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diff --git a/Master/texmf-dist/doc/fontinst/base/README b/Master/texmf-dist/doc/fontinst/base/README new file mode 100644 index 00000000000..6c5acf8fc52 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/README @@ -0,0 +1,113 @@ +README for fontinst + +* What is it? + +Fontinst is a program that helps with installing fonts +for (La)TeX. Since it is written entirely in TeX macros, +it is completely portable. + +More precisely, fontinst helps mainly with the number +crunching and shoveling parts of font installation. This +means in practice that it creates a number of files which +give the TeX metrics (and related information) for a font +family that (La)TeX needs to do any typesetting in these +fonts. Fontinst furthermore makes it easy to create fonts +containing glyphs from more than one base font, taking +advantage of e.g. "expert" font sets. + +Fontinst cannot examine files to see if they contain any +useful information, nor automatically search for files +or work with binary file formats; those tasks must +normally be done manually or with the help of some other +tool, such as the pltotf and vptovf programs. + + +* Documentation + +The doc directory contains pure documentation; in +particular the doc/manual directory should be of +interest, as it contains the fontinst manual. For all +questions about how one uses fontinst, see this manual. + +Sadly, the manual has been neglected for some time, and +although it was recently revised, much remains to do. +In particular, many commands still lack description and +explanations (although at least the manual now lists +all the syntaxes). Some alternative sources of information +that you may find useful are: + + * Philipp Lehman's "The Font Installation Guide" + Available on CTAN, at info/Type1fonts/fontinstallationguide/ + + * intro98.tex - parts of the 1998 fontinst v1.8 manual + that were split off during the recent revision. + + * The fontinst mailing list and its archives + (See below for relevant addresses.) + + * The fontinst Literate Programming sources (see + source/fisource.dvi). If a command isn't documented + anywhere else, there is probably a discussion of it + in the sources. They're thoroughly indexed. + +The examples directory contains some examples (with +comments) of using fontinst to install a font family. + + +* Installation + +To use fontinst, you only need to make sure the inputs +directory and its subdirectories are on TeX's input path. +Usually you do this by moving it to a suitable location. +In a TDS texmf tree, the inputs directory is usually +made the ${TEXMF}/tex/fontinst directory. + +You will probably also want to move the file fontdoc.sty +in the latex directory to some location where TeX will +find it. Many of the .mtx and .etx files in the inputs +hierarchy are simultaneously fontinst input files and +LaTeX documents; the fontdoc package is needed to typeset +them as the latter. In a TDS texmf tree, the normal place +for fontdoc.sty is in the tex/latex/misc directory. + +Also recall that some TeX implementations maintain a +database over files that have been installed. If you've +placed fontinst in a suitable place but TeX complains it +cannot find the file fontinst.sty then the problem may +be that you need to update this database of files. That +is however nothing that is particular for fontinst. + + +* Latin and other scripts + +The fontinst distribution includes the necessary encoding +definition (.etx) files for the latin script as used in +European languages, but there is nothing in fontinst as +a program that restricts it to these languages. In the T2 +bundle (CTAN:macros/latex/contrib/t2) there are +corresponding fontinst files for the cyrillic scripts +(and in the future it might become part of the main +fontinst distribution). + + +* The test directory + +This is mainly of interest for advanced fontinst users. +It collects some files that were written to test the new +features in various versions of fontinst. + + +* Mailing list + +Questions and bug reports should be sent to the fontinst +mailing list + + fontinst@tug.org + +General information about the mailing list is at: + + http://tug.org/mailman/listinfo/fontinst + + +7 August 2004, +Lars Hellstr\"om diff --git a/Master/texmf-dist/doc/fontinst/base/encspecs/encspecs.tex b/Master/texmf-dist/doc/fontinst/base/encspecs/encspecs.tex new file mode 100644 index 00000000000..3d1027d9415 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/encspecs/encspecs.tex @@ -0,0 +1,1293 @@ +\documentclass[a4paper]{article} + +\usepackage{array} + +\makeatletter +\@ifundefined{l@nohyphenation}{\newlanguage\l@nohyphenation}{} +\DeclareRobustCommand\meta[1]{% + \ensuremath{\langle}% + \sbox{\z@}{% + \setlanguage\l@nohyphenation + \normalfont\itshape #1\/% + \setlanguage\language + }% + \unhbox\z@ + \ensuremath{\rangle}% +} +\makeatother +\DeclareRobustCommand\marg[1]{% + \texttt{\char`\{}\meta{#1}\texttt{\char`\}}% +} +\DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} + +\makeatletter +\DeclareTextFontCommand\textsmaller{% + \fontsize{\scaledsize{\f@size}}{\f@baselineskip}\selectfont +} +\newcommand\scaledsize[1]{% + \ifdim #1\p@>6\p@ + \ifdim #1\p@>7\p@ + \ifdim #1\p@>8\p@ + \ifdim #1\p@>9\p@ + \ifdim #1\p@>10\p@ + \ifdim #1\p@>11\p@ + \ifdim #1\p@>12\p@ + \ifdim #1\p@>14\p@ 14% + \else 12\fi + \else 11\fi + \else 10\fi + \else 9\fi + \else 8\fi + \else 7\fi + \else 6\fi + \else 5\fi +} +\makeatother +\DeclareRobustCommand\ETX{\textsmaller{ETX}} + + +\usepackage{shortvrb} +\MakeShortVerb{\|} +\DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} + +\newcommand{\TeXOmega}{Omega} +\DeclareRobustCommand\eTeX{\ensuremath{\varepsilon}-\kern-.125em\TeX} +\DeclareRobustCommand\package[1]{\textsf{#1}} + +\providecommand*{\href}[2]{#2} +\newcommand*{\ctanref}[2]{\href{ftp://ftp.ctan.org/#1}{#2}} + +\title{Writing \ETX\ format font encoding specifications} +\author{Lars Hellstr\"om} +\date{2003/07/09} + +\begin{document} +\maketitle + +\begin{abstract} + This paper explains how one writes formal specifications of font + encodings for \LaTeX\ and suggests a ratification procedure for such + specifications. +\end{abstract} + + +\tableofcontents + +\vspace{0mm plus 35mm} +\pagebreak[2] + + +\section{Introduction} + +\paragraph*{Why should one specify font encodings?} +Because without a specification, font +designers\footnote{Maybe not a good term, since it is really about +making fonts available to \TeX. Some of these people actually +design glyphs, but most of them merely working with the metrics.} +cannot tell whether their fonts will work in general, they can +only test that they work in the cases they know about. Font design +is subject to a surprising amount of obscure technicalities and it +is very hard to consider (or even find documentation that +mentions) them all. + +\paragraph*{Why should one make formal specifications?} +Because the informal specifications that we have today +are incomplete and hard to use. E.g.\ the \LaTeX\ +\meta{enc}\texttt{enc.def} files only say something about the +characters that are accessed via commands, and even for those you +really have to do reverse engineering to figure out what the +encoding contains. To figure out what the remaining characters +should do you have to compile what the various user manuals claim +to work and then work backwards from that, but I don't think the +general problem of which character tokens are allowed in input is +thoroughly treated anywhere. On top of that, \LaTeX\ itself +contributes some character tokens when the document is being +typeset.\footnote{This is basically the ``a \texttt{T}$*$ encoding +must contain the characters \ldots'' problem that was the reason +that the \texttt{T2} encoding had to be split up.} + +On the other side of things there are the files which tell e.g. +\textsf{fontinst} or \textsf{AFMtoTFM} what the target font +encoding is. These are basically recipes which are known (?\@) to +produce valid results, and they do usually provide more +information about the encoding than the sources listed above, but +they don't give much information about where the recipe can be +modified. + +\paragraph*{Why use the \ETX\ format?} +To begin with it is an established format; many of those +who are making fonts already use it, even if for a slightly +different purpose. Another major reason is that an \ETX\ file is both +a \LaTeX\ document and a processable data file; this is the same kind +of bilinguality that has made the \texttt{.dtx} format so useful. +Finally the \ETX\ format makes it easy to create experimental font +installations when a new encoding is being designed; \textsf{fontinst} +can directly read the file, but the file can also be automatically +converted to a PostScript encoding vector if that approach seems more +convenient. + +On the other hand, there are some features (such as the prominent +role of the glyph names) of the \ETX\ format that would +probably had been done differently in a file format that was built +from scratch, but then you would also lose several of the advantages +listed above. + + +\section{Points to keep in mind} + +\subsection{Characters, glyphs, and slots} + +One fundamental difference one must understand is that between +characters and glyphs. A \emph{character} is a semantic entity---it +carries some meaning, even if you usually have to combine several +characters to make up even one word---whereas a \emph{glyph} simply +is a piece of graphics. In printed text, glyphs are used to represent +characters and the first step of reading is to determine which +character(s) a given glyph is representing. + +In the output, \TeX\ neither deals with characters nor glyphs, really +(although many of its messages speak of characters), but with +\emph{slots}, which essentially are numbered positions in a font. To +\TeX, a slot is simply something which can have certain metric +properties (width, height, depth, etc.\@) but to the driver which +actually does the printing the slot also specifies a glyph. The same +slot in two different fonts can correspond to two quite different +characters. + +For completeness it should also be mentioned that the \emph{input} of +\TeX\ is a stream of semantic entities and thus \TeX\ is dealing with +characters on that side, but the input is not the subject of this +paper. + + +\subsection{Ligatures} + +In typography, a \emph{ligature} is a glyph which has been formed by +joining glyphs that represent two or more characters; this joining can +involve quite a lot of deformation of the original shapes. Examples +of ligatures are the `fi' ligature (from `f' and `i'), the `\AE' +ligature (from `A' and `E'), and the `\textit{\&}' character (from `E' +and `t'), the latter two of which has evolved to become characters of +their own. For those ligatures (such as `fi') that have not evolved to +characters, \TeX\ has a mechanism for forming the ligature out of the +characters it is composed from, under the guidance of ligature\slash +kerning programs found in the font. + +More technically, what happens is really that if the |\char| (or +equivalent) for one slot is immediately followed by the |\char| (or +equivalent) for another (or the same) slot and there is a ligaturing +instruction in the \texttt{\small LIGKERN} table of the current font +which applies to this slot pair then this ligaturing instruction is +executed. This usually replaces the two slots in the pair with a +single new slot specified by the ligaturing instruction (it could +also keep one or both of the original slots, but that is less common). +\TeX\ has no idea about whether these replacements change the meaning +of anything, but \TeX\ assumes that it doesn't, and it is up to the +font designer to ensure that this is the case. + +Apart from forming ligatures in text, the ligaturing mechanism of +\TeX\ is traditionally also employed for another task which is much +more problematic. Ligatures are also used to produce certain +characters which are not part of visible ASCII---the most common are +the endash (typed as |--|) and the emdash (typed as |---|). This is a +problem because it violates \TeX's assumption that the meaning is +unchanged; the classical problem with this appears in the \texttt{OT2} +encoding, where the Unicode character \texttt{U+0446} +(\textsc{cyrillic small letter tse}) could be typed as |ts|, whilst +the |t| and |s| by themselves produced Unicode characters +\texttt{U+0442} (\textsc{cyrillic small letter te}) and \texttt{U+0441} +(\textsc{cyrillic small letter es}) respectively. \TeX's hyphenation +mechanism can however decompose ligatures, so it sometimes happened +that the \textsc{tse} was hyphenated as \textsc{te}-\textsc{es}, +which is quite different from what was intended. Since this is such +an obvious disadvantage, the use of ligatures for forming non-English +letters quickly disappeared after 8-bit input encodings became +available. The practice still remains in use for punctuation, however, +and the font designer must be aware of this. For many font encodings +there is a set of ligatures which must be present and replace two or +more characters by a single, different character. These ligatures are +called \emph{mandatory ligatures} in this paper. + +The use of mandatory ligatures in new font encodings is strongly +discouraged, for a number of reasons. The main problem is that they +create unhealthy dependencies between input and output encoding, +whereas these should ideally be totally independent. Using ligatures +in this way complicates the internal representation of text, and it +also makes it much harder to typeset text where those ligatures are not +wanted (such as verbatim text). Furthermore it creates problems with +kerning, since the ``ligature'' has not yet been formed when a kern +to the left of it is inserted. Finally, a much better solution (when +it is available) is to use an \TeXOmega\ translation process +(see~\cite[Sec.~8--11]{Omega-doc}), since that \emph{is} independent +of the font, different translations can be combined, and they can +easily handle even ``abbreviations'' much more complicated than those +ligatures can deal with. + + +\subsection{Output stages} + +On its way out of \LaTeX\ towards the printed text, a character passes +through a number of stages. The following five seem to cover what is +relevant for the present discussion: +\begin{enumerate} + \item \emph{\LaTeX\ Internal Character Representation} (LICR); + see~\cite{LaTeXCompanion}, Section~7.11 for a full description. + At this point the character is a character token (e.g.~|a|), + a text command (e.g.~|\ss|), or a combination (e.g.~|\H{o}|). + \item \emph{Horizontal material;} this is what the character is + en route from \TeX's mouth to its stomach. For most characters + this is equivalent to a single |\char| command (e.g.\ |a| is + equivalent to |\char|\,|97|), but some require more than one, some + are combined using the |\accent| and |\char| commands, some + involve rules and\slash or kerns, and some are built using boxes + that arbitrarily combine the above elements. + \item \emph{DVI commands;} this is the DVI file commands that + produce the printed representation of the character. + \item \emph{Printed text;} this is the graphical representation of + the character, e.g. as ink on paper or as a pattern on a computer + screen. Here the text consists of glyphs. + \item \emph{Interpreted text;} this is essentially printed text + modulo equivalence of interpretation, hence the text doesn't really + reach this stage until someone reads it. Here the text consists of + characters. +\end{enumerate} + +In theory there is a universal mapping from LICR to interpreted text, +but various technical restrictions make it impossible to simultaneously +support the entire mapping. A \LaTeX\ encoding selects a restriction +of this mapping to a limited set which will be ``well supported'' +(meaning kerning and such between characters in the set works), whereas +elements outside this set at best can be supported through temporary +encoding changes. The encoding also specifies a decomposition of the +mapping into one part which maps LICR to horizontal material and one +part which maps horizontal material to interpreted text. The first +part is realized by the text command definitions usually found in the +\meta{enc}\texttt{enc.def} file for the encoding. The second part is +the font encoding, the specification of which is the topic of this +paper. It is also worth noticing that an actual font is a mapping of +horizontal material to printed text. + +An alternative decomposition of the mapping from LICR to interpreted +text would be at the DVI command level, but even though this +decomposition is realized in most \TeX\ implementations, it has very +little relevance for the discussion of encodings. The main reason for +this is that it depends not only on the encoding of a font, but +also on its metrics. Furthermore it is worth noticing that in e.g.\ +pdf\TeX\ there need not be a DVI command level. + + +\subsection{Hyphenation} + +There are strong connections between font encoding and hyphenation because +\TeX's hyphenation mechanism operates on horizontal material; more +precisely the hyphenation mechanism only works on pieces of horizontal +material that are equivalent to sequences of |\char| commands. This +implies that hyphenation patterns, as selected via the |\language| +parameter, are not only for a specific language, they are also for a +specific font encoding. + +The hyphenation mechanism uses the |\lccode| values to distinguish +between three types of slots: lower case letters (|\lccode|\(\,n = +n\)), upper case letters (|\lccode|\(\,n \notin \{0,n\}\)), and +non-letters (|\lccode|\(\,n = 0\)); only the first two types can be +part of a hyphenatable word and only lower case letters are needed +in the hyphenation patters. This does however place severe +restrictions on how letters can be placed in a text font because +\TeX\ uses the same |\lccode| values for all text in a paragraph and +therefore these values cannot be changed whenever the encoding changes. +In \LaTeX\ the |\lccode| table is not allowed to change at all and +consequently all text font encodings must work using the standard set +of |\lccode| values. + +In \eTeX\ each set of hyphenation patterns has its own set of +|\lccode| values for hyphenation, so the problem isn't as severe +there. The hyphenation mechanism of \TeXOmega\ should become +completely independent of the font encoding, but in the current +implementation it is still operating on material encoded according to +a font encoding. + + +\subsection{Production and specification \ETX\ files} + +Finally, it is worth pointing out the difference between an \ETX\ file +created for the specification of a font encoding and one created for +being used in actually producing fonts with this encoding. They are +usually not the same. Specification \ETX s certainly may be of direct +use in the production of fonts---especially experimental fonts +produced as part of the work on a new encoding---but they are usually +not ideal for the purpose. In particular there is often a need to +switch between alternative names for a glyph to accommodate what is +actually in the fonts, but such trickeries are undesirable +complications in a specification. On the other hand a production +\ETX\ file has little need for verbose comments, whereas they are rather +an advantage in a specification \ETX\ file. + +Therefore one shouldn't be surprised if there are two \ETX\ files for a +specific encoding: one which is a specification version and one which +is a production version. If both might need to be in the same +directory then one should, as a rule of thumb, include a +`\texttt{spec}' in the name of the specification version. + + +\section{Font encoding specifications} + +\subsection{Basic principles} + +Most features of the font encoding are categorized as either +\emph{mandatory} or \emph{ordinary}. The mandatory features are what +macros may rely on, whereas the ordinary simply are something which +fonts with this encoding normally provide. Font designers may choose +to provide other features than the ordinary, but are recommended to +provide the ordinary features to the extent that the available +resources permit. + +Many internal references in the specification are in the form of +\emph{glyph names} and the choice of these is a slightly tricky +matter. From the point of formal specification, the choices can be +completely arbitrary, but from the point of practical usefulness they +most likely are not. One of the main advantages of the \ETX\ format +for specifications is that such specifications can also be used to +make experimental implementations, but this requires that the glyph +names in the specification are the same as those used in the fonts +from which the experimental implementation should be built. Yet +another aspect is that the glyph names are best chosen to be the ones +one can expect to find in actual fonts, as that will make things +easier for other people that want to make non-experimental +implementations later. For this last purpose, a good reference is +Adobe's technical note on Unicode and glyph names~\cite{unicodesign}. +For most common glyphs, \cite{unicodesign} ends up recommending that +one should follow the Adobe glyph list~\cite{AGL}, which however has +the peculiar trait of recommending names on the form +\texttt{afii}\textit{ddddd} (rather than the Unicode-based alternative +\texttt{uni}\textit{xxxx}) for most non-latin glyphs. This is somewhat +put in perspective by~\cite{ATN5013}. + + +\subsection{Slot assignments} + +The purpose of the slot assignments is to specify for each slot which +character or characters it is mapped to. That one slot is mapped to +many characters is an unfortunate, but not very uncommon, reality in +many encodings, as limitations in font size have often encouraged +identifications of two characters which are almost the same. It should +be avoided in new encodings. + +Slot assignmets are done using the |\nextslot| command and a +|\setslot| \dots\ |\endsetslot| construction as follows: +\begin{quote} + |\nextslot|\marg{slot number}\\* + |\setslot|\marg{glyph name}\\* + \mbox{\quad}\meta{slot commands}\\* + |\endsetslot| +\end{quote} +A typical example of this is +\begin{quote}\begin{verbatim} +\nextslot{65} +\setslot{A} + \Unicode{0041}{LATIN CAPITAL LETTER A} +\endsetslot +\end{verbatim}\end{quote} +which gets typeset as +\begin{quote} + \textbf{Slot 65 `\texttt{A}'}\\* + Unicode character \texttt{U+0041}, \textsc{latin capital letter a}. +\end{quote} + +The |\nextslot| command does not typeset anything; it simply stores +the slot number in a counter, for later use by |\setslot|. The +|\endsetslot| command increments this counter by one. Hence the +|\nextslot| command is unnecessary between |\setslot|s for consecutive +slots. Besides |\nextslot|, there is also a command |\skipslots| which +increments the slot number counter by a specified amount. The +argument of both |\nextslot| and |\skipslots| can be arbitrary +\package{fontinst} integer expressions (see~\cite{fontinst-man}). All +\TeX\ \meta{number}s that survive full expansion are valid +\package{fontinst} integer expressions, but for example |`\~| isn't, +as |\~| is a macro which will break before the expression is typeset. +These cases can however be fixed by preceding the \TeX\ \meta{number} +by |\number|, as |\number`\~| survives full expansion by expanding to +|126|. + +The main duty of the \meta{slot commands} is to specify the target +character (or characters) for this slot. The simplest way of doing +this is to use the |\Unicode| command, which has the syntax +\begin{quote} + |\Unicode|\marg{code point}\marg{name} +\end{quote} +The \meta{code point} is the number of the character (in hexadecimal +notation, usually a four-digit number) and the \meta{name} is the name. +Case is insignificant in these arguments. If a character does not +have a Unicode code point then the specification should simply be a +description in text which identifies the character. Such descriptions +are written using the |\comment| command +\begin{quote} + |\comment|\marg{text} +\end{quote} +It is worth noticing that the \meta{text} is technically only an +argument of |\comment| when the program processing the \ETX\ file is +ignoring |\comment| commands. This means |\verb| and similar +catcode-changing commands \emph{can} be used in the \meta{text}. The +|\par| command is on the other hand not allowed in the \meta{text}. + +The |\comment| command should also be used for any further piece of +explanation of or commentary to the character used for the slot, if the +exposition seems to need it. There can be any number of |\comment| +commands in the \meta{slot commands}. + + +\subsection{Ligatures} + +There are three classes of ligatures in the font encoding +specifications: mandatory, ordinary, and odd. Mandatory ligatures must +be present in any font which complies with the encoding, whereas +ordinary and odd ligatures need not be. No clear distinction can be +made between ordinary and odd ligatures, but a non-mandatory ligature +should be categorized as ordinary if it makes sense for the majority +of users, and as odd otherwise. Hence the `fi' ligature is +categorized as ordinary in the \texttt{T1} encoding, whereas the `ij' +ligature is odd. + +In the \ETX\ format, a ligature is specified using one of the slot +commands +\begin{quote} + |\Ligature|\marg{ligtype}\marg{right}\marg{new}\\ + |\ligature|\marg{ligtype}\marg{right}\marg{new}\\ + |\oddligature|\marg{note}\marg{ligtype}\marg{right}\marg{new} +\end{quote} +|\Ligature| is used for mandatory ligatures, |\ligature| is used for +ordinary ligatures, and |\oddligature| is used for odd ligatures. The +\meta{right} and \meta{new} arguments are names of the glyphs being +assigned to the slots involved in this ligature. The \meta{right} +specifies the right part in the slot pair being affected by the +ligature, whereas the left part is the one of the |\setslot| \dots\ +|\endsetslot| construction in which the ligaturing command is placed. +The \meta{new} specifies a new slot which will be inserted by the +ligaturing instruction. The \meta{ligtype} is the actual ligaturing +instruction that will be used; it must be |LIG|, |/LIG|, |/LIG>|, +|LIG/|, |LIG/>|, |/LIG/|, |/LIG/>|, or |/LIG/>>|. The slashes specify +retention of the left or right original character; the |>| signs +specify passing over that many slots in the result without further +ligature processing. \meta{note}, finally, is a piece of text which +explains when the odd ligature may be appropriate. It is typeset as a +footnote. + +As an example of ligatures we find the following in the specification +of the \texttt{T1} encoding: +\begin{quote} + |\nextslot{33}|\\ + |\setslot{exclam}|\\ + | \Unicode{0021}{EXCLAMATION MARK}|\\ + | \Ligature{LIG}{quoteleft}{exclamdown}|\\ + |\endsetslot| +\end{quote} +It is typeset as +\begin{quote} + \textbf{Slot 33 `\texttt{exclam}'}\\* + Unicode character \texttt{U+0021}, \textsc{exclamation mark}.\\* + \textbf{Mandatory ligature} + \texttt{exclam}${}*{}$\texttt{quoteleft}${}\rightarrow + {}$\texttt{exclamdown} +\end{quote} +With other \meta{ligtype}s there may be more names listed on the +right hand side and possibly a `$\lfloor$' symbol showing the +position at which ligature processing will start afterwards. + + +\subsection{Math font specialities} + +There are numerous technicalities which are special to math fonts, but +only a few of them are exhibited in \ETX\ files.\footnote{For an +overview of the subject, see for example Vieth~\cite{Vieth2001}.} Most +of these have to do with the \TeX\ mechanisms that find sufficiently +large characters for commands like |\left|, |\sqrt|, and |\widetilde|. + +The first mechanism for this is that a character in a font can sort of +say ``If I'm too small, then then try character \dots\ instead''. This +is expressed in an \ETX\ file using the |\nextlarger| command, which +has the syntax +\begin{quote} + |\nextlarger|\marg{glyph name} +\end{quote} +The second mechanism constructs a sufficiently large character from +smaller pieces; this is known as a `varchar' or `extensible character'. +This is expressed in an \ETX\ file using an ``extensible recipe'', the +syntax for which is +\begin{quote} + |\varchar| \meta{varchar commands} |\endvarchar| +\end{quote} +where each \meta{varchar command} is one of +\begin{quote} + |\varrep|\marg{glyph name}\\ + |\vartop|\marg{glyph name}\\ + |\varmid|\marg{glyph name}\\ + |\varbot|\marg{glyph name} +\end{quote} +There can be at most one of each and their order is irrelevant. The +most important is the |\varrep| command, as that is the part which is +repeated until the character is sufficiently large. The |\vartop|, +|\varmid|, and |\varbot| commands are used to specify some other part +which should be put at the top, middle, and bottom of the extensible +character respectively. Not all extensible recipes use all of these, +however. + +As an example, here is how a very large left brace is constructed: +\begin{center} + \begin{tabular}{>{% + \fontencoding{OMX}\fontfamily{cmex}\selectfont + $\vcenter\bgroup\hbox\bgroup + }l<{\egroup\egroup$} l} + \char"38& For |\vartop{bracelefttp}|\\ + \char"3E& For |\varrep{braceex}|\\ + \char"3C& For |\varmid{braceleftmid}|\\ + \char"3E& Again for |\varrep{braceex}|\\ + \char"3A& For |\varbot{braceleftbt}| + \end{tabular} +\end{center} + +Both |\nextlarger| and |\varchar| commands are like |\ligature| in +that they describe ordinary features for the encoding; they appear in +a specification \ETX\ file mainly to explain the purpose of some +ordinary character. There is no such thing as a mandatory |\nextlarger| +or |\varchar|, but varchars are occationally used to a similar effect. +In these cases, the character generated by the extensible recipe is +something quite different from what a |\char| for that slot would +produce. Thus for the slot to produce the expected result it must be +referenced using a |\delimiter| or |\radical| primitive, since those +are the only ones which make use of the extensible recipe. The effect +is that the slot has a \emph{semimandatory} assignment; the result of +|\char| is unspecified (as for a slot with an ordinary assignment), but +the result for a large delimiter or radical is not (as for a slot with +a mandatory assignment). + +Thus some math fonts have an extra section ``Semimandatory characters'' +between the mandatory and ordinary character sections. In that section +for the \texttt{OMX} encoding we find for example +\begin{quote}\begin{verbatim} +\nextslot{60} +\setslot{braceleftmid} + \Unicode{2016}{DOUBLE VERTICAL LINE} + \comment{This is the large size of the |\Arrowvert| + delimiter, a glyphic variation on |\Vert|. + The \texttt{braceleftmid} glyph ordinarily + placed in this slot must not be too tall, + or else the extensible recipe actually producing + the character might sometimes not be used.} + \varchar + \varrep{arrowvertex} + \endvarchar +\endsetslot +\end{verbatim}\end{quote} +which is typeset as +\begin{quote} + \textbf{Slot 60 `\texttt{braceleftmid}'}\\* + Unicode character \texttt{U+2016}, \textsc{double vertical line}.\\ + This is the large size of the |\Arrowvert| + delimiter, a glyphic variation on |\Vert|. + The \texttt{braceleftmid} glyph ordinarily + placed in this slot must not be too tall, + or else the extensible recipe actually producing + the character might sometimes not be used.\\ + \textbf{Extensible glyph:}\\* + \textbf{Repeated} \texttt{arrowvertex} +\end{quote} + + + + +\subsection{Fontdimens} + +Each \TeX\ font contains a list of fontdimens, numbered from $1$ and +up, which are accessible via the |\fontdimen| \TeX\ primitive. Quite a +few are also used implicitly by \TeX\ and therefore cannot be left out +even if they are totally irrelevant, but as one can always include +some extra fontdimens in a font---the only bounds on how many +fontdimens there may be are the general bound on the size of a TFM +file and the amount of font memory \TeX\ has available---this is +usually not a problem. + +The reason fontdimens are part of font encoding specifications is +that the meaning of e.g.\ |\fontdimen|\,|8| varies between different +fonts depending on their encoding; thus the encoding specification +must define the quantity stored in each |\fontdimen| parameter. This +is done using the |\setfontdimen| command, which has the syntax +\begin{quote} + |\setfontdimen|\marg{number}\marg{name} +\end{quote} +The \meta{number} is the fontdimen number (as a sequence of decimal +digits where the first digit isn't zero) and the \meta{name} is a +symbolic name for the quantity. + +The standard list of symbolic names for fontdimen quantities appears +below; the listed quantities should always be described using the names +in this list. Encoding specifications that employ other quantities as +fontdimens should include definitions of these quantities. Those +quantities that are defined as ``Formula parameter \dots'' have to +do with how mathematical formulae are rendered and are usually much +too complicated to explain here. For exact definitions of these +parameters, the reader is referred to Appendix~G of \textit{The +\TeX book}~\cite{TeXbook}. +\begin{list}{}{% + \setlength\labelwidth{0pt}% + \setlength\itemindent{-\leftmargin}% + \def\makelabel#1{\hspace{\labelsep}\normalfont\itshape #1}% + \setlength\itemsep{0.5\itemsep}% + \setlength\parsep{0.5\parsep}% +} +\item[acccapheight] + The height of accented full capitals. +\item[ascender] + The height of lower case letters with ascenders. +\item[axisheight] Formula parameter $\sigma_{22}$. +\item[baselineskip] + The font designer's recommendation for natural length of the + \TeX\ parameter |\baselineskip|. +\item[bigopspacing1] Formula parameter $\xi_{9}$. +\item[bigopspacing2] Formula parameter $\xi_{10}$. +\item[bigopspacing3] Formula parameter $\xi_{11}$. +\item[bigopspacing4] Formula parameter $\xi_{12}$. +\item[bigopspacing5] Formula parameter $\xi_{13}$. +\item[capheight] + The height of full capitals. +\item[defaultrulethickness] Formula parameter $\xi_{8}$. +\item[delim1] Formula parameter $\sigma_{20}$. +\item[delim2] Formula parameter $\sigma_{21}$. +\item[denom1] Formula parameter $\sigma_{11}$. +\item[denom2] Formula parameter $\sigma_{12}$. +\item[descender] + The depth of lower case letters with descenders. +\item[digitwidth] + The median width of the digits in the font. +\item[extraspace] + The natural width of extra interword glue at the end of a sentence. + \TeX\ implicitly uses this parameter if |\spacefactor| is $2000$ or + more and |\xspaceskip| is zero. +\item[interword] + The natural width of interword glue (spaces). \TeX\ implicitly uses + this parameter unless |\spaceskip| is nonzero. +\item[italicslant] + The slant per point of the font. Unlike all other fontdimens, it is + not proportional to the font size. +\item[maxdepth] + The maximal depth over all slots in the font. +\item[maxheight] + The maximal height over all slots in the font. +\item[num1] Formula parameter $\sigma_{8}$. +\item[num2] Formula parameter $\sigma_{9}$. +\item[num3] Formula parameter $\sigma_{10}$. +\item[quad] + The quad width of the font, normally approximately equal to the + font size and\slash or the width of an `M'. Also implicitly available + as the length unit |em| and used for determining the size of the + length unit |mu|. +\item[shrinkword] + The (finite) shrink component of interword glue (spaces). \TeX\ + implicitly uses this parameter unless |\spaceskip| is nonzero. +\item[stretchword] + The (finite) stretch component of interword glue (spaces). \TeX\ + implicitly uses this parameter unless |\spaceskip| is nonzero. +\item[sub1] Formula parameter $\sigma_{16}$. +\item[sub2] Formula parameter $\sigma_{17}$. +\item[subdrop] Formula parameter $\sigma_{19}$. +\item[sup1] Formula parameter $\sigma_{13}$. +\item[sup2] Formula parameter $\sigma_{14}$. +\item[sup3] Formula parameter $\sigma_{15}$. +\item[supdrop] Formula parameter $\sigma_{18}$. +\item[verticalstem] + The dominant width of vertical stems. This quantity is meant to be used + as a measure of how ``dark'' the font is. +\item[xheight] + The x-height (height of lower case letters without ascenders). Also + implicitly available as the length unit |ex|. +\end{list} + + +\subsection{The codingscheme} + +The final encoding-dependent piece of information in a \TeX\ font is +the codingscheme, which is essentially a string declaring what +encoding the font has. This information is currently only used by +programs that convert the information in a \TeX\ font to some other +format and these use it to identify the glyphs in the font. Therefore +this string should be chosen so that the contents of the slots in the +font can be positively identified. Observe that the encoding +specification by itself does not provide enough information for this, +since there are usually a couple of slots that do not contain +mandatory characters. On the other hand, it is not a problem in this +context if the font leaves some of the slots (even mandatory ones) +empty as that is anyway easily detected. The only problem is with +fonts where the slots are assigned to other characters than the ones +specified in the encoding. + +For that reason, it is appropriate to assign two codingscheme strings +to each encoding. The main codingscheme is for fonts were all slots +(mandatory and ordinary alike) have been assigned according to the +specification or have been left empty. The variant codingscheme is for +fonts where some ordinary slots have been assigned other characters +than the ones listed in the specification, but where the mandatory +slots are still assigned according to the specification or are left +empty. The font encoding specification should give the main +codingscheme name, whereas the variant codingscheme name could be +formed by adding \verb*| VARIANT| to the main codingscheme name. + +Technically the codingscheme is specified by setting the +\texttt{codingscheme} string variable. This has the syntax +\begin{quote} + |\setstr{codingscheme}|\marg{codingscheme name} +\end{quote} +e.g. +\begin{quote} + |\setstr{codingscheme}{EXTENDED TEX FONT ENCODING - LATIN}| +\end{quote} +which is typeset as +\begin{quote} + \textbf{Default} s(\texttt{codingscheme}) = + \verb*|EXTENDED TEX FONT ENCODING - LATIN| +\end{quote} +A codingscheme name may be at most 40 characters long and may not +contain parentheses. If the entire \verb*| VARIANT| cannot be suffixed +to a main name because the result becomes to long (as in the above +example) then use the first 40 characters of the result. + + +\subsection{Overall document structure} +\label{Ssec:Structure} + +The overall structure of a font encoding specification should be +roughly the following +\begin{quote} + |\relax|\\ + |\documentclass[twocolumn]{article}|\\ + |\usepackage[specification]{fontdoc}|\\ + \meta{preamble}\\ + |\begin{document}|\\ + \meta{title}\\ + \meta{manifest}\\ + |\encoding|\\ + \meta{body}\\ + |\endencoding|\\ + \meta{discussion}\\ + \meta{change history}\\ + \meta{bibliography}\\ + |\end{document}| +\end{quote} +The commands described in the preceding subsections must all go in +the \meta{body} part of the document, as that is the only part of the +file which actually gets processed as a data file. The part before +|\encoding| is skipped and the part after |\endencoding| is never +even input, so whatever appears there is only part of the \LaTeX\ +document. For the purposes of processing as a data file, the +important markers in the file are the |\relax|, the |\endcoding|, and +the |\endencoding| commands. + +The \meta{title} is the usual |\maketitle| (and the like) stuff. The +person or persons who appear as author(s) are elsewhere in this paper +described as the \emph{encoding proposers}. The \meta{title} should +also give the date when the specification was last changed. + +The \meta{manifest} is an important, although usually pretty short, +part of the specification. It is a piece of text which explains the +purpose of the encoding (in particular what it can be used for) and +the basic ideas (if any) which have been used in its construction. It +is often best marked up as an abstract. + +The \meta{discussion} is the place for any longer comments on the +encoding, such as analyses of different implementations, comparisons +with other encodings, etc. This is also the place to explain any more +general structures in the encoding, such as the arrow kit in the +proposed \texttt{MS2} encoding~\cite{ClasenVieth}. In cases where the +specification is mainly a formulation of what is already an +established standard the \meta{discussion} is often rather short as +the relevant discussion has already been published elsewhere, but +it is anyway a service to the reader to include this information. +References to the original documents should always be given. + +It might be convenient to include an FAQ section at the end of the +discussion. This is particularly suited for explaining things where +one has to look for a while and consult the references to find the +relevant information. + +The \meta{change history} documents how the specification has changed +over time. It is preferably detailed, as each detail in an encoding +is important, but one should not be surprised if it is anyway rather +short due to that there haven't been that many changes. + +The \meta{bibliography} is an important part of the specification. It +should at the very least include all the sources which have been used +in compiling the encoding specification, regardless of whether they +are printed, available on the net, merely ``personal communication'', +or something else. It is also a service to the reader to include in +the bibliography some more general references for related matters. + +The \meta{preamble} is just a normal \LaTeX\ preamble and there are no +restrictions on defining new commands in it, although use of such +commands in the \meta{body} part is subject to the same restrictions +as use of any general \LaTeX\ command. The preamble should however +\emph{not} load any packages not part of the required suite of +\LaTeX\ packages, as that may prevent users who do not have these +packages from typesetting the specification. Likewise, the +specification should \emph{not} require that some special font is +available. Glyph examples for characters are usually better +referenced via Unicode character charts than via special fonts. + +An exception to this rule about packages is that the specification +must load the \package{fontdoc} package, as shown in the outline +above, since that defines the |\setslot| etc.\ commands that should +appear in the \meta{body}. This should not be a problem, as the +\package{fontdoc} package can preferably be kept in the same directory +as the collection of encoding specifications (see below). The +\texttt{specification} option should be passed to the package to let it know +that the file being processed is an encoding specification---otherwise +|\Ligature| and |\ligature| will get the same formatting, for one. It +is not necessary to use the \package{article} document class, and +neither must it be passed the \texttt{twocolumn} option, but it is +customary to do so. In principle any other document class within +required \LaTeX\ will do just as well. + +If you absolutely think that using some non-required package +significantly improves the specification, then try writing the code so +that is loads the package only if it is available and provide some +kind of fallback definition for sites where it is not. E.g.\ the +\package{url} package could be loaded as +\begin{verbatim} +\IfFileExists{url.sty}{\usepackage{url}}{} +\providecommand\url{\verb} +\end{verbatim} +The |\url| command defined by this is not equivalent to the command +defined by the \package{url} package, but it can serve fairly well +(with a couple of extra overfull lines as only ill effect) if its +use is somewhat restricted. + +Finally, a technical restriction on the \meta{preamble}, \meta{title}, +and \meta{manifest} is that they must not contain any mismatched +|\if|s (of any type) or |\fi|s, as \TeX\ conditionals will be used for +skipping those parts of the file when it is processed as a data file. +If the definition of some macro includes mismatched |\if|s or |\fi|s +(this will probably occur only rarely) then include some extra code +so that they do match. + + +% All technical parts of the encoding specification (slot assignments, +% fontdimens, etc.\@) have to be in the \meta{encoding commands} part. +% The other parts are suitably used for longer commentry, such as the +% mainfest (see below), revision history, and bibliography. +% +% When the file is being typeset as a \LaTeX\ document there is nothing +% special going on. The |\encoding| and |\endencoding| commands may set +% some internal variables, but otherwise they do very little. When the +% file is being read by \package{fontinst}, things are quite different. +% Everything between the initial |\relax| and |\encoding| is skipped, +% and the file is not read further than to the |\endencoding|. Hence +% the \meta{preamble}, \meta{\LaTeX\ text 1}, and \meta{\LaTeX\ text 2} +% can contain pretty much anything (with a few exceptions) which is +% legal in a \LaTeX\ document. + + +\subsection{Encoding specification body syntax} + +The \meta{body} part of an encoding specification must comply to a +much stricter syntax than the rest of the file. +The full syntax of the \ETX\ format can\footnote{Well, it should be, +only the manual hasn't been updated for a while now, so some things +are missing from it. They're all documented in the \package{fontinst} +sources~\cite{fontinst-pre}, though.} be found in the \package{fontinst} +manual~\cite{fontinst-man}, but font encoding specifications only need +a subset of that. The \meta{body} is a sequence of +\meta{encoding command}s, each of which should be one of the +following: +\begin{quote} + |\setslot|\marg{glyph name} \meta{slots commands} |\endsetslot|\\ + |\nextslot|\marg{number}\\ + |\skipslots|\marg{number}\\ + |\setfontdimen|\marg{number}\marg{name}\\ + |\setstr{codingscheme}|\marg{codingscheme name}\\ + |\needsfontinstversion|\marg{version number} +\end{quote} +The |\needsfontinstversion| command is usually placed immediately +after the |\encoding| command. The \meta{version number} must be at +least |1.918| for many of the features described in this file to be +available. + +The \meta{slot commands} are likewise a sequence of \meta{slot +command}s, each of which should be one of the following: +\begin{quote} + |\Unicode|\marg{code point}\marg{name}\\ + |\comment|\marg{text}\\ + |\Ligature|\marg{ligtype}\marg{right}\marg{new}\\ + |\ligature|\marg{ligtype}\marg{right}\marg{new}\\ + |\oddligature|\marg{note}\marg{ligtype}\marg{right}\marg{new}\\ + |\nextlarger|\marg{glyph name}\\ + |\varchar| \meta{varchar commands} |\endvarchar| +\end{quote} +where \meta{varchar commands} similarly is a sequence of \meta{varchar +command}s, each of which should be one of the following: +\begin{quote} + |\varrep|\marg{glyph name}\\ + |\vartop|\marg{glyph name}\\ + |\varmid|\marg{glyph name}\\ + |\varbot|\marg{glyph name} +\end{quote} +Finally, one can include any number of \meta{comment command}s between +any two encoding, slot, or varchar commands. The comment commands are +\begin{quote} + |\begincomment| \meta{\LaTeX\ text} |\endcomment|\\ + |\label|\marg{reference label} +\end{quote} +The \meta{\LaTeX\ text} can be pretty much any \LaTeX\ code that can +appear in conditional text. (|\begincomment| is either |\iffalse| or +|\iftrue| depending on whether the encoding specification is +processed as a data file or typeset as a \LaTeX\ document respectively. +|\endcomment| is always |\fi|.) The |\label| command is just +the normal \LaTeX\ |\label| command; when it is used in a \meta{slot +commands} it references that particular slot (by number and glyph +name). + + +\subsection{Additional \package{fontdoc} features} + +There is an ``in comment paragraph'' form |\textunicode| of the +|\Unicode| command. Both commands have the same syntax, but +|\textunicode| is only allowed in ``comment'' contexts. A typical use +of |\textunicode| is +\begin{quote} + |\comment{An |\dots\\ + \quad\dots| this is \textunicode{2012}{FIGURE DASH}; in |\dots\\ + |}| +\end{quote} +which is typeset as +\begin{quote} + An \dots\ this is \texttt{U+2012} (\textsc{figure dash}); in \dots +\end{quote} + +The \package{fontdoc} package inputs a configuration file +\texttt{fontdoc.cfg} if that exists. This can be used to pass +additional options to the package. The only currently available +options that this could be of interest for are the \texttt{hypertex} +and \texttt{pdftex} options, which hyperlinks each \texttt{U+}\dots\ +generated by |\Unicode| or |\textunicode| (using Hyper\TeX\ or +pdf\TeX\ conventions\footnote{One could just as well do the same +thing using some other convention if a suitable definition of +\cs{FD@codepoint} is included in \texttt{fontdoc.cfg}. See the +\package{fontinst} sources~\cite{fontinst-pre} for more details.} +respectively) to a corresponding glyph image on the Unicode consortium +website. To use this feature one should put the line +\begin{quote} + |\ExecuteOptions{hypertex}| +\end{quote} +or +\begin{quote} + |\ExecuteOptions{pdftex}| +\end{quote} +in the \texttt{fontdoc.cfg} file. \emph{Please} do not include this +option in the |\usepackage|\nolinebreak[1]|{fontdoc}| of an encoding +specification file as that can be a severe annoyance for people whose +\TeX\ program or DVI viewers do not support the necessary extensions. +% Hyper\TeX\ |\special|s. + + +\section{Font encoding ratification} + +This section describes a suggested ratification process for font +encoding specifications. As there are fewer technical matters that +impose restrictions on what it may look like, it is probably more +subjective than the other parts of this paper. + +\medskip + +A specification in the process of being ratified can be in one of +three different stages: \emph{draft}, \emph{beta}, or \emph{final}. +Initially the specification is in the draft stage, during which it +will be scrutinized and can be subject to major changes. A +specification which is in the beta stage has got a formal approval +but the encoding in question may still be subject to some minor +changes if weighty arguments present themselves. Once the +specification has reached the final stage, the encoding may not +change at all. + + +\subsection{Getting to the draft stage} + +The process of taking an encoding to the draft stage can be +summarized in the following steps. Being in the draft stage doesn't +really say anything about whether the encoding is in any way correct +or useful, except in that some people (the encoding proposers) +believe it is and are willing to spend some time on ratifying it. + +\paragraph{Write an encoding specification} The first step is to +write a specification for the font encoding in question. This +document must not only technically describe the encoding but also +explain what the encoding is for and why it was created. See +Subsection~\ref{Ssec:Structure} for details on how the document is +preferably organised. + +\paragraph{Request an encoding name} The second step is to write to +the \LaTeX3 project and request a \LaTeX\ encoding name for the +encoding. This mail should be in the form of a \LaTeX\ bug report, it +must be sent to +\begin{quote} + \href{mailto:latex-bugs@latex-project.org}% + {\texttt{latex-bugs@latex-project.org}}, +\end{quote} +and it must include the encoding specification file. Suggestions for +an encoding name are appreciated, but not necessarily accepted. +The purpose of this mail is \emph{not} to get an approval of the +encoding, but only to have a reasonable name assigned to it. + +\paragraph{Upload the specification to CTAN} The third step is make +the encoding specification publicly available by uploading it to +CTAN. Encoding specifications are collected in the +\begin{quote} + \ctanref{info/encodings}{\texttt{info/encodings}} +\end{quote} +directory (which should also contain the most recent version of this +paper). The name of the uploaded file should be +\meta{encoding name}\texttt{draft.etx}. The reason for this naming is +that it must be clear that the specification has not yet been ratified. + +\paragraph{Announce the encoding} When the upload has been confirmed, +it is time to announce the encoding by posting a message about it to +the relevant forums. Most important is the \texttt{tex-fonts} mailing +list, since that is where new encodings should be debated. Messages +should also be posted to the \texttt{comp.text.tex} newsgroup and any +forums related to the intended use of the encoding: an encoding for +Sanskrit should be announced on Indian \TeX\ users forums, an +encoding for printing chess positions should be announced on some +chess-with-\TeX\ user forum, etc.; in the extent that such forums exist. + +The full address of the \texttt{tex-fonts} mailing list is +\begin{quote} + \texttt{tex-fonts@math.utah.edu} +\end{quote} +This list rejects postings from non-members, so you need to subscribe +to it before you can post your announcement. This is done by sending +a `subscribe me' mail to +\begin{quote} + \href{mailto:tex-fonts-request@math.utah.edu} + {\texttt{tex-fonts-request@math.utah.edu}} +\end{quote} +The list archives can be found at +\begin{quote} + \href{http://www.math.utah.edu/mailman/listinfo/tex-fonts} + {\textsc{http:}/\slash \texttt{www.math.utah.edu}\slash + \texttt{mailman}\slash \texttt{listinfo}\slash + \texttt{tex-fonts}} +\end{quote} +A tip is to read through the messages from a couple of months +before you write up your announcement, as that should help you get +acquainted with the normal style on the list. Please do not send +messages encoded in markup languages (notably, \textsmaller{HTML}, +\textsmaller{XML}, and word processor formats) to the list. + +\paragraph{Experimental encodings} There is a point in going through +the above procedure even for experimental encodings, i.e., encodings +whose names start with an \texttt{E}. Of course there is no idea in +ratifying a specification of an experimental encoding, as it is very +likely to frequently change, but having a proper name assigned to the +encoding and uploading its specification to CTAN makes it much simpler +for other people to learn about and make references to the encoding. + + +\subsection{From draft to beta stage} + +The main difference between a draft and beta stage specification +respectively is that beta stage specifications have been scrutinized +by other people and found to be free of errors. The practical +implementation of this is that a debate is held (in the normal +anarchical manner of mailing list debates) on the \texttt{tex-fonts} +mailing list. In particular the following aspects of the +specification should be checked: +\begin{enumerate} + \item \emph{Is the encoding technically correct?} + There are many factors which affect what \TeX\ does and it is + easy to overlook some. (The \cs{lccode}s seem to be particularly + troublesome, in this respect.) Sometimes fonts simply cannot work + as an encoding specifies they should and it is important that + such defects in the encoding are discovered on an early stage. + \item \emph{Are there any errors in the specification?} + A font encoding specification is largely a table and typos are + easy to make. Proof-reading may be boring, but it is very, very + important. + \item \emph{Is the specification sufficiently precise?} + Are there any omissions, ambiguities, inaccuracies, or completely + irrelevant material in the specification? There shouldn't be. +\end{enumerate} +During the debate, the encoding proposers should hear what other +people have to say about the encoding draft, revise it accordingly +when some flaw is pointed out, and upload the revised version. This +cycle may well have to be repeated several times before everyone's +content. It is worth pointing out that in practice the debate should +turn out to be more of a collective authoring of the specification +than a defense of its validity. There is no point in going into it +expecting the worst. + +Unfortunately, it might happen that there never is a complete agreement +on an encoding specification---depending on what side on takes, either +the encoding proposers refuse to correct obvious flaws in it, or someone +on the list insists that there is a flaw although there is obviously +not---but hopefully that will never happen. If it anyway does happen +then the person objecting should send a mail whose subject contains the +phrase "formal protest against XXX encoding" (with XXX replaced by +whatever the encoding is called) to the list. Then it will be up to +the powers that be to decide on the fate of the encoding (see below). + +\paragraph{Summarize the debate} When the debate on the encoding is +over---e.g.\ a month after anyone last posted anything new on the +subject---then the encoding proposers should summarize the debate on +the encoding specification draft and post this summary as a follow-up +on the original mail to \texttt{latex-bugs}. This summary should list +the changes that have been made to the encoding, what suggestions there +were for changes which have not been included, and whether there were +any formal protests against the encoding. The summary should also explain +what the proposers want to have be done with the encoding. In the +usual case this is having it advanced to beta stage, but the proposers +might alternatively at this point have reached the conclusion that the +encoding wasn't such a good idea to start with and therefore withdraw +it, possibly to come again later with a different proposal. + +In response to this summary, the \LaTeX-project people may do one of +three things: +\begin{itemize} + \item + If the proposers wants the encoding specification advanced and + there are no formal protests against this, then the encoding + should be advanced to the beta stage. The \LaTeX-project + people do this by adding the encoding to the list of approved + (beta or final stage) encodings that they [presumably] maintain. + \item + If the proposers want to withdraw the encoding specification + then the name assigned to it should once again be made available + for use for other encodings. + \item + If the proposers want the encoding specification advanced but + there is some formal protest against this, then the entire matter + should be handed over to some suitable authority, as a suggestion + some technical TUG committee, for resolution. +\end{itemize} + + +\paragraph{Update the specification on CTAN} When the specification +has reached the beta stage, its file on CTAN should be updated to say +so. In particular the file name should be changed from \meta{encoding +name}\texttt{draft.etx} to \meta{encoding name}\texttt{spec.etx}. + + +\paragraph{Modifying beta stage encodings} If a beta stage encoding is +modified then the revised specification should go through the above +procedure of ratification again before it can replace the previous +\meta{encoding name}\texttt{spec.etx} file on CTAN. The revised +version should thus initially be uploaded as \meta{encoding +name}\texttt{draft.etx}, reannounced, and redebated. It can however +be expected that such debates will not be as extensive as the +original debates. + + +\subsection{From beta stage to final stage} + +The requirements for going from beta stage to final stage are more +about showing that the encoding has reached a certain maturity than +about demonstrating any technical merits of it. The main difference in +usefulness between a beta stage encoding and a final stage encoding is +that the latter can be considered safe for archival purposes, whereas +one should have certain reservations against such use of beta stage +encodings. + +It seems reasonable that the following conditions should have to be +fulfilled before a beta stage encoding can be made a final stage +encoding: +\begin{itemize} + \item At least one year must have passed since the last change was + made to the specification. + \item At least two people other than the proposer must have + succeeded in implemented the encoding in a font. +\end{itemize} +It is quite possible that some condition should be added or some of +the above conditions reformulated. + + +% References updated 2004/08/07. +\begin{thebibliography}{???} +\bibitem{ATN5013} + Adobe Systems Incorporated: + \textit{Adobe Standard Cyrillic Font Specification}, + Adobe Technical Note \#5013, 1998; + \href{http://partners.adobe.com/asn/developer/pdfs/tn/% + 5013.Cyrillic_Font_Spec.pdf}{\textsc{http}:/\slash + \texttt{partners.adobe.com}\slash \texttt{asn}\slash + \texttt{developer}\slash \texttt{pdfs}\slash \texttt{tn}\slash + \texttt{5013.Cyrillic\_Font\_Spec.pdf}}. +\bibitem{AGL} + Adobe Systems Incorporated: \textit{Adobe Glyph List}, + text file, 1998, + \href{http://partners.adobe.com/asn/developer/type/glyphlist.txt} + {\textsc{http}:/\slash \texttt{partners.adobe.com}\slash + \texttt{asn}\slash \texttt{developer}\slash \texttt{type}\slash + \texttt{glyphlist.txt}}. +\bibitem{unicodesign} + Adobe Systems Incorporated: + \textit{Adobe Solutions Network: Unicode and Glyph Names}, + web page, 1998, + \href{http://partners.adobe.com/asn/developer/type/unicodegn.html} + {\textsc{http}:/\slash \texttt{partners.adobe.com}\slash + \texttt{asn}\slash \texttt{developer}\slash \texttt{type}\slash + \texttt{unicodegn.html}}. +\bibitem{ClasenVieth} + Matthias Clasen and Ulrik Vieth: + \textit{Towards a new Math Font Encoding for (La)TeX}, + March 1998, presented at EuroTeX'98; + \href{http://tug.org/twg/mfg/papers/current/mfg-euro-all.ps.gz} + {\textsc{http}:/\slash \texttt{tug.org}\slash \texttt{twg}\slash + \texttt{mfg}\slash \texttt{papers}\slash \texttt{current}\slash + \texttt{mfg-euro-all.ps.gz}}. +\bibitem{fontinst-man} + Alan Jeffrey, Rowland McDonnell, Ulrik Vieth, and Lars Hellstr\"om: + \textit{\package{fontinst}---font installation software for \TeX} + (manual), 2004, + \ctanref{fonts/utilities/fontinst/doc/fontinst.tex}{% + \textsc{ctan}:\discretionary{}{}{\thinspace}% + \texttt{fonts}\slash \texttt{utilities}\slash + \texttt{fontinst}\slash \texttt{doc}\slash \texttt{fontinst.tex}}. +% \bibitem{fontinst} +% Alan Jeffrey, Sebastian Rahtz, and Ulrik Vieth: +% \textit{The \package{fontinst} utility}, documented source code, +% v\,1.801, +% \ctanref{fonts/utilities/fontinst/source}{% +% \textsc{ctan}:\discretionary{}{}{\thinspace}% +% \texttt{fonts}\slash \texttt{utilities}\slash +% \texttt{fontinst}\slash \texttt{source}/}. +\bibitem{fontinst-pre} + Alan Jeffrey, Sebastian Rahtz, Ulrik Vieth, and Lars Hellstr\"om: + \textit{The \package{fontinst} utility}, documented source code, + v\,1.9xx, + \ctanref{fonts/utilities/fontinst-prerelease/source}{% + \textsc{ctan}:\discretionary{}{}{\thinspace}% + \texttt{fonts}\slash \texttt{utilities}\slash + \texttt{fontinst}\slash \texttt{source}/}. +\bibitem{TeXbook} + Donald E.\ Knuth, Duane Bibby (illustrations): \textit{The \TeX book}, + Ad\-di\-son--Wes\-ley, 1991; + volume A of \textit{Computers and typesetting}. +\bibitem{LaTeXCompanion} + Frank Mittelbac and Michel Goossens, with Johannes Braams, + David Carlisle, and Chris Rowley: + \textit{The \LaTeX\ Companion} (second edition), + Ad\-di\-son--Wes\-ley, 2004; ISBN~0-201-36299-6. +\bibitem{Omega-doc} + John Plaice and Yannis Haralambous: + \textit{Draft documentation for the Omega system}, + version~1.12, 1999; + \href{http://omega.cse.unsw.edu.au:8080/doc-1.12.ps}{% + \textsc{http:}/\slash \texttt{omega.cse.unsw.edu.au:8080}\slash + \texttt{doc-1.12.ps}}. +% \textsc{ctan}:\discretionary{}{}{\thinspace}% +% \texttt{systems}\slash \texttt{omega}\slash +% \texttt{omega-doc-1.8.tar.gz}. +\bibitem{Vieth2001} + Ulrik Vieth: + \textit{Math typesetting in \TeX: The~good, the~bad, the~ugly}, + to appear in the proceedings of Euro\TeX\ 2001; + \href{http://www.ntg.nl/eurotex/vieth.pdf}{% + \textsc{http}:/\slash \texttt{www.ntg.nl}\slash + \texttt{eurotex}\slash \texttt{vieth.pdf}}. +\end{thebibliography} + + +\end{document}
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/encspecs/omxdraft.etx b/Master/texmf-dist/doc/fontinst/base/encspecs/omxdraft.etx new file mode 100644 index 00000000000..efccabde857 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/encspecs/omxdraft.etx @@ -0,0 +1,985 @@ +\documentclass[twocolumn]{article} +\usepackage[specification]{fontdoc}[2001/06/01] + +% \usepackage[T1]{fontenc} +\DeclareTextCommandDefault{\textvisiblespace}{% + \mbox{\kern.06em\vrule height.3ex}% + \vbox{\hrule width.3em}% + \hbox{\vrule height.3ex\kern.06em}} + +\DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} + +\showbranches + +\begin{document} + +\title{\texttt{OMX} encoding draft specification} +\author{Lars Hellstr\"om} +\date{2001/10/20} +\maketitle + +\begin{abstract} + The \TeX\ math extensions (\texttt{OMX}) encoding is a container for + most of the ``growing'' characters in the standard math set-up, but + that is pretty much the extent of it. Some of the characters occur + in ``normal size'' in other encodings; in these cases it is usually + a single math command that usually make use of characters in both + encodings. +\end{abstract} + + +\encoding + +\begincomment +\section{Mandatory characters} + +\subsection{Delimiters} +\endcomment + +\nextslot{0} +\setslot{parenleftbig} + \Unicode{0028}{LEFT PARENTHESIS} + \nextlarger{parenleftBig} +\endsetslot + +\setslot{parenrightbig} + \Unicode{0029}{RIGHT PARENTHESIS} + \nextlarger{parenrightBig} +\endsetslot + +\setslot{bracketleftbig} + \Unicode{005B}{LEFT SQUARE BRACKET} + \nextlarger{bracketleftBig} +\endsetslot + +\setslot{bracketrightbig} + \Unicode{005D}{RIGHT SQUARE BRACKET} + \nextlarger{bracketrightBig} +\endsetslot + +\setslot{floorleftbig} + \Unicode{230A}{LEFT FLOOR} + \nextlarger{floorleftBig} +\endsetslot + +\setslot{floorrightbig} + \Unicode{230B}{RIGHT FLOOR} + \nextlarger{floorrightBig} +\endsetslot + +\setslot{ceilingleftbig} + \Unicode{2308}{LEFT CEILING} + \nextlarger{ceilingleftBig} +\endsetslot + +\setslot{ceilingrightbig} + \Unicode{2309}{RIGHT CEILING} + \nextlarger{ceilingrightBig} +\endsetslot + +\setslot{braceleftbig} + \Unicode{007B}{LEFT CURLY BRACKET} + \nextlarger{braceleftBig} +\endsetslot + +\setslot{bracerightbig} + \Unicode{007D}{RIGHT CURLY BRACKET} + \nextlarger{bracerightBig} +\endsetslot + +\setslot{angleleftbig} + \Unicode{2329}{LEFT-POINTING ANGLE BRACKET} + \nextlarger{angleleftBig} +\endsetslot + +\setslot{anglerightbig} + \Unicode{232A}{RIGHT-POINTING ANGLE BRACKET} + \nextlarger{anglerightBig} +\endsetslot + +\setslot{barex} + \Unicode{007C}{VERTICAL LINE} + \comment{This is used by the \cs{vert} command. When not accessed + as a delimiter, this character may be much shorter than one + would expect.} + \varchar + \varrep{barex} + \endvarchar +\endsetslot + +\setslot{bardblex} + \Unicode{2016}{DOUBLE VERTICAL LINE} + \comment{This is used by the \cs{Vert} command. When not accessed + as a delimiter, this character may be much shorter than one + would expect.} + \varchar + \varrep{bardblex} + \endvarchar +\endsetslot + +\setslot{slashbig} + \Unicode{2215}{DIVISION SLASH} + \comment{Although this character is normally accessed via \TeX's + growing delimiter mechanism, it is not used as such in formulae, + but as a large division slash. Since the use is unambigously for + division and the like, it would be inaccurate to identify this + character with \textunicode{002F}{SOLIDUS}.} + \nextlarger{slashBig} +\endsetslot + +\setslot{backslashbig} + \Unicode{005C}{REVERSE SOLIDUS} + \comment{This is \TeX's \cs{backslash} (use for ``double coset''), + not \cs{setminus}, and hence it is not + \textunicode{2216}{SET MINUS}.} + \nextlarger{backslashBig} +\endsetslot + +\nextslot{62} +\setslot{braceex} + \Unicode{007C}{VERTICAL LINE} + \comment{This is used by the \cs{bracevert} command.} + \label{braceex} + \varchar + \varrep{braceex} + \endvarchar + \comment{This slot contains the repeatable part of a extensible + brace delimiter. In the standard set-up, the extensible recipes of + slots~\ref{bracelefttp}, \ref{bracerighttp}, \ref{braceleftbt}, + \ref{bracerightbt}, \ref{parenleftbt}, and \ref{parenrightbt} all + make use of this slot.} +\endsetslot + +\nextslot{"42} +\setslot{parenleftex} + \Unicode{007C}{VERTICAL LINE} + \comment{As astonishing as it may seem, there is no command which + accesses this slot. The glyph is similar to that in + slot~\ref{braceex}, but shifted to the left.} + \varchar + \varrep{parenleftex} + \endvarchar +\endsetslot + +\setslot{parenrightex} + \Unicode{007C}{VERTICAL LINE} + \comment{As astonishing as it may seem, there is no command which + accesses this slot. The glyph is similar to that in + slot~\ref{braceex}, but shifted to the right.} + \varchar + \varrep{parenrightex} + \endvarchar +\endsetslot + +\nextslot{"7A} +\setslot{bracehtipdownleft} + \comment{This is \cs{braceld}, a tip (pointing left, bending down) + used to build over- and underbraces.} +\endsetslot + +\setslot{bracehtipdownright} + \comment{This is \cs{bracerd}, a tip (pointing right, bending down) + used to build over- and underbraces.} +\endsetslot + +\setslot{bracehtipupleft} + \comment{This is \cs{bracelu}, a tip (pointing left, bending up) + used to build over- and underbraces.} +\endsetslot + +\setslot{bracehtipupright} + \comment{This is \cs{braceru}, a tip (pointing right, bending up) + used to build over- and underbraces.} +\endsetslot + + + +\begincomment +\subsection{Text style operators} + +With the exception of the integrals, all the following characters +should be \textsc{n-ary \dots}, but some cases there are no such +variants defined in Unicode. +\endcomment + +\nextslot{"46} +\setslot{unionsqtext} + \Unicode{2294}{SQUARE CUP} + \nextlarger{unionsqdisplay} +\endsetslot + +\skipslots{1} +\setslot{contintegraltext} + \Unicode{222E}{CONTOUR INTEGRAL} + \nextlarger{contintegraldisplay} +\endsetslot + +\skipslots{1} +\setslot{circledottext} + \Unicode{2299}{CIRCLED DOT OPERATOR} + \nextlarger{circledotdisplay} +\endsetslot + +\skipslots{1} +\setslot{circleplustext} + \Unicode{2295}{CIRCLED PLUS} + \nextlarger{circleplusdisplay} +\endsetslot + +\skipslots{1} +\setslot{circlemultiplytext} + \Unicode{2297}{CIRCLED TIMES} + \nextlarger{circlemultiplydisplay} +\endsetslot + +\skipslots{1} +\setslot{summationtext} + \Unicode{2211}{N-ARY SUMMATION} + \nextlarger{summationdisplay} +\endsetslot + +\setslot{producttext} + \Unicode{220F}{N-ARY PRODUCT} + \nextlarger{productdisplay} +\endsetslot + +\setslot{integraltext} + \Unicode{222B}{INTEGRAL} + \nextlarger{integraldisplay} +\endsetslot + +\setslot{uniontext} + \Unicode{22C3}{N-ARY UNION} + \nextlarger{uniondisplay} +\endsetslot + +\setslot{intersectiontext} + \Unicode{22C2}{N-ARY INTERSECTION} + \nextlarger{intersectiondisplay} +\endsetslot + +\setslot{unionmultitext} + \Unicode{228E}{MULTISET UNION} + \nextlarger{unionmultidisplay} +\endsetslot + +\setslot{logicalandtext} + \Unicode{22C0}{N-ARY LOGICAL AND} + \nextlarger{logicalanddisplay} +\endsetslot + +\setslot{logicalortext} + \Unicode{22C1}{N-ARY LOGICAL OR} + \nextlarger{logicalordisplay} +\endsetslot + +\skipslots{8} +\setslot{coproducttext} + \Unicode{2210}{N-ARY COPRODUCT} + \nextlarger{coproductdisplay} +\endsetslot + + + +\begincomment +\subsection{Accents, arrows, and the radical} +\endcomment + +\nextslot{"62} +\setslot{hatwide} + \Unicode{0302}{COMBINING CIRCUMFLEX ACCENT} + \nextlarger{hatwider} +\endsetslot + +\skipslots{2} + +\setslot{tildewide} + \Unicode{0303}{COMBINING TILDE} + \nextlarger{tildewider} +\endsetslot + +\nextslot{"70} +\setslot{radicalbig} + \Unicode{221A}{SQUARE ROOT} + \nextlarger{radicalBig} +\endsetslot + +\nextslot{"78} +\setslot{arrowtp} + \Unicode{2191}{UPWARDS ARROW} + \varchar + \vartop{arrowtp} + \varrep{arrowvertex} + \endvarchar +\endsetslot + +\setslot{arrowbt} + \Unicode{2193}{DOWNWARDS ARROW} + \varchar + \varrep{arrowvertex} + \varbot{arrowbt} + \endvarchar +\endsetslot + +\nextslot{"7E} +\setslot{arrowdbltp} + \Unicode{21D1}{UPWARDS DOUBLE ARROW} + \varchar + \vartop{arrowdbltp} + \varrep{arrowdblvertex} + \endvarchar +\endsetslot + +\setslot{arrowdblbt} + \Unicode{21D3}{DOWNWARDS DOUBLE ARROW} + \varchar + \varrep{arrowdblvertex} + \varbot{arrowdblbt} + \endvarchar +\endsetslot + + + + + + +\begincomment +\section{Semimandatory characters} +\endcomment + +\nextslot{"3A} +\setslot{braceleftbt} + \comment{This is the \cs{lgroup} delimiter, which looks like a + \textunicode{007B}{LEFT CURLY BRACKET} with flat middle section. + There does not seem to be such a character in Unicode, but a + close approximation would be a narrowed + \textunicode{3014}{LEFT TORTOISE SHELL BRACKET}.} + \label{braceleftbt} + \varchar + \vartop{bracelefttp} + \varrep{braceex} + \varbot{braceleftbt} + \endvarchar + \comment{The slot contains the curved bottom of a + \textunicode{007B}{LEFT CURLY BRACKET}.} +\endsetslot + +\setslot{bracerightbt} + \comment{This is the \cs{rgroup} delimiter, which looks like a + \textunicode{007D}{RIGHT CURLY BRACKET} with flat middle section. + There does not seem to be such a character in Unicode, but a + close approximation would be a narrowed + \textunicode{3015}{RIGHT TORTOISE SHELL BRACKET}.} + \label{bracerightbt} + \varchar + \vartop{bracerighttp} + \varrep{braceex} + \varbot{bracerightbt} + \endvarchar + \comment{The slot contains the curved bottom of a + \textunicode{007D}{RIGHT CURLY BRACKET}.} +\endsetslot + +\setslot{braceleftmid} + \Unicode{007C}{VERTICAL LINE} + \comment{This is used by the \cs{arrowvert} command.} + \varchar + \varrep{arrowvertex} + \endvarchar + \comment{The slot contains the middle part of a + \textunicode{007B}{LEFT CURLY BRACKET}.} +\endsetslot + +\setslot{bracerightmid} + \Unicode{2016}{DOUBLE VERTICAL LINE} + \comment{This is used by the \cs{Arrowvert} command.} + \varchar + \varrep{arrowdblvertex} + \endvarchar + \comment{The slot contains the middle part of a + \textunicode{007D}{RIGHT CURLY BRACKET}.} +\endsetslot + +\skipslots{1} + +\setslot{arrowvertex} + \Unicode{2195}{UP DOWN ARROW} + \varchar + \vartop{arrowtp} + \varrep{arrowvertex} + \varbot{arrowbt} + \endvarchar + \comment{This slot contains the repeatable middle part of a vertical + arrow.} +\endsetslot + +\setslot{parenleftbt} + \label{parenleftbt} + \comment{This is the \cs{lmoustache} delimiter, whose top half is + like \cs{lgroup} and whose bottom half is like \cs{rgroup}.} + \varchar + \vartop{bracelefttp} + \varrep{braceex} + \varbot{bracerightbt} + \endvarchar + \comment{This slot contains the curved bottom of a + \textunicode{0028}{LEFT PARENTHESIS}.} +\endsetslot + +\setslot{parenrightbt} + \label{parenrightbt} + \comment{This is the \cs{rmoustache} delimiter, whose top half is + like \cs{rgroup} and whose bottom half is like \cs{lgroup}.} + \varchar + \vartop{bracerighttp} + \varrep{braceex} + \varbot{braceleftbt} + \endvarchar + \comment{This slot contains the curved bottom of a + \textunicode{0029}{RIGHT PARENTHESIS}.} +\endsetslot + +\nextslot{"77} +\setslot{arrowdblvertex} + \Unicode{21D5}{UP DOWN DOUBLE ARROW} + \varchar + \vartop{arrowdbltp} + \varbot{arrowdblbt} + \varrep{arrowdblvertex} + \endvarchar + \comment{This slot contains the repeatable middle part of a vertical + double arrow.} +\endsetslot + + + + + +\begincomment +\section{Ordinary characters} +\endcomment + + +\begincomment +\subsection{\texttt{Big} size delimiters} +\endcomment + +\nextslot{16} +\setslot{parenleftBig} + \Unicode{0028}{LEFT PARENTHESIS} + \nextlarger{parenleftbigg} +\endsetslot + +\setslot{parenrightBig} + \Unicode{0029}{RIGHT PARENTHESIS} + \nextlarger{parenrightbigg} +\endsetslot + +\nextslot{46} +\setslot{slashBig} + \Unicode{2215}{DIVISION SLASH} + \nextlarger{slashbigg} +\endsetslot + +\setslot{backslashBig} + \Unicode{005C}{REVERSE SOLIDUS} + \nextlarger{backslashbigg} +\endsetslot + +\nextslot{"44} +\setslot{angleleftBig} + \Unicode{2329}{LEFT-POINTING ANGLE BRACKET} + \nextlarger{angleleftbigg} +\endsetslot + +\setslot{anglerightBig} + \Unicode{232A}{RIGHT-POINTING ANGLE BRACKET} + \nextlarger{anglerightbigg} +\endsetslot + +\nextslot{"68} +\setslot{bracketleftBig} + \Unicode{005B}{LEFT SQUARE BRACKET} + \nextlarger{bracketleftbigg} +\endsetslot + +\setslot{bracketrightBig} + \Unicode{005D}{RIGHT SQUARE BRACKET} + \nextlarger{bracketrightbigg} +\endsetslot + +\setslot{floorleftBig} + \Unicode{230A}{LEFT FLOOR} + \nextlarger{floorleftbigg} +\endsetslot + +\setslot{floorrightBig} + \Unicode{230B}{RIGHT FLOOR} + \nextlarger{floorrightbigg} +\endsetslot + +\setslot{ceilingleftBig} + \Unicode{2308}{LEFT CEILING} + \nextlarger{ceilingleftbigg} +\endsetslot + +\setslot{ceilingrightBig} + \Unicode{2309}{RIGHT CEILING} + \nextlarger{ceilingrightbigg} +\endsetslot + +\setslot{braceleftBig} + \Unicode{007B}{LEFT CURLY BRACKET} + \nextlarger{braceleftbigg} +\endsetslot + +\setslot{bracerightBig} + \Unicode{007D}{RIGHT CURLY BRACKET} + \nextlarger{bracerightbigg} +\endsetslot + + + + + +\begincomment +\subsection{\texttt{bigg} size delimiters} +\endcomment + +\nextslot{18} +\setslot{parenleftbigg} + \Unicode{0028}{LEFT PARENTHESIS} + \nextlarger{parenleftBigg} +\endsetslot + +\setslot{parenrightbigg} + \Unicode{0029}{RIGHT PARENTHESIS} + \nextlarger{parenrightBigg} +\endsetslot + +\setslot{bracketleftbigg} + \Unicode{005B}{LEFT SQUARE BRACKET} + \nextlarger{bracketleftBigg} +\endsetslot + +\setslot{bracketrightbigg} + \Unicode{005D}{RIGHT SQUARE BRACKET} + \nextlarger{bracketrightBigg} +\endsetslot + +\setslot{floorleftbigg} + \Unicode{230A}{LEFT FLOOR} + \nextlarger{floorleftBigg} +\endsetslot + +\setslot{floorrightbigg} + \Unicode{230B}{RIGHT FLOOR} + \nextlarger{floorrightBigg} +\endsetslot + +\setslot{ceilingleftbigg} + \Unicode{2308}{LEFT CEILING} + \nextlarger{ceilingleftBigg} +\endsetslot + +\setslot{ceilingrightbigg} + \Unicode{2309}{RIGHT CEILING} + \nextlarger{ceilingrightBigg} +\endsetslot + +\setslot{braceleftbigg} + \Unicode{007B}{LEFT CURLY BRACKET} + \nextlarger{braceleftBigg} +\endsetslot + +\setslot{bracerightbigg} + \Unicode{007D}{RIGHT CURLY BRACKET} + \nextlarger{bracerightBigg} +\endsetslot + +\setslot{angleleftbigg} + \Unicode{2329}{LEFT-POINTING ANGLE BRACKET} + \nextlarger{angleleftBigg} +\endsetslot + +\setslot{anglerightbigg} + \Unicode{232A}{RIGHT-POINTING ANGLE BRACKET} + \nextlarger{anglerightBigg} +\endsetslot + +\setslot{slashbigg} + \Unicode{2215}{DIVISION SLASH} + \nextlarger{slashBigg} +\endsetslot + +\setslot{backslashbigg} + \Unicode{005C}{REVERSE SOLIDUS} + \nextlarger{backslashBigg} +\endsetslot + + + +\begincomment +\subsection{\texttt{Bigg} size delimiters} +\endcomment + +\nextslot{32} +\setslot{parenleftBigg} + \Unicode{0028}{LEFT PARENTHESIS} + \nextlarger{parenlefttp} +\endsetslot + +\setslot{parenrightBigg} + \Unicode{0029}{RIGHT PARENTHESIS} + \nextlarger{parenrighttp} +\endsetslot + +\setslot{bracketleftBigg} + \Unicode{005B}{LEFT SQUARE BRACKET} + \nextlarger{bracketlefttp} +\endsetslot + +\setslot{bracketrightBigg} + \Unicode{005D}{RIGHT SQUARE BRACKET} + \nextlarger{bracketrighttp} +\endsetslot + +\setslot{floorleftBigg} + \Unicode{230A}{LEFT FLOOR} + \nextlarger{bracketleftbt} +\endsetslot + +\setslot{floorrightBigg} + \Unicode{230B}{RIGHT FLOOR} + \nextlarger{bracketrightbt} +\endsetslot + +\setslot{ceilingleftBigg} + \Unicode{2308}{LEFT CEILING} + \nextlarger{bracketleftex} +\endsetslot + +\setslot{ceilingrightBigg} + \Unicode{2309}{RIGHT CEILING} + \nextlarger{bracketrightex} +\endsetslot + +\setslot{braceleftBigg} + \Unicode{007B}{LEFT CURLY BRACKET} + \nextlarger{bracelefttp} +\endsetslot + +\setslot{bracerightBigg} + \Unicode{007D}{RIGHT CURLY BRACKET} + \nextlarger{bracerighttp} +\endsetslot + +\setslot{angleleftBigg} + \Unicode{2329}{LEFT-POINTING ANGLE BRACKET} +\endsetslot + +\setslot{anglerightBigg} + \Unicode{232A}{RIGHT-POINTING ANGLE BRACKET} +\endsetslot + +\setslot{slashBigg} + \Unicode{2215}{DIVISION SLASH} +\endsetslot + +\setslot{backslashBigg} + \Unicode{005C}{REVERSE SOLIDUS} +\endsetslot + + + +\begincomment +\subsection{Extensible delimiters} +\endcomment + +\nextslot{48} +\setslot{parenlefttp} + \comment{This slot contains the curved top of a + \textunicode{0028}{LEFT PARENTHESIS}.} + \varchar + \vartop{parenlefttp} + \varrep{parenleftex} + \varbot{parenleftbt} + \endvarchar +\endsetslot + +\setslot{parenrighttp} + \comment{This slot contains the curved top of a + \textunicode{0029}{RIGHT PARENTHESIS}.} + \varchar + \vartop{parenrighttp} + \varrep{parenrightex} + \varbot{parenrightbt} + \endvarchar +\endsetslot + +\setslot{bracketlefttp} + \comment{This slot contains the corner top of a + \textunicode{005B}{LEFT SQUARE BRACKET}.} + \varchar + \vartop{bracketlefttp} + \varrep{bracketleftex} + \varbot{bracketleftbt} + \endvarchar +\endsetslot + +\setslot{bracketrighttp} + \comment{This slot contains the corner top of a + \textunicode{005D}{RIGHT SQUARE BRACKET}.} + \varchar + \vartop{bracketrighttp} + \varrep{bracketrightex} + \varbot{bracketrightbt} + \endvarchar +\endsetslot + +\setslot{bracketleftbt} + \comment{This slot contains the corner bottom of a + \textunicode{005B}{LEFT SQUARE BRACKET}, but it serves as the + final slot in the chain of larger sizes of + \textunicode{230A}{LEFT FLOOR}.} + \varchar + \varrep{bracketleftex} + \varbot{bracketleftbt} + \endvarchar +\endsetslot + +\setslot{bracketrightbt} + \comment{This slot contains the corner bottom of a + \textunicode{005D}{RIGHT SQUARE BRACKET}, but it serves as the + final slot in the chain of larger sizes of + \textunicode{230B}{RIGHT FLOOR}.} + \varchar + \varrep{bracketrightex} + \varbot{bracketrightbt} + \endvarchar +\endsetslot + +\setslot{bracketleftex} + \comment{This slot contains the repeatable middle part of a + \textunicode{005B}{LEFT SQUARE BRACKET}, but it serves as the + final slot in the chain of larger sizes of + \textunicode{2308}{LEFT CEILING}.} + \varchar + \vartop{bracketlefttp} + \varrep{bracketleftex} + \endvarchar +\endsetslot + +\setslot{bracketrightex} + \comment{This slot contains the repeatable middle part of a + \textunicode{005D}{RIGHT SQUARE BRACKET}, but it serves as the + final slot in the chain of larger sizes of + \textunicode{2309}{RIGHT CEILING}.} + \varchar + \vartop{bracketrighttp} + \varrep{bracketrightex} + \endvarchar +\endsetslot + +\setslot{bracelefttp} + \comment{This slot contains the curved top of a + \textunicode{007B}{LEFT CURLY BRACKET}.} + \label{bracelefttp} + \varchar + \vartop{bracelefttp} + \varrep{braceex} + \varmid{braceleftmid} + \varbot{braceleftbt} + \endvarchar +\endsetslot + +\setslot{bracerighttp} + \comment{This slot contains the curved top of a + \textunicode{007D}{RIGHT CURLY BRACKET}.} + \label{bracerighttp} + \varchar + \vartop{bracerighttp} + \varrep{braceex} + \varmid{bracerightmid} + \varbot{bracerightbt} + \endvarchar +\endsetslot + + + + + +\begincomment +\subsection{Display style operators} +\endcomment + +\nextslot{"47} +\setslot{unionsqdisplay} + \Unicode{2294}{SQUARE CUP} +\endsetslot + +\skipslots{1} +\setslot{contintegraldisplay} + \Unicode{222E}{CONTOUR INTEGRAL} +\endsetslot + +\skipslots{1} +\setslot{circledotdisplay} + \Unicode{2299}{CIRCLED DOT OPERATOR} +\endsetslot + +\skipslots{1} +\setslot{circleplusdisplay} + \Unicode{2295}{CIRCLED PLUS} +\endsetslot + +\skipslots{1} +\setslot{circlemultiplydisplay} + \Unicode{2297}{CIRCLED TIMES} +\endsetslot + +\skipslots{8} +\setslot{summationdisplay} + \Unicode{2211}{N-ARY SUMMATION} +\endsetslot + +\setslot{productdisplay} + \Unicode{220F}{N-ARY PRODUCT} +\endsetslot + +\setslot{integraldisplay} + \Unicode{222B}{INTEGRAL} +\endsetslot + +\setslot{uniondisplay} + \Unicode{22C3}{N-ARY UNION} +\endsetslot + +\setslot{intersectiondisplay} + \Unicode{22C2}{N-ARY INTERSECTION} +\endsetslot + +\setslot{unionmultidisplay} + \Unicode{228E}{MULTISET UNION} +\endsetslot + +\setslot{logicalanddisplay} + \Unicode{22C0}{N-ARY LOGICAL AND} +\endsetslot + +\setslot{logicalordisplay} + \Unicode{22C1}{N-ARY LOGICAL OR} +\endsetslot + +\skipslots{1} +\setslot{coproductdisplay} + \Unicode{2210}{N-ARY COPRODUCT} +\endsetslot + + + +\begincomment +\subsection{Accents} +\endcomment + +\nextslot{"63} +\setslot{hatwider} + \Unicode{0302}{COMBINING CIRCUMFLEX ACCENT} + \nextlarger{hatwiderr} +\endsetslot + +\setslot{hatwiderr} + \Unicode{0302}{COMBINING CIRCUMFLEX ACCENT} +\endsetslot + +\skipslots{1} + +\setslot{tildewider} + \Unicode{0303}{COMBINING TILDE} + \nextlarger{tildewiderr} +\endsetslot + +\setslot{tildewiderr} + \Unicode{0303}{COMBINING TILDE} +\endsetslot + + +\begincomment +\subsection{Radicals} +\endcomment + +\nextslot{"71} +\setslot{radicalBig} + \Unicode{221A}{SQUARE ROOT} + \nextlarger{radicalbigg} +\endsetslot + +\setslot{radicalbigg} + \Unicode{221A}{SQUARE ROOT} + \nextlarger{radicalBigg} +\endsetslot + +\setslot{radicalBigg} + \Unicode{221A}{SQUARE ROOT} + \nextlarger{radicalbt} +\endsetslot + +\setslot{radicalbt} + \Unicode{221A}{SQUARE ROOT} + \varchar + \varbot{radicalbt} + \vartop{radicaltp} + \varrep{radicalvertex} + \endvarchar +\endsetslot + +\setslot{radicalvertex} + \comment{This is the repeatable, vertically middle part of an + extensible \textunicode{221A}{SQUARE ROOT}.} +\endsetslot + +\setslot{radicaltp} + \comment{This is the top corner part of an extensible + \textunicode{221A}{SQUARE ROOT}.} +\endsetslot + + + + + +\begincomment +\section{Fontdimens and codingscheme} + +\texttt{OMX} fonts have the necessary fontdimens to serve as a math +group 3 font. +\endcomment + +\setfontdimen{1}{italicslant} % italic slant +\setfontdimen{2}{interword} % interword space +\setfontdimen{3}{stretchword} % interword stretch +\setfontdimen{4}{shrinkword} % interword shrink +\setfontdimen{5}{xheight} % x-height +\setfontdimen{6}{quad} % quad +\setfontdimen{7}{extraspace} % extra space after . + +\setfontdimen{8}{defaultrulethickness} % default rule thickness +\setfontdimen{9}{bigopspacing1} % bigopspacing 1 +\setfontdimen{10}{bigopspacing2} % bigopspacing 2 +\setfontdimen{11}{bigopspacing3} % bigopspacing 3 +\setfontdimen{12}{bigopspacing4} % bigopspacing 4 +\setfontdimen{13}{bigopspacing5} % bigopspacing 5 + +\setstr{codingscheme}{TEX MATH EXTENSION} + + + + + +\endencoding + + +\section{Discussion} + + + +\end{document} diff --git a/Master/texmf-dist/doc/fontinst/base/encspecs/ot1draft.etx b/Master/texmf-dist/doc/fontinst/base/encspecs/ot1draft.etx new file mode 100644 index 00000000000..8fbdb57c29c --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/encspecs/ot1draft.etx @@ -0,0 +1,1001 @@ +\relax +\documentclass[twocolumn]{article} +\usepackage[specification]{fontdoc}[2001/06/01] + +\DeclareRobustCommand\cs[1]{\texttt{\char`\\#1}} + +\showbranches + +\begin{document} + +\title{\texttt{OT1} encoding draft specification} +\author{Lars Hellstr\"om} +\date{2001/09/09} +\maketitle + +\begin{abstract} + The \texttt{OT1} encoding is an attempt to describe the encoding of + the text fonts in Donald~E.~Knuth's \emph{Computer Modern} family + of fonts~\cite{ComputerModern}. This is an impossibile goal, since + these fonts present no less than five different encodings, but they + are nontheless largely treated by \LaTeX\ as having identical + encodings. Due to the ambiguities this creates, and in view of that + the \texttt{T1} encoding supersedes \texttt{OT1} as text font + encoding, there is little point in using the text commands for + distiguishing mandatory features of \texttt{OT1} from the ordinary. + + \texttt{OT1} is however also used as a math font encoding (to go + with \texttt{OML}, \texttt{OMS}, and \texttt{OMX}), and that use is + today the by far most important since there is no obvious alternative + to the standard math font set-up. Therefore this specification + considers a feature of the encoding to be mandatory if it is + (i)~necessary for the standard math set-up or (ii)~is a text feature + which works for all encoding variants. +\end{abstract} + +\encoding +\needsfontinstversion{1.918} + + + +\begincomment +\section{Encoding variants} + +This document aims to record all the encoding variations that are +present within the set of fonts classified by \LaTeX\ as having the +\texttt{OT1} encoding. It turns out that they can all be described +using only two parameters. One of these might be called +`\textit{ligaturing}' as one factor it affects is how many ligatures +there will be in the font. The other parameter is best called +`\textit{italicizing}' as it is different between italic and +non-italic fonts. Most of the Computer Modern fonts have +\(\mathit{ligaturing} = 2\) and \(\mathit{italicizing} = 0\). + +\endcomment +\setint{ligaturing}{2} +\setint{italicizing}{0} + + +\begincomment + + +\section{Mandatory characters} + +\subsection{Latin letters} +\endcomment + +\nextslot{16} +\setslot{dotlessi} + \Unicode{0131}{LATIN SMALL LETTER DOTLESS I} + \comment{A dotless i `\i', used to produce accented letters such as + `\=\i'. It is not used for math.} +\endsetslot + +\setslot{dotlessj} + \Unicode{F6BE}{LATIN SMALL LETTER DOTLESS J} + \comment{A dotless j `\j', used to produce accented letters such as + `\=\j'. It is not used for math. The Unicode standard does not + define this character, but Adobe has assigned code point + \texttt{U+F6BE} (which is in the private use subarea assigned by + Adobe) to it.} +\endsetslot + +\nextslot{25} +\setslot{germandbls} + \Unicode{00DF}{LATIN SMALL LETTER SHARP S} + \comment{This slot is not used in math.} +\endsetslot + +\setslot{ae} + \Unicode{00E6}{LATIN SMALL LETTER AE} + \comment{This slot is not used in math.} +\endsetslot + +\setslot{oe} + \Unicode{0153}{LATIN SMALL LIGATURE OE} + \comment{This is a single letter, and should not be faked with `oe'. + It is not used in math.} +\endsetslot + +\setslot{oslash} + \Unicode{00F8}{LATIN SMALL LETTER O WITH STROKE} + \comment{This slot is not used in math.} +\endsetslot + +\setslot{AE} + \Unicode{00C6}{LATIN CAPITAL LETTER AE} + \comment{This slot is not used in math.} +\endsetslot + +\setslot{OE} + \Unicode{0152}{LATIN CAPITAL LIGATURE OE} + \comment{This is a single letter, and should not be faked with + `OE'. It is not used in math.} +\endsetslot + +\setslot{Oslash} + \Unicode{00D8}{LATIN CAPITAL LETTER O WITH STROKE} + \comment{This slot is not used in math.} +\endsetslot + + +\nextslot{65} +\setslot{A} + \Unicode{0041}{LATIN CAPITAL LETTER A} + \label{A} +\endsetslot + +\setslot{B} + \Unicode{0042}{LATIN CAPITAL LETTER B} +\endsetslot + +\setslot{C} + \Unicode{0043}{LATIN CAPITAL LETTER C} +\endsetslot + +\setslot{D} + \Unicode{0044}{LATIN CAPITAL LETTER D} +\endsetslot + +\setslot{E} + \Unicode{0045}{LATIN CAPITAL LETTER E} +\endsetslot + +\setslot{F} + \Unicode{0046}{LATIN CAPITAL LETTER F} +\endsetslot + +\setslot{G} + \Unicode{0047}{LATIN CAPITAL LETTER G} +\endsetslot + +\setslot{H} + \Unicode{0048}{LATIN CAPITAL LETTER H} +\endsetslot + +\setslot{I} + \Unicode{0049}{LATIN CAPITAL LETTER I} +\endsetslot + +\setslot{J} + \Unicode{004A}{LATIN CAPITAL LETTER J} +\endsetslot + +\setslot{K} + \Unicode{004B}{LATIN CAPITAL LETTER K} +\endsetslot + +\setslot{L} + \Unicode{004C}{LATIN CAPITAL LETTER L} +\endsetslot + +\setslot{M} + \Unicode{004D}{LATIN CAPITAL LETTER M} +\endsetslot + +\setslot{N} + \Unicode{004E}{LATIN CAPITAL LETTER N} +\endsetslot + +\setslot{O} + \Unicode{004F}{LATIN CAPITAL LETTER O} +\endsetslot + +\setslot{P} + \Unicode{0050}{LATIN CAPITAL LETTER P} +\endsetslot + +\setslot{Q} + \Unicode{0051}{LATIN CAPITAL LETTER Q} +\endsetslot + +\setslot{R} + \Unicode{0052}{LATIN CAPITAL LETTER R} +\endsetslot + +\setslot{S} + \Unicode{0053}{LATIN CAPITAL LETTER S} +\endsetslot + +\setslot{T} + \Unicode{0054}{LATIN CAPITAL LETTER T} +\endsetslot + +\setslot{U} + \Unicode{0055}{LATIN CAPITAL LETTER U} +\endsetslot + +\setslot{V} + \Unicode{0056}{LATIN CAPITAL LETTER V} +\endsetslot + +\setslot{W} + \Unicode{0057}{LATIN CAPITAL LETTER W} +\endsetslot + +\setslot{X} + \Unicode{0058}{LATIN CAPITAL LETTER X} +\endsetslot + +\setslot{Y} + \Unicode{0059}{LATIN CAPITAL LETTER Y} + \label{Y} +\endsetslot + +\setslot{Z} + \Unicode{005A}{LATIN CAPITAL LETTER Z} +\endsetslot + + +\nextslot{97} +\setslot{a} + \Unicode{0061}{LATIN SMALL LETTER A} +\endsetslot + +\setslot{b} + \Unicode{0062}{LATIN SMALL LETTER B} +\endsetslot + +\setslot{c} + \Unicode{0063}{LATIN SMALL LETTER C} +\endsetslot + +\setslot{d} + \Unicode{0064}{LATIN SMALL LETTER D} +\endsetslot + +\setslot{e} + \Unicode{0065}{LATIN SMALL LETTER E} +\endsetslot + +\setslot{f} + \Unicode{0066}{LATIN SMALL LETTER F} + \ifnumber{\int{ligaturing}}={2}\then + \ligature{LIG}{f}{ff} + \ligature{LIG}{i}{fi} + \ligature{LIG}{l}{fl} + \Fi +\endsetslot + +\setslot{g} + \Unicode{0067}{LATIN SMALL LETTER G} +\endsetslot + +\setslot{h} + \Unicode{0068}{LATIN SMALL LETTER H} +\endsetslot + +\setslot{i} + \Unicode{0069}{LATIN SMALL LETTER I} +\endsetslot + +\setslot{j} + \Unicode{006A}{LATIN SMALL LETTER J} +\endsetslot + +\setslot{k} + \Unicode{006B}{LATIN SMALL LETTER K} +\endsetslot + +\setslot{l} + \Unicode{006C}{LATIN SMALL LETTER L} +\endsetslot + +\setslot{m} + \Unicode{006D}{LATIN SMALL LETTER M} +\endsetslot + +\setslot{n} + \Unicode{006E}{LATIN SMALL LETTER N} +\endsetslot + +\setslot{o} + \Unicode{006F}{LATIN SMALL LETTER O} +\endsetslot + +\setslot{p} + \Unicode{0070}{LATIN SMALL LETTER P} +\endsetslot + +\setslot{q} + \Unicode{0071}{LATIN SMALL LETTER Q} +\endsetslot + +\setslot{r} + \Unicode{0072}{LATIN SMALL LETTER R} +\endsetslot + +\setslot{s} + \Unicode{0073}{LATIN SMALL LETTER S} +\endsetslot + +\setslot{t} + \Unicode{0074}{LATIN SMALL LETTER T} +\endsetslot + +\setslot{u} + \Unicode{0075}{LATIN SMALL LETTER U} +\endsetslot + +\setslot{v} + \Unicode{0076}{LATIN SMALL LETTER V} +\endsetslot + +\setslot{w} + \Unicode{0077}{LATIN SMALL LETTER W} +\endsetslot + +\setslot{x} + \Unicode{0078}{LATIN SMALL LETTER X} +\endsetslot + +\setslot{y} + \Unicode{0079}{LATIN SMALL LETTER Y} +\endsetslot + +\setslot{z} + \Unicode{007A}{LATIN SMALL LETTER Z} +\endsetslot + + +\begincomment +\subsection{Greek letters} +\endcomment + +\nextslot{0} +\setslot{Gamma} + \Unicode{0393}{GREEK CAPITAL LETTER GAMMA} +\endsetslot + +\setslot{Delta} + \Unicode{0394}{GREEK CAPITAL LETTER DELTA} +\endsetslot + +\setslot{Theta} + \Unicode{0398}{GREEK CAPITAL LETTER THETA} +\endsetslot + +\setslot{Lambda} + \Unicode{039B}{GREEK CAPITAL LETTER LAMBDA} + % Unicode's preferred name for this character seems to be + % GREEK CAPITAL LETTER LAMDA, i.e., without the `B'. Why? + % GREEK CAPITAL LETTER LAMBDA is listed as an alternative name. +\endsetslot + +\setslot{Xi} + \Unicode{039E}{GREEK CAPITAL LETTER XI} +\endsetslot + +\setslot{Pi} + \Unicode{03A0}{GREEK CAPITAL LETTER PI} +\endsetslot + +\setslot{Sigma} + \Unicode{03A3}{GREEK CAPITAL LETTER SIGMA} +\endsetslot + +\setslot{Upsilon1} + \Unicode{03D2}{GREEK UPSILON WITH HOOK SYMBOL} + \comment{This is primarily a math character and it is should + be visually distinct from the character in slot~\ref{Y}. This is + not generally the case for the normal Upsilon + \textunicode{03A5}{GREEK CAPITAL LETTER UPSILON}, which is by + the way what usually has the glyph name \texttt{Upsilon}. + An argument for the latter is however that all the purely + mathematical Upsilons that exist in the Unicode standard are + described as variants of the non-hook character.} +\endsetslot + +\setslot{Phi} + \Unicode{03A6}{GREEK CAPITAL LETTER PHI} +\endsetslot + +\setslot{Psi} + \Unicode{03A8}{GREEK CAPITAL LETTER PSI} +\endsetslot + +\setslot{Omega} + \Unicode{03A9}{GREEK CAPITAL LETTER OMEGA} +\endsetslot + + +\begincomment +\subsection{Digits} +\endcomment + +\nextslot{48} +\setslot{zero} + \Unicode{0030}{DIGIT ZERO} +\endsetslot + +\setslot{one} + \Unicode{0031}{DIGIT ONE} +\endsetslot + +\setslot{two} + \Unicode{0032}{DIGIT TWO} +\endsetslot + +\setslot{three} + \Unicode{0033}{DIGIT THREE} +\endsetslot + +\setslot{four} + \Unicode{0034}{DIGIT FOUR} +\endsetslot + +\setslot{five} + \Unicode{0035}{DIGIT FIVE} +\endsetslot + +\setslot{six} + \Unicode{0036}{DIGIT SIX} +\endsetslot + +\setslot{seven} + \Unicode{0037}{DIGIT SEVEN} +\endsetslot + +\setslot{eight} + \Unicode{0038}{DIGIT EIGHT} +\endsetslot + +\setslot{nine} + \Unicode{0039}{DIGIT NINE} +\endsetslot + + +\begincomment +\subsection{Accents} +\endcomment + +\nextslot{18} +\setslot{grave} + \Unicode{0300}{COMBINING GRAVE ACCENT} +\endsetslot + +\setslot{acute} + \Unicode{0301}{COMBINING ACUTE ACCENT} +\endsetslot + +\setslot{caron} + \Unicode{030C}{COMBINING CARON} + \comment{The caron or h\'a\v cek accent `\v{}'.} +\endsetslot + +\setslot{breve} + \Unicode{0306}{COMBINING BREVE} +\endsetslot + +\setslot{macron} + \Unicode{0304}{COMBINING MACRON} +\endsetslot + +\setslot{ring} + \Unicode{030A}{COMBINING RING ABOVE} + \comment{The text definition of `\verb|\r{A}|' assumes that this + glyph has the same width as that in slot~\ref{A}.} +\endsetslot + +\setslot{cedilla} + \Unicode{0327}{COMBINING CEDILLA} + \comment{This slot is not required for math, but is used by + the \cs{c} \LaTeX\ command.} +\endsetslot + + +\nextslot{94} +\setslot{circumflex} + \Unicode{0302}{COMBINING CIRCUMFLEX ACCENT} + \Unicode{005E}{CIRCUMFLEX ACCENT} +\endsetslot + +\ifnumber{\int{ligaturing}}>{0}\then + +\setslot{dotaccent} + \Unicode{0307}{COMBINING DOT ABOVE} + \label{dotaccent} +\endsetslot + +\begincomment +\par\medskip +Note that the \(\mathit{ligaturing} = 0\) assignment to +slot~\ref{underscore} is ordinary, not mandatory. +\endcomment + +\Fi + + +\nextslot{126} +\setslot{tilde} + \Unicode{0303}{COMBINING TILDE} + \Unicode{007E}{TILDE} +\endsetslot + +\setslot{dieresis} + \Unicode{0308}{COMBINING DIAERESIS} +\endsetslot + + +\begincomment +\subsection{Symbols} +\endcomment + +\nextslot{33} +\setslot{exclam} + \Unicode{0021}{EXCLAMATION MARK} + \Ligature{LIG}{quoteleft}{exclamdown} +\endsetslot + +\skipslots{1} + +\setslot{numbersign} + \Unicode{0023}{NUMBER SIGN} + \comment{This slot is not used for math.} +\endsetslot + +\ifnumber{\int{italicizing}}={0}\then + +\setslot{dollar} + \Unicode{0024}{DOLLAR SIGN} +\endsetslot + +\Else + +\setslot{sterling} + \Unicode{00A3}{POUND SIGN} +\endsetslot + +\Fi + +\setslot{percent} + \Unicode{0025}{PERCENT SIGN} + \comment{This slot is not used for math.} +\endsetslot + +\setslot{ampersand} + \Unicode{0026}{AMPERSAND} + \comment{This slot is not used for math.} +\endsetslot + +\setslot{quoteright} + \Unicode{2019}{RIGHT SINGLE QUOTATION MARK} + \comment{This slot is not used for math.} + \ifnumber{\int{ligaturing}}>{0}\then + \Ligature{LIG}{quoteright}{quotedblright} + \Fi +\endsetslot + +\setslot{parenleft} + \Unicode{0028}{LEFT PARENTHESIS} +\endsetslot + +\setslot{parenright} + \Unicode{0029}{RIGHT PARENTHESIS} +\endsetslot + +\setslot{asterisk} + \Unicode{002A}{ASTERISK} + \comment{This slot is not used for math.} +\endsetslot + +\setslot{plus} + \Unicode{002B}{PLUS SIGN} +\endsetslot + +\setslot{comma} + \Unicode{002C}{COMMA} + \comment{This slot is not used for math.} +\endsetslot + +\setslot{hyphen} + \Unicode{002D}{HYPHEN-MINUS} + \comment{This slot is not used for math.} + \ifnumber{\int{ligaturing}}>{0}\then + \Ligature{LIG}{hyphen}{endash} + \Fi +\endsetslot + +\setslot{period} + \Unicode{002E}{FULL STOP} + \comment{This slot is not used for math.} +\endsetslot + +\setslot{slash} + \Unicode{002F}{SOLIDUS} +\endsetslot + +\nextslot{58} +\setslot{colon} + \Unicode{003A}{COLON} +\endsetslot + +\setslot{semicolon} + \Unicode{003B}{SEMICOLON} +\endsetslot + +\skipslots{1} + +\setslot{equal} + \Unicode{003D}{EQUALS SIGN} +\endsetslot + +\skipslots{1} + +\setslot{question} + \Unicode{003F}{QUESTION MARK} + \Ligature{LIG}{quoteleft}{questiondown} +\endsetslot + +\setslot{at} + \Unicode{0040}{COMMERCIAL AT} + \comment{This slot is not used for math.} +\endsetslot + +\nextslot{91} +\setslot{bracketleft} + \Unicode{005B}{LEFT SQUARE BRACKET} +\endsetslot + +\skipslots{1} + +\setslot{bracketright} + \Unicode{005D}{RIGHT SQUARE BRACKET} +\endsetslot + +\nextslot{96} +\setslot{quoteleft} + \Unicode{2018}{LEFT SINGLE QUOTATION MARK} + \comment{This slot is not used for math.} + \ifnumber{\int{ligaturing}}>{0}\then + \Ligature{LIG}{quoteleft}{quotedblleft} + \Fi +\endsetslot + + + +\begincomment +\section{Ordinary characters} + +\subsection{Letters} +\endcomment + +\ifnumber{\int{ligaturing}}={2}\then + +\nextslot{11} +\setslot{ff} + \Unicode{FB00}{LATIN SMALL LIGATURE FF} + \comment{This glyph should be two characters wide in a monowidth + font.} + \ligature{LIG}{i}{ffi} + \ligature{LIG}{l}{ffl} +\endsetslot + +\setslot{fi} + \Unicode{FB01}{LATIN SMALL LIGATURE FI} + \comment{This glyph should be two characters wide in a monowidth + font.} +\endsetslot + +\setslot{fl} + \Unicode{FB02}{LATIN SMALL LIGATURE FL} + \comment{This glyph should be two characters wide in a monowidth + font.} +\endsetslot + +\setslot{ffi} + \Unicode{FB03}{LATIN SMALL LIGATURE FFI} + \comment{This glyph should be three characters wide in a monowidth + font.} +\endsetslot + +\setslot{ffl} + \Unicode{FB04}{LATIN SMALL LIGATURE FFL} + \comment{This glyph should be three characters wide in a monowidth + font.} +\endsetslot + +\Fi + +\nextslot{"8A} +\setslot{Lslash} + \Unicode{0141}{LATIN CAPITAL LETTER L WITH STROKE} + \comment{The letter `\L'.} +\endsetslot + +\nextslot{"AA} +\setslot{lslash} + \Unicode{0142}{LATIN SMALL LETTER L WITH STROKE} + \comment{The letter `\l'.} +\endsetslot + + +\begincomment +\subsection{Accents} +\endcomment + +\ifnumber{\int{ligaturing}}>{0}\then + +\nextslot{125} +\setslot{hungarumlaut} + \Unicode{030B}{COMBINING DOUBLE ACUTE ACCENT} + \comment{The long Hungarian umlaut `\H{}'.} +\endsetslot + +\Fi + +\begincomment +\subsection{Symbols} +\endcomment + +\ifnumber{\int{ligaturing}}<{2}\then + +\nextslot{11} +\setslot{arrowup} + \Unicode{2191}{UPWARDS ARROW} +\endsetslot + +\setslot{arrowdown} + \Unicode{2193}{DOWNWARDS ARROW} +\endsetslot + +\setslot{quotesingle} + \Unicode{0027}{APOSTROPHE} +\endsetslot + +\setslot{exclamdown} + \Unicode{00A1}{INVERTED EXCLAMATION MARK} +\endsetslot + +\setslot{questiondown} + \Unicode{00BF}{INVERTED QUESTION MARK} +\endsetslot + +\Fi + +\nextslot{32} +\ifnumber{\int{ligaturing}}>{0}\then + +\setslot{lslashslash} + \comment{When this character is followed by + \textunicode{004C}{LATIN CAPITAL LETTER L} then the combined + result is \textunicode{0141}{LATIN CAPITAL LETTER L WITH STROKE}; + this is used by the \cs{L} command. When this character is + followed by \textunicode{006C}{LATIN SMALL LETTER L} then the + combined result is \textunicode{0142}{LATIN SMALL LETTER L WITH + STROKE}; this is used by the \cs{l} command. There are no further + semantics for this character.} + \ligature{LIG}{L}{Lslash} + \ligature{LIG}{l}{lslash} + \comment{These ligatures, and the characters they point to, were + added by Alan Jeffrey early in \textsf{fontinst} development in + order to allow the character in this slot to exhibit the correct + behaviour even in fonts where there is no corresponding glyph.} +\endsetslot + +\Else + +\setslot{visiblespace} + \Unicode{2423}{OPEN BOX} + \comment{A visible space glyph `\textvisiblespace'.} +\endsetslot + +\Fi + + +\nextslot{34} +\ifnumber{\int{ligaturing}}>{0}\then + +\setslot{quotedblright} + \Unicode{201D}{RIGHT DOUBLE QUOTATION MARK} +\endsetslot + +\Else + +\setslot{quotedbl} + \Unicode{0022}{QUOTATION MARK} +\endsetslot + +\Fi + +\nextslot{60} +\ifnumber{\int{ligaturing}}={2}\then + +\setslot{exclamdown} + \Unicode{00A1}{INVERTED EXCLAMATION MARK} +\endsetslot + +\skipslots{1} + +\setslot{questiondown} + \Unicode{00BF}{INVERTED QUESTION MARK} +\endsetslot + +\Else + +\setslot{less} + \Unicode{003C}{LESS-THAN SIGN} +\endsetslot + +\skipslots{1} + +\setslot{greater} + \Unicode{003E}{GREATER-THAN SIGN} +\endsetslot + +\Fi + +\nextslot{92} +\ifnumber{\int{ligaturing}}>{0}\then + +\setslot{quotedblleft} + \Unicode{201C}{LEFT DOUBLE QUOTATION MARK} +\endsetslot + +\Else + +\setslot{backslash} + \Unicode{005C}{REVERSE SOLIDUS} +\endsetslot + +\nextslot{95} +\setslot{underscore} + \Unicode{005F}{LOW LINE} + \label{underscore} +\endsetslot + +\begincomment +\par\medskip +Note that the \(\mathit{ligaturing} > 0\) assignment to +slot~\ref{dotaccent} is mandatory, not ordinary. +\endcomment + +\Fi + + +\nextslot{123} +\ifnumber{\int{ligaturing}}>{0}\then + +\setslot{endash} + \Unicode{2013}{EN DASH} + \Ligature{LIG}{hyphen}{emdash} +\endsetslot + +\setslot{emdash} + \Unicode{2014}{EM DASH} + \comment{In a monowidth font this character is preferably given the + width of two normal characters.} +\endsetslot + +\Else + +\setslot{braceleft} + \Unicode{007B}{LEFT CURLY BRACKET} +\endsetslot + +\setslot{bar} + \Unicode{007C}{VERTICAL LINE} +\endsetslot + +\setslot{braceright} + \Unicode{007D}{RIGHT CURLY BRACKET} +\endsetslot + +\Fi + + +\begincomment +\section{Fontdimens} +\endcomment + +\setfontdimen{1}{italicslant} % italic slant +\setfontdimen{2}{interword} % interword space +\setfontdimen{3}{stretchword} % interword stretch +\setfontdimen{4}{shrinkword} % interword shrink +\setfontdimen{5}{xheight} % x-height +\setfontdimen{6}{quad} % quad +\setfontdimen{7}{extraspace} % extra space after . + + +\begincomment +\section{Coding scheme} +\endcomment + +\ifnumber{\int{ligaturing}}={2}\then + +\setstr{codingscheme}{TEX TEXT} + +\Else\ifnumber{\int{ligaturing}}={1}\then + +\setstr{codingscheme}{TEX TEXT WITHOUT F-LIGATURES} + +\Else + +\setstr{codingscheme}{TEX TYPEWRITER TEXT} + +\Fi\Fi + + +\endencoding + + +\section{Discussion} + + +\subsection{\texttt{OT1} as math font encoding} + +As source for the math requirements on the \texttt{OT1} encoding +was used the standard \LaTeX\ math set-up~\cite{fontdef}. Those +definitions that make use of \texttt{OT1} fonts either use the +\texttt{operators} symbol font\slash font family~0 or have math +class~7 (\cs{mathalpha}). + +There are two slots used for math that have different assignments +in different encoding variants. Slot 36 (\texttt{dollar}\slash +\texttt{sterling}) depends on the $\mathit{italicizing}$, and is used +by the commands \cs{mathdollar} (called by \verb|\$|) and +\cs{mathsterling} (called by \cs{pounds}). This works because these +commands explicitly take the character from a font with the correct +$\mathit{italicizing}$. + +Slot~95 (\texttt{dotaccent}\slash \texttt{underline}) depends on the +$\mathit{ligaturing}$ and is used by the \cs{dot} command. This +command does \emph{not} work for fonts with \(\mathit{ligaturing}=0\), +and hence e.g.