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authorKarl Berry <karl@freefriends.org>2015-12-11 23:12:20 +0000
committerKarl Berry <karl@freefriends.org>2015-12-11 23:12:20 +0000
commitda590c50c3731cf9ef296b5b3e0315777b43c46f (patch)
treec20595b39540416bc3b8521e745db078976f1465 /Master/texmf-dist/doc/fonts/fbb
parent3a6c1fb0f2e6d3d4bc0dd098fb6618916d9528bd (diff)
fbb (11dec15)
git-svn-id: svn://tug.org/texlive/trunk@39071 c570f23f-e606-0410-a88d-b1316a301751
Diffstat (limited to 'Master/texmf-dist/doc/fonts/fbb')
-rw-r--r--Master/texmf-dist/doc/fonts/fbb/README11
-rw-r--r--Master/texmf-dist/doc/fonts/fbb/fbb-doc.pdfbin514280 -> 476662 bytes
-rw-r--r--Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex27
3 files changed, 27 insertions, 11 deletions
diff --git a/Master/texmf-dist/doc/fonts/fbb/README b/Master/texmf-dist/doc/fonts/fbb/README
index 53263f0f4ee..0ac016ac777 100644
--- a/Master/texmf-dist/doc/fonts/fbb/README
+++ b/Master/texmf-dist/doc/fonts/fbb/README
@@ -2,7 +2,16 @@ This package, derived from David Perry's Cardo, provides a Bembo-like font famil
http://www.ctan.org/license/lppl1.3
for the details of that license. Note that Bembo is a name trademarked by Monotype, and Cardo is a reserved name under the OFL, hence the strange name for this package, drawn from the Berry id for the Bembo font family.
-Current version: 1.09/ 2015-08-23
+Current version: 1.10/ 2015-12-08
+
+Changes in version 1.10 (Thanks, Bob Curran Jr)
+1. Reworked f and all principal f-ligatures to better resemble traditional Bembo.
+2. Corrected a number of kerning issues involving f.
+3. Provided alternative version of P in Regular and Bold, more similar to traditional Bembo, and new option altP to activate them under LaTeX.
+4. Added LaTeX support for inferior figures.
+
+Changes in version 1.091
+Modified TTF name in BoldItalic otf from BoldItalic to Bold Italic so that Windows installs it correctly.
Changes in version 1.09 (Thanks, Yannick Della.)
1. Modified some kerning entries for f and some tall glyphs.
diff --git a/Master/texmf-dist/doc/fonts/fbb/fbb-doc.pdf b/Master/texmf-dist/doc/fonts/fbb/fbb-doc.pdf
index 2a322403944..cf8a7f53084 100644
--- a/Master/texmf-dist/doc/fonts/fbb/fbb-doc.pdf
+++ b/Master/texmf-dist/doc/fonts/fbb/fbb-doc.pdf
Binary files differ
diff --git a/Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex b/Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex
index 180f58c46de..a6ee354a981 100644
--- a/Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex
+++ b/Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex
@@ -2,6 +2,7 @@
\documentclass{article}
\usepackage[margin=1in]{geometry}
\usepackage[parfill]{parskip}% Begin paragraphs with an empty line, no indent
+\pdfmapfile{=fbb.map}
\usepackage{enumitem}
\setlist[description]{style=sameline,font=\mdseries\scshape}
\setlength\unitlength{1pt}% for picture
@@ -21,10 +22,12 @@
\usepackage[varqu,varl]{zi4}% typewriter
\usepackage[libertine,bigdelims]{newtxmath}
\usepackage[bb=boondox,frak=boondox]{mathalfa}
-%\renewcommand*{\rmdefault}{zgmj}
+%SetFonts
+\font\altp=fbbP-Regular-lf-t1
\usepackage[T1]{fontenc}
\useosf
\usepackage{fonttable}
+\usepackage{url,hyperref}
\title{The \textbf{fbb} package---a Bembo--like font}
\author{Michael Sharpe}
\date{}
@@ -34,23 +37,26 @@
The {\tt fbb} package offers a family of Bembo--like fonts derived from Cardo in the usual four styles. Text figures may be selected from four types:
\begin{itemize}
\item
-Proportional lining (LF), selected by option {\tt lining};
+Proportional lining (LF), selected by options {\tt lining, proportional [or p]}; [{\tt lining} is the default figure style;]
\item
-Tabular lining (TLF), selected by options {\tt lining, tabular};
+Tabular lining (TLF), selected by options {\tt lining, tabular}; [{\tt tabular} is the default figure alignment;]
\item
-Proportional oldstyle (OsF), selected by option {\tt oldstyle};
+Proportional oldstyle (OsF), selected by option {\tt oldstyle, proportional [or p]};
\item
Tabular oldstyle (TOsF), selected by options {\tt oldstyle, tabular}.
