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diff --git a/Master/texmf-dist/doc/fonts/fc/fctugbot.tex b/Master/texmf-dist/doc/fonts/fc/fctugbot.tex new file mode 100644 index 00000000000..eb550ed1a8b --- /dev/null +++ b/Master/texmf-dist/doc/fonts/fc/fctugbot.tex @@ -0,0 +1,636 @@ +\documentstyle[array,ltugboat]{article} +% I used ltugboat.sty v1.02 + +%************************************************************************ +% TUGboat editorial macros +\def\showpart#1{% + \expandafter\def\csname **#1\expandafter\endcsname\space{} + \expandafter\def\csname **end #1\expandafter\endcsname\space{} + } +\def\noshowpart#1{% + \long\expandafter\def\csname **#1\expandafter\endcsname\space##1\TUBedit##2 {}} +\def\TUBedit#1{\csname**#1\endcsname} +\noshowpart{author} +\showpart{editor} +\noshowpart{change summary} +%************************************************************************ + +\TUBedit{change summary} +1. Capitalization in title and heads. +2. Some spelling and grammatical changes. +3. \makesignature used. +4. Placement of Table 2 so as to be typeset on final page +\TUBedit{end change summary} +%%JK +\noshowpart{last change summary} +\TUBedit{last change summary} +1. Changed postal address because of new german ZIP codes +2. Introduced italic font to show examples +3. Exhibited a scharfes s +\TUBedit{end last change summary} +%%/JK + + +\TUBedit{author} +\title{Fonts for Africa: The fc-fonts} +\TUBedit{end author} +% +\TUBedit{editor} +% remove hyphen, add cap +\title{Fonts for Africa: The fc Fonts} +\TUBedit{end editor} + +\TUBedit{author} +\author{J\"org Knappen\\ + Chair of the TWG on african languages with latin writing\\ + Institut f\"ur Kernphysik\\ + Postfach 39 80\\ + D-W 6500 Mainz\\ + R. F. A.\\ + {\tt knappen@vkpmzd.kph.uni-mainz.de}} +\signature{J\"org Knappen} +\TUBedit{end author} +% +\TUBedit{editor} +% At least the address information should go to the bottom of +% the article where the signature is placed. Should we keep the +% chairmanship up top? +%%JK: I think so. +%%/JK +\author{J\"org Knappen\\ + Chair of the TWG on African Languages with Latin Writing} +\address{Institut f\"ur Kernphysik\\ +%%JK Postfach 39 80\\ +%%JK D-W 6500 Mainz\\ +%%JK New ZIP code, no Postfach any more: + D 55 099 Mainz\\ +%%/JK + R. F. A.} +\netaddress{knappen@vkpmzd.kph.uni-mainz.de} +\TUBedit{end editor} +\begin{document} +\maketitle +\setlength{\extrarowheight}{2pt} +% +{% Begin a group to keep things local +\font\fc=fcr10 % You can get the fc fonts from ftp.uni-stuttgart.de +\def\FC#1{{\fc\char"#1}} % The argument is an uppercase hex number +\font\sstt=fcsstt10 +%%JK Add fc italic font: +\font\fci=fci10 +%%/JK +% +\font\logo=logo10 +\def\MF{{\logo META}\-{\logo FONT}} +% +\font\cyr=wncyr10 +% +\makeatletter +\input fcuse.sty % Available from ftp.uni-stuttgart.de +\makeatother +% +\begin{abstract} +\TUBedit{author} +A font (fc) with 256 characters for the needs of african languages with latin +\TUBedit{end author} +% +\TUBedit{editor} +% At one time, I recommended changing `africa/n' to `Africa/n' throughout, +% but I gather that this is consistent with `european', `german, `french', +% etc. and we should just regard this as a matter of style left to the +% author. +A font (fc) with 256 characters for the needs of african languages with latin +\TUBedit{end editor} +writing is presented. The so-called critical languages with more than +\TUBedit{author} +1~mio\ speakers are supported. It is implemented in \MF\ using Sauter's +\TUBedit{end author} +% +\TUBedit{editor} +% I'm not that familiar with the term `mio', although I suppose it's a +% contraction for `million'. Is this just American ignorance? If so, +% we can leave it here; otherwise I would prefer to use the more standard +% `million'. We should also be consistent with respect to the terminating +% period. None occurs here, but there is one where `mio' is next used. +1~mio\ speakers are supported. It is implemented in \MF\ using Sauter's +\TUBedit{end editor} +tools for the parametrisation. +\end{abstract} +% +\TUBedit{author} +\renewcommand{\abstractname}{Zusammenfassung} +\begin{abstract} +Ein Zeichensatz (fc) mit 256 Zeichen, der zum Satz afrikanischer Sprachen mit +lateinischer Schrift entwickelt worden ist, wird vorgestellt. Er +unterst\"utzt die sog.\ kritischen Sprachen in Afrika mit mehr als 1~Mio.\ % +Sprechern. Die Implementierung der fc-Zeichensatzfamilie geschieht in \MF\ % +unter Ausnutzung der Sauter'schen Parametrisierungen. +\end{abstract} +\TUBedit{end author} +% +\TUBedit{editor} +% comment out for TUGboat +%\renewcommand{\abstractname}{Zusammenfassung} +%\begin{abstract} +%Ein Zeichensatz (fc) mit 256 Zeichen, der zum Satz afrikanischer Sprachen mit +%lateinischer Schrift entwickelt worden ist, wird vorgestellt. Er +%unterst\"utzt die sog.\ kritischen Sprachen in Afrika mit mehr als 1~Mio.\ % +%Sprechern. Die Implementierung der fc-Zeichensatzfamilie geschieht in \MF\ % +%unter Ausnutzung der Sauter'schen Parametrisierungen. +%\end{abstract} +\TUBedit{end editor} +% +% +\section*{Introduction} +On the continent of africa, several hundred different languages are spoken, +\TUBedit{author} +the numbers of speakers range from more than 100~mio.\ down to few +\TUBedit{end author} +% +\TUBedit{editor} +% grammatical adjustment +the numbers of speakers of each ranging from more than 100~mio.\ down to few +\TUBedit{end editor} +hundreds. Many languages do not have a written form, other language have +\TUBedit{author} +some written form, but it is not standardised yet. Or even worse: There +\TUBedit{end author} +% +\TUBedit{editor} +% lowercase after : +some written form, but it is not standardised yet. Or even worse: there +\TUBedit{end editor} +exists more than one writing system for the same language (e.g.~protestant +and catholic orthography). Clearly, it was impossible to check out all +writing systems of all possible languages. This work confines itself to the +so-called `critical languages' according to a definition of the US +\TUBedit{author} +department of education in 1986. All these languages have more than 1~mio.\ % +\TUBedit{end author} +% +\TUBedit{editor} +% capitalize DoE +Department of Education in 1986. All these languages have more than 1~mio.