1 files changed, 150 insertions, 5 deletions
diff --git a/Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex b/Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex
index aa2f19c7710..1f6a6faee17 100644
--- a/Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex
+++ b/Master/texmf-dist/doc/fonts/fbb/fbb-doc.tex
@@ -15,8 +15,8 @@
 \colorbox{yellow}{#1}}
 \pdfmapfile{+fbb.map}
 %SetFonts
-%Garamondx plus newtxmath
-%\usepackage[scaled]{garamondx} 
+%fbb plus newtxmath
+\usepackage[full]{textcomp} % to get the right copyright, etc.
 \usepackage{fbb}
 \usepackage[scaled=.95]{cabin}
 \usepackage[varqu,varl]{zi4}% typewriter
@@ -24,8 +24,8 @@
 \usepackage[bb=boondox,frak=boondox]{mathalfa}
 %\renewcommand*{\rmdefault}{zgmj}
 \usepackage[T1]{fontenc}
-\usepackage{textcomp} % to get the right copyright, etc.
 \useosf
+\usepackage{fonttable}
 \title{The \textbf{fbb} package---a Bembo--like font}
 \author{Michael Sharpe}
 \date{}
@@ -54,11 +54,11 @@ The package also defines five macros that allow you use alternate figure styles
 
 There is a {\tt scaled} option (\emph{e.g.}, {\tt scaled=.97}) that allow you to adjust the text size against, say, a math package. This text package works well with {\tt newtxmath} with the {\tt libertine} option, because the latter has italics of the same italic angle as {\tt fbb} and of very similar xheight and weight. The suggested invocation is:
 \begin{verbatim}
+\usepackage[full]{textcomp} % to get the right copyright, etc.
 \usepackage[lining,tabular]{fbb} % so math uses tabular lining figures
 \usepackage[scaled=.95]{cabin} % a nice sans serif
 \usepackage[varqu,varl]{zi4}% typewriter
 \usepackage[T1]{fontenc} % LY1 also works
-\usepackage{textcomp} % to get the right copyright, etc.
 \usepackage[libertine,cmbraces]{newtxmath}
 \usepackage[cal=boondoxo,bb=boondox,frak=boondox]{mathalfa}
 \useosf % change normal text to use proportional oldstyle figures
@@ -85,7 +85,152 @@ and variance $1$ on a probability space $(\Omega,\mathcal{F},\Pr)$. Then}
 \quad\mbox{as $n\to\infty$, for every $f\in\mathrm{b}
 \mathcal{C}(\mathbb{R})$.}\]
 
-\section{Background}
+\section{Text effects under \texttt{fontaxes}}
+This package loads the {\tt fontaxes} package in order to access italic small caps. You should pay attention to the fact that {\tt fontaxes} modifies the behavior of some basic \LaTeX\ text macros such as \verb|\textsc| and \verb|\textup|. Under normal \LaTeX, some text effects are combined, so that, for example, \verb|\textbf{\textit{a}}| produces bold italic {\tt a}, while other effects are not, eg, \verb|\textsc{\textup{a}}| has the same effect as \verb|\textup{a}|, producing the letter {\tt a} in upright, not small cap, style. With {\tt fontaxes}, \verb|\textsc{\textup{a}}| produces instead upright small cap {\tt a}. It offers a macro \verb|\textulc| that undoes small caps, so that, eg, \verb|\textsc{\textulc{a}}| produces {\tt a} in non-small cap mode, with whatever other style choices were in force, such as bold or italics.
+
+%\section{Superior figures}
+%The TrueType versions of GaramondNo8 have a full set of superior figures, unlike their PostScript counterparts. The superior figure glyphs in regular weight only have been copied to \texttt{NewG8-sups.pfb} and \texttt{NewG8-sups.afm} and provided with a tfm named \texttt{NewG8-sups.tfm} that can be used by the \textsf{superiors} package to provide adjustable footnote markers. See \textsf{superiors-doc.pdf} (you can find it in \TeX Live by typing \texttt{texdoc superiors} in a Terminal window.) The simplest invocation is
+%\begin{verbatim}
+%\usepackage[supstfm=NewG8-sups]{superiors}
+%\end{verbatim}
+\section{Glyphs in TS\textlf{1} encoding}
+The layout of the TS\textlf{1} encoded Text Companion font, which is fully rendered \emph{in regular style only}, is as follows. See below for the macros that invoke these glyphs. Though shown in regular weight, upright shape only, a reduced set of  glyphs are available in all other weights and shapes.
+
+\fonttable{fbb-Regular-tosf-ts1}
+
+\textsc{List of macros to access the TS\textlf{1} symbols in text mode:}\\
+(Note that slots 0--12 and 26--29 are accents, used like \verb|\t{a}| for a tie accent over the letter a. Slots 23 and 31 do not contain visible glyphs, but have heights indicated by their names.)
+\begin{verbatim}
+  0 \capitalgrave
+  1 \capitalacute
+  2 \capitalcircumflex
+  3 \capitaltilde
+  4 \capitaldieresis
+  5 \capitalhungarumlaut
+  6 \capitalring
+  7 \capitalcaron
+  8 \capitalbreve
+  9 \capitalmacron
+ 10 \capitaldotaccent
+ 11 \capitalcedilla
+ 12 \capitalogonek
+ 13 \textquotestraightbase
+ 18 \textquotestraightdblbase
+ 21 \texttwelveudash
+ 22 \textthreequartersemdash
+ 23 \textcapitalcompwordmark
+ 24 \textleftarrow
+ 25 \textrightarrow
+ 26 \t % tie accent, skewed right
+ 27 \capitaltie % skewed right
+ 28 \newtie % tie accent centered
+ 29 \capitalnewtie % ditto
+ 31 \textascendercompwordmark
+ 32 \textblank
+ 36 \textdollar
+ 39 \textquotesingle
+ 42 \textasteriskcentered
+ 45 \textdblhyphen
+ 47 \textfractionsolidus
+ 48 \textzerooldstyle
+ 49 \textoneoldstyle
+ 50 \texttwooldstyle
+ 49 \textthreeoldstyle
+ 50 \textfouroldstyle
+ 51 \textfiveoldstyle
+ 52 \textsixoldstyle
+ 53 \textsevenoldstyle
+ 54 \texteightoldstyle
+ 55 \textnineoldstyle
+ 60 \textlangle
+ 61 \textminus
+ 62 \textrangle
+ 77 \textmho
+ 79 \textbigcircle
+ 87 \textohm
+ 91 \textlbrackdbl
+ 93 \textrbrackdbl
+ 94 \textuparrow
+ 95 \textdownarrow
+ 96 \textasciigrave
+ 98 \textborn
+ 99 \textdivorced
+100 \textdied
+108 \textleaf
+109 \textmarried
+110 \textmusicalnote
+126 \texttildelow
+127 \textdblhyphenchar
+128 \textasciibreve
+129 \textasciicaron
+130 \textacutedbl
+131 \textgravedbl
+132 \textdagger
+133 \textdaggerdbl
+134 \textbardbl
+135 \textperthousand
+136 \textbullet
+137 \textcelsius
+138 \textdollaroldstyle
+139 \textcentoldstyle
+140 \textflorin
+141 \textcolonmonetary
+142 \textwon
+143 \textnaira
+144 \textguarani
+145 \textpeso
+146 \textlira
+147 \textrecipe
+148 \textinterrobang
+149 \textinterrobangdown
+150 \textdong
+151 \texttrademark
+152 \textpertenthousand
+153 \textpilcrow
+154 \textbaht
+155 \textnumero
+156 \textdiscount
+157 \textestimated
+158 \textopenbullet
+159 \textservicemark
+160 \textlquill
+161 \textrquill
+162 \textcent
+163 \textsterling
+164 \textcurrency
+165 \textyen
+166 \textbrokenbar
+167 \textsection
+168 \textasciidieresis
+169 \textcopyright
+170 \textordfeminine
+171 \textcopyleft
+172 \textlnot
+173 \textcircledP
+174 \textregistered
+175 \textasciimacron
+176 \textdegree
+177 \textpm
+178 \texttwosuperior
+179 \textthreesuperior
+180 \textasciiacute
+181 \textmu
+182 \textparagraph
+183 \textperiodcentered
+184 \textreferencemark
+185 \textonesuperior
+186 \textordmasculine
+187 \textsurd
+188 \textonequarter
+189 \textonehalf
+190 \textthreequarters
+191 \texteuro
+214 \texttimes
+246 \textdiv
+\end{verbatim}
+There is a macro \verb|\textcircled| that may be used to construct a circled version of a single letter using \verb|\textbigcircle|. The letter is always constructed from the small cap version, so, in effect, you can only construct circled uppercase letters: \verb|\textcircled{M}| and \verb|\textcircled{m}| have the same effect, namely \textcircled{M}.
+
+\section{Historical Background}
 Humanist scholar Pietro Bembo, a seminal figure in literature and music of the Italian Renaissance, who later became Cardinal Bembo, wrote an essay in the last decade of the 15th century about his travels to Mt.\ Aetna, which work was published by the Venetian printer Aldus Manutius (whose name gave us \emph{Aldine}) using a new Roman font designed by his punch-cutter, Francesco Griffo that improved on the earlier efforts of Jenson, another printer in Venice. That font seems to have played a similarly seminal r\^ole in  typography. It was the direct progenitor of the many Garamond fonts, and has seen numerous modern revivals whose names make use of every known historical connection to the figures named above, such as those of Bembo's  lover for a time, Lucrezia Borgia.
 
 The metal form of the Bembo font developed by Stanley Morison for English Monotype in the 1920's was widely used in book printing due to its handsome appearance and readability. Commercial digital versions have not had much love from critics until recently.  Adobe's MinionPro and WarnockPro arguably deserve the prizes for the best modern revivals of oldstyle fonts not too distant from Bembo. (Both lack Bembo's tall ascenders and its characteristic overarching f.)