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diff --git a/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex b/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex new file mode 100644 index 00000000000..7297876a53c --- /dev/null +++ b/Master/texmf-dist/doc/fonts/memdesign/memdesign.tex @@ -0,0 +1,7788 @@ +% memdesign.tex Part I of memman.tex (the Memoir user manual) as a separate doc +% Author: Peter Wilson +% Copyright 2001, 2002, 2003, 2004, 2008, 2009 Peter R. Wilson +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%% If you do not have the FontSite 500 fonts use the draft option whereby %% +%% all the FontSite fonts will be replaced by the regular body font, thus %% +%% invalidating many of the typeface examples. %% +%% %% +%% The free Web-O-Mints fonts is also required. Download from %% +%% http://www.galapagosdesign.com %% +%% LaTeX support is on CTAN in /fonts/webomints %% +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\documentclass[10pt,letterpaper,extrafontsizes]{memoir} +%\documentclass[draft,10pt,letterpaper,extrafontsizes]{memoir} +\listfiles +\usepackage{comment} + +% For (non-printing) notes \PWnote{date}{text} +\newcommand{\PWnote}[2]{} +\PWnote{2009/04/29}{Added fonttable to the used packages} + +% same +\newcommand{\LMnote}[2]{} + + +\usepackage{memsty} +%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\usepackage{titlepages} % code of the example titlepages +\usepackage{fonttable}[2009/04/01] % font tables +%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%\renewcommand*{\FSfont}[1]{} +%%%% Change section heading styles +%%%\memmansecheads + +%%%% Use the built-in division styling +\headstyles{memman} +%%%% but swap section & subsection heads +\setsecheadstyle{\normalfont\large\bfseries\raggedright} +\setsubsecheadstyle{\normalfont\scshape\raggedright} + +\newcommand*{\sqrd}[1]{#1\textsuperscript{2}} +\newcommand*{\gsm}{g/\sqrd{m}} +\newcommand*{\half}{\slashfrac{1}{2}} + + +%%%% Font selection +%% \textparagraph really only defined in TS1 +\usepackage[TS1]{fontenc} +\renewcommand*{\encodingdefault}{T1} + +\newcommand*{\thisfont}[5]{\fontencoding{T1}% + \fontsize{#1}{#2}\fontfamily{#3}\fontseries{#4}\fontshape{#5}% + \selectfont} +\newcommand*{\pickfont}[1]{\thisfont{12}{14}{#1}{m}{n}} +\newcommand*{\Pickfont}[1]{\thisfont{18}{14}{#1}{m}{n}} +\newcommand*{\Pickit}[1]{\thisfont{18}{14}{#1}{m}{it}} +\newcommand*{\Picksl}[1]{\thisfont{18}{14}{#1}{m}{sl}} +\newcommand*{\pickfontx}[1]{\thisfont{10}{12}{#1}{m}{n}} + +\newcommand*{\caslon}{\pickfont{5ca}} +\newcommand*{\garamond}{\pickfont{5gm}} +\newcommand*{\della}{\pickfont{5de}} +\newcommand*{\bodoni}{\pickfont{5bd}} +\newcommand*{\Caslon}{\Pickfont{5ca}} +\newcommand*{\Garamond}{\Pickfont{5gm}} +\newcommand*{\Della}{\Pickfont{5de}} +\newcommand*{\Bodoni}{\Pickfont{5bd}} + +\newcommand*{\baskervillex}{\pickfontx{5bv}} +\newcommand*{\bellx}{\pickfontx{5lb}} +\newcommand*{\bembox}{\pickfontx{5bo}} +\newcommand*{\bodonix}{\pickfontx{5bd}} +\newcommand*{\caslonx}{\pickfontx{5ca}} +\newcommand*{\centaurx}{\pickfontx{5jr}} +\newcommand*{\clarendonx}{\pickfontx{5cd}} +\newcommand*{\futurax}{\pickfontx{5fu}} +\newcommand*{\garamondx}{\pickfontx{5gm}} +\newcommand*{\gillsansx}{\pickfontx{5ch}} +\newcommand*{\optimax}{\pickfontx{5op}} + +%%% \FSfont is used in titlepages (for FontSite fonts) +%%% \LXfont is for \ltx fonts, defined as: +%%% \newcommand*{\LXfont}[1]{\fontfamily{#1}\selectfont} +%%%%% If FontSite fonts are not available, set all to body font +\ifdraftdoc + \typeout{You have used the draft option. Any FontSite 500 font} + \typeout{will be replaced by the body font, thus invalidating} + \typeout{many of the typface examples.} + \renewcommand*{\pickfont}[1]{\thisfont{12}{14}{ppl}{m}{n}} + \renewcommand*{\Pickfont}[1]{\thisfont{18}{14}{ppl}{m}{n}} + \renewcommand*{\Pickit}[1]{\thisfont{18}{14}{ppl}{m}{it}} + \renewcommand*{\Picksl}[1]{\thisfont{18}{14}{ppl}{m}{sl}} + \renewcommand*{\pickfontx}[1]{\thisfont{10}{12}{ppl}{m}{n}} + \renewcommand*{\FSfont}[1]{} +\fi + +%%% for font examples +\newcommand*{\atoq}{abcefghijopstuvwyz} +\renewcommand*{\atoq}{ab\-ce\-fg\-hi\-jo\-ps\-tu\-vw\-yz} +\newcommand*{\ligs}{ff fi fl ffi ffl \&} +\newcommand*{\onetoo}{\ligs\ 1236 AVOQ} +\newcommand*{\Qligs}{Q \ligs} +\newcommand*{\Onetoo}{1236 AVOQ \&} + +\newcommand*{\Shelley}{% Percy Bysshe Shelley (1792--1822) O World, O Life, O Time +\hspace*{2em} Out of the day and night \\ +\hspace*{2em} A joy has taken flight --- \\ +Fresh spring and summer and winter hoar \\ +\hspace*{1em} Move my faint heart with grief, but with delight \\ +\hspace*{2em} No more, O never more!} + +\newcommand*{\Beddoes}{% Thomas Lovell Beddoes (1803--1849) Song +How many times do I love thee, dear? \\ +\hspace*{1em} Tell me how many thoughts there be \\ +\hspace*{4em} In the atmosphere \\ +\hspace*{4em} Of a new-fall'n year, \\ +Whose white and sable hours appear \\ +\hspace*{1em} The latest flake of Eternity--- \\ +So many times do I love thee, dear.} + +\newcommand*{\Campion}{% Thomas Campion (1567--1620) When to Her Lute Corinna Sings +When to her lute Corinna sings, \\ +Her voice revives the leaden strings, \\ +And doth in highest notes appear \\ +As any challenged echo clear; \\ +But when she doth of mourning speak, \\ +Ev'n with her sighs the strings do break.} + +\newcommand*{\Housman}{% A. E. Housman (1859--1936) When I Was One-and-Twenty +When I was one-and twenty \\ +\hspace*{1em} I heard a wise man say, \\ +`Give crowns and pounds and guineas \\ +\hspace*{1em} But not your heart away; \\ +Give pearls away and rubies \\ +\hspace*{1em} But keep your fancy free.' \\ +But I was one-and-twenty, \\ +\hspace*{1em} No use to talk to me.} + +\newcommand*{\meol}{// } +\renewcommand*{\meol}{} +\newcommand*{\mypar}{{\fontencoding{TS1}\selectfont\textparagraph}\ } + +\newcommand{\facetext}{Puella Rigensis ridebat \meol +Quam tigris in tergo vehebat; \meol +Externa profecta, \meol +Interna revecta, \meol +Risusque cum tigre manebat. \mypar +Meum est propsitum, \meol +In taberna mori, \meol +Ut sint vina proxima, \meol +Morientis ori. \meol +Tunc cantabunt laetius \meol +Angelorum chori; \meol +`Sit Deus propitius \meol +Huic potatori!' \mypar +Gaudeamus igitur, \meol +Juvenes dum sumus \meol +Post jucundum juventutem, \meol +Post molestam senectutem, \meol +Nos habebit humus.\par} + + +\makeatletter +\renewcommand{\doidxbookmark}[1]{{\def\@tempa{Symbols}\def\@tempb{#1}% + \centering\bfseries \ifx\@tempa\@tempb % + Analphabetics + \phantomsection + \pdfbookmark[1]{Analphabetics}{Analphabetics-idx}% + \else + #1% + \pdfbookmark[1]{#1}{#1-idx}% + \fi% + \vskip\onelineskip\par}} + +%%% ToC down to subsections +\settocdepth{subsection} +%%% Numbering down to subsections as well +\setsecnumdepth{subsection} + +%% end preamble +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\begin{document} +\tightlists +%%%%\firmlists +\midsloppy +\raggedbottom +\chapterstyle{demo3} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\frontmatter +\pagestyle{empty} + +% half-title page + +\vspace*{\fill} +\begin{adjustwidth}{1in}{1in} +\begin{flushleft} +\HUGE\sffamily A Few +\end{flushleft} +\begin{center} +\HUGE\sffamily Notes on +\end{center} +\begin{flushright} +\HUGE\sffamily Book Design +\end{flushright} +\end{adjustwidth} +%\vspace*{0.55\textheight} +\vspace*{0.6\textheight} +\vspace*{\fill} +\cleardoublepage + +% title page +\vspace*{0.5\fill} +\begin{center} +\LARGE\textsf{A Few}\par +\end{center} +\begin{center} +\HUGE\textsf{Notes}\par +\end{center} +\begin{center} +\LARGE\textsf{on}\par +\end{center} +\begin{center} +\HUGE\textsf{Book Design}\par +\end{center} + +\vspace{2\onelineskip} +\begin{center} +\LARGE\textsf{Peter Wilson}\par +\end{center} +\vspace*{\fill} +\def\THP{T\kern-0.2em H\kern-0.4em P}% OK for CMR +\def\THP{T\kern-0.15em H\kern-0.3em P}% OK for Palatino +\newcommand*{\THPress}{The Herries Press}% +\begin{center} +\settowidth{\droptitle}{\textsf{\THPress}}% +\textrm{\normalsize \THP} \\ +\textsf{\THPress} \\[0.2\baselineskip] +\includegraphics[width=\droptitle]{anvil2.mps} +\setlength{\droptitle}{0pt}% +\end{center} +\clearpage + +% copyright page +\begingroup +\footnotesize +\setlength{\parindent}{0pt} +\setlength{\parskip}{\baselineskip} +%%\ttfamily +\textcopyright{} 2001 -- 2009 Peter R. Wilson \\ +All rights reserved + +The Herries Press, Normandy Park, WA. + +Printed in the World + +The paper used in this publication may meet the minimum requirements +of the American National Standard for Information +Sciences --- Permanence of Paper for Printed Library Materials, +ANSI Z39.48--1984. + +\begin{center} +19 18 17 16 15 14 13 12 11 10 09\hspace{2em}6 5 4 3 2 1 +\end{center} +\begin{center} +\begin{tabular}{ll} +First edition: & August 2009 \\ +\end{tabular} +\end{center} + +\endgroup + +\clearpage +\mbox{} + +\cleardoublepage + +% ToC, etc +%%%\pagenumbering{roman} +\pagestyle{headings} +%%%%\pagestyle{Ruled} + +\setupshorttoc +\tableofcontents +\cleardoublepage +\setupparasubsecs +\setupmaintoc +\tableofcontents +\setlength{\unitlength}{1pt} +\clearpage +\listoffigures +\clearpage +\listoftables +\clearpage + +\chapter{Preface} + + Some fifteen or so years ago I started developing code for typesetting +documents that would make it easy for designers to get the appearance +they had in mind. + +% In 2001 this resulted in the \Pclass{memoir} class for +%use with the \ltx\ typesetting system developed by Leslie Lamport based +%on Donald Knuth's \tx\ system. + + While doing this I read a lot about book design and have tried my hand +at printing a variety of books and ephemera using hand set lead type +and a hand operated Chandler \& Price 1904 Old Style 8 by 12 platen +press, pretty much as Gutenberg did some five and a half centuries ago. + + These notes are partly based on my own amateur +experience and feelings but the majority have been culled from the +professionals. + +{\raggedleft{\scshape Peter Wilson} \\ Seattle, WA \\ July 2009\par} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\chapter{Introduction} + + These notes briefly cover some aspects of book design and typography, +independently of the means of typesetting. Among +the several books on the subject listed in the \bibname{} I prefer +Bringhurst's \btitle{The Elements of Typographic Style}~\cite{BRINGHURST99}. + + The notes originally formed the first part of a user manual for +the \Pclass{memoir} class for +use with the \ltx\ typesetting system developed by Leslie +Lamport~\cite{LAMPORT94} based +on Donald Knuth's \tx\ system~\cite{TEXBOOK}. +The manual was first published in 2001 +and as the notes have grown in size and \Pclass{memoir}'s capabilities +have been extended the manual also grew to approaching 700 pages~\cite{MEMMAN}. +At that point seemed advantageous to separate the design notes from the +technicalities, hence this document. + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +\chapter{Terminology} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + Like all professions and trades, typographers and printers have their +specialised vocabulary. + + First there is the question of pages, leaves and sheets. +The trimmed sheets of paper\index{paper} that make up a book are called +\emph{leaves}\index{leaf}, +and I will call the untrimmed sheets the \emph{stock}\index{stock} material. +A leaf +has two sides, and a \emph{page}\index{page} is one side of a leaf. +If you think of a book +being opened flat, then you can see two leaves. The front of the righthand +leaf, is called the \emph{recto}\index{recto} page of that leaf, +and the side of the +lefthand leaf that you see is called the \emph{verso}\index{verso} page +of that leaf. +So, a leaf has a recto and a verso page. Recto pages are the odd-numbered +pages and verso pages are even-numbered. + + Then there is the question of folios. The typographical term for +the number of a page is \emph{folio}\index{folio}. +This is not to be confused with +the same term as used in `Shakespeare's First Folio' where the reference is +to the height and width of the book, nor to its use in the phrase +`\emph{folio} signature'\index{signature} where the term refers to the +number of times a printed sheet is folded. +Not every page in a book has a printed +folio, and there may be pages that do not have a folio at all. Pages with +folios, whether printed or not, form the \emph{pagination}\index{pagination} +of the book. Pages +that are not counted in the pagination have no folios. + + I have not been able to find what I think is a good +definition for `type' as it seems to be used in different contexts with +different meanings. It appears to be a kind of generic word; for instance +there are type designers, type cutters, type setters, type foundries,... +For my purposes I propose that \emph{type}\index{type|seealso{typeface}} is +one or more printable characters (or variations or extensions to this idea). +Printers use the term \emph{sort}\index{sort} to refer to one piece of lead +type. + + A \emph{typeface}\index{typeface} is a set of one or more fonts, in one +or more sizes, designed as a stylistic whole. + + A \emph{font}\index{font} is a set of characters. In the days of +metal type and hot lead a font meant a complete alphabet and auxiliary +characters in a given size. More recently it is taken to mean a complete +set of characters regardless of size. A font of roman type normally +consists of CAPITAL LETTERS, \textsc{small capitals}, lowercase letters, +numbers, punctuation marks, ligatures (such as `fi' and `ffi'), and a +few special symbols like \&. + + A \emph{font family}\index{font!family} is a set of fonts designed to +work harmoniously together, such as a pair of roman and italic fonts. + + The size of a font\index{font} is expressed in points\index{point} +(72.27 points equals 1 inch +equals 25.4 millimeters). The size is a rough indication of the height +of the tallest character, but different fonts with the same size may have +very different actual heights. Traditionally font sizes were referred to +by names (see \tref{tab:fontsizes}) but nowadays just the number of points +is used. + + +\begin{table} +\centering +\caption{Traditional font size designations} \label{tab:fontsizes} +\begin{tabular}{cl@{\hspace{2em}}cl} \toprule +Points & Name & Points & Name \\ \midrule +%%3 & Excelsior \\ +\phantom{0}3 & Excelsior & +11 & Small Pica \\ +\phantom{0}3\rlap{\slashfrac{1}{2}} & Brilliant & +12 & Pica \\ +\phantom{0}4 & Diamond & +14 & English \\ +\phantom{0}5 & Pearl & +18 & Great Primer \\ +\phantom{0}5\rlap{\slashfrac{1}{2}} & Agate & +24 & Double (or Two Line) Pica \\ +\phantom{0}6 & Nonpareil & +28 & Double (or Two Line) English \\ +\phantom{0}6\rlap{\slashfrac{1}{2}} & Mignonette & +36 & Double (or Two Line) Great Primer \\ +\phantom{0}7 & Minion & +48 & French Canon (or Four Line Pica) \\ +\phantom{0}8 & Brevier & +60 & Five Line Pica \\ +\phantom{0}9 & Bourgeois & +72 & Six line Pica \\ +10 & Long Primer & +%%16 & Columbian \\ +%%20 & Paragon \\ +%%22 & Double Small Pica \\ +%%32 & Four Line Brevier \\ +%%40 & Double Paragon \\ +%%44 & Meridian \\ +96 & Eight Line Pica \\ \bottomrule +\end{tabular} +\end{table} + + + + The typographers' and printers' term for the vertical space between +the lines of normal text is \emph{leading}\index{leading}, which is also +usually expressed in points and is usually larger than the font size. +A convention for describing the font and leading is to give the font size +and leading separated by a slash; for instance $10/12$ for a +10pt font set with a 12pt leading, or $12/14$ for a 12pt font set with a +14pt leading. + + The normal length of a line of text is often called the +\emph{measure}\index{measure} and is normally specified in terms of +picas\index{pica} where 1 pica equals 12 points (1pc = 12pt). + + Documents may be described as being typeset with a particular font +with a particular size and a particular leading on a particular measure; +this is normally given in a shorthand form. +A 10pt font with 11pt leading on a 20pc measure is described as +\abyb{10/11}{20}, and \abyb{14/16}{22} describes a 14pt font +with 16pt leading set on a a 22pc measure. + +\section{Units of measurement} + + Typographers and printers use a mixed system of units, some of which +we met above. The fundamental unit is the point; \tref{tab:units} lists +the most common units employed. + +\begin{table} +\centering +\caption{Printers units} \label{tab:units} +\begin{tabular}{ll} \toprule +Name (abbreviation) & Value \\ \midrule +point (pt)\index{point}\index{pt} & \\ +pica (pc)\index{pica}\index{pc} & 1pc = 12pt \\ +inch (in)\index{inch}\index{in} & 1in = 72.27pt \\ +centimetre (cm)\index{centimetre}\index{cm} & 2.54cm = 1in \\ +millimetre (mm)\index{millimetre}\index{mm} & 10mm = 1cm \\ +big point (bp)\index{big point}\index{bp} & 72bp = 72.27pt \\ +didot point (dd)\index{didot point}\index{dd} & 1157dd = 1238pt \\ +cicero (cc)\index{cicero}\index{cc} & 1cc = 12dd \\ +\bottomrule +\end{tabular} +\end{table} + + Points\index{point} and picas\index{pica} +are the traditional printers units used in English-speaking countries. +The didot point\index{didot point} and cicero\index{cicero} are the +corresponding units used in continental Europe. In Japan `kyus'\index{kyus} +(a quarter of a millimetre) may be used as the unit of measurement. +Inches\index{inch} and centimetres\index{centimetre} are the units that we +are all, or should be, familiar with. + + The point system was invented by Pierre Fournier le jeune in 1737 with +a length of 0.349mm. Later in the same century Fran\c{c}ois-Ambroise Didot +introduced his point system with a length of 0.3759mm. This is the value +still used in Europe. Much later, in 1886, the American Type Founders +Association settled on 0.013837in as the standard size for the point, and +the British followed in 1898. Conveniently for those who are not entirely +metric in their thinking this means that +six picas are approximately equal to one inch. + + The big point\index{big point} +is somewhat of an anomaly in that it is a recent +invention. It tends to be used +in page markup languages, like \pscript\footnote{\pscript{} is a +registered trademark of Adobe Systems Incorporated.\label{fn:ps}}, +in order to make calculations quicker and easier. + + The above units are all constant in value. There are also some units +whose value depends on the particular font\index{font} being used. +The \textit{em}\index{em} +is the nominal height of the current font; it is used as a width measure. +An \textit{en}\index{en} is half an em. +The \textit{ex}\index{ex} is +nominally the height of the letter `x' in the current font. You may also +come across the term \textit{quad}\index{quad}, often as in a phrase +like `starts with a quad space'. It is a length defined in terms of +ems; a quad is 1em. + + +\cleardoublepage +%\pagenumbering{arabic} + +% body +\mainmatter + +%%%%%%\part{Art and Theory} \label{part:art} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + +\PWnote{2009/02/02}{Added Historical background chapter} +\chapter{Historical background} \label{chap:history} + +\section{Galloping through the millenia} + + The earliest known writing dates back to the Sumerians around 3300\textsc{bc} +who used pointed sticks or reeds to impress marks into wet clay tablets +that were subsequently dried. The result is what we call +Cuneiform\index{cuneiform}.\footnote{From the Latin \emph{cuneus} meaning wedge.} +For the next several thousand years all texts were produced, one way or +another, individually by hand. + + The earliest printed book known is a 9th century Chinese woodblock +printing of the \emph{Diamond Sutra}. In this technique the complete text +for a page is carved on a wooden block which is then used to impress +the ink onto the paper. Once the woodblocks were available many copies +of the text could be produced very quickly. + + The Koreans were perhaps the first to print using moveable +type\index{type} where +the individual characters were engraved on wood blocks so they could be +reused for different texts. In his \emph{Writings Beside the Meng Creek} +the Song Dynasty essayist Shen Kuo\index{Shen Kuo} (1031--1095) +described how Bi Sheng\index{Bi Sheng} during the reign of +Chingli (1041--1048) printed +from moveable type that he made from baked clay, which was rather fragile. +Somewhat later Wang Zhen\index{Wang Zhen} (c. 1290--1333) improved the +process by using +wooden type. These never became particularly popular methods because +of the thousands of different characters that a printing house might need. +By 1230 the Koreans used moveable metal type for printing. None of this was +known outside Asia. + + In the West books and manuscripts were hand written by scribes, +although some +small items, like playing cards or depictions of saints, were printed +from woodblocks. Then Johannes\index{Gutenberg, Johannes} Gutenberg +(c. 1398--1468) of Mainz invented printing using moveable type +around about 1440--1450.\footnote{Others have been put forward as the +inventor, notably a Dutchman named Coster, but the preponderance of +opinion favours Gutenberg.} + He had to experiment to determine the formula for +a suitable ink and also to develop a good metal alloy\index{typemetal} +for the type itself. +He came up with lead to which he added antinomy for strength and hardness and +tin for toughness.\footnote{This is still the basis for metal type today; +Monotype casting machines use lead with 15--24\% antinomy and 6--12\% tin.} + + In order be successful in the market Gutenberg had to produce books +that equaled those produced by the scribes, except that they did not +have to be decorated so lavishly. The scribes used many ligatures, +contractions, and other techniques in order to have justified text with +no raggedy edges. To compete with them his font for the famous 42-line +Bible, published around 1455, consisted of some 290 characters though all +the text was in Latin which requires a basic character set of only forty +letters --- twenty lowercase letters and twenty caps --- plus +some punctuation marks. + + The 42-line Bible is set in two columns of 42 lines each. It is believed +that about 135 copies were printed on paper and 40 on vellum. The page size was +12 by 16\slashfrac{1}{2} inches and it is estimated that more than five +thousand calfskins were required for the vellum copies. + + The new technology spread rapidly. In 1465 +Konrad\index{Sweynham, Konrad} Sweynheym and Arnold\index{Pannartz, Arnold} +Pannartz set up a printing shop in the monastery at Subiaco, east of Rome. +There was printing in K\"{o}ln in 1466 and in 1468 in Augsberg and Rome itself. +The first Venetian printer was Johann\index{Speyer, Johann van} van Speyer +who started work in 1469. A year later printing was established at the +Sorbonne and Nicolas\index{Jenson, Nicolas} Jenson +had his press in Venice. Printing was introduced into Spain at Valencia +in 1474. William\index{Caxton, William} Caxton started printing in England +in 1476 setting up a press at The Sign of the Red Pale in Westminster, +near the Abbey; Theoderic\index{Rood, Theoderic} Rood was printing in +Oxford between 1478 and 1485 and John\index{Sieberch, John} Sieberch at +Cambridge in 1520. + + The German printers kept with the initial gothic +style of Gutenberg's type and Caxton used a cursive bastarda gothic. The +Italians and other Europeans, though, moved to a roman type, based on the +humanist bookhands, for their +work. In 1471 Jenson produced the first full set of Greek type, which still +remains one of the best. Aldus\index{Manutius, Aldus} Manutius, printing in +Venice, introduced the italic type in 1500. + + The early printers were jack of all trades. They had to make their presses, +design, make and cast their type\index{type}, +and print and sell the results. As time went +on typemaking and printing became separate crafts. It became possible to +purchase the materials and equipment for printing but the printer was still +the book designer. + + For four centuries setting the type for printing was done by hand until +the introduction of Ottmar Mergenthaler's\index{Mergenthaler, Ottmar} +Linotype\index{Linotype} machine in 1886. The operator +sat at a keyboard, typing the text line by line and the machine produced a +corresponding solid line of type. The disadvantage was when an error needed +correcting at least one whole new line of type was needed, or two or more if +the correction spilled over the end of the line, or even more if it continued +onto the following page. The competing +Monotype\index{Monotype} machine, invented by Tolbert\index{Lanston, Tolbert} +Lanston, was first available in 1896. This was operated via a keyboard which +produced a punched paper tape which was fed to the caster which produced +lines of type composed of individual pieces. Correcting typos was easier +because individual characters could be added or replaced. On the other hand, +Linotype output was easier to handle if complete sections had to be moved +around, for example for `quick' printing such as a daily newspaper. + + Alan Bartram~\cite{BARTRAM01} shows examples of book designs from between +1470 and 1948, not all of which he considers to be good. Examples of printed +pages from the 15th to the 20th century are in the TUG 2007 San Diego Meeting +keynote presentation~\cite{TUGKEYNOTE07}. + + +\section{Making type} + +\typesubidx{manufacture|(} + This is a very brief description of how lead type is made. For +a good overview see~\cite{CHAPPELL99} and Fred Smeijers~\cite{SMEIJERS96} +provides a detailed description of punchcutting. + + Making type has been an inherently manual process. Having got a design +for a font, for each character, a punchcutter makes a punch starting +with a square steel bar about 2\slashfrac{1}{4}inches (6cm) long with an +end face large enough to encompass the character. Using files and gravers, +and perhaps some specialized tools like a counterpunch, +he carves out the character in relief on one end of the bar. The character +is oriented so that is backwards with respect to its appearance when printed. +To check the shape, the end of the punch is put into the flame of an alcohol +lamp which coats it with lampblack, and it is then pressed against a chalky +paper to leave a black image of the character. Once the shape is correct +the punch is hardened and annealed. + + The next stage is to create the matrix for the character. The punch is +hammered into a softer material, usually copper, or sometimes brass which +is harder but lasts longer. At this point the character is in the same +orientation as printed but is a negative impression in the matrix. + + The matrix is then put into a casting box and molten typemetal poured in. +Once it has hardened and removed from the mould the new piece of type is +dressed to the same length as all the other pieces for the font. Many, many +pieces of type can be cast from one matrix, and if the punch is retained new +matrices can be made. Typically one buys the lead type from a typecasting +company, and a typecasting company would purchase matrices from the type +design company. Of course, in the early days these were all the same +organisation and only as the centuries passed did they tend to become +separated. + + The Linotype\index{Linotype} and Monotype\index{Monotype} machines +require the matrices but cast the type only when needed. After use the type +from these machines is melted down and reused time and time again. +\typesubidx{manufacture|)} + +\section{Book types} + +\PWnote{2009/04/25}{Added longish section on book types} +\PWnote{2009/04/25}{Used endnotes in book types section} + + Roughly speaking, there are two kinds of printing type\index{type}; +one, called +in general \emph{book type}\index{book type}, +is what is used for setting longer pieces +of text such as a poem or a book, or other material meant for continuous +reading. The other, called \emph{display type}\index{display type}, is used +for pretty much everything else, such as company names, posters, +advertisements, ephemera and sometimes even book titles, all of which are +short pieces of text, often intended to catch your eye. There are a multitude +of display types, some of them almost illegible. Here I want to say a little +bit about book types. + +\begin{table} +\centering +\caption{Broad typeface categories}\label{tab:typecat} +\begin{tabular}{lllll} \toprule +Typeface & & Lawson & Bringhurst & Vox \\ \midrule +\centaurx Centaur\facesubseeidx{Centaur} & & +\centaurx Venetian\typesubidx{Venetian} & +\centaurx Renaissance\typesubidx{Renaissance} & +\centaurx Humanist\typesubidx{Humanist} \\ +\bembox Bembo\facesubseeidx{Bembo} & & +\bembox Aldine/French\typesubidx{Aldine/French} & +\bembox Renaissance\typesubidx{Renaissance} & +\bembox Garald\typesubidx{Garald} \\ +%%%Sabon & & Aldine/French OS & Renaissance & Garald \\ +%%%Garamond & & Aldine/French OS & Renaissance & Garald \\ +\garamondx Garamond\facesubseeidx{Garamond} & & +\garamondx Aldine/French\typesubidx{Aldine/French} & +\garamondx Baroque\typesubidx{Baroque} & +\garamondx Garald\typesubidx{Garald} \\ +\caslonx Caslon\facesubseeidx{Caslon} & & +\caslonx Dutch/English\typesubidx{Dutch/English} & +\caslonx Baroque\typesubidx{Baroque} & +\caslonx Garald\typesubidx{Garald} \\ +\baskervillex Baskerville\facesubseeidx{Baskerville} & & +\baskervillex Transitional\typesubidx{Transitional} & +\baskervillex Neoclassical\typesubidx{Neoclassical} & +\baskervillex Transitional\typesubidx{Transitional} \\ +\bellx Bell\facesubseeidx{Bell} & & +\bellx Transitional\typesubidx{Transitional} & +\bellx Rationalist\typesubidx{Rationalist} & +\bellx Transitional\typesubidx{Transitional} \\ +\bodonix Bodoni\facesubseeidx{Bodoni} & & +\bodonix Modern\typesubidx{Modern} & +\bodonix Romantic\typesubidx{Romantic} & +\bodonix Didone\typesubidx{} \\ +\clarendonx Clarendon\facesubseeidx{Clarendon} & & +\clarendonx Square Serif\typesubidx{Square Serif} & +\clarendonx Realist\typesubidx{Realist} & +\clarendonx Mechanistic\typesubidx{Mechanistic} \\ +\futurax Futura\facesubseeidx{Futura} & & +\futurax Sans-serif\typesubidx{Sans-serif} & +\futurax Geometric Modernist\typesubidx{Geometric Modernist} & +\futurax Lineal Geometric\typesubidx{Lineal Geometric} \\ +\optimax Optima\facesubseeidx{Optima} & & +\optimax Sans-serif\typesubidx{Sans-serif} & +\optimax Neoclassical\typesubidx{Neoclassical} & +\optimax Lineal Humanist\typesubidx{Lineal Humanist} \\ +\gillsansx Gill Sans\facesubseeidx{Gill Sans} & & +\gillsansx Sans-serif\typesubidx{Sans-serif} & +\gillsansx Geometric Humanist\typesubidx{Geometric Humanist} & +\gillsansx Lineal Humanist\typesubidx{Lineal Humanist} \\ +\bottomrule +\end{tabular} +\end{table} + + + There are several ways of categorizing typefaces, three of which are +shown in \tref{tab:typecat}. The listed schemes are +\begin{description} +\item[Lawson] from +Lawson \& Agner~\cite{LAWSONAGNER90} who proposed +\emph{a Rational System} based on the historical sequence. +\item[Bringhurst] who categorizes according to the artistic and architectural +period that a typeface can be said to represent~\cite{BRINGHURST99}. +\item[Vox] devised a system that has been adopted as a British Standard +(BS 2961: 1967). This tried to be language-neutral and get away from +the more traditional descriptions such as gothic, antique, grotesque, and +modern which have different, and somtimes opposite, meanings in different +languages~\cite{MCLEAN80}. +\end{description} +Later I will expand on the Lawson \& Agner system and show some types +corresponding to some of their categories. I have limited the examples to +those types which are included in a modern \ltx\ +distribution\pagenote[modern \ltx\ distribution]{An example of a modern +distribution is TeXlive 2008. There are many more fonts that could +be used but I wanted \ltx ers to be able to run the manual's source through +\ltx\ themselves without having to install any extra fonts. +\emph{The \ltx\ Font Catalogue} (\url{http://www.tug.dk/FontCatalogue}) has +examples of 181 different fonts and these do not include many of the +more specialized ones, such as for setting chess or for archaic languages +(e.g., cuneiform, egpytian hieroglyphs, etc.), or scripts for Asian languages.}, +which unfortunately does not include types corresponding to all the +categories. + + +\subsection{Type-related terminology} + + First, though, some typographical terms related to types, and illustrated +in \fref{fig:typeterms}\pagenote[illustrated in \fref{fig:typeterms}]{The \ltx\ +fontfamily names for the typefaces used in the illustration are: +\begin{center} +\begin{tabular}{llcll} +Antiqua Turin\facesubseeidx{Antiqua Turin} & \pfontfam{antt} & & +Avant Garde\facesubseeidx{Avant Garde} & \pfontfam{pag} \\ +Bera Serif\facesubseeidx{Bera Serif} & \pfontfam{fve} & & +Bookman\facesubseeidx{Bookman} & \pfontfam{pbk} \\ +GFS Bodoni\facesubseeidx{GFS Bodoni} & \pfontfam{bodoni} & & +GFS Didot\facesubseeidx{GFS Didot} & \pfontfam{udidot} \\ +Times Roman\facesubseeidx{Times Roman} & \pfontfam{ptm} & & +Utopia\facesubseeidx{Utopia} & \pfontfam{put} \\ +\end{tabular} +\end{center}}. + +\begin{figure} +\centering +\begin{tabular}{cccc} \toprule +Bracketed serif & Unbracketed serif & Square serif & Sans serif \\ +\usethisfont{25}{30}{pbk}{m}{n} H & +\usethisfont{25}{30}{antt}{m}{n} H & +\usethisfont{25}{30}{fve}{m}{n} H & +\usethisfont{25}{30}{pag}{m}{n} H \\ +\itshape Bookman\facesubseeidx{Bookman} & +\itshape Antiqua Turin\facesubseeidx{Antiqua Turin} & +\itshape Bera Serif\facesubseeidx{Bera Serif} & +\itshape Avant Garde\facesubseeidx{Avant Garde} \\ \midrule +Inclined axis & Vertical axis & Gradual contrast & Abrupt contrast \\ +\usethisfont{25}{30}{antt}{m}{n} O & +\usethisfont{25}{30}{ptm}{m}{n} O & +\usethisfont{25}{30}{pbk}{m}{n} N U & +\usethisfont{25}{30}{udidot}{m}{n} N U \\ +\itshape Antiqua Turin\facesubseeidx{Antiqua Turin} & +\itshape Times Roman\facesubseeidx{Times Roman} & +\itshape Bookman\facesubseeidx{Bookman} & +\itshape GFS Didot\facesubseeidx{GFS Didot} \\ \midrule +small counter & large counter & small counter & large counter \\ +\usethisfont{25}{30}{pbk}{m}{n} e & +\usethisfont{25}{30}{fve}{m}{n} e & +\usethisfont{25}{30}{pbk}{m}{n} a & +\usethisfont{25}{30}{antt}{m}{n} a \\ +\itshape Bookman\facesubseeidx{Bookman} & +\itshape Bera Serif\facesubseeidx{Bera Serif} & +\itshape Bookman\facesubseeidx{Bookman} & +\itshape Antiqua Turin\facesubseeidx{Antiqua Turin} \\ \midrule +separate & ligatured & separate & ligatured \\ +\termfont{put}{m}{n} f{}i f{}l & +\termfont{put}{m}{n} fi fl & +\termfont{bodoni}{m}{n} a{}e o{}e & +\termfont{bodoni}{m}{n} \ae{} \oe{} \\ +\itshape Utopia\facesubseeidx{Utopia} & +\itshape Utopia\facesubseeidx{Utopia} & +\itshape GFS Bodoni\facesubseeidx{GFS Bodoni} & +\itshape GFS Bodoni\facesubseeidx{GFS Bodoni} \\ \bottomrule +\end{tabular} +\caption{Examples of some typographical type-related terms} \label{fig:typeterms} +\end{figure} + + +\begin{labelled}{itlabel} +\item[Serif:] The\index{serif} cross stroke that finishes the stems or arms of letters. +\item[Bracketed serif:] A\index{bracketed serif} serif that transitions gradually into + the stem it is attached to. +\item[Unbracketed serif:] A\index{unbracketed serif} serif with a sharp break between + it and the stem. +\item[Square serif:] A\index{square serif} rectangular serif with squared ends. +\item[Sans serif:] Without\index{Sans-serif} serifs. +\item[Axis:] The\index{axis} direction of the hypothetical line joining the thinnest + parts of a letter like `O'. It is related to the angle that + a broad nibbed pen would be held in order to replicate the + inner and outer contours.\footnote{The axis and angle are + perpendicular to each other.} +\item[Contrast (also called shading):] The\index{contrast}\index{shading} + difference between the thick and thin strokes. +\item[Counter:] The\index{counter (of a letter)} white space enclosed by a letter, + whether open or closed. + Sometimes used to refer to the closed part of letters such + as `a' or `e', which may also be referred to as the + \textit{eye}\index{eye}. +\item[Ligature:] The\index{ligature} conjoining of two (or more) letters, + usually with a change of shape. +\end{labelled} + + +For more detailed descriptions and further terms +you may wish to consult other sources, such as +\cite{BRINGHURST99,LAWSONAGNER90,MEGGS00}. If you are interested in the +subtle, and the not so subtle, differences between typefaces then Karen +Cheng's \btitle{Designing Type}~\cite{CHENG05} has a great deal to offer. + + The names of typefaces can be confusing; different suppliers have a +tendency to give different names to the same underlying typeface. For +example Goudy's\index{Goudy, Frederic} University of California Old +Style\facesubseeidx{University of California Old Style} can also be found +as Californian\facesubseeidx{Californian}, +University Old Style\facesubseeidx{University Old Style}, +Berkely Old Style\facesubseeidx{Berkely Old Style}, +and possibly under other names as well, all more or less adhering to the +original design.\pagenote[more or less adhering to the original design]{The +final printed character depends not only on the geometric shape but also on +the printing technology used, the ink, and the paper. With letterpress printing +where the inked metal type is impressed into the paper, the ink tends to spread +just a little bit; all other things being equal the spread depends on the +type and amount of ink, the hardness of the paper, the surface finish of the +paper, the amount of pressure applied, in some cases the dampness of the +paper, and so on. To get a similar looking result using offset lithography +where the ink stays where it is put, +the geometric shape must be changed to simulate the ink spread of the +letterpress process, but then the question arises as to which of the many +letterpress impressions is the one to be simulated? Different designers and +different manufacturers have different ideas about this.} + + +\subsection{Blackletter} + + The first type was \emph{Gothic}\typesubidx{Gothic}, or +\emph{Blackletter}\typesubidx{Blackletter}, used by +Gutenberg\index{Gutenberg, Johannes} which was based on +the kind of script that the scribes were using at that time (c. 1455). +It remained in +fashion in Germany until towards the end of the last century, and is still +often used for the names of newspapers. Elsewhere, starting in Italy, +it was replaced by the \emph{Roman}\typesubidx{Roman} type. + + There are several kinds of blackletter type. The first is +\emph{Textura}\typesubidx{Textura} where the characters are squarely +drawn without any curves +and are the kind that Gutenberg\index{Gutenberg, Johannes} used. +In the scribal tradition from which these came the idea was that the words +created a uniform texture along each line and down each page. To modern eyes it +is difficult to tell one letter from another. Two modern versions are +Goudy Text\facesubseeidx{Goudy Text} and +Cloister Black\facesubseeidx{Cloister Black}. + + Another grouping is \emph{Rotunda}\typesubidx{Rotunda} where the letters are +more rounded than Textura and are easier to read. A modern example is +Goudy Thirty\facesubseeidx{Goudy Thirty}. + + The last subdivision is \emph{Bastarda}\typesubidx{Bastarda} which has been +the common type used in Germany for many a year. The most common form +is \emph{Fraktur}\typesubidx{Fraktur}, first cut in the sixteenth century, which +is a lighter and more open version of Textura\typesubidx{Textura} and so easier +to read. Many newspapers use a Fraktur type for their headline. An +example of a \emph{Fraktur}\typesubidx{Fraktur} +\pagenote[An example of a \emph{Fraktur}]{The typeface was originally created +by Yannis Haralambous\index{Haralambous, Yannis} and is accessed in \ltx\ +as the \pfontfam{yfrak} fontfamily.} +is shown in \fref{fig:fraktur}.% + +\begin{figure} +\centering +{\centering\fontfamily{yfrak}\selectfont + Blackletter --- Fraktur \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of the Fraktur style of Blackletter types} \label{fig:fraktur} +\end{figure} + +\subsection{Oldstyle} + +\subsubsection{Venetian} + + Early roman types, based on the humanist scribal hand, were cut by +Sweynheym \& Pannartz in the Rome area (c. 1467). In Venice Nicolas +Jenson\index{Jenson, Nicolas} cut what is considered to be the first, +and one of the best, romans +(c. 1471). His types have been widely reproduced and copied and the style +is known as \emph{Venetian}\typesubidx{Venetian}. Some modern day Venetians +include Cloister\facesubseeidx{Cloister}, Eusebius\facesubseeidx{Eusebius} (originally +called Nicolas Jenson) and Venezia\facesubseeidx{Venezia}; +Bruce Rogers'\index{Rogers, Bruce} Centaur\facesubseeidx{Centaur} is an elegant +modernized Venetian. + + The characteristics of the Venetian types include uneven or slightly +concave serifs, there is minimal contrast between the thick and thin +strokes, and an inclined axis. The crossbar of the lowercase `e' is slanted +upwards. On some +capitals, principally `N' and `M', there are slab serifs that extend +across the tops of the vertical strokes. + + William Morris\index{Morris, William} chose Jenson's\index{Jenson, Nicolas} +type as the model +for his Golden Type\facesubseeidx{Golden Type}, cut by Edward +Prince\index{Prince, Edward} around 1890. This started the revival of the +Venetian types. + + The first type generally available was Morris Benton's\index{Benton, Morris} +Cloister Oldstyle\facesubseeidx{Cloister Oldstyle}. Other modern Venetians include +Goudy's\index{Goudy, Frederic} Kennerly\facesubseeidx{Kennerly}, +Deepdene\facesubseeidx{Deepdene} and Californian\facesubseeidx{Californian}, which is now +called Berkely Old Style\facesubseeidx{Berkely Old Style}. One, perhaps the best, +is Bruce Rogers'\index{Rogers, Bruce} Centaur\facesubseeidx{Centaur} which he created +in 1914. + + +\subsubsection{Aldine/French} +\typesubidx{Aldine/French}\typesubidx{Aldine}\typesubidx{French} + + Another of the many printers in Venice, +Aldus Manutius\index{Manutius, Aldus}, wanted a type +that was less related to the pen-drawn scribal characters. Aldus employed +Francesco Griffo da Bologna\index{Griffo, Francesco} to cut two types +for him. The first, cut in 1497, was for an edition of \emph{De Aetna} +by the humanist scholar Pietro Bembo\index{Bembo, Pietro} --- the modern +version of this is called Bembo\facesubseeidx{Bembo}. Griffo also cut another +variation on Jenson's\index{Jenson, Nicolas} roman and which soon superseded it +in popularity. +It was first used in the famous \emph{Hypnerotomachia Poliphili} by +Francesco Colonna\index{Colonna, Francesco} which Aldus published in 1499. +A modern version is available called Poliphilus\facesubseeidx{Poliphilus}. + + The Aldine roman soon spread across Europe. One of the first typecutters +to use it as a model was Claude Garamond\index{Garamond, Claude} +in Paris (c. 1540), and his types +had a wide distribution, for example being used in Antwerp by Christopher +Plantin\index{Plantin, Christopher}. The main basis for modern versions +is a version of Garamond's types cut by the French printer +Jean Jannon\index{Jannon, Jean} about 1621. + + Characteristics of these types are wide concave serifs, particularly +on the capitals, which are narrower than the Venetians and may be not as high +as the lowercase ascenders. The crossbar of the lowercase `e' is horizontal, +as opposed to the slanted crossbar of the Venetians. There is an inclined axis +and a medium contrast between the thick and thin strokes. + + Some modern Aldine/French Oldstyle types are +Bembo\facesubseeidx{Bembo}, +Estienne\facesubseeidx{Estienne}, +Garamond\facesubseeidx{Garamond}, +Geraldus\facesubseeidx{Geraldus}, +Granjon\facesubseeidx{Granjon}, +Palatino\facesubseeidx{Palatino}, +Poliphilus\facesubseeidx{Poliphilus}, +and Sabon\facesubseeidx{Sabon}. +An example of Palatino\facesubseeidx{Palatino}% +\pagenote[An example of Palatino]{In \ltx\ the Palatino\index{Palatino} +font is accessed as the \pfontfam{ppl} fontfamily.}, +which was created by Hermann Zapf\index{Zapf, Hermann} +in 1950, is shown in \fref{fig:palatino}. + +\begin{figure} +\centering +{\centering\fontfamily{ppl}\selectfont + Oldstyle Aldine/French --- Palatino \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of an Oldstyle Aldine/French type: Palatino} + \label{fig:palatino} +\end{figure} + + +\subsubsection{Dutch/English} +\typesubidx{Dutch/English}\typesubidx{Dutch}\typesubidx{English} + + During the sixteenth century the French types were popular throughout +Europe but then the pendulum swung towards types from the Low Countries. +The Dutch were principally traders and their printing style became +increasingly known. They produced types that were more practical for +commercial printing. The contrast between thick and thin strokes increased +and the serifs straightened. + +The English typecutter William Caslon\index{Caslon, William} (1692--1766) +cut a famous face of this kind that has been used ever since throughout the +world; in America the first printed version of the +\btitle{Declaration of Independence} +was set with Caslon type. + + Modern Dutch/English types include +Caslon\facesubseeidx{Caslon} (of course), +and Janson\facesubseeidx{Janson}. + +\subsection{Transitional} +\typesubidx{Transitional} + + Transitional types are those based on the Oldstyle\typesubidx{Oldstyle} +types but with features of the style called Modern\typesubidx{Modern} + + By the end of the sixteenth century the quality of printing in Italy +and France had fallen off from when Claude Garamond\index{Garamond, Claude} +was working. In 1692 +King Louis \textsc{xiv} ordered a new set of types for the Royal Printing +House. In a lengthy report the Academy of Sciences recommended a roman type +constructed on mathematical principles. +Lucien Grandjean\index{Grandjean, Lucien} who cut the +new Romain du Roi\facesubseeidx{Romain du Roi} allowed his typecutter's eye to +sometimes overrule the +academicians to the betterment of the result. + + Grandjean's type was copied by many others and effectively replaced +Oldstyle in Europe. Pierre Simon Fournier\index{Fournier, Pierre Simon} +(1712--1768) started his typecutting +business in 1737, cutting over eighty types in twenty-four years. These were +based on Garamond's types but influenced by Grandjean's work. The result was +the first intimations of the Transitional types. + + The changes on the continent had had little impact in England, but John +Baskerville\index{Baskerville, John}, about 1750, set up a printing shop +in Birmingham and created the type that bears his name. Some consider this +to be the real beginning of the Transitionals. Baskerville's work was +disliked in England but was siezed on with alacrity on the Continent. + + Some modern day Transitional types are +Baskerville\facesubseeidx{Baskerville}, +Bell\facesubseeidx{Bell}, +Fournier\facesubseeidx{Fournier}, +Georgian\facesubseeidx{Georgian}, +and URW Antiqua\facesubseeidx{URW Antiqua}\pagenote[and URW Antiqua]{The URW +Antiqua\index{URW Antiqua} font in \ltx\ is known as the \pfontfam{uaq} fontfamily.} which is shown in \fref{fig:antiqua}.. + +\begin{figure} +\centering +{\centering\fontfamily{uaq}\selectfont + Transitional --- URW Antiqua \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of a Transitional type: URW Antiqua} + \label{fig:antiqua} +\end{figure} + +\begin{figure} +\centering +{\centering\fontfamily{pnc}\selectfont + Transitional (newspaper) --- New Century Schoolbook \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of a Transitional newspaper type: New Century Schoolbook} + \label{fig:newcent} +\end{figure} + + Much later, around the end of the nineteenth century, another kind of +Transitional type was introduced, designed for legibility for newspapers +when printed on high speed presses. The counter spaces were open, the +serifs were even and strongly bracketed and with a high x-height. +Examples are Century\facesubseeidx{Century} designed by + Linn Boyd Benton\index{Benton, Linn Boyd} in 1895 for the \emph{Century} +magazine, and +Cheltenham\facesubseeidx{Cheltenham} by Betram Goodhue\index{Goodhue, Bertram} +in 1896, which has become one of the printers' standard types. Stanley +Morison's\index{Morison, Stanley} Times Roman\facesubseeidx{Times Roman}, +which he +designed for \emph{The Times} of London fits into the Transitional +classification. The general characteristics include vertical, or nearly +vertical axis, more pronounced contrast compared with the Oldstyle faces, but +nowhere nearly as pronounced as the later Didot types. Some have finely, or +unbracketed, serifs. + + A version of one of the Century +series\pagenote[version of one of the Century series]{In \ltx\ the New +Century Schoolbook\facesubseeidx{New Century Schoolbook} font +is known as the \pfontfam{pnc} fontfamily.} of typefaces, +New Century\facesubseeidx{New Century Schoolbook} Schoolbook, designed +by Morris Benton\index{Benton, Morris}, +is shown in \fref{fig:newcent}. + +\subsection{Modern} +\typesubidx{Modern} + + Modern in this case means with respect to Transitional\typesubidx{Transitional} +and applies to a style of type introduced in the eighteenth century. + + Grandjean's Romain du Roi\facesubseeidx{Romain du Roi} had started a trend +in which the contrast +between thick and thin strokes gradually increased. Following Baskerville's +type, Giambattista Bodoni\index{Bodoni, Giambattista} in Italy and the +Didot\index{Didot} foundry in France increased the contrast +to extreme limits with the thin strokes degenerating into hairlines. + +\begin{figure} +\centering +{\centering\fontfamily{udidot}\selectfont + Modern --- GFS Didot \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of a Modern type: GFS Didot} + \label{fig:didot} +\end{figure} + +A modern type, GFS Didot\facesubseeidx{GFS Didot}\pagenote[GFS Didot]{The +\ltx\ fontfamily for GFS Didot\index{GFS Didot} is \pfontfam{udidot}.}, +after the style of +Didot\index{Didot} is illustrated in \fref{fig:didot}. + + The general characteristics are vertical axis, exaggerated contrast, +and flat, unbracketed, serifs. + +\subsection{Square Serif} +\typesubidx{Square Serif} + + The Victorian printers found that they needed new type forms that +would work better than the traditional romans when used with the new +and faster breeds of printing presses, and particularly for use in +commercial printing and advertising. + +\begin{figure} +\centering +{\centering\fontfamily{fve}\selectfont + Square Serif --- Bera Serif \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of a Square Serif type: Bera Serif} + \label{fig:beraserif} +\end{figure} + + The types went out of fashion during the first half of the twentieth +century but have since become more popular with the +Clarendon\facesubseeidx{Clarendon} +type. An example of Square Serif\pagenote[An example of Square Serif]{The +Bera Serif's\index{Bera Serif} fontfamily name in \ltx\ is \pfontfam{fve}.} +is shown in \fref{fig:beraserif}. + + +\subsection{Sans-serif} +\typesubidx{Sans-serif} + + Sans-serif types were first created around 1830. In England they were +called Grotesques\index{Grotesques} and in America Gothics\index{Gothics}. +Around 1920 there appeared artistic +schools such as Expressionism, Constructivism and Cubism. These had a +marked effect on typographic styles and the Sans-serif types experienced +a great burst of popularity, seeming to express `modern' ideas. They tend to +be geometric in form as opposed to the curvaceous romans. + +\begin{figure} +\centering +{\centering\fontfamily{fvs}\selectfont + Sans-serif --- Bera Sans \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of a Sans-serif type: Bera Sans} + \label{fig:berasans} +\end{figure} + + Examples of modern Sans-serifs are +Helvetica\facesubseeidx{Helvetica}, +Futura\facesubseeidx{Futura}, +and, famously, Gill Sans\facesubseeidx{Gill Sans}. +Yet another sans\pagenote[Yet another sans]{\pfontfam{fvs} is the \ltx\ +fontfamily name name for the Bera Sans\index{Bera Sans} font.}, +Bera Sans\facesubseeidx{Bera Sans}, is shown in \fref{fig:berasans}. + + +\subsection{Script/Cursive} +\typesubidx{Script/Cursive}\typesubidx{Script}\typesubidx{Cursive} + + This is a very broad category but +essentially the forms are closer +to handwriting rather than printing. Some are based on letter forms created +by drawing with a brush while others are based on forms written using +a pen. In general they have an informal +presence but some of the latter kind are used in formal settings such +as wedding invitations. + +\begin{figure} +\centering +{\centering%\fontfamily{pbsi}\selectfont + \usethisfont{10}{12}{pbsi}{xl}{n} + Brush --- Brush Script \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of a Script/Cursive Brush type: Brush Script} + \label{fig:brush} +\end{figure} + +\begin{figure} +\centering +{\centering\fontfamily{pzc}\selectfont + Calligraphic --- Zapf Chancery \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of a Script/Cursive Calligraphic type: Zapf Chancery} + \label{fig:chancery} +\end{figure} + + Figure~\ref{fig:brush} shows a brush-based script +unimaginatively\pagenote[unimaginatively]{The Brush Script\index{Brush Script} +font is accessible as the \pfontfam{pbsi} fontfamily.} called +Brush Script\facesubseeidx{Brush Script} while a +calligraphic script, Hermann Zapf's\index{Zapf, Hermann} fine +Zapf Chancery\facesubseeidx{Zapf Chancery}\pagenote[a calligraphic script]{Zapf +Chancery\index{Zapf Chancery} is called the \pfontfam{pzc} +fontfamily in \ltx.}, +is in \fref{fig:chancery}. + +\subsection{Display/Decorative} +\typesubidx{Display/Decorative}\typesubidx{Display}\typesubidx{Decorative} + + This is another very broad category +but all the members are designed +to catch the eye. Display types tend to be used for display purposes and +are not meant to be too difficult to read. The decoratives are smaller in scale +but can be extremely detailed, such as alphabets based on human figures +apparently performing calisthenic exercises. One of the many fonts +in this category, Cyklop\facesubseeidx{Cyklop}, is shown in +\fref{fig:cyklop}.