\ the formula \verb|$\mathtt{\dot{x}}$| does not produce +a typewriter dotted `x', but rather an `x' and underscore printed on +top of each other. This is thus an error, but due to that it is +unlikely that the error will be missed by the author who encounters +it, the error is probably harmless. + + +\subsection{\texttt{OT1} as text font encoding} + +The sources used to determine the text requirements on the +\texttt{OT1} encoding were~\cite{ltoutenc}. + +It turns out that there are LICR commands which rely on non-mandatory +features of the font. It is mostly for the \(\mathit{ligaturing} = 0\) +fonts that commands produce incorrect results. The following commands +work with all \texttt{OT1} fonts which have \(\mathit{ligaturing} > 0\) +but fail with the others: \cs{L}, \cs{l}, \cs{.}, \cs{H}, +\cs{textemdash}, \cs{textendash}, and \cs{textquotedblleft}. +In addition, the command \cs{textquotedblright} produces a +reasonable, but not exactly correct, result. + +Traditionally the \cs{textexclamdown} and \cs{textquestiondown} have +only worked for fonts which have \(\mathit{ligaturing} = 2\), but +that can be fixed; see~\cite{latex/3368}. + + + +\begin{thebibliography}{9} +\bibitem{ltoutenc} + Johannes Braams, David Carlisle, Alan Jeffrey, Frank Mittelbach, + Chris Rowley, and Rainer Sch\"opf: + \textit{ltoutenc.dtx}, v\,1.91 (2000); + the file \texttt{ltoutenc.dtx} in the \LaTeX\ base distribution. +\bibitem{latex/3368} + Lars Hellstr\"om: + \textit{\texttt{OT1} def.\ of \cs{textexclamdown} and + \cs{textquestiondown}}, \LaTeX\ bugs database entry + \textbf{latex/3368}, 2001. +% ; \textsc{http:}/\slash \texttt{www.latex-project.org}\slash +% \texttt{cgi-bin}\slash \texttt{ltxbugs2html\discretionary{?}{}{?}% +% pr=latex/3368}. +\bibitem{ComputerModern} + Donald E. Knuth: + \textit{Computer Modern Typefaces}, + volume E of \textit{Computers \& Typesetting}, + Ad\-di\-son--Wes\-ley, 1986, xvi+588\,pp.; + ISBN~0-201-13446-2. +\bibitem{fontdef} + Frank Mittelbach and Rainer Sch\"opf: + \textit{The \texttt{fontdef.dtx} file}, v\,2.2x (1999); + the file \texttt{fontdef.dtx} in the \LaTeX\ base distribution. +\end{thebibliography} + + +\end{document} + + + diff --git a/Master/texmf-dist/doc/fontinst/base/encspecs/t1draft.etx b/Master/texmf-dist/doc/fontinst/base/encspecs/t1draft.etx new file mode 100644 index 00000000000..d160fab4e02 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/encspecs/t1draft.etx @@ -0,0 +1,1457 @@ +\relax +\documentclass[twocolumn]{article} +\usepackage[specification]{fontdoc}[2001/06/18] +\usepackage{shortvrb} + +\MakeShortVerb{\|} + +\begin{document} +\title{\texttt{T1} encoding draft specification} +\author{Lars Hellstr\"om} +\date{2002/07/05} +\maketitle + +\begin{abstract} + The \texttt{T1} encoding covers most\footnote{But not quite all.} + letters in the latin script that are used in European languages. + Code points 32--126 coincide with ASCII\footnote{As defined in + Appendix C of \emph{The \TeX book}~\cite{TeXbook}, not as defined + by the ANSI.} and code points 192--255 are mainly the same as in + the latin-1 encoding~\cite{ISO8859-1,latin-page}, but there are + exceptions. +\end{abstract} + +\encoding + +\needsfontinstversion{1.918} + +\begincomment +\section{Mandatory characters} +\endcomment + +\begincomment +\subsection{Letters} +More than two thirds of the characters in the encoding are letters. +This is a deliberate choice: \TeX's hyphenation algorithm requires +that all characters in a word are taken from the same font, hence it +is advantageous\footnote{Probably less so than what was thought when +the encoding was designed, but still advantageous.} to keep as many +letters as possible in the same font. Taking symbols from other fonts +is less of a disadvantage. + +\subsubsection{``Unaccented'' letters in slots 0--127} +\endcomment + +\nextslot{25} +\setslot{dotlessi} + \Unicode{0131}{LATIN SMALL LETTER DOTLESS I} + \comment{A dotless i `\i', used to produce accented letters such as + `\=\i'.} +\endsetslot + +\setslot{dotlessj} + \Unicode{F6BE}{LATIN SMALL LETTER DOTLESS J} + \comment{A dotless j `\j', used to produce accented letters such as + `\=\j'. The Unicode standard does not define this character, but + Adobe has assigned code point \texttt{U+F6BE} (which lies + in the private use subarea assigned by Adobe) to it.} +\endsetslot + + +\nextslot{65} +\setslot{A} + \Unicode{0041}{LATIN CAPITAL LETTER A} +\endsetslot + +\setslot{B} + \Unicode{0042}{LATIN CAPITAL LETTER B} +\endsetslot + +\setslot{C} + \Unicode{0043}{LATIN CAPITAL LETTER C} +\endsetslot + +\setslot{D} + \Unicode{0044}{LATIN CAPITAL LETTER D} +\endsetslot + +\setslot{E} + \Unicode{0045}{LATIN CAPITAL LETTER E} +\endsetslot + +\setslot{F} + \Unicode{0046}{LATIN CAPITAL LETTER F} +\endsetslot + +\setslot{G} + \Unicode{0047}{LATIN CAPITAL LETTER G} +\endsetslot + +\setslot{H} + \Unicode{0048}{LATIN CAPITAL LETTER H} +\endsetslot + +\setslot{I} + \Unicode{0049}{LATIN CAPITAL LETTER I} + \oddligature{This ligature only occurs in Dutch typography.} + {LIG}{J}{IJ} + \oddligature{This ligature only occurs in Dutch typography.} + {LIG}{j}{IJ} +\endsetslot + +\setslot{J} + \Unicode{004A}{LATIN CAPITAL LETTER J} +\endsetslot + +\setslot{K} + \Unicode{004B}{LATIN CAPITAL LETTER K} +\endsetslot + +\setslot{L} + \Unicode{004C}{LATIN CAPITAL LETTER L} +\endsetslot + +\setslot{M} + \Unicode{004D}{LATIN CAPITAL LETTER M} +\endsetslot + +\setslot{N} + \Unicode{004E}{LATIN CAPITAL LETTER N} +\endsetslot + +\setslot{O} + \Unicode{004F}{LATIN CAPITAL LETTER O} +\endsetslot + +\setslot{P} + \Unicode{0050}{LATIN CAPITAL LETTER P} +\endsetslot + +\setslot{Q} + \Unicode{0051}{LATIN CAPITAL LETTER Q} +\endsetslot + +\setslot{R} + \Unicode{0052}{LATIN CAPITAL LETTER R} +\endsetslot + +\setslot{S} + \Unicode{0053}{LATIN CAPITAL LETTER S} +\endsetslot + +\setslot{T} + \Unicode{0054}{LATIN CAPITAL LETTER T} +\endsetslot + +\setslot{U} + \Unicode{0055}{LATIN CAPITAL LETTER U} +\endsetslot + +\setslot{V} + \Unicode{0056}{LATIN CAPITAL LETTER V} +\endsetslot + +\setslot{W} + \Unicode{0057}{LATIN CAPITAL LETTER W} +\endsetslot + +\setslot{X} + \Unicode{0058}{LATIN CAPITAL LETTER X} +\endsetslot + +\setslot{Y} + \Unicode{0059}{LATIN CAPITAL LETTER Y} +\endsetslot + +\setslot{Z} + \Unicode{005A}{LATIN CAPITAL LETTER Z} +\endsetslot + + +\nextslot{97} +\setslot{a} + \Unicode{0061}{LATIN SMALL LETTER A} +\endsetslot + +\setslot{b} + \Unicode{0062}{LATIN SMALL LETTER B} +\endsetslot + +\setslot{c} + \Unicode{0063}{LATIN SMALL LETTER C} +\endsetslot + +\setslot{d} + \Unicode{0064}{LATIN SMALL LETTER D} +\endsetslot + +\setslot{e} + \Unicode{0065}{LATIN SMALL LETTER E} +\endsetslot + +\setslot{f} + \Unicode{0066}{LATIN SMALL LETTER F} + \ligature{LIG}{f}{ff} + \ligature{LIG}{i}{fi} + \ligature{LIG}{l}{fl} +\endsetslot + +\setslot{g} + \Unicode{0067}{LATIN SMALL LETTER G} +\endsetslot + +\setslot{h} + \Unicode{0068}{LATIN SMALL LETTER H} +\endsetslot + +\setslot{i} + \Unicode{0069}{LATIN SMALL LETTER I} + \oddligature{This ligature only occurs in Dutch typography.} + {LIG}{j}{ij} +\endsetslot + +\setslot{j} + \Unicode{006A}{LATIN SMALL LETTER J} +\endsetslot + +\setslot{k} + \Unicode{006B}{LATIN SMALL LETTER K} +\endsetslot + +\setslot{l} + \Unicode{006C}{LATIN SMALL LETTER L} +\endsetslot + +\setslot{m} + \Unicode{006D}{LATIN SMALL LETTER M} +\endsetslot + +\setslot{n} + \Unicode{006E}{LATIN SMALL LETTER N} +\endsetslot + +\setslot{o} + \Unicode{006F}{LATIN SMALL LETTER O} +\endsetslot + +\setslot{p} + \Unicode{0070}{LATIN SMALL LETTER P} +\endsetslot + +\setslot{q} + \Unicode{0071}{LATIN SMALL LETTER Q} +\endsetslot + +\setslot{r} + \Unicode{0072}{LATIN SMALL LETTER R} +\endsetslot + +\setslot{s} + \Unicode{0073}{LATIN SMALL LETTER S} +\endsetslot + +\setslot{t} + \Unicode{0074}{LATIN SMALL LETTER T} +\endsetslot + +\setslot{u} + \Unicode{0075}{LATIN SMALL LETTER U} +\endsetslot + +\setslot{v} + \Unicode{0076}{LATIN SMALL LETTER V} +\endsetslot + +\setslot{w} + \Unicode{0077}{LATIN SMALL LETTER W} +\endsetslot + +\setslot{x} + \Unicode{0078}{LATIN SMALL LETTER X} +\endsetslot + +\setslot{y} + \Unicode{0079}{LATIN SMALL LETTER Y} +\endsetslot + +\setslot{z} + \Unicode{007A}{LATIN SMALL LETTER Z} +\endsetslot + + +\begincomment +\subsubsection{Mainly East-European accented letters + in slots 128--191} +\endcomment + +\nextslot{128} +\setslot{Abreve} + \Unicode{0102}{LATIN CAPITAL LETTER A WITH BREVE} +\endsetslot + +\setslot{Aogonek} + \Unicode{0104}{LATIN CAPITAL LETTER A WITH OGONEK} +\endsetslot + +\setslot{Cacute} + \Unicode{0106}{LATIN CAPITAL LETTER C WITH ACUTE} +\endsetslot + +\setslot{Ccaron} + \Unicode{010C}{LATIN CAPITAL LETTER C WITH CARON} +\endsetslot + +\setslot{Dcaron} + \Unicode{010E}{LATIN CAPITAL LETTER D WITH CARON} +\endsetslot + +\setslot{Ecaron} + \Unicode{011A}{LATIN CAPITAL LETTER E WITH CARON} +\endsetslot + +\setslot{Eogonek} + \Unicode{0118}{LATIN CAPITAL LETTER E WITH OGONEK} +\endsetslot + +\setslot{Gbreve} + \Unicode{011E}{LATIN CAPITAL LETTER G WITH BREVE} +\endsetslot + +\setslot{Lacute} + \Unicode{0139}{LATIN CAPITAL LETTER L WITH ACUTE} +\endsetslot + +\setslot{Lcaron} + \Unicode{013D}{LATIN CAPITAL LETTER L WITH CARON} + \comment{The normal glyph for this character consists of a capital + L and a right single quote, but the underlying accent is a caron. + The glyph name \texttt{Lquoteright} is not uncommon, but + \cite{AGL} uses \texttt{Lcaron}.} +\endsetslot + +\setslot{Lslash} + \Unicode{0141}{LATIN CAPITAL LETTER L WITH STROKE} + \comment{The letter `\L'.} +\endsetslot + +\setslot{Nacute} + \Unicode{0143}{LATIN CAPITAL LETTER N WITH ACUTE} +\endsetslot + +\setslot{Ncaron} + \Unicode{0147}{LATIN CAPITAL LETTER N WITH CARON} +\endsetslot + +\setslot{Eng} + \Unicode{014A}{LATIN CAPITAL LETTER ENG} +\endsetslot + +\setslot{Ohungarumlaut} + \Unicode{0150}{LATIN CAPITAL LETTER O WITH DOUBLE ACUTE} + \comment{The letter `\H{O}'.} +\endsetslot + +\setslot{Racute} + \Unicode{0154}{LATIN CAPITAL LETTER R WITH ACUTE} +\endsetslot + +\setslot{Rcaron} + \Unicode{0158}{LATIN CAPITAL LETTER R WITH CARON} +\endsetslot + +\setslot{Sacute} + \Unicode{015A}{LATIN CAPITAL LETTER S WITH ACUTE} +\endsetslot + +\setslot{Scaron} + \Unicode{0160}{LATIN CAPITAL LETTER S WITH CARON} +\endsetslot + +\setslot{Scedilla} + \Unicode{015E}{LATIN CAPITAL LETTER S WITH CEDILLA} + \comment{In Romanian, character \textunicode{0218}{latin + capital letter s with comma below} is preferred, but that + wasn't known when this encoding was designed.} +\endsetslot + +\setslot{Tcaron} + \Unicode{0164}{LATIN CAPITAL LETTER T WITH CARON} +\endsetslot + +\setslot{Tcommaaccent} + \Unicode{021A}{LATIN CAPITAL LETTER T WITH COMMA BELOW} +\endsetslot + +\setslot{Uhungarumlaut} + \Unicode{0170}{LATIN CAPITAL LETTER U WITH DOUBLE ACUTE} + \comment{The letter `\H{U}'.} +\endsetslot + +\setslot{Uring} + \Unicode{016E}{LATIN CAPITAL LETTER U WITH RING ABOVE} +\endsetslot + +\setslot{Ydieresis} + \Unicode{0178}{LATIN CAPITAL LETTER Y WITH DIAERESIS} +\endsetslot + +\setslot{Zacute} + \Unicode{0179}{LATIN CAPITAL LETTER Z WITH ACUTE} +\endsetslot + +\setslot{Zcaron} + \Unicode{017D}{LATIN CAPITAL LETTER Z WITH CARON} +\endsetslot + +\setslot{Zdotaccent} + \Unicode{017B}{LATIN CAPITAL LETTER Z WITH DOT ABOVE} +\endsetslot + +\skipslots{1} +\setslot{Idotaccent} + \Unicode{0130}{LATIN CAPITAL LETTER I WITH DOT ABOVE} + \comment{This character's |\lccode| value points to slot 105 + (\texttt{i}), as does that of slot 73 (\texttt{I}).} +\endsetslot + +\setslot{dcroat} + \Unicode{0111}{LATIN SMALL LETTER D WITH STROKE} +\endsetslot + + +\nextslot{160} +\setslot{abreve} + \Unicode{0103}{LATIN SMALL LETTER A WITH BREVE} +\endsetslot + +\setslot{aogonek} + \Unicode{0105}{LATIN SMALL LETTER A WITH OGONEK} +\endsetslot + +\setslot{cacute} + \Unicode{0107}{LATIN SMALL LETTER C WITH ACUTE} +\endsetslot + +\setslot{ccaron} + \Unicode{010D}{LATIN SMALL LETTER C WITH CARON} +\endsetslot + +\setslot{dcaron} + \Unicode{010F}{LATIN SMALL LETTER D WITH CARON} + \comment{The normal glyph for this character consists of a + lower case d and a right single quote, but the underlying + accent is a caron.} +\endsetslot + +\setslot{ecaron} + \Unicode{011B}{LATIN SMALL LETTER E WITH CARON} +\endsetslot + +\setslot{eogonek} + \Unicode{0119}{LATIN SMALL LETTER E WITH OGONEK} +\endsetslot + +\setslot{gbreve} + \Unicode{011F}{LATIN SMALL LETTER G WITH BREVE} +\endsetslot + +\setslot{lacute} + \Unicode{013A}{LATIN SMALL LETTER L WITH ACUTE} +\endsetslot + +\setslot{lcaron} + \Unicode{013E}{LATIN SMALL LETTER L WITH CARON} + \comment{The normal glyph for this character consists of a + lower case l and a right single quote, but the underlying + accent is a caron. The glyph name \texttt{lquoteright} is + not uncommon, but \cite{AGL} uses \texttt{lcaron}.} +\endsetslot + +\setslot{lslash} + \Unicode{0142}{LATIN SMALL LETTER L WITH STROKE} +\endsetslot + +\setslot{nacute} + \Unicode{0144}{LATIN SMALL LETTER N WITH ACUTE} +\endsetslot + +\setslot{ncaron} + \Unicode{0148}{LATIN SMALL LETTER N WITH CARON} +\endsetslot + +\setslot{eng} + \Unicode{014B}{LATIN SMALL LETTER ENG} +\endsetslot + +\setslot{ohungarumlaut} + \Unicode{0151}{LATIN SMALL LETTER O WITH DOUBLE ACUTE} + \comment{The letter `\H{o}'.} +\endsetslot + +\setslot{racute} + \Unicode{0155}{LATIN SMALL LETTER R WITH ACUTE} +\endsetslot + +\setslot{rcaron} + \Unicode{0159}{LATIN SMALL LETTER R WITH CARON} +\endsetslot + +\setslot{sacute} + \Unicode{015B}{LATIN SMALL LETTER S WITH ACUTE} +\endsetslot + +\setslot{scaron} + \Unicode{0161}{LATIN SMALL LETTER S WITH CARON} +\endsetslot + +\setslot{scedilla} + \Unicode{015F}{LATIN SMALL LETTER S WITH CEDILLA} + \comment{In Romanian, character \textunicode{0219}{latin + small letter s with comma below} is preferred, but that + wasn't known when this encoding was designed.} +\endsetslot + +\setslot{tcaron} + \Unicode{0165}{LATIN SMALL LETTER T WITH CARON} + \comment{The normal glyph for this character consists of a + lower case t and a right single quote, but the underlying + accent is a caron.} +\endsetslot + +\setslot{tcommaaccent} + \Unicode{021B}{LATIN SMALL LETTER T WITH COMMA BELOW} +\endsetslot + +\setslot{uhungarumlaut} + \Unicode{0171}{LATIN SMALL LETTER U WITH DOUBLE ACUTE} +\endsetslot + +\setslot{uring} + \Unicode{016F}{LATIN SMALL LETTER U WITH RING ABOVE} +\endsetslot + +\setslot{ydieresis} + \Unicode{00FF}{LATIN SMALL LETTER Y WITH DIAERESIS} +\endsetslot + +\setslot{zacute} + \Unicode{017A}{LATIN SMALL LETTER Z WITH ACUTE} +\endsetslot + +\setslot{zcaron} + \Unicode{017E}{LATIN SMALL LETTER Z WITH CARON} +\endsetslot + +\setslot{zdotaccent} + \Unicode{017C}{LATIN SMALL LETTER Z WITH DOT ABOVE} +\endsetslot + + +\begincomment +\subsubsection{Mainly West-European accented letters in slots 192--255} +\endcomment + +\nextslot{192} +\setslot{Agrave} + \Unicode{00C0}{LATIN CAPITAL LETTER A WITH GRAVE} +\endsetslot + +\setslot{Aacute} + \Unicode{00C1}{LATIN CAPITAL LETTER A WITH ACUTE} +\endsetslot + +\setslot{Acircumflex} + \Unicode{00C2}{LATIN CAPITAL LETTER A WITH CIRCUMFLEX} +\endsetslot + +\setslot{Atilde} + \Unicode{00C3}{LATIN CAPITAL LETTER A WITH TILDE} +\endsetslot + +\setslot{Adieresis} + \Unicode{00C4}{LATIN CAPITAL LETTER A WITH DIAERESIS} +\endsetslot + +\setslot{Aring} + \Unicode{00C5}{LATIN CAPITAL LETTER A WITH RING ABOVE} +\endsetslot + +\setslot{AE} + \Unicode{00C6}{LATIN CAPITAL LETTER AE} +\endsetslot + +\setslot{Ccedilla} + \Unicode{00C7}{LATIN CAPITAL LETTER C WITH CEDILLA} +\endsetslot + +\setslot{Egrave} + \Unicode{00C8}{LATIN CAPITAL LETTER E WITH GRAVE} +\endsetslot + +\setslot{Eacute} + \Unicode{00C9}{LATIN CAPITAL LETTER E WITH ACUTE} +\endsetslot + +\setslot{Ecircumflex} + \Unicode{00CA}{LATIN CAPITAL LETTER E WITH CIRCUMFLEX} +\endsetslot + +\setslot{Edieresis} + \Unicode{00CB}{LATIN CAPITAL LETTER E WITH DIAERESIS} +\endsetslot + +\setslot{Igrave} + \Unicode{00CC}{LATIN CAPITAL LETTER I WITH GRAVE} +\endsetslot + +\setslot{Iacute} + \Unicode{00CD}{LATIN CAPITAL LETTER I WITH ACUTE} +\endsetslot + +\setslot{Icircumflex} + \Unicode{00CE}{LATIN CAPITAL LETTER I WITH CIRCUMFLEX} +\endsetslot + +\setslot{Idieresis} + \Unicode{00CF}{LATIN CAPITAL LETTER I WITH DIAERESIS} +\endsetslot + +\setslot{Eth} + \Unicode{00D0}{LATIN CAPITAL LETTER ETH} + \Unicode{0110}{LATIN CAPITAL LETTER D WITH STROKE} + \comment{This slot is being used to represent two different + letters whose capital forms are identical. The |\lccode| value + points to slot \ref{eth}.} +\endsetslot + +\setslot{Ntilde} + \Unicode{00D1}{LATIN CAPITAL LETTER N WITH TILDE} +\endsetslot + +\setslot{Ograve} + \Unicode{00D2}{LATIN CAPITAL LETTER O WITH GRAVE} +\endsetslot + +\setslot{Oacute} + \Unicode{00D3}{LATIN CAPITAL LETTER O WITH ACUTE} +\endsetslot + +\setslot{Ocircumflex} + \Unicode{00D4}{LATIN CAPITAL LETTER O WITH CIRCUMFLEX} +\endsetslot + +\setslot{Otilde} + \Unicode{00D5}{LATIN CAPITAL LETTER O WITH TILDE} +\endsetslot + +\setslot{Odieresis} + \Unicode{00D6}{LATIN CAPITAL LETTER O WITH DIAERESIS} +\endsetslot + +\setslot{OE} + \Unicode{0152}{LATIN CAPITAL LIGATURE OE} + \comment{This is a single letter, and should not be faked with `OE'.} +\endsetslot + +\setslot{Oslash} + \Unicode{00D8}{LATIN CAPITAL LETTER O WITH STROKE} +\endsetslot + +\setslot{Ugrave} + \Unicode{00D9}{LATIN CAPITAL LETTER U WITH GRAVE} +\endsetslot + +\setslot{Uacute} + \Unicode{00DA}{LATIN CAPITAL LETTER U WITH ACUTE} +\endsetslot + +\setslot{Ucircumflex} + \Unicode{00DB}{LATIN CAPITAL LETTER U WITH CIRCUMFLEX} +\endsetslot + +\setslot{Udieresis} + \Unicode{00DC}{LATIN CAPITAL LETTER U WITH DIAERESIS} +\endsetslot + +\setslot{Yacute} + \Unicode{00DD}{LATIN CAPITAL LETTER Y WITH ACUTE} +\endsetslot + +\setslot{Thorn} + \Unicode{00DE}{LATIN CAPITAL LETTER THORN} +\endsetslot + +\setslot{SS} + \comment{This is an ``uppercased'' sharp s (`\ss') which always + looks exactly like two S's next to each other. In a monowidth + font it should be two letters wide. There are other characters + which could have made better use of this slot; the only function + of this slot which could not have been handled using macros is + that |\SS| and |SS| can have different hyphenation.} +\endsetslot + +\setslot{agrave} + \Unicode{00E0}{LATIN SMALL LETTER A WITH GRAVE} +\endsetslot + +\setslot{aacute} + \Unicode{00E1}{LATIN SMALL LETTER A WITH ACUTE} +\endsetslot + +\setslot{acircumflex} + \Unicode{00E2}{LATIN SMALL LETTER A WITH CIRCUMFLEX} +\endsetslot + +\setslot{atilde} + \Unicode{00E3}{LATIN SMALL LETTER A WITH TILDE} +\endsetslot + +\setslot{adieresis} + \Unicode{00E4}{LATIN SMALL LETTER A WITH DIAERESIS} +\endsetslot + +\setslot{aring} + \Unicode{00E5}{LATIN SMALL LETTER A WITH RING ABOVE} +\endsetslot + +\setslot{ae} + \Unicode{00E6}{LATIN SMALL LETTER AE} +\endsetslot + +\setslot{ccedilla} + \Unicode{00E7}{LATIN SMALL LETTER C WITH CEDILLA} +\endsetslot + +\setslot{egrave} + \Unicode{00E8}{LATIN SMALL LETTER E WITH GRAVE} +\endsetslot + +\setslot{eacute} + \Unicode{00E9}{LATIN SMALL LETTER E WITH ACUTE} +\endsetslot + +\setslot{ecircumflex} + \Unicode{00EA}{LATIN SMALL LETTER E WITH CIRCUMFLEX} +\endsetslot + +\setslot{edieresis} + \Unicode{00EB}{LATIN SMALL LETTER E WITH DIAERESIS} +\endsetslot + +\setslot{igrave} + \Unicode{00EC}{LATIN SMALL LETTER I WITH GRAVE} +\endsetslot + +\setslot{iacute} + \Unicode{00ED}{LATIN SMALL LETTER I WITH ACUTE} +\endsetslot + +\setslot{icircumflex} + \Unicode{00EE}{LATIN SMALL LETTER I WITH CIRCUMFLEX} +\endsetslot + +\setslot{idieresis} + \Unicode{00EF}{LATIN SMALL LETTER I WITH DIAERESIS} +\endsetslot + +\setslot{eth} + \Unicode{00F0}{LATIN SMALL LETTER ETH} + \label{eth} +\endsetslot + +\setslot{ntilde} + \Unicode{00F1}{LATIN SMALL LETTER N WITH TILDE} +\endsetslot + +\setslot{ograve} + \Unicode{00F2}{LATIN SMALL LETTER O WITH GRAVE} +\endsetslot + +\setslot{oacute} + \Unicode{00F3}{LATIN SMALL LETTER O WITH ACUTE} +\endsetslot + +\setslot{ocircumflex} + \Unicode{00F4}{LATIN SMALL LETTER O WITH CIRCUMFLEX} +\endsetslot + +\setslot{otilde} + \Unicode{00F5}{LATIN SMALL LETTER O WITH TILDE} +\endsetslot + +\setslot{odieresis} + \Unicode{00F6}{LATIN SMALL LETTER O WITH DIAERESIS} +\endsetslot + +\setslot{oe} + \Unicode{0153}{LATIN SMALL LIGATURE OE} + \comment{This is a single letter, and should not be faked with `oe'.} +\endsetslot + +\setslot{oslash} + \Unicode{00F8}{LATIN SMALL LETTER O WITH STROKE} +\endsetslot + +\setslot{ugrave} + \Unicode{00F9}{LATIN SMALL LETTER U WITH GRAVE} +\endsetslot + +\setslot{uacute} + \Unicode{00FA}{LATIN SMALL LETTER U WITH ACUTE} +\endsetslot + +\setslot{ucircumflex} + \Unicode{00FB}{LATIN SMALL LETTER U WITH CIRCUMFLEX} +\endsetslot + +\setslot{udieresis} + \Unicode{00FC}{LATIN SMALL LETTER U WITH DIAERESIS} +\endsetslot + +\setslot{yacute} + \Unicode{00FD}{LATIN SMALL LETTER Y WITH ACUTE} +\endsetslot + +\setslot{thorn} + \Unicode{00FE}{LATIN SMALL LETTER THORN} +\endsetslot + +\setslot{germandbls} + \Unicode{00DF}{LATIN SMALL LETTER SHARP S} +\endsetslot + + +\begincomment +\subsection{Accents} +The Unicode equivalents of the accents are taken to be the combining +forms of the accents found in code point \texttt{U+0300} and upwards. +The reasons for this are (i) that they are primarily used with the +|\accent| primitive, i.e., as combining characters, (ii) that some +of them (e.g. \texttt{tilde}) have non-combining counterparts +elsewhere in the encoding, and (iii) that they are not primarily +phonetic marks. +\endcomment + +\nextslot{0} +\setslot{grave} + \Unicode{0300}{COMBINING GRAVE ACCENT} +\endsetslot + +\setslot{acute} + \Unicode{0301}{COMBINING ACUTE ACCENT} +\endsetslot + +\setslot{circumflex} + \Unicode{0302}{COMBINING CIRCUMFLEX ACCENT} +\endsetslot + +\setslot{tilde} + \Unicode{0303}{COMBINING TILDE} +\endsetslot + +\setslot{dieresis} + \Unicode{0308}{COMBINING DIAERESIS} +\endsetslot + +\setslot{hungarumlaut} + \Unicode{030B}{COMBINING DOUBLE ACUTE ACCENT} + \comment{The long Hungarian umlaut `\H{}'.} +\endsetslot + +\setslot{ring} + \Unicode{030A}{COMBINING RING ABOVE} +\endsetslot + +\setslot{caron} + \Unicode{030C}{COMBINING CARON} + \comment{The caron or h\'a\v cek accent `\v{}'.} +\endsetslot + +\setslot{breve} + \Unicode{0306}{COMBINING BREVE} +\endsetslot + +\setslot{macron} + \Unicode{0304}{COMBINING MACRON} +\endsetslot + +\setslot{dotaccent} + \Unicode{0307}{COMBINING DOT ABOVE} +\endsetslot + +\setslot{cedilla} + \Unicode{0327}{COMBINING CEDILLA} +\endsetslot + +\setslot{ogonek} + \Unicode{0328}{COMBINING OGONEK} +\endsetslot + + +\begincomment +\subsection{Digits} +\endcomment + +\nextslot{48} +\setslot{zero} + \Unicode{0030}{DIGIT ZERO} +\endsetslot + +\setslot{one} + \Unicode{0031}{DIGIT ONE} +\endsetslot + +\setslot{two} + \Unicode{0032}{DIGIT TWO} +\endsetslot + +\setslot{three} + \Unicode{0033}{DIGIT THREE} +\endsetslot + +\setslot{four} + \Unicode{0034}{DIGIT FOUR} +\endsetslot + +\setslot{five} + \Unicode{0035}{DIGIT FIVE} +\endsetslot + +\setslot{six} + \Unicode{0036}{DIGIT SIX} +\endsetslot + +\setslot{seven} + \Unicode{0037}{DIGIT SEVEN} +\endsetslot + +\setslot{eight} + \Unicode{0038}{DIGIT EIGHT} +\endsetslot + +\setslot{nine} + \Unicode{0039}{DIGIT NINE} +\endsetslot + + +\begincomment +\subsection{Symbols and punctuation} +\endcomment + +\nextslot{13} +\setslot{quotesinglbase} + \Unicode{201A}{SINGLE LOW-9 QUOTATION MARK} +\endsetslot + +\setslot{guilsinglleft} + \Unicode{2039}{SINGLE LEFT-POINTING ANGLE QUOTATION MARK} + \comment{In French typography this is an opening quotation mark, + but in German typography it is a closing quotation mark. The + character should kern well in both cases.} +\endsetslot + +\setslot{guilsinglright} + \Unicode{203A}{SINGLE RIGHT-POINTING ANGLE QUOTATION MARK} + \comment{In French typography this is a closing quotation mark, + but in German typography it is an opening quotation mark. The + character should kern well in both cases.} +\endsetslot + +\setslot{quotedblleft} + \Unicode{201C}{LEFT DOUBLE QUOTATION MARK} +\endsetslot + +\setslot{quotedblright} + \Unicode{201D}{RIGHT DOUBLE QUOTATION MARK} + \comment{In English typography this quotation mark is always + closing, but in Swedish typography it is also an opening + quotation mark. The character should kern well in both cases.} +\endsetslot + +\setslot{quotedblbase} + \Unicode{201E}{DOUBLE LOW-9 QUOTATION MARK} +\endsetslot + +\setslot{guillemotleft} + \Unicode{00AB}{LEFT-POINTING DOUBLE ANGLE QUOTATION MARK} + \comment{In French typography this is an opening quotation mark, + but in German typography it is a closing quotation mark. The + character should kern well in both cases. The glyph name is + misspelt (it should be \texttt{guillemetleft}), but this + incorrect name is \emph{de facto} the glyph name used.} +\endsetslot + +\setslot{guillemotright} + \Unicode{00BB}{RIGHT-POINTING DOUBLE ANGLE QUOTATION MARK} + \comment{In French typography this is a closing quotation mark, + but in German typography it is an opening quotation mark. The + character should kern well in both cases. The glyph name is + misspelt (it should be \texttt{guillemetright}), but this + incorrect name is \emph{de facto} the glyph name used.} +\endsetslot + +\setslot{endash} + \Unicode{2013}{EN DASH} + \label{endash} + \Ligature{LIG}{hyphen}{emdash} +\endsetslot + +\setslot{emdash} + \Unicode{2014}{EM DASH} + \comment{In a monowidth font this character is preferably given the + width of two normal characters.} +\endsetslot + +\nextslot{32} +\setslot{visiblespace} + \Unicode{2423}{OPEN BOX} + \comment{A visible space glyph `\textvisiblespace'.} +\endsetslot + +\setslot{exclam} + \Unicode{0021}{EXCLAMATION MARK} + \Ligature{LIG}{quoteleft}{exclamdown} +\endsetslot + +\setslot{quotedbl} + \Unicode{0022}{QUOTATION MARK} + \comment{The `neutral' double quotation mark, included for use in + monowidth fonts, or for setting computer programs.} +\endsetslot + +\setslot{numbersign} + \Unicode{0023}{NUMBER SIGN} +\endsetslot + +\setslot{dollar} + \Unicode{0024}{DOLLAR SIGN} +\endsetslot + +\setslot{percent} + \Unicode{0025}{PERCENT SIGN} +\endsetslot + +\setslot{ampersand} + \Unicode{0026}{AMPERSAND} +\endsetslot + +\setslot{quoteright} + \Unicode{2019}{RIGHT SINGLE QUOTATION MARK} + \Ligature{LIG}{quoteright}{quotedblright} +\endsetslot + +\setslot{parenleft} + \Unicode{0028}{LEFT PARENTHESIS} +\endsetslot + +\setslot{parenright} + \Unicode{0029}{RIGHT PARENTHESIS} +\endsetslot + +\setslot{asterisk} + \Unicode{002A}{ASTERISK} +\endsetslot + +\setslot{plus} + \Unicode{002B}{PLUS SIGN} +\endsetslot + +\setslot{comma} + \Unicode{002C}{COMMA} + \Ligature{LIG}{comma}{quotedblbase} +\endsetslot + +\setslot{hyphen} + \Unicode{002D}{HYPHEN-MINUS} + \Ligature{LIG}{hyphen}{endash} + \Ligature{LIG}{hyphenchar}{hyphenchar} + \comment{See also slot \ref{hyphenchar}.} + \label{hyphen} +\endsetslot + +\setslot{period} + \Unicode{002E}{FULL STOP} +\endsetslot + +\setslot{slash} + \Unicode{002F}{SOLIDUS} +\endsetslot + +\skipslots{10} +\setslot{colon} + \Unicode{003A}{COLON} +\endsetslot + +\setslot{semicolon} + \Unicode{003B}{SEMICOLON} +\endsetslot + +\setslot{less} + \Unicode{003C}{LESS-THAN SIGN} + \Ligature{LIG}{less}{guillemotleft} +\endsetslot + +\setslot{equal} + \Unicode{003D}{EQUALS SIGN} +\endsetslot + +\setslot{greater} + \Unicode{003E}{GREATER-THAN SIGN} + \Ligature{LIG}{greater}{guillemotright} +\endsetslot + +\setslot{question} + \Unicode{003F}{QUESTION MARK} + \Ligature{LIG}{quoteleft}{questiondown} +\endsetslot + +\setslot{at} + \Unicode{0040}{COMMERCIAL AT} +\endsetslot + +\nextslot{91} +\setslot{bracketleft} + \Unicode{005B}{LEFT SQUARE BRACKET} +\endsetslot + +\setslot{backslash} + \Unicode{005C}{REVERSE SOLIDUS} +\endsetslot + +\setslot{bracketright} + \Unicode{005D}{RIGHT SQUARE BRACKET} +\endsetslot + +\setslot{asciicircum} + \Unicode{005E}{CIRCUMFLEX ACCENT} + \comment{The ASCII upward-pointing arrow head `\textasciicircum'. + This is included for compatibility with typewriter fonts used + for computer listings.} +\endsetslot + +\setslot{underscore} + \Unicode{005F}{LOW LINE} + \comment{The ASCII underline character `\textunderscore', usually + set on the baseline. This is included for compatibility with + typewriter fonts used for computer listings.} +\endsetslot + +\setslot{quoteleft} + \Unicode{2018}{LEFT SINGLE QUOTATION MARK} + \Ligature{LIG}{quoteleft}{quotedblleft} +\endsetslot + +\nextslot{123} +\setslot{braceleft} + \Unicode{007B}{LEFT CURLY BRACKET} +\endsetslot + +\setslot{bar} + \Unicode{007C}{VERTICAL LINE} + \comment{The ASCII vertical bar `\textbar'. + This is included for compatibility with typewriter fonts used + for computer listings.} +\endsetslot + +\setslot{braceright} + \Unicode{007D}{RIGHT CURLY BRACKET} +\endsetslot + +\setslot{asciitilde} + \Unicode{007E}{TILDE} + \comment{The ASCII tilde `\textasciitilde'. + This is included for compatibility with typewriter fonts used + for computer listings.} +\endsetslot + +\nextslot{159} +\setslot{section} + \Unicode{00A7}{SECTION SIGN} +\endsetslot + +\nextslot{189} +\setslot{exclamdown} + \Unicode{00A1}{INVERTED EXCLAMATION MARK} +\endsetslot + +\setslot{questiondown} + \Unicode{00BF}{INVERTED QUESTION MARK} +\endsetslot + +\setslot{sterling} + \Unicode{00A3}{POUND SIGN} +\endsetslot + + + +\begincomment +\subsection{Miscellanea} +\endcomment + +\nextslot{23} +\setslot{compwordmark} + \Unicode{200C}{ZERO WIDTH NON-JOINER} + \comment{An invisible glyph, with zero width and depth, but the + height of lower case letters without ascenders. + It is used to stop ligaturing in words like `shelf{}ful'. + It is possible that this character should be considered a + letter (and that hyphenation patterns should be designed to + include it), but since its |\lccode| is 0, \TeX's hyphenation + mechanism considers it to be a nonletter which ends the + hyphenatable part of a word.} +\endsetslot + +\setslot{perthousandzero} + \comment{A glyph which is placed after `\%' to produce a + `per-thousand', or twice to produce `per-ten-thousand'. + Your guess is as good as mine as to what this glyph should look + like in a monowidth font. Since most fonts don't include this + glyph anyway, its use is discouraged.} +\endsetslot + +\nextslot{127} +\setslot{hyphenchar} + \label{hyphenchar} + \comment{This character is provided as a discretionary hyphen + symbol and may only appear at the end of a line, since it is often + hanging out of the character box, but apart from that it is almost + always the same as the \texttt{hyphen} character. Since \LaTeX\ + sets the |\hyphenchar| of \texttt{T1} fonts to slot \ref{hyphen} + rather than this slot, this feature is usually not used.} +\endsetslot + + + +\begincomment +\section{Usual characters} +The following characters are only accessed through ligatures and can +therefore be replaced by others or completely left out if the +ligature programs are modified accordingly. +\endcomment + +\nextslot{27} +\setslot{ff} + \Unicode{FB00}{LATIN SMALL LIGATURE FF} + \comment{This glyph should be two characters wide in a monowidth + font.} + \ligature{LIG}{i}{ffi} + \ligature{LIG}{l}{ffl} +\endsetslot + +\setslot{fi} + \Unicode{FB01}{LATIN SMALL LIGATURE FI} + \comment{This glyph should be two characters wide in a monowidth + font.} +\endsetslot + +\setslot{fl} + \Unicode{FB02}{LATIN SMALL LIGATURE FL} + \comment{This glyph should be two characters wide in a monowidth + font.} +\endsetslot + +\setslot{ffi} + \Unicode{FB03}{LATIN SMALL LIGATURE FFI} + \comment{This glyph should be three characters wide in a monowidth + font.} +\endsetslot + +\setslot{ffl} + \Unicode{FB04}{LATIN SMALL LIGATURE FFL} + \comment{This glyph should be three characters wide in a monowidth + font.} +\endsetslot + +\nextslot{156} +\setslot{IJ} + \Unicode{0132}{LATIN CAPITAL LIGATURE IJ} + \comment{This is a single letter, and in a monowidth font should + ideally be one letter wide.} +\endsetslot + +\nextslot{188} +\setslot{ij} + \Unicode{0133}{LATIN SMALL LIGATURE IJ} + \comment{This is a single letter, and in a monowidth font should + ideally be one letter wide.} +\endsetslot + + +\begincomment +\section{Fontdimens} +\endcomment + +\setfontdimen{1}{italicslant} % italic slant +\setfontdimen{2}{interword} % interword space +\setfontdimen{3}{stretchword} % interword stretch +\setfontdimen{4}{shrinkword} % interword shrink +\setfontdimen{5}{xheight} % x-height +\setfontdimen{6}{quad} % quad +\setfontdimen{7}{extraspace} % extra space after . +\setfontdimen{8}{capheight} % cap height +\setfontdimen{9}{ascender} % ascender +\setfontdimen{10}{acccapheight} % accented cap height +\setfontdimen{11}{descender} % descender's depth +\setfontdimen{12}{maxheight} % max height +\setfontdimen{13}{maxdepth} % max depth +\setfontdimen{14}{digitwidth} % digit width +\setfontdimen{15}{verticalstem} % dominant width of verical stems +\setfontdimen{16}{baselineskip} % baselineskip + + +\begincomment +\section{Coding scheme} +\endcomment + +\setstr{codingscheme}{EXTENDED TEX FONT ENCODING - LATIN} + + +\endencoding + + +\section{Discussion} + +As the \texttt{T1} encoding is an established standard, the discussion +of it has already been published elsewhere. [Unfortunately, I do not +know where as it all happened long before I started using \TeX. This +part of the document definitely needs to be improved. To begin with, I +would like to know if the TUGboat articles whose bibliography entries +appear in Figure~\ref{Bib-entries} are relevant for the matter. +\begin{figure*} +\small +\begin{verbatim} +@Article{Beebe:TB11-2-171, + author = "Nelson Beebe", + title = "{Character set encoding}", + journal = j-TUGboat, + volume = "11", + number = "2", + pages = "171--175", + month = jun, + year = "1990", + ISSN = "0896-3207", + bibdate = "Fri Jun 4 18:08:09 MDT 1999", + bibsource = "ftp://ftp.math.utah.edu/pub/tex/bib/tugboat.bib; + http://www.math.utah.edu/pub/tex/bib/index-table-t.html#tugboat", + acknowledgement = ack-bnb # " and " # ack-nhfb, +} +@Article{Bien:TB11-2-175, + author = "Janusz S. Bie{\'n}", + title = "{On standards for computer modern font extensions}", + journal = j-TUGboat, + volume = "11", + number = "2", + pages = "175--183", + month = jun, + year = "1990", + ISSN = "0896-3207", + bibdate = "Fri Jun 4 18:08:09 MDT 1999", + bibsource = "ftp://ftp.math.utah.edu/pub/tex/bib/tugboat.bib; + http://www.math.utah.edu/pub/tex/bib/index-table-t.html#tugboat", + acknowledgement = ack-bnb # " and " # ack-nhfb, +} +@Article{Ferguson:TB11-4-514, + author = "Michael Ferguson", + title = "{Report on multilingual activities}", + journal = j-TUGboat, + volume = "11", + number = "4", + pages = "514--516", + month = nov, + year = "1990", + ISSN = "0896-3207", + bibdate = "Fri Jun 4 18:08:09 MDT 1999", + bibsource = "ftp://ftp.math.utah.edu/pub/tex/bib/tugboat.bib; + http://www.math.utah.edu/pub/tex/bib/index-table-t.html#tugboat", + acknowledgement = ack-bnb # " and " # ack-nhfb, +} +\end{verbatim} +\normalsize + +\caption{Entries in \texttt{tugboat.bib} which may describe papers +that contain (at least part of) the discussion regarding the +\texttt{T1} encoding} +\label{Bib-entries} +\end{figure*} +Actually reading them would be nice too, as would of course getting +the references for whatever other papers there might be that +constituted the discussion of the \texttt{T1} encoding. The file +\texttt{cork.enc} in the \textit{Fontname} standard makes a cryptic +reference to ``TTN 1(4), December 1992'', whatever that might be.] + +I can however answer questions on the more immediate matter of how the +interpretation of the established standard that this file expresses was +constructed. It is mainly the result of a comparison between the +file \texttt{t1.etx}~\cite{t1.etx}, the Unicode +standard~\cite{Unicode}, and the Adobe glyph list~\cite{AGL}. + +(Some concerns have been expressed about the fact that the glyph name +listed for slot~0 is `\texttt{grave}', although that glyph name in +\cite{AGL} corresponds to \textunicode{0060}{GRAVE ACCENT}, whereas +\textunicode{0300}{COMBINING GRAVE ACCENT} is listed as corresponding +to `\texttt{gravecomb}'. This is however formally irrelevant, since +the glyph names are formally only internal labels in the encoding +specification. `\texttt{gravecomb}' would furthermore be a more +impractical label, since most font contains a `\texttt{grave}' glyph +that is used as a combining accent but no `\texttt{gravecomb}' +glyph.) + + +\section{Changes} + +The changes made to this specification since the original 2001/06/19 +version are as follows. + +2001/09/01: Corrected some typos (reported by Vladimir Volovich). /LH + +2001/09/16: Added \cite{latin-page} to the bibliography. /LH + +2001/09/21: Removed comment on \textunicode{2012}{FIGURE DASH} from +slot~\ref{endash}. \cite[Sec.~6.1]{Unicode} makes quite clear that +it's not to be used for ranges. /LH + +2002/07/05: Added the Ferguson:TB11-4-514 and ``TTN~1(4)'' references +to the discussion section. Also added remark on \texttt{grave} versus +\texttt{gravecomb}. /LH + + +\begin{thebibliography}{9} +\bibitem{AGL} + Adobe Systems Incorporated: \textit{Adobe Glyph List}, 1998; + \textsc{http}:/\slash \texttt{partners.adobe.com}\slash + \texttt{asn}\slash \texttt{developer}\slash \texttt{type}\slash + \texttt{glyphlist.txt} +\bibitem{latin-page} + Roman Czyborra: \textit{The ISO 8859 Alphabet Soup}, web page at + \textsc{http:}/\slash \texttt{czyborra.com}\slash + \texttt{charsets}\slash \texttt{iso8859.html}, 1998. +\bibitem{ISO8859-1} + International Organization for Standardization: + \textit{ISO/IEC standard 8859-1} (Information technology -- + 8-bit single-byte coded graphic character sets -- + Part 1: Latin alphabet No. 1). + See also~\cite{latin-page}. +\bibitem{t1.etx} + Alan Jeffrey, Sebastian Rahtz, and Ulrik Vieth: + \textit{The \TeX\ extended text encoding vector}, + version~1.801, 1998, + \textsc{ctan}:\discretionary{}{}{\thinspace}\texttt{fonts}\slash + \texttt{utilities}\slash \texttt{fontinst}\slash + \texttt{inputs}\slash \texttt{etx}\slash \texttt{t1.etx}. +\bibitem{TeXbook} + Donald E.\ Knuth, Duane Bibby (illustrations): + \textit{The \TeX book}, Ad\-di\-son--Wes\-ley, 1986; + ISBN~0-201-13447-0. +\bibitem{Unicode} + The Unicode Consortium (editor), \emph{et al.}: + \textit{The Unicode Standard, Version 3.0}, + Addison Wesley Longman Publisher, 2000; ISBN~0-201-61633-5. + Most of the information in this book is also available online at + the Unicode consortium website, at \textsc{http}:/\slash + \texttt{www.unicode.org}\slash \texttt{unicode}\slash + \texttt{uni2book}\slash \texttt{u2.html}. +\end{thebibliography} + + + +\end{document}
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/examples/basicex.tex b/Master/texmf-dist/doc/fontinst/base/examples/basicex.tex new file mode 100644 index 00000000000..fe7f6f69935 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/examples/basicex.tex @@ -0,0 +1,431 @@ +% basicex.tex +% +% This file contains some basic examples of commands for +% installing the AGaramond family of fonts with fontinst v1.9. +% It is pretty similar to what the \latinfamily command +% does for these fonts, but the details are not identical. +% +% In case you want to run this file yourself, the metrics for +% the AGaramond font family can be downloaded from +% +% ftp://ftp.adobe.com/pub/adobe/type/win/all/afmfiles/051-100/100/ +% and +% ftp://ftp.adobe.com/pub/adobe/type/win/all/afmfiles/101-150/101/ +% +% The AFM files found in these directories should then be renamed +% as indicated in the Fontname adobe.map file. Also note that +% the line endings are Windows-style (CRLF), so you probably need +% to download as binary and do some conversion before you can use +% these files comfortably. + +\input fontinst.sty + +% This tells fontinst to collect information about font +% transformations in the file basicex.recs. That file is +% then used by basicex2.tex. +\recordtransforms{basicex.recs} + +% These commands perform transformations on the metrics of +% some of the fonts, thereby creating new metrics files for +% the transformed fonts. +\transformfont{padr8r}{\reencodefont{8r}{\fromafm{padr8a}}} +\transformfont{padrc8r}{\reencodefont{8r}{\fromafm{padrc8a}}} +\transformfont{padri8r}{\reencodefont{8r}{\fromafm{padri8a}}} +\transformfont{padro8r}{\slantfont{250}{\frommtx{padr8r}}} +\transformfont{padro8x}{\slantfont{250}{\fromafm{padr8x}}} + +% The first three lines of each group reencode fonts +% so that TeX can access all glyphs in them. +\transformfont{pads8r}{\reencodefont{8r}{\fromafm{pads8a}}} +\transformfont{padsc8r}{\reencodefont{8r}{\fromafm{padsc8a}}} +\transformfont{padsi8r}{\reencodefont{8r}{\fromafm{padsi8a}}} +% The last two lines artifically create slanted variants +% of fonts by skewing them. 250 is the natural slant of +% the italics in this family. +\transformfont{padso8r}{\slantfont{250}{\frommtx{pads8r}}} +\transformfont{padso8x}{\slantfont{250}{\fromafm{pads8x}}} + +\transformfont{padb8r}{\reencodefont{8r}{\fromafm{padb8a}}} +% There is no padbc8a, hence nothing to make a padbc8r from. +\transformfont{padbi8r}{\reencodefont{8r}{\fromafm{padbi8a}}} +\transformfont{padbo8r}{\slantfont{250}{\frommtx{padb8r}}} +\transformfont{padbo8x}{\slantfont{250}{\fromafm{padb8x}}} +% The DVI driver must be told to make the same transformations +% to the actual fonts when a document using them is to be viewed +% or printed. The information collected in basicex.recs can +% help with this. The job of basicex2.tex is to translate this +% information to a format understood by DVI drivers. + + +% The \transformfont commands above generate metric files in MTX +% format (for use by the \installfont commands below) and PL +% format (for transformation to TFMs that are needed by the DVI +% driver when interpreting VFs based on these fonts). These PL +% files are minimal and not suitable for direct use in typesetting +% since there is no kerning information, ligaturing instructions, +% or fontdimens, but they are perfectly adequate to serve as +% base fonts for VFs. +% +% The next bunch of commands generate a new set of PL files for +% these fonts (overwriting the previous), and these new files +% do contain kerning information, ligaturing instructions, and +% fontdimens. (As a side-effect, these files are also larger than +% the previous ones.) Since 8r-encoded fonts are not in practice +% used for typesetting (not much, anyway), it is perfectly +% possible to skip this step. +\installfonts + \installrawfont {padr8r}{padr8r,8r}{8r} {8r}{pad}{m}{n}{} + \installrawfont {padrc8r}{padrc8r,8r}{8r} {8r}{pad}{m}{sc}{} + \installrawfont {padri8r}{padri8r,8r}{8r} {8r}{pad}{m}{it}{} + \installrawfont {padro8r}{padro8r,8r}{8r} {8r}{pad}{m}{sl}{} + + \installrawfont {pads8r}{pads8r,8r}{8r} {8r}{pad}{sb}{n}{} + \installrawfont {padsc8r}{padsc8r,8r}{8r} {8r}{pad}{sb}{sc}{} + \installrawfont {padsi8r}{padsi8r,8r}{8r} {8r}{pad}{sb}{it}{} + \installrawfont {padso8r}{padso8r,8r}{8r} {8r}{pad}{sb}{sl}{} + + \installrawfont {padb8r}{padb8r,8r}{8r} {8r}{pad}{b}{n}{} + \installrawfont {padbi8r}{padbi8r,8r}{8r} {8r}{pad}{b}{it}{} + \installrawfont {padbo8r}{padbo8r,8r}{8r} {8r}{pad}{b}{sl}{} +\endinstallfonts + + +% In the above commands, the commands have been lined up to +% visually separate those arguments that have to do with how +% a font is declared to LaTeX (rightmost) from those arguments +% that specify how the font is made and what it should be called. + + +% The following commands make a very basic installation of "pad" +% families in the OT1, T1, and TS1 encodings; there is not attempt +% to make use of the -Exp (expert) or -SC (smallcaps) fonts in +% the AGaramond family. (One reason for making this distinction +% is that Adobe sell these other fonts separately, so some people +% may have the basic set used below and nothing more. Another +% reason is that for many typefaces, there are no expert or -SC +% fonts at all. Adapting an example using such fonts to a typeface +% which do not have them is much too confusing for a beginner.) +\installfonts + \installfamily{OT1}{pad}{} + \installfamily{T1}{pad}{} + \installfamily{TS1}{pad}{} + + \installfont {padr8t}{padr8r,newlatin}{t1} {T1}{pad}{m}{n}{} + \installfont {padr7t}{padr8r,newlatin}{ot1} {OT1}{pad}{m}{n}{} + \installfont {padrc8t}{padr8r,newlatin}{t1c} {T1}{pad}{m}{sc}{} + \installfont {padrc7t}{padr8r,newlatin}{ot1c} {OT1}{pad}{m}{sc}{} + \installfont {padr8i}{padr8r,textcomp}{ts1} {TS1}{pad}{m}{n}{} + % There is no difference between the n and the sc shapes + % of TS1 encoded fonts, hence the same TeX font can be + % used for both. LaTeX does however need the declarations + % to be explicit, hence this \installfontas command. + \installfontas{padr8i} {TS1}{pad}{m}{sc}{} + % The "option nosc" below is a speed optimization. + % newlatin.mtx normally makes sure that a smallcaps + % alphabet is defined (faking it if necessary), + % regardless of whether that alphabet is at all + % going to be used. By passing it the "nosc" option, + % one can tell newlatin.mtx to completely skip those + % commands that have to do with smallcaps. + \installfont {padri8t}{padri8r,newlatin option nosc}{t1} {T1}{pad}{m}{it}{} + \installfont {padri7t}{padri8r,newlatin option nosc}{ot1} {OT1}{pad}{m}{it}{} + \installfont {padri8i}{padri8r,textcomp}{ts1} {TS1}{pad}{m}{it}{} + \installfont {padro8t}{padro8r,newlatin option nosc}{t1} {T1}{pad}{m}{sl}{} + \installfont {padro7t}{padro8r,newlatin option nosc}{ot1} {OT1}{pad}{m}{sl}{} + \installfont {padro8i}{padro8r,textcomp}{ts1} {TS1}{pad}{m}{sl}{} + + % The reason newlatin is not passed the nosc option when + % making the "n" shape fonts here is another (more tricky) + % speed optimization. If the metric argument of two + % subsequent \installfont commands are identical then the + % respective glyph bases will be identical too, and in these + % cases fontinst saves work by not rebuilding the glyph base + % at the second command, but instead using the cached + % definitions from the first. + \installfont {pads8t}{pads8r,newlatin}{t1} {T1}{pad}{sb}{n}{} + \installfont {pads7t}{pads8r,newlatin}{ot1} {OT1}{pad}{sb}{n}{} + \installfont {padsc8t}{pads8r,newlatin}{t1c} {T1}{pad}{sb}{sc}{} + \installfont {padsc7t}{pads8r,newlatin}{ot1c} {OT1}{pad}{sb}{sc}{} + % Thus the last four commands cause four fonts to be + % generated, but the pads8r.mtx and newlatin.mtx files + % are only read once. + \installfont {pads8i}{pads8r,textcomp}{ts1} {TS1}{pad}{sb}{n}{} + \installfontas{pads8i} {TS1}{pad}{sb}{sc}{} + \installfont {padsi8t}{padsi8r,newlatin option nosc}{t1} {T1}{pad}{sb}{it}{} + \installfont {padsi7t}{padsi8r,newlatin option nosc}{ot1} {OT1}{pad}{sb}{it}{} + \installfont {padsi8i}{padsi8r,textcomp}{ts1} {TS1}{pad}{sb}{it}{} + \installfont {padso8t}{padso8r,newlatin option nosc}{t1} {T1}{pad}{sb}{sl}{} + \installfont {padso7t}{padso8r,newlatin option nosc}{ot1} {OT1}{pad}{sb}{sl}{} + \installfont {padso8i}{padso8r,textcomp}{ts1} {TS1}{pad}{sb}{sl}{} + + \installfont {padb8t}{padb8r,newlatin}{t1} {T1}{pad}{b}{n}{} + \installfont {padb7t}{padb8r,newlatin}{ot1} {OT1}{pad}{b}{n}{} + \installfont {padbc8t}{padb8r,newlatin}{t1c} {T1}{pad}{b}{sc}{} + \installfont {padbc7t}{padb8r,newlatin}{ot1c} {OT1}{pad}{b}{sc}{} + \installfont {padb8i}{padb8r,textcomp}{ts1} {TS1}{pad}{b}{n}{} + \installfontas{padb8i} {TS1}{pad}{b}{sc}{} + \installfont {padbi8t}{padbi8r,newlatin option nosc}{t1} {T1}{pad}{b}{it}{} + \installfont {padbi7t}{padbi8r,newlatin option nosc}{ot1} {OT1}{pad}{b}{it}{} + \installfont {padbi8i}{padbi8r,textcomp}{ts1} {TS1}{pad}{b}{it}{} + \installfont {padbo8t}{padbo8r,newlatin option nosc}{t1} {T1}{pad}{b}{sl}{} + \installfont {padbo7t}{padbo8r,newlatin option nosc}{ot1} {OT1}{pad}{b}{sl}{} + \installfont {padbo8i}{padbo8r,textcomp}{ts1} {TS1}{pad}{b}{sl}{} +\endinstallfonts + + +% The set of commands above will "fake" an sc shape for the typeface +% by making dual use of the capitals in the n shape (Regular): both +% as normal (for the upper case in the sc shape) and shrunk to 80% of +% their normal size (for the lower case in the sc shape). This works +% (anyone who looks at it will understand what was intended), but it +% does not look good, and therefore it is always better to make use +% of proper smallcaps when it is available. +% +% The next set of commands is another take at creating the "pad" +% families, this time making use of the proper smallcaps in padrc8r +% and padsc8r. The files created by this set of commands will +% completely overwrite the files created by the previous set of +% commands; in practice one would only include one set of commands, +% but both are provided here for comparison. +\installfonts + \installfamily{OT1}{pad}{} + \installfamily{T1}{pad}{} + \installfamily{TS1}{pad}{} + + % Since the glyph bases used for the n and sc shapes in this + % case are different, there is no point in doing the smallcaps + % processing when making the n shape fonts. + \installfont {padr8t}{padr8r,newlatin option nosc}{t1} {T1}{pad}{m}{n}{} + \installfont {padr7t}{padr8r,newlatin option nosc}{ot1} {OT1}{pad}{m}{n}{} + % There is actually no point in doing that processing for + % the sc shape fonts either! This is because the glyph names + % used in padrc8r are the same as those used in padr8r (and + % padri8r), and thus the smallcaps glyphs will already have + % been delt with by the code for lower case glyphs. Another + % consequence is that the same ETX files as are used for + % the other shapes should be used for the sc shape. + \installfont {padrc8t}{padrc8r,newlatin option nosc}{t1} {T1}{pad}{m}{sc}{} + \installfont {padrc7t}{padrc8r,newlatin option nosc}{ot1} {OT1}{pad}{m}{sc}{} + \installfont {padr8i}{padr8r,textcomp}{ts1} {TS1}{pad}{m}{n}{} + \installfontas{padr8i} {TS1}{pad}{m}{sc}{} + \installfont {padri8t}{padri8r,newlatin option nosc}{t1} {T1}{pad}{m}{it}{} + \installfont {padri7t}{padri8r,newlatin option nosc}{ot1} {OT1}{pad}{m}{it}{} + \installfont {padri8i}{padri8r,textcomp}{ts1} {TS1}{pad}{m}{it}{} + \installfont {padro8t}{padro8r,newlatin option nosc}{t1} {T1}{pad}{m}{sl}{} + \installfont {padro7t}{padro8r,newlatin option nosc}{ot1} {OT1}{pad}{m}{sl}{} + \installfont {padro8i}{padro8r,textcomp}{ts1} {TS1}{pad}{m}{sl}{} + + \installfont {pads8t}{pads8r,newlatin option nosc}{t1} {T1}{pad}{sb}{n}{} + \installfont {pads7t}{pads8r,newlatin option nosc}{ot1} {OT1}{pad}{sb}{n}{} + \installfont {padsc8t}{padsc8r,newlatin option nosc}{t1} {T1}{pad}{sb}{sc}{} + \installfont {padsc7t}{padsc8r,newlatin option nosc}{ot1} {OT1}{pad}{sb}{sc}{} + \installfont {pads8i}{pads8r,textcomp}{ts1} {TS1}{pad}{sb}{n}{} + \installfontas{pads8i} {TS1}{pad}{sb}{sc}{} + \installfont {padsi8t}{padsi8r,newlatin option nosc}{t1} {T1}{pad}{sb}{it}{} + \installfont {padsi7t}{padsi8r,newlatin option nosc}{ot1} {OT1}{pad}{sb}{it}{} + \installfont {padsi8i}{padsi8r,textcomp}{ts1} {TS1}{pad}{sb}{it}{} + \installfont {padso8t}{padso8r,newlatin option nosc}{t1} {T1}{pad}{sb}{sl}{} + \installfont {padso7t}{padso8r,newlatin option nosc}{ot1} {OT1}{pad}{sb}{sl}{} + \installfont {padso8i}{padso8r,textcomp}{ts1} {TS1}{pad}{sb}{sl}{} + + % There is however no padbc8r font; hence the sc shape of + % the b series must still be faked, just as above. + \installfont {padb8t}{padb8r,newlatin}{t1} {T1}{pad}{b}{n}{} + \installfont {padb7t}{padb8r,newlatin}{ot1} {OT1}{pad}{b}{n}{} + \installfont {padbc8t}{padb8r,newlatin}{t1c} {T1}{pad}{b}{sc}{} + \installfont {padbc7t}{padb8r,newlatin}{ot1c} {OT1}{pad}{b}{sc}{} + \installfont {padb8i}{padb8r,textcomp}{ts1} {TS1}{pad}{b}{n}{} + \installfontas{padb8i} {TS1}{pad}{b}{sc}{} + \installfont {padbi8t}{padbi8r,newlatin option nosc}{t1} {T1}{pad}{b}{it}{} + \installfont {padbi7t}{padbi8r,newlatin option nosc}{ot1} {OT1}{pad}{b}{it}{} + \installfont {padbi8i}{padbi8r,textcomp}{ts1} {TS1}{pad}{b}{it}{} + \installfont {padbo8t}{padbo8r,newlatin option nosc}{t1} {T1}{pad}{b}{sl}{} + \installfont {padbo7t}{padbo8r,newlatin option nosc}{ot1} {OT1}{pad}{b}{sl}{} + \installfont {padbo8i}{padbo8r,textcomp}{ts1} {TS1}{pad}{b}{sl}{} +\endinstallfonts + + +% The "pad" family installed above is however still far from perfect. +% The `ff', `ffi', and `ffl' ligatures are fakes, since those aren't +% available in the fonts used. There are however such glyphs in the +% expert (8x) companions of the fonts used above, and hence the +% results will be better if these resources can be combined. +% +% One of the great advantages with TeX, virtual fonts, and fontinst +% is the ease