memdesign (14sep18)

git-svn-id: svn://tug.org/texlive/trunk@48664 c570f23f-e606-0410-a88d-b1316a301751

3 files changed, 346 insertions, 212 deletions

diff --git a/Master/texmf-dist/doc/fonts/memdesign/README b/Master/texmf-dist/doc/fonts/memdesign/README
index f2e570fa121..320f96097af 100644
--- a/Master/texmf-dist/doc/fonts/memdesign/README
+++ b/Master/texmf-dist/doc/fonts/memdesign/README
@@ -5,6 +5,7 @@ included in the manual for the memoir class (memman.(pdf|tex)).
 ------------------------------------------------------------------- 
   Author: Peter Wilson (Herries Press) herries dot press at earthlink dot net
   Copyright 2001--2009 Peter R. Wilson
+  Copyright 2010--     Lars Madsen 
  
   This work may be distributed and/or modified under the
   conditions of the LaTeX Project Public License, either
@@ -16,7 +17,7 @@ included in the manual for the memoir class (memman.(pdf|tex)).
   LaTeX version 2003/06/01 or later.
  
   This work has the LPPL maintenance status "maintained".
-  Maintainer: Lars Madsen (daleif at imf dot au dot dk)
+  Maintainer: Lars Madsen (daleif at math dot au dot dk)
  
   This work consists of the files:
 README (this file) 
@@ -49,8 +50,21 @@ o Run bibtex memdesign
 o For an index run: makeindex -s memman.ist memdesign
 o Run (pdf)latex once more on memdesign.tex
 o Print the manual
-  
 
 2009/12/14
 Peter Wilson
 herries dot press at earthlink dot net
+
+----
+
+Updates
+
+Changed (2018/09/13)
+
+- Fixed a lot of typos reported by Udo Wermuth
+- Switched to using \frenchspacing
+- Slight changes to the layout
+- Use workaround for "sporadic" spaces in the inline toc lists caused
+  by the un-typeset subsubsection entries when using hyperref.
+
+
diff --git a/Master/texmf-dist/doc/fonts/memdesign/memdesign.pdf b/Master/texmf-dist/doc/fonts/memdesign/memdesign.pdf
index f428ee1d80e..3d4049508ab 100644
--- a/Master/texmf-dist/doc/fonts/memdesign/memdesign.pdf
+++ b/Master/texmf-dist/doc/fonts/memdesign/memdesign.pdf
diff --git a/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex b/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex
index 7ccd7d11d69..3a0368e3170 100644
--- a/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex
+++ b/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex
@@ -16,7 +16,7 @@
 %%   LaTeX version 2003/06/01 or later.
 %% 
 %%   This work has the LPPL maintenance status "maintained".
-%%   Maintainer: Lars Madsen (daleif at imf dot au dot dk)
+%%   Maintainer: Lars Madsen (daleif at math dot au dot dk)
 %% 
 %%   
 %
@@ -38,12 +38,16 @@
 
 \svnidlong
 {$HeadURL: https://svn.nfit.au.dk/svn/memoir/trunk/doc/memdesign.tex $}
-{$LastChangedDate: 2014-05-20 10:19:12 +0200 (Tue, 20 May 2014) $}
-{$LastChangedRevision: 487 $}
-{$LastChangedBy: daleif $}
+{$LastChangedDate: 2018-09-14 10:14:49 +0200 (Fri, 14 Sep 2018) $}
+{$LastChangedRevision: 617 $}
+{$LastChangedBy: daleif@math.au.dk $}
+
+\frenchspacing
+
+
+
 
 
- 
 
 % For (non-printing) notes  \PWnote{date}{text}
 \newcommand{\PWnote}[2]{} 
@@ -55,6 +59,17 @@
 %%%% kill bibliographystyle used in memsty.sty
 \renewcommand*{\bibliographystyle}[1]{}
 \usepackage{memsty}
+
+
+\hypersetup{
+  pdftitle={A Few Notes on Book Design},
+  pdfauthor={Peter Wilson, maintained by Lars Madsen},
+}
+
+
+
+
+
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%
 \usepackage{titlepages}  % code of the example titlepages
 \usepackage{fonttable}[2009/04/01]   % font tables
@@ -224,6 +239,35 @@ Nos habebit humus.\par}
 %%% Numbering down to subsections as well
 \setsecnumdepth{subsection}
 
+
+
+\newcommand\U[2]{\textrm{#1}\,\textrm{#2}}
+
+
+\makeatletter
+\renewcommand*{\setupparasubsecs}{%
+  \let\oldnumberline\numberline%
+  \renewcommand*{\cftsubsectionfont}{\itshape}%
+  \renewcommand*{\cftsubsectionpagefont}{\itshape}%
+  \renewcommand{\l@subsection}[2]{%
+    \ifnum\c@tocdepth > 1\relax%
+    \def\numberline####1{\textit{####1}~}%
+    \leftskip=\cftsubsectionindent%
+    \rightskip=\@tocrmarg%
+    %% \advance\rightskip 0pt plus \hsize% uncomment this for raggedright
+    %% \advance\rightskip 0pt plus 2em    % uncomment this for semi-ragged
+     \parfillskip=\fill%
+    \rightskip=3.55em plus 3fil%
+    \ifhmode,\enskip \else\noindent\fi%
+    {\cftsubsectionfont ##1}~{\cftsubsectionpagefont##2}%
+    \let\numberline\oldnumberline%
+    \ignorespaces%
+    \fi}%
+}
+
+\makeatother
+
+
 %% end preamble
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
 \begin{document}
@@ -317,8 +361,21 @@ First edition:                        & August 2009 \\
 \end{tabular}
 \end{center}
 
+
+
+\bigskip
+
+Maintained by Lars Madsen
+
+
+
 \endgroup
 
+
+
+
+
+
 \clearpage
 \mbox{}
 
@@ -329,12 +386,46 @@ First edition:                        & August 2009 \\
 \pagestyle{headings}
 %%%%\pagestyle{Ruled}
 
+
 \setupshorttoc
+
 \tableofcontents
+
+
+
 \cleardoublepage
+
 \setupparasubsecs
+
 \setupmaintoc
+
+
+\begingroup
+
+% important point here: We need \endlineshar=-1 here for the inline
+% list of subsections. Why? Beacause we have subsection subsubsection
+% subsection, and under hyperref running the l@subsubsection for
+% subsubsection, which typesets nothing, ruins our \ignorespaces in
+% our redefinition of \l@subsection (it cannot see and ignore the space after the
+% \contentsline line for subsubsection). Easiest solution: use
+% change \endlinechar
+%
+% Special thanks to David Carlisle in the tex.stackexchange.com chat
+% for suggesting it
+
+
+\endlinechar=-1
+
+
 \tableofcontents
+
+\endgroup
+
+
+
+%\tracingoutput=0
+%\tracingmacros=0
+
 \setlength{\unitlength}{1pt}
 \clearpage 
 \listoffigures
@@ -368,7 +459,7 @@ professionals.
 
 \noindent
 This document is maintained by Lars Madsen,
-daleif(at)imf.au.dk. Please write him if you find any typos, errors or
+daleif(at)math.au.dk. Please write him if you find any typos, errors or
 other omissions.
 
 
@@ -422,7 +513,7 @@ pages are even-numbered.
    Then there is the question of folios. The typographical term for
 the number of a page is \emph{folio}\index{folio}.
 This is not to be confused with
-the same term as used in `Shakespeare's First Folio' where the reference is
+the same term as used in `Shakespeare's first folio' where the reference is
 to the height and width of the book, nor to its use in the phrase
 `\emph{folio} signature'\index{signature} where the term refers to the 
 number of times a printed sheet is folded. 
@@ -457,7 +548,7 @@ work harmoniously together, such as a pair of roman and italic fonts.
 
