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diff --git a/Master/texmf-dist/doc/context/sources/general/manuals/onandon/onandon-variable.tex b/Master/texmf-dist/doc/context/sources/general/manuals/onandon/onandon-variable.tex index c308864e68e..c73196cef62 100644 --- a/Master/texmf-dist/doc/context/sources/general/manuals/onandon/onandon-variable.tex +++ b/Master/texmf-dist/doc/context/sources/general/manuals/onandon/onandon-variable.tex @@ -12,7 +12,7 @@ \startsubject[title=Introduction] -History shows the tendency to recycle ideas. Often, quite some effort is made by +History shows the tendency to recycle ideas. Often quite some effort is made by historians to figure out what really happened, not just long ago, when nothing was written down and we have to do with stories or pictures at most, but also in recent times. Descriptions can be conflicting, puzzling, incomplete, partially @@ -20,64 +20,64 @@ lost, biased, \unknown Just as language was invented (or evolved) several times, so were scripts. The same might be true for rendering scripts on a medium. Semaphores came and went -within decades, and how many people know now that they existed and that encryption +within decades and how many people know now that they existed and that encryption was involved? Are the old printing presses truly the old ones, or are older examples simply gone? One of the nice aspects of the internet is that one can now -more easily discover similar solutions to the same problem but with a different +more easily discover similar solutions for the same problem, but with a different (and independent) origin. -So, how about this \quotation {next big thing} in font technology: variable fonts? -In this case, history shows that it's not that new. For most \TEX\ users, the -names \METAFONT\ and \METAPOST\ will ring bells. They have a very well-documented -history, so there is not much left to speculation. There are articles, books, +So, how about this \quotation {new big thing} in font technology: variable fonts. +In this case, history shows that it's not that new. For most \TEX\ users the +names \METAFONT\ and \METAPOST\ will ring bells. They have a very well documented +history so there is not much left to speculation. There are articles, books, pictures, examples, sources, and more around for decades. So, the ability to change the appearance of a glyph in a font depending on some parameters is not new. What probably {\em is} new is that creating variable fonts is done in the -natural environment, where fonts are designed: an interactive program. The -\METAFONT\ toolkit demands quite some insight into programming shapes in such a way +natural environment where fonts are designed: an interactive program. The +\METAFONT\ toolkit demands quite some insight in programming shapes in such a way that one can change look and feel depending on parameters. There are not that -many metafonts made, and one reason is that making them requires a certain mind- -and skillset. On the other hand, faster computers, interactive programs, -evolving web technologies, where real-time rendering and therefore more or less +many meta fonts made and one reason is that making them requires a certain mind- +and skill set. On the other hand, faster computers, interactive programs, +evolving web technologies, where rea|l|-time rendering and therefore more or less real-time tweaking of fonts is a realistic option, all play a role in acceptance. -But do interactive font design programs make this easier? You still need to -translate ideas into usable beautiful fonts. Taking the common shapes of glyphs, -defining extremes and letting a program calculate some interpolations will not -always give good results. It's like morphing a picture of your baby's face into -yours of old age or that of your grandparent: not all intermediate results will -look great. It's good to notice that variable fonts are a revival of existing -techniques and ideas used in, for instance, multiple master fonts. The details -might matter even more as they can now be exaggerated when transformations are -applied. - -There is currently (March 2017) not much information about these fonts, so what I +But do interactive font design programs make this easier? You still need to be +able to translate ideas into usable beautiful fonts. Taking the common shapes of +glyphs, defining extremes and letting a program calculate some interpolations +will not always bring good results. It's like morphing a picture of your baby's +face into yours of old age (or that of your grandparent): not all intermediate +results will look great. It's good to notice that variable fonts are a revival of +existing techniques and ideas used in, for instance, multiple master fonts. The +details might matter even more as they can now be exaggerated when some +transformation is applied. + +There is currently (March 2017) not much information about these fonts so what I say next may be