\ % +\TUBedit{end editor} +speakers. + +\TUBedit{author} +On the continent of africa, three main writing systems are in use: +\TUBedit{end author} +% +\TUBedit{editor} +% Since the previous paragraph also begins with `On the continent ...', +% let's modify a little. Perhaps: +%%JK Good idea. Let's noindent it, as you have done it further down +\noindent +%%/JK +Three main writing systems are in use in Africa: +\TUBedit{end editor} +\begin{itemize} +\item {\it {\ae}thiopian} writing, used for several languages in + {\AE}thiopia and Eritrea. +\item {\it arabic} writing, used in northern africa and on the east coast +\TUBedit{author} + for several languages. It is now loosing ground against latin writing, +\TUBedit{end author} +% +\TUBedit{editor} +% `loosing' -> `losing' and `,' -> `;' + for several languages. It is now losing ground against latin writing; +\TUBedit{end editor} + languages like suaheli and hausa are now mainly written in latin. +\item {\it latin} writing is now being introduced or established in the + rest of africa. +\end{itemize} +In this overview, I want to mention also some other writing systems. +The Tuareg +living in the sahara use the over 2,000 years old {\em tifinagh} writing +\TUBedit{author} +system, a right-to-left writing, the Kopts in {\AE}gypt still use +\TUBedit{end author} +% +\TUBedit{editor} +% `,' -> `;' +system, a right-to-left writing; the Kopts in {\AE}gypt still use +\TUBedit{end editor} +{\em koptic} for religious purposes. + +An interesting development was the invention of a somali alphabet by +Osman Yusuf, which combined influences from the three major writing systems, +but this system did not achieve official status in Somalia. + +The introduction of latin writing was first done by missionaries, who +invented orthographies quite arbitrarily. But since the first half of this +\TUBedit{author} +century, there are attempts to standardise the newly introduced alphabets. +\TUBedit{end author} +% +\TUBedit{editor} +% `are' -> `have been' +century, there have been +attempts to standardise the newly introduced alphabets. +\TUBedit{end editor} + +As a result of these attempts, an `african reference alphabet' emerged, +based on the principle of {\em one sound, one sign} which is also the +principle of the international phonetic alphabet. There are many borrowings +from the phonetic alphabet in african writing. These efforts are now +coordinated by the {\sc UNESCO}. + +\TUBedit{author} +\section*{The fc fonts} +\TUBedit{end author} +% +\TUBedit{editor} +% capitalize `fonts' +\section*{The fc Fonts} +\TUBedit{end editor} +The fc font encoding scheme encodes characters necessary to typeset the +major african languages with latin writing. In selecting these languages, I +followed the list of so-called critical languages. Unfortunately, it proved +impossible to put really all characters into one 256-character font. +Therefore, I applied the following selection rules: +\begin{itemize} +\item The standard \TeX\ character set is still available. +\item Characters with entirely new shapes are included with highest + priority. +\item Characters which need another accent in some languages