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authorKarl Berry <karl@freefriends.org>2009-09-14 00:49:20 +0000
committerKarl Berry <karl@freefriends.org>2009-09-14 00:49:20 +0000
commitb1138659c146932ccc6e9d3361502e5e85875fa0 (patch)
tree112bc95b4162bbc707cd9800e60e4c91893fcfee /Master/texmf-dist/doc
parent912ba7898315ab887463006c081d888c528f4c2b (diff)
memdesign 1.0 (13sep09)
git-svn-id: svn://tug.org/texlive/trunk@15275 c570f23f-e606-0410-a88d-b1316a301751
Diffstat (limited to 'Master/texmf-dist/doc')
-rw-r--r--Master/texmf-dist/doc/fonts/memdesign/README53
-rw-r--r--Master/texmf-dist/doc/fonts/memdesign/memdesign.pdf29682
-rw-r--r--Master/texmf-dist/doc/fonts/memdesign/memdesign.tex7788
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diff --git a/Master/texmf-dist/doc/fonts/memdesign/README b/Master/texmf-dist/doc/fonts/memdesign/README
new file mode 100644
index 00000000000..3bff5b60672
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/memdesign/README
@@ -0,0 +1,53 @@
+ memdesign.(pdf|tex) provides some notes and thoughts on typography
+and book design. It is an expanded version of the design notes originally
+included in the manual for the memoir class (memman.(pdf|tex)).
+
+-------------------------------------------------------------------
+ Author: Peter Wilson (Herries Press) herries dot press at earthlink dot net
+ Copyright 2001--2009 Peter R. Wilson
+
+ This work may be distributed and/or modified under the
+ conditions of the LaTeX Project Public License, either
+ version 1.3 of this license or (at your option) any
+ later version.
+ The latest version of the license is in
+ http://www.latex-project.org/lppl.txt
+ and version 1.3 or later is part of all distributions of
+ LaTeX version 2003/06/01 or later.
+
+ This work has the LPPL maintenance status "author-maintained".
+
+ This work consists of the files:
+README (this file)
+memdesign.tex
+ and the derived file
+memdesign.pdf
+-------------------------------------------------------------------
+
+ The distribution consists of the following files:
+README (this file)
+memdesign.(tex|pdf) Source and PDF document
+
+-------------------------------------------------------------------
+
+ The memoir class and files memsty.sty, titlepages.sty, memman.ist,
+and anvil2.mps are required to process memdesign.tex; these are part
+of the memoir distribution (the documentation).
+
+ memdesign.pdf includes many examples of different typefaces. Some
+of these are from the FontSite500 CD. If you do not have these and want
+to process memdesign.tex yourself, then use the class draft option:
+\documentclass[draft,...]{memoir}
+Processing also requires the free Web-O-Mints font.
+
+ To process memdesign.tex (if you really want to do this and not just use
+memdesign.pdf as supplied)
+o Run (pdf)latex twice on memman.tex
+o For an index run: makeindex -s memman.ist memdesign
+o Run (pdf)latex once more on memdesign.tex
+o Print the manual
+
+
+2009/08/23
+Peter Wilson
+herries dot press at earthlink dot net
diff --git a/Master/texmf-dist/doc/fonts/memdesign/memdesign.pdf b/Master/texmf-dist/doc/fonts/memdesign/memdesign.pdf
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+trailer
+<< /Size 3264
+/Root 3262 0 R
+/Info 3263 0 R
+/ID [<44BC0F0D9AB28EB95289B65D26956315> <44BC0F0D9AB28EB95289B65D26956315>] >>
+startxref
+1953772
+%%EOF
diff --git a/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex b/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex
new file mode 100644
index 00000000000..7297876a53c
--- /dev/null
+++ b/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex
@@ -0,0 +1,7788 @@
+% memdesign.tex Part I of memman.tex (the Memoir user manual) as a separate doc
+% Author: Peter Wilson
+% Copyright 2001, 2002, 2003, 2004, 2008, 2009 Peter R. Wilson
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%% If you do not have the FontSite 500 fonts use the draft option whereby %%
+%% all the FontSite fonts will be replaced by the regular body font, thus %%
+%% invalidating many of the typeface examples. %%
+%% %%
+%% The free Web-O-Mints fonts is also required. Download from %%
+%% http://www.galapagosdesign.com %%
+%% LaTeX support is on CTAN in /fonts/webomints %%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\documentclass[10pt,letterpaper,extrafontsizes]{memoir}
+%\documentclass[draft,10pt,letterpaper,extrafontsizes]{memoir}
+\listfiles
+\usepackage{comment}
+
+% For (non-printing) notes \PWnote{date}{text}
+\newcommand{\PWnote}[2]{}
+\PWnote{2009/04/29}{Added fonttable to the used packages}
+
+% same
+\newcommand{\LMnote}[2]{}
+
+
+\usepackage{memsty}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\usepackage{titlepages} % code of the example titlepages
+\usepackage{fonttable}[2009/04/01] % font tables
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%%\renewcommand*{\FSfont}[1]{}
+%%%% Change section heading styles
+%%%\memmansecheads
+
+%%%% Use the built-in division styling
+\headstyles{memman}
+%%%% but swap section & subsection heads
+\setsecheadstyle{\normalfont\large\bfseries\raggedright}
+\setsubsecheadstyle{\normalfont\scshape\raggedright}
+
+\newcommand*{\sqrd}[1]{#1\textsuperscript{2}}
+\newcommand*{\gsm}{g/\sqrd{m}}
+\newcommand*{\half}{\slashfrac{1}{2}}
+
+
+%%%% Font selection
+%% \textparagraph really only defined in TS1
+\usepackage[TS1]{fontenc}
+\renewcommand*{\encodingdefault}{T1}
+
+\newcommand*{\thisfont}[5]{\fontencoding{T1}%
+ \fontsize{#1}{#2}\fontfamily{#3}\fontseries{#4}\fontshape{#5}%
+ \selectfont}
+\newcommand*{\pickfont}[1]{\thisfont{12}{14}{#1}{m}{n}}
+\newcommand*{\Pickfont}[1]{\thisfont{18}{14}{#1}{m}{n}}
+\newcommand*{\Pickit}[1]{\thisfont{18}{14}{#1}{m}{it}}
+\newcommand*{\Picksl}[1]{\thisfont{18}{14}{#1}{m}{sl}}
+\newcommand*{\pickfontx}[1]{\thisfont{10}{12}{#1}{m}{n}}
+
+\newcommand*{\caslon}{\pickfont{5ca}}
+\newcommand*{\garamond}{\pickfont{5gm}}
+\newcommand*{\della}{\pickfont{5de}}
+\newcommand*{\bodoni}{\pickfont{5bd}}
+\newcommand*{\Caslon}{\Pickfont{5ca}}
+\newcommand*{\Garamond}{\Pickfont{5gm}}
+\newcommand*{\Della}{\Pickfont{5de}}
+\newcommand*{\Bodoni}{\Pickfont{5bd}}
+
+\newcommand*{\baskervillex}{\pickfontx{5bv}}
+\newcommand*{\bellx}{\pickfontx{5lb}}
+\newcommand*{\bembox}{\pickfontx{5bo}}
+\newcommand*{\bodonix}{\pickfontx{5bd}}
+\newcommand*{\caslonx}{\pickfontx{5ca}}
+\newcommand*{\centaurx}{\pickfontx{5jr}}
+\newcommand*{\clarendonx}{\pickfontx{5cd}}
+\newcommand*{\futurax}{\pickfontx{5fu}}
+\newcommand*{\garamondx}{\pickfontx{5gm}}
+\newcommand*{\gillsansx}{\pickfontx{5ch}}
+\newcommand*{\optimax}{\pickfontx{5op}}
+
+%%% \FSfont is used in titlepages (for FontSite fonts)
+%%% \LXfont is for \ltx fonts, defined as:
+%%% \newcommand*{\LXfont}[1]{\fontfamily{#1}\selectfont}
+%%%%% If FontSite fonts are not available, set all to body font
+\ifdraftdoc
+ \typeout{You have used the draft option. Any FontSite 500 font}
+ \typeout{will be replaced by the body font, thus invalidating}
+ \typeout{many of the typface examples.}
+ \renewcommand*{\pickfont}[1]{\thisfont{12}{14}{ppl}{m}{n}}
+ \renewcommand*{\Pickfont}[1]{\thisfont{18}{14}{ppl}{m}{n}}
+ \renewcommand*{\Pickit}[1]{\thisfont{18}{14}{ppl}{m}{it}}
+ \renewcommand*{\Picksl}[1]{\thisfont{18}{14}{ppl}{m}{sl}}
+ \renewcommand*{\pickfontx}[1]{\thisfont{10}{12}{ppl}{m}{n}}
+ \renewcommand*{\FSfont}[1]{}
+\fi
+
+%%% for font examples
+\newcommand*{\atoq}{abcefghijopstuvwyz}
+\renewcommand*{\atoq}{ab\-ce\-fg\-hi\-jo\-ps\-tu\-vw\-yz}
+\newcommand*{\ligs}{ff fi fl ffi ffl \&}
+\newcommand*{\onetoo}{\ligs\ 1236 AVOQ}
+\newcommand*{\Qligs}{Q \ligs}
+\newcommand*{\Onetoo}{1236 AVOQ \&}
+
+\newcommand*{\Shelley}{% Percy Bysshe Shelley (1792--1822) O World, O Life, O Time
+\hspace*{2em} Out of the day and night \\
+\hspace*{2em} A joy has taken flight --- \\
+Fresh spring and summer and winter hoar \\
+\hspace*{1em} Move my faint heart with grief, but with delight \\
+\hspace*{2em} No more, O never more!}
+
+\newcommand*{\Beddoes}{% Thomas Lovell Beddoes (1803--1849) Song
+How many times do I love thee, dear? \\
+\hspace*{1em} Tell me how many thoughts there be \\
+\hspace*{4em} In the atmosphere \\
+\hspace*{4em} Of a new-fall'n year, \\
+Whose white and sable hours appear \\
+\hspace*{1em} The latest flake of Eternity--- \\
+So many times do I love thee, dear.}
+
+\newcommand*{\Campion}{% Thomas Campion (1567--1620) When to Her Lute Corinna Sings
+When to her lute Corinna sings, \\
+Her voice revives the leaden strings, \\
+And doth in highest notes appear \\
+As any challenged echo clear; \\
+But when she doth of mourning speak, \\
+Ev'n with her sighs the strings do break.}
+
+\newcommand*{\Housman}{% A. E. Housman (1859--1936) When I Was One-and-Twenty
+When I was one-and twenty \\
+\hspace*{1em} I heard a wise man say, \\
+`Give crowns and pounds and guineas \\
+\hspace*{1em} But not your heart away; \\
+Give pearls away and rubies \\
+\hspace*{1em} But keep your fancy free.' \\
+But I was one-and-twenty, \\
+\hspace*{1em} No use to talk to me.}
+
+\newcommand*{\meol}{// }
+\renewcommand*{\meol}{}
+\newcommand*{\mypar}{{\fontencoding{TS1}\selectfont\textparagraph}\ }
+
+\newcommand{\facetext}{Puella Rigensis ridebat \meol
+Quam tigris in tergo vehebat; \meol
+Externa profecta, \meol
+Interna revecta, \meol
+Risusque cum tigre manebat. \mypar
+Meum est propsitum, \meol
+In taberna mori, \meol
+Ut sint vina proxima, \meol
+Morientis ori. \meol
+Tunc cantabunt laetius \meol
+Angelorum chori; \meol
+`Sit Deus propitius \meol
+Huic potatori!' \mypar
+Gaudeamus igitur, \meol
+Juvenes dum sumus \meol
+Post jucundum juventutem, \meol
+Post molestam senectutem, \meol
+Nos habebit humus.\par}
+
+
+\makeatletter
+\renewcommand{\doidxbookmark}[1]{{\def\@tempa{Symbols}\def\@tempb{#1}%
+ \centering\bfseries \ifx\@tempa\@tempb %
+ Analphabetics
+ \phantomsection
+ \pdfbookmark[1]{Analphabetics}{Analphabetics-idx}%
+ \else
+ #1%
+ \pdfbookmark[1]{#1}{#1-idx}%
+ \fi%
+ \vskip\onelineskip\par}}
+
+%%% ToC down to subsections
+\settocdepth{subsection}
+%%% Numbering down to subsections as well
+\setsecnumdepth{subsection}
+
+%% end preamble
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\begin{document}
+\tightlists
+%%%%\firmlists
+\midsloppy
+\raggedbottom
+\chapterstyle{demo3}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\frontmatter
+\pagestyle{empty}
+
+% half-title page
+
+\vspace*{\fill}
+\begin{adjustwidth}{1in}{1in}
+\begin{flushleft}
+\HUGE\sffamily A Few
+\end{flushleft}
+\begin{center}
+\HUGE\sffamily Notes on
+\end{center}
+\begin{flushright}
+\HUGE\sffamily Book Design
+\end{flushright}
+\end{adjustwidth}
+%\vspace*{0.55\textheight}
+\vspace*{0.6\textheight}
+\vspace*{\fill}
+\cleardoublepage
+
+% title page
+\vspace*{0.5\fill}
+\begin{center}
+\LARGE\textsf{A Few}\par
+\end{center}
+\begin{center}
+\HUGE\textsf{Notes}\par
+\end{center}
+\begin{center}
+\LARGE\textsf{on}\par
+\end{center}
+\begin{center}
+\HUGE\textsf{Book Design}\par
+\end{center}
+
+\vspace{2\onelineskip}
+\begin{center}
+\LARGE\textsf{Peter Wilson}\par
+\end{center}
+\vspace*{\fill}
+\def\THP{T\kern-0.2em H\kern-0.4em P}% OK for CMR
+\def\THP{T\kern-0.15em H\kern-0.3em P}% OK for Palatino
+\newcommand*{\THPress}{The Herries Press}%
+\begin{center}
+\settowidth{\droptitle}{\textsf{\THPress}}%
+\textrm{\normalsize \THP} \\
+\textsf{\THPress} \\[0.2\baselineskip]
+\includegraphics[width=\droptitle]{anvil2.mps}
+\setlength{\droptitle}{0pt}%
+\end{center}
+\clearpage
+
+% copyright page
+\begingroup
+\footnotesize
+\setlength{\parindent}{0pt}
+\setlength{\parskip}{\baselineskip}
+%%\ttfamily
+\textcopyright{} 2001 -- 2009 Peter R. Wilson \\
+All rights reserved
+
+The Herries Press, Normandy Park, WA.
+
+Printed in the World
+
+The paper used in this publication may meet the minimum requirements
+of the American National Standard for Information
+Sciences --- Permanence of Paper for Printed Library Materials,
+ANSI Z39.48--1984.
+
+\begin{center}
+19 18 17 16 15 14 13 12 11 10 09\hspace{2em}6 5 4 3 2 1
+\end{center}
+\begin{center}
+\begin{tabular}{ll}
+First edition: & August 2009 \\
+\end{tabular}
+\end{center}
+
+\endgroup
+
+\clearpage
+\mbox{}
+
+\cleardoublepage
+
+% ToC, etc
+%%%\pagenumbering{roman}
+\pagestyle{headings}
+%%%%\pagestyle{Ruled}
+
+\setupshorttoc
+\tableofcontents
+\cleardoublepage
+\setupparasubsecs
+\setupmaintoc
+\tableofcontents
+\setlength{\unitlength}{1pt}
+\clearpage
+\listoffigures
+\clearpage
+\listoftables
+\clearpage
+
+\chapter{Preface}
+
+ Some fifteen or so years ago I started developing code for typesetting
+documents that would make it easy for designers to get the appearance
+they had in mind.
+
+% In 2001 this resulted in the \Pclass{memoir} class for
+%use with the \ltx\ typesetting system developed by Leslie Lamport based
+%on Donald Knuth's \tx\ system.
+
+ While doing this I read a lot about book design and have tried my hand
+at printing a variety of books and ephemera using hand set lead type
+and a hand operated Chandler \& Price 1904 Old Style 8 by 12 platen
+press, pretty much as Gutenberg did some five and a half centuries ago.
+
+ These notes are partly based on my own amateur
+experience and feelings but the majority have been culled from the
+professionals.
+
+{\raggedleft{\scshape Peter Wilson} \\ Seattle, WA \\ July 2009\par}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\chapter{Introduction}
+
+ These notes briefly cover some aspects of book design and typography,
+independently of the means of typesetting. Among
+the several books on the subject listed in the \bibname{} I prefer
+Bringhurst's \btitle{The Elements of Typographic Style}~\cite{BRINGHURST99}.
+
+ The notes originally formed the first part of a user manual for
+the \Pclass{memoir} class for
+use with the \ltx\ typesetting system developed by Leslie
+Lamport~\cite{LAMPORT94} based
+on Donald Knuth's \tx\ system~\cite{TEXBOOK}.
+The manual was first published in 2001
+and as the notes have grown in size and \Pclass{memoir}'s capabilities
+have been extended the manual also grew to approaching 700 pages~\cite{MEMMAN}.
+At that point seemed advantageous to separate the design notes from the
+technicalities, hence this document.
+
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\chapter{Terminology}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+ Like all professions and trades, typographers and printers have their
+specialised vocabulary.
+
+ First there is the question of pages, leaves and sheets.
+The trimmed sheets of paper\index{paper} that make up a book are called
+\emph{leaves}\index{leaf},
+and I will call the untrimmed sheets the \emph{stock}\index{stock} material.
+A leaf
+has two sides, and a \emph{page}\index{page} is one side of a leaf.
+If you think of a book
+being opened flat, then you can see two leaves. The front of the righthand
+leaf, is called the \emph{recto}\index{recto} page of that leaf,
+and the side of the
+lefthand leaf that you see is called the \emph{verso}\index{verso} page
+of that leaf.
+So, a leaf has a recto and a verso page. Recto pages are the odd-numbered
+pages and verso pages are even-numbered.
+
+ Then there is the question of folios. The typographical term for
+the number of a page is \emph{folio}\index{folio}.
+This is not to be confused with
+the same term as used in `Shakespeare's First Folio' where the reference is
+to the height and width of the book, nor to its use in the phrase
+`\emph{folio} signature'\index{signature} where the term refers to the
+number of times a printed sheet is folded.
+Not every page in a book has a printed
+folio, and there may be pages that do not have a folio at all. Pages with
+folios, whether printed or not, form the \emph{pagination}\index{pagination}
+of the book. Pages
+that are not counted in the pagination have no folios.
+
+ I have not been able to find what I think is a good
+definition for `type' as it seems to be used in different contexts with
+different meanings. It appears to be a kind of generic word; for instance
+there are type designers, type cutters, type setters, type foundries,...
+For my purposes I propose that \emph{type}\index{type|seealso{typeface}} is
+one or more printable characters (or variations or extensions to this idea).
+Printers use the term \emph{sort}\index{sort} to refer to one piece of lead
+type.
+
+ A \emph{typeface}\index{typeface} is a set of one or more fonts, in one
+or more sizes, designed as a stylistic whole.
+
+ A \emph{font}\index{font} is a set of characters. In the days of
+metal type and hot lead a font meant a complete alphabet and auxiliary
+characters in a given size. More recently it is taken to mean a complete
+set of characters regardless of size. A font of roman type normally
+consists of CAPITAL LETTERS, \textsc{small capitals}, lowercase letters,
+numbers, punctuation marks, ligatures (such as `fi' and `ffi'), and a
+few special symbols like \&.
+
+ A \emph{font family}\index{font!family} is a set of fonts designed to
+work harmoniously together, such as a pair of roman and italic fonts.
+
+ The size of a font\index{font} is expressed in points\index{point}
+(72.27 points equals 1 inch
+equals 25.4 millimeters). The size is a rough indication of the height
+of the tallest character, but different fonts with the same size may have
+very different actual heights. Traditionally font sizes were referred to
+by names (see \tref{tab:fontsizes}) but nowadays just the number of points
+is used.
+
+
+\begin{table}
+\centering
+\caption{Traditional font size designations} \label{tab:fontsizes}
+\begin{tabular}{cl@{\hspace{2em}}cl} \toprule
+Points & Name & Points & Name \\ \midrule
+%%3 & Excelsior \\
+\phantom{0}3 & Excelsior &
+11 & Small Pica \\
+\phantom{0}3\rlap{\slashfrac{1}{2}} & Brilliant &
+12 & Pica \\
+\phantom{0}4 & Diamond &
+14 & English \\
+\phantom{0}5 & Pearl &
+18 & Great Primer \\
+\phantom{0}5\rlap{\slashfrac{1}{2}} & Agate &
+24 & Double (or Two Line) Pica \\
+\phantom{0}6 & Nonpareil &
+28 & Double (or Two Line) English \\
+\phantom{0}6\rlap{\slashfrac{1}{2}} & Mignonette &
+36 & Double (or Two Line) Great Primer \\
+\phantom{0}7 & Minion &
+48 & French Canon (or Four Line Pica) \\
+\phantom{0}8 & Brevier &
+60 & Five Line Pica \\
+\phantom{0}9 & Bourgeois &
+72 & Six line Pica \\
+10 & Long Primer &
+%%16 & Columbian \\
+%%20 & Paragon \\
+%%22 & Double Small Pica \\
+%%32 & Four Line Brevier \\
+%%40 & Double Paragon \\
+%%44 & Meridian \\
+96 & Eight Line Pica \\ \bottomrule
+\end{tabular}
+\end{table}
+
+
+
+ The typographers' and printers' term for the vertical space between
+the lines of normal text is \emph{leading}\index{leading}, which is also
+usually expressed in points and is usually larger than the font size.
+A convention for describing the font and leading is to give the font size
+and leading separated by a slash; for instance $10/12$ for a
+10pt font set with a 12pt leading, or $12/14$ for a 12pt font set with a
+14pt leading.
+
+ The normal length of a line of text is often called the
+\emph{measure}\index{measure} and is normally specified in terms of
+picas\index{pica} where 1 pica equals 12 points (1pc = 12pt).
+
+ Documents may be described as being typeset with a particular font
+with a particular size and a particular leading on a particular measure;
+this is normally given in a shorthand form.
+A 10pt font with 11pt leading on a 20pc measure is described as
+\abyb{10/11}{20}, and \abyb{14/16}{22} describes a 14pt font
+with 16pt leading set on a a 22pc measure.
+
+\section{Units of measurement}
+
+ Typographers and printers use a mixed system of units, some of which
+we met above. The fundamental unit is the point; \tref{tab:units} lists
+the most common units employed.
+
+\begin{table}
+\centering
+\caption{Printers units} \label{tab:units}
+\begin{tabular}{ll} \toprule
+Name (abbreviation) & Value \\ \midrule
+point (pt)\index{point}\index{pt} & \\
+pica (pc)\index{pica}\index{pc} & 1pc = 12pt \\
+inch (in)\index{inch}\index{in} & 1in = 72.27pt \\
+centimetre (cm)\index{centimetre}\index{cm} & 2.54cm = 1in \\
+millimetre (mm)\index{millimetre}\index{mm} & 10mm = 1cm \\
+big point (bp)\index{big point}\index{bp} & 72bp = 72.27pt \\
+didot point (dd)\index{didot point}\index{dd} & 1157dd = 1238pt \\
+cicero (cc)\index{cicero}\index{cc} & 1cc = 12dd \\
+\bottomrule
+\end{tabular}
+\end{table}
+
+ Points\index{point} and picas\index{pica}
+are the traditional printers units used in English-speaking countries.
+The didot point\index{didot point} and cicero\index{cicero} are the
+corresponding units used in continental Europe. In Japan `kyus'\index{kyus}
+(a quarter of a millimetre) may be used as the unit of measurement.
+Inches\index{inch} and centimetres\index{centimetre} are the units that we
+are all, or should be, familiar with.
+
+ The point system was invented by Pierre Fournier le jeune in 1737 with
+a length of 0.349mm. Later in the same century Fran\c{c}ois-Ambroise Didot
+introduced his point system with a length of 0.3759mm. This is the value
+still used in Europe. Much later, in 1886, the American Type Founders
+Association settled on 0.013837in as the standard size for the point, and
+the British followed in 1898. Conveniently for those who are not entirely
+metric in their thinking this means that
+six picas are approximately equal to one inch.
+
+ The big point\index{big point}
+is somewhat of an anomaly in that it is a recent
+invention. It tends to be used
+in page markup languages, like \pscript\footnote{\pscript{} is a
+registered trademark of Adobe Systems Incorporated.\label{fn:ps}},
+in order to make calculations quicker and easier.
+
+ The above units are all constant in value. There are also some units
+whose value depends on the particular font\index{font} being used.
+The \textit{em}\index{em}
+is the nominal height of the current font; it is used as a width measure.
+An \textit{en}\index{en} is half an em.
+The \textit{ex}\index{ex} is
+nominally the height of the letter `x' in the current font. You may also
+come across the term \textit{quad}\index{quad}, often as in a phrase
+like `starts with a quad space'. It is a length defined in terms of
+ems; a quad is 1em.
+
+
+\cleardoublepage
+%\pagenumbering{arabic}
+
+% 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.
+
+\begin{table}
+\centering
+\caption{Broad typeface categories}\label{tab:typecat}
+\begin{tabular}{lllll} \toprule
+Typeface & & Lawson & Bringhurst & Vox \\ \midrule
+\centaurx Centaur\facesubseeidx{Centaur} & &
+\centaurx Venetian\typesubidx{Venetian} &
+\centaurx Renaissance\typesubidx{Renaissance} &
+\centaurx Humanist\typesubidx{Humanist} \\
+\bembox Bembo\facesubseeidx{Bembo} & &
+\bembox Aldine/French\typesubidx{Aldine/French} &
+\bembox Renaissance\typesubidx{Renaissance} &
+\bembox Garald\typesubidx{Garald} \\
+%%%Sabon & & Aldine/French OS & Renaissance & Garald \\
+%%%Garamond & & Aldine/French OS & Renaissance & Garald \\
+\garamondx Garamond\facesubseeidx{Garamond} & &
+\garamondx Aldine/French\typesubidx{Aldine/French} &
+\garamondx Baroque\typesubidx{Baroque} &
+\garamondx Garald\typesubidx{Garald} \\
+\caslonx Caslon\facesubseeidx{Caslon} & &
+\caslonx Dutch/English\typesubidx{Dutch/English} &
+\caslonx Baroque\typesubidx{Baroque} &
+\caslonx Garald\typesubidx{Garald} \\
+\baskervillex Baskerville\facesubseeidx{Baskerville} & &
+\baskervillex Transitional\typesubidx{Transitional} &
+\baskervillex Neoclassical\typesubidx{Neoclassical} &
+\baskervillex Transitional\typesubidx{Transitional} \\
+\bellx Bell\facesubseeidx{Bell} & &
+\bellx Transitional\typesubidx{Transitional} &
+\bellx Rationalist\typesubidx{Rationalist} &
+\bellx Transitional\typesubidx{Transitional} \\
+\bodonix Bodoni\facesubseeidx{Bodoni} & &
+\bodonix Modern\typesubidx{Modern} &
+\bodonix Romantic\typesubidx{Romantic} &
+\bodonix Didone\typesubidx{} \\
+\clarendonx Clarendon\facesubseeidx{Clarendon} & &
+\clarendonx Square Serif\typesubidx{Square Serif} &
+\clarendonx Realist\typesubidx{Realist} &
+\clarendonx Mechanistic\typesubidx{Mechanistic} \\
+\futurax Futura\facesubseeidx{Futura} & &
+\futurax Sans-serif\typesubidx{Sans-serif} &
+\futurax Geometric Modernist\typesubidx{Geometric Modernist} &
+\futurax Lineal Geometric\typesubidx{Lineal Geometric} \\
+\optimax Optima\facesubseeidx{Optima} & &
+\optimax Sans-serif\typesubidx{Sans-serif} &
+\optimax Neoclassical\typesubidx{Neoclassical} &
+\optimax Lineal Humanist\typesubidx{Lineal Humanist} \\
+\gillsansx Gill Sans\facesubseeidx{Gill Sans} & &
+\gillsansx Sans-serif\typesubidx{Sans-serif} &
+\gillsansx Geometric Humanist\typesubidx{Geometric Humanist} &
+\gillsansx Lineal Humanist\typesubidx{Lineal Humanist} \\
+\bottomrule
+\end{tabular}
+\end{table}
+
+
+ There are several ways of categorizing typefaces, three of which are
+shown in \tref{tab:typecat}. The listed schemes are
+\begin{description}
+\item[Lawson] from
+Lawson \& Agner~\cite{LAWSONAGNER90} who proposed
+\emph{a Rational System} based on the historical sequence.
+\item[Bringhurst] who categorizes according to the artistic and architectural
+period that a typeface can be said to represent~\cite{BRINGHURST99}.
+\item[Vox] devised a system that has been adopted as a British Standard
+(BS 2961: 1967). This tried to be language-neutral and get away from
+the more traditional descriptions such as gothic, antique, grotesque, and
+modern which have different, and somtimes opposite, meanings in different
+languages~\cite{MCLEAN80}.
+\end{description}
+Later I will expand on the Lawson \& Agner system and show some types
+corresponding to some of their 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.
+\emph{The \ltx\ Font Catalogue} (\url{http://www.tug.dk/FontCatalogue}) has
+examples of 181 different fonts and these do not include many of the
+more specialized ones, such as for setting chess or for archaic languages
+(e.g., cuneiform, egpytian hieroglyphs, etc.), or scripts for Asian languages.},
+which unfortunately does not include types corresponding to all the
+categories.
+
+
+\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\facesubseeidx{Antiqua Turin} & \pfontfam{antt} & &
+Avant Garde\facesubseeidx{Avant Garde} & \pfontfam{pag} \\
+Bera Serif\facesubseeidx{Bera Serif} & \pfontfam{fve} & &
+Bookman\facesubseeidx{Bookman} & \pfontfam{pbk} \\
+GFS Bodoni\facesubseeidx{GFS Bodoni} & \pfontfam{bodoni} & &
+GFS Didot\facesubseeidx{GFS Didot} & \pfontfam{udidot} \\
+Times Roman\facesubseeidx{Times Roman} & \pfontfam{ptm} & &
+Utopia\facesubseeidx{Utopia} & \pfontfam{put} \\
+\end{tabular}
+\end{center}}.
+
+\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\facesubseeidx{Bookman} &
+\itshape Antiqua Turin\facesubseeidx{Antiqua Turin} &
+\itshape Bera Serif\facesubseeidx{Bera Serif} &
+\itshape Avant Garde\facesubseeidx{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\facesubseeidx{Antiqua Turin} &
+\itshape Times Roman\facesubseeidx{Times Roman} &
+\itshape Bookman\facesubseeidx{Bookman} &
+\itshape GFS Didot\facesubseeidx{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\facesubseeidx{Bookman} &
+\itshape Bera Serif\facesubseeidx{Bera Serif} &
+\itshape Bookman\facesubseeidx{Bookman} &
+\itshape Antiqua Turin\facesubseeidx{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\facesubseeidx{Utopia} &
+\itshape Utopia\facesubseeidx{Utopia} &
+\itshape GFS Bodoni\facesubseeidx{GFS Bodoni} &
+\itshape GFS Bodoni\facesubseeidx{GFS Bodoni} \\ \bottomrule
+\end{tabular}
+\caption{Examples of some typographical type-related terms} \label{fig:typeterms}
+\end{figure}
+
+
+\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, Frederic} 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.}
+
+
+\subsection{Blackletter}
+
+ The first type was \emph{Gothic}\typesubidx{Gothic}, or
+\emph{Blackletter}\typesubidx{Blackletter}, used by
+Gutenberg\index{Gutenberg, Johannes} 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 Gutenberg\index{Gutenberg, Johannes} 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\index{Jenson, Nicolas} 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 Rogers'\index{Rogers, Bruce} 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\index{Jenson, Nicolas}
+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, Frederic} 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\index{Jenson, Nicolas} roman and which soon superseded it
+in popularity.
+It was first used in the famous \emph{Hypnerotomachia Poliphili} by
+Francesco Colonna\index{Colonna, Francesco} which Aldus published in 1499.
+A modern version is available called Poliphilus\facesubseeidx{Poliphilus}.
+
+ The Aldine roman soon spread across Europe. One of the first typecutters
+to use it as a model was Claude Garamond\index{Garamond, Claude}
+in Paris (c. 1540), and his types
+had a wide distribution, for example being used in Antwerp by Christopher
+Plantin\index{Plantin, Christopher}. The main basis for modern versions
+is a version of Garamond's types cut by the French printer
+Jean Jannon\index{Jannon, Jean} about 1621.
+
+ Characteristics of these types are wide concave serifs, particularly
+on the capitals, which are narrower than the Venetians and may be not as high
+as the lowercase ascenders. The crossbar of the lowercase `e' is horizontal,
+as opposed to the slanted crossbar of the Venetians. There is an inclined axis
+and a medium contrast between the thick and thin strokes.
+
+ Some modern Aldine/French Oldstyle types are
+Bembo\facesubseeidx{Bembo},
+Estienne\facesubseeidx{Estienne},
+Garamond\facesubseeidx{Garamond},
+Geraldus\facesubseeidx{Geraldus},
+Granjon\facesubseeidx{Granjon},
+Palatino\facesubseeidx{Palatino},
+Poliphilus\facesubseeidx{Poliphilus},
+and Sabon\facesubseeidx{Sabon}.
+An example of Palatino\facesubseeidx{Palatino}%
+\pagenote[An example of Palatino]{In \ltx\ the Palatino\index{Palatino}
+font is accessed as the \pfontfam{ppl} fontfamily.},
+which was created by Hermann Zapf\index{Zapf, Hermann}
+in 1950, is shown in \fref{fig:palatino}.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{ppl}\selectfont
+ Oldstyle Aldine/French --- Palatino \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of an Oldstyle Aldine/French type: Palatino}
+ \label{fig:palatino}
+\end{figure}
+
+
+\subsubsection{Dutch/English}
+\typesubidx{Dutch/English}\typesubidx{Dutch}\typesubidx{English}
+
+ During the sixteenth century the French types were popular throughout
+Europe but then the pendulum swung towards types from the Low Countries.
+The Dutch were principally traders and their printing style became
+increasingly known. They produced types that were more practical for
+commercial printing. The contrast between thick and thin strokes increased
+and the serifs straightened.
+
+The English typecutter William Caslon\index{Caslon, William} (1692--1766)
+cut a famous face of this kind that has been used ever since throughout the
+world; in America the first printed version of the
+\btitle{Declaration of Independence}
+was set with Caslon type.
+
+ Modern Dutch/English types include
+Caslon\facesubseeidx{Caslon} (of course),
+and Janson\facesubseeidx{Janson}.
+
+\subsection{Transitional}
+\typesubidx{Transitional}
+
+ Transitional types are those based on the Oldstyle\typesubidx{Oldstyle}
+types but with features of the style called Modern\typesubidx{Modern}
+
+ By the end of the sixteenth century the quality of printing in Italy
+and France had fallen off from when Claude Garamond\index{Garamond, Claude}
+was working. In 1692
+King Louis \textsc{xiv} ordered a new set of types for the Royal Printing
+House. In a lengthy report the Academy of Sciences recommended a roman type
+constructed on mathematical principles.
+Lucien Grandjean\index{Grandjean, Lucien} who cut the
+new Romain du Roi\facesubseeidx{Romain du Roi} allowed his typecutter's eye to
+sometimes overrule the
+academicians to the betterment of the result.
+
+ Grandjean's type was copied by many others and effectively replaced
+Oldstyle in Europe. Pierre Simon Fournier\index{Fournier, Pierre Simon}
+(1712--1768) started his typecutting
+business in 1737, cutting over eighty types in twenty-four years. These were
+based on Garamond's types but influenced by Grandjean's work. The result was
+the first intimations of the Transitional types.
+
+ The changes on the continent had had little impact in England, but John
+Baskerville\index{Baskerville, John}, about 1750, set up a printing shop
+in Birmingham and created the type that bears his name. Some consider this
+to be the real beginning of the Transitionals. Baskerville's work was
+disliked in England but was siezed on with alacrity on the Continent.
+
+ Some modern day Transitional types are
+Baskerville\facesubseeidx{Baskerville},
+Bell\facesubseeidx{Bell},
+Fournier\facesubseeidx{Fournier},
+Georgian\facesubseeidx{Georgian},
+and URW Antiqua\facesubseeidx{URW Antiqua}\pagenote[and URW Antiqua]{The URW
+Antiqua\index{URW Antiqua} font in \ltx\ is known as the \pfontfam{uaq} fontfamily.} which is shown in \fref{fig:antiqua}..
+
+\begin{figure}
+\centering
+{\centering\fontfamily{uaq}\selectfont
+ Transitional --- URW Antiqua \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of a Transitional type: URW Antiqua}
+ \label{fig:antiqua}
+\end{figure}
+
+\begin{figure}
+\centering
+{\centering\fontfamily{pnc}\selectfont
+ Transitional (newspaper) --- New Century Schoolbook \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of a Transitional newspaper type: New Century Schoolbook}
+ \label{fig:newcent}
+\end{figure}
+
+ Much later, around the end of the nineteenth century, another kind of
+Transitional type was introduced, designed for legibility for newspapers
+when printed on high speed presses. The counter spaces were open, the
+serifs were even and strongly bracketed and with a high x-height.
+Examples are Century\facesubseeidx{Century} designed by
+ Linn Boyd Benton\index{Benton, Linn Boyd} in 1895 for the \emph{Century}
+magazine, and
+Cheltenham\facesubseeidx{Cheltenham} by Betram Goodhue\index{Goodhue, Bertram}
+in 1896, which has become one of the printers' standard types. Stanley
+Morison's\index{Morison, Stanley} Times Roman\facesubseeidx{Times Roman},
+which he
+designed for \emph{The Times} of London fits into the Transitional
+classification. The general characteristics include vertical, or nearly
+vertical axis, more pronounced contrast compared with the Oldstyle faces, but
+nowhere nearly as pronounced as the later Didot types. Some have finely, or
+unbracketed, serifs.
+
+ A version of one of the Century
+series\pagenote[version of one of the Century series]{In \ltx\ the New
+Century Schoolbook\facesubseeidx{New Century Schoolbook} font
+is known as the \pfontfam{pnc} fontfamily.} of typefaces,
+New Century\facesubseeidx{New Century Schoolbook} Schoolbook, designed
+by Morris Benton\index{Benton, Morris},
+is shown in \fref{fig:newcent}.
+
+\subsection{Modern}
+\typesubidx{Modern}
+
+ Modern in this case means with respect to Transitional\typesubidx{Transitional}
+and applies to a style of type introduced in the eighteenth century.
+
+ Grandjean's Romain du Roi\facesubseeidx{Romain du Roi} had started a trend
+in which the contrast
+between thick and thin strokes gradually increased. Following Baskerville's
+type, Giambattista Bodoni\index{Bodoni, Giambattista} in Italy and the
+Didot\index{Didot} foundry in France increased the contrast
+to extreme limits with the thin strokes degenerating into hairlines.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{udidot}\selectfont
+ Modern --- GFS Didot \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of a Modern type: GFS Didot}
+ \label{fig:didot}
+\end{figure}
+
+A modern type, GFS Didot\facesubseeidx{GFS Didot}\pagenote[GFS Didot]{The
+\ltx\ fontfamily for GFS Didot\index{GFS Didot} is \pfontfam{udidot}.},
+after the style of
+Didot\index{Didot} is illustrated in \fref{fig:didot}.
+
+ The general characteristics are vertical axis, exaggerated contrast,
+and flat, unbracketed, serifs.
+
+\subsection{Square Serif}
+\typesubidx{Square Serif}
+
+ The Victorian printers found that they needed new type forms that
+would work better than the traditional romans when used with the new
+and faster breeds of printing presses, and particularly for use in
+commercial printing and advertising.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{fve}\selectfont
+ Square Serif --- Bera Serif \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of a Square Serif type: Bera Serif}
+ \label{fig:beraserif}
+\end{figure}
+
+ The types went out of fashion during the first half of the twentieth
+century but have since become more popular with the
+Clarendon\facesubseeidx{Clarendon}
+type. An example of Square Serif\pagenote[An example of Square Serif]{The
+Bera Serif's\index{Bera Serif} fontfamily name in \ltx\ is \pfontfam{fve}.}
+is shown in \fref{fig:beraserif}.
+
+
+\subsection{Sans-serif}
+\typesubidx{Sans-serif}
+
+ Sans-serif types were first created around 1830. In England they were
+called Grotesques\index{Grotesques} and in America Gothics\index{Gothics}.
+Around 1920 there appeared artistic
+schools such as Expressionism, Constructivism and Cubism. These had a
+marked effect on typographic styles and the Sans-serif types experienced
+a great burst of popularity, seeming to express `modern' ideas. They tend to
+be geometric in form as opposed to the curvaceous romans.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{fvs}\selectfont
+ Sans-serif --- Bera Sans \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of a Sans-serif type: Bera Sans}
+ \label{fig:berasans}
+\end{figure}
+
+ Examples of modern Sans-serifs are
+Helvetica\facesubseeidx{Helvetica},
+Futura\facesubseeidx{Futura},
+and, famously, Gill Sans\facesubseeidx{Gill Sans}.
+Yet another sans\pagenote[Yet another sans]{\pfontfam{fvs} is the \ltx\
+fontfamily name name for the Bera Sans\index{Bera Sans} font.},
+Bera Sans\facesubseeidx{Bera Sans}, is shown in \fref{fig:berasans}.
+
+
+\subsection{Script/Cursive}
+\typesubidx{Script/Cursive}\typesubidx{Script}\typesubidx{Cursive}
+
+ This is a very broad category but
+essentially the forms are closer
+to handwriting rather than printing. Some are based on letter forms created
+by drawing with a brush while others are based on forms written using
+a pen. In general they have an informal
+presence but some of the latter kind are used in formal settings such
+as wedding invitations.
+
+\begin{figure}
+\centering
+{\centering%\fontfamily{pbsi}\selectfont
+ \usethisfont{10}{12}{pbsi}{xl}{n}
+ Brush --- Brush Script \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of a Script/Cursive Brush type: Brush Script}
+ \label{fig:brush}
+\end{figure}
+
+\begin{figure}
+\centering
+{\centering\fontfamily{pzc}\selectfont
+ Calligraphic --- Zapf Chancery \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of a Script/Cursive Calligraphic type: Zapf Chancery}
+ \label{fig:chancery}
+\end{figure}
+
+ Figure~\ref{fig:brush} shows a brush-based script
+unimaginatively\pagenote[unimaginatively]{The Brush Script\index{Brush Script}
+font is accessible as the \pfontfam{pbsi} fontfamily.} called
+Brush Script\facesubseeidx{Brush Script} while a
+calligraphic script, Hermann Zapf's\index{Zapf, Hermann} fine
+Zapf Chancery\facesubseeidx{Zapf Chancery}\pagenote[a calligraphic script]{Zapf
+Chancery\index{Zapf Chancery} is called the \pfontfam{pzc}
+fontfamily in \ltx.},
+is in \fref{fig:chancery}.
+
+\subsection{Display/Decorative}
+\typesubidx{Display/Decorative}\typesubidx{Display}\typesubidx{Decorative}
+
+ This is another very broad category
+but all the members are designed
+to catch the eye. Display types tend to be used for display purposes and
+are not meant to be too difficult to read. The decoratives are smaller in scale
+but can be extremely detailed, such as alphabets based on human figures
+apparently performing calisthenic exercises. One of the many fonts
+in this category, Cyklop\facesubseeidx{Cyklop}, is shown in
+\fref{fig:cyklop}.\pagenote[shown in \fref{fig:cyklop}]{The Cyklop\index{Cyklop}
+typeface has been given the \pfontfam{cyklop} fontfamily name for access with \ltx.}
+
+ As far as bookwork goes the more restrained of these types may occasionally
+be useful for book or chapter titles.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{cyklop}\selectfont
+ Display/Decorative --- Cyklop \\
+ \UCalphabet \\
+ \LCalphabet \\
+ \fox\par}
+\caption{An example of a Display/Decorative type: Cyklop}
+ \label{fig:cyklop}
+\end{figure}
+
+\section{Setting type}
+
+\PWnote{2009/04/03}{Added bits and pieces about letterpress.}
+
+ Until the last hundred years or so, type has been hand set. Today there
+are still a few printers who still set type by hand, called
+now letterpress\index{letterpress} printing, and on the odd occasion I am
+one of them. Again, this is a brief description of the process but
+Chappell~\cite{CHAPPELL99}
+provides much more detail if you are interested. If you have a desire to
+set up your own small print shop, perhaps in your garage or shed in the garden,
+then John Ryder\index{Ryder, John} has lots of pertinent advice~\cite{RYDER}.
+He directed
+the design and production of many books for The Bodley Head, and, starting in
+1930, produced much interesting work on an Adana\index{hand press!Adana}
+quarto press in his home.
+The Briar Press\index{Briar Press} is another very useful resource,
+available via the web\label{briar}\footnote{\url{http://www.briarpress.org}}
+--- and in their words: `Proudly
+introducing the bleeding-edge world of personalized desktop publishing
+circa 1820'!
+
+ The type is kept in type-, or job-, cases\index{typecase}\index{job case|see{typecase}}.
+These are shallow wooden
+partitioned trays and traditionally there were two of them for each font ---
+a lower one closer to the typesetter for the minuscule characters and the
+second one, arranged above the first as an `upper case', for the majuscules
+(capitals); hence the terms lowercase and uppercase characters. The
+characters are not arranged in alphabetical order but follow a system
+that is meant to reduce the amount of movement required from the typesetter.
+The shop where I print uses a `California job case' for type,
+illustrated in \fref{fig:cacase}, which combines both the lowercase and
+uppercase into a single case. The lowercase letters are arranged in a
+seemingly semi-random order while the uppercase, which are used much less
+frequently, are in alphabetical order. The exceptions here are `U' and `J'
+which are latecomers to the alphabet only being generally accepted in the 16th
+and 17th centuries, respectively --- printing has strong traditions.
+
+
+\begin{figure}
+\centerfloat
+\setlength{\unitlength}{0.8pc}
+\setlength{\unitlength}{0.7pc}
+\setlength{\unitlength}{0.75pc}
+\noindent \begin{picture}(50,30)
+% framing
+ \put(0,0){\framebox(50,30){}}
+ \put(1,1){\framebox(48,28){}}
+% first 1/3
+ \put(1,1){\framebox(2.0,4){q}}
+ \put(1,5){\framebox(2.0,4){x}}
+ \put(1,9){\framebox(2.0,4){z}}
+ \put(1,13){\framebox(2.0,4){!}}
+ \put(1,17){\framebox(2.0,4){?}}
+ \put(1,21){\framebox(2.0,4){j}}
+ \put(1,25){\framebox(2.0,4){ffi}}
+
+ \put(3,1){\framebox(2,8){v}}
+ \put(3,9){\framebox(2,8){l}}
+ \put(3,17){\framebox(2,8){b}}
+ \put(3,25){\framebox(2,4){fl}}
+
+ \put(5,1){\framebox(4,8){u}}
+ \put(5,9){\framebox(4,8){m}}
+ \put(5,17){\framebox(4,8){c}}
+ \put(5,25){\framebox(2,4){\shortstack{5 \\ to \\ an \\ em}}}
+ \put(7,25){\framebox(2,4){\shortstack{4 \\ to \\ an \\ em}}}
+
+ \put(9,1){\framebox(4,8){t}}
+ \put(9,9){\framebox(4,8){n}}
+ \put(9,17){\framebox(4,8){d}}
+ \put(9,25){\framebox(2,4){'}}
+ \put(11,25){\framebox(2,4){k}}
+
+ \put(13,1){\framebox(4,8){\shortstack{3 to \\ an em}}}
+ \put(13,9){\framebox(4,8){h}}
+ \put(13,17){\framebox(4,12){e}}
+% second 1/3
+ \put(18,1){\framebox(4,8){a}}
+ \put(18,9){\framebox(4,8){o}}
+ \put(18,17){\framebox(4,8){i}}
+ \put(18,25){\framebox(2,4){1}}
+ \put(20,25){\framebox(2,4){2}}
+
+ \put(22,1){\framebox(4,8){r}}
+ \put(22,9){\framebox(2,8){y}}
+ \put(24,9){\framebox(2,8){p}}
+ \put(22,17){\framebox(4,8){s}}
+ \put(22,25){\framebox(2,4){3}}
+ \put(24,25){\framebox(2,4){4}}
+
+ \put(26,1){\framebox(2,4){.}}
+ \put(26,5){\framebox(2,4){;}}
+ \put(26,9){\framebox(2,8){w}}
+ \put(26,17){\framebox(2,8){f}}
+ \put(26,25){\framebox(2,4){5}}
+
+ \put(28,1){\framebox(2,4){-}}
+ \put(28,5){\framebox(2,4){:}}
+ \put(28,9){\framebox(2,8){,}}
+ \put(28,17){\framebox(2,8){g}}
+ \put(28,25){\framebox(2,4){6}}
+
+ \put(30,1){\framebox(4,8){quads}}
+ \put(30,9){\framebox(2,8){ens}}
+ \put(30,17){\framebox(2,4){fi}}
+ \put(30,21){\framebox(2,4){ff}}
+ \put(30,25){\framebox(2,4){7}}
+% \put(37,1){\framebox(5,8){quads}}
+
+ \put(32,9){\framebox(2,8){ems}}
+ \put(32,17){\framebox(2,4){0}}
+ \put(32,21){\framebox(2,4){9}}
+ \put(32,25){\framebox(2,4){8}}
+% third 1/3
+ \put(35,1){\framebox(2,4){X}}
+ \put(35,5){\framebox(2,6.67){P}}
+ \put(35,11.67){\framebox(2,6.67){H}}
+ \put(35,18.33){\framebox(2,6.66){A}}
+ \put(35,25){\framebox(2,4){\$}}
+
+ \put(37,1){\framebox(2,4){Y}}
+ \put(37,5){\framebox(2,6.67){Q}}
+ \put(37,11.67){\framebox(2,6.67){I}}
+ \put(37,18.33){\framebox(2,6.66){B}}
+ \put(37,25){\framebox(2,4){--}}
+
+ \put(39,1){\framebox(2,4){Z}}
+ \put(39,5){\framebox(2,6.67){R}}
+ \put(39,11.67){\framebox(2,6.67){K}}
+ \put(39,18.33){\framebox(2,6.66){C}}
+ \put(39,25){\framebox(2,4){---}}
+
+ \put(41,1){\framebox(2,4){J}}
+ \put(41,5){\framebox(2,6.67){S}}
+ \put(41,11.67){\framebox(2,6.67){L}}
+ \put(41,18.33){\framebox(2,6.66){D}}
+ \put(41,25){\framebox(2,4){(}}
+
+ \put(43,1){\framebox(2,4){U}}
+ \put(43,5){\framebox(2,6.67){T}}
+ \put(43,11.67){\framebox(2,6.67){M}}
+ \put(43,18.33){\framebox(2,6.66){E}}
+ \put(43,25){\framebox(2,4){)}}
+
+ \put(45,1){\framebox(2,4){\&}}
+ \put(45,5){\framebox(2,6.67){V}}
+ \put(45,11.67){\framebox(2,6.67){N}}
+ \put(45,18.33){\framebox(2,6.66){F}}
+ \put(45,25){\framebox(2,4){[}}
+
+ \put(47,1){\framebox(2,4){ffl}}
+ \put(47,5){\framebox(2,6.67){W}}
+ \put(47,11.67){\framebox(2,6.67){O}}
+ \put(47,18.33){\framebox(2,6.66){G}}
+ \put(47,25){\framebox(2,4){]}}
+\end{picture}
+\caption{The California job case layout} \label{fig:cacase}
+\end{figure}
+
+ A line of type is set, or composed, in a hand-held
+composing\index{composing stick} stick, which
+has an adjustable stop which is set to the required line length. Since the
+letters read in reverse, right to left, they are assembled upside down,
+allowing working from left to right by the compositor. The characters for
+a word are put into the stick, then a space, the next word, a space and on
+until the line is almost full when it can be justified by inserting small extra
+spaces between the words. A lead may be put separating this line from the next,
+which is then built up as before. When several lines have been assembled they
+are slid from the composing stick onto the composing table, which is
+a large, smooth and flat marble slab.
+
+ When sufficient type has been assembled for printing one sheet of paper
+it is put into a chase\index{chase} which is a rectangular cast-iron frame,
+rather like a picture frame. The chase is placed round the type
+on the composing table and rectangular
+blocks of wood, called furniture, are placed between the type and the chase
+to hold the type in position, then expandable metal wedges, called
+quoins\index{quoin},
+are inserted to lock the type within the chase. This is essential as the
+chase and contents will be lifted up and transferred to the press itself ---
+there is nothing like the joy of picking up and sorting out several hundred
+small pieces of type that have scattered themselves all over the floor, and
+then putting them all back in the chase in the correct order! The assembled
+and locked up type, furniture, and chase are called a forme\index{forme}.
+
+\PWnote{2009/03/29}{Revised description of composing type and added paras
+ about kinds of hand presses}
+ There are two basic types of hand\index{hand press} press. In the
+flat-bed\index{hand press!flat-bed} type, as
+used from Gutenberg's day onwards, the forme is fixed on a horizontal bed
+which is mounted on horizontal rails, the type is inked (usually by hand),
+a sheet of paper is positioned over the forme, and the bed
+slid under the platen --- a large flat plate --- which is then pressed
+down hard by a screw mechanism to force the paper against the type. The platen
+is raised, the bed slid out and the printed sheet removed, ready for the next
+sheet to be positioned. Originally the presses were made of oak but
+nowadays are steel and cast iron. Typical of
+the flat-bed presses are the \index{hand press!Albion} Albion in England
+and the Washington\index{hand press!Washington} in America.
+
+ The other type is a platen\index{hand press!platen} press
+exemplified by the Excelsior\index{hand press!Excelsior} in England
+and the Chandler \& Price\index{hand press!Chandler \& Price}, which
+is the one I use, in America. Here the bed --- a rectangular steel plate ---
+is vertical and fixed and the forme is locked onto the bed. Above the bed
+is a circular disc on which the ink is spread. As the press operates rollers
+come down over the disc picking up a thin film of ink,
+then over the forme --- thus inking the type ---
+and back up again; while the rollers are inking the type the disc is
+rotated a few degrees so that the rollers will run over a different section
+of the disc each time thus improving the uniformity of the ink pickup.
+A sheet of paper is clipped to the platen which, as the
+rollers go over the disc, swings up to press the paper against the inked type
+and then down again so the sheet can be removed and the next one inserted.
+
+ You can see pictures of the presses mentioned above, and many other as
+well, on the
+Briar Press\index{Briar Press} website (see \pref{briar}).
+
+ At the end, the forme is put back on the composing table and any ink
+is cleaned off the type, which is then taken from the chase
+and `distributed' back into
+the correct places in the typecases(s)\index{typecase}. The furniture and
+leads are also put back into the proper places in their respective
+storage areas.
+
+ If the text is to be printed in multiple colours, the type for the first
+colour is set with spaces left for the second coloured type, and then printed.
+The type for the second colour is set in the spaces left for it, and the first
+set of type removed and replaced by spaces. The press is cleaned and the first
+colour ink replaced by the second colour ink. The original partially printed
+pages are then printed with the next colour. If all is well the differently
+coloured printed characters will all be aligned. Understandably, it is rare
+that more than two colours are used.
+
+
+\section{Today}
+
+ Today the great majority of printed works are produced with
+offset\index{offset printing} printer presses, the first of which was
+invented by Ira Washington\index{Rubel, Ira Washington} Rubel in
+1903.\footnote{Rubel was an American; with a name like that he certainly
+couldn't be English.}
+
+ In the offset lithography process the original work image is put
+onto metal foils which
+are wrapped around a cylinder on the press; ink is picked up by the foil
+and is transferred to a `blanket' or `offset' cylinder that is in contact
+with the first one. In turn, the ink from the offset cylinder is
+transferred to the paper which is pressed against it.
+
+ Nowadays the original image is created on a computer and the foils
+produced automatically. The system is excellent for coloured work --- one foil
+is produced for each colour, following the CMYK\index{CMYK}
+(Cyan, Magenta, Yellow, Key (black)) subtractive colour system
+(televisions and computer monitiors use the RGB\index{RGB} (Red, Green, Blue)
+additive colour system). In the lowest capital cost situation only a
+single station press is used which can print a single colour. To get full
+colour the paper must be run through the press four times in all, once for
+each colour (and black) and if both sides are to be printed, then another
+four times for the second side. Moving up
+the scale there are two stand presses that can do two colours in one run,
+four stand presses that will do all four in one run.\footnote{The press shop
+where I occasionally go to do traditional hand set printing has all of these.}
+In most
+smaller printing shops single sheets of paper are used which have to be put
+through the pres(ses) at least twice, once for each side. Newspapers are
+also printed using offset lithography. In their case, though, web offset
+printers are used where the paper is fed in continuously from a large roll and
+is printed on both sides on its journey through the press.
+
+ Up and coming are digital presses operating directly from the
+computer.\footnote{Think sophisticated inkjet or colour laser printers.}
+These are approaching the cost and quality tradeoffs of offset printers
+and are increasingly being used for on-demand small quantity printing.
+
+ Apart from the time and effort involved the principal difference between
+traditional letterpress\index{letterpress} printing and the modern methods
+is the way the ink is put onto the paper. In the traditional method the type
+is inked and then pressed \emph{into} the paper (think typewriters), while
+in modern methods the ink is effectively laid \emph{onto} the paper (think
+inkjet printers). You can sometimes tell if something has
+been printed by letterpress methods by running a finger lightly over the page;
+if the lines are `bumpy' then it has been printed letterpress. Printers using
+letterpress actually face a dichotomy. In order to obtain the finest detail
+from the type then it should be pressed as lightly as possible into the paper,
+but to indicate clearly that it has been letterpress printed, then it is
+advisable to impress hard enough to leave permanent indentations, no matter
+how slight. As is common, tradeoffs seem inevitable.
+
+
+
+\section{Setting maths}
+
+ I had always wondered how maths was typeset before TeX was available and
+I eventually found an answer in an article by David Wishart~\cite{WISHART03}.
+The following is based upon his descriptions.
+
+ As described above, before the advent of typesetting machines compositors
+picked pieces of type from a double typecase\index{typecase},
+typically just containing the
+upper and lower case roman characters, the numerals and punctuation marks,
+assembled some lines in a composing stick\index{composing stick},
+and transferred them to a chase\index{chase}, which when full was locked
+up and then
+put into the press to print onto the paper. When setting text this is
+straightforward as each `line' in the composing stick is a line of text.
+This is not the case with maths, such as this formula
+
+\begin{equation} \label{eq:typeset}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+ \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{equation}
+
+ For setting math the compositor will have two double
+typecases\index{typecase} (roman
+and italic), a case of mathematical sorts containing signs, superscripts
+and subscripts, etc., and a case of unaccented Greek characters.
+ In order to set maths such as shown as formula~\ref{eq:typeset},
+in an assumed 11pt font with 24pt spacing,
+the widest elements, properly spaced and centered within the measure,
+are set in the composing\index{composing stick} stick as
+
+\begin{displaymath}
+P_{N_1 + m} = N_{1} + m \raisebox{-0.6\baselineskip}{$\displaystyle\binom{N_{2} - N_{1}}{\phantom{m}}$}
+ \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+ The terms to the right of the $=$ sign are then removed and stored where
+hopefully they won't be disturbed. A lead of 6.5pt is then inserted above and below
+the first terms.
+The $N_{1} +m$ term is taken from the storage, and a piece of 2pt rule is cut
+to the exact length of the term and the $C$ centered above it. Then the opening
+parenthesis is added, so the contents of the composing stick look like:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \bigg(
+\end{displaymath}
+
+ Moving on, the $N_{2}-N_{1}$ term is put in the composing stick and a 2pt
+lead put below it with the $m$ centered underneath, then the closing parenthesis
+is added, so the formula now appears as:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+\end{displaymath}
+
+ Finally the Greek terms are added, with 6.5pt leads above and below,
+resulting in:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+ \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+ Even if an automatic caster, such as a Linotype or Monotype, was being
+used the process was certainly not automatic. With a
+Monotype\index{Monotype} caster the
+operator would produce
+
+\providecommand*{\tmri}{\mathrm{i}}
+\providecommand*{\tmrx}{\mathrm{x}}
+\begin{displaymath}
+P_{N}\tmri_{+m} = N_{1} + m\tmrx N_{2}-N_{1}\tmrx \alpha^{m}\beta^{(N_{\tmri}-N_{\tmri}) - m} \; C \; m
+\end{displaymath}
+
+This would then go to the `marker-up' who would turn it into
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+ \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+After 1958 it was slightly easier when Monotype had introduced the
+`4-line' system but there was still a lot of handwork required.
+It is, however, much easier using LaTeX where
+formula~\ref{eq:typeset} above was specified as:
+\begin{lcode}
+\begin{equation}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+ \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{equation}
+\end{lcode}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+\chapter{The Parts of a Book}
+
+ 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.
+
+ Paper for printing comes in different grades according to the intended
+use. The common ones, together with their manufactured size in inches,
+are~\cite{POCKETPAL}:
+\begin{description}
+\item[Bond (\abyb{17}{22})]\index{paper!bond} Commonly used for letters and
+business forms. They have surfaces acceptible for both pen and pencil.n
+
+\item[Coated (\abyb{25}{38})]\index{paper!coated} For high quality printed
+work because of their surface smoothness and uniform ink receptivity.
+
+\item[Text (\abyb{25}{38})]\index{paper!text} These often have interesting
+textures and a range of colours and are used for notices, brochures and
+booklets. There are often treated with a special sizing making them more
+resistant to water penetration and easy to print.
+
+\item[Book (\abyb{25}{38})]\index{paper!book} Are used for book and trade
+printing. They are less expensive than text papers but come in a wider range
+of weights and bulk.
+
+\item[Offset (\abyb{25}{38})]\index{paper!offset} Are similar to the coated and
+uncoated book paper used for letterpress printing but with sizing added to
+enhance offset printing.
+
+\item[Cover (\abyb{20}{26})]\index{paper!cover} Complement coated and text
+papers in matching colours and heavier weights for booklet covers, etc. It is
+a handy rule of thumb that cover paper has about twice the thickness of text
+paper of the same weight. If being used for postcards check that your choice
+is acceptable to the postal services.
+
+\item[Index (\abyb{22.5}{35} and \abyb{25.5}{30.5})]\index{paper!index} Is
+stiff and easy to write on with a pen.
+
+\item[Tag (\abyb{24}{36})]\index{paper!tag} A strong utility paper for making
+tags
+
+\item[Bristol (\abyb{22.5}{28.5})]\index{paper!bristol} One of the board grades
+but softer than index or tag and easier to fold.
+
+\item[Newsprint(\abyb{24}{36})]\index{paper!newsprint} The paper newspapers
+are printed on.
+
+\item[Lightweight]\index{paper!lightweight} Covers a wide range of
+specialty papers such as onion skin or Bible paper.
+
+\item[Digital]\index{paper!digital} Specialty paper for use with
+digital printers. Each technology (e.g., inkjet, laser) and often
+the particular printer tends to have its own requirements.
+
+\end{description}
+
+
+\index{paper!machine-made|)}
+
+
+ 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};
+Warren's Old Style\index{paper!Warren's Old Style}, which has been used for
+several books published by the University of California; and
+Strathmore\index{paper!Strathmore} of several kinds.
+
+ At the time of writing I have finished hand letterpress printing a
+small book of 35 printed pages on Strathmore 400 Drawing Paper and an
+accordian book on Chinese Scholars on Southworth\index{paper!Southworth}
+32lb cotton paper. I am in the process of letterpress printing a collection
+of poems as individual broadsides and for these I am using a variety of
+papers from my local retail paper suppliers, all in letterpaper size ---
+the regular US paper size for most non-commercial printing (in most of the
+world this would be the A4 size). These include: Wausau Royal Silk 24lb
+(90\gsm);
+Construction 70lb text; Exact Opaque Colors 24/60lb text; Wausau Exact
+Vellum Bristol 67lb (145\gsm); Curious Lightspecs 70lb text; Eames Furniture
+Weave 80lb text; Speckletone Kraft 70lb text; and various Southworth papers.
+Thus, in different weights (thicknesses), colours and surface finishes.
+
+
+\begin{table}
+\centering
+\caption{US basis size of various papers}\label{tab:basisweight}
+\begin{tabular}{lll} \toprule
+Paper type & Size & Ream \\
+ & (inches) & (sheets) \\ \midrule
+Bond, writing, ledger & \abyb{17}{22} & 500 \\
+Coated, book, offset, text & \abyb{25}{28} & 500 \\
+%%Manuscript cover & \abyb{18}{31} & 500 \\
+%%Blotting & \abyb{19}{24} & 500 \\
+%%Box cover & \abyb{20}{24} & 500 \\
+Cover & \abyb{20}{26} & 500 or 1000 \\
+Index & \abyb{25\,\slashfrac{1}{2}}{30\,\slashfrac{1}{2}} & 500 \\
+Tag & \abyb{24}{36} & 500 \\
+Bristol & \abyb{22\,\slashfrac{1}{2}}{28\,\slashfrac{1}{2}} & 500 \\
+Newsprint & \abyb{24}{36} & 500 \\
+Tissue & \abyb{24}{36} & 480 \\
+Paperboard & \abyb{12}{12} & 1000 \\ % (1000 square feet per ream) \\
+\bottomrule
+\end{tabular}
+\end{table}
+
+
+\begin{table}
+\centering
+\caption{Approximate paper weight equivalents}\label{tab:weightequivs}
+\begin{tabular}{lccc} \toprule
+Paper grade & Grammage & Thickness & Caliper \\
+ & \gsm\ & inches & mm \\ \midrule
+%%%30\,lb text & 44 \\
+16\,lb bond, 40\,lb text & 59 & 0.0032 & 0.081 \\
+45\,lb text & 67 & 0.0036 & 0.092 \\
+20\,lb bond & 75 & 0.0038 & 0.097 \\
+24\,lb bond, 60\,lb text & 89 & 0.0048 & 0.120 \\
+70\,lb text & 104 & 0.0058 & 0.147 \\
+80\,lb text & 118 & 0.0061 & 0.155 \\
+67\,lb bristol, 100\,lb text & 148 & 0.0073 & 0.185 \\
+60\,lb cover, 90\,lb index & 162 & 0.0074 & 0.188 \\
+65\,lb cover, 80\,lb bristol & 176 & 0.0078 & 0.198 \\
+110\,lb index & 199 & 0.0085 & 0.216 \\
+80\,lb cover & 216 & 0.0092 & 0.234 \\
+\bottomrule
+\end{tabular}
+\end{table}
+
+ As you can see, paper comes in various weights. In most of the world this
+is simply specified as grams per square meter (\gsm, sometimes designated as
+\emph{gsm}). This quantity is properly called \emph{grammage}\index{grammage}
+but English
+speaking countries often use \emph{weight} instead. Typical office
+paper is about 80\gsm, so an A4 sheet (1/16\sqrd{m}) weighs about 5gm.