partially wrong or at least different from what is intended. The -perspective will be one of a \TEX\ user and coder. Whatever you think of them, -these fonts will be out there, and, for sure, there will be nice examples -circulating soon. And so, when I ran into a few experimental fonts with +perspective will be one from a \TEX\ user and coder. Whatever you think of them, +these fonts will be out there and for sure there will be nice examples +circulating soon. And so, when I ran into a few experimental fonts, with \POSTSCRIPT\ and \TRUETYPE\ outlines, I decided to have a look at what is inside. -After all, because it's visual, it's also fun to play with. Let's stress that, at -the moment of this writing, I only have a few simple fonts available, fonts that -are designed for testing and not for usage. Some recommended tables were missing -and no complex \OPENTYPE\ features were used in these fonts. +After all, because it's visual, it's also fun to play with. Let's stress that at +the moment of this writing I only have a few simple fonts available, fonts that +are designed for testing and not usage. Some recommended tables were missing and +no complex \OPENTYPE\ features are used in these fonts. \stopsubject \startsubject[title=The specification] I'm not that good at reading specifications, first of all because I quickly fall -asleep with such documents, but mostly because I prefer reading other stuff +asleep with such documents, but most of all because I prefer reading other stuff (I do have lots of books waiting to be read). I'm also someone who has to play with something in order to understand it: trial and error is my modus operandi. -Eventually, it's my intended usage that drives the interface and that is when +Eventually it's my intended usage that drives the interface and that is when everything comes together. Exploring this technology comes down to: locate a font, get the \OPENTYPE\ 1.8 specification from the \MICROSOFT\ website, and try to figure out what is in the -font. When I had a rough idea, the next step was to get to the shapes and see if -I could manipulate them. Of course, it helped that we can already load fonts and -play with shapes in \CONTEXT using \METAPOST. I didn't have to install and learn +font. When I had a rough idea the next step was to get to the shapes and see if I +could manipulate them. Of course it helped that in \CONTEXT\ we already can load +fonts and play with shapes (using \METAPOST). I didn't have to install and learn other programs. Once I could render them, in this case by creating a virtual font with inline \PDF\ literals, a next step was to apply variation. Then came the first experiments with a possible user interface. Seeing more variation then @@ -88,18 +88,18 @@ The main extension to the data packaged in a font file concerns the (to be discussed) axis along which variable fonts operate and deltas to be applied to coordinates. The \type {gdef} table has been extended and contains information that is used in \type {gpos} features. There are new \type {hvar}, \type {vvar} -and \type {mvar} tables that influence the horizontal, vertical, and general font +and \type {mvar} tables that influence the horizontal, vertical and general font dimensions. The \type {gvar} table is used for \TRUETYPE\ variants, while the \type {cff2} table replaces the \type {cff} table for \OPENTYPE\ \POSTSCRIPT\ outlines. The \type {avar} and \type {stat} tables contain some -metainformation about the axes of variations. +meta|-|information about the axes of variations. -It must be said that, because this is a new technology, the information in the +It must be said that because this is new technology the information in the standard is not always easy to understand. The fact that we have two rendering techniques, \POSTSCRIPT\ \type {cff} and \TRUETYPE\ \type {ttf}, also means that we have different information and perspectives. But this situation is not much -different from \OPENTYPE\ standards a few years ago: it takes time, but, in the -end, I will get there. And, after all, users also complain about the lack of +different from \OPENTYPE\ standards a few years ago: it takes time but in the end +I will get there. And, after all, users also complain about the lack of documentation for \CONTEXT, so who am I to complain? In fact, it will be those \CONTEXT\ users who will provide feedback and make the implementation better in the~end. @@ -110,41 +110,41 @@ the~end. Before we discuss some details, it will be useful to summarize what the font loader does when a user requests a font at a certain size and with specific -features enabled. When a font is used for the first time, its binary format is -converted into a form that makes it suitable for use in \CONTEXT\ and therefore -in \LUATEX. This conversion involves collecting the properties of the font as a -whole (official names, general dimensions like x-height and em-width, etc.), of +features enabled. When