\end{itemize}
-The package also defines five macros that allow you use alternate figure styles locally:
+The package also defines six macros that allow you use alternate figure styles locally:
\begin{verbatim}
\textlf{97} % print 97 in proportional lining figures
\texttlf{97} % print 97 in tabular lining figures
\textosf{97} % print 97 in proportional oldstyle figures
\texttosf{97} % print 97 in tabular oldstyle figures
\textsu{97} % print 97 in superior figures
+\textin{97} % print 97 in inferior figures
\end{verbatim}
-Option {\tt sups} changes the form of footnote markers to use {\tt fbb}'s superior figures, unless you have redefined the meaning of \verb|\thefootnote| prior to loading {\tt fbb}. For more control over size, spacing and position of footnote markers, use the \textsf{superiors} package: Eg,
+Option {\tt altP} changes the form of the letter capital P from its default closed shape, as used in almost all modern digital renderings of Bembo, to the more historically accurate open shape, {\altp P}. See, for example, the reproduction of Pietro Bembo's \textit{De Aetna} at \url{https://ia601405.us.archive.org/34/items/ita-bnc-ald-00000673-001/ita-bnc-ald-00000673-001.pdf}. (A higher resolution rendering of a two-page sample is available from \url{https://upload.wikimedia.org/wikipedia/commons/8/89/De_Aetna_1495.jpg.})
+
+Option {\tt sups} changes the form of footnote markers to use {\tt fbb}'s superior figures, unless you have redefined the meaning of \verb|\thefootnote| prior to loading {\tt fbb}. For more control over size, spacing and position of footnote markers, use the \textsf{superiors} package: E.g.,
\begin{verbatim}
\usepackage[supstfm=fbb-Regular-sup-t1]{superiors}
\end{verbatim}
@@ -65,8 +71,9 @@ There is a {\tt scaled} option (\emph{e.g.}, {\tt scaled=.97}) that allow you to
\usepackage[T1]{fontenc} % LY1 also works
\usepackage[libertine,bigdelims]{newtxmath}
\usepackage[cal=boondoxo,bb=boondox,frak=boondox]{mathalfa}
-\useosf % change normal text to use proportional oldstyle figures
-%\usetosf would provide tabular oldstyle figures in text
+\useosf % change normal text to use oldstyle figures
+\useproportional
+% can also set option proportional (or p) for proportionally spaced figures
\end{verbatim}
Here is a short sample based on this preamble:\\[4pt]
\def\Pr{\ensuremath{\mathbb{P}}}
@@ -235,7 +242,7 @@ The layout of the TS\textlf{1} encoded Text Companion font, which is fully rende
There is a macro \verb|\textcircled| that may be used to construct a circled version of a single letter using \verb|\textbigcircle|. The letter is always constructed from the small cap version, so, in effect, you can only construct circled uppercase letters: \verb|\textcircled{M}| and \verb|\textcircled{m}| have the same effect, namely \textcircled{M}.
\section{Historical Background}
-Humanist scholar Pietro Bembo, a seminal figure in literature and music of the Italian Renaissance, who later became Cardinal Bembo, wrote an essay in the last decade of the 15th century about his travels to Mt.\ Aetna, which work was published by the Venetian printer Aldus Manutius (whose name gave us \emph{Aldine}) using a new Roman font designed by his punch-cutter, Francesco Griffo that improved on the earlier efforts of Jenson, another printer in Venice. That font seems to have played a similarly seminal r\^ole in typography. It was the direct progenitor of the many Garamond fonts, and has seen numerous modern revivals whose names make use of every known historical connection to the figures named above, such as those of Bembo's lover for a time, Lucrezia Borgia.
+Humanist scholar Pietro Bembo, a seminal figure in literature and music of the Italian Renaissance, who later became Cardinal Bembo, wrote an essay in the last decade of the 15th century about his travels to Mt.\ Aetna, which work was published by the Venetian printer Aldus Manutius (whose name gave us \emph{Aldine}) using a new Roman font designed by his punch-cutter, Francesco Griffo that improved on the earlier efforts of Jenson, another printer in Venice. That font seems to have played a similarly seminal r\^ole in typography. It was the direct progenitor of the many Garamond fonts, and has seen numerous modern revivals whose names make use of every known historical connection to the figures named above, such as Lucrezia Borgia who was for several years Bembo's lover.
The metal form of the Bembo font developed by Stanley Morison for English Monotype in the 1920's was widely used in book printing due to its handsome appearance and readability. Commercial digital versions have not had much love from critics until recently. Adobe's MinionPro and WarnockPro arguably deserve the prizes for the best modern revivals of oldstyle fonts not too distant from Bembo. (Both lack Bembo's tall ascenders and its characteristic overarching f.)
@@ -244,7 +251,7 @@ To my knowledge, there is currently only one free source for a Bembo--like font
This package is named for its Berry form {\tt fbb}, with {\tt f} denoting free (\emph{i.e.}, public) and {\tt bb} the Berry abbreviation for Bembo. It is derived from Cardo, with significant modifications. Where Cardo is intended primarily for scholars of ancient languages, those features are removed from {\tt fbb} and issues of more modern concern are added. The package contains the usual four styles (regular, italic, bold, bold italic), each with small caps and figures in tabular lining, proportional lining, tabular oldstyle and proportional oldstyle, as well as superior and inferior figures. The f-ligatures have been revised/added so as to function better with \LaTeX, and other glyphs have been changed as necessary to suit the demands of \emph{FontForge}. A kerning table was added to Regular upright weight---a serious omission in the original. The Bold Italic weight was created algorithmically from Italic, but the result required much intervention by human hand. Small Caps were created for all styles other than regular, which was already present in Cardo.
-On screen and paper, {\tt fbb} appears close in weight to Libertine, though of larger xheight, a bit softer and slightly less plain. The following two sentences are written in {\tt fbb} and Libertine respectively. The third example sentence is written using {\tt garamondx}, whose natural xheight is comparable to Libertine, but which should normally be scaled down to resemble more familiar Garamonds. Perhaps {\tt fbb} will be prove to be more suitable for older eyes.
+On screen and paper, {\tt fbb} appears close in weight to Libertine, though of larger xheight and much larger ascender height, a bit softer and slightly less plain. The following two sentences are written in {\tt fbb} and Libertine respectively. The third example sentence is written using {\tt garamondx}, whose natural xheight is comparable to Libertine, but which should normally be scaled down to resemble more familiar Garamonds. Perhaps {\tt fbb} will be prove to be more suitable for older eyes.
\textit{\textsc{Comparison between fbb and Libertine}}: