drm (2sep14)

git-svn-id: svn://tug.org/texlive/trunk@35102 c570f23f-e606-0410-a88d-b1316a301751

2 files changed, 2798 insertions, 0 deletions

diff --git a/Master/texmf-dist/source/fonts/drm/drm.dtx b/Master/texmf-dist/source/fonts/drm/drm.dtx
new file mode 100644
index 00000000000..073c2054ef0
--- /dev/null
+++ b/Master/texmf-dist/source/fonts/drm/drm.dtx
@@ -0,0 +1,2734 @@
+% \iffalse
+% +AMDG  This document was begun on 25 May 11EX, the feast
+% of St. Mary Magdalen de Pazzi, and it is humbly dedicated
+% to her and to the Immaculate Heart of Mary for their
+% prayers, and to the Sacred Heart of Jesus for His mercy.
+% 
+% This document is copyright 2014 by Donald P. Goodman, and is
+% released publicly under the LaTeX Project Public License.  The
+% distribution and modification of this work is constrained by the
+% conditions of that license.  See
+% 	http://www.latex-project.org/lppl.txt
+% for the text of the license.  This document is released
+% under version 1.3 of that license, and this work may be distributed
+% or modified under the terms of that license or, at your option, any
+% later version.
+% 
+% This work has the LPPL maintenance status 'maintained'.
+% 
+% The Current Maintainer of this work is Donald P. Goodman
+% (dgoodmaniii@gmail.com).
+% 
+% This work consists of all files listed in drmfilelist.txt.
+% \fi
+
+% \iffalse
+%<package>\NeedsTeXFormat{LaTeX2e}[1999/12/01]
+%<package>\ProvidesPackage{drm}[2015/01/01 v1.0 support for dozenal fonts]
+%<*driver>
+\documentclass{ltxdoc}
+
+\usepackage[absolute]{textpos}
+\usepackage{doc}
+\usepackage{array}
+\usepackage{lettrine}
+	\setcounter{DefaultLines}{3}
+	\setlength{\DefaultFindent}{2pt}
+	\renewcommand{\LettrineFontHook}{\color{red}}
+\usepackage{url}
+\usepackage{booktabs}
+\usepackage{supertabular}
+\usepackage{longtable}
+\usepackage{fetamont}
+\usepackage{spverbatim}
+\usepackage[greek,english]{babel}
+\languageattribute{greek}{polutoniko}
+\usepackage[colorlinks]{hyperref}
+\usepackage[]{drm}
+\usepackage{makeidx}
+\EnableCrossrefs
+\PageIndex
+\CodelineNumbered
+\RecordChanges
+\makeindex
+\DoNotIndex{\?,\{,\},\|,\DeclareFontFamily,\DeclareFontShape,
+	\DeclareMathAccent,\DeclareMathAlphabet,\DeclareMathDelimiter,
+	\DeclareMathSymbol,\DeclareMathVersion,\DeclareSymbolFont,\def,
+	\drmsym,\encodingdefault,\familydefault,\fontencoding,\fontfamily,
+	\fontseries,\fontshape,\hfil,\hbox,\mathalpha,\mathclose,
+	\mathopen,\mathord,\mathversion,\mp,\nabla,\nbshortroman,
+	\RedefineMRmdclxvij,\relax,\renewcomand,\RequirePackage,
+	\selectfont,\SetMathAlphabet,\SetSymbolFont,\drmsymbolredef,
+	\nodefaultfalse,\nodefaultmathfalse,\nodefaultmathtrue,\nodefaulttrue,
+	\nodefaulttextfalse,\nodefaulttexttrue,\noindent,\numexpr,
+	\acute,\addtolength\advance,\backslash,\baselineskip,
+	\char,\counterA,\counterB,\DeclareOption,\ProcessOptions,
+	\drmmathlets,\symbolsonlytrue,\if,\else,\fi,\ifnum,\fi,\ifdim,\fi,
+	\symbolsonlyfalse,\fontsize,\newif,\newcount,
+	\loop,\iter,\let,\renewcommand,\setbox,\setlength,\the,\vss,
+	\vskip,\vbox,\ifnodefault,\fi,\ifnodefaulttext,\fi,
+	\ifnodefaultmath,\fi,\ifsymbolsonly,\fi,\newlength,
+	\counterA,\counterB,\newcount,\r@@t,\z@,\DeclareMathRadical,
+	\DeclareRobustCommand,\bBigg@,\@ifnextchar,\@sqrt}
+
+\begin{document}
+\DocInput{drm.dtx}
+\end{document}
+%</driver>
+% \fi
+%
+% \title{The \texttt{drm} Font Package, v1.0}
+% \author{Donald P.\ Goodman III}
+% \date{\today}
+%
+% \maketitle
+% \begin{abstract}
+% The |drm| package provides access to the DRM (Don's
+% Revised Modern) family of fonts, which includes a variety
+% of optical sizes in Roman, italic, and small caps, along
+% with a set of symbols and ornaments.  It is intended to be
+% a full-body text font, but its larger sizes can also be
+% used for simple display purposes, and its significant body
+% of symbols can stand on its own.  It comes complete with
+% textual (``old-style'') and lining figures, and even has
+% \emph{small-caps figures}.  It also comes with
+% extensible decorative rules to be used with ornaments from
+% itself or other fonts, along with an extremely flexible
+% ellipsis package.  A set of decorative initials is planned.
+% \end{abstract}
+% 
+% \tableofcontents
+% 
+% \section{Introduction}
+% \label{sect:intro}
+%
+% \lettrine{A}{fter some time} of involvement with \TeX\ and \LaTeX\,
+% your author finally bothered to go read \textit{The \TeX
+% book} and \textit{The \MF book}.  This latter closes,
+% of course, with Donald E.\ Knuth's famous exhortation to
+% ``\textsc{Go forth} now and create \textsl{masterpieces of
+% digital typography!''}  This call to arms stirred a longing to actually
+% do so in my soul.
+%
+% I had some experience with the \MF\ language through
+% my work with \MP, so I thought I might try my hand at
+% it.  I started in fits and stops some years ago, and only
+% a few months ago took up the cause again in earnest.  I
+% found that, as Knuth also warned, 
+%
+% \begin{quote}\textsc{Warning}:  Type design can be
+% hazardous to your other interests.  Once you get hooked,
+% you will develop intense feelings about letterforms; the
+% medium will intrude on the messages that you read.  And
+% you will perpetually be thinking of improvements to the
+% fonts that you see everywhere, especially those of your
+% own design.\end{quote}
+%
+% Truer words were never spoken.
+%
+% This document is typeset in accordance with the
+% \textsc{docstrip} utility for automatically extracting
+% package code and documentation.
+%
+% \section{License(s)}
+%
+% \lettrine{T}{he \TeX\ and \LaTeX\ code} in this package is
+% licensed under the \LaTeX\ Project Public License v1.3c,
+% the details of which can be found in Appendix \ref{lppl}
+% on page \pageref{lppl}.  It's a legal document, and bears
+% all the concomitant complications of such.  The basic
+% import is that you can use and distribute these files as
+% you will, provided only that you do not restrict their use
+% by their recipients; and that you can even modify them as
+% you will, provided that if you distribute your
+% modifications, you do so under a different name.
+%
+% The fonts themselves are licensed under the SIL Open Font
+% License, v1.1, the details of which can be found in
+% Appendix \ref{sil} on page \pageref{sil}.  It's a less
+% complex legal document, but a legal document all the same.
+% The basic import is that you can't sell the fonts all by
+% themselves (why anyone would pay for them anyway is beyond
+% me, but there it is); you can distribute original or
+% modified versions of the fonts otherwise however you wish,
+% as long as you keep the copyright notice and license with
+% it; and if you distribute a modified version, that you do
+% so under a different name; that you not use the name of
+% the font designer to promote a modified version; and that
+% any modified versions of the fonts must be kept under the
+% same license.
+%
+% Finally, the software I used to build things, which is
+% very simple and mostly uninteresting stuff, is also made
+% available, under the GNU General Public License v3.  This
+% is sufficiently well-known that it's not duplicated in
+% this document; but the text is, of course, included in
+% the distribution.
+%
+% That said, I'm pretty easy-going about this sort of thing;
+% so if for some reason the above terms don't suit you, feel
+% free to contact me and see if we can work something else
+% out.  But honestly, the terms of these licenses are
+% more than fair, and it's hard for me to see a reason to
+% depart from them.
+%
+% \section{Usage}
+% \label{sect:usage}
+%
+% \subsection{Basic Usage}
+% \label{sub:basicusage}
+%
+% Using the DRM fonts is beyond easy; just include the
+% following in your preamble:
+%
+% \begin{quote}
+% |\usepackage{drm}|
+% \end{quote}
+%
+% And you're done!  This makes the DRM fonts the default for
+% your document, and defines appropriate commands for using
+% them.  I've made every effort to make using DRM as
+% unsurprising as possible, so the commands you'd use to
+% change sizes, styles, shapes, and so forth should all work
+% as expected.  That said, there are some unusual shapes and
+% options available, and these are explained below.
+%
+% You do \emph{not} need to load |textcomp|; all those
+% symbols and more are available from |drm|.
+%
+% \subsection{Package Options}
+% \label{sub:packopt}
+%
+% DRM doesn't offer too many options, because too many
+% aren't really needed; but it does allow some control over
+% what defaults it resets.
+%
+% \begin{description}
+% \item[nodefault] \DescribeMacro{nodefault}The |nodefault|
+% option means that |drm| will not change any of the
+% defaults of the document; that is, loading |drm| with the
+% |nodefault| option should have no effect whatsoever on the
+% appearance of your document.  The fonts are defined,
+% though, so you can use them if you decide you want to.
+% Symbols will \emph{not} be redefined.
+% \item[nodefaulttext] \DescribeMacro{nodefaulttext}The
+% |nodefaulttext| option means that text fonts are
+% \emph{not} redefined but math fonts \emph{are}.  Symbols
+% will \emph{not} be redefined.
+% \item[nodefaultmath] \DescribeMacro{nodefaultmath}The
+% |nodefaultmath| option means that text fonts \emph{are}
+% redefined but math fonts are \emph{not}.  Symbols
+% \emph{will} be redefined.
+% \item[symbolsonly] \DescribeMacro{symbolsonly}The
+% |symbolsonly| option defines all the commands for the
+% symbols (note that this may overwrite some command names,
+% like |\textcopyright|; if you need these undefined, load
+% |textcomp| \emph{after} |drm|).
+% \end{description}
+%
+% The default is that none of these are selected; that is,
+% the default is that both text and math fonts, along with
+% symbols, are redefined to be DRM.  Commands which are
+% font-independent, like |\tulipframe| and |\extrule|, are
+% always defined when the package is loaded.  Also, the
+% fonts themselves are always defined, so they can be
+% accessed directly even if they are not the default.
+%
+% Note that even if symbols are not redefined, they are
+% still available directly through the
+% \DescribeMacro{\drmsym}|\drmsym| command.
+% This command takes one argument, typically a |\char|
+% directive, which will be the decimal, octal (if preceded
+% by |'|), or hexadecimal (if preceded by |"|) position of
+% the desired symbol in the font.  E.g.:  
+%
+% \hbox to\linewidth{%
+%	\hfil|\drmsym{\char'117}|\hfil|\drmsym{\char"4F}|\hfil%
+%	|\drmsym{\char79}|\hfil}
+%
+% \noindent yields
+%
+% \hbox to\linewidth{%
+%	\hfil\drmsym{\char'117}\hfil\drmsym{\char"4F}\hfil%
+%	\drmsym{\char79}\hfil}
+%
+% \subsection{Interaction with Other Packages}
+% \label{sub:interpack}
+%
+% As far as your author has been able to tell, |drm| has no
+% adverse reactions with any other packages.  A few notes
+% are probably appropriate, however.
+%
+% \DescribeMacro{textcomp}You do \emph{not} have to load
+% |textcomp| when you're loading |drm|; |drm| defines all
+% the symbols in |textcomp|, and then some, allowing access
+% to them with the same commands.  This is the |drmsym|
+% font, which is encoded, like the |textcomp| font, as TS1.
+% If you're not loading the symbols, though (e.g., you've
+% loaded |drm| with options |nodefault| or |nodefaulttext|),
+% you may still want to load |textcomp|.
+%
+% \DescribeMacro{lettrine}The |lettrine| package is used to
+% typeset large dropped capitals at the beginning of
+% paragraphs; it's an extraordinarily flexible and
+% well-designed package.  |drm| works just fine with it;
+% however, the proportions of the letters make a small
+% tweak advisable.  If you'll be using lettrines larger than
+% two lines high, the following will be helpful:
+%
+% \hbox to\linewidth{\hfil|\setlength{\DefaultFindent}{2pt}|\hfil}
+%
+% \noindent This will prevent your text from bumping into
+% your lettrine.
+%
+% \subsection{Further Work Needed}
+% \label{sub:further}
+%
+% While I'm quite happy with DRM right now, there are a few
+% notable places where it needs some additional work.
+%
+% \begin{description}
+% \item[Kerning]  The kerning is sometimes suboptimal.
+% There really isn't much else to say about this.  For
+% most of the fonts, the kerning is reasonably good (at
+% least, in my opinion), but for upright italic, boldface,
+% and occasionally small and titling caps, I do still find
+% lacun\ae\ in my handling of certain kerning pairs.
+% \item[Internal Code]  While the code is parameterized
+% enough that, for example, boldfacing was a relatively
+% simple process, it could use some improvement in this.
+% Also, some code was repeated that would surely be better
+% off included in macros, especially the placing of accents.
+% \item[Decorative Initials]  I love, love, \emph{love}
+% decorative initials, and want DRM to have them.  But
+% writing them is a \emph{lot} of work.  I decided I wanted
+% the fonts as they stand done before I get to work on
+% those; but it's still further work that needs to happen.
+% \item[More Ornaments]  I'm pretty happy with what
+% ornaments I've designed for DRM, but it needs more of
+% them.  A full, 8-bit ornamental font is in the works (the
+% decorative initials will likely be A--Z in this font), but
+% designing these is a similarly large amount of work, so
+% it's still on the burners.
+% \item[Greek Fonts]  DRM badly needs real Greek fonts.
+% After I did the math fonts, Greek fonts seemed like a
+% short step; but now I really need to add italic and
+% boldface versions, and optically size the upright ones.
+% \end{description}
+%
+% In addition to these specific needs, font metrics may
+% still change, though only slightly, and shapes are subject
+% to tweaking here and there.  But even now, the DRM fonts
+% are usable, reasonably complete, and (in my view, at
+% least) attractive.
+%
+% \section{About the DRM Fonts}
+%
+% So I've been plumbing the depths of alphabet design, and
+% having a great time doing it.  The result is what you see
+% before you, the DRM fonts.
+%
+% \subsection{About the Fonts}
+% 
+% They're not \textit{modern}, per se, but they do have
+% modern characteristics, most especially the distinction
+% between thick and thin strokes and the vertical
+% orientation.  They have a number of old-style
+% characteristics, as well, though, like the aforementioned
+% ``Q'' tail, the relatively prominent serifs, and the
+% slight but still present brackets.
+%
+% Overall, they're fairly dark fonts on average, as well as
+% fairly wide.  To my eye, this makes them ideal for reading
+% long passages.
+%
+% They have some unusual features.  For example, they have not
+% only the standard run of f-ligatures (fi, fl, ff, ffi,
+% ffl), but also some unusual f-ligatures (ft, fj), as well
+% as a non-f-ligature (Th).  Some larger-size examples of
+% the ligatures can be found in Table \ref{table:ligs}.  DRM 
+% also contains some unusual shapes, such as \textui{upright 
+% italic} and \texttc{titling caps}\index{titling caps}.
+%
+% \begin{table}
+% \begin{center}\setlength{\extrarowheight}{9pt}
+% \begin{tabular}{>{\Large}c>{\Large\itshape}c
+%	>{\Large}c>{\Large\itshape}c
+%	>{\Large}c>{\Large\itshape}c}
+% \toprule
+% Roman & Italic & Roman & Italic & Roman & Italic \\
+% \midrule
+% fi & fi & ff & ff & fl & fl \\
+% fj & fj & ffi & ffi & ffl & ffl \\
+% ft & ft & Th & Th & {} & {} \\
+% \bottomrule
+% \end{tabular}
+% \caption{Ligatures in the DRM fonts.}
+% \label{table:ligs}
+% \end{center}
+% \end{table}
+%
+% \subsection{Font Families}
+%
+% DRM contains a full set of the normal font families you'd
+% expect:  roman, bold, italic, small caps, and so forth.
+% But it also contains some shapes that are rather unusual,
+% as well as a wide variety of sizes, forms, and weights
+% capable of filling most needs.
+%
+% \subsubsection{Optical Sizing}
+%
+% The advent of digital fonts made many typographers lazy.
+% Previously, of course, a printer could only print fonts in
+% sizes that he had; each size had to be separately cut and
+% designed.  Digital fonts seemed to relieve this problem;
+% now we can simply scale up or down, and only design a
+% single size!  Experience has shown, however, that this
+% produces suboptimal results, as Table \ref{tab:optsize}
+% demonstrates.
+%
+% \begin{table}[htbp]
+% \hbox to\linewidth{%
+% 	\hfil%
+% 	\Large Fourteen point font is different%
+% 	\hfil%
+% }%
+% \hbox to\linewidth{%
+% 	\hfil%
+% 	\font\scalio=drm7 at14pt\scalio from scaled seven point font.%
+% 	\hfil%
+% }%
+% \caption{Scaling and Optical Sizing Compared}
+% \label{tab:optsize}
+% \end{table}
+%
+% The human eye, as it turns out, does not perceive the
+% world, least of all letterforms, as geometrically scaled
+% versions of larger or smaller shapes.  For example, at
+% small point sizes the eye tends to run adjacent strokes
+% together, so proportionally wider letters and increased
+% letterspacing are appropriate in smaller sizes but not in
+% larger.  For another example, strokes often overlap the
+% technical top or bottom lines because a curved line will
+% appear to be lower than a straight line at the same
+% height.  This effect diminishes at larger sizes; so this
+% overshoot might be zero at double pica (twenty-four
+% point), still significant at pica (twelve-point), and
+% quite large at six-point.  If we merely scaled the six
+% point to get our twenty-four point, this overshoot would
+% make the curved strokes look comically larger than the
+% straight ones; if we did the opposite, then our curved
+% letters would seem noticeably shorter than our straight
+% ones.
+%
+% The only real solution to this is to use \emph{optical
+% sizes}; that is, have a reasonable set of sizes which are
+% designed for use at that particular size.  \LaTeX\
+% (largely transparently to the user, thanks to the magic of
+% NFSS) will then select the closest optical size and scale
+% as necessary from that.  This minimizes the effects of
+% scaling on the appearance of the font, and gives vastly
+% superior results.
+%
+% \begin{table}[htbp]
+% \begin{center}\footnotesize
+% \begin{tabular}{lp{0.2\textwidth}p{0.2\textwidth}p{0.2\textwidth}}
+% \toprule
+% Point & \multicolumn{2}{c}{Traditional Name} &
+%	DRM \\
+% {} & American & British & {} \\
+% \midrule
+% 3 & Excelsior & Minikin & |\excelsior|, |\minikin| \\
+% 4 & Brilliant & {} & |\brilliant| \\
+% 4.5 & Diamond & {} & |\diamond| \\
+% 5 & Pearl & {} & |\pearl| \\
+% 5.5 & Agate & Ruby & |\agate|, |\ruby| \\
+% 6 & Nonpareille & {} & |\nonpareille| \\
+% 6.5 & Minionette & Emerald & |\minionette|, |\emerald| \\
+% 7 & Minion & {} & |\minion| \\
+% 8 & Brevier, Petit, small text & {} & |\brevier|,
+%	|\petit|, |\smalltext| \\
+% 9 & Bourgeois; Galliard & {} & |\bourgeois|,
+%	|\galliard| \\
+% 10 & Long Primer; Corpus; Garamond & {} &
+%	|\longprimer|, |\corpus|, |\garamond| \\
+% 11 & Small Pica; Philosophy & {} & |\smallpica|,
+% 	|\philosophy| \\
+% 12 & Pica & {} & |\pica| \\
+% 14 & English; Mittel; Augustin & {} & |\english|,
+% |\mittel|, |\augustin| \\
+% 16 & Columbian & Two-line Brevier & |\columbian|,
+% |\twolinebrevier| \\
+% 18 & Great Primer & {} & |\greatprimer| \\
+% 20 & Paragon & {} & |\paragon| \\
+% 21 & Double Small Pica & {} & |\doublesmallpica| \\
+% 22 & Double Small Pica & Double Pica &
+% |\doublesmallpicaus|, |\doublepicabrit| \\
+% 24 & Double Pica & Two-line Pica & |\doublepica|,
+% |\twolinepica| \\
+% 28 & Double English & Two-line English & |\doubleenglish|, 
+% |\twolineenglish| \\
+% 30 & Five-line Nonpareil & {} & |\fivelinenonpareil| \\
+% 32 & Four-line Brevier & {} & |\fourlinebrevier| \\
+% 36 & Double Great Primer & Two-line Great Primer &
+% |\doublegreatprimer|, |\twolinegreatprimer| \\
+% 44 & Meridian & Two-line Double Pica; Trafalgar &
+% |\meridian|, |\twolinedoublepica|, |\trafalgar| \\
+% 48 & Canon; Four-line & {} & |\canon|, |\fourline| \\
+% 60 & Five-line Pica & {} & |\fivelinepica| \\
+% 72 & Inch & {} & |\inch| \\
+% \bottomrule
+% \end{tabular}
+% \caption{Traditional size names, both American and
+% British, with their corresponding point sizes and DRM
+% command names.}
+% \label{tab:fontsizes}
+% \end{center}
+% \end{table}
+%
+% DRM offers a reasonable selection of optical sizes, at 6-,
+% 7-, 8-, 9-, 10-, 11-, 12-, 14-, 17-, and 24-point sizes in
+% roman, italic, slanted, small caps, titling
+% caps\index{titling caps}, and upright italic.  This
+% variety should be sufficient for the vast majority of
+% needs.
+%
+% However, traditional printing has developed a vast array
+% of standard sizes, with the quaint, colorful names that
+% always go with traditional crafts.  Setting text in
+% Brevier Roman or Long Primer Italic means something very
+% specific.  \LaTeX\ only offers a few default font
+% size commands (e.g., |\small|, |\normalsize|, etc.), and
+% DRM leaves those unchanged, as users expect specific
+% things to happen when they issue those commands.  However,
+% DRM does offer those traditional size names as commands,
+% as well, giving quite a bit more breadth in font size
+% choice than the default before one must resort to explicit
+% |\fontsize| commands.  Table \ref{tab:fontsizes} on page
+% \pageref{tab:fontsizes} lists these commands by name; where
+% there is a name unique to British typesetting that differs
+% from the American name, both are offered as equivalents.
+%
+% \subsubsection{Small Caps}
+%
+% In the first place, it's important to have what
+% typographers call ``real'' small caps, not ``faked'' small
+% caps.  There is a real and noticeable difference between
+% the two.  Real small caps are designed for a particular
+% size; the stroke widths match, the spacing is appropriate,
+% and so forth.  Faked small caps are produced merely by
+% scaling down normal capital letters for a given size,
+% which produces inferior results.  The two types are
+% compared in Table \ref{tab:smallcaps}.
+%
+% \begin{table}[htbp]
+% \hbox to\linewidth{\hfil%
+% \LARGE\textsc{These are real small caps.}
+% \hfil}%
+% \vskip2em%
+% \hbox to\linewidth{\hfil%
+% \LARGE{T\large HESE ARE FAKED SMALL CAPS.}
+% \hfil}%
+% \caption{Real and faked small caps compared.}
+% \label{tab:smallcaps}
+% \end{table}
+%
+% Plainly, the results of real small caps are far superior,
+% and faked ones should only be employed when the
+% typographer has no small caps available, and possibly
+% not even then.
+%
+% \index{small caps}\index{small caps>petite small caps}
+% \index{small caps>and titling caps, difference between}
+% \index{titling caps>and small caps, difference between}
+% DRM has, of course, a full set of real small cap fonts,
+% which are appropriately scaled.  But DRM goes even further
+% than this, offering both \emph{small caps} and
+% \emph{petite small caps}.
+% \index{petite small caps>small caps}
+% \index{petite small caps>and titling caps}  DRM, though, considers petite
+% small caps to be the normal type, and therefore refers to
+% these as \emph{small caps} and \emph{titling
+% caps}.\index{titling caps}\index{small caps>titling caps}  The
+% distinction between these two probably bears some
+% explanation.
+%
+% In Anglo-American typography small caps are
+% typically a bit larger than the ex-height; in other
+% countries, they are typically equal to the
+% ex-height.\footnote{These are sometimes called
+% \textit{petite small caps} among Anglo-American
+% typographers.}  I see advantages in both approaches.
+% So-called ``petite'' small caps look great in running text
+% but seem rather squashed in titles and headings; larger
+% small caps look better in titles and headings (they
+% maintain the gravity of all-caps without the impression of
+% shouting, a rather common impression here in the Internet
+% age) but are simply too large to blend well with normal
+% lowercase text.  So DRM offers both; \textsc{normal small
+% caps}, accessed via the normal \LaTeX\ |\textsc| and
+% |\scshape| commands, are ``petite'' small caps;
+% Anglo-American large small caps are available as
+% \texttc{titling small caps}, via the commands
+% |\texttc|\DescribeMacro{\texttc}\ and
+% |\tcshape|\DescribeMacro{\tcshape}.  (These stand,
+% transparently enough, for ``titling caps.'')  An example
+% of the difference, which may give further ideas for the
+% appropriate uses for each, is in Table
+% \ref{table:littlecaps}.
+%
+% \begin{table}
+% \begin{center}
+% \begin{tabular}{>{\centering\arraybackslash}p{0.48\textwidth}
+%	>{\centering\arraybackslash}p{0.48\textwidth}}
+% \LARGE\texttc{The Adventures of Robinson Crusoe} &
+%	\LARGE\textsc{The Adventures of Robinson Crusoe} \\
+% \texttc{Titling Caps} &
+%	\textsc{Small Caps} \\
+% \end{tabular}
+% \caption{Small caps and titling caps compared.}
+% \label{table:littlecaps}
+% \end{center}
+% \end{table}
+%
+% \subsubsection{Slanted, Italic, and Upright Italic}
+%
+% DRM also offers the usual \emph{italic} type, typically
+% used for titles of certain types of works, emphasis, and
+% similar functions; and the \textsl{slanted} type, which is
+% usually simply a poor-man's italic in fonts which don't
+% have a real italic, but occasionally does find its uses in
+% full-featured fonts.
+%
+% Often, non-typographers think that italic type is simply
+% normal type slanted a little to the right, but that's not
+% really the case.  A comparison is given in Table
+% \ref{tab:slantedtypes}.
+%
+% \begin{table}[htbp]
+% \hbox to\linewidth{\hfil%
+% \Large\textsl{This is slanted text.}
+% \hfil}%
+% \vskip2em%
+% \hbox to\linewidth{\hfil%
+% \Large\textit{This is italic text.}
+% \hfil}%
+% \caption{Slanted and italic text compared.}
+% \label{tab:slantedtypes}
+% \end{table}
+%
+% As Table \ref{tab:slantedtypes} shows, true italic is much
+% more than simply slanted roman.  Many of the letterforms
+% are quite different; the two-story ``a'' becomes a
+% one-story ``\textit{a},'' the straight ``k'' becomes a
+% curved or (in DRM's case) looped ``\textit{k},'' the
+% double-looped ``g'' becomes a single-looped
+% ``\textit{g},'' and so forth.
+%
+% So DRM offers true italic, often with some very ornate
+% and, in the author's opinion, beautiful letterforms.  The
+% ``\textit{Q}'' and ``\textit{J}'' and particular favorites
+% of his, but the somewhat unusual looped ``\textit{k}'' and
+% curled ``\textit{h},'' along with some other shapes like
+% ``\textit{2}'' and ``\textit{3},'' are also interestingly
+% different from most other fonts, as well as visually
+% striking in their own right.
+%
+% DRM also offers \textui{upright italic}, a face with the
+% italic letterforms but not slanted at all.  Some fonts
+% have offered this as a difficult-to-access novelty, but as
+% far the author knows DRM is the only one to offer it as a
+% first-class citizen, accessed in the same way and just as
+% easily as the more usual slanted italic shape.  It is
+% accessed via the commands |\textui|\DescribeMacro{\textui}\ and
+% |\uishape|\DescribeMacro{\uishape}.  This shape is not
+% commonly used in running text; it remains to be seen
+% whether this is due to its being not useful, or simply to
+% its being rarely easily available.
+%
+% Your author can see certain uses for it; for example, when
+% some font distinction is needed but no connotation of
+% emphasis is desired, as in book titles.  In any case, DRM
+% makes it easy to use in the event that it is wanted.
+%
+% \subsubsection{Weights}
+% \label{subsub:weights}
+%
+% \textit{Weight} is the typographical term for what most
+% folks call \emph{boldface} type; however, the dimension
+% can go much deeper than that.  Fonts can be
+% \textl{lighter than surrounding text} as well as
+% \textbf{heavier}, and heavier weights can often be
+% \textbf{extended in width as well as heavier in weight},
+% or simply \textb{heavier in weight without increasing its
+% width}.
+%
+% Some fonts take this to arguably absurd extremes, offering
+% up to a dozen weights.  I've never seen much sense in
+% this, and consequently haven't gone to these lengths.
+% Instead, DRM offers three weights:  \textl{light}, normal,
+% and \textb{bold}.  As noted, bold fonts are often wider
+% than medium weights, and are referred to as \emph{bold
+% extended}; DRM has a \textbf{bold extended}, as well.
+% Lighter fonts are sometimes narrower, or \emph{condensed};
+% \textl{DRM's light weight is not condensed, but rather
+% normal width}.
+%
+% Light is achieved by |\textl|\DescribeMacro{\textl}\ and
+% |\lseries|\DescribeMacro{\lseries}; boldface by
+% |\textb|\DescribeMacro{\textb}\ and
+% |\bseries|\DescribeMacro{\bseries}; bold extended by
+% |\textbf|\DescribeMacro{\textbf}\ and
+% |\bfseries|\DescribeMacro{\bfseries}.  Table
+% \ref{tab:weights} shows the differences between these
+% weights in twelve-point size.
+%
+% \begin{table}[htbp]\setlength{\extrarowheight}{8pt}
+% \begin{tabular}{>{\large}c>{\large}p{0.7\linewidth}}
+% |\lseries| & \textl{This sentence shows one of DRM's
+%	weights.} \\
+% |\mdseries| & \textmd{This sentence shows one of DRM's
+%	weights.} \\
+% |\bseries| & \textb{This sentence shows one of DRM's
+%	weights.} \\
+% |\bfseries| & \textbf{This sentence shows one of DRM's
+%	weights.} \\
+% \end{tabular}
+% \caption{DRM's font weights compared.}
+% \label{tab:weights}
+% \end{table}
+%
+% One will probably note that bold extended is actually
+% bolder than normal bold (that is, |\bfseries| is bolder
+% than |\bseries|).  This is because the extra space means
+% that it can be.  This is probably not the way it should
+% be; but I think that people expect at least that much
+% boldness when selecting |\bfseries|, so I decided to make
+% it that way.
+%
+% DRM does \emph{not} offer a bold italic or a bold small
+% caps; this is because both italics and small caps are
+% already meant to serve for emphasis, and bolding your
+% already emphasized text is really a bad idea.  Bold
+% italic is a particularly egregious typographical crime.
+%
+% \subsection{Figures (Digits) (Numbers)}
+% \label{sub:figures}
+%
+% Typographers typically call them ``figures'';
+% mathematicians tend to prefer ``digits''; most folks
+% simply call them ``numbers.''  Whatever we call them,
+% there is a surprisingly large variety of ways to write
+% them.
+%
+% There are, at the very least, five separate kinds of
+% figures:  textual, lining, tabular textual, tabular
+% lining, and small caps.  This last is for some reason
+% rather rare, and strictly speaking there could be tabular
+% and non-tabular versions of them, as well, but I've never
+% encountered them.
+%
+% \emph{Textual figures}, also called \emph{old-style
+% figures}, \emph{lowercase figures}, or even 
+% \emph{medi\ae val figures}, are the ones that look sort 
+% of\drmelip well, old-styled and lowercase.  They are
+% centered on the ex-height, like lowercase letters, and
+% some have ascenders, some descenders, and some neither,
+% like lowercase letters.  They blend in with running text
+% very well, whereas lining figures (which we'll get to in a
+% moment) tend to stick out because they are all quite
+% tall and often come in groups.  Most commonly, ``0,''
+% ``1,'' and ``2'' have neither ascenders nor descenders;
+% ``6'' and ``8'' have ascenders, and ``3,'' ``4,'' ``5,''
+% ``7,'' and ``9'' have descenders; DRM follows this typical
+% scheme in its roman types.  However, other systems have
+% existed, particularly in France, where some famous fonts
+% had an ascending rather than descending 3.  DRM has a
+% non-typical set in its italic fonts, with a descending 3
+% but an ascending 2:  \textit{0, 1, 2, 3,
+% 4, 5, 6, 7, 8, 9}.
+%
+% Textual figures are the default in DRM in the roman and
+% italic fonts.
+%
+% \emph{Lining figures}, also called \emph{titling figures}
+% or \emph{modern figures}, line up at the baseline and all
+% have a common height, typically something close to the
+% height of capital letters or the ascenders of lowercase
+% letters.  They look like this:  \liningnums{0123456789}.
+% They're great when one wishes to draw extra attention to
+% the figures, and practically mandatory when figures are
+% being used with all caps; however, they throw off the
+% color of the page and don't blend well with other running
+% text.  In DRM, we get lining figures by using the
+% \DescribeMacro{\liningnums}|\liningnums| command, which
+% takes a single argument; namely, the number to be typeset
+% in lining figures.  Each individual number can be accessed
+% by command, as well, of the form |\liningzero|,
+% |\liningone|, and so forth.
+%
+% Both of these types of figures can be \emph{tabular} or
+% not.  This means, as a practical matter,
+% \emph{monospaced}; that is, with tabular figures each
+% digit takes up an identical horizontal space.  This is
+% great for lining up numbers in columns, but produces
+% rather bad spacing when used in running text.
+%
+% In DRM, the default textual (old-style) figures \emph{are
+% not} tabular, while the lining figures \emph{are} tabular.
+% It is possible to have tabular textual figures and
+% proportional lining figures, but I've never seen much
+% sense in either, as it seems that they defeat the purposes
+% of their own particular form.
+%
+% DRM also has \emph{small-cap figures}, a relative rarity
+% in the typographical world.  These are simply figures
+% which match the style of the small caps fonts.  Neither
+% textual nor lining figures work well with small caps;
+% lining figure are too tall, and textual figures' ascenders
+% and descenders don't fit with the relatively straight
+% lines of small caps text.  So DRM has proportional
+% (non-tabular), but short figures for small caps:
+%
+% \begin{center}
+% \scshape\Huge Small caps 0123 figures.
+% \end{center}
+%
+% Otherwise, it would like one of the following:
+%
+% \begin{center}
+% \Huge\scshape Small caps \liningnums{0123} figures. \\
+% Small caps \textup{0123} figures.
+% \end{center}
+%
+% Neither of which looks very good.  There are similar
+% digits for titling caps.  These are, of course, the
+% defaults when using small or titling caps; if you need
+% lining figures, you can still use |\liningnums|, and if
+% you need textual figures, typeset them in normal roman
+% text.
+%
+% \subsection{Symbols and Ornaments}
+% \label{sub:symbols}
+%
+% One of DRM's strengths is its wide variety of symbols
+% contained by default; rather than having to import
+% separate fonts, or define macros to assemble common
+% symbols out of their component parts, we can often simply
+% use the symbols contained in DRM.
+%
+% Starting with the staples of traditional typography like
+% the numero \DescribeMacro{\textnumero}(\textnumero) and
+% the reference mark %
+% \DescribeMacro{\textrefmark}(\textrefmark) to
+% near-obsolete typesetting symbols like the asterism
+% \DescribeMacro{\textasterism}(\textasterism) to more
+% unique symbols like the international sign for radiation
+% hazards \DescribeMacro{\textradiation}(\textradiation),
+% DRM has something for most needs.
+%
+% \begin{center}
+% \begin{longtable}{>{\Large}cp{0.4\textwidth}>{\raggedright\let\newline\\\arraybackslash}p{0.3\textwidth}}
+% \toprule
+% \multicolumn{3}{c}{Symbols of the DRM Font} \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Religious Symbols} \\
+% \midrule
+% \textcrusadecross & |\textcrusadecross|\SpecialIndex{\textcrusadecross} & ``Crusader'' cross \\
+% \textcrusadecrossoutline & |\textcrusadecrossoutline|\SpecialIndex{\textcrusadecrossoutline} &
+% 	``Crusader'' cross in outline \\
+% \textlatincross & |\textlatincross|\SpecialIndex{\textlatincross} & Latin cross \\
+% \textlatincrossoutline & |\textlatincrossoutline|\SpecialIndex{\textlatincrossoutline} & Latin
+% 	cross in outline \\
+% \textgreekcross & |\textgreekcross|\SpecialIndex{\textgreekcross} & Greek cross \\
+% \textgreekcrossoutline & |\textgreekcrossoutline|\SpecialIndex{\textgreekcrossoutline} & Greek
+% 	cross in outline \\
+% \textsaltirecross & |\textsaltirecross|\SpecialIndex{\textsaltirecross} & Saltire cross;
+% 	cross of St.\ Andrew \\
+% \textsaltirecrossoutline & |\textsaltirecrossoutline|\SpecialIndex{\textsaltirecrossoutline} &
+% 	Saltire cross, cross of St.\ Andrew in outline \\
+% \texteucharist & |\texteucharist|\SpecialIndex{\texteucharist} & Traditional
+% 	representation of the Eucharist; chalice with Host and rays
+% 	\\
+% \textstardavid & |\textstardavid|\SpecialIndex{\textstardavid} & Traditional Star of
+% 	David \\
+% \textstardavidsolid & |\textstardavidsolid|\SpecialIndex{\textstardavidsolid} & Traditional
+% 	Star of David, solid \\
+% \textstardavidoutline & |\textstardavidoutline|\SpecialIndex{\textstardavidoutline} & 
+% 	Traditional Star of David in outline \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Genealogical Symbols} \\ 
+% \midrule
+% \textborn & |\textborn|\SpecialIndex{\textborn} & Symbol for born \\
+% \textdied & |\textdied|\SpecialIndex{\textdied} & Symbol for died \\
+% \textdivorced & |\textdivorced|\SpecialIndex{\textdivorced} & Symbol for divorced \\
+% \textmarried & |\textmarried|\SpecialIndex{\textmarried} & Symbol for married \\
+% \textleaf & |\textleaf|\SpecialIndex{\textleaf} & Leaf symbol \\
+% \textmale & |\textmale|\SpecialIndex{\textmale} & Symbol for male \\
+% \textfemale & |\textfemale|\SpecialIndex{\textfemale} & Symbol for female \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Intellectual Property Symbols} \\ 
+% \midrule
+% \textregistered & |\textregistered|\SpecialIndex{\textregistered} & Registered mark \\
+% \texttrademark & |\texttrademark|\SpecialIndex{\texttrademark} & Trademark sign \\
+% \textservicemark & |\textservicemark|\SpecialIndex{\textservicemark} & Service mark sign \\
+% \textsoundrecording & |\textsoundrecording|\SpecialIndex{\textsoundrecording} & Sound
+% 	recording sign \\
+% \textcopyright & |\textcopyright|\SpecialIndex{\textcopyright} & Copyright mark \\
+% \textcopyleft & |\textcopyleft|\SpecialIndex{\textcopyleft} & Copyleft mark \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Astronomical Symbols} \\ 
+% \midrule
+% \textsun & |\textsun|\SpecialIndex{\textsun} & Sun, Sol \\
+% \textsunvar & |\textsunvar|\SpecialIndex{\textsunvar} & Variant Sun or Sol; with ray \\
+% \textwaxcrescent & |\textwaxcrescent|\SpecialIndex{\textwaxcrescent} & Waxing crescent moon \\
+% \textfullmoon & |\textfullmoon|\SpecialIndex{\textfullmoon} & Full moon \\
+% \textwanecrescent & |\textwanecrescent|\SpecialIndex{\textwanecrescent} & Waning crescent moon \\
+% \textnewmoon & |\textnewmoon|\SpecialIndex{\textnewmoon} & New moon \\
+% \textmercury & |\textmercury|\SpecialIndex{\textmercury} & Mercury; Hermes \\
+% \textearth & |\textearth|\SpecialIndex{\textearth}, |\textterra|\SpecialIndex{\textterra} & Earth, Terra \\
+% \textearthvar & |\textearthvar|\SpecialIndex{\textearthvar},|\textterravar|\SpecialIndex{\textterravar} & Variant
+% 	Earth, Terra \\
+% \textmars & |\textmars|\SpecialIndex{\textmars} & Mars, Ares \\
+% \textvenus & |\textvenus|\SpecialIndex{\textvenus} &  Venus, Aphrodite \\
+% \textjupiter & |\textjupiter|\SpecialIndex{\textjupiter} & Jupiter, Jove, Zeus \\
+% \textsaturn & |\textsaturn|\SpecialIndex{\textsaturn} & Saturn \\
+% \texturanus & |\texturanus|\SpecialIndex{\texturanus} & Uranus \\
+% \texturanusvar & |\texturanusvar|\SpecialIndex{\texturanusvar} & Variant Uranus \\
+% \textneptune & |\textneptune|\SpecialIndex{\textneptune} & Neptune, Poseidon \\
+% \textpluto & |\textpluto|\SpecialIndex{\textpluto} & Pluto \\
+% \textplutovar & |\textplutovar|\SpecialIndex{\textplutovar} & Variant Pluto \\
+% \textceres & |\textceres|\SpecialIndex{\textceres} & Ceres \\
+% \textpallas & |\textpallas|\SpecialIndex{\textpallas} & Pallas \\
+% \textjuno & |\textjuno|\SpecialIndex{\textjuno} &  Juno, Hera \\
+% \textjunovar & |\textjunovar|\SpecialIndex{\textjunovar} & Variant Juno, Hera \\
+% \textvesta & |\textvesta|\SpecialIndex{\textvesta} & Vesta \\
+% \textvestavar & |\textvestavar|\SpecialIndex{\textvestavar} & Variant Vesta \\
+% \textastraea & |\textastraea|\SpecialIndex{\textastraea} & Astr\ae a \\
+% \textastraeavar & |\textastraeavar|\SpecialIndex{\textastraeavar} & Variant Astr\ae a \\
+% \texthebe & |\texthebe|\SpecialIndex{\texthebe} & Hebe \\
+% \textiris & |\textiris|\SpecialIndex{\textiris} & Iris \\
+% \textaries & |\textaries|\SpecialIndex{\textaries}, |\textari|\SpecialIndex{\textari} & Aries \\
+% \texttaurus & |\texttaurus|\SpecialIndex{\texttaurus}, |\texttau|\SpecialIndex{\texttau} & Taurus \\
+% \textgemini & |\textgemini|\SpecialIndex{\textgemini}, |\textgem|\SpecialIndex{\textgem} & Gemini \\
+% \textcancer & |\textcancer|\SpecialIndex{\textcancer}, |\textcnc|\SpecialIndex{\textcnc} & Cancer \\
+% \textleo & |\textleo|\SpecialIndex{\textleo} & Leo \\
+% \textvirgo & |\textvirgo|\SpecialIndex{\textvirgo}, |\textvir|\SpecialIndex{\textvir} & Virgo \\
+% \textlibra & |\textlibra|\SpecialIndex{\textlibra}, |\textlib|\SpecialIndex{\textlib} & Libra \\
+% \textscorpius & |\textscorpius|\SpecialIndex{\textscorpius}, |\textsco|\SpecialIndex{\textsco} & Scorpius \\
+% \textsagittarius & |\textsagittarius|\SpecialIndex{\textsagittarius}, |\textsgr|\SpecialIndex{\textsgr} & Sagittarius \\
+% \textcapricorn & |\textcapricorn|\SpecialIndex{\textcapricorn}, |\textcap|\SpecialIndex{\textcap} & Capricorn \\
+% \textaquarius & |\textaquarius|\SpecialIndex{\textaquarius}, |\textaqr|\SpecialIndex{\textaqr} & Aquarius \\
+% \textpisces & |\textpisces|\SpecialIndex{\textpisces}, |\textpsc|\SpecialIndex{\textpsc} & Pisces \\
+% \textstar & |\textstar|\SpecialIndex{\textstar} & Star \\
+% \textcomet & |\textcomet|\SpecialIndex{\textcomet} & Comet \\
+% \textquadrature & |\textquadrature|\SpecialIndex{\textquadrature} & Quadrature \\
+% \textopposition & |\textopposition|\SpecialIndex{\textopposition} & Opposition \\
+% \textconjunction & |\textconjunction|\SpecialIndex{\textconjunction} & Conjunction \\
+% \textascendingnode & |\textascendingnode|\SpecialIndex{\textascendingnode} & Ascending node \\
+% \textdescendingnode & |\textdescendingnode|\SpecialIndex{\textdescendingnode} & Descending node \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Currency Symbols} \\ 
+% \midrule
+% \textdollarsign & |\textdollarsign|\SpecialIndex{\textdollarsign} & Dollar sign \\
+% \textolddollarsign & |\textolddollarsign|\SpecialIndex{\textolddollarsign} & Old-style dollar
+% 	sign; double-slashed dollar sign \\
+% \textcentsign & |\textcentsign|\SpecialIndex{\textcentsign} & Cent sign \\
+% \textoldcentsign & |\textoldcentsign|\SpecialIndex{\textoldcentsign} & Old-style cent sign;
+% 	diagonally slashed cent sign \\
+% \textpoundsterling & |\textpoundsterling|\SpecialIndex{\textpoundsterling} & British pound
+% 	sterling sign \\
+% \textoldpoundsterling & |\textoldpoundsterling|\SpecialIndex{\textoldpoundsterling}, |\textlira|\SpecialIndex{\textlira} & Old-style
+% 	British pound sterling sign; double-slashed British pound
+% 	sterling sign; Italian lira sign \\
+% \texteuro & |\texteuro|\SpecialIndex{\texteuro} & Euro sign \\
+% \textyen & |\textyen|\SpecialIndex{\textyen} & Japanese yen sign \\
+% \textbaht & |\textbaht|\SpecialIndex{\textbaht} & Thai baht sign \\
+% \textcolon & |\textcolon|\SpecialIndex{\textcolon} & Costa Rican, Salvadoran colon sign \\
+% \textdong & |\textdong|\SpecialIndex{\textdong} & Vietnamese dong sign \\
+% \textflorin & |\textflorin|\SpecialIndex{\textflorin} & Florin sign \\
+% \textguarani & |\textguarani|\SpecialIndex{\textguarani} & Uruguayan guarani sign \\
+% \textnaira & |\textnaira|\SpecialIndex{\textnaira} & Nigerian naira sign \\
+% \textpeso & |\textpeso|\SpecialIndex{\textpeso}, |\textruble|\SpecialIndex{\textruble} & Mexican peso sign; Russian ruble
+% 	sign \\
+% \textwon & |\textwon|\SpecialIndex{\textwon} & Won sign \\
+% \textcurrency & |\textcurrency|\SpecialIndex{\textcurrency} & Generic currency \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Roman Numerals} \\ 
+% \midrule
+% \romone & |\romone|\SpecialIndex{\romone} & Roman numeral one \\
+% \romfive & |\romfive|\SpecialIndex{\romfive} & Roman numeral five \\
+% \romten & |\romten|\SpecialIndex{\romten} & Roman numeral ten \\
+% \romfifty & |\romfifty|\SpecialIndex{\romfifty} & Roman numeral fifty \\
+% \romhundred & |\romhundred|\SpecialIndex{\romhundred} & Roman numeral hundred \\
+% \romfivehundred & |\romfivehundred|\SpecialIndex{\romfivehundred} & Roman numeral hundred \\
+% \romthousand & |\romthousand|\SpecialIndex{\romthousand} & Roman numeral thousand \\
+% \romanize{1651} & |\romanize{1668}| & Convert Indo-arabic
+% 	numeral to Roman numerals \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Lining Numerals} \\ 
+% \midrule
+% \liningzero & |\liningzero|\SpecialIndex{\liningzero} & Lining numeral 0 \\
+% \liningone & |\liningone|\SpecialIndex{\liningone} & Lining numeral 1 \\
+% \liningtwo & |\liningtwo|\SpecialIndex{\liningtwo} & Lining numeral 2 \\
+% \liningthree & |\liningthree|\SpecialIndex{\liningthree} & Lining numeral 3 \\
+% \liningfour & |\liningfour|\SpecialIndex{\liningfour} & Lining numeral 4 \\
+% \liningfive & |\liningfive|\SpecialIndex{\liningfive} & Lining numeral 5 \\
+% \liningsix & |\liningsix|\SpecialIndex{\liningsix} & Lining numeral 6 \\
+% \liningseven & |\liningseven|\SpecialIndex{\liningseven} & Lining numeral 7 \\
+% \liningeight & |\liningeight|\SpecialIndex{\liningeight} & Lining numeral 8 \\
+% \liningnine & |\liningnine|\SpecialIndex{\liningnine} & Lining numeral 9 \\
+% \liningnums{3091} & |\liningnums{3091}| & Convert figures
+%	into lining figures \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Traditional and Innovative Typography} \\ 
+% \midrule
+% \textnumero & |\textnumero|\SpecialIndex{\textnumero} & Numero \\
+% \textrefmark & |\textrefmark|\SpecialIndex{\textrefmark} & Reference mark \\
+% \textasterism & |\textasterism|\SpecialIndex{\textasterism} & Asterism \\
+% \textfeminineordinal & |\textfeminineordinal|\SpecialIndex{\textfeminineordinal} & Feminine
+% 	Ordinal \\
+% \textmasculineordinal & |\textmasculineordinal|\SpecialIndex{\textmasculineordinal} & Masculine
+% 	Ordinal \\
+% \textsupone & |\textsupone|\SpecialIndex{\textsupone} & Superscript 1; superior
+% digit 1 \\
+% \textsuptwo & |\textsuptwo|\SpecialIndex{\textsuptwo} & Superscript 2; superior
+% digit 2 \\
+% \textsupthree & |\textsupthree|\SpecialIndex{\textsupthree} & Superscript 3; superior
+% digit 3\\
+% \textpilcrowsolid & |\textpilcrowsolid|\SpecialIndex{\textpilcrowsolid} & Solid-lined
+% 	pilcrow \\
+% \textpilcrowoutline & |\textpilcrowoutline|\SpecialIndex{\textpilcrowoutline} & Outlined
+% 	pilcrow \\
+% \textsection & |\textsection|\SpecialIndex{\textsection} & Section mark \\
+% \textdagger & |\textdagger|\SpecialIndex{\textdagger}, |\textdag|\SpecialIndex{\textdag}, |\dag|\SpecialIndex{\dag} & Dagger \\
+% \textdbldagger & |\textdbldagger|\SpecialIndex{\textdbldagger}, |\textdbldag|\SpecialIndex{\textdbldag}, |\dbldag|\SpecialIndex{\dbldag} & 
+% 	Double dagger \\
+% \textpipe & |\textpipe|\SpecialIndex{\textpipe} & Pipe \\
+% \textbrokenpipe & |\textbrokenpipe|\SpecialIndex{\textbrokenpipe} & Broken pipe \\
+% \textrecipe & |\textrecipe|\SpecialIndex{\textrecipe} & Recipe mark \\
+% \textintbang & |\textintbang|\SpecialIndex{\textintbang} & Interrobang \\
+% \textopenintbang & |\textopenintbang|\SpecialIndex{\textopenintbang} & Opening interrobang \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Text-mode Math Symbols} \\ 
+% \midrule
+% \textprime & |\textprime|\SpecialIndex{\textprime} & Single prime mark \\
+% \textdoubleprime & |\textdoubleprime|\SpecialIndex{\textdoubleprime} & Double prime mark \\
+% \texttripleprime & |\texttripleprime|\SpecialIndex{\texttripleprime} & Triple prime mark \\
+% \textsqrt & |\textsqrt|\SpecialIndex{\textsqrt} & Square root sign; radical \\
+% \textquarter & |\textquarter|\SpecialIndex{\textquarter} & One-quarter fraction,
+% 	slanted \\
+% \texthalf & |\texthalf|\SpecialIndex{\texthalf} & One-half fraction, slanted \\
+% \textthreequarters & |\textthreequarters|\SpecialIndex{\textthreequarters} & Three-quarters
+% 	fraction, slanted \\
+% \textthird & |\textthird|\SpecialIndex{\textthird} & One-third fraction, slanted \\
+% \texttwothirds & |\texttwothirds|\SpecialIndex{\texttwothirds} & Two-thirds fraction,
+% 	slanted \\
+% \textperbiqua & |\textperbiqua|\SpecialIndex{\textperbiqua}, |\textpermille|\SpecialIndex{\textpermille} & Perbiqua,
+% 	permille, per thousand \\
+% \textpertriqua & |\textpertriqua|\SpecialIndex{\textpertriqua}, |\textpertenmille|\SpecialIndex{\textpertenmille} &
+% 	Pertriqua, per ten thousand \\
+% \textequals & |\textequals|\SpecialIndex{\textequals} & Equals sign \\
+% \textslash & |\textslash|\SpecialIndex{\textslash} & Forward slash \\
+% \texttimes & |\texttimes|\SpecialIndex{\texttimes} & Multiplication; times \\
+% \textdiv & |\textdiv|\SpecialIndex{\textdiv} & Division sign \\
+% \textuparrow & |\textuparrow|\SpecialIndex{\textuparrow} & Upward-pointing arrow \\
+% \textdownarrow & |\textdownarrow|\SpecialIndex{\textdownarrow} & Downward-pointing arrow \\
+% \textleftarrow & |\textleftarrow|\SpecialIndex{\textleftarrow} & Left-pointing arrow \\
+% \textrightarrow & |\textrightarrow|\SpecialIndex{\textrightarrow} & Right-pointing arrow \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Warning Signs} \\ 
+% \midrule
+% \textradiation & |\textradiation|\SpecialIndex{\textradiation} & Radiation warning sign \\
+% \textradiationnocircle & |\textradiationnocircle|\SpecialIndex{\textradiationnocircle} &
+% 	Radiation warning sign, no enclosing circle \\
+% \textbiohazard & |\textbiohazard|\SpecialIndex{\textbiohazard} & Biohazard warning sign \\
+% \textbiohazardnocircle & |\textbiohazardnocircle|\SpecialIndex{\textbiohazardnocircle} &
+% 	Biohazard warning sign, no enclosing circle \\
+% \texthighvoltage & |\texthighvoltage|\SpecialIndex{\texthighvoltage} & High voltage warning
+% 	sign \\
+% \texthighvoltagenotriangle & |\texthighvoltagenotriangle|\SpecialIndex{\texthighvoltagenotriangle} &
+% 	High voltage warning sign, no enclosing triangle \\
+% \textgeneralwarning & |\textgeneralwarning|\SpecialIndex{\textgeneralwarning} & General
+% 	warning sign \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Bullets and Other Marks} \\ 
+% \midrule
+% \textbullet & |\textbullet|\SpecialIndex{\textbullet} & Solid circular bullet \\
+% \textopenbullet & |\textopenbullet|\SpecialIndex{\textopenbullet} & Open circular bullet \\
+% \textheart & |\textheart|\SpecialIndex{\textheart} & Solid heart \\
+% \textopenheart & |\textopenheart|\SpecialIndex{\textopenheart} & Open heart \\
+% \texteighthnote & |\texteighthnote|\SpecialIndex{\texteighthnote} & Eighth note \\
+% \textdiamond & |\textdiamond|\SpecialIndex{\textdiamond} & Solid diamond; solid lozenge \\
+% \textopendiamond & |\textopendiamond|\SpecialIndex{\textopendiamond}, |\textlozenge|\SpecialIndex{\textlozenge} & Open 
+%	diamond; open lozenge \\
+% \textdegree & |\textdegree|\SpecialIndex{\textdegree} & Degree symbol \\
+% \textdegreec & |\textdegreec|\SpecialIndex{\textdegreec} & Degrees Celsius \\
+% \texttilde & |\texttilde|\SpecialIndex{\texttilde}, |\tilde|\SpecialIndex{\tilde} & Tilde \\
+% \midrule
+% \multicolumn{3}{c}{\itshape Ornaments and Fleurons} \\ 
+% \midrule
+% \textrightupfleuron & |\textrightupfleuron|\SpecialIndex{\textrightupfleuron} &
+% Rightward-pointing, upward fleuron \\
+% \textrightdownfleuron & |\textrightdownfleuron|\SpecialIndex{\textrightdownfleuron} &
+% Rightward-pointing, downward fleuron \\
+% \textleftupfleuron & |\textleftupfleuron|\SpecialIndex{\textleftupfleuron} &
+% Leftward-pointing, upward fleuron \\
+% \textleftdownfleuron & |\textleftdownfleuron|\SpecialIndex{\textleftdownfleuron} &
+% Leftward-pointing, downward fleuron \\
+% \textupleftfleuron & |\textupleftfleuron|\SpecialIndex{\textupleftfleuron} &
+% Upward-pointing, leftward fleuron \\
+% \textuprightfleuron & |\textuprightfleuron|\SpecialIndex{\textuprightfleuron} &
+% Upward-pointing, rightward fleuron \\
+% \textdownrightfleuron & |\textdownrightfleuron|\SpecialIndex{\textdownrightfleuron} &
+% Downward-pointing, rightward fleuron \\
+% \textdownleftfleuron & |\textdownleftfleuron|\SpecialIndex{\textdownleftfleuron} &
+% Downward-pointing, leftward fleuron \\
+% \textsquaretulip & |\textsquaretulip|\SpecialIndex{\textsquaretulip} &
+% Square of four tulips, facing up and down \\
+% \textsquaretulipside &
+% |\textsquaretulipside|\SpecialIndex{\textsquaretulipside} & Square of four tulips,
+% facing left and right \\
+% \textupdoubletulip & |\textupdoubletulip|\SpecialIndex{\textupdoubletulip} &
+% Double tulips, facing upward \\
+% \textdowndoubletulip &
+% |\textdowndoubletulip|\SpecialIndex{\textdowndoubletulip} & Double tulips, facing
+% downward \\
+% \textrightdoubletulip &
+% |\textrightdoubletulip|\SpecialIndex{\textrightdoubletulip} & Double tulips, facing
+% righward \\
+% \textleftdoubletulip &
+% |\textleftdoubletulip|\SpecialIndex{\textleftdoubletulip} & Double tulips, facing
+% leftward \\
+% \textupleftcornertulip &
+% |\textupleftcornertulip|\SpecialIndex{\textupleftcornertulip} & Single corner-facing
+% tulip, for upper left corners \\
+% \textuprightcornertulip &
+% |\textuprightcornertulip|\SpecialIndex{\textuprightcornertulip} & Single corner-facing
+% tulips, for  upper right corners \\
+% \textlowleftcornertulip &
+% |\textlowleftcornertulip|\SpecialIndex{\textlowleftcornertulip} & Single corner-facing
+% tulips, for lower left corners \\
+% \textlowrightcornertulip &
+% |\textlowrightcornertulip|\SpecialIndex{\textlowrightcornertulip} & Single
+% corner-facing tulip, for lower right corners  \\
+% \textupsingletuliplong & |\textupsingletuliplong|\SpecialIndex{\textupsingletuliplong} & Single tulip,
+% upward-facing \\
+% \textdownsingletuliplong & |\textdownsingletuliplong|\SpecialIndex{\textdownsingletuliplong} & Single
+% tulip, downward-facing \\
+% \textleftsingletuliplong & |\textleftsingletuliplong|\SpecialIndex{\textleftsingletuliplong} & Single
+% tulip, leftward-facing \\
+% \textrightsingletuliplong & |\textrightsingletuliplong|\SpecialIndex{\textrightsingletuliplong} & Single
+% tulip, rightward-facing \\
+% \textupsingletulip & |\textupsingletulip|\SpecialIndex{\textupsingletulip} & Single tulip,
+% upright \\
+% \textdownsingletulip & |\textdownsingletulip|\SpecialIndex{\textdownsingletulip} & Single
+% tulip, downward \\
+% \textleftsingletulip & |\textleftsingletulip|\SpecialIndex{\textleftsingletulip} & Single
+% tulip, leftward \\
+% \textrightsingletulip & |\textrightsingletulip|\SpecialIndex{\textrightsingletulip} & Single
+% tulip, rightward \\
+% \spearright & |\spearright|\SpecialIndex{\spearright} &
+% Rightward-pointing spear head \\
+% \spearleft & |\spearleft|\SpecialIndex{\spearleft} &
+% Leftward-pointing spear head \\
+% \horizspearext &
+% |\horizspearext|\SpecialIndex{\horizspearext} & Extension
+% piece for horizontal shafts \\
+% \spearup & |\spearup|\SpecialIndex{\spearup} &
+% Upward-pointing spear head \\
+% \speardown & |\speardown|\SpecialIndex{\speardown} &
+% Downward-pointing spear head \\
+% \vertspearext & |\vertspearext|\SpecialIndex{\vertspearext}
+% & Extension piece for vertical shafts \\
+% \fleurdelis & |\fleurdelis|, |\fleurdelys|\SpecialIndex{\fleurdelis}
+%	\SpecialIndex{\fleurdelys} & Fleur-de-lis \\
+% \fleurdelisdown &
+% |\fleurdelisdown|, |\fleurdelysdown|\SpecialIndex{\fleurdelisdown}
+%	\SpecialIndex{\fleurdelys} & Fleur-de-lis, downward \\
+% \fleurdelisleft &
+% |\fleurdelisleft|, |\fleurdelysleft|\SpecialIndex{\fleurdelisleft}
+%	\SpecialIndex{\fleurdelys} & Fleur-de-lis, leftward \\
+% \fleurdelisright &
+% |\fleurdelisright|, |\fleurdelysright|\SpecialIndex{\fleurdelisright}
+%\SpecialIndex{\fleurdelys} & Fleur-de-lis, rightward \\
+% \LARGE\woundcordleftext & |\woundcordleftext|\SpecialIndex{\woundcordleftext} 
+%	& Wound cord, leftward facing, extender \\
+% \LARGE\woundcordrightext & 
+% 	|\woundcordrightext|\SpecialIndex{\woundcordrightext} & 
+%	Wound cord, rightward facing, extender \\
+% \LARGE\woundcordleftend & |\woundcordleftend|\SpecialIndex{\woundcordleftend} 
+%	& Wound cord, left end \\
+% \LARGE\woundcordrightend & 
+%	|\woundcordrightend|\SpecialIndex{\woundcordrightend} & 
+%	Wound cord, right end \\
+% \LARGE\woundcordleftendinv & 
+%	|\woundcordleftendinv|\SpecialIndex{\woundcordleftendinv} & 
+%	Wound cord, left end, inverted \\
+% \LARGE\woundcordrightendinv & 
+%	|\woundcordrightendinv|\SpecialIndex{\woundcordrightendinv} & 
+%	Wound cord, right end, inverted \\
+% \end{longtable}
+% \end{center}
+%
+% \label{page:orncomment}
+% These ornaments are often quite useful for decorative
+% purposes, though textual ornaments are too often neglected
+% these days.  (The sturdy |adforn| and intricate
+% |psvectorian| packages for \LaTeX\ are notable and
+% admirable exceptions.)  The possibilities with even just a
+% few decorative shapes are endless.
+% 
+% \subsection{Special Symbol and Ornamental Commands} 
+% \label{sub:ornamentals}
+%
+% \lettrine{B}{ecause typography} is an ancient art full of arcane
+% knowledge, there are some things that simply won't fit
+% into the general rules.  As a result, DRM offers a few
+% interesting tidbits that your author hasn't found, or
+% hasn't found useful, elsewhere.  We start with a few
+% commands for using the textual ornaments DRM provides,
+% followed by some more mundane but still useful
+% typographical tools.
+%
+% \subsubsection{Ornamental Commands}
+% \label{subsub:orncommands}
+%
+% Having just mentioned the great decorative utility of
+% old-fashioned textual ornaments,\footnote{\textit{See
+% supra} at \pageref{page:orncomment}.} it would be remiss not to
+% offer some tools for actually using such ornaments short
+% of entering them in and designing interlocking boxes by
+% hand.  Ornaments, being inherently decorative rather than
+% systematic, are not always subject to automation; but some
+% limited applications can be, and DRM tries to offer some
+% help with them.
+%
+% DRM offers |\tulipframe|\DescribeMacro{\tulipframe}, which
+% frames a title in decorative tulip fleurons:
+%
+% \vskip1em%
+% 
+% \hbox to\linewidth{\hfil|\tulipframe{\texttc{Example}}|\hfil}%
+% {\LARGE\tulipframe{\texttc{Example}}}
+%
+% \vskip1em%
+% 
+% The nature of the tulip fleurons in DRM's symbol font is
+% such that these frames can be extended or shrunk as one
+% wishes.  |\tulipframe|, alas, is not that intelligent; it
+% doesn't grow or shrink with the text, but simply sits as
+% it is.  Doing better than this will require box-fiddling
+% by hand.  However, since DRM offers vertical \emph{and}
+% horizontal tulip ornaments, it's possible to have
+% ornamental frames of any height or width.
+%
+% DRM also offers an extremely flexible \emph{rule system},
+% allowing the creation of vertical and horizontal rules of
+% any length, out of any characters, in the beginning, the
+% middle figures, and the end.  Meet
+% \DescribeMacro{\extrule}|\extrule|, or \emph{extensible
+% rule}, which can produce rules with whatever characters
+% you'd like.
+%
+% |\extrule| requires five arguments, as shown below:
+%
+% \begin{center}
+% \cmd{\extrule} \marg{orient} \marg{len}
+% \marg{start} \marg{end} \marg{ext}
+% \end{center}
+%
+% \begin{description}
+% \item[orient] The rule's \emph{orientation}.  This can
+% take the value \marg{h}, for \emph{horizontal}, or
+% \marg{v}, for \emph{vertical}.
+% \item[len] The rule's \emph{length}.  This will be the
+% total length of the rule, including the start and end
+% characters.  It can be passed in any form understood by
+% \eTeX's |\numexpr| and |\dimexpr|, meaning that you can 
+% give it formul\ae, such as |{0.2\linewidth}|.
+% \item[start] The first character in the rule; this means
+% either the left character in a horizontal rule, or the
+% bottom character in a vertical rule.
+% \item[end] The last character in the rule, either the
+% right in a horizontal or the top in a vertical.
+% \item[ext] The extension character; this is the character
+% which will be repeated  until the rule is the appropriate
+% length.
+% \end{description}
+%
+% DRM offers several useful characters for producing such
+% rules, which are designed to line up properly and thus
+% produce attractive decorative rules.  Among these are the
+% \emph{spear characters}, and we will demonstrate their use
+% with a couple of sample rules:
+%
+% \begin{center}
+% \begin{tabular}{m{0.5\linewidth}c}
+% |\extrule{h}{\linewidth/2}{\spearleft}|
+% |{\spearright}{\horizspearext}| &
+% \extrule{h}{\linewidth/6}{\spearleft}
+% {\spearright}{\horizspearext} \\
+% |\extrule{v}{\linewidth/6}{\speardown}|
+% |{\spearup}{\vertspearext}| &
+% \extrule{v}{\linewidth/6}{\speardown}
+% {\spearup}{\vertspearext} \\
+% \end{tabular}
+% \end{center}
+%
+% Of course, these are typically more useful when longer, as
+% in the rule below, which is equal to the |\linewidth|:
+%
+% \extrule{h}{\linewidth}{\spearleft}{\spearright}{\horizspearext}
+%
+% As is evident, |\extrule| also suppresses indentation,
+% which is almost certainly the right choice.  If you want
+% an indent with it, it's easy enough to put one in
+% explicitly.
+%
+% While characters like these, designed to line up
+% correctly, are naturally the most likely candidates for
+% such rules, you can use any characters you'd like, which
+% can sometimes lead to some interesting choices:
+%
+% |\extrule{h}{\linewidth/2}{\textleftarrow}{\textrightarrow}{\dag}|
+%
+% \begin{center}
+% \extrule{h}{\linewidth/2}{\textleftarrow}{\textrightarrow}{\dag}
+% \end{center}
+%
+% This is a pretty absurd example, of course, but it's
+% likely that better ones could and will be devised.
+%
+% And what about when we desire a special character in the
+% \emph{middle} of the rule?  Use \emph{two} |\extrule|s and
+% put the symbol you want in the middle between them; make
+% sure you comment out the end of your first and second
+% lines, so as not to introduce any extraneous spaces:
+% 
+% \begin{verbatim}
+% \extrule{h}{\linewidth/2}{\spearleft}{}{\horizspearext}%
+% \textbigcircle%
+% \extrule{h}{\linewidth/2}{}{\spearright}{\horizspearext}%
+% \end{verbatim}
+% \begin{center}
+% \extrule{h}{\linewidth/4}{\spearleft}{}{\horizspearext}\textbigcircle\extrule{h}{\linewidth/4}{}{\spearright}{\horizspearext}
+% \end{center}
+%
+% There's no reason we can't put more than one character into
+% these slots, as well, if we want to mix them with some
+% different characters:
+%
+% \begin{verbatim}
+% \extrule{h}{\linewidth/2}{\spearleft\raisebox{0.8pt}{\textpipe}}%
+%		{\raisebox{0.8pt}{\textpipe}\spearright}{\horizspearext}%
+% \end{verbatim}
+% \begin{center}
+% \extrule{h}{\linewidth/2}{\spearleft\raisebox{0.8pt}{\textpipe}}%
+%	{\raisebox{0.8pt}{\textpipe}\spearright}{\horizspearext}%
+% \end{center}
+%
+% Some other useful characters for decorative rules are the
+% ``wound cord'' characters:
+%
+% \begin{center}
+% \Huge
+% \extrule{h}{\linewidth/2}{\drmsym{\char'323}}{\drmsym{\char'322}}{\drmsym{\char'324}}
+% \extrule{h}{\linewidth/2}{\drmsym{\char'320}}{\drmsym{\char'321}}{\drmsym{\char'317}}
+% \end{center}
+% \vskip1em%
+%
+% Finally, these rules can often form very dignified page
+% borders.  The border on this page, for example, was formed
+% very simply by the following (using
+% |\usepackage[absolute]{textpos}|):
+% \setlength{\TPHorizModule}{\linewidth}
+% \begin{textblock}{1}(0.22,2)
+% \extrule{v}{\textheight/6*7}{\textbigcircle}{\spearup}{\vertspearext}%
+% \hskip-1.3em%
+% \extrule{h}{8\textwidth/6}{}{\spearright}{\horizspearext}%
+% \end{textblock}
+%
+% \begin{verbatim}
+% \setlength{\TPHorizModule}{\linewidth}
+% \begin{textblock}{1}(0.22,2)
+% \extrule{v}{\textheight/6*7}{\textbigcircle}{\spearup}{\vertspearext}%
+% \hskip-1.3em%
+% \extrule{h}{8*\textwidth/6}{}{\spearright}{\horizspearext}%
+% \end{textblock}
+% \end{verbatim}
+%
+% This takes a little hand-tuning (e.g., the |\hskip| prior
+% to the horizontal |\extrule|, and the offset in the
+% parentheses), but once done, it can look quite nice.
+%
+% \subsubsection{Ellipses}
+% \label{subsub:ellipses}
+%
+% DRM also has some unreasonably configurable ellipses.
+% Your author included these because he's often been
+% displeased by the default ellipsis options.  (Of course,
+% there is the excellent |ellipsis| package; but why not fix
+% the problem here, when I've got the chance?)  DRM offers
+% two ellipsis commands, \DescribeMacro{\drmelip}|\drmelip|,
+% which gives a three-dot ellipsis, and
+% \DescribeMacro{\drmfelip}|\drmfelip|, which gives a
+% four-dot ellipsis.
+%
+% I was always taught then when an ellipsis occurs after a
+% period, four dots should be used, the first dot being the
+% period itself and the next three being the ellipsis.
+% However, using |\ldots| and similar commands after a
+% period always seems to result in spacing that was subtlely
+% (or not-so-subtlely) off.  So DRM tries to fix that
+% problem with these commands.
+%
+% The default behavior of the two:
+%
+% \begin{table}[htbp]
+% \begin{center}\Large
+% \begin{tabular}{ll}
+% |\drmelip| & |Trying out\drmelip the ellipsis.| \\
+% {} & Trying out\drmelip the ellipsis. \\
+% |\drmfelip| & |\drmelip and so on\drmfelip| \\
+% {} & \drmelip and so on\drmfelip \\
+% \end{tabular}
+% \caption{A demonstration of DRM's two types of ellipses.}
+% \end{center}
+% \end{table}
+%
+% It goes without saying, of course, that these ellipses
+% won't break across lines.
+%
+% There are four parameters that govern how these ellipses
+% actually appear:  the space before the ellipsis starts,
+% the space in between the ellipsis characters, the space
+% after the ellipsis ends, and the character used for the
+% ellipsis.  Each of these parameters are configurable.
+%
+% \DescribeMacro{\drmelipgap}|\drmelipgap| is a \LaTeX\
+% length which determines how much space is between each
+% ellipsis character; reset it, if you like, with the
+% standard |\setlength| command.  By default, it is just
+% under three points (2.9, to be precise.)
+%
+% \DescribeMacro{\drmelipbef}|\drmelipbef| and
+% \DescribeMacro{\drmelipaft}|\drmelipaft| are, as the names
+% imply, the lengths which govern the amount of space
+% before and after the ellipsis.  Reset them with the
+% \LaTeX\ |\setlength| command.  By default, they are 2.4
+% points and 1.4 points, respectively.
+%
+% Finally, the \DescribeMacro{\drmelipchar}|\drmelipchar|
+% macro tells \LaTeX\ what character is used for the
+% ellipsis.  By default, this is |.|, but it can be
+% |\def|ed or |\renewcommand|ed to be anything you like.
+% Always wanted an ellipse made out ampersands for some
+% reason?  Or perhaps one made out of daggers?
+%
+% \vskip2em%
+% \hbox to\linewidth{\hfil|\def\drmelipchar{\dag}\drmelip|\hfil}
+% \hbox to\linewidth{\hfil\def\drmelipchar{\dag}\drmelip\hfil}
+% \vskip2em%
+%
+% \def\drmelipchar{.}%
+% It's probably wise not to abuse this, but it's good for a
+% little fun sometimes, and it's easier to use (though
+% obviously much less flexible) than \TeX's |\dotfill|
+% incantations.
+%
+% It is occasionally useful, however; e.g., some legal
+% writing makes ellipses out of asterisks:
+%
+% \vskip2em%
+% \hbox % to\linewidth{\hfil|\def\drmelipchar{$^*$}The decision is hereby\drmelip reversed.|\hfil}
+% \hbox to\linewidth{\hfil\def\drmelipchar{$^*$}The decision is
+% hereby\drmelip reversed.\hfil}
+% \vskip2em%
+%
+% \def\drmelipchar{.}%
+% So once in a while, we might actually be able to use this
+% feature for something other than its novelty value.
+%
+% \subsection{Math}
+% \label{sub:math}
+%
+% Your author is far from a mathematician, so he's not
+% really able to judge the quality of the following; but DRM
+% does offer matching math fonts.  These are limited to the
+% default \TeX\ math fonts, however; AMS extensions and the
+% like are not available.  Perhaps one day (after finishing
+% the ornaments and decorative initials) they will be, but
+% for now one will have to pull in other fonts for anything
+% that goes beyond plain \TeX.  Using them in bold goes a
+% long way to making them match the rest of DRM.
+%
+% First, we have a full set of mathematical Greek letters.
+% As seems to be the custom, the capitals are upright and
+% the lowercase slanted.  These can all be accessed via the
+% customary \TeX\ math character names.
+%
+% \begin{center}
+% \begin{longtable}{llllllll}
+% \toprule
+% \multicolumn{8}{c}{Greek Letters} \\
+% \midrule
+% A & |A| & $\alpha$ & |$\alpha$| & B & |B| & $\beta$& |$\beta$| \\
+% $\Gamma$& |$\Gamma$| & $\gamma$& |$\gamma$| & $\Delta$& |$\Delta$| &
+% $\delta$& |$\delta$| \\ E & |E| & $\epsilon$& |$\epsilon$| & Z &
+% 	|Z| &
+% $\zeta$ & |$\zeta$| \\ H & |H| & $\eta$& |$\eta$| & $\Theta$& |$\Theta$| &
+% $\theta$& |$\theta$| \\ I & |I| & $\iota$& |$\iota$| & K & |K| &
+% $\kappa$& |$\kappa$| \\ $\Lambda$& |$\Lambda$| & $\lambda$&
+% 	|$\lambda$| & M & |M| &
+% $\mu$ & |$\mu$| \\ N & |N| & $\nu$& |$\nu$| & $\Xi$& |$\Xi$| &
+% $\xi$& |$\xi$| \\ O & |O| & o & |o| & $\Pi$& |$\Pi$| &
+% $\pi$& |$\pi$| \\ P & |P| & $\rho$& |$\rho$| & $\Sigma$& |$\Sigma$| &
+% $\sigma$& |$\sigma$| \\ T & |T| & $\tau$& |$\tau$| & Y & |Y| &
+% $\upsilon$& |$\upsilon$| \\ $\Phi$& |$\Phi$| & $\phi$& |$\phi$| & X & |X| &
+% $\chi$& |$\chi$| \\ $\Psi$& |$\Psi$| & $\psi$& |$\psi$| & $\Omega$&
+% 	|$\Omega$| & $\omega$& |$\omega$| \\ $\vartheta$& |$\vartheta$| & $\varpi$&
+% 	|$\varpi$| & $\varsigma$& |$\varsigma$| & $\varphi$ &
+%	|$\varphi$| \\
+% \bottomrule
+% \end{longtable}
+% \end{center}
+%
+% This alphabet led directly to DRM's Greek font, which we
+% discuss elsewhere.\footnote{\textit{See supra}, Section
+% \ref{sub:greek}, at \pageref{sub:greek}.}
+%
+% \begin{center}
+% \begin{longtable}{llllllll}
+% \toprule
+% \multicolumn{8}{c}{Math Calligraphic} \\
+% \midrule
+% $\mathcal{A}$ & $\mathcal{B}$ & $\mathcal{C}$ & $\mathcal{D}$ & $\mathcal{E}$ & $\mathcal{F}$ & $\mathcal{G}$ & $\mathcal{H}$ \\
+% $\mathcal{I}$ & $\mathcal{J}$ & $\mathcal{K}$ & $\mathcal{L}$ & $\mathcal{M}$ & $\mathcal{N}$ & $\mathcal{O}$ & $\mathcal{P}$ \\
+% $\mathcal{Q}$ & $\mathcal{R}$ & $\mathcal{S}$ & $\mathcal{T}$ & $\mathcal{U}$ & $\mathcal{V}$ & $\mathcal{W}$ & $\mathcal{X}$ \\
+% $\mathcal{Y}$ & $\mathcal{Z}$ & {} & {} & {} & {} & {} & {} \\
+% \bottomrule
+% \end{longtable}
+% \end{center}
+%
+% DRM also has its own extensible characters and
+% variable-sized math characters; a few examples
+% in various sizes are below.
+%
+% $$ \sum\limits_{i=1}^n i^2 = \frac{n(n+1)(2n+1)}{6} $$
+% $$ \prod\limits_{i=1}^n i^2 = \left(\frac{n(n+1)(2n+1)}{6}\right) $$
+% $$ \sum\nolimits_{P_i \in Paths(I)} Probes(P_{i}) $$
+% $$ \underbrace{\overbrace{abcdefghijklmnop}} $$
+%
+% By default, using |\big| and friends doesn't work, a
+% problem I haven't been able to resolve.  However, by
+% requiring |amsmath|, |drm| provides a more directly
+% flexible mechanism for this: % \DescribeMacro{\bigd}|\bigd|, 
+% which allows arbitrarily sized delimiters.  It takes a
+% single argument, which is an integer describing the
+% desired size:
+%
+% \begin{center}
+% \begin{tabular}{llllll}
+% |\bigd{2}\{| & \bigd{2}\{ &
+% |\bigd{4}\{| & \bigd{4}\{ &
+% |\bigd{8}\{| & \bigd{8}\{ \\
+% \end{tabular}
+% \end{center}
+%
+% |\left| and |\right| work as expected with DRM's
+% delimiters.
+%
+% This symbols, of course, also work inline (as opposed to
+% displayed, which is what we have above); you can take
+% $\sqrt{2}$ and have $(3\times\left(4\over3\right))$ just
+% as easily in a paragraph as in a display, though you may
+% want to take care that you're not using too much space for
+% your lines.  (I didn't take care in this paragraph, and
+% you can see how bad it looks.)
+%
+% \subsection{Greek}
+% \label{sub:greek}
+%
+% Because DRM offers Greek characters in math, it was a
+% short step to offer actual Greek text, and so I've done
+% so, according to the standard LGR encoding.  I can just
+% barely read the Greek alphabet and remember very little of
+% the grammar, and what little I once knew was all ancient
+% and koine, but here it is.  DRM's Greek support is
+% limited; while it offers all the normal \emph{polutoniko}
+% accents, subscripts, and breathings, along with some
+% archaic characters like the digamma, there is no italic,
+% small caps, or various weights.  DRM isn't, therefore,
+% really suitable for typesetting whole Greek works; it
+% will, however, offer attractive typesetting of Greek
+% phrases and quotations within a text set otherwise in the
+% Latin alphabet.
+%
+% The |\grktext|\DescribeMacro{\grktext}\ command changes the
+% current font encoding to LGR, which for DRM's purposes
+% means it's typesetting with Greek characters from then on.
+% The macro |\textgrk|\DescribeMacro{\textgrk}\ is similar,
+% but takes a single argument, which is typeset in Greek
+% characters.  A few examples follow.
+%
+% \begin{center}
+% \begin{tabular}{p{0.4\textwidth}p{0.4\textwidth}}
+% \begin{spverbatim}We know that \textgrk{Aqilleuc} was one of the Greeks' greatest warriors.\end{spverbatim} &
+% \begin{spverbatim}{\grktext >En {\>a}rq\char'254\ {\>~h}n {\<o} l{\'o}goc, ka{\'i} {\<o} l{\'o}goc {\~\>h}n pr{\'o}c t{\'o}n je{\'o}n, ka{\'i} je{\'o}c {\>\~h}n {\<o} l{\'o}goc.}\end{spverbatim} \\
+% We know that \textgrk{Aqilleuc} was one 
+% of the Greeks' greatest warriors. &
+% {\grktext >En {\>a}rq\char'254\
+% {\>~h}n {\<o} l{\'o}goc, ka{\'i} {\<o} l{\'o}goc {\~\>h}n
+% pr{\'o}c t{\'o}n je{\'o}n, ka{\'i} je{\'o}c {\>\~h}n {\<o}
+% l{\'o}goc.} \\
+% \end{tabular}
+% \end{center}
+%
+% I understand that |babel| has facilities for making the
+% typesetting of all the \textgrk{polutoniko} accents much
+% cleaner, but I don't write enough in Greek to have learned
+% to use it, resulting in the mess you see above.  Note that
+% |drm| (the package) does \emph{not} pull in |babel| or the
+% |polutoniko| option, or any other Greek typesetting
+% package; it simply provides the fonts.  If you're
+% typesetting long enough passages that you need Greek
+% hyphenation and the like, you'll have to invoke the
+% appropriate package yourself.
+%
+% \section{Implementation}
+% \label{sect:code}
+% 
+% Load the required packages.  DRM contains TS1, LGR, OML,
+% OMS, and T1 encoded fonts, so we load |fontenc| with all
+% these encodings as options.  We also load |modroman| for 
+% the |\romanize| macro, defined below.
+%    \begin{macrocode}
+\RequirePackage[LGR,OML,OMS,TS1,T1]{fontenc}
+\RequirePackage{modroman}
+\RequirePackage{amsmath}
+%    \end{macrocode}
+% Now we declare our options.
+%    \begin{macrocode}
+\newif\ifnodefault\nodefaultfalse
+\newif\ifnodefaultmath\nodefaultmathfalse
+\newif\ifnodefaulttext\nodefaulttextfalse
+\newif\ifsymbolsonly\symbolsonlyfalse
+\DeclareOption{nodefault}{\nodefaulttrue\nodefaultmathtrue%
+	\nodefaulttexttrue}
+\DeclareOption{nodefaultmath}{\nodefaultmathtrue}
+\DeclareOption{nodefaulttext}{\nodefaulttexttrue}
+\DeclareOption{symbolsonly}{\symbolsonlytrue\nodefaulttrue%
+	\nodefaulttexttrue\nodefaultmathtrue}
+\ProcessOptions
+%    \end{macrocode}
+% Begin defining the font families.
+%    \begin{macrocode}
+\DeclareFontFamily{T1}{drm}{}
+\DeclareFontFamily{TS1}{drm}{}
+\DeclareFontFamily{LGR}{drm}{}
+\DeclareFontShape{T1}{drm}{m}{n}{ <-7> drm6 <7> drm7 <8> drm8
+	<9> drm9 <10-12> drm10 <12-13> drm12 <14-17> drm14 
+	<17-24> drm17 <24-> drm24 }{}
+\DeclareFontShape{T1}{drm}{m}{sc}{<-7> drmsc6 <7> drmsc7 
+	<8> drmsc8 <9> drmsc9 <10-12> drmsc10 <12-14> drmsc12 
+	<14-17> drmsc14 <17-24> drmsc17 <24-> drmsc24 }{}
+\DeclareFontShape{T1}{drm}{m}{tc}{<-7> drmtc6 <7> drmtc7 
+	<8> drmtc8 <9> drmtc9 <10-12> drmtc10 <12-14> drmtc12 
+	<14-17> drmtc14 <17-24> drmtc17 <24-> drmtc24 }{}
+\DeclareFontShape{T1}{drm}{m}{sl}{<-7> drmsl6 <7> drmsl7 
+	<8> drmsl8 <9> drmsl9 <10-12> drmsl10 <12-14> drmsl12 
+	<14-17> drmsl14 <17-24> drmsl17 <24-> drmsl24 }{}
+\DeclareFontShape{T1}{drm}{m}{it}{ <-7> drmit6 <7> drmit7 
+	<8> drmit8 <9> drmit9 <10-12> drmit10 <12-14> drmit12 
+	<14-17> drmit14 <17-24> drmit17 <24-> drmit24 }{}
+\DeclareFontShape{T1}{drm}{m}{ui}{<-7> drmui6 <7> drmui7 
+	<8> drmui8 <9> drmui9 <10-12> drmui10 <12-14> drmui12 
+	<14-17> drmui14 <17-24> drmui17 <24-> drmui24 }{}
+\DeclareFontShape{T1}{drm}{l}{n}{<-7> drml6 <7> drml7 
+	<8> drml8 <9> drml9 <10-12> drml10 <12-14> drml12 
+	<14-17> drml14 <17-24> drml17 <24-> drml24 }{}
+\DeclareFontShape{T1}{drm}{b}{n}{<-7> drmb6 <7> drmb7 
+	<8> drmb8 <9> drmb9 <10-12> drmb10 <12-14> drmb12 
+	<14-17> drmb14 <17-24> drmb17 <24-> drmb24 }{}
+\DeclareFontShape{T1}{drm}{bx}{n}{<-7> drmbx6 <7> drmbx7 
+	<8> drmbx8 <9> drmbx9 <10-12> drmbx10 <12-14> drmbx12 
+	<14-17> drmbx14 <17-24> drmbx17 <24-> drmbx24 }{}
+\DeclareFontShape{TS1}{drm}{m}{n}{<-7> drmsym7 
+	<8> drmsym8 <9> drmsym9 <10-12> drmsym10 <12-14> drmsym12 
+	<14-17> drmsym14 <17-24> drmsym17 <24-> drmsym24 }{}
+\DeclareFontShape{LGR}{drm}{m}{n}{<-> drmgrk10 }{}
+%    \end{macrocode}
+% Now, set the default text font as DRM unless |nodefault|
+% or |nodefaulttext| has been specified.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaulttext\else
+	\renewcommand\encodingdefault{T1}
+	\renewcommand\familydefault{drm}
+\fi\fi
+%    \end{macrocode}
+% Now we move on to define commands for the more unusual
+% shapes, since \LaTeXe\ doesn't have them built in.  We
+% start with \texttc{titling small caps}, then move on to
+% \textui{upright italics}.  We also define |\textgrk| and
+% |\grktext|, for typesetting in Greek characters.
+%    \begin{macrocode}
+\def\tcshape{\fontshape{tc}\selectfont}
+\def\texttc#1{{\tcshape#1}}
+\def\uishape{\fontshape{ui}\selectfont}
+\def\textui#1{{\uishape#1}}
+\def\grktext{\fontencoding{LGR}\selectfont}
+\def\textgrk#1{{\grktext#1}}
+%    \end{macrocode}
+% Next, we define the weights.  We know that |\textbf| will
+% give us normal boldface, and that |\textmd| will return us
+% to medium weight; but since DRM also has a light weight
+% and a bold non-extended, we need to define commands for
+% those, as well.
+%    \begin{macrocode}
+\def\lseries{\fontseries{l}\selectfont}
+\def\textl#1{{\lseries#1}}
+\def\bseries{\fontseries{b}\selectfont}
+\def\textb#1{{\bseries#1}}
+%    \end{macrocode}
+% Moving on, we define size commands based on
+% traditional English-language printers' names.  Why?
+% \emph{Because we can}, that's why.
+%    \begin{macrocode}
+% \def\loosen{\addtolength{\baselineskip}{1pt}}
+% \def\excelsior{\fontsize{3pt}{3.5pt}\selectfont}
+% \def\minikin{\excelsior}
+% \def\brilliant{\fontsize{4pt}{4.5pt}\selectfont}
+% \def\diamond{\fontsize{4.5pt}{5pt}\selectfont}
+% \def\pearl{\fontsize{5pt}{6pt}\selectfont}
+% \def\agate{\fontsize{5.5pt}{6.5pt}\selectfont}
+% \def\ruby{\agate}
+% \def\nonpareille{\fontsize{6pt}{7pt}\selectfont}
+% \def\minionette{\fontsize{6.5pt}{7.5pt}\selectfont}
+% \def\emerald{\minionette}
+% \def\minion{\fontsize{7pt}{8pt}\selectfont}
+% \def\brevier{\fontsize{8pt}{9pt}\selectfont}
+% \def\petit{\brevier}
+% \def\smalltext{\brevier}
+% \def\bourgeois{\fontsize{9pt}{10pt}\selectfont}
+% \def\galliard{\bourgeois}
+% \def\longprimer{\fontsize{10pt}{12pt}\selectfont}
+% \def\corpus{\longprimer}
+% \def\garamond{\longprimer}
+% \def\smallpica{\fontsize{11pt}{13pt}\selectfont}
+% \def\philosophy{\smallpica}
+% \def\pica{\fontsize{12pt}{15pt}\selectfont}
+% \def\english{\fontsize{14pt}{17pt}\selectfont}
+% \def\mittel{\english}
+% \def\augustin{\english}
+% \def\columbian{\fontsize{16pt}{19pt}\selectfont}
+% \def\twolinebrevier{\columbian}
+% \def\greatprimer{\fontsize{18pt}{22pt}\selectfont}
+% \def\paragon{\fontsize{20pt}{24pt}\selectfont}
+% \def\doublesmallpica{\fontsize{21pt}{25pt}\selectfont}
+% \def\doublesmallpicaus{\fontsize{22pt}{26pt}\selectfont}
+% \def\doublepicabrit{\doublesmallpicaus}
+% \def\doublepica{\fontsize{24pt}{28pt}\selectfont}
+% \def\twolinepica{\doublepica}
+% \def\doubleenglish{\fontsize{28pt}{33pt}\selectfont}
+% \def\twolineenglish{\doubleenglish}
+% \def\fivelinenonpareil{\fontsize{30pt}{35pt}\selectfont}
+% \def\fourlinebrevier{\fontsize{32pt}{38pt}\selectfont}
+% \def\doublegreatprimer{\fontsize{36pt}{42pt}\selectfont}
+% \def\twolinegreatprimer{\doublegreatprimer}
+% \def\meridian{\fontsize{44pt}{50pt}\selectfont}
+% \def\twolinedoublepica{\meridian}
+% \def\trafalgar{\meridian}
+% \def\canon{\fontsize{48pt}{54pt}\selectfont}
+% \def\fourline{\canon}
+% \def\fivelinepica{\fontsize{60pt}{66pt}\selectfont}
+% \def\inch{\fontsize{72pt}{78pt}\selectfont}
+%    \end{macrocode}
+% Now we move on to define the math fonts.  This turned out
+% to be a surprisingly convoluted process, and I only
+% marginally understand what's going on here; but it works,
+% and I'll try to go through it as best as I can.
+%
+% First, we make \LaTeX\ aware of our math fonts:
+%    \begin{macrocode}
+\DeclareFontFamily{OML}{drm}{}
+\DeclareFontShape{OML}{drm}{m}{n}{ <-> drmmi10 }{}
+\DeclareFontFamily{OMS}{drm}{}
+\DeclareFontShape{OMS}{drm}{m}{n}{ <-> drmsy10 }{}
+\DeclareFontFamily{OMX}{drm}{}
+\DeclareFontShape{OMX}{drm}{m}{n}{ <-> drmomx10 }{}
+%    \end{macrocode}
+% Next, we declare something called a math \emph{version};
+% this way we can define new math shapes without clobbering
+% the default settings.  I'm not sure why this is really
+% necessary, but it appears to be; so we define a math
+% version |drmmath|:
+%    \begin{macrocode}
+\DeclareMathVersion{drmmath}
+%    \end{macrocode}
+% Now we define our symbol fonts.  This lets \LaTeX\ know
+% where to yank its symbols from when typesetting a math
+% formula.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\SetSymbolFont{operators}{drmmath}{T1}{drm}{m}{n}
+\SetSymbolFont{letters}{drmmath}{OML}{drm}{m}{n}
+\DeclareSymbolFont{symbs}{TS1}{drm}{m}{n}
+\SetSymbolFont{symbs}{drmmath}{TS1}{drm}{m}{n}
+\DeclareSymbolFont{drmmathsy}{OMS}{drm}{m}{n}
+\SetSymbolFont{drmmathsy}{drmmath}{OMS}{drm}{m}{n}
+\DeclareSymbolFont{drmmathomx}{OMX}{drm}{m}{n}
+\SetSymbolFont{drmmathomx}{drmmath}{OMX}{drm}{m}{n}
+\fi\fi
+%    \end{macrocode}
+% Now we write in our \emph{math alphabets}, so that when we
+% request |\mathcal| or something similar we'll get DRM and
+% not Computer Modern.  We define |\mathcal|, of course, and
+% also |\drmmathlets|, just in case we want to request DRM
+% directly.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathAlphabet{\drmmathlets}{OML}{drm}{m}{n}
+\SetMathAlphabet{\drmmathlets}{drmmath}{OML}{drm}{m}{n}
+\DeclareMathAlphabet{\mathcal}{OMS}{drm}{m}{n}
+\SetMathAlphabet{\mathcal}{drmmath}{OMS}{drm}{m}{n}
+\fi\fi
+%    \end{macrocode}
+% Now ensure that we get lining figures in math mode.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathSymbol{0}{0}{symbs}{48}
+\DeclareMathSymbol{1}{0}{symbs}{49}
+\DeclareMathSymbol{2}{0}{symbs}{50}
+\DeclareMathSymbol{3}{0}{symbs}{51}
+\DeclareMathSymbol{4}{0}{symbs}{52}
+\DeclareMathSymbol{5}{0}{symbs}{53}
+\DeclareMathSymbol{6}{0}{symbs}{54}
+\DeclareMathSymbol{7}{0}{symbs}{55}
+\DeclareMathSymbol{8}{0}{symbs}{56}
+\DeclareMathSymbol{9}{0}{symbs}{57}
+\fi\fi
+%    \end{macrocode}
+% Now, it appears to be necessary to redefine all the math
+% symbols, so we do that.  Beginning with the Greek letters:
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathSymbol{\Gamma}{0}{letters}{0}
+\DeclareMathSymbol{\Delta}{0}{letters}{1}
+\DeclareMathSymbol{\Theta}{0}{letters}{2}
+\DeclareMathSymbol{\Lambda}{0}{letters}{3}
+\DeclareMathSymbol{\Xi}{0}{letters}{4}
+\DeclareMathSymbol{\Pi}{0}{letters}{5}
+\DeclareMathSymbol{\Sigma}{0}{letters}{6}
+\DeclareMathSymbol{\Upsilon}{0}{letters}{7}
+\DeclareMathSymbol{\Phi}{0}{letters}{8}
+\DeclareMathSymbol{\Psi}{0}{letters}{9}
+\DeclareMathSymbol{\Omega}{0}{letters}{10}
+\DeclareMathSymbol{\alpha}{0}{letters}{11}
+\DeclareMathSymbol{\beta}{0}{letters}{12}
+\DeclareMathSymbol{\gamma}{0}{letters}{13}
+\DeclareMathSymbol{\delta}{0}{letters}{14}
+\DeclareMathSymbol{\epsilon}{0}{letters}{15}
+\DeclareMathSymbol{\zeta}{0}{letters}{16}
+\DeclareMathSymbol{\eta}{0}{letters}{17}
+\DeclareMathSymbol{\theta}{0}{letters}{18}
+\DeclareMathSymbol{\iota}{0}{letters}{19}
+\DeclareMathSymbol{\kappa}{0}{letters}{20}
+\DeclareMathSymbol{\lambda}{0}{letters}{21}
+\DeclareMathSymbol{\mu}{0}{letters}{22}
+\DeclareMathSymbol{\nu}{0}{letters}{23}
+\DeclareMathSymbol{\xi}{0}{letters}{24}
+\DeclareMathSymbol{\pi}{0}{letters}{25}
+\DeclareMathSymbol{\rho}{0}{letters}{26}
+\DeclareMathSymbol{\sigma}{0}{letters}{27}
+\DeclareMathSymbol{\tau}{0}{letters}{28}
+\DeclareMathSymbol{\upsilon}{0}{letters}{29}
+\DeclareMathSymbol{\phi}{0}{letters}{30}
+\DeclareMathSymbol{\chi}{0}{letters}{31}
+\DeclareMathSymbol{\psi}{0}{letters}{32}
+\DeclareMathSymbol{\omega}{0}{letters}{33}
+\DeclareMathSymbol{\varepsilon}{0}{letters}{34}
+\DeclareMathSymbol{\vartheta}{0}{letters}{35}
+\DeclareMathSymbol{\varpi}{0}{letters}{36}
+\DeclareMathSymbol{\varrho}{0}{letters}{37}
+\DeclareMathSymbol{\varsigma}{0}{letters}{38}
+\DeclareMathSymbol{\varphi}{0}{letters}{39}
+\fi\fi
+%    \end{macrocode}
+% Now let's define some of the other symbols in the OML
+% encoding.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathSymbol{\leftharpoonup}{0}{letters}{40}
+\DeclareMathSymbol{\leftharpoondown}{0}{letters}{41}
+\DeclareMathSymbol{\rightharpoonup}{0}{letters}{42}
+\DeclareMathSymbol{\rightharpoondown}{0}{letters}{43}
+\DeclareMathSymbol{\triangleright}{0}{letters}{46}
+\DeclareMathSymbol{\triangleleft}{0}{letters}{47}
+\DeclareMathSymbol{\flat}{0}{letters}{91}
+\DeclareMathSymbol{\natural}{0}{letters}{92}
+\DeclareMathSymbol{\sharp}{0}{letters}{93}
+\DeclareMathSymbol{\smile}{0}{letters}{94}
+\DeclareMathSymbol{\frown}{0}{letters}{95}
+\DeclareMathSymbol{\ell}{0}{letters}{96}
+\DeclareMathSymbol{\imath}{0}{letters}{123}
+\DeclareMathSymbol{\jmath}{0}{letters}{124}
+\DeclareMathSymbol{\wp}{0}{letters}{125}
+\fi\fi
+%    \end{macrocode}
+% Now we go on to define the symbols from the OMS-encoded
+% fonts.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathSymbol{-}{2}{drmmathsy}{'000}
+\DeclareMathSymbol{\cdot}{2}{drmmathsy}{'001}
+\DeclareMathSymbol{\times}{2}{drmmathsy}{'002}
+\DeclareMathSymbol{\ast}{2}{drmmathsy}{'003}
+\DeclareMathSymbol{\div}{2}{drmmathsy}{'004}
+\DeclareMathSymbol{\diamond}{2}{drmmathsy}{'005}
+\DeclareMathSymbol{\pm}{2}{drmmathsy}{'006}
+\DeclareMathSymbol{\mp}{2}{drmmathsy}{'007}
+\DeclareMathSymbol{\oplus}{2}{drmmathsy}{'010}
+\DeclareMathSymbol{\ominus}{2}{drmmathsy}{'011}
+\DeclareMathSymbol{\otimes}{2}{drmmathsy}{'012}
+\DeclareMathSymbol{\oslash}{2}{drmmathsy}{'013}
+\DeclareMathSymbol{\odot}{2}{drmmathsy}{'014}
+\DeclareMathSymbol{\bigcirc}{2}{drmmathsy}{'015}
+\DeclareMathSymbol{\circ}{2}{drmmathsy}{'016}
+\DeclareMathSymbol{\bullet}{2}{drmmathsy}{'017}
+\DeclareMathSymbol{\asymp}{3}{drmmathsy}{'020}
+\DeclareMathSymbol{\equiv}{3}{drmmathsy}{'021}
+\DeclareMathSymbol{\subseteq}{3}{drmmathsy}{'022}
+\DeclareMathSymbol{\supseteq}{3}{drmmathsy}{'023}
+\DeclareMathSymbol{\leq}{3}{drmmathsy}{'024}
+\DeclareMathSymbol{\geq}{3}{drmmathsy}{'025}
+\DeclareMathSymbol{\preceq}{3}{drmmathsy}{'026}
+\DeclareMathSymbol{\succeq}{3}{drmmathsy}{'027}
+\DeclareMathSymbol{\sim}{3}{drmmathsy}{'030}
+\DeclareMathSymbol{\approx}{3}{drmmathsy}{'031}
+\DeclareMathSymbol{\subset}{3}{drmmathsy}{'032}
+\DeclareMathSymbol{\supset}{3}{drmmathsy}{'033}
+\DeclareMathSymbol{\ll}{3}{drmmathsy}{'034}
+\DeclareMathSymbol{\gg}{3}{drmmathsy}{'035}
+\DeclareMathSymbol{\prec}{3}{drmmathsy}{'036}
+\DeclareMathSymbol{\succ}{3}{drmmathsy}{'037}
+\DeclareMathSymbol{\simeq}{3}{drmmathsy}{'047}
+\DeclareMathSymbol{\propto}{3}{drmmathsy}{'057}
+\DeclareMathSymbol{\prime}{0}{drmmathsy}{'060}
+\DeclareMathSymbol{'}{0}{drmmathsy}{'060}
+\DeclareMathSymbol{\infty}{0}{drmmathsy}{'061}
+\DeclareMathSymbol{\in}{0}{drmmathsy}{'062}
+\DeclareMathSymbol{\ni}{0}{drmmathsy}{'063}
+\DeclareMathSymbol{\bigtriangleup}{2}{drmmathsy}{'064}
+\DeclareMathSymbol{\bigtriangledown}{2}{drmmathsy}{'065}
+\DeclareMathSymbol{/}{2}{drmmathsy}{'066}
+%\DeclareMathSymbol{'}{2}{drmmathsy}{'067}
+\DeclareMathSymbol{\forall}{2}{drmmathsy}{'070}
+\DeclareMathSymbol{\exists}{2}{drmmathsy}{'071}
+\DeclareMathSymbol{\neg}{2}{drmmathsy}{'072}
+\DeclareMathSymbol{\emptyset}{2}{drmmathsy}{'073}
+\DeclareMathSymbol{\Im}{0}{drmmathsy}{'074}
+\DeclareMathSymbol{\Re}{0}{drmmathsy}{'075}
+\DeclareMathSymbol{\top}{0}{drmmathsy}{'076}
+\DeclareMathSymbol{\bot}{0}{drmmathsy}{'077}
+%\DeclareMathSymbol{\aleph}{0}{drmmathsy}{'080}
+\DeclareMathSymbol{\cup}{2}{drmmathsy}{'133}
+\DeclareMathSymbol{\cap}{2}{drmmathsy}{'134}
+\DeclareMathSymbol{\uplus}{2}{drmmathsy}{'135}
+\DeclareMathSymbol{\wedge}{2}{drmmathsy}{'136}
+\DeclareMathSymbol{\vee}{2}{drmmathsy}{'137}
+\DeclareMathSymbol{\vdash}{3}{drmmathsy}{'140}
+\DeclareMathSymbol{\dashv}{3}{drmmathsy}{'141}
+\fi\fi
+%    \end{macrocode}
+% Now we define some arrow symbols; there is a surprisingly
+% large variety of these.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathSymbol{\leftarrow}{0}{drmmathsy}{'040}
+\DeclareMathSymbol{\rightarrow}{0}{drmmathsy}{'041}
+\DeclareMathSymbol{\leftrightarrow}{0}{drmmathsy}{'044}
+\DeclareMathSymbol{\nearrow}{0}{drmmathsy}{'045}
+\DeclareMathSymbol{\searrow}{0}{drmmathsy}{'046}
+\DeclareMathSymbol{\Leftarrow}{0}{drmmathsy}{'050}
+\DeclareMathSymbol{\Rightarrow}{0}{drmmathsy}{'051}
+\DeclareMathSymbol{\Leftrightarrow}{0}{drmmathsy}{'054}
+\DeclareMathSymbol{\nwarrow}{0}{drmmathsy}{'055}
+\DeclareMathSymbol{\swarrow}{0}{drmmathsy}{'056}
+\DeclareMathSymbol{\wr}{2}{drmmathsy}{'157}
+\DeclareMathSymbol{\surd}{0}{drmmathsy}{'160}
+\DeclareMathSymbol{\amalg}{2}{drmmathsy}{'161}
+\DeclareMathSymbol{\nabla}{0}{drmmathsy}{'162}
+\DeclareMathSymbol{\sqcup}{2}{drmmathsy}{'164}
+\DeclareMathSymbol{\sqcap}{2}{drmmathsy}{'165}
+\DeclareMathSymbol{\sqsubseteq}{2}{drmmathsy}{'166}
+\DeclareMathSymbol{\sqsupseteq}{2}{drmmathsy}{'167}
+\DeclareMathSymbol{\dagger}{2}{drmmathsy}{'171}
+\DeclareMathSymbol{\ddagger}{2}{drmmathsy}{'172}
+\DeclareMathSymbol{:}{2}{operators}{'072}
+\DeclareMathSymbol{;}{0}{operators}{'073}
+\DeclareMathSymbol{.}{0}{letters}{'072}
+\DeclareMathSymbol{,}{0}{operators}{'054}
+\DeclareMathSymbol{\ldotp}{0}{letters}{'072}
+\DeclareMathSymbol{\clubsuit}{0}{letters}{'174}
+\DeclareMathSymbol{\diamondsuit}{0}{letters}{'175}
+\DeclareMathSymbol{\heartsuit}{0}{letters}{'176}
+\DeclareMathSymbol{\spadesuit}{0}{letters}{'177}
+\DeclareMathSymbol{\partial}{0}{drmmathsy}{'100}
+\fi\fi
+%    \end{macrocode}
+% Now we define some of the large/small symbols, like |\sum|
+% and |\prod|.  It proved necessary to cancel out the
+% previous definitions of these, or \LaTeX\ complained about
+% them being already defined; it seems that it ought to be
+% possible to redefine them only for a given math version,
+% but I haven't figured it out yet.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\let\coprod\relax
+\DeclareMathSymbol{\coprod}{\mathop}{drmmathomx}{"60}
+\let\bigvee\relax
+\DeclareMathSymbol{\bigvee}{\mathop}{drmmathomx}{"57}
+\let\bigwedge\relax
+\DeclareMathSymbol{\bigwedge}{\mathop}{drmmathomx}{"56}
+\let\biguplus\relax
+\DeclareMathSymbol{\biguplus}{\mathop}{drmmathomx}{"55}
+\let\bigcap\relax
+\DeclareMathSymbol{\bigcap}{\mathop}{drmmathomx}{"54}
+\let\bigcup\relax
+\DeclareMathSymbol{\bigcup}{\mathop}{drmmathomx}{"53}
+\let\intop\relax
+\DeclareMathSymbol{\intop}{\mathop}{drmmathomx}{"52}
+    \def\int{\intop\nolimits}
+\let\prod\relax
+\DeclareMathSymbol{\prod}{\mathop}{drmmathomx}{"51}
+\let\sum\relax
+\DeclareMathSymbol{\sum}{\mathop}{drmmathomx}{"50}
+\let\bigotimes\relax
+\DeclareMathSymbol{\bigotimes}{\mathop}{drmmathomx}{"4E}
+\let\bigoplus\relax
+\DeclareMathSymbol{\bigoplus}{\mathop}{drmmathomx}{"4C}
+\let\bigodot\relax
+\DeclareMathSymbol{\bigodot}{\mathop}{drmmathomx}{"4A}
+\let\ointcup\relax
+\DeclareMathSymbol{\ointop}{\mathop}{drmmathomx}{"48}
+    \def\oint{\ointop\nolimits}
+\let\bigsqcup\relax
+\DeclareMathSymbol{\bigsqcup}{\mathop}{drmmathomx}{"46}
+\fi\fi
+%    \end{macrocode}
+% Moving on to delimiters.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathSymbol{|}{0}{drmmathsy}{'152}
+\let\backslash\relax\DeclareMathSymbol{\backslash}{0}{drmmathsy}{'156}
+\fi\fi
+%    \end{macrocode}
+% Declare the math accents.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathAccent{\vec}{\mathord}{letters}{126}
+\DeclareMathAccent{\acute}{\mathalpha}{operators}{1}
+\DeclareMathAccent{\hat}{\mathalpha}{operators}{2}
+\DeclareMathAccent{\grave}{\mathalpha}{operators}{0}
+\DeclareMathAccent{\check}{\mathalpha}{operators}{7}
+\DeclareMathAccent{\bar}{\mathalpha}{operators}{9}
+\DeclareMathAccent{\dot}{\mathalpha}{operators}{10}
+\DeclareMathAccent{\ddot}{\mathalpha}{operators}{4}
+\DeclareMathAccent{\breve}{\mathalpha}{operators}{8}
+\DeclareMathAccent{\tilde}{\mathalpha}{operators}{3}
+\fi\fi
+%    \end{macrocode}
+% Declare our math delimiters, so that \TeX's
+% delimiter-expanding magic can work with our new
+% characters.
+%    \begin{macrocode}
+\def\bigd#1{\bBigg@{#1}}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathDelimiter{(}{\mathopen}{operators}{"28}
+	{drmmathomx}{"00}
+\DeclareMathDelimiter{)}{\mathopen}{operators}{"29}
+	{drmmathomx}{"01}
+\let\{\relax\let\}\relax
+\DeclareMathDelimiter{\{}{\mathopen}{operators}{"7B}
+	{drmmathomx}{"08}
+\DeclareMathDelimiter{\}}{\mathopen}{operators}{"7D}
+	{drmmathomx}{"09}
+\DeclareMathDelimiter{[}{\mathopen}{operators}{"5B}
+	{drmmathomx}{"02}
+\DeclareMathDelimiter{]}{\mathopen}{operators}{"5D}
+	{drmmathomx}{"03}
+\DeclareMathDelimiter{\lfloor}{\mathopen}{drmmathsy}{"62}
+	{drmmathomx}{"04}
+\DeclareMathDelimiter{\rfloor}{\mathclose}{drmmathsy}{"63}
+	{drmmathomx}{"05}
+\DeclareMathDelimiter{\lceil}{\mathopen}{drmmathsy}{"64}
+	{drmmathomx}{"06}
+\DeclareMathDelimiter{\rceil}{\mathclose}{drmmathsy}{"65}
+	{drmmathomx}{"07}
+\DeclareMathDelimiter{\langle}{\mathopen}{drmmathsy}{"68}
+	{drmmathomx}{"0A}
+\DeclareMathDelimiter{\rangle}{\mathclose}{drmmathsy}{"69}
+	{drmmathomx}{"0B}
+\DeclareMathDelimiter{|}{\mathclose}{drmmathomx}{"0C}
+	{drmmathomx}{"0C}
+\DeclareMathDelimiter{\vert}{\mathclose}{drmmathomx}{"0C}
+	{drmmathomx}{"0C}
+\DeclareMathDelimiter{\|}{\mathclose}{drmmathomx}{"0D}
+	{drmmathomx}{"0D}
+\DeclareMathDelimiter{\Vert}{\mathclose}{drmmathomx}{"0D}
+	{drmmathomx}{"0D}
+\DeclareMathDelimiter{\uparrow}{\mathrel}{drmmathomx}{"78}
+	{drmmathomx}{"78}
+\DeclareMathDelimiter{\downarrow}{\mathrel}{drmmathomx}{"79}
+	{drmmathomx}{"79}
+\DeclareMathDelimiter{\updownarrow}{\mathrel}{drmmathsy}{"6C}
+	{drmmathomx}{"3F}
+\DeclareMathDelimiter{\Uparrow}{\mathrel}{drmmathsy}{"2A}
+	{drmmathomx}{"7E}
+\DeclareMathDelimiter{\Downarrow}{\mathrel}{drmmathsy}{"2B}
+	{drmmathomx}{"7F}
+\DeclareMathDelimiter{\Updownarrow}{\mathrel}{drmmathsy}{"6D}
+	{drmmathomx}{"77}
+\fi\fi
+%    \end{macrocode}
+% Next, we define a \emph{math radical}, which essentially
+% means a square root sign.  Curiously, the thickness of the
+% rule enclosing the square root sign is governed by the
+% \emph{height} of the square root character; this means
+% that almost the entire character is \emph{depth}.  I had
+% to jimmy a bit with the default \LaTeX\ |\sqrt| definition
+% to make the root numbers (say, the 3 for the cube root)
+% line up properly, as well, which is what all the |\r@@t|
+% business here is.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+\DeclareMathRadical{\sqrtsign}{drmmathsy}{"70}{drmmathomx}{"70}
+\DeclareRobustCommand\sqrt{\@ifnextchar[\@sqrt\sqrtsign}
+\def\r@@t#1#2{
+	\setbox\z@\hbox{$\m@th#1\sqrtsign{#2}$}
+	\dimen@\ht\z@ \advance\dimen@-\dp\z@
+	\mkern5mu\raise.8\dimen@\copy\rootbox
+	\mkern-7mu\box\z@}
+\fi\fi
+%    \end{macrocode}
+% Now, finally, we declare |drmmath| to be the default math
+% version, so that all this will become the norm in a
+% document declaring the |drm| package.  Unless, of course,
+% either |nodefault| or |nodefaultmath| has been specified
+% as an option.
+%    \begin{macrocode}
+\ifnodefault\else\ifnodefaultmath\else
+	\mathversion{drmmath}
+\fi\fi
+%    \end{macrocode}
+% Now we define the special symbols.  First, we define
+% |\drmsym|, which takes a single argument to be typeset
+% from the |drmsym| font.   Then we define a (rather huge)
+% macro for redefining all the symbols.  This macro will be
+% called only if |nodefault| or |nodefaulttext| have not
+% been selected, or if |symbolsonly| has been selected.
+%    \begin{macrocode}
+\def\drmsym#1{{\fontencoding{TS1}\selectfont\fontfamily{drm}\selectfont#1}}
+\def\drmsymbolredef{
+	\def\textbigcircle{\drmsym{\char'117}}
+	\def\textregistered{\drmsym{\char'256}}
+	\def\texttrademark{\drmsym{\char'227}}
+	\def\textservicemark{\drmsym{\char'237}}
+	\def\textsoundrecording{\drmsym{\char'255}}
+	\def\textcopyright{\drmsym{\char'251}}
+	\def\textcopyleft{\drmsym{\char'253}}
+	\def\textborn{\drmsym{\char'142}}
+	\def\textdied{\drmsym{\char'144}}
+	\def\textdivorced{\drmsym{\char'143}}
+	\def\textmarried{\drmsym{\char'155}}
+	\def\textleaf{\drmsym{\char'154}}
+	\def\textmale{\drmsym{\char'153}}
+	\def\textfemale{\drmsym{\char'145}}
+	\def\textcrusadecross{\drmsym{\char'130}}
+	\def\textcrusadecrossoutline{\drmsym{\char'131}}
+	\def\textlatincross{\drmsym{\char'144}}
+	\def\textlatincrossoutline{\drmsym{\char'134}}
+	\def\textgreekcross{\drmsym{\char'170}}
+	\def\textgreekcrossoutline{\drmsym{\char'171}}
+	\def\textsaltirecross{\drmsym{\char'172}}
+	\def\textsaltirecrossoutline{\drmsym{\char'173}}
+	\def\texteucharist{\drmsym{\char'120}}
+	\def\textstardavid{\drmsym{\char'140}}
+	\def\textstardavidsolid{\drmsym{\char'141}}
+	\def\textstardavidoutline{\drmsym{\char'151}}
+	\def\textsun{\drmsym{\char'330}}
+	\def\textsunvar{\drmsym{\char'331}}
+	\def\textwaxcrescent{\drmsym{\char'332}}
+	\def\textfullmoon{\drmsym{\char'333}}
+	\def\textwanecrescent{\drmsym{\char'334}}
+	\def\textnewmoon{\drmsym{\char'335}}
+	\def\textmercury{\drmsym{\char'336}}
+	\def\textearth{\drmsym{\char'337}}
+	\def\textterra{\drmsym{\char'337}}
+	\def\textearthvar{\drmsym{\char'340}}
+	\def\textterravar{\drmsym{\char'340}}
+	\def\textmars{\drmsym{\char'153}}
+	\def\textvenus{\drmsym{\char'145}}
+	\def\textjupiter{\drmsym{\char'341}}
+	\def\textsaturn{\drmsym{\char'342}}
+	\def\texturanus{\drmsym{\char'343}}
+	\def\texturanusvar{\drmsym{\char'344}}
+	\def\textneptune{\drmsym{\char'345}}
+	\def\textceres{\drmsym{\char'346}}
+	\def\textpallas{\drmsym{\char'347}}
+	\def\textjuno{\drmsym{\char'350}}
+	\def\textjunovar{\drmsym{\char'351}}
+	\def\textvesta{\drmsym{\char'352}}
+	\def\textvestavar{\drmsym{\char'353}}
+	\def\textastraea{\drmsym{\char'354}}
+	\def\textastraeavar{\drmsym{\char'355}}
+	\def\texthebe{\drmsym{\char'356}}
+	\def\textiris{\drmsym{\char'357}}
+	\def\textaries{\drmsym{\char'360}}
+	\def\textari{\drmsym{\char'360}}
+	\def\texttaurus{\drmsym{\char'361}}
+	\def\texttau{\drmsym{\char'361}}
+	\def\textgemini{\drmsym{\char'362}}
+	\def\textgem{\drmsym{\char'362}}
+	\def\textcancer{\drmsym{\char'363}}
+	\def\textcnc{\drmsym{\char'363}}
+	\def\textleo{\drmsym{\char'364}}
+	\def\textvirgo{\drmsym{\char'365}}
+	\def\textvir{\drmsym{\char'365}}
+	\def\textlibra{\drmsym{\char'367}}
+	\def\textlib{\drmsym{\char'367}}
+	\def\textscorpius{\drmsym{\char'370}}
+	\def\textsco{\drmsym{\char'370}}
+	\def\textsagittarius{\drmsym{\char'371}}
+	\def\textsgr{\drmsym{\char'371}}
+	\def\textcapricorn{\drmsym{\char'372}}
+	\def\textcap{\drmsym{\char'372}}
+	\def\textaquarius{\drmsym{\char'373}}
+	\def\textaqr{\drmsym{\char'373}}
+	\def\textpisces{\drmsym{\char'374}}
+	\def\textpsc{\drmsym{\char'374}}
+	\def\textpluto{\drmsym{\char'375}}
+	\def\textplutovar{\drmsym{\char'376}}
+	\def\textstar{\drmsym{\char'142}}
+	\def\textcomet{\drmsym{\char'377}}
+	\def\textquadrature{\drmsym{\char'310}}
+	\def\textopposition{\drmsym{\char'311}}
+	\def\textconjunction{\drmsym{\char'312}}
+	\def\textascendingnode{\drmsym{\char'315}}
+	\def\textdescendingnode{\drmsym{\char'314}}
+	\def\textdollarsign{\drmsym{\char'044}}
+	\def\textolddollarsign{\drmsym{\char'212}}
+	\def\textcentsign{\drmsym{\char'242}}
+	\def\textoldcentsign{\drmsym{\char'213}}
+	\def\textpoundsterling{\drmsym{\char'243}}
+	\def\textoldpoundsterling{\drmsym{\char'222}}
+	\def\textlira{\drmsym{\char'222}}
+	\def\texteuro{\drmsym{\char'277}}
+	\def\textyen{\drmsym{\char'245}}
+	\def\textbaht{\drmsym{\char'232}}
+	\def\textcolon{\drmsym{\char'215}}
+	\def\textdong{\drmsym{\char'226}}
+	\def\textflorin{\drmsym{\char'214}}
+	\def\textguarani{\drmsym{\char'220}}
+	\def\textnaira{\drmsym{\char'217}}
+	\def\textpeso{\drmsym{\char'221}}
+	\def\textruble{\drmsym{\char'221}}
+	\def\textwon{\drmsym{\char'216}}
+	\def\textcurrency{\drmsym{\char'244}}
+	\def\romone{\drmsym{\char'100}}
+	\def\romfive{\drmsym{\char'101}}
+	\def\romten{\drmsym{\char'102}}
+	\def\romfifty{\drmsym{\char'103}}
+	\def\romhundred{\drmsym{\char'104}}
+	\def\romfivehundred{\drmsym{\char'105}}
+	\def\romthousand{\drmsym{\char'106}}
+	\def\liningzero{\drmsym{\char'060}}
+	\def\liningone{\drmsym{\char'061}}
+	\def\liningtwo{\drmsym{\char'062}}
+	\def\liningthree{\drmsym{\char'063}}
+	\def\liningfour{\drmsym{\char'064}}
+	\def\liningfive{\drmsym{\char'065}}
+	\def\liningsix{\drmsym{\char'066}}
+	\def\liningseven{\drmsym{\char'067}}
+	\def\liningeight{\drmsym{\char'070}}
+	\def\liningnine{\drmsym{\char'071}}
+	\def\textnumero{\drmsym{\char'233}}
+	\def\textrefmark{\drmsym{\char'270}}
+	\def\textasterism{\drmsym{\char'302}}
+	\def\textfeminineordinal{\drmsym{\char'252}}
+	\def\textmasculineordinal{\drmsym{\char'272}}
+	\def\textsupone{\drmsym{\char'271}}
+	\def\textsuptwo{\drmsym{\char'262}}
+	\def\textsupthree{\drmsym{\char'263}}
+	\def\textpilcrowsolid{\drmsym{\char'231}}
+	\def\textpilcrowoutline{\drmsym{\char'266}}
+	\def\textsection{\drmsym{\char'247}}
+	\def\textdagger{\drmsym{\char'204}}
+	\def\textdag{\drmsym{\char'204}}
+	\def\dag{\drmsym{\char'204}}
+	\def\textdbldagger{\drmsym{\char'205}}
+	\def\textdbldag{\drmsym{\char'205}}
+	\def\dbldag{\drmsym{\char'205}}
+	\def\textpipe{\drmsym{\char'206}}
+	\def\textbrokenpipe{\drmsym{\char'246}}
+	\def\textprime{\drmsym{\char'264}}
+	\def\textdoubleprime{\drmsym{\char'303}}
+	\def\texttripleprime{\drmsym{\char'313}}
+	\def\textsqrt{\drmsym{\char'273}}
+	\def\textquarter{\drmsym{\char'274}}
+	\def\texthalf{\drmsym{\char'275}}
+	\def\textthreequarters{\drmsym{\char'276}}
+	\def\textthird{\drmsym{\char'304}}
+	\def\texttwothirds{\drmsym{\char'305}}
+	\def\textpermille{\drmsym{\char'207}}
+	\def\textperbiqua{\drmsym{\char'207}}
+	\def\textpertenmille{\drmsym{\char'230}}
+	\def\textpertriqua{\drmsym{\char'230}}
+	\def\textequals{\drmsym{\char'055}}
+	\def\textslash{\drmsym{\char'057}}
+	\def\texttimes{\drmsym{\char'326}}
+	\def\textdiv{\drmsym{\char'366}}
+	\def\textradiation{\drmsym{\char'161}}
+	\def\textradiationnocircle{\drmsym{\char'160}}
+	\def\textbiohazard{\drmsym{\char'163}}
+	\def\textbiohazardnocircle{\drmsym{\char'162}}
+	\def\texthighvoltage{\drmsym{\char'166}}
+	\def\texthighvoltagenotriangle{\drmsym{\char'165}}
+	\def\textgeneralwarning{\drmsym{\char'164}}
+	\def\textuparrow{\drmsym{\char'136}}
+	\def\textdownarrow{\drmsym{\char'137}}
+	\def\textleftarrow{\drmsym{\char'030}}
+	\def\textrightarrow{\drmsym{\char'031}}
+	\def\textrecipe{\drmsym{\char'223}}
+	\def\textintbang{\drmsym{\char'224}}
+	\def\textopenintbang{\drmsym{\char'225}}
+	\def\textbullet{\drmsym{\char'210}}
+	\def\textopenbullet{\drmsym{\char'236}}
+	\def\textheart{\drmsym{\char'174}}
+	\def\textopenheart{\drmsym{\char'175}}
+	\def\texteighthnote{\drmsym{\char'156}}
+	\def\textdiamond{\drmsym{\char'306}}
+	\def\textopendiamond{\drmsym{\char'307}}
+	\def\textlozenge{\drmsym{\char'307}}
+	\def\textdegree{\drmsym{\char'260}}
+	\def\texttilde{\drmsym{\char'176}}
+	\def\textasciitilde{\texttilde}
+	\def\tilde{\texttilde}
+	\def\textasciicircum{\drmsym{\char'002}}
+	\def\textdegreec{\drmsym{\char'211}}
+	\def\textrightupfleuron{\drmsym{\char'016}}
+	\def\textrightdownfleuron{\drmsym{\char'017}}
+	\def\textleftupfleuron{\drmsym{\char'020}}
+	\def\textleftdownfleuron{\drmsym{\char'021}}
+	\def\textupleftfleuron{\drmsym{\char'050}}
+	\def\textuprightfleuron{\drmsym{\char'051}}
+	\def\textdownrightfleuron{\drmsym{\char'077}}
+	\def\textdownleftfleuron{\drmsym{\char'107}}
+	\def\textsquaretulip{\drmsym{\char'023}}
+	\def\textsquaretulipside{\drmsym{\char'046}}
+	\def\textupdoubletulip{\drmsym{\char'024}}
+	\def\textdowndoubletulip{\drmsym{\char'027}}
+	\def\textrightdoubletulip{\drmsym{\char'036}}
+	\def\textleftdoubletulip{\drmsym{\char'037}}
+	\def\textupleftcornertulip{\drmsym{\char'053}}
+	\def\textuprightcornertulip{\drmsym{\char'072}}
+	\def\textlowleftcornertulip{\drmsym{\char'073}}
+	\def\textlowrightcornertulip{\drmsym{\char'110}}
+	\def\textupsingletuliplong{\drmsym{\char'111}}
+	\def\textdownsingletuliplong{\drmsym{\char'112}}
+	\def\textleftsingletuliplong{\drmsym{\char'113}}
+	\def\textrightsingletuliplong{\drmsym{\char'114}}
+	\def\textupsingletulip{\drmsym{\char'116}}
+	\def\textdownsingletulip{\drmsym{\char'121}}
+	\def\textleftsingletulip{\drmsym{\char'122}}
+	\def\textrightsingletulip{\drmsym{\char'123}}
+	\def\spearright{\drmsym{\char'124}}
+	\def\spearleft{\drmsym{\char'125}}
+	\def\horizspearext{\drmsym{\char'126}}
+	\def\spearup{\drmsym{\char'132}}
+	\def\speardown{\drmsym{\char'146}}
+	\def\vertspearext{\drmsym{\char'147}}
+	\def\fleurdelis{\drmsym{\char'157}}
+	\def\fleurdelys{\drmsym{\char'157}}
+	\def\fleurdelisdown{\drmsym{\char'167}}
+	\def\fleurdelysdown{\drmsym{\char'167}}
+	\def\fleurdelisleft{\drmsym{\char'316}}
+	\def\fleurdelysleft{\drmsym{\char'316}}
+	\def\fleurdelisright{\drmsym{\char'177}}
+	\def\fleurdelysright{\drmsym{\char'177}}
+	\def\woundcordleftext{\drmsym{\char'317}}
+	\def\woundcordrightext{\drmsym{\char'324}}
+	\def\woundcordleftend{\drmsym{\char'320}}
+	\def\woundcordrightend{\drmsym{\char'321}}
+	\def\woundcordleftendinv{\drmsym{\char'323}}
+	\def\woundcordrightendinv{\drmsym{\char'322}}
+}
+\ifnodefault\else\ifnodefaulttext\else
+	\drmsymbolredef
+\fi\fi
+\ifsymbolsonly\drmsymbolredef\fi
+%    \end{macrocode}
+% Now, rather than require people to enter the Roman numeral
+% macros by hand, we provide a command, |\romanize|, which
+% takes as its only argument an Indo-Arabic numeral and
+% converts it into a Roman numeral.  This macro is a thin
+% wrapper around one from the |modroman| package, and in
+% fact requires |modroman| to work.
+%    \begin{macrocode}
+\def\romanize#1{%
+	\RedefineMRmdclxvij{\romthousand}{\romfivehundred}
+		{\romhundred}{\romfifty}{\romten}{\romfive}{\romone}{\romone}%
+	\nbshortroman{#1}%
+}%
+%    \end{macrocode}
+% We also define a command for producing lining numerals
+% rather than old-style figures, so that these long-winded
+% command names don't need to be typed if lining numerals
+% will be used frequently.  It takes the number to be output
+% as lining as its only argument.
+%    \begin{macrocode}
+\def\liningnums#1{%
+	\drmsym{#1}%
+}%
+%    \end{macrocode}
+% Now we define the decorative tulip frame macro, as an
+% example of the beautiful constructions which are possible
+% with fleurons and other textual ornaments.
+%    \begin{macrocode}
+\def\tulipframe#1{%
+	\vbox{%
+		\hbox to\linewidth{\hfil%
+			{\drmsym{\char'053}}%
+				{\drmsym{\char'111}}%
+				{\drmsym{\char'024}}%
+				{\drmsym{\char'111}}%
+				{\drmsym{\char'072}}\hfil}%
+		\vskip-0.5\baselineskip%
+		\hbox to\linewidth{\hfil%
+			#1%
+			\hfil%
+		}%
+		\vskip-0.5\baselineskip%
+		\hbox to\linewidth{\hfil%
+			{\drmsym{\char'073}}%
+				{\drmsym{\char'112}}%
+				{\drmsym{\char'027}}%
+				{\drmsym{\char'112}}%
+				{\drmsym{\char'110}}\hfil}%
+	}%
+}%
+%    \end{macrocode}
+% Next, we define the macros for the extensible rules.  Lots
+% of down-and-dirty \TeX\ stuff here.
+%    \begin{macrocode}
+\newcount\counterA
+\newcount\counterB
+\newcount\iter
+\newlength{\extcharwid}
+\newlength{\leftcharwid}
+\newlength{\rightcharwid}
+\newlength{\greaterwid}
+\def\extrule#1#2#3#4#5{%
+	\if#1h%
+		\settowidth{\extcharwid}{#5}%
+		\settowidth{\leftcharwid}{#3}%
+		\settowidth{\rightcharwid}{#4}%
+		\counterB=\numexpr\dimexpr#2\relax\relax%
+		\advance\counterB by-\leftcharwid%
+		\advance\counterB by-\rightcharwid%
+		\counterA=\dimexpr\extcharwid\relax%
+		\divide\counterB by\counterA%
+		\iter=0%
+		\noindent#3%
+		\loop%
+			\ifnum\iter<\counterB%
+				\advance\iter by 1%
+				#5%
+				\repeat%
+		#4%
+	\fi%
+	\if#1v%
+		\setbox0=\hbox{#3}%
+		\leftcharwid=\ht0\advance\leftcharwid by\dp0%
+		\setbox0=\hbox{#4}%
+		\rightcharwid=\ht0\advance\rightcharwid by\dp0%
+		\setbox0=\hbox{#5}%
+		\extcharwid=\ht0\advance\extcharwid by\dp0%
+		\ifdim\leftcharwid>\rightcharwid%
+			\greaterwid=\leftcharwid%
+		\else%
+			\greaterwid=\rightcharwid%
+		\fi\if\extcharwid>\greaterwid%
+			\greaterwid=\extcharwid%
+		\fi%
+		\counterB=\numexpr\dimexpr#2\relax\relax%
+		\advance\counterB by-\leftcharwid%
+		\advance\counterB by-\rightcharwid%
+		\counterA=\dimexpr\extcharwid\relax%
+		\divide\counterB by\counterA%
+		\iter=0%
+		\noindent\vbox to\dimexpr#2{\baselineskip=0pt%
+			\hbox to\greaterwid{\hfil#4\hfil}%
+			\loop%
+				\ifnum\iter<\counterB%
+					\advance\iter by 1%
+					\vss\hbox to\greaterwid{\hfil#5\hfil}%
+					\repeat%
+			\vss\hbox to\greaterwid{\hfil#3\hfil}}%
+	\fi%
+}%
+%    \end{macrocode}
+% Next, we move on to define the unreasonably complex and
+% configurable ellipsis commands.  First we define the
+% |\drmelip|, then the four-dotted |\drmfelip|.
+%    \begin{macrocode}
+\newlength{\drmelipgap}\setlength{\drmelipgap}{2.9pt}
+\newlength{\drmelipbef}\setlength{\drmelipbef}{2.4pt}
+\newlength{\drmelipaft}\setlength{\drmelipaft}{1.4pt}
+\def\drmelipchar{.}
+\def\drmelip{%
+	\hbox{%
+		\hbox to\the\drmelipbef{\hfil}%
+		\drmelipchar%
+		\hbox to\drmelipgap{\hfil}%
+		\drmelipchar%
+		\hbox to\drmelipgap{\hfil}%
+		\drmelipchar%
+		\hbox to\drmelipaft{\hfil}%
+	}%
+}%
+\newlength{\drmfelipbef}\setlength{\drmfelipbef}{0pt}
+\newlength{\drmfelipaft}\setlength{\drmfelipaft}{\the\drmelipaft}
+\newlength{\drmfelipwid}
+\def\drmfelip{%
+	\hbox{%
+		\hbox to\the\drmfelipbef{\hfil}%
+		\drmelipchar%
+		\hbox to\drmelipgap{\hfil}%
+		\drmelipchar%
+		\hbox to\drmelipgap{\hfil}%
+		\drmelipchar%
+		\hbox to\drmelipgap{\hfil}%
+		\drmelipchar%
+		\hbox to\drmfelipaft{\hfil}%
+	}%
+}%
+%    \end{macrocode}
+% And that's the end.  Thanks for reading, 
+% folks; please email me with any suggestions or improvements.
+%
+% \appendix
+%
+% \section{The Secret History:  Building DRM}
+%
+% \lettrine{H}{ere you can get all} the answers to questions about DRM
+% that you didn't have and never asked.  This appendix is
+% essentially an exercise in self-gratification, to explain
+% a few things about the fonts and why I made some of the
+% choices that I did.  As such, it'll probably be
+% interesting to few, if any; but here it all is anyway.
+%
+% \subsection{About the Name}
+% \label{sub:aboutname}
+%
+% When I started this font, I was trying to ape an old-style
+% Caslon specimen that I'd found on the Internet.  (If you
+% search for one, you'll doubtlessly find the one I was
+% going for; it's littered all over the place.)  You can
+% still see certain traces of this, particularly in the long
+% tail of the Q (there it is!), and in the serifs on the E
+% and F.  On the other hand, even at the very beginning,
+% before the font had taken on a character of its own, I was
+% doing a pretty poor job of imitating this other one.  My
+% serifs were fairly prominent, but only slightly bracketed;
+% there was a pretty drastic distinction between thick and
+% thin strokes; it had a vertical orientation.  Before long,
+% it was clear that I had a very different font.
+%
+% So the name was ``DRM,'' for ``Day Roman Modern.''  But
+% this didn't really accurately describe the font, and it
+% didn't keep this meaning for long.  (Maybe a few days; the
+% original files were titled ``dayroman,'' an even more
+% inaccurate appellation.)  I've since backronymed this to
+% ``Don's Revised Modern,'' which still isn't strictly
+% correct, but it's pretty well ensconced at the moment.
+% There are a limited number of descriptors with those
+% initials, and I've grown pretty fond of those initials; it
+% would be difficult for me to think of the font with any
+% other name.  But if somebody has a better backronym, I'd
+% love to hear it.
+%
+% \subsection{Why \MF?}
+% \label{sub:whymf}
+%
+% So why \MF?  Isn't \MF\ horribly out of date,
+% unconscionably producing nasty, decrepit bitmapped glyphs
+% instead of shiny, futuristic outlines?  Doesn't it somehow
+% involve hatred of mom's apple pie, summertime barbecues,
+% and the girl next door?
+%
+% Well, in some ways \MF\ is certainly out of date.  It's
+% limited to eight bits (\liningnums{2}$^8$ characters), for example, and
+% that limit can't be circumvented by any trivial means.
+% Due to the brilliance of its author, it has several
+% similar limits which, while seeming arbitrary and
+% capricious to us today, were absolutely necessary for
+% allowing \MF\ to run on the machines available at the time
+% it was produced.  There's really no denying this, and I'd
+% be the last to try.
+%
+% On the other hand, \MF\ is not out of date for the reasons
+% most people who eloquently pronounce its obsolescence believe
+% it is.  The bitmapped glyph issue, for example; there
+% really is nothing wrong with this.  In fact, in some ways
+% it's a benefit.  Scaling is not really an issue,
+% particularly in this age when \MF\ can be run
+% automatically when \TeX\ encounters a size that it doesn't
+% already have on hand; we can easily acquire fonts of
+% whatever size we need.  And, much like \MF's eight-bit
+% stricture, whatever memory benefits come from storing
+% fonts as outlines rather than bitmaps is surely irrelevant
+% in this day and age.
+%
+% Bitmaps are beneficial in that they remind us that optical
+% sizing is still important; outline fonts have made us
+% lazy, preventing the development of real font families
+% with many optical sizes.  Too many amateurs (a term I use
+% without derision, and proudly apply to myself) think they
+% can avoid designing optical sizes because their outlines
+% can be automatically scaled.  This leads to poor results.
+%
+% But most importantly, \MF\ makes writing
+% parameter-based fonts easy.  The \textb{bold} and
+% \textl{light} versions of the DRM fonts, for example, were
+% produced by modifying only a few parameters of the base
+% DRM roman font; the actual letterforms remain the same.
+% This is a powerful tool that assists greatly in the
+% creation of \emph{families} of fonts.
+%
+% \MF\ also lends itself quite nicely to customization.  As
+% a command-line program, I can easily script it to produce
+% proofs, or to produce real fonts for inclusion in test
+% documents, or to produce font charts, or all of the above.
+% For example, your author used scripts to compile proofs as
+% well as working fonts to produce this documentation; it
+% was relatively trivial to produce a script which would,
+% inelegantly but quite effectively, output proof sheets and
+% sample texts along with charts of each individual font,
+% from simple roman text to quite complex math.  Below is an
+% example of the (rather messy, but functional) script I
+% used to produce font charts and sample texts for the
+% fonts:
+%
+% \begin{verbatim}
+% #!/bin/bash
+% # +AMDG
+% 
+% re="^drm([m|b|bx|c|sym]*)([n|it|sl|sc]*)([0-9]{1,2})$";
+% ifmath="mmi";
+% ifmathsym="sy[0-9]";
+% font=$1;
+% fname="drm";
+% fenc="T1";
+% commands="\\sample\\bye";
+% if [[ $font =~ $ifmath ]]; then
+% 	fenc="OML";
+% 	commands="\\table\\math\\bye";
+% fi
+% if [[ $font =~ $ifmathsym ]]; then
+% 	fenc="OMS";
+% 	commands="\\table\\math\\bye";
+% fi
+% [[ $font =~ $re ]] && fweight="${BASH_REMATCH[1]}" &&
+% 	fshape="${BASH_REMATCH[2]}" && fsize="${BASH_REMATCH[3]}";
+% if [[ $fshape == "" ]]; then
+% 	fshape="m";
+% fi
+% if [[ $fweight == "" ]]; then
+% 	fweight="n";
+% elif [[ $fweight == "sym" ]]; then
+% 	fweight="n";
+% 	fname="drmsym";
+% fi
+% #echo "fweight = $fweight; fshape = $fshape; fsize = $fsize";
+% nfssfontin=$(cat <<ENDFONTIN
+% $font
+% $commands
+% $fenc
+% $fname
+% $fweight
+% $fshape
+% $fsize
+% $commands
+% ENDFONTIN
+% )
+% echo $nfssfontin;
+% 
+% rm $1*pk; rm $1*gf;
+% mf "\mode=localfont; input $1";
+% gftopk $1.600gf $1.pk;
+% echo "$nfssfontin" | pdflatex nfssfont;
+% \end{verbatim}
+%
+% This little gem took a single argument, the name of the
+% font that I wanted compiled; it then determined the
+% appropriate parameters to hand over to |nfssfont|, including
+% what type of sample was needed (text or math), and
+% compiled it for me, which meant that with a single command
+% (|./allcomp fontname|) I could get a complete chart of
+% the font I was working on, along with a sample text to
+% help judge kerning and general appearance.  Doing the same
+% with more ``modern'' font programs, particularly GUI ones,
+% is doubtlessly more difficult.
+%
+% Finally, pens.  Pens are \emph{endlessly} superior to
+% defining points along outlines.  The degree to which
+% grokking and employing \MF's pen metaphor simplified the
+% task of drawing these characters, particularly the more
+% calligraphic varieties thereof, simply cannot be
+% adequately expressed.  Defining points along outlines and
+% connecting them with zero-width lines did fine for
+% \emph{most} of the roman characters, but would have been
+% painfully sluggish with, for example, the italic fonts.
+%
+% Your author emphasized ``most'' above for good reason:
+% while the points-and-outlines approach worked quite
+% effectively for the stately forms of roman characters, 
+% \emph{modifying} those characters was sometimes much more
+% difficult.  Take, for example, the very basic different
+% between ``o'' and ``\o.''  Visually, of course, these are
+% almost identical shapes, the latter simply having a line
+% drawn through it; however, by outlines these shapes are so
+% extremely different that drawing the latter would more
+% easily be done from scratch than by a simple modification
+% of the former.  Using \MF's pen metaphor, though, the
+% shape of ``\o'' could be drawn exactly as we would draw it
+% on paper:  by forming an ``o,'' and then drawing a slash
+% through it.  And so your author accomplished it.
+%
+% And though your author put off the development of italic
+% until he'd become really proficient with \MF's pens,
+% knowing that such intricate shapes as ``\textit{f}'' and
+% ``\textit{Q}'' would be quite challenging with
+% points-and-outlines, he was able to race through drawing
+% the italics with ease, and wound up using \MF's pens much
+% more frequently in the development of the remaining fonts
+% than points-and-outlines, as drawing shapes with this
+% metaphor is much more intuitive and easily visualized, at
+% least to him, than the alternatives.
+%
+% \section{The \LaTeX\ Project Public License, v1.3c}
+% \label{lppl}
+% \MakePercentComment\input{lppl-1-3c.tex}\MakePercentIgnore
+%
+% \section{The SIL Open Font License, v1.1}
+% \label{sil}
+% 
+% Copyright \textcopyright\ 2014, Donald P. Goodman III
+% (dgoodmaniii@gmail.com), with Reserved Font Name Don's
+% Revised Modern (DRM).
+% 
+% \input{ofl_v1-1.tex}
+%
+% \PrintIndex
diff --git a/Master/texmf-dist/source/fonts/drm/drm.ins b/Master/texmf-dist/source/fonts/drm/drm.ins
new file mode 100644
index 00000000000..fbfa3b00ba9
--- /dev/null
+++ b/Master/texmf-dist/source/fonts/drm/drm.ins
@@ -0,0 +1,64 @@
+% +AMDG  This document was begun on 1E July 11EX, the feast
+% of St. Apollinaris, M, and the Commemoration of St.
+% Liborius, EC, and it is humbly dedicated to them and to
+% the Immaculate Heart of Mary for their prayers, and to the
+% Sacred Heart of Jesus for His mercy.
+%
+% This document is copyright 2014 by Donald P. Goodman, and is
+% released publicly under the LaTeX Project Public License.  The
+% distribution and modification of this work is constrained by the
+% conditions of that license.  See
+% 	http://www.latex-project.org/lppl.txt
+% for the text of the license.  This document is released
+% under version 1.3 of that license, and this work may be distributed
+% or modified under the terms of that license or, at your option, any
+% later version.
+% 
+% This work has the LPPL maintenance status 'maintained'.
+% 
+% The Current Maintainer of this work is Donald P. Goodman
+% (dgoodmaniii@gmail.com).
+% 
+% This work consists of the files listed in drmfilelist.txt.
+
+\input docstrip.tex
+%\usedir{fonts/drm}
+
+\preamble
+This is a generated file.
+
+This document is copyright 2014 by Donald P. Goodman, and is
+released publicly under the LaTeX Project Public License.  The
+distribution and modification of this work is constrained by the
+conditions of that license.  See
+	http://www.latex-project.org/lppl.txt
+for the text of the license.  This document is released
+under version 1.3 of that license, and this work may be distributed
+or modified under the terms of that license or, at your option, any
+later version.
+
+This work has the LPPL maintenance status 'maintained'.
+
+The Current Maintainer of this work is Donald P. Goodman
+(dgoodmaniii@gmail.com).
+
+This work consists of the files listed in drmfilelist.txt.
+\endpreamble
+
+\keepsilent
+\generate{\file{drm.sty}{\from{drm.dtx}{package}}}
+
+\Msg{******************************************************}
+\Msg{*}
+\Msg{* To finish the installation you have to move the}
+\Msg{* following file into a directory searched by TeX:}
+\Msg{*}
+\Msg{* \space\space drm.sty}
+\Msg{*}
+\Msg{* To produce the documentation run the file drm.dtx}
+\Msg{* through LaTeX.}
+\Msg{*}
+\Msg{* Happy TeXing!}
+\Msg{******************************************************}
+
+\endbatchfile