\pagenote[shown in \fref{fig:cyklop}]{The Cyklop\index{Cyklop} +typeface has been given the \pfontfam{cyklop} fontfamily name for access with \ltx.} + + As far as bookwork goes the more restrained of these types may occasionally +be useful for book or chapter titles. + +\begin{figure} +\centering +{\centering\fontfamily{cyklop}\selectfont + Display/Decorative --- Cyklop \\ + \UCalphabet \\ + \LCalphabet \\ + \fox\par} +\caption{An example of a Display/Decorative type: Cyklop} + \label{fig:cyklop} +\end{figure} + +\section{Setting type} + +\PWnote{2009/04/03}{Added bits and pieces about letterpress.} + + Until the last hundred years or so, type has been hand set. Today there +are still a few printers who still set type by hand, called +now letterpress\index{letterpress} printing, and on the odd occasion I am +one of them. Again, this is a brief description of the process but +Chappell~\cite{CHAPPELL99} +provides much more detail if you are interested. If you have a desire to +set up your own small print shop, perhaps in your garage or shed in the garden, +then John Ryder\index{Ryder, John} has lots of pertinent advice~\cite{RYDER}. +He directed +the design and production of many books for The Bodley Head, and, starting in +1930, produced much interesting work on an Adana\index{hand press!Adana} +quarto press in his home. +The Briar Press\index{Briar Press} is another very useful resource, +available via the web\label{briar}\footnote{\url{http://www.briarpress.org}} +--- and in their words: `Proudly +introducing the bleeding-edge world of personalized desktop publishing +circa 1820'! + + The type is kept in type-, or job-, cases\index{typecase}\index{job case|see{typecase}}. +These are shallow wooden +partitioned trays and traditionally there were two of them for each font --- +a lower one closer to the typesetter for the minuscule characters and the +second one, arranged above the first as an `upper case', for the majuscules +(capitals); hence the terms lowercase and uppercase characters. The +characters are not arranged in alphabetical order but follow a system +that is meant to reduce the amount of movement required from the typesetter. +The shop where I print uses a `California job case' for type, +illustrated in \fref{fig:cacase}, which combines both the lowercase and +uppercase into a single case. The lowercase letters are arranged in a +seemingly semi-random order while the uppercase, which are used much less +frequently, are in alphabetical order. The exceptions here are `U' and `J' +which are latecomers to the alphabet only being generally accepted in the 16th +and 17th centuries, respectively --- printing has strong traditions. + + +\begin{figure} +\centerfloat +\setlength{\unitlength}{0.8pc} +\setlength{\unitlength}{0.7pc} +\setlength{\unitlength}{0.75pc} +\noindent \begin{picture}(50,30) +% framing + \put(0,0){\framebox(50,30){}} + \put(1,1){\framebox(48,28){}} +% first 1/3 + \put(1,1){\framebox(2.0,4){q}} + \put(1,5){\framebox(2.0,4){x}} + \put(1,9){\framebox(2.0,4){z}} + \put(1,13){\framebox(2.0,4){!}} + \put(1,17){\framebox(2.0,4){?}} + \put(1,21){\framebox(2.0,4){j}} + \put(1,25){\framebox(2.0,4){ffi}} + + \put(3,1){\framebox(2,8){v}} + \put(3,9){\framebox(2,8){l}} + \put(3,17){\framebox(2,8){b}} + \put(3,25){\framebox(2,4){fl}} + + \put(5,1){\framebox(4,8){u}} + \put(5,9){\framebox(4,8){m}} + \put(5,17){\framebox(4,8){c}} + \put(5,25){\framebox(2,4){\shortstack{5 \\ to \\ an \\ em}}} + \put(7,25){\framebox(2,4){\shortstack{4 \\ to \\ an \\ em}}} + + \put(9,1){\framebox(4,8){t}} + \put(9,9){\framebox(4,8){n}} + \put(9,17){\framebox(4,8){d}} + \put(9,25){\framebox(2,4){'}} + \put(11,25){\framebox(2,4){k}} + + \put(13,1){\framebox(4,8){\shortstack{3 to \\ an em}}} + \put(13,9){\framebox(4,8){h}} + \put(13,17){\framebox(4,12){e}} +% second 1/3 + \put(18,1){\framebox(4,8){a}} + \put(18,9){\framebox(4,8){o}} + \put(18,17){\framebox(4,8){i}} + \put(18,25){\framebox(2,4){1}} + \put(20,25){\framebox(2,4){2}} + + \put(22,1){\framebox(4,8){r}} + \put(22,9){\framebox(2,8){y}} + \put(24,9){\framebox(2,8){p}} + \put(22,17){\framebox(4,8){s}} + \put(22,25){\framebox(2,4){3}} + \put(24,25){\framebox(2,4){4}} + + \put(26,1){\framebox(2,4){.}} + \put(26,5){\framebox(2,4){;}} + \put(26,9){\framebox(2,8){w}} + \put(26,17){\framebox(2,8){f}} + \put(26,25){\framebox(2,4){5}} + + \put(28,1){\framebox(2,4){-}} + \put(28,5){\framebox(2,4){:}} + \put(28,9){\framebox(2,8){,}} + \put(28,17){\framebox(2,8){g}} + \put(28,25){\framebox(2,4){6}} + + \put(30,1){\framebox(4,8){quads}} + \put(30,9){\framebox(2,8){ens}} + \put(30,17){\framebox(2,4){fi}} + \put(30,21){\framebox(2,4){ff}} + \put(30,25){\framebox(2,4){7}} +% \put(37,1){\framebox(5,8){quads}} + + \put(32,9){\framebox(2,8){ems}} + \put(32,17){\framebox(2,4){0}} + \put(32,21){\framebox(2,4){9}} + \put(32,25){\framebox(2,4){8}} +% third 1/3 + \put(35,1){\framebox(2,4){X}} + \put(35,5){\framebox(2,6.67){P}} + \put(35,11.67){\framebox(2,6.67){H}} + \put(35,18.33){\framebox(2,6.66){A}} + \put(35,25){\framebox(2,4){\$}} + + \put(37,1){\framebox(2,4){Y}} + \put(37,5){\framebox(2,6.67){Q}} + \put(37,11.67){\framebox(2,6.67){I}} + \put(37,18.33){\framebox(2,6.66){B}} + \put(37,25){\framebox(2,4){--}} + + \put(39,1){\framebox(2,4){Z}} + \put(39,5){\framebox(2,6.67){R}} + \put(39,11.67){\framebox(2,6.67){K}} + \put(39,18.33){\framebox(2,6.66){C}} + \put(39,25){\framebox(2,4){---}} + + \put(41,1){\framebox(2,4){J}} + \put(41,5){\framebox(2,6.67){S}} + \put(41,11.67){\framebox(2,6.67){L}} + \put(41,18.33){\framebox(2,6.66){D}} + \put(41,25){\framebox(2,4){(}} + + \put(43,1){\framebox(2,4){U}} + \put(43,5){\framebox(2,6.67){T}} + \put(43,11.67){\framebox(2,6.67){M}} + \put(43,18.33){\framebox(2,6.66){E}} + \put(43,25){\framebox(2,4){)}} + + \put(45,1){\framebox(2,4){\&}} + \put(45,5){\framebox(2,6.67){V}} + \put(45,11.67){\framebox(2,6.67){N}} + \put(45,18.33){\framebox(2,6.66){F}} + \put(45,25){\framebox(2,4){[}} + + \put(47,1){\framebox(2,4){ffl}} + \put(47,5){\framebox(2,6.67){W}} + \put(47,11.67){\framebox(2,6.67){O}} + \put(47,18.33){\framebox(2,6.66){G}} + \put(47,25){\framebox(2,4){]}} +\end{picture} +\caption{The California job case layout} \label{fig:cacase} +\end{figure} + + A line of type is set, or composed, in a hand-held +composing\index{composing stick} stick, which +has an adjustable stop which is set to the required line length. Since the +letters read in reverse, right to left, they are assembled upside down, +allowing working from left to right by the compositor. The characters for +a word are put into the stick, then a space, the next word, a space and on +until the line is almost full when it can be justified by inserting small extra +spaces between the words. A lead may be put separating this line from the next, +which is then built up as before. When several lines have been assembled they +are slid from the composing stick onto the composing table, which is +a large, smooth and flat marble slab. + + When sufficient type has been assembled for printing one sheet of paper +it is put into a chase\index{chase} which is a rectangular cast-iron frame, +rather like a picture frame. The chase is placed round the type +on the composing table and rectangular +blocks of wood, called furniture, are placed between the type and the chase +to hold the type in position, then expandable metal wedges, called +quoins\index{quoin}, +are inserted to lock the type within the chase. This is essential as the +chase and contents will be lifted up and transferred to the press itself --- +there is nothing like the joy of picking up and sorting out several hundred +small pieces of type that have scattered themselves all over the floor, and +then putting them all back in the chase in the correct order! The assembled +and locked up type, furniture, and chase are called a forme\index{forme}. + +\PWnote{2009/03/29}{Revised description of composing type and added paras + about kinds of hand presses} + There are two basic types of hand\index{hand press} press. In the +flat-bed\index{hand press!flat-bed} type, as +used from Gutenberg's day onwards, the forme is fixed on a horizontal bed +which is mounted on horizontal rails, the type is inked (usually by hand), +a sheet of paper is positioned over the forme, and the bed +slid under the platen --- a large flat plate --- which is then pressed +down hard by a screw mechanism to force the paper against the type. The platen +is raised, the bed slid out and the printed sheet removed, ready for the next +sheet to be positioned. Originally the presses were made of oak but +nowadays are steel and cast iron. Typical of +the flat-bed presses are the \index{hand press!Albion} Albion in England +and the Washington\index{hand press!Washington} in America. + + The other type is a platen\index{hand press!platen} press +exemplified by the Excelsior\index{hand press!Excelsior} in England +and the Chandler \& Price\index{hand press!Chandler \& Price}, which +is the one I use, in America. Here the bed --- a rectangular steel plate --- +is vertical and fixed and the forme is locked onto the bed. Above the bed +is a circular disc on which the ink is spread. As the press operates rollers +come down over the disc picking up a thin film of ink, +then over the forme --- thus inking the type --- +and back up again; while the rollers are inking the type the disc is +rotated a few degrees so that the rollers will run over a different section +of the disc each time thus improving the uniformity of the ink pickup. +A sheet of paper is clipped to the platen which, as the +rollers go over the disc, swings up to press the paper against the inked type +and then down again so the sheet can be removed and the next one inserted. + + You can see pictures of the presses mentioned above, and many other as +well, on the +Briar Press\index{Briar Press} website (see \pref{briar}). + + At the end, the forme is put back on the composing table and any ink +is cleaned off the type, which is then taken from the chase +and `distributed' back into +the correct places in the typecases(s)\index{typecase}. The furniture and +leads are also put back into the proper places in their respective +storage areas. + + If the text is to be printed in multiple colours, the type for the first +colour is set with spaces left for the second coloured type, and then printed. +The type for the second colour is set in the spaces left for it, and the first +set of type removed and replaced by spaces. The press is cleaned and the first +colour ink replaced by the second colour ink. The original partially printed +pages are then printed with the next colour. If all is well the differently +coloured printed characters will all be aligned. Understandably, it is rare +that more than two colours are used. + + +\section{Today} + + Today the great majority of printed works are produced with +offset\index{offset printing} printer presses, the first of which was +invented by Ira Washington\index{Rubel, Ira Washington} Rubel in +1903.\footnote{Rubel was an American; with a name like that he certainly +couldn't be English.} + + In the offset lithography process the original work image is put +onto metal foils which +are wrapped around a cylinder on the press; ink is picked up by the foil +and is transferred to a `blanket' or `offset' cylinder that is in contact +with the first one. In turn, the ink from the offset cylinder is +transferred to the paper which is pressed against it. + + Nowadays the original image is created on a computer and the foils +produced automatically. The system is excellent for coloured work --- one foil +is produced for each colour, following the CMYK\index{CMYK} +(Cyan, Magenta, Yellow, Key (black)) subtractive colour system +(televisions and computer monitiors use the RGB\index{RGB} (Red, Green, Blue) +additive colour system). In the lowest capital cost situation only a +single station press is used which can print a single colour. To get full +colour the paper must be run through the press four times in all, once for +each colour (and black) and if both sides are to be printed, then another +four times for the second side. Moving up +the scale there are two stand presses that can do two colours in one run, +four stand presses that will do all four in one run.\footnote{The press shop +where I occasionally go to do traditional hand set printing has all of these.} +In most +smaller printing shops single sheets of paper are used which have to be put +through the pres(ses) at least twice, once for each side. Newspapers are +also printed using offset lithography. In their case, though, web offset +printers are used where the paper is fed in continuously from a large roll and +is printed on both sides on its journey through the press. + + Up and coming are digital presses operating directly from the +computer.\footnote{Think sophisticated inkjet or colour laser printers.} +These are approaching the cost and quality tradeoffs of offset printers +and are increasingly being used for on-demand small quantity printing. + + Apart from the time and effort involved the principal difference between +traditional letterpress\index{letterpress} printing and the modern methods +is the way the ink is put onto the paper. In the traditional method the type +is inked and then pressed \emph{into} the paper (think typewriters), while +in modern methods the ink is effectively laid \emph{onto} the paper (think +inkjet printers). You can sometimes tell if something has +been printed by letterpress methods by running a finger lightly over the page; +if the lines are `bumpy' then it has been printed letterpress. Printers using +letterpress actually face a dichotomy. In order to obtain the finest detail +from the type then it should be pressed as lightly as possible into the paper, +but to indicate clearly that it has been letterpress printed, then it is +advisable to impress hard enough to leave permanent indentations, no matter +how slight. As is common, tradeoffs seem inevitable. + + + +\section{Setting maths} + + I had always wondered how maths was typeset before TeX was available and +I eventually found an answer in an article by David Wishart~\cite{WISHART03}. +The following is based upon his descriptions. + + As described above, before the advent of typesetting machines compositors +picked pieces of type from a double typecase\index{typecase}, +typically just containing the +upper and lower case roman characters, the numerals and punctuation marks, +assembled some lines in a composing stick\index{composing stick}, +and transferred them to a chase\index{chase}, which when full was locked +up and then +put into the press to print onto the paper. When setting text this is +straightforward as each `line' in the composing stick is a line of text. +This is not the case with maths, such as this formula + +\begin{equation} \label{eq:typeset} +P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} + \alpha^{m}\beta^{(N_{2}-N_{1}) - m} +\end{equation} + + For setting math the compositor will have two double +typecases\index{typecase} (roman +and italic), a case of mathematical sorts containing signs, superscripts +and subscripts, etc., and a case of unaccented Greek characters. + In order to set maths such as shown as formula~\ref{eq:typeset}, +in an assumed 11pt font with 24pt spacing, +the widest elements, properly spaced and centered within the measure, +are set in the composing\index{composing stick} stick as + +\begin{displaymath} +P_{N_1 + m} = N_{1} + m \raisebox{-0.6\baselineskip}{$\displaystyle\binom{N_{2} - N_{1}}{\phantom{m}}$} + \alpha^{m}\beta^{(N_{2}-N_{1}) - m} +\end{displaymath} + + The terms to the right of the $=$ sign are then removed and stored where +hopefully they won't be disturbed. A lead of 6.5pt is then inserted above and below +the first terms. +The $N_{1} +m$ term is taken from the storage, and a piece of 2pt rule is cut +to the exact length of the term and the $C$ centered above it. Then the opening +parenthesis is added, so the contents of the composing stick look like: + +\begin{displaymath} +P_{N_1 + m} = \frac{C}{N_{1} + m} \bigg( +\end{displaymath} + + Moving on, the $N_{2}-N_{1}$ term is put in the composing stick and a 2pt +lead put below it with the $m$ centered underneath, then the closing parenthesis +is added, so the formula now appears as: + +\begin{displaymath} +P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} +\end{displaymath} + + Finally the Greek terms are added, with 6.5pt leads above and below, +resulting in: + +\begin{displaymath} +P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} + \alpha^{m}\beta^{(N_{2}-N_{1}) - m} +\end{displaymath} + + Even if an automatic caster, such as a Linotype or Monotype, was being +used the process was certainly not automatic. With a +Monotype\index{Monotype} caster the +operator would produce + +\providecommand*{\tmri}{\mathrm{i}} +\providecommand*{\tmrx}{\mathrm{x}} +\begin{displaymath} +P_{N}\tmri_{+m} = N_{1} + m\tmrx N_{2}-N_{1}\tmrx \alpha^{m}\beta^{(N_{\tmri}-N_{\tmri}) - m} \; C \; m +\end{displaymath} + +This would then go to the `marker-up' who would turn it into +\begin{displaymath} +P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} + \alpha^{m}\beta^{(N_{2}-N_{1}) - m} +\end{displaymath} + +After 1958 it was slightly easier when Monotype had introduced the +`4-line' system but there was still a lot of handwork required. +It is, however, much easier using LaTeX where +formula~\ref{eq:typeset} above was specified as: +\begin{lcode} +\begin{equation} +P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m} + \alpha^{m}\beta^{(N_{2}-N_{1}) - m} +\end{equation} +\end{lcode} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\chapter{The Parts of a Book} + + This chapter describes the various parts of a book, the +ordering of the parts, and the typical page numbering scheme used +in books. + +\section{\prFrontmatter} + + + There are three major divisions in a book: +the \pixfrontmatter\ or preliminaries\index{preliminaries}, +the \pixmainmatter\ or text, +and the \pixbackmatter\ or references. +The main differences as +far as appearance goes is that in the \pixfrontmatter\ the folios\index{folio} are +expressed as roman numerals and sectional divisions are not numbered. The +folios\index{folio} are expressed as arabic numerals in the \pixmainmatter\ +and \pixbackmatter. Sectional +divisions are numbered in the \pixmainmatter\ but not in the \pixbackmatter. + + The \pixfrontmatter\ consists of such elements as the title +of the book, a table of contents\ixtoc, and similar items. All pages are +paginated\index{pagination} --- that is they are counted --- but the first +few pages in the \pixfrontmatter, the title pages and such, do not usually have +folios\index{folio}. +The remainder of the pages in the \pixfrontmatter\ do have folios\index{folio} +which are usually expressed as roman numerals. Not all +books have all the elements described below. + + The first page is a recto +\emph{half-title}\index{half-title page}\index{title page!half-title}, +or \emph{bastard title}\index{bastard title page}\index{title page!bastard}, +page with no folio\index{folio}. +The page is very simple and displays just the main title of the book --- +no subtitle, author, or other information. One purported purpose of this +page is to protect the main title page. + + The first verso page, the back of the half-title page, may contain the +series title, if the book is one in a series, a list of contributors, +a frontispiece, or may be blank. The series title may instead be put on the +half-title page or on the copyright page. + + The \emph{title page}\index{title page} is recto and contains the full +title of the work, the names of the author(s) or editor(s), and often at the +bottom of the page the name of the publisher, together with the publisher's +logo if it has one. + + The title page(s) may be laid out in a simple manner or can have various +fol-de-rols, depending on the impression the designer wants to give. In +any event the style of this page should give an indication of the style +used in the main body of the work. + + The verso of the title page is the copyright page\index{copyright page}. +This contains the copyright notice, the publishing/printing history, +the country where printed, ISBN and/or CIP information. The page is usually +typeset in a smaller font\index{font!change} than the normal text. + + Following the copyright page may come a dedication or an epigraph\index{epigraph}, +on a recto page, with the following verso page blank. + + This essentially completes the unfolioed pages. + + The headings\index{heading} and textual forms for the paginated +pages should be the same as those for the \pixmainmatter, except that +headings\index{heading} are usually unnumbered. + + The first folioed page, +usually with roman numerals (e.g., this is folio iii), +is recto with the Table of Contents (\toc). If the book contains +figures\index{figure} (illustrations\index{illustration}) +and/or tables\index{table}, the List of Figures (\lof) and/or List of Tables +(\lot) come after the \toc, with no blank pages separating them. The \toc\ +should contain an entry for each following major element. If there is a \lot, +say, this should be listed in the \toc. The main chapters\index{chapter} must +be listed, of course, and so should elements like a preface\index{preface}, +bibliography\index{bibliography} or an index\index{index}. + + There may be a foreword\index{foreword} after the listings, with no blank +separator. A foreword is usually written by someone other than the author, +preferably an eminent person whose name will help increase the sales potential, +and is signed by the writer. The writer's +signature is often typeset in small caps after the end of the piece. + + A preface\index{preface} is normally written by the author, in which he +includes reasons why he wrote the work in the first place, and perhaps to +provide some more personal comments than would be justified in the body. +A preface starts on the page immediately following a foreword, or the lists. + + If any acknowledgements are required that have not already appeared in the +preface, these may come next in sequence. + + Following may be an introduction if this is not part of the main text. +The last elements in the front material may be a list of abbreviations, list +of symbols, a chronology of events, a family tree, or other information of +a like sort depending on the particular work. + + Table~\ref{tab:front} summarises the potential elements in the +\pixfrontmatter. + +\begin{table} +\centering +\caption{\prFrontmatter}\label{tab:front} +\begin{tabular}{llcc} \toprule +Element & Page & Folio & Leaf \\ \midrule +Half-title page & recto & no & 1 \\ +Frontispiece, etc., or blank & verso & no & 1 \\ +Title page & recto & no & 2 \\ +Copyright page & verso & no & 2 \\ +Dedication & recto & no & 3 \\ +Blank & verso & no & 3 \\ +Table of Contents\ixtoc & recto & yes & 3 or 4 \\ +List of Figures\ixlof & recto or verso & yes & 3 or 4 \\ +List of Tables\ixlot & recto or verso & yes & etc. \\ +Foreword & recto or verso & yes & etc. \\ +Preface & recto or verso & yes & etc. \\ +Acknowledgements & recto or verso & yes & etc. \\ +Introduction & recto or verso & yes & etc. \\ +Abbreviations, etc & recto or verso & yes & etc. \\ +\bottomrule +\end{tabular} +\end{table} + + + Note that the titles Foreword, Preface and Introduction are somewhat +interchangeable. In some books the title Introduction may be used for what +is described here as the preface, and similar changes may be made among the +other terms and titles in other books. + +\subsection{Copyright page} + + Most people are familiar with titles, \toc, prefaces, etc., but like +me are probably +less familiar with the contents of the copyright page\index{copyright page|(}. +In any event this is +usually laid out by the publishing house, but some authors may like to be, +or are forced into being, their own publisher. + + The main point of the copyright page is to display the +copyright\index{copyright} notice. +The Berne Convention does not require that published works carry a copyright +notice in order to secure copyright protection but most play it on the safe +side and include a copyright\index{copyright} notice. +This usually comes in three parts: the word \textit{Copyright} or more usually +the symbol \textcopyright, +the year of publication, +and the name of the copyright owner. +The copyright symbol matches the requirements of the Universal Copyright +Convention to which the USA, the majority of European and many Asian +countries belong. +The phrase `All rights reserved' is often added to ensure protection under the +Buenos Aires Convention, to which most of the Americas belong. A typical +copyright notice may look like: \\ +{\footnotesize \textcopyright{} 2035 by Frederick Jones. All rights reserved.} + + Somewhere on the page, but often near the copyright notice, is the name +and location(s) of the publisher. + + Also on the copyright page is the publishing history, denoting the edition +or editions\footnote{A second edition should be more valuable than a first +edition as there are many fewer of them.} and their dates, +and often where the book has been printed. One thing that has puzzled me in +the past is the mysterious row of numbers you often see, looking like: \\ +\centerline{\footnotesize\texttt{02 01 00 99 98 97\hspace{2em}10 9 8 7 6 5}} +The set on the left, reading from right to left, are the last two digits +of years starting with the original year of publication. +The set on the right, and again reading from right to left, represents the +potential number of new impressions (print runs). The lowest number in each +group indicates the edition date and the current impression. So, the example +indicates the fifth impression of a book first published in 1997. + + In the USA, the page often includes the Library of Congress +Cataloging-in-Publication (CIP)\index{CIP} data, +which has to be obtained from the +Library of Congress. This provides some keywords about the book. + + The copyright page is also the place for the ISBN\index{ISBN} +(International +Standard Book Number) number. This uniquely identifies the book. For example: +ISBN 0-NNN-NNNNN-2. The initial 0 means that the book was published in an +English-speaking country, the next group of digits identify the publisher, +the third group identifies the particular book by the publisher, and the final +digit, 2 in the example, is a check digit. + + It is left as an exercise for the reader to garner more information about +obtaining CIP and ISBN data.