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author | Karl Berry <karl@freefriends.org> | 2009-09-14 00:46:20 +0000 |
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committer | Karl Berry <karl@freefriends.org> | 2009-09-14 00:46:20 +0000 |
commit | 912ba7898315ab887463006c081d888c528f4c2b (patch) | |
tree | 4ac388ea0339657367b3c75be65f518016ac7850 /Master/texmf-dist/doc/latex/memoir/memman.tex | |
parent | 1c467aabf1a2f6e96c1cb2ef4d54e30696dbe10d (diff) |
memoir 1.61803398 (13sep09)
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diff --git a/Master/texmf-dist/doc/latex/memoir/memman.tex b/Master/texmf-dist/doc/latex/memoir/memman.tex index 60d886fe543..ce7c9c35b9b 100644 --- a/Master/texmf-dist/doc/latex/memoir/memman.tex +++ b/Master/texmf-dist/doc/latex/memoir/memman.tex @@ -1,7 +1,6 @@ -% memman.tex edition 7, Draft of impression 9, last updated 2009/07/09 -% Memoir class user manual -% Author: Peter Wilson -% Copyright 2001, 2002, 2003, 2004, 2008, 2009 Peter R. wilson +% memman.tex Memoir class user manual (Part II only) last updated 2009/09/07 +% Author: Peter Wilson +% Copyright 2001, 2002, 2003, 2004, 2008, 2009 Peter R. wilson %\listfiles \documentclass[10pt,letterpaper,extrafontsizes]{memoir} \listfiles @@ -10,6 +9,7 @@ % For (non-printing) notes \PWnote{date}{text} \newcommand{\PWnote}[2]{} \PWnote{2009/04/29}{Added fonttable to the used packages} +\PWnote{2009/08/19}{Made Part I a separate doc (memdesign.tex).} % same \newcommand{\LMnote}[2]{} @@ -21,6 +21,10 @@ \usepackage{memlays} % extra layout diagrams \usepackage{dpfloat} % floats on facing pages \usepackage{fonttable}[2009/04/01] % font tables +%%%%\usepackage{xr-hyper} \externaldocument{memdesign} Doesn't work, +%%%% Idea won't work in general for memman/memdesin +%%%% as at display time, who knows where everything +%%%% will be located on the individual's computer. %%%%%%%%%%%%%%%%%%%%%%%%%%%% %%%% Change section heading styles @@ -125,7 +129,7 @@ ANSI Z39.48--1984. \PWnote{2009/07/08}{Changed manual date to 8 July 2009} \begin{center} -10 09 08 07 06 05 04 03 02 01\hspace{2em}18 17 16 15 14 13 12 +10 09 08 07 06 05 04 03 02 01\hspace{2em}19 18 17 16 15 14 13 \end{center} \begin{center} \begin{tabular}{ll} @@ -142,6 +146,7 @@ Sixth edition: & 31 January 2004 \\ Seventh edition: & 10 May 2008 \\ Eighth impression, with very minor corrections: & 12 July 2008 \\ Ninth impression, with additions and corrections: & 8 July 2009 \\ +Eighth edition: & August 2009 \\ \end{tabular} \end{center} @@ -654,7 +659,7 @@ TeX system and the subsequent development of LaTeX by Leslie Lamport. \end{comment} %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - +\begin{comment} \chapter{Introduction to the seventh edition} The \Lclass{memoir} class and this manual have seen many changes since @@ -701,21 +706,6 @@ a \ltx\ manuscript, how to run \ltx\ and print the resulting document, and that you can also use auxiliary programs like \Lmakeindex\ and \Lbibtex. -\begin{comment} -listed in \the \bibname. Lamport~\cite{LAMPORT94} -is of course the original user manual for LaTeX, while the Companion -series, for example~\cite{COMPANION}, go into further details and auxiliary -programs. The Comprehensive TeX Archive Network (CTAN) is a valuable source -of free information and the LaTeX system itself. For general questions see -the FAQ~\cite{FAQ} which also has pointers to information sources. Among -these are \btitle{The Not So Short Introduction to LaTeX2e}~\cite{LSHORT}, -Keith Reckdahl's \btitle{Using imported graphics in LaTeX2e}~\cite{EPSLATEX} -and Piet van Oostrum's \btitle{Page layout in LaTeX}~\cite{FANCYHDR}. -The question of how to use different fonts with LaTeX is left strictly alone; -Alan Hoenig's book~\cite{HOENIG98} is the best guide to this that I know of -although Philipp Lehman's \btitle{The Font Installation Guide}~\cite{FONTINST} -has much information. -\end{comment} \section{General considerations} @@ -739,14 +729,6 @@ general, something that I haven't come across in the usual \ltx\ books and manuals. This is intended to provide a little background for when you design your own printed documents. -\begin{comment} - \Mname\ provides slightly enhanced facilities for creating title pages but -in my view it is better to create your own layout for a title page. To aid -in this I have created some 25 examples of title pages that can be used -as a starting point for your design~\cite{TITLEPAGES}. These were produced -using regular \ltx\ facilities and are not dependent on \Mname. -\end{comment} - The second, and by far the longer part, describes the capabilities of \Mname\ and how to use them. This manual is not a \ltx\ tutorial; I assume that you already know the basics. If you don't then there are several @@ -1081,62 +1063,503 @@ packages, although the commands are different: You can use these packages if you wish, or just use the capabilities of the \Mname\ class. -\begin{comment} - Sometimes a class or package may define a command that is also, -differently, defined by a succeeding package. As an example, assume that -you want to use the \Mname\ class together with the \Lpack{pack} package but -they have both defined \cs{amacro}. There are several ways of dealing with -this. +\section{Resources} \label{sec:resources} + -\begin{enumerate} -\item Discard the class's definition: -\begin{verbatim}[\vopt] - \documentclass[...]{memoir} - % kill the class definition - \let\amacro\undefined% or \relax - \usepackage{pack} -\end{verbatim} -and \Lpack{pack}'s version of \cs{amacro} is used from now on. -\item Discard the package's definition: -\begin{verbatim}[\vopt] - \documentclass[...]{memoir} - % save the class definition - \let\memamacro\amacro% - \let\amacro\undefined - \usepackage{pack} - % restore the class definition - \let\amacro\memamacro -\end{verbatim} -and \Mname's version of \cs{amacro} is used from now on. -\item Keep both definitions: -\begin{verbatim}[\vopt] - \documentclass[...]{memoir} - \let\memamacro\amacro - \let\amacro\undefined - \usepackage{pack} -\end{verbatim} -and after this use \cs{memamacro} when you need \Mname's version -and \cs{amacro} when you want to use \Lpack{pack}'s definition. But -this solution doesn't always work as you might not know when the particular -versions must be used, or it is impossible to partition the uses. -\end{enumerate} + Scattered throughout +%, but mainly in Part~\ref{part:art}, +are comments about aspects of book design and typography, in some cases +accompanied by examples of better and poorer practice. If you want more +authorative remarks there are several books on the subject listed in +the \bibname; I prefer +Bringhurst's \textit{The Elements of Typographic Style}~\cite{BRINGHURST99}. -A last resort is to ask the authors that one or the other macro names be -changed; however, for good reasons, neither may be willing to do this. + \ltx\ is based on the \tx\ program which was designed principally +for typesetting documents containing a +lot of mathematics. In such works the mathematics breaks up the flow +of the text on the page, and the vertical space required for displayed +mathematics is highly dependent on the mathematical particularities. +Most non-technical books are typeset on a fixed +grid as they do not have arbitrary insertions into the text; it is these +kinds of publications that typographers are most comfortable talking about. + + There are other sources that deal with \ltx\ in +general, some of which are listed in the \bibname. Lamport~\cite{LAMPORT94} +is of course the original user manual for \ltx, while the Companion +series~\cite{COMPANION,GCOMPANION,WCOMPANION} go into further +details and auxiliary +programs. George Gr\"{a}tzer's \textit{Math into \ltx} is valuable if you +typeset a lot of mathematics with excellent coverage of the American +Mathematical Society's packages. + + The \cTeXan{} (\pixctan) is an invaluable source +of free information and of the \ltx\ system itself. For general questions see +the FAQ (Frequently Asked Questions, and answers) maintained by +Robin Fairbairns~\cite{FAQ}, which also has pointers to many information +sources. Among +these are \textit{The Not So Short Introduction to \ltxe}~\cite{LSHORT}, +Keith Reckdahl's \textit{Using imported graphics in \ltxe}~\cite{EPSLATEX} +and Piet van Oostrum's \textit{Page layout in \ltx}~\cite{FANCYHDR}. +Peter Flynn's \textit{Formatting information}~\cite{FLYNN02} is unique +in that it describes how to install a \ltx\ system and editors for +writing your documents as well as how to use \ltx. There are a myriad +of packages and software tools freely available to enhance any \ltx\ system; +the great majority of these are listed in Graham Williams' magnificent +on line searchable catalogue~\cite{CATALOGUE}, which also links directly +to \pixctan. This is just one of the services offered by the \TeXUG{} (\pixtug) +and information on how to access it is available +at \url{http://www.tug.org} +which is the homepage for the \TeXUG. + + The most recent crops of messages on the \url{comp.text.tex} +newsgroup (\pixctt) show an increasing interest in using a wider range +of fonts with \ltx. This is a question that I have left alone. +Alan Hoenig's book~\cite{HOENIG98} is the best guide to this that I know of. +\pixctan\ hosts Philipp Lehman's font installation guide~\cite{FONTINST}; +this is well worth looking at just as an example of fine typesetting. + + The source code for the \Lclass{memoir} class is, of course, +freely available from \pixctan\ if you wish to see exactly what it does +and how it does it. + + For a more interactive resource you can ask questions on the +\url{comp.text.tex} newsgroup. If you are a newcomer to \pixctt\ +please read the FAQ~\cite{FAQ} before asking a question, and also read +a few day's worth of messages to check that your question hasn't just +been answered. \end{comment} + +\chapter{Introduction to the eighth edition} + + The \Lclass{memoir} class and this manual have seen many changes since +they first saw the light of day. The major functions, and extensions to +them, were listed in the various +introductions to the previous editions of this manual and it would now be +tedious to read them. + + The \Mname\ class was first released in 2001 and since then +has proven to be reasonably popular. The class can be used as a replacement +for the \Lclass{book} and \Lclass{report} classes, by default generating +documents virtually indistinguisable from ones produced by those classes. +The class includes some options to produce documents with other appearances; +for example an \Lclass{article} class look or one that looks as though +the document was +produced on a typewriter with a single font, double spacing, no hyphenation, +and so on. In the following I use the term `standard class'\index{standard class} to denote +the \Lclass{book} and \Lclass{report} classes and, when appropriate, the +\Lclass{article} class as well. + + The \Mname\ class includes the functionality of many packages, for +instance the \Lpack{tocloft} package for controlling the table of contents or +methods similar to the \Lpack{fancyhdr} package for designing your own +headers. The built-in package functions are mainly related to document +design and layout; \Mname\ does not touch upon areas like those that are +covered by the \Lpack{babel} or \Lpack{hyperref} packages or any related to +typesetting mathematics. On the other hand it is easy to configure a work +produced with \Mname\ +to meet a university's thesis layout requirements. + + \Mname\ has improved substantially since it was first released --- +over 50 \ltx ers have provided code or suggestions for improvements. +The class is included in the \TeXUG\ \tx\ distributions and the latest +version of the class and its supporting documentation is always +available from % +\ctan\ at \url{latex/contrib/memoir}. + + This is not a guide to the general use of \ltx\ but rather concentrates +on where the \index{class}\Lclass{memoir} class differs from the standard \ltx\ +\Lclass{book} and \Lclass{report} classes. There are other sources that deal +with \ltx\ in general, some of which are noted later. +I assume that you have already used \ltx\ and therefore know how to prepare +a \ltx\ manuscript, how to run \ltx\ and print the resulting document, +and that you can also use auxiliary programs like \Lmakeindex\ +and \Lbibtex. + + +\section{General considerations} + + The class is a large one consisting of about 10,000 lines of \ltx\ code +documented in a 400 page report; there is no need for most users to look at +this~\cite{MEMCODE}. However if you want to see exactly how some part, +or all of, \Mname\ is defined it is there for you to peruse. +The document you are now reading is the separate comprehensive +User Manual~\cite{MEMMAN} which runs to about 500 pages, and from time to +time an Addendum~\cite{MEMADD} is released noting extensions to the class. +Again, if you want to see how something was done in this Manual, which +of course was prepared using \Mname\ itself, the source +is available for you to read. +There is also the \Lpack{memexsupp} package by Lars Madsen~\cite{MEMEXSUPP} +which provides some extra facilities for the class. + + The previous editions of the Manual consisted of two parts. The first +discussing some aspects of book design and typography in +general, something that I hadn't come across in the usual \ltx\ books +and manuals. That was intended to provide a little background for when +you design your own printed documents. The second, and by far the longest +part, described the capabilities of \Mname\ and how to use them. + + The Manual kept growing until it was approaching 700 pages and I decided +that it was better to put the original discussion on typography into a +separate document~\cite{MEMDESIGN}, which is independent of \Mname, and in this +edition concentrate on how to use \Mname. This has reduced the size of +this document, but it is still large. + +This manual is not a \ltx\ tutorial; I assume +that you already know the basics. If you don't then there are several +free tutorials available. In some instances I show you the internal code +for the class which may involve \ltx\ commands that you won't come +across in the tutorials and also sometimes basic \tx\ commands. Information +on these, if you want it, is obtained from reading the \ltx\ source itself +and the \txbook, and perhaps one of the free \tx\ manuals such as +\btitle{TeX for the Impatient}~\cite{IMPATIENT} or +\btitle{TeX by Topic}~\cite{TEXBYTOPIC}. + +\section{Class options} + + The standard classes provide point options of 10, 11, or 12 points for the +main body font. \Mname\ extends this by also providing a 9 point option, and +options ranging from 14 to 60 points. +The width of the text block is automatically adjusted according to +the selected point size to try and keep within generally accepted +typographical limits for line lengths; you can override this if you wish. +The class also provides easy methods for specifying the +page layout parameters such as the margins --- both the side margins and +those at +the top and bottom of the page; the methods are similar to those of the +\Lpack{geometry} package. + + The page layout facilities also include methods, like those provided +by the \Lpack{fancyhdr} package, for defining your own +header and footer styles, and you can have as many different ones as you wish. +In fact the class provides seven styles to choose from before having to +create your own if none of the built-in styles suit you. + + Sometimes it is useful, or even required, to place trimming marks on +each page showing the desired size of the final page with respect to the sheet +of paper that is used in the printer. This is provided by the \Lopt{showtrims} +option. A variety of trim marks are provided and you can define your own +if you need some other kind. + +\section{Sectioning styles} + + Handles are provided for designing and using your own styles for chapter +titles and such. The class comes with over 20 predefined chapter styles ranging +from the default look to a style that mimics that used in the +\emph{Companion} series of \ltx\ books. There are even a couple which use +words instead of numerals for chapter numbers. +% The Manual shows +%examples of these styles and about 30 are shown in Lars +%Madsen's collection~\cite{MEMCHAPS}. + + For those who like putting quotations near chapter titles the +\Ie{epigraph} environment can be used. + + The options for changing \cs{section} and lower level titles +are more constrained, but generally speaking document design, unless for +advertisements or other eye-catching ephemera, should be constrained. +The class does provide 9 integrated sets of sectional heading styles instead +of the usual single set. + + Sometimes, but particularly in novels, a sectional division is indicated +by just leaving a blank line or two between a pair of paragraphs, or there +might be some decorative item like three or four asterisks, or a fleuron +or two. (A \emph{fleuron}\index{fleuron} is a printers ornament looking +like a leaf, such as \ding{166} or \ding{167}.) Commands +are available for typesetting such anonymous divisions. + + In the standard classes the sectioning commands have an optional argument +which can be used to put a short version of the section title into the +table of contents and the page header. \Mname\ extends this with a second +optional argument so you can specify one short version for the contents and +an even shorter one for page headers where space is at a premium. + +\section{Captions} + + \Mname\ incorporates the code from my \Lpack{ccaption} package which +lets you easily modify the appearance of figure and table captions; bilingual +captions are available if required, as are captions placed at the side of +a figure or table or continuation captions from, say, one illustration to +another. Captioning can also be applied +to `non-floating' illustrations or as legends (i.e., unnumbered captions) to +the regular floats. The captioning system +also supports subfigures and subtables along the lines of the \Lpack{subfig} +package, plus letting you define your own new kinds of floats together +with the corresponding `\listofx'. + +\section{Tables} + + Code from the \Lpack{array}, \Lpack{dcolumn}, \Lpack{delarray} and +\Lpack{tabularx} packges is integrated within the class. To improve +the appearance of rules in tabular material the \Lpack{booktabs} +package is also included. + + Multipage tabulations are often set with the \Lpack{longtable} or +\Lpack{xtab} packages, which can of course be used with the class. For +simple tabulations that may continue from one page to the next, \Mname\ +offers a `continuous tabular' environment. This doesn't have all the +flexibility provided by the packages but can often serve instead +of using them. + + More interestingly, but more limited, the class provides `automatic +tabulars'. For these you provide a list of simple entries, like a set of names, + and a number of +columns and the entries are automatically put into the appropriate column. +You choose whether the entries should be added row-by-row, like this with +the \cs{autorows} command: + +\begin{lcode} +\autorows{c}{5}{l}{one, two, three, four, + five, six, seven, eight, nine, ten, + eleven, twelve, thirteen } +\end{lcode} + +\showit{ +{\centering +\begin{tabular}{lllll} +one & two & three & four & five \\ +six & seven & eight & nine & ten \\ +eleven & twelve & thirteen \\ +\end{tabular} +\par} +} + + Or if you use the \cs{autocols} command the entries are listed +column-by-column, like this : + +\begin{lcode} +\autocols{c}{5}{l}{one, two, three, four, + five, six, seven, eight, nine, ten, + eleven, twelve, thirteen } +\end{lcode} + +\showit{ +{\centering +\begin{tabular}{lllll} +one & four & seven & ten & thirteen \\ +two & five & eight & eleven & \\ +three & six & nine & twelve & \\ +\end{tabular} +\par} +} + +\section{Verse} + + The standard classes provide a very simple \Ie{verse} environment for +typesetting poetry. This is greatly extended in \Mname. For example in the +standard classes the verse stanzas are at a fixed indentation from the +left margin whereas \Mname\ lets you control the amount of indentation so +that you can make a poem appear optically centered within the textwidth. + + Stanzas may be numbered, as can individual lines within a poem. There is +a special environment for stanzas where lines are alternately indented. Also +you can define an indentation pattern for stanzas when this is not regular +as, for example, in a limerick where the 3rd and 4th of the five lines are +indented with respect to the other three as shown below. + +\begin{lcode} +\indentpattern{00110} +\begin{verse} +\begin{patverse} +There was a young man of Quebec \\ +Who was frozen in snow to his neck. \\ +When asked: `Are you friz?' \\ +He replied: `Yes, I is, \\ +But we don't call this cold in Quebec.' +\end{patverse} +\end{verse} +\end{lcode} + +\showit{ +\begin{verse} +There was a young man of Quebec \\ +Who was frozen in snow to his neck. \\ +\hspace*{2em}When asked: `Are you friz?' \\ +\hspace*{2em}He replied: `Yes, I is, \\ +But we don't call this cold in Quebec.' +\end{verse} +} + + It is not always possible to fit +a line into the available space and you can specify the particular indentation +to be used when a `logical' verse line spills over the available textwidth, +thus forming two or more typeset `physical' lines. On other occasions +where there are two half lines the poet might want the second half line +to start where the first one finished, like this: + +\begin{lcode} +\begin{verse} +Come away with me. \\ +\vinphantom{Come away with me.} Impossible! +\end{verse} +\end{lcode} + +\showit{ +\begin{verse} +Come away with me. \\ +\leavevmode\phantom{Come away with me.} Impossible! +\end{verse} +} + + +\section{End matter} + + Normally appendices come after the main body of a book. The class provides +various methods for introducing appendices at the end, or you can place one or +more appendices at the end of selected chapters if that suits you better. + + \Mname\ also lets you have more than one index and an index can be set in +either the normal double column style or as a single column which would be more +appropriate, say, for an index of first lines in a book of poetry. The titles +of any bibliography or indexes are added to the table of contents, but you +can prevent this if you wish. + + The class provides a set of tools for making glossaries or lists of +symbols, the appearance of which can, of course, be easily altered. The +\Lmakeindex\ program is used to sort the entries. +%An example is +%shown in the current version of the Addendum. A recent addition +Also, the class provides configurable end notes which can be used as well as, +or instead of, footnotes. + + +\section{Miscellaneous} + +% As already noted, the Manual for \Mname\ runs to some 300 pages and it +%is impossible to cover everything in a short article. +%Suffice it to say that +Hooks and macros are provided for most aspects of document layout; +for instance, +footnotes can be as normal, typeset in two or three columns, or all run +into a single paragraph. There is a \cs{sidepar} macro which +is a non-floating \cs{marginpar} as well as the \cs{sidebar} macro for +typesetting sidebars in the margin, starting at the top of the text block. +You can create new verbatim-like environments, read +and write information in external files, design your own style of +\cs{maketitle}, convert numbers to words, reserve space at the bottom of a +page, and so on and so forth. + + +%% \appendix +\section{Packages} + + Most packages work with the \Mname\ class, the main exception being +the \Lpack{hyperref} package. This package modifies +many of the internals of the standard classes but does not cater for all of +the differences between \Mname\ and the standard ones. If you wish to use +\Lpack{hyperref} with \Mname\ then you must use the \Lpack{memhfixc} +package\footnote{\Lpack{memhfixc} is supplied as part of the \Mname\ +distribution.} after using \Lpack{hyperref}. For example like: +\begin{lcode} +\documentclass[...]{memoir} +... +\usepackage[...]{hyperref} +\usepackage{memhfixc} +... +\begin{document} +\end{lcode} +However, if you have a version of \Lpack{hyperref} dated 2006/11/15 or after, +\Lpack{hyperref} +will automatically call in \Lpack{memhfixc} so that you don't have to do +anything. + +The \Mname\ class includes code either equivalent to, or extensions of, the +following packages; that is, the set of commands and environments is at least +the same as those in the packages: +%\begin{itemize}%\item +\begin{lineitems} + \Lpack{abstract} +\item \Lpack{appendix} +\item \Lpack{array} +\item \Lpack{booktabs} +\item \Lpack{ccaption} +\item \Lpack{chngcntr} +\item \Lpack{chngpage} +\item \Lpack{dcolumn} +\item \Lpack{delarray} +\item \Lpack{enumerate} +\item \Lpack{epigraph} +\item \Lpack{framed} +\item \Lpack{ifmtarg} +\item \Lpack{ifpdf} +\item \Lpack{index} +\item \Lpack{makeidx} +\item \Lpack{moreverb} +\item \Lpack{needspace} +\item \Lpack{newfile} +\item \Lpack{nextpage} +\item \Lpack{parskip} +\item \Lpack{patchcmd} +\item \Lpack{setspace} +\item \Lpack{shortvrb} +\item \Lpack{showidx} +\item \Lpack{tabularx} +\item \Lpack{titleref} +\item \Lpack{titling} +\item \Lpack{tocbibind} +\item \Lpack{tocloft} +\item \Lpack{verbatim} +\item \Lpack{verse}. +\end{lineitems} +%\end{itemize} +The class automatically ignores any +\verb?\usepackage? or \verb?\RequirePackage? related to these. However, if +you want to specifically use one of these packages rather than the integrated +version then you can do so. For arguments sake, assuming you really want +to use the \Lpack{titling} the package you can do this: +\begin{lcode} +\documentclass[...]{memoir} +\DisemulatePackage{titling} +\usepackage{titling} +\end{lcode} + + The \Mname\ class incorporates a version of the \Lpack{setspace} package, +albeit using different names for the macros. The package enables documents +to be set double spaced but leaves some document elements, +like captions for example, single spaced. To do this it has to make some +assumptions about how the document class works. I felt that this kind +of capability should be part of the class and not depend on assumptions. +In the particular case of the \Lpack{setspace} package, even with the +standard classes, there can be some unexpected spacing around displayed +material; this has not occured with \Mname's implementation. + +The class also provides functions similar to those provided by the following +packages, although the commands are different: +%\begin{itemize}%\item +\begin{lineitems}%\item +\Lpack{crop} +\item \Lpack{fancyhdr} +\item \Lpack{geometry} +\item \Lpack{sidecap} +\item \Lpack{subfigure} +\item \Lpack{titlesec}. +\end{lineitems} +%\end{itemize} +You can use these packages +if you wish, or just use the capabilities of the \Mname\ class. + + The class has built in support for the \Lpack{bidi} package for +bidirectional typesetting~\cite{BIDI}. + + \section{Resources} \label{sec:resources} - Scattered throughout, but mainly in Part~\ref{part:art}, + Scattered throughout +%, but mainly in Part~\ref{part:art}, are comments about aspects of book design and typography, in some cases accompanied by examples of better and poorer practice. If you want more +comments and examples there are some notes on the topic~\cite{MEMDESIGN}, +and for authorative remarks there are several books on the subject listed in the \bibname; I prefer -Bringhurst's \textit{The Elements of Typographic Style}~\cite{BRINGHURST99}. +Bringhurst's \textit{The Elements of Typographic Style}~\cite{BRINGHURST99}, +while Derek Birdsall's \textit{notes on book design}~\cite{BIRDSALL04} +is much more oriented to illustrated works, like museum +catalogues and art books. \ltx\ is based on the \tx\ program which was designed principally @@ -1193,7 +1616,6 @@ please read the FAQ~\cite{FAQ} before asking a question, and also read a few day's worth of messages to check that your question hasn't just been answered. - \section{Type conventions} The following conventions are used: @@ -1346,6 +1768,49 @@ you are much more likely to get a satisfactory and timely response. Of course, none of this would have been possible without Donald Knuth's \tx\ system and the subsequent development of \ltx\ by Leslie Lamport. +\PWnote{2009/07/26}{Added `Remarks to the user' chapter} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\chapter{Remarks to the user} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + \Lclass{memoir} gives you many ways to change the appearance of your +document, and also provides some ready-made styles that might be +appropriate for your purposes. + + As you can see, this manual is not slim and attempts to describe in +some detail how the various aspects of \Lclass{memoir} work and gives +examples of how you can change these to better match your needs. However, +there are a myriad of different things that users might wish to do and +it is not possible either for the class to provide ready made simple, +or even complex, methods to directly support these, or for this manual +to give examples of how everything might be accomplished. + + If many want a particular facility that is not available, then it +may be possible to add that. If it is only one who wishes it then, unless +the one is the author, it is unlikely to be provided. But don't let this stop +you from asking, especially if you can provide the necessary code. + + The complete documented code for the class is available in the file +\file{memoir.dtx}. If you want to know how something is done then you +can read the code for \emph{all} the details. If you want to do something +different, then the code is there for you to look at and experiment with. +You should, though, not change any of the code in the class. If you need +to do so, then copy the code you wish to change into the document's preamble +or a package of your own or a class of your own (with a different name) +and make the changes there. Do not expect any help if you change the +\Lclass{memoir} class code directly. + + + As the years go by support for \Lclass{memoir} will devolve from one +person to another.\footnote{This is currently (July 2009) happening as +Lars Madsen is taking over from Peter Wilson.} +Therefore it is probably +safer to ask questions, complain, make suggestions, etc., on the +\url{comp.text.tex} newsgroup, which is archived and read by many, +than correspond +directly with the supporter, who might well be away for some considerable +time and perhaps not notice your email after having returned to base. + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% @@ -1538,5959 +2003,9 @@ an em, often a quad is 1em. % body \mainmatter -\part{Art and Theory} \label{part:art} - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - - -\PWnote{2009/02/02}{Added Historical background chapter} -\chapter{Historical background} \label{chap:history} - -\section{Galloping through the millenia} - - The earliest known writing dates back to the Sumerians around 3300\textsc{bc} -who used pointed sticks or reeds to impress marks into wet clay tablets -that were subsequently dried. The result is what we call -Cuneiform\index{cuneiform}.\footnote{From the Latin \emph{cuneus} meaning wedge.} -For the next several thousand years all texts were produced, one way or -another, individually by hand. - - The earliest printed book known is a 9th century Chinese woodblock -printing of the \emph{Diamond Sutra}. In this technique the complete text -for a page is carved on a wooden block which is then used to impress -the ink onto the paper. Once the woodblocks were available many copies -of the text could be produced very quickly. - - The Koreans were perhaps the first to print using moveable -type\index{type} where -the individual characters were engraved on wood blocks so they could be -reused for different texts. In his \emph{Writings Beside the Meng Creek} -the Song Dynasty essayist Shen Kuo\index{Shen Kuo} (1031--1095) -described how Bi Sheng\index{Bi Sheng} during the reign of -Chingli (1041--1048) printed -from moveable type that he made from baked clay, which was rather fragile. -Somewhat later Wang Zhen\index{Wang Zhen} (c. 1290--1333) improved the -process by using -wooden type. These never became particularly popular methods because -of the thousands of different characters that a printing house might need. -By 1230 the Koreans used moveable metal type for printing. None of this was -known outside Asia. - - In the West books and manuscripts were hand written by scribes, -although some -small items, like playing cards or depictions of saints, were printed -from woodblocks. Then Johannes\index{Gutenberg, Johannes} Gutenberg -(c. 1398--1468) of Mainz invented printing using moveable type -around about 1440--1450.\footnote{Others have been put forward as the -inventor, notably a Dutchman named Coster, but the preponderance of -opinion favours Gutenberg.} - He had to experiment to determine the formula for -a suitable ink and also to develop a good metal alloy\index{typemetal} -for the type itself. -He came up with lead to which he added antinomy for strength and hardness and -tin for toughness.\footnote{This is still the basis for metal type today; -Monotype casting machines use lead with 15--24\% antinomy and 6--12\% tin.} - - In order be successful in the market Gutenberg had to produce books -that equaled those produced by the scribes, except that they did not -have to be decorated so lavishly. The scribes used many ligatures, -contractions, and other techniques in order to have justified text with -no raggedy edges. To compete with them his font for the famous 42-line -Bible, published around 1455, consisted of some 290 characters though all -the text was in Latin which requires a basic character set of only forty -letters --- twenty lowercase letters and twenty caps --- plus -some punctuation marks. - - The 42-line Bible is set in two columns of 42 lines each. It is believed -that about 135 copies were printed on paper and 40 on vellum. The page size was -12 by 16\slashfrac{1}{2} inches and it is estimated that more than five -thousand calfskins were required for the vellum copies. - - The new technology spread rapidly. In 1465 -Konrad\index{Sweynham, Konrad} Sweynheym and Arnold\index{Pannartz, Arnold} -Pannartz set up a printing shop in the monastery at Subiaco, east of Rome. -There was printing in K\"{o}ln in 1466 and in 1468 in Augsberg and Rome itself. -The first Venetian printer was Johann\index{Speyer, Johann van} van Speyer -who started work in 1469. A year later printing was established at the -Sorbonne and Nicolas\index{Jenson, Nicolas} Jenson -had his press in Venice. Printing was introduced into Spain at Valencia -in 1474. William\index{Caxton, William} Caxton started printing in England -in 1476 setting up a press at The Sign of the Red Pale in Westminster, -near the Abbey; Theoderic\index{Rood, Theoderic} Rood was printing in -Oxford between 1478 and 1485 and John\index{Sieberch, John} Sieberch at -Cambridge in 1520. - - The German printers kept with the initial gothic -style of Gutenberg's type and Caxton used a cursive bastarda gothic. The -Italians and other Europeans, though, moved to a roman type, based on the -humanist bookhands, for their -work. In 1471 Jenson produced the first full set of Greek type, which still -remains one of the best. Aldus\index{Manutius, Aldus} Manutius, printing in -Venice, introduced the italic type in 1500. - - The early printers were jack of all trades. They had to make their presses, -design, make and cast their type\index{type}, -and print and sell the results. As time went -on typemaking and printing became separate crafts. It became possible to -purchase the materials and equipment for printing but the printer was still -the book designer. - - For four centuries setting the type for printing was done by hand until -the introduction of Ottmar Mergenthaler's\index{Mergenthaler, Ottmar} -Linotype\index{Linotype} machine in 1886. The operator -sat at a keyboard, typing the text line by line and the machine produced a -corresponding solid line of type. The disadvantage was when an error needed -correcting at least one whole new line of type was needed, or two or more if -the correction spilled over the end of the line, or even more if it continued -onto the following page. The competing -Monotype\index{Monotype} machine, invented by Tolbert\index{Lanston, Tolbert} -Lanston, was first available in 1896. This was operated via a keyboard which -produced a punched paper tape which was fed to the caster which produced -lines of type composed of individual pieces. Correcting typos was easier -because individual characters could be added or replaced. On the other hand, -Linotype output was easier to handle if complete sections had to be moved -around, for example for `quick' printing such as a daily newspaper. - - Alan Bartram~\cite{BARTRAM01} shows examples of book designs from between -1470 and 1948, not all of which he considers to be good. Examples of printed -pages from the 15th to the 20th century are in the TUG 2007 San Diego Meeting -keynote presentation~\cite{TUGKEYNOTE07}. - - -\section{Making type} - -\typesubidx{manufacture|(} - This is a very brief description of how lead type is made. For -a good overview see~\cite{CHAPPELL99} and Fred Smeijers~\cite{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. - - 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 -is harder but lasts longer. At this point the character is in the same -orientation as printed but is a negative impression in the matrix. - - The matrix is then put into a casting box and molten typemetal poured in. -Once it has hardened and removed from the mould the new piece of type is -dressed to the same length as all the other pieces for the font. Many, many -pieces of type can be cast from one matrix, and if the punch is retained new -matrices can be made. Typically one buys the lead type from a typecasting -company, and a typecasting company would purchase matrices from the type -design company. Of course, in the early days these were all the same -organisation and only as the centuries passed did they tend to become -separated. - - The Linotype\index{Linotype} and Monotype\index{Monotype} machines -require the matrices but cast the type only when needed. After use the type -from these machines is melted down and reused time and time again. -\typesubidx{manufacture|)} - -\section{Book types} - -\PWnote{2009/04/25}{Added longish section on book types} -\PWnote{2009/04/25}{Used endnotes in book types section} - - Roughly speaking, there are two kinds of printing type\index{type}; -one, called -in general \emph{book type}\index{book type}, -is what is used for setting longer pieces -of text such as a poem or a book, or other material meant for continuous -reading. The other, called \emph{display type}\index{display type}, is used -for pretty much everything else, such as company names, posters, -advertisements, ephemera and sometimes even book titles, all of which are -short pieces of text, often intended to catch your eye. There are a multitude -of display types, some of them almost illegible. Here I want to say a little -bit about book types. - - There are several ways of categorizing typefaces and the following is based -on what Lawson \& Agner~\cite{LAWSONAGNER90} have proposed as -\emph{a Rational System} based on the historical sequence; their system -is shown in \tref{tab:typecat}. Later I will show some types corresponding -to some of the categories. I have limited the examples to those types which -are included in a modern \ltx\ -distribution\pagenote[modern \ltx\ distribution]{An example of a modern -distribution is TeXlive 2008. There are many more fonts that could -be used but I wanted \ltx ers to be able to run the manual's source through -\ltx\ themselves without having to install any extra fonts.}, -which unfortunately does not include types corresponding to all the -categories. - -\begin{table} -\centering -\caption[A rational typeface categorization system]% - {A rational typeface categorization system~\cite{LAWSONAGNER90}} \label{tab:typecat} -\begin{tabular}{p{0.5\textwidth}} \toprule -\begin{enumerate} -\item Blackletter -\item Oldstyle - \begin{enumerate} - \item Venetian - \item Aldine/French - \item Dutch/English - \end{enumerate} -\item Transitional -\item Modern -\item Square Serif -\item Sans serif -\item Script/Cursive -\item Display/Decorative -\end{enumerate} \\ \bottomrule -\end{tabular} -\end{table} - - -\subsection{Type-related terminology} - - First, though, some typographical terms related to types, and illustrated -in \fref{fig:typeterms}\pagenote[illustrated in \fref{fig:typeterms}]{The \ltx\ -fontfamily names for the typefaces used in the illustration are: -\begin{center} -\begin{tabular}{llcll} -Antiqua Turin & \pfontfam{antt} & & -Avant Garde & \pfontfam{pag} \\ -Bera Serif & \pfontfam{fve} & & -Bookman & \pfontfam{pbk} \\ -GFS Bodoni & \pfontfam{bodoni} & & -GFS Didot & \pfontfam{udidot} \\ -Times Roman & \pfontfam{ptm} & & -Utopia & \pfontfam{put} \\ -\end{tabular} -\end{center}}. -\begin{labelled}{itlabel} -\item[Serif:] The\index{serif} cross stroke that finishes the stems or arms of letters. -\item[Bracketed serif:] A\index{bracketed serif} serif that transitions gradually into the stem it - is attached to. -\item[Unbracketed serif:] A\index{unbracketed serif} serif with a sharp break between it and the - stem. -\item[Square serif:] A\index{square serif} rectangular serif with squared ends. -\item[Sans serif:] Without\index{sans serif} serifs. -\item[Axis:] The\index{axis} direction of the hypothetical line joining the thinnest - parts of a letter like `O'. It is related to the angle that - a broad nibbed pen would be held in order to replicate the - inner and outer contours.\footnote{The axis and angle are - perpendicular to each other.} -\item[Contrast (also called shading):] The\index{contrast}\index{shading} - difference between the thick and thin strokes. -\item[Counter:] The\index{counter (of a letter)} white space enclosed by a letter, whether - open or closed. - Sometimes used to refer to the closed part of letters such - as `a' or `e', which may also be referred to as the - \textit{eye}\index{eye}. -\item[Ligature:] The\index{ligature} conjoining of two (or more) letters, - usually with a change of shape. -\end{labelled} - - -For more detailed descriptions and further terms -you may wish to consult other sources, such as -\cite{BRINGHURST99,LAWSONAGNER90,MEGGS00}. If you are interested in the -subtle, and the not so subtle, differences between typefaces then Karen -Cheng's \btitle{Designing Type}~\cite{CHENG05} has a great deal to offer. - - The names of typefaces can be confusing; different suppliers have a -tendency to give different names to the same underlying typeface. For -example Goudy's\index{Goudy, Frederick} University of California Old -Style\facesubseeidx{University of California Old Style} can also be found -as Californian\facesubseeidx{Californian}, -University Old Style\facesubseeidx{University Old Style}, -Berkely Old Style\facesubseeidx{Berkely Old Style}, -and possibly under other names as well, all more or less adhering to the -original design.