    The size of a font\index{font} is expressed in points\index{point} 
 (72.27 points equals 1 inch
-equals 25.4 millimeters). The size is a rough indication of the height
+equals 25.4 millimetre). The size is a rough indication of the height
 of the tallest character, but different fonts with the same size may have
 very different actual heights. Traditionally font sizes were referred to
 by names (see \tref{tab:fontsizes}) but nowadays just the number of points 
@@ -508,19 +599,19 @@ the lines of normal text is \emph{leading}\index{leading}, which is also
 usually expressed in points and is usually larger than the font size.
 A convention for describing the font and leading is to give the font size 
 and leading separated by a slash; for instance $10/12$ for a
-10pt font set with a 12pt leading, or $12/14$ for a 12pt font set with a
-14pt leading.
+\U{10}{pt} font set with a \U{12}{pt} leading, or $12/14$ for a \U{12}{pt} font set with a
+\U{14}{pt} leading.
 
     The normal length of a line of text is often called the 
 \emph{measure}\index{measure} and is normally specified in terms of
-picas\index{pica} where 1 pica equals 12 points (1pc = 12pt).
+picas\index{pica} where 1 pica equals 12 points (\U{1}{pc} = \U{12}{pt}).
 
     Documents may be described as being typeset with a particular font
 with a particular size and a particular leading on a particular measure;
 this is normally given in a shorthand form. 
-A 10pt font with 11pt leading on a 20pc measure is described as
-\abyb{10/11}{20}, and \abyb{14/16}{22} describes a 14pt font
-with 16pt leading set on a a 22pc measure.
+A \U{10}{pt} font with \U{11}{pt} leading on a \U{20}{pc} measure is described as
+\abyb{10/11}{20}, and \abyb{14/16}{22} describes a \U{14}{pt} font
+with \U{16}{pt} leading set on a a \U{22}{pc} measure.
 
 \section{Units of measurement}
 
@@ -531,17 +622,27 @@ the most common units employed.
 \begin{table}
 \centering
 \caption{Printers units} \label{tab:units}
-\begin{tabular}{ll} \toprule
-Name (abbreviation) & Value \\ \midrule
-point (pt)\index{point}\index{pt}          &            \\
-pica (pc)\index{pica}\index{pc}           & 1pc = 12pt \\
-inch (in)\index{inch}\index{in}           & 1in = 72.27pt \\
-centimetre (cm)\index{centimetre}\index{cm}     & 2.54cm = 1in \\
-millimetre (mm)\index{millimetre}\index{mm}     & 10mm = 1cm \\ 
-big point (bp)\index{big point}\index{bp}      & 72bp = 72.27pt \\
-didot point (dd)\index{didot point}\index{dd}    & 1157dd = 1238pt \\
-cicero (cc)\index{cicero}\index{cc}         & 1cc = 12dd \\
-\bottomrule
+\begin{tabular}{l r @{\,=\,} l   } \toprule
+  Name (abbreviation) & \multicolumn{2}{c}{Value}
+  \\ 
+  \midrule
+  point (pt)\index{point}\index{pt}          &   \multicolumn{2}{c}{}         
+  \\
+  pica (pc)\index{pica}\index{pc}           & \U{1}{pc} & \U{12}{pt} 
+  \\
+  inch (in)\index{inch}\index{in}           & \U{1}{in} & 72.\U{27}{pt} 
+  \\
+  centimetre (cm)\index{centimetre}\index{cm}     & 2.\U{54}{cm} & \U{1}{in} 
+  \\
+  millimetre (mm)\index{millimetre}\index{mm}     & \U{10}{mm} & \U{1}{cm} 
+  \\ 
+  big point (bp)\index{big point}\index{bp}      & \U{72}{bp} & 72.\U{27}{pt} 
+  \\
+  didot point (dd)\index{didot point}\index{dd}    & \U{1157}{dd} & \U{1238}{pt} 
+  \\
+  cicero (cc)\index{cicero}\index{cc}         & \U{1}{cc} & \U{12}{dd} 
+  \\
+  \bottomrule
 \end{tabular}
 \end{table}
 
@@ -554,10 +655,10 @@ Inches\index{inch} and centimetres\index{centimetre} are the units that we
 are all, or should be, familiar with.
 
     The point system was invented by Pierre Fournier le jeune in 1737 with
-a length of 0.349mm. Later in the same century Fran\c{c}ois-Ambroise Didot
-introduced his point system with a length of 0.3759mm. This is the value
+a length of \U{0.349}{mm}. Later in the same century Fran\c{c}ois-Ambroise Didot
+introduced his point system with a length of \U{0.3759}{mm}. This is the value
 still used in Europe. Much later, in 1886, the American Type Founders
-Association settled on 0.013837in as the standard size for the point, and
+Association settled on \U{0.013837}{in} as the standard size for the point, and
 the British followed in 1898. Conveniently for those who are not entirely
 metric in their thinking this means that 
 six picas are approximately equal to one inch.
@@ -578,7 +679,7 @@ The \textit{ex}\index{ex} is
 nominally the height of the letter `x' in the current font. You may also
 come across the term \textit{quad}\index{quad}, often as in a phrase
 like `starts with a quad space'. It is a length defined in terms of
-ems; a quad is 1em.
+ems; a quad is \U{1}{em}.
 
 
 \cleardoublepage
@@ -712,17 +813,18 @@ keynote presentation~\autocite{TUGKEYNOTE07}.
 a good overview see~\autocite{CHAPPELL99} and Fred Smeijers~\autocite{SMEIJERS96}
 provides a detailed description of punchcutting.
  
-    Making type has been an inherently manual process. Having got a design
-for a font, for each character, a punchcutter makes a punch starting 
-with a square steel bar about 2\slashfrac{1}{4}inches (6cm) long with an 
-end face large enough to encompass the character. Using files and gravers,
-and perhaps some specialized tools like a counterpunch, 
-he carves out the character in relief on one end of the bar. The character
-is oriented so that is backwards with respect to its appearance when printed.
-To check the shape, the end of the punch is put into the flame of an alcohol
-lamp which coats it with lampblack, and it is then pressed against a chalky 
-paper to leave a black image of the character. Once the shape is correct 
-the punch is hardened and annealed.
+Making type has been an inherently manual process. Having got a design
+for a font, for each character, a punchcutter makes a punch starting
+with a square steel bar about 2\slashfrac{1}{4}~inches (\U{6}{cm}) long with
+an end face large enough to encompass the character. Using files and
+gravers, and perhaps some specialized tools like a counterpunch, he
+carves out the character in relief on one end of the bar. The
+character is oriented so that it is backwards with respect to its
+appearance when printed.  To check the shape, the end of the punch is
+put into the flame of an alcohol lamp which coats it with lampblack,
+and it is then pressed against a chalky paper to leave a black image
+of the character. Once the shape is correct the punch is hardened and
+annealed.
 
    The next stage is to create the matrix for the character. The punch is
 hammered into a softer material, usually copper, or sometimes brass which
@@ -1061,12 +1163,12 @@ It was first used in the famous \emph{Hypnerotomachia Poliphili} by
 Francesco Colonna\index{Colonna, Francesco} which Aldus published in 1499.
 A modern version is available called Poliphilus\facesubseeidx{Poliphilus}.
 
-    The Aldine roman soon spread across Europe. One of the first typecutters
-to use it as a model was Claude Garamond\index{Garamond, Claude} 
-in Paris (c. 1540), and his types 
-had a wide distribution, for example being used in Antwerp by Christopher 
-Plantin\index{Plantin, Christopher}. The main basis for modern versions
-is a version of Garamond's types cut by the French printer 
+The Aldine roman soon spread across Europe. One of the first type
+cutters to use it as a model was Claude Garamond\index{Garamond,
+  Claude} in Paris (c. 1540), and his types had a wide distribution,
+for example being used in Antwerp by Christopher
+Plantin\index{Plantin, Christopher}. The main basis for modern
+versions is a version of Garamond's types cut by the French printer
 Jean Jannon\index{Jannon, Jean} about 1621.
 
     Characteristics of these types are wide concave serifs, particularly
@@ -1112,7 +1214,7 @@ increasingly known. They produced types that were more practical for
 commercial printing. The contrast between thick and thin strokes increased
 and the serifs straightened.
 
-The English typecutter William Caslon\index{Caslon, William} (1692--1766) 
+The English type cutter William Caslon\index{Caslon, William} (1692--1766) 
 cut a famous face of this kind that has been used ever since throughout the 
 world; in America the first printed version of the 
 \btitle{Declaration of Independence}
@@ -1126,7 +1228,7 @@ and Janson\facesubseeidx{Janson}.
 \typesubidx{Transitional}
 
     Transitional types are those based on the Oldstyle\typesubidx{Oldstyle} 
-types but with features of the style called Modern\typesubidx{Modern} 
+types but with features of the style called Modern\typesubidx{Modern}. 
 
