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authorKarl Berry <karl@freefriends.org>2009-09-14 00:46:20 +0000
committerKarl Berry <karl@freefriends.org>2009-09-14 00:46:20 +0000
commit912ba7898315ab887463006c081d888c528f4c2b (patch)
tree4ac388ea0339657367b3c75be65f518016ac7850 /Master/texmf-dist/doc/latex/memoir/memman.tex
parent1c467aabf1a2f6e96c1cb2ef4d54e30696dbe10d (diff)
memoir 1.61803398 (13sep09)
git-svn-id: svn://tug.org/texlive/trunk@15274 c570f23f-e606-0410-a88d-b1316a301751
Diffstat (limited to 'Master/texmf-dist/doc/latex/memoir/memman.tex')
-rw-r--r--Master/texmf-dist/doc/latex/memoir/memman.tex7390
1 files changed, 1272 insertions, 6118 deletions
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
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- \put(1,21){\framebox(2.0,4){j}}
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-
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- \put(5,17){\framebox(4,8){c}}
- \put(5,25){\framebox(2,4){\shortstack{5 \\ to \\ an \\ em}}}
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-
- \put(9,1){\framebox(4,8){t}}
- \put(9,9){\framebox(4,8){n}}
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- \put(9,25){\framebox(2,4){'}}
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- \put(13,17){\framebox(4,12){e}}
-% second 1/3
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- \put(18,9){\framebox(4,8){o}}
- \put(18,17){\framebox(4,8){i}}
- \put(18,25){\framebox(2,4){1}}
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-
- \put(28,1){\framebox(2,4){-}}
- \put(28,5){\framebox(2,4){:}}
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- \put(30,1){\framebox(4,8){quads}}
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- \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
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- \put(35,11.67){\framebox(2,6.67){H}}
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- \put(35,25){\framebox(2,4){\$}}
-
- \put(37,1){\framebox(2,4){Y}}
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-
- \put(39,1){\framebox(2,4){Z}}
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- \put(39,25){\framebox(2,4){---}}
-
- \put(41,1){\framebox(2,4){J}}
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-
- \put(45,1){\framebox(2,4){\&}}
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- \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.
-
-
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- \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}