\pagenote[more or less adhering to the original design]{The -final printed character depends not only on the geometric shape but also on -the printing technology used, the ink, and the paper. With letterpress printing -where the inked metal type is impressed into the paper, the ink tends to spread -just a little bit; all other things being equal the spread depends on the -type and amount of ink, the hardness of the paper, the surface finish of the -paper, the amount of pressure applied, in some cases the dampness of the -paper, and so on. To get a similar looking result using offset lithography -where the ink stays where it is put, -the geometric shape must be changed to simulate the ink spread of the -letterpress process, but then the question arises as to which of the many -letterpress impressions is the one to be simulated? Different designers and -different manufacturers have different ideas about this.} - -\begin{figure} -\centering -\begin{tabular}{cccc} \toprule -Bracketed serif & Unbracketed serif & Square serif & Sans serif \\ -\usethisfont{25}{30}{pbk}{m}{n} H & -\usethisfont{25}{30}{antt}{m}{n} H & -\usethisfont{25}{30}{fve}{m}{n} H & -\usethisfont{25}{30}{pag}{m}{n} H \\ -\itshape Bookman & \itshape Antiqua Turin & \itshape Bera Serif & \itshape Avant Garde \\ \midrule -Inclined axis & Vertical axis & Gradual contrast & Abrupt contrast \\ -\usethisfont{25}{30}{antt}{m}{n} O & -\usethisfont{25}{30}{ptm}{m}{n} O & -\usethisfont{25}{30}{pbk}{m}{n} N U & -\usethisfont{25}{30}{udidot}{m}{n} N U \\ -\itshape Antiqua Turin & \itshape Times Roman & \itshape Bookman & \itshape GFS Didot \\ \midrule -small counter & large counter & small counter & large counter \\ -\usethisfont{25}{30}{pbk}{m}{n} e & -\usethisfont{25}{30}{fve}{m}{n} e & -\usethisfont{25}{30}{pbk}{m}{n} a & -\usethisfont{25}{30}{antt}{m}{n} a \\ -\itshape Bookman & \itshape Bera Serif & \itshape Bookman & \itshape Antiqua Turin \\ \midrule -separate & ligatured & separate & ligatured \\ -\termfont{put}{m}{n} f{}i f{}l & -\termfont{put}{m}{n} fi fl & -\termfont{bodoni}{m}{n} a{}e o{}e & -\termfont{bodoni}{m}{n} \ae{} \oe{} \\ -\itshape Utopia & \itshape Utopia & \itshape GFS Bodoni & \itshape GFS Bodoni \\ \bottomrule -\end{tabular} -\caption{Examples of some typographical type-related terms} \label{fig:typeterms} -\end{figure} - - -\subsection{Blackletter} - - The first type was \emph{Gothic}\typesubidx{Gothic}, or -\emph{Blackletter}\typesubidx{Blackletter}, used by Guthenberg which was based on -the kind of script that the scribes were using at that time (c. 1455). -It remained in -fashion in Germany until towards the end of the last century, and is still -often used for the names of newspapers. Elsewhere, starting in Italy, -it was replaced by the \emph{Roman}\typesubidx{Roman} type. - - There are several kinds of blackletter type. The first is -\emph{Textura}\typesubidx{Textura} where the characters are squarely -drawn without any curves -and are the kind that Guthenberg used. -In the scribal tradition from which these came the idea was that the words -created a uniform texture along each line and down each page. To modern eyes it -is difficult to tell one letter from another. Two modern versions are -Goudy Text\facesubseeidx{Goudy Text} and -Cloister Black\facesubseeidx{Cloister Black}. - - Another grouping is \emph{Rotunda}\typesubidx{Rotunda} where the letters are -more rounded than Textura and are easier to read. A modern example is -Goudy Thirty\facesubseeidx{Goudy Thirty}. - - The last subdivision is \emph{Bastarda}\typesubidx{Bastarda} which has been -the common type used in Germany for many a year. The most common form -is \emph{Fraktur}\typesubidx{Fraktur}, first cut in the sixteenth century, which -is a lighter and more open version of Textura\typesubidx{Textura} and so easier -to read. Many newspapers use a Fraktur type for their headline. An -example of a \emph{Fraktur}\typesubidx{Fraktur} -\pagenote[An example of a \emph{Fraktur}]{The typeface was originally created -by Yannis Haralambous\index{Haralambous, Yannis} and is accessed in \ltx\ -as the \pfontfam{yfrak} fontfamily.} -is shown in \fref{fig:fraktur}.% - -\begin{figure} -\centering -{\centering\fontfamily{yfrak}\selectfont - Blackletter --- Fraktur \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of the Fraktur style of Blackletter types} \label{fig:fraktur} -\end{figure} - -\subsection{Oldstyle} - -\subsubsection{Venetian} - - Early roman types, based on the humanist scribal hand, were cut by -Sweynheym \& Pannartz in the Rome area (c. 1467). In Venice Nicolas -Jenson cut what is considered to be the first, and one of the best, romans -(c. 1471). His types have been widely reproduced and copied and the style -is known as \emph{Venetian}\typesubidx{Venetian}. Some modern day Venetians -include Cloister\facesubseeidx{Cloister}, Eusebius\facesubseeidx{Eusebius} (originally -called Nicolas Jenson) and Venezia\facesubseeidx{Venezia}; -Bruce Roger's Centaur\facesubseeidx{Centaur} is an elegant modernized Venetian. - - The characteristics of the Venetian types include uneven or slightly -concave serifs, there is minimal contrast between the thick and thin -strokes, and an inclined axis. The crossbar of the lowercase `e' is slanted -upwards. On some -capitals, principally `N' and `M', there are slab serifs that extend -across the tops of the vertical strokes. - - William Morris\index{Morris, William} chose Jenson's type as the model -for his Golden Type\facesubseeidx{Golden Type}, cut by Edward -Prince\index{Prince, Edward} around 1890. This started the revival of the -Venetian types. - - The first type generally available was Morris Benton's\index{Benton, Morris} -Cloister Oldstyle\facesubseeidx{{Cloister Oldstyle}}. Other modern Venetians include -Goudy's\index{Goudy, Frederick} Kennerly\facesubseeidx{Kennerly}, -Deepdene\facesubseeidx{Deepdene} and Californian\facesubseeidx{Californian}, which is now -called Berkely Old Style\facesubseeidx{Berkely Old Style}. One, perhaps the best, -is Bruce Rogers'\index{Rogers, Bruce} Centaur\facesubseeidx{Centaur} which he created -in 1914. - - -\subsubsection{Aldine/French} -\typesubidx{Aldine/French}\typesubidx{Aldine}\typesubidx{French} - - Another of the many printers in Venice, -Aldus Manutius\index{Manutius, Aldus}, wanted a type -that was less related to the pen-drawn scribal characters. Aldus employed -Francesco Griffo da Bologna\index{Griffo, Francesco} to cut two types -for him. The first, cut in 1497, was for an edition of \emph{De Aetna} -by the humanist scholar Pietro Bembo\index{Bembo, Pietro} --- the modern -version of this is called Bembo\facesubseeidx{Bembo}. Griffo also cut another -variation on Jenson's roman and which soon superseded it in popularity. -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 -Jean Jannon\index{Jannon, Jean} about 1621. - - Characteristics of these types are wide concave serifs, particularly -on the capitals, which are narrower than the Venetians and may be not as high -as the lowercase ascenders. The crossbar of the lowercase `e' is horizontal, -as opposed to the slanted crossbar of the Venetians. There is an inclined axis -and a medium contrast between the thick and thin strokes. - - Some modern Aldine/French Oldstyle types are -Bembo\facesubseeidx{Bembo}, -Estienne\facesubseeidx{Estienne}, -Garamond\facesubseeidx{Garamond}, -Geraldus\facesubseeidx{Geraldus}, -Granjon\facesubseeidx{Granjon}, -Palatino\facesubseeidx{Palatino}, -Poliphilus\facesubseeidx{Poliphilus}, -and Sabon\facesubseeidx{Sabon}. -An example of Palatino\facesubseeidx{Palatino}% -\pagenote[An example of Palatino]{In \ltx\ the Palatino\index{Palatino} -font is accessed as the \pfontfam{ppl} fontfamily.}, -which was created by Hermann Zapf\index{Zapf, Hermann} -in 1950, is shown in \fref{fig:palatino}. - -\begin{figure} -\centering -{\centering\fontfamily{ppl}\selectfont - Oldstyle Aldine/French --- Palatino \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of an Oldstyle Aldine/French type: Palatino} - \label{fig:palatino} -\end{figure} - - -\subsubsection{Dutch/English} -\typesubidx{Dutch/English}\typesubidx{Dutch}\typesubidx{English} - - During the sixteenth century the French types were popular throughout -Europe but then the pendulum swung towards types from the Low Countries. -The Dutch were principally traders and their printing style became -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) -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} -was set with Caslon type. - - Modern Dutch/English types include -Caslon\facesubseeidx{Caslon} (of course), -and Janson\facesubseeidx{Janson}. - -\subsection{Transitional} -\typesubidx{Transitional} - - Transitional types are those based on the Oldstyle\typesubidx{Oldstyle} -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} -was working. In 1692 -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 -sometimes overrule the -academicians to the betterment of the result. - - Grandjean's type was copied by many others and effectively replaced -Oldstyle in Europe. Pierre Simon Fournier\index{Fournier, Pierre Simon} -(1712--1768) started his typecutting -business in 1737, cutting over eighty types in twenty-four years. These were -based on Garamond's types but influenced by Grandjean's work. The result was -the first intimations of the Transitional types. - - The changes on the continent had had little impact in England, but John -Baskerville\index{Baskerville, John}, about 1750, set up a printing shop -in Birmingham and created the type that bears his name. Some consider this -to be the real beginning of the Transitionals. Baskerville's work was -disliked in England but was siezed on with alacrity on the Continent. - - Some modern day Transitional types are -Baskerville\facesubseeidx{Baskerville}, -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}.. - -\begin{figure} -\centering -{\centering\fontfamily{uaq}\selectfont - Transitional --- URW Antiqua \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of a Transitional type: URW Antiqua} - \label{fig:antiqua} -\end{figure} - -\begin{figure} -\centering -{\centering\fontfamily{pnc}\selectfont - Transitional (newspaper) --- New Century Schoolbook \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of a Transitional newspaper type: New Century Schoolbook} - \label{fig:newcent} -\end{figure} - - Much later, around the end of the nineteenth century, another kind of -Transitional type was introduced, designed for legibility for newspapers -when printed on high speed presses. The counter spaces were open, the -serifs were even and strongly bracketed and with a high x-height. -Examples are Century\facesubseeidx{Century} designed by - Linn Boyd Benton\index{Benton, Linn Boyd} in 1895 for the \emph{Century} -magazine, and -Cheltenham\facesubseeidx{Cheltenham} by Betram Goodhue\index{Goodhue, Bertram} -in 1896, which has become one of the printers' standard types. Stanley -Morison's\index{Morison, Stanley} Times Roman\facesubseeidx{Times Roman}, -which he -designed for \emph{The Times} of London fits into the Transitional -classification. The general characteristics include vertical, or nearly -vertical axis, more pronounced contrast compared with the Oldstyle faces, but -nowhere nearly as pronounced as the later Didot types. Some have finely, or -unbracketed, serifs. - - A version of one of the Century -series\pagenote[version of one of the Century series]{In \ltx\ the New -Century Schoolbook\facesubseeidx{New Century Schoolbook} font -is known as the \pfontfam{pnc} fontfamily.} of typefaces, -New Century\facesubseeidx{New Century Schoolbook} Schoolbook, designed -by Morris Benton\index{Benton, Morris}, -is shown in \fref{fig:newcent}. - -\subsection{Modern} -\typesubidx{Modern} - - Modern in this case means with respect to Transitional\typesubidx{Transitional} -and applies to a style of type introduced in the eighteenth century. - - Grandjean's Romain du Roi\facesubseeidx{Romain du Roi} had started a trend -in which the contrast -between thick and thin strokes gradually increased. Following Baskerville's -type, Giambattista Bodoni\index{Bodoni, Giambattista} in Italy and the -Didot\index{Didot} foundry in France increased the contrast -to extreme limits with the thin strokes degenerating into hairlines. - -\begin{figure} -\centering -{\centering\fontfamily{udidot}\selectfont - Modern --- GFS Didot \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of a Modern type: GFS Didot} - \label{fig:didot} -\end{figure} - -A modern type, GFS Didot\facesubseeidx{GFS Didot}\pagenote[GFS Didot]{The -\ltx\ fontfamily for GFS Didot\index{GFS Didot} is \pfontfam{udidot}.}, -after the style of -Didot\index{Didot} is illustrated in \fref{fig:didot}. - - The general characteristics are vertical axis, exaggerated contrast, -and flat, unbracketed, serifs. - -\subsection{Square serif} -\typesubidx{Square serif} - - The Victorian printers found that they needed new type forms that -would work better than the traditional romans when used with the new -and faster breeds of printing presses, and particularly for use in -commercial printing and advertising. - -\begin{figure} -\centering -{\centering\fontfamily{fve}\selectfont - Square serif --- Bera Serif \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of a square serif type: Bera Serif} - \label{fig:beraserif} -\end{figure} - - The types went out of fashion during the first half of the twentieth -century but have since become more popular with the -Clarendon\facesubseeidx{Clarendon} -type. An example of square serif\pagenote[An example of square serif]{The -Bera Serif's\index{Bera Serif} fontfamily name in \ltx\ is \pfontfam{fve}.} -is shown in \fref{fig:beraserif}. - - -\subsection{Sans Serif} -\typesubidx{Sans Serif} - - Sans serif types were first created around 1830. In England they were -called Grotesques\index{Grotesques} and in America Gothics\index{Gothics}. -Around 1920 there appeared artistic -schools such as Expressionism, Constructivism and Cubism. These had a -marked effect on typographic styles and the sans serif types experienced -a great burst of popularity, seeming to express `modern' ideas. They tend to -be geometric in form as opposed to the curvaceous romans. - -\begin{figure} -\centering -{\centering\fontfamily{fvs}\selectfont - Sans serif --- Bera Sans \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of a sans serif type: Bera Sans} - \label{fig:berasans} -\end{figure} - - Examples of modern sans serifs are -Helvetica\facesubseeidx{Helvetica}, -Futura\facesubseeidx{Futura}, -and, famously, Gill Sans\facesubseeidx{Gill Sans}. -Yet another sans\pagenote[Yet another sans]{\pfontfam{fvs} is the \ltx\ -fontfamily name name for the Bera Sans\index{Bera Sans} font.}, -Bera Sans\facesubseeidx{Bera Sans}, is shown in \fref{fig:berasans}. - - -\subsection{Script/Cursive} -\typesubidx{Script/Cursive}\typesubidx{Script}\typesubidx{Cursive} - - This is a very broad category but -essentially the forms are closer -to handwriting rather than printing. Some are based on letter forms created -by drawing with a brush while others are based on forms written using -a pen. In general they have an informal -presence but some of the latter kind are used in formal settings such -as wedding invitations. - -\begin{figure} -\centering -{\centering%\fontfamily{pbsi}\selectfont - \usethisfont{10}{12}{pbsi}{xl}{n} - Brush --- Brush Script \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of a Script/Cursive Brush type: Brush Script} - \label{fig:brush} -\end{figure} - -\begin{figure} -\centering -{\centering\fontfamily{pzc}\selectfont - Calligraphic --- Zapf Chancery \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of a Script/Cursive Calligraphic type: Zapf Chancery} - \label{fig:chancery} -\end{figure} - - Figure~\ref{fig:brush} shows a brush-based script -unimaginatively\pagenote[unimaginatively]{The Brush Script\index{Brush Script} -font is accessible as the \pfontfam{pbsi} fontfamily.} called -Brush Script\facesubseeidx{Brush Script} while a -calligraphic script, Hermann Zapf's\index{Zapf, Hermann} fine -Zapf Chancery\facesubseeidx{Zapf Chancery}\pagenote[a calligraphic script]{Zapf -Chancery\index{Zapf Chancery} is called the \pfontfam{pzc} -fontfamily in \ltx.}, -is in \fref{fig:chancery}. - -\subsection{Display/Decorative} -\typesubidx{Display/Decorative}\typesubidx{Display}\typesubidx{Decorative} - - This is another very broad category -but all the members are designed -to catch the eye. Display types tend to be used for display purposes and -are not meant to be too difficult to read. The decoratives are smaller in scale -but can be extremely detailed, such as alphabets based on human figures -apparently performing calisthenic exercises. One of the many fonts -in this category, Cyklop\facesubseeidx{Cyklop}, is shown in -\fref{fig:cyklop}.\pagenote[shown in \fref{fig:cyklop}]{The Cyklop\index{Cyklop} -typeface has been given the \pfontfam{cyklop} fontfamily name for access with \ltx.} - - As far as bookwork goes the more restrained of these types may occasionally -be useful for book or chapter titles. - -\begin{figure} -\centering -{\centering\fontfamily{cyklop}\selectfont - Display/Decorative --- Cyklop \\ - \UCalphabet \\ - \LCalphabet \\ - \fox\par} -\caption{An example of a Display/Decorative type: Cyklop} - \label{fig:cyklop} -\end{figure} - -\section{Setting type} - -\PWnote{2009/04/03}{Added bits and pieces about letterpress.} - - Until the last hundred years or so, type has been hand set. Today there -are still a few printers who still set type by hand, called -now letterpress\index{letterpress} printing, and on the odd occasion I am -one of them. Again, this is a brief description of the process but -Chappell~\cite{CHAPPELL99} -provides much more detail if you are interested. If you have a desire to -set up your own small print shop, perhaps in your garage or shed in the garden, -then John Ryder\index{Ryder, John} has lots of pertinent advice~\cite{RYDER}. -He directed -the design and production of many books for The Bodley Head, and, starting in -1930, produced much interesting work on an Adana\index{hand press!Adana} -quarto press in his home. -The Briar Press\index{Briar Press} is another very useful resource, -available via the web\label{briar}\footnote{\url{http://www.briarpress.org}} ---- and in their words: `Proudly -introducing the bleeding-edge world of personalized desktop publishing -circa 1820'! - - The type is kept in type-, or job-, cases\index{typecase}\index{job case|see{typecase}}. -These are shallow wooden -partitioned trays and traditionally there were two of them for each font --- -a lower one closer to the typesetter for the minuscule characters and the -second one, arranged above the first as an `upper case', for the majuscules -(capitals); hence the terms lowercase and uppercase characters. The -characters are not arranged in alphabetical order but follow a system -that is meant to reduce the amount of movement required from the typesetter. -The shop where I print uses a `California job case' for type, -illustrated in \fref{fig:cacase}, which combines both the lowercase and -uppercase into a single case. The lowercase letters are arranged in a -seemingly semi-random order while the uppercase, which are used much less -frequently, are in alphabetical order. The exceptions here are `U' and `J' -which are latecomers to the alphabet only being generally accepted in the 16th -and 17th centuries, respectively --- printing has strong traditions. - - -\begin{figure} -\centerfloat -\setlength{\unitlength}{0.8pc} -\setlength{\unitlength}{0.7pc} -\setlength{\unitlength}{0.75pc} -\noindent \begin{picture}(50,30) -% framing - \put(0,0){\framebox(50,30){}} - \put(1,1){\framebox(48,28){}} -% first 1/3 - \put(1,1){\framebox(2.0,4){q}} - \put(1,5){\framebox(2.0,4){x}} - \put(1,9){\framebox(2.0,4){z}} - \put(1,13){\framebox(2.0,4){!}} - \put(1,17){\framebox(2.0,4){?}} - \put(1,21){\framebox(2.0,4){j}} - \put(1,25){\framebox(2.0,4){ffi}} - - \put(3,1){\framebox(2,8){v}} - \put(3,9){\framebox(2,8){l}} - \put(3,17){\framebox(2,8){b}} - \put(3,25){\framebox(2,4){fl}} - - \put(5,1){\framebox(4,8){u}} - \put(5,9){\framebox(4,8){m}} - \put(5,17){\framebox(4,8){c}} - \put(5,25){\framebox(2,4){\shortstack{5 \\ to \\ an \\ em}}} - \put(7,25){\framebox(2,4){\shortstack{4 \\ to \\ an \\ em}}} - - \put(9,1){\framebox(4,8){t}} - \put(9,9){\framebox(4,8){n}} - \put(9,17){\framebox(4,8){d}} - \put(9,25){\framebox(2,4){'}} - \put(11,25){\framebox(2,4){k}} - - \put(13,1){\framebox(4,8){\shortstack{3 to \\ an em}}} - \put(13,9){\framebox(4,8){h}} - \put(13,17){\framebox(4,12){e}} -% second 1/3 - \put(18,1){\framebox(4,8){a}} - \put(18,9){\framebox(4,8){o}} - \put(18,17){\framebox(4,8){i}} - \put(18,25){\framebox(2,4){1}} - \put(20,25){\framebox(2,4){2}} - - \put(22,1){\framebox(4,8){r}} - \put(22,9){\framebox(2,8){y}} - \put(24,9){\framebox(2,8){p}} - \put(22,17){\framebox(4,8){s}} - \put(22,25){\framebox(2,4){3}} - \put(24,25){\framebox(2,4){4}} - - \put(26,1){\framebox(2,4){.}} - \put(26,5){\framebox(2,4){;}} - \put(26,9){\framebox(2,8){w}} - \put(26,17){\framebox(2,8){f}} - \put(26,25){\framebox(2,4){5}} - - \put(28,1){\framebox(2,4){-}} - \put(28,5){\framebox(2,4){:}} - \put(28,9){\framebox(2,8){,}} - \put(28,17){\framebox(2,8){g}} - \put(28,25){\framebox(2,4){6}} - - \put(30,1){\framebox(4,8){quads}} - \put(30,9){\framebox(2,8){ens}} - \put(30,17){\framebox(2,4){fi}} - \put(30,21){\framebox(2,4){ff}} - \put(30,25){\framebox(2,4){7}} -% \put(37,1){\framebox(5,8){quads}} - - \put(32,9){\framebox(2,8){ems}} - \put(32,17){\framebox(2,4){0}} - \put(32,21){\framebox(2,4){9}} - \put(32,25){\framebox(2,4){8}} -% third 1/3 - \put(35,1){\framebox(2,4){X}} - \put(35,5){\framebox(2,6.67){P}} - \put(35,11.67){\framebox(2,6.67){H}} - \put(35,18.33){\framebox(2,6.66){A}} - \put(35,25){\framebox(2,4){\$}} - - \put(37,1){\framebox(2,4){Y}} - \put(37,5){\framebox(2,6.67){Q}} - \put(37,11.67){\framebox(2,6.67){I}} - \put(37,18.33){\framebox(2,6.66){B}} - \put(37,25){\framebox(2,4){--}} - - \put(39,1){\framebox(2,4){Z}} - \put(39,5){\framebox(2,6.67){R}} - \put(39,11.67){\framebox(2,6.67){K}} - \put(39,18.33){\framebox(2,6.66){C}} - \put(39,25){\framebox(2,4){---}} - - \put(41,1){\framebox(2,4){J}} - \put(41,5){\framebox(2,6.67){S}} - \put(41,11.67){\framebox(2,6.67){L}} - \put(41,18.33){\framebox(2,6.66){D}} - \put(41,25){\framebox(2,4){(}} - - \put(43,1){\framebox(2,4){U}} - \put(43,5){\framebox(2,6.67){T}} - \put(43,11.67){\framebox(2,6.67){M}} - \put(43,18.33){\framebox(2,6.66){E}} - \put(43,25){\framebox(2,4){)}} - - \put(45,1){\framebox(2,4){\&}} - \put(45,5){\framebox(2,6.67){V}} - \put(45,11.67){\framebox(2,6.67){N}} - \put(45,18.33){\framebox(2,6.66){F}} - \put(45,25){\framebox(2,4){[}} - - \put(47,1){\framebox(2,4){ffl}} - \put(47,5){\framebox(2,6.67){W}} - \put(47,11.67){\framebox(2,6.67){O}} - \put(47,18.33){\framebox(2,6.66){G}} - \put(47,25){\framebox(2,4){]}} -\end{picture} -\caption{The California job case layout} \label{fig:cacase} -\end{figure} - - A line of type is set, or composed, in a hand-held -composing\index{composing stick} stick, which -has an adjustable stop which is set to the required line length. Since the -letters read in reverse, right to left, they are assembled upside down, -allowing working from left to right by the compositor. The characters for -a word are put into the stick, then a space, the next word, a space and on -until the line is almost full when it can be justified by inserting small extra -spaces between the words. A lead may be put separating this line from the next, -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. - - 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 -on the composing table and rectangular -blocks of wood, called furniture, are placed between the type and the chase -to hold the type in position, then expandable metal wedges, called -quoins\index{quoin}, -are inserted to lock the type within the chase. This is essential as the -chase and contents will be lifted up and transferred to the press itself --- -there is nothing like the joy of picking up and sorting out several hundred -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 -flat-bed\index{hand press!flat-bed} type, as -used from Gutenberg's day onwards, the forme is fixed on a horizontal bed -which is mounted on horizontal rails, the type is inked (usually by hand), -a sheet of paper is positioned over the forme, and the bed -slid under the platen --- a large flat plate --- which is then pressed -down hard by a screw mechanism to force the paper against the type. The platen -is raised, the bed slid out and the printed sheet removed, ready for the next -sheet to be positioned. Originally the presses were made of oak but -nowadays are steel and cast iron. Typical of -the flat-bed presses are the \index{hand press!Albion} Albion in England -and the Washington\index{hand press!Washington} in America. - - The other type is a platen\index{hand press!platen} press -exemplified by the Excelsior\index{hand press!Excelsior} in England -and the Chandler \& Price\index{hand press!Chandler \& Price}, which -is the one I use, in America. Here the bed --- a rectangular steel plate --- -is vertical and fixed and the forme is locked onto the bed. Above the bed -is a circular disc on which the ink is spread. As the press operates rollers -come down over the disc picking up a thin film of ink, -then over the forme --- thus inking the type --- -and back up again; while the rollers are inking the type the disc is -rotated a few degrees so that the rollers will run over a different section -of the disc each time thus improving the uniformity of the ink pickup. -A sheet of paper is clipped to the platen which, as the -rollers go over the disc, swings up to press the paper against the inked type -and then down again so the sheet can be removed and the next one inserted. - - You can see pictures of the presses mentioned above, and many other as -well, on the -Briar Press\index{Briar Press} website (see \pref{briar}). - - At the end, the forme is put back on the composing table and any ink -is cleaned off the type, which is then taken from the chase -and `distributed' back into -the correct places in the typecases(s)\index{typecase}. The furniture and -leads are also put back into the proper places in their respective -storage areas. - - If the text is to be printed in multiple colours, the type for the first -colour is set with spaces left for the second coloured type, and then printed. -The type for the second colour is set in the spaces left for it, and the first -set of type removed and replaced by spaces. The press is cleaned and the first -colour ink replaced by the second colour ink. The original partially printed -pages are then printed with the next colour. If all is well the differently -coloured printed characters will all be aligned. Understandably, it is rare -that more than two colours are used. - - -\section{Today} - - Today the great majority of printed works are produced with -offset\index{offset printing} printer presses, the first of which was -invented by Ira Washington\index{Rubel, Ira Washington} Rubel in -1903.\footnote{Rubel was an American; with a name like that he certainly -couldn't be English.} - - In the offset lithography process the original work image is put -onto metal foils which -are wrapped around a cylinder on the press; ink is picked up by the foil -and is transferred to a `blanket' or `offset' cylinder that is in contact -with the first one. In turn, the ink from the offset cylinder is -transferred to the paper which is pressed against it. - - Nowadays the original image is created on a computer and the foils -produced automatically. The system is excellent for coloured work --- one foil -is produced for each colour, following the CMYK\index{CMYK} -(Cyan, Magenta, Yellow, Key (black)) subtractive colour system -(televisions and computer monitiors use the RGB\index{RGB} (Red, Green, Blue) -additive colour system). In the lowest capital cost situation only a -single station press is used which can print a single colour. To get full -colour the paper must be run through the press four times in all, once for -each colour (and black) and if both sides are to be printed, then another -four times for the second side. Moving up -the scale there are two stand presses that can do two colours in one run, -four stand presses that will do all four in one run.\footnote{The press shop -where I occasionally go to do traditional hand set printing has all of these.} -In most -smaller printing shops single sheets of paper are used which have to be put -through the pres(ses) at least twice, once for each side. Newspapers are -also printed using offset lithography. In their case, though, web offset -printers are used where the paper is fed in continuously from a large roll and -is printed on both sides on its journey through the press. - - Up and coming are digital presses operating directly from the -computer.\footnote{Think sophisticated inkjet or colour laser printers.} -These are approaching the cost and quality tradeoffs of offset printers -and are increasingly being used for on-demand small quantity printing. - - Apart from the time and effort involved the principal difference between -traditional letterpress\index{letterpress} printing and the modern methods -is the way the ink is put onto the paper. In the traditional method the type -is inked and then pressed \emph{into} the paper (think typewriters), while -in modern methods the ink is effectively laid \emph{onto} the paper (think -inkjet printers). You can sometimes tell if something has -been printed by letterpress methods by running a finger lightly over the page; -if the lines are `bumpy' then it has been printed letterpress. Printers using -letterpress actually face a dichotomy. In order to obtain the finest detail -from the type then it should be pressed as lightly as possible into the paper, -but to indicate clearly that it has been letterpress printed, then it is -advisable to impress hard enough to leave permanent indentations, no matter -how slight. As is common, tradeoffs seem inevitable. - - - -\section{Setting maths} - - I had always wondered how maths was typeset before TeX was available and -I eventually found an answer in an article by David Wishart~\cite{WISHART03}. -The following is based upon his descriptions. - - As described above, before the advent of typesetting machines compositors -picked pieces of type from a double typecase\index{typecase}, -typically just containing the -upper and lower case roman characters, the numerals and punctuation marks, -assembled some lines in a composing stick\index{composing stick}, -and transferred them to a chase\index{chase}, which when full was locked -up and then -put into the press to print onto the paper. When setting text this is -straightforward as each `line' in the composing stick is a line of text. -This is not the case with maths, such as this formula - -\begin{equation} \label{eq:typeset} -P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} - \alpha^{m}\beta^{(N_{2}-N_{1}) - m} -\end{equation} - - For setting math the compositor will have two double -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, -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 -the first terms. -The $N_{1} +m$ term is taken from the storage, and a piece of 2pt 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 -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, -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} -\end{displaymath} - - Even if an automatic caster, such as a Linotype or Monotype, was being -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} -P_{N}\tmri_{+m} = N_{1} + m\tmrx N_{2}-N_{1}\tmrx \alpha^{m}\beta^{(N_{\tmri}-N_{\tmri}) - m} \; C \; m -\end{displaymath} - -This would then go to the `marker-up' who would turn it into -\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} -\end{displaymath} - -After 1958 it was slightly easier when Monotype had introduced the -`4-line' system but there was still a lot of handwork required. -It is, however, much easier using LaTeX where -formula~\ref{eq:typeset} above was specified as: -\begin{lcode} -\begin{equation} -P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} - \alpha^{m}\beta^{(N_{2}-N_{1}) - m} -\end{equation} -\end{lcode} - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -\begin{comment} -\chapter{Historical background} - -\section{Galloping through the millenia} - - The earliest known writing dates back to the Sumerians around 3300\textsc{bc} -who used pointed sticks or reeds to impress marks into wet clay tablets -that were subsequently dried. The result is what we call -Cuneiform\index{cuneiform}.\footnote{From the Latin \emph{cuneus} meaning wedge.} -For the next several thousand years all texts were produced, one way or -another, individually by hand. - - The earliest printed book known is a 9th century Chinese woodblock -printing of the \emph{Diamond Sutra}. In this technique the complete text -for a page is carved on a wooden block which is then used to impress -the ink onto the paper. Once the woodblocks were available many copies -of the text could be produced very quickly. - - The Koreans were perhaps the first to print using moveable type where -the individual characters were engraved on wood blocks so they could be -reused for different texts. In his \emph{Writings Beside the Meng Creek} -the Song Dynasty essayist Shen Kuo (1031--1095) -described how Bi Sheng during the reign of Chingli (1041--1048) printed -from moveable type that he made from baked clay, which was rather fragile. -Somewhat later Wang Zhen (c. 1290--1333) improved the process by using -wooden type. These never became particularly popular methods because -of the thousands of different characters that a printing house might need. -By 1230 the Koreans used moveable metal type for printing. None of this was -known outside Asia. - - In the West books and manuscripts were hand written by scribes, -although some -small items, like playing cards or depictions of saints, were printed -from woodblocks. Then Johannes\index{Gutenberg, Johannes} Gutenberg -(c. 1398--1468) of Mainz invented printing using moveable type -around about 1440--1450.\footnote{Others have been put forward as the -inventor, notably a Dutchman named Coster, but the preponderance of -opinion favours Gutenberg.} - He had to experiment to determine the formula for -a suitable ink and also to develop a good metal alloy for the type itself. -He came up with lead to which he added antinomy for strength and hardness and -tin for toughness.\footnote{This is still the basis for metal type today; -Monotype casting machines use lead with 15--24\% antinomy and 6--12\% tin.} - - In order be successful in the market Gutenberg had to produce books -that equaled those produced by the scribes, except that they did not -have to be decorated so lavishly. The scribes used many ligatures, -contractions, and other techniques in order to have justified text with -no raggedy edges. To compete with them his font for the famous 42-line -Bible, published around 1455, consisted of some 290 characters though all -the text was in Latin which requires a basic character set of only forty -letters --- twenty lowercase letters and twenty caps --- plus -some punctuation marks. - - The 42-line Bible is set in two columns of 42 lines each. It is believed -that about 135 copies were printed on paper and 40 on vellum. The page size was -12 by 16\slashfrac{1}{2} inches and it is estimated that more than five -thousand calfskins were required for the vellum copies. - - The new technology spread rapidly. In 1465 -Konrad\index{Sweynham, Konrad} Sweynheym and Arnold\index{Pannartz, Arnold} -Pannartz set up a printing shop in the monastery at Subiaco, east of Rome. -There was printing in K\"{o}ln in 1466 and in 1468 in Augsberg and Rome itself. -The first Venetian printer was Johann\index{Speyer, Johann van} van Speyer -who started work in 1469. A year later printing was established at the -Sorbonne and Nicolas\index{Jenson, Nicolas} Jenson -had his press in Venice. Printing was introduced into Spain at Valencia -in 1474. William\index{Caxton, William} Caxton started printing in England -in 1476 setting up a press at The Sign of the Red Pale in Westminster, -near the Abbey; Theoderic\index{Rood, Theoderic} Rood was printing in -Oxford between 1478 and 1485 and John\index{Sieberch, John} Sieberch at -Cambridge in 1520. - - The German printers kept with the initial gothic -style of Gutenberg's type and Caxton used a cursive bastarda gothic. The -Italians and other Europeans, though, moved to a roman type, based on the -humanist bookhands, for their -work. In 1471 Jenson produced the first full set of Greek type, which still -remains one of the best. Aldus\index{Manutius, Aldus} Manutius, printing in -Venice, introduced the italic type in 1500. - - The early printers were jack of all trades. They had to make their presses, -design, make and cast their type, and print and sell the results. As time went -on typemaking and printing became separate crafts. It became possible to -purchase the materials and equipment for printing but the printer was still -the book designer. - - For four centuries setting the type for printing was done by hand until -the introduction of the Linotype\index{Linotype} machine in 1886. The operator -sat at a keyboard, typing the text line by line and the machine produced a -corresponding solid line of type. The disadvantage was when an error needed -correcting at least one whole new line of type was needed, or two or more if -the correction spilled over the end of the line, or even more if it continued -onto the following page. The competing -Monotype\index{Monotype} machine, invented by Tolbert\index{Lanston, Tolbert} -Lanston, was first available in 1896. This was operated via a keyboard which -produced a punched paper tape which was fed to the caster which produced -lines of type composed of individual pieces. Correcting typos was easier -because individual characters could be added or replaced. On the other hand, -Linotype output was easier to handle if complete sections had to be moved -around, for example for `quick' printing such as a daily newspaper. - - Alan Bartram~\cite{BARTRAM01} shows examples of book designs from between -1470 and 1948, not all of which he considers to be good. Examples of printed -pages from the 15th to the 20th century are in the TUG 2007 San Diego Meeting -keynote presentation~\cite{TUGKEYNOTE07}. - - -\section{Making type} - - This is a very brief description of how lead type is made. For -a good overview see~\cite{CHAPPELL99} and Fred Smeijers~\cite{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. - - 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 -is harder but lasts longer. At this point the character is in the same -orientation as printed but is a negative impression in the matrix. - - The matrix is then put into a casting box and molten typemetal poured in. -Once it has hardened and removed from the mould the new piece of type is -dressed to the same length as all the other pieces for the font. Many, many -pieces of type can be cast from one matrix, and if the punch is retained new -matrices can be made. Typically one buys the lead type from a typecasting -company, and a typecasting company would purchase matrices from the type -design company. Of course, in the early days these were all the same -organisation and only as the centuries passed did they tend to become -separated. - - The Linotype\index{Linotype} and Monotype\index{Monotype} machines -require the matrices but cast the type only when needed. After use the type -from these machines is melted down and reused time and time again. - -\section{Book types} - - Roughly speaking, there are two kinds of printing type; one, called -in general \emph{book type}\index{book type}, -is what is used for setting longer pieces -of text such as a poem or a book, or other material meant for continuous -reading. The other, called \emph{display type}\index{display type}, is used -for pretty much everything else, such as company names, posters, -advertisements, ephemera and sometimes even book titles, all of which are -short pieces of text, often intended to catch your eye. There are a multitude -of display types, some of them almost illegible. Here I want to say a little -bit about book types. - -\subsection{Gothic} - - The first type was \emph{gothic}\index{gothic}, or -\emph{blackletter}\index{blackletter}, used by Guthenberg which was based on -the kind of script that the scibes were using at that time (c. 1455). -It remained in -fashion in Germany until towards the end of the last century, and is still -often used for the names of newspapers. Elsewhere, starting in Italy, -it was replaced by the \emph{roman}\index{roman} type. - -\subsection{Roman Venetian} - - Early roman types, based on the humanist scribal hand, were cut by -Sweynheym \& Pannartz in the Rome area (c. 1467). In Venice Nicolas -Jenson cut what is considered to be the first, and one of the best, romans -(c. 1471). His types have been widely reproduced and copied and the style -is known as \emph{Venetian}\index{Venetian}. Some modern day Venetians -include Cloister\index{Cloister}, Eusebius\index{Eusebius} (originally -called Nicolas Jenson), Venezia\index{Venezia}; -Bruce Roger's Centaur\index{Centaur} has been described as a modernized -Venetian. - -\subsubsection{Characteristics} - - The general characteristics of Venetian romans are: -%%%%%%%%%%%%%%%\newcommand*{\sflabel}[1]{\hspace\labelsep \normalfont\sffamily #1} -\begin{labelled}{sflabel} -\item[Stress] Oblique, i.e., the thickest parts of curves are approximately - northeast and southwest. -\item[Contrast] Gradual transition between thick and thin strokes. -\item[Serifs] Bracketed, heavy, and sometimes slablike and often cupped. -\item[Other] In general the letters are wide with strong colour, especially - for the uppercase. The bar of the lowercase `e' slopes up to - the right. -\end{labelled} - - -\subsection{Roman Old Face} - - Another of the many printers in Venice, Aldus Manutius, cut a -variation on Jenson's roman and which soon superseded it in popularity. -It was first used in the famous \emph{Hypnerotomachia Poliphili} by -Francesco Colonna which Aldus published in 1499. - - The Aldine roman soon spread across Europe. One of the first typecutters -to use it as a model was Claude Garamond in Paris (c. 1540), and his types -had a wide distribution, for example being used in Antwerp by Christopher -Plantin. The English typecutter William Caslon (1692--1766) cut a famous -old-face that has been used ever since. - - Some modern day old-face types are Bembo, Caslon, Estienne, Granjon, -Imprint, Poliphilus and Van Dijck. - -\subsubsection{Characteristics} - - The general characteristics of old-face romans are: -\begin{labelled}{sflabel} -\item[Stress] Oblique, i.e., the thickest parts of curves are approximately - northeast and southwest. -\item[Contrast] Gradual transition between thick and thin strokes, but more - pronounced than the Venetians. -\item[Serifs] Bracketed but not slab and so are lighter than with the - Venetians. -\item[Other] In general the letters are narrower than the Venetians, especially - the capitals which are often lower than the lowercase ascenders. - The bar of the lowercase `e' is horizontal. -\end{labelled} - - -\subsection{Transitional Romans} - - By the end of the sixteenth century the quality of printing in Italy -and France had fallen off from when Claude Garamond was working. In 1692 -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 who cut the -new Roman du Roi allowed his typecutter's eye to sometimes overrule the -academicians to the betterment of the result. - - Grandjean's type was copied by many others and effectively replaced -old-face in Europe. Pierre Simon Fournier (1712--1768) started his typecutting -business in 1737, cutting over eighty types in twenty-four years. These were -based on Garamond's types but influenced by Grandjean's work. The result was -the first of the Transitional types. - - The changes on the continent had little impact in England, old-face -still being very popular. - - Some modern day transitional types are Baskerville, Bell, Fournier -and Georgian. - - -\subsubsection{Characteristics} - - The general characteristics of Old Face romans are: -\begin{labelled}{sflabel} -\item[Stress] Oblique, i.e., the thickest parts of curves are approximately - northeast and southwest. -\item[Contrast] Gradual transition between thick and thin strokes, but more - pronounced than the Venetians. -\item[Serifs] Bracketed but not slab and so are lighter than with the - Venetians. -\item[Other] In general the letters are narrower than the Venetians, especially - the capitals which are often lower than the lowercase ascenders. - The bar of the lowercase `e' is horizontal. -\end{labelled} - - - -\section{Setting type} - -\PWnote{2009/04/03}{Added bits and pieces about letterpress.