+
+ In the US and a few other places it is much more complicated. The
+weight is expressed in terms of \emph{basis weight}\index{basis weight}
+in pounds (lbs) for a known quantity of the
+paper. The `known quantity' is a ream of paper of given dimensions. However,
+the `given dimensions' and the `ream' varies according to the type of paper.
+The dimensions are usually not those of the finished product, but of the paper
+as made before being cut into the final sizes.
+The advertised weight on a package of paper is no measure of the actual
+weight of the package that is being presented for sale.
+In some cases, though, an `M weight'\index{M weight} is also given,
+which is the weight (in
+pounds) of 1000 cut sheets. Suppliers will often charge by the M weight as it
+is always consistent for a given paper size and it also makes the shipping
+weight easy to calculate. Some basis weights
+are listed in \tref{tab:basisweight}.
+
+
+
+ Sheets \abybm{17}{22}{in} can be cut into four \abybm{8\,\half}{11}{in}
+letterpaper sized sheets, the regular size used by business.
+Similarly sheets \abybm{25}{38}{in} can be cut into sixteen
+\abybm{6}{9}{in} book-sized sheets with little wastage. These two ream sizes
+are among the most common ones.
+
+ Paper thickness, or \emph{caliper}\index{caliper}, is a common measurement
+used for some printing applications. This is usually measured directly
+because it can only be estimated as the density of the paper is not known.
+However reasonable estimates can be made for different weights of
+the same kind of paper.
+
+ Approximate paper weight equivalents are shown in \tref{tab:weightequivs}.
+These are approximate because there are trade-offs between the characteristics
+within the same basic weight which vary between manufactures.
+
+
+
+\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~\cite{BRINGHURST99}.
+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~\cite{LAWSON90}.
+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, Frederic} 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-serif 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-serif}
+typefaces.
+
+ Looking carefully at seriffed\index{serif} and sans 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|)}
+
+
+\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.
+
+ Quoting from Ruari McLean~\cite[p. 148]{MCLEAN80} in reference to the
+title page he says:
+\begin{quotation}
+ The title-page states, in words, the actual title (and sub-title, if
+there is one) of the book and the name of the author and publisher, and
+sometimes also the number of illustrations, but it should do more than that.
+From the designer's point of view, it is the most important page in the
+book: it sets the style. It is the page which opens communication with the
+reader\ldots
+
+ If illustrations play a large part in the book, the title-page opening
+should, or may, express this visually. If any form of decoration is used
+inside the book, e.g., for chapter openings, one would expect this to be
+repeated or echoed on the title-page.
+
+ Whatever the style of the book, the title-page should give a foretaste
+of it. If the book consists of plain text, the title-page should at least
+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}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleJT
+\end{showtitle}
+\caption{Title page design based on Ruari McLean's \btitle{Jan Tschichold: Typographer}} \label{fig:titleJT}
+\end{figure}
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleRF
+\end{showtitle}
+\caption{Title page based on a design by Rudolph Ruzicka for a book of Robert Frost's poetry} \label{fig:titleRF}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleAM
+\end{showtitle}
+\caption{Title page based on a design by Will Carter for
+\btitle{The Rime of the Ancient Mariner}} \label{fig:titleAM}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titlePM
+\end{showtitle}
+\caption{Title page design based on Nicholas Basbanes' \btitle{Gentle Madness}} \label{fig:titlePM}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleAT
+\end{showtitle}
+\caption{Title page based on the design for \btitle{Anatomy of a Typeface}} \label{fig:titleAT}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleLL
+\end{showtitle}
+\caption{Title page based on the design for \btitle{Lost Languages}} \label{fig:titleLL}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleSW
+\end{showtitle}
+\caption{Title page based on the design for \btitle{The Story of Writing}} \label{fig:titleSW}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleTMB
+\end{showtitle}
+\caption{Title page based on a design for the Folio Society's edition of
+ \btitle{Three Men in a Boat} (first published in 1889)} \label{fig:titleTMB}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleZD
+\end{showtitle}
+\caption{Title page based on a design for the Folio Society's editiobn of
+ \btitle{Zuleika Dobson} (first published in 1911)} \label{fig:titleZD}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleWH
+\end{showtitle}
+\caption{Title page based on a design for the Cambridge University
+Printer's Christmas book \btitle{Words in Their Hands}} \label{fig:titleWH}
+\end{figure}
+
+
+\begin{figure}
+\centering
+\begin{showtitle}
+\titleGP
+\end{showtitle}
+\caption{Title page design for an annual International Federation for
+ Information Processing workshop} \label{fig:titleGP}
+\end{figure}
+
+
+\begin{figure}
+\centering
+%\begin{showtitle}
+{\titleRB}
+%\end{showtitle}
+\caption{Title page of a Victorian booklet} \label{fig:titleRB}
+\end{figure}
+
+
+
+\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.
+
+
+\PWnote{2009/04/26}{Added section on selecting a typeface}
+\section{Selecting a typeface}
+\index{typeface!selecting}
+
+ Choosing the `best' typeface to use is first a matter of practicalites
+and secondly a question of aeshetics, feel, judgement, and other
+imponderables.
+
+ 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.
+
+ Regarding the practicalities,
+if the work is to be presented on paper then
+a more delicate face can be used than if it is to be displayed on a computer
+screen where a more robust type is necessary (e.g., no fine serifs, no
+thin strokes), especially if it is a low resolution device.
+
+ A work that includes many dates or dimensions needs a typeface with good
+numerals and fractions. A face such as Palatino\facesubseeidx{Palatino}
+ that has both lining and non-lining (oldstyle)
+numerals is likely to be useful, or a face with numerals snaller than the
+capitals, like Bell for example. Mathematics of course requires mathematical
+symbols that do not clash with the regular text face.
+
+ Where there are many quotations, particularly of verse, or references
+to titles of pictures or books implies that a good italic might be used
+to advantage, for instance Joanna\facesubseeidx{Joanna} or
+Van Dijk\facesubseeidx{Van Dijk}.
+
+ In technical works the font, size, and weight are used to distinguish
+between several layers of subdivisions. Faces with good relationships between
+capitals, small caps, italic, and possibly boldness, should be sought out.
+Some sans bold types can mix with serif types; you might try
+Gill Sans\facesubseeidx{Gill Sans} or Futura\facesubseeidx{Futura}.
+
+
+
+ After the practical aspects 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 face may be chosen to match the era of the text; perhaps a Sans-serif
+for a book about modern art but not for one about medieval England. Using
+Caslon\facesubseeidx{Caslon}, which was created in England in the early
+18th century would
+probably not be a good choice for a book about Italian Renaissance art
+whereas Centaur\facesubseeidx{Centaur} which is based on Jenson's
+15th century Venetian roman
+typeface would be, but then Centaur in turn would probably not be the
+best choice for a physics book on the big bang and string theory.
+
+ 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.
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+
+
+\begin{figure}
+\begin{adjustwidth}{-0.05\textwidth}{-0.05\textwidth}
+\centering
+\begin{minipage}[t]{0.52\textwidth}\caslon
+\Campion
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.52\textwidth}\garamond
+\Shelley
+\end{minipage}
+
+\vspace*{2\onelineskip}
+
+\begin{minipage}[t]{0.52\textwidth}\bodoni
+\Beddoes
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.52\textwidth}\della
+\Housman
+\end{minipage}
+\caption{Verses from four poems set with Caslon, Garamond, Bodoni and Della Robbia} \label{fig:poems1}
+\end{adjustwidth}
+\end{figure}
+
+
+\begin{figure}
+\begin{adjustwidth}{-0.05\textwidth}{-0.05\textwidth}
+\centering
+\begin{minipage}[t]{0.52\textwidth}\garamond
+\Campion
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.52\textwidth}\bodoni
+\Shelley
+\end{minipage}
+
+\vspace*{2\onelineskip}
+
+\begin{minipage}[t]{0.52\textwidth}\della
+\Beddoes
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.52\textwidth}\caslon
+\Housman
+\end{minipage}
+\caption{Verses from four poems set with Garamond, Bodoni, Della Robbia
+and Caslon}\label{fig:poems2}
+\end{adjustwidth}
+\end{figure}
+
+
+\begin{figure}
+\begin{adjustwidth}{-0.05\textwidth}{-0.05\textwidth}
+\centering
+\begin{minipage}[t]{0.52\textwidth}\bodoni
+\Campion
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.52\textwidth}\della
+\Shelley
+\end{minipage}
+
+\vspace*{2\onelineskip}
+
+\begin{minipage}[t]{0.52\textwidth}\caslon
+\Beddoes
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.52\textwidth}\garamond
+\Housman
+\end{minipage}
+\caption{Verses from four poems set with Bodoni, Della Robbia, Caslon and Garamond}\label{fig:poems3}
+\end{adjustwidth}
+\end{figure}
+
+
+\begin{figure}
+\begin{adjustwidth}{-0.05\textwidth}{-0.05\textwidth}
+\centering
+\begin{minipage}[t]{0.52\textwidth}\della
+\Campion
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.52\textwidth}\caslon
+\Shelley
+\end{minipage}
+
+\vspace*{2\onelineskip}
+
+\begin{minipage}[t]{0.52\textwidth}\garamond
+\Beddoes
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.52\textwidth}\bodoni
+\Housman
+\end{minipage}
+\caption{Verses from four poems set with Della Robbia, Caslon, Garamond and Bodoni}\label{fig:poems4}
+\end{adjustwidth}
+\end{figure}
+
+
+ I was recently letterpress printing some poems and the fonts
+available in the print shop were Bodoni\facesubseeidx{Bodoni},
+Caslon\facesubseeidx{Caslon}, Della Robbia\facesubseeidx{Della Robbia} and
+Garamond\facesubseeidx{Garamond},
+all in 14pt. The poems
+were originally written within the period 701--2008 and my problem was to
+try and choose what I thought would be the most appropriate font for each
+poem. Caslon\facesubseeidx{Caslon} was created in 1720 so I decided that
+I would only use it for poems after that date. Although
+Garamond\facesubseeidx{Garamond} was created around 1550--1600 I
+decided to use it for the pre-Caslon poems.
+To me the Bodoni\facesubseeidx{Bodoni} and
+Della Robbia\facesubseeidx{Della Robbia}
+had a very different feel to them, one being light and the other on the grim
+side; I used these for the occasional poem instead of the
+Caslon\facesubseeidx{Caslon} or Garamond\facesubseeidx{Garamond}
+to try and convey some of the emotional aspect of the piece.
+Figures~\ref{fig:poems1} through~\ref{fig:poems4} show verses from four
+of the collection of poems set with the four fonts I had available.
+Decide what you would have chosen as being most appropriate. As a
+sidenote they are set here using 12pt instead of the 10pt body text size.
+Poetry\index{poetry} can, with advantage, be set with larger type and
+leading than prose,
+and in italic instead of roman.
+
+
+
+
+\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.
+ Frederic\index{Goudy, Frederic} 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.
+
+ 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.
+
+
+\appendix
+
+\chapter{Some typefaces}
+\index{typeface}
+
+ Most books or articles about typography at least mention some typefaces
+by name, and may provide examples, and in some cases many examples.
+
+ I have the the commercial FontSite\index{FontSite}
+fonts\pagenote[commercial FontSite fonts]{In 2002 I purchased a CD containing
+512 fonts from \url{http://www.fontsite.com} but it appears that it is not
+in production any more. I understand that as of 2009/08/12 there were only
+39 copies still available.
+
+ If you wish to \ltx\ the source of this document yourself and do not
+have these fonts then you will get many error reports about missing fonts.
+To avoid this use the \textsf{draft} class option. The document should
+then process (without too many missing font errors), using the regular
+body typeface instead of any FontSite font.\index{FontSite}
+
+ If you do have the fonts you may find that some glyphs are replaced
+by others, in particular the `\P'.}
+%
+licensed from the SoftMaker/ATF library, supported for \ltx\ through
+Christopher\index{League, Christopher} League's estimable
+work~\cite{TEXFONTSITE}. This enables me to show a few of the typefaces
+displayed in some of the books mentioned in the bibliography, in particular
+those by Birdsall~\cite{BIRDSALL04}, Bringhurst~\cite{BRINGHURST99} and
+and Lawson~\cite{LAWSON90}. To make it easier
+to see and compare them at first there are a few characters displayed at 18pt
+and then text set at 12pt.
+ I have tried to indicate the typeface category
+of each face, principally using those from \tref{tab:typecat}.
+\pagenote[text set at 12pt]{The Latin texts, when
+suitably laid out, and their translations are as follows.
+\vspace{\onelineskip}
+
+\begin{minipage}[t]{0.45\textwidth}
+Puella Rigensis ridebat \\
+Quam tigris in tergo vehebat; \\
+\hspace*{2em}Externa profecta,\\
+\hspace*{2em}Interna revecta,\\
+Risusque cum tigre manebat.
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.45\textwidth}
+There was a young lady of Riga \\
+Who went for a ride on a tiger; \\
+\hspace*{2em}They returned from the ride \\
+\hspace*{2em}With the lady inside, \\
+And a smile on the face of the tiger.
+\end{minipage}
+\vspace{\onelineskip}
+
+\begin{minipage}[t]{0.45\textwidth}
+Meum est propsitum,\\
+In taberna mori,\\
+Ut sint vina proxima,\\
+Morientis ori.\\
+Tunc cantabunt laetius\\
+Angelorum chori;\\
+`Sit Deus propitius\\
+Huic potatori!' \par
+{\raggedleft\footnotesize The Arch Poet (fl. 1159--67)\par}
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.45\textwidth}
+I desire to end my days in a tavern drinking, \\
+May some Christain hold the glass for me when I am shrinking; \\
+That the Cheubim may cry, when they see me sinking, \\
+`God be merciful to a soul of this gentleman's way of thinking.' \par
+{\raggedleft\footnotesize Translation by Leight Hunt\par}
+\end{minipage}
+\vspace{\onelineskip}
+
+\begin{minipage}[t]{0.45\textwidth}
+Gaudeamus igitur,\\
+Juvenes dum sumus\\
+Post jucundum juventutem,\\
+Post molestam senectutem,\\
+Nos habebit humus. \par
+{\raggedleft\footnotesize Students' song, 1267\par}
+\end{minipage}
+\hfill
+\begin{minipage}[t]{0.45\textwidth}
+Let us then rejoice, \\
+While we are young. \\
+After the pleasures of youth \\
+And the burdens of old age \\
+Earth will hold us.
+\end{minipage}
+}%% end of \pagenote
+
+\section{Baskerville}
+\facesubseeidx{Baskerville}
+
+{\Pickfont{5bv} \atoq\ \onetoo} {\Pickit{5bv} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5bv} Baskerville, the first of the
+Transitional\typesubidx{Transitional} (Neoclassical\typesubidx{Neoclassical})
+faces,
+was designed by John Baskerville\index{Baskerville, John} in the
+1750's and was cut by John Handy\index{Handy, John}.
+The face was more popular on the
+Continent than in England where it was made.
+(See~\cite{BRINGHURST99,LAWSON90})
+
+\facetext}
+
+\section{Bell}
+\facesubseeidx{Bell}
+
+{\Pickfont{5lb} \atoq\ \onetoo} {\Pickit{5lb} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5lb} The original Bell type was cut in London in 1788 by Richard
+Austin\index{Austin, Richard} for a publisher named Bell. It is a
+(Transitional\typesubidx{Transitional}, Neoclassical\typesubidx{Neoclassical})
+face. The FontSite version shown here is called
+LanstonBell\facesubseeidx{LanstonBell}.
+(See~\cite{BIRDSALL04,BRINGHURST99,LAWSON90})
+
+\facetext}
+
+\section{Bembo}
+\facesubseeidx{Bembo}
+
+{\Pickfont{5boj} \atoq\ \onetoo} {\Pickit{5bo} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5boj} Bembo, produced by Monotype in 1929, is based on a roman
+type cut by Francesco Griffo\index{Griffo, Francesco}
+in Venice in 1495. It is in the
+(Aldine/French\typesubidx{Aldine/French},
+Renaissance\typesubidx{Renaissance},
+Garald\typesubidx{Garald}) style. The FontSite version shown here is called
+Bergamo\facesubseeidx{Bergamo}.
+(See~\cite{BRINGHURST99,LAWSON90})
+
+\facetext}
+
+
+\section{Bodoni}
+\facesubseeidx{Bodoni}
+
+{\Pickfont{5bdj} \atoq\ \onetoo} {\Pickit{5bd} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5bdj} Giambattista Bodoni\index{Bodoni, Giambattista}
+lived in Parma and designed hundreds of faces between 1765 and his death
+in 1813. Types in his style, now categorized as (Modern\typesubidx{Modern},
+Romantic \typesubidx{Romantic}, Didone\typesubidx{Didone}), were
+revived in the first part of the twentieth century.
