, 1988), 5--26.
\end{description}
{\tt ph10} is now superseded by the Washington font.

According to a note from G.~Toal in UK\TeX\ 1988, issue 2, Tibor
Tscheke's company, St\"{u}rtze AG, also has an IPA font for sale.
Toal does not state whether this font was created with \MF, but the
implication is that it is usable with \TeX.  Contact:\\
 Tibor Tscheke, \\
 Head, Computer Science Department,\\
 Universit\"{a}tsdruckerei,\\
 H.~St\"{u}rtze AG,\\
 Beethovenstra$\beta$e 5, \\
 D--8700 Wurzburg, \\
 West Germany.

Kris Holmes and Chuck Bigelow also report that they have a bitmap IPA
font. See {\bf Lucida}.

%\paragraph{Date of information}  June 7, 1988.

\subsection{Ridgeway}

A phonetic alphabet has been developed by Thomas Ridgeway for a large
subrange  of American Indian languages.  The first active projects
using this are in  Salish and Navajo.  This font is presently being
tested and will be available  from the Humanities and Arts Computing
Center at the University of Washington  in early fall 1988.

\subsubsection{Contact}

See under {\bf Tamil} above.


\section{Elvish}

Elvish, or more properly, Tengwar, is the script used by the elves of
Middle Earth.  It was described by J.~R.~R.~Tolkien.

\subsection{Urban}

%\paragraph{Date of information} February 3, 1988.

On 4 Dec 1986 ({\em sic\/})  Mike Urban released the \MF\ code for the Tengwar
script through the Usenet newsgroup {\tt comp.text}.

\subsubsection{The Font}

Mike said the following:
\begin{quotation}
[Here are the] \MF\ sources for a digitized version of the Tengwar
(Elvish script) created by J.~R.~R.~Tolkien.  They have only been
tested on a 300dpi laser printer.  No guarantee of the quality of
either the code or the output is offered.  I'm not particularly
satisfied with the quality of the code (my first non-trivial attempt
to use \MF), but the results look OK to me.
\end{quotation}

\subsubsection{Contact}

Michael Urban,\\
 TRW Inc., R2/2009 \\
 One Space Park,\\
 Redondo Beach, CA 90278, USA.\\
 Phone: (213) 812-0632\\
 Net: {\tt urban@spp2.UUCP}


\subsection{Other Developments}

See also the Elvish bitmap fonts available from the {\bf Austin Code Works}.


\section{Georgia Tobin}

Georgia Tobin is well known to readers of {\em TUGboat\/} as the editor of,
and chief contributor to, the `Font Forum' section of the journal.
She has been working with \MF\ since 1982, and between 1982 and 1987
she created several complete families of fonts for use with \TeX.
(Georgia's husband Rick works with her on the fonts.)  Because much of
her earlier work was done using \MF79, which is now superseded, only
the bitmaps of these early fonts are available but not the \MF\ source
code.
The bitmap fonts are mostly at 300dpi, and are optimized for
write-black imaging machines (i.e., Apple, Canon, HP, and certain
other laser printers). The fonts are available at a wide range of
sizes ranging from 5 to 72 points (some of less common fonts are
available in a narrower range of sizes, say from 5 to 36 point).  One
particular subset of these fonts, marketed by Personal \TeX\ Inc.\ as
a package called MF Medley, consists of the Chel fonts at 5, 7, 10 and
12 point sizes, with Copperplate and Schoolbook at 36 and 48 point,
and Black Letter at 36 point.  The MF Medley is available at 180, 240
and 300dpi, with some fonts available at 118dpi too, and costs \$100.

An important point to notice is that the Roman, Chel and Schoolbook
families described below include math symbol and extensible fonts,
like Knuth's CM, so that these fonts can be used for the full range of
mathematical and technical typesetting as defined in the {\tt PLAIN}
format and \LaTeX.

Georgia's newer work on Schoolbook, Hebrew, ALA and Special Effects
typefaces, described below, is all done in \MF84, the current and
stabilized version of \MF, and is therefore much more flexible.  Fonts
of these faces can be generated at any reasonable resolution, and for
any marking engine with a defined {\tt mode}.  One hopes that Georgia
will find some way of making her \MF\ source code available to bona
fide users of her newer typefaces, without of course jeopardizing her
livelihood.

\subsection{MF Chel Family}

The Chel (`Computer Helvetica') family of sans-serif fonts was
initially
created by Thom Hickey in a Tandem TAL translation of \MF79 (later
recoded into
Apollo Pascal using the MAP preprocessor).  He began work on the font
in the
winter of 1980, and continued to work on the font until
1982.\footnote{Reference to Hickey's work on Chel, with an
illustration of the MF code for the letters `B' and `b', is made in
Knuth's `Lessons Learned from Metafont' (1985), 37--38.}  Chel was
later completed and extensively reworked by Georgia Tobin.  In its
finished form, Chel has been described as `lighter and more compact'
than the Computer Modern sans-serif ({\tt CMSS}) which was designed by
Richard Southall and is included in all CM distributions.  Chel
comprises fifteen fonts including Chel Book, Slant, Medium Bold,
Slanted Medium Bold, Bold, Slanted Bold, Extra Bold, Slanted Extra
Bold, Math Symbols, Bold Math Symbols, Math Italic, Bold Math Italic,
Math Extensible, Elite, Bold Elite, Pica and Bold Pica.

\subsection{MF Roman Family}

This family comprises more than nineteen Times Roman style seriffed
fonts, including Roman Text, Slanted Text, Italic, Unslanted Italic,
Medium Bold, Medium Bold Italic, Bold, Bold Italic, Extra Bold, Extra
Bold Italic, Titling (Small Caps), Slanted Titling, Math Symbol, Bold
Math Symbols, Math Italic, Bold Math Italic, Math Extensible, Elite
and Pica.  The last two fonts are 12~cpi and 10~cpi typewriter style
fonts respectively, and include slanted and emboldened versions.

\subsection{MF Slavic Family}

The Slavic Family of fonts includes all the fonts necessary for
sophisticated typesetting in Russian.  The family includes
Chel-compatible and Roman-compatible versions of Cyrillic in Book,
Slant, Bold and Bold Slant versions, and also an Italic version of the
Roman-compatible face.  There are further `additional' fonts
corresponding to each of these categories which contain extra accents
and characters used in typesetting other Slavic languages.

\subsection{MF Decorative Family}

Also offered is a decorative package of fonts which includes six
typefaces, including Black Letter, a Copperplate Script, Hodge Podge
(including assorted dingbats, pharmacy and planetary symbols, a turtle
and a frog), an Outline Helvetica (upper case), and a Slanted Outline
Helvetica (also upper case), and an Uncial Majuscule which emulates a
medieval manuscript script.

\subsection{Century Schoolbook}

Georgia is close to finalizing a first release version of a Century
Schoolbook typeface.  This is the first fruits of her work with the
new \MF84.  Her goal has been to create a complete Century Schoolbook
style typeface that is clean and legible from very low resolutions
(about 72dpi is the lowest so far) to very high, and in point sizes
from 5 to 96 or so.

\subsection{MF ALA}

Another project has been the creation of \MF\ fonts which include the
special character set defined as a standard by the American Library
Association (ALA) and used by the Library of Congress and other bodies
influential in the library automation world, such as OCLC.  This set
of characters and accents was designed to make possible the
representation, if necessary in a standard Roman transliteration, of
virtually all the world's languages.  The characters include items
like upper and lower case thorn, Polish dark {\em el\/} (with a cross bar),
eth, and several other unusual signs and accents.  There is even a
{\em candrabindu\/} for Sanskritists!  Georgia did this work for the Library
of Congress.  The font is available in Text, Bold, Italic, and Bold
Italic.
The ALA fonts contain 256 character positions, and therefore require a
robust DVI driver program such as the members of Nelson Beebe's DVI
driver family or the latest release of the Arbortext drivers.

\subsection{Hebrew}

Georgia is developing a Hebrew typeface, which is still at an
experimental stage.  At the present time it consists of 27 characters,
with more calligraphic molding of the strokes than is shown in
Goldberg's font.  However, Georgia has not developed any macros or
preprocessors for inputting Hebrew text in quantities, as Goldberg
has.  It would be advantageous if Georgia and Goldberg were to
standardize on a common font layout, so that any macro\slash input
system would be able to access either of their fonts.

\subsection{Special Effects}

Georgia published `The ABC's of Special Effects' in {\em TUGboat\/} {\bf 9} (1988),
15--18, in which are demonstrated several fascinating typographical
effects that are relatively simple to produce with clever use of
\MF84\ macros.  The article includes the \MF\ code illustrating how
the effects were produced.

\subsubsection{Terms of Availability}

The Chel, Roman, Slavic, Decorative and Century Schoolbook font
families are available on a commercial basis from the following
sources:\\
ASCII Corporation,\\
Sumitomo Minami Aoyama Bldg.,\\
 5--11--5 Minami Aoyama,\\
 Minato-ku,\\
 Tokyo 107, Japan.\\[1.5ex]
Docusoft Publishing Technologies, \\
 Suite 300,\\
 1120 Hamilton Street,\\
 Vancouver, B.~C.~VV6B 2S2, \\
 Canada.\\[1.5ex]
Interbase,\\
 Dantes Plads 1,\\
 DK--1556 Copenhagen V,\\
 Denmark.\\[1.5ex]
Personal \TeX, Inc.,\\
 12 Madrona Avenue,\\
 Mill Valley, CA 94941,\\
 USA.\\[1.5ex]
\TeX pert Systems Ltd.,\\
 5 Northernhay Square,\\
 Exeter EX4 3ES,\\
 Devon, UK.

Georgia has some fine catalogues illustrating the Roman, Chel and
Decorative families: send a cheque for \$6 (\$15 outside USA or
Canada) to:\\
 Georgia Tobin,\\
 1888 Barnard Drive,\\
 Powell,\\
 Ohio 43065.\\
 Phone: (614) 764--9863.


\section{Blackboard Bold}

\subsection{Robert Messer}

Robert Messer published an article `Blackboard Bold' in {\em TUGboat\/} {\bf 9}
(1988), 19--20, in which he generalized a method used by Knuth in {\em The\/}
{\em \TeX book\/} to produce such characters.  This is a series of Plain \TeX\
macros which jiggle the characters of CM around, using small kerns and
the capital I and small rules, to produce a `poor person's blackboard
bold'.

\subsection{Other Developments}

See also {\bf Custom fonts \& Pandora}, and the {\bf AMSfonts Package} package.


\section{APL}

The APL programming language requires many unusual symbol characters,
which often baffle normal typesetting and word processing systems.

\subsection{Hohti and Kanerva}

Aarno Hohti and Okko Kanerva of the University of Helsinki have
developed an APL font for use with \TeX.  They have `raided' the CM
character set to this end, so the characters should be similar in
weight and style with CM.

The font is described in the article `Generating an APL Font' in
{\em TUGboat\/} {\bf 8} (1987), 275--278.

\subsubsection{Terms of Availability}

The authors can be contacted at:\\
 University of Helsinki,\\
 Department of Mathematics,\\
 Hallituskatu 15,\\
 SF--00100 Helsinki,\\
 Finland.
I assume that the fonts are being freely distributed, since the \MF\
code for them is available for anonymous FTP as file {\tt CMAPL10}
from {\tt score.stanford.edu}, in directory \verb|<TEX.TUGBOAT>|.


\section{AMSfonts Package}

The American Mathematical Society (AMS) has developed several fonts of
symbols and alphabets intended for use in mathematical notation.

\subsection{The Fonts}

Three alphabets, collectively known as Euler, were designed by Hermann
Zapf and implemented in \MF\ at Stanford as part of the \TeX\ project.
They come in both medium and bold weights, and include Fraktur, script
and an upright cursive alphabet, which was intended to minimize
problems with the placement of accents and indices.  The Euler fonts
are considered proprietary, and sources
are available only under lease.

Two fonts of symbols, including a Blackboard Bold alphabet, are also
available. Details of these fonts, including character grids, were
published in {\em TUGboat\/} {\bf 6}(3), 124 ff.  These fonts are still rendered in
\MF79, which is totally incompatible with the current \MF, so
distribution of the sources is pointless; arrangements are being made
for their re-implementation in new \MF, but the schedule is uncertain.