a font is used the first time, its binary format is +converted into a form that makes it suitable for use within \CONTEXT\ and +therefore \LUATEX. This conversion involves collecting properties of the font as +a whole (official names, general dimensions like x-height and em-width, etc.), of glyphs (dimensions, \UNICODE\ properties, optional math properties), and all -kinds of information that relate to (contextual) replacements of glyphs (small +kinds of information that relates to (contextual) replacements of glyphs (small caps, oldstyle, scripts like Arabic) and positioning (kerning, anchoring marks, -etc.). In the \CONTEXT\ font loader, this conversion is done in \LUA. +etc.). In the \CONTEXT\ font loader this conversion is done in \LUA. -The result is stored in a condensed format in a cache, and, the next time the font -is needed, it loads in an instant. In the cached version, the dimensions are -untouched, so a font at different sizes has just one copy in the cache. Often, a -font is needed at several sizes, and for each size, we create a copy with scaled +The result is stored in a condensed format in a cache and the next time the font +is needed it loads in an instant. In the cached version the dimensions are +untouched, so a font at different sizes has just one copy in the cache. Often a +font is needed at several sizes and for each size we create a copy with scaled glyph dimensions. The feature-related dimensions (kerning, anchoring, etc.)\ are shared and scaled when needed. This happens when sequences of characters in the node list get converted into sequences of glyphs. We could do the same with glyph -dimensions, but one reason for having a scaled copy is that this copy can also -contain virtual glyphs, and these have to be scaled beforehand. In practice, there +dimensions but one reason for having a scaled copy is that this copy can also +contain virtual glyphs and these have to be scaled beforehand. In practice there are several layers of caching in order to keep the memory footprint within -reasonable bounds. \footnote {In retrospect, one can wonder if that makes sense; +reasonable bounds. \footnote {In retrospect one can wonder if that makes sense; just look at how much memory a browser uses when it has been open for some time. -In the beginning of \LUATEX, users wondered about caching fonts, but again, just +In the beginning of \LUATEX\ users wondered about caching fonts, but again, just look at what amounts browsers cache: it gets pretty close to the average amount of writes that a \SSD\ can handle per day within its guarantee.} When the font is actually used, interaction between characters is resolved using -the feature|-|related information. When, for instance, two characters need to be +the feature|-|related information. When for instance two characters need to be kerned, a lookup results in the injection of a kern, scaled from general dimensions to the current size of the font. -When the outlines of glyphs are needed in \METAFUN, the font is also converted +When the outlines of glyphs are needed in \METAFUN\ the font is also converted from its binary form to something in \LUA, but this time we filter the shapes. -For a \type {cff}, this comes down to interpreting the \type {charstrings} and -reducing the complexity to \type {moveto}, \type {lineto}, and \type {curveto} -operators. In the process, subroutines are inlined. The result is something that +For a \type {cff} this comes down to interpreting the \type {charstrings} and +reducing the complexity to \type {moveto}, \type {lineto} and \type {curveto} +operators. In the process subroutines are inlined. The result is something that \METAPOST\ is happy with but that also can be turned into a piece of a \PDF. We now come to what a variable font actually is: a basic design which is @@ -170,7 +170,7 @@ endfor ; \stopMPcode \stoplinecorrection -Here we have linear scaling, but glyphs are not normally done that way. There +Here we have a linear scaling but glyphs are not normally done that way. There are font collections out there with lots of intermediate variants (say from light to heavy) and it's more profitable to sell each variant independently. However, there is often some logic behind it, probably supported by programs that @@ -178,69 +178,68 @@ designers use, so why not build that logic into the font and have one file that represents many intermediate forms. In fact, once we have multiple axes, even when the designer has clear ideas of the intended usage, nothing will prevent users from tinkering with the axis properties in ways that will fulfil their -demands (and hurt the designer's eyes). I will not discuss that dilemma here. +demands but hurt the designers eyes. We will not discuss that dilemma here. When a variable font follows the route described above, we face a problem. When -you load a \TRUETYPE\ font, it will just work. The glyphs are packaged in the -same format as static