have the + second highest priority. +\item Characters which are difficult to handle by TeX macros are preferred + over those which are easier to handle (e.g. characters with diacritic +\TUBedit{author} + below are prefered to those with diacritics above). +\TUBedit{end author} +% +\TUBedit{editor} +% `prefered' -> `preferred' + below are preferred to those with diacritics above). +\TUBedit{end editor} +\TUBedit{author} +\item Characters which occur only in tonal languages and are carrying a + tonal mark, are most likely discarded. +\TUBedit{end author} +% +\TUBedit{editor} +% `are carrying' -> `carry' +\item Characters which occur only in tonal languages and carry a + tonal mark, are most likely discarded. +\TUBedit{end editor} +\end{itemize} + +\TUBedit{editor} +% To accentuate the regular text as opposed to the surrounding lists. +\noindent +\TUBedit{end editor} +The fc fonts have several other interesting features some of which I list +here: +\begin{itemize} +\item The lower half of the fc encoding scheme is identical to the Cork + (or ec) encoding scheme for european languages. +\item If a character occurs both in the fc scheme and in the Cork scheme, + it has the same encoding. +\item The difference between uppercase and the corresponding + lowercase character is a constant. +\item It is possible to create virtual fonts to obtain all those + characters of tonal languages which needed to be discarded. +\item It is possible to rebuild the cm fonts and the ec fonts as virtual + fonts from the fc fonts. In the latter case three letters are missing + (edh, thorn and Thorn) and cannot be done without larger loss in + quality. Of course, there are smaller quality losses in building + such a virtual font, e.g.~for \^\i, where the \^{}-accent comes out + too wide. +\end{itemize} + +\TUBedit{editor} +% Again to accentuate the regular text. +\noindent +\TUBedit{end editor} +The following languages are supported (with the proviso about tones made +above): Akan, Bamileke, Basa (Kru), Bemba, Ciokwe, Dinka, Dholuo (Luo), Efik, + Ewe-Fon, Fulani (Fulful), G\~a, Gbaya, Hausa, \d{I}gb\d{o}, Kanuri, Kikuyu, + Kikongo, Kpelle, Krio, Luba, Mandekan (Bambara), Mende, More, Ngala, + Nyanja, Oromo, Rundi, Kinya Rwanda, Sango, Serer, Shona, Somali, Songhai, + Sotho (two different writing systems), Suaheli, Tiv, Yao, Yoruba, Xhosa, + and Zulu. + + I decided to support two european languages, which are not covered by the +\TUBedit{author} + EC-scheme, +\TUBedit{end author} +% +\TUBedit{editor} +% Elsewhere we use lowercase for ec and fc. + ec-scheme, +\TUBedit{end editor} +namely Maltese and Sami\footnote{The Cork scheme includes the +\TUBedit{author} +letter eng ({\fc+n}) especially for Sami, but it missed the letter t with bar +\TUBedit{end author} +% +\TUBedit{editor} +% `missed' -> `is missing' +letter eng ({\fc+n}) especially for Sami, but it is missing +the letter t with bar +\TUBedit{end editor} +({\fc/t}). However, with the letter eng several african languages can be +written using the Cork scheme as well.