\subsection{Terms of Availability}

Together with Cyrillic (see under {\bf Cyrillic}) fonts, this collection is
called AMSFonts.  A set of {\tt TFM} and 300{\tt GF} files ({\tt
magstep0} only) is available:
\begin{itemize}
\item by anonymous FTP from the directory \verb|<TEX.AMSfonts>| at
{\tt score.stanford.edu};
\item as part of the standard distribution from Maria Code;
\item as part of other major \TeX\ distributions.
\end{itemize}
The AMSFonts are available from the AMS in a full range of
magnifications and in additional resolutions on IBM PC-compatible and
Macintosh diskettes and on mag tape in VAX/VMS format.  For
information, contact:\\
AMS \TeX\ Library,\\
 American Mathematical Society,\\
 P.~O.~Box 6248,\\
 Providence, RI 02940, USA.\\
 Phone: (401) 272-9500 or (800) 556-7774\\
 Internet: {\tt sse@math.AMS.com}\\[1.5ex]
Contact for technical inquiries:\\
 Barbara Beeton,\\
 (same address)\\
 Phone: (401) 272-9500\\
 Internet: {\tt bnb@seed.AMS.com} or\\
 {\tt bnb@xx.lcs.MIT.edu}


\section{Custom Fonts \& Pandora}

\subsection{Custom Fonts}

If you are desperate for a \TeX\ font that does not yet exist, why not
commission a \MF\ programmer to create it?

Neenie N.~Billawala advertises her services as a \MF\ consultant in
{\em TUGboat\/}. She is responsible for creating the fine calligraphic
capitals that are part of the Computer Modern typeface family (in the
{\tt CMSY} fonts).

\subsection{Pandora}

Neenie, a designer, has also created a new typeface called Pandora,
which is part of a larger research project concerning the possibility
of breaking the elements of typeface design down into general reusable
components such as serifs (and terminal endings), bowls, circular
shapes, arms and so on.  Pandora is the result of setting the
parameters for these components to one particular set of values, but
many others could be chosen.  In this sense, Pandora explores further
the `parametrization' which is at the heart of Knuth's endeavor with
\MF.  Neenie has nearly finished writing a Stanford Computer Science
Report about this, called  {\em Meta-Marks: Preliminary Studies for a\/}
{\em Pandora's Box of shapes\/} (to appear).  Knuth describes this study as
`lavishly illustrated studies in parameter variation, leading to the
design of a new typeface called Pandora'.\footnote{{\em Computer Modern\/}
{\em Typefaces\/} (Reading etc., 1986), xiii.}

The Pandora typeface is intended to be a `bread and butter' text face
and has been generated in seriffed, sans-serif and fixed width
versions.  The character set of Pandora coincides with {\tt CMR} and
{\tt CMTT}, etc., and thus it does not include the math symbol
characters and extensibles.

\subsubsection{Terms of Availability}

Neenie hopes, in the longer run, to donate Pandora to the \TeX\
community, perhaps submitting it for inclusion in the standard
distributions.

\subsection{Blackboard Bold \& Outline}
Neenie is also working on a Blackboard Bold, to be compatible with
Times Roman, for the AMS, and an outline font.

\subsubsection{Contact}

Neenie Billawala,\\
 841 Stendhal Lane,\\
 Cupertino, CA 95104, USA.\\
 Phone: (408) 253-4833\\
 Uucp: {\tt (ihnp4, seismo, decwrl, \\
 ucbvax, \ldots\ )!sun!metamarks!nb}


\section{Bitstream Font Family}

%\paragraph{Date of information} March 10, 1988

\subsection{The Fonts}

In my view, one of the most exciting developments in the area of Roman
alphabet typeface availability for \TeX\ has been the recent
announcement by Personal \TeX\ Inc., of the PTI Font Interface Package
(FIP).  This is an MS DOS program that converts the outline typefaces
of the Bitstream typeface library into {\tt PXL} (and then {\tt PK})
fonts, with associated {\tt TFM} files, for use with \TeX\ in a manner
analogous to the use of the use of the Computer Modern fonts.

Since the Bitstream typeface outline files for any given font contain
more than the 128 characters usual in a \TeX\ font, the extra
Bitstream characters can be
generated in a second, complement font.  The Bitstream fonts generated
by the FIP contain the same characters as {\tt CMR10}.  However,
equivalents of the math italic, math symbol and extensible fonts of
the CM family are not provided, so the Bitstream fonts are for use in
typesetting predominantly textual matter.  (One could, of course, mix
the fonts, using Bitstream for the text and CM for the mathematics.)

The method of producing the font bitmaps is exactly the same, in
principle, as using \MF, except that one has no access to the
underlying character descriptions.  The FIP reads the typeface outline
data and generates bitmap fonts at any desired point size between 6
and 72 points and above, and at any resolution, from below 100dpi for
IBM PC screens, to over 1000dpi for typesetters.

The Bitstream typeface library advertised by Personal \TeX\ at present
includes the following typefaces, each consisting of a regular, an
italic, a bold and a bold italic face:
Baskerville,
Bitstream Charter,
Bitstream Cooper Light,
Century Schoolbook,
Courier,
Dutch (i.e., Times Roman),
Futura Book,
Futura Light,
Futura Medium,
Goudy Old Style,
ITC Avant Garde Gothic,
ITC Bookman Light,
ITC Galliard,
ITC Garamond Condensed,
ITC Garamond,
ITC Korinna,
ITC Souvenir Light,
Letter Gothic,
News Gothic,
Prestige,
Serifa,
Swiss (i.e., Helvetica),
Swiss Condensed,
Swiss Light,
Zapf Calligraphic (i.e., Palatino),
Zapf Humanist (i.e., Optima),
and a selection of Headline faces including
Bitstream Cloister Black,
Broadway,
Cooper Black, and
University Roman.

New Fontware outline typefaces are regularly released by Bitstream:
their catalogue currently has 40 faces.