\index{copyright page|)} + +\section{\prMainmatter} + + The \pixmainmatter\ forms the heart of the book. + + Just as in all the other parts of a book the pages within the +\pixmainmatter\ +are included in the pagination, even though some folios\index{folio} may +not be expressed. The folios\index{folio} are normally presented as arabic +numerals, with +the numbering starting at 1 on the first recto page of the \pixmainmatter. + + The \pixmainmatter\ is at least divided into \emph{chapters}\index{chapter}, +unless it is something like a +young child's book which consists of a single short story. +When the material may be logically divided into sections larger than +chapters, the chapters may be grouped into \emph{parts}\index{part} which +would then be the highest level of division within the book. +Frederic Connes\index{Connes, Frederic} +has told me that in French typography there is often a division above the +part level. This is also sometimes the case with English typography where +it is typically called a \emph{book}\index{book} --- the +\btitle{Chicago Manual of Style}~\cite[p. 21]{CMS} shows an example. +A single physical book may thus be divided into levels from \emph{book} +through +\emph{part} and \emph{chapter} to further refinements. +Typically all of books\index{book!number}, parts\index{part!number} +and chapters\index{chapter!number} are numbered. +Obviously, part numbering should be continuous throughout the book, but even +with parts the chapter numbering is also continuous throughout the book. + + The title of a part\index{heading!part} is usually on a recto page which +just contains the part title, and number if there is one. +Book titles\index{heading!book} are usually treated the same way. +Chapters\index{chapter} also start on recto pages but in this case the text +of the chapter\index{chapter} starts on the same page as the chapter +title. + + Where chapters\index{chapter} are long, or when the material is +complicated, they may be divided into sections\index{section}, each introduced +by a subhead\index{subhead}, either numbered or unnumbered, with +the numbering scheme starting afresh within each chapter. Similarly sections +may be partitioned into subsections by inserting sub-subheads, but except +for more technical works this is usually as fine as the subdivisions need +go to. Normally there are no required page breaks before the start of any +subhead\index{subhead} within a chapter\index{chapter}. + + The title page of a part\index{part} + or chapter\index{chapter} need not have the folio\index{folio} expressed, nor +a possibly textless verso page before the start of a chapter\index{chapter}, but all other +pages should display their folios\index{folio}. + + There may be a final chapter\index{chapter} in the \pixmainmatter\ called Conclusions, +or similar, which may be a lengthy summary of the work presented, untouched +areas, ideas for future work, and so on. + + If there are any numbered appendices\index{appendix} +they logically come at the end of +the \pixmainmatter. Appendices are often `numbered' alphabetically rather +than numerically, so the first might be Appendix A, the second Appendix B, +and so on. + + An epilogue\index{epilogue} or an afterword\index{afterword} is a +relatively short piece that the author may +include. These are not normally treated as prominently as the preceding +chapters\index{chapter}, and may well be put into the \pixbackmatter\ if they are +unnumbered. + +\section{\prBackmatter} + + The \pixbackmatter\ +is optional but if present conveys information ancilliary +to that in the \pixmainmatter. The elements are not normally numbered, so an +unnumbered appendix\index{appendix} would normally come in the \pixbackmatter. + + Other elements include Notes, a Glossary\index{glossary} + and/or lists of symbols\index{symbol} or +abbreviations\index{abbreviation}, which could be in the +\pixfrontmatter\ instead. These elements +are normally unnumbered, as is any list of contributors\index{contributor}, +Bibliography\index{bibliography} or Index\index{index}. + + In some instances appendices\index{appendix} +and notes may be given at the end of each +chapter\index{chapter} instead of being lumped at the back. + + The first element in the \pixbackmatter\ starts on a recto page but the +remainder may start on either recto or verso pages. + + In older books it was often the custom to have a colophon\index{colophon} +as the final element in a book. This is an inscription which includes +information about the production and design of the book and nearly +always indicates which fonts\index{font} were used. + + +\section{Signatures and casting off} +\index{signature|(} + + Professionally printed books have many pages printed per sheet of (large) +paper\index{paper}, which is then folded and cut where necessary to produce a +\emph{gathering}\index{gathering} or \emph{signature} of several smaller +sheets. An +unfolded sheet is called a \emph{broadside}\index{broadside}. +Folding a sheet in half produces a one sheet +\emph{folio}\index{folio} signature with two leaves and four pages. +Folding it in half again and cutting along the original fold gives a +two sheet \emph{quarto}\index{quarto} signature with four leaves +and eight pages. +Folding in half again, +results in a four sheet \emph{octavo}\index{octavo} signature with eight +leaves and 16 pages, and so on as listed in \tref{tab:signatures}. + +\begin{table} +\centering +\caption{Common signatures} \label{tab:signatures} +\begin{tabular}{lcccrccrccrc} \toprule +Name & Folds & Size & \multicolumn{3}{c}{Sheets} & +\multicolumn{3}{c}{Leaves} & \multicolumn{3}{c}{Pages} \\ \midrule +Broadside & 0 & $a \times b$ & & 1 & & & 1 & & & 2 & \\ +Folio & 1 & $b/2 \times a$ & & 1 & & & 2 & & & 4 & \\ +Quarto, \emph{4to} & 2 & $a/2 \times b/2$ & & 2 & & & 4 & & & 8 & \\ +Octavo, \emph{8vo} & 3 & $b/4 \times a/2$ & & 4 & & & 8 & & & 16 & \\ +\emph{16mo} & 4 & $a/4 \times b/4$ & & 8 & & & 16 & & & 32 & \\ +\emph{32mo} & 5 & $b/8 \times a/4$ & & 16 & & & 32 & & & 64 & \\ +\emph{64mo} & 6 & $a/8 \times b/8$ & & 32 & & & 64 & & & 128 & \\ \bottomrule +\end{tabular}% +\index{broadside}\index{folio}\index{quarto}\index{4to}\index{octavo}% +\index{8vo}\index{16mo}\index{32mo}\index{64mo}% +\end{table} + + In \tref{tab:signatures} the Size column is the untrimmed size of a +leaf\index{leaf} in +the signature +with respect to the size of the broadside. When made up into a book the +leaves will be trimmed to a slightly smaller size, at the discretion of the +designer and publisher; typically a minimum of 1/8 inch or 3 millimetres +would be cut from the top, bottom and \foredge\ of a leaf. + + Other folds can produce other signatures. For example a +\emph{sexto}\index{sexto}, +obtained by folding in thirds and then folding in half, is a three sheet +signature with six leaves and 12 pages. + + Paper has always been made in a wide range of sizes for a myriad of uses. +Table~\ref{tab:uspapersizes} lists some common American paper sizes. + +\begin{table} +\centering +\caption[Some American paper sizes]{Some American paper sizes (in inches)}\label{tab:uspapersizes} +\begin{tabular}{lll}\toprule +`Dollar bill' & \abyb{7}{3} & Used for origami, not bills \\ +Statement & \abyb{8.5}{5.5} & \\ +Executive & \abyb{10.5}{7.25} & \\ +Letter & \abyb{11}{8.5} & Also in double, half or quarter size \\ +Old (untrimmed) & \abyb{12}{9} & Also called Architectural-A \\ +Legal & \abyb{14}{8.5} & \\ +Ledger & \abyb{17}{11} & Also called Tabloid \\ +Broadsheet & \abyb{22}{17} & As used in newsprint \\ \bottomrule +\end{tabular} +\end{table} + +Traditionally the sizes are denoted by name but manufacturers did not +necessarily make paper of the size that matched the name they gave it. +Some common names and trimmed sizes for British book work are given in +\tref{tab:britpapersizes}. + +\begin{table} +\centering +\caption[Some traditional British book paper sizes]{Some traditional British book paper sizes (in inches)}\label{tab:britpapersizes} +\begin{tabular}{lll}\toprule +Name & Quarto & Octavo \\ \midrule +pott & \abyb{8}{6.5} & \abyb{6.25}{4}{in} \\ +foolscap & \abyb{8.5}{6.75} & \abyb{6.75}{4.25} \\ +crown & \abyb{10}{7.5} & \abyb{7.5}{5} \\ +post & \abyb{10}{8} & \abyb{8}{5} \\ +large crown & \abyb{10.5}{8} & \abyb{8}{5.25} \\ +large post & \abyb{10.25}{8.25} & \abyb{8.25}{5.25} \\ +small demy & \abyb{11.25}{8.5} & \abyb{8.5}{5.675} \\ +demy & \abyb{11.25}{8.75} & \abyb{8.75}{5.675} \\ +medium & \abyb{11.5}{9} & \abyb{9}{5.75} \\ +small royal & \abyb{12.25}{9.25} & \abyb{9.25}{6.175} \\ +royal & \abyb{12.5}{10} & \abyb{10}{6.25} \\ +super royal & \abyb{13.5}{10.25} & \abyb{10.25}{6.75} \\ +imperial & \abyb{15}{11} & \abyb{11}{7.5} \\ \bottomrule +\end{tabular} +\end{table} + +The metric sizes, given in \tref{tab:metricpapersizes}, are those now +recommended for book production where the metric system holds sway, +which includes the UK~\cite[p. 104]{MCLEAN80}. + +\begin{table} +\centering +\caption[Metric book paper sizes]{Metric book paper sizes (in mm)}\label{tab:metricpapersizes} +\begin{tabular}{lll}\toprule + & untrimmed & trimmed \\ \midrule +metric crown octavo & \abyb{192}{126} & \abyb{186}{123} \\ +metric large crown octavo & \abyb{205}{132} & \abyb{198}{129} \\ +metric demy octavo & \abyb{222}{141} & \abyb{216}{138} \\ +metric small royal octavo & \abyb{240}{158} & \abyb{234}{156} \\ +A5 & & \abyb{210}{148} \\ \bottomrule +\end{tabular} +\end{table} + + In making up the book, the pages in each signature are first fastened +together, usually by sewing through the folds. The signatures are then bound +together and the covers, end papers\index{paper!end} and spine are attached to form +the completed whole. + + +\begin{table} +\centering +\caption[Common American commercial paper sizes]% + {Common American commercial paper sizes (in inches)} \label{tab:adriansizes} +\begin{tabular}{llll} \toprule +Sheet size & Book trim size & Common use & Pages per sheet (max) \\ \midrule +\abyb{45}{35} & \abyb{8.5}{5.5} & scholarly works & 32 pages \\ +\abyb{50}{38} & \abyb{9.25}{6.125} & major nonfiction & 32 pages \\ +\abyb{66}{44} & \abyb{8}{5.375} & fiction \& minor fiction & 64 pages \\ +\abyb{68}{45} & \abyb{8.25}{5.5} & major fiction \& nonfiction & 64 pages \\ +\abyb{45}{35} & \abyb{11}{8.5} & children's books, manuals & 16 pages \\ +\abyb{50}{38} & \abyb{12.125}{9.25} & art monographs, children's books & 16 pages \\ +\bottomrule +\end{tabular} +\end{table} + + Commercial printers use paper larger than shown in the previous tables; +they print several (final) pages on a single sheet, then fold it and trim it +down to the finished page size. Table~\ref{tab:adriansizes} is from +\cite[p. 59]{ADRIANWILSON93}. He also says that other common trimmed sizes are +\abybm{9.25}{6.125}{in} out of \abybm{50}{38}{in} sheets, +\abybm{10.25}{8.25}{in} out of \abybm{45}{35}{in} sheets, and so on. + + + Publishers like the final typeset book to be of a length that just fits +within an integral number of signatures\index{signature}, +with few if any blank pages required +to make up the final signature. Casting off\index{casting off} is the +process of determining how many lines a given text will make in a given +size of type, and hence how many pages will be required. + + To cast off you need to know how many characters there will be in +a line, and how many characters there are, or will be, in the text. +For the purposes of casting off, `characters' includes punctuation as well +as letters and digits. The +first number can be easily obtained, either from copy fitting tables or +by measurement; this is described in more detail in \S\ref{sec:tblock}. +The second is more problematic, especially when the manuscript has yet +to be written. A useful rule of thumb is that words in an English text +average five letters plus one space (i.e., six characters); +word length in technical texts might be greater than this. + + To determine the number of words it is probably easiest to type a +representative portion of the manuscript, hand count the words and then +divide that result by the proportion of the complete text that you have +typed. For example, if you have typed 1/20\,th of the whole, then divide +by 1/20, which is equivalent to multiplying by 20. To fully estimate +the number of pages required it is also necessary to make allowance for +chapter\index{chapter} titles, illustrations\index{illustration}, and so forth. + + If it turns out, say, that your work will require 3 signatures plus 2 +pages then it will be more convenient to make it fit into 3 signatures, +or 4 signatures minus a page or two. This can be done by expanding or cutting +the text and/or by changing the font\index{font!change} +and/or by changing the number or width +of lines on a page. + + When I was editing a technical journal the authors were given a word +limit. The primary reason was not that we were interested in the actual +word count but rather so that we could estimate, and possibly limit, +the number of pages allotted +to each article; we used \emph{octavo}\index{octavo} +signatures\index{signature} and no blank pages. +I suspect that it is +the same with most publishers --- it is the page count not the word count +that is important to them. + + In some special cases, extra pages may be `tipped in'\index{tip in} to +the body of the book. This is most likely to occur for +illustrations\index{illustration} which +require special paper\index{paper} for printing and it would be too costly to use +that paper\index{paper} for the whole work. Another example is for a fold-out of some sort, +a large map, say, or a triple spread illustration\index{illustration}. The tipped in pages +are glued into place in the book and may or may not be paginated. For +tipped in illustrations\index{illustration}, a List of Illustrations may well start with +a phrase like: `Between pages 52 and 53'. + +\index{signature|)} + +\section{Paper} + +\index{paper|(} + + Paper, on which I assume your work will be printed, can be thought of +in seven categories, six of which are used in the making of books. The +categories are: +\begin{description} +\item[Special]\index{paper!special} is not used for books. +It includes `wet strength tissues' and +other sanitary, cosmetic and industrial papers. +\item[Wrapping]\index{paper!wrapping} papers are for protective purposes. +Of these kraft paper is made from +unbleached chemical wood fibre sized with resin. The fibres are long and +strong, hence the name `kraft' from the German word for `strength'. The usual +colour is brown. Kraft paper is used in bookbinding for reinforcing endpapers +and, strengthening and shaping spines. +\item[Printing]\index{paper!printing} paper covers a wide range, +from economical to expensive, +in surface finish from rough to highly polished (for fine art four colour +printing), and in colour. +\item[Writing]\index{paper!writing} paper is suitable for all stationery +requirements. Ledger +paper is made from rag fibre, or a mixture of rag and wood pulp, +and is strong, opaque and durable, with a smooth +surface. It is used for visitor's and account books and registers, and for +fine printing. Bank and bond papers are of good quality, strong, durable +and nearly Ph neutral; they are made from fibres of chemical wood +sized with resin. In books they are mainly used for strengthening damaged +signatures. Artists' and designers' drawing papers usually have a rough +surface --- cartridge paper, made from well sized chemical wood fibres, +is often used for tipped on endpapers. +\item[Decorative]\index{paper!decorative} papers used for the endpapers +and sides of books are +of an extensive variety of colours, textures, patterns, and quality. Any +decorative paper used in a book should be strong with a good firm surface. +\item[Ingres]\index{paper!Ingres} and similar papers are mould-made +from linen and/or cotton +with a little +wood pulp. They come from Europe in a variety of quiet colours and are +used in fine bindings for sides and endpapers. +\item[Japanese]\index{paper!Japanese} papers and tissues are mould-made +from good quality rag fibre. +They are fine but strong and are extensively used for repairing documents, +mending leaves, and replacing damaged or missing areas. I find +Kozo\index{paper!Kozo} paper very useful for repairing documents and, for +example, as hinges when bookbinding. Although not paper, there are some +wonderful Japanese bookcloths for binding covers. +\end{description} + +\index{paper!machine-made|(} + + Machine-made paper, which is the commonest, comes in a number of +sometimes overlapping categories, of which the main ones are: +\begin{description} +\item[Antique]\index{paper!antique} papers are soft textured papers originally +made for letterpress printing, but there are now surface sized ones for +offset lithography. +\item[Machine finish]\index{paper!machine finish} papers have varying degrees +of surface smoothness. They are also known as +super-calendered\index{paper!super-calendered} or +English\index{paper!English finish}. +\item[Coated]\index{paper!coated} paper has been flooded with fine clay and +adhesive to make them particularly good for halftones. Finishes range from +dull through matte to glossy. +\item[Impregnated]\index{paper!impregnated} papers are also known as +pigmented\index{paper!pigmented}. They are surface sized, lightly coated +and calendered and can take halftones, especially by lithography. +\item[Text]\index{paper!text} papers are textured and coloured and are +useful for limited editions, book jackets and end papers. They often have +a deckle edge on the two long sides. +\item[Cover]\index{paper!cover} papers are heavier varieties of text and other +papers and are typically used for pamphlet binding and paperback covers. +\item[Moldmade]\index{paper!moldmade} papers are made by machine to resemble +handmade papers, with deckle edges. They come in a wide range of textures, +colours, and weights. The available range includes papers suitable for +binding sides, endpapers, book jackets, or the text block. +\end{description} + + Handmade paper comes as single sheets but machine made paper can be +obtained in either rolls or sheets. For some letterpress printing +I recently bought some Strathmore 400 +Drawing Paper as \abybm{3}{30}{feet} rolls at about 1/3 the price of the +same quantity of paper in sheet form; the downside was that I had to slice +it up into +the sheet size I wanted to use, but in this case the upside was that I tore +rather than cut and obtained sheets with deckle edges on all four sides +so that at the end it looked rather like handmade paper. + + Paper for printing comes in different grades according to the intended +use. The common ones, together with their manufactured size in inches, +are~\cite{POCKETPAL}: +\begin{description} +\item[Bond (\abyb{17}{22})]\index{paper!bond} Commonly used for letters and +business forms. They have surfaces acceptible for both pen and pencil.n + +\item[Coated (\abyb{25}{38})]\index{paper!coated} For high quality printed +work because of their surface smoothness and uniform ink receptivity. + +\item[Text (\abyb{25}{38})]\index{paper!text} These often have interesting +textures and a range of colours and are used for notices, brochures and +booklets. There are often treated with a special sizing making them more +resistant to water penetration and easy to print. + +\item[Book (\abyb{25}{38})]\index{paper!book} Are used for book and trade +printing. They are less expensive than text papers but come in a wider range +of weights and bulk. + +\item[Offset (\abyb{25}{38})]\index{paper!offset} Are similar to the coated and +uncoated book paper used for letterpress printing but with sizing added to +enhance offset printing. + +\item[Cover (\abyb{20}{26})]\index{paper!cover} Complement coated and text +papers in matching colours and heavier weights for booklet covers, etc. It is +a handy rule of thumb that cover paper has about twice the thickness of text +paper of the same weight. If being used for postcards check that your choice +is acceptable to the postal services. + +\item[Index (\abyb{22.5}{35} and \abyb{25.5}{30.5})]\index{paper!index} Is +stiff and easy to write on with a pen. + +\item[Tag (\abyb{24}{36})]\index{paper!tag} A strong utility paper for making +tags + +\item[Bristol (\abyb{22.5}{28.5})]\index{paper!bristol} One of the board grades +but softer than index or tag and easier to fold. + +\item[Newsprint(\abyb{24}{36})]\index{paper!newsprint} The paper newspapers +are printed on. + +\item[Lightweight]\index{paper!lightweight} Covers a wide range of +specialty papers such as onion skin or Bible paper. + +\item[Digital]\index{paper!digital} Specialty paper for use with +digital printers. Each technology (e.g., inkjet, laser) and often +the particular printer tends to have its own requirements. + +\end{description} + + +\index{paper!machine-made|)} + + + It is not often that books include information about the paper on which +they are printed. If they do they are likely to be fine press books or +limited editions, but even then most I have seen are silent on the matter. +A few trade books do include details. Among the more popular +papers\footnote{Meaning that I know that they have been used in more than +one book.} I have +come across are: +Arches\index{paper!Arches}, of various kinds; +Curtis Rag\index{paper!Curtis Rag}; +Fabriano\index{paper!Fabriano}; +Glatfelter\index{paper!Glatfelter}; +Linweave Early American\index{paper!Linweave Early American}, which +has been used by the University of California press; +Mohawk Superfine\index{paper!Mohawk superfine}; +Warren's Old Style\index{paper!Warren's Old Style}, which has been used for +several books published by the University of California; and +Strathmore\index{paper!Strathmore} of several kinds. + + At the time of writing I have finished hand letterpress printing a +small book of 35 printed pages on Strathmore 400 Drawing Paper and an +accordian book on Chinese Scholars on Southworth\index{paper!Southworth} +32lb cotton paper. I am in the process of letterpress printing a collection +of poems as individual broadsides and for these I am using a variety of +papers from my local retail paper suppliers, all in letterpaper size --- +the regular US paper size for most non-commercial printing (in most of the +world this would be the A4 size). These include: Wausau Royal Silk 24lb +(90\gsm); +Construction 70lb text; Exact Opaque Colors 24/60lb text; Wausau Exact +Vellum Bristol 67lb (145\gsm); Curious Lightspecs 70lb text; Eames Furniture +Weave 80lb text; Speckletone Kraft 70lb text; and various Southworth papers. +Thus, in different weights (thicknesses), colours and surface finishes. + + +\begin{table} +\centering +\caption{US basis size of various papers}\label{tab:basisweight} +\begin{tabular}{lll} \toprule +Paper type & Size & Ream \\ + & (inches) & (sheets) \\ \midrule +Bond, writing, ledger & \abyb{17}{22} & 500 \\ +Coated, book, offset, text & \abyb{25}{28} & 500 \\ +%%Manuscript cover & \abyb{18}{31} & 500 \\ +%%Blotting & \abyb{19}{24} & 500 \\ +%%Box cover & \abyb{20}{24} & 500 \\ +Cover & \abyb{20}{26} & 500 or 1000 \\ +Index & \abyb{25\,\slashfrac{1}{2}}{30\,\slashfrac{1}{2}} & 500 \\ +Tag & \abyb{24}{36} & 500 \\ +Bristol & \abyb{22\,\slashfrac{1}{2}}{28\,\slashfrac{1}{2}} & 500 \\ +Newsprint & \abyb{24}{36} & 500 \\ +Tissue & \abyb{24}{36} & 480 \\ +Paperboard & \abyb{12}{12} & 1000 \\ % (1000 square feet per ream) \\ +\bottomrule +\end{tabular} +\end{table} + + +\begin{table} +\centering +\caption{Approximate paper weight equivalents}\label{tab:weightequivs} +\begin{tabular}{lccc} \toprule +Paper grade & Grammage & Thickness & Caliper \\ + & \gsm\ & inches & mm \\ \midrule +%%%30\,lb text & 44 \\ +16\,lb bond, 40\,lb text & 59 & 0.0032 & 0.081 \\ +45\,lb text & 67 & 0.0036 & 0.092 \\ +20\,lb bond & 75 & 0.0038 & 0.097 \\ +24\,lb bond, 60\,lb text & 89 & 0.0048 & 0.120 \\ +70\,lb text & 104 & 0.0058 & 0.147 \\ +80\,lb text & 118 & 0.0061 & 0.155 \\ +67\,lb bristol, 100\,lb text & 148 & 0.0073 & 0.185 \\ +60\,lb cover, 90\,lb index & 162 & 0.0074 & 0.188 \\ +65\,lb cover, 80\,lb bristol & 176 & 0.0078 & 0.198 \\ +110\,lb index & 199 & 0.0085 & 0.216 \\ +80\,lb cover & 216 & 0.0092 & 0.234 \\ +\bottomrule +\end{tabular} +\end{table} + + As you can see, paper comes in various weights. In most of the world this +is simply specified as grams per square meter (\gsm, sometimes designated as +\emph{gsm}). This quantity is properly called \emph{grammage}\index{grammage} +but English +speaking countries often use \emph{weight} instead. Typical office +paper is about 80\gsm, so an A4 sheet (1/16\sqrd{m}) weighs about 5gm. + + In the US and a few other places it is much more complicated. The +weight is expressed in terms of \emph{basis weight}\index{basis weight} +in pounds (lbs) for a known quantity of the +paper. The `known quantity' is a ream of paper of given dimensions. However, +the `given dimensions' and the `ream' varies according to the type of paper. +The dimensions are usually not those of the finished product, but of the paper +as made before being cut into the final sizes. +The advertised weight on a package of paper is no measure of the actual +weight of the package that is being presented for sale. +In some cases, though, an `M weight'\index{M weight} is also given, +which is the weight (in +pounds) of 1000 cut sheets. Suppliers will often charge by the M weight as it +is always consistent for a given paper size and it also makes the shipping +weight easy to calculate. Some basis weights +are listed in \tref{tab:basisweight}. + + + + Sheets \abybm{17}{22}{in} can be cut into four \abybm{8\,\half}{11}{in} +letterpaper sized sheets, the regular size used by business. +Similarly sheets \abybm{25}{38}{in} can be cut into sixteen +\abybm{6}{9}{in} book-sized sheets with little wastage. These two ream sizes +are among the most common ones. + + Paper thickness, or \emph{caliper}\index{caliper}, is a common measurement +used for some printing applications. This is usually measured directly +because it can only be estimated as the density of the paper is not known. +However reasonable estimates can be made for different weights of +the same kind of paper. + + Approximate paper weight equivalents are shown in \tref{tab:weightequivs}. +These are approximate because there are trade-offs between the characteristics +within the same basic weight which vary between manufactures. + + + +\index{paper|)} + +%%%\clearpage +%%%\raggedbottom +\chapter{The page} \label{chap:lpage} + + Authors usually want their works to be read by others than themselves, +and this implies that their manuscript will be reproduced in some manner. +It is to be hoped that the published version of their work will attract +readers and there are two aspects to this. The major is the actual content +of the work --- the thoughts of the author couched in an interesting +manner --- if something is boring, then there are too many other interesting +things for the reader to