} - - Until the last hundred years or so, type has been hand set. Even now there -are printers who still set lead type by hand, called -now letterpress\index{letterpress} printing, and on the odd occasion I am -one of them. Again, this is a brief description of the process but -Chappell~\cite{CHAPPELL99} -provides much more detail if you are interested. If you have a desire to -set up your own small print shop, perhaps in your garage or shed in the garden, -then John Ryder\index{Ryder, John} has lots of pertinent advice~\cite{RYDER}. -He directed -the design and production of many books for The Bodley Head, and, starting in -1930, produced much interesting work on an Adana\index{hand press!Adana} -quarto press in his home. -The Briar Press\index{Briar Press} is another very useful resource, -available via the web\label{briar}\footnote{\url{http://www.briarpress.org}} ---- and in their words: `Proudly -introducing the bleeding-edge world of personalized desktop publishing -circa 1820'! - - The type is kept in type-, or job-, cases\index{typecase}\index{job case|see{typecase}}. -These are shallow wooden -partitioned trays and traditionally there were two of them for each font --- -a lower one closer to the typesetter for the minuscule characters and the -second one, arranged above the first as an `upper case', for the majuscules -(capitals); hence the terms lowercase and uppercase characters. The -characters were not arranged in alphabetical order but followed a system -that was meant to reduce the amount of movement required from the typesetter. -The shop where I print uses a `California job case' for type, -illustrated in \fref{fig:cacase}, which combines both the lowercase and -uppercase into a single case. The lowercase letters are arranged in a -seemingly semi-random order while the uppercase, which are used much less -frequently, are in alphabetical order. The exceptions here are `U' and `J' -which are latecomers to the alphabet only being generally accepted in the 16th -and 17th centuries, respectively --- printing has strong traditions. - - -\begin{figure} -\centerfloat -\setlength{\unitlength}{0.8pc} -\setlength{\unitlength}{0.7pc} -\setlength{\unitlength}{0.75pc} -\noindent \begin{picture}(50,30) -% framing - \put(0,0){\framebox(50,30){}} - \put(1,1){\framebox(48,28){}} -% first 1/3 - \put(1,1){\framebox(2.0,4){q}} - \put(1,5){\framebox(2.0,4){x}} - \put(1,9){\framebox(2.0,4){z}} - \put(1,13){\framebox(2.0,4){!}} - \put(1,17){\framebox(2.0,4){?}} - \put(1,21){\framebox(2.0,4){j}} - \put(1,25){\framebox(2.0,4){ffi}} - - \put(3,1){\framebox(2,8){v}} - \put(3,9){\framebox(2,8){l}} - \put(3,17){\framebox(2,8){b}} - \put(3,25){\framebox(2,4){fl}} - - \put(5,1){\framebox(4,8){u}} - \put(5,9){\framebox(4,8){m}} - \put(5,17){\framebox(4,8){c}} - \put(5,25){\framebox(2,4){\shortstack{5 \\ to \\ an \\ em}}} - \put(7,25){\framebox(2,4){\shortstack{4 \\ to \\ an \\ em}}} - - \put(9,1){\framebox(4,8){t}} - \put(9,9){\framebox(4,8){n}} - \put(9,17){\framebox(4,8){d}} - \put(9,25){\framebox(2,4){'}} - \put(11,25){\framebox(2,4){k}} - - \put(13,1){\framebox(4,8){\shortstack{3 to \\ an em}}} - \put(13,9){\framebox(4,8){h}} - \put(13,17){\framebox(4,12){e}} -% second 1/3 - \put(18,1){\framebox(4,8){a}} - \put(18,9){\framebox(4,8){o}} - \put(18,17){\framebox(4,8){i}} - \put(18,25){\framebox(2,4){1}} - \put(20,25){\framebox(2,4){2}} - - \put(22,1){\framebox(4,8){r}} - \put(22,9){\framebox(2,8){y}} - \put(24,9){\framebox(2,8){p}} - \put(22,17){\framebox(4,8){s}} - \put(22,25){\framebox(2,4){3}} - \put(24,25){\framebox(2,4){4}} - - \put(26,1){\framebox(2,4){.}} - \put(26,5){\framebox(2,4){;}} - \put(26,9){\framebox(2,8){w}} - \put(26,17){\framebox(2,8){f}} - \put(26,25){\framebox(2,4){5}} - - \put(28,1){\framebox(2,4){-}} - \put(28,5){\framebox(2,4){:}} - \put(28,9){\framebox(2,8){,}} - \put(28,17){\framebox(2,8){g}} - \put(28,25){\framebox(2,4){6}} - - \put(30,1){\framebox(4,8){quads}} - \put(30,9){\framebox(2,8){ens}} - \put(30,17){\framebox(2,4){fi}} - \put(30,21){\framebox(2,4){ff}} - \put(30,25){\framebox(2,4){7}} -% \put(37,1){\framebox(5,8){quads}} - - \put(32,9){\framebox(2,8){ems}} - \put(32,17){\framebox(2,4){0}} - \put(32,21){\framebox(2,4){9}} - \put(32,25){\framebox(2,4){8}} -% third 1/3 - \put(35,1){\framebox(2,4){X}} - \put(35,5){\framebox(2,6.67){P}} - \put(35,11.67){\framebox(2,6.67){H}} - \put(35,18.33){\framebox(2,6.66){A}} - \put(35,25){\framebox(2,4){\$}} - - \put(37,1){\framebox(2,4){Y}} - \put(37,5){\framebox(2,6.67){Q}} - \put(37,11.67){\framebox(2,6.67){I}} - \put(37,18.33){\framebox(2,6.66){B}} - \put(37,25){\framebox(2,4){--}} - - \put(39,1){\framebox(2,4){Z}} - \put(39,5){\framebox(2,6.67){R}} - \put(39,11.67){\framebox(2,6.67){K}} - \put(39,18.33){\framebox(2,6.66){C}} - \put(39,25){\framebox(2,4){---}} - - \put(41,1){\framebox(2,4){J}} - \put(41,5){\framebox(2,6.67){S}} - \put(41,11.67){\framebox(2,6.67){L}} - \put(41,18.33){\framebox(2,6.66){D}} - \put(41,25){\framebox(2,4){(}} - - \put(43,1){\framebox(2,4){U}} - \put(43,5){\framebox(2,6.67){T}} - \put(43,11.67){\framebox(2,6.67){M}} - \put(43,18.33){\framebox(2,6.66){E}} - \put(43,25){\framebox(2,4){)}} - - \put(45,1){\framebox(2,4){\&}} - \put(45,5){\framebox(2,6.67){V}} - \put(45,11.67){\framebox(2,6.67){N}} - \put(45,18.33){\framebox(2,6.66){F}} - \put(45,25){\framebox(2,4){[}} - - \put(47,1){\framebox(2,4){ffl}} - \put(47,5){\framebox(2,6.67){W}} - \put(47,11.67){\framebox(2,6.67){O}} - \put(47,18.33){\framebox(2,6.66){G}} - \put(47,25){\framebox(2,4){]}} -\end{picture} -\caption{The California job case layout} \label{fig:cacase} -\end{figure} - - A line of type is set, or composed, in a hand-held -composing\index{composing stick} stick, which -has an adjustable stop which is set to the required line length. Since the -letters read in reverse, right to left, they are assembled upside down, -allowing working from left to right by the compositor. The characters for -a word are put into the stick, then a space, the next word, a space and on -until the line is almost full when it can be justified by inserting small extra -spaces between the words. A lead may be put separating this line from the next, -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. - - 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 -on the composing table and rectangular -blocks of wood, called furniture, are placed between the type and the chase -to hold the type in position, then expandable metal wedges, called -quoins\index{quoin}, -are inserted to lock the type within the chase. This is essential as the -chase and contents will be lifted up and transferred to the press itself --- -there is nothing like the joy of picking up and sorting out several hundred -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 -flat-bed\index{hand press!flat-bed} type, as -used from Gutenberg's day onwards, the forme is fixed on a horizontal bed -which is mounted on horizontal rails, the type is inked (usually by hand), -a sheet of paper is positioned over the forme, and the bed -slid under the platen --- a large flat plate --- which is then pressed -down hard by a screw mechanism to force the paper against the type. The platen -is raised, the bed slid out and the printed sheet removed, ready for the next -sheet to be positioned. Originally the presses were made of oak but -nowadays are steel and cast iron. Typical of -the flat-bed presses are the \index{hand press!Albion} Albion in England -and the Washington\index{hand press!Washington} in America. - - The other type is a platen\index{hand press!platen} press -exemplified by the Excelsior\index{hand press!Excelsior} in England -and the Chandler \& Price\index{hand press!Chandler \& Price}, which -is the one I use, in America. Here the bed --- a rectangular steel plate --- -is vertical and fixed and the forme is locked onto the bed. Above the bed -is a circular disc on which the ink is spread. As the press operates rollers -come down over the disc picking up a thin film of ink, -then over the forme --- thus inking the type --- -and back up again; while the rollers are inking the type the disc is -rotated a few degrees so that the rollers will run over a different section -of the disc each time thus improving the uniformity of the ink pickup. -A sheet of paper is clipped to the platen which, as the -rollers go over the disc, swings up to press the paper against the inked type -and then down again so the sheet can be removed and the next one inserted. - - You can see pictures of the presses mentioned above, and many other as -well, on the -Briar Press\index{Briar Press} website (see \pref{briar}). - - At the end, the forme is put back on the composing table and any ink -is cleaned off the type, which is then taken from the chase -and `distributed' back into -the correct places in the typecases(s)\index{typecase}. The furniture and -leads are also put back into the proper places in their respective -storage areas. - - If the text is to be printed in multiple colours, the type for the first -colour is set with spaces left for the second coloured type, and then printed. -The type for the second colour is set in the spaces left for it, and the first -set of type removed and replaced by spaces. The press is cleaned and the first -colour ink replaced by the second colour ink. The original partially printed -pages are then printed with the next colour. If all is well the differently -coloured printed characters will all be aligned. Understandably, it is rare -that more than two colours are used. - - -\section{Today} - - Today the great majority of printed works are produced with -offset\index{offset printing} printer presses, the first of which was -invented by Ira Washington\index{Rubel, Ira Washington} Rubel in -1903.\footnote{Rubel was an American; with a name like that he certainly -couldn't be English.} - - In the offset lithography process the original work image is put -onto metal foils which -are wrapped around a cylinder on the press; ink is picked up by the foil -and is transferred to a `blanket' or `offset' cylinder that is in contact -with the first one. In turn, the ink from the offset cylinder is -transferred to the paper which is pressed against it. - - Nowadays the original image is created on a computer and the foils -produced automatically. The system is excellent for coloured work --- one foil -is produced for each colour, following the CMYK\index{CMYK} -(Cyan, Magenta, Yellow, Key (black)) subtractive colour system -(televisions and computer monitiors use the RGB\index{RGB} (Red, Green, Blue) -additive colour system). In the lowest capital cost situation only a -single station press is used which can print a single colour. To get full -colour the paper must be run through the press four times in all, once for -each colour (and black) and if both sides are to be printed, then another -four times for the second side. Moving up -the scale there are two stand presses that can do two colours in one run, -four stand presses that will do all four in one run.\footnote{The press shop -where I occasionally go to do traditional hand set printing has all of these.} -In most -smaller printing shops single sheets of paper are used which have to be put -through the pres(ses) at least twice, once for each side. Newspapers are -also printed using offset lithography. In their case, though, web offset -printers are used where the paper is fed in continuously from a large roll and -is printed on both sides on its journey through the press. - - Up and coming are digital presses operating directly from the -computer.\footnote{Think sophisticated colour laser printers.} -These are approaching the cost and quality tradeoffs of offset printers -and are increasingly being used for on-demand small quantity printing. - - Apart from the time and effort involved the principal difference between -traditional letterpress\index{letterpress} printing and the modern methods -is the way the ink is put onto the paper.In the traditional method the type -is inked and then pressed \emph{into} the paper (think typewriters), while -in modern methods the ink is effectively laid \emph{onto} the paper (think -inkjet printers). You can sometimes tell if something has -been printed by letterpress methods by running a finger lightly over the page; -if the lines are `bumpy' then it has been printed letterpress. Printers using -letterpress actually face a dichotomy. In order to obtain the finest detail -from the type then it should be pressed as lightly as possible into the paper, -but to indicate clearly that it has been letterpress printed, then it is -advisable to impress hard enough to leave permanent indentations, no matter -how slight. As is common, tradeoffs seem inevitable. - - - -\section{Setting maths} - - I had always wondered how maths was typeset before TeX was available and -I eventually found an answer in an article by David Wishart~\cite{WISHART03}. -The following is based upon his descriptions. - - As described above, before the advent of typesetting machines compositors -picked pieces of type from a double typecase\index{typecase}, -typically just containing the -upper and lower case roman characters, the numerals and punctuation marks, -assembled some lines in a composing stick\index{composing stick}, -and transferred them to a chase\index{chase}, which when full was locked -up and then -put into the press to print onto the paper. When setting text this is -straightforward as each `line' in the composing stick is a line of text. -This is not the case with maths, such as this formula - -\begin{equation} \label{eq:typeset} -P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} - \alpha^{m}\beta^{(N_{2}-N_{1}) - m} -\end{equation} - - For setting math the compositor will have two double -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, -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 -the first terms. -The $N_{1} +m$ term is taken from the storage, and a piece of 2pt 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 -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} - - Finnaly the Greek terms are added, with 6.5pt 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} -\end{displaymath} - - Even if an automatic caster, such as a Linotype or Monotype, was being -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} -P_{N}\tmri_{+m} = N_{1} + m\tmrx N_{2}-N_{1}\tmrx \alpha^{m}\beta^{(N_{\tmri}-N_{\tmri}) - m} \; C \; m -\end{displaymath} - -This would then go to the `marker-up' who would turn it into -\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} -\end{displaymath} - -After 1958 it was slightly easier when Monotype had introduced the -`4-line' system but there was still a lot of handwork required. -It is, however, much easier using LaTeX where -formula~\ref{eq:typeset} above was specified as: -\begin{lcode} -\begin{equation} -P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} - \alpha^{m}\beta^{(N_{2}-N_{1}) - m} -\end{equation} -\end{lcode} -\end{comment} -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\chapter{The Parts of a Book} - -%\section{Introduction} - - This chapter describes the various parts of a book, the -ordering of the parts, and the typical page numbering scheme used -in books. - - - -\section{\prfrontmatter} - - - There are three major divisions in a book: -the \pixfrontmatter\ or preliminaries\index{preliminaries}, -the \pixmainmatter\ or text, -and the \pixbackmatter\ or references. -The main differences as -far as appearance goes is that in the \pixfrontmatter\ the folios\index{folio} are -expressed as roman numerals and sectional divisions are not numbered. The -folios\index{folio} are expressed as arabic numerals in the \pixmainmatter\ -and \pixbackmatter. Sectional -divisions are numbered in the \pixmainmatter\ but not in the \pixbackmatter. - - The \pixfrontmatter\ consists of such elements as the title -of the book, a table of contents\ixtoc, and similar items. All pages are -paginated\index{pagination} --- that is they are counted --- but the first -few pages in the \pixfrontmatter, the title pages and such, do not usually have -folios\index{folio}. -The remainder of the pages in the \pixfrontmatter\ do have folios\index{folio} -which are usually expressed as roman numerals. Not all -books have all the elements described below. - - The first page is a recto -\emph{half-title}\index{half-title page}\index{title page!half-title}, -or \emph{bastard title}\index{bastard title page}\index{title page!bastard}, -page with no folio\index{folio}. -The page is very simple and displays just the main title of the book --- -no subtitle, author, or other information. One purported purpose of this -page is to protect the main title page. - - The first verso page, the back of the half-title page, may contain the -series title, if the book is one in a series, a list of contributors, -a frontispiece, or may be blank. The series title may instead be put on the -half-title page or on the copyright page. - - The \emph{title page}\index{title page} is recto and contains the full -title of the work, the names of the author(s) or editor(s), and often at the -bottom of the page the name of the publisher, together with the publisher's -logo if it has one. - - The title page(s) may be laid out in a simple manner or can have various -fol-de-rols, depending on the impression the designer wants to give. In -any event the style of this page should give an indication of the style -used in the main body of the work. - - The verso of the title page is the copyright page\index{copyright page}. -This contains the copyright notice, the publishing/printing history, -the country where printed, ISBN and/or CIP information. The page is usually -typeset in a smaller font\index{font!change} than the normal text. - - Following the copyright page may come a dedication or an epigraph\index{epigraph}, -on a recto page, with the following verso page blank. - - This essentially completes the unfolioed pages. - - The headings\index{heading} and textual forms for the paginated -pages should be the same as those for the \pixmainmatter, except that -headings\index{heading} are usually unnumbered. - - The first folioed page, -usually with roman numerals (e.g., this is folio iii), -is recto with the Table of Contents (\toc). If the book contains -figures\index{figure} (illustrations\index{illustration}) -and/or tables\index{table}, the List of Figures (\lof) and/or List of Tables -(\lot) come after the \toc, with no blank pages separating them. The \toc\ -should contain an entry for each following major element. If there is a \lot, -say, this should be listed in the \toc. The main chapters\index{chapter} must -be listed, of course, and so should elements like a preface\index{preface}, -bibliography\index{bibliography} or an index\index{index}. - - There may be a foreword\index{foreword} after the listings, with no blank -separator. A foreword is usually written by someone other than the author, -preferably an eminent person whose name will help increase the sales potential, -and is signed by the writer. The writer's -signature is often typeset in small caps after the end of the piece. - - A preface\index{preface} is normally written by the author, in which he -includes reasons why he wrote the work in the first place, and perhaps to -provide some more personal comments than would be justified in the body. -A preface starts on the page immediately following a foreword, or the lists. - - If any acknowledgements are required that have not already appeared in the -preface, these may come next in sequence. - - Following may be an introduction if this is not part of the main text. -The last elements in the front material may be a list of abbreviations, list -of symbols, a chronology of events, a family tree, or other information of -a like sort depending on the particular work. - - Table~\ref{tab:front} summarises the potential elements in the -\pixfrontmatter. - -\begin{table} -\centering -\caption{\prFrontmatter}\label{tab:front} -\begin{tabular}{llcc} \toprule -Element & Page & Folio & Leaf \\ \midrule -Half-title page & recto & no & 1 \\ -Frontispiece, etc., or blank & verso & no & 1 \\ -Title page & recto & no & 2 \\ -Copyright page & verso & no & 2 \\ -Dedication & recto & no & 3 \\ -Blank & verso & no & 3 \\ -Table of Contents\ixtoc & recto & yes & 3 or 4 \\ -List of Figures\ixlof & recto or verso & yes & 3 or 4 \\ -List of Tables\ixlot & recto or verso & yes & etc. \\ -Foreword & recto or verso & yes & etc. \\ -Preface & recto or verso & yes & etc. \\ -Acknowledgements & recto or verso & yes & etc. \\ -Introduction & recto or verso & yes & etc. \\ -Abbreviations, etc & recto or verso & yes & etc. \\ -\bottomrule -\end{tabular} -\end{table} - - - Note that the titles Foreword, Preface and Introduction are somewhat -interchangeable. In some books the title Introduction may be used for what -is described here as the preface, and similar changes may be made among the -other terms and titles in other books. - -\subsection{Copyright page} - - Most people are familiar with titles, \toc, prefaces, etc., but like -me are probably -less familiar with the contents of the copyright page\index{copyright page|(}. -In any event this is -usually laid out by the publishing house, but some authors may like to be, -or are forced into being, their own publisher. - - The main point of the copyright page is to display the -copyright\index{copyright} notice. -The Berne Convention does not require that published works carry a copyright -notice in order to secure copyright protection but most play it on the safe -side and include a copyright\index{copyright} notice. -This usually comes in three parts: the word \textit{Copyright} or more usually -the symbol \textcopyright, -the year of publication, -and the name of the copyright owner. -The copyright symbol matches the requirements of the Universal Copyright -Convention to which the USA, the majority of European and many Asian -countries belong. -The phrase `All rights reserved' is often added to ensure protection under the -Buenos Aires Convention, to which most of the Americas belong. A typical -copyright notice may look like: \\ -{\footnotesize \textcopyright{} 2035 by Frederick Jones. All rights reserved.} - - Somewhere on the page, but often near the copyright notice, is the name -and location(s) of the publisher. - - Also on the copyright page is the publishing history, denoting the edition -or editions\footnote{A second edition should be more valuable than a first -edition as there are many fewer of them.} and their dates, -and often where the book has been printed. One thing that has puzzled me in -the past is the mysterious row of numbers you often see, looking like: \\ -\centerline{\footnotesize\texttt{02 01 00 99 98 97\hspace{2em}10 9 8 7 6 5}} -The set on the left, reading from right to left, are the last two digits -of years starting with the original year of publication. -The set on the right, and again reading from right to left, represents the -potential number of new impressions (print runs). The lowest number in each -group indicates the edition date and the current impression. So, the example -indicates the fifth impression of a book first published in 1997. - - In the USA, the page often includes the Library of Congress -Cataloging-in-Publication (CIP)\index{CIP} data, -which has to be obtained from the -Library of Congress. This provides some keywords about the book. - - The copyright page is also the place for the ISBN\index{ISBN} -(International -Standard Book Number) number. This uniquely identifies the book. For example: -ISBN 0-NNN-NNNNN-2. The initial 0 means that the book was published in an -English-speaking country, the next group of digits identify the publisher, -the third group identifies the particular book by the publisher, and the final -digit, 2 in the example, is a check digit. - - It is left as an exercise for the reader to garner more information about -obtaining CIP and ISBN data.\index{copyright page|)} - -\section{\prMainmatter} - - The \pixmainmatter\ forms the heart of the book. - - Just as in all the other parts of a book the pages within the -\pixmainmatter\ -are included in the pagination, even though some folios\index{folio} may -not be expressed. The folios\index{folio} are normally presented as arabic -numerals, with -the numbering starting at 1 on the first recto page of the \pixmainmatter. - - The \pixmainmatter\ is at least divided into \emph{chapters}\index{chapter}, -unless it is something like a -young child's book which consists of a single short story. -When the material may be logically divided into sections larger than -chapters, the chapters may be grouped into \emph{parts}\index{part} which -would then be the highest level of division within the book. -Frederic Connes\index{Connes, Frederic} -has told me that in French typography there is often a division above the -part level. This is also sometimes the case with English typography where -it is typically called a \emph{book}\index{book} --- the -\btitle{Chicago Manual of Style}~\cite[p. 21]{CMS} shows an example. -A single physical book may thus be divided into levels from \emph{book} -through -\emph{part} and \emph{chapter} to further refinements. -Typically all of books\index{book!number}, parts\index{part!number} -and chapters\index{chapter!number} are numbered. -Obviously, part numbering should be continuous throughout the book, but even -with parts the chapter numbering is also continuous throughout the book. - - The title of a part\index{heading!part} is usually on a recto page which -just contains the part title, and number if there is one. -Book titles\index{heading!book} are usually treated the same way. -Chapters\index{chapter} also start on recto pages but in this case the text -of the chapter\index{chapter} starts on the same page as the chapter -title. - - Where chapters\index{chapter} are long, or when the material is -complicated, they may be divided into sections\index{section}, each introduced -by a subhead\index{subhead}, either numbered or unnumbered, with -the numbering scheme starting afresh within each chapter. Similarly sections -may be partitioned into subsections by inserting sub-subheads, but except -for more technical works this is usually as fine as the subdivisions need -go to. Normally there are no required page breaks before the start of any -subhead\index{subhead} within a chapter\index{chapter}. - - The title page of a part\index{part} - or chapter\index{chapter} need not have the folio\index{folio} expressed, nor -a possibly textless verso page before the start of a chapter\index{chapter}, but all other -pages should display their folios\index{folio}. - - There may be a final chapter\index{chapter} in the \pixmainmatter\ called Conclusions, -or similar, which may be a lengthy summary of the work presented, untouched -areas, ideas for future work, and so on. - - If there are any numbered appendices\index{appendix} -they logically come at the end of -the \pixmainmatter. Appendices are often `numbered' alphabetically rather -than numerically, so the first might be Appendix A, the second Appendix B, -and so on. - - An epilogue\index{epilogue} or an afterword\index{afterword} is a -relatively short piece that the author may -include. These are not normally treated as prominently as the preceding -chapters\index{chapter}, and may well be put into the \pixbackmatter\ if they are -unnumbered. - -\section{\prBackmatter} - - The \pixbackmatter\ -is optional but if present conveys information ancilliary -to that in the \pixmainmatter. The elements are not normally numbered, so an -unnumbered appendix\index{appendix} would normally come in the \pixbackmatter. - - Other elements include Notes, a Glossary\index{glossary} - and/or lists of symbols\index{symbol} or -abbreviations\index{abbreviation}, which could be in the -\pixfrontmatter\ instead. These elements -are normally unnumbered, as is any list of contributors\index{contributor}, -Bibliography\index{bibliography} or Index\index{index}. - - In some instances appendices\index{appendix} -and notes may be given at the end of each -chapter\index{chapter} instead of being lumped at the back. - - The first element in the \pixbackmatter\ starts on a recto page but the -remainder may start on either recto or verso pages. - - In older books it was often the custom to have a colophon\index{colophon} -as the final element in a book. This is an inscription which includes -information about the production and design of the book and nearly -always indicates which fonts\index{font} were used. - - -\section{Signatures and casting off} -\index{signature|(} - - Professionally printed books have many pages printed per sheet of (large) -paper\index{paper}, which is then folded and cut where necessary to produce a -\emph{gathering}\index{gathering} or \emph{signature} of several smaller -sheets. An -unfolded sheet is called a \emph{broadside}\index{broadside}. -Folding a sheet in half produces a one sheet -\emph{folio}\index{folio} signature with two leaves and four pages. -Folding it in half again and cutting along the original fold gives a -two sheet \emph{quarto}\index{quarto} signature with four leaves -and eight pages. -Folding in half again, -results in a four sheet \emph{octavo}\index{octavo} signature with eight -leaves and 16 pages, and so on as listed in \tref{tab:signatures}. - -\begin{table} -\centering -\caption{Common signatures} \label{tab:signatures} -\begin{tabular}{lcccrccrccrc} \toprule -Name & Folds & Size & \multicolumn{3}{c}{Sheets} & -\multicolumn{3}{c}{Leaves} & \multicolumn{3}{c}{Pages} \\ \midrule -Broadside & 0 & $a \times b$ & & 1 & & & 1 & & & 2 & \\ -Folio & 1 & $b/2 \times a$ & & 1 & & & 2 & & & 4 & \\ -Quarto, \emph{4to} & 2 & $a/2 \times b/2$ & & 2 & & & 4 & & & 8 & \\ -Octavo, \emph{8vo} & 3 & $b/4 \times a/2$ & & 4 & & & 8 & & & 16 & \\ -\emph{16mo} & 4 & $a/4 \times b/4$ & & 8 & & & 16 & & & 32 & \\ -\emph{32mo} & 5 & $b/8 \times a/4$ & & 16 & & & 32 & & & 64 & \\ -\emph{64mo} & 6 & $a/8 \times b/8$ & & 32 & & & 64 & & & 128 & \\ \bottomrule -\end{tabular}% -\index{broadside}\index{folio}\index{quarto}\index{4to}\index{octavo}% -\index{8vo}\index{16mo}\index{32mo}\index{64mo}% -\end{table} - - In \tref{tab:signatures} the Size column is the untrimmed size of a -leaf\index{leaf} in -the signature -with respect to the size of the broadside. When made up into a book the -leaves will be trimmed to a slightly smaller size, at the discretion of the -designer and publisher; typically a minimum of 1/8 inch or 3 millimetres -would be cut from the top, bottom and \foredge\ of a leaf. - - Other folds can produce other signatures. For example a -\emph{sexto}\index{sexto}, -obtained by folding in thirds and then folding in half, is a three sheet -signature with six leaves and 12 pages. - - Paper has always been made in a wide range of sizes for a myriad of uses. -Table~\ref{tab:uspapersizes} lists some common American paper sizes. - -\begin{table} -\centering -\caption[Some American paper sizes]{Some American paper sizes (in inches)}\label{tab:uspapersizes} -\begin{tabular}{lll}\toprule -`Dollar bill' & \abyb{7}{3} & Used for origami, not bills \\ -Statement & \abyb{8.5}{5.5} & \\ -Executive & \abyb{10.5}{7.25} & \\ -Letter & \abyb{11}{8.5} & Also in double, half or quarter size \\ -Old (untrimmed) & \abyb{12}{9} & Also called Architectural-A \\ -Legal & \abyb{14}{8.5} & \\ -Ledger & \abyb{17}{11} & Also called Tabloid \\ -Broadsheet & \abyb{22}{17} & As used in newsprint \\ \bottomrule -\end{tabular} -\end{table} - -Traditionally the sizes are denoted by name but manufacturers did not -necessarily make paper of the size that matched the name they gave it. -Some common names and trimmed sizes for British book work are given in -\tref{tab:britpapersizes}. - -\begin{table} -\centering -\caption[Some traditional British book paper sizes]{Some traditional British book paper sizes (in inches)}\label{tab:britpapersizes} -\begin{tabular}{lll}\toprule -Name & Quarto & Octavo \\ \midrule -pott & \abyb{8}{6.5} & \abyb{6.25}{4}{in} \\ -foolscap & \abyb{8.5}{6.75} & \abyb{6.75}{4.25} \\ -crown & \abyb{10}{7.5} & \abyb{7.5}{5} \\ -post & \abyb{10}{8} & \abyb{8}{5} \\ -large crown & \abyb{10.5}{8} & \abyb{8}{5.25} \\ -large post & \abyb{10.25}{8.25} & \abyb{8.25}{5.25} \\ -small demy & \abyb{11.25}{8.5} & \abyb{8.5}{5.675} \\ -demy & \abyb{11.25}{8.75} & \abyb{8.75}{5.675} \\ -medium & \abyb{11.5}{9} & \abyb{9}{5.75} \\ -small royal & \abyb{12.25}{9.25} & \abyb{9.25}{6.175} \\ -royal & \abyb{12.5}{10} & \abyb{10}{6.25} \\ -super royal & \abyb{13.5}{10.25} & \abyb{10.25}{6.75} \\ -imperial & \abyb{15}{11} & \abyb{11}{7.5} \\ \bottomrule -\end{tabular} -\end{table} - -The metric sizes, given in \tref{tab:metricpapersizes}, are those now -recommended for book production where the metric system holds sway, -which includes the UK~\cite[p. 104]{MCLEAN80}. - -\begin{table} -\centering -\caption[Metric book paper sizes]{Metric book paper sizes (in mm)}\label{tab:metricpapersizes} -\begin{tabular}{lll}\toprule - & untrimmed & trimmed \\ \midrule -metric crown octavo & \abyb{192}{126} & \abyb{186}{123} \\ -metric large crown octavo & \abyb{205}{132} & \abyb{198}{129} \\ -metric demy octavo & \abyb{222}{141} & \abyb{216}{138} \\ -metric small royal octavo & \abyb{240}{158} & \abyb{234}{156} \\ -A5 & & \abyb{210}{148} \\ \bottomrule -\end{tabular} -\end{table} - - In making up the book, the pages in each signature are first fastened -together, usually by sewing through the folds. The signatures are then bound -together and the covers, end papers\index{paper!end} and spine are attached to form -the completed whole. - - -\begin{table} -\centering -\caption[Common American commercial paper sizes]% - {Common American commercial paper sizes (in inches)} \label{tab:adriansizes} -\begin{tabular}{llll} \toprule -Sheet size & Book trim size & Common use & Pages per sheet (max) \\ \midrule -\abyb{45}{35} & \abyb{8.5}{5.5} & scholarly works & 32 pages \\ -\abyb{50}{38} & \abyb{9.25}{6.125} & major nonfiction & 32 pages \\ -\abyb{66}{44} & \abyb{8}{5.375} & fiction \& minor fiction & 64 pages \\ -\abyb{68}{45} & \abyb{8.25}{5.5} & major fiction \& nonfiction & 64 pages \\ -\abyb{45}{35} & \abyb{11}{8.5} & children's books, manuals & 16 pages \\ -\abyb{50}{38} & \abyb{12.125}{9.25} & art monographs, children's books & 16 pages \\ -\bottomrule -\end{tabular} -\end{table} - - Commercial printers use paper larger than shown in the previous tables; -they print several (final) pages on a single sheet, then fold it and trim it -down to the finished page size. Table~\ref{tab:adriansizes} is from -\cite[p. 59]{ADRIANWILSON93}. He also says that other common trimmed sizes are -\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. - - - Publishers like the final typeset book to be of a length that just fits -within an integral number of signatures\index{signature}, -with few if any blank pages required -to make up the final signature. Casting off\index{casting off} is the -process of determining how many lines a given text will make in a given -size of type, and hence how many pages will be required. - - To cast off you need to know how many characters there will be in -a line, and how many characters there are, or will be, in the text. -For the purposes of casting off, `characters' includes punctuation as well -as letters and digits. The -first number can be easily obtained, either from copy fitting tables or -by measurement; this is described in more detail in \S\ref{sec:tblock}. -The second is more problematic, especially when the manuscript has yet -to be written. A useful rule of thumb is that words in an English text -average five letters plus one space (i.e., six characters); -word length in technical texts might be greater than this. - - To determine the number of words it is probably easiest to type a -representative portion of the manuscript, hand count the words and then -divide that result by the proportion of the complete text that you have -typed. For example, if you have typed 1/20\,th of the whole, then divide -by 1/20, which is equivalent to multiplying by 20. To fully estimate -the number of pages required it is also necessary to make allowance for -chapter\index{chapter} titles, illustrations\index{illustration}, and so forth. - - If it turns out, say, that your work will require 3 signatures plus 2 -pages then it will be more convenient to make it fit into 3 signatures, -or 4 signatures minus a page or two. This can be done by expanding or cutting -the text and/or by changing the font\index{font!change} -and/or by changing the number or width -of lines on a page. - - When I was editing a technical journal the authors were given a word -limit. The primary reason was not that we were interested in the actual -word count but rather so that we could estimate, and possibly limit, -the number of pages allotted -to each article; we used \emph{octavo}\index{octavo} -signatures\index{signature} and no blank pages. -I suspect that it is -the same with most publishers --- it is the page count not the word count -that is important to them. - - In some special cases, extra pages may be `tipped in'\index{tip in} to -the body of the book. This is most likely to occur for -illustrations\index{illustration} which -require special paper\index{paper} for printing and it would be too costly to use -that paper\index{paper} for the whole work. Another example is for a fold-out of some sort, -a large map, say, or a triple spread illustration\index{illustration}. The tipped in pages -are glued into place in the book and may or may not be paginated. For -tipped in illustrations\index{illustration}, a List of Illustrations may well start with -a phrase like: `Between pages 52 and 53'. - -\index{signature|)} - -\section{Paper} - -\index{paper|(} - - Paper, on which I assume your work will be printed, can be thought of -in seven categories, six of which are used in the making of books. The -categories are: -\begin{description} -\item[Special]\index{paper!special} is not used for books. -It includes `wet strength tissues' and -other sanitary, cosmetic and industrial papers. -\item[Wrapping]\index{paper!wrapping} papers are for protective purposes. -Of these kraft paper is made from -unbleached chemical wood fibre sized with resin. The fibres are long and -strong, hence the name `kraft' from the German word for `strength'. The usual -colour is brown. Kraft paper is used in bookbinding for reinforcing endpapers -and, strengthening and shaping spines. -\item[Printing]\index{paper!printing} paper covers a wide range, -from economical to expensive, -in surface finish from rough to highly polished (for fine art four colour -printing), and in colour. -\item[Writing]\index{paper!writing} paper is suitable for all stationery -requirements. Ledger -paper is made from rag fibre, or a mixture of rag and wood pulp, -and is strong, opaque and durable, with a smooth -surface. It is used for visitor's and account books and registers, and for -fine printing. Bank and bond papers are of good quality, strong, durable -and nearly Ph neutral; they are made from fibres of chemical wood -sized with resin. In books they are mainly used for strengthening damaged -signatures. Artists' and designers' drawing papers usually have a rough -surface --- cartridge paper, made from well sized chemical wood fibres, -is often used for tipped on endpapers. -\item[Decorative]\index{paper!decorative} papers used for the endpapers -and sides of books are -of an extensive variety of colours, textures, patterns, and quality. Any -decorative paper used in a book should be strong with a good firm surface. -\item[Ingres]\index{paper!Ingres} and similar papers are mould-made -from linen and/or cotton -with a little -wood pulp. They come from Europe in a variety of quiet colours and are -used in fine bindings for sides and endpapers. -\item[Japanese]\index{paper!Japanese} papers and tissues are mould-made -from good quality rag fibre. -They are fine but strong and are extensively used for repairing documents, -mending leaves, and replacing damaged or missing areas. I find -Kozo\index{paper!Kozo} paper very useful for repairing documents and, for -example, as hinges when bookbinding. Although not paper, there are some -wonderful Japanese bookcloths for binding covers. -\end{description} - -\index{paper!machine-made|(} - - Machine-made paper, which is the commonest, comes in a number of -sometimes overlapping categories, of which the main ones are: -\begin{description} -\item[Antique]\index{paper!antique} papers are soft textured papers originally -made for letterpress printing, but there are now surface sized ones for -offset lithography. -\item[Machine finish]\index{paper!machine finish} papers have varying degrees -of surface smoothness. They are also known as -super-calendered\index{paper!super-calendered} or -English\index{paper!English finish}. -\item[Coated]\index{paper!coated} paper has been flooded with fine clay and -adhesive to make them particularly good for halftones. Finishes range from -dull through matte to glossy. -\item[Impregnated]\index{paper!impregnated} papers are also known as -pigmented\index{paper!pigmented}. They are surface sized, lightly coated -and calendered and can take halftones, especially by lithography. -\item[Text]\index{paper!text} papers are textured and coloured and are -useful for limited editions, book jackets and end papers. They often have -a deckle edge on the two long sides. -\item[Cover]\index{paper!cover} papers are heavier varieties of text and other -papers and are typically used for pamphlet binding and paperback covers. -\item[Moldmade]\index{paper!moldmade} papers are made by machine to resemble -handmade papers, with deckle edges. They come in a wide range of textures, -colours, and weights. The available range includes papers suitable for -binding sides, endpapers, book jackets, or the text block. -\end{description} - - Handmade paper comes as single sheets but machine made paper can be -obtained in either rolls or sheets. For some letterpress printing -I recently bought some Strathmore 400 -Drawing Paper as \abybm{3}{30}{feet} rolls at about 1/3 the price of the -same quantity of paper in sheet form; the downside was that I had to slice -it up into -the sheet size I wanted to use, but in this case the upside was that I tore -rather than cut and obtained sheets with deckle edges on all four sides -so that at the end it looked rather like handmade paper. - - -\index{paper!machine-made|)} - - - It is not often that books include information about the paper on which -they are printed. If they do they are likely to be fine press books or -limited editions, but even then most I have seen are silent on the matter. -A few trade books do include details. Among the more popular -papers\footnote{Meaning that I know that they have been used in more than -one book.