     By the end of the sixteenth century the quality of printing in Italy 
 and France had fallen off from when Claude Garamond\index{Garamond, Claude} 
@@ -1135,7 +1237,7 @@ King Louis \textsc{xiv} ordered a new set of types for the Royal Printing
 House. In a lengthy report the Academy of Sciences recommended a roman type
 constructed on mathematical principles. 
 Lucien Grandjean\index{Grandjean, Lucien} who cut the
-new Romain du Roi\facesubseeidx{Romain du Roi} allowed his typecutter's eye to 
+new Romain du Roi\facesubseeidx{Romain du Roi} allowed his type cutter's eye to 
 sometimes overrule the 
 academicians to the betterment of the result.
 
@@ -1158,7 +1260,7 @@ Bell\facesubseeidx{Bell},
 Fournier\facesubseeidx{Fournier},
 Georgian\facesubseeidx{Georgian},
 and URW Antiqua\facesubseeidx{URW Antiqua}\pagenote[and URW Antiqua]{The URW
-Antiqua\index{URW Antiqua} font in \ltx\ is known as the \pfontfam{uaq} fontfamily.} which is shown in \fref{fig:antiqua}.. 
+Antiqua\index{URW Antiqua} font in \ltx\ is known as the \pfontfam{uaq} fontfamily.} which is shown in \fref{fig:antiqua}.
 
 \begin{figure}
 \centering
@@ -1540,6 +1642,9 @@ which is then built up as before. When several lines have been assembled they
 are slid from the composing stick onto the composing table, which is
 a large, smooth and flat marble slab.
 
+
+\enlargethispage{1em}
+
     When sufficient type has been assembled for printing one sheet of paper
 it is put into a chase\index{chase} which is a rectangular cast-iron frame, 
 rather like a picture frame. The chase is placed round the type
@@ -1554,6 +1659,9 @@ small pieces of type that have scattered themselves all over the floor, and
 then putting them all back in the chase in the correct order! The assembled
 and locked up type, furniture, and chase are called a forme\index{forme}.
 
+
+
+
 \PWnote{2009/03/29}{Revised description of composing type and added paras 
         about kinds of hand presses}
     There are two basic types of hand\index{hand press} press. In the 
@@ -1688,37 +1796,33 @@ typecases\index{typecase} (roman
 and italic), a case of mathematical sorts containing signs, superscripts
 and subscripts, etc., and a case of unaccented Greek characters.
     In order to set maths such as shown as formula~\ref{eq:typeset},
-in an assumed 11pt font with 24pt spacing, 
+in an assumed \U{11}{pt} font with \U{24}{pt} spacing, 
 the widest elements, properly spaced and centered within the measure, 
 are set in the composing\index{composing stick} stick as
-
 \begin{displaymath}
 P_{N_1 + m} = N_{1} + m \raisebox{-0.6\baselineskip}{$\displaystyle\binom{N_{2} - N_{1}}{\phantom{m}}$}
               \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
 \end{displaymath}
 
     The terms to the right of the $=$ sign are then removed and stored where
-hopefully they won't be disturbed. A lead of 6.5pt is then inserted above and below 
+hopefully they won't be disturbed. A lead of \U{6.5}{pt} is then inserted above and below 
 the first terms.
-The $N_{1} +m$ term is taken from the storage, and a piece of 2pt rule is cut
+The $N_{1} +m$ term is taken from the storage, and a piece of \U{2}{pt} rule is cut
 to the exact length of the term and the $C$ centered above it. Then the opening
 parenthesis is added, so the contents of the composing stick look like:
-
 \begin{displaymath}
 P_{N_1 + m} = \frac{C}{N_{1} + m} \bigg(
 \end{displaymath}
 
-   Moving on, the $N_{2}-N_{1}$ term is put in the composing stick and a 2pt
+   Moving on, the $N_{2}-N_{1}$ term is put in the composing stick and a \U{2}{pt}
 lead put below it with the $m$ centered underneath, then the closing parenthesis
 is added, so the formula now appears as:
-
 \begin{displaymath}
 P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
 \end{displaymath}
  
-    Finally the Greek terms are added, with 6.5pt leads above and below, 
+    Finally the Greek terms are added, with \U{6.5}{pt} leads above and below, 
 resulting in:
-
 \begin{displaymath}
 P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
               \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
@@ -1728,7 +1832,6 @@ P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
 used the process was certainly not automatic. With a 
 Monotype\index{Monotype} caster the 
 operator would produce
-
 \providecommand*{\tmri}{\mathrm{i}}
 \providecommand*{\tmrx}{\mathrm{x}}
 \begin{displaymath}
@@ -1752,7 +1855,11 @@ P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
 \end{equation}
 \end{lcode}
 
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%\end{document}
+
+
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% 
 
 \chapter{The Parts of a Book}
 
@@ -2172,6 +2279,8 @@ down to the finished page size. Table~\ref{tab:adriansizes} is from
 \abybm{9.25}{6.125}{in} out of \abybm{50}{38}{in} sheets, 
 \abybm{10.25}{8.25}{in} out of \abybm{45}{35}{in} sheets, and so on.
 
+\newpage
+
 
     Publishers like the final typeset book to be of a length that just fits
 within an integral number of signatures\index{signature}, 
@@ -2322,7 +2431,7 @@ use. The common ones, together with their manufactured size in inches,
 are~\autocite{POCKETPAL}:
 \begin{description}
 \item[Bond (\abyb{17}{22})]\index{paper!bond} Commonly used for letters and
-business forms. They have surfaces acceptible for both pen and pencil.n
+business forms. They have surfaces acceptible for both pen and pencil.
 
 \item[Coated (\abyb{25}{38})]\index{paper!coated} For high quality printed
 work because of their surface smoothness and uniform ink receptivity.
@@ -2350,7 +2459,7 @@ is acceptable to the postal services.
 stiff and easy to write on with a pen.
 
 \item[Tag  (\abyb{24}{36})]\index{paper!tag} A strong utility paper for making
-tags
+tags.
 
 \item[Bristol (\abyb{22.5}{28.5})]\index{paper!bristol} One of the board grades
 but softer than index or tag and easier to fold.
@@ -2364,10 +2473,7 @@ specialty papers such as onion skin or Bible paper.
 \item[Digital]\index{paper!digital} Specialty paper for use with
 digital printers. Each technology (e.g., inkjet, laser) and often 
 the particular printer tends to have its own requirements.
-
 \end{description}
-
-
 \index{paper!machine-made|)}
 
 
@@ -2392,15 +2498,15 @@ Strathmore\index{paper!Strathmore} of several kinds.
    At the time of writing I have finished hand letterpress printing a 
 small book of 35 printed pages on Strathmore 400 Drawing Paper and an 
 accordian book on Chinese Scholars on Southworth\index{paper!Southworth} 
-32lb cotton paper. I am in the process of letterpress printing a collection
+\U{32}{lb} cotton paper. I am in the process of letterpress printing a collection
 of poems as individual broadsides and for these I am using a variety of
 papers from my local retail paper suppliers, all in letterpaper size ---
 the regular US paper size for most non-commercial printing (in most of the 
-world this would be the A4 size). These include: Wausau Royal Silk 24lb
+world this would be the A4 size). These include: Wausau Royal Silk \U{24}{lb}
 (90\gsm);
-Construction 70lb text; Exact Opaque Colors 24/60lb text; Wausau Exact 
-Vellum Bristol 67lb (145\gsm); Curious Lightspecs 70lb text; Eames Furniture
-Weave 80lb text; Speckletone Kraft 70lb text; and various Southworth papers. 
+Construction \U{70}{lb} text; Exact Opaque Colors 24/\U{60}{lb} text; Wausau Exact 
+Vellum Bristol \U{67}{lb} (145\gsm); Curious Lightspecs \U{70}{lb} text; Eames Furniture
+Weave \U{80}{lb} text; Speckletone Kraft \U{70}{lb} text; and various Southworth papers. 
 Thus, in different weights (thicknesses), colours and surface finishes.
 
 
@@ -2434,17 +2540,17 @@ Paperboard            & \abyb{12}{12} & 1000 \\ % (1000 square feet per ream) \\
 Paper grade & Grammage & Thickness &  Caliper \\ 
             & \gsm\    & inches    & mm       \\ \midrule
 %%%30\,lb text                  &  44 \\
-16\,lb bond, 40\,lb text     & 59  & 0.0032 & 0.081 \\
-45\,lb text                  & 67  & 0.0036 & 0.092 \\
-20\,lb bond                  & 75  & 0.0038 & 0.097 \\
-24\,lb bond, 60\,lb text     & 89  & 0.0048 & 0.120 \\
-70\,lb text                  & 104 & 0.0058 & 0.147  \\
-80\,lb text                  & 118 & 0.0061 & 0.155 \\
-67\,lb bristol, 100\,lb text & 148 & 0.0073 & 0.185 \\
-60\,lb cover, 90\,lb index   & 162 & 0.0074 & 0.188 \\
-65\,lb cover, 80\,lb bristol & 176 & 0.0078 & 0.198 \\
-110\,lb index                & 199 & 0.0085 & 0.216 \\
-80\,lb cover                 & 216 & 0.0092 & 0.234 \\
+\U{16}{lb} bond, \U{40}{lb} text     & 59  & 0.0032 & 0.081 \\
+\U{45}{lb} text                  & 67  & 0.0036 & 0.092 \\
+\U{20}{lb} bond                  & 75  & 0.0038 & 0.097 \\
+\U{24}{lb} bond, \U{60}{lb} text     & 89  & 0.0048 & 0.120 \\
+\U{70}{lb} text                  & 104 & 0.0058 & 0.147  \\
+\U{80}{lb} text                  & 118 & 0.0061 & 0.155 \\
+\U{67}{lb} bristol, \U{100}{lb} text & 148 & 0.0073 & 0.185 \\
+\U{60}{lb} cover, \U{90}{lb} index   & 162 & 0.0074 & 0.188 \\
+\U{65}{lb} cover, \U{80}{lb} bristol & 176 & 0.0078 & 0.198 \\
+\U{110}{lb} index                & 199 & 0.0085 & 0.216 \\
+\U{80}{lb} cover                 & 216 & 0.0092 & 0.234 \\
 \bottomrule
 \end{tabular}
 \end{table}
@@ -2454,7 +2560,7 @@ is simply specified as grams per square meter (\gsm, sometimes designated as
 \emph{gsm}). This quantity is properly called \emph{grammage}\index{grammage}
 but English
 speaking countries often use \emph{weight} instead. Typical office
-paper is about 80\gsm, so an A4 sheet (1/16\sqrd{m}) weighs about 5gm.
+paper is about 80\gsm, so an A4 sheet (1/16\sqrd{m}) weighs about 5g.
 
     In the US and a few other places it is much more complicated. The
 weight is expressed in terms of \emph{basis weight}\index{basis weight} 
@@ -2616,7 +2722,7 @@ each fold reproduces the original page proportion.
 Thus halving an A0 sheet 
 (size \abybm{1189}{841}{mm}) produces an A1 size sheet (\abyb{594}{841}),
 which in turn being halved produces the A2 sheet (\abyb{420}{594}), down
-through the A3, A4 (\abybm{210}{297}{mm}), A5, \ldots sheets.
+through the A3, A4 (\abybm{210}{297}{mm}), A5, \ldots{} sheets.
 
 For many years it was thought that it was impossible to fold a sheet of 
 paper\index{paper}, no matter how large and thin, more than eight times 
@@ -2704,7 +2810,7 @@ ratio of the circumference of a circle to its diameter.}
 The \ratio{e}{{$\pi$}}
 (\ratio{0.864}{1}) proportion is useful for landscape 
 photographs  taken with a \abyb{4}{5}
-format camera, while those from a 35mm camera (which produces a negative
+format camera, while those from a \U{35}{mm} camera (which produces a negative
 with a \ratio{2}{3} proportion) are better accomodated on 
 an \ratio{0.83}{1} page.
 \index{proportion!page|)}
@@ -2823,7 +2929,7 @@ Then
     Both the Fibonacci series and the golden section appear in nature.
 The arrangement of seeds in a sunflower, the pattern on the surface of a 
 pinecone, and the spacing of leaves around a stalk all exhibit Fibonacci
-paterns (for example see~\autocite{CONWAY96}). Martin Gardener~\autocite{GARDNER66}
+paterns (for example see~\autocite{CONWAY96}). Martin Gardner~\autocite{GARDNER66}
 reports on a study of 65 women that claimed that the average ratio of a 
 person's height to the height of the navel is $1.618+$ --- suspiciously 
 close to $\varphi$. According to Dan Brown, the author of 
@@ -3012,7 +3118,7 @@ interested in typography.
 
 The layout on the right is The Folio Society's\index{Folio Society}
 1970 edition of \btitle{The Prince} by Niccol\`{o} Machiavelli. The original
-size is \abybm{216}{125}{mm} and is set in \abyb{12/13}{22} 
+size is \abybm{216}{125}{mm} and the text is set in \abyb{12/13}{22} 
 Centaur\facesubseeidx{Centaur}.
 Chapter titles\index{chapter!design} are set as raggedright block 
 paragraphs using Roman numbers
@@ -3097,31 +3203,30 @@ but the change in fonts and sizes enables the book to be read with no
 confusion. 
 
 
-Another Hartley \& Marks
-typography book --- \btitle{Finer Points in the Spacing \& Arrangement
-of Type} by Geoffrey Dowding\index{Dowding, Geoffrey} --- 
-is shown at the right of \fref{fb:3}.
-This is typeset in Ehrhardt\facesubseeidx{Ehrhardt} at \abyb{10.5/14}{23} on a page 
-size of \abybm{231}{143}{mm} on Glatfelter\index{paper!Glatfelter} Laid 
-Offset paper. 
-The half-title\index{half-title} is uppercased,
-centered, and in the upper quarter of the page. On the title 
-page\index{title page} the title is typeset with a large bold italic font 
-while the author's is set using normal uppercase and the publisher
-is set in small caps. Dowding uses `part' instead of `chapter'. 
-Chapter\index{chapter!design} heads are centered with the number written 
-out, like `PART ONE', and below this is the title set in large italics.
-Section\index{section!design} heads are in uppercase and subsection heads in 
-small caps, both centered. Folios\index{folio} are in the center of the 
+Another Hartley \& Marks typography book --- \btitle{Finer Points in
+  the Spacing \& Arrangement of Type} by Geoffrey
+Dowding\index{Dowding, Geoffrey} --- is shown at the right of
+\fref{fb:3}.  This is typeset in Ehrhardt\facesubseeidx{Ehrhardt} at
+\abyb{10.5/14}{23} on a page size of \abybm{231}{143}{mm} on
+Glatfelter\index{paper!Glatfelter} Laid Offset paper.  The
+half-title\index{half-title} is uppercased, centered, and in the upper
+quarter of the page. On the title page\index{title page} the title is
+typeset with a large bold italic font while the author's name is set
+using normal uppercase and the publisher is set in small caps. Dowding
+uses `part' instead of `chapter'.  Chapter\index{chapter!design} heads
+are centered with the number written out, like `PART ONE', and below
+this is the title set in large italics.  Section\index{section!design}
+heads are in uppercase and subsection heads in small caps, both
+centered. Folios\index{folio} are in the center of the
 footer\index{footer!design}; verso running heads\index{header!design}
 consist of the book title in small caps and centered, and recto heads
-contain the chapter title in italics and centered. On the 
+contain the chapter title in italics and centered. On the
 contents\index{ToC!design} page the part (chapter) numbers and titles
-are centered, using small caps and large italics respectively (and no page
-numbers). Section titles are in small caps, left justified with the
-page numbers right justified. Titles from the \pixfrontmatter\ 
-and \pixbackmatter, for example the Foreword and 
-Bibliography, are typeset in italics.
+are centered, using small caps and large italics respectively (and no
+page numbers). Section titles are in small caps, left justified with
+the page numbers right justified. Titles from the \pixfrontmatter\ and
+\pixbackmatter, for example the Foreword and Bibliography, are typeset
+in italics.
 
 
 
@@ -3245,7 +3350,7 @@ by Brooke Crutchley\index{Crutchley, Brooke}
 and published by Cambridge University 
 Press\index{Cambridge University Press} in 1968. This is typeset in 
 Monotype Barbon\facesubseeidx{Monotype Barbon}\index{Barbon!Monotype}
-with $17.5$ leading on a $26$pc measure on a \abybm{253}{162}{mm} page.
+with $17.5$pt leading on a $26$pc measure on a \abybm{253}{162}{mm} page.
 Crutchley was the Cambridge University 
 Printer\index{Cambridge University Press!Crutchley, Brooke} and each year would produce
 a limited edition of a book about Cambridge or typography, and preferably
@@ -3274,6 +3379,9 @@ or other appurtenances, apart from a Preface.
          (Right) England 1988.} \label{fb:7}
 \end{figure}
 
+\enlargethispage{\baselineskip}
+
+
     A modern technical book layout is given in \fref{fb:7}. The book
 is \btitle{Information Modeling the EXPRESS Way} by Douglas Schenck and Peter
 Wilson, published by Oxford University Press (New York) in 1994. This is
@@ -3282,6 +3390,8 @@ on a page \abybm{233}{150}{mm}.
 It has the typical \ltx\ appearance with perhaps the exception of the
 epigraphs\index{epigraph} after each chapter\index{chapter!design} heading.
 
+
+
 Ruari McLean's\index{McLean, Ruari} \btitle{The Thames and Hudson Manual of
 Typography} (1988) is at the right in \fref{fb:7}. This is typeset in \abyb{10/11}{20} 
 Monophoto Garamond\facesubseeidx{Monophoto Garamond}\index{Garamond!Monophoto} 
@@ -3378,7 +3488,7 @@ de Malueque ou naissent les cloux de Girofle} (Navigation and discovery
 of Upper India and the Isles of Molucca where the cloves grow) is written
 in a beautiful humanistic minuscule\index{minuscule!humanist}. 
 There are 27 lines to a page, which
-is \abybm{286}{190}{mm} and made of vellum. The text measure is $29.5$
+is \abybm{286}{190}{mm} and made of vellum. The text measure is $29.5$pc
 and the `leading' is $21$pt. The wide outer (\foredge) margin\index{margin!outer} is used 
 for sidenotes\index{sidenote}
 indicating highlights of the story. The manuscript was probably prepared 
@@ -3488,29 +3598,29 @@ room for marginal\index{marginalia} notes in the \foredge.
 \begin{minipage}[b]{\pwlayi}
 \drawaspread{\pwlayii}{1.294}{1.618}{.176}{1.037}{1.685}{0} % Latex
 \end{minipage}
-\caption[Two spreads: England, 1973 and LaTeX $10pt$ book style]%
+\caption[Two spreads: England, 1973 and LaTeX $\U{10}{pt}$ book style]%
         {Two spreads: (Left) England, 1973.
          (Right) LaTeX $10$pt book style.} \label{fb:13}
 \end{figure}
 
-    Another of the Cambridge University 
-Printer's\index{Cambridge University Press!Christmas Book} Christmas books 
-is at the left
-of \fref{fb:13}. In this case it is \btitle{Emery Walker --- Some Light
-on his Theories of Printing and on his Relations with William Morris
-and Cobden-Sanderson} by Colin Franklin and published in 1973. The
+Another of the Cambridge University Printer's\index{Cambridge
+  University Press!Christmas Book} Christmas books is at the left of
+\fref{fb:13}. In this case it is \btitle{Emery Walker --- Some Light
+  on his Theories of Printing and on his Relations with William Morris
+  and Cobden-Sanderson} by Colin Franklin and published in 1973. The
 page size is \abybm{295}{210}{mm} with a measure of $31$pc set with
-$15$pt leading.  Unusually for this series it has chapter 
-heads\index{chapter!design} which are simply the number centered above 
-the title in a large font. It also has illustrations\index{illustration}
-which are listed on an Illustrations page where the caption\index{caption}
-titles are set flushleft and page numbers flushright. The page is divided
-into two lists. The first has a heading (centered) in italics of
-\textit{`In text'} with \textit{`page'} flushright above the page numbers.
-The second has the centered heading \textit{`In pocket at end'} and there
-are no page numbers in this list as the corresponding illustrations
-are not bound into the book, instead thay are loosely inserted in a 
-pocket at the end of the book.
+$15$pt leading.  Unusually for this series it has chapter
+heads\index{chapter!design} which are simply the number centered above
+the title in a large font. It also has
+illustrations\index{illustration} which are listed on an illustrations
+page where the caption\index{caption} titles are set flushleft and
+page numbers flushright. The page is divided into two lists. The first
+has a heading (centered) in italics of \textit{`In text'} with
+\textit{`page'} flushright above the page numbers.  The second has the
+centered heading \textit{`In pocket at end'} and there are no page
+numbers in this list as the corresponding illustrations are not bound
+into the book, instead thay are loosely inserted in a pocket at the
+end of the book.
 
 
 On the right is the default layout provided by the
@@ -3760,22 +3870,25 @@ table that shows for a given alphabet
 length and line length, the average number of characters in that line.
  Table~\ref{tab:copyfitting} is an
 abridged version of Bringhurt's copyfitting table.
-For example, it suggests that a font with a length of 130pt should be
-set on a measure of about 26pc for a single column\index{column!single} 
-or in an 18pc wide column if there are multiple\index{column!multiple} 
+For example, it suggests that a font with a length of \U{130}{pt} should be
+set on a measure of about \U{26}{pc} for a single column\index{column!single} 
+or in an \U{18}{pc} wide column if there are multiple\index{column!multiple} 
 columns.
  
 
 \begin{table}
 %%%\DeleteShortVerb{\|}
 \centering
-\caption{Average characters per line} \label{tab:copyfitting}
+\caption{Average characters per line. The bold numbers mark the
+  combination that gives 60--70 chars pr line, whereas the italic
+  marks the corresponding values around 45 chars. Abridged version of
+  corresponding table in \cite{BRINGHURST99}.} \label{tab:copyfitting}
 \begin{tabular}{r|rrrrrrrr} \hline
 Pts. & \multicolumn{8}{c}{Line length in picas} \\
      & 10 & 14 & 18 & 22 & 26  & 30  & 35 & 40 \\ \hline
 80   & \textit{40} & \textbf{56} & \textbf{72} & 88 & 104 &     &    &    \\
 85   & \textit{38} & \textit{53} & \textbf{68} & 83 & 98 & 113 &    &    \\
-90   & \textit{36} & \textit{50} & \textbf{64} & 79 & 86 & 107 &    &    \\
+90   & \textit{36} & \textit{50} & \textbf{64} & 79 & 93 & 107 &    &    \\
 95   & 34 & \textit{48} & \textbf{62} & 75 & 89 & 103 &    &    \\
 100  & 33 & \textit{46} & \textbf{59} & \textbf{73} & 86 & 99 & 116 &   \\
 105  & 32 & \textit{44} & 57 & \textbf{70} & 82 & 95 & 111 &   \\
@@ -3788,7 +3901,7 @@ Pts. & \multicolumn{8}{c}{Line length in picas} \\
 140  & 24 & 34 & \textit{44} & 53 & \textbf{63} & 73 & 85 & 97 \\
 145  & 23 & 33 & \textit{42} & 51 & \textbf{61} & \textbf{70} & 82 & 94 \\
 150  & 23 & 32 & \textit{41} & \textit{51} & \textbf{60} & \textbf{69} & 81 & 92 \\
-155  & 22 & 31 & \textit{39} & \textit{49} & 58 & \textbf{67} & 79 & 90 \\
+155  & 22 & 31 & \textit{40} & \textit{49} & 58 & \textbf{67} & 79 & 90 \\
 160  & 22 & 30 & 39 & \textit{48} & 56 & \textbf{65} & 76 & 87 \\
 165  & 21 & 30 & 38 & \textit{46} & 55 & \textbf{63} & 74 & 84 \\
 170  & 21 & 29 & 37 & \textit{45} & 53 & \textbf{62} & 72 & 82 \\
@@ -3821,7 +3934,7 @@ L_{45} = 1.415\alpha + 23.03 \label{eq:L45}
 \end{equation}
 fitted aspects of the data, where $\alpha$ is the length of the alphabet
 in points, and $L_{i}$ is the suggested width in points, for a line with
-$i$ characters (remember that 1pc = 12pt).
+$i$ characters (remember that \U{1}{pc} = \U{12}{pt}).
 