do than to plow on until the bitter end, +assuming that he +even started to read seriously after an initial scan. The other aspect is +the manner in which the content is displayed. Or, in other words, +the \emph{typography} +of the book, which is the subject of this chapter. + + The essence of good typography is that it is not noticeable at first, +or even second or later, glances to any without a trained eye. If your +initial reaction when glancing through a book is to exclaim about its layout +then it is most probably badly designed, if it was designed at all. Good +typography is subtle, not strident. + + With the advent of desktop publishing +many authors are tempted to design their own books. It is seemingly all +too easy to do. Just pick a few of the thousands of fonts\index{font} that are available, +use this one for headings\index{heading}, +that one for the main text, another one for +captions, decide how big the typeblock\index{typeblock} is to be, and there you are. + + However, just as writing is a skill that has to be learned, typography +is also an art that has to be learned and practised. There are hundreds +of years of experience embodied in the good design of a book. These are +not to be cast aside lightly and many authors who design their own books +do not know what some of the hard-earned lessons are, let alone that what +they are doing may be the very antithesis of these. An expert can break +the rules, but then he is aware that he has good reasons for breaking them. + + The author supplies the message and the typographer supplies the medium. +Contrary to Marshall McLuhan, the medium is \emph{not} the message, +and the typographer's job is not to +intrude between the message and the audience, but to subtly increase the +reader's enjoyment and involvement. If a book shouts `look at me!' then it +is an advertisement, and a bad one at that, for the designer. + + +\section{The shape of a book} + + Books come in many shapes and sizes, but over the centuries certain +shapes have been found to be more pleasurable and convenient than others. +Thus books, except for a very very few, are rectangular in shape. The +exceptions on the whole are books for young children, although I do +have a book edited by Fritz Spiegl and published by Pan Books entitled +\textit{A Small Book of Grave Humour}, which is in the shape of a tombstone +--- this is an anthology of epitaphs. Normally the height of a book, when +closed, is greater than the width. Apart from any aesthetic reasons, +a book of this shape is physically more comfortable to hold than one which +is wider than it is high. + + It might appear that the designer has great freedom in choosing the +size of the work, but for economic reasons this is not normally the case. +Much typographical design is based upon the availabilty of certain +standard industrial sizes of sheets of paper\index{paper!size}. +A page size of \abybm{12}{8}{inches} will be much more expensive than one +which fits on a standard +US letter sheet\index{paper!size!letterpaper} +of \abybm{11}{8\:\Mfrac{1}{2}}{inches}. +Similarly, one of the standard sizes +for a business envelope is \abybm{4\:\Mfrac{1}{8}}{9\:\Mfrac{1}{2}}{inches}. +Brochures for mailing +should be designed so that they can be inserted into the envelope with +minimal folding. Thus a brochure size of \abybm{5}{10}{inches} will be +highly inconvenient, no matter how good it looks visually. + + Over the years books have been produced in an almost infinite variety +of proportions, +where by \emph{proportion}\index{proportion} +I mean the ratio of the height to the width of a +rectangle. However, certain proportions occur time after time throughout +the centuries and across many different countries and +civilizations. This is because some proportions are inherently +more pleasing to the eye than others are. These pleasing proportions are +also commonly found in nature --- in physical, biological, and chemical +systems and constructs. + +\index{proportion!page|(} + + Some examples of pleasing proportions can be +seen in Japanese wood block prints, such as the \textit{Hoso-ye} size +(\ratio{2}{1}) which is a double square, the \textit{Oban} (\ratio{3}{2}), %($3 : 2$), +the \textit{Chuban} (\ratio{11}{8}) and the \textit{Koban} size +(\ratio{{\sqrt{2}}}{1}). Sometimes these prints were made up into books, but +were often published as stand-alone art work. Similarly Indian paintings, +at least in the 16th to the 18th century, +often come in the range \ratio{1.701}{1} to \ratio{13}{9}, thus being around +\ratio{3}{2} in proportion. + + In medieval Europe page proportions were generally in the range +\ratio{1.25}{1} to \ratio{1.5}{1}. Sheets of paper\index{paper} were typically +produced in the +proportion \ratio{4}{3} (\ratio{1.33}{1}) or \ratio{3}{2} +(\ratio{1.5}{1}). +All sheet proportions +have the property that they are reproduced with each alternate +folding of the sheet. +For example, if a sheet starts at a size of \abyb{60}{40} +(i.e., \ratio{3}{2}), +then the first fold will make a double sheet of size \abyb{30}{40} +(i.e., \ratio{3}{4}). The next fold will produce a quadrupled sheet of size +\abyb{30}{20}, which is again \ratio{3}{2}, and so on. + The Renaissance typographers tended to like taller books, and their +proportions would go up to \ratio{1.87}{1} +or so. The style nowadays has tended to go back towards the medieval +proportions. + + The standard ISO page proportions are +\ratio{{\sqrt{2}}}{1} (\ratio{1.414}{1}). These +have a similar folding property to the other proportions, except in this case +each fold reproduces the original page proportion. +Thus halving an A0 sheet +(size \abybm{1189}{841}{mm}) produces an A1 size sheet (\abyb{594}{841}), +which in turn being halved produces the A2 sheet (\abyb{420}{594}), down +through the A3, A4 (\abybm{210}{297}{mm}), A5, \ldots sheets. + +For many years it was thought that it was impossible to fold a sheet of +paper\index{paper}, no matter how large and thin, more than six times +altogether. This is not so as in 2002 a high school student, Britney Gallivan, +managed to fold a sheet of paper in half twelve times (see, for example, +\url{http://mathworld.wolfram.com/Folding.html}). + + + There is no one perfect proportion for a page, +although some are clearly better +than others. For ordinary books both publishers and readers tend to prefer +books whose proportions range from the light +\ratio{9}{5} (\ratio{1.8}{1}) to the heavy +\ratio{5}{4} (\ratio{1.25}{1}). Some examples are shown in \fref{flpage:prop}. + Wider pages, those with proportions less than +\ratio{{\sqrt{2}}}{1} (\ratio{1.414}{1}), +are principally useful for documents that need +extra width for tables\index{table}, marginal notes\index{marginalia}, +or where multi-column\index{column!multiple} printing is preferred. + +\begin{figure} +\centering +\setlength{\unitlength}{1pc} +\begin{picture}(24,38) +\put(0,4){\begin{picture}(24,34) + \put(0,0){\framebox(24,34){}} + \thicklines \put(19.78,0){\line(0,1){34}} + \thinlines + \put(16,0){\line(0,1){34}} + \put(17.78,0){\line(0,1){34}} + \put(18.48,0){\line(0,1){34}} + \put(19.2,0){\line(0,1){34}} + \put(20.81,0){\line(0,1){34}} + \put(21.33,0){\line(0,1){34}} + \put(22.63,0){\line(0,1){34}} + \put(0,-0.5){\begin{picture}(24,2) + \put(16,0){\makebox(0,0){\textsc{a}}} + \put(17.78,0){\makebox(0,0){\textsc{b}}} + \put(18.48,0){\makebox(0,0){\textsc{c}}} + \put(19.2,0){\makebox(0,0){\textsc{d}}} + \put(19.78,0){\makebox(0,0){{$\varphi$}}} + \put(20.81,0){\makebox(0,0){\textsc{e}}} + \put(21.33,0){\makebox(0,0){\textsc{f}}} + \put(22.63,0){\makebox(0,0){\textsc{g}}} + \put(24,0){\makebox(0,0){\textsc{h}}} + \end{picture}} + \end{picture}} + \put(0,0){\begin{picture}(24,4) + \put(0,0){\begin{picture}(8,4) + \put(0,2){\textsc{a} $2 : 1$} + \put(0,1){\textsc{b} $9 : 5$} + \put(0,0){\textsc{c} $1.732 : 1$ ($\sqrt{3}{} : 1$)} + \end{picture}} + \put(8,0){\begin{picture}(8,4) + \put(0,2){\textsc{d} $5 : 3$} + \put(0,1){{$\varphi$} $1.618 : 1$ ($\varphi{} : 1$)} + \put(0,0){\textsc{e} $1.538 : 1$} + \end{picture}} + \put(16,0){\begin{picture}(8,4) + \put(0,2){\textsc{f} $3 : 2$} + \put(0,1){\textsc{g} $1.414 : 1$ ($\sqrt{2}{} : 1$)} + \put(0,0){\textsc{h} $4 : 3$} + \end{picture}} + \end{picture}} +\end{picture} +\setlength{\unitlength}{1pt} +\caption{Some page proportions} \label{flpage:prop} +\end{figure} + + + + In books where the illustrations\index{illustration} are the primary +concern, the shape of the illustrations\index{illustration} is generally +the major influence on the page proportion. +The page size should be somewhat higher than that of the average +illustration\index{illustration}. The extra height is required for the +insertion of captions\index{caption} describing the +illustration\index{illustration}. +A proportion of \ratio{{\pi}}{e} (\ratio{1.156}{1}), +which is slightly higher +than a perfect square, is good for square illustrations.\footnote{Both $e$ +and $\pi$ are well known mathematical numbers. $e$ ($= 2.718 \ldots$) +is the base of natural logarithms and $\pi$ ($= 3.141 \ldots$) is the +ratio of the circumference of a circle to its diameter.} +The \ratio{e}{{$\pi$}} +(\ratio{0.864}{1}) proportion is useful for landscape +photographs taken with a \abyb{4}{5} +format camera, while those from a 35mm camera (which produces a negative +with a \ratio{2}{3} proportion) are better accomodated on +an \ratio{0.83}{1} page. +\index{proportion!page|)} + +\subsection{The golden section and Fibonacci series} + +\index{golden section|(} + Typographers need a modicum of mathematical ability, but no more +than an average teenager can do --- basically simple arithmetic. You can +skip this section if you wish as it just provides some background +mathematical material which might be of interest. + + Since ancient Greek times or even before, the golden section, which +is denoted by the Greek letter $\varphi$ (phi), has been considered to be +a particularly harmonious proportion\index{proportion}. It should come as no surprise, then, +that this also has applications in typography. + + The Greeks were interested in geometry (think of Euclid). They discovered +that if you divide a straight line into two unequal parts then a certain +division appeared to have an especially appealing aesthetic quality about it. +Call the length of the line $l$ and the length of the two parts $a$ and $b$, +where $a$ is the smaller and $b$ is the larger. The division in question +is when the ratio of the larger to the smaller division ($b/a$) is the same +as the ratio of the whole line to the larger division ($l/b$). +More formally, two elements embody the golden section, symbolised by +$\varphi$, when the ratio of the larger +to the smaller is the same as the ratio of the sum of the two to the larger. +If the two elements are $a$ and $b$, with $a < b$, then +\begin{equation} +\varphi = \frac{b}{a} = \frac{a+b}{b} = (1+\sqrt{5})/2 +\end{equation} + + The golden section has been called by a number of different names +during its history. Euclid\index{Euclid} + called it the `extreme and mean ratio' while +Renaissance writers called it the `divine proportion\index{proportion}'; now it is +called either the `golden section' or the `golden ratio'. The symbol +$\varphi$ is said to come from the name of the Greek artist +Phidias\index{Phidias} +(C5th \textsc{bc}) who often used the golden section in his sculpture. +A rectangle whose sides are in the same proportion\index{proportion} as the golden section +is often called a `golden rectangle'. +The front of the Parthenon on the Acropolis in Athens is a golden rectangle, +and such rectangles appear often in Greek architecture. +The symbol of the Pythagoran school was the star pentagram, +%%%%shown in \fref{flpage:spent}, +where each line is divided in the golden section. + + + The approximate decimal value for $\varphi$ is $1.61803$. +The number has some unusual properties. If you add one to $\varphi$ +you get its square, while subtracting one from $\varphi$ gives its +reciprocal. +\begin{eqnarray} + \varphi + 1 & = & \varphi^{2} \\ + \varphi - 1 & = & 1/\varphi +\end{eqnarray} +It also has a very simple definition as the continued fraction +\begin{equation} +\varphi = 1 + \frac{1}{\displaystyle 1 + \frac{1}{\displaystyle 1 + \frac{1}{\displaystyle 1 + \frac{1}{1 + \cdots}}}} +\end{equation} + + + In 1202 Leonardo Pisano, +also known as Leonardo Fibonacci, wrote a +book called \textit{Liber Abbaci.}\footnote{Book of the Abacus.} One of the +topics he was interested in was population growth. The book included +this exercise: \index{Fibonacci series|(} +\begin{quote} +How many pairs of rabbits\index{rabbit} can be produced from a single +pair in a year? +Assume that each pair produces a new pair of offspring every month, +a rabbit becomes fertile at age one month, and no rabbits die during the +year. +\end{quote} +After a month there will be two pairs. At the end of the next month the +first pair will have produced another pair, so now there are three pairs. +At the end of the following month the original pair will have produced a +third pair of offspring and their firstborn will also have produced a pair, +to make five pairs in all. And so on. +If, like the rabbits, you are not too exhausted +to continue, you can get the following series of +numbers\footnote{The numbers at the start of the series +depend on whether you consider the initial pair of rabbits to be adults or +babies.\label{fn:rabbits}}: +\begin{displaymath} +0,1,1,2,3,5,8,13,21,34, 55, 89 \ldots +\end{displaymath} +After the first two terms, each term in the series is the sum of the two +preceding terms. Also, as one progresses along the series, the ratio of +any adjacent pair of terms oscillates around $\varphi$ ($= 1.618 \ldots$), +approaching it ever more closely. +\begin{eqnarray*} + 8/5 & = & 1.6 \\ + 13/8 & = & 1.625 \\ + 21/13 & = & 1.615 \\ + 34/21 & = & 1.619 \\ + 55/34 & = & 1.6176 \\ + 89/55 & = & 1.6182 +\end{eqnarray*} + + For the mathematically inclined there is another, to me, typographically +striking +relationship between $\varphi$ and the Fibonacci series. Define the +Fibonacci numbers as $F_{n}$, where +\begin{equation} +\begin{array}{cccc} +F_{0} = 0;\ \ & F_{1}=1;\ \ & F_{n+2}=F_{n+1} + F_{n}, & n \geq 0. +\end{array} +\end{equation} +Then +\begin{equation} + F_{n} = \frac{1}{\sqrt{5}}(\varphi^{n} - (- \varphi)^{-n}) +\end{equation} + + Both the Fibonacci series and the golden section appear in nature. +The arrangement of seeds in a sunflower, the pattern on the surface of a +pinecone, and the spacing of leaves around a stalk all exhibit Fibonacci +paterns (for example see~\cite{CONWAY96}). Martin Gardener~\cite{GARDNER66} +reports on a study of 65 women that claimed that the average ratio of a +person's height to the height of the navel is $1.618+$ --- suspiciously +close to $\varphi$. According to Dan Brown, the author of +\btitle{The Da Vinci Code}, Mario Livio's +\btitle{The Golden Ratio}~\cite{LIVIO02} +`\ldots unveils the history and mystery of the remarkable +number phi in such a way that \ldots you will never again look at a pyramid, +pinecone, or Picasso in the same light'. + +\index{Fibonacci series|)} +\index{golden section|)} + +%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%%%%%\endinput +%%%%%%%%%%%%%%%%%%%%%%%%%%% + +\section{The spread} \label{sec:spread} +\index{spread|(} +\index{proportion!page|(} +\index{proportion!typeblock|(} + + The typeblock\index{typeblock} is that part of the page which is normally +covered with type. The same proportions that are useful for the shape of a +page are also useful for the shape of the typeblock. This does not mean, +though, that the proportions of the page and the typeblock should be the same. +For instance, a square typeblock on a square page is inherently dull. + + When we first start to learn to read we scan horizontally along each line +of text. As our skills improve we tend to scan vertically rather than +horizontally. A tall column\index{column} of text helps in this process, +provided that the column\index{column} is not too wide. + + A page in a book will typically contain several elements. Principal +among these is the typeblock\index{typeblock}, but there are also items like +the folio\index{folio} (that is, the page number), +a running header\index{header} and/or footer\index{footer} +which carries the chapter\index{chapter} +and/or book title, and possibly marginalia\index{marginalia} and +footnotes\index{footnote}. These latter +elements, although essential to the content of the book, are minor visual +elements compared to the typeblock\index{typeblock}. +But even minor decoration can obscure +or kill an otherwise good design. + + The major concern is the positioning of the typeblock on the page. +The mere fact of positioning the typeblock\index{typeblock} also has +the result of producing margins\index{margin} onto the page. +Page design is a question of balancing the page proportions +with the proportions of the typeblock and the proportions +of the margins\index{margin} to +create an interesting yet harmonious composition. A single page, except +for a title page, is never the subject of a design but rather the design +is in terms of the two pages that are on view when a book is opened --- the +left and right hand pages are considered as a whole. More technically, the +design is in terms of a \emph{double spread}. + + + +\begin{table} +\caption{Some page designs} \label{tlpage:allp} +\centering +%%\DeleteShortVerb{\|} +%\begin{tabular}{|l|l|l|c|} \hline +\begin{tabular}{|r|r|rrrrr|l|} \hline +\multicolumn{1}{|c|}{$P$} & \multicolumn{1}{c|}{$T$} & \multicolumn{5}{c|}{Margins \& Columns} & +\multicolumn{1}{c|}{Figure} \\ + & & \multicolumn{1}{c|}{$s$} & \multicolumn{1}{c|}{$t$} & \multicolumn{1}{c|}{$e$} & + \multicolumn{1}{c|}{$f$} & \multicolumn{1}{c|}{$g$} & \\ \hline +$\sqrt{3}$ & $2$ & $w/13$ & $8s/5$ & $16s/5$ & $16s/5$ & & \ref{fb:1} left \\ %Bringhurst +$\sqrt{3}$ & $e/\varphi$ & $w/10$ & $2s$ & $2s$ & $3s$ & & \ref{fb:1} right \\ % Machie +$12/7$ & $1.701$ & $w/7$ & $8s/5$ & $8s/5$ & $14s/5$ & & \ref{fb:2} left \\ % Grenfell +$e/\varphi$ & $7/4$ & $w/10$ & $5s/4$ & $5s/3$ & $11s/8$ & & \ref{fb:2} right \\ % JKJ +$\varphi$ & $1.866$ & $w/9$ & $s$ & $2s$ & $7s/3$ & & \ref{fb:3} left \\ %Paris +$\varphi$ & $\varphi$ & $w/12$ & $2s$ & $5s/2$ & $4s$ & & \ref{fb:3} right \\ %Dowding +$8/5$ & $1.634$ & $2w/15$ & $7s/5$ & $9s/5$ & $13s/5$ & & \ref{fb:4} left \\ %Rogers +$19/12$ & $7/4$ & $2w/15$ & $s$ & $9s/8$ & $11s/8$ & & \ref{fb:4} right \\ %Anatomy +$19/12$ & $\sqrt{3}$ & $w/7$ & $s$ & $5s/4$ & $1.84s$ & & \ref{fb:5} left \\ % Cornford +$19/12$ & $8/5$ & $w/12$ & $7s/5$ & $8s/5$ & $2s$ & & \ref{fb:5} right \\ %Abeced +$\pi/2$ & $9/5$ & $w/9$ & $3s/2$ & $5s/2$ & $3s$ & & \ref{fb:6} left \\ %Dwiggins +$e/\sqrt{3}$ & $1.71$ & $w/10$ & $11s/8$ & $24s/11$ & $8s/3$ & & \ref{fb:6} right \\ %Two Men +$1.553$ & $1.658$ & $w/11$ & $\varphi s$ & $\varphi s$ & $\varphi s$ & & \ref{fb:7} left \\ %Express +$1.538$ & $\sqrt{7}$ & $w/10$ & $s$ & $23s/6$ & $3s/2$ & & \ref{fb:7} right \\ %T&H +$3/2$ & $2$ & $w/5$ & $s/2$ & $s$ & $s$ & & \ref{fb:8} left \\ %Rome +$3/2$ & $1.701$ & $w/9$ & $s$ & $2s$ & $7s/3$ & & \ref{fb:8} right \\ %Venice +$3/2$ & $\pi/2$ & $w/13$ & $2s$ & $10s/3$ & $30s/7$ & & \ref{fb:9} left \\ %Magellan +$3/2$ & $3/2$ & $w/9$ & $3s/2$ & $2s$ & $3s$ & & \ref{fb:9} right \\ %Gutenberg +$3/2$ & $1.68$ & $w/23$ & $2s$ & $5s$ & $2s$ & & \ref{fb:10} left \\ % Pers Mss +$3/2$ & $3/2$ & $w/10$ & $2s$ & $5s/2$ & $2.85s$ & & \ref{fb:10} right \\ % Pers Bk +$1.48$ & $1.376$ & $w/12$ & $7s/4$ & $2s$ & $7s/2$ & & \ref{fb:11} left \\ %Goudy +$13/9$ & $\sqrt{2}$ & $w/30$ & $2s$ & $9s/2$ & $4s$ & $s/2$ & \ref{fb:11} right \\ %Doomsday +$\sqrt{2}$ & $\varphi$ & $w/9$ & $s$ & $2s$ & $2s$ & & \ref{fb:12} left \\ %Orig A4 +$\sqrt{2}$ & $\varphi$ & $w/8$ & $s$ & $5s/3$ & $5s/3$ & & \ref{fb:12} right \\ %Mod A4 +$7/5$ & $1.641$ & $w/7$ & $s$ & $8s/5$ & $8s/5$ & & \ref{fb:13} left \\ %Emery Walker +%%%$1.294$ & $\varphi$ & $0.176w$ & $1.03s$ & $1.685s$ & $13s/9$ & & \ref{fb:13} right \\ %LaTeX +$17/22$ & $1.594$ & $0.176w$ & $1.21s$ & $1.47s$ & $1.05s$ & & \ref{fb:13} right \\ %LaTeX +$1.294$ & $13/9$ & $w/12$ & $s$ & $2s$ & $10s/7$ & $s/2$ & \ref{fb:14} left \\ %Wilson +$9/7$ & $19/9$ & $2w/5$ & $5s/8$ & $5s/8$ & $5s/6$ & & \ref{fb:14} right \\ %Kuniyoshi +$5/4$ & $13/11$ & $w/10$ & $3s/2$ & $2s$ & $8s/3$ & & \ref{fb:15} left \\ %Fens +%%%$7/6$ & $17/15$ & $w/13$ & $s$ & $s$ & $7s/5$ & $.382$ & \ref{fb:15} right \\ %Durer +$7/6$ & $55/48$ & $w/10$ & $9s/10$ & $8s/10$ & $13s/10$ & $1.05s$ & \ref{fb:15} right \\ %Durer +%$1.176$ & $1.46$ & $0.107w$ & $5s/6$ & $2.41s$ & $3s/2$ & & \ref{fb:12} left \\ %Art +$e/\pi$ & $0.951$ & $w/9$ & $s$ & $2s$ & $3s/2$ & & \ref{fb:16} left \\ %Hammer & Hand +$5/7$ & $2/3$ & $w/9$ & $s/2$ & $2s/3$ & $s$ & $s/3$ & \ref{fb:16} right \\ \hline %Hokusai +\end{tabular} +%%\MakeShortVerb{\|} +\end{table} + + Table~\ref{tlpage:allp} gives some examples of +page designs. These are arranged in increasing order of +fatness. In this table, and afterwards, I have just used a single number +to represent the ratio of the page height to the width; that is, for example, +$1.5$ instead of \ratio{1.5}{1} or $12/7$ instead of \ratio{12}{7}. +The following symbols are used in the table: +\begin{description} +\item[Proportions]: + \begin{itemize} + \item[$P$] = page proportion = $h/w$ + \item[$T$] = typeblock proportion = $d/m$ + \end{itemize} +\item[Page size]: + \begin{itemize} + \item[$w$] = width of page + \item[$h$] = height of page + \end{itemize} +\item[Typeblock]: + \begin{itemize} + \item[$m$] = measure (i.e., width) of primary typeblock + \item[$d$] = depth (excluding folios, running heads, etc.) +%% \item[$n$] = measure of secondary column +%% \item[$c$] = column width, when there are two columns + \end{itemize} +\item[Margins]: + \begin{itemize} + \item[$s$] = spine margin (back margin) + \item[$t$] = top margin (head margin) + \item[$e$] = \foredge\ (front margin) + \item[$f$] = foot margin (bottom margin) + \item[$g$] = internal gutter (on a multi-column page) + \end{itemize} +\end{description} + + Theoretically the following relationship holds among the several +variables: +\begin{displaymath} +f + t - T(s + e) = w(P - T) +\end{displaymath} +However, due to measurement and other difficulties, the numbers given in +the table do not always obey this rule but they are close enough to give +a good idea of the relative values. In any event, page design is not a +simple arithmetic exercise but requires aesthetic judgement. + + The designs are also shown in \figurerefname s~\ref{fb:1} +to~\ref{fb:16}. Each of these shows a double page spread; the +page width has been kept constant throughout the series to enable easier +visual comparison --- it is the relative proportions, not the absolute size, +that are important. I have only shown the pages and the typeblocks to avoid +confusing the diagrams with headers\index{header}, footers\index{footer} +or folios\index{folio}. + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.732}{2}{.0769}{1.6}{3.2}{0} % Bringhurst +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.732}{1.684}{.1}{2}{2}{0} % Machiavelli +\end{minipage} +\caption[Two spreads: Canada, 1992 and England, 1970]% + {Two spreads: (Left) Canada, 1992. % Bringhurst. + (Right) England, 1970.} \label{fb:1} +\end{figure} + + Shown in \fref{fb:1} are two modern books. On the left is the layout +for Robert Bringhurst's\index{Bringhurst, Robert} +\btitle{The Elements of Typographical Style} published +by Hartley \& Marks in 1992, and designed by Bringhurst~\cite{BRINGHURST99}. +The text face is +Minion\facesubseeidx{Minion} set with $12$pt leading on a $21$pc measure. +The captions are set in Scala Sans\facesubseeidx{Scala Sans}. The original +size is \abybm{227}{132}{mm} and is printed on Glatfelter laid +\index{paper!Glatfelter}paper. +I highly recommend this book if you are +interested in typography. + +The layout on the right is The Folio Society's\index{Folio Society} +1970 edition of \btitle{The Prince} by Niccol\`{o} Machiavelli. The original +size is \abybm{216}{125}{mm} and is set in \abyb{12/13}{22} +Centaur\facesubseeidx{Centaur}. +Chapter titles\index{chapter!design} are set as raggedright block +paragraphs using Roman numbers +and small caps for the text; not all chapters start a new page. There are +no running headers and the folios\index{folio} +are set at the center of the footer\index{footer!design}. +The ToC is typeset like the standard \ltx\ ToC\index{ToC!design} +but with the chapter titles +in small caps. + + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.714}{1.701}{.143}{1.6}{1.6}{0} % Grenfell +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.68}{1.75}{.1}{1.25}{1.667}{0} % JKJ +\end{minipage} +\caption[Two spreads: USA, 1909 and England, 1964.]% + {Two spreads: (Left) USA, 1909. + (Right) England, 1964.} \label{fb:2} +\end{figure} + + Figure~\ref{fb:2} (left) illustrates a small book by Wilfred T.~Grenfell +entitled \btitle{Adrift on an Ice-Pan} published in 1909 by the Riverside +Press\index{Riverside Press} of Boston. The text is set with a leading +of $16$pt on a $16$pc +measure. The large leading and small measure combine to give a very +open appearance. The original size is \abybm{184}{107}{mm}. + The half-title\index{half-title}\index{page!half-title} is set in +bold uppercase about 1/3 +of the way down the page. Uppercase is used for chapter\index{chapter!design} +headings which are centered. Captions for the photographs\index{illustration} +are also uppercase and are listed on an illustrations page. +The folios\index{folio} are +centered in the footer\index{footer!design} and enclosed in square +brackets (e.g., [17]), and the +headers\index{header!design} contain the book title, centered, +and in uppercase. + + + +On the right is another book from the +Folio Society\index{Folio Society} --- \btitle{Three Men in a Boat} +by Jerome K.~Jerome printed +in 1964. The original size is \abybm{215}{128}{mm} and is typeset with +Ehrhardt\facesubseeidx{Ehrhardt} at \abyb{11/12}{22}. +Chapter\index{chapter!design} titles are +centered and simply consist of the word `CHAPTER' followed by the number. +There are no headers and the folio\index{folio} +is set between square brackets (like [27]) +in the center of the footer\index{footer!design}. The ToC\index{ToC!design} +title is centered, and the chapter entries are like standard \ltx\ except +that the numbers are set in a roman font while the texts, which give a +summary of the chapter contents, are typeset in italic. + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.618}{1.87}{.111}{1}{2}{0} % Paris +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.618}{1.618}{.0833}{2}{2.5}{0} % Dowding +\end{minipage} +\caption[Two spreads: France, 1559 and Canada, 1995]% + {Two spreads: (Left) France, 1559. + (Right) Canada, 1995.