}. +% Comment: I noticed that the examples come out too big, but regard this as +% a feature. In fact, footnotesized, they would come out nearly illegible. + +There are some writing systems which are not supported by the fc fonts. +\TUBedit{author} + +\TUBedit{end author} +% +\TUBedit{editor} +% Let's run these two paragraphs together. +\TUBedit{end editor} +First to mention is the writing of Khoi-San languages with their +characteristic click sounds. Missing is the letter $\neq$ which can be +constructed as a macro. The obsolete orthographies of Xhosa and Zulu are not +supported (they used a cyrillic B ({\cyr B}) as uppercase of {\fc +b}). + +Also not supported is the obsolete orthography of \d{I}gb\d{o} which +contains an o with horizontal bar (\accent45o). A proposed alphabet for +Tamasheq (a berber language) is not supported because there is no evidence +that it ever caught on. + +\section*{Design of the letters} +The design of the letters closely follows the {\em computer modern} fonts +by Donald E.~Knuth. Much of the \MF\ code made its way unchanged to the fc +fonts. However, several modification were necessary in the case of italics. +Since {\fc E+ue} has both `f' and {\fc`+f'}, the latter looking like the +italic letter f, the italic letter f was redesigned to have a straight, +uncurved descender +%%JK Show the new italic forms +({\fci f, +f\/}). +%%/JK +\TUBedit{editor} +% It would be good to show the new italic `f' here. Similarly for the +% other characters mentioned immediately below and the scharfes s. +\TUBedit{end editor} +Similarly, the italic letter v was redesigned to have +sharp edge +%%JK show it +({\fci v\/}). +%%/JK +In consequence of the last change, the italic letters w and y +were changed, too +%%JK show them +({\fci w, y\/}). +%%/JK + +\TUBedit{author} +Deliberately, I changed the appearence of the roman letter {\em +scharfes s}. Its new shape exhibits the ligature of long and short s from +\TUBedit{end author} +% +\TUBedit{editor} +% `appearence' -> `appearance' +Deliberately, I changed the appearance of the roman letter {\em +scharfes s}. Its new shape exhibits the ligature of long and short s from +\TUBedit{end editor} +which it originally derives +%%JK Show it +(\FC{FF}). +%%/JK + +\section*{How to use the fc fonts} +At the present time, I support only \LaTeX\ and plain \TeX\ with the new +font selection scheme (NFSS) by R.~Sch\"opf and F.~Mittelbach. There are +the files {\tt fontdef.fc} and {\tt fclfont.sty} which load the fonts and +set the standard \TeX\ commands for accents correctly. But, at the moment +there are no standard control sequences to get the newly added characters, +except that {\verb:\|:} shall produce the universal +%%JK tie it to the line +accent~(\FC{BF}). +%%/JK + +\begin{table}[htbp] +\begin{center} +\begin{tabular}{lcc} +% Name, (Gro"s, Klein), fcuse (gro"s, Klein) +Name & Shape & Input\\ \hline +Hooktop b & {\fc +b, +B} & \verb:+b, +B: \\ +Hooktop c & {\fc +c, +C} & \verb:+c, +C: \\ +Hooktop d & {\fc +d, +D} & \verb:+d, +D: \\ +Open e & {\fc +e, +E} & \verb:+e, +E: \\ +Long f & {\fc +f, +F} & \verb:+f, +F: \\ +Ipa gamma & {\fc +g, +G} & \verb:+g, +G: \\ +Latin iota& {\fc +i, +I} & \verb:+i, +I: \\ +Enj & {\fc +j, +J} & \verb:+j, +J: \\ +Hooktop k & {\fc +k, +K} & \verb:+k, +K: \\ +Eng & {\fc +n, +N} & \verb:+n, +N: \\ +Open o & {\fc +o, +O} & \verb:+o, +O: \\ +Hooktop p & {\fc +p, +P} & \verb:+p, +P: \\ +Esh & {\fc +s, +S} & \verb:+s, +S: \\ +Hooktop t & {\fc +t, +T} & \verb:+t, +T: \\ +Variant u & {\fc +u, +U} & \verb:+u, +U: \\ +Ezh & {\fc +z, +Z} & \verb:+z, +Z: \\ \hline +Crossed d & {\fc /d, /D} & \verb:/d, /D: \\ +Crossed h & {\fc /h, /H} & \verb:/h, /H: \\ +Crossed t & {\fc /t, /T} & \verb:/t, /T: \\ \hline +Tailed d & {\fc =d, =D} & \verb:=d, =D: \\ +Inverted e& {\fc =e, =E} & \verb:=e, =E: \\ +Long t & {\fc =t, =T} & \verb:=t, =T: \\ \hline +\end{tabular} +\caption{Overview of the special letters in the fc fonts and their access +via {\tt fcuse.sty}} +\label{jk:tab:fcuse} +\end{center} +\end{table} + +There is another style option ({\tt fcuse.sty}) which makes the special +characters accesible via active characters. Three characters needed to be +activated, since the letters d and t carry the load of three new variants +\TUBedit{author} +({\fc +d, =d, /d; +t, =t, /t}). An overview of the assignments gives +table~\ref{jk:tab:fcuse}. +\TUBedit{end author} +% +\TUBedit{editor} +% `gives' -> `is given in'; cap `table' +({\fc +d, =d, /d; +t, =t, /t}). An overview of the assignments is given in +Table~\ref{jk:tab:fcuse}. +\TUBedit{end editor} + +\TUBedit{editor} +% This achieves placement of Table 2 on the last page. Admittedly, +% this is not the way one should do it, but it appears that LaTeX can't +% adjust its textheight for the current page on the fly. +\begin{table*}[btp] +\begin{center} +\begin{tabular}{|c||c|c|c|c|c|c|c|c|c|c|c|c|c|c|c|c|} +\hline + &x0&x1&x2&x3&x4&x5&x6&x7&x8&x9&xA&xB&xC&xD&xE&xF\\ +\hline\hline +0y +&\FC{00}&\FC{01}&\FC{02}&\FC{03}&\FC{04}&\FC{05}&\FC{06}&\FC{07}&\FC{08} + &\FC{09}&\FC{0A}&\FC{0B}&\FC{0C}&\FC{0D}&\FC{0E}&\FC{0F}\\ \hline +1y +&\FC{10}&\FC{11}&\FC{12}&\FC{13}&\FC{14}&\FC{15}&\FC{16}&\FC{17}&\FC{18} + &\FC{19}&\FC{1A}&\FC{1B}&\FC{1C}&\FC{1D}&\FC{1E}&\FC{1F}\\ \hline +2y +&\FC{20}&\FC{21}&\FC{22}&\FC{23}&\FC{24}&\FC{25}&\FC{26}&\FC{27}&\FC{28} + &\FC{29}&\FC{2A}&\FC{2B}&\FC{2C}&\FC{2D}&\FC{2E}&\FC{2F}\\ \hline +3y +&\FC{30}&\FC{31}&\FC{32}&\FC{33}&\FC{34}&\FC{35}&\FC{36}&\FC{37}&\FC{38} + &\FC{39}&\FC{3A}&\FC{3B}&\FC{3C}&\FC{3D}&\FC{3E}&\FC{3F}\\ \hline +4y +&\FC{40}&\FC{41}&\FC{42}&\FC{43}&\FC{44}&\FC{45}&\FC{46}&\FC{47}&\FC{48} + &\FC{49}&\FC{4A}&\FC{4B}&\FC{4C}&\FC{4D}&\FC{4E}&\FC{4F}\\ \hline +5y +&\FC{50}&\FC{51}&\FC{52}&\FC{53}&\FC{54}&\FC{55}&\FC{56}&\FC{57}&\FC{58} + &\FC{59}&\FC{5A}&\FC{5B}&\FC{5C}&\FC{5D}&\FC{5E}&\FC{5F}\\ \hline +6y +&\FC{60}&\FC{61}&\FC{62}&\FC{63}&\FC{64}&\FC{65}&\FC{66}&\FC{67}&\FC{68} + &\FC{69}&\FC{6A}&\FC{6B}&\FC{6C}&\FC{6D}&\FC{6E}&\FC{6F}\\ \hline +7y +&\FC{70}&\FC{71}&\FC{72}&\FC{73}&\FC{74}&\FC{75}&\FC{76}&\FC{77}&\FC{78} + &\FC{79}&\FC{7A}&\FC{7B}&\FC{7C}&\FC{7D}&\FC{7E}&\FC{7F}\\ \hline +8y +&\FC{80}&\FC{81}&\FC{82}&\FC{83}&\FC{84}&\FC{85}&\FC{86}&\FC{87}&\FC{88} + &\FC{89}&\FC{8A}&\FC{8B}&\FC{8C}&\FC{8D}&\FC{8E}&\FC{8F}\\ \hline +9y +&\FC{90}&\FC{91}&\FC{92}&\FC{93}&\FC{94}&\FC{95}&\FC{96}&\FC{97}&\FC{98} + &\FC{99}&\FC{9A}&\FC{9B}&\FC{9C}&\FC{9D}&\FC{9E}&\FC{9F}\\ \hline +Ay +&\FC{A0}&\FC{A1}&\FC{A2}&\FC{A3}&\FC{A4}&\FC{A5}&\FC{A6}&\FC{A7}&\FC{A8} + &\FC{A9}&\FC{AA}&\FC{AB}&\FC{AC}&\FC{AD}&\FC{AE}&\FC{AF}\\ \hline +By +&\FC{B0}&\FC{B1}&\FC{B2}&\FC{B3}&\FC{B4}&\FC{B5}&\FC{B6}&\FC{B7}&\FC{B8} + &\FC{B9}&\FC{BA}&\FC{BB}&\FC{BC}&\FC{BD}&\FC{BE}&\FC{BF}\\ \hline +Cy +&\FC{C0}&\FC{C1}&\FC{C2}&\FC{C3}&\FC{C4}&\FC{C5}&\FC{C6}&\FC{C7}&\FC{C8} + &\FC{C9}&\FC{CA}&\FC{CB}&\FC{CC}&\FC{CD}&\FC{CE}&\FC{CF}\\ \hline +Dy +&\FC{D0}&\FC{D1}&\FC{D2}&\FC{D3}&\FC{D4}&\FC{D5}&\FC{D6}&\FC{D7}&\FC{D8} + &\FC{D9}&\FC{DA}&\FC{DB}&\FC{DC}&\FC{DD}&\FC{DE}&\FC{DF}\\ \hline +Ey +&\FC{E0}&\FC{E1}&\FC{E2}&\FC{E3}&\FC{E4}&\FC{E5}&\FC{E6}&\FC{E7}&\FC{E8} + &\FC{E9}&\FC{EA}&\FC{EB}&\FC{EC}&\FC{ED}&\FC{EE}&\FC{EF}\\ \hline +Fy +&\FC{F0}&\FC{F1}&\FC{F2}&\FC{F3}&\FC{F4}&\FC{F5}&\FC{F6}&\FC{F7}&\FC{F8} + &\FC{F9}&\FC{FA}&\FC{FB}&\FC{FC}&\FC{FD}&\FC{FE}&\FC{FF}\\ \hline +\end{tabular} +\caption{The font fcr10}\label{jk:tab:fcr10} +\end{center} +\end{table*} +\TUBedit{end editor} +\section*{Implementation} +The implementation follows closely to the one of the cm fonts. The +distinction between parameter files, driver files and programme files is +kept. The parameters are computed from the design size of the fonts with +the help of the Sauter tools. This allows an easy nonlinear scaling. I +added only one new parameter, {\tt univ\_acc\_breath}, which governs the +shape of the universal accent. To adjust the height of accented capitals +the parameter {\tt comma\_depth} was employed. The result is excellent with +serif fonts, but not that good with sans serif ones. I made up one new +parameter file, creating a {\sstt sans serif typewriter} fontshape. There +were only minor modifications needed in the programmes of the letters i, I, +and l to make it work. + +There is not much to say about the driver files, except that there are +additional kerns for {\fc kV, kW, mV, mW, and eV}. The ligatures from +the Cork scheme to get german and french quotes are included, too. +\TUBedit{author} +The programme files are completely reorganised. The huge files are splitted +\TUBedit{end author} +% +\TUBedit{editor} +% `splitted' -> `split' +The programme files are completely reorganised. The huge files are split +\TUBedit{end editor} +into smaller ones each containing only one to three letters of the +alphabet. The shape of the letter is saved as a picture and only the +diacritic is calculated to get an accented letter. This is done to save cpu +time and to make the maintenance of the files easier. The accented letters +are generated only on demand, i.e.\ if their code is known. The codes are +given in the file {\tt coding.fc}. It is possible to use the same source +to create other real fonts by replacing the coding file. The so-created +fonts may not be called fc, since this abbreviation is reserved to fonts +which are fc-encoded. + +\section*{Outlook} +The fonts are done now, but there is lot of work left in creating suitable +styles for african languages and virtual fonts, if needed. For this work, +the speakers and users of the african languages