fonts. However, a variable font has axes, and, on each -axis, a value can be set. Each axis has a minimum, a maximum, and a default. It -can be that the default instance also assumes some transformations are applied. -The standard recommends adding tables to describe these things, but the fonts -that I played with each lacked such tables. So that leaves some guesswork. But -still, just loading a \TRUETYPE\ font gives some sort of outcome, although the -dimensions (widths) might be weird due to the lack of a (default) axis being -applied. +you load a \TRUETYPE\ font it will just work. The glyphs are packaged in the same +format as static fonts. However, a variable font has axes and on each axis a +value can be set. Each axis has a minimum, maximum and default. It can be that +the default instance also assumes some transformations are applied. The standard +recommends adding tables to describe these things but the fonts that I played +with each lacked such tables. So that leaves some guesswork. But still, just +loading a \TRUETYPE\ font gives some sort of outcome, although the dimensions +(widths) might be weird due to lack of a (default) axis being applied. An \OPENTYPE\ font with \POSTSCRIPT\ outlines is different: the internal \type -{cff} format has been upgraded to \type {cff2}, which on the one hand is less -complicated, but on the other hand has a few new operators, which results -in programs that have not been adapted complaining or simply crashing on them. +{cff} format has been upgraded to \type {cff2} which on the one hand is less +complicated but on the other hand has a few new operators \emdash\ which results +in programs that have not been adapted complaining or simply quitting on them. One could argue that a font is just a resource and that one only has to pass it -along, but that's not what works well in practice. Take \LUATEX. We can, of -course, load the font and apply axis vales, so that we can process the document -as we normally do. But, at some point, we have to create a \PDF\ file. We can -simply embed the \TRUETYPE\ files, but no axis values are applied. This is -because, even if we add the relevant information, there is no way in the current -\PDF\ formats to deal with it. For that, we should be able to pass all relevant -axis|-|related information as well as specify what values to use along these -axes. And, for \TRUETYPE\ fonts, this information is not part of the shape -description so then we need to filter and pass more. An \OPENTYPE\ \POSTSCRIPT\ -font is much cleaner, because there we have the information needed to transform -the shape mostly in the glyph description. There, we only need to carry some -extra information on how to apply these so|-|called blend values. The -region|/|axis model used there only demands passing a relatively simple table -(stripped down to what we need). But, as said above, \type {cff2} is not -backward-compatible, so a viewer will (currently) simply not show anything. - -Recalling how we load fonts, how does that change with variable changes? If we +along but that's not what works well in practice. Take \LUATEX. We can of course +load the font and apply axis vales so that we can process the document as we +normally do. But at some point we have to create a \PDF. We can simply embed the +\TRUETYPE\ files but no axis values are applied. This is because, even if we add +the relevant information, there is no way in current \PDF\ formats to deal with +it. For that, we should be able to pass all relevant axis|-|related information +as well as specify what values to use along these axes. And for \TRUETYPE\ fonts +this information is not part of the shape description so then we in fact need to +filter and pass more. An \OPENTYPE\ \POSTSCRIPT\ font is much cleaner because +there we have the information needed to transform the shape mostly in the glyph +description. There we only need to carry some extra information on how to apply +these so|-|called blend values. The region|/|axis model used there only demands +passing a relatively simple table (stripped down to what we need). But, as said +above, \type {cff2} is not backward-compatible so a viewer will (currently) +simply not show anything. + +Recalling how we load fonts, how does that translate with variable changes? If we have two characters with glyphs that get transformed and that have a kern between them, the kern may or may not transform. So, when we choose values on an axis, -then not only glyph properties change but also relations. We can no longer share -positional information and scale afterwards, because each instance can have +then not only glyph properties change but also relations. We no longer can share +positional information and scale afterwards because each instance can have different values to start with. We could carry all that information around and -apply it at runtime, but, because we're typesetting documents with a static design, +apply it at runtime but because we're typesetting documents with a static design it's more convenient to just apply it once and create an instance. We can use the -same caching as mentioned before, but each chosen instance (provided by the font +same caching as mentioned before but each chosen instance (provided by the font or made up by user specifications) is kept in the cache. As a consequence, using a variable font has no overhead, apart from initial caching. So, having dealt with that, how do we proceed? Processing a font is not different from what we already had. However, I would not be surprised if users are not -always satisfied with, for instance, kerning, because in such fonts, a lot of care -has to be given to this by the designer. Of course, I can imagine that programs +always satisfied with, for instance, kerning, because in such fonts a lot of care +has to be given to this by the designer. Of course I can imagine that programs used to create fonts deal with this, but even then, there is a visual aspect to -it, too. The good news is that in \CONTEXT\ we can manipulate features, so, in -theory, one can create a so|-|called font goodie file for a specific instance. +it too. The good news is that in \CONTEXT\ we can manipulate features so in +theory one can create a so|-|called font goodie file for a specific instance. \stopsubject \startsubject[title=Shapes] -For \OPENTYPE\ \POSTSCRIPT\ shapes, we always have to do a dummy rendering in -order to get the right bounding box information. For \TRUETYPE, this information +For \OPENTYPE\ \POSTSCRIPT\ shapes we always have to do a dummy rendering in +order to get the right bounding box information. For \TRUETYPE\ this information is already present but not when we use a variable instance, so I had to do a bit -of coding for that. Here we face a problem. For \TEX, we need the width, height +of coding for that. Here we face a problem. For \TEX\ we need the width, height and depth of a glyph. Consider the following case: \startlinecorrection @@ -260,16 +259,16 @@ draw boundingbox currentpicture The shape has a bounding box that fits the shape. However, its left corner is not at the origin. So, when we calculate a tight bounding box, we cannot use it for actually positioning the glyph. We do use it (for horizontal scripts) to get the -height and depth, but for the width, we depend on an explicit value. In \OPENTYPE\ -\POSTSCRIPT, we have the width available, and how the shape is positioned relative -to the origin doesn't much matter. In a \TRUETYPE\ shape, a bounding box is part -of the specification, as is the width, but for a variable font, one has to use -so|-|called phantom points to recalculate the width, and the test fonts I had were +height and depth but for the width we depend on an explicit value. In \OPENTYPE\ +\POSTSCRIPT\ we have the width available and how the shape is positioned relative +to the origin doesn't much matter. In a \TRUETYPE\ shape a bounding box is part +of the specification, as is the width, but for a variable font one has to use +so-called phantom points to recalculate the width and the test fonts I had were not suitable for investigating this. At any rate, once I could generate documents with typeset text using variable -fonts, it was time to start thinking about a user interface. A variable font -can have predefined instances, but, of course, a user also wants to mess with axis +fonts it became time to start thinking about a user interface. A variable font +can have predefined instances but of course a user also wants to mess with axis values. Take one of the test fonts: Adobe Variable Font Prototype. It has several instances: @@ -311,7 +310,7 @@ The Avenir Next variable demo font (currently) provides: \SampleFont {avenirnextvariable} {heavy condensed} {heavycondensed} \stoptabulate -Before we continue, I will show a few examples of variable shapes. Here, we use some +Before we continue I will show a few examples of variable shapes. Here we use some \METAFUN\ magic. Just take these definitions for granted. \startbuffer[a] @@ -358,15 +357,15 @@ Before we continue, I will show a few examples of variable shapes. Here, we use \typebuffer[a,b,c,d] The results are shown in \in {figure} [fig:whatever:1]. What we see here is that -as long as we fill the shape everything will look as expected, but only using an -outline won't. The crucial (control) points are moved to different locations -and, as a result, they can end up inside the shape. Giving up outlines is the price -we evidently need to pay. Of course this is not unique for variable fonts, -although, in practice, static fonts behave better. To some extent, we're back to +as long as we fill the shape everything will look as expected but using an +outline only won't. The crucial (control) points are moved to different locations +and as a result they can end up inside the shape. Giving up outlines is the price +we evidently need to pay. Of course this is not