} \label{fb:3} +\end{figure} + + Jean de Tourmes\index{de Tourmes, Jean}, a Parisian publisher, +printed \btitle{Histoire et Chronique} +by Jean Froissart in 1559. This is a history book with the main text in +roman and sidenotes in italic at roughly 80\% of the size of the main text. +The layout is shown in \fref{fb:3} (left). The gutter (not shown) between +the main text and the sidenote\index{sidenote} column\index{column} +is very small, +but the change in fonts and sizes enables the book to be read with no +confusion. + + +Another Hartley \& Marks +typography book --- \btitle{Finer Points in the Spacing \& Arrangement +of Type} by Geoffrey Dowding\index{Dowding, Geoffrey} --- +is shown at the right of \fref{fb:3}. +This is typeset in Ehrhardt\facesubseeidx{Ehrhardt} at \abyb{10.5/14}{23} on a page +size of \abybm{231}{143}{mm} on Glatfelter\index{paper!Glatfelter} Laid +Offset paper. +The half-title\index{half-title} is uppercased, +centered, and in the upper quarter of the page. On the title +page\index{title page} the title is typeset with a large bold italic font +while the author's is set using normal uppercase and the publisher +is set in small caps. Dowding uses `part' instead of `chapter'. +Chapter\index{chapter!design} heads are centered with the number written +out, like `PART ONE', and below this is the title set in large italics. +Section\index{section!design} heads are in uppercase and subsection heads in +small caps, both centered. Folios\index{folio} are in the center of the +footer\index{footer!design}; verso running heads\index{header!design} +consist of the book title in small caps and centered, and recto heads +contain the chapter title in italics and centered. On the +contents\index{ToC!design} page the part (chapter) numbers and titles +are centered, using small caps and large italics respectively (and no page +numbers). Section titles are in small caps, left justified with the +page numbers right justified. Titles from the \pixfrontmatter\ +and \pixbackmatter, for example the Foreword and +Bibliography, are typeset in italics. + + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.6}{1.634}{.1333}{1.4}{1.8}{0} % Rogers +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.583}{1.75}{.1333}{1}{1.125}{0} % Anatonomy +\end{minipage} +\caption[Two spreads: USA, 1949 and 1990]% + {Two spreads: (Left) USA, 1949. + (Right) USA, 1990.} \label{fb:4} +\end{figure} + + Bruce Rogers\index{Rogers, Bruce} (1870--1957) +described how he came to design his Centaur\facesubseeidx{Centaur} typeface in +\btitle{Centaur Types}, a privately published book by his studio October +House in 1949. The layout of this book, which of course was typeset in +Centaur, is shown at the left of \fref{fb:4}. Centaur is an upright +seriffed type based on Nicolas Jenson's\index{Jenson, Nicolas} type as +used in \btitle{Eusebius} published in 1470. +\btitle{Centaur Types} demonstrates typefaces other than +Centaur, and also includes exact size reproductions of the engraver's +patterns. It is set at \abyb{14/16}{22} on a page size of \abybm{240}{150}{mm}. + + Figure~\ref{fb:4} (right) is the layout of another book on typefaces. +It is \btitle{The Anatomy of a Typeface} by Alexander Lawson published by +David R.~Godine in 1990~\cite{LAWSON90}. +This is set in Galliard\facesubseeidx{Galliard} with $13$pt leading and a measure of $24$pc on +a page size of \abybm{227.5}{150}{mm} on Glatfelter\index{paper!Glatfelter} +Offset Smooth Eggshell paper. The half-title\index{half-title}\index{page!half-title} +is set in uppercase in the upper quarter of the page. On the +title\index{page!title} page the title is in uppercase in a large outline +font, with a double rule above and a short single rule below. The author +is set in small caps (both upper- and lowercase like \textsc{Lawson}) +and the publisher is in regular lowercase small caps. +Chapter\index{chapter!design} heads are centered with the number set between +a pair of fleurons\index{fleuron}, followed by the title in +large uppercase, and with +a short rule between the title and the start of the text. +The folios\index{folio} +are in the center of the footer\index{footer!design} with a short rule +above them; there are no running headers. The contents\index{ToC!design} +page is set with the body type; chapter numbers are flushleft with a +following period and the page numbers are flushright. + + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.583}{1.731}{.143}{1}{1.25}{0} % Cornford +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.583}{1.6}{.0833}{1.4}{1.6}{0} % Abecedarium +\end{minipage} +\caption[Two spreads: England, 1908 and USA, 1993]% + {Two spreads: (Left) England, 1908. + (Right) USA, 1993.} \label{fb:5} +\end{figure} + + \btitle{Microcosmographica Academia} by F. M. Cornford is shown in +\fref{fb:5}. Despite its title, it is written in English and was published +by Bowes \& Bowes, London, in 1908. It is a dryly humourous look at academic +politics as practised in Cambridge University at the turn of the nineteenth +century (probably in the twentieth and twenty-first as well). +It is set with $14$pt leading +on $22$pc. The original page size is \abybm{216}{136}{mm}. +The half-title\index{half-title}\index{page!half-title} +is in normal uppercase in the upper +sixth of the page; the title\index{page!title} page is all uppercase in +various sizes. Chapter\index{chapter!design} heads are centered with first +the number in Roman numerals and below the title in uppercase. +Folios\index{folio} are centered in the footer\index{footer!design} +and there are no running heads. There is no table of contents. + + + +The right of this figure illustrates a book with another unusual title --- +\btitle{The Alphabet Abecedarium} by Richard A.~Firmage and published by +David R.~Godine in 1993. It is set in +Adobe Garamond\facesubseeidx{Adobe Garamond}\index{Garamond!Adobe} on a $27$pc measure +with $14$pt leading. The original page size is \abybm{227.5}{150}{mm}. The +book gives a history of each letter of the Latin alphabet. +Chapter\index{chapter!design} heads are centered and consist of an +ornamental version of the letter in question. One +unusual feature is that there is a deep footer\index{footer!design} +on each page showing many examples of typefaces of the letter being +described. Verso running headers\index{header!design} consist of the book +title in mixed small caps and centered with the folio\index{folio} flushleft. +Recto headers have the folio\index{folio} flushright, and centered is the alphabet, +typeset in small caps except for the current letter which is enlarged. + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.571}{1.8}{.111}{1.5}{2.5}{0} % Dwiggins +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.562}{1.709}{.1}{1.375}{2.182}{0} % Two Men +\end{minipage} +\caption[Two spreads: USA, 1931 and England, 1968]% + {Two spreads: (Left) USA, 1931. + (Right) England, 1968.} \label{fb:6} +\end{figure} + + + W.~A.~Dwiggins was, among many other things, an American book designer. +Figure~\ref{fb:6} (left) shows his layout of H.~G.~Wells' \btitle{The Time +Machine} for Random House in 1931. The page size is \abyb{231}{147}{mm}. + +The right of the figure illustrates the layout of a book called +\btitle{Two Men --- Walter Lewis and Stanley Morrison at Cambridge} +by Brooke Crutchley\index{Crutchley, Brooke} +and published by Cambridge University +Press\index{Cambridge University Press} in 1968. This is typeset in +Monotype Barbon\facesubseeidx{Monotype Barbon}\index{Barbon!Monotype} +with $17.5$ leading on a $26$pc measure on a \abybm{253}{162}{mm} page. +Crutchley was the Cambridge University +Printer\index{Cambridge University Press!Crutchley, Brooke} and each year would produce +a limited edition of a book about Cambridge or typography, and preferably +both together, for presentation to friends of the Press. The tradition of +the Printer's Christmas Book\index{Cambridge University Press!Christmas Book} +was started by Stanley +Morison\index{Morison, Stanley}\index{Cambridge University Press!Morison, Stanley} +in 1930 and continued until 1974. The books usually consisted of a short +essay on a +particular topic, so they did not have chapter heads, tables of contents, +or other appurtenances, apart from a Preface. + + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.553}{1.685}{.0909}{1.618}{1.618}{0} % Express +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.538}{2.647}{.1}{1}{3.833}{0} % Thames & Hudson +\end{minipage} +\caption[Two spreads: USA, 1994 and England, 1988]% + {Two spreads: (Left) USA, 1994. + (Right) England 1988.} \label{fb:7} +\end{figure} + + A modern technical book layout is given in \fref{fb:7}. The book +is \btitle{Information Modeling the EXPRESS Way} by Douglas Schenck and Peter +Wilson, published by Oxford University Press (New York) in 1994. This is +set in Computer Modern Roman\facesubseeidx{Computer Modern Roman} at \abyb{10/12}{27} +on a page \abybm{233}{150}{mm}. +It has the typical \ltx\ appearance with perhaps the exception of the +epigraphs\index{epigraph} after each chapter\index{chapter!design} heading. + +Ruari McLean's\index{McLean, Ruari} \btitle{The Thames and Hudson Manual of +Typography} (1988) is at the right in \fref{fb:7}. This is typeset in \abyb{10/11}{20} +Monophoto Garamond\facesubseeidx{Monophoto Garamond}\index{Garamond!Monophoto} +on a \abybm{240}{156}{mm} page. The wide +\foredge{} is used for small illustrations\index{illustration}. +Notes are also set in this +margin\index{margin} rather than at the foot of the page. +The half-title\index{half-title}\index{page!half-title} +is in a bold font, flushright, in the +upper quarter of the page; there is a wood engraving of a galleon at the +bottom, also flushright. The title\index{page!title} uses a mixture of fonts +and is set flushright; an example title page based on this design is shown +in \fref{fig:titleTH}. Chapter\index{chapter!design} are on recto +pages and consist of the number and title in a bold font, flushleft and near +the top of the page, and an engraving of some kind is at the bottom +right of the page; there is no other text on this page, the body of +the chapter starting at the top of the following verso page. +Folios\index{folio} are in the footers\index{footer!design} at the outer edge +of the page. Running headers\index{header!design} contain the chapter +title in small caps flushright in the outer margin. + +\begin{figure} +\centering +\begin{showtitle} +\titleTH +\end{showtitle} +\caption{Title page design based on \btitle{The Thames and Hudson Manual of +Typography} (1988)} \label{fig:titleTH} +\end{figure} + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.5}{2}{.2}{.5}{1}{0} % Rome +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.5}{1.7}{.111}{1}{2}{0} % Venice +\end{minipage} +\caption[Two spreads: Italy, 1523 and 1499]% + {Two spreads: (Left) Italy, 1523. + (Right) Italy 1499.} \label{fb:8} +\end{figure} + + Many page layouts in earlier days were constructed by +drawing with compass and ruler, usually based on regular geometric figures; +the use of squares, pentagons and hexagons being particularly +prevelant. Unusually, the typeblock\index{typeblock} in \fref{fb:8} (left) +is centered on the page. The typeblock\index{typeblock} is based on a +square, the depth being twice the measure. The book, \btitle{Canzone} by +Giangiorgio Trissino, is a volume of poems and was published in Rome +about 1523 by Ludovico degli Arrighi\index{Arrighi, Ludovico degli}. +Prose works +from the same typographer followed the normal style of having the \foredge\ +wider than the spine margin\index{margin!spine}\index{margin!inner}. + + The page proportion in \fref{fb:8} (right) is also a simple \ratio{3}{2} +ratio. The proportions of the typeblock, being \ratio{1.7}{1}, +are based upon a pentagon. +The book is \btitle{Hypnerotomachia Poliphili} by Francesco Colonna and was +published by Aldus Manutius\index{Manutius, Aldus} in Venice in 1499. +The story of this, +including some reproductions from the original, is told by Helen +Barolini~\cite{BAROLINI92}. + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.5}{1.571}{.0769}{2}{3.333}{0} % Magellan +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.5}{1.5}{.111}{1.5}{2}{0} % Gutenberg +\end{minipage} +\caption[Two spreads: France/Portugal, 1530 and Gutenberg, C15th]% + {Two spreads: (Left) France/Portugal, 1530. + (Right) Gutenberg, C15th.} \label{fb:9} +\end{figure} + + In 1519 the Portugese explorer Ferdinand Magellan set sail from +Sanl\'{u}car de Barramada, near C\'{a}diz in Spain, +with five ships and about 270 men. +Three years later one ship and 18 men returned, having made the first +circumnavigation. Among the few survivors was Antonio Pigafetta who recorded +the adventure. +A very few manuscripts of his report are in existence. +The layout of one of these manuscripts which is in the Beinecke Rare +Book and Manuscript Library at Yale is shown at the left of \fref{fb:9}. +The manuscript, which is written in French, is called +\btitle{Navigation et descouurement de la Inde superieure et isles +de Malueque ou naissent les cloux de Girofle} (Navigation and discovery +of Upper India and the Isles of Molucca where the cloves grow) is written +in a beautiful humanistic minuscule\index{minuscule!humanist}. +There are 27 lines to a page, which +is \abybm{286}{190}{mm} and made of vellum. The text measure is $29.5$ +and the `leading' is $21$pt. The wide outer (\foredge) margin\index{margin!outer} is used +for sidenotes\index{sidenote} +indicating highlights of the story. The manuscript was probably prepared +soon before 1530; the scribe and where he worked is unknown. + + Many of the books produced by Johannes Gutenberg\index{Gutenberg, Johannes} +(1398--1468) and his early successors followed the form shown in +\fref{fb:9} (right). This set of proportions was also often used in +medieval incunabula\index{incunabula}\footnote{Early books, especially +those printed before 1500.} and manuscripts. The page and typeblock +proportions are the same (\ratio{3}{2}). The margins\index{margin} are in the +proportions $2 : 3 : 4 : 6$. +A graphical method for constructing this, and similar designs, is +shown later in \fref{flpage:lgut}. + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.5}{1.68}{.043}{2}{5}{0} % Persian Mss +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.5}{1.5}{.1}{2}{2.5}{0} % Persian book +\end{minipage} +\caption[Two spreads: Persia, 1525 and USA, 1975]% + {Two spreads: (Left) Persia, 1525. + (Right) USA, 1975.} \label{fb:10} +\end{figure} + + Two versions of the same publication are shown in \fref{fb:10}. +On the left is a Persian manuscript \btitle{Khamsch of Nizami} written +about 1525. The page size is about \abybm{324}{216}{mm}. The +illustrations\index{illustration} and +the typeblock\index{typeblock} are inextricably mixed. On the right is a translation of +some of the manuscript published as \btitle{Tales from the Khamsch of Nizami} +by the Metropolitan Museum of Art, New York, in 1975. The modern version +has a page size of \abybm{300}{200}{mm}, slightly smaller than the original +but in the same proportions. The typeblock\index{typeblock} is $32$pc wide +and the type is set with a $15$pt leading. + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.48}{1.375}{.0833}{1.75}{2}{0} % Goudy +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.45}{1.414}{.0333}{2}{4.5}{2.175} % Doomsday +\end{minipage} +\caption[Two spreads: USA, 1952 and England, 1087]% + {Two spreads: (Left) USA, 1952. + (Right) England, 1087.} \label{fb:11} +\end{figure} + + Frederic Goudy\index{Goudy, Frederic} was a prolific American +type designer. Shown at the left of +\fref{fb:11} is the layout of his book \btitle{The Alphabet and Elements +of Lettering} published by the University of California Press in 1952. +This is typeset in his University of California Old +Style\facesubseeidx{University of California Old Style}, which has +interesting ct and st ligatures. The measure is $36$pc and the leading +is $18$pt. The first half of the book gives a short history of the development +of writing and fonts. The second half consists of 27 plates, one for each +letter of the alphabet, and the last one for the ampersand character. These +show the evolution of each letter from Roman times to the mid-twentieth +century. + + + Figure~\ref{fb:11} (right) shows the layout of the English +\btitle{Domesday Book} which is a manuscript book written in 1087. +It records all the domains won by William the Conqueror in 1066. +The book is written in a Carolingian minuscule\index{minuscule!Carolingian} +in two columns\index{column!double}, with 44 lines per column ragged right. +The two columns have slightly different widths. The first part of the book +is more meticulously written than the later parts, where the scribe appears +to be in haste to finish. + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.414}{1.618}{.111}{1}{2}{0} % A4 orig +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.414}{1.618}{.125}{1}{1.667}{0} % A4 mod +\end{minipage} +\caption[Two spreads for ISO page sizes]% + {Two spreads: (Left) ISO (1). + (Right) ISO (2).} \label{fb:12} +\end{figure} + + Figure~\ref{fb:12} shows two different layouts for a page corresponding +to the ISO international standard proportion of $\sqrt{2}$. In each case +the typeblock\index{typeblock} is the same and proportioned in the +golden section\index{golden section}, but the margins\index{margin} are +different. The layout on the left provides adequate +room for marginal\index{marginalia} notes in the \foredge. + + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.404}{1.641}{.143}{1}{1.6}{0} % Emery Walker +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.294}{1.618}{.176}{1.037}{1.685}{0} % Latex +\end{minipage} +\caption[Two spreads: England, 1973 and LaTeX $10pt$ book style]% + {Two spreads: (Left) England, 1973. + (Right) LaTeX $10$pt book style.} \label{fb:13} +\end{figure} + + Another of the Cambridge University +Printer's\index{Cambridge University Press!Christmas Book} Christmas books +is at the left +of \fref{fb:13}. In this case it is \btitle{Emery Walker --- Some Light +on his Theories of Printing and on his Relations with William Morris +and Cobden-Sanderson} by Colin Franklin and published in 1973. The +page size is \abybm{295}{210}{mm} with a measure of $31$pc set with +$15$pt leading. Unusually for this series it has chapter +heads\index{chapter!design} which are simply the number centered above +the title in a large font. It also has illustrations\index{illustration} +which are listed on an Illustrations page where the caption\index{caption} +titles are set flushleft and page numbers flushright. The page is divided +into two lists. The first has a heading (centered) in italics of +\textit{`In text'} with \textit{`page'} flushright above the page numbers. +The second has the centered heading \textit{`In pocket at end'} and there +are no page numbers in this list as the corresponding illustrations +are not bound into the book, instead thay are loosely inserted in a +pocket at the end of the book. + + +On the right is the default layout provided by the +LaTeX $10$pt book class on US letterpaper\index{paper!size!letterpaper}. + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.294}{1.444}{.0833}{1}{2}{0.5} % Adrian Wilson +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.286}{2.11}{.4}{.625}{.625}{0} % Kuniyoshi +\end{minipage} +\caption[Two spreads: USA, 1967 and England, 1982]% + {Two spreads: (Left) USA, 1967. + (Right) England, 1982.} \label{fb:14} +\end{figure} + + Adrian Wilson\index{Wilson, Adrian}, who died in 1988, was an +acclaimed American book designer. +His work on book design, \btitle{The Design of Books}, out of print since +1988 but reissued in 1993 by Chronicle Books, is outlined +at the left of \fref{fb:14}. This is in two columns\index{column!double}, +with many illustrations\index{illustration}, +on letterpaper\index{paper!size!letterpaper} size pages. +It is typeset in Palatino\facesubseeidx{Palatino} and +Linotype Aldus\facesubseeidx{Linotype Aldus}\index{Aldus!Linotype} +with $12$pt leading. +Each column is $18$pc wide. The title page is a simple design and an +example based on it is shown in \fref{fig:titleDB}. +Chapter\index{chapter!design} heads are +flushright in a large italic, preceeded by the number. +Section\index{section!design} heads are flushleft in uppercase and +subsection heads are also flushleft but in normal sized italics. +The Contents\index{ToC!design} list is in the left hand column, typeset +using the normal font with titles flushleft and page numbers flushright; +there is an engraving in the bottom half of the right hand column. +There are no running headers. Verso footers\index{footer!design} have the +chapter title flushleft in small caps with the folio\index{folio} +to the left of this (i.e., in the margin); recto footers similarly have +the chapter title flushright and the folio to the right in the margin. + +\begin{figure} +\centering +\begin{showtitle} +\titleDB +\end{showtitle} +\caption{Title page design based on Adrian Wilson's \btitle{The Design of Books}} \label{fig:titleDB} +\end{figure} + +The other layout in this +figure is B.~W.~Robinson's \btitle{Kuniyoshi: The Warrior Prints} published +by Phaidon, Oxford in 1982. The page size is \abybm{310}{242}{mm} with a +measure of $28.5$pc. The type is set with $13$pt leading. The wide spine +margin\index{margin!spine}\index{margin!inner} is used for some small +reproductions of Japanese +woodblock prints, some of which extend across the binding itself. +The majority of the book has no text apart from captioning the many +reproduced prints which take up full pages. + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.25}{1.182}{.1}{1.5}{2}{0} % Fens +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{1.167}{1.133}{.077}{1}{1}{0.382} % Durer +\end{minipage} +\caption[Two spreads: England, 1972 and Switzerland, 1980]% + {Two spreads: (Left) England, 1972. + (Right) Switzerland, 1980.} \label{fb:15} +\end{figure} + + \btitle{The Waterways of the Fens} by Peter Eden with drawings by +Warwick Hutton is another of the Cambridge +Printer's\index{Cambridge University Press!Christmas Book} Christmas books. +This is set with $17$pt leading on a measure of $27$pc. The original +page size is \abybm{195}{150}{mm} and is illustrated on the left +of \fref{fb:15}. +The amount of text on a page varies +and there are many line drawings, some of which take a double spread. +Folios\index{folio} are in the outer margin level with the top +line of text. + +On the right of this figure is another art book, namely \btitle{D\"{u}rer} +by Fedja Anzelewsky published by Chartwell Books in 1980. This is set in +two columns\index{column!double} with $14$pt leading on a $23.5$pc measure, +although there are more illustrations\index{illustration} than text. The page +size is \abybm{280}{240}{mm}, considerably larger than its companion in +the figure, yet with much smaller margins\index{margin}. +Roman numerals are used for chapter\index{chapter!design} heads which are +set flushleft in a large font. Immediately below the chapter head is a line +of `section' titles, flushleft, in a font size intermediate between the +chapter head and the body. A centered dot is used to separate the section +titles. Folios\index{folio} are set in the foot\index{footer!design} flush +with the outside of the typeblock; there are no running heads. +The Table of Contents\index{ToC!design} title matches the chapter heads. +Chapter title entries are set flushleft with their page numbers flushright. +The section titles are set in a line below the chapter entry, again separated +by centered dots. In the text, references to +illustrations\index{illustration} are placed in the outside margins in +a small font. + +\begin{figure} +\centering +\begin{minipage}[b]{\pwlayi} +%\drawaspread{\pwlayii}{1.176}{1.46}{.107}{.833}{2.41}{0.25} % Art +\drawaspread{\pwlayii}{.865}{.951}{.111}{1}{2}{0} % Hammer & Hand +\end{minipage} +\hfill +\begin{minipage}[b]{\pwlayi} +\drawaspread{\pwlayii}{.714}{.667}{.111}{0.5}{0.667}{0.333} % Hokusai +\end{minipage} +\caption[Two spreads: England, 1969 and USA 1989]% + {Two spreads: (Left) England, 1969. + (Right) USA, 1989.