    The vertical height of the typeblock should be constant from page to
 page. The lines of text on facing pages should be aligned
@@ -3835,7 +3948,7 @@ be constant. This implies that the depth of the typeblock should be an
 integral multiple of the space required for each line; that is, be specified
 as a multiple of the leading. A ten point type, for example, will normally
 have two points between lines, to give a leading of 12 points. This can be
-written as 10/12. Usefully, one pica is 12 points so with a 12pt leading
+written as 10/12. Usefully, one pica is 12 points so with a \U{12}{pt} leading
 vertical distances can be conveniently expressed in picas 
 (one pica per line). Another implication of this is that any space left 
 for illustrations\index{illustration} or tables\index{table}, or
@@ -3923,7 +4036,7 @@ like Hermann Zapf\index{Zapf, Hermann}~\autocite{ZAPF00}, you can break the rule
     The first European letter forms that have survived are Greek inscriptions
 carved into stone. These were freehand carvings with thin strokes. In time,
 the lettering became thicker and serifs started to appear. The Romans
-picked up on this later style of letter form. In carving inscriptions, they
+picked up on this later style of letterform. In carving inscriptions, they
 first wrote the inscription on the stone using a broad, flat brush. This
 naturally led to serifs and differing thicknesses of the letter strokes,
 depending on the angle of the stroke with respect to the movement and
@@ -3936,8 +4049,8 @@ for titles, subheads, continuous text, illuminated initial letters, and so
 on. In time, two families of letterforms evolved, 
 called \emph{majuscules}\index{majuscule} and \emph{minuscules}\index{minuscule}. 
 The former were larger and more formal, while the latter
-were smaller and less formal. We now call these two divisions upper case and
-lower case. The upper case derives from Roman times, while the lower case
+were smaller and less formal. We now call these two divisions uppercase and
+lowercase. The uppercase derives from Roman times, while the lowercase
 acquired its fundamental form during the reign of the Holy Roman Emperor
 Charlemagne\index{Charlemagne} a thousand years later. In order to 
 promote communication
@@ -3951,7 +4064,7 @@ commonly referred to as Gothic or Old English) type and the roman type.
     These types were all upright. Italic\index{italic} letterforms were 
 cut in Italy
 in the early sixteenth century, as a more cursive style. Initially these were
-lower case only, used in conjunction with upper case roman. By the end of
+lowercase only, used in conjunction with uppercase roman. By the end of
 the century, sloped roman capitals were also in use with italic.
 
 \index{serif versus sans-serif type|(}
@@ -3978,10 +4091,10 @@ that with enough practice, Sans-serif is just as easy to read.}
 than a
 Sans-serif font, particularly if part of the text is obscured. You can
 try an experiment yourself to verify this. Try writing a phrase, once
-using a Sans-serif font and then with a serifed font. Cover up
+using a Sans-serif font and then with a seriffed font. Cover up
 the top halves of the two phrases and try to make out what they say. Then
 repeat this, except this time cover up the bottom halves of the phrase.
-Which is easier to read? Here are some example characters, firstly in san-serif:
+Which is easier to read? Here are some example characters, firstly in sans-serif:
 \begin{center}
 {\Huge\sffamily a c l m n p q o}
 \end{center}
@@ -4019,7 +4132,7 @@ associated with sans-serif that must be borne in mind; for general
 \emph{continuous} reading, a good seriffed form is more likely to be
 easy on the eye than a good sans form.
 
-\item \emph{Well designed upper and lower case roman type is easier to read than
+\item \emph{Well designed upper- and lowercase roman type is easier to read than
 any of its variants.}
 
     This is a guiding principle with many exceptions. Among the variants
@@ -4089,18 +4202,18 @@ in a variety of uses. Among the many results he reported:
   \item More than five times as many readers are likely to show good
   comprehension when a serif body type is used instead of a sans serif
   body type.
-  \item The top half of [upper case] letters is more recognizable than
+  \item The top half of [uppercase] letters is more recognizable than
   the bottom half.
   \item There is little difference in legibility between headlines
   [section titles] set in serif and sans serif typefaces, or between
   roman and italic.
   \item Headlines set in capital letters are significantly less legible
-  than those set in lower case.
+  than those set in lowercase.
 \end{itemize}
 
 \end{itemize}
 
-    The consensus, such as it is, seems to lean towards serifed
+    The consensus, such as it is, seems to lean towards seriffed
 typefaces for continuous reading, but for titling the choice is
 wide open.
 
@@ -4109,7 +4222,7 @@ wide open.
     Daniel Luecking\index{Luecking, Daniel} had this to say on the subject
 in a posting to \pixctt\ in January 2002.
 \begin{quotation}
-    It is often conjectured that serifed fonts are easier to read because
+    It is often conjectured that seriffed fonts are easier to read because
 the serifs contribute more points of difference between words. This is
 often countered with the conjecture that they are easier to read because 
 that is what we are used to reading. But no one can doubt that words
@@ -4140,7 +4253,7 @@ to look at the real menu and was momentarily disoriented (while my brain
 turned itself around I guess) before I could read the actual menu. That
 was when I first ran some tests to see why that was so easy to read and
 other mirror writing was not. It seemed to be serif vs sans-serif, but
-it might also be the typical letter forms: the typical serif lower case
+it might also be the typical letter forms: the typical serif lowercase
 `a', the one with the 'flag' above the bowl [e.g., a], is particularly 
 difficult to recognize compared to the simple `circle plus stick' 
 [e.g., \textit{a}] form.
@@ -4278,7 +4391,7 @@ first two paragraphs. They are both of the same letter and font, yet the first
 one is horrible compared to the one starting this paragraph.
 
 
-\noindent {\huge A}\textsc{raised versal} is often easier to use to 
+\noindent {\huge A} \textsc{raised versal} is often easier to use to 
 start a paragraph than a dropped versal. 
 However, a raised versal should only be used
 where there is naturally some vertical space above it. As you can see, extra
@@ -4295,8 +4408,8 @@ it from the remainder of the paragraph. \index{versal|)}
 \noindent \textsc{Another way of starting} a paragraph is to use small
 caps for the first few words. The font difference highlights the start
 of the paragraph but in a much quieter manner than a versal does. Using
-normal sized upper-case instead of the small caps is too much of a 
-contrast with the lower-case.
+normal sized uppercase instead of the small caps is too much of a 
+contrast with the lowercase.
 
 \index{paragraph|)}
 
@@ -4436,7 +4549,7 @@ should be larger than normal for a similar printed book. This will provide
 a wider viewing range. A larger font will also tend to
 increase the sharpness of the print as more pixels will be available for
 displaying each character.
-    The font size should not be less than 12pt. The font may have to be
+    The font size should not be less than \U{12}{pt}. The font may have to be
 more robust than you would normally use for printing, as fine hairlines 
 or small serifs will not display well unless on a high resolution screen.
 
@@ -4635,7 +4748,7 @@ type area, and will normally be narrower\ldots
 \begin{showtitle}
 \titleZD
 \end{showtitle}
-\caption{Title page based on a design for the Folio Society's editiobn of
+\caption{Title page based on a design for the Folio Society's edition of
   \btitle{Zuleika Dobson} (first published in 1911)} \label{fig:titleZD}
 \end{figure}
 
@@ -4782,7 +4895,7 @@ landscape\index{landscape}\indextwo{orientation}{landscape}
 orientation rather than portrait.
 