} I have -come across are: -Arches\index{paper!Arches}, of various kinds; -Curtis Rag\index{paper!Curtis Rag}; -Fabriano\index{paper!Fabriano}; -Glatfelter\index{paper!Glatfelter}; -Linweave Early American\index{paper!Linweave Early American}, which -has been used by the University of California press; -Mohawk Superfine\index{paper!Mohawk superfine}; -Strathmore\index{paper!Strathmore},\footnote{At the time of writing I -have just finished hand letterpress printing a small book of 35 printed -pages on Strathmore 400 Drawing Paper.} of several kinds; and -Warren's Old Style\index{paper!Warren's Old Style}, which has been used for -several books published by the University of California. - -\index{paper|)} - -%%%\clearpage -%%%\raggedbottom -\chapter{The page} \label{chap:lpage} - - Authors usually want their works to be read by others than themselves, -and this implies that their manuscript will be reproduced in some manner. -It is to be hoped that the published version of their work will attract -readers and there are two aspects to this. The major is the actual content -of the work --- the thoughts of the author couched in an interesting -manner --- if something is boring, then there are too many other interesting -things for the reader to do than to plow on until the bitter end, -assuming that he -even started to read seriously after an initial scan. The other aspect is -the manner in which the content is displayed. Or, in other words, -the \emph{typography} -of the book, which is the subject of this chapter. - - The essence of good typography is that it is not noticeable at first, -or even second or later, glances to any without a trained eye. If your -initial reaction when glancing through a book is to exclaim about its layout -then it is most probably badly designed, if it was designed at all. Good -typography is subtle, not strident. - - With the advent of desktop publishing -many authors are tempted to design their own books. It is seemingly all -too easy to do. Just pick a few of the thousands of fonts\index{font} that are available, -use this one for headings\index{heading}, -that one for the main text, another one for -captions, decide how big the typeblock\index{typeblock} is to be, and there you are. - - However, just as writing is a skill that has to be learned, typography -is also an art that has to be learned and practised. There are hundreds -of years of experience embodied in the good design of a book. These are -not to be cast aside lightly and many authors who design their own books -do not know what some of the hard-earned lessons are, let alone that what -they are doing may be the very antithesis of these. An expert can break -the rules, but then he is aware that he has good reasons for breaking them. - - The author supplies the message and the typographer supplies the medium. -Contrary to Marshall McLuhan, the medium is \emph{not} the message, -and the typographer's job is not to -intrude between the message and the audience, but to subtly increase the -reader's enjoyment and involvement. If a book shouts `look at me!' then it -is an advertisement, and a bad one at that, for the designer. - - -\section{The shape of a book} - - Books come in many shapes and sizes, but over the centuries certain -shapes have been found to be more pleasurable and convenient than others. -Thus books, except for a very very few, are rectangular in shape. The -exceptions on the whole are books for young children, although I do -have a book edited by Fritz Spiegl and published by Pan Books entitled -\textit{A Small Book of Grave Humour}, which is in the shape of a tombstone ---- this is an anthology of epitaphs. Normally the height of a book, when -closed, is greater than the width. Apart from any aesthetic reasons, -a book of this shape is physically more comfortable to hold than one which -is wider than it is high. - - It might appear that the designer has great freedom in choosing the -size of the work, but for economic reasons this is not normally the case. -Much typographical design is based upon the availabilty of certain -standard industrial sizes of sheets of paper\index{paper!size}. -A page size of \abybm{12}{8}{inches} will be much more expensive than one -which fits on a standard -US letter sheet\index{paper!size!letterpaper} -of \abybm{11}{8\:\Mfrac{1}{2}}{inches}. -Similarly, one of the standard sizes -for a business envelope is \abybm{4\:\Mfrac{1}{8}}{9\:\Mfrac{1}{2}}{inches}. -Brochures for mailing -should be designed so that they can be inserted into the envelope with -minimal folding. Thus a brochure size of \abybm{5}{10}{inches} will be -highly inconvenient, no matter how good it looks visually. - - Over the years books have been produced in an almost infinite variety -of proportions, -where by \emph{proportion}\index{proportion} -I mean the ratio of the height to the width of a -rectangle. However, certain proportions occur time after time throughout -the centuries and across many different countries and -civilizations. This is because some proportions are inherently -more pleasing to the eye than others are. These pleasing proportions are -also commonly found in nature --- in physical, biological, and chemical -systems and constructs. - -\index{proportion!page|(} - - Some examples of pleasing proportions can be -seen in Japanese wood block prints, such as the \textit{Hoso-ye} size -(\ratio{2}{1}) which is a double square, the \textit{Oban} (\ratio{3}{2}), %($3 : 2$), -the \textit{Chuban} (\ratio{11}{8}) and the \textit{Koban} size -(\ratio{{\sqrt{2}}}{1}). Sometimes these prints were made up into books, but -were often published as stand-alone art work. Similarly Indian paintings, -at least in the 16th to the 18th century, -often come in the range \ratio{1.701}{1} to \ratio{13}{9}, thus being around -\ratio{3}{2} in proportion. - - In medieval Europe page proportions were generally in the range -\ratio{1.25}{1} to \ratio{1.5}{1}. Sheets of paper\index{paper} were typically -produced in the -proportion \ratio{4}{3} (\ratio{1.33}{1}) or \ratio{3}{2} -(\ratio{1.5}{1}). -All sheet proportions -have the property that they are reproduced with each alternate -folding of the sheet. -For example, if a sheet starts at a size of \abyb{60}{40} -(i.e., \ratio{3}{2}), -then the first fold will make a double sheet of size \abyb{30}{40} -(i.e., \ratio{3}{4}). The next fold will produce a quadrupled sheet of size -\abyb{30}{20}, which is again \ratio{3}{2}, and so on. - The Renaissance typographers tended to like taller books, and their -proportions would go up to \ratio{1.87}{1} -or so. The style nowadays has tended to go back towards the medieval -proportions. - - The standard ISO page proportions are -\ratio{{\sqrt{2}}}{1} (\ratio{1.414}{1}). These -have a similar folding property to the other proportions, except in this case -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. - -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 six times -altogether. This is not so as in 2002 a high school student, Britney Gallivan, -managed to fold a sheet of paper in half twelve times (see, for example, -\url{http://mathworld.wolfram.com/Folding.html}). - - - There is no one perfect proportion for a page, -although some are clearly better -than others. For ordinary books both publishers and readers tend to prefer -books whose proportions range from the light -\ratio{9}{5} (\ratio{1.8}{1}) to the heavy -\ratio{5}{4} (\ratio{1.25}{1}). Some examples are shown in \fref{flpage:prop}. - Wider pages, those with proportions less than -\ratio{{\sqrt{2}}}{1} (\ratio{1.414}{1}), -are principally useful for documents that need -extra width for tables\index{table}, marginal notes\index{marginalia}, -or where multi-column\index{column!multiple} printing is preferred. - -\begin{figure} -\centering -\setlength{\unitlength}{1pc} -\begin{picture}(24,38) -\put(0,4){\begin{picture}(24,34) - \put(0,0){\framebox(24,34){}} - \thicklines \put(19.78,0){\line(0,1){34}} - \thinlines - \put(16,0){\line(0,1){34}} - \put(17.78,0){\line(0,1){34}} - \put(18.48,0){\line(0,1){34}} - \put(19.2,0){\line(0,1){34}} - \put(20.81,0){\line(0,1){34}} - \put(21.33,0){\line(0,1){34}} - \put(22.63,0){\line(0,1){34}} - \put(0,-0.5){\begin{picture}(24,2) - \put(16,0){\makebox(0,0){\textsc{a}}} - \put(17.78,0){\makebox(0,0){\textsc{b}}} - \put(18.48,0){\makebox(0,0){\textsc{c}}} - \put(19.2,0){\makebox(0,0){\textsc{d}}} - \put(19.78,0){\makebox(0,0){{$\varphi$}}} - \put(20.81,0){\makebox(0,0){\textsc{e}}} - \put(21.33,0){\makebox(0,0){\textsc{f}}} - \put(22.63,0){\makebox(0,0){\textsc{g}}} - \put(24,0){\makebox(0,0){\textsc{h}}} - \end{picture}} - \end{picture}} - \put(0,0){\begin{picture}(24,4) - \put(0,0){\begin{picture}(8,4) - \put(0,2){\textsc{a} $2 : 1$} - \put(0,1){\textsc{b} $9 : 5$} - \put(0,0){\textsc{c} $1.732 : 1$ ($\sqrt{3}{} : 1$)} - \end{picture}} - \put(8,0){\begin{picture}(8,4) - \put(0,2){\textsc{d} $5 : 3$} - \put(0,1){{$\varphi$} $1.618 : 1$ ($\varphi{} : 1$)} - \put(0,0){\textsc{e} $1.538 : 1$} - \end{picture}} - \put(16,0){\begin{picture}(8,4) - \put(0,2){\textsc{f} $3 : 2$} - \put(0,1){\textsc{g} $1.414 : 1$ ($\sqrt{2}{} : 1$)} - \put(0,0){\textsc{h} $4 : 3$} - \end{picture}} - \end{picture}} -\end{picture} -\setlength{\unitlength}{1pt} -\caption{Some page proportions} \label{flpage:prop} -\end{figure} - - - - In books where the illustrations\index{illustration} are the primary -concern, the shape of the illustrations\index{illustration} is generally -the major influence on the page proportion. -The page size should be somewhat higher than that of the average -illustration\index{illustration}. The extra height is required for the -insertion of captions\index{caption} describing the -illustration\index{illustration}. -A proportion of \ratio{{\pi}}{e} (\ratio{1.156}{1}), -which is slightly higher -than a perfect square, is good for square illustrations.\footnote{Both $e$ -and $\pi$ are well known mathematical numbers. $e$ ($= 2.718 \ldots$) -is the base of natural logarithms and $\pi$ ($= 3.141 \ldots$) is the -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 -with a \ratio{2}{3} proportion) are better accomodated on -an \ratio{0.83}{1} page. -\index{proportion!page|)} - -\subsection{The golden section and Fibonacci series} - -\index{golden section|(} - Typographers need a modicum of mathematical ability, but no more -than an average teenager can do --- basically simple arithmetic. You can -skip this section if you wish as it just provides some background -mathematical material which might be of interest. - - Since ancient Greek times or even before, the golden section, which -is denoted by the Greek letter $\varphi$ (phi), has been considered to be -a particularly harmonious proportion\index{proportion}. It should come as no surprise, then, -that this also has applications in typography. - - The Greeks were interested in geometry (think of Euclid). They discovered -that if you divide a straight line into two unequal parts then a certain -division appeared to have an especially appealing aesthetic quality about it. -Call the length of the line $l$ and the length of the two parts $a$ and $b$, -where $a$ is the smaller and $b$ is the larger. The division in question -is when the ratio of the larger to the smaller division ($b/a$) is the same -as the ratio of the whole line to the larger division ($l/b$). -More formally, two elements embody the golden section, symbolised by -$\varphi$, when the ratio of the larger -to the smaller is the same as the ratio of the sum of the two to the larger. -If the two elements are $a$ and $b$, with $a < b$, then -\begin{equation} -\varphi = \frac{b}{a} = \frac{a+b}{b} = (1+\sqrt{5})/2 -\end{equation} - - The golden section has been called by a number of different names -during its history. Euclid\index{Euclid} - called it the `extreme and mean ratio' while -Renaissance writers called it the `divine proportion\index{proportion}'; now it is -called either the `golden section' or the `golden ratio'. The symbol -$\varphi$ is said to come from the name of the Greek artist -Phidias\index{Phidias} -(C5th \textsc{bc}) who often used the golden section in his sculpture. -A rectangle whose sides are in the same proportion\index{proportion} as the golden section -is often called a `golden rectangle'. -The front of the Parthenon on the Acropolis in Athens is a golden rectangle, -and such rectangles appear often in Greek architecture. -The symbol of the Pythagoran school was the star pentagram, -%%%%shown in \fref{flpage:spent}, -where each line is divided in the golden section. - - - The approximate decimal value for $\varphi$ is $1.61803$. -The number has some unusual properties. If you add one to $\varphi$ -you get its square, while subtracting one from $\varphi$ gives its -reciprocal. -\begin{eqnarray} - \varphi + 1 & = & \varphi^{2} \\ - \varphi - 1 & = & 1/\varphi -\end{eqnarray} -It also has a very simple definition as the continued fraction -\begin{equation} -\varphi = 1 + \frac{1}{\displaystyle 1 + \frac{1}{\displaystyle 1 + \frac{1}{\displaystyle 1 + \frac{1}{1 + \cdots}}}} -\end{equation} - - - In 1202 Leonardo Pisano, -also known as Leonardo Fibonacci, wrote a -book called \textit{Liber Abbaci.}\footnote{Book of the Abacus.} One of the -topics he was interested in was population growth. The book included -this exercise: \index{Fibonacci series|(} -\begin{quote} -How many pairs of rabbits\index{rabbit} can be produced from a single -pair in a year? -Assume that each pair produces a new pair of offspring every month, -a rabbit becomes fertile at age one month, and no rabbits die during the -year. -\end{quote} -After a month there will be two pairs. At the end of the next month the -first pair will have produced another pair, so now there are three pairs. -At the end of the following month the original pair will have produced a -third pair of offspring and their firstborn will also have produced a pair, -to make five pairs in all. And so on. -If, like the rabbits, you are not too exhausted -to continue, you can get the following series of -numbers\footnote{The numbers at the start of the series -depend on whether you consider the initial pair of rabbits to be adults or -babies.\label{fn:rabbits}}: -\begin{displaymath} -0,1,1,2,3,5,8,13,21,34, 55, 89 \ldots -\end{displaymath} -After the first two terms, each term in the series is the sum of the two -preceding terms. Also, as one progresses along the series, the ratio of -any adjacent pair of terms oscillates around $\varphi$ ($= 1.618 \ldots$), -approaching it ever more closely. -\begin{eqnarray*} - 8/5 & = & 1.6 \\ - 13/8 & = & 1.625 \\ - 21/13 & = & 1.615 \\ - 34/21 & = & 1.619 \\ - 55/34 & = & 1.6176 \\ - 89/55 & = & 1.6182 -\end{eqnarray*} - - For the mathematically inclined there is another, to me, typographically -striking -relationship between $\varphi$ and the Fibonacci series. Define the -Fibonacci numbers as $F_{n}$, where -\begin{equation} -\begin{array}{cccc} -F_{0} = 0;\ \ & F_{1}=1;\ \ & F_{n+2}=F_{n+1} + F_{n}, & n \geq 0. -\end{array} -\end{equation} -Then -\begin{equation} - F_{n} = \frac{1}{\sqrt{5}}(\varphi^{n} - (- \varphi)^{-n}) -\end{equation} - - 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~\cite{CONWAY96}). Martin Gardener~\cite{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 -\btitle{The Da Vinci Code}, Mario Livio's -\btitle{The Golden Ratio}~\cite{LIVIO02} -`\ldots unveils the history and mystery of the remarkable -number phi in such a way that \ldots you will never again look at a pyramid, -pinecone, or Picasso in the same light'. - -\index{Fibonacci series|)} -\index{golden section|)} - -%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%%%%%\endinput -%%%%%%%%%%%%%%%%%%%%%%%%%%% - -\section{The spread} \label{sec:spread} -\index{spread|(} -\index{proportion!page|(} -\index{proportion!typeblock|(} - - The typeblock\index{typeblock} is that part of the page which is normally -covered with type. The same proportions that are useful for the shape of a -page are also useful for the shape of the typeblock. This does not mean, -though, that the proportions of the page and the typeblock should be the same. -For instance, a square typeblock on a square page is inherently dull. - - When we first start to learn to read we scan horizontally along each line -of text. As our skills improve we tend to scan vertically rather than -horizontally. A tall column\index{column} of text helps in this process, -provided that the column\index{column} is not too wide. - - A page in a book will typically contain several elements. Principal -among these is the typeblock\index{typeblock}, but there are also items like -the folio\index{folio} (that is, the page number), -a running header\index{header} and/or footer\index{footer} -which carries the chapter\index{chapter} -and/or book title, and possibly marginalia\index{marginalia} and -footnotes\index{footnote}. These latter -elements, although essential to the content of the book, are minor visual -elements compared to the typeblock\index{typeblock}. -But even minor decoration can obscure -or kill an otherwise good design. - - The major concern is the positioning of the typeblock on the page. -The mere fact of positioning the typeblock\index{typeblock} also has -the result of producing margins\index{margin} onto the page. -Page design is a question of balancing the page proportions -with the proportions of the typeblock and the proportions -of the margins\index{margin} to -create an interesting yet harmonious composition. A single page, except -for a title page, is never the subject of a design but rather the design -is in terms of the two pages that are on view when a book is opened --- the -left and right hand pages are considered as a whole. More technically, the -design is in terms of a \emph{double spread}. - - - -\begin{table} -\caption{Some page designs} \label{tlpage:allp} -\centering -%%\DeleteShortVerb{\|} -%\begin{tabular}{|l|l|l|c|} \hline -\begin{tabular}{|r|r|rrrrr|l|} \hline -\multicolumn{1}{|c|}{$P$} & \multicolumn{1}{c|}{$T$} & \multicolumn{5}{c|}{Margins \& Columns} & -\multicolumn{1}{c|}{Figure} \\ - & & \multicolumn{1}{c|}{$s$} & \multicolumn{1}{c|}{$t$} & \multicolumn{1}{c|}{$e$} & - \multicolumn{1}{c|}{$f$} & \multicolumn{1}{c|}{$g$} & \\ \hline -$\sqrt{3}$ & $2$ & $w/13$ & $8s/5$ & $16s/5$ & $16s/5$ & & \ref{fb:1} left \\ %Bringhurst -$\sqrt{3}$ & $e/\varphi$ & $w/10$ & $2s$ & $2s$ & $3s$ & & \ref{fb:1} right \\ % Machie -$12/7$ & $1.701$ & $w/7$ & $8s/5$ & $8s/5$ & $14s/5$ & & \ref{fb:2} left \\ % Grenfell -$e/\varphi$ & $7/4$ & $w/10$ & $5s/4$ & $5s/3$ & $11s/8$ & & \ref{fb:2} right \\ % JKJ -$\varphi$ & $1.866$ & $w/9$ & $s$ & $2s$ & $7s/3$ & & \ref{fb:3} left \\ %Paris -$\varphi$ & $\varphi$ & $w/12$ & $2s$ & $5s/2$ & $4s$ & & \ref{fb:3} right \\ %Dowding -$8/5$ & $1.634$ & $2w/15$ & $7s/5$ & $9s/5$ & $13s/5$ & & \ref{fb:4} left \\ %Rogers -$19/12$ & $7/4$ & $2w/15$ & $s$ & $9s/8$ & $11s/8$ & & \ref{fb:4} right \\ %Anatomy -$19/12$ & $\sqrt{3}$ & $w/7$ & $s$ & $5s/4$ & $1.84s$ & & \ref{fb:5} left \\ % Cornford -$19/12$ & $8/5$ & $w/12$ & $7s/5$ & $8s/5$ & $2s$ & & \ref{fb:5} right \\ %Abeced -$\pi/2$ & $9/5$ & $w/9$ & $3s/2$ & $5s/2$ & $3s$ & & \ref{fb:6} left \\ %Dwiggins -$e/\sqrt{3}$ & $1.71$ & $w/10$ & $11s/8$ & $24s/11$ & $8s/3$ & & \ref{fb:6} right \\ %Two Men -$1.553$ & $1.658$ & $w/11$ & $\varphi s$ & $\varphi s$ & $\varphi s$ & & \ref{fb:7} left \\ %Express -$1.538$ & $\sqrt{7}$ & $w/10$ & $s$ & $23s/6$ & $3s/2$ & & \ref{fb:7} right \\ %T&H -$3/2$ & $2$ & $w/5$ & $s/2$ & $s$ & $s$ & & \ref{fb:8} left \\ %Rome -$3/2$ & $1.701$ & $w/9$ & $s$ & $2s$ & $7s/3$ & & \ref{fb:8} right \\ %Venice -$3/2$ & $\pi/2$ & $w/13$ & $2s$ & $10s/3$ & $30s/7$ & & \ref{fb:9} left \\ %Magellan -$3/2$ & $3/2$ & $w/9$ & $3s/2$ & $2s$ & $3s$ & & \ref{fb:9} right \\ %Gutenberg -$3/2$ & $1.68$ & $w/23$ & $2s$ & $5s$ & $2s$ & & \ref{fb:10} left \\ % Pers Mss -$3/2$ & $3/2$ & $w/10$ & $2s$ & $5s/2$ & $2.85s$ & & \ref{fb:10} right \\ % Pers Bk -$1.48$ & $1.376$ & $w/12$ & $7s/4$ & $2s$ & $7s/2$ & & \ref{fb:11} left \\ %Goudy -$13/9$ & $\sqrt{2}$ & $w/30$ & $2s$ & $9s/2$ & $4s$ & $s/2$ & \ref{fb:11} right \\ %Doomsday -$\sqrt{2}$ & $\varphi$ & $w/9$ & $s$ & $2s$ & $2s$ & & \ref{fb:12} left \\ %Orig A4 -$\sqrt{2}$ & $\varphi$ & $w/8$ & $s$ & $5s/3$ & $5s/3$ & & \ref{fb:12} right \\ %Mod A4 -$7/5$ & $1.641$ & $w/7$ & $s$ & $8s/5$ & $8s/5$ & & \ref{fb:13} left \\ %Emery Walker -%%%$1.294$ & $\varphi$ & $0.176w$ & $1.03s$ & $1.685s$ & $13s/9$ & & \ref{fb:13} right \\ %LaTeX -$17/22$ & $1.594$ & $0.176w$ & $1.21s$ & $1.47s$ & $1.05s$ & & \ref{fb:13} right \\ %LaTeX -$1.294$ & $13/9$ & $w/12$ & $s$ & $2s$ & $10s/7$ & $s/2$ & \ref{fb:14} left \\ %Wilson -$9/7$ & $19/9$ & $2w/5$ & $5s/8$ & $5s/8$ & $5s/6$ & & \ref{fb:14} right \\ %Kuniyoshi -$5/4$ & $13/11$ & $w/10$ & $3s/2$ & $2s$ & $8s/3$ & & \ref{fb:15} left \\ %Fens -%%%$7/6$ & $17/15$ & $w/13$ & $s$ & $s$ & $7s/5$ & $.382$ & \ref{fb:15} right \\ %Durer -$7/6$ & $55/48$ & $w/10$ & $9s/10$ & $8s/10$ & $13s/10$ & $1.05s$ & \ref{fb:15} right \\ %Durer -%$1.176$ & $1.46$ & $0.107w$ & $5s/6$ & $2.41s$ & $3s/2$ & & \ref{fb:12} left \\ %Art -$e/\pi$ & $0.951$ & $w/9$ & $s$ & $2s$ & $3s/2$ & & \ref{fb:16} left \\ %Hammer & Hand -$5/7$ & $2/3$ & $w/9$ & $s/2$ & $2s/3$ & $s$ & $s/3$ & \ref{fb:16} right \\ \hline %Hokusai -\end{tabular} -%%\MakeShortVerb{\|} -\end{table} - - Table~\ref{tlpage:allp} gives some examples of -page designs. These are arranged in increasing order of -fatness. In this table, and afterwards, I have just used a single number -to represent the ratio of the page height to the width; that is, for example, -$1.5$ instead of \ratio{1.5}{1} or $12/7$ instead of \ratio{12}{7}. -The following symbols are used in the table: -\begin{description} -\item[Proportions]: - \begin{itemize} - \item[$P$] = page proportion = $h/w$ - \item[$T$] = typeblock proportion = $d/m$ - \end{itemize} -\item[Page size]: - \begin{itemize} - \item[$w$] = width of page - \item[$h$] = height of page - \end{itemize} -\item[Typeblock]: - \begin{itemize} - \item[$m$] = measure (i.e., width) of primary typeblock - \item[$d$] = depth (excluding folios, running heads, etc.) -%% \item[$n$] = measure of secondary column -%% \item[$c$] = column width, when there are two columns - \end{itemize} -\item[Margins]: - \begin{itemize} - \item[$s$] = spine margin (back margin) - \item[$t$] = top margin (head margin) - \item[$e$] = \foredge\ (front margin) - \item[$f$] = foot margin (bottom margin) - \item[$g$] = internal gutter (on a multi-column page) - \end{itemize} -\end{description} - - Theoretically the following relationship holds among the several -variables: -\begin{displaymath} -f + t - T(s + e) = w(P - T) -\end{displaymath} -However, due to measurement and other difficulties, the numbers given in -the table do not always obey this rule but they are close enough to give -a good idea of the relative values. In any event, page design is not a -simple arithmetic exercise but requires aesthetic judgement. - - The designs are also shown in \figurerefname s~\ref{fb:1} -to~\ref{fb:16}. Each of these shows a double page spread; the -page width has been kept constant throughout the series to enable easier -visual comparison --- it is the relative proportions, not the absolute size, -that are important. I have only shown the pages and the typeblocks to avoid -confusing the diagrams with headers\index{header}, footers\index{footer} -or folios\index{folio}. - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.732}{2}{.0769}{1.6}{3.2}{0} % Bringhurst -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.732}{1.684}{.1}{2}{2}{0} % Machiavelli -\end{minipage} -\caption[Two spreads: Canada, 1992 and England, 1970]% - {Two spreads: (Left) Canada, 1992. % Bringhurst. - (Right) England, 1970.} \label{fb:1} -\end{figure} - - Shown in \fref{fb:1} are two modern books. On the left is the layout -for Robert Bringhurst's\index{Bringhurst, Robert} -\btitle{The Elements of Typographical Style} published -by Hartley \& Marks in 1992, and designed by Bringhurst. The text face is -Minion\facesubseeidx{Minion} set with $12$pt leading on a $21$pc measure. -The captions are set in Scala Sans\facesubseeidx{Scala Sans}. The original -size is \abybm{227}{132}{mm} and is printed on Glatfelter laid -\index{paper!Glatfelter}paper. -I highly recommend this book if you are -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} -Centaur\facesubseeidx{Centaur}. -Chapter titles\index{chapter!design} are set as raggedright block -paragraphs using Roman numbers -and small caps for the text; not all chapters start a new page. There are -no running headers and the folios\index{folio} -are set at the center of the footer\index{footer!design}. -The ToC is typeset like the standard \ltx\ ToC\index{ToC!design} -but with the chapter titles -in small caps. - - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.714}{1.701}{.143}{1.6}{1.6}{0} % Grenfell -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.68}{1.75}{.1}{1.25}{1.667}{0} % JKJ -\end{minipage} -\caption[Two spreads: USA, 1909 and England, 1964.]% - {Two spreads: (Left) USA, 1909. - (Right) England, 1964.} \label{fb:2} -\end{figure} - - Figure~\ref{fb:2} (left) illustrates a small book by Wilfred T.~Grenfell -entitled \btitle{Adrift on an Ice-Pan} published in 1909 by the Riverside -Press\index{Riverside Press} of Boston. The text is set with a leading -of $16$pt on a $16$pc -measure. The large leading and small measure combine to give a very -open appearance. The original size is \abybm{184}{107}{mm}. - The half-title\index{half-title}\index{page!half-title} is set in -bold uppercase about 1/3 -of the way down the page. Uppercase is used for chapter\index{chapter!design} -headings which are centered. Captions for the photographs\index{illustration} -are also uppercase and are listed on an illustrations page. -The folios\index{folio} are -centered in the footer\index{footer!design} and enclosed in square -brackets (e.g., [17]), and the -headers\index{header!design} contain the book title, centered, -and in uppercase. - - - -On the right is another book from the -Folio Society\index{Folio Society} --- \btitle{Three Men in a Boat} -by Jerome K.~Jerome printed -in 1964. The original size is \abybm{215}{128}{mm} and is typeset with -Ehrhardt\facesubseeidx{Ehrhardt} at \abyb{11/12}{22}. -Chapter\index{chapter!design} titles are -centered and simply consist of the word `CHAPTER' followed by the number. -There are no headers and the folio\index{folio} -is set between square brackets (like [27]) -in the center of the footer\index{footer!design}. The ToC\index{ToC!design} -title is centered, and the chapter entries are like standard \ltx\ except -that the numbers are set in a roman font while the texts, which give a -summary of the chapter contents, are typeset in italic. - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.618}{1.87}{.111}{1}{2}{0} % Paris -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.618}{1.618}{.0833}{2}{2.5}{0} % Dowding -\end{minipage} -\caption[Two spreads: France, 1559 and Canada, 1995]% - {Two spreads: (Left) France, 1559. - (Right) Canada, 1995.} \label{fb:3} -\end{figure} - - Jean de Tourmes\index{de Tourmes, Jean}, a Parisian publisher, -printed \btitle{Histoire et Chronique} -by Jean Froissart in 1559. This is a history book with the main text in -roman and sidenotes in italic at roughly 80\% of the size of the main text. -The layout is shown in \fref{fb:3} (left). The gutter (not shown) between -the main text and the sidenote\index{sidenote} column\index{column} -is very small, -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 -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 -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. - - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.6}{1.634}{.1333}{1.4}{1.8}{0} % Rogers -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.583}{1.75}{.1333}{1}{1.125}{0} % Anatonomy -\end{minipage} -\caption[Two spreads: USA, 1949 and 1990]% - {Two spreads: (Left) USA, 1949. - (Right) USA, 1990.} \label{fb:4} -\end{figure} - - Bruce Rogers\index{Rogers, Bruce} (1870--1957) -described how he came to design his Centaur\facesubseeidx{Centaur} typeface in -\btitle{Centaur Types}, a privately published book by his studio October -House in 1949. The layout of this book, which of course was typeset in -Centaur, is shown at the left of \fref{fb:4}. Centaur is an upright -seriffed type based on Nicolas Jenson's\index{Jenson, Nicolas} type as -used in \btitle{Eusebius} published in 1470. -\btitle{Centaur Types} demonstrates typefaces other than -Centaur, and also includes exact size reproductions of the engraver's -patterns. It is set at \abyb{14/16}{22} on a page size of \abybm{240}{150}{mm}. - - Figure~\ref{fb:4} (right) is the layout of another book on typefaces. -It is \btitle{The Anatomy of a Typeface} by Alexander Lawson published by -David R.~Godine in 1990. -This is set in Galliard\facesubseeidx{Galliard} with $13$pt leading and a measure of $24$pc on -a page size of \abybm{227.5}{150}{mm} on Glatfelter\index{paper!Glatfelter} -Offset Smooth Eggshell paper. The half-title\index{half-title}\index{page!half-title} -is set in uppercase in the upper quarter of the page. On the -title\index{page!title} page the title is in uppercase in a large outline -font, with a double rule above and a short single rule below. The author -is set in small caps (both upper- and lowercase like \textsc{Lawson}) -and the publisher is in regular lowercase small caps. -Chapter\index{chapter!design} heads are centered with the number set between -a pair of fleurons\index{fleuron}, followed by the title in -large uppercase, and with -a short rule between the title and the start of the text. -The folios\index{folio} -are in the center of the footer\index{footer!design} with a short rule -above them; there are no running headers. The contents\index{ToC!design} -page is set with the body type; chapter numbers are flushleft with a -following period and the page numbers are flushright. - - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.583}{1.731}{.143}{1}{1.25}{0} % Cornford -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.583}{1.6}{.0833}{1.4}{1.6}{0} % Abecedarium -\end{minipage} -\caption[Two spreads: England, 1908 and USA, 1993]% - {Two spreads: (Left) England, 1908. - (Right) USA, 1993.} \label{fb:5} -\end{figure} - - \btitle{Microcosmographica Academia} by F. M. Cornford is shown in -\fref{fb:5}. Despite its title, it is written in English and was published -by Bowes \& Bowes, London, in 1908. It is a dryly humourous look at academic -politics as practised in Cambridge University at the turn of the nineteenth -century (probably in the twentieth and twenty-first as well). -It is set with $14$pt leading -on $22$pc. The original page size is \abybm{216}{136}{mm}. -The half-title\index{half-title}\index{page!half-title} -is in normal uppercase in the upper -sixth of the page; the title\index{page!title} page is all uppercase in -various sizes. Chapter\index{chapter!design} heads are centered with first -the number in Roman numerals and below the title in uppercase. -Folios\index{folio} are centered in the footer\index{footer!design} -and there are no running heads. There is no table of contents. - - - -The right of this figure illustrates a book with another unusual title --- -\btitle{The Alphabet Abecedarium} by Richard A.~Firmage and published by -David R.~Godine in 1993. It is set in -Adobe Garamond\facesubseeidx{Adobe Garamond}\index{Garamond!Adobe} on a $27$pc measure -with $14$pt leading. The original page size is \abybm{227.5}{150}{mm}. The -book gives a history of each letter of the Latin alphabet. -Chapter\index{chapter!design} heads are centered and consist of an -ornamental version of the letter in question. One -unusual feature is that there is a deep footer\index{footer!design} -on each page showing many examples of typefaces of the letter being -described. Verso running headers\index{header!design} consist of the book -title in mixed small caps and centered with the folio\index{folio} flushleft. -Recto headers have the folio\index{folio} flushright, and centered is the alphabet, -typeset in small caps except for the current letter which is enlarged. - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.571}{1.8}{.111}{1.5}{2.5}{0} % Dwiggins -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.562}{1.709}{.1}{1.375}{2.182}{0} % Two Men -\end{minipage} -\caption[Two spreads: USA, 1931 and England, 1968]% - {Two spreads: (Left) USA, 1931. - (Right) England, 1968.} \label{fb:6} -\end{figure} - - - W.~A.~Dwiggins was, among many other things, an American book designer. -Figure~\ref{fb:6} (left) shows his layout of H.~G.~Wells' \btitle{The Time -Machine} for Random House in 1931. The page size is \abyb{231}{147}{mm}. - -The right of the figure illustrates the layout of a book called -\btitle{Two Men --- Walter Lewis and Stanley Morrison at Cambridge} -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. -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 -both together, for presentation to friends of the Press. The tradition of -the Printer's Christmas Book\index{Cambridge University Press!Christmas Book} -was started by Stanley -Morison\index{Morison, Stanley}\index{Cambridge University Press!Morison, Stanley} -in 1930 and continued until 1974. The books usually consisted of a short -essay on a -particular topic, so they did not have chapter heads, tables of contents, -or other appurtenances, apart from a Preface. - - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.553}{1.685}{.0909}{1.618}{1.618}{0} % Express -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.538}{2.647}{.1}{1}{3.833}{0} % Thames & Hudson -\end{minipage} -\caption[Two spreads: USA, 1994 and England, 1988]% - {Two spreads: (Left) USA, 1994. - (Right) England 1988.} \label{fb:7} -\end{figure} - - 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 -set in Computer Modern Roman\facesubseeidx{Computer Modern Roman} at \abyb{10/12}{27} -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} -on a \abybm{240}{156}{mm} page. The wide -\foredge{} is used for small illustrations\index{illustration}. -Notes are also set in this -margin\index{margin} rather than at the foot of the page. -The half-title\index{half-title}\index{page!half-title} -is in a bold font, flushright, in the -upper quarter of the page; there is a wood engraving of a galleon at the -bottom, also flushright. The title\index{page!title} uses a mixture of fonts -and is set flushright; an example title page based on this design is shown -in \fref{fig:titleTH}. Chapter\index{chapter!design} are on recto -pages and consist of the number and title in a bold font, flushleft and near -the top of the page, and an engraving of some kind is at the bottom -right of the page; there is no other text on this page, the body of -the chapter starting at the top of the following verso page. -Folios\index{folio} are in the footers\index{footer!design} at the outer edge -of the page. Running headers\index{header!design} contain the chapter -title in small caps flushright in the outer margin. - -\begin{figure} -\centering -\begin{showtitle} -\titleTH -\end{showtitle} -\caption{Title page design based on \btitle{The Thames and Hudson Manual of -Typography} (1988)} \label{fig:titleTH} -\end{figure} - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.5}{2}{.2}{.5}{1}{0} % Rome -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.5}{1.7}{.111}{1}{2}{0} % Venice -\end{minipage} -\caption[Two spreads: Italy, 1523 and 1499]% - {Two spreads: (Left) Italy, 1523. - (Right) Italy 1499.} \label{fb:8} -\end{figure} - - Many page layouts in earlier days were constructed by -drawing with compass and ruler, usually based on regular geometric figures; -the use of squares, pentagons and hexagons being particularly -prevelant. Unusually, the typeblock\index{typeblock} in \fref{fb:8} (left) -is centered on the page. The typeblock\index{typeblock} is based on a -square, the depth being twice the measure. The book, \btitle{Canzone} by -Giangiorgio Trissino, is a volume of poems and was published in Rome -about 1523 by Ludovico degli Arrighi\index{Arrighi, Ludovico degli}. -Prose works -from the same typographer followed the normal style of having the \foredge\ -wider than the spine margin\index{margin!spine}\index{margin!inner}. - - The page proportion in \fref{fb:8} (right) is also a simple \ratio{3}{2} -ratio. The proportions of the typeblock, being \ratio{1.7}{1}, -are based upon a pentagon. -The book is \btitle{Hypnerotomachia Poliphili} by Francesco Colonna and was -published by Aldus Manutius\index{Manutius, Aldus} in Venice in 1499. -The story of this, -including some reproductions from the original, is told by Helen -Barolini~\cite{BAROLINI92}. - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.5}{1.571}{.0769}{2}{3.333}{0} % Magellan -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.5}{1.5}{.111}{1.5}{2}{0} % Gutenberg -\end{minipage} -\caption[Two spreads: France/Portugal, 1530 and Gutenberg, C15th]% - {Two spreads: (Left) France/Portugal, 1530. - (Right) Gutenberg, C15th.} \label{fb:9} -\end{figure} - - In 1519 the Portugese explorer Ferdinand Magellan set sail from -Sanl\'{u}car de Barramada, near C\'{a}diz in Spain, -with five ships and about 270 men. -Three years later one ship and 18 men returned, having made the first -circumnavigation. Among the few survivors was Antonio Pigafetta who recorded -the adventure. -A very few manuscripts of his report are in existence. -The layout of one of these manuscripts which is in the Beinecke Rare -Book and Manuscript Library at Yale is shown at the left of \fref{fb:9}. -The manuscript, which is written in French, is called -\btitle{Navigation et descouurement de la Inde superieure et isles -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 $29.5$ -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 -soon before 1530; the scribe and where he worked is unknown. - - Many of the books produced by Johannes Gutenberg\index{Gutenberg, Johannes} -(1398--1468) and his early successors followed the form shown in -\fref{fb:9} (right). This set of proportions was also often used in -medieval incunabula\index{incunabula}\footnote{Early books, especially -those printed before 1500.} and manuscripts. The page and typeblock -proportions are the same (\ratio{3}{2}). The margins\index{margin} are in the -proportions $2 : 3 : 4 : 6$. -A graphical method for constructing this, and similar designs, is -shown later in \fref{flpage:lgut}. - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.5}{1.68}{.043}{2}{5}{0} % Persian Mss -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.5}{1.5}{.1}{2}{2.5}{0} % Persian book -\end{minipage} -\caption[Two spreads: Persia, 1525 and USA, 1975]% - {Two spreads: (Left) Persia, 1525. - (Right) USA, 1975.} \label{fb:10} -\end{figure} - - Two versions of the same publication are shown in \fref{fb:10}. -On the left is a Persian manuscript \btitle{Khamsch of Nizami} written -about 1525. The page size is about \abybm{324}{216}{mm}. The -illustrations\index{illustration} and -the typeblock\index{typeblock} are inextricably mixed. On the right is a translation of -some of the manuscript published as \btitle{Tales from the Khamsch of Nizami} -by the Metropolitan Museum of Art, New York, in 1975. The modern version -has a page size of \abybm{300}{200}{mm}, slightly smaller than the original -but in the same proportions. The typeblock\index{typeblock} is $32$pc wide -and the type is set with a $15$pt leading. - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.48}{1.375}{.0833}{1.75}{2}{0} % Goudy -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.45}{1.414}{.0333}{2}{4.5}{2.175} % Doomsday -\end{minipage} -\caption[Two spreads: USA, 1952 and England, 1087]% - {Two spreads: (Left) USA, 1952. - (Right) England, 1087.} \label{fb:11} -\end{figure} - - Frederic Goudy\index{Goudy, Frederick} was a prolific American -type designer. Shown at the left of -\fref{fb:11} is the layout of his book \btitle{The Alphabet and Elements -of Lettering} published by the University of California Press in 1952. -This is typeset in his University of California Old -Style\facesubseeidx{University of California Old Style}, which has -interesting ct and st ligatures. The measure is $36$pc and the leading -is $18$pt. The first half of the book gives a short history of the development -of writing and fonts. The second half consists of 27 plates, one for each -letter of the alphabet, and the last one for the ampersand character. These -show the evolution of each letter from Roman times to the mid-twentieth -century. - - - Figure~\ref{fb:11} (right) shows the layout of the English -\btitle{Domesday Book} which is a manuscript book written in 1087. -It records all the domains won by William the Conqueror in 1066. -The book is written in a Carolingian minuscule\index{minuscule!Carolingian} -in two columns\index{column!double}, with 44 lines per column ragged right. -The two columns have slightly different widths. The first part of the book -is more meticulously written than the later parts, where the scribe appears -to be in haste to finish. - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.414}{1.618}{.111}{1}{2}{0} % A4 orig -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.414}{1.618}{.125}{1}{1.667}{0} % A4 mod -\end{minipage} -\caption[Two spreads for ISO page sizes]% - {Two spreads: (Left) ISO (1). - (Right) ISO (2).} \label{fb:12} -\end{figure} - - Figure~\ref{fb:12} shows two different layouts for a page corresponding -to the ISO international standard proportion of $\sqrt{2}$. In each case -the typeblock\index{typeblock} is the same and proportioned in the -golden section\index{golden section}, but the margins\index{margin} are -different. The layout on the left provides adequate -room for marginal\index{marginalia} notes in the \foredge. - - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.404}{1.641}{.143}{1}{1.6}{0} % Emery Walker -\end{minipage} -\hfill -\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]% - {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 -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. - - -On the right is the default layout provided by the -LaTeX $10$pt book class on US letterpaper\index{paper!size!letterpaper}. - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.294}{1.444}{.0833}{1}{2}{0.5} % Adrian Wilson -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.286}{2.11}{.4}{.625}{.625}{0} % Kuniyoshi -\end{minipage} -\caption[Two spreads: USA, 1967 and England, 1982]% - {Two spreads: (Left) USA, 1967. - (Right) England, 1982.} \label{fb:14} -\end{figure} - - Adrian Wilson\index{Wilson, Adrian}, who died in 1988, was an -acclaimed American book designer. -His work on book design, \btitle{The Design of Books}, out of print since -1988 but reissued in 1993 by Chronicle Books, is outlined -at the left of \fref{fb:14}. This is in two columns\index{column!double}, -with many illustrations\index{illustration}, -on letterpaper\index{paper!size!letterpaper} size pages. -It is typeset in Palatino\facesubseeidx{Palatino} and -Linotype Aldus\facesubseeidx{Linotype Aldus}\index{Aldus!Linotype} -with $12$pt leading. -Each column is $18$pc wide. The title page is a simple design and an -example based on it is shown in \fref{fig:titleDB}. -Chapter\index{chapter!design} heads are -flushright in a large italic, preceeded by the number. -Section\index{section!design} heads are flushleft in uppercase and -subsection heads are also flushleft but in normal sized italics. -The Contents\index{ToC!design} list is in the left hand column, typeset -using the normal font with titles flushleft and page numbers flushright; -there is an engraving in the bottom half of the right hand column. -There are no running headers. Verso footers\index{footer!design} have the -chapter title flushleft in small caps with the folio\index{folio} -to the left of this (i.e., in the margin); recto footers similarly have -the chapter title flushright and the folio to the right in the margin. - -\begin{figure} -\centering -\begin{showtitle} -\titleDB -\end{showtitle} -\caption{Title page design based on Adrian Wilson's \btitle{The Design of Books}} \label{fig:titleDB} -\end{figure} - -The other layout in this -figure is B.~W.~Robinson's \btitle{Kuniyoshi: The Warrior Prints} published -by Phaidon, Oxford in 1982. The page size is \abybm{310}{242}{mm} with a -measure of $28.5$pc. The type is set with $13$pt leading. The wide spine -margin\index{margin!spine}\index{margin!inner} is used for some small -reproductions of Japanese -woodblock prints, some of which extend across the binding itself. -The majority of the book has no text apart from captioning the many -reproduced prints which take up full pages. - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.25}{1.182}{.1}{1.5}{2}{0} % Fens -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{1.167}{1.133}{.077}{1}{1}{0.382} % Durer -\end{minipage} -\caption[Two spreads: England, 1972 and Switzerland, 1980]% - {Two spreads: (Left) England, 1972. - (Right) Switzerland, 1980.} \label{fb:15} -\end{figure} - - \btitle{The Waterways of the Fens} by Peter Eden with drawings by -Warwick Hutton is another of the Cambridge -Printer's\index{Cambridge University Press!Christmas Book} Christmas books. -This is set with $17$pt leading on a measure of $27$pc. The original -page size is \abybm{195}{150}{mm} and is illustrated on the left -of \fref{fb:15}. -The amount of text on a page varies -and there are many line drawings, some of which take a double spread. -Folios\index{folio} are in the outer margin level with the top -line of text. - -On the right of this figure is another art book, namely \btitle{D\"{u}rer} -by Fedja Anzelewsky published by Chartwell Books in 1980. This is set in -two columns\index{column!double} with $14$pt leading on a $23.5$pc measure, -although there are more illustrations\index{illustration} than text. The page -size is \abybm{280}{240}{mm}, considerably larger than its companion in -the figure, yet with much smaller margins\index{margin}. -Roman numerals are used for chapter\index{chapter!design} heads which are -set flushleft in a large font. Immediately below the chapter head is a line -of `section' titles, flushleft, in a font size intermediate between the -chapter head and the body. A centered dot is used to separate the section -titles. Folios\index{folio} are set in the foot\index{footer!design} flush -with the outside of the typeblock; there are no running heads. -The Table of Contents\index{ToC!design} title matches the chapter heads. -Chapter title entries are set flushleft with their page numbers flushright. -The section titles are set in a line below the chapter entry, again separated -by centered dots. In the text, references to -illustrations\index{illustration} are placed in the outside margins in -a small font. - -\begin{figure} -\centering -\begin{minipage}[b]{\pwlayi} -%\drawaspread{\pwlayii}{1.176}{1.46}{.107}{.833}{2.41}{0.25} % Art -\drawaspread{\pwlayii}{.865}{.951}{.111}{1}{2}{0} % Hammer & Hand -\end{minipage} -\hfill -\begin{minipage}[b]{\pwlayi} -\drawaspread{\pwlayii}{.714}{.667}{.111}{0.5}{0.667}{0.333} % Hokusai -\end{minipage} -\caption[Two spreads: England, 1969 and USA 1989]% - {Two spreads: (Left) England, 1969. - (Right) USA, 1989.} \label{fb:16} -\end{figure} - - - Two more layouts for illustrated books are given in \fref{fb:16}. -In this case the illustrations\index{illustration} are drawings in landscape -mode (i.e., they are wider than they are high); the shape of the drawings -has had a major effect on the page proportions. In the case on the left -the page proportion is in the ratio \ratio{{\pi}}{e}. The measure is -longer than usual at $37$pc and to compensate for this the leading of $17$pt -is also larger than customary. It is typeset in Centaur\facesubseeidx{Centaur}. -The book is -\btitle{Hammer and Hand} by Raymond Lister with drawings by Richard Bawden. -It was published in 1969 by Cambridge University -Press\index{Cambridge University Press!Christmas Book} and is another of -the University Printer's Christmas books. Folios\index{folio} -are in a large font at the outside edge of the page and level with the -top text line. - - -Shown on the right of \fref{fb:16} is \btitle{Hokusai --- One Hundred Poets} -by Peter Morse and published by George Braziller in 1989. The introductory -text is set in two columns\index{column!double} as shown. The body consists -of illustrations\index{illustration} of Japanese wood block prints, -originally in the large \textit{oban} size of about \abybm{250}{380}{mm}. -The half-title\index{half-title}\index{page!half-title} -is set in a large font in the top -right hand corner of the page, but the text on the title\index{page!title} -page is centered. The main body is organised with a wood block print -on each recto page and the commentary on the facing verso page. At the -top of each commentary page, centered, is the number of the print, a short -rule, the title of the print in a large italic font, a longer rule, -and then side by side the poem in Japanese and an English translation. -The commentary itself is underneath, set in three raggedright -columns\index{column!multiple}; minor heading in the commentary are -flushleft in small caps. The folio\index{folio} is at the center -of the foot\index{footer!design}. At the end of the book is a commentary on -those poems where there are no known illustrations; this is typeset -raggedright in four columns\index{column!multiple}. - - -\subsection{A geometric construction} \label{sec:gutenbergpage} - - Nowadays it is easy to pick and calculate any kind of page proportion -that takes your fancy, but how did the early printers do it? They certainly -did not have the use of calculators and I suspect that they had only enough -arithmetic to keep their accounts. Printing was a craft and craftsmen did -not release their trade secrets lightly. I believe that most of the designs -were based on simple geometric figures, which required nothing more than -a ruler and a pair of compasses. - - Jan Tschichold\index{Tschichold, Jan} gives a simple construction for the -layout of many of the books based on Gutenberg's\index{Gutenberg, Johannes} -work~\cite[pages 44--57]{TSCHICHOLD91}, -which is shown in \fref{flpage:lgut}. -The construction actually divides the page up into ninths (the point -\textsc{p} in the diagram, which is at the intersection of the main and half -diagonal construction lines, is one third of the way down and across both the -page and the typeblock\index{typeblock}). This construction can be used -no matter what the page proportions and will give the same relative result. - - -\begin{figure} -\centering -\setlength{\unitlength}{1pc} -\begin{picture}(20,15) -\put(0,0){\framebox(20,15){}} -\thicklines - \put(10,0){\line(0,1){15}} % spine -\put(0,0){\line(4,3){20}} % ll to tr diag -\put(20,0){\line(-4,3){20}} % lr to tl diagonal -\put(0,0){\line(2,3){10}} % ll to tm line -\put(20,0){\line(-2,3){10}} % lr to tm line -\put(13.333,0){\line(0,1){15}} % vertical line thro' half & full diags -\put(14,10){\makebox(0,0)[tl]{\textsc{p}}} -\put(13.333,15){\line(-4,-3){6.667}} % last line -\thinlines -\put(11.111,3.333){\framebox(6.667,10){}} -\put(2.222,3.333){\framebox(6.667,10){}} -\end{picture} -\setlength{\unitlength}{1pt} -\caption{The construction of the Gutenberg page design} -\label{flpage:lgut} -\end{figure} - -\index{proportion!typeblock|)} -\index{proportion!page|)} -\index{spread|)} - - -\section{The typeblock} \label{sec:tblock} - -\index{typeblock|(} - The typeblock is not just a rectangular block of text. If the typeblock -does consist of text, then this will normally be broken up into -paragraphs\index{paragraph}; it is not good authorial style to have -paragraphs that are longer than a page. Also, the typeblock may include -tables\index{table} and illustrations\index{illustration} which provide -relief from straight text. Some pages may have chapter or section -headings\index{heading} on them which -will also break the run of the text. In general the typeblock will -be a mixture of text, white space, and possibly non-text items. - - Consider a typeblock that includes no illustrations\index{illustration} -or tables\index{table}. -The lines of text must be laid out so that they are easy to read. -Common practice, and more recently psychological testing, has shown that -long lines of text are difficult to read. Thus, there is a physiological -upper limit to the width of the typeblock. From a practical viewpoint, -a line should not be too short because then there is difficulty in justifying -the text. - - Experiments have shown that the number of characters in a line of -single column\index{column} text on a page should be -in the range 60 to 70 for ease of reading. The range may be as much -as 45 to 75 characters but 66 characters is often -considered to be the ideal number. Much shorter and the eye is dashing -back and forth between each line. Much longer and it is hard to pick up the -start of the next line if the eye has to jump back too far --- the same line -may be read twice or the following line may be inadvertently jumped over. -For double column\index{column!double} text the ideal number of characters -is around 45, give or take 5 or so. - - Bringhurst\index{Bringhurst, Robert}~\cite{BRINGHURST99} gives a -method for determining the number -of characters in a line for any font\index{font!measuring}: -measure the length of the lowercase alphabet and use a -copyfitting\index{copyfitting} -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} -columns. - - -\begin{table} -%%%\DeleteShortVerb{\|} -\centering -\caption{Average characters per line} \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 & & \\ -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 & \\ -110 & 30 & \textit{43} & 55 & \textbf{67} & 79 & 92 & 107 & \\ -115 & 29 & \textit{41} & 53 & \textbf{64} & 76 & 88 & 103 & \\ -120 & 28 & \textit{39} & \textit{50} & \textbf{62} & 73 & 84 & 98 & 112 \\ -125 & 27 & 38 & \textit{48} & \textbf{59} & \textbf{70} & 81 & 94 & 108 \\ -130 & 26 & 36 & \textit{47} & 57 & \textbf{67} & 78 & 91 & 104 \\ -135 & 25 & 35 & \textit{45} & 55 & \textbf{65} & 75 & 88 & 100 \\ -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 \\ -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 \\ -175 & 20 & 28 & 36 & \textit{44} & 52 & \textbf{60} & \textbf{70} & 80 \\ -180 & 20 & 27 & 35 & \textit{43} & 51 & 59 & \textbf{68} & 78 \\ -185 & 19 & 27 & 34 & \textit{42} & \textit{49} & 57 & \textbf{67} & 76 \\ -190 & 19 & 26 & 33 & 41 & \textit{48} & 56 & \textbf{65} & 74 \\ -195 & 18 & 25 & 32 & 40 & \textit{47} & 54 & \textbf{63} & 72 \\ -200 & 18 & 25 & 32 & 39 & \textit{46} & 53 & \textbf{62} & \textbf{70} \\ -220 & 16 & 22 & 29 & 35 & \textit{41} & \textit{48} & 56 & \textbf{64} \\ -240 & 15 & 20 & 26 & 32 & 38 & \textit{44} & 51 & 58 \\ -260 & 14 & 19 & 24 & 30 & 35 & 41 & \textit{48} & 54 \\ -280 & 13 & 18 & 23 & 28 & 33 & 38 & \textit{44} & 50 \\ -300 & 12 & 17 & 21 & 26 & 31 & 35 & 41 & \textit{47} \\ -320 & 11 & 16 & 20 & 25 & 29 & 34 & 39 & \textit{45} \\ -340 & 10 & 15 & 19 & 23 & 27 & 32 & 37 & 42 \\ -\hline -\end{tabular} -%%%\MakeShortVerb{\|} -\end{table} - - Morten H{\o}gholm\index{H{\o}gholm, Morten} has done some curve fitting -to the data. He determined that the expressions -\begin{equation} -L_{65} = 2.042\alpha + 33.41 \label{eq:L65} -\end{equation} -and -\begin{equation} -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). - - The vertical height of the typeblock should be constant from page to -page. The lines of text on facing pages should be aligned -horizontally across the spine, which also means that they will be at -the same place on both sides of a leaf. Alignment across the spine -means that the eye is not distracted by an irregularity at the centre -of a spread, and leaf alignment stops ghosting of text through a thin page, -giving a crisper look to the work. -So, the spacing between lines should -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 -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 -the amount of space taken by chapter and section headings\index{heading} -should also be -an integer multiple of the leading\index{leading}. - - A ten point type set solid is described as 10/10. The theoretical -face of the type is ten points high, from the top of a \emph{d} to the bottom -of a \emph{p}, and the distance of the baseline of one row of text to the -next row of text is also ten points. Note that if a \emph{p} is vertically -above a \emph{b} then the ascender of the \emph{b} will meet the descender -of the \emph{p}. To avoid this, the vertical separation between baselines -is increased above the type size. Adding two extra points of vertical space -allows the text to breathe, and gives a leading of 12 points. Few fonts -read well when set solid. Typical settings are 9/11, 10/12, 11/13 and 12/15. -Longer measures require more leading than shorter ones, as do darker -and larger -fonts compared with lighter and smaller fonts. More leading is also -useful if the text contains many super-\index{superscript} or -sub-scripts\index{subscript}, or many uppercase letters. - -\index{typeblock|)} - - -\subsection{Page color} - - One of the aims of the typographer is to produce pages that are uniform -in `color'\index{page color}. By this they mean that the -typeblock\index{typeblock} has a reasonably constant -grayness, not being broken up by too much white space which is a distraction -to the reader. There will be white space around headings\index{heading}, -which is acceptable as a heading is meant to attract attention. -There may be white space between paragraphs\index{paragraph}, and this is -usually under the control of the designer. But there -may be vertical rivulets, or even rivers, of white space when the -interword spaces on adjacent lines coincide; fixing this usually -requires some handwork, either -by the author changing his wording so as to alter the location of -the spaces, or by the typesetter tweaking a little bit. - - Another form of distraction is if too many lines end with hyphens, or -several adjacent lines start or end with the same text; not only does -this cause a stack of identical characters but will make it harder for -the reader to reliably jump to the next line. - - The main font used controls the depth of the color of a page. To -see what color is produced by a particular font it is necessary to look -at a fairly long, preferably a page, piece of normal text. Fonts from -different families produce different colors, and so may mixed fonts from -the same family. You can try this yourself by typesetting the same page -in, say, Computer Modern Roman, Italic, and Sans fonts. -The books by Rogers~\cite{ROGERS43}, Lawson~\cite{LAWSON90}, -Dowding~\cite{DOWDING98}, and -Morison~\cite{MORISON99} all show pages set in many different fonts. - - - -\subsection{Legibility} - - One of the principle requirements on the typography of a document is -that the document is \emph{legible}. Legibility\index{legibility} -means that the document -is designed to be easily read under a certain set of circumstances. -The criteria for -legibility on a poster that is placed on the side of a bus, for example, are -different from those that apply to a book to be read while sitting in an -easy chair. Essentially, the viewer should be able to read the document -with no physical strain caused by the appearance, but the contents, -of course, may lead to anything ranging from acute mental strain to -extreme boredom. - - Typefaces\index{typeface} and the layout of the -typeblock\index{typeblock} must be -chosen to optimise between legibility and `artistic' presentation. -The design of the document should be almost invisible, giving full -compliments to the author's communication. However, if you are a master, -like Hermann Zapf\index{Zapf, Hermann}~\cite{ZAPF00}, you can break the rules. - - - -\subsubsection{Typefaces} -\index{typeface} - - 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 -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 -orientation of the brush. Similarly the written letterforms included -serifs. - - Between the Roman times and Gutenberg there were many changes and -experiments in European letterforms. The scribes used different scripts -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 -acquired its fundamental form during the reign of the Holy Roman Emperor -Charlemagne\index{Charlemagne} a thousand years later. In order to -promote communication -throughout his wide flung empire the Anglo Saxon Benedictine monk -Alcuin\index{Alcuin}, at the behest of Charlemagne, established a common -script to be used; this is now called Carolingian -minuscule\index{minuscule!Carolingian}. -A further division also appeared, between black letter (what is -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 -the century, sloped roman capitals were also in use with italic. - -\index{serif versus sans-serif type|(} -\index{font!seriffed|(} -\index{font!sans|(} - The late nineteenth century saw the appearance again of sans-serif\index{sans} -typefaces. - - Looking carefully at seriffed\index{serif} and sans-serif fonts it is apparent that -the serifs have three main functions: -\begin{enumerate} -\item They help to keep letters apart. -\item At the same time, they help to keep letters in a word together. This - helps with legibility\index{legibility} as research has shown that - we tend to recognize - words by the shape of the word rather than by individual characters. -\item They help to differentiate between individual but similar letters. -\end{enumerate} - -Long experience has shown that a seriffed font is easier to -read\footnote{This is actually somewhat contentious as some take the view -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 -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: -\begin{center} -{\Huge\sffamily a c l m n p q o} -\end{center} -and then in roman: -\begin{center} -{\Huge a c l m n p q o} -\end{center} - - Sans-serif fonts often require context to decipher the word. -For example~\cite{MCLEAN80}, -seeing this in isolation -\begin{center} -{\Huge\sffamily lll} -\end{center} -does it stand for `Ill', `one hundred and eleven', `three', or something -completely different like a dingbat or a set of cricket stumps? - - - There are three generally agreed legibility\index{legibility} -principles for setting text for -continuous reading. - -\begin{enumerate} -\item \emph{Sans-serif type is intrinsically less legible than seriffed type}~\cite{WHEILDON95}. - - We have already seen that this is the case --- there is more variety -among seriffed letters than among sans-serif letters. Further, serifs -perform other functions as well, such as binding letters together within -a word. - - This is not to say that a sans-serif letterform is always more illegible -than a roman one. A poor seriffed form can be much more illegible than -a well used good sans-serif. In general, there is an illegibility factor -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 -any of its variants.} - - This is a guiding principle with many exceptions. Among the variants -can be considered to be italic and bold types. These have usually been -designed for a special purpose, like emphasing\index{emphasis} -certain pieces of text, rather -than for general legibility. Some italic types, though, are as legible as their -roman counterparts. In the seventeenth century many books were set entirely -in italic, but we have become accustomed to the roman type. - -\item \emph{Words should be set closer together than the space between lines.} - - All text is a mixture of ink and white space. The eye, when reading, -tends to jump over the white spaces. Given a choice between two spaces, it -will tend to jump over the smaller of the two. If the word spacing is greater -than the line spacing, then you can find yourself skipping from one line -to the next before finishing the first one. - - Further, if the lines are too long, then when the eye jumps back from -the end of one line to the start of the next, it may have difficulty in -picking up the correct one. - - Text lines are justified by altering the inter-word spacing, and possibly -by hyphenating the last word on the line if the spacing would be too bad -otherwise. Sans-serif fonts often look best if set ragged right, as this will -keep the inter-word spacing constant. Text set in narrow -columns\index{column!narrow} also often -looks best when set ragged right. - - -\end{enumerate} - -\subsubsection{Seriffed versus sans-seriffed fonts} - - - As noted earlier there seems to be a permanent debate over the use -of seriffed and sans fonts. You will have to make up your own mind as -to what is best for any particular work, but here are a few general -comments from some of the literature on the subject. - -\begin{itemize} -\def\makelabel#1{\noindent #1} -\item[Bohle~\cite{BOHLE90}] notes: Readers prefer a roman typeface for body - type because they are most used to seeing that face~\cite{REHE72}. - Roman type may well also be more readable than sans serif faces because - the serifs help connect the letters to form the word shape when - we read~\cite{REHE72}. - -\item[Craig~\cite{CRAIG92}] says: You will find that the serifs on a typeface - facilitate the horizontal flow necessary to comfortable reading. - -\item[Degani~\cite{DEGANI92}] in a study of pilots reading checklists - in emergency cockpit situations decided that sans serif faces were - better than serif faces. - -\item[Schriver~\cite{SCHRIVER97}] notes: Serif and sans serif typefaces - are likely to be equally preferred by - readers~\cite{HARTLEY83,TINKER63} - and read equally quickly~\cite{GOULD87,HARTLEY83,ZACHRISSOM69}. - Serif faces may be easier to read in continuous text than sans - serif faces~\cite{BURT59,HVISTENDAHL75,ROBINSON71,WHEILDON95}. - -\item[Wheildon~\cite{WHEILDON95}] did a series of studies with around -250 readers in Sydney, Australia, asking them to rate serif and sans fonts -in a variety of uses. Among the many results he reported: -\begin{itemize} - \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 - 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. -\end{itemize} - -\end{itemize} - - The consensus, such as it is, seems to lean towards serifed -typefaces for continuous reading, but for titling the choice is -wide open. - - - To finish off in a lighter vein, - 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 -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 -like Ill, Iliad and Illinois in a sans-serif font -[e.g., \textsf{Ill, Iliad and Illinois}] are going to cause the eye/brain -system at last momentary confusion while it sorts out which plain vertical -lines are uppercase i's and which lowercase L's. - - I don't know if this contributes anything, but I can say unequivocally -that serif fonts are somwhat easier to read upside down than sans-serif, -but sans-serif is far easier to read mirored than serif. (I spent much -of my time as a child reading comics on the floor with my brother. As -he hated reading any way but straight on, we faced in different directions -and I saw the page upside down. I tried mirror reading just to see if -I could do that as easily. Serif fonts were almost impossible, sans-serif -actually quite easy.) - -\end{quotation} - - He later expanded on the mirror reading to me as follows. -\begin{quotation} -Here's an interesting (to me) anecdote about mirror reading: I was waiting -in line at an airport lunch counter, reading the menu posted on the wall, -when it suddenly struck me as odd that the menu was on the wall opposite -(so that one had to turn away from the counter to read it). Then I -realized in a sort of flash that I was reading it from a mirror. I turned -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 -`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. - - Some sort of dyslexia (or eulexia), no doubt, when backwards -words are nearly as easy to read as normal ones. -\end{quotation} - - -\index{font!sans|)} -\index{font!seriffed|)} -\index{serif versus sans-serif type|)} - - - -\index{font!sans|)} -\index{font!seriffed|)} - -\PWnote{2009/04/26}{Added subsection on selecting a typeface} -\subsection{Selecting a typeface} -\index{typeface!selecting} - - - First off\pagenote[First off]{Practically, though, the very first -thing is to select a typeface that you already have or that you can -\emph{legally} obtain.}, -select a typeface that is both legible and readable. -The classical faces, those that have withstood the test of -time\footnote{Measured in decades, if not centuries.} are -usually safe in this respect. - - After that there are two main considerations: does the face match the -`feel' of the work and is the face consistent with the period of the -work? - - The latter consideration is effectively a historical one. If you are -resetting a work that was originally published in the 1800's don't -use a twentieth century typeface, and certainly not a sans serif. On the -other hand using blackletter for setting a twentieth century novel, -even a gothic one, is not a good idea even apart from the legibility and -readability factors. - - The `feel' question is somewhat harder, partly depending on the -presumed -sensibilities of the reader. If the work is about aspects of Italian -life then perhaps a light and quick Italian typeface would be -preferable to a stolid English face. If it is a scientific work then -a clean and precise face would perhaps fit the bill. Technical -works often use analphabetic symbols, such as mathematical, chemical, or -astrological symbols. Try and use a face that includes those symbols -that you need or, failing that, try and find complementary typefaces -that cover the range you need. The same applies if the work is -multilingual, and especially if it involves different scripts -like, say, Latin and Greek; try and find matching faces, or at least -typefaces that don't clash with each other. - - -\subsection{Widows and orphans} - - Inconvenient page breaks can also cause a hiatus in the reader's perusal -of a work. These happen when a page break occurs near the start or end of -a paragraph\index{paragraph}\index{lonely line}. - - A \emph{widow}\index{widow} is where the last line of a -paragraph\index{paragraph} is the first line on the page. The term is -sometimes also used to refer to when the last word in a -paragraph\index{paragraph} is on a line by itself. A widow looks forlorn. -In German they are called \textit{Hurenkinder}\index{Hurenkinder} --- -whores' children --- which seems rather cruel to me. -As Robert Bringhurst said, `A widow has a past but no future'. -Typographically, widows should be avoided as they are a weak start to a page -and may optically destroy the page and type rectangle. However, a single widow -is not too troubling if the header includes a rule across the width of the -typeblock. Especially to be -avoided are widows that are the only line on a page, for example at the end -of a chapter\index{chapter}. Five lines on the last page of a -chapter\index{chapter} is a reasonable minimum. -Jan Tschichold~\cite{TSCHICHOLD91} claims that Hurenkinder can always -be avoided by even if a recto (verso) page must be made a line shorter or -longer than the corresponding verso (recto) page, which he considers to be -less of an affront than widows. - - An orphan\index{orphan} is not nearly so troubling to typographers as a -widow. An \emph{orphan} is where the first one or two lines of a -paragraph\index{paragraph} are at the bottom of a page. In German they are -called \textit{Schusterjungen}\index{Schusterjungen} --- cobbler's apprentices. -Bringhurt's memory trick for orphans is, `An orphan has a future but no -past'.\index{lonely line} - -\subsection{Paragraphs and versals} \label{sec:versal} - -\index{paragraph|(} - - Early books did not have paragraphs as we know them nowadays; the text -was written continuously, except for a break at a major division like the -start of a new book in a bible. Instead -the scribes used a symbol like \P\ -(the pilcrow)\index{pilcrow (\P)} -to mark the beginning of -paragraphs. This symbol is derived from the Greek $\Pi$, for -\textit{par\'{a}graphos}. Mind you, they often did not use any punctuation -at all and were sparing in their use of uppercase letters, -so you might have seen something like this\footnote{But probably not. -The two `paragraphs' are Latin abecedarian sentences.} - -\begin{quote} -usque \P\ te canit adcelebratque polus rex gazifier hymnis - \P\ transzephyrique globum scandunt tua facta per axem -\end{quote} - - Often the \P\ was colored red by the rubricators\index{rubricator} and the -scribe, or printer, would leave a blank space for the rubricator to add the \P. -This did not always happen and the start of a paragraph eventually became -marked by a space rather than a symbol. - - Nowadays paragraphs are ended by stopping the line of text at -the end of the -paragraph, and then starting the next paragraph on a new line. The question -then becomes: how do you indicate a new paragraph when the last line of the -previous paragraph fills up the measure? There are two solutions, which -unfortunately you -sometimes see combined. Either indent the beginning of the first line of -each paragraph, or put additional vertical space between the last and -first lines of paragraphs. - - The traditional technique, which has served well for centuries, is to -indent the first line of a paragraph\index{paragraph!indentation}. -The indentation need not be large, about an em will be enough, but -more will be required if the typeblock\index{typeblock} is wide. - - The other method is used mainly in business letters and is a recent -invention. The first lines of paragraphs\index{paragraph!indentation} -are not indented and typically one blank line is left between paragraphs. -This may -perhaps be acceptable when using a typewriter, but seems to have no real -justification aesthetically. There is also the problem when a paragraph -both ends with a full line and ends a page. As the next paragraph then starts -at the top of the next page, the blank line separating the two paragraphs -has effectively dissappeared, thus leaving the reader in a possible state -of uncertainty as to whether the paragraph continues across the page break -or not. - - If the paragraph is the first one after a heading\index{heading}, -then there -is no need to indicate that it is a new paragraph --- it is obvious from its -position. So, the first paragraph after a heading\index{heading} -need not be indented\index{paragraph!indentation}, and for some centuries now -the tradition is not to indent after a heading. -In some novels only chapters are headed yet each chapter is broken into -sections by putting additional vertical blank space between the sections. -Like nonindented paragraphs\index{paragraph!indentation}, -this can cause problems where a section division -coincides with a page break. In this case, typographers sometimes use a -decoration to separate sections (for example, a short centered row of a few -asterisks). - - -%%%%%%%%\clearpage -%\subsection{Versals} - -\drop{S}{}\textsc{ome typographers}\index{versal|(} -like to start the first paragraph in a chapter -with a versal. A \emph{versal} is a large initial letter, either raised or -dropped. This comes from the scribal tradition of illuminating the first -letter of a manuscript. The versal may be raised or dropped, as already noted, -or it may be placed in the margin\index{margin}, or otherwise treated in -a special manner. - -\versal{S}\textsc{ome versals,} especially dropped versals, are very difficult -to typeset correctly. Many attempts of this kind are abject failures, so -be warned. For example, compare the dropped versals at the start of these -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 -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 -spacing has had to be inserted before this paragraph to accomodate the versal. -There are still problems with typesetting a raised versal but as these tend -to be subtler than with a dropped versal, readers are less likely -to notice problems. - -Typically, small caps are used for a little while following a versal to -provide a transition between the large versal font and the normal body font. -These should not continue throughout the first line as this tends to divorce -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. - -\index{paragraph|)} - -\subsection{Footnotes} - -\index{footnote|(} - Footnotes are considered to be part of the typeblock\index{typeblock}. -They are typeset in the space allocated for the typeblock\index{typeblock}, -in contrast to footers\index{footer} -which are typeset below the typeblock\index{typeblock}. - - Footnotes are normally set in the same type style as the -typeblock\index{typeblock}. That is, if an upright seriffed font is used -for the typeblock\index{typeblock}, it is -also used for the footnote. The -type size is smaller to distinguish the note from the body text and often -the leading in the footnote is also reduced from that in the main text body. -The bottom footnote line should be at the same height as the bottom line -of the typeblock\index{typeblock}. This usually requires some adjustment -of the vertical space before the footnotes. - - A vertical blank space is often used to set off the footnotes from the -main text, and sometimes a short horizontal line is also used as demarcation. - -\index{footnote|)} - -\section{Folios} - -\index{folio|(} - - The word \emph{folio} is a homonym. It can mean a leaf -(two back-to-back pages) in a book, the size of a book or a book of -folded sheets (as in Shakespeare's first folio), or the printed page number -in a book. Here I use folio in this last sense. - - Documents should have folios, at a minimum to help the reader know where -he is. Occasionally books have their folios placed near the spine but this -positioning is unhelpful for navigation. The more usual positions are -either centered with respect to the typeblock\index{typeblock} or aligned -with the outside of the typeblock\index{typeblock}, and sometimes even in -the outside margin\index{margin!outer}. The folios -can be either at the top or bottom of the page but at least on pages -with chapter\index{chapter} openings are normally placed at the bottom of -the page so that they do not distract from the title text. - - Every page in a book is numbered, even if the page does not have a folio. -In books, the folios for the front material are often in roman numerals. -The \pixmainmatter\ and \pixbackmatter\ folios are arabic numerals, -with the sequence -starting from 1 after the \pixfrontmatter. In certain technical documents, -folios may be in the form of chapter number\index{chapter!number} and -page number, with the page number starting from 1 in each new chapter. -Other folio schemes are possible but unusual. - - Folios should be placed harmoniously with respect to the -typeblock\index{typeblock} and page margins\index{margin}. The font used for -the folios need not be the same as that for the typeblock\index{typeblock} -but must at least be complementary and non-intrusive. - -\index{folio|)} - -\section{Headers and footers} - -\index{header|(}\index{footer|(} - Headers and footers are repetitive material that is placed at either -the head or the foot of the page. Typically, folios\index{folio} are headers -or footers, but not always as sometimes they are placed in the -margin\index{margin} at or below the first line in the -typeblock.\index{typeblock} - - For the time being I will not distinguish between headers and footers and -just use the word header. Sometimes the header is purely decorative (apart -from a folio\index{folio}) like a horizontal line or some other non-textual -marking. Normally, though, they have a functional use in helping the -reader locate himself in the document. - - The most ubiquitous header is one which gives the title of the document. -If this is the only header, then I consider this to be decorative rather -than functional. As a reader I know what document I am reading and do not -need to be reminded every time I turn a page. More useful are headers that -identify the current part of the document, like a chapter\index{chapter} -title or number. -When you put the document down and pick it up later to continue reading, these -help you find your place, or if you need to refer back to a previous chapter -for some reason, then it is a boon to have a chapter heading\index{heading} -on each -spread. The minimally functional headers are where the document title -is on one page and the chapter heading is on the facing page. In more technical -documents it may be more useful to have headers of chapter and section titles -on alternate pages. - - Occasionally both headers and footers are used, in which case one normally -has constant text, like a copyright\index{copyright} notice. -I have the feeling that using the latter is only functional for the -publishers of the document when they fear photocopying or some such. - - The header text is usually aligned with the spine side -of the typeblock\index{typeblock}, but may be centered on top of the -typeblock\index{typeblock}. In any event, it should not interfere with -the folio\index{folio}. The type style need not be the same as the style -for the typeblock\index{typeblock}. For example, headers could be set in italic -or small caps, which, however, must blend with the style used for the -typeblock.\index{typeblock} - -\index{footer|)}\index{header|)} - -\section{Electronic books} -\index{electronic books|(}\index{Ebook|see{electronic books}} - - For want of a better term I am calling electronic books, or Ebooks, -those documents intended to be read on a computer screen. The vast bulk -of Ebooks are in the form of email but I'm more interested here in -publications that are akin to hardcopy reports and books that require -more time than a few minutes to read. - - Unlike real books which have been available for hundreds of years there -is virtually no experience to act as a guide in suggesting how Ebooks should -appear. However, I offer some suggestions for the layout of Ebooks, based on -my experience of such works. -Not considered are internal navigation aids -(e.g., hyperlinks) within and between Ebooks, nor HTML documents where -the visual appearance is meant to set by the viewing software and not -by the publisher. - - The publication medium is obviously very different --- a TV-style -screen with limited resolution and pretty much fixed in position versus -foldable and markable paper\index{paper} held where the reader finds it best. -These differences lead to the following suggestions. - - A book can be held at whatever distance is comfortable for reading, even -when standing up. -The computer user is normally either sitting in a chair with the monitor -on a desk or table, or is trying to read from a laptop, which may be -lighter but nobody would want to hold one for any length of time. To try -and alleviate the physical constraints on the Ebook reader the font size -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 -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. - - I find it extremely annoying if I have to keep scrolling up and down -to read a page. Each page should fit within the screen, which means that -Ebook pages will be shorter than traditional pages. -A suggested size for an Ebook page, in round numbers, is -about 9 by 6 inches~\cite{ADOBEBOOK} or 23 by 15 centimetres overall. - - The page design for printed books is based on a double spread. For -Ebooks the design should be based on a single page. The -typeblock\index{typeblock} must be centered on the page otherwise it gets -tiring, not to mention aggravating, if your eyes have to -flip from side to side when moving from one page to the next. Likewise -any header\index{header} and the top of the typeblock\index{typeblock} -must be at a constant height on the screen. A constant position for the -bottom of the text is not nearly so critical. - - It is more difficult with an Ebook than with a paper book -to flip through it to find a particular place. -Navigation aids --- headers\index{header} and footers\index{footer} --- -are therefore more critical. Each page should have both a chapter -(perhaps also a section) header\index{header} title and a page number. -Note that I'm not considering HTML publications. - - Many viewers for Ebooks let you jump to a particular page. The page -numbers that they use, though, are often based on the sequence number from -the first page, not the displayed folio\index{folio}. In such cases it -can be helpful to arrange for a continuous sequence of page numbers, -even if the folios\index{folio} are printed using different styles. -For example, if the \pixfrontmatter\ uses roman numerals and the -\pixmainmatter\ arabic numerals and the last page of the -\pixfrontmatter\ is page xi, then make the first page of the \pixmainmatter\ -page 12. - - I see no point in Ebooks having any blank pages --- effectively the -concept of recto and verso pages is irrelevant. - - Some printed books have illustrations\index{illustration} that are -tipped in, and the tipped in pages are sometimes excluded from the -pagination. In an Ebook the illustrations\index{illustration} have to -be `electronically tipped in' in some fashion, either -by including the electronic source of the illustrations\index{illustration} -or by providing some navigation link to them. Especially in the former case, -the tipped in elements should be included in the pagination. - - Don't forget that a significant percentage of the population is -color-blind.