with which one can combine glyphs from (what the foundry +% has packaged as) several different fonts into a single font; +% if \installfont is given the metrics of two fonts, and some glyph +% is available in one font but not the other, then fontinst will +% automatically take it from the font where it was available. +% Hence one can fill in (at least some of) the blanks of one font +% by also listing a second font in the metrics argument of +% \installfont. It will do the right thing automatically. +\installfonts + \installfamily{OT1}{padx}{} + \installfamily{T1}{padx}{} + \installfamily{TS1}{padx}{} + % The "padx" family name used here is mainly motivated by + % tradition. It has been considered useful to simultaneously + % on a single system have both a family of virtual fonts which + % do not make use of the expert set of base fonts, and a family + % of virtual fonts which do make use of the expert set of base + % fonts. For this to work, the different fonts must have + % different names. In the Fontname scheme, this is accomplished + % by including an "x" variant letter in the names to signify that + % the font is "expertized". In LaTeX there is no proper standard + % for this, but the custom is to similarly append an "x" to the + % basic three letter family name, thus yielding "padx" instead + % of "pad". + + % The Fontname scheme is in this case further complicated by + % a desire to avoid names of more than eight characters + % (a limit which is important in many old file systems). + % Therefore many of the two-character variants starting with + % 9 is a combination of an encoding variant with one or two + % other variants (most commonly the "x" variant). The commands + % below utilize these abbreviations (but there is no software + % involved which would require them to). + \installfont {padr9e}{padr8r,padr8x,newlatin}{t1} {T1}{padx}{m}{n}{} + \installfont {padr9t}{padr8r,padr8x,newlatin}{ot1} {OT1}{padx}{m}{n}{} + % Besides the extra ligatures, the upright 8x fonts also contain + % a proper smallcaps alphabet. This makes it possible to make do + % without the -c8r fonts. The commands below will make a font + % using the upper case from padr8r and (as lower case) the + % small caps from padr8x. + \installfont {padrc9e}{padr8r,padr8x,newlatin}{t1c} {T1}{padx}{m}{sc}{} + \installfont {padrc9t}{padr8r,padr8x,newlatin}{ot1c} {OT1}{padx}{m}{sc}{} + \installfont {padr9i}{padr8r,padr8x,textcomp}{ts1} {TS1}{padx}{m}{n}{} + \installfontas{padr9i} {TS1}{padx}{m}{sc}{} + \installfont {padri9e}{padri8r,padri8x,newlatin option nosc}{t1} {T1}{padx}{m}{it}{} + \installfont {padri9t}{padri8r,padri8x,newlatin option nosc}{ot1} {OT1}{padx}{m}{it}{} + \installfont {padri9i}{padri8r,padri8x,textcomp}{ts1} {TS1}{padx}{m}{it}{} + \installfont {padro9e}{padro8r,padro8x,newlatin option nosc}{t1} {T1}{padx}{m}{sl}{} + \installfont {padro9t}{padro8r,padro8x,newlatin option nosc}{ot1} {OT1}{padx}{m}{sl}{} + \installfont {padro9i}{padro8r,padro8x,textcomp}{ts1} {TS1}{padx}{m}{sl}{} + + \installfont {pads9e}{pads8r,pads8x,newlatin}{t1} {T1}{padx}{sb}{n}{} + \installfont {pads9t}{pads8r,pads8x,newlatin}{ot1} {OT1}{padx}{sb}{n}{} + \installfont {padsc9e}{pads8r,pads8x,newlatin}{t1c} {T1}{padx}{sb}{sc}{} + \installfont {padsc9t}{pads8r,pads8x,newlatin}{ot1c} {OT1}{padx}{sb}{sc}{} + \installfont {pads9i}{pads8r,pads8x,textcomp}{ts1} {TS1}{padx}{sb}{n}{} + \installfontas{pads9i} {TS1}{padx}{sb}{sc}{} + \installfont {padsi9e}{padsi8r,padsi8x,newlatin option nosc}{t1} {T1}{padx}{sb}{it}{} + \installfont {padsi9t}{padsi8r,padsi8x,newlatin option nosc}{ot1} {OT1}{padx}{sb}{it}{} + \installfont {padsi9i}{padsi8r,padsi8x,textcomp}{ts1} {TS1}{padx}{sb}{it}{} + \installfont {padso9e}{padso8r,padso8x,newlatin option nosc}{t1} {T1}{padx}{sb}{sl}{} + \installfont {padso9t}{padso8r,padso8x,newlatin option nosc}{ot1} {OT1}{padx}{sb}{sl}{} + \installfont {padso9i}{padso8r,padso8x,textcomp}{ts1} {TS1}{padx}{sb}{sl}{} + + \installfont {padb9e}{padb8r,padb8x,newlatin}{t1} {T1}{padx}{b}{n}{} + \installfont {padb9t}{padb8r,padb8x,newlatin}{ot1} {OT1}{padx}{b}{n}{} + % The padb8x font does not contain a smallcaps alphabet -- + % hence in this case the newlatin.mtx file reverts to faking + % such an alphabet by shrinking the upper case. The commands + % can however be the same as above! + \installfont {padbc9e}{padb8r,padb8x,newlatin}{t1c} {T1}{padx}{b}{sc}{} + \installfont {padbc9t}{padb8r,padb8x,newlatin}{ot1c} {OT1}{padx}{b}{sc}{} + \installfont {padb9i}{padb8r,padb8x,textcomp}{ts1} {TS1}{padx}{b}{n}{} + \installfontas{padb9i} {TS1}{padx}{b}{sc}{} + \installfont {padbi9e}{padbi8r,padbi8x,newlatin option nosc}{t1} {T1}{padx}{b}{it}{} + \installfont {padbi9t}{padbi8r,padbi8x,newlatin option nosc}{ot1} {OT1}{padx}{b}{it}{} + \installfont {padbi9i}{padbi8r,padbi8x,textcomp}{ts1} {TS1}{padx}{b}{it}{} + \installfont {padbo9e}{padbo8r,padbo8x,newlatin option nosc}{t1} {T1}{padx}{b}{sl}{} + \installfont {padbo9t}{padbo8r,padbo8x,newlatin option nosc}{ot1} {OT1}{padx}{b}{sl}{} + \installfont {padbo9i}{padbo8r,padbo8x,textcomp}{ts1} {TS1}{padx}{b}{sl}{} +\endinstallfonts + + +% Finally we get to my personal favourite -- the families with hanging +% (a.k.a. oldstyle) figures. From a historical point of view, this is +% really the most correct appearence of these fonts, because in the 16th +% century (when Claude Garamond designed the metal types after which the +% AGaramond fonts where modelled) there was no such thing as lining +% figures; all figures were hanging. +% +% The 8x fonts all contain a suitable set of hanging figures. This makes +% it very straightforward to make use of these instead of the lining +% digits of the base fonts. One simply has to make use of ETX files +% which selects these glyphs hanging figure glyphs instead of the +% lining figure glyphs. +\installfonts + \installfamily{OT1}{padj}{} + \installfamily{T1}{padj}{} + \installfamily{TS1}{padj}{} + % Another custom: a "j" (the Fontname hanging figure variant letter) + % is appended to the LaTeX family name to distinguish between + % lining and hanging figure families. + + \installfont {padr9d}{padr8r,padr8x,newlatin}{t1j} {T1}{padj}{m}{n}{} + \installfont {padr9o}{padr8r,padr8x,newlatin}{ot1j} {OT1}{padj}{m}{n}{} + \installfont {padrc9d}{padr8r,padr8x,newlatin}{t1cj} {T1}{padj}{m}{sc}{} + \installfont {padrc9o}{padr8r,padr8x,newlatin}{ot1cj} {OT1}{padj}{m}{sc}{} + \installfont {padr9i}{padr8r,padr8x,textcomp}{ts1} {TS1}{padj}{m}{n}{} + \installfontas{padr9i} {TS1}{padj}{m}{sc}{} + \installfont {padri9d}{padri8r,padri8x,newlatin option nosc}{t1j} {T1}{padj}{m}{it}{} + \installfont {padri9o}{padri8r,padri8x,newlatin option nosc}{ot1j} {OT1}{padj}{m}{it}{} + \installfont {padri9i}{padri8r,padri8x,textcomp}{ts1} {TS1}{padj}{m}{it}{} + \installfont {padro9d}{padro8r,padro8x,newlatin option nosc}{t1j} {T1}{padj}{m}{sl}{} + \installfont {padro9o}{padro8r,padro8x,newlatin option nosc}{ot1j} {OT1}{padj}{m}{sl}{} + \installfont {padro9i}{padro8r,padro8x,textcomp}{ts1} {TS1}{padj}{m}{sl}{} + + \installfont {pads9d}{pads8r,pads8x,newlatin}{t1j} {T1}{padj}{sb}{n}{} + \installfont {pads9o}{pads8r,pads8x,newlatin}{ot1j} {OT1}{padj}{sb}{n}{} + \installfont {padsc9d}{pads8r,pads8x,newlatin}{t1cj} {T1}{padj}{sb}{sc}{} + \installfont {padsc9o}{pads8r,pads8x,newlatin}{ot1cj} {OT1}{padj}{sb}{sc}{} + \installfont {pads9i}{pads8r,pads8x,textcomp}{ts1} {TS1}{padj}{sb}{n}{} + \installfontas{pads9i} {TS1}{padj}{sb}{sc}{} + \installfont {padsi9d}{padsi8r,padsi8x,newlatin option nosc}{t1j} {T1}{padj}{sb}{it}{} + \installfont {padsi9o}{padsi8r,padsi8x,newlatin option nosc}{ot1j} {OT1}{padj}{sb}{it}{} + \installfont {padsi9i}{padsi8r,padsi8x,textcomp}{ts1} {TS1}{padj}{sb}{it}{} + \installfont {padso9d}{padso8r,padso8x,newlatin option nosc}{t1j} {T1}{padj}{sb}{sl}{} + \installfont {padso9o}{padso8r,padso8x,newlatin option nosc}{ot1j} {OT1}{padj}{sb}{sl}{} + \installfont {padso9i}{padso8r,padso8x,textcomp}{ts1} {TS1}{padj}{sb}{sl}{} + + \installfont {padb9d}{padb8r,padb8x,newlatin}{t1j} {T1}{padj}{b}{n}{} + \installfont {padb9o}{padb8r,padb8x,newlatin}{ot1j} {OT1}{padj}{b}{n}{} + \installfont {padbc9d}{padb8r,padb8x,newlatin}{t1cj} {T1}{padj}{b}{sc}{} + \installfont {padbc9o}{padb8r,padb8x,newlatin}{ot1cj} {OT1}{padj}{b}{sc}{} + \installfont {padb9i}{padb8r,padb8x,textcomp}{ts1} {TS1}{padj}{b}{n}{} + \installfontas{padb9i} {TS1}{padj}{b}{sc}{} + \installfont {padbi9d}{padbi8r,padbi8x,newlatin option nosc}{t1j} {T1}{padj}{b}{it}{} + \installfont {padbi9o}{padbi8r,padbi8x,newlatin option nosc}{ot1j} {OT1}{padj}{b}{it}{} + \installfont {padbi9i}{padbi8r,padbi8x,textcomp}{ts1} {TS1}{padj}{b}{it}{} + \installfont {padbo9d}{padbo8r,padbo8x,newlatin option nosc}{t1j} {T1}{padj}{b}{sl}{} + \installfont {padbo9o}{padbo8r,padbo8x,newlatin option nosc}{ot1j} {OT1}{padj}{b}{sl}{} + \installfont {padbo9i}{padbo8r,padbo8x,textcomp}{ts1} {TS1}{padj}{b}{sl}{} +\endinstallfonts + +% This closes the file opened by \recordtransforms above. +\endrecordtransforms + +\bye + +% The installations made by the above commands are certainly not +% optimal. Some things which can be improved are: +% +% - Although the padrc9e, padrc9t, padsc9e, padsc9t, padrc9d, +% padrc9o, padsc9d, and padsc9o fonts contain proper smallcaps +% glyphs, there are no kerns between the smallcaps and +% the upper case in these fonts, because there were no such +% kerns in any of the fonts they are based on. There are +% however such kerning pairs in padrc8r and padsc8r, and it is +% quite easy to extract this information using the \reglyphfont +% command with the settings in the csckrn2x.tex file. +% +% - The padrc8t, padrc7t, padsc8t, and padsc7t fonts that are +% based on padrc8r and padsc8r respectively have hanging figures, +% whereas the other fonts in the same family have lining figures. +% This is only because that is how the foundry packaged the +% glyphs into fonts, and the careful font installer might want +% to straighten out this situation. One way to do that is +% to make use of the unsetnum.mtx file, another is to make +% use of the `suffix' mechanism (new in v1.923). +% +% - One glyph which is missing from all the fonts made above is +% the Euro glyph (and that is kind of awkward these days, although +% as of v1.926 textcomp.mtx fakes this using a C and two rules). +% One way to supply a Euro glyph is to provide yet another font +% (besides the -8r's and -8x's) as base font, if that extra +% font contains the missing Euro glyph. The same trick can be used +% to get greek capitals for the OT1-encoded fonts. + diff --git a/Master/texmf-dist/doc/fontinst/base/examples/basicex2.tex b/Master/texmf-dist/doc/fontinst/base/examples/basicex2.tex new file mode 100644 index 00000000000..74fe2a4df5a --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/examples/basicex2.tex @@ -0,0 +1,50 @@ +% +% basicex2.tex +% +% fontinst command file for writing map file fragments for +% the raw fonts used by the fonts made in basicex.tex. +% + +\input finstmsc.sty + +% At this point, you might want to change some settings +% to make the map file fragments written better adjusted +% to your particular system. Some common examples are: +% +% \resetstr{PSfontsuffix}{.pfb} +% +% which is useful if the actual fonts are in PFB format. +% +% \AssumeLWFN +% +% This is useful if the font files are named according to +% the old Mac OS Classic convention for PostScript fonts +% (names like AGarBolIta). + +\adddriver{dvips}{dvips.map} +% This causes a .map file for dvips to be written. +% It is probably better to choose a name that has to +% do with the fonts than to use `dvips.map'. +% In some systems, there is a program updmap which combines +% several small .map files such as this one into a large +% psfonts.map file. +\adddriver{dvipdfm}{dvipdfm.map} +% Similar file for dvipdfm. +\adddriver{pltotf}{pltotf-script.sh} +% A shell script that runs pltotf on those .pl files +% which you need to turn into .tfm files. +\adddriver{debug}{mapdump.txt} +% This file contains the available data in a human-readable +% format. This is useful if your dvi driver uses some other +% kind of map file. + +\input basicex.recs +% This is where all the work is done. + +\donedrivers +% This closes the files and does some cleanup. + +\bye + + + diff --git a/Master/texmf-dist/doc/fontinst/base/manual/fontinst.pdf b/Master/texmf-dist/doc/fontinst/base/manual/fontinst.pdf Binary files differnew file mode 100644 index 00000000000..af1d415db39 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/manual/fontinst.pdf diff --git a/Master/texmf-dist/doc/fontinst/base/manual/fontinst.tex b/Master/texmf-dist/doc/fontinst/base/manual/fontinst.tex new file mode 100644 index 00000000000..b87c937e515 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/manual/fontinst.tex @@ -0,0 +1,3599 @@ +%%% ==================================================================== +%%% @LaTeX-file{ +%%% author = "Alan Jeffrey and Rowland McDonnell and +%%% Ulrik Vieth and Lars Hellstr{\"o}m", +%%% version = "1.927", +%%% date = "6 August 2004", +%%% time = "22:10:00 CEST", +%%% filename = "fontinst.tex", +%%% email = "fontinst@tug.org", +%%% checksum = "", +%%% codetable = "ISO/ASCII", +%%% keywords = "fontinst, TeX, PostScript, documentation", +%%% supported = "yes", +%%% abstract = "This is the documentation for the fontinst +%%% font installation package.", +%%% package = "fontinst", +%%% dependencies = "ltxguide.cls, url.sty, xspace.sty" +%%% } +%%% ==================================================================== + +% Copyright 1993, 1994, 1995, 1996 Alan Jeffrey + +% Modified by Rowland McDonnell June 1998 +% Modified and revised by Ulrik Vieth June 1998 +% Modified by Lars Hellstr\"om July 2004 + + +\documentclass[a4paper]{ltxguide} +\usepackage[OT1]{fontenc} +\usepackage{url,xspace} +\usepackage{graphicx} +% \renewcommand\rmdefault{ppl} +%\renewcommand\rmdefault{padx} +%\renewcommand\rmdefault{pmnx} + +% \MakeShortVerb{\|} + + +% Title page and running heads. + +\makeatletter +\newcommand{\subtitle}[1]{\renewcommand{\@subtitle}{#1}} +\newcommand{\version}[1]{\renewcommand{\@version}{#1}} +\newcommand{\illustration}[1]{\renewcommand{\@illustration}{#1}} + +\newcommand{\@subtitle}{} +\newcommand{\@version}{???} +\newcommand{\@illustration}{cover.eps} + +% \pagestyle{myheadings} +% \AtBeginDocument{\markright{\small\itshape +% \@author\hfill\@title: \@subtitle\quad}} + + +\renewcommand{\maketitle}{{% + \thispagestyle{empty}% + \normalfont\centering + \null + {\fontsize{100}{100}\textit{\@title}}% + \par\bigskip + {\Large\textbf{\@subtitle}}% + \vfill + \includegraphics[width=\textwidth]{\@illustration}% + \vfill + {\Large\textbf{% + \def\and{\egroup\qquad\hbox\bgroup} + \leavevmode \hbox{\@author}\\[\smallskipamount] + \@title~v\@version + \quad\textperiodcentered\quad \@date}}% + \clearpage +}} +\makeatother + + +% Set lists tighter (assuming non-zero \parskip). + +\makeatletter +\renewcommand{\@listI}{% + \leftmargin\leftmargini + \parsep\medskipamount + \itemsep\z@ % + parsep + \topsep\z@ % + parskip + \partopsep\z@ +} +\newenvironment{isyntax}{% + \let\\\@centercr + \list{}{% + \itemsep \z@ + \itemindent -1.5em% + \listparindent \itemindent + \advance \leftmargin 1.5em% + }% + \advance \rightskip \z@\@plus0.7\linewidth \relax + \linepenalty=100\relax + \item\relax +}{\endlist} +\makeatother + +\newenvironment{smalldes}{% + \list{}{% + \setlength\labelwidth{0pt}% + \setlength\itemindent{-\leftmargin}% + \setlength\listparindent{1em}% + \setlength\parsep{0pt}% + \setlength\itemsep{0pt plus 1pt}% + \setlength\topsep{\itemsep}% + \let\makelabel\descriptionlabel + }% +}{\endlist} + +\newenvironment{hackernote}{% + \list{}{ + \setlength{\leftmargin}{0pt}% + \setlength\labelwidth{0pt}% + \setlength{\listparindent}{1.4em}% + \setlength{\parsep}{0pt plus 1pt}% + \setlength{\itemsep}{\medskipamount}% + }\item[]% + \small + \textit{Note for hackers.}\hspace{0.5em}% +}{\endlist} + +% % I don't use the <...> feature for verbatim, +% % so I undo that ltxguide feature. +% \makeatletter +% \renewcommand{\verbatim@font}{% +% \normalfont \ttfamily +% % \catcode`\<=\active +% % \catcode`\>=\active +% } +\makeatother + +% Set spacing around captions. + +\setlength{\abovecaptionskip}{\medskipamount} +\setlength{\belowcaptionskip}{\medskipamount} + +% Markup for logos, file types, programs, etc. + +\newcommand*{\meta}{\m} +\newcommand*{\marg}{\arg} +\newcommand*{\parg}[1]{\texttt{(}\m{#1}\texttt{)}} + +\newcommand*{\cs}[1]{\texttt{\char`\\ #1}\xspace} + +\newcommand*{\OzTeX}{O\kern-.03em z\kern-.15em\TeX} +\newcommand*{\OzMF}{O\kern-.03em zMF} +\newcommand*{\OzTools}{O\kern-.03em z\kern-.15em Tools} + +\newcommand{\PS}{Post\-Script\xspace} +\newcommand{\TT}{True\-Type\xspace} + +\newcommand*{\setfilename}[1]{\texttt{#1}} +\newcommand*{\setdotfilename}[1]{\setfilename{.#1}} +\newcommand*{\setpackagename}[1]{\textsf{#1}} + +\newcommand{\dvips} {\setpackagename{dvips}\xspace} +\newcommand{\Dvips} {\setpackagename{Dvips}\xspace} +\newcommand{\fontinst}{\setpackagename{font\-inst}\xspace} +\newcommand{\Fontinst}{\setpackagename{Font\-inst}\xspace} + +% \show\fontname +\newcommand{\fontnamekb}{fontname\xspace} +\newcommand{\Fontnamekb}{Fontname\xspace} + +\newcommand{\mf} {\setfilename{mf}\xspace} +\newcommand{\Mf} {\setfilename{Mf}\xspace} +\newcommand{\vf} {\setfilename{vf}\xspace} +\newcommand{\Vf} {\setfilename{Vf}\xspace} +\newcommand{\pl} {\setfilename{pl}\xspace} +\newcommand{\Pl} {\setfilename{Pl}\xspace} +\newcommand{\fd} {\setfilename{fd}\xspace} +\newcommand{\Fd} {\setfilename{Fd}\xspace} +\newcommand{\pk} {\setfilename{pk}\xspace} +\newcommand{\Pk} {\setfilename{Pk}\xspace} +\newcommand{\afm}{\setfilename{afm}\xspace} +\newcommand{\Afm}{\setfilename{Afm}\xspace} +\newcommand{\vpl}{\setfilename{vpl}\xspace} +\newcommand{\Vpl}{\setfilename{Vpl}\xspace} +\newcommand{\tfm}{\setfilename{tfm}\xspace} +\newcommand{\Tfm}{\setfilename{Tfm}\xspace} +\newcommand{\mtx}{\setfilename{mtx}\xspace} +\newcommand{\Mtx}{\setfilename{Mtx}\xspace} +\newcommand{\etx}{\setfilename{etx}\xspace} +\newcommand{\Etx}{\setfilename{Etx}\xspace} +\newcommand{\pfa}{\setfilename{pfa}\xspace} +\newcommand{\Pfa}{\setfilename{Pfa}\xspace} +\newcommand{\pfb}{\setfilename{pfb}\xspace} +\newcommand{\Pfb}{\setfilename{Pfb}\xspace} +\newcommand{\dvi}{\setfilename{dvi}\xspace} +\newcommand{\Dvi}{\setfilename{Dvi}\xspace} +\newcommand{\pdf}{\setfilename{pdf}\xspace} +\newcommand{\Pdf}{\setfilename{Pdf}\xspace} +\newcommand{\ttf}{\setfilename{ttf}\xspace} +\newcommand{\Ttf}{\setfilename{Ttf}\xspace} + +\newcommand{\vftovp}{\setpackagename{vftovp}\xspace} +\newcommand{\vptovf}{\setpackagename{vptovf}\xspace} +\newcommand{\pltotf}{\setpackagename{pltotf}\xspace} +\newcommand{\tftopl}{\setpackagename{tftopl}\xspace} + +\newcommand{\BibTeX}{Bib\TeX} + + +% % Stolen from Dr Knuth +% \makeatletter % borrow the private macros of PLAIN (with care) +% \def\oct#1{\hbox{\rm\'{}\kern-.2em\it#1\/\kern.05em}} % octal constant +% \def\hex#1{\hbox{\rm\H{}\tt#1}} % hexadecimal constant +% % macros for font tables +% \def\oddline#1{\cr +% \noalign{\nointerlineskip} +% \multispan{19}\hrulefill& +% \setbox0=\hbox{\lower 2.3pt\hbox{\hex{#1x}}}\smash{\box0}\cr +% \noalign{\nointerlineskip}} +% \def\evenline{\cr\noalign{\hrule}} +% \def\chartstrut{\lower4.5pt\vbox to14pt{}} +% \def\beginchart#1{$$\global\count@=0 #1 +% \halign to\hsize\bgroup +% \chartstrut##\tabskip0pt plus10pt& +% &\hfil##\hfil&\vrule##\cr +% \lower6.5pt\null +% &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline} +% \def\endchart{\raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B& +% &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup$$} +% \def\*{\global\advance\count@ by1 } +% \def\:{\setbox0=\hbox{\char\count@}% +% \ifdim\ht0>7.5pt\reposition +% \else\ifdim\dp0>2.5pt\reposition\fi\fi +% \box0\global\advance\count@ by1 } +% \def\reposition{\setbox0=\hbox{$\vcenter{\kern2pt\box0\kern2pt}$}} +% \def\smallchart{% +% %\global\advance\count@ by16 +% &\oct{00x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline0 +% &\oct{01x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{02x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline1 +% &\oct{03x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{04x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline2 +% &\oct{05x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{06x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline3 +% &\oct{07x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{10x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline4 +% &\oct{11x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{12x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline5 +% &\oct{13x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{14x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline6 +% &\oct{15x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{16x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline7 +% &\oct{17x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline} +% +% \def\bigchart{% +% %\global\advance\count@ by16 +% &\oct{00x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline0 +% &\oct{01x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{02x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline1 +% &\oct{03x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{04x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline2 +% &\oct{05x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{06x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline3 +% &\oct{07x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{10x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline4 +% &\oct{11x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{12x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline5 +% &\oct{13x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{14x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline6 +% &\oct{15x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{16x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline7 +% &\oct{17x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{20x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline8 +% &\oct{21x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{22x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline9 +% &\oct{23x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{24x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{A} +% &\oct{25x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{26x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{B} +% &\oct{27x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{30x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{C} +% &\oct{31x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{32x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{D} +% &\oct{33x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{34x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{E} +% &\oct{35x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline +% &\oct{36x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{F} +% &\oct{37x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline} +% +% % \font\xrm = cmr10 at 10pt % change this line to test font +% % \beginchart\xrm \normalchart \endchart +% +% \newcommand{\smallfontchart}[1]{% +% \font\xrm = #1 \beginchart\xrm \smallchart \endchart} +% \newcommand{\bigfontchart}[1]{% +% \font\xrm = #1 \beginchart\xrm \bigchart \endchart} +% +% % \smallfontchart{cmr10 at 10pt} +% % \bigfontchart{ecrm1000 at 10pt} +% \makeatother +% % End stolen from Dr Knuth + + + +\title{fontinst} +\subtitle{Font installation software for \TeX} +\author{Alan Jeffrey\and Rowland McDonnell\and Lars Hellstr\"om} +\illustration{roadmap.eps} +\version{1.9} +\date{July 2004} + +\errorcontextlines=999 + +\begin{document} + +\maketitle + +\begin{itshape} + This manual is currently being rewritten, and may therefore be a + bit disorganised. For authoritative information on command syntaxes + and the like, see the Literate Programming sources for + \fontinst. The main file there is \textsl{\texttt{fisource.tex}}. +\end{itshape} + +\bigskip + +\begin{footnotesize} + This manual describes the \texttt{fontinst} software for converting + fonts from Adobe Font Metric format to forms readable by \TeX. This + manual should be distributed with the \texttt{fontinst} software, + which is available by anonymous FTP from + \url{ftp://ftp.tex.ac.uk/tex-archive/fonts/utilities/fontinst}, and + on the various CD-ROMs containing material from the CTAN archives. + Please do not contact the author directly for copies. + + If you would like to report a bug with \texttt{fontinst}, please + mail \url{fontinst@tug.org}. The mail will be sent to the + \texttt{fontinst} mailing list. If you would like to be on the + \texttt{fontinst} mailing list, see + \url{http://tug.org/mailman/listinfo/fontinst}. +\end{footnotesize} + +\tableofcontents + +% \vfill + +\clearpage + + +% \section{Introduction} +% +% Digital fonts, as they may be bought from a foundry or other supplier, +% are usually not directly usable with \LaTeX. An obvious problem can be +% that the font information is not available in a format that \LaTeX\ +% understands. A more subtle problem is that the fonts are often +% organised in a way that is unsuitable for automatic typesetting. +% % \Fontinst was written to overcome these problems. +% +% % The main thing \fontinst does is creating virtual fonts (\vf's). +% +% +% % The \fontinst package is a set of \TeX\ macros written to create +% % virtual fonts for use with \TeX. + + +\section{Defining terms} + +This is rather a large and perhaps tedious section. You might be +tempted to skip it so you can get to some more direct information on +how to use \fontinst. That's fine if you understand everything about +how \TeX\ handles fonts. If not, I suggest you at least skim though +this section. + +\subsection{What's a font?} + +Once upon a time, this question was easily answered: a font is a +set of type in one size, style, etc. There used to be no +ambiguity, because a font was a collection of chunks of type metal +kept in a drawer, one drawer for each font. + +These days, with digital typesetting, things are more complicated. +What a font `is' isn't easy to pin down. A typical use of a \PS +font with \LaTeX\ might use these elements: +\begin{itemize} +\item Type 1 printer font file +\item Bitmap screen font file +\item Adobe font metric file (\afm file) +\item \TeX\ font metric file (\tfm file) +\item Virtual font file (\vf file) +\item font definition file (\fd file) +\end{itemize} +Looked at from a particular point of view, each of these files +`is' the font. So what's going on? + + +\subsubsection{Type 1 printer font files} + +These files contain the information needed by your printer to draw +the shapes of all the characters in a font. They're typically +files with a \pfa or \pfb extension; on Macs they're usually in +files of type `LWFN' which usually have icons that look like a +laser printer. The information in all these files is basically +the same: the only difference is in its representation. \pfa +stands for `printer font ASCII', while \pfb stands for `printer +font binary'. That is, \pfa files contain plain text information, +while \pfb files contain the same information encoded as +machine-readable binary data. + +If you have Adobe Type Manager (ATM) installed on your computer, +ATM will use these files to draw an accurate representation of the +letters on the screen of your computer when you are previewing a +\TeX\ document. + +Printer font files are not used directly by \TeX\ at all -- \TeX\ +just prepares a \dvi file that refers to the fonts by name and the +characters by number: \TeX\ knows nothing about the shapes +involved. The DVI driver uses the printer font files when you ask +it to print the \dvi file. This means that you can produce a \dvi +file which uses, say, Palatino, even if you do not have the +Type~1 printer font file for this font on your computer. You will +need to find a computer that does have Palatino before you can +print it or preview it, though. + +Pdf\TeX\ is different from \TeX\ in this respect; since pdf\TeX\ +integrates most of the functionality of a DVI driver, it may be unable +to generate working \pdf output if the some Type~1 printer font file +is not available. + + +\subsubsection{Bitmap screen font files} + +These files contain a low-resolution bitmap for drawing a +representation of the font on the screen of your computer if ATM +is not installed. In the \TeX\ world, these files are only used +for screen previews by the DVI driver. They are kept in font +suitcase files on Macintoshes. +%\marginnote{And where on other computers?} + + +\subsubsection{Adobe font metric files (\afm files)} + +These files are text files which contain information about the +size of each character in a font, kerning and ligature +information, and so on. They can't be used by \TeX\ directly, but +the information they contain is essential if you want to use a +font with \TeX. \Fontinst can create from an \afm file the +necessary \tfm and \vf files so you can use a font with \TeX. +Once you have created all the files you need to use a font with +\TeX, you can remove the corresponding \afm files from your +computer unless you have other software that needs them. + +The job of turning an \afm file into a set of \tfm and \vf files +is one of the main uses for \fontinst. Most of this document is +concerned with this process, so don't worry if it seems a bit +vague at the moment. + + +\subsubsection{\TeX\ font metric files (\tfm files)} + +These are binary data files in a format designed for use by \TeX\ +which contain (more-or-less) the same information as \afm files: +the size of each character in a font (font metric data), kerning, +and ligature information. + +When you select a font in \TeX, you are telling \TeX\ to typeset +using a particular \tfm file; from \TeX's point of view, a \tfm +file (and nothing else) \emph{is} a font. \TeX\ itself doesn't +see printer font files, screen bitmaps, \pk files, \vf files, or +anything else to do with fonts: only \tfm files. + +\TeX\ uses these \tfm files to decide where to put characters when +typesetting. From \TeX's point of view, \tfm files are fonts, +even though they contain no information about the shape of +letters, and are not used by anything except \TeX\ -- once you +have produced a \dvi file, you don't need the \tfm files to print +it out. (This is a slight lie: \dvips can read \tfm files +corresponding to \PS and \TT fonts so it can modify the metrics +slightly to improve the letterspacing at your chosen output +resolution. This is an optional minor tweak and not an essential +part of the output process.) + + +\subsubsection{Property list files (\pl files)} + +\pl files are human-readable text files which contain all the font +metric, kerning, ligature, and other information needed to create +a \tfm file. You can convert between the two file formats using +\tftopl and \pltotf. + + +\subsubsection{Virtual font files (\vf files)} + +These are binary data files in a format designed for use by \TeX\ +\dvi drivers. They're main purpose in life is to let you use +fonts in different encodings to the standard \TeX\ encodings. +These files are used by \dvi driver software only. + +They are used only by \dvi drivers to work out what it should +\emph{really} print when you ask for a particular character. +Technically they are like subroutine libraries for \dvi drivers, +with one subroutine for each character in the virtual font: when +the \dvi driver sees a \dvi command to set a character from a virtual +font, it will execute a sequence of \dvi commands (the ``mapcommands +property'' of this character) that it reads in the \vf file. You need +not worry about the details of this, as \fontinst deals with them for +you. Creating and using virtual fonts is what this document is about, +so don't worry if this doesn't make sense yet. (After all, how much +do you need to know about the inner workings of \dvi files to typeset +and print \TeX\ documents?) + +Each \vf file has a \tfm file with the same name. To use a +virtual font, you select the \tfm file as the font to use in your +document. When the \dvi driver comes across this \tfm file in the +\dvi file, it looks up the \vf file and uses that to decide what +to do. + + +\subsubsection{Virtual property list files (\vpl files)} + +\vpl files are human-readable text files which contain all the +font metric, kerning, mapping, and other information needed to +create a \vf and \tfm pair. + +\vptovf will create a \vf/\tfm pair from a \vpl file. \vftovp +will create a \vpl from a \vf/\tfm pair. \vftovp also needs to be +able to read all the \tfm files that are referred to by a \vf to +recreate the \vpl\ -- it looks at the checksums to verify that +everything's okay. + + +\subsubsection{Font definition files (\fd files)} + +These are files containing commands to tell \LaTeX\ which \tfm +files to associate with a request for a font using \LaTeX's font +selection commands. + +For example, here is a small and edited part of the \fd file +supplied with \setpackagename{PSNFSS} to allow you to use the +Adobe Times font in T1 encoding: + +\begin{verbatim} + \ProvidesFile{t1ptm.fd} + [1997/02/11 Fontinst v1.6 font definitions for T1/ptm.] + + \DeclareFontFamily{T1}{ptm}{} + + \DeclareFontShape{T1}{ptm}{m}{n} {<<->> ptmr8t}{} + \DeclareFontShape{T1}{ptm}{m}{it}{<<->> ptmri8t}{} + ... + \DeclareFontShape{T1}{ptm}{b}{n} {<<->> ptmb8t}{} + \DeclareFontShape{T1}{ptm}{b}{it}{<<->> ptmbi8t}{} + ... +\end{verbatim} +What this means is: when you use \LaTeX\ to select the font family +|ptm| in T1 encoding in the medium series (|m|) and normal shape +(|n|), \TeX\ uses the font \texttt{ptmr8t.tfm}. Similarly, if you +select bold italic, \TeX\ uses \texttt{ptmbi8t.tfm}. + +\LaTeX\ works out which \fd file to load based on the current +encoding and font family selected. If you've selected T1 encoded +|ptm| like this: +\begin{verbatim} + \fontencoding{T1}\fontfamily{ptm}\selectfont +\end{verbatim} +\LaTeX\ loads the file \url{t1ptm.fd} (if it doesn't exist, you're +in trouble). As you can see above, this file contains information +so that \LaTeX\ knows which \tfm file to use. So if you ask for, +say, |T1/ptm/b/it| (T1 encoded Times-Roman, bold series, italic +shape), you get the font \texttt{ptmbi8t}. + +You can find more about \fd files and \LaTeX's font selection commands +at CTAN: +\url{ftp://ftp.tex.ac.uk/tex-archive/macros/latex/base/fntguide.tex} +and \url{ftp://ftp.tex.ac.uk/tex-archive/info/simple-nfss.tex} are +both useful. + + +\subsection{What does \fontinst do?} + +\fontinst creates \vpl and \pl files from \afm or \pl files to map +any glyph or combination of glyphs in the original font files to +any slot in the output font file. There, isn't that better? Off +you go now\ldots + +If you're still confused, I'll explain a few things. +\begin{description} +\item[Glyph] + A glyph is an image, often associated with one or several characters. + Some examples of glyphs are: + `A', `\textsf{A}', `$\mathcal{A}$', `B', `F', + `{\usefont{OT1}{cmr}{m}{n}f}', + `{\usefont{OT1}{cmr}{m}{n}fi}', `\~{}'. + Fonts are collections of glyphs. \Fontinst refers to glyphs by name. +\item[Slot] + This is jargon for `a numbered position in a font'. (What is + important is the number, and that this number refers to a position + in a font, but which font is usually irrelevant.) +\item[Character] + The modern definition is that a character is the smallest component + of written language that has semantic value. Speaking of a + character, one refers to the abstract meaning and/or shape, rather + than a specific shape. + + Since fonts have often contained a unique glyph for each character + and each usable glyph has been assigned a particular slot, + it is not uncommon (in particular in older terminology) to see the + three mixed up, usually so that one says `character' where one of + the other two would have been more correct. The \TeX-related font + file formats is no exception, as you may see examples of elsewhere + in this document. +\item[Encoding] + There are really two different encoding concepts that one encounters + when using \fontinst. The differences are not great, and an + encoding of one kind often corresponds to an encoding of the other + kind, but it is not merely a matter of translation. + + A \emph{\LaTeX\ encoding} is a mapping from characters (or more + formally \LaTeX\ Internal Character Representations) to slots. + In the \texttt{OT1} encoding, `\o' (or more technically `|\o|') maps + to slot~28, whereas in the \texttt{T1} encoding it maps to slot~248. + This kind of encoding affects what \TeX\ is doing; \dvi drivers are + not involved. + + A \emph{font encoding} (or \emph{encoding vector}) is a mapping from + slots to glyph names. This is the kind of encoding that \fontinst + primarily deals with, and also the kind of encoding that \dvi + drivers make use of. \texttt{ot1.etx} associates slot~28 with + `\texttt{oslash}', whereas \texttt{t1.etx} and \texttt{EC.enc} (one + of several to \texttt{T1} corresponding encoding vectors that come + with \dvips) associates slot~28 with `\texttt{fi}'. + + \LaTeX\ encodings occur in \fontinst only as names and only in + relation to \fd files. It is unlikely that you will need to create + one of your own. The mappings defined by font encodings are on the + other hand of great importance and \etx files are used to direct + the generation of virtual fonts. Advanced \fontinst users may well + find that they need to create new font encodings to achieve their + goals. +\end{description} + +% You're probably familiar with ASCII +% encoding, which has the letter `A' in slot~65, `B' in slot~66, +% and so on. That's it, really. \TeX\ uses several different +% encodings. The most common ones are OT1 (the original \TeX\ +% 7~bit encoding) and T1 (the newer \TeX\ 8~bit encoding). +% % -- much more on this later. + +The thing is that the average \PS font comes in Adobe standard +encoding, which, for example, has the glyph dotless~i `\i' in +slot~245. But \TeX\ \texttt{T1} encoding expects the glyph o~dieresis +`{\"o}' in that slot, and wants dotless~i in slot~25. So if you +tried to use a raw \PS font with \TeX, any time you tried to get +a `{\"o}', you'd get a `\i'; and every time you tried to get a `\i', +you'd get a blank, because Adobe standard encoding says that +slot~25 is empty. The process of dealing with this problem is +called `re-encoding', and is what \fontinst helps with. + +This might not make much sense yet; the best thing to do is relax. +There's a lot of things that need to be dealt with when you're +setting up \LaTeX\ to use a new font, so you can expect to be a +bit confused until you've done it a few times. + + +\subsection{What do you do with \fontinst?} + +If you're using \fontinst, the usual steps you need to take to use +an ordinary \PS text font with \LaTeX\ are these: + +\begin{enumerate} +\item Give the \afm files an appropriate name. +\item Use \fontinst to produce an |8r| encoded \pl files from + these \afm files. +\item Use \fontinst to create T1 and OT1 encoded \pl and \vpl + files from the |8r| encoded \pl files (this procedure will also + create suitable \fd files). +\item Use \pltotf to turn each \pl file into a \tfm file. +\item Use \vptovf to turn each \vpl file into a pair of \vf and + \tfm files. +\item Move the \tfm, \vf, and \fd files into the appropriate + directories so \LaTeX\ can see them. +\item Tell your DVI driver about the new font (edit \dvips's + \texttt{psfonts.map} file, or \OzTeX's \texttt{Default} + configuration file. +\item Perhaps write a package file to make selecting the new font + a little easier. +\item Test it. +\end{enumerate} + + +\section{Fontmaking commands} + +There are three main types of files that you may write to control what +\fontinst does: \emph{command files} (usually with suffix +\setdotfilename{tex}), \emph{encoding definition files} (suffix +\setdotfilename{etx}), and \emph{metric files} (suffix +\setdotfilename{mtx}). Command files directly tell \fontinst to do +things, whereas the purpose of an encoding or metric file is more to +store data, but all three file types are technically sequences of +\TeX\ commands that \fontinst execute when reading the file. Normal +\TeX\ syntax rules apply in all three file types, although a few +commands may behave in unfamiliar ways. + +Within the command file category, it is possible to discern certain +subcategories. Most command files are written for one particular +task, but some are common pieces that have been factored out from +larger command files and are merely meant to be |\input| where +appropriate. (\setfilename{csc2x.tex} in the \fontinst distribution is +an example of this latter kind.) One may also distinguish between +command files that are made for use with \setfilename{fontinst.sty} +command definitions and command files that are made for use with +\setfilename{finstmsc.sty} command definitions. This section documents +the commands that are particular to the former category, whereas the +next section documents commands that are particular to the latter. + + +\subsection{Install commands} + +The core fontmaking takes place within a block of ``install +commands''. (This name is a bit unfortunate since nothing is actually +installed; rather some files that need to be installed are generated.) +Such blocks have the structure +\begin{quote} + |\installfonts|\\ + \m{install commands}\\ + |\endinstallfonts| +\end{quote} +The \m{install commands} describe the fonts, glyphs and encodings used +to build fonts, whereas the purpose of the delimiting |\installfonts| +and |\endinstallfonts| are rather to organise the writing of \fd files. +\begin{decl} + |\installfonts|\\ + |\endinstallfonts| +\end{decl} +At |\installfonts|, \fontinst's internal list of \fd files to generate +are cleared. At |\endinstallfonts|, \fd files are written for those +combinations of encoding and font family that appeared in the +\meta{install commands}. + +\begin{hackernote} + |\installfonts|, |\endinstallfonts|, and the individual + install commands between them also cooperate in a rather complicated + grouping scheme to cache glyphbases. This may interfere with + non-\fontinst commands in the \meta{install commands}. If for + example an assignment to some |\tracing|\dots\ parameter here does + not seem to have any effect, try making the assignment |\global|. +\end{hackernote} + +The most important \meta{install command} is +\begin{decl} + |\installfont|\arg{font-name}\arg{metrics-list}\arg{etx-list}\\ + \hspace*{1.5em}\arg{encoding}\arg{family}\arg{series}% + \arg{shape}\arg{size} +\end{decl} +This produces a \TeX\ virtual font called \m{font-name}. The +\meta{metrics-list} and the \meta{etx-list} determine this font, +whereas the other arguments specify how the \fd file will declare it +for \LaTeX. The \m{encoding}, \m{family}, \m{series}, and \m{shape} +are precisely the NFSS parameters. The \m{size} is either a shorthand +declared by \verb|\declaresize| (see below), or is an \fd size +specification. + +Like most \fontinst lists, the elements in the \meta{metrics-list} and +\meta{etx-list} are separated by commas (so-called comma-separated +lists). In their simplest form, the elements of these lists are file +names (minus suffixes): \mtx files in the \meta{metrics-list} and +\etx files in the \meta{etx-list}. First the \mtx files are processed +to build up a glyphbase, i.e., store definitions of glyphs and their +metric properties in memory, and then the \etx files are processed +(several times) to select a set of glyphs and write the corresponding +information to a \vpl file. + +For example, to install the T1-encoded Times Roman font +(using \texttt{t1.etx} and \texttt{latin.mtx}), you say: +\begin{verbatim} + \installfont{ptmr8t}{ptmr8r,latin}{t1} + {T1}{ptm}{m}{n}{} +\end{verbatim} +To install a OT1-encoded Times Roman font with a scaled version of +Symbol for the Greek letters, you say: +\begin{verbatim} + \installfont{zptmrsy}{ptmr8r,psyr scaled 1100,latin}{ot1} + {OT1}{ptm}{m}{n}{} +\end{verbatim} + +As the second example indicates, there is more to the list items than +just file names. In the case of an metrics list item, the syntax +permits the two forms +\begin{decl} + \meta{filename}\meta{optional modifiers}\\ + |\metrics| \meta{metric commands} +\end{decl} +\NEWfeature{v1.923} +where an \meta{optional modifier} is one of +\begin{decl} + \verb*| scaled |\meta{rawscale factor}\\ + \verb*| suffix |\meta{glyph name suffix}\\ + \verb*| encoding |\meta{etx}\\ + \verb*| option |\meta{string} +\end{decl} +A list item may contain several such modifiers, but most commonly it +does not contain any. The +\meta{metric commands} are explicit metric commands, as described in +Section~\ref{Sec:Metric}; this latter feature is meant for minor +adjustments that you don't want to bother creating a separate \mtx +file for. + +The \meta{filename} above primarily refers to a file +\meta{filename}\texttt{.mtx}, but that need not always exist before +executing the above command. If there exists a \pl, \afm, or \vpl file +with the right name then that is first converted to a corresponding +\mtx file. However, a special case occurs if there is an |encoding| +modifier: this forces conversion of a \pl or \vpl file even if an +\mtx file exists, and also forces using the specified \etx file when +assigning glyph names to the slots of that file. Normally the choice +of \etx file for such conversions to \mtx is based on +|\declareencoding| declarations. + +The |scaled| modifier sets the \texttt{rawscale} variable for the +processing of that file. This has the effect of scaling all raw +glyphs from that file to \meta{rawscale factor} per milles of their +previous size. The |suffix| modified causes the \meta{glyph name +suffix} to be implicitly appended to all glyphs defined by this file. +The |option| modifier adds the \meta{string} to the list of ``options'' +for this file. The |\ifoption| command can be used in the file to test +whether a particular string has been supplied as an option. + +\begin{hackernote} + In general, \fontinst commands process comma-separated list arguments + by first splitting at commas and then fully expanding each item, but + this \meta{metrics-list} argument is an exception. This is first + fully expanded (|\edef|) and then split into items. The difference + is that a macro used in this \meta{metrics-list} argument can expand + to several list items, whereas a macro used in an ordinary + comma-separated list argument can only expand to (part of) a single + list item. + + The |\metrics| list items do however constitute an exception within + this exception. These list items are in their entirety protected + from the initial full expansion, so you don't have to worry about + peculiar fragility errors there. +\end{hackernote} + +The elements in the \meta{etx-list} have fewer variants, but there is +still a general syntax +\begin{decl} + \meta{filename}\meta{optional modifiers} +\end{decl} +The only \meta{optional modifier} permitted is however +\begin{decl} + \verb*| mtxasetx| +\end{decl} +and that is probably only relevant for use with |\installrawfont| (see +below). + + +\begin{decl} + |\installfontas|\arg{font-name}\\% + \hspace*{1.5em}\arg{encoding}\arg{family}\arg{series}% + \arg{shape}\arg{size} +\end{decl} +\NEWfeature{v1.912} +This install command adds an \fd entry for the \meta{font-name}, but +it doesn't actually generate that font. Usually that font was +generated by a previous |\installfont|, and this is used to create +additional entries for the font. + + +\begin{decl} + |\installrawfont|\arg{font-name}\arg{metrics-list}\arg{etx-list}\\ + \hspace*{1.5em}\arg{encoding}\arg{family}\arg{series}% + \arg{shape}\arg{size} +\end{decl} +This is similar to |\installfont| except that it produces +a \TeX\ raw font as \pl file rather than a virtual font. Often a \pl +font with the specified name will already exist when this command is +called, and that will then be overwritten. These two \pl files will +typically be somewhat different. +The normal reason for using this command is that one wishes to +``refine'' the metrics of a font that was generated by transformation +commands. + +For example, to install an 8r-encoded Times Roman raw font +(using \texttt{8r.etx} and \texttt{8r.mtx}), you say: +\begin{verbatim} + \installrawfont{ptmr8r}{ptmr8r,8r}{8r} + {8r}{ptm}{m}{n}{} +\end{verbatim} + +The effect of a +\begin{decl} + \meta{filename}\verb*| mtxasetx| +\end{decl} +\NEWfeature{v1.923} +in the \meta{etx-list} is not that \meta{filename}\texttt{.etx} is +read, but that \meta{filename}\texttt{.mtx} is read. The +interpretation of the commands in this file is however not the +customary, and almost the only thing paid attention to is the +correspondence between glyph names and slot numbers that is provided +by the |\setrawglyph| and |\setscaledrawglyph| commands; this +correspondence is treated as if it was given by |\setslot| \dots\ +|\endsetslot| commands in an \etx file. This is however only +guaranteed to work with transformable metric files. + +The purpose of this feature is to simplify installation of fonts with +very special encodings, such as ``Dingbat'' or ``Pi'' fonts. Instead +of creating an \etx file, which would probably only be useful with +that particular font, one can make use of the fact that the +interesting information is anyway available in the \mtx file. To +install Zapf Dingbats in their default encoding, one can thus say +\begin{verbatim} + \installrawfont{pzdr}{pzdr}{pzdr mtxasetx} + {U}{pzd}{m}{n}{} +\end{verbatim} + +Unlike the case with |\installfont|, which actually creates a real +(although virtual) font, |\installrawfont| can only create the +metrics for a font. The \dvi driver will require some other kind of +implementation of this font, usually an entry in some map file (e.g. +\texttt{psfonts.map}, in the case of \dvips) that links the \TeX\ font +name to e.g.\ a \PS\ font name and file. (Many \dvi drivers are +configured in such a way that they, without such a map file entry, +will call Metafont with the font name and thereby raise a sequence of +error messages about a \setdotfilename{mf} that doesn't exist. These +results are often rather confusing.) + + + +\begin{decl} + |\installfamily|\arg{encoding}\arg{family}\arg{fd-commands} +\end{decl} +This tells \fontinst to write an \fd file for the given combination +of encoding and family, and clears the internal list of entries to +put in that file. |\installfamily| commands usually come first in each +block of \meta{install commands}. + +For example, to produces a \LaTeX\ family with the Cork-encoded Times +family, you say: +\begin{verbatim} + \installfamily{T1}{ptm}{} +\end{verbatim} +The \m{fd-commands} are executed every time a font in that family is +loaded, for example to stop the Courier font from being hyphenated you +say: +\begin{verbatim} + \installfamily{T1}{pcr}{\hyphenchar\font=-1} +\end{verbatim} +In more recent versions of \fontinst, the |\installfamily| command is +only necessary if you want the \m{fd-commands} argument to be +nonempty, but it doesn't hurt to make it explicit. + + + + +\subsection{Transformation commands} + + +\begin{decl} + |\transformfont|\arg{font-name}\arg{transformed font} +\end{decl} +This makes a raw transformed font, for example expanded, slanted, +condensed or re-encoded. \emph{It is the responsibility of the device + driver to implement this transform.