+(See~\cite{BRINGHURST99,LAWSON90})
+
+\facetext}
+
+
+\section{Californian}
+\facesubseeidx{Californian}
+
+{\Pickfont{5uo} \atoq\ \onetoo} {\Pickit{5uo} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5uo} Frederic Goudy\index{Goudy, Frederic}
+cut his University of California Old
+Style\facesubseeidx{University of California Old Style}
+in 1938. Since then there have been many faces more or less faithfully
+based on his design. The general category of these is
+(Venetian\typesubidx{Venetian}, Humanist\typesubidx{Humanist},
+Renaissance\typesubidx{Renaissance}). The FontSite version shown here
+is called University Old Style\facesubseeidx{University Old Style}.
+(See~\cite{BRINGHURST99,LAWSON90})
+
+\facetext}
+
+\section{Caslon}
+\facesubseeidx{Caslon}
+
+{\Pickfont{5ca} \atoq\ \onetoo} {\Pickit{5ca} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5ca}
+William Caslon\index{Caslon, William} cut many faces between 1720 and
+his death in 1766.
+The first printing of the American Constitution used one of his types.
+It falls into the (Dutch/English\typesubidx{Dutch/English},
+Baroque\typesubidx{Baroque}, Garald\typesubidx{Garald}) category.
+(See~\cite{BRINGHURST99,LAWSON90})
+
+\facetext}
+
+
+
+\section{Centaur}
+\facesubseeidx{Centaur}
+
+{\Pickfont{5jr} \atoq\ \onetoo} {\Pickit{5jr} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5jr} Centaur was designed by Bruce Rogers\index{Rogers, Bruce}
+in 1912--14 based
+on Nicolas Jenson's\index{Jenson, Nicolas} roman type that he cut in
+Venice in 1465. It is
+perhaps the most faithfull rendition of Jenson's typeface, and is thus
+categorized as (Venetian\typesubidx{Venetian}, Humanist\typesubidx{Humanist},
+Renaissance\typesubidx{Renaissance}). The FontSite version shown here
+is called Jenson Recut\facesubseeidx{Jenson Recut}.
+(See~\cite{BRINGHURST99,LAWSON90,ROGERS49})
+
+\facetext}
+
+
+\section{Century}
+\facesubseeidx{Century}
+
+{\Pickfont{5cuj} \atoq\ \onetoo} {\Pickit{5cu} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5cuj} Century (Old Style) was created by
+Theodore De Vinne\index{De Vinne, Theodore} and
+Linn Boyd Benton\index{Benton, Linn Boyd} of the ATF as a magazine type,
+named after De Vinne's \btitle{Century} magazine. It is essentially
+a Transitional\typesubidx{Transitional} face.
+(See~\cite{BIRDSALL04,LAWSON90})
+
+
+\facetext}
+
+\section{Clarendon}
+\facesubseeidx{Clarendon}
+
+{\Pickfont{5cd} \atoq\ \onetoo} {\Picksl{5cd} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5cd} Clarendon is a Victorian face, one of many deriving from
+a font cut by Benjamin Fox for the Fann Street Foundry, London, in 1845.
+It is categorized as (Square Serif\typesubidx{Square Serif},
+ Realist\typesubidx{Realist}, Mechanistic\typesubidx{Mechanistic}).
+(See~\cite{BIRDSALL04,BRINGHURST99,LAWSON90})
+
+\facetext}
+
+
+\section{Della Robbia}
+\facesubseeidx{Della Robbia}
+
+{\Pickfont{5de} \atoq\ \onetoo} {\Picksl{5de} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5de} Della Robbia was designed in 1902 by Thomas Maitland
+Cleland\index{Cleland, Thomas Maitland} for the New York Type Foundry.
+It is based on 15th century Florentine inscriptional capitals.
+It can be classed as a (Venetian\typesubidx{Venetian},
+Renaissance\typesubidx{Renaissance}, Humanist\typesubidx{Humanist}) face.
+(See~\cite{CONSUEGRA04})
+
+\facetext}
+
+
+\section{Garamond}
+\facesubseeidx{Garamond}
+
+{\Pickfont{5gmj} \atoq\ \onetoo} {\Pickit{5gm} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5gmj} Claude Garamond\index{Garamond, Claude}
+(or Garamont) was one of several great
+typecutters working Paris in the early sixteenth century. His style was
+revived in the 1920's. Modern Garamonds are categorized as
+(Aldine/French\typesubidx{Aldine/French},
+Renaissance\typesubidx{Renaissance} or Baroque\typesubidx{Baroque},
+Garald\typesubidx{Garald}).
+(See~\cite{BRINGHURST99,LAWSON90})
+
+\facetext}
+
+\begin{comment}
+\section{Goudy Old Style}
+\facesubseeidx{Goudy Old Style}
+
+{\Pickfont{5go} \atoq\ \onetoo} {\Pickit{5go} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5go} Frederic Goudy\index{Goudy, Frederic} designed his Old Style
+in 1915. It can be categorized as (Aldine/French\typesubidx{Aldine/French},
+Renaissance\typesubidx{Renaissance}, Garald\typesubidx{Garald}).
+(See~\cite{LAWSON90})
+
+\facetext}
+\end{comment}
+
+\section{Joanna}
+\facesubseeidx{Joanna}
+
+{\Pickfont{5js} \atoq\ \onetoo} {\Pickit{5js} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5js} Joanna was designed by Eric Gill\index{Gill, Eric} and was
+first cut in 1930.
+The FontSite version shown here is called Jessica\facesubseeidx{Jessica}.
+(See~\cite{BIRDSALL04,BRINGHURST99}) % (Jessica)
+
+\facetext}
+
+
+\begin{comment}
+%% this is the body font of the document
+\section{Palatino}
+\facesubseeidx{Palatino}
+
+{\Pickfont{5plj} \atoq\ \onetoo} {\Pickit{5pl} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5plj} Palatino was designed by Hermann Zapf\index{Zapf, Hermann}
+in 1948. It has been categorized as (Aldine/French\typesubidx{Aldine/French},
+Lyrical Modernist\typesubidx{Lyrical Modernist} cum
+Neohumanist\typesubidx{Neohumanist}, Garald\typesubidx{Garald}).
+The FontSite version shown here is called Palladio\facesubseeidx{Palladio}.
+(See~\cite{BRINGHURST99,LAWSON90}) % (Palladio)
+
+\facetext}
+\end{comment}
+
+
+\section{Sabon}
+\facesubseeidx{Sabon}
+
+{\Pickfont{5svj} \atoq\ \onetoo} {\Pickit{5sv} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5svj} Sabon was designed by Jan Tschichold\index{Tschichold, Jan}
+and issued in 1964 and can be categorized as
+(Aldine/French\typesubidx{Aldine/French},
+ Renaissance\typesubidx{Renaissance},
+ Garald\typesubidx{Garald}).
+The FontSite version shown here is called Savoy\facesubseeidx{Savoy}.
+(See~\cite{BRINGHURST99,LAWSON90}) % (Savoy)
+
+
+\facetext}
+
+
+
+\section{Walbaum}
+\facesubseeidx{Walbaum}
+
+{\Pickfont{5wb} \atoq\ \onetoo} {\Picksl{5wb} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5wb} Walbaum types were originally cut by Justus Erich
+Walbaum\index{Walbaum, Justus Erich} about 1830. He was, together with
+Bodoni\index{Bodoni, Giambattista} and Firmin Didot\index{Didot, Firmin},
+one of the great type designers of the period. The face
+is categorized as (Modern\typesubidx{Modern},
+Romantic\typesubidx{Romantic}, Didone\typesubidx{Didone}).
+(See~\cite{BIRDSALL04,BRINGHURST99})
+
+
+\facetext}
+
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Sans faces
+
+\begin{comment}
+\section{Franklin Gothic}
+\facesubseeidx{Franklin Gothic}
+
+{\Pickfont{5fg} \atoq\ \onetoo} {\Pickit{5fg} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5fg} Franklin Gothic was designed for ATF by
+Morris Benton\index{Benton, Morris} in 1903 and is a
+(Realist\typesubidx{Realist}
+Sans-serif\typesubidx{Sans-serif}) face.
+(See~\cite{LAWSON90})
+
+\facetext}
+\end{comment}
+
+\section{Futura}
+\facesubseeidx{Futura}
+
+{\Pickfont{5fu} \atoq\ \onetoo} {\Pickit{5fu} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5fu} Futura was designed by Paul Renner\index{Renner, Paul}
+in 1924--26. It has been categorized as (Sans-serif\typesubidx{Sans-serif},
+Geometric Lineal\typesubidx{Geometric Lineal},
+Geometric Modernist\typesubidx{Geometric Modernist}).
+The FontSite version shown here is called Function\facesubseeidx{Function}.
+(See~\cite{BIRDSALL04,BRINGHURST99,LAWSON90}) % (Function)
+
+\facetext}
+
+
+\section{Gill Sans}
+\facesubseeidx{Gill Sans}
+
+{\Pickfont{5ch} \atoq\ \onetoo} {\Pickit{5ch} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5ch} Gill Sans was designed by Eric Gill\index{Gill, Eric} in 1927.
+It can be classified as (Sans-serif\typesubidx{Sans-serif},
+Geometric Modernist\typesubidx{Geometric Modernist} with
+Humanist\typesubidx{Humanist} hints,
+Humanist Lineal\typesubidx{Humanist Lineal}).
+The FontSite version shown here is called Chantilly\facesubseeidx{Chantilly}.
+(See~\cite{BIRDSALL04,BRINGHURST99,LAWSON90})
+
+\facetext}
+
+\section{Goudy Sans}
+\facesubseeidx{Goudy Sans}
+
+{\Pickfont{5ys} \atoq\ \onetoo} {\Pickit{5ys} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5ys} Goudy Sans was designed by Frederic
+Goudy\index{Goudy, Frederic} in 1929--30. It is a Sans-serif\typesubidx{Sans-serif}.
+(See~\cite{BRINGHURST99,LAWSON90})
+
+\facetext}
+
+\section{Lydian}
+\facesubseeidx{Lydian}
+
+{\Pickfont{5ly} \atoq\ \onetoo} {\Pickit{5ly} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5ly} Lydian is a calligraphic Sans-serif\typesubidx{Sans-serif}
+face and was designed by Warren Chappell\index{Chappell, Warren}
+in the 1930's for ATF.
+(See~\cite{LAWSON90})
+
+\facetext}
+
+
+\section{News Gothic}
+\facesubseeidx{News Gothic}
+
+{\Pickfont{5ngj} \atoq\ \onetoo} {\Picksl{5ngj} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5ngj} News Gothic is a Sans-serif\typesubidx{Sans-serif} face
+designed by Morris Benton\index{Benton, Morris} for ATF.
+(See~\cite{LAWSON90})
+
+\facetext}
+
+
+\section{Optima}
+\facesubseeidx{Optima}
+
+{\Pickfont{5opj} \atoq\ \onetoo} {\Pickit{5op} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5opj} Optima is a face designed
+ by Hermann Zapf\index{Zapf, Hermann} in 1952--55. It has been classified
+as (Sans-serif\typesubidx{Sans-serif}, Renaissance\typesubidx{Renaissance}
+cum Neoclassical\typesubidx{Neoclassical},
+Humanist Lineal\typesubidx{Humanist Lineal}).
+The FontSite version shown here is called Opus\facesubseeidx{Opus}.
+(See~\cite{BRINGHURST99,LAWSON90}) % (Opus)
+
+\facetext}
+
+
+\section{Syntax}
+\facesubseeidx{Syntax}
+
+{\Pickfont{5sx} \atoq\ \onetoo} {\Pickit{5sx} \atoq\ \Qligs}\\%[\onelineskip]
+
+{\pickfont{5sx} Syntax, designed by Hans Eduard Meier\index{Meier, Hans Eduard}
+and issued in 1969 is a Neohumanist\typesubidx{Neohumanist}
+Sans-serif\typesubidx{Sans-serif}.
+The FontSite version shown here is called Struktur\facesubseeidx{Struktur}.
+(See~\cite{BRINGHURST99}) % (Struktur)
+
+\facetext}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% script faces
+
+\section{Legende}
+\facesubseeidx{Legende}
+
+{\Pickfont{5le} \atoq\ \onetoo\ \MakeUppercase{\atoq}} \\%[\onelineskip]
+
+{\pickfont{5le} Legende is a Script\typesubidx{Script} face designed by
+Ernst Schneider\index{Schneider, Ernst} in 1937. It could be categorised
+as having a Baroque\typesubidx{Baroque} feel to it.
+(See~\cite{BRINGHURST99,LAWSON90})
+
+\facetext}
+
+\begin{comment}
+\section{Mistral}
+\facesubseeidx{Mistral}
+
+{\Pickfont{5ms} \atoq\ \onetoo\ \MakeUppercase{\atoq}} \\%[\onelineskip]
+
+{\pickfont{5ms} Mistral, designed by Roger Excoffon\index{Excoffon, Roger},
+is a Script\typesubidx{Script} face.
+(See~\cite{MCLEAN80})
+
+\facetext}
+\end{comment}
+
+
+%%%\newcommand*{\Picksl}[1]{\thisfont{18}{14}{#1}{m}{sl}}
+
+\section{Goudy Handtooled}
+\facesubseeidx{Goudy Handtooled}
+
+{\Pickfont{5gh} \atoq\ \onetoo} {\Pickfont{5gh} \MakeUppercase{\atoq}}\\%[\onelineskip]
+
+{\thisfont{18}{14}{5gh}{m}{dp} \atoq\ \Onetoo}\\
+
+{\pickfont{5gh} Goudy Handtooled was designed by Frederic
+Goudy\index{goudy, Frederic} in 1922 as a Decorative\typesubidx{Decorative}
+type. (See~\cite{LAWSON90})
+
+\facetext}
+
+\section{Decorative}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%%\enlargethispage{-1\onelineskip}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+{\pickfont{5gh} Just for fun, here is a selection of some
+Decorative\typesubidx{Decorative} faces.
+Unlike Goudy Handtooled the ones shown only come in uppercase.
+Also, \tref{tab:webo} shows the glyphs available in the
+Web-O-Mints\facesubseeidx{Web-O-Mints}
+font which may be used to create borders and other decorative elements.
+Web-O-Mints is one of two free decorative fonts made available by the
+Galapagos Design Group.\footnote{\url{http://www.galapagosdesign.com}}} \\
+
+{\Pickfont{5ag}\facesubseeidx{Algerian}
+ Algerian:
+ \atoq\ \Onetoo} \\% {\Pickfont{5ag} \MakeUppercase{\atoq}}\\%[\onelineskip]
+
+{\Pickfont{5dr}\facesubseeidx{Dresden}
+ Dresden:
+ \atoq\ \Onetoo} \\%{\Pickfont{5dr} \MakeUppercase{\atoq}}\\%[\onelineskip]
+
+{\Pickfont{5eb}\facesubseeidx{Ebar deco}
+ Erbar Deco:
+ \atoq\ \Onetoo} \\% {\Pickfont{5eb} \MakeUppercase{\atoq}}\\%[\onelineskip]
+
+{\Pickfont{5ga} Gallia:\facesubseeidx{Gallia}
+ \atoq\ \Onetoo} \\% {\Pickfont{5ga} \MakeUppercase{\atoq}}\\%[\onelineskip]
+
+\begin{table}
+\centering
+\caption{Glyphs in the Web-O-Mints font}\label{tab:webo}
+\nohexoct
+\fontsize{14}{14}
+\xfonttable{U}{webo}{xl}{n}
+\end{table}
+
+
+\backmatter
+
+\PWnote{2009/07/08}{Changed \cs{toclevel@section} so that Notes
+ divisions appear in the bookmarks}
+\makeatletter\renewcommand*{\toclevel@chapter}{-1}\makeatother
+\makeatletter\renewcommand*{\toclevel@section}{0}\makeatother
+\clearpage
+\printpagenotes
+\clearpage
+
+
+\renewcommand{\prebibhook}{%
+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{thebibliography}{GMS94A}
+\small
+
+\begin{comment}
+\bibitem[AHK90]{IMPATIENT}
+ Paul W. Abrahams, Kathryn Hargreaves and Karl Berry.
+ \newblock \emph{TeX for the Impatient}.
+ \newblock Addison-Wesley, 1990.
+ \newblock (Available at
+ \url{ftp://tug.org/tex/impatient})
+\end{comment}
+
+%%% keep
+\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})
+
+\begin{comment}
+\bibitem[Ars99]{URL}
+ Donald Arseneau.
+ \newblock \emph{The url package}.
+ \newblock February, 1999.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/contrib/misc/url.sty})
+
+\bibitem[Ars01a]{TITLEREF}
+ Donald Arseneau.
+ \newblock \emph{The titleref package}.
+ \newblock April, 2001.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/contrib/misc/titleref.sty})
+
+\bibitem[Ars01b]{CHAPTERBIB}
+ Donald Arseneau.
+ \newblock \emph{The chapterbib package}.
+ \newblock September, 2001.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/contrib/cite/chapterbib.sty})
+
+\bibitem[Ars07]{FRAMED}
+ Donald Arseneau.
+ \newblock \emph{The framed package} v0.95.
+ \newblock October, 2007.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/contrib/misc/framed.sty})
+\end{comment}
+
+%%% keep
+\bibitem[Bar92]{BAROLINI92}
+ Helen Barolini.