\index{color|(}\index{color!blind} -The most common form is a reduced ability to distinguish -between red and green; for example some shades of pink may be perceived -as being a shade of blue, or lemons, oranges and limes may all appear to -be the same color. Along with color-blindness there may be a reduced -capacity to remember colors. - - I have seen Ebooks where color has been liberally used to indicate, say, -different revisions of the text or different sources for the data in a graph. -Unless the colors used are really distinctive 10\% or more of the potential -readership will be lost or confused. Further, -Ebooks may be printed for reading off-line and if a non-color printer is -used then any colors will appear as shades of grey; these must be such that -they are both readily distinguishable and legible. Yellow on white is almost -as difficult to read as off-white on white or navy blue on black, all of -which I have seen on web sites but rarely have I seen the text after I -have tried to print the page. - -\index{color|)} -\index{electronic books|)} - - -\chapter{Styling the elements} - - A book should present a consistent typographic style throughout, although -some elements, principally those in the \pixfrontmatter\ and \pixbackmatter\ -may be treated slightly differently than the main body. - - Much of this chapter is based on my interpretation of my namesake's -work~\cite{ADRIANWILSON93} and the \btitle{Chicago Manual of Style}~\cite{CMS}. - -\section{\prFrontmatter} - -\subsection{Title pages} - - The main and half-title pages are the gatekeepers to the book. As such, -they need to be welcoming and give an indication of the `look and feel' -of the contents. You don't want to scare off potential readers before they -have even cursorily scanned the contents. - - The half-title\index{page!half-title}\index{half-title page}, or bastard -title\index{bastard title|seealso{half-title}}, page contains just the -title of the -work, which is traditionally set high on the page --- perhaps about as high -as the chapter openings. The title page\index{page!title}\index{title page} -itself presents the title in full, -the author and maybe the illustrator or -other names likely to attract the reader, and perhaps the publisher and date. -Both the title pages are recto but the full title may be a double spread. -The full title layout in particular must be both attractive and informative. - -\subsubsection{Advertising} - - If the book is one of a series, or the author has been prolific, then -details of associated works may be provided. Titles by the same author -are usually set in italic, and a series title perhaps in small caps. The -font size should be no larger than for the main text. This advertising material -may be put on the copyright page but it is more often on the recto page -immediately after the half-title, before the title page, or on the verso of -the half-title\index{half-title page}\index{page!half-title} page. - -\subsubsection{Frontispiece} - - The traditional place for a frontispiece\index{frontispiece}, -which may be the only -illustration in the book, is facing the title page. Every attempt must be -made to make the resulting double spread harmonious. - -\subsection{Copyright page} - - The copyright\indextwo{copyright}{page} and related publishing -information is set in small type -on the verso of the title page. In some instances the book designer's name may -be listed among the small print. - -\subsection{Dedication} - - A dedication\index{dedication} is nearly always on a recto page and -simply typeset. If -pages are limited it could be placed at the top of the copyright -page\indextwo{copyright}{page} instead. - -\subsection{Foreword and preface} - - The same type size should be used for the headings 'foreword', `preface', -`acknowledgements', etc., and the similar ones in the \pixbackmatter. This -may be the same size as the chapter heads, or smaller. The body type should be -the same as for the \pixmainmatter\ text. -The foreword\index{foreword} starts on a recto page. It may face the -copyright page\indextwo{copyright}{page}, or if -there is a dedication\index{dedication} it will face the dedication's -blank verso. - - The preface\index{preface}, which is the author's opening statement, -is treated like a chapter opening, and commences on a recto page. - -\subsection{Acknowledgements} - - If there are any acknowledgements\index{acknowledgements} and they -require only a few sentences then they are often put at the end of the -preface\index{preface}, if there is one. Otherwise the acknowledgements -should be treated as a distinct unit, like a foreword or preface, and commence -on a recto page. - -\subsection{Contents and illustration lists} - - The table of contents\indextwo{contents}{list} is often laid out so -that the page numbers -are not too distant from the titles, thus reducing the need for dotted lines, -even if this makes the contents block narrower than the text page width. -An alternate strategy is to use more interlinear space between the entries -so that there is little or no difficulty in recognising which page -numbers belong to which titles. The parts of major sections should be -clearly separated to aid visual navigation. - - If the captions in an illustration list\indextwo{illustration}{list} -are short, and it follows the -contents list then it should be set in the same style as the contents. -If, however, the list is at the back of the book a smaller font size could -be used. - -\subsection{Introduction} - - The heading for an Introduction\index{introduction} is an unnumbered -chapter opening on a recto page. The body text is set in the same font -as the main body text. - -\subsection{Part title page} - - If the book is divided into Parts\index{part} then the Part One -page\indextwo{page}{part title} could either precede or follow the -Introduction. Ideally the layout of the title pages for the Parts should -follow the layout of the book's half-title\indextwo{page}{half-title} page -to provide a cohesiveness throughout the work. - -\section{\prMainmatter} - -\subsection{Chapter openings} - - Normally, chapters are the major divisions of a (volume of a) book, -but if it is long -it may have higher divisions, such as parts, or even books. In any event, -chapters are numbered consecutively throughout the volume. The numbering -is usually arabic but if there are few chapters, or there are numbered -subdivisions within chapters, or the work has classical allusions, then -roman numerals might be appropriate. - - Chapters often begin on recto pages but if there are many short chapters -or reproduction cost is all important then they may begin on the page -immediately following the end of the previous chapter, or, in rare cases, -even on the same page if there is enough space. In any event, the first chapter -should start on a recto page. - -\subsection{Mixed portrait and landscape pages} - - It is usual for all the pages in a document to be in -portrait\index{orientation}\index{portrait}\indextwo{orientation}{portrait} -but this is not always possible if there are illustrations or tabular material -that is better displayed in -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 -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. - - - Figure~\ref{fig:landscape-landscape} shows double spreads where both pages -are in landscape orientation. Whichever way they face, they must both face in -the same direction so that the document has only to be turned once to read -both of them. - - The general rule for mixed landscape and portrait pages is that the -document is held in one position to read the -portrait\indextwo{orientation}{portrait} pages and is turned -in a consistent direction, usually to the right, to read the -landscape\indextwo{orientation}{landscape} pages. The key is consistency. - -\begingroup -\newcommand*{\tht}{6} -\newcommand*{\twd}{8} -\newcommand*{\htwd}{4} -\setlength{\unitlength}{0.5cm} - -\begin{figure} -\centering -\mbox{}\hfill -\begin{picture}(\twd,\tht) - \put(0,0){\framebox(\htwd,\tht){\textsc{portrait}}} - \put(\htwd,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} -\end{picture} -\hfill -\begin{picture}(\twd,\tht) - \put(0,0){\framebox(\htwd,\tht){\textsc{portrait}}} - \put(\htwd,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{-90}{\textsc{landscape}}}} -\end{picture} -\hfill -\mbox{} - -\caption[Portrait and landscape spreads]% - {Portrait and landscape spreads: the layout on the left is preferable to the one on the right} \label{fig:portrait-landscape} -\end{figure} - -\begin{figure} -\centering -\mbox{}\hfill -\begin{picture}(\twd,\tht) - \put(\htwd,0){\framebox(\htwd,\tht){\textsc{portrait}}} - \put(0,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} -\end{picture} -\hfill -\begin{picture}(\twd,\tht) - \put(\htwd,0){\framebox(\htwd,\tht){\textsc{portrait}}} - \put(0,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{-90}{\textsc{landscape}}}} -\end{picture} -\hfill\mbox{} - -\caption[Landscape and portrait spreads]% - {Landscape and portrait spreads: the layout on the left is preferable to the one on the right}\label{fig:landscape-portrait} -\end{figure} - -\begin{figure} -\centering -\mbox{}\hfill -\begin{picture}(\twd,\tht) - \put(\htwd,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} - \put(0,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} -\end{picture} -\hfill -\begin{picture}(\twd,\tht) - \put(\htwd,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} - \put(0,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{-90}{\textsc{landscape}}}} -\end{picture} -\hfill\mbox{} - -\caption[Double landscape spreads]% - {Double landscape spreads: never use the layout on the right}\label{fig:landscape-landscape} -\end{figure} - -\endgroup -\subsection{Extracts} - - Typographers use `extract'\index{extract} as a generic -term for what I would think of as a quotation\index{quotation}. -Essentially a quotation is an extract from some source. -Quotations\index{quotation}\index{extract} from other works, -unless they are so short as to be -significantly less than a line, should be set off from the main text. -This could be -as an indented block, or by using a different type style or size, or a -combination of these. A size difference of one or two points from the body -size is usually enough to be distinctive, for instance 11/13 or 10/12 point -for a 12/14 point body size. In any event, extra space, at least two or -three points, should be inserted and below the extract. - -\subsection{Footnotes and endnotes} - -\renewcommand*{\thefootnote}{\fnsymbol{footnote}} -\let\oldfootnoterule\footnoterule -\renewcommand*{\footnoterule}{} - This section is a synthesis of the views of Ruari McLean~\cite{MCLEAN80}, -Jan Tschichold~\cite{TSCHICHOLD91} and -Emerson Wulling~\cite{WULLING-FOOTNOTES}. - - Footnotes\index{footnote} are ancilliary to the main material and -expand in some way -upon the current theme. For instance, remarks that are too large or off the -main thread, or some side comment by the author, may be sunk to a footnote -at the bottom of the page. By definition, a footnote is placed at the -bottom of a page but, if it is long or space is short, may run over to a -second, or even a third page. A footnote should have some immediate -relevance to the reader. - -Endnotes\index{endnotes}, which are collected together at the end of the -document, include -material similar to that in footnotes, but which is not of immediate interest. -If you use an endnote\index{endnote} it is safe to assume that only a small -percentage of your readers will ever correlate it with the text. - - Within the text the presence of a footnote is indicated by a raised -`reference mark'\index{reference mark} following the -word, phrase, or sentence to which it refers. The same mark is used -to introduce the footnote at the bottom of the page. -The reference mark may be either a -symbol or a number. For illustrative purposes I'm using symbols -as markers in this section. - - If there are many footnotes then it is convenient for the reader if numbers -are used for the marks\index{footnote!mark}. The numbering may be continuous -throughout the document, -or start afresh with each chapter; starting anew on each page may lead to -some confusion. When there is only an occasional footnote then symbols -are usually preferred as reference marks. - - Endnotes may or may not be marked\index{endnote!mark} in the main text. -If they are marked then numbers -should be used, not symbols. If there are both footnotes and marked endnotes -then different series of marks must be used for the two classes of notes. - - There is some debate as to how reference marks should relate to the -marked element in the main text. For example, should the mark immediately -follow the element\footnote{This mark immediately folllows the main element.} -or should there be a thin space\,\footnote{There is a thin space between this -mark and the element it is attached to.} separating the two. A convenient -procedure is to use a thin space between the -element\,\footnote{A thin space is used here.} and the mark when the end of -the element is tall, and -none\footnote{There is no extra space here.} when the end of the element is -low. There is no need for any extra space between punctuation and a reference -mark.\footnote{There is no extra space here.} - - McLean, Tschichold, and Wulling are all agreed that there should not be -a rule separating the main text from any footnotes --- a space and change in -font size is sufficient to distinguish the two. The font size for -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. -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 -if a symbol, in order to distinguish it from the note's text. -If there are any footnotes on a -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 -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.} - - Endnotes may be grouped at the end of each chapter or collected together -towards the end of the document. If the latter, then they should be presented -in groups corresponding to the noted chapters. It is a courtesy to the reader -to indicate the page which gives rise to each note so that backward reference, -as well as forward reference, is facilitated; this is especially important -if there is no endnote mark\index{endnote!mark} in the main text. Endnotes -that have no reference mark\index{reference mark} in the text are usually -tagged with some words from the main text that identify the idea or statement -that they are referring to. - In an endnote listing note numbers are usually either indented or the note -is set flush-and-hang\index{flush-and-hang} style; that is, with the -first line set flushleft and any remaining lines indented. - -Whether a note -is presented as a footnote or an endnote, it should always finish with a -period\index{period}. - - -\renewcommand*{\thefootnote}{\arabic{footnote}} -%%%%\afterpage{\let\footnoterule\oldfootnoterule} - -\section{\prBackmatter} - - Divisions in the \pixbackmatter\ are not numbered. - - In commercial printing, saving a page here and a page there can save the -publisher money and hopefully at least some of the reduced cost will be passed -on to the readers. One way of reducing the number of pages is by reducing -the font size. The material in the \pixbackmatter\ is in some sense auxiliary -to the \pixmainmatter, hence of less importance, and some of it may then be -reasonably set in smaller type. - -\subsection{Appendices} - - Appendices\index{appendix} come immediately after the main text. Depending -on their importance and interest they can be set in the same manner as the -main text. If the appendices consist of long supporting documents they could -be set in a type one or two points smaller than the main text. - - In some instances there are appendices at the end of individual chapters, -where they form the last divisions of the chapters, and are treated as any of -the other divisions. - -\subsection{Endnotes} - - In an endnote\index{endnotes} listing, note numbers are usually -either indented or the note -is set flush-and-hang\index{flush-and-hang} style; that is, with the -first line set flushleft and any remaining lines indented. There are, -of course, corresponding numbers at the appropriate points in the main text. - - In another style, the endnotes are identified by a phrase taken from the -main text together with the relevant page number. In this case there -are no numbers in the text to disturb the flow, but that often means that the -notes never get read. - - The notes are often set in the same sized type as used for footnotes or, -if they are exceptionally interesting, in a size intermediate with the main -text. - -\subsection{Bibliography} - - The list of books, etc., that the author has used as source material is -usually placed at the back of the book under the title `Bibliography'. In -some works there may be a bibliography\index{bibliography} at the end of -each chapter and the title `References' is often used for these. - - A font size intermediate between those for quotations and footnotes is -very reasonable, and a slight extra space between entries, say two points, -can improve the readability. - -\subsection{Glossary} - - The list of definitions of terms or symbols used in the text normally -comes towards the end of a book, although it could as well come towards -the end of the \pixfrontmatter, or a symbol list\indextwo{symbol}{list} -in the \pixfrontmatter\ and a glossary\index{glossary} -in the \pixbackmatter. The terms are usually set in italics, or in textbooks -in bold. Most often a flush-and-hang\index{flush-and-hang} style is used, with -perhaps one or two points extra leading between the entries. - - The type size could be the same as for quotations if the glossary is short, -or the size used for the bibliography for longer lists. - -\subsection{Index} - - The entries in an index\index{index} are usually short and most indexes -are set in two, or more columns. As examples, author's names are usually -relatively short so an index of names would typically be in two columns; -on the other hand, verse lines are relatively long and an index of first lines -is often set as a single column. In either case, the entries are usually set -raggedright with the page numbers close to the corresponding item's text. -In multicolumn setting the gutter between the columns must be wide enough, -at least a pica, so -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. - - 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 -is long, then a suitable character (e.g., `Q') or word should be used as -part of the break, indicating what is coming next. The index could be set -in the same size type as the bibliography\index{bibliography}. - -\section{Type size} - -\begin{table} -\centering -\caption{Some relative type sizes for elements of books}\label{tab:reltypesizing} -\begin{tabular}{lll} \toprule -Body size & 12/14 & 10/12 \\ -Extracts & 10/12 & 9/10 \\ -Bibliography & 9/10 & 8/9 \\ -Glossary & 9/10 & 8/9 \\ -Footnotes & 8/9 & 8/8 \\ -\bottomrule -\end{tabular} -\end{table} - - As indicated above, the type size is normally related to the `importance' -of what is being set. Chapter headings are set in large type and footnotes -set in small type. Of course, it is a matter of judgement as to what -`important' means in any given work. Some possible combinations of type sizes -are given in \tref{tab:reltypesizing} though these should be considered as -starting points for a design rather than fixed rules. - -\section{Poems and plays} - - In literature such as poems\index{poem} or plays\index{play} -the length of the line is determined -by the author whereas in prose works the book designer establishes the measure. -For this kind of work the designer should respect the author's wishes as -far as possible within a maximum text width. - -\subsection{Poetry} - - If possible the type and measure should be chosen so that the longest -poetical line will fit on one printed line, so that the shape of the poem -is retained. - - Poems in a book of poetry will differ from one another in their width, -and the best way of setting these is to optically center each poem on the -page. However, blank verse and poems where the majority of the lines are -long are usually indented by a constant amount from the left margin. - - In some context verse lines are numbered, often every fifth or tenth line. -The numbers are usually small and right justified. - -\subsection{Plays} - - When presenting a play a list of characters\indextwo{characters}{list} -(\textit{Dramatis Personae}\index{Dramatis Personae?\textit{Dramatis Personae}}) -is frequently given at the beginning of the play. It is presented between the -title and the start of the play itself, either on the same page as the title, or -on a page by itself, or at the top of the first page of the play. The list may be -ordered alphabetically, in order of appearance, or by the character's importance. -A remark about a character, if less than a sentence, follows the name, separated -by a comma. If the remark is one or several sentences they are set as usual. - - Act\indextwo{play}{act} and scene\indextwo{play}{scene} -names and numbers are often treated in the same manner as -subheads in a prose work. A new act does not necessarily start a new page -but there should be at least twelve points above and six below the number. -A new scene has about eight points above and six points below the number. -Either arabic or roman numerals may be used for the numbers. If roman -is used for both, then uppercase for acts and lowercase for scenes. - - The name of each speaker in a play\indextwo{play}{speaker} must be readily -identifiable and stand apart from the speech. Names are commonly set in a -different font, such as small caps or italic, to the text which is usually set -in roman. They may be placed on a separate line, where they are most easily -identifiable, or , to save space, in the margin. The names are often abbreviated, -and if so the abbreviations must be consistent throughout the work. - - Stage directions\index{play!stage directions}\index{stage directions} have to -be differentiated from the text. They are usually set in italics and enclosed -in brackets, or less often, in parentheses; speakers' names in stage directions, -though, are set in roman to distinguish themselves. Directions at the start of a -scene, such as saying who is entering, are typically centered while in the body -of the scene are set flush right, often on a line by themselves. - - -\chapter{Picky points} -\let\footnoterule\oldfootnoterule - - - The main elements of good typography are legibility\index{legibility} -and page color\index{color}. -This chapter discusses some of the smaller points related to -these topics. - - - - -\section{Word and line spacing} - - Research has shown that the competent reader recognises words by -their overall shape rather than by stringing together the individual letters -forming the words. A surprisingly narrow gap between words -is sufficient for most to distinguish the word boundaries. - - Most typographers state that the space between -words\index{space!interword} - in continuous -text should be about the width of the letter `i'. Any closer and the -words run together and too far apart the page looks speckled with white -spots and the eye finds it difficult to move along the line rather than -jumping to the next word in the next line. - Figure~\ref{fig:interword} illustrates different values of interword -spacing. - -\setlength{\unitlength}{\fontdimen2\font} -\begin{figure} -\centering -%\fbox{% -\begin{minipage}{\textwidth} -\mbox{}\hrulefill\mbox{} -\begin{quotation} -\fontdimen2\font=2\fontdimen2\font - The following paragraph is typeset with double the normal interword -spacing for this font. - - Most typographers state that the space between words in continuous -text should be about the width of the letter `i'. Any closer and the -words run together and too far apart the page looks speckled with white -spots and the eye finds it difficult to move along the line rather than -jumping to the next word in the next line. -Extra spacing after punctuation is not necessary. -\end{quotation} -\begin{quotation} -\fontdimen2\font=\unitlength - The following paragraph is typeset with the normal interword spacing -for this font. - - Most typographers state that the space between words in continuous -text should be about the width of the letter `i'. Any closer and the -words run together and too far apart the page looks speckled with white -spots and the eye finds it difficult to move along the line rather than -jumping to the next word in the next line. -Extra spacing after punctuation is not necessary. -\end{quotation} -\begin{quotation} -\settowidth{\unitlength}{i} -\setlength{\unitlength}{0.75\unitlength} -\fontdimen2\font=\unitlength - The interword spacing in the following paragraph is three-quarters of -the width of the letter `i'. - - Most typographers state that the space between words in continuous -text should be about the width of the letter `i'. Any closer and the -words run together and too far apart the page looks speckled with white -spots and the eye finds it difficult to move along the line rather than -jumping to the next word in the next line. -Extra spacing after punctuation is not necessary. -\end{quotation} -\mbox{}\hrulefill\mbox{} -\end{minipage} -%} % end fbox -\fontdimen2\font=\unitlength \setlength{\unitlength}{1pt} -\caption{Interword spacings}\label{fig:interword} -\end{figure} - - In keeping with avoiding white spots, many typographers do not -recommend extra spacing after punctuation, although this does depend -partly on a country's typographic history and partly on the individual. -I always found typewritten texts with double spaces after the end -of sentences a particular eyesore. However, with typeset texts any -extra spacing is usually not as large as that. - - The spacing between lines\index{space!interline} of text -should be greater than the interword\index{space!interword} -spacing, otherwise there is a tendency for the eye to skip to the -next line instead of the next word. The space in question is the apparent -amount of whitespace between the bottom of the text on one line and the top -of the text on the next line. In a rough sense it is the leading minus the -actual height of the font. -Figure~\ref{fig:interline} illustrates -some text typeset with different line spacings. The normal interword -spacing is used in the samples. When text is set solid there is a tendancy -for the descenders on one line to touch, or even overlap, the ascenders on the -following line.\footnote{\tx\ has a built-in mechanism that tries hard to -prevent this from happening.} - -\begin{figure} -\centering -%\fbox{% -\begin{minipage}{\textwidth} -\mbox{}\hrulefill\mbox{} -\normalfont\setlength{\unitlength}{\baselineskip} -\begin{quotation} -\normalfont\setlength{\baselineskip}{1em} - This and the next paragraph are set solid --- the interline spacing -is the same as the font size. \par -The normal interword spacing is used in these paragraphs. - The spacing between lines of text should be greater than the interword -spacing, otherwise there is a tendency for the eye to skip to the -next line instead of the next word. \par -\end{quotation} -\begin{quotation} -\normalfont\setlength{\baselineskip}{\unitlength} - This and the next paragraph are set with the normal interline spacing -for the font. \par -The normal interword spacing is used in these paragraphs. - The spacing between lines of text should be greater than the interword -spacing, otherwise there is a tendency for the eye to skip to the -next line instead of the next word. \par -\end{quotation} -\begin{quotation} -\normalfont\setlength{\parskip}{0.2\baselineskip}\setlength{\baselineskip}{1.2\unitlength} - This and the next paragraph are set with the interline spacing 20\% -greater than is normal for the font. \par -The normal interword spacing is used in these paragraphs. - The spacing between lines of text should be greater than the interword -spacing, otherwise there is a tendency for the eye to skip to the -next line instead of the next word. \par -\end{quotation} -\mbox{}\hrulefill\mbox{} -\end{minipage} -%} % end fbox -\normalfont\setlength{\baselineskip}{\unitlength} -\setlength{\unitlength}{1pt} -\caption{Interline spacings}\label{fig:interline} -\end{figure} -\setlength{\unitlength}{1pt} - -\PWnote{2009/03/31}{Added section on letterspacing} -\section{Letterspacing} -\index{letterspacing|(} - - \emph{Letterspacing} is the insertion of spaces between the letters -of a word. - Frederick\index{Goudy, Frederick} Goudy (1865--1947), a very respected -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~\cite[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. - - 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 -if you do letterspace then uniform spacing is adequate for small caps. - - -\begin{figure} -\centering -\begin{tabular}{>{\Large}ll} -HISTORY & without letter spacing \\ -H\,I\,S\,T\,O\,R\,Y & thin space between each letter \\ -H\kern0.1em I\kern0.1em S\kern0.1em T\kern0.1em O\kern0.1em R\kern0.1em Y & hair space between each letter \\ -H\kern0.09em I\kern0.12em S\kern0.1em T\kern0.1em O\kern0.07em R\kern0.1em Y & visually spaced \\ - -\end{tabular} -\caption{Letterspacing: uppercase letters} \label{fig:spacecaps} -\end{figure} - -\begin{figure} -\centering -\begin{tabular}{>{\Large\scshape}ll} -history & without letter spacing \\ -h\,i\,s\,t\,o\,r\,y & thin space between each letter \\ -h\kern0.1em i\kern0.1em s\kern0.1em t\kern0.1em o\kern0.1em r\kern0.1em y & hair space between each letter \\ -h\kern0.09em i\kern0.12em s\kern0.1em t\kern0.1em o\kern0.07em r\kern0.1em y & visually spaced \\ -\end{tabular} - -\caption{Letterspacing: small caps}\label{fig:spacesmallcaps} -\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, -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 -kindergarten teacher used to call them. - -\index{letterspacing|)} - -\section{Abbreviations and acronyms} - -\index{abbreviation} - The English style with abbreviations is to put a full stop (period) after -the abbreviation, unless the abbreviation ends with the same letter as the -full word. Thus, it is Mr for Mister, Dr for Doctor, but Prof.~for Professor. -No extra spacing should be used after the full stop, even if extra -spacing is normally used after punctuation. - - The general American, and English, trend nowadays is away from the use -of periods (full stops) after abbreviations following the precept that -reducing typographic fussiness increases the ease of reading. Having said that, -where an abbreviation is a combination of abbreviations, such as Lt.Col for -Lieutentant Colonel, often an internal period is used with a word space -between the elements. - - Acroynms\index{acronym} are typeset in uppercase but the -question is, which uppercase? -The simple way is to use the uppercase of the normal font, like UNICEF, but -if there are too many acronyms scattered around the speckled effect starts -to intrude. If the font family has one, then small caps can be used, -giving \textsc{unicef}. If small caps are not available, or appear -undesireable, then a smaller size of the normal uppercase can be used, -such as {\small UNICEF} or {\footnotesize UNICEF}; some experimentation -may be required to select the appropriate size. These several versions -were input as:\par -\begin{tabular}{ll} -regular UNICEF text & \verb?regular UNICEF text? \\ -regular \textsc{unicef} text & \verb?regular \textsc{unicef} text? \\ -regular {\small UNICEF} text & \verb?regular {\small UNICEF} text? \\ -regular {\footnotesize UNICEF} text & \verb?regular {\footnotesize UNICEF} text? -\end{tabular} - - -\section{Dashes and ellipses} - -\index{dash|(} - Most fonts provide at least three lengths of dashes. The shortest is -the hyphen (-), then there is the en-dash (--) which is approximately the -width of the letter `n', and the largest is the em-dash (---) which is -approximately twice the length of an en-dash. An expert font may provide -more. - - Unsurprisingly, the hyphen\index{dash!hyphen}\index{hyphen} -is used for hyphenation, such as in em-dash, or -at the end of a line where a word had to be broken. - - The en-dash\index{dash!en}\index{en-dash} -is normally used between numerals to indicate a range. For -example a reference may refer to pages 21--27 in some journal or book. There -is no space surrounding the en-dash when used in this manner. - - The em-dash\index{dash!em}\index{em-dash}, -or the en-dash, is used as punctuation --- often when making a side -remark --- as a phrase separator. - When en-dashes are used as punctuation it is normal to put spaces around them -but the question of spaces around an em-dash appears to be the subject of -some contention. Roughly half the participants in any discussion advocate -spaces while the other half view them as anathema. If you do use em-dashes -be sure to be consistent in your use, or otherwise, of spaces. - - Ellipses\index{ellipses} are those three, or is it four, -dots indicating something is -missing or continues somewhat indefinitely. In the middle of a sentence, -or clause or \ldots\ they have a space on either side. At the end of -a sentence the English style is to have no spaces and include the full -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 -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 -missing word. When I lived in Maryland my -local small town newspaper was the \textit{Frederick Post.} -The following is from an -obituary I happened to read; I have hidden the name to protect the -innocent. -\begin{quote} - Although he had spent the last 92 years of his life here, -Mr --------- was not a Fredericktonian. -\end{quote} - -\index{dash|)} - -\section{Punctuation} - -\subsection{Quotation marks} - -\index{quotation marks|(} - Quotation marks surrounding speech and associated punctuation -are a fruitful source of confusion. - - The American style is to use double quotes at the start (``) and -end ('') of spoken words. If the speaker quotes in the speech then single -quote marks (` and ') are used to delineate the internal quotation\index{quotation}. - - The English practice is exactly the opposite. Main speech is delineated -by single quotes and internal quotations\index{quotation} by double quotes. -In any event, -if single and double quotes are adjacent they should be separated by a thin -space\index{space!thin} in order to distinguish one from the other --- -a full interword space is too wide. - - As there are likely to be few internal quotations\index{quotation} -it seems to me that -the English practice produces a less spotty appearance than the American. -Figure~\ref{fig:qmarks} shows the same text typeset in both the English -and American styles. The example is from Lewis Carroll's -\emph{Through the Looking Glass and what Alice Found There} -and has an unusually large number of internal quotations\index{quotation}. - -\begin{figure} -\centering -\begin{minipage}{\textwidth} -\mbox{}\hrulefill\mbox{} -\begin{quotation} - `There's glory for you!' - - `I don't know what you mean by ``glory''\,', Alice said. - - Humpty Dumpty smiled contemptuously. `Of course you don't --- till I tell -you. I meant ``there's a nice knock-down argument for you''!' - - `But ``glory'' doesn't mean ``a nice knock-down argument''\,', Alice -objected. - - `When \emph{I} use a word', Humpty Dumpty said, in a rather scornful -tone, `it means just what I choose it to mean --- neither more nor less'. -\end{quotation} -\mbox{}\hrulefill\mbox{} -\begin{quotation} - ``There's glory for you!'' - - ``I don't know what you mean by `glory,'\,'' Alice said. - - Humpty Dumpty smiled contemptuously. ``Of course you don't --- till I tell -you. I meant `there's a nice knock-down argument for you!'\,'' - - ``But `glory' doesn't mean `a nice knock-down argument,'\,'' Alice -objected. - - ``When \emph{I} use a word,'' Humpty Dumpty said, in a rather scornful -tone, ``it means just what I choose it to mean --- neither more nor less.'' -\end{quotation} -\mbox{}\hrulefill\mbox{} -\end{minipage} -\caption{Quotation marks: top English, bottom American}\label{fig:qmarks} -\end{figure} - - Where to put punctuation marks with quotes is vexatious. Again the -English and American practice tends to differ. The American tendency is -to put commas and periods inside the closing quote mark and colons and -semicolons after the mark. English editors prefer to put punctuation -after the mark. -In either case, it is difficult -to know exactly what to do. I get the impression that for every example -of the `correct' form there is a counter-example. -Some try and avoid the problem altogether by putting the lower marks, -like commas or periods, -directly below the quotation mark but that may cause problems if the -resulting constructs look like question or exclamation marks. -In \fref{fig:qmarks} I have tried to use the English and American -punctuation styles in the respective examples but it is likely that there -are misplacements in both. I think it's basically a question of doing what -you think best conveys the sense, provided there is consistency. -\index{quotation marks|)} - -\subsection{Footnote marks} - -\index{footnote!mark|(} - Where to put a footnote marker may be another vexed question in spite -of the general principal being easy to state: The mark goes immediately -after the text element that the note refers to. - - There is no doubt what this means\footnote{Except to some I know.} when -the text element is a word in the middle of other words. Doubt raises -its head when the reference is to a phrase, like this one\footnote{I hope -that this is a phrase.\label{fn:phrase}}, -which is set off within commas, or when the note refers to a complete -sentence.\footnote{Is this mark in the correct place?\label{fn:sentence}} - - Like punctuation and quotation marks\index{quotation marks}, -should a footnote mark come before -or after the punctuation mark at the end of a phrase or a sentence? I have -shown both positions\footnote{Marks \ref{fn:phrase} and \ref{fn:sentence}.} - in the previous paragraph. The -general rule that I have deduced is that the mark comes after the -punctuation, but there are always those who like to prove a rule. - -\index{footnote!mark|)} - -\index{symbol|(} - There are other marks that may be associated with a word, like -(registered) trademarks. These may produce ugly gaps. Sometimes these -cannot be avoided but it may be possible to change the text to minimise -the hiccup. There is an example of this on \pref{fn:ps}. I tried various -schemes in identifying `\pscript' as being a registered trademark of -Adobe Systems Incorporated. Among the discarded trials were: -\begin{quote} -\ldots languages like \pscript\texttrademark, presumably \ldots - -\ldots languages like \pscript\textsuperscript{\textregistered}, presumably \ldots - -\ldots like the \pscript\textsuperscript{\textregistered}{} language, presumably \ldots - -\end{quote} -My final solution was to note the registered trademark information in -a footnote: -\begin{quote} -\ldots languages, like \pscript\footnote{\pscript{} is a registered -trademark of Adobe Systems Incorporated.}, presumably \ldots -\end{quote} -In this case I decided that the footnote\index{footnote} was really tied to the word -`\pscript', taking the place of the registered symbol, so I put the -footnote mark\index{footnote!mark} before the comma rather than after it. -\index{symbol|)} - -\subsection{Font changes} - -\index{font!change|(} - - Sometimes a word or two may be set in a different font from the -surrounding text, such as when emphasizing\index{emphasis} -a word by setting it in an -italic font. If the word is followed by a punctuation mark the normal -practice is to set the punctuation mark using the new font instead of -the normal -font. In some cases the font used for the punctuation may not be -particularly noticeable but sometimes it may be. - - The \pixfrontmatter\ contains definitions of the word \textit{memoir,} -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 - -\index{font!change|)} - -\section{Narrow measures} - -\index{measure!narrow|(} -\index{column!narrow|(} - - Typesetting in a narrow column is difficult, especially if you are -trying to make the text flush left and right. As the lines get shorter -it becomes more and more difficult to fit the words in without an excessive -amount of interword spacing or word breaking at the ends of lines. -In the limit, of course, there -will not be even enough room to put a syllable on a line. - - The best recourse in situations like this is to forget justification -and typeset raggedright\index{raggedright}. -Raggedright looks far better than justified -text with lots of holes in it. -The question then is, to hyphenate or not to hyphenate?\index{hyphenation} - - With no hyphenation there is likely to be increased raggedness at -the line ends when compared with permitting some hyphenation. Hyphenation -can be used to reduce the raggedness but somehow short lines ending with -a hyphen may look a bit odd. This is where you have to exercise your -judgement and design skills. - - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - - - -%% 109pt could be good for this -\newlength{\rag} - \setlength{\rag}{0.25\textwidth} %% gives 90pt - \addtolength{\rag}{10pt} - \addtolength{\rag}{9pt} -%% 107pt seems good -\setlength{\rag}{107pt} -\newcommand{\ragtext}{% -The \ltx\ document preparation system is a special version of -Donald Knuth's \tx\ program. \tx\ is a sophisticated program -designed to produce high-quality typesetting, especially for -mathamatical works. It is extremely flexible albeit somewhat -idiosynchratic. One can typeset justified, flushleft-raggedright, -centered, or raggedleft-flushright.} - -\begin{figure} -\centering -\begin{minipage}[t]{\rag} -\raggedright -%%\noindent\verb?\raggedright? -\noindent No hyphenation -\vspace{\onelineskip} - -\parindent=15pt\indent \ragtext -\end{minipage} -\hfill -\begin{minipage}[t]{\rag} -\raggedyright -%%\noindent\verb?\raggedyright? -\noindent Hyphenation (1) -\vspace{\onelineskip} - -\indent \ragtext -\end{minipage} -\hfill -\begin{minipage}[t]{\rag} -\raggedyright[1em] -%%\noindent\verb?