} Each \verb|\transformfont| +command writes out an \mtx file and a raw \pl file for \m{font-name}. + +A \m{transformed font} is given by the following commands: +\begin{decl} + |\fromafm|\arg{afm}\\ + |\fromany|\arg{whatever}\\ + |\frompl|\arg{pl}\\ + |\fromplgivenetx|\marg{pl}\marg{etx}\\ + |\frommtx|\arg{mtx} +\end{decl} +This reads the metrics of a font which is about to be transformed from +an external file. |\fromafm|, |\frompl|, and |\fromplgivenetx| write out +an \mtx file corresponding to the \afm or \pl file. In addition, +|\formafm| also writes out a raw \pl file, containing just the glyph +metrics but no kerning information. |\fromplgivenetx| permits +specifying which encoding file to use when associating glyph names to +slots, whereas |\frompl| tries to guess this from the +\texttt{CODINGSCHEME} property of the \pl file. |\fromany| looks for +a file in any of the formats (in the order \mtx, \pl, \afm) and +behaves as the first |\from|\dots\ for which it found a file. + +A \m{transformed font} may also be one of the following: +\begin{decl} + |\scalefont|\arg{integer expression}\arg{transformed font}\\ + |\xscalefont|\arg{integer expression}\arg{transformed font}\\ + |\yscalefont|\arg{integer expression}\arg{transformed font}\\ + |\slantfont|\arg{integer expression}\arg{transformed font} +\end{decl} +This applies a geometric transformation to the font metrics of +\m{transformed font}. The scale factor or slant factor are given in +1000 units to the design size. Typical examples are 167 for slanted +fonts or 850 for condensed fonts. + +The final case of a \m{transformed font} is: +\begin{decl} + |\reencodefont|\arg{etx}\arg{transformed font} +\end{decl} +This rearranges the encoding vector of \m{transformed font} to match +the encoding given by the \etx file. + + +For example, to create an oblique, |8r|-encoded version of Adobe Times +called \texttt{ptmro8r} you say: +\begin{verbatim} + \transformfont{ptmro8r}{\reencodefont{8r}{\slantfont{167}{\fromafm{ptmr8a}}}} +\end{verbatim} +This will create \texttt{ptmr8a.mtx}, \texttt{ptmr8a.pl}, +\texttt{ptmro8r.mtx} and \texttt{ptmro8r.pl}, which can then be used +as raw fonts in \verb|\installfont| commands. The same transformation +can also be achieved in two steps: +\begin{verbatim} + \transformfont{ptmr8r}{\reencodefont{8r}{\fromafm{ptmr8a}}} + \transformfont{ptmro8r}{\slantfont{167}{\frommtx{ptmr8r}}} +\end{verbatim} +This will create \texttt{ptmr8a.mtx}, \texttt{ptmr8a.pl}, +\texttt{ptmr8r.mtx}, \texttt{ptmr8r.pl}, \texttt{ptmro8r.mtx} and +\texttt{ptmro8r.pl}. + +You will have to inform your device driver about the transformed font, +using the syntax appropriate for that driver. For example, in \dvips +you add a line to \texttt{psfonts.map}: +\begin{verbatim} + ptmro8r Times-Roman ".167 SlantFont TeXBase1Encoding ReEncodeFont" <<8r.enc +\end{verbatim} + + +\subsection{Miscellaneous settings} + +\begin{decl} + |\substitutesilent|\arg{to}\arg{from}\\ + |\substitutenoisy|\arg{to}\arg{from} +\end{decl} +This declares a \LaTeX\ font substitution, that the series or shape +\m{to} should be substituted if necessary by the series or shape +\m{from}. \verb|\substitutesilent| means that when the font +substitution is made, no warning will given. + +\verb|\substitutenoisy| is the same as \verb|\substitutesilent|, but +gives a warning when the substitution is made by \LaTeX. + +For example, to say that the series |bx| can be replaced by the +series |b|, you say: +\begin{verbatim} + \substitutesilent{bx}{b} +\end{verbatim} +To say that the shape |ui| can be replaced by the shape |i|, you say: +\begin{verbatim} + \substitutenoisy{ui}{it} +\end{verbatim} + +The following weight substitutions are standard: +\begin{verbatim} + \substitutesilent{bx}{b} + \substitutesilent{b}{bx} + \substitutesilent{b}{sb} + \substitutesilent{b}{db} + \substitutesilent{m}{mb} + \substitutesilent{m}{l} +\end{verbatim} +The following shape substitutions are standard: +\begin{verbatim} + \substitutenoisy{ui}{it} + \substitutesilent{it}{sl} + \substitutesilent{sl}{it} +\end{verbatim} + +The |\installfontas| command should be considered as an +alternative to using font substitution, as it gives much finer +control over what \fd entries will be made. + + +\begin{decl} + |\declaresize|\arg{size}\arg{fd-size-range} +\end{decl} +This declares a new size, and gives the \fd commands for it. For +example, \url{fontinst.sty} declares the following sizes: +\begin{verbatim} + \declaresize{}{<<->>} + \declaresize{5}{<<5>>} + \declaresize{6}{<<6>>} + \declaresize{7}{<<7>>} + \declaresize{8}{<<8>>} + \declaresize{9}{<<9>>} + \declaresize{10}{<<10>>} + \declaresize{11}{<<10.95>>} + \declaresize{12}{<<12>>} + \declaresize{14}{<<14.4>>} + \declaresize{17}{<<17.28>>} + \declaresize{20}{<<20.74>>} + \declaresize{25}{<<24.88>>} +\end{verbatim} + +\begin{decl} + |\declareencoding|\arg{string}\arg{etx} +\end{decl} +This declares which \etx file corresponds to which encoding +string. For example, \url{fontinst.sty} declares the following +encoding strings: +\begin{verbatim} + \declareencoding{TEX TEXT}{ot1} + \declareencoding{TEX TEXT WITHOUT F-LIGATURES}{ot1} + \declareencoding{TEX TYPEWRITER TEXT}{ot1tt} + \declareencoding{TEX MATH ITALIC}{oml} + \declareencoding{TEX MATH SYMBOLS}{oms} + \declareencoding{TEX MATH EXTENSION}{omx} + \declareencoding{EXTENDED TEX FONT ENCODING - LATIN}{t1} + \declareencoding{TEX TEXT COMPANION SYMBOLS 1---TS1}{ts1} + \declareencoding{TEXBASE1ENCODING}{8r} + \declareencoding{TEX TYPEWRITER AND WINDOWS ANSI}{8y} +\end{verbatim} + + + + + +\subsection{Other} + +The following commands belong to this section, but there is currently +no description of them here. + + +|\afmtomtx|\marg{afmfile}\marg{mtxfile} + +|\endrecordtransforms| + +|\endreglyphfonts| + +|\etxtopl|\marg{encoding list}\marg{plfile} + +|\etxtovpl|\marg{encoding list}\marg{vplfile} + +|\fakenarrow|\marg{width factor} + +|\generalpltomtx|\marg{plfile}\marg{mtxfile}\marg{plsuffix}\marg{opt-enc} + +|\killglyph|\marg{glyph} + +|\killglyphweighted|\marg{glyph}\marg{weight} + +|\latinfamily|\marg{family}\marg{commands} + +|\mtxtomtx|\marg{source MTX}\marg{destination MTX} + +|\mtxtopl|\marg{mtxfile}\marg{plfile} + +|\NOFILES| + +|\offmtxcommand|\marg{command} + +|\onmtxcommand|\marg{command} + +|\recordtransforms|\marg{filename} + +|\reglyphfont|\marg{destination font}\marg{source font} + +|\reglyphfonts| + +|\renameglyph|\marg{to}\marg{from} + +|\renameglyphweighted|\marg{to}\marg{from}\marg{weight} + + + +\section{Mapmaking commands} + +The following commands belong to this section, but there is currently +no description of them here. Note that several of them have a +different syntax and meaning than they do in fontmaking command files. + +|\adddriver|\marg{driver name}\marg{fragment file name} + +|\AssumeAMSBSYY| + +|\AssumeBaKoMa| + +|\AssumeLWFN| + +|\AssumeMetafont| + +|\debugvalue|\arg{name} + +|\declarepsencoding|\marg{etx}\marg{postscript name}\marg{action} + +|\donedrivers| + +|\download|\marg{file} + +|\enctoetx|\marg{encfile}\marg{etxfile} + +|\etxtoenc|\marg{etxfile}\marg{encfile} + +|\fromafm|\marg{AFM name}\marg{PS name} + +|\frompl|\marg{PL name} + +|\frommtx|\marg{MTX name} + +|\fromvpl| + +|\makemapentry|\marg{\TeX\ font name} + +|\reencodefont|\marg{etx} + +|\reglyphfont| + +|\specifypsfont|\marg{PS font name}\marg{actions} + +|\storemapdata|\marg{\TeX\ font name}\marg{source}\marg{transforms} + +|\transformfont|\marg{x-scale}\marg{slant-scale} + + + +\section{General commands} + + + +This section describes commands and mechanisms that are the same in +all file types. Commands that are particular for one type of file are +described in subsequent sections. + + +\subsection{Variables} + +Many (but not all) of the activities \fontinst perform can be +understood as either ``setting variables'' or ``formatting and writing +to file data stored in some variable''. The accessing of variables is +an important aspect of how \fontinst works. + +Variables come in different types and variables of different types +live in different namespaces; |\int{foo}|, |\str{foo}|, and +|\dim{foo}| refer to three different variables which are all named +|foo|. Variables are either set or not set. Unless the contrary is +stated explicitly, variables default to not being set. It is an error +to access the value of a variable that has not been set. \Fontinst +variable assignments are as a rule local, i.e., will be undone when +the enclosing \TeX\ group is ended. Most command file commands that +cause files to be read will begin a group before reading the file(s) +and end the group at some point after having read them. + +Taking string variables as an example, there are three commands for +changing a string variable: +\begin{decl} + |\setstr|\arg{name}\arg{string expression}\\ + |\resetstr|\arg{name}\arg{string expression}\\ + |\unsetstr|\arg{name} +\end{decl} +The |\resetstr| command unconditionally sets the string variable +\meta{name} to the full expansion of the \meta{string expression}. +The |\unsetstr| command unconditionally renders the string variable +\meta{name} unset. If the the string variable \meta{name} is +currently unset then the |\setstr| command will set it to the full +expansion of the \meta{string expression}, but if it already is set +then |\setstr| does nothing. + +This pattern with three commands, one |\set|\dots\ which only sets +unset variables, one |\reset|\dots\ which sets variables regardless of +whether they have been set or not, and one |\unset|\dots\ which unsets +variables is recurring in \fontinst. Variables are most commonly set +using some |\set|\dots\ command; this has the effect that the first +command to try to set a variable is the one which actually sets it. + + + +% \subsection{Argument types} +% +% There are roughly five types of arguments that \fontinst +% commands can take. These are +% \begin{itemize} +% \item integer expressions, +% \item string expressions, +% \item dimensions, +% \item commands (i.e., \TeX\ control sequences), and +% \item other (pretty much ``none of the above''). +% \end{itemize} +% The most common form of an integer expression is simply a \TeX\ +% \meta{number} and the most common form of a string expression is +% simply a sequence of character tokens, but there are more complicated +% forms. Dimensions are simply \TeX\ \meta{dimen}s; their use is rather +% limited. Common to integer expressions, string expressions, and +% dimensions is that these argument types get expanded during +% evaluation (in the case of string expressions, this expansion +% \emph{is} the evaluation), which means one can use macros in +% arguments of these types. +% +% Command arguments do not get expanded---they are mainly used with +% commands that modify the definitions of other commands. As for the +% ``other'' arguments one cannot give any rules: they might get +% expanded, but it could also happen that they won't. + + + + + +% There are three types of files used by the \fontinst package: +% \begin{itemize} +% \item \emph{fontinst files} contain commands to process fonts +% metrics so you can use a font with \TeX. For example, +% \texttt{fontptcm.tex} is a \emph{fontinst file}. +% +% \item \emph{encoding files} contain information about an encoding, +% including the code table, ligatures, and font dimensions. For +% example, \texttt{8r.etx} is an \emph{encoding file}. +% +% \item \emph{metric files} contain information about glyphs, +% including glyph dimensions, composite characters, and kerning. +% For example, \texttt{latin.mtx} is a \emph{metric file}. +% \end{itemize} + + +\subsection{General commands} + +The following \emph{general commands} can be used anywhere: + +\begin{decl} + |\needsfontinstversion|\arg{version} +\end{decl} +This issues a warning if the current version of the \fontinst +package is less than \m{version}. + +\begin{decl} + |\setdim|\arg{dim}\arg{dimension}\\ + |\setint|\arg{int}\arg{integer expression}\\ + |\setstr|\arg{str}\arg{string} +\end{decl} +If the dimension variable \m{dim} is currently undefined, it is +defined to be the current value of \m{dimension}. + +If the integer variable \m{int} is currently undefined, it is +defined to be the current value of \m{integer expression}. + +If the string variable \m{str} is currently undefined, it is +defined to be the current value of \m{string}. + +\begin{decl} + |\setcommand|\arg{command}\meta{parameter text}\arg{replacement text} +\end{decl} +If the command \m{command} is currently undefined, it is defined +to be the \m{definition}. This uses the same syntax for +parameters as the \TeX\ \verb|\def| command. +\begin{center} + \begin{tabular}{r l} + No. parameters& \meta{parameter text}\\ + 0& (empty)\\ + 1& |#1|\\ + 2& |#1#2|\\ + 3& |#1#2#3|\\ + \multicolumn{2}{c}{and so on.} + \end{tabular} +\end{center} + +\begin{decl} + |\resetdim|\arg{dim}\arg{dimension}\\ + |\resetint|\arg{int}\arg{integer expression}\\ + |\resetstr|\arg{str}\arg{string} +\end{decl} +The dimension variable \m{dim} is defined to be the current value +of \m{dimension}. + +The integer variable \m{int} is defined to be the current value of +\m{integer expression}. + +The string variable \m{str} is defined to be the current value of +\m{string}. + +\begin{decl} + |\resetcommand|\arg{command}\meta{parameter text}\arg{replacement text} +\end{decl} +The command \m{command} is defined to be the \m{definition}, +regardless of whether it was already defined or not. This is a +synonym for the \TeX\ \verb|\def| command. + +\begin{decl} + |\ifisint|\arg{int}|\then|\\ + |\ifisdim|\arg{dim}|\then|\\ + |\ifisstr|\arg{str}|\then|\\ + |\ifisglyph|\arg{glyph}|\then|\\ + |\ifiscommand|\arg{command}|\then| +\end{decl} +Expands out to \verb|\iftrue| if the integer variable +\m{int} is defined, and \verb|\iffalse| otherwise. + +Expands out to \verb|\iftrue| if the dimension variable +\m{dim} is defined, and \verb|\iffalse| otherwise. + +Expands out to \verb|\iftrue| if the string variable +\m{str} is defined, and \verb|\iffalse| otherwise. + +Expands out to \verb|\iftrue| if the glyph variable +\m{glyph} is defined, and \verb|\iffalse| otherwise. + +Expands out to \verb|\iftrue| if the command +\m{command} is defined, and \verb|\iffalse| otherwise. + +\begin{decl} + |\unsetdim|\arg{dim}\\ + |\unsetint|\arg{int}\\ + |\unsetstr|\arg{str}\\ + |\unsetcommand|\arg{command} +\end{decl} +Makes \m{dim}, \m{int}, \m{str}, or \m{command} an undefined +dimension, integer, string or command. + +\subsection{Integer expressions} +\label{Sec:integer} + +The \emph{integer expressions} provide a user-friendly syntax for +\TeX\ arithmetic. They are used to manipulate any integers, +including glyph dimensions, which are given in \afm units, that is +1000 to the design size. \TeX\ \pl fonts have their dimensions +converted to \afm units automatically. + +The \emph{integer expressions} are: + +\begin{decl} + \m{number} +\end{decl} +Returns the value of a \TeX\ \m{number} (as explained in \emph{The \TeX book}). + +\begin{decl} + |\int|\arg{int} +\end{decl} +Returns the value of the integer variable \m{int}. + +\begin{decl} + |\width|\arg{glyph}\\ + |\height|\arg{glyph}\\ + |\depth|\arg{glyph}\\ + |\italic|\arg{glyph} +\end{decl} +Returns the width, height, depth, or italic correction of the glyph +variable \m{glyph}. + +\begin{decl} + |\kerning|\arg{left}\arg{right} +\end{decl} +Returns the kerning between the \m{left} and \m{right} glyph +variables. + +\begin{decl} + |\neg|\arg{integer expression}\\ + |\add|\arg{integer expression}\arg{integer expression}\\ + |\sub|\arg{integer expression}\arg{integer expression}\\ + |\max|\arg{integer expression}\arg{integer expression}\\ + |\min|\arg{integer expression}\arg{integer expression}\\ + |\mul|\arg{integer expression}\arg{integer expression}\\ + |\div|\arg{integer expression}\arg{integer expression}\\ + |\scale|\arg{integer expression}\arg{integer expression}\\ + |\half|\arg{integer expression}\\ + |\otherhalf|\arg{integer expression} +\end{decl} +|\neg| returns the negation of the \m{integer expression}. + +|\ad| returns the sum of the two \m{integer expression}s. + +|\sub| returns the first \m{integer expression} minus the second. + +|\mul| returns the product of the two \m{integer expression}s. + +|\div| returns the first \m{integer expression} divided by the second. + +|\scale| returns the first \m{integer expression} times the second, +divided by 1000. + + +\subsection{Other} + +The following commands belong to this section, but there is currently +no description of them here. + +|\begincomment| + +|\bye| + +|\Else| + +|\endcomment| + +|\endfor|\parg{name} + +|\eTeX|\marg{version number} + +|\Fi| + +|\fontinstcc| + +|\fontinsterror|\marg{subsystem}\marg{error}\marg{help} + +|\fontinstinfo|\marg{subsystem}\marg{info} + +|\fontinstwarning|\marg{subsystem}\marg{warning} + +|\fontinstwarningnoline|\marg{subsystem}\marg{warning} + +|\for|\parg{name}\marg{start}\marg{stop}\marg{step} + +|\foreach|\parg{name}\marg{csep-list} + +|\ifareglyphs|\marg{glyph list}|\then| + +|\ifiskern|\marg{glyph1}\marg{glyph2}|\then| + +|\ifnumber|\marg{integer expression}\meta{rel}% +\marg{integer expression}|\then| + +|\ifoption|\marg{string}|\then| + +|\input| \meta{file name} + +|\messagebreak| + +|\needsTeXextension|\marg{extension tests}\marg{who} + +|\normalcc| + +|\offcommand|\marg{command} + +|\oncommand|\marg{command} + +|\pdfTeX|\marg{version number}\marg{revision} + +|\strint|\arg{int} + + + +\section{Encoding files} + +An \emph{encoding file} (or \texttt{.etx} file) is a \TeX\ document +consisting of: + +\begin{decl} + |\relax|\\ + \emph{ignored material}\\ + |\encoding|\\ + \m{encoding commands}\\ + |\endencoding|\\ + \emph{ignored material} +\end{decl} +This describes the encoding of a font, using the \m{encoding + commands}. + +Since the encoding file ignores any material between \verb|\relax| and +\verb|\encoding|, an \emph{encoding file} can also be a \LaTeX\ +document. + +See also the descriptions in \texttt{encspecs.tex}. + + +\subsection{Encoding commands} + +The \m{encoding commands} are: + +\begin{decl} + |\nextslot|\arg{integer expression} +\end{decl} +Sets the number of the next slot. If there is no \verb|\nextslot| +command, the number is the successor of the previous slot. + +\begin{decl} + |\skipslots|\arg{integer expressions} +\end{decl} +\NEWfeature{v1.8} +Advances the number of the next slot. + +\begin{decl} + |\setslot|\arg{glyph}\\ + \m{slot commands}\\ + |\endsetslot| +\end{decl} +Sets the slot of the \m{glyph}. The \m{slot commands} describe +the glyph, and give its usage in \TeX. + +\begin{decl} + |\inputetx|\arg{file} +\end{decl} +Inputs the \m{encoding commands} of \m{file}\texttt{.etx}. + + + +\subsection{Slot commands} + +The \m{slot commands} are: + +\begin{decl} + |\comment|\arg{text} +\end{decl} +A comment, which is ignored by \fontinst. + +\begin{decl} + |\label|\arg{text} +\end{decl} +A reference label. Ignored by \fontinst. + +\begin{decl} + |\ligature|\arg{ligtype}\arg{glyph}\arg{glyph}\\ + |\Ligature|\arg{ligtype}\arg{glyph}\arg{glyph}\\ + |\oddligature|\marg{note}\arg{ligtype}\arg{glyph}\arg{glyph} +\end{decl} +Specifies a ligature of type \m{ligtype} from the current glyph +followed by the first glyph to the second glyph. The \m{ligtype}s are +as in \vpl files (see the \texttt{vptovf} Web source for more +details). For example: +\begin{verbatim} + \setslot{ff} + \ligature{LIG}{i}{ffi} + \ligature{LIG}{l}{ffl} + \comment{The `ff' ligature.} + \endsetslot +\end{verbatim} + +\begin{decl} + |\makerightboundary|\arg{glyph} +\end{decl} + +\begin{decl} + |\Unicode|\marg{code point}\marg{name} +\end{decl} + + +\begin{decl} + |\usedas|\arg{type}\arg{control sequence} +\end{decl} +\NEWfeature{Obsolete?!} +Sets the \TeX\ control sequence for this slot, with the \emph{type} +taken from: +\begin{verbatim} + char accent mathord + mathbin mathrel mathopen + mathclose mathpunct mathvariable + mathaccent mathdelim +\end{verbatim} + +\begin{decl} + |\nextlarger|\arg{glyph} +\end{decl} +Sets a \textsc{nextlarger} entry from the current slot to the +\m{glyph}. + +\begin{decl} + |\varchar|\\ + \m{varchar commands}\\ + |\endvarchar| +\end{decl} +Sets a \textsc{varchar} entry for the current slot, using the +\m{varchar commands}. The \m{varchar commands} are: +\begin{decl} + |\vartop|\arg{glyph}\\ + |\varmid|\arg{glyph}\\ + |\varbot|\arg{glyph}\\ + |\varrep|\arg{glyph} +\end{decl} +Sets the top, middle, bottom, or repeated \m{glyph} of the +\textsc{varchar}. + + +\subsection{Other} + +The following commands belong to this section, but there is currently +no description of them here. + +|\endsetleftboundary| + +|\ifdirect| + +|\ifisinslot|\marg{glyph}\marg{slot}|\then| + +|\resetslotcomment|\marg{text} + +|\setfontdimen|\marg{fontdimen no.}\marg{integer variable} + +|\setleftboundary|\marg{glyph} + +|\setslotcomment|\marg{text} + +|\useexamplefont|\marg{font} + +|\unsetslotcomment| + + + +\section{Metric files} +\label{Sec:Metric} + + +A \emph{metric file} (or \texttt{.mtx} file) is a \TeX\ document +consisting of: + +\begin{decl} + |\relax|\\ + \emph{ignored material}\\ + |\metrics|\\ + \m{metric commands}\\ + |\endmetrics|\\ + \emph{ignored material} +\end{decl} +This describes the glyphs in a font, using the \m{metric commands}. + +Metric files are usually either \emph{hand-crafted} or +\emph{transformable}. The transformable metric files typically encode +the metrics of one particular font and are automatically generated. +Hand-crafted metric files (such as \setfilename{latin.mtx}) typically +do not contain much explicit metric data, instead the code there makes +use of metrics previously specified by other files to construct new +glyphs or adjust metrics to meet special conditions. Whereas +transformable metric files tend to be mere lists of metric data, the +hand-crafted metric files are more like programs. + + +\subsection{Metric commands} + +The \m{metric commands} are: + +\begin{decl} + |\setglyph|\arg{name}\\ + \m{glyph commands} \\ + |\endsetglyph| +\end{decl} +If the glyph called \m{name} is undefined, it is built using the +\m{glyph commands} given below, for example: +\begin{verbatim} + \setglyph{IJ} + \glyph{I}{1000} + \glyph{J}{1000} + \endsetglyph + \setglyph{Asmall} + \glyph{A}{850} + \endsetglyph +\end{verbatim} + +\begin{decl} + |\resetglyph|\arg{name}\\ + \m{glyph commands}\\ + |\endsetglyph| +\end{decl} +Gives the definition of the glyph called \m{name} using the +\m{glyph commands}. + +\begin{decl} + |\unsetglyph|\arg{name} +\end{decl} +Makes the glyph called \m{name} undefined. + +\begin{decl} + |\setrawglyph|\arg{name}\arg{font}\arg{dimen}\arg{integer}\\ + \arg{integer}\arg{integer}\arg{integer}\arg{integer}\\ + |\setscaledrawglyph|\arg{name}\arg{font}\arg{dimen}\arg{integer}\arg{integer}\\ + \arg{integer}\arg{integer}\arg{integer}\arg{integer} +\end{decl} +This sets a glyph called \m{name} from the \m{font}, which has the +given design size, slot, width, height, depth and italic correction. +If the integer variable \texttt{rawscale} is set, the glyph will be +scaled by that amount. This command will usually be generated +automatically from an \afm or \pl file. + +\begin{decl} + |\setnotglyph|\arg{name}\arg{font}\arg{dimen}\\ + \arg{integer}\arg{integer}\arg{integer}\arg{integer}\\ + |\setscalednotglyph|\arg{name}\arg{font}\arg{dimen}\arg{integer}\arg{integer}\\ + \arg{integer}\arg{integer}\arg{integer}\arg{integer} +\end{decl} +This sets a glyph called \m{name}\texttt{-not}, which is present in +the \m{font}, but is not in the default encoding. It takes the same +arguments as \verb|\setrawglyph|, although the slot will normally be +$-1$. This command will usually be generated automatically from an +\afm file. + +\begin{decl} + |\setkern|\arg{glyph}\arg{glyph}\arg{integer expression}\\ + |\resetkern|\arg{glyph}\arg{glyph}\arg{integer expression} +\end{decl} +|\setkern| sets a kern between the two glyphs, scaled by the current +value of \texttt{rawscale}, unless such a kern already has been set. + + +\begin{decl} + |\setleftkerning|\arg{glyph}\arg{glyph}\arg{integer expression}\\ + |\setrightkerning|\arg{glyph}\arg{glyph}\arg{integer expression} +\end{decl} +Sets the amount by which the first glyph should mimic how the second +glyph kerns on the left or right, for example: +\begin{verbatim} + \setleftkerning{Asmall}{A}{850} + \setrightkerning{Asmall}{A}{850} + \setleftkerning{IJ}{I}{1000} + \setrightkerning{IJ}{J}{1000} +\end{verbatim} +Sets the amount by which the first glyph should mimic how the second +glyph kerns on the right, for example: + +\begin{decl} + |\setleftrightkerning|\arg{glyph}\arg{glyph}\arg{integer expression} +\end{decl} +\NEWfeature{v1.8} +Sets the amount by which the first glyph should mimic how the second +glyph kerns on both sides, for example: +\begin{verbatim} + \setleftrightkerning{Asmall}{A}{850} +\end{verbatim} + +\begin{decl} + |\noleftkerning|\arg{glyph}\\ + |\norightkerning|\arg{glyph}\\ + |\noleftrightkerning|\arg{glyph} +\end{decl} +\NEWfeature{v1.9} +Removes all kerning on the specified side(s) of the \meta{glyph}. + +\begin{decl} + |\inputmtx|\arg{file} +\end{decl} +Inputs the \m{metric commands} of \m{file}\texttt{.mtx}. + + + +\subsection{Glyph commands} + +The \m{glyph commands} are: + +\begin{decl} + |\glyph|\arg{glyph}\arg{integer expression} +\end{decl} +Sets the named glyph \m{glyph} at the given scale, with 1000 as the +natural size. This: +\begin{itemize} +\item Advances the current glyph width. +\item Sets the current glyph height to be at least the height of the + named glyph, adjusted for the current vertical offset. +\item Sets the current glyph depth to be at least the depth of the + named glyph, adjusted for the current vertical offset. +\item Sets the current glyph italic correction to be the same as the + set glyph. +\end{itemize} +The named glyph must have already been defined, otherwise an error +will occur. For example: +\begin{verbatim} + \setglyph{fi} + \glyph{f}{1000} + \glyph{i}{1000} + \endsetglyph +\end{verbatim} + +\begin{decl} + |\glyphrule|\arg{integer expression}\arg{integer expression} +\end{decl} +Sets a rule of the given width and height, for example: +\begin{verbatim} + \setglyph{underline} + \glyphrule{333}{40} + \endsetglyph +\end{verbatim} + +\begin{decl} + |\glyphspecial|\arg{text} +\end{decl} +Sets a driver-dependent \verb|\special|, for example: +\begin{verbatim} + \setglyph{crest} + \glyphspecial{Filename: crest.eps} + \endsetglyph +\end{verbatim} + +\begin{decl} + |\glyphwarning|\arg{text} +\end{decl} +Sets a warning \verb|\special|, and produces a warning message each +time the glyph is used, for example: +\begin{verbatim} + \setglyph{missingglyph} + \glyphrule{500}{500} + \glyphwarning{Missing glyph `missingglyph'} + \endsetglyph +\end{verbatim} + +\begin{decl} + |\movert|\arg{integer expression} +\end{decl} +Moves right by the given amount, and advances the current glyph width, +for example: +\begin{verbatim} + \setglyph{Asmall} + \movert{50} + \glyph{A}{700} + \movert{50} + \endsetglyph +\end{verbatim} + +\begin{decl} + |\moveup|\arg{integer expression} +\end{decl} +Moves up by the given amount, and advances the current vertical +offset. Each glyph should always end at vertical offset zero, for +example: +\begin{verbatim} + \setglyph{onehalf} + \moveup{500} + \glyph{one}{700} + \moveup{-500} + \glyph{slash}{1000} + \moveup{-200} + \glyph{two}{700} + \moveup{200} + \endsetglyph +\end{verbatim} + +\begin{decl} + |\push|\\ + \m{glyph commands}\\ + |\pop| +\end{decl} +Performs the \m{glyph commands} without adjusting the current position +or glyph width, for example: +\begin{verbatim} + \setglyph{aacute} + \push + \movert{\div{\sub{\width{a}}{\width{acute}}}{2}} + \glyph{acute}{1000} + \pop + \glyph{a}{1000} + \endsetglyph +\end{verbatim} + +\begin{decl} + |\glyphpcc|\arg{glyph}\arg{integer expression}\arg{integer expression} +\end{decl} +This is generated from \texttt{PCC} instructions in an \afm file, and +is syntactic sugar for: +\begin{quote} +\begin{small} +|\push|\\ +|\movert|\arg{first integer expression}\\ +|\moveup|\arg{second integer expression}\\ +|\glyph|\arg{glyph}|{1000}|\\ +|\pop| +\end{small} +\end{quote} + +\begin{decl} + |\resetwidth|\arg{integer expression}\\ + |\resetheight|\arg{integer expression}\\ + |\resetdepth|\arg{integer expression}\\ + |\resetitalic|\arg{integer expression} +\end{decl} +Sets the width, height, depth, or italic correction of the current +glyph. + +\begin{decl} + |\samesize|\arg{glyph} +\end{decl} +Sets the dimensions of the current glyph to be the same as \m{glyph}. + +Inside the definition of \m{glyph}, you can use expressions such as +|\width|\arg{glyph}, which will refer to the glyph defined so far. +For example, a display summation sign can be defined to be a text +summation $\sum$ scaled 120\% with 0.5\,pt extra height and depth +using: +\begin{verbatim} + \setglyph{summationdisplay} + \glyph{summationtext}{1200} + \resetheight{\add{\height{summationdisplay}}{50}} + \resetdepth{\add{\depth{summationdisplay}}{50}} + \endsetglyph +\end{verbatim} +Within a |\resetglyph|, these expressions will refer to the previous +definition of the glyph. For example, you can add sidebearings to the +letter `A' with: +\begin{verbatim} + \resetglyph{A} + \movert{25} + \glyph{A}{1000} + \movert{25} + \endresetglyph +\end{verbatim} + + +\subsection{Other} + +The following commands belong to this section, but there is currently +no description of them here. + +|\aliased|\marg{font's name}\marg{alias name} + +|\ProvidesMtxPackage|\marg{package~name} + +|\unsetkerns|\marg{left~glyph~list}\marg{right~glyph~list} + +|\usemtxpackage|\marg{package~list} + + + +\section{\textsf{fontdoc} commands} + +|\macroparameter|\marg{digit} + +|\plaindiv| + +|\plainint| + +|\plainmax| + +|\plainmin| + +|\showbranches| + +|\slotexample| + +|\textunicode|\marg{code point}\marg{name} + + + +\section{\fontinst variables} + +The following is a list of the \fontinst variables that are +accessible for the user through the |\set|\textellipsis, +|\reset|\textellipsis, |\unset|\textellipsis, etc.\ commands. You may +of course set or use other variables in the MTX and ETX files you +write yourself, as does for example the standard MTX file +\texttt{latin.mtx}, but all variables that \fontinst commands +implicitly use or set are listed below. + +\begin{list}{}{% + \setlength\labelwidth{0pt}% + \setlength\itemindent{-\leftmargin}% + \setlength\parsep{0pt} + \def\makelabel#1{\hspace\labelsep \normalfont\ttfamily #1}% +} + \item[acccapheight] (integer denoting length) + \begin{smalldes} + \item[Description] The height of accented full capitals. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[address] (string) + \begin{smalldes} + \item[Description] Snailmail address put in \BibTeX-style file + header of automatically generated ENC files. No + \texttt{address} field is written unless the \texttt{address} + string is set. Quotes are not automatically inserted around + the \texttt{address} string. + \item[Set by] ETX files. + \item[Used by] The ETX-to-ENC converter. + \end{smalldes} + \item[afm-name] (string) + \begin{smalldes} + \item[Description] Name of source font. Internal variable. + \item[Set by] |\from|\dots\ commands. + \item[Used by] The |\transform|\-|font|, |\install|\-|font|, + |\install|\-|raw|\-|font|, and |\reglyph|\-|font| commands. + \end{smalldes} + \item[ascender] (integer denoting length) + \begin{smalldes} + \item[Description] The ascender height of the font. + \item[Set by] MTX files. The AFM-to-MTX converter usually writes + |\setint| commands for this integer. + \item[Used by] Some MTX and ETX files. + \end{smalldes} + \item[author] (string) + \begin{smalldes} + \item[Description] Author name(s) put in \BibTeX-style file + header of automatically generated ENC files. See the macro + |\ref_to_sourcefile| for more details. + \item[Set by] ETX files. + \item[Used by] The ETX-to-ENC converter. When not set, the + value \texttt{"See file }\meta{etx name}\texttt{"} is used + instead. + \end{smalldes} + \item[\cs{autoinstallfamily}] (command) + \begin{smalldes} + \item[Description] Command called by the font installation + commands, as + \begin{quote} + |\autoinstallfamily|\marg{encoding}\marg{family} + \end{quote} + when they are asked to install a font with a combination of + \meta{encoding} and \meta{family} that has not been seen + before (there was no explicit |\installfamily|). + \item[Set by] Explicit commands. Defaults to calling + |\installfamily|. + \item[Used by] Font installation commands. + \end{smalldes} + \item[axisheight] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{22}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[baselineskip] (integer denoting length) + \begin{smalldes} + \item[Description] + The font designer's recommendation for natural length of the + \TeX\ parameter |\baselineskip|. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[bigopspacing1] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\xi\sb{9}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[bigopspacing2] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\xi\sb{10}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[bigopspacing3] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\xi\sb{11}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[bigopspacing4] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\xi\sb{12}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[bigopspacing5] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\xi\sb{13}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[capheight] (integer denoting length) + \begin{smalldes} + \item[Description] The height of the font's full capitals. + \item[Set by] MTX files. The AFM-to-MTX converter usually writes + |\setint| commands for this variable. + \item[Used by] Some MTX and ETX files. + \end{smalldes} + \item[codingscheme] (string) + \begin{smalldes} + \item[Description] The codingscheme name. + \item[Set by] ETX files. + \item[Used by] The (V)PL writer. When not set, the + value \texttt{UNKNOWN} is used instead. + \end{smalldes} + \item[defaultrulethickness] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\xi\sb{8}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[delim1] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{20}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[delim2] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{21}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[denom1] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{11}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[denom2] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{12}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[descender] (integer denoting length) + \begin{smalldes} + \item[Description] The depth of lower case letters with descenders. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[descender\_neg] (integer denoting length) + \begin{smalldes} + \item[Description] The vertical position of the descender line + of the font, i.e., the negative of the font's descender depth. + \item[Set by] MTX files. The AFM-to-MTX converter usually writes + |\setint| commands for this variable. + \item[Used by] Some MTX and ETX files. + \end{smalldes} + \item[designsize] (dimension) + \begin{smalldes} + \item[Description] The design size of the font. + \item[Set by] MTX files. The (V)PL-to-MTX converter usually writes + |\setdim| commands for this variable. + \item[Used by] The (V)PL writer. The design size defaults to + $10\,\mathrm{pt}$ if this variable is not set. + \item[Note] The value of this variable has no effect on how + the font is declared to \LaTeX. + \end{smalldes} + \item[designunits] (dimension denoting a real number) + \begin{smalldes} + \item[Description] The design size of a font expressed in the + design unit used in a (V)PL file. + \item[Set by] MTX files. The (V)PL-to-MTX converter usually writes + |\setdim| commands for this variable. + \item[Used by] Nothing. If this variable is set, but to any + value other than $1\,\mathrm{pt}$, then some metrics are most + likely wrong. + \end{smalldes} + \item[digitwidth] (integer denoting length) + \begin{smalldes} + \item[Description] The median width of the digits in the font. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[email] (string) + \begin{smalldes} + \item[Description] Email address put in \BibTeX-style file + header of automatically generated ENC files. See the macro + |\ref_to_sourcefile| for more details. + \item[Set by] ETX files. + \item[Used by] The ETX-to-ENC converter. When not set, the + value \texttt{"See file }\meta{etx name}\texttt{"} is used + instead. + \end{smalldes} + \item[encodingname] (string) + \begin{smalldes} + \item[Description] The name by which the encoding in question is + made known to a Postscript interpreter. + \item[Set by] ETX files. + \item[Used by] The ETX-to-ENC converter. When not set, the + value |fontinst-|\nolinebreak[1]|autoenc-|\nolinebreak[1]% + \meta{etx name} is used instead. + \end{smalldes} + \item[etx-name] (string) + \begin{smalldes} + \item[Description] Name of ETX file. Internal variable in + |\transform|\-|font|. + \item[Set by] The |\reencodefont| command. + \item[Used by] The |\mtxtomtx| command. + \end{smalldes} + \item[extraspace] (integer denoting length) + \begin{smalldes} + \item[Description] + The natural width of extra interword glue at the end of a + sentence. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[fontdimen($n$)] (integer) + \begin{smalldes} + \item[Description] Family of semi-internal variables that store + the values to use for font dimension $n$. It is preferred + that the newer |\set|\-|font|\-|dimen| interface is used for + setting these values. + \item[Set by] ETX files. + \item[Used by] The (V)PL writer. + \end{smalldes} + \item[\cs{iftokeep}] (macro) + \begin{smalldes} + \item[Description] |\iftokeep|\,\#1\,|\then|, where \#1 will + be a \meta{number}, behaves like a switch and decides whether + a glyph is kept or not while reglyphing. + \item[Set by] Explicit commands. Defaults to + $$ + \mbox{\cs{iftokeep}\,\#1\,\cs{then}} \mapsto + \mbox{\cs{ifnum}\,\texttt{-1<}\#1} + $$ + \item[Used by] The |\reglyphfont| command. + \end{smalldes} + \item[interword] (integer denoting length) + \begin{smalldes} + \item[Description] The natural width of interword glue (spaces). + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[italicslant] (integer denoting factor) + \begin{smalldes} + \item[Description] The italic slant of a font. + \item[Set by] MTX files generated from AFM or (V)PL files. MTX + files generated by |\transformfont|. Locally in the AFM-to-MTX + converter for possible use in |\uprightitalcorr| or + |\slanteditalcorr|. + \item[Used by] MTX files (\texttt{latin.mtx} and the like). ETX + files (for determining \texttt{fontdimen(1)}). + \end{smalldes} + \item[killweight] (integer) + \begin{smalldes} + \item[Description] Weight for glyphs that are killed. + \item[Set by] Explicit commands. Defaults to $-10$ if not set. + \item[Used by] The |\kill|\-|glyph| command; indirectly + the |\reglyphfont| command. + \end{smalldes} + \item[letterspacing] (integer denoting length) + \begin{smalldes} + \item[Description] Extra width added to all glyphs of a font. + \item[Set by] ETX or MTX files. + \item[Used by] The (V)PL writer. Defaults to $0$ if not set. + \end{smalldes} + \item[maxdepth] (integer denoting length) + \begin{smalldes} + \item[Description] The maximal depth over all slots in the font. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[maxdepth\_neg] (integer denoting length) + \begin{smalldes} + \item[Description] The negative of the maximal depth of a glyph in + the font. + \item[Set by] MTX files. The AFM-to-MTX converter usually writes + |\setint| commands for this variable. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[maxheight] (integer denoting length) + \begin{smalldes} + \item[Description] The maximal height of a glyph in the font. + \item[Set by] MTX files. The AFM-to-MTX converter usually writes + |\setint| commands for this variable. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[minimumkern] (integer denoting length) + \begin{smalldes} + \item[Description] Kerns whose size in absolute value is less + than or equal to this variable are ignored. + \item[Set by] Command files or MTX files. + \item[Used by] The AFM-to-MTX converter and the (V)PL file + generator. When not set, the value $0$ is used instead. + \end{smalldes} + \item[monowidth] (flag integer) + \begin{smalldes} + \item[Description] Set if this font is monowidth, unset otherwise. + \item[Set by] MTX files. The AFM-to-MTX converter writes a + |\setint| command for this variable if the AFM specifies + \texttt{IsFixedPitch true}. + \item[Used by] Some MTX files (\texttt{latin.mtx} and the like), + ETX files. + \end{smalldes} + \item[num1] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{8}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[num2] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{9}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[num3] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{10}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[quad] (integer denoting length) + \begin{smalldes} + \item[Description] + The quad width of the font, normally approximately equal to + the font size and\slash or the width of an `M'. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[PSfontsuffix] (string) + \begin{smalldes} + \item[Description] Suffix added to font names to form name of + file to download to include font. + \item[Set by] Explicit commands in mapmaking command + files. Defaults to `\texttt{.pfa}'. + \item[Used by] The map file fragments writer. + \end{smalldes} + \item[rawscale] (integer denoting factor) + \begin{smalldes} + \item[Description] Scaling factor applied to raw glyphs. + \item[Set by] The |\installfont| command (\texttt{scaled} + clauses in argument \#2). Unset for metric files listed + without a \texttt{scaled} clause. + \item[Used by] The |\set|\-|raw|\-|glyph|, + |\set|\-|not|\-|glyph|, |\set|\-|scaled|\-|raw|\-|glyph|, + |\set|\-|scaled|\-|not|\-|glyph|, |\set|\-|kern|, and + |\reset|\-|kern| commands. + \end{smalldes} + \item[renameweight] (integer) + \begin{smalldes} + \item[Description] Weight for glyphs that are renamed. + \item[Set by] Explicit commands. Defaults to $1$ if not set. + \item[Used by] The |\rename|\-|glyph| command; indirectly + the |\reglyphfont| command. + \end{smalldes} + \item[requireglyphs] (flag integer) + \begin{smalldes} + \item[Description] Set if warnings are to be generated for + glyphs listed in ETX files but not present in the glyph + base. + \item[Set by] Explicit commands. By default not set. + \item[Used by] The (V)PL file generator. + \end{smalldes} + \item[rightboundary] (string) + \begin{smalldes} + \item[Description] The name of a glyph with the property that + kerns on the left may be intended as right word boundary kerns. + \item[Set by] MTX files. The (V)PL-to-MTX converter can write + |\setstr| commands for this variable. + \item[Used by] Some MTX files. + \end{smalldes} + \item[shrinkword] (integer denoting length) + \begin{smalldes} + \item[Description] + The (finite) shrink component of interword glue. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[slant-scale] (integer denoting factor) + \begin{smalldes} + \item[Description] Factor to slant by. + Internal variable in |\transform|\-|font|. + \item[Set by] The |\slant|\-|font|, |\xscale|\-|font|, and + |\scale|\-|font| commands. + \item[Used by] The |\mtxtomtx| command. + \end{smalldes} + \item[\cs{SlantAmount}] (macro expanding to an integer expression) + \begin{smalldes} + \item[Description] Slant factor used for faking oblique shape. + \item[Set by] Explicit commands. Defaults to \texttt{167}. + \item[Used by] The |\latinfamily| command. + \end{smalldes} + \item[\cs{slanteditalcorr}] + (macro expanding to an integer expression) + \begin{smalldes} + \item[Description] The integer expression used to calculate a + guess for the italic correction of glyphs in a font with + positive slant. It has the syntax + \begin{quote} + \cs{slanteditalcorr}\marg{width}\marg{left}\marg{right}% + \marg{bottom}\marg{top} + \end{quote} + where \meta{width} is the glyph's advance width, and the + remaining arguments are coordinates of sides of the glyph's + bounding box. The \texttt{italicslant} integer provides the + italic slant of the font. + \item[Set by] Explicit commands in \textsf{fontinst} command + files. Defaults to + $$ + \max\{0, \mathit{right}-\mathit{width}\}. + $$ + \item[Used by] The AFM-to-MTX converter. + \end{smalldes} + \item[stretchword] (integer denoting length) + \begin{smalldes} + \item[Description] + The (finite) stretch component of interword glue. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[sub1] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{16}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[sub2] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{17}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[subdrop] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{19}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[sup1] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{13}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[sup2] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{14}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[sup3] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{15}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[supdrop] (integer denoting length) + \begin{smalldes} + \item[Description] Math formula parameter $\sigma\sb{18}$. + \item[Set by] MTX files. + \item[Used by] Some ETX and MTX files. + \end{smalldes} + \item[TFMfileprefix] (string) + \begin{smalldes} + \item[Description] Prefix (typically a path) added to names of + TFM files. + \item[Set by] Explicit commands in mapmaking command + files. By default not set, which is equivalent to being empty. + \item[Used by] The \textsf{PLtoTF} ``map file fragments writer''. + \end{smalldes} + \item[underlinethickness] (integer denoting length) + \begin{smalldes} + \item[Description] The recommended thickness of an underlining + rule. + \item[Set by] MTX files. The AFM-to-MTX converter usually writes + |\setint| commands for this variable. + \item[Used by] Some MTX files (\texttt{latin.mtx} and the like). + \end{smalldes} + \item[\cs{uprightitalcorr}] + (macro expanding to an integer expression) + \begin{smalldes} + \item[Description] The integer expression used to calculate a + guess for the italic correction of glyphs in a font with + non-positive slant. It has the syntax + \begin{quote} + \cs{uprightitalcorr}\marg{width}\marg{left}\marg{right}% + \marg{bottom}\marg{top} + \end{quote} + where \meta{width} is the glyph's advance width, and the + remaining arguments are coordinates of sides of the glyph's + bounding box. The \texttt{italicslant} integer provides the + italic slant of the font. + \item[Set by] Explicit commands in \textsf{fontinst} command + files. Defaults to $0$. + \item[Used by] The AFM-to-MTX converter. + \end{smalldes} + \item[version] (string) + \begin{smalldes} + \item[Description] Version number put in \BibTeX-style file + header of automatically generated ENC files. See the macro + |\ref_to_sourcefile| for more details. + \item[Set by] ETX files. + \item[Used by] The ETX-to-ENC converter. When not set, the + value \texttt{"See file }\meta{etx name}\texttt{"} is used + instead. + \end{smalldes} + \item[verticalstem] (integer denoting length) + \begin{smalldes} + \item[Description] The dominant width of vertical stems + (usually the width of stems of lower case letters). + \item[Set by] MTX files. The AFM-to-MTX converter writes + |\setint| commands for this variable if the AFM file specifies + \texttt{StdVW}. + \item[Used by] Currently nothing. + \end{smalldes} + \item[\texttt{warningspecials}] (switch) + \begin{smalldes} + \item[Description] Controls whether |\glyphwarning| commands + will generate VPL \texttt{SPECIAL}s. Defaults to `true'. + \item[Set by] Explicit commands (|\warningspecialstrue| and + |\warningspecialsfalse|). + \item[Used by] The (V)PL file generator. + \end{smalldes} + \item[x-scale] (integer denoting factor) + \begin{smalldes} + \item[Description] Horizontal scaling factor. + Internal variable in |\transform|\-|font|. + \item[Set by] The |\xscale|\-|font| and |\scale|\-|font| commands. + \item[Used by] The |\mtxtomtx| command. + \end{smalldes} + \item[xheight] (integer denoting length) + \begin{smalldes} + \item[Description] The x-height of the font. + \item[Set by] MTX files. The AFM-to-MTX and (V)PL-to-MTX + converters usually write |\setint| commands for this variable. + \item[Used by] MTX files, and ETX files (for determining + \texttt{fontdimen(5)}). + \end{smalldes} + \item[y-scale] (integer denoting factor) + \begin{smalldes} + \item[Description] Vertical scaling factor. + Internal variable in |\transform|\-|font|. + \item[Set by] The |\yscale|\-|font| and |\scale|\-|font| commands. + \item[Used by] The |\mtxtomtx| command. + \end{smalldes} + \item[\meta{\rmfamily glyph}-spacing] (integer denoting length) + \begin{smalldes} + \item[Description] Glyph-specific override for + \texttt{letterspacing}; extra width added to the glyph + \meta{glyph} as part of the process of writing a VPL + file. + \item[Set by] ETX or MTX files. + \item[Used by] The (V)PL writer. Defaults to $0$ if not set. + \end{smalldes} +\end{list} +Besides these, the |\latinfamily| command provides a whole range of +parameters (|\latin_weights|, |\latin_widths|, |\latin_shapes|, etc.) +that are often used somewhat like variables. That subject +does however deserve to be treated separately. + + + +\section{Customisation} + +The \fontinst package reads a file \texttt{fontinst.rc} if it +exists. This can contain your own customisations. + +You can create a \texttt{fontinst} format by running ini\TeX{} on +\texttt{fontinst.sty} then saying \verb|\dump|. + + +\section{Notes on features new with v\,1.9} + +The following notes are copied from \texttt{fisource.tex}; they were +written to explain new \fontinst features to old \fontinst users. + + +\subsection{Metric packages} + +\Fontinst has traditionally come with a collection of MTX +files that complement the MTX files generated from base font metrics, +in that they build glyphs that may be missing from the base fonts or +in some other way needs to be improved. The most well-known of these +is the \texttt{latin.mtx} file; other examples include +\texttt{textcomp.mtx}, \texttt{mathit.mtx}, and \texttt{latinsc.mtx}. +A problem with these is however that they cannot produce optimal +results for all fonts simply because there are irregular differences +in how fonts are set up by the foundries. Most glyphs come out all right, +but there are usually a few for which the parameters used are more or +less wrong. Therefore most high quality font installations are made +with modified versions of these files, where the parameters have been +tuned to the specific font design. + +Modifying in particular \texttt{latin.mtx} is however not an entirely +easy task, because this is a rather large file (with plenty of +archaic pieces of code in curious places). Doing it once is no big +problem, but if one has to do it several times (maybe because some +errors are discovered in the original \texttt{latin.mtx}) then it is +probably no fun anymore. Furthermore, if one has two or three +modified copies of this file because one has made high quality +installations of that many different fonts then even a trivial bugfix +might start to feel like entirely too much work. + +If one has to make modifications then it is usually easier to deal +with several small files (many of which can be used unchanged) than +one big file. Thus it would be better if these big files were split up +into several smaller ones. +The main problem with splitting up something like \texttt{latin.mtx} +is that there are some commands which are defined at the top and +which are then used in almost all sections of the file. One must make +certain that these commands are always loaded, which makes the metric +files somewhat harder to use (especially if the one who tries to use +them is not the one who wrote them). + +One strategy is to include all definitions needed for a metric file in +it. This has the slight disadvantage that the commands will have to be +defined several times. What is worse however, is that the command +definitions will appear in several files, so if one finds a bug in one +of them, one cannot simply correct this bug in one place. As the number +of files can soon become quite large, correcting such bugs can become +a boring procedure indeed. + +Another strategy is to put all the command definitions in one file +and then explicitly include it in the \meta{file-list} argument of +|\installfont|. This eliminates the repeated bug fixing problem, but +requires the user to do something that the computer can actually do +just as well. + +A third strategy is to put the command definitions in one or several +files and then in each metric file the user explicitly mentions load +the command definitions needed for that particular file. Metric +packages uses an improved version of this strategy, since they also +make it possible for \fontinst to remember which packages (i.e., sets +of command definitions) that have already been loaded, so that they +are not unnecessarily loaded again. The \texttt{newlatin.mtx} file is +an alternative to \texttt{latin.mtx} that implements this strategy. +Most of the actual code is located in the following metric packages: +\begin{center} +\begin{tabular}{l p{0.7\linewidth}} + \texttt{ltcmds.mtx}& Defines some common commands used by the other + files.\\ + \texttt{llbuild.mtx}& Builds the latin lower case alphabet + (unaccented letters are `unfakable', the rest are constructed if + not present in the base fonts).\\ + \texttt{lubuild.mtx}& Builds the latin upper case alphabet.\\ + \texttt{lsbuild.mtx}& Builds accented letters in the latin + smallcaps alphabet, but only if there are unaccented letters to + build them from in the base fonts.\\ + \texttt{lsfake.mtx}& Fakes a latin smallcaps alphabet by shrinking + the upper case alphabet, but only if the glyph had not already + been manufactured.\\ + \texttt{lsmisc.mtx}& Make some miscellaneous smallcaps glyphs + (mostly ``smallcaps f-ligatures'').