     When a double spread consists of a portrait page and a landscape page, as 
-in~\fref{fig:portrait-landscape} and~\ref{fig:landscape-portrait}, there are
+in~figures~\ref{fig:portrait-landscape} and~\ref{fig:landscape-portrait}, there are
 two choices for which way the landscape page is turned with respect to the
 portrait page. In each case it seems more natural to me when the document 
 has to be turned to the right to view the landscape page. 
@@ -4881,6 +4994,9 @@ three points, should be inserted and below the extract.
 \renewcommand*{\thefootnote}{\fnsymbol{footnote}}
 \let\oldfootnoterule\footnoterule
 \renewcommand*{\footnoterule}{}
+% the rule is reactivated in chapter 5
+
+
     This section is a synthesis of the views of Ruari McLean~\autocite{MCLEAN80},
 Jan Tschichold~\autocite{TSCHICHOLD91} and 
 Emerson Wulling~\autocite{WULLING-FOOTNOTES}.
@@ -4939,7 +5055,7 @@ footnotes\index{footnote!font size}
 is usually two sizes smaller than the main font but with the same 
 leading\index{leading}. For example if the main text is set 10/12 then 
 footnotes would be set 8/10. Notes to tables, though, are often set even 
-smaller; for instance at 6pt or 7pt in a 10pt document. 
+smaller; for instance at \U{6}{pt} or \U{7}{pt} in a \U{10}{pt} document. 
 Each footnote should be introduced by the 
 appropriate reference mark in the same font size as the note itself. If it is 
 not raised then follow it by a period if it is a number, or by a space 
@@ -4949,7 +5065,7 @@ short page, such as perhaps the last page of a chapter, they are placed
 at the bottom of the page, not immediately below the last line of the main 
 text.
 
-   Endnotes may be set in the same font font as the main text, but usually in
+   Endnotes may be set in the same font as the main text, but usually in
 the same size\index{endnote!font size} as for footnotes.\footnote{That is, two
 sizes smaller than the main text, but with the same leading.} 
 
@@ -5051,7 +5167,7 @@ that the eye does not jump across it when reading an entry. The entries are
 normally set flush-and-hang\index{flush-and-hang}.
 
     When there are subentries, or sub-subentries, they are typically
-each indented by 1em with respect to the major entry.
+each indented by \U{1}{em} with respect to the major entry.
 
    A change of collation, such as between entries starting with `P' and those
 with `Q' should be signalled by at least one or two blank lines. If the index
@@ -5326,7 +5442,7 @@ and Caslon}\label{fig:poems2}
 available in the print shop were Bodoni\facesubseeidx{Bodoni}, 
 Caslon\facesubseeidx{Caslon}, Della Robbia\facesubseeidx{Della Robbia} and 
 Garamond\facesubseeidx{Garamond}, 
-all in 14pt. The poems
+all in \U{14}{pt}. The poems
 were originally written within the period 701--2008 and my problem was to
 try and choose what I thought would be the most appropriate font for each
 poem. Caslon\facesubseeidx{Caslon} was created in 1720 so I decided that 
@@ -5342,7 +5458,7 @@ to try and convey some of the emotional aspect of the piece.
 Figures~\ref{fig:poems1} through~\ref{fig:poems4} show verses from four
 of the collection of poems set with the four fonts I had available. 
 Decide what you would have chosen as being most appropriate. As a 
-sidenote they are set here using 12pt instead of the 10pt body text size.
+sidenote they are set here using \U{12}{pt} instead of the \U{10}{pt} body text size.
 Poetry\index{poetry} can, with advantage, be set with larger type and 
 leading than prose,
 and in italic instead of roman.
@@ -5500,21 +5616,22 @@ American typographer and type designer, is said to have been fond of saying,
 `A man who would letterspace lower case letters would steal sheep!' Writing
 in 1999 Robert\index{Bringhurst, Robert} Bringhurst~\autocite[p. 31]{BRINGHURST99}
 felt that to bring this dictum to modern times it was simply necessary to 
-add that `A woman who would letterspace lower case would also steal sheep.'
-
-    Letterspacing is usually restricted to titles composed of upper case
-letters with the intent of making the spaces between the letters visually
-equal. Figure~\ref{fig:spacecaps} shows the word `HISTORY' with various 
-amounts of interletter spacings. With no extra spacing it looks cramped 
-compared with the spaced versions. Versions with uniform spacing of thin
-(0.167em) and hair (0.1em) spaces are much improved. However, the spacing
-of the letters `H', `I' and `S' leave something to be desired, and is
-especially noticeable in the version with thin spaces. Lastly a version
-with varied interletter spacing is shown which is optically balanced; the 
-spaces in this case are 0.09em, 0.12em,0.1em, 0.1em, 0.07em and 0.1em. The 
-difference between this and the uniformly hair-spaced version is subtle. 
-Different letter combinations and different fonts will require different 
-amounts of spaces.
+add that `A woman who would letterspace lowercase would also steal sheep.'
+
+Letterspacing is usually restricted to titles composed of uppercase
+letters with the intent of making the spaces between the letters
+visually equal. Figure~\ref{fig:spacecaps} shows the word `HISTORY'
+with various amounts of interletter spacings. With no extra spacing it
+looks cramped compared with the spaced versions. Versions with uniform
+spacing of thin (\U{0.167}{em}) and hair (\U{0.1}{em}) spaces are much
+improved. However, the spacing of the letters `H', `I' and `S' leave
+something to be desired, and is especially noticeable in the version
+with thin spaces. Lastly a version with varied interletter spacing is
+shown which is optically balanced; the spaces in this case are \U{0.09}{em},
+\U{0.12}{em}, \U{0.1}{em}, \U{0.1}{em}, \U{0.07}{em} and \U{0.1}{em}. The difference between this
+and the uniformly hair-spaced version is subtle.  Different letter
+combinations and different fonts will require different amounts of
+spaces.
 
     Figure~\ref{fig:spacesmallcaps} shows similar results for the same word
 set in small caps instead of regular caps. In general you might find that 
@@ -5546,7 +5663,7 @@ h\kern0.09em i\kern0.12em s\kern0.1em t\kern0.1em o\kern0.07em r\kern0.1em y & v
 \end{figure}
 
     There can be occasions, as with emphasis with fraktur fonts, when 
-letterspacing lower case will not get you hung for sheep stealing. These,
+letterspacing lowercase will not get you hung for sheep stealing. These,
 typically, are when dealing with some sans fonts such as a bold condensed
 Univers. But be very careful. Italics should never be letterspaced as they
 come from the handwriting tradition of `joined up letters', as my 
@@ -5624,14 +5741,14 @@ stop, making four dots in all, like so\ldots.
 
    Dashes are also used to indicate missing characters or a word. Missing
 characters in the middle of a word are indicated by a 
-2em-dash\index{dash!2em}\index{2em-dash} (a dash that
+\U{2}{em}-dash\index{dash!2em@\U{2}{em}}\index{2em-dash@\U{2}{em}-dash} (a dash that
 is twice as long as an em-dash), as in:
 \begin{quote}
 \textbf{snafu,} \textit{(U.S. slang)} \textit{n.} chaos. --- \textit{adj.}
   chaotic. [\textit{s}ituation \textit{n}ormal --- \textit{a}ll
   \textit{f}------d \textit{u}p.]
 \end{quote}
-A 3em-dash\index{dash!3em}\index{3em-dash} is used to indicate a 
+A \U{3}{em}-dash\index{dash!1em@\U{3}{em}}\index{3em-dash@\U{3}{em}-dash} is used to indicate a 
 missing word. When I lived in Maryland my
 local small town newspaper was the \textit{Frederick Post.} 
 The following is from an 
@@ -5794,7 +5911,9 @@ particularly noticeable but sometimes it may be.
 which is typeset using a bold font. The definitions thus commence like \\
 \hspace*{2em} \textbf{memoir,} \textit{n.} \ldots \\
 instead of \\
-\hspace*{2em} \textbf{memoir}, \textit{n}. \ldots 
+\hspace*{2em} \textbf{memoir}, \textit{n}. \ldots\footnote{Historical
+  note: these notes started out as a part of the manual for the memoir
+class, see \cite{MEMMAN}.} 
 
 \index{font!change|)}
 
@@ -6009,9 +6128,9 @@ indicates a position in a sequence,
 while a cardinal\indextwo{cardinal}{number} number, like 3, 
 expresses `how many'. \ltx\ typesets
 numbers as cardinals, and these can be displayed as a sequence of
-arabic digits or as upper- or lower-case Roman numerals. 
+arabic digits or as upper- or lowercase Roman numerals. 
 