\raggedyright[1em]? -\noindent Hyphenation (2) -\vspace{\onelineskip} - -\indent \ragtext -\end{minipage} -\caption{Raggedright text in narrow columns} \label{fig:raggedright} -\end{figure} - - Figure~\ref{fig:raggedright} shows a text set in a column -\the\rag{} wide with -different raggednesses. Preventing hyphenation, as in the left column, -resulted in very noticeably ragged text. Hyphenation has been allowed -in the other two columns, to differing degrees. I prefer -the one on the right but with different text and column widths the results -might have been different. - -\begin{comment} - -\index{measure!narrow|)} - - Talking of hyphenation\index{hyphenation}, - each language has its own rules for allowable -hyphenation points. As you might now have come to suspect, English and -American rules are different even though the language is nominally the same. -Broadly speaking, American English hyphenation points are typically based on -the sound of the word, so the acceptable locations are between syllables. -In British English the hyphenation points tend to be related to the -etymology of the word, so there may be different locations depending on -whether the word came from the Greek or the Latin. If you are not sure -how a particular word should be hyphenated, look it up in a dictionary -that indicates the potential break points. - -\section{Emphasis} - -\index{emphasis|(} - Underlining\index{underline} should \underline{emphatically} -\underline{not} be -used to emphasise something in a typeset document. This is a hangover -from the days when manuscripts were typewritten and there was little -that could be done. The other way of emphasising something was to -put extra space\index{space!between characters} between the -characters of the w\,o\,r\,d being -e\,m\,p\,h\,a\,s\,i\,s\,e\,d, as has been done twice in this sentence -(for the words `word' and `emphasised' in case you didn't spot them). -This is called letterspacing\index{letterspacing}; it is more often -used to make fine adjustments to the physically spacing between -letters in a book title to make them appear to be optically -uniformly spaced. -As an aside, for me at least, that extra spacing produces the -illusion that the -characters are slightly larger than normal, which is not the case. - - With the range of fonts and sizes available when typesetting there -are other methods for emphasis, although German typographers have used -letterspacing\index{letterspacing} for emphasis with the fraktur and other -similar font types. - - There are basically three aproaches: -change the {\large size} of the font; -change the \textbf{weight} of the font; or most usually, change the -\emph{shape} of the font. There is a creative tension when trying -to emphasise something --- there is the need to show the reader the -emphasised -element, but there is also the desire not to interrupt the general flow -of the text. Out of the three basic options, changing the shape seems -to be a reasonable compromise between the need and the desire. -\index{emphasis|)} - -\section{Captions and legends} - - - I am not entirely sure what is the difference between a -caption\index{caption} and a legend\index{legend} as both terms -refer to the title of an -illustration\index{illustration} -or table\index{table}. However, legend may also be used to refer to -some explanatory material within an illustration\index{illustration}, -such as the explanation of the symbols used on a map. - - In any event, captions and legends are usually typeset in a -font\index{caption!font}\index{legend!font} that -is smaller than the main text font, and which may also be different from the -main font. For example, if the main font is roman and a sans font is used -for chapter titles, then it could be appropriate to use a small size -of the sans font for captions as well. - - The caption for a table\index{table} is normally placed above the -table while captions for illustrations\index{illustration} are placed below. - - -\section{Tables} - -\index{table} - - A table is text or numbers arranged in columns\index{column!multiple}, -and nearly always -with a `legend'\index{legend} above each column describing the meaning of -the entries in the column. The legends and the column entries are -separated from each other, perhaps by some vertical space but more often -by a horizontal line. - - In general typographers dislike vertical lines in a table, which may -be likely to be used to separate the columns. I'm not sure why this is. -There is an obvious explanation when hand setting the individual characters -as although it is easy to set horizontal rules it is very -difficult to get all the pieces of type with the bits of the vertical rules -aligned properly --- the eye is very sensitive to jags in what is meant to -be a straight line. In the days of digital typography the alignment problem -has gone away, so perhaps the antipathy to vertical lines is a tradition -from earlier days. On the other hand Edward Tufte~\cite[page 96]{TUFTE83} -exhorts us to `Maximize the data-ink ratio' and to `Erase non-data-ink' -and Bringhurst~\cite[page 70]{BRINGHURST99} says `There should be a minimum -amount of furniture (rules, boxes, dots and other guiderails for -travelling through typographic space) and a maximum amount -of information'. - - If you want to use vertical lines, just be aware that not everybody -may appreciate your effort. - - -\section{Number formatting} - -\index{number!formatting|(} - - Number formatting is country- and language-dependent. Continental -Europe differs -from England, and in its turn the United States differs from England. - - Ignoring decimal numbers we have \emph{cardinal} and \emph{ordinal} -numbers. An ordinal\indextwo{ordinal}{number} number, like 3rd, -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. - - Limiting the discussion to numbers represented as arabic digits, -some societies prefer these to be presented as an unbroken string of -digits (e.g 12345). Other societies prefer the digits in longer -numbers to separated, in some cases by commas (e.g., 12,345) or other -punctuation marks, and in others by spaces (e.g., 12\:345); the -digits are grouped into threes, counting from the right. - - The class provides some macros for formatting numbers. The argument -to one of these formatting macros is a `number', essentially some \ltx\ -construct that resolves to a series of arabic digits. Typical arguments -might be: -\begin{itemize} -\item Some digits \\ - e.g., \verb?\ordinal{123} -> ? \ordinal{123}. -\item A macro expanding to digits \\ - e.g., \verb?\def\temp{3}\ordinal{\temp} -> ? {\def\temp{3}\ordinal{\temp}} -\item The value of a counter \\ - e.g., \verb?\ordinal{\value{page}} -> ? \ordinal{\value{page}} -\item The arabic representation of a counter \\ - e.g., \verb?\ordinal{\thepage} -> ? \ordinal{\thepage} - - However, if the representation of the counter is not completely -in arabic digits, such as \cmd{\thesection} which prints here as -\thesection, it will produce peculiar results or nasty errors if it is -used as the argument. For instance: \\ -\verb?\ordinal{\thesection} -> ? \ordinal{\thesection} -\end{itemize} - - For our purposes, a `numeric number' is one that is typeset using -arabic digits and a `named number' is one that is typeset using words. - -\subsection{Numeric numbers} - -\index{number!formatting!numeric|(} - - Both cardinal and ordinal numeric numbers are available. - -\begin{syntax} -\cmd{\cardinal}\marg{num} \\ -\cmd{\fcardinal}\marg{num} \\ -\cmd{\fnumbersep} \\ -\end{syntax} - - The macro \cmd{\fcardinal} prints its \meta{num} argument -formatted using \cmd{\fnumbersep} between each triple of digits. The -default definition of \cmd{\fnumbersep} is: -\begin{lcode} -\newcommand{\fnumbersep}{,} -\end{lcode} -Here are some examples: \\ -\verb?\fcardinal{12} -> ? \fcardinal{12} \\ -\verb?\fcardinal{1234} -> ? \fcardinal{1234} \\ -\verb?\fcardinal{1234567} -> ? \fcardinal{1234567} \\ -\verb?\renewcommand{\fnumbersep}{ }\fcardinal{12345678} -> ? - \renewcommand{\fnumbersep}{ }\fcardinal{12345678} \\ -\renewcommand{\fnumbersep}{,} - - - The \cmd{\cardinal} macro is like \cmd{\fcardinal} except that there -is no separation between any of the digits. - - -\begin{syntax} -\cmd{\ordinal}\marg{num} \\ -\cmd{\fordinal}\marg{num} \\ -\cmd{\ordscript}\marg{chars} \\ -\cmd{\iststring} \cmd{\iindstring} \cmd{\iiirdstring} \cmd{\nthstring} \\ -\end{syntax} -Numbers are typeset as ordinals by the \cmd{\ordinal} and \cmd{\fordinal} -commands, which are the analogues of the cardinal macros; \cmd{\fnumbersep} -applies to \cmd{\fordinal} just as it applies to \cmd{\fcardinal}. The -characters denoting the ordinal\footnote{`th', `st', etc.} -(ordination characters?) are typeset as the \meta{chars} -argument of \cmd{\ordscript}, whose default defintion is very simply -\begin{lcode} -\newcommand{\ordscript}[1]{#1} -\end{lcode} - - Some examples of ordinals are: \\ -\verb?\ordinal{12} -> ? \ordinal{12} \\ -\verb?\fordinal{1231} -> ? \fordinal{1231} \\ -\verb? \renewcommand{\ordscript}[1]{\textsuperscript{#1}}? - \renewcommand{\ordscript}[1]{\textsuperscript{#1}} \\ -\verb?\ordinal{1234563} -> ? \ordinal{1234563} \\ - - There are four sets of ordination characters specified by the four -macros -\cmd{\iststring} (default: st) for ordinals ending in 1 like \ordinal{1}, -\cmd{\iindstring} (default: nd) for ordinals ending in 2 like \ordinal{22}, -\cmd{\iiirdstring} (default: rd) for ordinals ending in 3 like \ordinal{33}, -and \cmd{\nthstring} (default: th) for all others like \ordinal{44} or -\ordinal{50}. - -\renewcommand{\ordscript}[1]{#1} - It seems to be normal English and American practice nowadays to -typeset the ordination characters as ordinary characters on the baseline, -like \ordinal{62}, rather than as superscripts. - -\index{number!formatting!numeric|)} - -\subsection{Named numbers} - -\index{number!formatting!named|(} - - Named numbers can be typeset in either cardinal or ordinal form. - -\begin{syntax} -\cmd{\numtoname}\marg{num} \cmd{\numtoName}\marg{num} \cmd{\NumToName}\marg{num} \\ -\cmd{\ordinaltoname}\marg{num} \cmd{\ordinaltoName}\marg{num} \cmd{\OrdinalToName}\marg{num} \\ -\end{syntax} -The \cs{num...} commands typeset \meta{num} as named cardinals and similarly -the \cs{ordinal...} macros typeset \meta{num} as spelled out ordinals. -The capitalization of the macros indicates the capitalization applied -to the spelled numbers. The all lower case macros, -for instance \cmd{\numtoname}, use lower case throughout the names. -The \cs{...toName} macros capitalize the first letter of the first word in -the name, and the last form, e.g., \cmd{\NumToName}, capitalizes the first -letter in each word in the name (except for any conjunction, like and). -As examples: \\ -\verb?\numtoname{12345} -> ? \numtoname{12345} \\ -\verb?\numtoName{12345} -> ? \numtoName{12345} \\ -\verb?\NumToName{12345} -> ? \NumToName{12345} \\ - - By default some punctuation and conjunctions are used in the -representation of named numbers. -\begin{syntax} -\cmd{\tensunitsep} \cmd{\namenumbercomma} \cmd{\namednumberand} \\ -\end{syntax} -According to both American and English practice a hyphen should be -inserted between a `tens' name (e.g., thirty) and a following `units' -name (e.g., three). The name macros actually use \cmd{\tensunitsep} -which is initially defined as -\begin{lcode} -\newcommand{\tensunitsep}{-} -\end{lcode} -English practice, but not American, is to include commas (the value of -\cmd{\namenumbercomma}) and conjunctions (the value of -\cmd{\namenumberand}) at strategic places betwen the words. These are initially -defined as -\begin{lcode} -\newcommand{\namenumberand}{ and } -\newcommand{\namenumbercomma}{, } -\end{lcode} -so that numbers are spelled out following the English tradition. -\begin{syntax} -\cmd{\lcminusname} \cmd{\ucminusname} \cmd{\minusname} \\ -\end{syntax} -When a named number is negative, \cmd{\minusname} is inserted before -the number words. The definitions of the macros just noted are -\begin{lcode} -\newcommand*{\lcminusname}{minus } -\newcommand*{\ucminusname}{Minus } -\let\minusname\lcminusname -\end{lcode} -which means that `minus' is normally all lower case. To get it typeset -with an initial upper case letter simply: -\begin{lcode} -\let\minusname\ucminusname -\end{lcode} -If you ever needed a capitalized version of the `and' conjunction you will -have to renew \cmd{\namenumberand} appropriately. - - There is a group of maros that hold the names for the numbers. -To typeset named numbers in a language other than English these will have -to be changed appropriately. The actual picking and ordering of the -names is done by an internal macro called \cmd{\n@me@number}. If the -ordering is not appropriate for your language, and it probably won't be, -then you will have to study and change it. - - The macros described in this section can not handle numbers that -are larger than \tx's normal limit as given below: -\begin{lcode} -The largest number \tx\ can handle is \cardinal{2147483647} -or in other words, \numtoname{2147483647}. -\end{lcode} -The largest number \tx\ can handle is \cardinal{2147483647} -or in other words, \numtoname{2147483647}. - -\index{number!formatting!named|)} - - -\subsection{Fractions} - -\index{fraction!formatting|(} - - When typesetting a simple fraction in text \ltx\ provides two -styles, like 3/4 or \(\frac{3}{4}\), neither of which may blend neatly -with their surroundings. These fractions were typeset via: -\begin{lcode} -... like 3/4 or \(\frac{3}{4}\) ... -\end{lcode} -Note that the \cmd{\frac} command can only be used in math mode. - -\begin{syntax} -\cmd{\slashfrac}\marg{top}\marg{bottom} \\ -\cmd{\slashfracstyle}\marg{num} \\ -\end{syntax} -The class provides the \cmd{\slashfrac} command which typesets its arguments -like \slashfrac{3}{4}. Unlike \cmd{\frac} which is restricted to math -mode, the \cmd{\slashfrac} command can be used in both text and math mode. - - The \cmd{\slashfrac} macro calls \cmd{\slashfracstyle} to reduce the -size of the numbers in the fraction. The size reduction is with respect -to the surrounding font size; for the normal body font \cmd{\slashfracstyle} -will use a font size similar to the one used for superscripts. You can -use \cmd{\slashfracstyle} by itself. -\begin{lcode} -Summarising, fractions can be typeset like 8/97 or -\(\frac{8}{97}\) or \slashfrac{8}{97} or \slashfracstyle{8/97} -depending on the particular need. -\end{lcode} -Summarising, fractions can be typeset like 8/97 or -\(\frac{8}{97}\) or \slashfrac{8}{97} or \slashfracstyle{8/97} -depending on the particular need. - -\index{fraction!formatting|)} - -\index{number!formatting|)} - -\end{comment} - - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%% -%%%%%%\endinput -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - - - -%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% - - Indexes\index{index!multiple column} are often typeset in double, -or even triple or quadruple columns\index{column!multiple}, -as each entry is typically short. Also, indexes are typically -consulted -for a particular entry rather than being read as continuous text. To help -the eye, page numbers are normally typeset immediately after the -name of the indexed topic, so indexes tend to be -naturally raggedright\indextwo{index}{raggedright} as a matter of reader -convenience. - - -\index{column!narrow|)} -\index{measure!narrow|)} - - Talking of hyphenation\index{hyphenation}, - each language has its own rules for allowable -hyphenation points. As you might now have come to suspect, English and -American rules are different even though the language is nominally the same. -Broadly speaking, American English hyphenation points are typically based on -the sound of the word, so the acceptable locations are between syllables. -In British English the hyphenation points tend to be related to the -etymology of the word, so there may be different locations depending on -whether the word came from the Greek or the Latin. If you are not sure -how a particular word should be hyphenated, look it up in a dictionary -that indicates the potential break points. - -\section{Emphasis} - -\index{emphasis|(} - Underlining\index{underline} should \underline{emphatically} \underline{not} be -used to emphasise something in a typeset document. This is a hangover -from the days when manuscripts were typewritten and there was little -that could be done. The other way of emphasising something was to -put extra space between the characters of the w\,o\,r\,d being -e\,m\,p\,h\,a\,s\,i\,s\,e\,d, as has been done twice in this sentence -(for the words `word' and `emphasised' in case you didn't spot them). -Letterspacing\index{letterspacing} is usually confined to making fine adjustments to the -physical spacing between letters in a book -title in order to make them appear to be optically uniformly spaced. -As an aside, for me at least, that extra spacing just now produces the -illusion that the -characters are slightly larger than normal, which is not the case. - - With the range of fonts and sizes available when typesetting there -are other methods for emphasis, although German typographers have used -letterspacing for emphasis with the fraktur and other similar font types. - - There are basically three aproaches: -change the {\Large size} of the font; -change the \textbf{weight} of the font; or most usually, change the -\emph{shape} of the font. There is a creative tension when trying -to emphasise something --- there is the need to show the reader the -emphasised -element, but there is also the desire not to interrupt the general flow -of the text. Out of the three basic options, changing the shape seems -to be a reasonable compromise between the need and the desire. -\index{emphasis|)} - -\section{Captions and legends} - -\index{caption|(} -\index{legend|(} - - I am not entirely sure what is the difference between a -caption and a legend as both terms refer to the title of an -illustration\index{illustration} or table\index{table}. -However, legend may also be used to refer to some explanatory -material within an illustration\index{illustration}, such as the -explanation of the symbols used on a map. - - In any event, captions and legends are usually typeset in a font that -is smaller than the main text font, and which may also be different from the -main font. For example, if the main font is roman and a sans font is used -for chapter titles, then it could be appropriate to use a small size -of the sans font for captions as well. - - The caption for a table\index{table} is normally placed above the -table while captions for illustrations\index{illustration} are placed below. - -\index{legend|)} -\index{caption|)} - -\section{Tables} - -\index{table|(} - - A table is text or numbers arranged in columns\index{column!multiple}, -and nearly always -with a `legend'\index{legend} above each column describing the meaning of -the entries in the column. The legends and the column entries are -separated from each other, perhaps by some vertical space but more often -by a horizontal line. - - In general typographers dislike vertical lines in a table, which may -be likely to be used to separate the columns. I'm not sure why this is. -There is an obvious explanation when hand setting the individual characters -as, although it would be easy to set horizontal rules, it would be very -difficult to get all the pieces of type with the bits of the vertical rules -aligned properly --- the eye is very sensitive to jags in what is meant to -be a straight line. In the days of digital typography the alignment problem -has gone away, so perhaps the antipathy to vertical lines is a tradition -from earlier days. On the other hand Edward Tufte~\cite[p. 96]{TUFTE83} -exhorts us to `Maximize the data-ink ratio' and to `Erase non-data-ink' -and Bringhurst~\cite[p. 70]{BRINGHURST99} says `There should be a minimum -amount of furniture (rules, boxes, dots and other guiderails for -travelling through typographic space) and a maximum amount -of information'. - - If you want to use vertical lines, just be aware that not everybody -may appreciate your effort. - - -\index{table|)} - -\section{Number formatting} - -\index{number!formatting|(} - - Number formatting is country- and language-dependent. Continental -Europe differs -from England, and in its turn the United States differs from England. - - Ignoring decimal numbers we have \emph{cardinal} and \emph{ordinal} -numbers. An ordinal\indextwo{ordinal}{number} number, like 3rd, -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. - - It 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 -apply to ordinal numbers such as eighth, twenty-first. When not spelled out -ordinals should be set like 378th rather than 378\textsuperscript{th}. - - - Regarding cardinal numbers represented as arabic digits, -some cultures prefer these to be presented as an unbroken string of -digits (e.g 12345). Other societies prefer the digits in longer -numbers to separated, in some cases by commas (e.g., 12,345) or other -punctuation marks (e.g., 12.345), and in others by small spaces (e.g., 12\:345); -the digits are grouped into threes, counting from the right. - - When the arabic digits became generally used they, like the letters, -were given both uppercase and lowercase forms. The uppercase form, like these -1 2 3 4 5 6 7 8 9 0, which -is the one normally supplied as part of a font are called -\emph{titling figures}\indextwo{titling}{figures}, -\emph{ranging figures}\indextwo{ranging}{figures}, or -\emph{lining figures}\indextwo{lining}{figures} because -they range or align with the uppercase. -Digits in this class all -have the same width so they are used in tables were numbers are meant to -be aligned vertically. They are also used when typesetting mathematics. - - The lowercase form, like \Moldstyle{1 2 3 4 5 6 7 8 9 0}, are called -\emph{text figures}\indextwo{text}{figures}, -\emph{hanging figures}\indextwo{hanging}{figures}, -\emph{lowercase figures}\indextwo{lowercase}{figures}, or -\emph{old-style figures}\indextwo{old-style}{figures}. -These may be used whenever the surrounding text is set in mixed case, or small caps; I -have seen them used typesetting the folios, but I must admit that they look very odd -to me in that situation. - - If you are typesetting mathematics, where you use lining figures, and are also using -old-style figures in the text then be very careful; `mathematical numbers' should always -be set with lining figures even if they are in the body of the text. For example: \\ -\ldots from the equation the result is 42 \ldots \\ -\ldots the men of the \Moldstyle{42}nd Foot performed magnificently \ldots. - - - - %%%%%%%%%%%%%%%%%%%%%%%%%%%% -\part{Practice} \label{part:practice} +%%%%%\part{Practice} \label{part:practice} %%%%%%%%%%%%%%%%%%%%%%%%%%%%% @@ -8383,6 +2898,99 @@ on and specify Like the page, the typeblock\index{proportion!typeblock} is normally rectangular with the height greater than the width. +% Consider a typeblock that includes no illustrations\index{illustration} +%or tables\index{table}. +The lines of text must be laid out so that they are easy to read. +Common practice, and more recently psychological testing, has shown that +long lines of text are difficult to read. Thus, there is a physiological +upper limit to the width of the typeblock. From a practical viewpoint, +a line should not be too short because then there is difficulty in justifying +the text. + + Experiments have shown that the number of characters in a line of +single column\index{column} text on a page should be +in the range 60 to 70 for ease of reading. The range may be as much +as 45 to 75 characters but 66 characters is often +considered to be the ideal number. Much shorter and the eye is dashing +back and forth between each line. Much longer and it is hard to pick up the +start of the next line if the eye has to jump back too far --- the same line +may be read twice or the following line may be inadvertently jumped over. +For double column\index{column!double} text the ideal number of characters +is around 45, give or take 5 or so. + + Bringhurst\index{Bringhurst, Robert}~\cite{BRINGHURST99} gives a +method for determining the number +of characters in a line for any font\index{font!measuring}: +measure the length of the lowercase alphabet and use a +copyfitting\index{copyfitting} +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} +columns. + + +\begin{table} +%%%\DeleteShortVerb{\|} +\centering +\caption{Average characters per line} \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 & & \\ +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 & \\ +110 & 30 & \textit{43} & 55 & \textbf{67} & 79 & 92 & 107 & \\ +115 & 29 & \textit{41} & 53 & \textbf{64} & 76 & 88 & 103 & \\ +120 & 28 & \textit{39} & \textit{50} & \textbf{62} & 73 & 84 & 98 & 112 \\ +125 & 27 & 38 & \textit{48} & \textbf{59} & \textbf{70} & 81 & 94 & 108 \\ +130 & 26 & 36 & \textit{47} & 57 & \textbf{67} & 78 & 91 & 104 \\ +135 & 25 & 35 & \textit{45} & 55 & \textbf{65} & 75 & 88 & 100 \\ +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 \\ +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 \\ +175 & 20 & 28 & 36 & \textit{44} & 52 & \textbf{60} & \textbf{70} & 80 \\ +180 & 20 & 27 & 35 & \textit{43} & 51 & 59 & \textbf{68} & 78 \\ +185 & 19 & 27 & 34 & \textit{42} & \textit{49} & 57 & \textbf{67} & 76 \\ +190 & 19 & 26 & 33 & 41 & \textit{48} & 56 & \textbf{65} & 74 \\ +195 & 18 & 25 & 32 & 40 & \textit{47} & 54 & \textbf{63} & 72 \\ +200 & 18 & 25 & 32 & 39 & \textit{46} & 53 & \textbf{62} & \textbf{70} \\ +220 & 16 & 22 & 29 & 35 & \textit{41} & \textit{48} & 56 & \textbf{64} \\ +240 & 15 & 20 & 26 & 32 & 38 & \textit{44} & 51 & 58 \\ +260 & 14 & 19 & 24 & 30 & 35 & 41 & \textit{48} & 54 \\ +280 & 13 & 18 & 23 & 28 & 33 & 38 & \textit{44} & 50 \\ +300 & 12 & 17 & 21 & 26 & 31 & 35 & 41 & \textit{47} \\ +320 & 11 & 16 & 20 & 25 & 29 & 34 & 39 & \textit{45} \\ +340 & 10 & 15 & 19 & 23 & 27 & 32 & 37 & 42 \\ +\hline +\end{tabular} +%%%\MakeShortVerb{\|} +\end{table} + + Morten H{\o}gholm\index{H{\o}gholm, Morten} has done some curve fitting +to the data. He determined that the expressions +\begin{equation} +L_{65} = 2.042\alpha + 33.41 \label{eq:L65} +\end{equation} +and +\begin{equation} +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). + + Table~\ref{tab:cmrlengths} gives the lowercase alphabet\index{alphabet length} lengths for @@ -8784,6 +3392,8 @@ The \cmd{\setulmargins} command maintains the relationship U + L = K_{h} = \textrm{constant} \mbox{\space} (= P_{h} - B_{h}). \end{displaymath} + Note that in terms of the traditional \ltx\ parameters memoir's +\lnc{\uppermargin} is (\lnc{\topmargin} + \lnc{\headheight} + \lnc{\headsep}). \begin{table} \centering @@ -9587,8 +4197,8 @@ changes to match the new layout). {Generates a page layout according to the principles of early printers.} The \cmd{\medievalpage} command generates the position and size of the typeblock according to the principles of medieval scribes and the early -printers, as discovered and described by Jan Tschichold~\cite{TSCHICHOLD91}; -some details about this were given earlier in \Sref{sec:gutenbergpage}. +printers, as discovered and described by Jan Tschichold~\cite{TSCHICHOLD91}. +%%%some details about this were given earlier in \Sref{sec:gutenbergpage}. The basic principle is that the spine, top, \foredge\ and bottom margins around the typeblock are in the ratio 2:3:4:6. Typically the spine margin @@ -9922,7 +4532,7 @@ show the glyphs in the two symbol fonts. These supplied \pscript\ fonts, their respective \ltx\ fontfamily\index{fontfamily} names, and running text examples of each, are: \begin{description} -\item[ITC Avant Garde Gothic\facesubseeidx{Avant Garde Gothic}] {\FSfont{pag} +\item[ITC Avant Garde Gothic\facesubseeidx{Avant Garde Gothic}] {\LXfont{pag} is a geometric sans type designed by Herb Lubalin\index{Lubalin, Herb} and Tom Carnase\index{Carnase, Tom} and based on the logo of the \textit{Avant Garde} magazine. @@ -9933,7 +4543,7 @@ The fontfamily name is \pfontfam{pag}. \vspace{0.5\onelineskip} } -\item[ITC Bookman\facesubseeidx{Bookman}] {\FSfont{pbk} was originally +\item[ITC Bookman\facesubseeidx{Bookman}] {\LXfont{pbk} was originally sold in 1860 by the Miller \& Richard\index{Miller \& Richard} foundry in Scotland; it was designed by Alexander Phemister\index{Phemister, Alexander}. The ITC revival is by @@ -9946,7 +4556,7 @@ The fontfamily name is \pfontfam{pbk}. \vspace{0.5\onelineskip} } -\item[Bitstream Charter\facesubseeidx{Charter}] {\FSfont{bch} was designed +\item[Bitstream Charter\facesubseeidx{Charter}] {\LXfont{bch} was designed by Matthew Carter\index{Carter, Matthew} for display on low resolution devices, and is useful for many applications, including bookwork. The fontfamily name is \pfontfam{bch}. @@ -9956,7 +4566,7 @@ The fontfamily name is \pfontfam{bch}. \vspace{0.5\onelineskip} } -\item[Courier\facesubseeidx{Courier}] {\FSfont{pcr} is a monospaced font +\item[Courier\facesubseeidx{Courier}] {\LXfont{pcr} is a monospaced font that was originally designed by Howard Kettler\index{Kettler, Howard} at IBM and then later redrawn by Adrian Frutiger\index{Frutiger, Adrian}. @@ -9967,7 +4577,7 @@ The fontfamily name is \pfontfam{pcr}. \vspace{0.5\onelineskip} } -\item[Helvetica\facesubseeidx{Helvetica}] {\FSfont{phv} was originally +\item[Helvetica\facesubseeidx{Helvetica}] {\LXfont{phv} was originally designed for the Haas foundry in Switzerland by Max Miedinger\index{Miedinger, Max}; it was later extended by the Stempel foundry and further refined by @@ -9980,7 +4590,7 @@ The fontfamily name is \pfontfam{phv}. } \item[New Century Schoolbook\facesubseeidx{New Century Schoolbook}] - {\FSfont{pnc} + {\LXfont{pnc} was designed by Morris Benton\index{Benton, Morris} for ATF (American Type Founders) in the early 20th century. As its name implies it was designed for maximum legibility in schoolbooks. @@ -9992,7 +4602,7 @@ The fontfamily name is \pfontfam{pnc}. } \item[Palatino\facesubseeidx{Palatino}] - {\FSfont{ppl} was designed by Hermann + {\LXfont{ppl} was designed by Hermann Zapf\index{Zapf, Hermann} and is one of the most popular typefaces today. The fontfamily name is \pfontfam{ppl}. @@ -10002,7 +4612,7 @@ The fontfamily name is \pfontfam{ppl}. } \item[Times Roman\facesubseeidx{Times Roman}] - {\FSfont{ptm} is Linotype's version + {\LXfont{ptm} is Linotype's version of the Times New Roman\facesubseeidx{Times New Roman} face designed by Stanley Morison\index{Morison, Stanley} for the Monotype Corporation for printing \emph{The Times} newspaper. @@ -10014,7 +4624,7 @@ The fontfamily name is \pfontfam{ptm}. } \item[Utopia\facesubseeidx{Utopia}] - {\FSfont{put} was designed by Robert + {\LXfont{put} was designed by Robert Slimbach\index{Slimbach, Robert} and combines Transitional\indextwo{type}{Transitional} features and contemporary details. The fontfamily name is \pfontfam{put}. @@ -10025,7 +4635,7 @@ The fontfamily name is \pfontfam{put}. } \item[ITC Zapf Chancery\facesubseeidx{Zapf Chancery}] - {\FSfont{pzc} is a + {\LXfont{pzc} is a Script\indextwo{type}{Script} type fashioned after the chancery handwriting styles of the Italian Renaissance. It was created by Hermann Zapf\index{Zapf, Hermann}. @@ -10037,7 +4647,7 @@ The fontfamily name is \pfontfam{pzc}. } \item[Symbol\facesubseeidx{Symbol}] - {\FSfont{psy} contains various symbols and Greek letters for + {\LXfont{psy} contains various symbols and Greek letters for mathematical work; these are most easily accessible via the \Lpack{pifont} package. The fontfamily name is \pfontfam{psy}. @@ -10046,7 +4656,7 @@ The fontfamily name is \pfontfam{psy}. } \item[Zapf Dingbats]\facesubseeidx{Zapf Dingbats} - {\FSfont{pzd} contains a variety of dingbats which, like the Symbol + {\LXfont{pzd} contains a variety of dingbats which, like the Symbol characters, are most easily accessible via the \Lpack{pifont} package. The fontfamily name is \pfontfam{pzd}. @@ -10848,9 +5458,22 @@ be in harmony with it. The title itself should not exceed the width of the type area, and will normally be narrower\ldots \end{quotation} + A pastiche of McLean's title page is shown in \fref{figure:titleTH}. + +\begin{figure} +\centering +\begin{showtitle} +\titleTH +\end{showtitle} +\caption{Layout of a title page for a book on typography}\label{figure:titleTH} +\end{figure} + + +\begin{comment} Figures~\ref{fig:titleTH} and~\ref{fig:titleDB}, for example, show title pages created using normal \ltx, without bothering with \cmd{\maketitle}. +\end{comment} The typeset format of the \cmd{\maketitle} command is virtually fixed within the \ltx\ standard classes. This class @@ -10870,6 +5493,43 @@ and printed by \cmd{\maketitle}. The \cmd{\thanks} command is enhanced to provide various configurations for both the marker symbol and the layout of the thanks\index{thanks} notes. +\begin{figure} +\centering +\begin{showtitle} +\titleDS +\end{showtitle} +\caption{Example of a mandated title page style for a doctoral thesis}\label{figure:titleDS} +\end{figure} + +\begin{figure}%\setlength{\unitlength}{1pt} +\centering +%\begin{showtitle} +{\titleRB} +%\end{showtitle} +\caption{Example of a Victorian title page}\label{figure:titleRB} +\end{figure} + +\begin{figure} +\centering +\begin{showtitle} +\titleDB +\end{showtitle} +\caption{Layout of a title page for a book on book design}\label{figure:titleDB} +\end{figure} + +\begin{figure} +\centering +\begin{showtitle} +\titleGM +\end{showtitle} +\caption{Layout of a title page for a book about books}\label{figure:titleGM} +\end{figure} + + Generally speaking, if you want anything other than minor variations +on the \cmd{\maketitle} layout then it is better to ignore \cmd{\maketitle} +and take the whole layout into your own hands so you can place everthing +just where you want it on the page. + \section{Styling the titling} @@ -10881,29 +5541,13 @@ They can also be used as a quick and dirty method for typesetting titles on reports, but for serious work, such as a title page for a book or thesis, each title page\index{title page} should be handcrafted. For instance, a student of mine, Donald Sanderson\index{Sanderson, Donald} -used \ltx\ to typeset his doctoral thesis, and \fref{fig:titleDS} shows +used \ltx\ to typeset his doctoral thesis, and \fref{figure:titleDS} shows the title page style mandated by Rensselear Polytechnic Institute as of 1994. Many other examples of title pages, together with the code to create them, are in~\cite{TITLEPAGES}. -\begin{figure} -\centering -\begin{showtitle} -\titleDS -\end{showtitle} -\caption{Example of a mandated title page style for a doctoral thesis}\label{fig:titleDS} -\end{figure} - -\begin{figure}%\setlength{\unitlength}{1pt} -\centering -%\begin{showtitle} -{\titleRB} -%\end{showtitle} -\caption{Example of a Victorian title page}\label{fig:titleRB} -\end{figure} - Another handcrafted title page\index{title page} from~\cite{TITLEPAGES} is -shown in \fref{fig:titleRB}. This one is based on an old booklet I found +shown in \fref{figure:titleRB}. This one is based on an old booklet I found that was published towards the end of the 19th century and exhibits the love of Victorian printers in displaying a variety of types; the rules are @@ -10918,7 +5562,11 @@ SoftMaker/ATF library, supported for \ltx\ through Christopher\index{League, Christopher} League's estimable work~\cite{TEXFONTSITE}. - + The title page in \fref{figure:titleDB} follows the style of +of \textit{The Design of Books}~\cite{ADRIANWILSON93} +and a page similar to Nicholas Basbanes \textit{A Gentle Madness: Bibliophiles, +Bibliomanes, and the Eternal Passion for Books} is illustrated in +\fref{figure:titleGM}. These are all from~\cite{TITLEPAGES} and handcrafted. In contrast the following code produces the standard \cmd{\maketitle} layout. @@ -12330,6 +6978,7 @@ followed by a number represented as an uppercase Roman numeral. There is a vertical space after which the title is printed. Finally a new page is started. +\PWnote{2009/07/30}{Updated description, etc., for Part and Book pages} Several aspects of the typesetting of the \cmd{\book} and \cmd{\part} title are configurable. Ignoring details, such as the optional argument, the code for printing \cmd{\part} headings looks like this: @@ -12341,7 +6990,11 @@ the code for printing \cmd{\part} headings looks like this: \printpartname\partnamenum\printpartnum \midpartskip % space after Name and Number \printparttitle{#1} % print the title - \afterpartskip} % a `space' after the title + \partpageend} % finish off +\newcommand{\partpageend}{% THIS IS SIMPLIFIED + \afterpartskip + % ifblankpage then blank next page and restore twocolumn if necessary + } \end{lcode} The code for \cmd{\book} headings is similar. @@ -12529,6 +7182,77 @@ for example, in page headers. Its definition is simply: There is the corresponding \cmd{\partmark} for the title of \cmd{\part} divisions. +\begin{syntax} +\cmd{\bookpageend} \cmd{\bookblankpage} \cmd{\nobookblankpage} \\ +\cmd{\partpageend} \cmd{\partblankpage} \cmd{\nopartblankpage} \\ +\end{syntax} +\glossary(bookpageend)% + {\cs{bookpageend}}% + {Code to finish off typesetting a book title page.} +\glossary(bookblankpage)% + {\cs{bookblankpage}}% + {Follow a book title page with a blank page (the default).} +\glossary(nobookblankpage)% + {\cs{nobookblankpage}}% + {Do not follow a book title page with a blank page.} +\glossary(partpageend)% + {\cs{partpageend}}% + {Code to finish off typesetting a part title page.} +\glossary(partlankpage)% + {\cs{partblankpage}}% + {Follow a part title page with a blank page (the default).} +\glossary(nopartblankpage)% + {\cs{nopartblankpage}}% + {Do not follow a part title page with a blank page.} + +The macro \cmd{\bookpageend} finishes off a book title page. It first +calls \cmd{\afterbookskip}. If the \cmd{\nobookblankpage} is in effect +it does nothing more. If the declaration \cmd{\bookblankpage} (the default) +is in effect then it finishes the current page, outputs a blank page and then, +if twocolumn typesetting was in effect before \cmd{\book} then it restores +twocolumn typesetting. The macro \cmd{\partpageend} performs similar +functions for \cmd{\part} pages. + + If, for example, you wish to put something on a \cmd{\part} page, and maybe +something on the following normally blank page, then this is a possible way +of doing it:\index{text on a part page} +\begin{lcode} +... +\nopartblankpage +\part{Title of the Part} +Some text on the Part page. +\clearpage +\thispagestyle{simple} +Text on the following (normally blank page) +\clearpage +... +\end{lcode} + Alternatively you can redefine \cmd{\partpageend}. + + If you use the declaration \cmd{\nopartblankpage} (or \cmd{\nobookblankpage}) +then you are responsible for setting everything correctly to end off the +\cmd{\part} (or \cmd{\book}) page. This is the default definition of +\cmd{\partpageend} (that for \cmd{\bookpageend} is similar): +\begin{lcode} +\newcommand{\partpageend}{% + \afterpartskip + \ifm@mnopartnewpage% set by \(no)partblankpage + \else% default finish off + \if@twoside + \if@openright% output blank page + \null + \thispagestyle{afterpart}% + \newpage + \fi + \fi + \fi + \if@tempswa% true if twocolumn was being used + \twocolumn + \fi} +\end{lcode} + + + \index{heading!part|)} \index{heading!book|)} @@ -13020,9 +7744,10 @@ but you could use it for any other purposes. \end{adjustwidth}} } \end{lcode} +\PWnote{2009/09/07}{Fixed adjuswidth typo.} As shown in \fref{dccompanion} the chapter name is in small caps and set flushright. The title is also set flushright aligned with the outermost -part of the marginal notes. This is achieved by use of the \Ie{adjuswidth} +part of the marginal notes. This is achieved by use of the \Ie{adjustwidth} environment\footnote{See \S\ref{sec:adjustwidth}.} to make \ltx\ think that the typeblock is locally wider than it actually is. @@ -14429,7 +9154,8 @@ is surrounded by the shorthand \verb?$...$?. \tx\ usually leaves a little space around maths but the \cmd{\m@th} command stops that. \cmd{\mkern} adjusts space in math mode, and in this case we are eliminating the spaces\footnote{It is usually a matter for experiment to find -the right values for the kerning.} that would normally be on either +the right values for the kerning.\label{fn:kerning}} +that would normally be on either side of the diamond symbol. The whole effect gives us a diamond symbol with zero space around it. @@ -14793,6 +9519,7 @@ For example: \end{itemize} For reference, the full list is given in \tref{tab:callthispagestyle}. +\PWnote{2009/07/26}{Added the simple pagestyle} The page styles provided by the class\index{pagestyle!class} are: \begin{plainlist} \item[\pstyle{empty}] The headers\index{header} and footers\index{footer} are empty. @@ -14805,6 +9532,10 @@ For reference, the full list is given in \tref{tab:callthispagestyle}. and uppercase title is set by the spine margin. \item[\pstyle{myheadings}] Like the \pstyle{headings} style the footer is empty. You have to specify what is to go in the headers\index{header}. +\item[\pstyle{simple}] The footer\index{footer} is empty and the + header\index{header} contains the folio\index{folio} (page number) + at the outer side of the page. It is like the \pstyle{headings} + style but without any title texts. \item[\pstyle{ruled}] The footer\index{footer} contains the folio\index{folio} at the outside. The header\index{header} on verso pages contains the chapter number and title in small caps @@ -15337,7 +10068,40 @@ the \cmd{\leftmark} and \cmd{\rightmark} instead of just the \createplainmark{glossary}{both}{\glossaryname}} \end{lcode} - This next example demonstrates most of the page styling commands. +\PWnote{2009/07/30}{Added sections on Document title and Part title in headers} +\subsubsection{Header with the document title} + + As mentioned before, some publishers like the title of the book +to be in the header. A simple header is probably all that is needed +as it is unlikely to be a technical publication. Here is a +use for \pstyle{myheadings}. +\begin{lcode} +\makevenhead{myheadings}{\thepage}{}{DOCUMENT TITLE} +\makeoddhead{myheadings}{Chapter~\thechapter}{}{\thepage} +\end{lcode} + +\subsubsection{Part and chapter in the header} + + Some documents have both part and chapter divisions and in such +cases it may be useful for the reader to have the current part and chapter +titles in the header. The \pstyle{headings} pagestyle can be easily modified +to accomplish this by simply resetting the marks for part and chapter: +\begin{lcode} +\makepsmarks{headings}{% + \creatmark{part}{left}{shownumber}{\partname\ }{. \ } + \createmark{chapter}{right}{shownumber}{\@chapapp\ }{. \ } + \createplainmark{toc}{both}{\contentsname} + \createplainmark{lof}{both}{\listfigurename} + \createplainmark{lot}{both}{\listtablename} + \createplainmark{bib}{both}{\bibname} + \createplainmark{index}{both}{\indexname} + \createplainmark{glossary}{both}{\glossaryname}} +\end{lcode} + + +\subsubsection{The Companion pagestyle} + + This example demonstrates most of the page styling commands. In the \textit{\ltx\ Companion} series of books~\cite{COMPANION,GCOMPANION,WCOMPANION} the header\index{header} is wider than the typeblock\index{typeblock}, sticking out into the outer @@ -15421,6 +10185,27 @@ what goes into each header\index{header} and footer\index{footer} slot typeset with \pstyle{companion} pagestyle headers\index{header}. This pagestyle is part of the class. +\begin{syntax} +\cmd{\addtopsmarks}\marg{pagestyle}\marg{prepend}\marg{append} \\ +\end{syntax} +\glossary(addtopsmarks)% + {\cs{addtopsmarks}\marg{pagestyle}\marg{prepend}\marg{append}}% + {Inserts \meta{prepend} and \meta{append} before and after the current + definition of \cs{makepsmarks} for \meta{pagestyle}.} +\cmd{\addtopsmarks}\marg{pagestyle}\marg{prepend}\marg{append} is the last +of this group of helper macros. It inserts \meta{prepend} and \meta{append} +before and after the current definition of \cs{makepsmarks} +for \meta{pagestyle}. For instance, if you wanted \cs{subsection} titles to appear +in the page headers of the \pstyle{companion} pagestyle then this would be a way +of doing it: +\begin{lcode} +\addtopsmarks{companion}{}{% + \createmark{subsection}{right}{shownumber}{}{. \space}} +\end{lcode} + + +\subsubsection{The ruled pagestyle} + For practical reasons I prefer a page style with headings where the chapter title is at least in the center of the page, and for technical works is at the \foredge. I also prefer the @@ -15456,25 +10241,6 @@ code sets these up, as well as the marks for the other document elements. } \end{lcode} -\begin{syntax} -\cmd{\addtopsmarks}\marg{pagestyle}\marg{prepend}\marg{append} \\ -\end{syntax} -\glossary(addtopsmarks)% - {\cs{addtopsmarks}\marg{pagestyle}\marg{prepend}\marg{append}}% - {Inserts \meta{prepend} and \meta{append} before and after the current - definition of \cs{makepsmarks} for \meta{pagestyle}.} -\cmd{\addtopsmarks}\marg{pagestyle}\marg{prepend}\marg{append} is the last -of this group of helper macros. It inserts \meta{prepend} and \meta{append} -before and after the current definition of \cs{makepsmarks} -for \meta{pagestyle}. For instance, if you wanted \cs{subsection} titles to appear -in the page headers of the \pstyle{companion} pagestyle then this would be a way -of doing it: -\begin{lcode} -\addtopsmarks{companion}{}{% - \createmark{subsection}{right}{shownumber}{}{. \space}} -\end{lcode} - - \index{pagestyle!specifying|)} @@ -17324,7 +12090,12 @@ without having to go through some of the above. {\cs{listoftables*}}% {Typeset the \prlot.