\\ + \texttt{ltpunct.mtx}& Makes digits, punctuation marks, and other + symbols (mostly by marking as ``unfakable''). +\end{tabular} +\end{center} +\noindent All of these are easy to use as components of equivalents +of a modified \texttt{latin.mtx} files, and all dependencies of one +package upon another are handled via explicit |\usemtxpackage| +commands. + +% For information on the syntax etcetera of commands related to metric +% packages, see Section~\ref{Sec:Metric files}. + + +\subsection{Word boundary ligatures and kerns} + +One of the new features added in \TeX~3 was that of ligatures and +kerns with word boundaries. \Fontinst has had an interface +for making such ligatures and kerns, but it has been completely +redesigned in v\,1.9 and the old interface (setting the integer +|boundarychar|) is no longer recognized by \fontinst. Files +which use the old interface can still be processed with +\texttt{cfntinst.sty}, though. + +Before considering the new commands, it is suitable to make a +distinction between proper glyphs and pseudoglyphs. A proper glyph has +been set using one of the commands |\setrawglyph|, |\setglyph|, and +|\resetglyph|. A pseudoglyph is any name used in the context of a +glyph name which does not denote a proper glyph. If a pseudoglyph +|g-not| was set using the |\setnotglyph| command, then +|\ifisglyph{g-not}\then| will evaluate to true, but something can be +a pseudoglyph even if an |\ifisglyph| test evaluates to false. The +interesting point about pseudoglyphs when considering word boundaries +however, is that a pseudoglyph can have ligatures and kerns. + +Kerns and ligatures at the left word boundary (beginning of word) are +specified using the commands |\setleftboundary| and +|\endsetleftboundary|, which are syntactically identical to +|\setslot| and |\endsetslot| respectively. One important difference is +however that the argument to |\setslot| must be a proper glyph, while +the argument to |\setleftboundary| may be any glyph, hence any +pseudoglyph will do just fine. + +|\ligature| commands between |\setleftboundary| and +|\endsetleftboundary| will generate beginning of word ligatures. Kerns +on the right of the glyph specified in |\setleftboundary| will become +beginning of word kerns. + +Kerns and ligatures at the right word boundary (end of word) are +trickier, due to the asymmetrical nature of the ligkern table in a PL +file. What a font can do is to specify that the right word boundary, +for purposes of kerning and ligatures, should be interpreted as +character $n$. By including a kern or ligature with character $n$ on +the right, that kern or ligature will be used at the end of a word, +but it will also be used each time the next character is character +$n$. Because of this, one usually wants the slot $n$, which the right +word boundary is interpreted as being, to be empty whenever the +encoding allows this. + +The command +\begin{quote} + |\setrightboundary|\marg{glyph} +\end{quote} +will mark the current slot as used to denote the right word boundary, +and leave the slot empty, increasing the current slot number by one +just like a |\setslot| \textellipsis\ |\endsetslot| block does. Kerns on +the left of \meta{glyph} will be end of word kerns and |\ligature| +commands with \meta{glyph} as the second argument will be for the end +of a word. + +The command +\begin{quote} + |\makerightboundary|\marg{glyph} +\end{quote} +is similar to |\setrightboundary|, but it is a slot command which may +only be used between a |\setslot| and the matching |\endsetslot|. Like +|\setrightboundary|, it marks the current slot as used to denote the +right word boundary, but the glyph specified in the enclosing |\setslot| +will be written to that slot. Ligatures for the glyph specified by the +|\setslot| and ligatures for the glyph specified by the +|\makerightboundary| will both be for this single slot. Kerns on the +right of the |\setslot| glyph and the |\makerightboundary| glyph will +similarly both be for this single slot. The idea is that the |\setslot| +glyph should be used when making a kern or ligature for that glyph, +while the |\makerightboundary| glyph should be used when making a kern +or ligature for the end of a word. \Fontinst will warn you if +these two uses of the slot directly contradict each other. + + +\subsection{Changing the names of glyphs} +\label{Ssec:Des:Reglyph} + +Sometimes, primarily when making a virtual font from more than one raw +font and two of the raw fonts contain different glyphs with the same +name, it becomes necessary to change the names of some glyphs to make +some sense out of it. The main source of this kind of trouble is the +``caps and small caps'' (SC) and ``oldstyle figures'' (OsF) fonts +within many commercial font families. The typical problem is that what +is typographically different glyphs---such as the lowercase `a' +(\texttt{a}, for \fontinst) and the smallcaps `\textsc{a}' +(\texttt{Asmall}, for \fontinst)---are given the same name by +the foundry. + +One way to get round this is to say for example +\begin{quote} + |\setglyph{Asmall} \glyph{a}{1000} \endsetglyph|\\ + |\setleftrightkerning{Asmall}{a}{1000}|\\ + |\unsetglyph{a}|\\ + |\noleftrightkerning{a}| +\end{quote} +and continuing like that for all the duplicate glyph names. This is +however a rather prolix method and if the number of glyphs is large +then it is usually simpler to use the |\reglyphfont| command. + +To reglyph one or several fonts, one writes +\begin{quote} + |\reglyphfonts|\\ + \vadjust{}\quad \meta{reglyphing commands}\\ + |\endreglyphfonts| +\end{quote} +There are two types of reglyphing commands: the |\reglyphfont| +command, and the commands that modify what |\reglyphfont| will do to +the fonts it operates on. The syntax of |\reglyphfont| is +\begin{quote} + |\reglyphfont|\marg{destination font}\marg{source font} +\end{quote} +The \meta{source font} font here is the name (suffix not included, of +course) of the font metric file one wants to change the glyph names in. +This font metric file can be in any of the formats MTX, PL, AFM, and +VPL, and it will be converted to MTX format if it isn't already in +that format (this happens just as for files listed in the second +argument of |\installfont|). \meta{destination font} (which must be +different from \meta{source font}) will be taken as the name for a +new \texttt{.mtx} file that will be generated. The destination font +can differ from the source font only in two ways: the names of some +glyphs in the source font might be changed, and some of the commands +from the source font might not have been copied to the destination +font. To what extent the fonts are different is determined by what +modifying commands have been executed; when no modifying commands +have been executed, the source and destination font are equal. + +The modifying reglyphing commands are +\begin{quote} + |\renameglyph|\marg{to}\marg{from}\\ + |\renameglyphweighted|\marg{to}\marg{from}\marg{weight}\\ + |\killglyph|\marg{glyph}\\ + |\killglyphweighted|\marg{glyph}\marg{weight}\\ + |\offmtxcommand|\marg{command}\\ + |\onmtxcommand|\marg{command} +\end{quote} +|\renameglyph| simply declares that occurrences of the glyph name +\meta{from} should be replaced by the glyph name \meta{to}. To each +glyph name is also assigned a \emph{weight}, which is used by a +mechanism which conditions copying of commands from the source font to +the destination font by the set of glyphs that command mentions. The +details of this mechanism are however somewhat tricky, so those +interested in the full generality should read the comments in the +source of \fontinst. Here it needs only be noted that if one applies +|\killglyph| to a glyph name, then (under most circumstances) commands +that refer to that glyph name will not be copied to the destination +font. + +|\offmtxcommand| and |\onmtxcommand| also control whether commands are +copied to the destination font, but they look at the actual command +rather than the glyphs it refers to. For example, after the command +\begin{quote} + |\offmtxcommand{\setkern}| +\end{quote} +no |\setkern| commands will be copied. By using |\offmtxcommand|, it +is possible to achieve effects similar to those of the files +\texttt{kernoff.mtx} and \texttt{glyphoff.mtx}---the difference is +that with |\offmtxcommand|, it happens at an earlier stage of the font +generation. As expected, |\onmtxcommand| undoes the effect of +|\offmtxcommand|. + +A special rule pertains to the |\set|\-|raw|\-|glyph|, +|\set|\-|not|\-|glyph|, |\set|\-|scaled|\-|raw|\-|glyph|, and +|\set|\-|scaled|\-|not|\-|glyph| commands, since |\transformfont| +doesn't care what something was in the source font when it generates +the transformed font. To turn these commands off while reglyphing, +you use |\offmtx|\-|command| on |\set|\-|scaled|\-|raw|\-|glyph|. + +The effects of modifying reglyphing commands are delimited by +|\reglyphfonts| and |\endreglyphfonts|, which starts and ends a group +respectively. + +As we expect the most common reglyphing operation will be to go from SC +glyph names to expert glyph names, there is a file \texttt{csc2x.tex} +in the \fontinst distribution which contains the modifying +reglyphing commands needed for setting up that conversion. Thus you +can write for example +\begin{quote} + |\reglyphfonts|\\ + | \input csc2x|\\ + | \reglyphfont{padrcx8r}{padrc8r}|\\ + | \reglyphfont{padscx8r}{padsc8r}|\\ + |\endreglyphfonts| +\end{quote} +to alter the glyph names in the SC fonts in the Adobe Garamond +(\texttt{pad}) family. +Note that the names of the destination fonts here really are rather +arbitrary, since they will only exist as \texttt{.mtx} files, and +thus only need to work within your local file system. In particular, +all the |\setrawglyph| commands in the destination font files still +refer to the source font, so it is that font which the drivers need +to know about. + + +\subsection{Making map file fragments} + +A \emph{map file fragment} is the lines\footnote{Not in general an +entire map file, hence the word \emph{fragment}.} of a map file that +the corresponding driver would need for handling some set of fonts. +When told to, \fontinst can (in a fairly automatic way) create +the map file fragment which is needed for the set of raw fonts +\fontinst has (i) installed directly (using |\installrawfont|) +or (ii) used as a base font for some installed virtual font (generated +by |\installfont|). \Fontinst does not support the map file +syntaxes of every existing driver, but the system is designed to be +extendable and contributions that extend its capabilities are welcome. +Nor can \fontinst examine your \TeX\ system and +determine every piece of information needed to make the correct map +file fragments, but you can tell it roughly how your installation +looks, it can make guesses which work most of the time, and you can +specify most things explicitly if the guesses turn out to be wrong. +Should the available options for configuring the process turn out to +be inadequate for your needs, then please write to the +\fontinst mailing list about this---there is probably a way +to improve the system so that your needs can be met. + +Now what does one have to do to use this map file fragment writer, +then? First you need to tell \fontinst to record the +information the map file fragment writer needs. You do this by giving +the command +\begin{quote} + |\recordtransforms{whatever.tex}| +\end{quote} +at the beginning of the run. Here \texttt{whatever.tex} is the name of +a file that will be created, so you can use some other name if you +like. After that you do all the calls to |\transform|\-|font|, +|\install|\-|font|, |\install|\-|raw|\-|font|, |\latin|\-|family|, +etc.\ you need to make the fonts you want. When you're done, you give +the command +\begin{quote} + |\endrecordtransforms| +\end{quote} +and end the run (say |\bye|). The file \texttt{whatever.tex} will now +contain the information about which fonts were used and what needs to +be done with them. + +The second step is to actually run the map file fragment writer. +Observe that it is located in the file \texttt{finstmsc.sty}, not +\texttt{fontinst.sty}! The commands you need to give it can be so few +that you can type them in at \TeX's \texttt{*} prompt, but if you are +writing a command file then it should typically have the following +structure (comments not necessary, of course): +\begin{quote} + \begin{tabular}{ll} + |\input finstmsc.sty|& |%| Input command definitions\\ + \meta{general settings} & |%| See below\\ + |\adddriver|\marg{driver name}\marg{output file}& + |%| Open output file\\ + |\input whatever.tex|& |%| Writes to output file(s)\\ + |\donedrivers|& |%| Close output file(s), tidy up\\ + |\bye|& |%| Quit + \end{tabular} +\end{quote} +The |\adddriver| command gives the order ``write map file entries for +the \meta{driver name} DVI driver to the file \meta{output file}.'' The +plan is that it should be possible to use the name of just about any +major driver (\texttt{dvips}, \texttt{xdvi},\footnote{Or +does that use the same map file as \texttt{dvips}? I heard somewhere +that it did. /LH} \texttt{pdftex},\footnote{pdf\TeX\ can read +the map files generated for \texttt{dvips}, but a separate driver is +desirable because the formats are not completely identical.} +\texttt{OzTeX}, etc.) here and get suitable map file entries for that +driver as output, but for the moment only the \texttt{dvips} and +\texttt{dvipdfm}\footnote{Whose support I made very much to illustrate +that you \emph{don't} have to be a big and ancient driver like +\texttt{dvips} to have supporting code put into \fontinst. +(The fact that I just happened to have printed out the documentation and +that is was easy to read also helped, of course.) Note, however, that +there won't be any support for a driver unless someone sits down and +writes the code for it! Don't assume I will. /LH} drivers are supported. + +You may also use \texttt{debug} or \texttt{pltotf} for \meta{driver name}. +The \texttt{debug} ``DVI driver'' file simply contains all the available +information about each font (hence it should come handy for debugging +code writing entries for real drivers) in a format that should be easy +to interpret for a human. It could be the right choice if you're going +to write the map file manually, as the combined effects of several +font transformations are not always easy to compute manually. The +file generated for the \texttt{pltotf} ``driver'' is actually a shell +script consisting of a sequence of \pltotf commands. These commands +perform the \pl to \tfm conversion for precisely those fonts that are +actually needed (\fontinst usually generates \pl files also for a +number of fonts at intermediate stages of transformation, and many of +these need not be converted to \tfm files). The \texttt{TFMfileprefix} +string can be used to add a directory path to the \tfm file names, +perhaps saving the step of moving them to their proper location later. + +The file \texttt{whatever.tex} in the above example contains the +commands (|\makemapentry| commands) that actually cause entries to be +written to the output file. It also contains a number of |\storemapdata| +commands---these describe how some given font was made. If some +metric file you have used contains |\setrawglyph| commands that were +not automatically generated by \fontinst, then there might +not be a |\storemapdata| for the font they refer to in +\texttt{whatever.tex}, so you will have to include such a command +yourself somewhere. This can for example be done in the \meta{general +settings} part of the above example file. + +Another class of things that will typically appear in the +\meta{general settings} part above is commands that will inform the +routines actually writing output about your \TeX\ system, about the set +of fonts you are using on this run, or about something else that might +be useful. Some such commands are of a general nature and affect what +assumptions \fontinst will make in certain conditions when no +specific information is available. For the moment there commands are: +\begin{description} + \item[\cs{AssumeMetafont}] Assume all fonts with PL metrics are + bitmaps generated by Metafont, and therefore make no entries for + them. + \item[\cs{AssumeAMSBSYY}] Assume all fonts with PL metrics have their + \TeX\ names in all upper case as postscript names---just like the + Computer Modern fonts in the AMS\slash Blue~Sky\slash Y\&Y + distribution. + \item[\cs{AssumeBaKoMa}] Assume all fonts with PL metrics have their + \TeX\ names in all lower case as postscript names---just like the + Computer Modern fonts in the BaKoMa distribution. +\end{description} +Otherwise the default action of the routine for finding out the +postscript name of a font simply is to observe that it hasn't got a clue +about what the right value is when the metrics were taken from a PL +file, and therefore it writes `\texttt{??????}' for the postscript name. +\begin{description} + \item[\cs{AssumeLWFN}] Assume postscript fonts for which nothing + else has been specified are stored in files which are named + according to the \mbox{MacOS} scheme for + \texttt{LWFN}s.%\footnote{LaserWriter FoNt} +\end{description} +Otherwise the default action is to use the name of the AFM or PL from +which the metrics were originally taken, and add the file suffix stored +in the string \texttt{PSfontsuffix}. The default value of this string +is \texttt{.pfa}, but it can be changed using |\resetstr|. + +If neither the default nor the LWFN scheme produce correct results +then you may use the more specific |\specifypsfont| command, which +describes exactly which file (or files, if any) a given font is stored +in. The syntax of this command is +\begin{quote} + |\specifypsfont|\marg{PS font name}\marg{actions} +\end{quote} +where the \meta{actions} is a sequence of ``action commands''. +Currently the only such command is +\begin{quote} + |\download|\marg{file} +\end{quote} +which instructs the map file writer to include in any entry using +that PS font and ``instruction'' that the specified file should be +downloaded. Some examples are +\begin{verbatim} + \specifypsfont{Times-Roman}{} + \specifypsfont{Shareware-Cyrillic-Regular}{\download{fcyr.gsf}} + \specifypsfont{zmnl8ac6}{% + \download{MinionMM.pfb}\download{zmnl8ac6.pro}% + } +\end{verbatim} +Many \dvi drivers (for example \dvips) have more than one style of +font downloading (e.g., partial and full downloading). This interface +could be extended to control also such finer details (for example by +adding a |\fulldownload| command to force full download of a font), +but requests for this has so far been scarce. + +Finally, there is the |\declarepsencoding| command which is used to +link ETX files to postscript encodings. If no postscript encoding has +been linked to a given ETX file then \fontinst will +automatically create a postscript encoding (\texttt{.enc}) file for +that encoding, and use this file for all reencoding commands. +The \texttt{8r} encoding is predeclared, and it doesn't +matter if an encoding is undeclared if you never use it to reencode +fonts, but there is potentially a problem with not having declared +encodings you have installed and use for reencoding, as you may then +find yourself having two files with identical names that define +encodings that do not have the same name (as far as postscript is +concerned). + + + +\subsection{Tuning accent positions---an application of loops} + +The accent placements made by \texttt{latin.mtx} certainly aren't +perfect for all fonts, and the only way to find out where they should +be put is through trying in text the accented letters you get for a +couple of values for the position parameter and deciding which one +works best. Since to try one parameter value you need to (i) edit it +into an MTX file, (ii) run \fontinst, (iii) run +\vptovf, (iv) run \TeX\ on some test text, and (v) print that +text, trying one parameter value can take annoyingly much time. +Repeating the same procedure ten times to test ten values is not +something one does without being bored (unless one scripts it, of +course), but it is possible to try ten parameter values in a single +virtual font, and without doing very much typing. + +Say you're not too happy with how \texttt{latin.mtx} positions the +accent in the \texttt{ohungarumlaut} glyph: +\begin{quote} + |\setglyph{ohungarumlaut}|\\ + | \topaccent{o}{hungarumlaut}{500}|\\ + |\endsetglyph| +\end{quote} +The |500| is the horizontal position (in thousandths of the width of +the \texttt{o}) that the centre of \texttt{hungarumlaut} in the glyph +constructed will have, so that is the position parameter value that +you want to change. Create an MTX file containing the code +\begin{quote} + |\for(pos){250}{750}{50}|\\ + | \setglyph{ohungarumlaut\strint{pos}}|\\ + | \topaccent{o}{hungarumlaut}{\int{pos}}|\\ + | \endsetglyph|\\ + | \setleftrightkerning{ohungarumlaut\strint{pos}}|\\ + | {ohungarumlaut}{1000}|\\ + |\endfor(pos)| +\end{quote} +This will set eleven glyphs \texttt{ohungarumlaut250}, +\texttt{ohungarumlaut300}, \texttt{ohungarumlaut350}, \textellipsis\,, +\texttt{ohungarumlaut750}, each being an Hungarianly umlauted `o' +(i.e., an `\H{o}') but all having that umlaut in slightly different +positions. In order to put them in a font, you also need to make an +encoding that contains them. Therefore create an ETX file which +contains the code +\begin{quote} + |\relax\encoding|\\ + |\nextslot{"C0}|\\ + |\for(pos){250}{750}{50}|\\ + | \setslot{ohungarumlaut\strint{pos}}|\\ + | \endsetslot|\\ + |\endfor(pos)|\\ + |\endencoding| +\end{quote} +The command for installing this experiment font would be something like +\begin{quote} + |\installfont|\marg{some name}|{|\meta{the normal list of metrics}% + |,|\penalty0\meta{the new MTX}|}|\penalty0 + |{ot1,|\meta{the new ETX}|}|\penalty0|{OT1}|\textellipsis +\end{quote} +The reason for including \texttt{ot1} in the third argument above is +that you'll need letters other than `\H{o}' against which you can +compare the experimental glyphs. It would not have been possible to +use \texttt{t1} instead of \texttt{ot1} (even though that has more +Hungarian letters) since that would set all slots in the font and +leave none for these experimental \texttt{ohungarumlaut}s. + +It is even possible to use a loop for making the test text. The +\LaTeX\ macros +\begin{verbatim} +\newcount\slotcount +\newcommand\testtext[3]{% + \slotcount=#1\relax + \begin{description}% + \loop\item[\the\slotcount]#3% + \ifnum #2>>\slotcount \advance \slotcount 1 \repeat + \end{description}% +} +\DeclareTextCompositeCommand{\H}{OT1}{o}{\char\slotcount} +\end{verbatim} +will let you write +\begin{quote} + |\testtext|\marg{first}\marg{last}\marg{text} +\end{quote} +to get the text \meta{text} typeset once for each slot from +\meta{first} to \meta{last} inclusive, with |\H{o}| ranging through the +glyphs in this interval. Thus in this case +|\testtext|\penalty\hyphenpenalty|{"C0}|\penalty\hyphenpenalty|{"CA}|% +\penalty\hyphenpenalty|{Erd\H{o}s}| would be a trivial test. + + +\subsection{Font installation commands} +\label{Ssec:FontInstCmds} + +The |\installfont|, |\installrawfont|, and |\installfontas| commands +have the respective syntaxes +\begin{isyntax} + |\installfont|\marg{font-name}\marg{metrics}\marg{etx-list}\penalty0 + \marg{encoding}\marg{family}\marg{series}\marg{shape}\marg{size}\\ + |\installrawfont|\marg{font-name}\marg{metrics}\marg{etx-list}% + \penalty0 + \marg{encoding}\marg{family}\marg{series}\marg{shape}\marg{size}\\ + |\installfontas|\marg{font-name}\penalty0\marg{encoding}% + \marg{family}\marg{series}\marg{shape}\marg{size} +\end{isyntax} +The \meta{font-name} argument and the last five arguments are common +to all these commands. The first argument is the name of a \TeX\ font +to install. The last five arguments are the NFSS attributes under which +that font will be declared to \LaTeX---encoding, family, series, shape, +and size. It is worth observing that encoding names are usually in +upper case, whereas the family, series, and shape are usually in lower +case. The size argument is either a shorthand (declared using +|\declaresize|) for a particular font +size (or range of font sizes), or an explicit list of font sizes or +ranges of sizes, which is copied directly to the font declaration. +The most common case is to let the size argument be empty, as that is +declared as a shorthand for ``any size''. + +The |\installfontas| command does not itself create the font, it just +makes a note that the specified font declaration should be written to +the proper FD file at |\end|\-|install|\-|fonts|. The +|\install|\-|font| and |\install|\-|raw|\-|font| commands do however +produce the font, in the sense that they write a VPL and PL +respectively file for the font. It depends solely on the \meta{metrics} +and \meta{etx-list} arguments what this font will contain. Many +features of these arguments are new with \fontinst v\,1.9; +therefore the complete syntaxes are described below. + +Both arguments are comma-separated lists of basically file names (not +including an extension). The files listed in the \meta{metrics} are +font metric files which together build up a \emph{glyph base} +(definitions of glyphs and metrics related to one or several glyphs), +whereas the files listed in the \meta{etx-list} are encoding definition +files that select a subset of the glyph base for turning into a +\TeX\ font. The font metrics can be in either of the four formats +MTX, PL, AFM, and VPL, which are considered in that order. If the +metrics are not originally in MTX format then they will be converted +to this format (a new file will be created) before they are used. +The encoding definitions must be in ETX format. The files actually +read will have a suffix \texttt{.mtx}, \texttt{.pl}, \texttt{.afm}, +\texttt{.vpl}, or \texttt{.etx} appended to the name given, depending +on which format is expected. + +Within each element of the comma-separated list, the actual file name +is followed by zero or more \emph{modifier clause}s. A \meta{modifier +clause} consists of a \emph{keyword} followed by some number (usually +one) of \emph{arguments}, separated by spaces. The whole thing looks +a lot like the \meta{rule specifications} of e.g.\ the |\vrule| +command, but here the spaces are mandatory. The currently defined +\meta{modifier clause}s are +\begin{description} + \item[\mdseries\textvisiblespace\texttt{option}\textvisiblespace + \meta{string}] + Available for metric and encoding files. This adds \meta{string} + to the list of options for this file, which may affect what code + the file executes. The file can then test, using the |\ifoption| + command, whether a specific string is one of the options it was + given. + \item[\mdseries\textvisiblespace\texttt{scaled}\textvisiblespace + \meta{factor}] + Available for metric files. Causes the \texttt{rawscale} integer + variable to be set to the \meta{factor} (an integer expression) + while the file is being read. This scales glyphs and kerns that + are added to the glyph base by the \meta{factor}. + \item[\mdseries\textvisiblespace\texttt{suffix}\textvisiblespace + \meta{suffix}] + Available for metric files. Causes \meta{suffix} to be appended + to every glyph name appearing in a glyph or kern that file adds + to the glyph base. Thus ``\texttt{suffix /2}'' effectively + changes a + \begin{quote} + |\setrawglyph{a}|\dots + \end{quote} + to a + \begin{quote} + |\setrawglyph{a/2}|\dots + \end{quote} + \item[\mdseries\textvisiblespace\texttt{encoding}\textvisiblespace + \meta{etx-name}] + Available for metric files, and forces \fontinst to + only consider the PL and VPL formats for this font. + As these file formats do not contain glyph names, an ETX file + is used to assign glyph names to the slots in the font. + This ETX file is usually selected according to the + \texttt{CODINGSCHEME} property of the PL or VPL (using the + correspondences set up via the |\declare|\-|encoding| command), + but that information is not always as one would want it (there + are even fonts for which it is quite wrong). An \texttt{encoding} + clause bypasses this automatic mechanism, so that the file + \meta{etx-name}\texttt{.etx} is used instead. + +% % The following is no longer true as of v1.926: +% \textbf{Note:} The first time that a file in PL or VPL format is +% used in a \meta{metrics} argument, a corresponding MTX file is +% generated. This means that if the same file reference is used +% another time then the reference will be to the MTX file, not to +% the original PL or VPL, and thus \texttt{encoding} clauses on +% subsequent uses will have no effect. Each font only has one +% encoding, so it usually makes no sense to switch the ETX file +% used to interpret a font, but since MTX files are not +% automatically deleted between runs there is a risk that this +% takes away the intended effect of an \texttt{encoding} clause. + + \item[\mdseries\textvisiblespace\texttt{mtxasetx}] + This is available for files in the \meta{etx-list}. The actual + function of a + \begin{quote} + \meta{file-name} \texttt{mtxasetx} + \end{quote} + item in the \meta{etx-list} is that the file + \meta{file-name}\texttt{.mtx} is inputted (\emph{not} + \meta{file-name}\texttt{.etx}) and that the correspondence + between glyph names and slot numbers set up in + |\set|\-|raw|\-|glyph| or |\set|\-|scaled|\-|raw|\-|glyph| + commands in this file is treated as if it had been set up by + |\setslot| commands in an ETX file. Provided the MTX file is + transformable, the glyph base will be unaffected. + + The purpose of this feature is to simplify quick and dirty + installations of odd fonts for which no suitable ETX file is + available. This can be useful in early stages of the design of + a new font, but is inferior to installation using proper ETX + files since one for example cannot specify any ligatures in + MTX files. +\end{description} +Furthermore there is a special exception for the \meta{metrics}: if +the first token in one of the list items is the control sequence +|\metrics|, then the rest of that item is interpreted as explicit +metric commands to execute. + +If the \meta{metrics} of two subsequent |\install|\-|font| +or |\install|\-|raw|\-|font| commands are identical then the glyph +bases will be identical as well. This creates an opportunity for +optimization, which \fontinst makes use of by caching glyph +bases from one installation command to the next so that the glyph +base does not have to be rebuilt in these cases. A side-effect of +this caching is that local assignments made between two font +installation commands are cleared out with the glyph base, but +|\setint| and similar \fontinst commands make global +assignments when used in such positions. + +Some examples might be in order. The first is an adaptation of an +installation command from \texttt{mfnt-0.59} %~\cite{mfnt} +by Matthias Clasen and Ulrik Vieth: the installation command for the +8-bit math font \texttt{xma1000} (which can be thought of as being +to \texttt{cmmi10} sort of as \texttt{ecrm1000} is to \texttt{cmr10}). +The first three \texttt{encoding} clauses are more fine-tuning---without +them, a few glyphs would get incorrect names---but the last two are +quite essential, as the \texttt{msam10} and \texttt{msbm10} fonts +incorrectly claim to have the coding scheme \texttt{TEX MATH +SYMBOLS}. +\begin{verbatim} + \installfont{xma1000}{% + yma1000 encoding mcin,% + cmr10 encoding ot1upright,% + cmmi10,% + cmsy10 encoding omscal,% + msam10 encoding msam,% + msbm10 encoding msbm,% + mccmhax,mccmkern,mcmissing,% + cmsy10-base,cmsy10-extra% + }{mc}{MC}{cm}{m}{n}{<10->} +\end{verbatim} +Also note the explicit \LaTeX\ size specification for the range +``10\,pt and up''. + +The second example makes use of a \texttt{suffix} clause to combine +the letters from one font with the digits from another. +\begin{verbatim} + \installfont{msbrj8t}{msbr8r,msbrc8r suffix /2,latin}{digit2,t1} + {T1}{msbj}{m}{n}{} +\end{verbatim} +In this case, the glyph base contains the glyphs of Monotype Sabon +(SabonMT)---under names such as \texttt{A} for `A', \texttt{a} for +`a', and \texttt{one} for a lining digit one---as well as the +glyphs of Monotype Sabon Small Caps and Oldstyle Figures +(SabonMT-SCOSF)---under names such as \texttt{A/2} for `A', +\texttt{a/2} for `\textsc{a}', and \texttt{one/2} for a hanging +digit one. The \texttt{digit2.etx} file simply makes the definition +\begin{verbatim} + \setcommand\digit#1{#1/2} +\end{verbatim} +which causes \texttt{t1.etx} to put \texttt{zero/2} in slot 48 (digit +zero), \texttt{one/2} in slot 49 etc., instead of as it normally +would \texttt{zero} in slot 48, \texttt{one} in slot 49 and so on. +The net effect is that the digits in the generated \texttt{msbrj8t} +is from \texttt{msbrc8r} (SabonMT-SCOSF) but everything else is from +\texttt{msbr8r} (SabonMT). + +The third example makes use of an \texttt{mtxasetx} clause to install +(with its default encoding) a font for which creating an appropriate +ETX file seems not worth the trouble. +\begin{verbatim} + \installrawfont{psyr}{psyr,\metrics + \setint{xheight}{\height{alpha}} + }{txtfdmns,psyr mtxasetx}{U}{psy}{m}{n}{} +\end{verbatim} +The effect of the second \texttt{psyr} is that \texttt{psyr.mtx} is +read (in case there was no \texttt{psyr.mtx} then it is created from +(hopefully) \texttt{psyr.afm}) and the information in it will form +the glyph base. Because of the |\metrics| control sequence, the rest +of that item will be interpreted as explicit metric commands +modifying the glyph base, and thus the |\setint| command can provide +a value for the \texttt{xheight} variable (there doesn't seem to be +such a value in the AFM). Once the glyph base is completed, the +|\install|\-|raw|\-|font| starts writing the file \texttt{psyr.pl} +(that's for the first \texttt{psyr}). The encoding of that font will, +because of the \texttt{psyr mtxasetx}, be the same as that used in +\texttt{psyr.mtx}. Finally, the \texttt{txtfdmns} is for +\texttt{txtfdmns.etx}, an ETX file which sets fontdimens 1--16 as for +a \texttt{T1} encoded font but does not set any slots. Since +\texttt{psyr.mtx} reinterpreted as an ETX file sets slots but no +fontdimens, these complement each other nicely. + + + +\subsection{Bounding boxes} + +Han The Thanh has created an implementation of bounding box support +for \fontinst, and it is a modified form of that support +is distributed with \fontinst as the file \texttt{bbox.sty}. To load +this, begin your command file with +\begin{verbatim} + \input fontinst.sty + \input bbox.sty +\end{verbatim} +The reason for not making it default is that keeping track of bounding +boxes increases some of \fontinst's memory requirements quite a lot. + +One important +characteristic of this implementation is that the dimensions of the +bounding box are not bundled into the same data structure (the +|\g-|\meta{glyph} macros) as the glyph's width, height, depth, and +italic correction are, but stored in a separate data structure (the +|\gb-|\meta{glyph} macros). A glyph doesn't need to have its bounding +box set, it is simply a piece of information that \fontinst +will store if you tell it to and which you can later retrieve. + +The bounding box will be stored as coordinates of the sides in the +normal AFM coordinate system. The commands for retrieving these +coordinates are +\begin{center} + \begin{tabular}{ll} + \textbf{Command}& \textbf{Side}\\ + |\bbtop|\marg{glyph}& top ($y$-coordinate)\\ + |\bbbottom|\marg{glyph}& bottom ($y$-coordinate)\\ + |\bbleft|\marg{glyph}& left ($x$-coordinate)\\ + |\bbright|\marg{glyph}& right ($x$-coordinate) + \end{tabular} +\end{center} +In Thanh's implementation the command names were |\ury|, |\lly|, +|\llx|, and |\urx| respectively instead, but I think the former are +easier to remember. If no bounding box has been set for a glyph then +the above commands will instead report the corresponding coordinate of +the glyph's \TeX\ box (i.e.\ |\height|\marg{glyph}, +|\neg{\depth|\marg{glyph}|}|, |0|, and |\width|\marg{glyph} +respectively). + +The command for setting the bounding box of a glyph is +\begin{quote} + |\setglyphbb|\marg{glyph}\marg{left}\marg{bottom}\marg{right}% + \marg{top} +\end{quote} + + + +\section{Miscellaneous notes} + +\subsection{On verbatim, typewriter, and monowidth fonts} + +The verbatim, typewriter, and monowidth concepts are common sources +of confusion for those who use \fontinst to install fonts +with \LaTeX; in particular +there are many misconceptions about the relation between them. The +official view (of which not much has actually been brought forward) +is that these concepts are really about three quite different things. + +A font is a \emph{monowidth} (monospaced, fixed-pitch) font if all +glyphs in it have exactly the same width. Some font formats make +special provisions for such fonts; the most notable example is the +AFM format, where a single \texttt{CharWidth} keyword specifies the +width for all glyphs in the font. \Fontinst responds to this +by including the command +\begin{quote} + |\setint{monowidth}{1}| +\end{quote} +in the MTX file generated from an AFM, but that is everything that is +hard-wired into the program. That a font is monowidth is however +something that one should take note of when installing it for \TeX, +as it means many of the glyphs in it have such a strange appearance +that they are (pretty much) useless. The \texttt{endash} is for +example usually only half as long as the \texttt{hyphen} and the +letters in ligature glyphs are only half as wide as normal letters. +Many of the ETX and MTX files that come with \fontinst +contain special commands to avoid making use of such degenerate +glyphs. + +That a font is a \emph{typewriter} font really only means that it has +a typewriterish look about it. The two most familiar typewriter fonts +are probably Computer Modern Typewriter (\texttt{cmtt}) and Courier. +Both of these fonts are monowidth, but there is no absolute rule about +this. One of the standard \TeX\ fonts is for example Computer Modern +Variable-width Typewriter (\texttt{cmvtt}), which is not a monowidth +font, as Figure~\ref{Fig:TTvsVTT} shows. +\begin{figure} + \begin{tabular}{ll} + \texttt{cmtt}:& \fontfamily{cmtt}\selectfont + The quick brown fox jumps over the lazy dog.\\ + \texttt{cmvtt}:& \fontfamily{cmvtt}\selectfont + The quick brown fox jumps over the lazy dog. + \end{tabular} + \caption{Two typewriter fonts} + \label{Fig:TTvsVTT} +\end{figure} + +The verbatim concept has very little to do with fonts at all; in +\LaTeX\ it is considered to be a property of the environment +(\texttt{verbatim}, \texttt{macrocode}, etc.) rather than a property +of the font. The connection there is with fonts is that the encoding +of the font must contain visible ASCII (as defined in Appendix~C +of \emph{The \TeX book}%~\cite{TeXbook} +) as a subset for the text to +be rendered correctly. The \texttt{cmtt} family is the only one amongst +the original Computer Modern fonts which meets this criterion and +that is the primary grounds for the idea that these three concepts +should be connected. Today that reason is at best a very weak one, as +all \texttt{T1}-encoded fonts also meet the criterion of containing +visible ASCII as a subset. + +A circumstance which has probably added to the confusion is that +\texttt{OT1} is usually claimed to be an encoding. In reality the +Computer Modern fonts that are declared in \LaTeX\ as being +\texttt{OT1} display as many as five different encodings, as shown in +Table~\ref{Tab:OT1-fonts}. +\begin{table} + \begin{tabular}{lccc} + & \texttt{TEX TEXT}& + \begin{tabular}[b]{c}\texttt{TEX TEXT WITHOUT}\\ + \texttt{F-LIGATURES}\end{tabular}& + \texttt{TEX TYPEWRITER TEXT}\\ + \noalign{\medskip} + non-italic& + \begin{tabular}{l} + \texttt{cmb10}\\ + \texttt{cmbx5}--\texttt{12}\\ + \texttt{cmbxsl10}\\ + \texttt{cmdunh10}\\ + \texttt{cmff10}\\ + \texttt{cmfib8}\\ + \texttt{cmr6}--\texttt{17}\\ + \texttt{cmsl8}--\texttt{12}\\ + \texttt{cmss8}--\texttt{17}\\ + \texttt{cmssbx10}\\ + \texttt{cmssdc10}\\ + \texttt{cmssi8}--\texttt{17}\\ + \texttt{cmssq8}\\ + \texttt{cmssqi8}\\ + \texttt{cmvtt10} + \end{tabular}& + \begin{tabular}{l} + \texttt{cmcsc8}--\texttt{10}\\ + \texttt{cmr5} + \end{tabular}& + \begin{tabular}{l} + \texttt{cmsltt10}\\ + \texttt{cmtcsc10}\\ + \texttt{cmtt8}--\texttt{12} + \end{tabular}\\ + \noalign{\medskip} + italic& + \begin{tabular}{l} + \texttt{cmbxti10}\\ + \texttt{cmfi10}\\ + \texttt{cmti7}--\texttt{12}\\ + \texttt{cmu10} + \end{tabular}&& + \begin{tabular}{l} + \texttt{cmitt10} + \end{tabular} + \end{tabular} + \caption{``\texttt{OT1}-encoded'' Computer Modern fonts, collected + according to the actual font encoding} + \label{Tab:OT1-fonts} +\end{table} +Since most monowidth fonts are only used for setting verbatim text, +there is some code in \texttt{ot1.etx} which automatically chooses a +\texttt{TEX TYPEWRITER TEXT} encoding for the font when the +\texttt{monowidth} integer is set. The only reason for this is the +guess that this is what the user wanted. + + + +\section*{Acknowledgements} + +I'd like to thank all of the \fontinst $\alpha$-testers, especially +Karl Berry, Damian Cugley, Steve Grahthwohl, Yannis Haralambous, Alan +Hoenig, Rob Hutchings, Constantin Kahn, Peter Busk Laursen, Ciar{\'a}n {\'O} +Duibh{\'\i}n, Hilmar Schlegel, Paul Thompson, Norman Walsh and John Wells, +who made excellent bug-catchers! + +Thanks to Barry Smith, Frank Mittelbach, and especially Sebastian +Rahtz for many useful email discussions on how virtual fonts should +interact with \LaTeXe. + +Thanks to Karl Berry and Damain Cugley for detailed comments on this +documentation. + +Thanks to David Carlisle for the use of his \texttt{trig} macros for +calculating trigonometry. + + +% \section*{Warranty and distribution} +% +% There is no warranty for the \fontinst package, to the extent +% permitted by applicable law. Except when otherwise stated in writing, +% the author provides the program `as is' without warranty of any kind, +% either expressed or implied, including, but not limited to, the +% implied warranties of merchantability and fitness for a particular +% purpose. The entire risk as to the quality and performance of the +% program is with you. Should the package prove defective, you assume +% the cost of all necessary servicing, repair or correction. +% +% In no event unless required by applicable law or agreed to in writing +% will the author be liable to you for damages, including any general, +% special, incidental or consequential damages arising out of the use or +% inability to use the program (including but not limited to loss of +% data or data being rendered inaccurate or losses sustained by you or +% third parties or a failure of the program to operate with any other +% programs), even if such holder or other party has been advised of the +% possibility of such damages. +% +% Redistribution of unchanged files is allowed provided that all files +% listed in the \texttt{MANIFEST} file are distributed. +% +% If you receive only some of these files from someone, or if you +% receieve altered files, then complain! + +\end{document} diff --git a/Master/texmf-dist/doc/fontinst/base/manual/intro98.pdf b/Master/texmf-dist/doc/fontinst/base/manual/intro98.pdf Binary files differnew file mode 100644 index 00000000000..d18cd3d8616 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/manual/intro98.pdf diff --git a/Master/texmf-dist/doc/fontinst/base/manual/intro98.tex b/Master/texmf-dist/doc/fontinst/base/manual/intro98.tex new file mode 100644 index 00000000000..0e7c485ab6c --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/manual/intro98.tex @@ -0,0 +1,1330 @@ +%%% ==================================================================== +%%% @LaTeX-file{ +%%% author = "Alan Jeffrey and Rowland McDonnell and +%%% Ulrik Vieth and Lars Hellstr{\"o}m", +%%% version = "1.927", +%%% date = "28 July 2004", +%%% time = "23:20:27 CEST", +%%% filename = "intro98.tex", +%%% email = "fontinst@tug.org", +%%% checksum = "", +%%% codetable = "ISO/ASCII", +%%% keywords = "fontinst, TeX, PostScript, documentation", +%%% supported = "yes", +%%% abstract = "This is documentation for the fontinst +%%% font installation package.", +%%% package = "fontinst", +%%% dependencies = "ltxguide.cls, url.sty, xspace.sty" +%%% } +%%% ==================================================================== + +% Copyright 1993, 1994, 1995, 1996 Alan Jeffrey + +% Modified by Rowland McDonnell June 1998 +% Modified and revised by Ulrik Vieth June 1998 + +\documentclass[a4paper]{ltxguide} +\usepackage[OT1]{fontenc} +\usepackage{url,xspace} +\usepackage{graphicx} +%\renewcommand\rmdefault{ppl} +%\renewcommand\rmdefault{padx} +%\renewcommand\rmdefault{pmnx} + + +% Title page and running heads. + +\makeatletter +\newcommand{\subtitle}[1]{\renewcommand{\@subtitle}{#1}} +\newcommand{\version}[1]{\renewcommand{\@version}{#1}} +\newcommand{\illustration}[1]{\renewcommand{\@illustration}{#1}} + +\newcommand{\@subtitle}{} +\newcommand{\@version}{???} +\newcommand{\@illustration}{cover.eps} + +\pagestyle{myheadings} +\AtBeginDocument{\markright{\small\itshape + \@author\hfill\@title: \@subtitle\quad}} + + +\renewcommand{\maketitle}{{% + \thispagestyle{empty}% + \normalfont\centering + \null + {\fontsize{100}{100}\textit{\@title}}% + \par\bigskip + {\Large\textbf{\@subtitle}}% + \vfill + \includegraphics[width=\textwidth]{\@illustration}% + \vfill + {\Large\textbf{% + \@author\\[\smallskipamount] \@title~v\@version + \quad\textperiodcentered\quad \@date}}% + \clearpage +}} +\makeatother + + +% Set lists tighter (assuming non-zero \parskip). + +\makeatletter +\renewcommand{\@listI}{% + \leftmargin\leftmargini + \parsep\medskipamount + \itemsep\z@ % + parsep + \topsep\z@ % + parskip + \partopsep\z@ +} +\makeatother + +% Set spacing around captions. + +\setlength{\abovecaptionskip}{\medskipamount} +\setlength{\belowcaptionskip}{\medskipamount} + +% Markup for logos, file types, programs, etc. + +\newcommand*{\cs}[1]{\texttt{\char`\\ #1}\xspace} + +\newcommand*{\OzTeX}{O\kern-.03em z\kern-.15em\TeX} +\newcommand*{\OzMF}{O\kern-.03em zMF} +\newcommand*{\OzTools}{O\kern-.03em z\kern-.15em Tools} + +\newcommand{\PS}{Post\-Script\xspace} +\newcommand{\TT}{True\-Type\xspace} + +\newcommand*{\setfilename}[1]{\texttt{#1}} +\newcommand*{\setdotfilename}[1]{\setfilename{.#1}} +\newcommand*{\setpackagename}[1]{\textsc{#1}} + +\newcommand{\dvips} {\setpackagename{dvips}\xspace} +\newcommand{\Dvips} {\setpackagename{Dvips}\xspace} +\newcommand{\fontinst}{\setpackagename{font\-inst}\xspace} +\newcommand{\Fontinst}{\setpackagename{Font\-inst}\xspace} + +% \show\fontname +\newcommand{\fontnamekb}{fontname\xspace} +\newcommand{\Fontnamekb}{Fontname\xspace} + +\newcommand{\mf} {\setfilename{mf}\xspace} +\newcommand{\Mf} {\setfilename{Mf}\xspace} +\newcommand{\vf} {\setfilename{vf}\xspace} +\newcommand{\Vf} {\setfilename{Vf}\xspace} +\newcommand{\pl} {\setfilename{pl}\xspace} +\newcommand{\Pl} {\setfilename{Pl}\xspace} +\newcommand{\fd} {\setfilename{fd}\xspace} +\newcommand{\Fd} {\setfilename{Fd}\xspace} +\newcommand{\pk} {\setfilename{pk}\xspace} +\newcommand{\Pk} {\setfilename{Pk}\xspace} +\newcommand{\afm}{\setfilename{afm}\xspace} +\newcommand{\Afm}{\setfilename{Afm}\xspace} +\newcommand{\vpl}{\setfilename{vpl}\xspace} +\newcommand{\Vpl}{\setfilename{Vpl}\xspace} +\newcommand{\tfm}{\setfilename{tfm}\xspace} +\newcommand{\Tfm}{\setfilename{Tfm}\xspace} +\newcommand{\mtx}{\setfilename{mtx}\xspace} +\newcommand{\Mtx}{\setfilename{Mtx}\xspace} +\newcommand{\etx}{\setfilename{etx}\xspace} +\newcommand{\Etx}{\setfilename{Etx}\xspace} +\newcommand{\pfa}{\setfilename{pfa}\xspace} +\newcommand{\Pfa}{\setfilename{Pfa}\xspace} +\newcommand{\pfb}{\setfilename{pfb}\xspace} +\newcommand{\Pfb}{\setfilename{Pfb}\xspace} +\newcommand{\dvi}{\setfilename{dvi}\xspace} +\newcommand{\Dvi}{\setfilename{Dvi}\xspace} +\newcommand{\ttf}{\setfilename{ttf}\xspace} +\newcommand{\Ttf}{\setfilename{Ttf}\xspace} + +\newcommand{\vftovp}{\setpackagename{vftovp}\xspace} +\newcommand{\vptovf}{\setpackagename{vptovf}\xspace} +\newcommand{\pltotf}{\setpackagename{pltotf}\xspace} +\newcommand{\tftopl}{\setpackagename{tftopl}\xspace} + + +% Stolen from Dr Knuth +\makeatletter % borrow the private macros of PLAIN (with care) +\def\oct#1{\hbox{\rm\'{}\kern-.2em\it#1\/\kern.05em}} % octal constant +\def\hex#1{\hbox{\rm\H{}\tt#1}} % hexadecimal constant +% macros for font tables +\def\oddline#1{\cr + \noalign{\nointerlineskip} + \multispan{19}\hrulefill& + \setbox0=\hbox{\lower 2.3pt\hbox{\hex{#1x}}}\smash{\box0}\cr + \noalign{\nointerlineskip}} +\def\evenline{\cr\noalign{\hrule}} +\def\chartstrut{\lower4.5pt\vbox to14pt{}} +\def\beginchart#1{$$\global\count@=0 #1 + \halign to\hsize\bgroup + \chartstrut##\tabskip0pt plus10pt& + &\hfil##\hfil&\vrule##\cr + \lower6.5pt\null + &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline} +\def\endchart{\raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B& + &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup$$} +\def\*{\global\advance\count@ by1 } +\def\:{\setbox0=\hbox{\char\count@}% + \ifdim\ht0>7.5pt\reposition + \else\ifdim\dp0>2.5pt\reposition\fi\fi + \box0\global\advance\count@ by1 } +\def\reposition{\setbox0=\hbox{$\vcenter{\kern2pt\box0\kern2pt}$}} +\def\smallchart{% +%\global\advance\count@ by16 + &\oct{00x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline0 + &\oct{01x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{02x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline1 + &\oct{03x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{04x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline2 + &\oct{05x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{06x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline3 + &\oct{07x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{10x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline4 + &\oct{11x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{12x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline5 + &\oct{13x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{14x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline6 + &\oct{15x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{16x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline7 + &\oct{17x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline} + +\def\bigchart{% +%\global\advance\count@ by16 + &\oct{00x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline0 + &\oct{01x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{02x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline1 + &\oct{03x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{04x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline2 + &\oct{05x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{06x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline3 + &\oct{07x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{10x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline4 + &\oct{11x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{12x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline5 + &\oct{13x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{14x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline6 + &\oct{15x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{16x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline7 + &\oct{17x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{20x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline8 + &\oct{21x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{22x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline9 + &\oct{23x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{24x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{A} + &\oct{25x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{26x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{B} + &\oct{27x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{30x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{C} + &\oct{31x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{32x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{D} + &\oct{33x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{34x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{E} + &\oct{35x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline + &\oct{36x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline{F} + &\oct{37x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline} + +% \font\xrm = cmr10 at 10pt % change this line to test font +% \beginchart\xrm \normalchart \endchart + +\newcommand{\smallfontchart}[1]{% + \font\xrm = #1 \beginchart\xrm \smallchart \endchart} +\newcommand{\bigfontchart}[1]{% + \font\xrm = #1 \beginchart\xrm \bigchart \endchart} + +% \smallfontchart{cmr10 at 10pt} +% \bigfontchart{ecrm1000 at 10pt} +\makeatother +% End stolen from Dr Knuth + + + +\title{fontinst} +\subtitle{Font installation software for \TeX} +\author{Alan Jeffrey and Rowland McDonnell} +\illustration{roadmap.eps} +\version{1.8} +\date{30 June 1998} + +\begin{document} + +\maketitle + + +\begin{small} + This is the tutorial part of the 1998 \fontinst manual, chiefly + written by Rowland McDonnell and conveying his then-view on related + subjects. Although most of it is still correct, + the passing of time has rendered it somewhat antiquated, and the + average current (2004) user new to \fontinst would probably find + Philipp Lehman's \emph{The Font Installation Guide} + (\url{http://www.ctan.org/tex-archive/info/Type1fonts/fontinstallationguide/}) + more relevant. +\end{small} + +\tableofcontents + + +\clearpage + +\section{Introduction} + +The \fontinst package is a set of \TeX\ macros written to create +virtual fonts for use with \TeX. Its main use is creating the +files needed so you can use PostScript Type 1 fonts with \LaTeX. + +\Fontinst needs information about the fonts it works with. This +information needs to be supplied in an Adobe Font Metric (\afm) or +\TeX\ Property List (\pl) file. \pl files can be created from +\tfm files using \tftopl, a program normally included with a \TeX\ +system. + +The job that \fontinst does is complicated, but it can be used for +many tasks by people who are not \TeX\ font wizards. Having said +that, you do need to understand at least the basics of \LaTeXe's +font selection mechanism, which is documented in +\texttt{fntguide.tex}, part of the standard \LaTeX\ distribution. +\url{ftp://ftp.tex.ac.uk/tex-archive/macros/latex/base/fntguide.tex} +will fetch a copy if you don't have one to hand. + +To get the most benefit out of \fontinst, it's important to +understand and use Karl Berry's `\Fontnamekb' naming scheme. The +definitive version of this is available from your nearest CTAN +server. The following URL will fetch all the files needed +compressed into a single ZIP archive: +\url{ftp://ftp.tex.ac.uk/tex-archive/info/fontname.zip}. I +suggest that you print out the \Fontnamekb documentation and have +it handy when you're learning about \fontinst. + +The \fontinst package: +\begin{itemize} +\item Is written in \TeX, for maximum portability (at the cost of + speed). +\item Supports the OT1 (Computer Modern) and T1 (Cork) encodings. +\item Allows fonts to be generated with arbitrary `fake' + characters; for example the `ij' character can be faked if + necessary by putting an `i' next to a `j'. +\item Allows caps and small caps fonts with letter spacing and + kerning. +\item Allows kerning to be shared between characters, for example + `ij' can be kerned on the left as if it were an `i' and on the + right as if it were a `j'. This is useful, since many + PostScript fonts only include kerning information for characters + without diacriticals. +\item Allows the generation of math fonts with \verb|nextlarger|, + \verb|varchar|, and arbitrary font dimensions. +\item Allows more than one PostScript font to contribute to a + \TeX\ font, for example the `ffi' ligatures for a font can be + taken from the Expert encoding, if you have it. +\item Can automatically generate a \fd file for use with \LaTeXe. +\item Can be customized by the user to deal with arbitrary font + encodings. +\end{itemize} +Fontinst has been a stable piece of software since mid-1994. All +further updates will be upwardly compatible with the interface +described in this document. + +\subsection{What does \fontinst do?