} \label{fb:16} +\end{figure} + + + Two more layouts for illustrated books are given in \fref{fb:16}. +In this case the illustrations\index{illustration} are drawings in landscape +mode (i.e., they are wider than they are high); the shape of the drawings +has had a major effect on the page proportions. In the case on the left +the page proportion is in the ratio \ratio{{\pi}}{e}. The measure is +longer than usual at $37$pc and to compensate for this the leading of $17$pt +is also larger than customary. It is typeset in Centaur\facesubseeidx{Centaur}. +The book is +\btitle{Hammer and Hand} by Raymond Lister with drawings by Richard Bawden. +It was published in 1969 by Cambridge University +Press\index{Cambridge University Press!Christmas Book} and is another of +the University Printer's Christmas books. Folios\index{folio} +are in a large font at the outside edge of the page and level with the +top text line. + + +Shown on the right of \fref{fb:16} is \btitle{Hokusai --- One Hundred Poets} +by Peter Morse and published by George Braziller in 1989. The introductory +text is set in two columns\index{column!double} as shown. The body consists +of illustrations\index{illustration} of Japanese wood block prints, +originally in the large \textit{oban} size of about \abybm{250}{380}{mm}. +The half-title\index{half-title}\index{page!half-title} +is set in a large font in the top +right hand corner of the page, but the text on the title\index{page!title} +page is centered. The main body is organised with a wood block print +on each recto page and the commentary on the facing verso page. At the +top of each commentary page, centered, is the number of the print, a short +rule, the title of the print in a large italic font, a longer rule, +and then side by side the poem in Japanese and an English translation. +The commentary itself is underneath, set in three raggedright +columns\index{column!multiple}; minor heading in the commentary are +flushleft in small caps. The folio\index{folio} is at the center +of the foot\index{footer!design}. At the end of the book is a commentary on +those poems where there are no known illustrations; this is typeset +raggedright in four columns\index{column!multiple}. + + +\subsection{A geometric construction} \label{sec:gutenbergpage} + + Nowadays it is easy to pick and calculate any kind of page proportion +that takes your fancy, but how did the early printers do it? They certainly +did not have the use of calculators and I suspect that they had only enough +arithmetic to keep their accounts. Printing was a craft and craftsmen did +not release their trade secrets lightly. I believe that most of the designs +were based on simple geometric figures, which required nothing more than +a ruler and a pair of compasses. + + Jan Tschichold\index{Tschichold, Jan} gives a simple construction for the +layout of many of the books based on Gutenberg's\index{Gutenberg, Johannes} +work~\cite[pages 44--57]{TSCHICHOLD91}, +which is shown in \fref{flpage:lgut}. +The construction actually divides the page up into ninths (the point +\textsc{p} in the diagram, which is at the intersection of the main and half +diagonal construction lines, is one third of the way down and across both the +page and the typeblock\index{typeblock}). This construction can be used +no matter what the page proportions and will give the same relative result. + + +\begin{figure} +\centering +\setlength{\unitlength}{1pc} +\begin{picture}(20,15) +\put(0,0){\framebox(20,15){}} +\thicklines + \put(10,0){\line(0,1){15}} % spine +\put(0,0){\line(4,3){20}} % ll to tr diag +\put(20,0){\line(-4,3){20}} % lr to tl diagonal +\put(0,0){\line(2,3){10}} % ll to tm line +\put(20,0){\line(-2,3){10}} % lr to tm line +\put(13.333,0){\line(0,1){15}} % vertical line thro' half & full diags +\put(14,10){\makebox(0,0)[tl]{\textsc{p}}} +\put(13.333,15){\line(-4,-3){6.667}} % last line +\thinlines +\put(11.111,3.333){\framebox(6.667,10){}} +\put(2.222,3.333){\framebox(6.667,10){}} +\end{picture} +\setlength{\unitlength}{1pt} +\caption{The construction of the Gutenberg page design} +\label{flpage:lgut} +\end{figure} + +\index{proportion!typeblock|)} +\index{proportion!page|)} +\index{spread|)} + + +\section{The typeblock} \label{sec:tblock} + +\index{typeblock|(} + The typeblock is not just a rectangular block of text. If the typeblock +does consist of text, then this will normally be broken up into +paragraphs\index{paragraph}; it is not good authorial style to have +paragraphs that are longer than a page. Also, the typeblock may include +tables\index{table} and illustrations\index{illustration} which provide +relief from straight text. Some pages may have chapter or section +headings\index{heading} on them which +will also break the run of the text. In general the typeblock will +be a mixture of text, white space, and possibly non-text items. + + Consider a typeblock that includes no illustrations\index{illustration} +or tables\index{table}. +The lines of text must be laid out so that they are easy to read. +Common practice, and more recently psychological testing, has shown that +long lines of text are difficult to read. Thus, there is a physiological +upper limit to the width of the typeblock. From a practical viewpoint, +a line should not be too short because then there is difficulty in justifying +the text. + + Experiments have shown that the number of characters in a line of +single column\index{column} text on a page should be +in the range 60 to 70 for ease of reading. The range may be as much +as 45 to 75 characters but 66 characters is often +considered to be the ideal number. Much shorter and the eye is dashing +back and forth between each line. Much longer and it is hard to pick up the +start of the next line if the eye has to jump back too far --- the same line +may be read twice or the following line may be inadvertently jumped over. +For double column\index{column!double} text the ideal number of characters +is around 45, give or take 5 or so. + + Bringhurst\index{Bringhurst, Robert}~\cite{BRINGHURST99} gives a +method for determining the number +of characters in a line for any font\index{font!measuring}: +measure the length of the lowercase alphabet and use a +copyfitting\index{copyfitting} +table that shows for a given alphabet +length and line length, the average number of characters in that line. + Table~\ref{tab:copyfitting} is an +abridged version of Bringhurt's copyfitting table. +For example, it suggests that a font with a length of 130pt should be +set on a measure of about 26pc for a single column\index{column!single} +or in an 18pc wide column if there are multiple\index{column!multiple} +columns. + + +\begin{table} +%%%\DeleteShortVerb{\|} +\centering +\caption{Average characters per line} \label{tab:copyfitting} +\begin{tabular}{r|rrrrrrrr} \hline +Pts. & \multicolumn{8}{c}{Line length in picas} \\ + & 10 & 14 & 18 & 22 & 26 & 30 & 35 & 40 \\ \hline +80 & \textit{40} & \textbf{56} & \textbf{72} & 88 & 104 & & & \\ +85 & \textit{38} & \textit{53} & \textbf{68} & 83 & 98 & 113 & & \\ +90 & \textit{36} & \textit{50} & \textbf{64} & 79 & 86 & 107 & & \\ +95 & 34 & \textit{48} & \textbf{62} & 75 & 89 & 103 & & \\ +100 & 33 & \textit{46} & \textbf{59} & \textbf{73} & 86 & 99 & 116 & \\ +105 & 32 & \textit{44} & 57 & \textbf{70} & 82 & 95 & 111 & \\ +110 & 30 & \textit{43} & 55 & \textbf{67} & 79 & 92 & 107 & \\ +115 & 29 & \textit{41} & 53 & \textbf{64} & 76 & 88 & 103 & \\ +120 & 28 & \textit{39} & \textit{50} & \textbf{62} & 73 & 84 & 98 & 112 \\ +125 & 27 & 38 & \textit{48} & \textbf{59} & \textbf{70} & 81 & 94 & 108 \\ +130 & 26 & 36 & \textit{47} & 57 & \textbf{67} & 78 & 91 & 104 \\ +135 & 25 & 35 & \textit{45} & 55 & \textbf{65} & 75 & 88 & 100 \\ +140 & 24 & 34 & \textit{44} & 53 & \textbf{63} & 73 & 85 & 97 \\ +145 & 23 & 33 & \textit{42} & 51 & \textbf{61} & \textbf{70} & 82 & 94 \\ +150 & 23 & 32 & \textit{41} & \textit{51} & \textbf{60} & \textbf{69} & 81 & 92 \\ +155 & 22 & 31 & \textit{39} & \textit{49} & 58 & \textbf{67} & 79 & 90 \\ +160 & 22 & 30 & 39 & \textit{48} & 56 & \textbf{65} & 76 & 87 \\ +165 & 21 & 30 & 38 & \textit{46} & 55 & \textbf{63} & 74 & 84 \\ +170 & 21 & 29 & 37 & \textit{45} & 53 & \textbf{62} & 72 & 82 \\ +175 & 20 & 28 & 36 & \textit{44} & 52 & \textbf{60} & \textbf{70} & 80 \\ +180 & 20 & 27 & 35 & \textit{43} & 51 & 59 & \textbf{68} & 78 \\ +185 & 19 & 27 & 34 & \textit{42} & \textit{49} & 57 & \textbf{67} & 76 \\ +190 & 19 & 26 & 33 & 41 & \textit{48} & 56 & \textbf{65} & 74 \\ +195 & 18 & 25 & 32 & 40 & \textit{47} & 54 & \textbf{63} & 72 \\ +200 & 18 & 25 & 32 & 39 & \textit{46} & 53 & \textbf{62} & \textbf{70} \\ +220 & 16 & 22 & 29 & 35 & \textit{41} & \textit{48} & 56 & \textbf{64} \\ +240 & 15 & 20 & 26 & 32 & 38 & \textit{44} & 51 & 58 \\ +260 & 14 & 19 & 24 & 30 & 35 & 41 & \textit{48} & 54 \\ +280 & 13 & 18 & 23 & 28 & 33 & 38 & \textit{44} & 50 \\ +300 & 12 & 17 & 21 & 26 & 31 & 35 & 41 & \textit{47} \\ +320 & 11 & 16 & 20 & 25 & 29 & 34 & 39 & \textit{45} \\ +340 & 10 & 15 & 19 & 23 & 27 & 32 & 37 & 42 \\ +\hline +\end{tabular} +%%%\MakeShortVerb{\|} +\end{table} + + Morten H{\o}gholm\index{H{\o}gholm, Morten} has done some curve fitting +to the data. He determined that the expressions +\begin{equation} +L_{65} = 2.042\alpha + 33.41 \label{eq:L65} +\end{equation} +and +\begin{equation} +L_{45} = 1.415\alpha + 23.03 \label{eq:L45} +\end{equation} +fitted aspects of the data, where $\alpha$ is the length of the alphabet +in points, and $L_{i}$ is the suggested width in points, for a line with +$i$ characters (remember that 1pc = 12pt). + + The vertical height of the typeblock should be constant from page to +page. The lines of text on facing pages should be aligned +horizontally across the spine, which also means that they will be at +the same place on both sides of a leaf. Alignment across the spine +means that the eye is not distracted by an irregularity at the centre +of a spread, and leaf alignment stops ghosting of text through a thin page, +giving a crisper look to the work. +So, the spacing between lines should +be constant. This implies that the depth of the typeblock should be an +integral multiple of the space required for each line; that is, be specified +as a multiple of the leading. A ten point type, for example, will normally +have two points between lines, to give a leading of 12 points. This can be +written as 10/12. Usefully, one pica is 12 points so with a 12pt leading +vertical distances can be conveniently expressed in picas +(one pica per line). Another implication of this is that any space left +for illustrations\index{illustration} or tables\index{table}, or +the amount of space taken by chapter and section headings\index{heading} +should also be +an integer multiple of the leading\index{leading}. + + A ten point type set solid is described as 10/10. The theoretical +face of the type is ten points high, from the top of a \emph{d} to the bottom +of a \emph{p}, and the distance of the baseline of one row of text to the +next row of text is also ten points. Note that if a \emph{p} is vertically +above a \emph{b} then the ascender of the \emph{b} will meet the descender +of the \emph{p}. To avoid this, the vertical separation between baselines +is increased above the type size. Adding two extra points of vertical space +allows the text to breathe, and gives a leading of 12 points. Few fonts +read well when set solid. Typical settings are 9/11, 10/12, 11/13 and 12/15. +Longer measures require more leading than shorter ones, as do darker +and larger +fonts compared with lighter and smaller fonts. More leading is also +useful if the text contains many super-\index{superscript} or +sub-scripts\index{subscript}, or many uppercase letters. + +\index{typeblock|)} + + +\subsection{Page color} + + One of the aims of the typographer is to produce pages that are uniform +in `color'\index{page color}. By this they mean that the +typeblock\index{typeblock} has a reasonably constant +grayness, not being broken up by too much white space which is a distraction +to the reader. There will be white space around headings\index{heading}, +which is acceptable as a heading is meant to attract attention. +There may be white space between paragraphs\index{paragraph}, and this is +usually under the control of the designer. But there +may be vertical rivulets, or even rivers, of white space when the +interword spaces on adjacent lines coincide; fixing this usually +requires some handwork, either +by the author changing his wording so as to alter the location of +the spaces, or by the typesetter tweaking a little bit. + + Another form of distraction is if too many lines end with hyphens, or +several adjacent lines start or end with the same text; not only does +this cause a stack of identical characters but will make it harder for +the reader to reliably jump to the next line. + + The main font used controls the depth of the color of a page. To +see what color is produced by a particular font it is necessary to look +at a fairly long, preferably a page, piece of normal text. Fonts from +different families produce different colors, and so may mixed fonts from +the same family. You can try this yourself by typesetting the same page +in, say, Computer Modern Roman, Italic, and Sans-serif fonts. +The books by Rogers~\cite{ROGERS43}, Lawson~\cite{LAWSON90}, +Dowding~\cite{DOWDING98}, and +Morison~\cite{MORISON99} all show pages set in many different fonts. + + + +\subsection{Legibility} + + One of the principle requirements on the typography of a document is +that the document is \emph{legible}. Legibility\index{legibility} +means that the document +is designed to be easily read under a certain set of circumstances. +The criteria for +legibility on a poster that is placed on the side of a bus, for example, are +different from those that apply to a book to be read while sitting in an +easy chair. Essentially, the viewer should be able to read the document +with no physical strain caused by the appearance, but the contents, +of course, may lead to anything ranging from acute mental strain to +extreme boredom. + + Typefaces\index{typeface} and the layout of the +typeblock\index{typeblock} must be +chosen to optimise between legibility and `artistic' presentation. +The design of the document should be almost invisible, giving full +compliments to the author's communication. However, if you are a master, +like Hermann Zapf\index{Zapf, Hermann}~\cite{ZAPF00}, you can break the rules. + + + +\subsubsection{Typefaces} +\index{typeface} + + The first European letter forms that have survived are Greek inscriptions +carved into stone. These were freehand carvings with thin strokes. In time, +the lettering became thicker and serifs started to appear. The Romans +picked up on this later style of letter form. In carving inscriptions, they +first wrote the inscription on the stone using a broad, flat brush. This +naturally led to serifs and differing thicknesses of the letter strokes, +depending on the angle of the stroke with respect to the movement and +orientation of the brush. Similarly the written letterforms included +serifs. + + Between the Roman times and Gutenberg there were many changes and +experiments in European letterforms. The scribes used different scripts +for titles, subheads, continuous text, illuminated initial letters, and so +on. In time, two families of letterforms evolved, +called \emph{majuscules}\index{majuscule} and \emph{minuscules}\index{minuscule}. +The former were larger and more formal, while the latter +were smaller and less formal. We now call these two divisions upper case and +lower case. The upper case derives from Roman times, while the lower case +acquired its fundamental form during the reign of the Holy Roman Emperor +Charlemagne\index{Charlemagne} a thousand years later. In order to +promote communication +throughout his wide flung empire the Anglo Saxon Benedictine monk +Alcuin\index{Alcuin}, at the behest of Charlemagne, established a common +script to be used; this is now called Carolingian +minuscule\index{minuscule!Carolingian}. +A further division also appeared, between black letter (what is +commonly referred to as Gothic or Old English) type and the roman type. + + These types were all upright. Italic\index{italic} letterforms were +cut in Italy +in the early sixteenth century, as a more cursive style. Initially these were +lower case only, used in conjunction with upper case roman. By the end of +the century, sloped roman capitals were also in use with italic. + +\index{serif versus sans-serif type|(} +\index{font!seriffed|(} +\index{font!sans|(} + The late nineteenth century saw the appearance again of +Sans-serif\index{Sans-serif} +typefaces. + + Looking carefully at seriffed\index{serif} and sans fonts it is apparent that +the serifs have three main functions: +\begin{enumerate} +\item They help to keep letters apart. +\item At the same time, they help to keep letters in a word together. This + helps with legibility\index{legibility} as research has shown that + we tend to recognize + words by the shape of the word rather than by individual characters. +\item They help to differentiate between individual but similar letters. +\end{enumerate} + +Long experience has shown that a seriffed font is easier to +read\footnote{This is actually somewhat contentious as some take the view +that with enough practice, Sans-serif is just as easy to read.} +than a +Sans-serif font, particularly if part of the text is obscured. You can +try an experiment yourself to verify this. Try writing a phrase, once +using a Sans-serif font and then with a serifed font. Cover up +the top halves of the two phrases and try to make out what they say. Then +repeat this, except this time cover up the bottom halves of the phrase. +Which is easier to read? Here are some example characters, firstly in san-serif: +\begin{center} +{\Huge\sffamily a c l m n p q o} +\end{center} +and then in roman: +\begin{center} +{\Huge a c l m n p q o} +\end{center} + + Sans-serif fonts often require context to decipher the word. +For example~\cite{MCLEAN80}, +seeing this in isolation +\begin{center} +{\Huge\sffamily lll} +\end{center} +does it stand for `Ill', `one hundred and eleven', `three', or something +completely different like a dingbat or a set of cricket stumps? + + + There are three generally agreed legibility\index{legibility} +principles for setting text for +continuous reading. + +\begin{enumerate} +\item \emph{Sans-serif type is intrinsically less legible than seriffed type}~\cite{WHEILDON95}. + + We have already seen that this is the case --- there is more variety +among seriffed letters than among sans-serif letters. Further, serifs +perform other functions as well, such as binding letters together within +a word. + + This is not to say that a sans-serif letterform is always more illegible +than a roman one. A poor seriffed form can be much more illegible than +a well used good sans-serif. In general, there is an illegibility factor +associated with sans-serif that must be borne in mind; for general +\emph{continuous} reading, a good seriffed form is more likely to be +easy on the eye than a good sans form. + +\item \emph{Well designed upper and lower case roman type is easier to read than +any of its variants.} + + This is a guiding principle with many exceptions. Among the variants +can be considered to be italic and bold types. These have usually been +designed for a special purpose, like emphasing\index{emphasis} +certain pieces of text, rather +than for general legibility. Some italic types, though, are as legible as their +roman counterparts. In the seventeenth century many books were set entirely +in italic, but we have become accustomed to the roman type. + +\item \emph{Words should be set closer together than the space between lines.} + + All text is a mixture of ink and white space. The eye, when reading, +tends to jump over the white spaces. Given a choice between two spaces, it +will tend to jump over the smaller of the two. If the word spacing is greater +than the line spacing, then you can find yourself skipping from one line +to the next before finishing the first one. + + Further, if the lines are too long, then when the eye jumps back from +the end of one line to the start of the next, it may have difficulty in +picking up the correct one. + + Text lines are justified by altering the inter-word spacing, and possibly +by hyphenating the last word on the line if the spacing would be too bad +otherwise. Sans-serif fonts often look best if set ragged right, as this will +keep the inter-word spacing constant. Text set in narrow +columns\index{column!narrow} also often +looks best when set ragged right. + + +\end{enumerate} + +\subsubsection{Seriffed versus Sans-seriffed fonts} + + + As noted earlier there seems to be a permanent debate over the use +of seriffed and sans fonts. You will have to make up your own mind as +to what is best for any particular work, but here are a few general +comments from some of the literature on the subject. + +\begin{itemize} +\def\makelabel#1{\noindent #1} +\item[Bohle~\cite{BOHLE90}] notes: Readers prefer a roman typeface for body + type because they are most used to seeing that face~\cite{REHE72}. + Roman type may well also be more readable than sans serif faces because + the serifs help connect the letters to form the word shape when + we read~\cite{REHE72}. + +\item[Craig~\cite{CRAIG92}] says: You will find that the serifs on a typeface + facilitate the horizontal flow necessary to comfortable reading. + +\item[Degani~\cite{DEGANI92}] in a study of pilots reading checklists + in emergency cockpit situations decided that sans serif faces were + better than serif faces. + +\item[Schriver~\cite{SCHRIVER97}] notes: Serif and sans serif typefaces + are likely to be equally preferred by + readers~\cite{HARTLEY83,TINKER63} + and read equally quickly~\cite{GOULD87,HARTLEY83,ZACHRISSOM69}. + Serif faces may be easier to read in continuous text than sans + serif faces~\cite{BURT59,HVISTENDAHL75,ROBINSON71,WHEILDON95}. + +\item[Wheildon~\cite{WHEILDON95}] did a series of studies with around +250 readers in Sydney, Australia, asking them to rate serif and sans fonts +in a variety of uses. Among the many results he reported: +\begin{itemize} + \item More than five times as many readers are likely to show good + comprehension when a serif body type is used instead of a sans serif + body type. + \item The top half of [upper case] letters is more recognizable than + the bottom half. + \item There is little difference in legibility between headlines + [section titles] set in serif and sans serif typefaces, or between + roman and italic. + \item Headlines set in capital letters are significantly less legible + than those set in lower case. +\end{itemize} + +\end{itemize} + + The consensus, such as it is, seems to lean towards serifed +typefaces for continuous reading, but for titling the choice is +wide open. + + + To finish off in a lighter vein, + Daniel Luecking\index{Luecking, Daniel} had this to say on the subject +in a posting to \pixctt\ in January 2002. +\begin{quotation} + It is often conjectured that serifed fonts are easier to read because +the serifs contribute more points of difference between words. This is +often countered with the conjecture that they are easier to read because +that is what we are used to reading. But no one can doubt that words +like Ill, Iliad and Illinois in a sans-serif font +[e.g., \textsf{Ill, Iliad and Illinois}] are going to cause the eye/brain +system at last momentary confusion while it sorts out which plain vertical +lines are uppercase i's and which lowercase L's. + + I don't know if this contributes anything, but I can say unequivocally +that serif fonts are somwhat easier to read upside down than sans-serif, +but sans-serif is far easier to read mirored than serif. (I spent much +of my time as a child reading comics on the floor with my brother. As +he hated reading any way but straight on, we faced in different directions +and I saw the page upside down. I tried mirror reading just to see if +I could do that as easily. Serif fonts were almost impossible, sans-serif +actually quite easy.) + +\end{quotation} + + He later expanded on the mirror reading to me as follows. +\begin{quotation} +Here's an interesting (to me) anecdote about mirror reading: I was waiting +in line at an airport lunch counter, reading the menu posted on the wall, +when it suddenly struck me as odd that the menu was on the wall opposite +(so that one had to turn away from the counter to read it). Then I +realized in a sort of flash that I was reading it from a mirror. I turned +to look at the real menu and was momentarily disoriented (while my brain +turned itself around I guess) before I could read the actual menu. That +was when I first ran some tests to see why that was so easy to read and +other mirror writing was not. It seemed to be serif vs sans-serif, but +it might also be the typical letter forms: the typical serif lower case +`a', the one with the 'flag' above the bowl [e.g., a], is particularly +difficult to recognize compared to the simple `circle plus stick' +[e.g., \textit{a}] form. + + Some sort of dyslexia (or eulexia), no doubt, when backwards +words are nearly as easy to read as normal ones. +\end{quotation} + + +\index{font!sans|)} +\index{font!seriffed|)} +\index{serif versus sans-serif type|)} + + + +\index{font!sans|)} +\index{font!seriffed|)} + + +\subsection{Widows and orphans} + + Inconvenient page breaks can also cause a hiatus in the reader's perusal +of a work. These happen when a page break occurs near the start or end of +a paragraph\index{paragraph}\index{lonely line}. + + A \emph{widow}\index{widow} is where the last line of a +paragraph\index{paragraph} is the first line on the page. The term is +sometimes also used to refer to when the last word in a +paragraph\index{paragraph} is on a line by itself. A widow looks forlorn. +In German they are called \textit{Hurenkinder}\index{Hurenkinder} --- +whores' children --- which seems rather cruel to me. +As Robert Bringhurst said, `A widow has a past but no future'. +Typographically, widows should be avoided as they are a weak start to a page +and may optically destroy the page and type rectangle. However, a single widow +is not too troubling if the header includes a rule across the width of the +typeblock. Especially to be +avoided are widows that are the only line on a page, for example at the end +of a chapter\index{chapter}. Five lines on the last page of a +chapter\index{chapter} is a reasonable minimum. +Jan Tschichold~\cite{TSCHICHOLD91} claims that Hurenkinder can always +be avoided by even if a recto (verso) page must be made a line shorter or +longer than the corresponding verso (recto) page, which he considers to be +less of an affront than widows. + + An orphan\index{orphan} is not nearly so troubling to typographers as a +widow. An \emph{orphan} is where the first one or two lines of a +paragraph\index{paragraph} are at the bottom of a page. In German they are +called \textit{Schusterjungen}\index{Schusterjungen} --- cobbler's apprentices. +Bringhurt's memory trick for orphans is, `An orphan has a future but no +past'.\index{lonely line} + +\subsection{Paragraphs and versals} \label{sec:versal} + +\index{paragraph|(} + + Early books did not have paragraphs as we know them nowadays; the text +was written continuously, except for a break at a major division like the +start of a new book in a bible. Instead +the scribes used a symbol like \P\ +(the pilcrow)\index{pilcrow (\P)} +to mark the beginning of +paragraphs. This symbol is derived from the Greek $\Pi$, for +\textit{par\'{a}graphos}. Mind you, they often did not use any punctuation +at all and were sparing in their use of uppercase letters, +so you might have seen something like this\footnote{But probably not. +The two `paragraphs' are Latin abecedarian sentences.