+ \newblock \emph{Aldus and his Dream Book}.
+ \newblock Italica Press, 1992.
+ \newblock ISBN 0--934977--22--4.
+
+%%% keep
+\bibitem[Bar01]{BARTRAM01}
+ Alan Bartram.
+ \newblock \emph{Five hundred years of book design}.
+ \newblock Yale university Press, 2001.
+ \newblock ISBN 0--300--09058--7.
+ \newblock (First published 2001 by The British Library)
+
+\begin{comment}
+\bibitem[BDG89]{BIGELOW89}
+ Charles Bigelow, Paul Hayden Duensing and Linnea Gentry (Eds).
+ \newblock \emph{Fine Print on Type}. 1989.
+ \newblock Fine Print, CA (ISBN 0--9607290-X) or
+ \newblock Bedford Arts, CA (ISBN 0--938491--17--2).
+\end{comment}
+
+\bibitem[Bir04]{BIRDSALL04}
+ Derek Birdsall.
+ \newblock \emph{notes on book design}.
+ \newblock Yale University Press, 2004.
+ \newblock ISBN 0--300--10347--6.
+
+%%% keep
+\bibitem[Boh90]{BOHLE90}
+ Robert Bohle.
+ \newblock \emph{Publication Design for Editors}.
+ \newblock Prentice-Hall,
+ \newblock 1990.
+
+\begin{comment}
+\bibitem[Ber02]{JURABIB}
+ Jens Berger.
+ \newblock \emph{The titlesec and titletoc packages}.
+ \newblock September, 2002.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/titlesec})
+
+\bibitem[Bez99]{TITLESEC}
+ Javier Bezos.
+ \newblock \emph{The titlesec and titletoc packages}.
+ \newblock February, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/titlesec})
+
+\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)})
+
+\bibitem[Bra97]{ALLTT}
+ Johannes Braams.
+ \newblock \emph{The alltt environment}.
+ \newblock June, 1997.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/base/alltt.dtx(ins)})
+\end{comment}
+
+%% 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.
+
+%%% keep
+\bibitem[Bur59]{BURT59}
+ C.~L.~Burt.
+ \newblock \emph{A Psychological Study of Typography}.
+ \newblock Cambridge University Press,
+ \newblock 1959.
+
+\begin{comment}
+\bibitem[Car94]{DELARRAY}
+ David Carlisle.
+ \newblock \emph{The delarray package}.
+ \newblock March, 1994.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/tools})
+
+\bibitem[Car95]{AFTERPAGE}
+ David Carlisle.
+ \newblock \emph{The afterpage package}.
+ \newblock October, 1995.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/tools})
+
+\bibitem[Car98b]{LONGTABLE}
+ David Carlisle.
+ \newblock \emph{The longtable package}.
+ \newblock May, 1998.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/tools})
+
+\bibitem[Car98c]{ENUMERATE}
+ David Carlisle.
+ \newblock \emph{The enumerate package}.
+ \newblock August, 1998.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/tools})
+
+\bibitem[Car98d]{REMRESET}
+ David Carlisle.
+ \newblock \emph{The remreset package}.
+ \newblock August, 1998.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/carlisle})
+
+\bibitem[Car99]{TABULARX}
+ David Carlisle.
+ \newblock \emph{The tabularx package}.
+ \newblock January, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/tools})
+
+\bibitem[CR99]{GRAPHICX}
+ David Carlisle and Sebastian Rahtz.
+ \newblock \emph{The graphicx package}.
+ \newblock February, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/graphics})
+
+\bibitem[Car01]{DCOLUMN}
+ David Carlisle.
+ \newblock \emph{The dcolumn package}.
+ \newblock May, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/tools})
+
+\bibitem[Car05]{COLOR}
+ David Carlisle.
+ \newblock \emph{Packages in the graphics bundle} (includes the color package).
+ \newblock November, 2005.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/graphics})
+
+\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})
+\end{comment}
+
+%%% 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.
+
+\begin{comment}
+\bibitem[CH88]{CHEN88}
+ Pehong Chen and Michael A.~Harrison.
+ \newblock `Index Preparation and Processing'.
+ \newblock \emph{Software: Practice and Experience}, 19:8, pp. 897--915,
+ September, 1988.
+ \newblock (Available from CTAN in
+ \url{/indexing/makeindex/paper})
+\end{comment}
+
+%%% keep
+\bibitem[Che05]{CHENG05}
+ Karen Cheng.
+ \newblock \emph{Designing Type}.
+ \newblock Yale University Press, 2005.
+ \newblock ISBN 0--300--11150--9.
+
+%%% 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}.
+ \newblock March, 2002.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/subfigure})
+\end{comment}
+
+\bibitem[Con04]{CONSUEGRA04}
+ David Consuegra.
+ \newblock \emph{American Type Design \& Designers}.
+ \newblock Allworth Press, 2004.
+ \newblock ISBN 1--58115--320--1.
+
+%%% keep
+\bibitem[CG96]{CONWAY96}
+ John H.~Conway and Richard K.~Guy.
+ \newblock \emph{The Book of Numbers}.
+ \newblock Copernicus, Springer-Verlag, 1996.
+ \newblock ISBN 0--387--97993--X.
+
+%%% keep
+\bibitem[Cra92]{CRAIG92}
+ James Craig.
+ \newblock \emph{Designing with Type: A Basic Course in Typography}.
+ \newblock Watson-Guptill, NY,
+ \newblock 1992.
+
+\begin{comment}
+\bibitem[Dal99a]{NATBIB}
+ Patrick W.~Daly.
+ \newblock \emph{Natural Sciences Citations and References}.
+ \newblock May, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/natbib})
+
+\bibitem[Dal99b]{MAKEBST}
+ Patrick W.~Daly.
+ \newblock \emph{Customizing Bibliographic Style Files}.
+ \newblock August, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/custom-bib})
+\end{comment}
+
+%%% keep
+\bibitem[Deg92]{DEGANI92}
+ Asaf Degani.
+ \newblock \emph{On the Typography of Flight-Deck Documentation}.
+ \newblock NASA Contractor Report \# 177605.
+ \newblock December, 1992.
+ \newblock (Available from
+ \url{http://members.aol.com/willadams/typgrphy.htm#NASA})
+
+
+\begin{comment}
+\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.
+\end{comment}
+
+%%% keep
+\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}.
+
+\begin{comment}
+\bibitem[Dow00]{PATCHCMD}
+ Michael J.~Downes.
+ \newblock \emph{The patchcmd package}.
+ \newblock July, 2000.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/patchcmd})
+
+\bibitem[Eij92]{TEXBYTOPIC}
+ Victor Eijkhout.
+ \newblock \emph{TeX by Topic}.
+ \newblock Addison-Wesley, 1992.
+ \newblock ISBN 0--201--56882--9.
+ \newblock (Available from \url{http://www.eijkhout.net/tbt/}).
+
+\bibitem[Eij99]{COMMENT}
+ Victor Eijkhout.
+ \newblock \emph{comment.sty}
+ \newblock October, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/???????????})
+
+\bibitem[Fai98]{MOREVERB}
+ Robin Fairbairns.
+ \newblock \emph{The moreverb package}.
+ \newblock December, 1998.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/moreverb})
+
+\bibitem[Fai00]{FOOTMISC}
+ Robin Fairbairns.
+ \newblock \emph{footmisc --- a portmanteau package for customising
+ footnotes in LaTeX2e}.
+ \newblock March, 2000.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/footmisc})
+
+\bibitem[FAQ]{FAQ}
+ Robin Fairbairns.
+ \newblock \emph{The UK TeX FAQ}.
+ \newblock (Available from CTAN in
+ \url{/help/uk-tex-faq})
+
+\bibitem[Fea03]{BOOKTABS}
+ Simon Fear.
+ \newblock \emph{Publication quality tables in LaTeX}.
+ \newblock March, 2003.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/booktabs})
+
+\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})
+
+\bibitem[Fly98]{FLYNN02}
+ Peter Flynn.
+ \newblock \emph{Formatting Information: A Beginner's Introduction to
+ Typesetting with LaTeX2}.
+ \newblock 2002.
+ \newblock (Available from CTAN in
+ \url{/info/beginlatex})
+
+\bibitem[Fra00]{CROP}
+ Melchior Franz.
+ \newblock \emph{The crop package}.
+ \newblock February, 2000.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/crop})
+
+\bibitem[FOS98]{FRIEDL98}
+ Friedrich Friedl, Nicolaus Ott and Bernard Stein.
+ \newblock \emph{Typography: An Encyclopedic Survey of Type Designs and
+ Techniques throughout History}.
+ \newblock Black Dog \& Leventhal Publishers Inc., 1998.
+ \newblock ISBN 1--57912--023--7.
+\end{comment}
+
+%%% keep
+\bibitem[Gar66]{GARDNER66}
+ Martin Gardner.
+ \newblock \emph{More Mathematical Puzzles and Diversions}.
+ \newblock Penguin Books, 1996.
+ \newblock ISBN 0--14--020748--1.
+
+%\bibitem[GMS94]{GOOSSENS94}
+% Michel Goossens, Frank Mittelbach and Alexander Samarin.
+% \newblock \emph{The LaTeX Companion}.
+% \newblock Addison-Wesley Publishing Company, 1994
+% \newblock (ISBN 0--201--54199--8), 1994.
+
+\begin{comment}
+\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.
+
+\bibitem[GR99]{WCOMPANION}
+ Michel Goossens and Sebastian Rahtz (with Eitan Gurari,
+ Ross Moore and Robert Sutor).
+ \newblock \emph{The LaTeX Web Companion: Integrating TeX, HTML and XML}.
+ \newblock Addison-Wesley, 1999.
+ \newblock ISBN 0--201--43311--7.
+\end{comment}
+
+%%% keep
+\bibitem[Gou87]{GOULD87}
+ J.~D.~Gould \textit{et al}.
+ \newblock `Reading from CRT displays can be as fast as reading from paper'.
+ \newblock \emph{Human Factors}, pp 497--517, 29:5, 1987.
+
+%%% keep
+\bibitem[HR83]{HARTLEY83}
+ J.~Hartley and D.~Rooum.
+ \newblock `Sir Cyril Burt and typography'.
+ \newblock \emph{British Journal of Psychology}, pp 203--212, 74:2, 1983.
+
+\begin{comment}
+\bibitem[HM01]{HELLER01}
+ Steven Heller and Philip B.~Meggs (Eds).
+ \newblock \emph{Texts on Type: Critical Writings on Typography}.
+ \newblock Allworth Press, 2001.
+ \newblock ISBN 1--58115--082--2.
+
+\bibitem[Hoe98]{HOENIG98}
+ Alan Hoenig.
+ \newblock \emph{TeX Unbound: LaTeX and TeX strategies for fonts,
+ graphics, and more}.
+ \newblock Oxford University Press, 1998.
+ \newblock ISBN 0--19--509686--X.
+\end{comment}
+
+%%% keep
+\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.
+
+
+\begin{comment}
+\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})
+
+\bibitem[Keh98]{XINDY}
+ Roger Kehr.
+ \newblock \emph{xindy: A flexible indexing system}.
+ \newblock February, 1998.
+ \newblock (Available from CTAN in \url{/indexing/xindy})
+
+\bibitem[Ker07]{XCOLOR}
+ Uwe Kern.
+ \newblock \emph{Extending LaTeX's color facilities: the xcolor package}.
+ \newblock January, 2007.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/xcolor})
+\end{comment}
+
+%%% keep
+\bibitem[Knu84]{TEXBOOK}
+ Donald E.~Knuth.
+ \newblock \emph{The TeXbook}.
+ \newblock Addison-Wesley, 1984.
+ \newblock ISBN 0--201--13448--9.
+
+\begin{comment}
+\bibitem[Knu86]{TEXPROGRAM}
+ Donald E.~Knuth.
+ \newblock \emph{TeX: The Program}.
+ \newblock Addison-Wesley, 1986.
+ \newblock ISBN 0--201--13437--3.
+
+\bibitem[Knu87]{CM}
+ Donald E.~Knuth.
+ \newblock \emph{Computer Modern Typefaces}.
+ \newblock Addison-Wesley, 1987.
+ \newblock ISBN 0--201--134446--2.
+
+\bibitem[Knu92]{METAFONT}
+ Donald E.~Knuth.
+ \newblock \emph{The METAFONT Book}.
+ \newblock Addison-Wesley, 1992.
+ \newblock ISBN 0--201--13444--6.
+\end{comment}
+
+%%% keep
+\bibitem[Lam94]{LAMPORT94}
+ Leslie Lamport.
+ \newblock \emph{LaTeX: A Document Preparation System}.
+ \newblock Addison-Wesley, 1994.
+ \newblock ISBN 0--201--52983--1.
+\begin{comment}
+
+\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})
+
+\bibitem[LMB99]{CLASSES}
+ Leslie Lamport, Frank Mittelbach and Johannes Braams.
+ \newblock \emph{Standard document classes for LaTeX version 2e}.
+ \newblock September, 1999.
+ \newblock (Available from CTAN as \url{/macros/latex/base/classes.dtx})
+\end{comment}
+
+%%% keep
+\bibitem[Law90]{LAWSON90}
+ Alexander Lawson.
+ \newblock \emph{Anatomy of a Typeface}.
+ \newblock David R.~Godine, 1990.
+ \newblock ISBN 0--87923--333--8.
+
+%%% keep
+\bibitem[LA90]{LAWSONAGNER90}
+ Alexander S.~Lawson with Dwight Agner.
+ \newblock \emph{Printing Types: An Introduction}.
+ \newblock Beacon Press, 1990.
+ \newblock ISBN 0--8070--6661--3.
+
+\bibitem[Lea03]{TEXFONTSITE}
+ Christopher League.
+ \newblock \emph{TeX support for the FontSite 500 CD}.
+ \newblock May 2003.
+ \newblock (Available from
+ \url{http://contrapunctus.net/fs500tex})
+
+\begin{comment}
+\bibitem[Leh04]{FONTINST}
+ Philipp Lehman.
+ \newblock \emph{The Font Installation Guide}.
+ \newblock December 2004.
+ \newblock (Available from CTAN in
+ \url{/info/Type1fonts/fontinstallationguide})
+
+\bibitem[Leu92]{LEUNEN92}
+ Mary-Claire van Leunen.
+ \newblock \emph{A Handbook for Scholars}.
+ \newblock Oxford University Press, 1992.
+ \newblock ISBN 0--19--506954--4.
+\end{comment}
+
+%%% keep
+\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.
+
+\begin{comment}
+\bibitem[Lon91]{MULTIND}
+ F.~W.~Long.
+ \newblock \emph{multind}.
+ \newblock August, 1991.
+ \newblock (Available from CTAN as \url{/macros/latex209/contrib/misc/multind.sty})
+
+\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})
+
+\bibitem[Mad07]{MEMEXSUPP}
+ Lars Madsen.
+ \newblock \emph{The Memoir Experimental Support Package}.
+ \newblock 2007.
+ \newblock (Available from CTAN in \url{/macros/latex/contrib/memexsupp})
+
+\bibitem[McD98]{SECTSTY}
+ Rowland McDonnell.
+ \newblock \emph{The sectsty package}.
+ \newblock November, 1998.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/secsty})
+
+\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}.
+ \newblock W.~W.~Norton \& Co., 1995.
+ \newblock ISBN 0--393--70201--4.
+\end{comment}
+
+%%% keep
+\bibitem[MMc95]{MEGGS00}
+ Philip B.~Meggs and Roy McKelvey (Eds).
+ \newblock \emph{Revival of the Fittest: Digital Versions of the Classic Typefaces}.
+ \newblock RC Publications, Inc., 2000.
+ \newblock ISBN 1--883915--08--2.
+
+\begin{comment}
+\bibitem[Mit95]{DOCSHORTVRB}
+ Frank Mittelbach.
+ \newblock \emph{The doc and shortvrb packages}.
+ \newblock May, 1995.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/base})
+
+\bibitem[Mit98]{MULTICOL}
+ Frank Mittelbach.
+ \newblock \emph{An environment for multicolumn output}.
+ \newblock January, 1998.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/tools})
+
+\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})
+
+\bibitem[MC00]{FIXLTX2E}
+ Frank Mittelbach and David Carlisle.
+ \newblock \emph{The fixltx2e package}.
+ \newblock September, 2000.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/base})
+
+\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.
+\end{comment}
+
+%%% keep
+\bibitem[Mor99]{MORISON99}
+ Stanley Morison.
+ \newblock \emph{A Tally of Types}.
+ \newblock David R. Godine, 1999.
+ \newblock ISBN 1--56792--004--7.
+
+\begin{comment}
+\bibitem[NG98]{SIDECAP}
+ Rolf Niespraschk and Hubert G\"{a}\ss{}lein.
+ \newblock \emph{The sidecap package}.
+ \newblock June, 1998.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/sidecap})
+
+\bibitem[Oet]{LSHORT}
+ Tobias Oetiker.