} + +\Fontinst is a tool written in \TeX\ that can create the various +extra files needed so you can use \PS fonts with \LaTeX\ and \TeX. +It can read in \afm files, and produces the necessary \vpl, \pl, +and \fd files to use the fonts (the human-readable \vpl and \pl +files produced by \fontinst are turned into the machine-readable +\vf and \tfm forms by \vptovf and \pltotf). It does not help you +configure your DVI driver. + +There also exists a \texttt{perl} front-end to \fontinst, intended +specifically for use with a Unix \TeX\ system, which takes care of +routine tasks such as running \vptovf and \pltotf on the generated +files after \fontinst has finished it's job. It also generates a +font map file for use with \dvips. + +\Fontinst's main job is creating \vf files (virtual fonts). Not +all \TeX\ systems can use them. As far as I know, all current +(1998) free and shareware \TeX\ systems can; virtual fonts have +been in widespread use with \TeX\ since 1990. If you have a TeX +system that can't use virtual fonts, \fontinst is most likely +useless to you. + +There are some nice things about having a tool written in \TeX\ to +do this: it's completely portable and you can modify its behaviour +using \TeX\ commands. The only real problem is that it's +relatively slow: you can expect a typical \fontinst run to take +something like 10--20 minutes on, say, a 40~MHz 80486SX PC or a +25~MHz 68LC040 Macintosh. + +\Fontinst can do its work on any font for which you have a +corresponding \afm or \tfm metric file, so it's not limited to +working with \PS fonts; I have used it to produce the files I +needed to use \TT fonts with \LaTeX. Whether or not you can do +this depends on whether or not you have suitable metric files and +whether or not your \TeX\ system can use \TT fonts. In +particular, the pdf\TeX\ program supports \TT fonts and includes a +utility \texttt{ttf2afm} to generate \afm files from \ttf fonts. + +Some people have used \fontinst to produce `special effects' with +normal \TeX\ fonts. One example is the \setpackagename{eco} set +of fonts (available from CTAN: +\url{ftp://ftp.tex.ac.uk/tex-archive/fonts/eco/}). These fonts +are the same as the standard EC (European Modern) fonts, but with +normal numerals replaced with old style numerals -- +\oldstylenums{12345} rather than 12345 -- everywhere except in +maths mode. + +\subsection{Installation} + +To install \fontinst, put the contents of the \url{inputs/tex}, +\url{inputs/etx}, \url{inputs/mtx} and \url{examples} directories +into a directory read by \TeX, for example +\url{TEXMF/tex/generic/fontinst}. + +When you use \fontinst, you need to make sure that the \afm and +\pl files it will work on are in a directory searched by \TeX. + +If you are using \texttt{web2c} \TeX\ on a Unix system with the +\TeX\ directory structure (TDS), you might put all the \afm files +in subdirectories of \url{TEXMF/fonts/afm/*}. And then say: +\begin{verbatim} + setenv TEXINPUTS $TEXMF/fonts/afm//:: +\end{verbatim}%$ +Note that \pl files are not normally kept in \TeX\ installations, so +if you want to use MF fonts with \fontinst you have to generate the +corresponding \pl files from \tfm files and put them in your working +directory before running \fontinst. + +You could adopt a similar strategy with other \TeX\ systems: +create directories for the required files and then change the +relevant parameter (\url{input_folders} in the default +configuration file with \OzTeX, for example). + +The approach I use is this: I write a file containing commands for +\fontinst to process, and put the \afm and \pl files needed in the +same directory as that file. When \fontinst has finished working, +I delete the \afm and \pl files because they are not needed and +waste space on my hard disc drive. Some application programs on +some computers need \afm files, so it's not always a good idea to +remove them completely. + +\subsection{Why do we need \fontinst?} + +\TeX\ refers to characters by number when it's typesetting. When +you use a command like \verb|\i|, \TeX\ puts a number (16 if +you're using OT1, 25 if you're using T1) into the \dvi file. If +you're using a font designed for use with \TeX, this number will +correspond to the character `\i'. Assuming OT1 encoding for the +moment, when you come to print out your \dvi file, the DVI driver +will see the number 16 in the \dvi file, and select the character +that sits in position 16 of the corresponding printer font file (a +\pk file in the case of normal \TeX\ fonts). Unless something has +gone wrong, that will result in the character `\i' being placed on +the page. + +It's useful to think of these numbers and the actual characters +corresponding to each number as sets called `encodings'. A +particular set of characters are assigned particular numbers. An +example of an encoding is shown in table~\ref{OT1table}. + +\TeX\ began life using 7-bit fonts. This means the original \TeX\ +fonts used the numbers 0--127 to represent characters: +128~characters per font. \TeX\ can now use 8-bit fonts: +256~numbers from 0--255, but even so, most typesetting with \TeX\ +still uses the original 7-bit encoding, now called `OT1' (Old +\TeX~1 encoding). This has a correspondance between numbers and +characters shown in table~\ref{OT1table}. The numbers used in +that table are hexadecimal and octal because it makes for a neat +table and anyway I stole the code to generate it from Donald Knuth +and that's how he did it. + +\begin{table}[!t] +\smallfontchart{cmr10 at 10pt} +\caption{The OT1 font encoding}\label{OT1table} +\end{table} + +Returning to the example above, if you've a number 16 in your \dvi +file (expecting `\i', a dotless~i), but rather than printing +with an OT1 encoded font, you print using a non re-encoded \PS +font in Adobe standard encoding, you'll get a blank, because the +Adobe standard encoding has nothing in that character position. + +There are several ways round this problem; I'll consider two cases +here. If you are using \LaTeX\ you can tell it about a new +encoding and re-define the commands that produce characters like +`\i' that live in different positions in different encodings, or +you can use a tool to re-encode the font so that it has the +expected characters in the appropriate positions. + +Re-encoding is the approach \fontinst uses: it can produce files +to map the characters in the new font to one of \TeX's existing +encodings; this works with formats other than \LaTeX. + +The first approach is used to define the standard encodings that +\LaTeX\ uses. See, for example, the file \texttt{ot1enc.def} that +comes with the current \LaTeX\ distribution, which defines the a +few commands that refer to characters which aren't in the +positions \TeX\ would otherwise assume. This works only with +modern versions of \LaTeX. + +The second approach is used to allow you to use fonts in other +encodings with any dialect of \TeX. It has the some advantages +over the first method: it works with any \TeX\ format; and it +improves portability, because you can typeset a document using a +standard \TeX\ encoding, sure that the same document will print +correctly on a different kind of computer using a font with a +different encoding. For example, you might say: +\begin{verbatim} + \usepackage{times} +\end{verbatim} +in the preamble of your document. On my computer, that means my +DVI driver will use a Macintosh encoded \TT version of Times. On +your computer, it might mean the dvi driver will use a Unicode +encoded \PS version of Times-Roman. The results will be identical +in either case, without needing to modify the document. + +\subsection{How do you use \fontinst?} + +\Fontinst works on \afm files named (more-or-less) according to +Karl Berry's font naming scheme (see +\url{ftp://ftp.tex.ac.uk/tex-archive/info/fontname} at CTAN). +Let's say you want to use the Adobe Times fonts. You can get the +metric files for this font from CTAN: +\begin{center} +\begin{small} +\begin{tabular}{ll} + \emph{Location of file at CTAN} & \emph{Rename to} \\ + \url{fonts/psfonts/adobeafm/base35/tib_____.afm} & + \texttt{ptmb8a.afm} \\ + \url{fonts/psfonts/adobeafm/base35/tibi____.afm} & + \texttt{ptmbi8a.afm} \\ + \url{fonts/psfonts/adobeafm/base35/tii_____.afm} & + \texttt{ptmri8a.afm} \\ + \url{fonts/psfonts/adobeafm/base35/tir_____.afm} & + \texttt{ptmr8a.afm} +\end{tabular} +\end{small} +\end{center} +The new name is the name you should give the \tfm files so that +\fontinst understands what each file contains. The initial `|p|' +means `Adobe'; `|tm|' means `Times'; `|b|' bold, `|r|' roman, +`|i|' italic; and `|8a|' means `Adobe standard encoding'. + +The simplest use of \fontinst is to put the four \afm files in the +same directory as \texttt{fontinst.sty} and run \TeX\ on +\texttt{fontinst.sty}. At the \verb|*| prompt type: +\begin{verbatim} + *\latinfamily{ptm}{} \bye +\end{verbatim} + +Some time later (about 17 minutes on my rather old computer), +\fontinst will have finished, having created: +\begin{itemize} +\item Two \pl files for each \afm file +\item One \vpl file for each \TeX\ font +\item One \fd file for each family +\end{itemize} +The \pl files come in pairs: for example, \texttt{ptmb8a.pl} and +\texttt{ptmb8r.pl}. The |8a| version has the same encoding as the +original font; the |8r| version is re-encoded to |TeXBase1| (|8r|) +encoding, and is the font that is the base on which the T1 and OT1 +encoded versions are based on. The raw |8a| (Adobe standard) +encoded font is not normally used. + +These can be converted to \TeX\ fonts using \pltotf or \vptovf. +If you have \OzTeX, launch \OzMF, select \pltotf (or \vptovf) from +the Tools menu, and say `Do all files'. + +If you use the \texttt{bash} shell on a Unix system, you can +process all files using these one-liners at the \verb|$| prompt: +\begin{verbatim} + $ for f in in *.pl; do pltotf $f; done + $ for f in in *.vpl; do vptovf $f; done +\end{verbatim}%$ +(This assumes that \pltotf and \vptovf can deduce the file names +of the corresponding \tfm and \vf files automatically.) + +You should then: +\begin{itemize} +\item Move the \tfm files to your \TeX\ fonts directory\\ + (e.g.~\url{TEXMFLOCAL/fonts/tfm/*}). +\item Move the \vf files to your virtual fonts directory\\ + (e.g.~\url{TEXMFLOCAL/fonts/vf/*}). +\item Move the \fd files to your \TeX\ inputs directory\\ + (e.g.~\url{TEXMFLOCAL/tex/latex/psfonts/*}). +\end{itemize} +If your \TeX\ installation is organized using the \TeX\ directory +structure (TDS), it is customary to subdivide the \tfm and \vf +files into subdirectories by supplier and typeface name. + +The \pl, \vpl, and \mtx files are debris that can now be deleted. +\mtx files are font metric files \fontinst creates for its own use +from \afm and \pl files. They're just more convenient for \TeX\ +to read than other forms -- think of them as \fontinst readable +\afm and \pl files. + +By now, you have all the files in place to produce a \dvi file +using the new fonts. You can make Adobe Times the default roman +font in your document by putting this in your preamble: +\begin{verbatim} + \renewcommand{\rmdefault}{ptm} +\end{verbatim} + +\TeX\ will now happily produce a perfectly good \dvi file +including the new font, which your DVI driver will choke on +because you've not yet told it about the new fonts. Exactly how +you do this depends on the dvi driver, but they all need the same +information: the name of a \TeX\ font; the printer font name it +corresponds to; some information to handle an re-encoding needed; +and (in the case of a \PS driver) perhaps an instruction to +download the font to the printer. You don't need to download the +Times font to a \PS printer, because Times is built in to every +\PS printer. + +If you use \dvips, these lines added to your \texttt{psfonts.map} +file will do the job: +\begin{verbatim} + ptmr8r Times-Roman "TeXBase1Encoding ReEncodeFont" <<8r.enc + ptmri8r Times-Italic "TeXBase1Encoding ReEncodeFont" <<8r.enc + ptmb8r Times-Bold "TeXBase1Encoding ReEncodeFont" <<8r.enc + ptmbi8r Times-BoldItalic "TeXBase1Encoding ReEncodeFont" <<8r.enc + ptmro8r Times-Roman "0.167 SlantFont TeXBase1Encoding ReEncodeFont" <<8r.enc + ptmbo8r Times-Bold "0.167 SlantFont TeXBase1Encoding ReEncodeFont" <<8r.enc +\end{verbatim} +And now you can print a \dvi file containing the new fonts. If +you really do want to use the `raw' |8a| encoded fonts for some +reason, you need to add these lines to your \texttt{psfonts.map} +file: +\begin{verbatim} + ptmr8a Times-Roman + ptmri8a Times-Italic + ptmb8a Times-Bold + ptmbi8a Times-BoldItalic + ptmro8a Times-Roman "0.167 SlantFont" + ptmbo8a Times-Bold "0.167 SlantFont" +\end{verbatim} + +Assuming that you're using the \fd file that \fontinst has +produced, and that you've asked for the Adobe Times family (|ptm|) +in medium series (|m|) and upright shape (|n| for normal) using +the NFSS font selection commands: +\begin{verbatim} + \renewcommand{\rmdefault}{ptm} + \rmfamily \mdseries \upshape +\end{verbatim} +Assuming further that you are using the \fd file \texttt{t1ptm.fd} +produced by \fontinst, the \TeX\ font (\tfm file) \texttt{ptmr8t.tfm} +will be selected by the above commands, as you can see from the +relevant line in \texttt{t1ptm.fd}: +\begin{verbatim} + \DeclareFontShape{T1}{ptm}{m}{n}{<<->> ptmr8t}{} +\end{verbatim} + +This is what happens: +\begin{itemize} +\item \TeX\ typesets your document using the font metric file + \texttt{ptmr8t.tfm}; this is the font that is put in the \dvi + file. +\item \Dvips looks at the \dvi file, and sees a reference to the + font \texttt{ptmr8t}. +\item \Dvips searches for a \vf file corresponding to + \texttt{ptmr8t}; when it finds \texttt{ptmr8t.vf}, it knows it + has a virtual font on its hands. + %\footnote{This is a slight lie--why?} +\item \Dvips follows the instructions in the \vf file, which map + characters in \texttt{ptmr8t.tfm} to characters in the font + \texttt{ptmr8r.tfm}. That is, when it sees a number~25 in the + \dvi file (dotless~i -- `\i' -- in T1 encoding), it replaces it + with a number~17, which is a dotless~i in |8r| encoding. +\item Then \dvips looks up the name of each number according to + the scheme given in the file \texttt{8r.enc}, and replaces each + number with the name of the character, in this case, number~17 + is listed as `dotlessi'. +\item And finally, \dvips tells the printer to print the named + character. +\end{itemize} + +Not all DVI drivers can manage re-encoding as well as \dvips can. +For example, \OzTeX's built-in non-\PS \dvi driver can only work +with numbers, so if I'm using a \PS font, I can't print characters +(such as Eth) that don't have a number in Macintosh text encoding +unless I use \dvips and print on a \PS printer. \Dvips works with +character names, so it's not subject to this restriction. In the +example above, \OzTeX\ would replace the number~17 for `dotlessi' +in |8r| encoding with a number~245 for `dotlessi' in Macintosh +text encoding. + +The details of the \LaTeXe{} font selection scheme are described +in \emph{\LaTeXe{} font selection} (distributed with \LaTeXe\ as +the file \texttt{fntguide.tex}) and \emph{The \LaTeX\ Companion} +(Goossens, Mittelbach and Samarin, Addison-Wesley). +%You might also find useful the file \url{info/simple-nfss.tex} +%available at your nearest comprehensive \TeX\ archive network +%(CTAN) FTP server. + +The files you need to use Times, Helvetica, Courier, and the rest +of the `standard' \PS fonts are distributed as part of the +\setpackagename{PSNFSS} bundle available from CTAN, so there's no +need to create new files to use these fonts. + +A more involved example of \fontinst use can be seen in the file +\texttt{fontptcm.tex} which creates the files you need to use a +combination of Times, Symbol, Zapf Chancery and Computer Modern as +\TeX\ math fonts. + + +\section{Installing your own font family} + +The \fontinst package has a command \verb|\latinfamily| meant to +do most of the work to install a `normal' set (family) of roman +text fonts from Adobe. Assuming you have a set of \afm files to +match the fonts you wish to use, the first step is to rename the +\afm files according to the \Fontnamekb naming scheme. + +A `normal' set of text fonts usually includes the basic upright +roman version, bold, italic, and bold italic. Sometimes there +will also be small caps versions, perhaps some `expert' fonts, and +maybe some other weights such as light, medium, semi bold, black +or ultra bold. + +The most important point to note is this: no matter what sort of +computer you're using and no matter what font encoding it uses +normally, \afm files for text fonts are almost always in |8a| +encoding (Adobe standard encoding), so the \afm files when renamed +normally end in |8a|. + +A typical set of four \afm files re-named for use with \fontinst +is this: +\begin{verbatim} + ptmr8r.afm Times-Roman + ptmri8r.afm Times-Italic + ptmb8r.afm Times-Bold + ptmbi8r.afm Times-BoldItalic +\end{verbatim} +Not all \afm files use |8a| encoding. If you open an \afm file +using a text editor, you'll see a line looking like this somewhere +near the top: +\begin{verbatim} + EncodingScheme AdobeStandardEncoding +\end{verbatim} +and if you see exactly that, the \afm file should end with |8a|. +If you see something like this: +\begin{verbatim} + EncodingScheme FontSpecific +\end{verbatim} +have a look at the name of the font in the \afm file. If you see +something like this: +\begin{verbatim} + FontName AGaramondExp-Regular + FullName Adobe Garamond Regular Expert +\end{verbatim} +you have an `expert' encoded font on your hands, and the \afm file +should end with |8x| to indicate this to \fontinst. An |8x| +encoded font contains extra glyphs like old style numerals, small +capital letters, more ligatures, and so on. + +%% UV: taken out -- repeated below +%% +%If you have an expert font, you can tell \fontinst to use it when +%it's processing a \verb|\latinfamily| command by putting an `|x|' +%on the end of the family name: +%\begin{verbatim} +% \latinfamily{padx}{} +%\end{verbatim} +%If you want to tell \fontinst to use expert fonts to install fonts +%with old style numerals, you can do so by putting an `|j|' on the +%end of the family name: +%\begin{verbatim} +% \latinfamily{padj}{} +%\end{verbatim} + +The |\latinfamily| command is used like this: +\begin{decl} + |\latinfamily|\arg{family}\arg{commands} +\end{decl} +This installs a Latin family of fonts. + +For example, to install Adobe Times, you say: +\begin{verbatim} + \latinfamily{ptm}{} +\end{verbatim} +The \textit{commands} issued by \LaTeX\ each time a font from that +family is loaded. This is most often used with typewriter fonts, +to switch off hyphenation. For example, Adobe Courier can be +installed with: +\begin{verbatim} + \latinfamily{pcr}{\hyphenchar\font=-1} +\end{verbatim} +Once the installation is over (which may take some time) the fonts +can be used in \LaTeX\ by selecting an appropriate +\verb|\fontfamily|, for example Adobe Times can be selected with: +\begin{verbatim} + \fontfamily{ptm}\selectfont +\end{verbatim} +If the fourth letter of the family name is `|x|' then \fontinst +will use expert fonts in creating the fonts. If the fourth letter +is `|j|' (or for backward compatibility `|9|') then \fontinst will +use expert fonts to create fonts with old style digits. + +For example, to install Adobe Garamond using expert fonts, you say: +\begin{verbatim} + \latinfamily{padx}{} +\end{verbatim} +To install Adobe Garamond using expert fonts with oldstyle digits, +you say: +\begin{verbatim} + \latinfamily{padj}{} +\end{verbatim} + +When you have expert fonts, and you've told \fontinst to use +them, it will carry on as normal, but the resulting font family +will have the name `|padx|' or `|padj|', and it will use expert +glyphs whenever possible, so you'll have a real (rather than +faked) small caps font, real (rather than faked) `ffl' ligatures, +and so on. + +Before using these commands, you will need to make sure that you +have the Adobe Font Metric (\afm) files for the fonts, and that +they have appropriate names. The \fontinst package uses the +\LaTeX\ convention for naming fonts, and uses a \emph{font family} +name which consists of: +\begin{itemize} +\item a \emph{supplier} (or foundry), such as `|p|' for Adobe. +\item a \emph{typeface}, such as `|ad|' for Adobe Garamond. +\item up to two \emph{variants}, such as `|j|' or `|x|' for `old + style digits' or `expert'. +\end{itemize} +So the family name `|padj|' indicates Adobe Garamond with old +style digits. Note that the variants `|j|' or `|x|' are +interpreted by \fontinst itself and do not appear in external font +names, whereas other variants are passed through as part of the +font names. (This is needed for families which have a sans serif +or typewriter variant.) + +The \emph{supplier} must be one letter, and the \emph{typeface} +must be two (this is an attempt to fit all filenames into MS-DOS +format). Each variant is one letter. The full list of foundries, +typefaces, shapes and variants is given in Karl Berry's +`\emph{Filenames for fonts}' (available by anonymous FTP from +\url{ftp://ftp.tex.ac.uk/tex-archive/info/fontname}), but the more +common ones are given in +Tables~\ref{Tab:foundry}--\ref{Tab:typeface}. + +\begin{table}[!t] +\begin{minipage}{0.5\textwidth} + \small + \begin{tabular}{ll} + |b| & Bitstream \\ + |f| & `free' (public domain) \\ + |h| & Bigelow \& Holmes \\ + |i| & ITC \\ + |l| & Linotype \\ + |m| & Monotype \\ + |p| & Adobe (|p| for \PS) \\ + |r| & `raw' (obsolete) \\ + |u| & URW \\ + |z| & bizarre + \end{tabular} + \caption{A partial list of foundries} + \label{Tab:foundry} + \begin{tabular}{ll} + |a| & alternate \\ + |d| & display, titling \\ + |f| & fraktur, handtooled \\ + |j| & oldstyle digits \\ + |n| & informal, casual \\ + |p| & ornaments \\ + |s| & sans serif \\ + |t| & typewriter \\ + |w| & script, handwriting, swash \\ + |x| & expert \\ + \end{tabular} + \caption{A partial list of variants} + \label{Tab:variant} + \begin{tabular}{ll} + |c| & small caps \\ + |i| & italic \\ + |o| & oblique (i.e.,~slanted) \\ + |u| & unslanted italic \\ + \end{tabular} + \caption{A partial list of shapes} + \label{Tab:shape} +\end{minipage} +\begin{minipage}{0.5\textwidth} + \small + \begin{tabular}{ll} + |ac| & Adobe Caslon \\ + |ad| & Adobe Garamond \\ + |ag| & Avantgarde \\ + |bb| & Bembo \\ + |bd| & Bodoni \\ + |bk| & Bookman \\ + |bv| & Baskerville \\ + |ca| & Caslon \\ + |ch| & Charter \\ + |cr| & Courier \\ + |fr| & Frutiger \\ + |fu| & Futura \\ + |gl| & Galliard \\ + |gm| & Garamond \\ + |gs| & Gill Sans \\ + |hv| & Helvetica \\ + |mn| & Minion \\ + |lc| & Lucida \\ + |lh| & Lucida Bright \\ + |ls| & Lucida Sans \\ + |nb| & New Baskerville \\ + |nc| & New Century Schoolbook \\ + |op| & Optima \\ + |pl| & Palatino \\ + |sy| & Symbol \\ + |tm| & Times \\ + |ut| & Utopia \\ + |zc| & Zapf Chancery \\ + |zd| & Zapf Dingbats \\ + \end{tabular} + \caption{A partial list of faces} + \label{Tab:typeface} +\end{minipage} +\end{table} + +The \fontinst package uses Karl Berry's naming scheme for \afm +files. The full naming scheme is rather more flexible than the +subset used by \fontinst, which uses filenames consisting of: +\begin{itemize} +\item a \emph{supplier}, such as `|p|' for Adobe. +\item a \emph{typeface}, such as `|hv|' for Helvetica. +\item a \emph{weight}, such as `|r|' for regular. +\item up to two \emph{shapes} or \emph{variants}, such as `|o|' + for oblique. +\item an \emph{encoding}, such as `|7t|' for Knuth's 7-bit \TeX{} + encoding. +\item an optional \emph{width}, such as `|n|' for narrow. +\item a \emph{file extension}, such as `\texttt{.tfm}' + for \TeX{} Font Metric. +\end{itemize} +So the filename name `\texttt{phvro7tn.tfm}' indicates Adobe +Helvetica regular oblique narrow, in the 7-bit \TeX{} encoding. + +The full list of shapes, encodings and weights is given in Karl +Berry's `\emph{Filenames for fonts}', but the more common ones are +given in Tables~\ref{Tab:shape}--\ref{Tab:weight}. + +\begin{table} +\begin{minipage}{0.5\textwidth} + \small + \begin{tabular}{ll} + |b| & bold \\ + |c| & black \\ + |d| & demibold \\ + |h| & heavy \\ + |k| & book \\ + |l| & light \\ + |m| & medium \\ + |r| & regular \\ + |s| & semibold \\ + |u| & ultra bold \\ + |x| & extra bold \\ + \end{tabular} + \caption{A partial list of weights} + \label{Tab:weight} + \begin{tabular}{ll} + |c| & condensed \\ + |n| & narrow \\ + |w| & wide \\ + |x| & extended \\ + \end{tabular} + \caption{A partial list of widths} + \label{Tab:width} +\end{minipage} +\begin{minipage}{0.5\textwidth} + \small + \begin{tabular}{ll} + |8a| & Adobe Standard \\ + |8x| & Adobe Expert \\ + |8r| & \TeX{} 8-bit `raw' (\texttt{TeXBase1}) \\ + |8y| & \TeX{} 8-bit `raw' (\texttt{TeXnANSI}) \\ + |7t| & \TeX{} 7-bit text (\texttt{OT1}) \\ + |7m| & \TeX{} 7-bit math italic (\texttt{OML}) \\ + |7y| & \TeX{} 7-bit math symbol (\texttt{OMS}) \\ + |7v| & \TeX{} 7-bit math extension (\texttt{OMX}) \\ + |8t| & \TeX{} 8-bit text (\texttt{T1}) \\ + |8c| & \TeX{} 8-bit text symbols (\texttt{TS1}) \\ + |9t| & \TeX{} 7-bit text with expert glyphs \\ + |9o| & \TeX{} 7-bit text with expert glyphs \\ + & and old-style digits \\ + |9e| & \TeX{} 8-bit text with expert glyphs \\ + |9d| & \TeX{} 8-bit text with expert glyphs \\ + & and old-style digits \\ + |9c| & \TeX{} 8-bit symbols with expert glyphs \\ + & and old-style digits \\ + \end{tabular} + \caption{A partial list of encodings} +\end{minipage} +\end{table} + +For example, to install Adobe Garamond including the expert fonts, you +would need to rename the \afm files: +\begin{center} +\begin{small} +\begin{tabular}{lll} + \emph{Adobe name} & \emph{ATM name} & \emph{Fontinst name} \\ + |AGaramond-Bold.afm| & |gdb_____.afm| & |padb8a.afm| \\ + |AGaramond-BoldItalic.afm| & |gdbi____.afm| & |padbi8a.afm| \\ + |AGaramond-Italic.afm| & |gdi_____.afm| & |padri8a.afm| \\ + |AGaramond-Regular.afm| & |gdrg____.afm| & |padr8a.afm| \\ + |AGaramond-Semibold.afm| & |gdsb____.afm| & |pads8a.afm| \\ + |AGaramond-SemiboldItalic.afm| & |gdsbi___.afm| & |padsi8a.afm| \\ + |AGaramondExp-Bold.afm| & |geb_____.afm| & |padb8x.afm| \\ + |AGaramondExp-BoldItalic.afm| & |gebi____.afm| & |padbi8x.afm| \\ + |AGaramondExp-Italic.afm| & |gei_____.afm| & |padri8x.afm| \\ + |AGaramondExp-Regular.afm| & |gerg____.afm| & |padr8x.afm| \\ + |AGaramondExp-Semibold.afm| & |gesb____.afm| & |pads8x.afm| \\ + |AGaramondExp-SemiboldItalic.afm| & |gesbi___.afm| & |padsi8x.afm| \\ + |AGaramond-RegularSC.afm| & |gdsc____.afm| & |padrc8a.afm| \\ + |AGaramond-SemiboldSC.afm| & |gdsbs___.afm| & |padsc8a.afm| \\ +\end{tabular} +\end{small} +\end{center} +You can then run \TeX{} on the following document to install the +Adobe Garamond family: +\begin{verbatim} + \input fontinst.sty + \latinfamily{padx}{} + \latinfamily{padj}{} + \bye +\end{verbatim} +Not all font families can be installed using the \verb|\latinfamily| +command, nor does it always produce optimal results. The main +interfaces to \fontinst are at a slightly lower level, where all font +names appear explicitly in command arguments, and at that level it is +possible to fine tune the font generation. The \verb|\latinfamily| +command is mainly a clever collection of macros which expand to a +mostly fixed\footnote{Commands that would refer to files which are +not present are skipped, and in some cases there is a ``Plan B'' +when ``Plan A'' would have made use of such a nonexistent file, but +that is about it.} sequence of lower level \fontinst commands. + +\begin{bfseries} + Descriptions of the sub-\verb|\latinfamily| commands can be found + in the main \fontinst manual. +\end{bfseries} + + + +\section{More on the \cs{latinfamily} command} + +The \verb|\latinfamily| command is essentially a short-cut to save you +preparing a huge file with many different \fontinst commands in it. + +It takes \afm or \mtx files as the source of font metric data to work +with. Usually, you have a set of \afm files. They must be named +according to a subset of the \Fontnamekb naming scheme. To illustrate +the process, here is an edited part of the console log from a use of +\verb|\latinfamily|: +\begin{verbatim} + \latinfamily{pad}{} +\end{verbatim} +This log does not show \fontinst `in action'; it's just to illustrate +which fonts are looked for when you use the \verb|\latinfamily| +command. +\begin{verbatim} + INFO>> to make LaTeX font shape <<pad,m,n,>> seek padr8r.mtx + INFO>> to make LaTeX font shape <<pad,m,sc,>> seek padrc8r.mtx + INFO>> to make LaTeX font shape <<pad,m,sl,>> seek padro8r.mtx + INFO>> to make LaTeX font shape <<pad,m,it,>> seek padri8r.mtx + INFO>> to make LaTeX font shape <<pad,m,n,c>> seek padr8rn.mtx + INFO>> to make LaTeX font shape <<pad,m,sc,c>> seek padrc8rn.mtx + INFO>> to make LaTeX font shape <<pad,m,sl,c>> seek padro8rn.mtx + INFO>> to make LaTeX font shape <<pad,m,it,c>> seek padri8rn.mtx +\end{verbatim} + +The important point to notice is that \fontinst needs an |8r| encoded +\mtx file for each font when you are using the \verb|latinfamily| +command. If it can't find an |8r| encoded \mtx file, it'll look for +for an |8a| encoded \afm file. It will automatically turn the file it +finds into an |8r| encoded \mtx file. So when \fontinst says +`\verb|seek padr8r.mtx|', it is in fact looking for +\texttt{padr8r.mtx} and \texttt{padr8a.afm}. Whatever it finds, it +will end up with \verb|padr8r.mtx| to work on. + +The first line of the log shows that \fontinst is trying to create a +\vpl file for |pad/m/n|. That is, font family |pad| (Adobe Garamond), +font series |m| (normal `book' or `regular' weight), and font shape +|n| (normal upright). + +If it finds what it's looking for, it will create the files: +\begin{verbatim} + padr7t.vpl + padr8t.vpl + padr8c.vpl +\end{verbatim} +And add these lines to the given \fd files: +\begin{verbatim} + OT1pad.fd: \DeclareFontShape{OT1}{pad}{m}{n}{<<->> padr7t}{} + T1pad.fd: \DeclareFontShape{T1} {pad}{m}{n}{<<->> padr8t}{} + TS1pad.fd: \DeclareFontShape{TS1}{pad}{m}{n}{<<->> padr8c}{} +\end{verbatim} +This means you will have three new fonts to use in \LaTeX: the OT1, T1 +and TS1 encoded versions of |pad/m/n|. You'll be able to select (say) +|T1/pad/m/n| by saying: +\begin{verbatim} + \fontencoding{T1}\fontfamily{pad}\fontseries{m}\fontshape{n}\selectfont +\end{verbatim} +This is the clumsiest way of selecting that particular font, but I've +done it to illustrate exactly what's happening. + +The next line: +\begin{verbatim} + INFO>> to make LaTeX font shape <<pad,m,sc,>> seek padrc8r.mtx +\end{verbatim} +shows that \fontinst is trying to install a small caps font. If you +have a real small caps metric file named \texttt{padrc8r.mtx} (don't +forget it'll look for an |8a| encoded \afm file), \fontinst will go +ahead and create the \vpl file and \fd file entry as expected. + +But you don't normally have a real small caps font, so \fontinst will +quite happily produce a fake small caps font. To do this, it looks +for a suitable metric file by dropping the `|c|': +\begin{quote} + `Hmm\ldots\ I can't find \texttt{padrc8r}, so I'll look for + \texttt{padr8r}.' +\end{quote} +And you will eventually have: +\begin{verbatim} + padrc7t.vpl + padrc8t.vpl +\end{verbatim} +And add these lines to the given \fd files: +\begin{verbatim} + OT1pad.fd: \DeclareFontShape{OT1}{pad}{m}{sc}{<<->> padrc7t}{} + T1pad.fd: \DeclareFontShape{T1} {pad}{m}{sc}{<<->> padrc8t}{} +\end{verbatim} +(Note that it won't install a TS1-encoded small caps font because +TS1 is a text symbol font, which would look the same in the upright +and small caps shape.) + +The next log line shows \fontinst trying to create a \vpl for the +oblique version of Adobe Garamond: +\begin{verbatim} + INFO>> to make LaTeX font shape <<pad,m,sl,>> seek padro8r.mtx +\end{verbatim} +It's quite usual for an oblique version to be unavailable, but +\fontinst has a way round this: it can fake an oblique font from the +corresponding `straight' version: +\begin{quote} + `Oh dear: I can't find \texttt{padro8r}, so I'll look for + \texttt{padr8r} and use clever maths to fake a slanted version.' +\end{quote} +This is not as straightforward as the small caps case. \Fontinst +only works out what the metrics ought to be if the entire font is +slanted to the right. It's up to the DVI driver to actually print a +slanted font. \Dvips can do this. + +You will eventually have: +\begin{verbatim} + padro7t.vpl + padro8t.vpl + padro8c.vpl +\end{verbatim} +And these lines added to the given \fd files: +\begin{verbatim} + OT1pad.fd: \DeclareFontShape{OT1}{pad}{m}{sl}{<<->> padro7t}{} + T1pad.fd: \DeclareFontShape{T1} {pad}{m}{sl}{<<->> padro8t}{} + TS1pad.fd: \DeclareFontShape{TS1}{pad}{m}{sl}{<<->> padro8c}{} +\end{verbatim} + +The next line is straightforward: +\begin{verbatim} + INFO>> to make LaTeX font shape <<pad,m,it,>> seek padri8r.mtx +\end{verbatim} +If \fontinst can't find a suitable metrics file (\texttt{padri8r.mtx} +or \texttt{padri8a.afm}), it carries on without doing anything. If it +does find a suitable metrics file, it churns away until you will +eventually have: +\begin{verbatim} + padri7t.vpl + padri8t.vpl + padri8c.vpl +\end{verbatim} +And these lines added to the given \fd files: +\begin{verbatim} + OT1pad.fd: \DeclareFontShape{OT1}{pad}{m}{it}{<<->> padri7t}{} + T1pad.fd: \DeclareFontShape{T1} {pad}{m}{it}{<<->> padri8t}{} + TS1pad.fd: \DeclareFontShape{TS1}{pad}{m}{it}{<<->> padri8c}{} +\end{verbatim} + +The next line is a bit different. \Fontinst is now trying to create a +\vpl file for a \emph{condensed} font: +\begin{verbatim} + INFO>> to make LaTeX font shape <<pad,m,n,c>> seek padr8rn.mtx +\end{verbatim} +If it finds a suitable metric file (Adobe Garamond, medium weight, +normal upright shape, condensed), it will eventually produce: +\begin{verbatim} + padr7tn.vpl + padr8tn.vpl + padr8cn.vpl +\end{verbatim} +And these lines added to the given \fd files: +\begin{verbatim} + OT1pad.fd: \DeclareFontShape{OT1}{pad}{mc}{n}{<<->> padr7tn}{} + T1pad.fd: \DeclareFontShape{T1} {pad}{mc}{n}{<<->> padr8tn}{} + TS1pad.fd: \DeclareFontShape{TS1}{pad}{mc}{n}{<<->> padr8cn}{} +\end{verbatim} +There is no standard \LaTeX\ command like \verb|\bfseries| to select +the medium condensed (|mc|) series created here. If you want to use +this font, you must do something like: +\begin{verbatim} + \fontfamily{pad}\fontseries{mc}\selectfont +\end{verbatim} +If it doesn't find a suitable metric file for a narrow series, +\fontinst will just skip over and continue, unless you specifically +tell it to fake a narrow series. + +And so the process continues: \fontinst attempts to create \vpl files +for condensed versions of all the font shapes met so far, and then +goes on to: +\begin{verbatim} + INFO>> to make LaTeX font shape <<pad,b,n,>> seek padb8r.mtx +\end{verbatim} +And again, if it finds a suitable metric file (\texttt{padb8r.mtx} or +\texttt{padb8a.afm}), it'll potter off and create the files: +\begin{verbatim} + padb7t.vpl + padb8t.vpl + padb8c.vpl +\end{verbatim} +And these lines added to the given \fd files: +\begin{verbatim} + OT1pad.fd: \DeclareFontShape{OT1}{pad}{b}{n}{<<->> padb7t}{} + T1pad.fd: \DeclareFontShape{T1} {pad}{b}{n}{<<->> padb8t}{} + TS1pad.fd: \DeclareFontShape{TS1}{pad}{b}{n}{<<->> padb8c}{} +\end{verbatim} +With this step done, fontinst will try to create \vpl files for the +small caps, slanted, and italic versions of |pad/b|; and then it'll +try to create condensed versions of all those: +\begin{verbatim} + INFO>> to make LaTeX font shape <<pad,b,n,>> seek padb8r.mtx + INFO>> to make LaTeX font shape <<pad,b,sc,>> seek padbc8r.mtx + INFO>> to make LaTeX font shape <<pad,b,sl,>> seek padbo8r.mtx + INFO>> to make LaTeX font shape <<pad,b,it,>> seek padbi8r.mtx + INFO>> to make LaTeX font shape <<pad,b,n,c>> seek padb8rn.mtx + INFO>> to make LaTeX font shape <<pad,b,sc,c>> seek padbc8rn.mtx + INFO>> to make LaTeX font shape <<pad,b,sl,c>> seek padbo8rn.mtx + INFO>> to make LaTeX font shape <<pad,b,it,c>> seek padbi8rn.mtx +\end{verbatim} +If it manages to find the files it needs to create the \vpl files to +use all those fonts with \LaTeX, you'll end up with the following +lines in the T1 \fd file (I've ignored the OT1 \fd file to save some +space): +\begin{verbatim} + \DeclareFontShape{T1} {pad}{b} {n} {<<->> padb8t}{} + \DeclareFontShape{T1} {pad}{b} {sc}{<<->> padbc8t}{} + \DeclareFontShape{T1} {pad}{b} {sl}{<<->> padbo8t}{} + \DeclareFontShape{T1} {pad}{b} {it}{<<->> padbi8t}{} + \DeclareFontShape{T1} {pad}{bc}{n} {<<->> padb8tn}{} + \DeclareFontShape{T1} {pad}{bc}{sc}{<<->> padbc8tn}{} + \DeclareFontShape{T1} {pad}{bc}{sl}{<<->> padbo8tn}{} + \DeclareFontShape{T1} {pad}{bc}{it}{<<->> pckbi8tn}{} +\end{verbatim} +To translate into English: Adobe Garamond bold in `normal', small +caps, slanted, and italic versions, as well as condensed versions of +all four. + +Again, because there's no convenient way of selecting the condensed +versions with existing \LaTeX\ commands, you need to say something +like: +\begin{verbatim} + \fontfamily{pad}\fontseries{bc}\selectfont +\end{verbatim} +to use the bold condensed (|bc|) versions of this font; you can of +course use \verb|\itshape|, \verb|\scshape|, \verb|\slshape|, and +\verb|upshape| to switch between the italic, small caps, slanted, and +`normal' versions of Adobe Garamond bold condensed once you've got +|pad/bc| selected. + +So far, you've seen \verb|\latinfamily| look at two different weights +and two different widths. For each weight, \verb|\latinfamily| will +try and install eight different fonts as you can see above. It will +try and install the same eight different fonts for each of the +following different weights: +\begin{center} +\begin{tabular}{lll} + \emph{\LaTeX} & \emph{Fontname} & \emph{description} \\ + |ul| & |a| & ultra light \\ + |el| & |i| & extra light \\ + |l| & |l| & light \\ + |m| & |k|, |r| & book, regular \\ + |mb| & |m| & medium \\ + |db| & |d| & demi bold \\ + |sb| & |s| & semi bold \\ + |b| & |b| & bold \\ + |eb| & |c|, |h|, |x| & black, heavy, extra bold \\ + |ub| & |u| & ultra bold +\end{tabular} +\end{center} +The \LaTeX\ column contains the label that will be used in the +\verb|\DeclareFontShape| command to specify the font series. The +\Fontnamekb column contains the width specifier used to name the font +metric file that \fontinst will look for in that case. + +In other words, at some stage \fontinst will look for: +\begin{verbatim} + INFO>> to make LaTeX font shape <<pad,sb,n,>> seek pads8r.mtx +\end{verbatim} +and if it finds a suitable metric file (\texttt{pads8r.mtx} or +\texttt{pads8a.afm}), it will create: +\begin{verbatim} + pads7t.vpl + pads8t.vpl + pads8c.vpl +\end{verbatim} +and \fd file entries like this: +\begin{verbatim} + OT1pad.fd: \DeclareFontShape{OT1}{pad}{sb}{n}{<<->> pads7t}{} + T1pad.fd: \DeclareFontShape{T1} {pad}{sb}{n}{<<->> pads8t}{} + TS1pad.fd: \DeclareFontShape{TS1}{pad}{sb}{n}{<<->> pads8c}{} +\end{verbatim} +and since |sb| is not a normal \LaTeX\ font series, you'll need to use +something like: +\begin{verbatim} + \fontfamily{pad}\fontseries{sb}\selectfont +\end{verbatim} +to use this font. + +% For example, \verb|\latinfamily{ptm}{}| is +% syntactic sugar for: +% \begin{verbatim} +% \transformfont{ptmr8r}{\reencodefont{8r}{\fromafm{ptmr8a}}} +% \transformfont{ptmri8r}{\reencodefont{8r}{\fromafm{ptmri8a}}} +% \transformfont{ptmb8r}{\reencodefont{8r}{\fromafm{ptmb8a}}} +% \transformfont{ptmbi8r}{\reencodefont{8r}{\fromafm{ptmbi8a}}} +% \transformfont{ptmro8r}{\slantfont{167}{\frommtx{ptmr8r}}} +% \transformfont{ptmbo8r}{\slantfont{167}{\frommtx{ptmb8r}}} +% \installfonts +% \installfamily{T1}{ptm}{} +% \installfamily{OT1}{ptm}{} +% \installfont{ptmr8t}{ptmr8r,latin}{T1}{T1}{ptm}{m}{n}{} +% \installfont{ptmr7t}{ptmr8r,latin}{OT1}{OT1}{ptm}{m}{n}{} +% \installfont{ptmrc8t}{ptmr8r,latin}{T1c}{T1}{ptm}{m}{sc}{} +% \installfont{ptmrc7t}{ptmr8r,latin}{OT1c}{OT1}{ptm}{m}{sc}{} +% \installfont{ptmri8t}{ptmri8r,latin}{T1}{T1}{ptm}{m}{it}{} +% \installfont{ptmri7t}{ptmri8r,latin}{OT1i}{OT1}{ptm}{m}{it}{} +% \installfont{ptmro8t}{ptmro8r,latin}{T1}{T1}{ptm}{m}{sl}{} +% \installfont{ptmro7t}{ptmro8r,latin}{OT1}{OT1}{ptm}{m}{sl}{} +% \installfont{ptmb8t}{ptmb8r,latin}{T1}{T1}{ptm}{b}{n}{} +% \installfont{ptmb7t}{ptmb8r,latin}{OT1}{OT1}{ptm}{b}{n}{} +% \installfont{ptmbc8t}{ptmb8r,latin}{T1c}{T1}{ptm}{b}{sc}{} +% \installfont{ptmbc7t}{ptmb8r,latin}{OT1c}{OT1}{ptm}{b}{sc}{} +% \installfont{ptmbi8t}{ptmbi8r,latin}{T1}{T1}{ptm}{b}{it}{} +% \installfont{ptmbi7t}{ptmbi8r,latin}{OT1i}{OT1}{ptm}{b}{it}{} +% \installfont{ptmbo8t}{ptmbo8r,latin}{T1}{T1}{ptm}{b}{sl}{} +% \installfont{ptmbo7t}{ptmbo8r,latin}{OT1}{OT1}{ptm}{b}{sl}{} +% \endinstallfonts +% \end{verbatim} + + +The \texttt{basicex.tex} file in the \texttt{examples} directory of +the main \fontinst distribution is an annotated command file which +does roughly the same things as the \verb|\latinfamily| command for +the \texttt{pad} family of fonts. + + +\end{document} diff --git a/Master/texmf-dist/doc/fontinst/base/manual/roadmap.eps b/Master/texmf-dist/doc/fontinst/base/manual/roadmap.eps new file mode 100644 index 00000000000..8ca14df79de --- /dev/null +++ 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b/Master/texmf-dist/doc/fontinst/base/talks/et99-font-tables.pdf diff --git a/Master/texmf-dist/doc/fontinst/base/talks/et99-font-tutorial.pdf b/Master/texmf-dist/doc/fontinst/base/talks/et99-font-tutorial.pdf Binary files differnew file mode 100644 index 00000000000..4ae8a1eeb75 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/talks/et99-font-tutorial.pdf diff --git a/Master/texmf-dist/doc/fontinst/base/test/comparemetrics.sty b/Master/texmf-dist/doc/fontinst/base/test/comparemetrics.sty new file mode 100644 index 00000000000..7864da89731 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/comparemetrics.sty @@ -0,0 +1,941 @@ +% We start by making some default catcode assignments, in case we are +% using ini\TeX{}. +% \begin{macrocode} +%<*pkg> +\catcode`\{=1 +\catcode`\}=2 +\catcode`\#=6 +\catcode`\^=7 +%</pkg> +% \end{macrocode} +% +% \package{fontinst} uses some unusual, but convenient, settings of +% |\catcode|. |@| and |_| are made letters, |~| is made a space, and +% space and newline are ignored. Before setting those however, we save +% the current values of the catcodes, so that they can be restored at +% the end of \texttt{fontinst.sty}. +% +% \begin{macrocode} +%<*pkg> +\edef\spacecatcode{\the\catcode`\ } +\edef\nlcatcode{\the\catcode`\^^M} +\edef\atcatcode{\the\catcode`\@} +\edef\underscorecatcode{\the\catcode`\_} +\edef\tildecatcode{\the\catcode`\~} +% \end{macrocode} +% +% \begin{macrocode} +\catcode`\ =9 +\catcode`\^^M=9 +\catcode`\@=11 +\catcode`\_=11 +\catcode`\~=10 +%</pkg> +% \end{macrocode} +% + + +\newlinechar=`\^^J + +% \begin{macro}{\a_read} +% \begin{macro}{\b_read} +% \begin{macro}{\a_filelineno} +% \begin{macro}{\b_filelineno} +% These control sequences are used for keeping track of the ``physical'' +% side of the two input files. |\a_read| and |\b_read| are the stream +% numbers. |\a_filelineno| and |\b_filelineno| are the respective +% line numbers of the lines most recently read from these files. +% \begin{macrocode} +\newread\a_read +\newread\b_read +\newcount\a_filelineno +\newcount\b_filelineno +% \end{macrocode} +% \end{macro}\end{macro}\end{macro}\end{macro} +% +% \begin{macro}{\a_lineno} +% \begin{macro}{\b_lineno} +% \begin{macro}{\a_bufbase} +% \begin{macro}{\b_bufbase} +% \begin{macro}{\a_bufmid} +% \begin{macro}{\b_bufmid} +% \begin{macro}{\a_buftop} +% \begin{macro}{\b_buftop} +% These count registers are used for managing the buffert of lines +% that are read from the input files when a match between lines is +% being looked for. This buffert consists of lines which are saved in +% the macros +% \begin{quote} +% |\|\meta{letter}|_saved-|\meta{ofs} +% \end{quote} +% where \meta{letter} is |a| or |b| and \meta{ofs} is an integer, +% being the index into the buffert. |\a_bufbase| and |\b_bufbase| +% contain the \meta{ofs} of the first line currently in the buffert, +% whereas |\a_buftop| and |\b_buftop| contain the \meta{ofs} of the +% last such line. |\a_bufmid| and |\b_bufmid| hold the buffert +% positions of the lines which are currently considered the next by +% |\get_next_line|. If \(\mathtt{buftop}<\mathtt{bufmid}\) then the +% buffert is empty. |\a_lineno| and |\b_lineno| are the respective +% line numbers of the |\a_bufbase| and |\b_bufbase| lines. +% +% All these registers should be set globally. +% \begin{macrocode} +\newcount\a_lineno \newcount\b_lineno +\newcount\a_bufbase \newcount\b_bufbase +\newcount\a_bufmid \newcount\b_bufmid +\newcount\a_buftop \newcount\b_buftop +% \end{macrocode} +% \end{macro}\end{macro}\end{macro}\end{macro}\end{macro}\end{macro} +% \end{macro}\end{macro} + + +% \begin{macro}{\get_next_line} +% The |\get_next_line| macro is called as +% \begin{quote} +% |\get_next_line|\marg{letter} +% \end{quote} +% where \meta{letter} is |a| or |b|. This sets the +% |\|\meta{letter}|_line| macro to the next line of that file and +% updates the value of |\|\meta{letter}|_lineno|. +% +% The ``next line'' is normally read from input stream +% |\|\meta{letter}|_read|, but if a line mismatch recently occured +% then it might happen that the next line has already been read from +% the file, and in that case it is taken from one of the +% |\|\meta{letter}|_saved-|\meta{ofs} macros. +% \begin{macrocode} +\def\get_next_line#1{ + \ifnum \csname#1_buftop\endcsname<\csname#1_bufmid\endcsname + \ifeof \csname#1_read\endcsname + \x_cs\let{#1_line}\end_of_file_line + \else + \read\csname#1_read\endcsname t\x_cs{o}{#1_line} + \global\advance \csname#1_filelineno\endcsname \@ne + \fi + \else + \expandafter\let \csname#1_line\expandafter\endcsname + \csname#1_saved-\the\csname#1_bufmid\endcsname\endcsname + \fi +} +% \end{macrocode} +% \end{macro} + +% \begin{macro}{\end_of_file_line} +% This macro expands to the text \verb*|(ENDOFFILE) | with the +% catcodes it would have if read from an input file. It is used as an +% end-of-file marker. +% \begin{macrocode} +\begingroup + \catcode`\(=13 + \catcode`\)=13 + \gdef\end_of_file_line{(ENDOFFILE)~} +\endgroup +% \end{macrocode} +% \end{macro} + +% \begin{macro}{\the_line} +% The |\the_line| macro is called as +% \begin{quote} +% |\the_line|\marg{letter}\marg{ofs} +% \end{quote} +% where \meta{letter} is |a| or |b|, and \meta{ofs} is a \TeX\ number. +% It expands to the control sequence |\|\meta{letter}|_saved-|^^A +% \meta{ofs}. +% \begin{macrocode} +\def\the_line#1#2{\csname#1_saved-\number#2\endcsname} +% \end{macrocode} +% \end{macro} + +% \begin{macro}{\initialise_search} +% The |\initialise_search| macro sets everything up for a search for +% a match between lines. +% +% \begin{macrocode} +\def\initialise_search{ + \global\a_bufbase=\a_bufmid + \global\b_bufbase=\b_bufmid + \add_to_buffert{a} + \add_to_buffert{b} + \global\advance \a_bufmid \@ne + \global\advance \b_bufmid \@ne +} +% \end{macrocode} +% \end{macro} + +% \begin{macro}{\add_to_buffert} +% The |\add_to_buffert| macro is called as +% \begin{quote} +% |\add_to_buffert|\marg{letter} +% \end{quote} +% It adds the line returned by |\get_next_line| to the corresponding +% buffert (if it wasn't already there) and updates the counters for +% that buffert. After this, the line following the line being put into +% the buffert will be the line that |\get_next_line| returns. +% \begin{macrocode} +\def\add_to_buffert#1{ + \ifnum \csname#1_buftop\endcsname<\csname#1_bufmid\endcsname + \expandafter\let + \csname#1_saved-\the\csname#1_bufmid\endcsname + \expandafter\endcsname + \csname#1_line\endcsname + \global\advance \csname#1_buftop\endcsname \@ne + \fi +} +% \end{macrocode} +% \end{macro} + + + +\newcount\first_integer +\newcount\second_integer + +% \begin{macro}{\match_lines} +% The |\match_lines| macro tests if two lines can be considered the +% same (up to metrics changes, which need not be small). It is called as +% \begin{quote} +% |\match_lines|\marg{line a}\marg{line b} +% \end{quote} +% \meta{line a} and \meta{line b} may be any amount of text which +% eventually expands to the lines in question. |\match_lines| returns +% its answer by setting the |_a_| switch to |false| (if the lines +% match) or |true| (if the lines don't match). +% +% |\match_lines| also causes the |\first_dimen| and |\second_dimen| +% registers, as well as the |_histogram_dimen_| switch to be updated, +% so it can be immediately followed by a test of the metrics. +% \begin{macrocode} +\def\match_lines#1#2{ + \first_integer=\z@ + \second_integer=\z@ + \first_dimen=\z@ + \second_dimen=\z@ + \x_cs\let{string-+}\empty_command + \x_cs\let{string--}\empty_command +% \end{macrocode} +% \begin{macrocode} + \def\sign{+} + #1\line_stop + \def\sign{-} + #2\line_stop +% \end{macrocode} +% \begin{macrocode} + \_a_false + \expandafter\ifx \csname cmd-+ \expandafter\endcsname + \csname cmd--\endcsname + \else \_a_true \fi + \ifnum \first_integer=\z@ \else \_a_true \fi + \ifnum \second_integer=\z@ \else \_a_true \fi + \expandafter\ifx \csname string-+ \expandafter\endcsname + \csname string--\endcsname + \else \_a_true \fi +} +% \end{macrocode} +% \end{macro} + +% \begin{macro}{\try_matching} +% \begin{macro}{\a_bufP} +% \begin{macro}{\b_bufP} +% The |\try_matching| descends through the buffert until the |_a_| +% switch gets |false| or it has tried the bottommost lines in the +% buffert. Since |\body| is already defined by the |\loop| in +% |\process_lines|, |\try_matching| uses an explicit end recursion to +% make the loop. +% \begin{macrocode} +\newcount\a_bufP +\newcount\b_bufP +\def\try_matching{ + \global\advance \a_bufP \m@ne + \global\advance \b_bufP \m@ne +% % Begin debug +% \wlog{a_bufbase:~\the\a_bufbase\space\space\space +% b_bufbase:~\the\b_bufbase} +% \wlog{a_bufmid:~\the\a_bufmid\space\space\space +% b_bufmid:~\the\b_bufmid} +% \wlog{a_buftop:~\the\a_buftop\space\space\space +% b_buftop:~\the\b_buftop} +% \wlog{a_bufP:~\the\a_bufP\space\space\space +% b_bufP:~\the\b_bufP} +% \begingroup +% \def\do_left_paren{(}\def\do_right_paren{)} +% \wlog{a_line:~\a_line} +% \wlog{b_buf_line:~\the_line{b}{\b_bufP}} +% \wlog{b_line:~\b_line} +% \wlog{a_buf_line:~\the_line{a}{\a_bufP}^^J} +% \endgroup +% % End debug + \match_lines{\a_line}{\the_line{b}{\b_bufP}} + \if_a_ + \match_lines{\the_line{a}{\a_bufP}}{\b_line} + \if_a_ \else + \global\a_bufmid=\a_bufP + \fi + \else + \global\b_bufmid=\b_bufP + \fi + \ifnum \a_bufP>\a_bufbase \if_a_ + \expandafter\expandafter\expandafter\try_matching + \fi \fi +} +% \end{macrocode} +% \end{macro} + +% \begin{macro}{\report_mismatch} +% The |\report_mismatch| macro does precisely what it says. It also increases +% the \texttt{bufbase} and \texttt{lineno} registers to point at the +% matching lines. +% \begin{macrocode} +\def\report_mismatch{ + \begingroup + \def\do_left_paren{(} + \def\do_right_paren{)} + \wlog{Mismatch~in~first~file~(at~\the\a_lineno):} + \loop + \wlog{\the_line{a}{\a_bufbase}} + \ifnum \a_bufbase<\a_bufmid + \global\advance \a_bufbase \@ne + \global\advance \a_lineno \@ne + \repeat + \wlog{Match~found~at~line~\the\a_lineno.