unique for variable fonts +although in practice static fonts behave better. To some extent we're back to where we were with \METAFONT\ and (for instance) Computer Modern: because these originate in bitmaps (and probably use similar design logic) we also can have overlap and bits and pieces pasted together and no one will notice that. The -first outline variants of Computer Modern also had such artifacts, while in the +first outline variants of Computer Modern also had such artifacts while in the static Latin Modern successors, outlines were cleaned up. \startplacefigure[title=Four variants,reference=fig:whatever:1] @@ -378,10 +377,9 @@ static Latin Modern successors, outlines were cleaned up. \stopcombination \stopplacefigure -The fact that we need to preprocess an instance, but that we only know how to do -that after we have retrieved information about axis values from the font means -that the font handler has to be adapted to keep caching correct. Another -definition is: +The fact that we need to preprocess an instance but only know how to do that when +we have gotten the information about axis values from the font means that the +font handler has to be adapted to keep caching correct. Another definition is: \starttyping \definefontfeature @@ -394,9 +392,9 @@ definition is: [name:adobevariablefontprototype*lightdefault] \stoptyping -Here, the complication is that where normally features are dealt with after +Here the complication is that where normally features are dealt with after loading, the axis feature is part of the preparation (and caching). If you want -the virtual font solution, you can do this: +the virtual font solution you can do this: \starttyping \definefontfeature @@ -410,12 +408,12 @@ the virtual font solution, you can do this: [name:adobevariablefontprototype*inlinelightdefault] \stoptyping -When playing with these fonts, it was hard to see if loading was done right. For -instance, not all values make sense. It is beyond the scope of this article, but -axes like weight, width, contrast, and italic values get applied differently to -so|-|called regions (subspaces). So, say that we have an $x$ coordinate with the -value $50$. This value can be adapted in, for instance, four subspaces (regions), -so we actually get: +When playing with these fonts it was hard to see if loading was done right. For +instance not all values make sense. It is beyond the scope of this article, but +axes like weight, width, contrast and italic values get applied differently to +so|-|called regions (subspaces). So say that we have an $x$ coordinate with value +$50$. This value can be adapted in, for instance, four subspaces (regions), so we +actually get: \startformula x^\prime = x @@ -425,11 +423,11 @@ so we actually get: + s_4 \times x_4 \stopformula -The (here four) scale factors $s_n$ are determined by the axis value. Each axis +The (here) four scale factors $s_n$ are determined by the axis value. Each axis has some rules about how to map the values $230$ for weight and $50$ for contrast -to such a factor. Each region has its own translation from axis values to these -factors. The deltas $x_1,\dots,x_4$ are provided by the font. In a -\POSTSCRIPT|-|based font, we find sequences like: +to such a factor. And each region has its own translation from axis values to +these factors. The deltas $x_1,\dots,x_4$ are provided by the font. For a +\POSTSCRIPT|-|based font we find sequences like: \starttyping 1 <setvstore> @@ -439,10 +437,10 @@ factors. The deltas $x_1,\dots,x_4$ are provided by the font. In a A store refers to a region specification. From there the factors are calculated using the chosen values on the axis. The deltas are part of the glyphs -specification. Officially, there can be multiple region specifications, but how +specification. Officially there can be multiple region specifications, but how likely it is that they will be used in real fonts is an open question. -In \TRUETYPE\ fonts, the deltas are not in the glyph specification but in a +For \TRUETYPE\ fonts the deltas are not in the glyph specification but in a dedicated \type {gvar} table. \starttyping @@ -450,7 +448,7 @@ apply x deltas [10 -30 40 -60] to x 120 apply y deltas [30 -10 -30 20] to y 100 \stoptyping -Here, the deltas come from tables outside the glyph specification and their +Here the deltas come from tables outside the glyph specification and their application is triggered by a combination of axis values and regions. The following two examples use Avenir Next Variable and demonstrate that kerning @@ -490,19 +488,19 @@ is adapted to the variant. \startsubject[title=Embedding] -Once we're done typesetting and a \PDF\ file has to be created, there are three +Once we're done typesetting and a \PDF\ file has to be created there are three possible routes: \startitemize \startitem We can embed the shapes as \PDF\ images (inline literal) using virtual - font technology. We cannot use so|-|called xforms