-    It general text the tradition seems to be that cardinal numbers between
+    In general text the tradition seems to be that cardinal numbers between
 one and ten are spelled out rather than being presented as numerals.
 In the United States numbers between one and ninety-nine are spelled (with
 twenty-one, twenty-two, etc., being hyphenated). Similar customs
@@ -6083,11 +6202,11 @@ work~\autocite{TEXFONTSITE}. This enables me to show a few of the typefaces
 displayed in some of the books mentioned in the bibliography, in particular
 those by Birdsall~\autocite{BIRDSALL04}, Bringhurst~\autocite{BRINGHURST99} and
 and Lawson~\autocite{LAWSON90}. To make it easier
-to see and compare them at first there are a few characters displayed at 18pt
-and then text set at 12pt.
+to see and compare them at first there are a few characters displayed at \U{18}{pt}
+and then text set at \U{12}{pt}.
  I have tried to indicate the typeface category
 of each face, principally using those from \tref{tab:typecat}.
-\pagenote[text set at 12pt]{The Latin texts, when
+\pagenote[text set at \U{12}{pt}]{The Latin texts, when
 suitably laid out, and their translations are as follows.
 \vspace{\onelineskip}
 
@@ -6170,7 +6289,8 @@ Continent than in England where it was made.
 
 {\pickfont{5lb} The original Bell type was cut in London in 1788 by Richard
 Austin\index{Austin, Richard} for a publisher named Bell. It is a 
-(Transitional\typesubidx{Transitional}, Neoclassical\typesubidx{Neoclassical}) 
+Transitional\typesubidx{Transitional}
+(Rationalist\typesubidx{Rationalist}) 
 face. The FontSite version shown here is called 
 LanstonBell\facesubseeidx{LanstonBell}. 
 (See~\autocite{BIRDSALL04,BRINGHURST99,LAWSON90})
@@ -6202,7 +6322,7 @@ Bergamo\facesubseeidx{Bergamo}.
 {\pickfont{5bdj} Giambattista Bodoni\index{Bodoni, Giambattista} 
 lived in Parma and designed hundreds of faces between 1765 and his death 
 in 1813. Types in his style, now categorized as (Modern\typesubidx{Modern},
-Romantic \typesubidx{Romantic}, Didone\typesubidx{Didone}), were 
+Romantic\typesubidx{Romantic}, Didone\typesubidx{Didone}), were 
 revived in the first part of the twentieth century. 
 (See~\autocite{BRINGHURST99,LAWSON90})
 
@@ -6214,15 +6334,15 @@ revived in the first part of the twentieth century.
 
 {\Pickfont{5uo} \atoq\ \onetoo} {\Pickit{5uo} \atoq\ \Qligs}\\%[\onelineskip]
 
-{\pickfont{5uo} Frederic Goudy\index{Goudy, Frederic} 
-cut his University of California Old 
-Style\facesubseeidx{University of California Old Style}
-in 1938. Since then there have been many faces more or less faithfully
-based on his design. The general category of these is 
-(Venetian\typesubidx{Venetian}, Humanist\typesubidx{Humanist},
-Renaissance\typesubidx{Renaissance}). The FontSite version shown here
-is called University Old Style\facesubseeidx{University Old Style}.
-(See~\autocite{BRINGHURST99,LAWSON90})
+{\pickfont{5uo} Frederic Goudy\index{Goudy, Frederic} cut his
+  University of California Old Style\facesubseeidx{University of
+    California Old Style} in 1938. Since then there have been many
+  faces more or less faithfully based on his design. The general
+  category of these is (Venetian\typesubidx{Venetian},
+  Renaissance\typesubidx{Renaissance},
+  Humanist\typesubidx{Humanist}). The FontSite version shown here is
+  called University Old Style\facesubseeidx{University Old Style}.
+  (See~\autocite{BRINGHURST99,LAWSON90})
 
 \facetext}
 
@@ -6248,15 +6368,15 @@ Baroque\typesubidx{Baroque}, Garald\typesubidx{Garald}) category.
 
 {\Pickfont{5jr} \atoq\ \onetoo} {\Pickit{5jr} \atoq\ \Qligs}\\%[\onelineskip]
 
-{\pickfont{5jr} Centaur was designed by Bruce Rogers\index{Rogers, Bruce} 
-in 1912--14 based
-on Nicolas Jenson's\index{Jenson, Nicolas} roman type that he cut in 
-Venice in 1465. It is
-perhaps the most faithfull rendition of Jenson's typeface, and is thus
-categorized as (Venetian\typesubidx{Venetian}, Humanist\typesubidx{Humanist},
-Renaissance\typesubidx{Renaissance}). The FontSite version shown here
-is called Jenson Recut\facesubseeidx{Jenson Recut}.
-(See~\autocite{BRINGHURST99,LAWSON90,ROGERS49}) 
+{\pickfont{5jr} Centaur was designed by Bruce Rogers\index{Rogers,
+    Bruce} in 1912--14 based on Nicolas Jenson's\index{Jenson,
+    Nicolas} roman type that he cut in Venice in 1465. It is perhaps
+  the most faithfull rendition of Jenson's typeface, and is thus
+  categorized as (Venetian\typesubidx{Venetian},
+  Renaissance\typesubidx{Renaissance},
+  Humanist\typesubidx{Humanist}). The FontSite version shown here is
+  called Jenson Recut\facesubseeidx{Jenson Recut}.
+  (See~\autocite{BRINGHURST99,LAWSON90,ROGERS49})
 
 \facetext}
 
@@ -6312,7 +6432,7 @@ Renaissance\typesubidx{Renaissance}, Humanist\typesubidx{Humanist}) face.
 
 {\pickfont{5gmj} Claude Garamond\index{Garamond, Claude} 
 (or Garamont) was one of several great
-typecutters working Paris in the early sixteenth century. His style was
+type cutters working Paris in the early sixteenth century. His style was
 revived in the 1920's. Modern Garamonds are categorized as 
 (Aldine/French\typesubidx{Aldine/French},  
 Renaissance\typesubidx{Renaissance} or Baroque\typesubidx{Baroque},
@@ -6425,8 +6545,8 @@ Sans-serif\typesubidx{Sans-serif}) face.
 
 {\pickfont{5fu} Futura was designed by Paul Renner\index{Renner, Paul} 
 in 1924--26. It has been categorized as (Sans-serif\typesubidx{Sans-serif},
-Geometric Lineal\typesubidx{Geometric Lineal}, 
-Geometric Modernist\typesubidx{Geometric Modernist}).
+Geometric Modernist\typesubidx{Geometric Modernist}, Geometric
+Lineal\typesubidx{Geometric Lineal}). 
 The FontSite version shown here is called Function\facesubseeidx{Function}.
 (See~\autocite{BIRDSALL04,BRINGHURST99,LAWSON90})  % (Function)
 
@@ -6442,7 +6562,7 @@ The FontSite version shown here is called Function\facesubseeidx{Function}.
 It can be classified as (Sans-serif\typesubidx{Sans-serif}, 
 Geometric Modernist\typesubidx{Geometric Modernist} with 
 Humanist\typesubidx{Humanist} hints, 
-Humanist Lineal\typesubidx{Humanist Lineal}). 
+Lineal Humanist\typesubidx{Lineal Humanist}). 
 The FontSite version shown here is called Chantilly\facesubseeidx{Chantilly}.
 (See~\autocite{BIRDSALL04,BRINGHURST99,LAWSON90})  
 
@@ -6640,8 +6760,8 @@ the indexed topic.\vskip\onelineskip}
 \begin{center}
 This manual was typeset using the LaTeX typesetting system
 created by Leslie Lamport and the memoir class. 
-The body text is set 10/12pt on a
-33pc measure with Palatino designed by Hermann Zapf, which includes 
+The body text is set 10/\U{12}{pt} on a
+\U{33}{pc} measure with Palatino designed by Hermann Zapf, which includes 
 italics and small caps. Other fonts include
 Sans, Slanted and Typewriter from Donald Knuth's 
 Computer Modern family.