} + \wlog{Mismatch~in~second~file~(at~\the\b_lineno):} + \loop + \wlog{\the_line{b}{\b_bufbase}} + \ifnum \b_bufbase<\b_bufmid + \global\advance \b_bufbase \@ne + \global\advance \b_lineno \@ne + \repeat + \wlog{Match~found~at~line~\the\b_lineno.} + \endgroup + \glyphified_location + \ifnum 4>\compared_status + \global\chardef\compared_status=4 + \fi +} +% \end{macrocode} +% \end{macro} + +\def\glyphified_location{ + \ifx \encoding_name\empty_command + \ifnum \m@ne<\last_character + \wlog{This~is~related~to~slot~\the\last_character.^^J} + \else + \wlog{This~is~in~the~header.^^J} + \fi + \else + \if_undefined{name-\encoding_name-\the\last_character}\then + \ifnum \last_character=\m@ne + \wlog{This~is~in~the~header.^^J} + \else + \wlog{This~is~related~to~slot~\the\last_character\space + (unencoded).^^J} + \fi + \else + \wlog{This~is~related~to~the~glyph~ + \csname name-\encoding_name-\the\last_character\endcsname + .^^J} + \fi + \fi +} +% \begin{macro}{\compared_status} +% |\compared_status| is a \meta{chardef token} which stores the +% current status of the comparision, according to the following table +% \begin{enumerate} +% \item[0] The property lists are equal---there may be checksum +% differences, but nothing else. +% \item[1] The property lists are almost equal---there are +% differences in the metrics, but these are within the |\tolerance| +% level. +% \item[2] The property lists are essentially equal---there are +% differences in the metrics, but these are within the |\tolerance| +% level, with the exception of some \texttt{CHARHT}, +% \texttt{CHARDP}, and \texttt{CHARIC} values. +% \item[3] The property lists have metric differences---there are +% metric differences not with category 2. +% \item[4] The property lists are not completely matched. +% \end{enumerate} +% \end{macro} + +% \begin{macro}{\step_linenos} +% The |\step_linenos| macro increments the |_lineno| line numbers. If +% the current line was fetched from the buffert, then it also +% increments the |_bufmid| and |_bufbase| registers, and checks +% whether the buffert ended (in which case it is normalized to its +% starting position, to conserve hash table space). +% \begin{macrocode} +\def\step_linenos{ + \global\advance \a_lineno \@ne + \ifnum \a_bufmid=\a_buftop + \global\a_bufbase=\z@ + \global\a_bufmid=\z@ + \global\a_buftop=\m@ne + \else\ifnum \a_bufmid<\a_buftop + \global\advance \a_bufmid \@ne + \global\advance \a_bufbase \@ne + \fi\fi + \global\advance \b_lineno \@ne + \ifnum \b_bufmid=\b_buftop + \global\b_bufbase=\z@ + \global\b_bufmid=\z@ + \global\b_buftop=\m@ne + \else\ifnum \b_bufmid<\b_buftop + \global\advance \b_bufmid \@ne + \global\advance \b_bufbase \@ne + \fi\fi +} +% \end{macrocode} +% \end{macro} + + +\newdimen\first_dimen +\newdimen\second_dimen +\newcount\ht_hist_i +\newcount\ht_hist_ii +\newcount\ht_hist_iii +\newcount\ht_hist_iv +\newcount\dp_hist_i +\newcount\dp_hist_ii +\newcount\dp_hist_iii +\newcount\dp_hist_iv +\newcount\ic_hist_i +\newcount\ic_hist_ii +\newcount\ic_hist_iii +\newcount\ic_hist_iv + +% \begin{macro}{\clear_histograms} +% This macro clears all the histograms. +% \begin{macrocode} +\def\clear_histograms{ + \global\ht_hist_i=\z@ + \global\ht_hist_ii=\z@ + \global\ht_hist_iii=\z@ + \global\ht_hist_iv=\z@ + \global\dp_hist_i=\z@ + \global\dp_hist_ii=\z@ + \global\dp_hist_iii=\z@ + \global\dp_hist_iv=\z@ + \global\ic_hist_i=\z@ + \global\ic_hist_ii=\z@ + \global\ic_hist_iii=\z@ + \global\ic_hist_iv=\z@ +} +% \enc{macrocode} +% \end{macro} + +% \begin{macro}{\present_histograms} +% This macro writes the histogram data to the log file. +% \begin{macrocode} +\def\present_histograms{ + \wlog{\string\tolerance*~\space CHARHT~\space CHARDP~\space CHARIC} + \wlog{~\space\space 1--~\space\space 10\hist_to_eight{ht}{i} + \hist_to_eight{dp}{i}\hist_to_eight{ic}{i}} + \wlog{~\space 10--~\space 100\hist_to_eight{ht}{ii} + \hist_to_eight{dp}{ii}\hist_to_eight{ic}{ii}} + \wlog{~100--~1000\hist_to_eight{ht}{iii}\hist_to_eight{dp}{iii} + \hist_to_eight{ic}{iii}} + \wlog{1000--10000\hist_to_eight{ht}{iv}\hist_to_eight{dp}{iv} + \hist_to_eight{ic}{iv}} +} +\def\hist_to_eight#1#2{\x_cs\hist_to_eight_i{#1_hist_#2}} +\def\hist_to_eight_i#1{ + \ifnum #1<\@M + \four_spaces + \ifnum #1<\one_hundred + \space\space + \ifnum 10>#1 ~\fi + \else \ifnum #1<\one_thousand \space\fi \fi + \else + \ifnum 1000000>#1 + \space\space + \ifnum 100000>#1 ~\fi + \else \ifnum 1000000>#1 ~\fi \fi + \fi + \the#1 +} +% \end{macrocode} +% \end{macro} + + +% \begin{macro}{\metric_statistics} +% \begin{macro}{\metric_origin} +% The |\metric_statistics| macro takes care of comparing the metrics +% by inspecting the values of |\first_dimen| and |\second_dimen|. It +% has four classes of differences, which are represented by +% |\compared_status| values 0--3: no difference, tolerable (almost no) +% difference, histogrammed (essentially no) difference, and +% non-tolerable difference. If a non-tolerable difference is found, +% then the current lines are written to the log file. Histogrammed +% differences causes the corresponding +% |\|\meta{type}|_hist_|\meta{group} register to be incremented, and +% tolerable differences only affect the value of |\compared_status|. +% +% The |\metric_origin| macro contains the \meta{type} of the metric +% data. It is usually empty, but PL properties with metrics that have +% histograms set it so that the correct histogram is updated. +% +% \begin{macrocode} +\def\metric_statistics{ + \_a_false + % + \ifdim \first_dimen<\z@ \first_dimen=-\first_dimen \fi + \ifdim \first_dimen=\z@ + \else\ifdim \first_dimen<\tolerance + \ifnum 1>\compared_status + \global\chardef\compared_status=1 + \fi + \else\ifx \metric_origin\empty_command + \_a_true + \else + \a_count=\@ne + \def\a_macro{10} + \loop\ifdim \a_macro\tolerance<\first_dimen + \edef\a_macro{\a_macro 0} + \advance \a_count \@ne + \repeat + \if_undefined{\metric_origin _hist_ \romannumeral\a_count}\then + \_a_true + \else + \global\advance \csname \metric_origin _hist_ + \romannumeral\a_count \endcsname \@ne + \ifnum 2>\compared_status + \global\chardef\compared_status=2 + \fi + \fi + \fi\fi\fi + % + \ifdim \second_dimen<\z@ \second_dimen=-\second_dimen \fi + \ifdim \second_dimen=\z@ + \else\ifdim \second_dimen<\tolerance + \ifnum 1>\compared_status + \global\chardef\compared_status=1 + \fi + \else\ifx \metric_origin\empty_command + \_a_true + \else + \a_count=\@ne + \def\a_macro{10} + \loop\ifdim \a_macro\tolerance<\second_dimen + \edef\a_macro{\a_macro 0} + \advance \a_count \@ne + \repeat + \if_undefined{\metric_origin _hist_ \romannumeral\a_count}\then + \_a_true + \else + \global\advance \csname \metric_origin _hist_ + \romannumeral\a_count \endcsname \@ne + \ifnum 2>\compared_status + \global\chardef\compared_status=2 + \fi + \fi + \fi\fi\fi + % + \if_a_ + \ifnum 3>\compared_status + \global\chardef\compared_status=3 + \fi + \begingroup + \def\do_left_paren{(} + \def\do_right_paren{)} + \wlog{Metric~differences~at~lines~\the\a_lineno\space + and~\the\b_lineno\space respectively:} + \wlog{\a_line} + \wlog{\b_line} + \endgroup + \glyphified_location + \fi +} +% \end{macrocode} +% \end{macro}\end{macro} + + + + +\newif\if_b_ + +% \begin{macro}{\process_lines} +% The |\process_lines| macro is the cheif executive in the comparision. +% Its normal mode of operation is to retrive the next two lines from +% the input files, match them, and update the metric differences +% statistics. If the lines do not match, however, it starts building a +% buffert of lines in which it searches for two matching lines. When +% these two lines are found the mismatching portions of the files are +% written to the log file, and the metric difference statistics are +% updated for the two lines that matched. +% +% \begin{macrocode} +\def\process_lines{ + \get_next_line{a} + \get_next_line{b} + \match_lines{\a_line}{\b_line} + \if_a_ +% \end{macrocode} +% Now the process of trying to find a match begins. At each step of +% the search for a match, it tries all possible matches with the +% lines read so far that haven't been tried at an earlier step. +% \begin{macrocode} +% \tracingmacros=\@ne\tracingcommands=\tw@ % DEBUG + \initialise_search + \loop + \get_next_line{a} + \get_next_line{b} + \add_to_buffert{a} + \add_to_buffert{b} + \match_lines{\a_line}{\b_line} + \if_a_ + \global\a_bufP=\a_bufmid + \global\b_bufP=\b_bufmid + \try_matching + \fi + \if_a_ + \global\advance \a_bufmid \@ne + \global\advance \b_bufmid \@ne + \ifnum \a_bufmid>\sixt@@n + \errmessage{Big~buffert.~\the\a_lineno[\the\a_filelineno]: + \the\b_lineno[\the\b_filelineno]} + \fi % DEBUG + \repeat + \report_mismatch +% \tracingcommands=\z@\tracingmacros=\z@ % DEBUG +% \end{macrocode} +% \begin{macrocode} + \fi + \metric_statistics + \step_linenos + \par % DEBUG + \if \ifx \a_line\end_of_file_line + \ifx \b_line\end_of_file_line 1\else 0\fi\else 0\fi 0 + % then + \expandafter\process_lines + \fi +} +% \end{macrocode} +% \end{macro} + +\def\loadencoding#1{{ + \def\do_slot{\x_cs\xdef{name-#1-\the\slot_number}{\slot_name}} + \inputetx{#1} +}} + +% \begin{macro}{\comparePLs} +% The |\comparePLs| command compares two property lists files. It is +% geared against verifying that two different such files are as good +% as equal, and it might take a very long time before it gives up on +% trying to find any resemblance between them. It is furthermore only +% meant to be used on (V)PL files generated by \package{TFtoPL} or +% \package{VFtoVP}, because it assumes the property lists follow a +% stricter syntax than \package{PLtoTF} and \package{VPtoVF} requires +% them to. Finally it needs to be said that the comparision is rather +% stupid in many respects, as it is completely line-oriented and +% takes no notice of what kind of property list it is reading. This +% may in some cases cause it to find ``matches'' between lines which +% for syntactical reasons alone cannot match. +% +% |\comparePLs| is called as +% \begin{quote} +% |\comparePLs|\marg{first PL}\marg{second PL}\marg{encoding} +% \end{quote} +% where \meta{first PL} and \meta{second PL} are the complete names +% (including extensions) of the files to compare. \meta{encoding} is +% the name of the encoding to use when translating slots to glyph +% names; leave it empty if you don't want to specify one. (One could +% use the \texttt{CODINGSCHEME} property to determine the encoding in +% that case, but this is not currently done). The slot to glyph +% translation is only done to make it easier to locate the position of +% some mismatch; it has not effect on the actual comparision. +% \begin{macrocode} +\newcount\last_character +\def\comparePLs#1#2#3{{ + \def\encoding_name{#3} + \last_character=\m@ne + \openin\a_read=#1\x_relax + \openin\b_read=#2\x_relax + \immediate\write\sixt@@n{#1~and^^J #2} + \pl_catcodes + \let\do_left_paren=\do_property + \let\do_right_paren=\empty_command + \global\chardef\compared_status=\z@ + \clear_histograms + \global\a_filelineno=\@ne + \global\b_filelineno=\@ne + \global\a_lineno=\@ne + \global\b_lineno=\@ne + \global\a_bufbase=\z@ + \global\b_bufbase=\z@ + \global\a_bufmid=\z@ + \global\b_bufmid=\z@ + \global\a_buftop=\m@ne + \global\b_buftop=\m@ne + \process_lines + \closein\a_read + \closein\b_read + \ifcase \compared_status + \immediate\write\sixt@@n{are~equal.^^J} + \or + \immediate\write\sixt@@n{are~almost~equal.^^J} + \or + \immediate\write\sixt@@n{are~essentially~equal.} + \or + \immediate\write\sixt@@n{have~non-tolerated~metric~differences.} + \or + \immediate\write\sixt@@n{do~not~completely~match.} + \else + \immediate\write\sixt@@n{could~not~be~matched!} + \fi + \ifnum 1<\compared_status + \immediate\write\sixt@@n{See~log~file~for~specification.} + \present_histograms + \immediate\write\sixt@@n{} + \fi +}} +% \end{macrocode} +% \end{macro} + + +\begingroup + \catcode`\(=13 \catcode`\)=13 + \gdef\pl_catcodes{ + \catcode`\(=13 \def({\do_left_paren} + \catcode`\)=13 \def){\do_right_paren} + } +\endgroup + +\def\do_property#1~{ + \x_cs\edef{cmd-\sign}{#1} + \let\metric_origin=\empty_command + \x_cs\ifx{pl-#1}\x_relax + \expandafter\ignore_parens + \else + \csname pl-#1 \expandafter\endcsname + \fi +} +\def\pl_def_s#1(#2){\x_cs\def{pl-#1}#2~} +\begingroup + \catcode`\!=13\lccode`\!=`\) +\lowercase{\endgroup + \def\pl_def_p#1(#2){\x_cs\def{pl-#1}#2!} +} +\def\pl_let#1#2{ + \expandafter\let + \csname pl-#1 \expandafter\endcsname \csname pl-#2 \endcsname +} + + + +\newdimen\tolerance \tolerance=110sp + +% The following is for gobbling to the next unmatched right parenthesis. +% The |\catcode| trick used by the PL-to-MTX converter's +% |\ignore_parens| cannot be used since the characters are already +% tokenized, but one can do something similar with an |\edef| since one +% does not have to worry about the PL files containing material which +% expands in an undesirable way. +% +% The |\line_stop| is so that linebreaks in the parenthesis being +% gobbled will not cause total havok (although the parenthesis won't be +% gobbled completely). It inserts end-of-group tokens until the |\edef| +% is terminated, and then the |\afterassignment| token will close the +% group and restore the normal definition. + +\def\ignore_parens{ + \begingroup + \def\do_left_paren{{\iffalse}\fi} + \def\do_right_paren{\iffalse{\fi}} + \def\line_stop{\do_right_paren\line_stop} + \afterassignment\endgroup + \edef\a_macro{\iffalse}\fi +} +\def\line_stop{\x_relax} +% \end{macrocode} +% +\begingroup + \catcode`\(=1 + \catcode`\)=2 + \gdef\pl_string{ + \begingroup + \def\do_left_paren{(\iffalse)\fi} + \def\do_right_paren{\iffalse(\fi)} + \def\line_stop{\iffalse{\fi}\line_stop} + \afterassignment\pl_string_i + \edef\a_macro{\iffalse}\fi + } +\endgroup +\def\pl_string_i{ + \expandafter\endgroup \expandafter\def + \csname string-\sign \expandafter\endcsname + \expandafter{\a_macro} +} + +\def\pl_real#1{\sign#1\hundred_pt} +\newdimen\hundred_pt \hundred_pt=100pt + +% Convert a PL int to a \TeX{} int, assuming it's prefixed +% by |C|, |D|, |O|, or |H|. +% +% \begin{macrocode} +\def\pl_int#1#2{ + \sign \ifx#1C `#2 + \else\ifx#1D #2 + \else\ifx#1O '#2 + \else\ifx#1H "#2 + \else -1\errmessage{Unknown~PL~number~prefix~`#1'} + \fi\fi\fi\fi +} +% \end{macrocode} + + +% \begin{macrocode} +\pl_def_p{NEXTLARGER}(#1~#2){\advance \first_integer \pl_int{#1}{#2}} +\pl_let{BOUNDARYCHAR}{NEXTLARGER} +% \end{macrocode} +% +% +% \begin{macrocode} +\x_cs\let{pl-VTITLE}=\pl_string +\pl_let{FONTNAME}{VTITLE} +\pl_let{FONTAREA}{VTITLE} +% \pl_let{CHECKSUM}{VTITLE} +% % Not really a string, but unsigned numbers can become too large for TeX. +% \pl_let{FONTCHECKSUM}{CHECKSUM} +% Commented out since checksums vary too much. +\pl_def_p{FONTAT}(R~#1){\advance \first_dimen \pl_real{#1}} +\pl_let{FONTDSIZE}{FONTAT} +\pl_let{SELECTFONT}{NEXTLARGER} +\pl_let{SETCHAR}{NEXTLARGER} +\pl_def_p{SETRULE}(R~#1~R~#2){ + \advance \first_dimen \pl_real{#1} + \advance \second_dimen \pl_real{#2} +} +\x_cs\let{pl-POP}\empty_command +\pl_let{PUSH}{POP} +\pl_let{MOVERIGHT}{FONTAT} +\pl_let{MOVELEFT}{FONTAT} +\pl_let{MOVEUP}{FONTAT} +\pl_let{MOVEDOWN}{FONTAT} +\pl_let{SPECIAL}{VTITLE} +\pl_let{SPECIALHEX}{VTITLE} +% \end{macrocode} +% +% + +\pl_let{CODINGSCHEME}{VTITLE} +\pl_let{DESIGNSIZE}{FONTAT} + +\def\pl_parameter#1#2#3{ + \advance \first_integer \pl_int{#1}{#2} + \advance \first_dimen \pl_real{#3} +} + +\pl_def_p{PARAMETER}(#1~#2~R~#3){\pl_parameter{#1}{#2}{#3}} + +\pl_def_p{SLANT}(R~#1){\pl_parameter{D}{1}{#1}} +\pl_def_p{SPACE}(R~#1){\pl_parameter{D}{2}{#1}} +\pl_def_p{STRETCH}(R~#1){\pl_parameter{D}{3}{#1}} +\pl_def_p{SHRINK}(R~#1){\pl_parameter{D}{4}{#1}} +\pl_def_p{XHEIGHT}(R~#1){\pl_parameter{D}{5}{#1}} +\pl_def_p{QUAD}(R~#1){\pl_parameter{D}{6}{#1}} +\pl_def_p{EXTRASPACE}(R~#1){\pl_parameter{D}{7}{#1}} + +\pl_def_p{NUM1}(R~#1){\pl_parameter{D}{8}{#1}} +\pl_def_p{NUM2}(R~#1){\pl_parameter{D}{9}{#1}} +\pl_def_p{NUM3}(R~#1){\pl_parameter{D}{10}{#1}} +\pl_def_p{DENOM1}(R~#1){\pl_parameter{D}{11}{#1}} +\pl_def_p{DENOM2}(R~#1){\pl_parameter{D}{12}{#1}} +\pl_def_p{SUP1}(R~#1){\pl_parameter{D}{13}{#1}} +\pl_def_p{SUP2}(R~#1){\pl_parameter{D}{14}{#1}} +\pl_def_p{SUP3}(R~#1){\pl_parameter{D}{15}{#1}} +\pl_def_p{SUB1}(R~#1){\pl_parameter{D}{16}{#1}} +\pl_def_p{SUB2}(R~#1){\pl_parameter{D}{17}{#1}} +\pl_def_p{SUPDROP}(R~#1){\pl_parameter{D}{18}{#1}} +\pl_def_p{SUBDROP}(R~#1){\pl_parameter{D}{19}{#1}} +\pl_def_p{DELIM1}(R~#1){\pl_parameter{D}{20}{#1}} +\pl_def_p{DELIM2}(R~#1){\pl_parameter{D}{21}{#1}} +\pl_def_p{AXISHEIGHT}(R~#1){\pl_parameter{D}{22}{#1}} + +\pl_let{DEFAULTRULETHICKNESS}{NUM1} +\pl_let{BIGOPSPACING1}{NUM2} +\pl_let{BIGOPSPACING2}{NUM3} +\pl_let{BIGOPSPACING3}{DENOM1} +\pl_let{BIGOPSPACING4}{DENOM2} +\pl_let{BIGOPSPACING5}{SUP1} + +\def\boundarychar_name{BOUNDARYCHAR} +\pl_def_s{LABEL}(#1){ + \def\a_macro{#1} + \ifx \a_macro\boundarychar_name + \x_cs\let{string-\sign}\a_macro + \else + \def\a_macro{\csname pl-LABEL(i\endcsname #1~} + \expandafter\a_macro + \fi +} +\pl_def_p{LABEL(i}(#1~#2){ + \last_character=\first_integer + \advance \first_integer \pl_int{#1}{#2} +} +\pl_def_p{LIG}(#1~#2~#3~#4){ + \advance \first_integer \pl_int{#1}{#2} + \advance \second_integer \pl_int{#3}{#4} +} +\pl_let{/LIG}{LIG} +\pl_let{/LIG>}{LIG} +\pl_let{LIG/}{LIG} +\pl_let{LIG/>}{LIG} +\pl_let{/LIG/}{LIG} +\pl_let{/LIG/>}{LIG} +\pl_let{/LIG/>>}{LIG} + +\pl_let{HEADER}{LIG} + +% \def\pl_lig#1~#2~#3~#4~#5~{ +% \x_cs\def{string-\sign}{#1} +% \def\LIG#1~{ +% \if\ifx #1C 0 +% \else\ifx #1D 0 +% \else\ifx #1H 0 +% \else\ifx #1O 0 \else 1\fi\fi\fi\fi 0 +% % then +% \expandafter\both_of_two +% \else +% \expandafter\first_of_two +% \fi{\pl_lig LIG}{~}#1~ +% } +% \def\/{\pl_lig/} + +\pl_let{KRN}{PARAMETER} +\pl_let{SKIP}{NEXTLARGER} + +\pl_def_s{CHARACTER}(#1~#2){ + \last_character=\first_integer + \advance \first_integer \pl_int{#1}{#2} +} +\pl_let{CHARWD}{FONTAT} +\pl_def_p{CHARHT}(R~#1){ + \def\metric_origin{ht} + \advance \first_dimen \pl_real{#1} +} +\pl_def_p{CHARDP}(R~#1){ + \def\metric_origin{dp} + \advance \first_dimen \pl_real{#1} +} +\pl_def_p{CHARIC}(R~#1){ + \def\metric_origin{ic} + \advance \first_dimen \pl_real{#1} +} + +\pl_let{TOP}{NEXTLARGER} +\pl_let{MID}{NEXTLARGER} +\pl_let{BOT}{NEXTLARGER} +\pl_let{REP}{NEXTLARGER} + +\pl_let{FONTDIMEN}{POP} +\pl_let{LIGTABLE}{POP} +\pl_let{VARCHAR}{POP} +\pl_def_s{MAPFONT}(#1~#2){\advance \first_integer \pl_int{#1}{#2}} +\pl_let{MAP}{POP} + + +% \begin{macrocode} +\catcode`\@=\atcatcode +\catcode`\^^M=\nlcatcode +\catcode`\ =\spacecatcode +\catcode`\~=\tildecatcode +\catcode`\_=\underscorecatcode +% \end{macrocode} diff --git a/Master/texmf-dist/doc/fontinst/base/test/comparepls.tex b/Master/texmf-dist/doc/fontinst/base/test/comparepls.tex new file mode 100644 index 00000000000..a735a34ed79 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/comparepls.tex @@ -0,0 +1,73 @@ +\input fontinst.sty +\input comparemetrics.sty + +% % \tracingmacros=1\tracingcommands=2 +% \comparePLs{cmr5.pl}{cmr5.pl} +% +% \bye + +\tracingstats=1 + +\def\oldf{::efficiency:saved:v1.912:} +\def\newf{::efficiency:saved:v1.913:} + +\loadencoding{t1} +\loadencoding{ot1} +\loadencoding{ts1} +\loadencoding{8r} + +\comparePLs{\oldf padb7t.vpl}{\newf padb7t.vpl}{ot1} %OK 11sp +\comparePLs{\oldf padb8c.vpl}{\newf padb8c.vpl}{ts1} %OK 11sp +\comparePLs{\oldf padb8t.vpl}{\newf padb8t.vpl}{t1} %OK 11sp +\comparePLs{\oldf padbc7t.vpl}{\newf padbc7t.vpl}{ot1} %OK 11sp +\comparePLs{\oldf padbc8t.vpl}{\newf padbc8t.vpl}{t1} +\comparePLs{\oldf padbi7t.vpl}{\newf padbi7t.vpl}{ot1} +\comparePLs{\oldf padbi8c.vpl}{\newf padbi8c.vpl}{ts1} +\comparePLs{\oldf padbi8t.vpl}{\newf padbi8t.vpl}{t1} +\comparePLs{\oldf padbo7t.vpl}{\newf padbo7t.vpl}{ot1} %OK 11sp +\comparePLs{\oldf padbo8c.vpl}{\newf padbo8c.vpl}{ts1} %OK 11sp +\comparePLs{\oldf padbo8t.vpl}{\newf padbo8t.vpl}{t1} +\comparePLs{\oldf padr7t.vpl}{\newf padr7t.vpl}{ot1} %OK 11sp +\comparePLs{\oldf padr8c.vpl}{\newf padr8c.vpl}{ts1} %OK 11sp +\comparePLs{\oldf padr8t.vpl}{\newf padr8t.vpl}{t1} %OK 11sp +\comparePLs{\oldf padrc7t.vpl}{\newf padrc7t.vpl}{ot1} %OK 11sp +\comparePLs{\oldf padrc8t.vpl}{\newf padrc8t.vpl}{t1} %OK 11sp +\comparePLs{\oldf padri7t.vpl}{\newf padri7t.vpl}{ot1} +\comparePLs{\oldf padri8c.vpl}{\newf padri8c.vpl}{ts1} %OK 11sp +\comparePLs{\oldf padri8t.vpl}{\newf padri8t.vpl}{t1} +\comparePLs{\oldf padro7t.vpl}{\newf padro7t.vpl}{ot1} %OK 11sp +\comparePLs{\oldf padro8c.vpl}{\newf padro8c.vpl}{ts1} %OK 11sp +\comparePLs{\oldf padro8t.vpl}{\newf padro8t.vpl}{t1} +\comparePLs{\oldf pads7t.vpl}{\newf pads7t.vpl}{ot1} +\comparePLs{\oldf pads8c.vpl}{\newf pads8c.vpl}{ts1} +\comparePLs{\oldf pads8t.vpl}{\newf pads8t.vpl}{t1} +\comparePLs{\oldf padsc7t.vpl}{\newf padsc7t.vpl}{ot1} +\comparePLs{\oldf padsc8t.vpl}{\newf padsc8t.vpl}{t1} %OK 11sp +\comparePLs{\oldf padsi7t.vpl}{\newf padsi7t.vpl}{ot1} +\comparePLs{\oldf padsi8c.vpl}{\newf padsi8c.vpl}{ts1} %OK 11sp +\comparePLs{\oldf padsi8t.vpl}{\newf padsi8t.vpl}{t1} +\comparePLs{\oldf padso7t.vpl}{\newf padso7t.vpl}{ot1} +\comparePLs{\oldf padso8c.vpl}{\newf padso8c.vpl}{ts1} +\comparePLs{\oldf padso8t.vpl}{\newf padso8t.vpl}{t1} + +\comparePLs{\oldf padb8a.pl}{\newf padb8a.pl}{} +\comparePLs{\oldf padb8r.pl}{\newf padb8r.pl}{8r} +\comparePLs{\oldf padbi8a.pl}{\newf padbi8a.pl}{} +\comparePLs{\oldf padbi8r.pl}{\newf padbi8r.pl}{8r} +\comparePLs{\oldf padbo8r.pl}{\newf padbo8r.pl}{8r} +\comparePLs{\oldf padr8a.pl}{\newf padr8a.pl}{} +\comparePLs{\oldf padr8r.pl}{\newf padr8r.pl}{8r} +\comparePLs{\oldf padrc8a.pl}{\newf padrc8a.pl}{} +\comparePLs{\oldf padrc8r.pl}{\newf padrc8r.pl}{8r} +\comparePLs{\oldf padri8a.pl}{\newf padri8a.pl}{} +\comparePLs{\oldf padri8r.pl}{\newf padri8r.pl}{8r} +\comparePLs{\oldf padro8r.pl}{\newf padro8r.pl}{8r} +\comparePLs{\oldf pads8a.pl}{\newf pads8a.pl}{} +\comparePLs{\oldf pads8r.pl}{\newf pads8r.pl}{8r} +\comparePLs{\oldf padsc8a.pl}{\newf padsc8a.pl}{} +\comparePLs{\oldf padsc8r.pl}{\newf padsc8r.pl}{8r} +\comparePLs{\oldf padsi8a.pl}{\newf padsi8a.pl}{} +\comparePLs{\oldf padsi8r.pl}{\newf padsi8r.pl}{8r} +\comparePLs{\oldf padso8r.pl}{\newf padso8r.pl}{8r} + +\bye
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/test/scaledtest.tex b/Master/texmf-dist/doc/fontinst/base/test/scaledtest.tex new file mode 100644 index 00000000000..f5e9dd03a2d --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/scaledtest.tex @@ -0,0 +1,8 @@ +%&Plain +\input fontinst.sty + +\installfonts + \installfont{foo}{scaledtest scaled 300}{ot1}{OT1}{zzz}{m}{n}{} +\endinstallfonts + +\bye
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/test/speedtest1.tex b/Master/texmf-dist/doc/fontinst/base/test/speedtest1.tex new file mode 100644 index 00000000000..a92823e7210 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/speedtest1.tex @@ -0,0 +1,62 @@ +\input fontinst.sty + +\edef\spacecatcode{\the\catcode`\ } +\edef\nlcatcode{\the\catcode`\^^M} +\edef\atcatcode{\the\catcode`\@} +\edef\underscorecatcode{\the\catcode`\_} +\edef\tildecatcode{\the\catcode`\~} +\catcode`\ =9 +\catcode`\^^M=9 +\catcode`\@=11 +\catcode`\_=11 +\catcode`\~=10 + +\def\Mtxtopl#1#2{{ + \open_out{#2.pl} + \top_of_pl_hook + \out_line{(COMMENT~raw~font~#2~created~by~fontinst~ + v\fontinstversion)} + \out_line{} + \out_line{(COMMENT~Filename:~#2.pl)} + \out_line{(COMMENT~Created~by:~tex~\jobname)} + \out_line{(COMMENT~Created~using:~\string\mtxtopl{#1}{#2})} + \out_line{} + \out_line{(COMMENT~This~file~can~be~turned~into~a~ligless~TeX~font~ + with)} + \out_line{(COMMENT~pltotfm~#2.pl~#2.tfm)} + \out_line{} + \out_line{(COMMENT~THIS~FILE~CAN~THEN~BE~DELETED.)} + \out_line{} + \out_line{(DESIGNSIZE~R~10.0)} + \out_line{} + \let\setglyph=\iffalse + \let\endsetglyph=\fi + \let\setkern=\gobble_three + \let\setrawglyph=\Pl_raw_glyph + \inputmtx{#1} + \out_line{} + \out_line{(COMMENT~END~OF~FILE~#2.pl)} + \close_out{Raw~font} +}} +\def\Pl_raw_glyph#1#2#3#4#5#6#7#8{ + \a_count=#4 + \out_line{(CHARACTER~\vpl_int\a_count\space(COMMENT~#1)} + \out_lline{(CHARWD~R~\make_factor{#5})} + \out_lline{(CHARHT~R~\make_factor{#6})} + \out_lline{(CHARDP~R~\make_factor{#7})} + \out_lline{(CHARIC~R~\make_factor{#8})} + \out_lline{)} +} + + +\catcode`\@=\atcatcode +\catcode`\^^M=\nlcatcode +\catcode`\ =\spacecatcode +\catcode`\~=\tildecatcode +\catcode`\_=\underscorecatcode + +\batchmode +\for(n){1}{500}{1}\Mtxtopl{cmr5}{cmr5.new}\endfor(n) + +\bye + diff --git a/Master/texmf-dist/doc/fontinst/base/test/testfont.tex b/Master/texmf-dist/doc/fontinst/base/test/testfont.tex new file mode 100644 index 00000000000..544642aae45 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/testfont.tex @@ -0,0 +1,208 @@ +% A testbed for font evaluation (see The METAFONTbook, Appendix H) + +\tracinglostchars=0 +\tolerance=1000 +\raggedbottom +\nopagenumbers +\parindent=0pt +\newlinechar=`@ +\hyphenpenalty=200 +\doublehyphendemerits=30000 +\hyphenation{prom-i-nent} + +\newcount\m \newcount\n \newcount\p \newdimen\dim +\chardef\other=12 + +\def\today{\ifcase\month\or + January\or February\or March\or April\or May\or June\or + July\or August\or September\or October\or November\or December\fi + \space\number\day, \number\year} +\def\hours{\n=\time \divide\n 60 + \m=-\n \multiply\m 60 \advance\m \time + \twodigits\n\twodigits\m} +\def\twodigits#1{\ifnum #1<10 0\fi \number#1} + +\def\init{\message{@Name of the font to test = } + \read-1 to\fontname \startfont + \message{Now type a test command (\string\help\space for help):}} +\def\startfont{\font\testfont=\fontname \spaceskip=0pt + \leftline{\sevenrm Test of \fontname\unskip\ on \today\ at \hours} + \medskip + \testfont \setbaselineskip + \ifdim\fontdimen6\testfont<10pt \rightskip=0pt plus 20pt + \else\rightskip=0pt plus 2em \fi + \spaceskip=\fontdimen2\testfont % space between words (\raggedright) + \xspaceskip=\fontdimen2\testfont \advance\xspaceskip by\fontdimen7\testfont} + +{\catcode`\|=0 \catcode`\\=\other +|gdef|help{|message{% +\init switches to another font;@% +\end or \bye finishes the run;@% +\table prints the font layout in tabular format;@% +\text prints a sample text, assuming TeX text font conventions;@% +\sample combines \table and \text;@% +\mixture mixes a background character with a series of others;@% +\alternation interleaves a background character with a series;@% +\alphabet prints all lowercase letters within a given background;@% +\ALPHABET prints all uppercase letters within a given background;@% +\series prints a series of letters within a given background;@% +\lowers prints a comprehensive test of lowercase;@% +\uppers prints a comprehensive test of uppercase;@% +\digits prints a comprehensive test of numerals;@% +\math prints a comprehensive test of TeX math italic;@% +\names prints a text that mixes upper and lower case;@% +\punct prints a punctuation test;@% +\bigtest combines many of the above routines;@% +\help repeats this message;@% +and you can use ordinary TeX commands (e.g., to \input a file).}}} + +\def\setbaselineskip{\setbox0=\hbox{\n=0 +\loop\char\n \ifnum \n<255 \advance\n 1 \repeat} +\baselineskip=6pt \advance\baselineskip\ht0 \advance\baselineskip\dp0 } + +\def\setchar#1{{\escapechar-1\message{\string#1 character = }% + \def\do##1{\catcode`##1=\other}\dospecials + \read-1 to\next + \expandafter\finsetchar\next\next#1}} +\def\finsetchar#1#2\next#3{\global\chardef#3=`#1 + \ifnum #3=`\# \global\chardef#3=#2 \fi} +\def\promptthree{\setchar\background + \setchar\starting \setchar\ending} + +\def\mixture{\promptthree \domix\mixpattern} +\def\alternation{\promptthree \domix\altpattern} +\def\mixpattern{\0\1\0\0\1\1\0\0\0\1\1\1\0\1} +\def\altpattern{\0\1\0\1\0\1\0\1\0\1\0\1\0\1\0\1\0} +\def\domix#1{\par\chardef\0=\background \n=\starting + \loop \chardef\1=\n #1\endgraf + \ifnum \n<\ending \advance\n 1 \repeat} + +\def\!{\discretionary{\background}{\background}{\background}} +\def\series{\promptthree \!\doseries\starting\ending\par} +\def\doseries#1#2{\n=#1\loop\char\n\!\ifnum\n<#2\advance\n 1 \repeat} +\def\complower{\!\doseries{`a}{`z}\doseries{'31}{'34}\par} +\def\compupper{\!\doseries{`A}{`Z}\doseries{'35}{'37}\par} +\def\compdigs{\!\doseries{`0}{`9}\par} +\def\alphabet{\setchar\background\complower} +\def\ALPHABET{\setchar\background\compupper} + +\def\lowers{\docomprehensive\complower{`a}{`z}{'31}{'34}} +\def\uppers{\docomprehensive\compupper{`A}{`Z}{'35}{'37}} +\def\digits{\docomprehensive\compdigs{`0}{`4}{`5}{`9}} +\def\docomprehensive#1#2#3#4#5{\par\chardef\background=#2 + \loop{#1} \ifnum\background<#3\m=\background\advance\m 1 + \chardef\background=\m \repeat \chardef\background=#4 + \loop{#1} \ifnum\background<#5\m=\background\advance\m 1 + \chardef\background=\m \repeat} + +\def\names{ {\AA}ngel\aa\ Beatrice Claire + Diana \'Erica Fran\c{c}oise Ginette H\'el\`ene Iris + Jackie K\=aren {\L}au\.ra Mar{\'\i}a N\H{a}ta{\l}{\u\i}e {\O}ctave + Pauline Qu\^eneau Roxanne Sabine T\~a{\'\j}a Ur\v{s}ula + Vivian Wendy Xanthippe Yv{\o}nne Z\"azilie\par} +\def\punct{\par\dopunct{min}\dopunct{pig}\dopunct{hid} + \dopunct{HIE}\dopunct{TIP}\dopunct{fluff} + \$1,234.56 + 7/8 = 9\% @ \#0\par} +\def\dopunct#1{#1,\ #1:\ #1;\ `#1'\ ?`#1?\ !`#1!\ (#1)\ [#1]\ #1*\ #1.\par} + +\def\bigtest{\sample + hamburgefonstiv HAMBURGEFONSTIV\par + \names \punct \lowers \uppers \digits} + +\def\math{\textfont1=\testfont \skewchar\testfont=\skewtrial + \mathchardef\Gamma="100 \mathchardef\Delta="101 + \mathchardef\Theta="102 \mathchardef\Lambda="103 \mathchardef\Xi="104 + \mathchardef\Pi="105 \mathchardef\Sigma="106 \mathchardef\Upsilon="107 + \mathchardef\Phi="108 \mathchardef\Psi="109 \mathchardef\Omega="10A + \def\ii{i} \def\jj{j} + \def\\##1{|##1|+}\mathtrial + \def\\##1{##1_2+}\mathtrial + \def\\##1{##1^2+}\mathtrial + \def\\##1{##1/2+}\mathtrial + \def\\##1{2/##1+}\mathtrial + \def\\##1{##1,{}+}\mathtrial + \def\\##1{d##1+}\mathtrial + \let\ii=\imath \let\jj=\jmath \def\\##1{\hat##1+}\mathtrial} +\newcount\skewtrial \skewtrial='177 +\def\mathtrial{$\\A \\B \\C \\D \\E \\F \\G \\H \\I \\J \\K \\L \\M \\N \\O + \\P \\Q \\R \\S \\T \\U \\V \\W \\X \\Y \\Z \\a \\b \\c \\d \\e \\f \\g + \\h \\\ii \\\jj \\k \\l \\m \\n \\o \\p \\q \\r \\s \\t \\u \\v \\w \\x \\y + \\z \\\alpha \\\beta \\\gamma \\\delta \\\epsilon \\\zeta \\\eta \\\theta + \\\iota \\\kappa \\\lambda \\\mu \\\nu \\\xi \\\pi \\\rho \\\sigma \\\tau + \\\upsilon \\\phi \\\chi \\\psi \\\omega \\\vartheta \\\varpi \\\varphi + \\\Gamma \\\Delta \\\Theta \\\Lambda \\\Xi \\\Pi \\\Sigma \\\Upsilon + \\\Phi \\\Psi \\\Omega \\\partial \\\ell \\\wp$\par} +\def\mathsy{\begingroup\skewtrial='060 % for math symbol font tests + \def\mathtrial{$\\A \\B \\C \\D \\E \\F \\G \\H \\I \\J \\K \\L + \\M \\N \\O \\P \\Q \\R \\S \\T \\U \\V \\W \\X \\Y \\Z$\par} + \math\endgroup} + +\def\oct#1{\hbox{\rm\'{}\kern-.2em\it#1\/\kern.05em}} % octal constant +\def\hex#1{\hbox{\rm\H{}\tt#1}} % hexadecimal constant +\def\setdigs#1"#2{\gdef\h{#2}% \h=hex prefix; \0\1=corresponding octal + \m=\n \divide\m by 64 \xdef\0{\the\m}% + \multiply\m by-64 \advance\m by\n \divide\m by 8 \xdef\1{\the\m}} +\def\testrow{\setbox0=\hbox{\penalty 1\def\\{\char"\h}% + \\0\\1\\2\\3\\4\\5\\6\\7\\8\\9\\A\\B\\C\\D\\E\\F% + \global\p=\lastpenalty}} % \p=1 if none of the characters exist +\def\oddline{\cr + \noalign{\nointerlineskip} + \multispan{19}\hrulefill& + \setbox0=\hbox{\lower 2.3pt\hbox{\hex{\h x}}}\smash{\box0}\cr + \noalign{\nointerlineskip}} +\newif\ifskipping +\def\evenline{\loop\skippingfalse + \ifnum\n<256 \m=\n \divide\m 16 \chardef\next=\m + \expandafter\setdigs\meaning\next \testrow + \ifnum\p=1 \skippingtrue \fi\fi + \ifskipping \global\advance\n 16 \repeat + \ifnum\n=256 \let\next=\endchart\else\let\next=\morechart\fi + \next} +\def\morechart{\cr\noalign{\hrule\penalty5000} + \chartline \oddline \m=\1 \advance\m 1 \xdef\1{\the\m} + \chartline \evenline} +\def\chartline{&\oct{\0\1x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&} +\def\chartstrut{\lower4.5pt\vbox to14pt{}} +\def\table{$$\global\n=0 + \halign to\hsize\bgroup + \chartstrut##\tabskip0pt plus10pt& + &\hfil##\hfil&\vrule##\cr + \lower6.5pt\null + &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline} +\def\endchart{\cr\noalign{\hrule} + \raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B& + &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup$$\par} +\def\:{\setbox0=\hbox{\char\n}% + \ifdim\ht0>7.5pt\reposition + \else\ifdim\dp0>2.5pt\reposition\fi\fi + \box0\global\advance\n 1 } +\def\reposition{\setbox0=\vbox{\kern2pt\box0}\dim=\dp0 + \advance\dim 2pt \dp0=\dim} +\def\centerlargechars{ + \def\reposition{\setbox0=\hbox{$\vcenter{\kern2pt\box0\kern2pt}$}}} + +\def\text{{\advance\baselineskip-4pt +\setbox0=\hbox{abcdefghijklmnopqrstuvwxyz} +\ifdim\hsize>2\wd0 \ifdim 15pc>2\wd0 \hsize=15pc \else \hsize=2\wd0 \fi\fi +On November 14, 1885, Senator \& Mrs.~Leland Stanford called +together at their San Francisco mansion the 24~prominent men who had +been chosen as the first trustees of The Leland Stanford Junior University. +They handed to the board the Founding Grant of the University, which they +had executed three days before. This document---with various amendments, +legislative acts, and court decrees---remains as the University's charter. +In bold, sweeping language it stipulates that the objectives of the University +are ``to qualify students for personal success and direct usefulness in life; +and to promote the publick welfare by exercising an influence in behalf of +humanity and civilization, teaching the blessings of liberty regulated by +law, and inculcating love and reverence for the great principles of +government as derived from the inalienable rights of man to life, liberty, +and the pursuit of happiness.'' \moretext +(!`THE DAZED BROWN FOX QUICKLY GAVE 12345--67890 JUMPS!)\par}} +\def\moretext{?`But aren't Kafka's Schlo{\ss} and {\AE}sop's {\OE}uvres +often na{\"\i}ve vis-\`a-vis the d{\ae}monic ph{\oe}nix's official r\^ole +in fluffy souffl\'es? } +\def\omitaccents{\let\moretext=\relax} + +\def\sample{\table\text} + +\ifx\noinit!\else\init\fi diff --git a/Master/texmf-dist/doc/fontinst/base/test/testsc.tex b/Master/texmf-dist/doc/fontinst/base/test/testsc.tex new file mode 100644 index 00000000000..c54452d45e1 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/testsc.tex @@ -0,0 +1,41 @@ +\input fontinst.sty + +\transformfont{padr8r} {\reencodefont{8r}{\fromafm{padr8a}}} +\transformfont{padrc8r}{\reencodefont{8r}{\fromafm{padrc8a}}} +\transformfont{pads8r} {\reencodefont{8r}{\fromafm{pads8a}}} +\transformfont{padsc8r}{\reencodefont{8r}{\fromafm{padsc8a}}} +\fromafm{padr8x} +\fromafm{pads8x} + +\installfonts + +\installfamily{T1}{pad} {} +\installfamily{T1}{padx}{} +\installfamily{T1}{padj}{} + +\installfont{padrc8t}{padrc8r,latin} + {T1}{T1}{pad}{m}{sc}{} +\installfont{padrc9e} + {kernoff,padr8r,padr8x,kernon,glyphoff,padrc8r,glyphon, + resetsc,latinsc} + {T1c}{T1}{padx}{m}{sc}{} +\installfont{padrc9d} + {kernoff,padr8r,padr8x,kernon,glyphoff,padrc8r,glyphon, + resetosf,resetsc,latinsc} + {T1cj}{T1}{padj}{m}{sc}{} + +\installfont{padsc8t}{padsc8r,latin} + {T1}{T1}{pad}{m}{sc}{} +\installfont{padsc9e} + {kernoff,pads8r,pads8x,kernon,glyphoff,padsc8r,glyphon, + resetsc,latinsc} + {T1c}{T1}{padx}{sb}{sc}{} +\installfont{padsc9d} + {kernoff,pads8r,pads8x,kernon,glyphoff,padrc8r,glyphon, + resetosf,resetsc,latinsc} + {T1cj}{T1}{padj}{sb}{sc}{} + +\endinstallfonts +\bye + + diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1901test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1901test.tex new file mode 100644 index 00000000000..81a6218f679 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1901test.tex @@ -0,0 +1,214 @@ +% Test of fontinst v1.901. +% Started 1999/03/13. +\input fontinst.sty + +% Part one---test of pooled file allocation. +\catcode`\_=11 +\catcode`\@=11 + +\def\show_out_filenames{% + \immediate\write16{\string\count17=\the\count17}% + \for(i){-1}{16}{1}% + \immediate\write16{Stream \strint{i}: + \x_cs\meaning{out_filename-\strint{i}}% + }% + \endfor(i)% +} + +% %1 Standard usage +% \show_out_filenames +% \open_pout\tF{\jobname.out} +% \show_out_filenames +% \pout_line\tF{Hello world!} +% \close_pout\tF{Test output} +% \show_out_filenames +% % Seems to work fine. + +% %2 Allocating LOTS of files. +% \newcount\j_count +% \newcount\k_count +% \j_count=0 +% \k_count=1 +% \for(o){1}{48}{1} +% \x_cs\open_pout{F-\strint{o}}{\jobname.\strint{o}}% +% \ifodd \int{o} \else +% \x_cs\pout_line{F-\the\k_count}{% +% open=\strint{o} close=\the\j_count\space write=\the\k_count +% }% +% \multiply \k_count \thr@@ +% \advance \k_count \@ne +% \d_count=\k_count +% \divide \d_count \int{o}% +% \multiply \d_count \int{o}% +% \advance \k_count -\d_count +% \advance \k_count \@ne +% \advance \j_count \@ne +% \x_cs\close_pout{F-\the\j_count}{Test data}% +% \fi +% \d_count=\int{o}% +% \divide \d_count 8% +% \multiply \d_count 8% +% \advance \d_count -\int{o}% +% \ifnum 0=\d_count \show_out_filenames \fi +% \endfor(o) +% % Seems to work fine as well. + + +%% Part two---test of reimplemented \transformfont stuff +%% Part two B---test of \recordtransforms stuff + +\recordtransforms{mapfrags.tex} +\transformfont{v1901test1}{ + \xscalefont{2000}{\reencodefont{t1c}{\frommtx{v1901test}}} +} +\transformfont{v1901test2}{ + \yscalefont{500}{\xscalefont{2000}{\frommtx{v1901test}}} +} +\transformfont{v1901test3}{ + \reencodefont{t1}{\slantfont{100}{\frommtx{v1901test}}} +} +\endrecordtransforms + + +\bye + +%% Part three---test of reglyphing + +\reglyphfonts + \resetcommand\iftokeep#1\then{\ifnum 0<#1} + % This means that an AFM command will survive the conversion only if + % it refers to at least one renamed glyph and not refer to any killed + % glyph. + +% \offmtxcommand\setrawglyph +% \offmtxcommand\setglyph +% % This reglyphing file is inteded for extracting information from the +% % AFM file of a Caps, Small caps, and Oldstyle figures fonts--with the +% % intention to build a corresponding virtual font with glyphs that are +% % present in the Regular and Expert Regular variants instead. Hence +% % there is no need for \setrawglyph or \setglyph commands (the +% % dimensions of the characters are known from the Reg. and Exp.Reg. +% % AFM's), but the \setkern commands are most interesting (since 8x +% % fonts don't contain any upper case letters, and hence has no kerning +% % pairs between these and the small caps either). + + + \renameglyph{dollaroldstyle}{dollar} + \renameglyph{ampersandsmall}{ampersand} + + \renameglyph{zerooldstyle}{zero} + \renameglyph{oneoldstyle}{one} + \renameglyph{twooldstyle}{two} + \renameglyph{threeoldstyle}{three} + \renameglyph{fouroldstyle}{four} + \renameglyph{fiveoldstyle}{five} + \renameglyph{sixoldstyle}{six} + \renameglyph{sevenoldstyle}{seven} + \renameglyph{eigtholdstyle}{eight} + \renameglyph{nineoldstyle}{nine} + + \renameglyph{Asmall}{a} + \renameglyph{Bsmall}{b} + \renameglyph{Csmall}{c} + \renameglyph{Dsmall}{d} + \renameglyph{Esmall}{e} + \renameglyph{Fsmall}{f} + \renameglyph{Gsmall}{g} + \renameglyph{Hsmall}{h} + \renameglyph{Ismall}{i} + \renameglyph{Jsmall}{j} + \renameglyph{Ksmall}{k} + \renameglyph{Lsmall}{l} + \renameglyph{Msmall}{m} + \renameglyph{Nsmall}{n} + \renameglyph{Osmall}{o} + \renameglyph{Psmall}{p} + \renameglyph{Qsmall}{q} + \renameglyph{Rsmall}{r} + \renameglyph{Ssmall}{s} + \renameglyph{Tsmall}{t} + \renameglyph{Usmall}{u} + \renameglyph{Vsmall}{v} + \renameglyph{Wsmall}{w} + \renameglyph{Xsmall}{x} + \renameglyph{Ysmall}{y} + \renameglyph{Zsmall}{z} + + \renameglyph{centoldstyle}{cent} + + % \renameglyph{FIsmall}{fi} + % \renameglyph{FLsmall}{fl} + % These two aren't really necessary, since the ligature `fi' looks + % exactly as the letters `f'`i' next to each others. + \killglyph{fi} + \killglyph{fl} + + \renameglyph{Gravesmall}{grave} + \renameglyph{Acutesmall}{acute} + \renameglyph{Circumflexsmall}{circumflex} + \renameglyph{Tildesmall}{tilde} + \renameglyph{Macronsmall}{macron} + \renameglyph{Brevesmall}{breve} + \renameglyph{Dotaccentsmall}{dotaccent} + \renameglyph{Dieresissmall}{dieresis} + \renameglyph{Ringsmall}{ring} + \renameglyph{Cedillasmall}{cedilla} + \renameglyph{Ogoneksmall}{ogonek} + \renameglyph{Caronsmall}{caron} + + \renameglyph{AEsmall}{ae} + \renameglyph{dotlessIsmall}{dotlessi} + \renameglyph{Lslashsmall}{lslash} + \renameglyph{Oslashsmall}{oslash} + \renameglyph{OEsmall}{oe} + % \renameglyph{SSsmall}{germandbls} + % This isn't really needed in the AGaramond font family, since `SSsmall' + % looks exactly like `Ssmall'`Ssmall' + \killglyph{germandbls} + + \renameglyph{Oacutesmall}{oacute} + \renameglyph{Odieresissmall}{odieresis} + \renameglyph{Ucircumflexsmall}{ucircumflex} + + \renameglyph{Uacutesmall}{uacute} + \renameglyph{Eacutesmall}{eacute} + \renameglyph{Iacutesmall}{iacute} + \renameglyph{Icircumflexsmall}{icircumflex} + + \renameglyph{Thornsmall}{thorn} + \renameglyph{Yacutesmall}{yacute} + + \renameglyph{Ocircumflexsmall}{ocircumflex} + \renameglyph{Otildesmall}{otilde} + \renameglyph{Ntildesmall}{ntilde} + \renameglyph{Ydieresissmall}{ydieresis} + \renameglyph{Ethsmall}{eth} + \renameglyph{Acircumflexsmall}{acircumflex} + \renameglyph{Aringsmall}{aring} + \renameglyph{Ccedillasmall}{ccedilla} + + \renameglyph{Ugravesmall}{ugrave} + \renameglyph{Zcaronsmall}{zcaron} + \renameglyph{Idieresissmall}{idieresis} + \renameglyph{Agravesmall}{agrave} + + \renameglyph{Ogravesmall}{ograve} + + \renameglyph{Udieresissmall}{udieresis} + \renameglyph{Edieresissmall}{edieresis} + \renameglyph{Aacutesmall}{aacute} + \renameglyph{Igravesmall}{igrave} + \renameglyph{Idieresissmall}{idieresis} + \renameglyph{Adieresissmall}{adieresis} + + \renameglyph{Scaronsmall}{scaron} + \renameglyph{Egravesmall}{egrave} + \renameglyph{Atildesmall}{atilde} + \renameglyph{Ecircumflexsmall}{ecircumflex} + + \reglyphfont{K-padrc}{gdsc} + \reglyphfont{K-padsc}{padsc8a} +\endreglyphfonts + + +\bye
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1902test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1902test.tex new file mode 100644 index 00000000000..7274fb76597 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1902test.tex @@ -0,0 +1,11 @@ +\input fontinst.sty + +\generalpltomtx{cmr5}{cmr5;1}{pl}{OT1} +\generalpltomtx{padr9d}{padr9d;1}{vpl}{} +\generalpltomtx{padr9d}{padr9d;2}{vpl}{OT1} + +\transformfont{cmr5;2}{\fromplgivenetx{cmr5}{OT1}} +\transformfont{padr9d;3}{\fromvpl{padr9d}} +\transformfont{padr9d;4}{\fromvplgivenetx{padr9d}{OT1}} + +\bye
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1905test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1905test.tex new file mode 100644 index 00000000000..47117acc5fb --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1905test.tex @@ -0,0 +1,22 @@ +\input fontinst.sty +\catcode`\_=11\catcode`\ =9\catcode`\^^M=9 +\catcode`\~=10\catcode`\@=11 + +\fontinst_error{Hungarian}{ + I~will~not~buy~this~record,\message_break + it~is~scratched +}\error_help_a + +\fontinst_warning{Hungarian}{Your~hovercraft~is~full~of~eels} + +\fontinst_info{Hungarian}{That~will~be~six~pence,~please} + +\fontinst_warning_no_line{Hungarian}{ + Do~you~want~to~come~home~to~my~place\message_break + and~pantsy~pantsy? +} + + + + +\bye
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1906test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1906test.tex new file mode 100644 index 00000000000..92ed6281198 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1906test.tex @@ -0,0 +1,12 @@ +%&Plain +% Test of fontinst v1.906. +% Begun 1999/08/01. +\input fontinst.sty + +\installfonts + \installfamily{U}{ztest1}{} + \installfont{v1906test}{v1906test}{v1906test}{U}{ztest1}{m}{n}{} +\endinstallfonts + +\bye + diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1913test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1913test.tex new file mode 100644 index 00000000000..b9382cdf898 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1913test.tex @@ -0,0 +1,21 @@ +\input fontinst.sty + +\recordtransforms{v1913test.recs} + +\transformfont{padr8r}{\reencodefont{8r}{\fromafm{padr8a}}} +\transformfont{padr8r-ys}{\yscalefont{\div{397000}{663}}{\frommtx{padr8r}}} +\reglyphfonts + \renameglyph{oneoldstyle}{one} + \reglyphfont{padr8r-ys2}{padr8r-ys} +\endreglyphfonts + +\installfonts + \installfamily{T1}{pad}{} + \installfamily{8r}{pad}{} + \installfont{padr9d}{padr8r,padr8r-ys2,padr8x,latin}{t1j}{T1}{pad}{m}{n}{} + \installrawfont{padr8r2}{padr8r-ys}{8r}{8r}{pad}{m}{n}{} +\endinstallfonts + +\endrecordtransforms + +\bye
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1914test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1914test.tex new file mode 100644 index 00000000000..73b271b986c --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1914test.tex @@ -0,0 +1,50 @@ +\input fontinst.sty + +%1 +\recordtransforms{v1914test.recs} + +\transformfont{padr8r}{\reencodefont{8r}{\fromafm{padr8a}}} +\for(x){0}{2}{1} + \for(y){0}{2}{1} + \transformfont{p-ad-rr--8r--\strint{x}=\strint{y}}{ + \xscalefont{\add{\mul{\int{x}}{300}}{700}}{ + \yscalefont{\add{\mul{\int{y}}{300}}{700}}{ + \frommtx{padr8r}}}} + \endfor(y) +\endfor(x) + +\installfonts + \installfamily{T1}{padxy}{} + \installfamily{8r}{padxy}{} + \for(x){0}{2}{1} + \for(y){0}{2}{1} + \installfont{p-ad-rr--8t--\strint{x}=\strint{y}} + {p-ad-rr--8r--\strint{x}=\strint{y},latin} + {t1}{T1}{padxy}{m\strint{x}\strint{y}}{n}{} + \installrawfont{p-ad-rr--8r--\strint{x}=\strint{y}} + {p-ad-rr--8r--\strint{x}=\strint{y},8r} + {8r}{8r}{padxy}{m\strint{x}\strint{y}}{n}{} + \endfor(y) + \endfor(x) +\endinstallfonts + +\endrecordtransforms + +% % \tracingmacros=1\tracingcommands=2 +% %2 +% \installfonts +% \installrawfont{cmr5}{cmr5,\metrics +% \resetint{xheight}{\mul{\int{xheight}}{2}},kernoff}{ot1}{OT1} +% {cmr}{m}{n}{5} +% \installfont{padr18t}{padr8r scaled 856,% +% \metrics \message{% +% \ifisint{rawscale}\then\strint{rawscale}\else None\fi +% }% +% \expandafter\show \csname g-A\endcsname +% ,latin,% +% \metrics \message{% +% \ifisint{rawscale}\then\strint{rawscale}\else None\fi +% }}{t1}{T1}{pad}{m}{ns}{} +% \endinstallfonts + +\bye
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1914testmap.tex b/Master/texmf-dist/doc/fontinst/base/test/v1914testmap.tex new file mode 100644 index 00000000000..17dd9c2375d --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1914testmap.tex @@ -0,0 +1,9 @@ +\input finstmsc.sty +\AssumeLWFN +\adddriver{dvips}{v1914test.map} +\adddriver{debug}{v1914test.debug} +\debugvalue{PS_font_file} +\adddriver{pltotf}{v1914test.sh} % v1.915 feature, actually +\input v1914test.recs +\donedrivers +\bye diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1915test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1915test.tex new file mode 100644 index 00000000000..b60946a402b --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1915test.tex @@ -0,0 +1,25 @@ +\input fontinst.sty + +% %1: Catcodes +% \def\do#1{Catcode of `\string#1 = \the\catcode`#1 ^^J} +% \def\showcatcodes{\message{\do{\ }\do{\^^M}\do{\@}\do{\_}\do{\~}}} +% +% \showcatcodes +% \show\fontinstcc +% \fontinstcc +% \showcatcodes +% \show\normalcc +% \normalcc +% \showcatcodes + +%2: Aliased glyphs +\input Knuth:fontinst:New.fontinst:cyrfinst:etc:fnstcorr.tex +\transformfont{padsc8r}{\reencodefont{8r}{\fromafm{padsc8a}}} +\def\renameglyph#1#2{\galias{#1}{#2}} +\input csc2x.tex +\transformfont{padscx8r}{\reencodefont{8r}{\fromafm{padsc8a}}} +% När glyfnamnen har tagits bort från de omkodade PL-filerna så är +% de i allt väsentligt lika. Sålunda tycks det fungera! + + +\bye
\ No newline at end of file diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1915testmap.tex b/Master/texmf-dist/doc/fontinst/base/test/v1915testmap.tex new file mode 100644 index 00000000000..7e83526cd40 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1915testmap.tex @@ -0,0 +1,9 @@ +\input finstmsc.sty +\adddriver{pltotf}{v1915test.sh} +\input v1914test.recs +\donedrivers +\setstr{TFMfileprefix}{:a:b:c:} +\adddriver{pltotf}{v1915test.sh2} +\input v1913test.recs +\donedrivers +\bye diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1916test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1916test.tex new file mode 100644 index 00000000000..56f26a51b0f --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1916test.tex @@ -0,0 +1,14 @@ +% v1916test.tex + +\input fontinst.sty + +% \half and \otherhalf +\fontinstcc +\for(i){-5}{5}{1} + \eval_expr_to\b_count{\half{\int{i}}} + \eval_expr{\otherhalf{\int{i}}} + \immediate\write16{\strint{i}:~\the\b_count \space+~ \the\result} +\endfor(i) +\normalcc + +\bye diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1916test2.tex b/Master/texmf-dist/doc/fontinst/base/test/v1916test2.tex new file mode 100644 index 00000000000..8cc954f2615 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1916test2.tex @@ -0,0 +1,27 @@ +%&Plain +\input fontinst.sty + +% %1 \ifareglyphs +% +% \setrawglyph{f}{xfont}{10pt}{102}{375}{750}{375}{50} +% \setrawglyph{g}{xfont}{10pt}{102}{375}{750}{375}{50} +% \setrawglyph{h}{xfont}{10pt}{102}{375}{750}{375}{50} +% +% \ifareglyphs{}\then True \else False \fi +% \ifareglyphs{a}\then True \else False \fi +% \ifareglyphs{f}\then True \else False \fi +% \ifareglyphs{f,a}\then True \else False \fi +% \ifareglyphs{a,f}\then True \else False \fi +% \ifareglyphs{f,g}\then True \else False \fi +% \ifareglyphs{f,g,a}\then True \else False \fi + +%2 \setfontdimen +\generalpltomtx{ecrm1000}{ecrm1000}{pl}{t1draft} +\generalpltomtx{ecss1000}{ecss1000}{pl}{t1draft} +\transformfont{ecdh-shrunk}{% + \yscalefont{500}{\fromplgivenetx{ecdh1000}{t1draft}}% +} + +\bye + + diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1923test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1923test.tex new file mode 100644 index 00000000000..5115f93b373 --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1923test.tex @@ -0,0 +1,43 @@ +%&Plain + +\input fontinst.sty + +% %1 +% \transformfont{padr8r}{\reencodefont{8r}{\fromafm{padr8a}}} +% \transformfont{padri8r}{\reencodefont{8r}{\fromafm{padri8a}}} +% +% \installfonts +% \installfamily{T1}{pad2}{} +% \installfont{zpad2i8t}{padri8r scaled 1009,% +% padr8r scaled 999 suffix -upright scaled 1009,\metrics +% % \expandafter\show \csname r-T-upright\endcsname +% \unsetglyph{parenleft} +% \setglyph{parenleft} +% \glyph{parenleft-upright}{1000} +% \endsetglyph +% \resetglyph{parenright} +% \glyph{parenright-upright}{1000} +% \endresetglyph,latin}{t1}{T1}{pad2}{m}{it}{} +% \endinstallfonts + +% %2 +% +% \installfonts +% \installfamily{U}{fad}{} +% \installfont{fadrr}{fadrr}{textfdim,fadrr mtxasetx}{U}{fad}{m}{n}{} +% \endinstallfonts + +% %3 +% \transformfont{pagk8r}{\reencodefont{8r}{\fromafm{pagk8a}}} +% \installfonts +% \installfont{pagk8t}{pagk8r,newlatin}{t1}{T1}{pag}{m}{n}{} +% \endinstallfonts + +%4 +\installfonts + \installfont{test}{rsfs10 encoding rsfs,cmsy10}{oms}{OMS}{xxx}{m}{n}{} +\endinstallfonts + + +\bye + diff --git a/Master/texmf-dist/doc/fontinst/base/test/v1927test.tex b/Master/texmf-dist/doc/fontinst/base/test/v1927test.tex new file mode 100644 index 00000000000..b21f16bf60e --- /dev/null +++ b/Master/texmf-dist/doc/fontinst/base/test/v1927test.tex @@ -0,0 +1,18 @@ +%&Plain + +\input finstmsc.sty + +% %1 +% \etxtoenc{ot1}{temp} + +%2 +\storemapdata{a}{\fromafm{a}{XX}}{} +\storemapdata{a}{\fromafm{a}{XX}}{} +\storemapdata{a}{\fromafm{a}{XY}}{} +\storemapdata{a}{\fromafm{a}{XX}}{} +\storemapdata{a}{\fromafm{a}{XX}}{\reencodefont{8r}} + + + +\bye + |