Users of operating systems other than MS DOS can presumably use the
Bitstream {\tt PXL} or {\tt PK} fonts (with {\tt TFM}s) once generated
on a PC/AT, just by uploading them with, say, Kermit.  Some discussion
of this possibility has just appeared in \TeX hax (30 June 1988, issue
60).  Peter Flynn reports having done exactly the above (fonts
generated on a PC and Kermitted up to a VAX) with technical success
but aesthetic failure: apparently the Bitstream fonts don't look nice
on a LN03.   Because he says that his Bitstream fonts only contain the
ASCII characters 33--126, it seems to me that he cannot be using the
FIP to generate his {\tt PK} and {\tt TFM} files, but some other
utility ({\tt HP2TEX}?).  In the same \TeX hax issue, Joachim Schrod
has a technical note about the format of Bitstream {\tt PK} and {\tt
PXL} fonts as revealed by {\tt PKtype}: apparently they are faulty,
and may not be correctly printed by all {\tt DVI} driver programs.

\subsection{Quality}

The creation of the font bitmaps is done by the FIP using whatBitstream calls `smart outlines'.  Typographic rules are stored with
the typeface outlines and are applied at the time of bitmap
generation, using artificial intelligence algorithms (originally
implemented on Symbolics 3600 Lisp workstations) to tailor significant
features of the font to its point size, and the resolution and marking
characteristics of the printing device.  Some typographically
significant features that are so treated are the stem weight,
x-height, cap height, side bearings, and baseline alignment.  So a 6
point Bitstream font is not a mere linear reduction of some larger
design size, just as {\tt CMR6} is not simply a small {\tt CMR10}.
This is very significant for the high quality of the fonts at small or
large sizes, and goes some of the way towards meeting the argument
made by Knuth in {\em The \TeX book\/} (p.16), against scaling fonts much
beyond their design size.

Optional software switches set when running the FIP permit the
adjustment of accents and letter spacing.  The newest release of the
Fontware software also includes the choice of producing bitmaps
appropriate to write-white as well as write-black marking engines.  In
the former case, the software will add a half-pixel layer all the way
around a character to compensate for the erosion that occurs on white
writers.

A recent discussion of fonts in {\em PC Magazine\/} (March 15, 1988, issue
{\bf 7}(5), p.\,238) noted that:
\begin{quotation}
Bitstream fonts are the same ones you get in already-generated form
from H[ewlett] P[ackard], are widely (though not exclusively) used in
the printing industry, and are used in our Tegra galley-generating
machine.
\end{quotation}

A useful article comparing Bitstream fonts with Adobe PostScript fonts
was published in the magazine {\em Publish!\/} (March 1988, issue {\bf 3}(3), pp.46
ff.).  It included valuable illustrations of both manufacturers' fonts
at several different resolutions.

I myself have only experimented with the Dutch and Swiss fonts at
10pt, and then only on a $640\times400$ pixel screen, and at 240dpi on
a 9-pin matrix printer.  On both these devices the Bitstream fonts
appear {\sl much} superior to the nearest CM equivalents, ({\tt CMR10}
and {\tt CMSS10}).  The characters are somewhat broader, with
relatively rounder bowls and shorter ascenders, and give a more even,
regular appearance across the page.  They make the CM fonts look very
uneven by comparison (and I am a great fan of CM).  I suspect that the
CM fonts would compare more favorably at higher resolutions, since
they were not designed for such poor output devices.

The Bitstream Font Interface Package offers \TeX\ users (without
access to
PostScript printers) access for the first time to a proper typeface
catalogue, and a highly professional one at that.

\subsection{Other Developments}

Although Bitstream has released 40 Fontware outline typefaces, it
actually has a library of over 1000 digital typefaces waiting in the
wings.  This collection includes traditional designs, original
designs, pi-fonts, and non-Latin fonts such as Arabic, Cyrillic,
Greek, Gujarati, Hebrew, Laotian, and Tai Dan. However, all these
exist in plain digital outline format only, which means that the
outlines have not had the AI scaling optimization rules added to them,
and are thus not `smart outlines' such as can be used with the
Fontware Installation packages.  They are are thus not at present
marketed widely.

Intelligent font scaling for Kanji fonts (Nippon Information Science
Ltd.~Iwata Gothic, with other faces to follow) was announced in March
1988, and is offered to OEMs.

\subsection{Terms of Availability}

The Fontware Installation Kit costs \$195, and normally comes with the
Swiss font family (one can make a special request to have the Dutch
family instead).

\subsection{Contacts}
Personal \TeX\ Inc.,\\
 12 Madrona Avenue, \\
 Mill Valley, CA 94941.\\
 Phone: 415 388-8853. \\
 Telex: 51060 10672 PCTEX.\\
 Fax: 415 388-8865. \\[1.5ex]
Bitstream,\\
 Athenaeum House,\\
 215 First Street,\\
 Cambridge, MA 02142.\\
 Phone: 617 497-622.2\\
 Telex: 467237.\\
 Fax: 617 868-4632.


\section{Times Roman in \protect\MF} % use a big logo font if
%                                     you've got one.
%\paragraph{Date of information} March 10, 1988, from \TeX hax 1988,
%issue 22.

\subsection{Kemmish}

\subsubsection{The Font}
The creator of the font, Ian Kemmish, writes:
\begin{quotation}
I have a Times font in \MF\ which I have been tinkering with over the
past six or seven months.  It is modelled on Monotype Times New Roman
(visually---no calipers in sight!)  The standard of rasterization is
about comparable to a LaserWriter, but the typography is of necessity
a lot more amateurish.  The regular font is largely OK, the italic is
a few weeks behind and probably needs some tweaking.  There is a
rather lumpy semibold which needs parameter tweaking.  I suspect a
genuine bold needs a new set of minuscule routines.  I also have a
typewriter font generated from it, and am working on a Nebiolo
Eurostyle sans-serif font.  (I needed something easy after the Times!
I want to do Helvetica sometime soon.)
\end{quotation}

\subsubsection{Terms of Availability}

Ian Kemmish writes:
\begin{quotation}
I'd be happy to distribute what I have, though I suspect my employers
would want to charge something for it.  Ideally, I'd like to send out
some {\tt GF} files first to people who are interested in test-driving
them and can make constructive comments about how to improve them.
The \MF\ code is still in a state of flux.  I'd hate to distribute it
and have a lot of unco-ordinated changes being made to it all!
\end{quotation}

\subsubsection{Contact}

Ian Kemmish can be contacted at: \\
 Whitechapel Workstations, \\
 75 Whitechapel Road, \\
 London E1 1DU, England.\\
 Phone:  (+44) 01 377 8680 \\
 Telex:  (UK) 885300 WCW G \\
 Fax:    (+44) 01 247 4589 \\
 Uucp:   {\tt ian@wcw.co.uk}\\
 OldUucp: {\tt \ldots !mcvax!ukc!wcwvax!ian}

\subsection{Other Developments}

See also the MF Roman Family by {\bf Georgia Tobin}, and the Dutch typeface
by {\bf Bitstream}.