+ \newblock \emph{The Not So Short Introduction to LaTeX2e}.
+ \newblock (Available from CTAN in
+ \url{/info/lshort/english})
+
+\bibitem[Oos96]{FANCYHDR}
+ Piet van Oostrum.
+ \newblock \emph{Page Layout in LaTeX}.
+ \newblock June, 1996.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/fancyhdr})
+
+\bibitem[Pak01]{SYMBOLS}
+ Scott Pakin.
+ \newblock \emph{The Comprehensive LaTeX Symbol List}.
+ \newblock July, 2001.
+ \newblock (Available from CTAN in
+ \url{/info/symbols/comprehensive})
+
+\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.
+
+\bibitem[Pat88a]{BIBTEX}
+ Oren Patashnik.
+ \newblock \emph{BibTeXing}.
+ \newblock February, 1988.
+ \newblock (Available from CTAN as
+ \url{/bibliography/bibtex/distribs/doc/btxdoc.tex})
+
+\bibitem[Pat88b]{BIBTEXHACK}
+ Oren Patashnik.
+ \newblock \emph{Designing BibTeX Styles}.
+ \newblock February, 1988.
+ \newblock (Available from CTAN as
+ \url{/bibliography/bibtex/distribs/doc/btxhak.tex})
+\end{comment}
+
+%% keep
+\bibitem[PP07]{POCKETPAL}
+ \emph{Pocket Pal --- The Handy Book of Graphic Arts Production}.
+ \newblock 20th Edition (Eds: Frank Ramano and Michael Riordan).
+ \newblock International Paper Company, 2007.
+ \newblock ISBN 978--0--9772--7161--0.
+
+\begin{comment}
+\bibitem[Pug02]{MATHPAZO}
+ Diego Puga.
+ \newblock \emph{The Pazo Math fonts for mathematical typesetting
+ with the Palatino fonts}.
+ \newblock May, 2002.
+ \newblock (Available from CTAN in
+ \url{/fonts/mathpazo})
+
+\bibitem[Rahtz01]{NAMEREF}
+ Sebastian Rahtz.
+ \newblock \emph{Section name references in LaTeX}.
+ \newblock January, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/hyperref})
+
+\bibitem[Rahtz02]{HYPERREF}
+ Sebastian Rahtz.
+ \newblock \emph{Hypertext marks in LaTeX}.
+ \newblock May, 2002.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/hyperref})
+
+\bibitem[Rec97]{EPSLATEX}
+ Keith Reckdahl.
+ \newblock \emph{Using Imported Graphics in LaTeX2e}.
+ \newblock December, 1997.
+ \newblock (Available from CTAN as
+ \url{/info/epspatex.ps} or \url{/info/epslatex.pdf})
+\end{comment}
+
+%%% keep
+\bibitem[Reh72]{REHE72}
+ Rolf Rehe.
+ \newblock `Type and how to make it most legible'.
+ \newblock \emph{Design Research International}, 1972.
+
+\begin{comment}
+\bibitem[Rei07]{REINGOLD07}
+ Edward M. Reingold.
+ \newblock `Writing numbers in words in TeX'.
+ \newblock TUGboat, 28, 2 pp 256--259, 2007.
+\end{comment}
+
+%%% keep
+\bibitem[RAE71]{ROBINSON71}
+ D.~O.~Robinson, M.~Abbamonte and S.~H.~Evans.
+ \newblock `Why serifs are important: The perception of small print'.
+ \newblock \emph{Visible Language}, pp 353--359, 4, 1971.
+
+%%% keep
+\bibitem[Rog43]{ROGERS43}
+ Bruce Rogers.
+ \newblock \emph{Paragraphs on Printing}.
+ \newblock William E. Rudge's Sons, Inc., 1943.
+ \newblock (Reissued by Dover, 1979, ISBN 0--486--23817--2)
+
+%%% keep
+\bibitem[Rog49]{ROGERS49}
+ Bruce Rogers.
+ \newblock \emph{Centaur Types}.
+ \newblock October House, 1949.
+
+\begin{comment}
+\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.
+\end{comment}
+
+%%% keep
+\bibitem[Ryd76]{RYDER}
+ John Ryder.
+ \newblock \emph{Printing for Pleasure}. Revised edition.
+ \newblock The Bodley Head, 1976.
+ \newblock ISBN 0--370--10443--9.
+ \newblock (In the USA published by Henry Regenery Co., Michigan, 1977.
+ ISBN 0--8092--78103--3)
+
+\begin{comment}
+\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.
+
+\bibitem[SRR99]{VERBATIM}
+ Rainer Sch\"{o}pf, Bernd Raichle and Chris Rowley.
+ \newblock \emph{A New Implementation of LaTeX's verbatim
+ and verbatim* Environments}.
+ \newblock December, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required/tools})
+\end{comment}
+
+%%% keep
+\bibitem[Sch97]{SCHRIVER97}
+ Karen A.~Schriver.
+ \newblock \emph{Dynamics in Document Design}.
+ \newblock Wiley \& Sons, 1997.
+
+%%% keep
+\bibitem[Sme96]{SMEIJERS96}
+ Fred Smeijers.
+ \newblock \emph{Counterpunch: making type in the sixteenth century,
+ designing typefaces now}.
+ \newblock Hyphen Press, London, 1996.
+ \newblock ISBN 0--907259--06--5.
+
+\begin{comment}
+\bibitem[Sne04]{SNEEP04}
+ Maarten Sneep.
+ \newblock \emph{The atmosphere in the laboratory: cavity ring-down
+ measurements on scattering and absorption}.
+ \newblock Phd thesis,
+ \newblock Vrijie Universiteit, Amsterdam, 2004.
+
+\bibitem[Tal06]{DATETIME}
+ Nicola L. C. Talbot.
+ \newblock \emph{datetime.sty: Formatting Current Date and Time}.
+ \newblock December, 2006.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/datetime})
+
+\bibitem[Thi98]{ORNAMENTAL}
+ Christina Thiele.
+ \newblock `Hey --- it works: Ornamental rules'.
+ \newblock \emph{TUGboat},
+ \newblock vol. 19, no. 4, p 427, December 1998.
+
+\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.
+
+\bibitem[TJ05]{CALC}
+ Kresten Krab Thorup, Frank Jensen (and Chris Rowley).
+ \newblock \emph{The calc package --- Infix notation arithmetic in LaTeX}.
+ \newblock August, 2005.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/required})
+\end{comment}
+
+%%% keep
+\bibitem[Tin63]{TINKER63}
+ Miles A.~Tinker.
+ \newblock \emph{Legibility of Print}.
+ \newblock Books on Demand (University Microfilms International), 1963.
+
+\begin{comment}
+\bibitem[Tob00]{SETSPACE}
+ Geoffrey Tobin.
+ \newblock \emph{setspace.sty}.
+ \newblock December, 2000.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/setspace})
+\end{comment}
+
+%%% keep
+\bibitem[Tsc91]{TSCHICHOLD91}
+ Jan Tschichold.
+ \newblock \emph{The Form of the Book}.
+ \newblock Lund Humphries, 1991.
+ \newblock ISBN 0--85331--623--6.
+
+%%% keep
+\bibitem[Tuf83]{TUFTE83}
+ Edward R. Tufte.
+ \newblock \emph{The Visual Display of Quantative Information}.
+ \newblock Graphics Press, 1983.
+
+
+\begin{comment}
+\bibitem[Ume99]{GEOMETRY}
+ Hideo Umeki.
+ \newblock \emph{The geometry package}.
+ \newblock November, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/geometry})
+\end{comment}
+
+%%% keep
+\bibitem[Whe95]{WHEILDON95}
+ Colin Wheildon.
+ \newblock \emph{Type \& Layout}.
+ \newblock Strathmore Press, 1995.
+ \newblock ISBN 0--9624891--5--8.
+
+\begin{comment}
+\bibitem[Wil00]{CATALOGUE}
+ Graham Williams.
+ \newblock \emph{The TeX Catalogue}.
+ \newblock (Latest version on CTAN as \url{/help/Catalogue/catalogue.html})
+\end{comment}
+
+%%% keep
+\bibitem[Wil93]{ADRIANWILSON93}
+ Adrian Wilson.
+ \newblock \emph{The Design of Books}.
+ \newblock Chronicle Books, 1993.
+ \newblock ISBN 0--8118--0304--X.
+
+
+
+\begin{comment}
+\bibitem[Wil99b]{TOCVSEC2}
+ Peter Wilson.
+ \newblock \emph{The tocvsec2 package}.
+ \newblock January, 1999.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/tocvsec2})
+
+\bibitem[Wil00a]{EPIGRAPH}
+ Peter Wilson.
+ \newblock \emph{The epigraph package}.
+ \newblock February, 2000.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/epigraph})
+
+\bibitem[Wil00b]{ISOCLASS}
+ Peter Wilson.
+ \newblock \emph{LaTeX files for typesetting ISO standards}.
+ \newblock February, 2000.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/isostds/iso})
+
+\bibitem[Wil00c]{NEXTPAGE}
+ Peter Wilson.
+ \newblock \emph{The nextpage package}.
+ \newblock February, 2000.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/contrib/misc/nextpage.sty})
+
+\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})
+
+\bibitem[Wil00e]{XTAB}
+ Peter Wilson.
+ \newblock \emph{The xtab package}.
+ \newblock April 2000.
+ \newblock (Available from CTAN in
+ \texttt{macros/latex/contrib/xtab})
+
+\bibitem[Wil01a]{ABSTRACT}
+ Peter Wilson.
+ \newblock \emph{The abstract package}.
+ \newblock February, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/abstract})
+
+\bibitem[Wil01b]{CHNGPAGE}
+ Peter Wilson.
+ \newblock \emph{The chngpage package}.
+ \newblock February, 2001.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/contrib/misc/chngpage.sty})
+
+\bibitem[Wil01c]{APPENDIX}
+ Peter Wilson.
+ \newblock \emph{The appendix package}.
+ \newblock March, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/appendix})
+
+\bibitem[Wil01d]{CCAPTION}
+ Peter Wilson.
+ \newblock \emph{The ccaption package}.
+ \newblock March, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/ccaption})
+
+\bibitem[Wil01e]{CHNGCNTR}
+ Peter Wilson.
+ \newblock \emph{The chngcntr package}.
+ \newblock April, 2001.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/contrib/misc/chngcntr.sty})
+
+\bibitem[Wil01f]{HANGING}
+ Peter Wilson.
+ \newblock \emph{The hanging package}.
+ \newblock March, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/hanging})
+
+\bibitem[Wil01g]{TITLING}
+ Peter Wilson.
+ \newblock \emph{The titling package}.
+ \newblock March, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/titling})
+
+\bibitem[Wil01h]{TOCBIBIND}
+ Peter Wilson.
+ \newblock \emph{The tocbibind package}.
+ \newblock April, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/tocbibind})
+
+
+\bibitem[Wil01i]{TOCLOFT}
+ Peter Wilson.
+ \newblock \emph{The tocloft package}.
+ \newblock April, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/tocloft})
+
+
+\bibitem[Wil01j]{MEMOIR}
+ Peter Wilson.
+ \newblock \emph{The LaTeX memoir class for configurable book
+ typesetting: Source code}.
+ \newblock July, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/memoir})
+
+\bibitem[Wil01k]{VERSE}
+ Peter Wilson.
+ \newblock \emph{Typesetting simple verse with LaTeX}
+ \newblock July, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/verse})
+
+\bibitem[Wil01l]{BOOKLET}
+ Peter Wilson.
+ \newblock \emph{Printing booklets with LaTeX}
+ \newblock August, 2001.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/booklet})
+
+\bibitem[Wil03a]{LAYOUTS}
+ Peter Wilson.
+ \newblock \emph{The layouts package}
+ \newblock November, 2003.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/layouts})
+
+\bibitem[Wil03b]{LEDMAC}
+ Peter Wilson.
+ \newblock \emph{ledmac: A presumptuous attempt to port EDMAC and TABMAC
+ to LaTeX}
+ \newblock November, 2003.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/ledmac})
+
+\bibitem[Wil04a]{GLISTER3}
+ Peter Wilson.
+ \newblock `Glisterings'.
+ \newblock TUGboat, 25, 2 pp 201--202, 2004.
+
+\bibitem[Wil04b]{PAGENOTE}
+ Peter Wilson.
+ \newblock \emph{The pagenote package}
+ \newblock September, 2004.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/pagenote})
+
+\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})
+
+\bibitem[Wil07d]{MEMADD}
+Peter Wilson.
+ \newblock \emph{ADDENDUM: The Memoir Class for Configurable Typesetting --- User Guide}
+ \newblock November, 2007.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/memoir})
+
+\bibitem[Wil07e]{GLISTER07}
+Peter Wilson.
+ \newblock `Glisterings', \emph{TUGboat}, 28(2):229--232, 2007.
+\end{comment}
+
+%%% keep
+\bibitem[Wil07f]{TUGKEYNOTE07}
+Peter Wilson.
+ \newblock `Between then and now --- A meandering memoir',
+ \newblock \emph{TUGboat}, 28(3):280--298, 2007.
+
+
+\begin{comment}
+\bibitem[Wil08a]{CHANGEPAGE}
+ Peter Wilson.
+ \newblock \emph{The changepage package}.
+ \newblock March, 2008.
+ \newblock (Available from CTAN as
+ \url{/macros/latex/contrib/misc/changepage.sty})
+
+\bibitem[Wil08b]{GLISTER08}
+Peter Wilson.
+ \newblock `Glisterings', \emph{TUGboat}, 29(2):324--327, 2008.
+
+\bibitem[Wil09a]{FONTTABLE}
+ Peter Wilson.
+ \newblock \emph{The fonttable package}
+ \newblock April, 2009.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/fonttable})
+\end{comment}
+
+%%% keep
+\bibitem[Wil09]{MEMMAN}
+Peter Wilson.
+ \newblock \emph{The Memoir Class for Configurable Typesetting --- User Guide},
+ Seventh edition,
+ \newblock July, 2009.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/memoir})
+\begin{comment}
+
+\bibitem[Wil??]{RUMOUR}
+Peter Wilson.
+\newblock \emph{A Rumour of Humour: A scientist's commonplace book}.
+\newblock To be published?
+\end{comment}
+
+%%% keep
+\bibitem[Wis03]{WISHART03}
+David Wishart.
+\newblock \emph{The Printing of Mathematics}
+\newblock in \emph{Type \& Typography: Highlights from \emph{Matrix}, the
+ review for printers \& bibliophiles}.
+\newblock Mark Batty Publisher, 2003.
+\newblock ISBN 0--9715687--6--6.
+\newblock (Originally published in \emph{Matrix 8}, 1988)
+
+%%% keep
+\bibitem[Wul53]{WULLING-FOOTNOTES}
+ Emerson G. Wulling.
+ \newblock \emph{A Comp's-Eye View of Footnotes}.
+ \newblock Sumac Press, 1953.
+
+%%% keep
+\bibitem[Zac69]{ZACHRISSOM69}
+ B.~Zachrissom.
+ \newblock \emph{Studies in the Legibility of Printed Text}.
+ \newblock Almqvist \& Wiksell, Stockholm, 1969.
+
+\begin{comment}
+\bibitem[Zan98]{FANCYBOX}
+ Timothy Van Zandt.
+ \newblock \emph{Documentation for fancybox.sty: Box tips and tricks for
+ LaTeX},
+ \newblock November, 1998.
+ \newblock (Available from CTAN in
+ \url{/macros/latex/contrib/fancybox})
+\end{comment}
+
+%%% keep
+\bibitem[Zap00]{ZAPF00}
+ Hermann Zapf.
+ \newblock \emph{The Fine Art of Letters}.
+ \newblock The Grolier Club, 2000.
+ \newblock ISBN 0--910672--35--0.
+
+\end{thebibliography}
+
+
+\clearpage
+\twocolindex
+\pagestyle{index}
+%\renewcommand{\chaptermark}[1]{}
+\renewcommand{\preindexhook}{%
+The first page number is usually, but not always, the primary reference to
+the indexed topic.\vskip\onelineskip}
+\indexintoc
+
+%%%\raggedright does nasty things to index entries
+\printindex
+
+
+%\onecolindex
+%\renewcommand*{\preindexhook}{}
+%\renewcommand*{\indexname}{Index of first lines}
+%\printindex[lines]
+
+\cleardoublepage
+\pagestyle{empty}
+\null\vfil
+
+\begin{adjustwidth}{1in}{1in}
+\begin{center}
+{\Large\textsf{Colophon}}
+\end{center}
+\begin{center}
+This manual was typeset using the LaTeX typesetting system
+created by Leslie Lamport and the memoir class.
+The body text is set 10/12pt on a
+33pc measure with Palatino designed by Hermann Zapf, which includes
+italics and small caps. Other fonts include
+Sans, Slanted and Typewriter from Donald Knuth's
+Computer Modern family.
+
+\end{center}
+
+\end{adjustwidth}
+
+\vfil
+
+\end{document}
+
+\endinput
+