are qualified best, and I +hope that there will be some results of this work soon. + +\TUBedit{editor} +% add signature +\makesignature +\TUBedit{end editor} + +% The following dirty tricks make the table print on a separate page. In +% principle it should fit on the bottom of the previous page, but I didn't +% manage to get it there. It _must_ start in left column. + +\TUBedit{author} +\newpage +\null +\newpage +\begin{table}[p] +\begin{center} +\begin{tabular}{|c||c|c|c|c|c|c|c|c|c|c|c|c|c|c|c|c|} +\hline + &x0&x1&x2&x3&x4&x5&x6&x7&x8&x9&xA&xB&xC&xD&xE&xF\\ +\hline\hline +0y +&\FC{00}&\FC{01}&\FC{02}&\FC{03}&\FC{04}&\FC{05}&\FC{06}&\FC{07}&\FC{08} + &\FC{09}&\FC{0A}&\FC{0B}&\FC{0C}&\FC{0D}&\FC{0E}&\FC{0F}\\ \hline +1y +&\FC{10}&\FC{11}&\FC{12}&\FC{13}&\FC{14}&\FC{15}&\FC{16}&\FC{17}&\FC{18} + &\FC{19}&\FC{1A}&\FC{1B}&\FC{1C}&\FC{1D}&\FC{1E}&\FC{1F}\\ \hline +2y +&\FC{20}&\FC{21}&\FC{22}&\FC{23}&\FC{24}&\FC{25}&\FC{26}&\FC{27}&\FC{28} + &\FC{29}&\FC{2A}&\FC{2B}&\FC{2C}&\FC{2D}&\FC{2E}&\FC{2F}\\ \hline +3y +&\FC{30}&\FC{31}&\FC{32}&\FC{33}&\FC{34}&\FC{35}&\FC{36}&\FC{37}&\FC{38} + &\FC{39}&\FC{3A}&\FC{3B}&\FC{3C}&\FC{3D}&\FC{3E}&\FC{3F}\\ \hline +4y +&\FC{40}&\FC{41}&\FC{42}&\FC{43}&\FC{44}&\FC{45}&\FC{46}&\FC{47}&\FC{48} + &\FC{49}&\FC{4A}&\FC{4B}&\FC{4C}&\FC{4D}&\FC{4E}&\FC{4F}\\ \hline +5y +&\FC{50}&\FC{51}&\FC{52}&\FC{53}&\FC{54}&\FC{55}&\FC{56}&\FC{57}&\FC{58} + &\FC{59}&\FC{5A}&\FC{5B}&\FC{5C}&\FC{5D}&\FC{5E}&\FC{5F}\\ \hline +6y +&\FC{60}&\FC{61}&\FC{62}&\FC{63}&\FC{64}&\FC{65}&\FC{66}&\FC{67}&\FC{68} + &\FC{69}&\FC{6A}&\FC{6B}&\FC{6C}&\FC{6D}&\FC{6E}&\FC{6F}\\ \hline +7y +&\FC{70}&\FC{71}&\FC{72}&\FC{73}&\FC{74}&\FC{75}&\FC{76}&\FC{77}&\FC{78} + &\FC{79}&\FC{7A}&\FC{7B}&\FC{7C}&\FC{7D}&\FC{7E}&\FC{7F}\\ \hline +8y +&\FC{80}&\FC{81}&\FC{82}&\FC{83}&\FC{84}&\FC{85}&\FC{86}&\FC{87}&\FC{88} + &\FC{89}&\FC{8A}&\FC{8B}&\FC{8C}&\FC{8D}&\FC{8E}&\FC{8F}\\ \hline +9y +&\FC{90}&\FC{91}&\FC{92}&\FC{93}&\FC{94}&\FC{95}&\FC{96}&\FC{97}&\FC{98} + &\FC{99}&\FC{9A}&\FC{9B}&\FC{9C}&\FC{9D}&\FC{9E}&\FC{9F}\\ \hline +Ay +&\FC{A0}&\FC{A1}&\FC{A2}&\FC{A3}&\FC{A4}&\FC{A5}&\FC{A6}&\FC{A7}&\FC{A8} + &\FC{A9}&\FC{AA}&\FC{AB}&\FC{AC}&\FC{AD}&\FC{AE}&\FC{AF}\\ \hline +By +&\FC{B0}&\FC{B1}&\FC{B2}&\FC{B3}&\FC{B4}&\FC{B5}&\FC{B6}&\FC{B7}&\FC{B8} + &\FC{B9}&\FC{BA}&\FC{BB}&\FC{BC}&\FC{BD}&\FC{BE}&\FC{BF}\\ \hline +Cy +&\FC{C0}&\FC{C1}&\FC{C2}&\FC{C3}&\FC{C4}&\FC{C5}&\FC{C6}&\FC{C7}&\FC{C8} + &\FC{C9}&\FC{CA}&\FC{CB}&\FC{CC}&\FC{CD}&\FC{CE}&\FC{CF}\\ \hline +Dy +&\FC{D0}&\FC{D1}&\FC{D2}&\FC{D3}&\FC{D4}&\FC{D5}&\FC{D6}&\FC{D7}&\FC{D8} + &\FC{D9}&\FC{DA}&\FC{DB}&\FC{DC}&\FC{DD}&\FC{DE}&\FC{DF}\\ \hline +Ey +&\FC{E0}&\FC{E1}&\FC{E2}&\FC{E3}&\FC{E4}&\FC{E5}&\FC{E6}&\FC{E7}&\FC{E8} + &\FC{E9}&\FC{EA}&\FC{EB}&\FC{EC}&\FC{ED}&\FC{EE}&\FC{EF}\\ \hline +Fy +&\FC{F0}&\FC{F1}&\FC{F2}&\FC{F3}&\FC{F4}&\FC{F5}&\FC{F6}&\FC{F7}&\FC{F8} + &\FC{F9}&\FC{FA}&\FC{FB}&\FC{FC}&\FC{FD}&\FC{FE}&\FC{FF}\\ \hline +\end{tabular} +\caption{The font fcr10}\label{jk:tab:fcr10} +\end{center} +\end{table} +\TUBedit{end author} +% + +}% end the group from the beginning, forget the font \fc and the +% definitions of fcuse.sty +\end{document} |