\section{Lucida}

Lucida is the name of one of the typefaces designed by Kris Holmes and
Chuck Bigelow.  Its main design aim is that it be legible and
beautiful at low as well as high resolutions, and it is probably the
first original typeface family produced for digital printers and
displays.\footnote{Another font with some similar design goals is
Matthew Carter's Bitstream Charter.}  By low resolution, Holmes and
Bigelow mean laser printers and computer screens.  The font has been
discussed in the following publications:
\begin{description}
\item Jonathan A.~Epstein, `Best Font Forward', {\em Digital Review\/} (July
1986), 82--87.
\item C.~Bigelow and K.~Holmes, `The Design of Lucida: an Integrated
Family of Types for Electronic Literacy', in {\em Text Processing and\/}
{\em Document Manipulation\/} edited by J.~C.~van Vliet (Cambridge, 1986),
1--17.
\item `Alumna Designs First LaserWriter Typeface', {\em Harvard Extension\/}
{\em Newsletter\/} {\bf 8}(2) (Spring 1988).
\end{description}
The second of these articles is itself printed in the Lucida typeface.
It goes into detail about the design concepts of Lucida, with
illustrations.

\subsection{The Fonts}

The Lucida family includes the following eight fonts: Roman, Italic,
Bold, and Bold Italic, in both seriffed and sans-serif styles.  Lucida
has been called a `super family' because of the wide range of
characters and fonts it provides, including compatibility with the
full CM character set.  Unusual features of Lucida fonts include the
fact that the italic sans-serif is a true cursive style, rather than a
slanted Roman, and that there are alternate sets of capitals, one
heavier in weight, for English and French typographers, and one
lighter, for Germanic texts which use extensive capitalization, and
therefore need de-emphasized capitals.

The screen `versions' of Lucida are at such low resolution
(75--100dpi) that they cannot be regarded as straight reproductions of
their higher resolution counterparts.  They are therefore called
Pellucida, to suggest that the designs are related to Lucida, but
optimized for `pel' based screen displays.

\subsubsection{Adobe}

Chuck Bigelow informed me in April 1988 that Adobe Systems is dealing
with the release of several Lucida typefaces for use with \TeX.  Dan
Mills, Manager of Typography at Adobe informed me later in the same
month that:
\begin{quotation}
Knowing people would want these fonts for use with \TeX\ (because of
the Math versions, \ldots), we purposely extended our normal character
set for these fonts (by about 16 characters) to cover the `\TeX\ text'
set (Figure 1 in Appendix F of {\em The \TeX book\/}).  What I mean is, thesefonts have a union of our standard character set and the \TeX\ text
set.
\end{quotation}

The following faces have already been released by Adobe as
downloadable PostScript fonts on both Mac and PC disks:
Lucida Roman (seriffed),
Lucida Italic,
Lucida Bold,
Lucida Bold Italic,
Lucida Sans Roman (sans-serif),
Lucida Sans Italic,
Lucida Sans Bold, and
Lucida Sans Bold Italic.

The following will be released soon:
Lucida \TeX\ Math Italic,
Lucida \TeX\ Math Symbol,
Lucida \TeX\ Math Extension, and
Lucida Sans Typewriter.
Dan notes that the Math fonts have the same character sets as shown in
appendix F of {\em The \TeX book\/}.  The Lucida Sans Typewriter has another
union of Adobe's standard set, this time with the \TeX\ text
typewriter set, shown in figure 3 in the same appendix.

Bigelow suggested that for dates of release and information on {\tt
TFM} files, etc., one should contact Adobe.  Once again, Dan Mills was
most helpful.  He said:
\begin{quotation}
As for {\tt TFM}'s, we've been getting a lot of help from Barry Smith
of Kellerman \& Smith \ldots\ to produce these.  We aren't finished.
If you are a \TeX tures user, they will certainly be willing to help
you out. If not, we plan to make these metrics available to the
general \TeX\ community `somehow' in the near future. Exactly how they
will be distributed remains to be decided.
\end{quotation}

\subsubsection{Imagen}

Chuck Bigelow also noted that the Imagen Corporation currently offers
various Lucida typefaces, and an upgrade to the full \TeX\ character
set will be released in July 1988.  These will include the
Lucida seriffed family, the
Lucida Sans family, and the
Lucida Sans Typewriter family. Imagen will produce the \TeX\ Math
fonts if there is demand from their users. Imagen Lucida will be
available in outline format for their UltraScript (PostScript clone)
and DDL language printers, and for their imPRESS printers. The Imagen
fonts should be metrically compatible with the Adobe fonts.  They are
made from exactly the same outline data.

\subsubsection{Compugraphic}

Chuck informs me (Fri Jun 17) that Compugraphic Corporation has
licensed the Lucida seriffed family (roman, italic, bold, bold italic)
and the three basic \TeX\ math fonts (math italic, math symbol, math
extension) for their 8600 and 9600 typesetters, and perhaps the 8400
as well. Contact Cynthia Marsh or Norbert Florendo at CG for estimate
of availability, price, etc. Compugraphic Corporation, Type Division,
Wilmington, MA.

(This appears to raise the possibility of Lucida being available for
the Compugraphic typesetters before CM, although Compugraphic are in
principle committed to providing CM too (for a price).

\subsubsection{Other Developments}

A maker of inexpensive personal computers and printers will announce
Lucida availability very shortly.  The fonts will be metrically
compatible with Adobe and Imagen.

Chuck and Kris are also working on outline versions of several of the
additional fonts shown in Knuth's Volume E of {\em Computers and\/}
{\em Typesetting\/}, and fonts analogous to the Euler family, including
Bold Greek,
Bold Script,
Bold Symbol font,
Small Capitals, as well as a
Chancery,
lower-case Script,
Fraktur,
Hebrew, and others.
Light and Demibold versions of both seriffed and sans-serif families
are also in progress, as well as the `Bright' versions used in
Scientific American.  However, these must await a distributor like
Adobe or Imagen to reach the market.

Chuck also reports that in their studio, Bigelow \& Holmes, he and
Kris have produced bitmap fonts in the \TeX\ character set (as well as
PostScript character set) in {\tt PXL} format for the Lucida seriffed
and Lucida Sans families in the following point sizes, at 300dpi:  6,
8, 10, 12, 14, 18, 24, and the same sizes, excepting 6 point, for 75
dpi and 100 dpi screens. Currently there is no distributor for these.
These are hand-tuned bitmaps that are slightly different for each
size, and therefore have their own (simple) {\tt TFM} files that are
not fully compatible with those for the Adobe PostScript outlines.
However, they feel that the quality of the hand-tuned fonts is usually
higher than that of the algorithmically produced bitmaps from
outlines.  They haven't finished bitmap versions of the math fonts or
the typewriter fonts yet, but they do have an International PhoneticAlphabet and some other oddities in bitmap.

\subsection{Contacts}

Chuck Bigelow can be reached at the Department of Computer Science at
Stanford:\\
 Phone: (415) 723 3827\\
 Arpa: {\tt cab@sail.stanford.edu}, \\
 or at his San Francisco studio, Bigelow \& Holmes:\\
 Phone: (415) 326-8973.\\[1.5ex]
Dan Mills can be reached at:\\
 Adobe Systems Inc.,\\
 1585 Charleston Road, P.~O.~Box 7900,\\
 Mountain View, CA 94039-7900, USA.\\
 Phone: (415) 962-2100\\
 Net: {\tt adobe!mills@decwrl}), (and possibly\\
 {\tt mills@ucbvax.berkeley.edu})


\section{Icelandic}

%\paragraph{Date of information} March 10, 1988, from \TeX hax 1988,
%issue 22.

\subsection{Pind}

\subsubsection{The Font}

On March 10, 1988, Jorgen Pind reported in \TeX hax 1988, issue 22,
that he is running an unmodified \TeX\ with new fonts and formats
(including hyphenation) which cater for Icelandic.

\subsubsection{Contact}

Jorgen Pind, \\
 Institute of Lexicography, \\
 University of Iceland,\\
 Reykjavik 101, Iceland.\\
 Internet: {\tt jorgen@lexis.hi.is}\\
 Uucp:  {\tt \ldots mcvax!hafro!rhi!lexis!jorgen}


\section{OCR--A}

%\paragraph{Date of information} Information given in \TeX hax 1987,
%issue \#106.

\subsection{Lillqvist}

In \TeX hax 1987, issue 106, information was given about an OCR--A
font coded in \MF84 by Tor Lillqvist, VTT/ATK (Technical Research
Centre of Finland, Computing Services).

\subsubsection{The Font}

Lillqvist's OCR--A is based on ISO Recommendation R1073, 1st ed., May
1969 (which he thinks is probably obsolete by now).

\subsubsection{Terms of Availability}

The font is distributed free of charge.  On 1 June 1987, Brandon
S.~Allbery ({\tt allbery@ncoast.UUCP}) and Michael Lichter  posted the
\MF\ sources for the OCR--A on Usenet, in {\tt comp.sources.misc}.

\subsubsection{Contact}

Tor Lillqvist,\\
 VTT/ATK,\\
 Lehtisaarentie 2,\\
 SF--00340 Helsinki, Finland.\\
 Net: {\tt tml@fingate.bitnet}, or\\
 {\tt tml@santra.UUCP}, or \\
 {\tt mcvax!santra!tml}.


\section{Miscellaneous}

\subsection{Austin Code Works}

The Austin Code Works has a large collection of bitmap fonts that work
with \TeX, and which were originally created at SAIL (Stanford
Artificial Intelligence Lab) in the late 60s or early 70s (I think).
Because these fonts are not coded in up-to-date \MF, what you get is
what you get, i.e., you cannot change the size or resolution of the
fonts.  I believe they are all (or most) 200dpi fonts.  Bear in mind
that although you might get, say, a Hebrew font, there are no
accompanying macros to implement it at the keyboard level.

\subsubsection{The Fonts}

The `KST Fonts by Les Earnest' are described thus in the ACW handout:
\begin{quotation}
Originally developed for the Xerox XGP printer, the 137 KST fonts
include Hebrew, Greek, Old English, Old German, Cyrillic, hand[sign
alphabet], and Tengwar alphabets in addition to the Roman alphabet in
a large number of eclectic styles.  Specify \TeX\ or bitmap format.
Both come with an extraction and display program.
\end{quotation}
The fonts include such essentials as single character fonts for the
Stanford and MIT logos (separate fonts for each, naturally), two viewsof Snoopy, two views of Starship Enterprise, three fonts of chess
pieces, several sans-serif fonts, and what looks as if it might be a
very tiny Arabic font.

\subsubsection{Terms of Availability}

The collection of fonts costs \$30.

\subsubsection{Contact}

The Austin Code Works,\\
 11100 Leafwood Lane,\\
 Austin, Texas 78750-3409, USA.\\
 Phone: (512) 258-0785\\
 BBS:  (512) 258-8831\\
 FidoNet: 1:382/12\\
 Net: {\tt acw!info@uunet.uu.net}

\subsection{{\tt SPRITE.STY}}

If you use \LaTeX, and you only need one or two extra characters, an
ingenious and very easy way to generate them has been devised by
Martin Costabel.  It is a \LaTeX\ style called {\tt SPRITE}, and the
code and documentation were published on 14 November 1987 in issue 1.8
of \TeX Mag, an online \TeX\ magazine put out by Don Hosek ({\tt
dhosek@hmcvax.Bitnet}).  Here is an extract from Martin's
documentation:
\begin{quotation}
{\tt SPRITE.STY} is a \LaTeX\ macro that allows you to define in a
quick and dirty way your own symbols. You just have to define the
character as a dot pattern on your screen and enclose it by
\verb|\sprite| and \verb|\endsprite| commands. Of course, I know,
\TeX\ is awfully professional and this primitive technique will not
provide results as good as a \MF--designed character or even one drawn
using device-dependent \verb|\special| commands, but if you just need
one special character or some cute little symbol and you don't have
the time\slash brains\slash Macintosh\slash superuser-privilege\slash
money-for-AMS-fonts\slash or whatever-is-necessary for a professional
solution, this might produce acceptable results.
\end{quotation}

Using {\tt SPRITE.STY} one `draws' the character to be defined as a
pattern of characters on a grid.  Figure \ref{fig1} shows how {\em schwa\/} is
done.
\begin{figure}[htb]
\begin{center}
\mbox{}\hrulefill\mbox{}
\begin{verbatim}
\def\schwa{\FormOfSchwa\kern 1 pt}
    % Only necessary if \kern... is wanted
\sprite{\FormOfSchwa}(16,24)[0.4 em, 1 ex]
    % Resolution ca. 200x340 dpi.
:.......BBBBBBBBBB....... |
:....BBBB........BBBB.... |
:..BBB.............BBBB.. |
:.BB.................BBB. |
:.B...................BBB |
:.....................BBB |
:.....................BBB |
:.....................BBB |
:BBBBBBBBBBBBBBBBBBBBBBBB |
:BBB..................BBB |
:BBB..................BBB |
:BBB.................BBB. |
:.BBB...............BBB.. |
:..BBBB...........BBBB... |
:....BBBBB.....BBBBB..... |
:.......BBBBBBBB......... |
\endsprite
\end{verbatim}
\caption{\label{fig1}{\tt SPRITE.STY} commands for {\em schwa\/}.}
\mbox{}\hrulefill\mbox{}
\end{center}
\end{figure}
To use this character in your \LaTeX\ document, all you have to do is
use the command \verb|\schwa|.  This method uses a lot of \TeX's
memory, and is only suitable for characters which are used rarely, say
a few times on a page.

\subsubsection{Contact}

Martin Costabel.\\
 Net: {\tt xbr1da29@ddathd21.bitnet}

\subsection{HP2TEX (HP Font Conversion)}

%\paragraph{Date of information} March 11, 1988.

\subsubsection{The Program}

In February 1988, the uuencoded {\tt ARC} file {\tt HP2TEX} appeared
on Usenet, in {\tt comp.text}.  It included the Turbo Pascal 3.0
source code and a compiled DOS version of {\tt HP2TEX}, a program to
read a Hewlett Packard soft font and generate two files useful to
\TeX\ users, a {\tt PL} and a {\tt PXL} file.

Since the HP soft fonts are bitmap fonts generated from the Bitstream
outline typefaces (see the {\bf Bitstream} section), this is another way to
produce the latter family of fonts.  However, the {\tt TFM} file
produced by {\tt HP2TEX} does not contain the information required tomake ligatures, etc.\ (see below), so in practice, if real quality is
sought, it would be better to buy the FIP from Personal \TeX\ Inc.

\subsubsection{Usage}

The {\tt HP2TEX} program prompts the user for the names of the font
files for input and output, and also for the original design size of
the HP font, and its magnification (so that a 12pt HP font can make a
12pt {\tt PXL} font, or a 10pt {\tt PXL} font magnified
\verb|\magstep1|).  Names can be supplied on the command line, and
will be given appropriate extensions if necessary.  The output is a
{\tt PXL} font with its associated property list ({\tt PL}) file. The
{\tt PL} file can be converted to a {\tt TFM} file (with or without
editing: see below) by the \TeX ware program {\tt PLtoTF} (compiled
DOS version available on the PC\TeX\ Bulletin board: (415) 388-1708).
The {\tt PXL} file can be left as it is, or converted to a smaller
{\tt PK} file by {\tt PXtoPK} (also on the same BBS).

The {\tt PL} file generated by this program contains several
parameters that determine the appearance of the \TeX\ output.  These
parameters control the inter-word glue, the space after a period, the
size of a quad and em space, and the parameters determining accent
placement.  The `correct' values for these parameters are NOT
contained in the HP soft fonts.  They are estimated by {\tt HP2TEX},
and might not be very good estimates.  If your output is visually bad,
read about {\tt fontdimen} parameters in the back of {\em The \TeX book\/} (or
{\em The \MF{}book\/}) and adjust their values in the {\tt PL} file.  Then
generate a new {\tt TFM} file.  The authors have not attempted to deal
with kerns, although you could add those to the {\tt PL} file as well.
Ligatures require the same action, assuming the ligature glyph is in
the font at all.

The authors note that certain fonts generated by GLYPHIX appear to
convert with a bad underscore character that is far too low.  This is
in fact how the underscore is encoded in the font, not an artifact of
the conversion.

\subsubsection{Terms of Availability}

{\tt HP2TEX} was written by David Strip, with help from Dimitri Vulis.
The program is copyrighted, and in keeping with the spirit of the
\TeX\ community, you are granted permission to copy and redistribute
it so long as you provide the source and the {\tt README} file along
with any executable. In addition, you may not charge any fee in excess
of the actual cost of the media and reasonable labor charges.  This
charge may not exceed \$3.00 per disk plus shipping costs.

{\tt HP2TEX} is available on {\tt SIMTEL20} (FTP or Listserve access)
and GENIE, as well as some BBSs.

\subsubsection{Contact}

David Strip,\\
 431 Camino de la Sierra NE,\\
 Albuquerque, NM 87123, USA.\\
 Arpa: {\tt drstrip@sandia-2.arpa}\\
 Uucp: {\tt \ldots(ucbvax, cmu!rice, ihnp4!lanl, \\
 gatech)!unmvax!intvax!drstrip}\\[1.5ex]
Dimitri L.~Vulis,\\
 529 W.~111 Street, \#61\\
 New York, NY 10025-1943, USA.\\
 Bitnet: {\tt dlv@cunyvms1}

\subsection{Bar Codes}

Issue 94 of \TeX hax 1987 carried the following note from Dimitri
Vulis:
\begin{quotation}
I was amazed to find out that business people pay enormous money for
the ability to produce bar codes. This ought to be {\sl trivial} with
\TeX. So, I got hold of a public domain BASIC program that supposedly
does that and lifted the codes and put them into \MF\ (it was {\sl
easy}).  Caveat(s): I have never tested these codes with an OCR. The
BASIC program said it used `3 of 9' encoding.  I presume it's not the
same as UPC.  The sizes may be off---I took them from the BASIC
program that used HP LJ's 100dpi graphics mode.