} The \toc, \lof, and \lot\ are printed at the point in the document where - these commands are called, as per normal \ltx. However, there are + these commands are called, as per normal \ltx. + You can use \cmd{\tableofcontents}, \cmd{\listoffigures}, etc., more +than once in a \Lclass{memoir} class document. + + +However, there are two differences between the standard \ltx\ behaviour and the behaviour with this class. In the standard \ltx\ classes that have \cmd{\chapter} headings\index{heading}, the \toc, \lof\ and \lot\ @@ -17342,8 +12113,29 @@ each appear on a new page. With this class they do not necessarily Also, the unstarred versions of the commands put their headings\index{heading} into the \toc, while the starred versions do not. - You can use \cmd{\tableofcontents}, \cmd{\listoffigures}, etc., more -than once in a \Lclass{memoir} class document. +% \PWnote{2009/08/09}{Added description of KeepFromToc} +\begin{syntax} +\senv{KeepFromToc} \cs{listof...} \eenv{KeepFromToc} \\ +\end{syntax} +\glossary(KeepFromToc)% + {\senv{KeepFromToc}}% + {Stop the titles of the enclosed \cs{listof...} commands from + being added to the ToC.} + +There is at least one package that uses \cs{tableofcontents} for its +own \listofx. When used with the class this will put the package's +\listofx\ +title into the \toc, and the package doesn't seem to know about +\cs{tableofcontents*}. +The heading of any \cs{listof...} command that is in the \Ie{KeepFromToc} +environment will not be added to the \toc. For example: +\begin{lcode} +\begin{KeepFromToc} +\listoffigures +\end{KeepFromToc} +\end{lcode} +is equivalent to \cs{listoffigures*}. + \PWnote{2009/03/17}{Added \cs{(one|two|doc)coltocetc} descriptions.} \begin{syntax} @@ -19165,7 +13957,7 @@ RULED FIGURE AND CAPTION \index{float!set off|)} - \section{Multiple floats} + \section{Multiple floats} \label{sec:multfloats} \index{float!multiple|(} @@ -19447,7 +14239,9 @@ creates subcaptions\index{caption!new subcaption} (\cmd{\subcaption}, \cmd{\subtop} and \cmd{\subbottom}) for use within the float environment \meta{fenv} previously defined via \cmd{\newfloat}\oarg{...}\marg{fenv}\marg{...}. -Subcaptions are discussed below. +Subcaptions are discussed below in \Sref{sec:subcaps}. +\PWnote{2009/08/23}{Improved cross references between \cs{newsubfloat} +and \cs{subcaption}.} \index{float!multiple|)} @@ -20659,7 +15453,7 @@ a post-caption line for the second caption. The class initially specifies \index{bilingual captions|)} \index{caption!bilingual|)} - \section{Subcaptions} + \section{Subcaptions} \label{sec:subcaps} \index{caption!subcaption|(} \index{figure!subfigure|(} @@ -20672,7 +15466,8 @@ and similarly for tables\index{table}. The \Lpack{subfigure} package may be used with the class, or you can use the class commands described below; these commands can only be used inside a float environment for which a -subfloat\footnote{See \Sref{sec:newfloat}.} has been specified. +subfloat\footnote{See \Sref{sec:multfloats}.} has been specified +via \cmd{\newsubfloat}. \begin{syntax} \cmd{\subcaption}\oarg{list-entry}\marg{subtitle} \\ @@ -23599,6 +18394,8 @@ In any event, you can use a combination of \cmd{\footnotemark} and to the text of a footnote\index{footnote!reference}. This can be done by putting a \cmd{\label} in the footnote and then using \cmd{\footref} to refer to the label; this prints the footnote mark. For example: +\begin{comment} +%%% in memdesign, not memman \begin{lcode} ...\footnote{... adults or babies.\label{fn:rabbits}} ... @@ -23608,6 +18405,17 @@ In this manual, the last line above prints: \begin{syntax} ... The footnote\footref{fn:rabbits} on \pref{fn:rabbits} ... \\ \end{syntax} +\end{comment} +\begin{lcode} +...\footnote{...values for the kerning.\label{fn:kerning}} ... +... +... The footnote\footref{fn:kerning} on \pref{fn:kerning} ... \\ +\end{lcode} +In this manual, the last line above prints: +\begin{syntax} +... The footnote\footref{fn:kerning} on \pref{fn:kerning} ... \\ +\end{syntax} + %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% %%%% from membook @@ -23621,7 +18429,7 @@ In this manual, the last line above prints: In the standard classes if two or more footnotes are applied sequentially\footnote{One footnote}\footnote{Immediately followed by another} then the markers in the text are just run together. The class, like the -\Lpack{footmisc} and \Lpack{ledmac} packages, inserts a +\Lpack{footmisc}~\cite{FOOTMISC} and \Lpack{ledmac} packages, inserts a separator\index{footnote!marker separator} between the marks. In the class the macro \cmd{\multfootsep} is used as the separator. Its default definition is: @@ -27974,10 +22782,10 @@ macro, \cmd{\printanswers}, for the user to call to print the answers. The argument to the environment is the key of the question. In \Lopt{draft} mode it is simple, just typeset the answer and no need to -bother with any file printing (remember that \piif{ifdraft} is \ptrue\ for a +bother with any file printing (remember that \piif{ifdraftdoc} is \ptrue\ for a \Lopt{draft} mode document). \begin{lcode} -\ifdraft % when in draft mode +\ifdraftdoc % when in draft mode \newenvironment{answer}[1]% {\par\noindent\textbf{Answer \ref{#1}:}}% {\par} @@ -28019,7 +22827,7 @@ its contents get written out\index{write!verbatim} verbatim. \newenvironment{answer}[1]% {\@bsphack\@nswer{#1}\writeverbatim{ansout}}% {\par\endwriteverbatim\end@nswer\@esphack} -\fi % end of \ifdraft ...\else ... +\fi % end of \ifdraftdoc ...\else ... \end{lcode} When I was testing this code I had a surprise as I got nasty error messages @@ -32936,7 +27744,7 @@ The arguments are: (1) `\Margi', (2) `\Margii', (3) `\Margiii', The arguments are: (1) `\Margi', (2) `\Margii', (3) `\Margiii', (4) `\Margiv', (5) `\Margv'. -\subsection{Documenting \ltx\ commands} +\section{Documenting \ltx\ commands} The class provides a few macros to help you if you want to describe \ltx\ commands. @@ -32996,6 +27804,151 @@ The macro \cs{oarg}\marg{arg} prints \oarg{arg} for an optional argument. The macro \cs{parg}\marg{arg} prints \parg{arg} for a parenthesized argument. +\PWnote{2009/07/27}{Added chapter `For package users'} +\chapter{For package users} \label{chap:packageusers} + + Many packages work just as well with \Pclass{memoir} as with any of the +standard classes. In some instances, though, there may be a problem. In other +instances the class and package have been designed to work together but +you have to be careful about any code that you might write. + +\section{Class/package name clash} \label{sec:nameclash} + + A typical indication of a problem is an error message saying that a +command has already been defined\index{Command \cs{...} already defined ...} +(see \pref{alreadydefined}). + + When the class and a package both use the same name for a macro that +they define something has to give. For the sake of an example, assume that +memoir has defined a macro called \cs{foo} and a package \Ppack{pack} +that is used in the +document also defines \cs{foo}. There are several options that you can +choose which might resolve the difficulty. + +\begin{enumerate} + +\item Just keep the class definition: +\begin{lcode} +\documentclass{...} +\let\classfoo\foo % save the class' definition +\let\foo\relax % `undefine' \foo +\usepackage{pack} % defines \foo +\let\foo\classfoo % restore \foo to the class definition +... +\foo... % the class \foo +\end{lcode} + +\item Just keep the package definition: +\begin{lcode} +\documentclass{...} +\let\foo\relax % `undefine' \foo +\usepackage{pack} % defines \foo +... +\foo... % the package \foo +\end{lcode} + +\item Keep the class definition and rename the package definition: +\begin{lcode} +\documentclass{...} +\let\classfoo\foo % save the class' definition +\let\foo\relax % `undefine' \foo +\usepackage{pack} % defines \foo +\let\packfoo\foo % rename pack's \foo +\let\foo\classfoo % restore \foo to the class definition +... +\foo... % the class \foo +\packfoo % the package \foo +\end{lcode} + +\item Keep the package definition and rename the class definition: +\begin{lcode} +\documentclass{...} +\let\classfoo\foo % save the class' definition +\let\foo\relax % `undefine' \foo +\usepackage{pack} % defines \foo +... +\foo... % the package \foo +\classfoo... % the class \foo +\end{lcode} + +\end{enumerate} + + A potential problem with these options can occur after the package is +loaded and there are class or package commands that you use that, +knowingly or not, +call \cs{foo} expecting to get the class or the package definition, one of +which is now not available (except under a different name). + + The \Ppack{memoir} class has been available since 2001. It seems likely +that if older packages clash with \Ppack{memoir} then, as eight years have +gone by, the authors are unlikely to do anything about it. If a newer +package clashes then contact the author of the package. + + If all else fails, ask for help on the \pixctt\ newsgroup. + +\section{Support for bididirectional typesetting} + + The \Lpack{bidi} system~\cite{BIDI} provides means of bidirectional +typesetting. The class has built in support for \Lpack{bidi} but this means +that if you are defining your own macros there are some things you need +to be aware of. + + When dealing with bidirectional texts the left-to-right\index{LTR} +(LTR) direction +is the familiar one and \ltx\ is set up for this. When typesetting +right-to-left (RTL)\index{RTL} \Lpack{bidi} interchanges left and right. +The support in \Ppack{memoir} consists of replacing many, but not all, of +the right- and left-specific constructs. The replacement macros are: + +\begin{syntax} +\cmd{\memRTLleftskip} \cmd{\memRTLrightskip} \\ +\cmd{\memRTLvleftskip} \cmd{\memRTLvrightskip} \\ +\cmd{\memRTLraggedright} \cmd{\memRTLraggedleft} \\ +\end{syntax} +\glossary(memRTLleftskip)% + {\cs{memRTLleftskip}}% + {RTL (bidi) replacement for \cs{leftskip}} +\glossary(memRTLrightskip)% + {\cs{memRTLrightskip}}% + {RTL (bidi) replacement for \cs{rightskip}} +\glossary(memRTLvleftskip)% + {\cs{memRTLvleftskip}}% + {RTL (bidi) replacement for \cs{vleftskip}} +\glossary(memRTLrightskip)% + {\cs{memRTLvrightskip}}% + {RTL (bidi) replacement for \cs{vrightskip}} +\glossary(memRTLraggedleft)% + {\cs{memRTLraggedleft}}% + {RTL (bidi) replacement for \cs{raggedleft}} +\glossary(memRTLraggedright)% + {\cs{memRTLraggedright}}% + {RTL (bidi) replacement for \cs{raggedright}} + + In certain places, but not everywhere: \\ +\cmd{\memRTLleftskip} is used instead of \cmd{\leftskip} \\ +\cmd{\memRTLrightskip} is used instead of \cmd{\rightskip} \\ +\cmd{\memRTLvleftskip} is used instead of \cmd{\vleftskip} \\ +\cmd{\memRTLvrightskip} is used instead of \cmd{\vrightskip} \\ +\cmd{\memRTLraggedleft} is used instead of \cmd{\raggedleft} \\ +\cmd{\memRTLraggedright} is used instead of \cmd{\raggedright} \\ + + So, if you are defining any macros that use the \cs{...skip} or +\cs{ragged...} macros you may have to use the \cs{memRTL...} version +instead. The \Ppack{memoir} definitions of these macros are simply: +\begin{lcode} +\newcommand*{\memRTLleftskip}{\leftskip} +\newcommand*{\memRTLrightskip}{\rightskip} +... +\newcommand*{\memRTLraggedleft}{\raggedleft} +\end{lcode} +The \Lpack{bidi} system redefines them to suit its purposes. If your +work will only be set LTR there is no need to use the \cs{memRTL...} +macros in any of your code. If you might ever be producing a bidirectional +document then you may have to use the \cs{memRTL...} versions of the standard +commands in your code. To determine where you might have to use them +you will have to consult the \Lpack{bidi} documentation as not every use +of the standard commands needs to be replaced. + \clearpage @@ -33106,9 +28059,10 @@ of the exercise to provide both a coding and a graphic example. The \textit{Elements of Typographic Style} is typeset using Minion\facesubseeidx{Minion} as the text font and Syntax\facesubseeidx{Syntax} (a sans font) -for the captions. The page layout has been -shown diagramatically in \fref{fb:1} on \pref{fb:1}, but further details need -to be described for those not fortunate enough to have a copy of their own. +for the captions. +%The page layout has been +%shown diagramatically in \fref{fb:1} on \pref{fb:1}, but further details need +%to be described for those not fortunate enough to have a copy of their own. The trimmed page size is 23 by 13.3cm. The foredge is 3.1cm and the top margin\index{margin!upper} is 1.9cm. @@ -34798,6 +29752,8 @@ than the normal font, but this is corrected for by changing the local of the environment there is a negative space of one line to compensate for a one line space that LaTeX inserts. +%%% \Sref{sec:versal} is in the design manual +\begin{comment} The two versals in \Sref{sec:versal} were typeset with macros defined in \Lpack{memsty}. The poorer of the two used the \cmd{\drop} macro which was written for \ltx\ v2.09 by David Cantor and Dominik Wujastyk @@ -34805,7 +29761,7 @@ in 1998. The better used the \cmd{\versal} macro. Now, if you want to try your hand at this sort of thing there are some more packages on CTAN. I have found that the \Lpack{lettrine} package~\cite{LETTRINE} serves my needs. - +\end{comment} %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% @@ -37406,8 +32362,11 @@ a \Ie{figure} or \Ie{table} environment. commands to define a command or environment or counter name that has already been used; remember also that defining an environment \verb?foo? automatically defines the macro \cs{foo}. Either choose a new name or -use the appropriate \cs{renew...}. In the unlikely event that you have +use the appropriate \cs{renew...}; also, see \Sref{sec:nameclash}. +In the unlikely event that you have tried to define something beginning with \cs{end...}, choose another name. +\label{alreadydefined} + %LTERROR %LTFSSINI @@ -38656,9 +33615,11 @@ CTAN is the Comprehensive TeX Archive Network. Information on how to access CTAN is available at \url{http://www.tug.org}. \par\vspace{\onelineskip}} +%%%\begin{comment} \begin{thebibliography}{GMS94A} \small +%%% keep \bibitem[AHK90]{IMPATIENT} Paul W. Abrahams, Kathryn Hargreaves and Karl Berry. \newblock \emph{TeX for the Impatient}. @@ -38666,13 +33627,16 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available at \url{ftp://tug.org/tex/impatient}) +\begin{comment} \bibitem[Ado01]{ADOBEBOOK} \emph{How to Create Adobe PDF eBooks}. \newblock Adobe Systems Inc., \newblock 2001. \newblock (Available from \url{http://www.adobe.com/epaper/tips/acr5ebook/pdfs/eBook.pdf}) +\end{comment} +%%% keep \bibitem[Ars99]{URL} Donald Arseneau. \newblock \emph{The url package}. @@ -38680,6 +33644,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/macros/latex/contrib/misc/url.sty}) +%%% keep \bibitem[Ars01a]{TITLEREF} Donald Arseneau. \newblock \emph{The titleref package}. @@ -38687,6 +33652,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/macros/latex/contrib/misc/titleref.sty}) +%%% keep \bibitem[Ars01b]{CHAPTERBIB} Donald Arseneau. \newblock \emph{The chapterbib package}. @@ -38694,6 +33660,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/macros/latex/contrib/cite/chapterbib.sty}) +%%% keep \bibitem[Ars07]{FRAMED} Donald Arseneau. \newblock \emph{The framed package} v0.95. @@ -38701,6 +33668,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/macros/latex/contrib/misc/framed.sty}) +\begin{comment} \bibitem[Bar92]{BAROLINI92} Helen Barolini. \newblock \emph{Aldus and his Dream Book}. @@ -38725,7 +33693,9 @@ access CTAN is available at \url{http://www.tug.org}. \newblock \emph{Publication Design for Editors}. \newblock Prentice-Hall, \newblock 1990. +\end{comment} +%%% keep \bibitem[Ber02]{JURABIB} Jens Berger. \newblock \emph{The titlesec and titletoc packages}. @@ -38733,6 +33703,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/titlesec}) +%%% keep \bibitem[Bez99]{TITLESEC} Javier Bezos. \newblock \emph{The titlesec and titletoc packages}. @@ -38740,13 +33711,22 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/titlesec}) +\bibitem[Bir04]{BIRDSALL04} + Derek Birdsall. + \newblock \emph{notes on book design}. + \newblock Yale University Press, 2004. + \newblock ISBN 0--300--10347--6. + +\begin{comment} \bibitem[Bra94]{MAKEIDX} Johannes Braams \textit{et al}. \newblock \emph{Standard LaTeX2e packages makeidx and showidx}. \newblock November, 1994. \newblock (Available from CTAN as \url{/macros/latex/base/makeindx.dtx(ins)}) +\end{comment} +%%% keep \bibitem[Bra97]{ALLTT} Johannes Braams. \newblock \emph{The alltt environment}. @@ -38754,18 +33734,22 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/macros/latex/base/alltt.dtx(ins)}) +%%% keep \bibitem[Bri99]{BRINGHURST99} Robert Bringhurst. \newblock \emph{The Elements of Typographic Style}. \newblock Hartley \& Marks, second edition, \newblock 1999. ISBN 0--88179--033--8. +\begin{comment} \bibitem[Bur59]{BURT59} C.~L.~Burt. \newblock \emph{A Psychological Study of Typography}. \newblock Cambridge University Press, \newblock 1959. +\end{comment} +%%% keep \bibitem[Car94]{DELARRAY} David Carlisle. \newblock \emph{The delarray package}. @@ -38773,6 +33757,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +%%% keep \bibitem[Car95]{AFTERPAGE} David Carlisle. \newblock \emph{The afterpage package}. @@ -38780,6 +33765,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +%%% keep \bibitem[Car98b]{LONGTABLE} David Carlisle. \newblock \emph{The longtable package}. @@ -38787,6 +33773,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +%%% keep \bibitem[Car98c]{ENUMERATE} David Carlisle. \newblock \emph{The enumerate package}. @@ -38794,13 +33781,16 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +\begin{comment} \bibitem[Car98d]{REMRESET} David Carlisle. \newblock \emph{The remreset package}. \newblock August, 1998. \newblock (Available from CTAN in \url{/macros/latex/contrib/carlisle}) +\end{comment} +%%% keep \bibitem[Car99]{TABULARX} David Carlisle. \newblock \emph{The tabularx package}. @@ -38808,6 +33798,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +%%% keep \bibitem[CR99]{GRAPHICX} David Carlisle and Sebastian Rahtz. \newblock \emph{The graphicx package}. @@ -38815,6 +33806,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/graphics}) +%%% keep \bibitem[Car01]{DCOLUMN} David Carlisle. \newblock \emph{The dcolumn package}. @@ -38822,6 +33814,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +%%% keep \bibitem[Car05]{COLOR} David Carlisle. \newblock \emph{Packages in the graphics bundle} (includes the color package). @@ -38829,13 +33822,23 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/graphics}) +%%% keep +\bibitem[CK09]{BIDI} + Fran\c{c}ois Charette and Vafa Khalighi. + \newblock \emph{Bidi: A convenient interface for typesetting bidirectional + texts with XeLaTeX}. + \newblock 2009. + \newblock (Available from CTAN in + \url{/macros/xetex/latex/bidi}) +%%% keep \bibitem[CB99]{CHAPPELL99} Warren Chappell and Robert Bringhurst. \newblock \emph{A Short History of the Printed Word}. \newblock Hartley \& Marks, 1999. \newblock ISBN 0--88179--154--7. +%%% keep \bibitem[CH88]{CHEN88} Pehong Chen and Michael A.~Harrison. \newblock `Index Preparation and Processing'. @@ -38844,18 +33847,22 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/indexing/makeindex/paper}) +\begin{comment} \bibitem[Che05]{CHENG05} Karen Cheng. \newblock \emph{Designing Type}. \newblock Yale University Press, 2005. \newblock ISBN 0--300--11150--9. +\end{comment} +%%% keep \bibitem[Chi93]{CMS} \newblock \emph{The Chicago Manual of Style}, Fourteenth Edition. \newblock The University of Chicago, 1993. \newblock ISBN 0--226--10389--7. +\begin{comment} \bibitem[Coc02]{SUBFIGURE} Steven Douglas Cochran. \newblock \emph{The subfigure package}. @@ -38874,7 +33881,9 @@ access CTAN is available at \url{http://www.tug.org}. \newblock \emph{Designing with Type: A Basic Course in Typography}. \newblock Watson-Guptill, NY, \newblock 1992. +\end{comment} +%%% keep \bibitem[Dal99a]{NATBIB} Patrick W.~Daly. \newblock \emph{Natural Sciences Citations and References}. @@ -38882,6 +33891,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/natbib}) +%%% keep \bibitem[Dal99b]{MAKEBST} Patrick W.~Daly. \newblock \emph{Customizing Bibliographic Style Files}. @@ -38889,6 +33899,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/custom-bib}) +\begin{comment} \bibitem[Deg92]{DEGANI92} Asaf Degani. \newblock \emph{On the Typography of Flight-Deck Documentation}. @@ -38896,21 +33907,25 @@ access CTAN is available at \url{http://www.tug.org}. \newblock December, 1992. \newblock (Available from \url{http://members.aol.com/willadams/typgrphy.htm#NASA}) +\end{comment} - +%%% keep \bibitem[Dow96]{DOWDING96} Geoffrey Dowding. \newblock \emph{Finer Points in the Spacing \& Arrangement of Type}. \newblock Hartley \& Marks, 1996. \newblock ISBN 0--88179--119--9. +\begin{comment} \bibitem[Dow98]{DOWDING98} Geoffrey Dowding. \newblock \emph{An Introduction to the History of Printing Types}. \newblock The British Library and Oak Knoll Press, 1998. \newblock ISBN 0--7123--4563--9 \textsc{uk}, 1--884718--44--2 \textsc{usa}. +\end{comment} +%%% keep \bibitem[Dow00]{PATCHCMD} Michael J.~Downes. \newblock \emph{The patchcmd package}. @@ -38918,6 +33933,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/patchcmd}) +%%% keep \bibitem[Eij92]{TEXBYTOPIC} Victor Eijkhout. \newblock \emph{TeX by Topic}. @@ -38925,6 +33941,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock ISBN 0--201--56882--9. \newblock (Available from \url{http://www.eijkhout.net/tbt/}). +%%% keep \bibitem[Eij99]{COMMENT} Victor Eijkhout. \newblock \emph{comment.sty} @@ -38932,13 +33949,16 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/???????????}) +\begin{comment} \bibitem[Fai98]{MOREVERB} Robin Fairbairns. \newblock \emph{The moreverb package}. \newblock December, 1998. \newblock (Available from CTAN in \url{/macros/latex/contrib/moreverb}) +\end{comment} +%%% keep \bibitem[Fai00]{FOOTMISC} Robin Fairbairns. \newblock \emph{footmisc --- a portmanteau package for customising @@ -38947,12 +33967,14 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/footmisc}) +%%% keep \bibitem[FAQ]{FAQ} Robin Fairbairns. \newblock \emph{The UK TeX FAQ}. \newblock (Available from CTAN in \url{/help/uk-tex-faq}) +%%% keep \bibitem[Fea03]{BOOKTABS} Simon Fear. \newblock \emph{Publication quality tables in LaTeX}. @@ -38960,13 +33982,16 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/booktabs}) +\begin{comment} \bibitem[Fli98]{LETTRINE} Daniel Flipo. \newblock \emph{Typesetting `lettrines' in LaTeX2e documents}. \newblock March, 1998. \newblock (Available from CTAN in \url{/macros/latex/contrib/lettrine}) +\end{comment} +%%% keep \bibitem[Fly98]{FLYNN02} Peter Flynn. \newblock \emph{Formatting Information: A Beginner's Introduction to @@ -38975,6 +34000,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/info/beginlatex}) +\begin{comment} \bibitem[Fra00]{CROP} Melchior Franz. \newblock \emph{The crop package}. @@ -38994,6 +34020,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock \emph{More Mathematical Puzzles and Diversions}. \newblock Penguin Books, 1996. \newblock ISBN 0--14--020748--1. +\end{comment} %\bibitem[GMS94]{GOOSSENS94} % Michel Goossens, Frank Mittelbach and Alexander Samarin. @@ -39001,12 +34028,14 @@ access CTAN is available at \url{http://www.tug.org}. % \newblock Addison-Wesley Publishing Company, 1994 % \newblock (ISBN 0--201--54199--8), 1994. +%%% keep \bibitem[GM\textsuperscript{+}07]{GCOMPANION} Michel Goossens, Frank Mittelbach, et al. \newblock \emph{The LaTeX Graphics Companion: Second edition}. \newblock Addison-Wesley, 2007. \newblock ISBN 0--321--50892--0. +%%% keep \bibitem[GR99]{WCOMPANION} Michel Goossens and Sebastian Rahtz (with Eitan Gurari, Ross Moore and Robert Sutor). @@ -39014,6 +34043,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock Addison-Wesley, 1999. \newblock ISBN 0--201--43311--7. +\begin{comment} \bibitem[Gou87]{GOULD87} J.~D.~Gould \textit{et al}. \newblock `Reading from CRT displays can be as fast as reading from paper'. @@ -39029,7 +34059,9 @@ access CTAN is available at \url{http://www.tug.org}. \newblock \emph{Texts on Type: Critical Writings on Typography}. \newblock Allworth Press, 2001. \newblock ISBN 1--58115--082--2. +\end{comment} +%%% keep \bibitem[Hoe98]{HOENIG98} Alan Hoenig. \newblock \emph{TeX Unbound: LaTeX and TeX strategies for fonts, @@ -39037,24 +34069,28 @@ access CTAN is available at \url{http://www.tug.org}. \newblock Oxford University Press, 1998. \newblock ISBN 0--19--509686--X. +\begin{comment} \bibitem[HK75]{HVISTENDAHL75} J.~K.~Hvistendahl and M.~R.~Kahl. \newblock `Roman vs. sans serif body type: Readability and reader prference'. \newblock \emph{AANPA News Research Bulletin}, pp 3--11, 17 Jan., 1975. +\end{comment} - +%%% keep \bibitem[Jon95]{INDEX} David M.~Jones. \newblock \emph{A new implementation of LaTeX's indexing commands}. \newblock September, 1995. \newblock (Available from CTAN in \url{/macros/latex/contrib/camel}) +%%% keep \bibitem[Keh98]{XINDY} Roger Kehr. \newblock \emph{xindy: A flexible indexing system}. \newblock February, 1998. \newblock (Available from CTAN in \url{/indexing/xindy}) +%%% keep \bibitem[Ker07]{XCOLOR} Uwe Kern. \newblock \emph{Extending LaTeX's color facilities: the xcolor package}. @@ -39062,42 +34098,49 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/xcolor}) +%%% keep \bibitem[Knu84]{TEXBOOK} Donald E.~Knuth. \newblock \emph{The TeXbook}. \newblock Addison-Wesley, 1984. \newblock ISBN 0--201--13448--9. +%%% keep \bibitem[Knu86]{TEXPROGRAM} Donald E.~Knuth. \newblock \emph{TeX: The Program}. \newblock Addison-Wesley, 1986. \newblock ISBN 0--201--13437--3. +%%% keep \bibitem[Knu87]{CM} Donald E.~Knuth. \newblock \emph{Computer Modern Typefaces}. \newblock Addison-Wesley, 1987. \newblock ISBN 0--201--134446--2. +%%% keep \bibitem[Knu92]{METAFONT} Donald E.~Knuth. \newblock \emph{The METAFONT Book}. \newblock Addison-Wesley, 1992. \newblock ISBN 0--201--13444--6. +%%% keep \bibitem[Lam94]{LAMPORT94} Leslie Lamport. \newblock \emph{LaTeX: A Document Preparation System}. \newblock Addison-Wesley, 1994. \newblock ISBN 0--201--52983--1. +%%% keep \bibitem[LEB04]{NTG} Leslie Lamport, Victor Eijkhout and Johannes Braams. \newblock \emph{NTG document classes for LaTeX version 2e}. \newblock June, 2004. \newblock (Available from CTAN in \url{/macros/latex/contrib/ntg}) +\begin{comment} \bibitem[LMB99]{CLASSES} Leslie Lamport, Frank Mittelbach and Johannes Braams. \newblock \emph{Standard document classes for LaTeX version 2e}. @@ -39115,7 +34158,9 @@ access CTAN is available at \url{http://www.tug.org}. \newblock \emph{Printing Types: An Introduction}. \newblock Beacon Press, 1990. \newblock ISBN 0--8070--6661--3. +\end{comment} +%%% keep \bibitem[Lea03]{TEXFONTSITE} Christopher League. \newblock \emph{TeX support for the FontSite 500 CD}. @@ -39123,6 +34168,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from \url{http://contrapunctus.net/fs500tex}) +%%% keep \bibitem[Leh04]{FONTINST} Philipp Lehman. \newblock \emph{The Font Installation Guide}. @@ -39130,37 +34176,44 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/info/Type1fonts/fontinstallationguide}) +%%% keep \bibitem[Leu92]{LEUNEN92} Mary-Claire van Leunen. \newblock \emph{A Handbook for Scholars}. \newblock Oxford University Press, 1992. \newblock ISBN 0--19--506954--4. +\begin{comment} \bibitem[Liv02]{LIVIO02} Mario Livio. \newblock \emph{The Golden Ratio: The Story of Phi, the World's Most Astonishing Number}. \newblock Broadway Books, 2002. \newblock ISBN 0--7679--0816--3. +\end{comment} +%%% keep \bibitem[Lon91]{MULTIND} F.~W.~Long. \newblock \emph{multind}. \newblock August, 1991. \newblock (Available from CTAN as \url{/macros/latex209/contrib/misc/multind.sty}) +%%% keep \bibitem[Mad06]{CHAPSTYLES} Lars Madsen. \newblock \emph{Various chapter styles for the memoir class}. \newblock July, 2006. \newblock (Available from CTAN in \url{/info/latex-samples/MemoirChapStyles}) +%%% keep \bibitem[Mad07]{MEMEXSUPP} Lars Madsen. \newblock \emph{The Memoir Experimental Support Package}. \newblock 2007. \newblock (Available from CTAN in \url{/macros/latex/contrib/memexsupp}) +%%% keep \bibitem[McD98]{SECTSTY} Rowland McDonnell. \newblock \emph{The sectsty package}. @@ -39168,18 +34221,22 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/secsty}) +\begin{comment} \bibitem[McL75]{MCLEAN75} Ruari McLean. \newblock \emph{Jan Tschichold: Typographer}. \newblock David R.~Godine, 1975. \newblock ISBN 0--87923--841--0. +\end{comment} +%%% keep \bibitem[McL80]{MCLEAN80} Ruari McLean. \newblock \emph{The Thames \& Hudson Manual of Typography}. \newblock Thames \& Hudson, 1980. \newblock ISBN 0--500--68022--1. +\begin{comment} \bibitem[McL95]{MCLEAN95} Ruari McLean (Ed). \newblock \emph{Typographers on Type}. @@ -39198,7 +34255,9 @@ access CTAN is available at \url{http://www.tug.org}. \newblock May, 1995. \newblock (Available from CTAN in \url{/macros/latex/base}) +\end{comment} +%%% keep \bibitem[Mit98]{MULTICOL} Frank Mittelbach. \newblock \emph{An environment for multicolumn output}. @@ -39206,12 +34265,14 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +%%% keep \bibitem[MC98]{ARRAY} Frank Mittelbach and David Carlisle. \newblock \emph{A new implementation of LaTeX's tabular and array environment}. \newblock May, 1998. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +%%% keep \bibitem[MC00]{FIXLTX2E} Frank Mittelbach and David Carlisle. \newblock \emph{The fixltx2e package}. @@ -39219,18 +34280,22 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/base}) +%%% keep \bibitem[MG\textsuperscript{+}04]{COMPANION} Frank Mittelbach, Michael Goossens, et al. \newblock \emph{The LaTeX Companion: Second Edition}. \newblock Addison-Wesley, 2004. \newblock ISBN 0--201--36299--6. +\begin{comment} \bibitem[Mor99]{MORISON99} Stanley Morison. \newblock \emph{A Tally of Types}. \newblock David R. Godine, 1999. \newblock ISBN 1--56792--004--7. +\end{comment} +%%% keep \bibitem[NG98]{SIDECAP} Rolf Niespraschk and Hubert G\"{a}\ss{}lein. \newblock \emph{The sidecap package}. @@ -39238,12 +34303,14 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/sidecap}) +%%% keep \bibitem[Oet]{LSHORT} Tobias Oetiker. \newblock \emph{The Not So Short Introduction to LaTeX2e}. \newblock (Available from CTAN in \url{/info/lshort/english}) +%%% keep \bibitem[Oos96]{FANCYHDR} Piet van Oostrum. \newblock \emph{Page Layout in LaTeX}. @@ -39251,6 +34318,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/fancyhdr}) +%%% keep \bibitem[Pak01]{SYMBOLS} Scott Pakin. \newblock \emph{The Comprehensive LaTeX Symbol List}. @@ -39258,12 +34326,14 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/info/symbols/comprehensive}) +%%% keep \bibitem[dP84]{PARVILLE84} H.~de~Parville. \newblock Recreations mathematique: {La Tour d'Hanoi} et la question du {Tonkin}. \newblock \emph{La Nature}, part {I}:285--286, Paris 1884. +%%% keep \bibitem[Pat88a]{BIBTEX} Oren Patashnik. \newblock \emph{BibTeXing}. @@ -39271,6 +34341,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/bibliography/bibtex/distribs/doc/btxdoc.tex}) +%%% keep \bibitem[Pat88b]{BIBTEXHACK} Oren Patashnik. \newblock \emph{Designing BibTeX Styles}. @@ -39278,6 +34349,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/bibliography/bibtex/distribs/doc/btxhak.tex}) +%%% keep \bibitem[Pug02]{MATHPAZO} Diego Puga. \newblock \emph{The Pazo Math fonts for mathematical typesetting @@ -39286,6 +34358,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/fonts/mathpazo}) +%%% keep \bibitem[Rahtz01]{NAMEREF} Sebastian Rahtz. \newblock \emph{Section name references in LaTeX}. @@ -39293,6 +34366,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/hyperref}) +%%% keep \bibitem[Rahtz02]{HYPERREF} Sebastian Rahtz. \newblock \emph{Hypertext marks in LaTeX}. @@ -39300,6 +34374,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/hyperref}) +%%% keep \bibitem[Rec97]{EPSLATEX} Keith Reckdahl. \newblock \emph{Using Imported Graphics in LaTeX2e}. @@ -39307,16 +34382,20 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/info/epspatex.ps} or \url{/info/epslatex.pdf}) +\begin{comment} \bibitem[Reh72]{REHE72} Rolf Rehe. \newblock `Type and how to make it most legible'. \newblock \emph{Design Research International}, 1972. +\end{comment} +%%% keep \bibitem[Rei07]{REINGOLD07} Edward M. Reingold. \newblock `Writing numbers in words in TeX'. \newblock TUGboat, 28, 2 pp 256--259, 2007. +\begin{comment} \bibitem[RAE71]{ROBINSON71} D.~O.~Robinson, M.~Abbamonte and S.~H.~Evans. \newblock `Why serifs are important: The perception of small print'. @@ -39332,12 +34411,15 @@ access CTAN is available at \url{http://www.tug.org}. Bruce Rogers. \newblock \emph{Centaur Types}. \newblock October House, 1949. +\end{comment} +%%% keep \bibitem[RBC74]{ROUSEBALL} W. W. Rouse Ball and H. S. M. Coxeter. \newblock \emph{Mathematical Recreations and Essays}. \newblock University of Toronto Press, twelfth edition, 1974. +\begin{comment} \bibitem[Ryd76]{RYDER} John Ryder. \newblock \emph{Printing for Pleasure}. Revised edition. @@ -39345,13 +34427,16 @@ access CTAN is available at \url{http://www.tug.org}. \newblock ISBN 0--370--10443--9. \newblock (In the USA published by Henry Regenery Co., Michigan, 1977. ISBN 0--8092--78103--3) +\end{comment} +%%% keep \bibitem[SW94]{EBOOK} Douglas Schenck and Peter Wilson. \newblock \emph{Information Modeling the EXPRESS Way}. \newblock Oxford University Press, 1994. \newblock ISBN 0--19--508714--3. +%%% keep \bibitem[SRR99]{VERBATIM} Rainer Sch\"{o}pf, Bernd Raichle and Chris Rowley. \newblock \emph{A New Implementation of LaTeX's verbatim @@ -39360,6 +34445,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required/tools}) +\begin{comment} \bibitem[Sch97]{SCHRIVER97} Karen A.~Schriver. \newblock \emph{Dynamics in Document Design}. @@ -39371,7 +34457,9 @@ access CTAN is available at \url{http://www.tug.org}. designing typefaces now}. \newblock Hyphen Press, London, 1996. \newblock ISBN 0--907259--06--5. +\end{comment} +%%% keep \bibitem[Sne04]{SNEEP04} Maarten Sneep. \newblock \emph{The atmosphere in the laboratory: cavity ring-down @@ -39379,6 +34467,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock Phd thesis, \newblock Vrijie Universiteit, Amsterdam, 2004. +%%% keep \bibitem[Tal06]{DATETIME} Nicola L. C. Talbot. \newblock \emph{datetime.sty: Formatting Current Date and Time}. @@ -39386,18 +34475,21 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/datetime}) +%%% keep \bibitem[Thi98]{ORNAMENTAL} Christina Thiele. \newblock `Hey --- it works: Ornamental rules'. \newblock \emph{TUGboat}, \newblock vol. 19, no. 4, p 427, December 1998. +%%% keep \bibitem[Thi99]{TTC199} Christina Thiele. \newblock `The Treasure Chest: Package tours from CTAN', \newblock \emph{TUGboat}, \newblock vol. 20, no. 1, pp 53--58, March 1999. +%%% keep \bibitem[TJ05]{CALC} Kresten Krab Thorup, Frank Jensen (and Chris Rowley). \newblock \emph{The calc package --- Infix notation arithmetic in LaTeX}. @@ -39405,11 +34497,14 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/required}) +\begin{comment} \bibitem[Tin63]{TINKER63} Miles A.~Tinker. \newblock \emph{Legibility of Print}. \newblock Books on Demand (University Microfilms International), 1963. +\end{comment} +%%% keep \bibitem[Tob00]{SETSPACE} Geoffrey Tobin. \newblock \emph{setspace.sty}. @@ -39417,18 +34512,21 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/setspace}) +%%% keep \bibitem[Tsc91]{TSCHICHOLD91} Jan Tschichold. \newblock \emph{The Form of the Book}. \newblock Lund Humphries, 1991. \newblock ISBN 0--85331--623--6. +\begin{comment} \bibitem[Tuf83]{TUFTE83} Edward R. Tufte. \newblock \emph{The Visual Display of Quantative Information}. \newblock Graphics Press, 1983. +\end{comment} - +%%% keep \bibitem[Ume99]{GEOMETRY} Hideo Umeki. \newblock \emph{The geometry package}. @@ -39437,17 +34535,21 @@ access CTAN is available at \url{http://www.tug.org}. \url{/macros/latex/contrib/geometry}) +\begin{comment} \bibitem[Whe95]{WHEILDON95} Colin Wheildon. \newblock \emph{Type \& Layout}. \newblock Strathmore Press, 1995. \newblock ISBN 0--9624891--5--8. +\end{comment} +%%% keep \bibitem[Wil00]{CATALOGUE} Graham Williams. \newblock \emph{The TeX Catalogue}. \newblock (Latest version on CTAN as \url{/help/Catalogue/catalogue.html}) +%%% keep \bibitem[Wil93]{ADRIANWILSON93} Adrian Wilson. \newblock \emph{The Design of Books}. @@ -39455,7 +34557,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock ISBN 0--8118--0304--X. - +%%% keep \bibitem[Wil99b]{TOCVSEC2} Peter Wilson. \newblock \emph{The tocvsec2 package}. @@ -39463,6 +34565,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/tocvsec2}) +%%% keep \bibitem[Wil00a]{EPIGRAPH} Peter Wilson. \newblock \emph{The epigraph package}. @@ -39470,6 +34573,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/epigraph}) +%%% keep \bibitem[Wil00b]{ISOCLASS} Peter Wilson. \newblock \emph{LaTeX files for typesetting ISO standards}. @@ -39477,6 +34581,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/isostds/iso}) +%%% keep \bibitem[Wil00c]{NEXTPAGE} Peter Wilson. \newblock \emph{The nextpage package}. @@ -39484,13 +34589,16 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/macros/latex/contrib/misc/nextpage.sty}) +\begin{comment} \bibitem[Wil00d]{NEEDSPACE} Peter Wilson. \newblock \emph{The needspace package}. \newblock March, 2000. \newblock (Available from CTAN as \url{/macros/latex/contrib/misc/needspace.sty}) +\end{comment} +%%% keep \bibitem[Wil00e]{XTAB} Peter Wilson. \newblock \emph{The xtab package}. @@ -39498,6 +34606,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \texttt{macros/latex/contrib/xtab}) +%%% keep \bibitem[Wil01a]{ABSTRACT} Peter Wilson. \newblock \emph{The abstract package}. @@ -39505,6 +34614,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/abstract}) +%%% keep \bibitem[Wil01b]{CHNGPAGE} Peter Wilson. \newblock \emph{The chngpage package}. @@ -39512,13 +34622,16 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/macros/latex/contrib/misc/chngpage.sty}) +\begin{comment} \bibitem[Wil01c]{APPENDIX} Peter Wilson. \newblock \emph{The appendix package}. \newblock March, 2001. \newblock (Available from CTAN in \url{/macros/latex/contrib/appendix}) +\end{comment} +%%% keep \bibitem[Wil01d]{CCAPTION} Peter Wilson. \newblock \emph{The ccaption package}. @@ -39526,6 +34639,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/ccaption}) +%%% keep \bibitem[Wil01e]{CHNGCNTR} Peter Wilson. \newblock \emph{The chngcntr package}. @@ -39533,6 +34647,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN as \url{/macros/latex/contrib/misc/chngcntr.sty}) +%%% keep \bibitem[Wil01f]{HANGING} Peter Wilson. \newblock \emph{The hanging package}. @@ -39540,6 +34655,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/hanging}) +%%% keep \bibitem[Wil01g]{TITLING} Peter Wilson. \newblock \emph{The titling package}. @@ -39547,6 +34663,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/titling}) +%%% keep \bibitem[Wil01h]{TOCBIBIND} Peter Wilson. \newblock \emph{The tocbibind package}. @@ -39554,7 +34671,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/tocbibind}) - +%%% keep \bibitem[Wil01i]{TOCLOFT} Peter Wilson. \newblock \emph{The tocloft package}. @@ -39563,6 +34680,7 @@ access CTAN is available at \url{http://www.tug.org}. \url{/macros/latex/contrib/tocloft}) +\begin{comment} \bibitem[Wil01j]{MEMOIR} Peter Wilson. \newblock \emph{The LaTeX memoir class for configurable book @@ -39584,7 +34702,9 @@ access CTAN is available at \url{http://www.tug.org}. \newblock August, 2001. \newblock (Available from CTAN in \url{/macros/latex/contrib/booklet}) +\end{comment} +%%% keep \bibitem[Wil03a]{LAYOUTS} Peter Wilson. \newblock \emph{The layouts package} @@ -39592,6 +34712,7 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/layouts}) +%%% keep \bibitem[Wil03b]{LEDMAC} Peter Wilson. \newblock \emph{ledmac: A presumptuous attempt to port EDMAC and TABMAC @@ -39600,11 +34721,14 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/ledmac}) +\begin{comment} \bibitem[Wil04a]{GLISTER3} Peter Wilson. \newblock `Glisterings'. \newblock TUGboat, 25, 2 pp 201--202, 2004. +\end{comment} +%%% keep \bibitem[Wil04b]{PAGENOTE} Peter Wilson. \newblock \emph{The pagenote package} @@ -39612,26 +34736,24 @@ access CTAN is available at \url{http://www.tug.org}. \newblock (Available from CTAN in \url{/macros/latex/contrib/pagenote}) +%%% keep \bibitem[Wil07a]{TITLEPAGES} Peter Wilson. \newblock \emph{Some Examples of Title Pages}. \newblock Herries Press, 2007. \newblock (Available from CTAN as \url{info/latex-samples/titlepages.pdf}) -\bibitem[Wil07b]{MEMCODE} -Peter Wilson. - \newblock \emph{The \ltx\ memoir class for configurable book typesetting: source code} - \newblock November, 2007. - \newblock (Available from CTAN in - \url{/macros/latex/contrib/memoir}) - -\bibitem[Wil07c]{MEMMAN} -Peter Wilson. - \newblock \emph{The Memoir Class for Configurable Typesetting --- User Guide} - \newblock November, 2007. - \newblock (Available from CTAN in - \url{/macros/latex/contrib/memoir}) +%%% keep +\begin{comment} + % repeated below + \bibitem[Wil07b]{MEMCODE} Peter Wilson. \newblock \emph{The \ltx\ + memoir class for configurable book typesetting: source code} + \newblock November, 2007. \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) +\end{comment} +%%% keep +%%% keep \bibitem[Wil07d]{MEMADD} Peter Wilson. \newblock \emph{ADDENDUM: The Memoir Class for Configurable Typesetting --- User Guide} @@ -39639,16 +34761,19 @@ Peter Wilson. \newblock (Available from CTAN in \url{/macros/latex/contrib/memoir}) +%%% keep \bibitem[Wil07e]{GLISTER07} Peter Wilson. \newblock `Glisterings', \emph{TUGboat}, 28(2):229--232, 2007. +\begin{comment} \bibitem[Wil07f]{TUGKEYNOTE07} Peter Wilson. \newblock `Between then and now --- A meandering memoir', \newblock \emph{TUGboat}, 28(3):280--298, 2007. +\end{comment} - +%%% keep \bibitem[Wil08a]{CHANGEPAGE} Peter Wilson. \newblock \emph{The changepage package}. @@ -39656,10 +34781,12 @@ Peter Wilson. \newblock (Available from CTAN as \url{/macros/latex/contrib/misc/changepage.sty}) +%%% keep \bibitem[Wil08b]{GLISTER08} Peter Wilson. \newblock `Glisterings', \emph{TUGboat}, 29(2):324--327, 2008. +%%% keep \bibitem[Wil09a]{FONTTABLE} Peter Wilson. \newblock \emph{The fonttable package} @@ -39667,11 +34794,35 @@ Peter Wilson. \newblock (Available from CTAN in \url{/macros/latex/contrib/fonttable}) +\bibitem[Wil09b]{MEMCODE} +Peter Wilson (with the assistance of Lars Madsen). + \newblock \emph{The \ltx\ memoir class for configurable book typesetting: source code} + \newblock July, 2009. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) + +\bibitem[Wil07c]{MEMMAN} +Peter Wilson. + \newblock \emph{The Memoir Class for Configurable Typesetting --- User Guide} + \newblock August, 2009. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) + +\bibitem[Wil09d]{MEMDESIGN} + Peter Wilson. + \newblock \emph{A Few Notes on Book Design} + \newblock August, 2009. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) + + +%%% keep \bibitem[Wil??]{RUMOUR} Peter Wilson. \newblock \emph{A Rumour of Humour: A scientist's commonplace book}. -\newblock To be published? +\newblock To be published. +\begin{comment} \bibitem[Wis03]{WISHART03} David Wishart. \newblock \emph{The Printing of Mathematics} @@ -39690,7 +34841,9 @@ David Wishart. B.~Zachrissom. \newblock \emph{Studies in the Legibility of Printed Text}. \newblock Almqvist \& Wiksell, Stockholm, 1969. +\end{comment} +%%% keep \bibitem[Zan98]{FANCYBOX} Timothy Van Zandt. \newblock \emph{Documentation for fancybox.sty: Box tips and tricks for @@ -39699,16 +34852,17 @@ David Wishart. \newblock (Available from CTAN in \url{/macros/latex/contrib/fancybox}) +\begin{comment} \bibitem[Zap00]{ZAPF00} Hermann Zapf. \newblock \emph{The Fine Art of Letters}. \newblock The Grolier Club, 2000. \newblock ISBN 0--910672--35--0. - - +\end{comment} \end{thebibliography} + \clearpage \twocolindex \pagestyle{index} |