here, because we want to + font technology. We cannot use so|-|called xforms here because we want to support color selectively in text. \stopitem \startitem - We can wait till the \PDF\ format supports such fonts, which might - happen, but even then we might be stuck for years with viewers getting - there. Also, documents need to be printed, and when printer support might + We can wait till the \PDF\ format supports such fonts, which might happen + but even then we might be stuck for years with viewers getting there. Also + documents need to get printed, and when printer support might arrive is another unknown. \stopitem \startitem @@ -514,43 +512,43 @@ possible routes: Once I could interpret the right information in the font, the first route was the way to go. A side effect of having a converter for both outline types meant that it was trivial to create a virtual font at runtime. This option will stay in -\CONTEXT\ as a pseudo|-|feature \type {variableshapes}. +\CONTEXT\ as pseudo|-|feature \type {variableshapes}. -When trying to support variable fonts, I tried to limit the impact on the backend +When trying to support variable fonts I tried to limit the impact on the backend code. Also, processing features and such was not touched. The inclusion of the right shapes is done via a callback that requests the blob to be injected in the -\type {cff} or \type {glyf} table. When implementing this, I actually found out -that the \LUATEX\ backend also does some juggling of charstrings to inline -subroutines. In retrospect, I could have learned a few tricks faster by looking -at that code, but I never realized that it was there. Looking at the code again, -it strikes me that the whole inclusion could be done with \LUA\ code, and, some -day, I will give that a try. +\type {cff} or \type {glyf} table. When implementing this I actually found out +that the \LUATEX\ backend also does some juggling of charstrings, to serve the +purpose of inlining subroutines. In retrospect I could have learned a few tricks +faster by looking at that code but I never realized that it was there. Looking at +the code again, it strikes me that the whole inclusion could be done with \LUA\ +code and some day I will give that a try. \stopsubject \startsubject[title=Conclusion] -When I first heard about variable fonts, I was confident that when they showed -up, they could be supported. Of course, a specimen was needed to prove this. A -first implementation demonstrates that, indeed, it's no big deal to let \CONTEXT\ -with \LUATEX\ handle such fonts. Of course, we need to fill in some gaps, which -can be done once we have complete fonts. And then, of course, users will demand -more control. In the meantime, the helper script that deals with identifying -fonts by name has been extended, and the relevant code has been added to the -distribution. At some point, the \CONTEXT\ Garden will provide the \LUATEX\ -binary that has the callback. - -I end on a warning note. On the one hand, this technology looks promising, but on -the other hand, one can easily get lost. Most such fonts probably operate over a -well|-|defined domain of values, but, even then, one should be aware of complex +When I first heard about variable fonts I was confident that when they showed up +they could be supported. Of course a specimen was needed to prove this. A first +implementation demonstrates that indeed it's no big deal to let \CONTEXT\ with +\LUATEX\ handle such fonts. Of course we need to fill in some gaps which can be +done once we have complete fonts. And then of course users will demand more +control. In the meantime the helper script that deals with identifying fonts by +name has been extended and the relevant code has been added to the distribution. +At some point the \CONTEXT\ Garden will provide the \LUATEX\ binary that has the +callback. + +I end with a warning. On the one hand this technology looks promising but on the +other hand one can easily get lost. Probably most such fonts operate over a +well|-|defined domain of values but even then one should be aware of complex interactions with features like positioning or replacements. Not all combinations -can be tested. It's probably best to stick with fonts that have all the relevant +can be tested. It's probably best to stick to fonts that have all the relevant tables and don't depend on properties of a specific rendering technology. -Although support is now present in the core of \CONTEXT, the official release -will happen at the \CONTEXT\ meeting in 2017. By then, I hope to have tested more -fonts. Maybe the interface will also have been extended by then, because, after -all, \TEX\ is about control. +Although support is now present in the core of \CONTEXT\ the official release +will happen at the \CONTEXT\ meeting in 2017. By then I hope to have tested more +fonts. Maybe the interface has also been extended by then because after all, +\TEX\ is about control. \stopsubject |