Remarks:
\begin{itemize}
\item  White space is a displayable character.
\item  There are 9 significant strips, bwbwbwbwb; 3 of them are wide.
\item  The \verb|white_naro| at the end of each code is the inter-code
spacing.
\end{itemize}
The original BASIC program was written by `Bill Wood Mil., WI' and
later re-written by `Bill Baines, Enfield, CT.'
\end{quotation}
Dimitri notes that he has not tested the bar codes.

\subsubsection{Terms of Availability}

The \MF\ code for the bar codes is available for anonymous FTP from
{\tt score.stanford.edu} as file \verb|<TEX.TEXHAX>VULIS.TXH|.  A copy
has also been forwarded to \TeX -L for BITNETers.

\subsubsection{Contact}

For Vulis's address see under {\bf HP2TEX}.

\subsection{Old English}
\subsubsection{Henderson}
Doug Henderson has implemented \MF\ on the PC/AT family of personal
computers, and is also responsible for generating the high resolution
bitmaps of several of the non-standard fonts illustrated in recent
issues of {\em TUGboat\/}, such as the APL and Greek fonts.

On Tuesday May 3, 1988, Doug wrote to me with several useful
corrections to the present article, and included the following
information:
\begin{quotation}
I have recently created a few characters for an associate at the
International Christian University by the name of William Schipper.
He requested that the Old English characters thorn (upper/lower case)
and eth (upper/lower case) be created for him.  As he was referred to
me by Knuth, I decided to take this challenge and create the
characters.  Mainly, they are variations of characters found in
Computer Modern already, with some polishing up.

This will probably be the first in a series of ad-hoc characters I
create for various folks in need, and I will keep them in a sort-of
miscellaneous font category.  For now, they are compatible with {\tt
CMR10}.
\end{quotation}

Doug is willing to distribute the Old English characters free of
charge.  He says that the final versions should be done in time for
this year's TUG conference in Montr\'{e}al.  Contact Doug at:\\
 Division of Library Automation,\\
 University of California, Berkeley,\\
 186 University Hall,\\
 Berkeley, CA 94720, USA.\\
 Bitnet: {\tt dlatex@ucbcmsa}\\
 Arpa: {\tt dlatex\%ucbcmsa.cc@berkeley}

\subsubsection{Curran}

Charles Curran of the Oxford University Computing Service notes that
he is `generating odd squiggles for a user's medieval English', but he
feels that the quality isn't adequate for wider dissemination at
present.  Contact Charles at:\\
 OUCS,\\
 13 Banbury Road,\\
 Oxford, OX2 6NN, England.\\
 Phone: (UK) 0865 56721\\
 Net: {\tt charles@vax.oxford.ac.uk}


\subsubsection{Bradfield}
%\paragraph{Date of Information} June 15, 1988, Christina Thiele

In a note to \TeX hax 1987, issue 73 (sent on Fri, 04 Sep 1987),
Julian Bradfield reported that he has preliminary versions of the
letters eth, thorn and yogh for Computer Modern.  He said:
\begin{quotation}
They are rather hastily cobbled together from bits of real CM letters,
so are not very robust at present; in particular my yogh is not yet
very
happy on lowres devices,  though I hope to fix that soon. They look OK
(to me!) in roman, italic, bold and sans-serif at 300 dpi, which is
the highest resolution available to me.
\end{quotation}
If you want to use these characters, mail Julian at:\\
 c/o Christ's College, \\
 Cambridge, CB2 3BU, England.\\
 Janet:        {\tt jcb7@uk.ac.cam.phx}\\
 Earn/Bitnet:  {\tt jcb7@phx.cam.ac.uk}\\

\subsubsection{Ridgeway and Barnett}
%\paragraph{Date of information}  June 7, 1988, Pierre MacKay

A font to supplement the basic Latin alphabet of Computer Modern with
Old  English characters will be released in Autumn of this year by the
University of  Washington Humanities and Arts Computing Center.
Macros for direct input and  translators from various Personal
Computer editor files will accompany the  release.

For the contact address, see under {\bf Tamil} above.

\subsection{Vietnamese}

A note from Trung Dung at the end of March 1988 signalled his
intention of using \MF\ to create a Vietnamese font.  This uses a
Roman character set, with a wide range of diacritical marks.  Trung
hopes to finish some time this summer.  He can be contacted at {\tt
trung@umb.edu}.


\section{The PostScript Question}

This article does not deal with the availability of PostScript fonts,
because it would double its length to do so, and because the author
has never used a PS device, and really wouldn't know what he was
talking about.  Suffice it to say that instead of sending a bitmap to
the printer, a PostScript output file sends the printer instructions
on how to construct character bitmaps at the time of printing.  These
PostScript bitmaps are created in a manner analogous to running \MF,
in that the characters are encoded in a high level language, which
gives the outline, filling or stroke routines for creating glyphs.
Like \TeX\ {\tt TFM} files, PostScript fonts have their own fontmetric files, called {\tt AFM} files.  A utility program called {\tt
AFtoTFM} exists to convert {\tt AFM} files to {\tt TFM} ones (a copy
compiled and ready to run under DOS is available on the Personal \TeX\
BBS).  Since all the font information \TeX\ needs to create a {\tt
DVI} file is in the {\tt TFM} file, \TeX\ can thus create {\tt DVI}
files ready to be printed using PostScript fonts.  All that is needed
is a {\tt DVI} driver that knows how to call for a PostScript font in
the right way, and such drivers are available.  Thus, with a bit of
tinkering, it is perfectly feasible to use PostScript fonts in a \TeX\
document, and there is a large and growing catalogue of such fonts.
Adobe themselves have a catalogue of fonts which they market directly,
which currently includes 230 individual fonts (several for most
typefaces).  There are also several other companies and individuals
producing PostScript fonts in various styles and for a wide range of
languages, using such font creation tools as Fontographer on the Mac,
or Publisher's Type Foundry on the PC.

\end{document}