} + +\begin{quote} +usque \P\ te canit adcelebratque polus rex gazifier hymnis + \P\ transzephyrique globum scandunt tua facta per axem +\end{quote} + + Often the \P\ was colored red by the rubricators\index{rubricator} and the +scribe, or printer, would leave a blank space for the rubricator to add the \P. +This did not always happen and the start of a paragraph eventually became +marked by a space rather than a symbol. + + Nowadays paragraphs are ended by stopping the line of text at +the end of the +paragraph, and then starting the next paragraph on a new line. The question +then becomes: how do you indicate a new paragraph when the last line of the +previous paragraph fills up the measure? There are two solutions, which +unfortunately you +sometimes see combined. Either indent the beginning of the first line of +each paragraph, or put additional vertical space between the last and +first lines of paragraphs. + + The traditional technique, which has served well for centuries, is to +indent the first line of a paragraph\index{paragraph!indentation}. +The indentation need not be large, about an em will be enough, but +more will be required if the typeblock\index{typeblock} is wide. + + The other method is used mainly in business letters and is a recent +invention. The first lines of paragraphs\index{paragraph!indentation} +are not indented and typically one blank line is left between paragraphs. +This may +perhaps be acceptable when using a typewriter, but seems to have no real +justification aesthetically. There is also the problem when a paragraph +both ends with a full line and ends a page. As the next paragraph then starts +at the top of the next page, the blank line separating the two paragraphs +has effectively dissappeared, thus leaving the reader in a possible state +of uncertainty as to whether the paragraph continues across the page break +or not. + + If the paragraph is the first one after a heading\index{heading}, +then there +is no need to indicate that it is a new paragraph --- it is obvious from its +position. So, the first paragraph after a heading\index{heading} +need not be indented\index{paragraph!indentation}, and for some centuries now +the tradition is not to indent after a heading. +In some novels only chapters are headed yet each chapter is broken into +sections by putting additional vertical blank space between the sections. +Like nonindented paragraphs\index{paragraph!indentation}, +this can cause problems where a section division +coincides with a page break. In this case, typographers sometimes use a +decoration to separate sections (for example, a short centered row of a few +asterisks). + + +%%%%%%%%\clearpage +%\subsection{Versals} + +\drop{S}{}\textsc{ome typographers}\index{versal|(} +like to start the first paragraph in a chapter +with a versal. A \emph{versal} is a large initial letter, either raised or +dropped. This comes from the scribal tradition of illuminating the first +letter of a manuscript. The versal may be raised or dropped, as already noted, +or it may be placed in the margin\index{margin}, or otherwise treated in +a special manner. + +\versal{S}\textsc{ome versals,} especially dropped versals, are very difficult +to typeset correctly. Many attempts of this kind are abject failures, so +be warned. For example, compare the dropped versals at the start of these +first two paragraphs. They are both of the same letter and font, yet the first +one is horrible compared to the one starting this paragraph. + + +\noindent {\huge A}\textsc{raised versal} is often easier to use to +start a paragraph than a dropped versal. +However, a raised versal should only be used +where there is naturally some vertical space above it. As you can see, extra +spacing has had to be inserted before this paragraph to accomodate the versal. +There are still problems with typesetting a raised versal but as these tend +to be subtler than with a dropped versal, readers are less likely +to notice problems. + +Typically, small caps are used for a little while following a versal to +provide a transition between the large versal font and the normal body font. +These should not continue throughout the first line as this tends to divorce +it from the remainder of the paragraph. \index{versal|)} + +\noindent \textsc{Another way of starting} a paragraph is to use small +caps for the first few words. The font difference highlights the start +of the paragraph but in a much quieter manner than a versal does. Using +normal sized upper-case instead of the small caps is too much of a +contrast with the lower-case. + +\index{paragraph|)} + +\subsection{Footnotes} + +\index{footnote|(} + Footnotes are considered to be part of the typeblock\index{typeblock}. +They are typeset in the space allocated for the typeblock\index{typeblock}, +in contrast to footers\index{footer} +which are typeset below the typeblock\index{typeblock}. + + Footnotes are normally set in the same type style as the +typeblock\index{typeblock}. That is, if an upright seriffed font is used +for the typeblock\index{typeblock}, it is +also used for the footnote. The +type size is smaller to distinguish the note from the body text and often +the leading in the footnote is also reduced from that in the main text body. +The bottom footnote line should be at the same height as the bottom line +of the typeblock\index{typeblock}. This usually requires some adjustment +of the vertical space before the footnotes. + + A vertical blank space is often used to set off the footnotes from the +main text, and sometimes a short horizontal line is also used as demarcation. + +\index{footnote|)} + +\section{Folios} + +\index{folio|(} + + The word \emph{folio} is a homonym. It can mean a leaf +(two back-to-back pages) in a book, the size of a book or a book of +folded sheets (as in Shakespeare's first folio), or the printed page number +in a book. Here I use folio in this last sense. + + Documents should have folios, at a minimum to help the reader know where +he is. Occasionally books have their folios placed near the spine but this +positioning is unhelpful for navigation. The more usual positions are +either centered with respect to the typeblock\index{typeblock} or aligned +with the outside of the typeblock\index{typeblock}, and sometimes even in +the outside margin\index{margin!outer}. The folios +can be either at the top or bottom of the page but at least on pages +with chapter\index{chapter} openings are normally placed at the bottom of +the page so that they do not distract from the title text. + + Every page in a book is numbered, even if the page does not have a folio. +In books, the folios for the front material are often in roman numerals. +The \pixmainmatter\ and \pixbackmatter\ folios are arabic numerals, +with the sequence +starting from 1 after the \pixfrontmatter. In certain technical documents, +folios may be in the form of chapter number\index{chapter!number} and +page number, with the page number starting from 1 in each new chapter. +Other folio schemes are possible but unusual. + + Folios should be placed harmoniously with respect to the +typeblock\index{typeblock} and page margins\index{margin}. The font used for +the folios need not be the same as that for the typeblock\index{typeblock} +but must at least be complementary and non-intrusive. + +\index{folio|)} + +\section{Headers and footers} + +\index{header|(}\index{footer|(} + Headers and footers are repetitive material that is placed at either +the head or the foot of the page. Typically, folios\index{folio} are headers +or footers, but not always as sometimes they are placed in the +margin\index{margin} at or below the first line in the +typeblock.\index{typeblock} + + For the time being I will not distinguish between headers and footers and +just use the word header. Sometimes the header is purely decorative (apart +from a folio\index{folio}) like a horizontal line or some other non-textual +marking. Normally, though, they have a functional use in helping the +reader locate himself in the document. + + The most ubiquitous header is one which gives the title of the document. +If this is the only header, then I consider this to be decorative rather +than functional. As a reader I know what document I am reading and do not +need to be reminded every time I turn a page. More useful are headers that +identify the current part of the document, like a chapter\index{chapter} +title or number. +When you put the document down and pick it up later to continue reading, these +help you find your place, or if you need to refer back to a previous chapter +for some reason, then it is a boon to have a chapter heading\index{heading} +on each +spread. The minimally functional headers are where the document title +is on one page and the chapter heading is on the facing page. In more technical +documents it may be more useful to have headers of chapter and section titles +on alternate pages. + + Occasionally both headers and footers are used, in which case one normally +has constant text, like a copyright\index{copyright} notice. +I have the feeling that using the latter is only functional for the +publishers of the document when they fear photocopying or some such. + + The header text is usually aligned with the spine side +of the typeblock\index{typeblock}, but may be centered on top of the +typeblock\index{typeblock}. In any event, it should not interfere with +the folio\index{folio}. The type style need not be the same as the style +for the typeblock\index{typeblock}. For example, headers could be set in italic +or small caps, which, however, must blend with the style used for the +typeblock.\index{typeblock} + +\index{footer|)}\index{header|)} + +\section{Electronic books} +\index{electronic books|(}\index{Ebook|see{electronic books}} + + For want of a better term I am calling electronic books, or Ebooks, +those documents intended to be read on a computer screen. The vast bulk +of Ebooks are in the form of email but I'm more interested here in +publications that are akin to hardcopy reports and books that require +more time than a few minutes to read. + + Unlike real books which have been available for hundreds of years there +is virtually no experience to act as a guide in suggesting how Ebooks should +appear. However, I offer some suggestions for the layout of Ebooks, based on +my experience of such works. +Not considered are internal navigation aids +(e.g., hyperlinks) within and between Ebooks, nor HTML documents where +the visual appearance is meant to set by the viewing software and not +by the publisher. + + The publication medium is obviously very different --- a TV-style +screen with limited resolution and pretty much fixed in position versus +foldable and markable paper\index{paper} held where the reader finds it best. +These differences lead to the following suggestions. + + A book can be held at whatever distance is comfortable for reading, even +when standing up. +The computer user is normally either sitting in a chair with the monitor +on a desk or table, or is trying to read from a laptop, which may be +lighter but nobody would want to hold one for any length of time. To try +and alleviate the physical constraints on the Ebook reader the font size +should be larger than normal for a similar printed book. This will provide +a wider viewing range. A larger font will also tend to +increase the sharpness of the print as more pixels will be available for +displaying each character. + The font size should not be less than 12pt. The font may have to be +more robust than you would normally use for printing, as fine hairlines +or small serifs will not display well unless on a high resolution screen. + + I find it extremely annoying if I have to keep scrolling up and down +to read a page. Each page should fit within the screen, which means that +Ebook pages will be shorter than traditional pages. +A suggested size for an Ebook page, in round numbers, is +about 9 by 6 inches~\cite{ADOBEBOOK} or 23 by 15 centimetres overall. + + The page design for printed books is based on a double spread. For +Ebooks the design should be based on a single page. The +typeblock\index{typeblock} must be centered on the page otherwise it gets +tiring, not to mention aggravating, if your eyes have to +flip from side to side when moving from one page to the next. Likewise +any header\index{header} and the top of the typeblock\index{typeblock} +must be at a constant height on the screen. A constant position for the +bottom of the text is not nearly so critical. + + It is more difficult with an Ebook than with a paper book +to flip through it to find a particular place. +Navigation aids --- headers\index{header} and footers\index{footer} --- +are therefore more critical. Each page should have both a chapter +(perhaps also a section) header\index{header} title and a page number. +Note that I'm not considering HTML publications. + + Many viewers for Ebooks let you jump to a particular page. The page +numbers that they use, though, are often based on the sequence number from +the first page, not the displayed folio\index{folio}. In such cases it +can be helpful to arrange for a continuous sequence of page numbers, +even if the folios\index{folio} are printed using different styles. +For example, if the \pixfrontmatter\ uses roman numerals and the +\pixmainmatter\ arabic numerals and the last page of the +\pixfrontmatter\ is page xi, then make the first page of the \pixmainmatter\ +page 12. + + I see no point in Ebooks having any blank pages --- effectively the +concept of recto and verso pages is irrelevant. + + Some printed books have illustrations\index{illustration} that are +tipped in, and the tipped in pages are sometimes excluded from the +pagination. In an Ebook the illustrations\index{illustration} have to +be `electronically tipped in' in some fashion, either +by including the electronic source of the illustrations\index{illustration} +or by providing some navigation link to them. Especially in the former case, +the tipped in elements should be included in the pagination. + + Don't forget that a significant percentage of the population is +color-blind.\index{color|(}\index{color!blind} +The most common form is a reduced ability to distinguish +between red and green; for example some shades of pink may be perceived +as being a shade of blue, or lemons, oranges and limes may all appear to +be the same color. Along with color-blindness there may be a reduced +capacity to remember colors. + + I have seen Ebooks where color has been liberally used to indicate, say, +different revisions of the text or different sources for the data in a graph. +Unless the colors used are really distinctive 10\% or more of the potential +readership will be lost or confused. Further, +Ebooks may be printed for reading off-line and if a non-color printer is +used then any colors will appear as shades of grey; these must be such that +they are both readily distinguishable and legible. Yellow on white is almost +as difficult to read as off-white on white or navy blue on black, all of +which I have seen on web sites but rarely have I seen the text after I +have tried to print the page. + +\index{color|)} +\index{electronic books|)} + + +\chapter{Styling the elements} + + A book should present a consistent typographic style throughout, although +some elements, principally those in the \pixfrontmatter\ and \pixbackmatter\ +may be treated slightly differently than the main body. + + Much of this chapter is based on my interpretation of my namesake's +work~\cite{ADRIANWILSON93} and the \btitle{Chicago Manual of Style}~\cite{CMS}. + +\section{\prFrontmatter} + +\subsection{Title pages} + + The main and half-title pages are the gatekeepers to the book. As such, +they need to be welcoming and give an indication of the `look and feel' +of the contents. You don't want to scare off potential readers before they +have even cursorily scanned the contents. + + The half-title\index{page!half-title}\index{half-title page}, or bastard +title\index{bastard title|seealso{half-title}}, page contains just the +title of the +work, which is traditionally set high on the page --- perhaps about as high +as the chapter openings. The title page\index{page!title}\index{title page} +itself presents the title in full, +the author and maybe the illustrator or +other names likely to attract the reader, and perhaps the publisher and date. +Both the title pages are recto but the full title may be a double spread. +The full title layout in particular must be both attractive and informative. + + Quoting from Ruari McLean~\cite[p. 148]{MCLEAN80} in reference to the +title page he says: +\begin{quotation} + The title-page states, in words, the actual title (and sub-title, if +there is one) of the book and the name of the author and publisher, and +sometimes also the number of illustrations, but it should do more than that. +From the designer's point of view, it is the most important page in the +book: it sets the style. It is the page which opens communication with the +reader\ldots + + If illustrations play a large part in the book, the title-page opening +should, or may, express this visually. If any form of decoration is used +inside the book, e.g., for chapter openings, one would expect this to be +repeated or echoed on the title-page. + + Whatever the style of the book, the title-page should give a foretaste +of it. If the book consists of plain text, the title-page should at least +be in harmony with it. The title itself should not exceed the width of the +type area, and will normally be narrower\ldots +\end{quotation} + + +\begin{figure} +\centering +\begin{showtitle} +\titleJT +\end{showtitle} +\caption{Title page design based on Ruari McLean's \btitle{Jan Tschichold: Typographer}} \label{fig:titleJT} +\end{figure} + +\begin{figure} +\centering +\begin{showtitle} +\titleRF +\end{showtitle} +\caption{Title page based on a design by Rudolph Ruzicka for a book of Robert Frost's poetry} \label{fig:titleRF} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titleAM +\end{showtitle} +\caption{Title page based on a design by Will Carter for +\btitle{The Rime of the Ancient Mariner}} \label{fig:titleAM} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titlePM +\end{showtitle} +\caption{Title page design based on Nicholas Basbanes' \btitle{Gentle Madness}} \label{fig:titlePM} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titleAT +\end{showtitle} +\caption{Title page based on the design for \btitle{Anatomy of a Typeface}} \label{fig:titleAT} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titleLL +\end{showtitle} +\caption{Title page based on the design for \btitle{Lost Languages}} \label{fig:titleLL} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titleSW +\end{showtitle} +\caption{Title page based on the design for \btitle{The Story of Writing}} \label{fig:titleSW} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titleTMB +\end{showtitle} +\caption{Title page based on a design for the Folio Society's edition of + \btitle{Three Men in a Boat} (first published in 1889)} \label{fig:titleTMB} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titleZD +\end{showtitle} +\caption{Title page based on a design for the Folio Society's editiobn of + \btitle{Zuleika Dobson} (first published in 1911)} \label{fig:titleZD} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titleWH +\end{showtitle} +\caption{Title page based on a design for the Cambridge University +Printer's Christmas book \btitle{Words in Their Hands}} \label{fig:titleWH} +\end{figure} + + +\begin{figure} +\centering +\begin{showtitle} +\titleGP +\end{showtitle} +\caption{Title page design for an annual International Federation for + Information Processing workshop} \label{fig:titleGP} +\end{figure} + + +\begin{figure} +\centering +%\begin{showtitle} +{\titleRB} +%\end{showtitle} +\caption{Title page of a Victorian booklet} \label{fig:titleRB} +\end{figure} + + + +\subsubsection{Advertising} + + If the book is one of a series, or the author has been prolific, then +details of associated works may be provided. Titles by the same author +are usually set in italic, and a series title perhaps in small caps. The +font size should be no larger than for the main text. This advertising material +may be put on the copyright page but it is more often on the recto page +immediately after the half-title, before the title page, or on the verso of +the half-title\index{half-title page}\index{page!half-title} page. + +\subsubsection{Frontispiece} + + The traditional place for a frontispiece\index{frontispiece}, +which may be the only +illustration in the book, is facing the title page. Every attempt must be +made to make the resulting double spread harmonious. + +\subsection{Copyright page} + + The copyright\indextwo{copyright}{page} and related publishing +information is set in small type +on the verso of the title page. In some instances the book designer's name may +be listed among the small print. + +\subsection{Dedication} + + A dedication\index{dedication} is nearly always on a recto page and +simply typeset. If +pages are limited it could be placed at the top of the copyright +page\indextwo{copyright}{page} instead. + +\subsection{Foreword and preface} + + The same type size should be used for the headings 'foreword', `preface', +`acknowledgements', etc., and the similar ones in the \pixbackmatter. This +may be the same size as the chapter heads, or smaller. The body type should be +the same as for the \pixmainmatter\ text. +The foreword\index{foreword} starts on a recto page. It may face the +copyright page\indextwo{copyright}{page}, or if +there is a dedication\index{dedication} it will face the dedication's +blank verso. + + The preface\index{preface}, which is the author's opening statement, +is treated like a chapter opening, and commences on a recto page. + +\subsection{Acknowledgements} + + If there are any acknowledgements\index{acknowledgements} and they +require only a few sentences then they are often put at the end of the +preface\index{preface}, if there is one. Otherwise the acknowledgements +should be treated as a distinct unit, like a foreword or preface, and commence +on a recto page. + +\subsection{Contents and illustration lists} + + The table of contents\indextwo{contents}{list} is often laid out so +that the page numbers +are not too distant from the titles, thus reducing the need for dotted lines, +even if this makes the contents block narrower than the text page width. +An alternate strategy is to use more interlinear space between the entries +so that there is little or no difficulty in recognising which page +numbers belong to which titles. The parts of major sections should be +clearly separated to aid visual navigation. + + If the captions in an illustration list\indextwo{illustration}{list} +are short, and it follows the +contents list then it should be set in the same style as the contents. +If, however, the list is at the back of the book a smaller font size could +be used. + +\subsection{Introduction} + + The heading for an Introduction\index{introduction} is an unnumbered +chapter opening on a recto page. The body text is set in the same font +as the main body text. + +\subsection{Part title page} + + If the book is divided into Parts\index{part} then the Part One +page\indextwo{page}{part title} could either precede or follow the +Introduction. Ideally the layout of the title pages for the Parts should +follow the layout of the book's half-title\indextwo{page}{half-title} page +to provide a cohesiveness throughout the work. + +\section{\prMainmatter} + +\subsection{Chapter openings} + + Normally, chapters are the major divisions of a (volume of a) book, +but if it is long +it may have higher divisions, such as parts, or even books. In any event, +chapters are numbered consecutively throughout the volume. The numbering +is usually arabic but if there are few chapters, or there are numbered +subdivisions within chapters, or the work has classical allusions, then +roman numerals might be appropriate. + + Chapters often begin on recto pages but if there are many short chapters +or reproduction cost is all important then they may begin on the page +immediately following the end of the previous chapter, or, in rare cases, +even on the same page if there is enough space. In any event, the first chapter +should start on a recto page. + +\subsection{Mixed portrait and landscape pages} + + It is usual for all the pages in a document to be in +portrait\index{orientation}\index{portrait}\indextwo{orientation}{portrait} +but this is not always possible if there are illustrations or tabular material +that is better displayed in +landscape\index{landscape}\indextwo{orientation}{landscape} +orientation rather than portrait. + + When a double spread consists of a portrait page and a landscape page, as +in~\fref{fig:portrait-landscape} and~\ref{fig:landscape-portrait}, there are +two choices for which way the landscape page is turned with respect to the +portrait page. In each case it seems more natural to me when the document +has to be turned to the right to view the landscape page. + + + Figure~\ref{fig:landscape-landscape} shows double spreads where both pages +are in landscape orientation. Whichever way they face, they must both face in +the same direction so that the document has only to be turned once to read +both of them. + + The general rule for mixed landscape and portrait pages is that the +document is held in one position to read the +portrait\indextwo{orientation}{portrait} pages and is turned +in a consistent direction, usually to the right, to read the +landscape\indextwo{orientation}{landscape} pages. The key is consistency. + +\begingroup +\newcommand*{\tht}{6} +\newcommand*{\twd}{8} +\newcommand*{\htwd}{4} +\setlength{\unitlength}{0.5cm} + +\begin{figure} +\centering +\mbox{}\hfill +\begin{picture}(\twd,\tht) + \put(0,0){\framebox(\htwd,\tht){\textsc{portrait}}} + \put(\htwd,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} +\end{picture} +\hfill +\begin{picture}(\twd,\tht) + \put(0,0){\framebox(\htwd,\tht){\textsc{portrait}}} + \put(\htwd,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{-90}{\textsc{landscape}}}} +\end{picture} +\hfill +\mbox{} + +\caption[Portrait and landscape spreads]% + {Portrait and landscape spreads: the layout on the left is preferable to the one on the right} \label{fig:portrait-landscape} +\end{figure} + +\begin{figure} +\centering +\mbox{}\hfill +\begin{picture}(\twd,\tht) + \put(\htwd,0){\framebox(\htwd,\tht){\textsc{portrait}}} + \put(0,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} +\end{picture} +\hfill +\begin{picture}(\twd,\tht) + \put(\htwd,0){\framebox(\htwd,\tht){\textsc{portrait}}} + \put(0,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{-90}{\textsc{landscape}}}} +\end{picture} +\hfill\mbox{} + +\caption[Landscape and portrait spreads]% + {Landscape and portrait spreads: the layout on the left is preferable to the one on the right}\label{fig:landscape-portrait} +\end{figure} + +\begin{figure} +\centering +\mbox{}\hfill +\begin{picture}(\twd,\tht) + \put(\htwd,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} + \put(0,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} +\end{picture} +\hfill +\begin{picture}(\twd,\tht) + \put(\htwd,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{90}{\textsc{landscape}}}} + \put(0,0){\framebox(\htwd,\tht){\rotatebox[origin=c]{-90}{\textsc{landscape}}}} +\end{picture} +\hfill\mbox{} + +\caption[Double landscape spreads]% + {Double landscape spreads: never use the layout on the right}\label{fig:landscape-landscape} +\end{figure} + +\endgroup +\subsection{Extracts} + + Typographers use `extract'\index{extract} as a generic +term for what I would think of as a quotation\index{quotation}. +Essentially a quotation is an extract from some source. +Quotations\index{quotation}\index{extract} from other works, +unless they are so short as to be +significantly less than a line, should be set off from the main text. +This could be +as an indented block, or by using a different type style or size, or a +combination of these. A size difference of one or two points from the body +size is usually enough to be distinctive, for instance 11/13 or 10/12 point +for a 12/14 point body size. In any event, extra space, at least two or +three points, should be inserted and below the extract. + +\subsection{Footnotes and endnotes} + +\renewcommand*{\thefootnote}{\fnsymbol{footnote}} +\let\oldfootnoterule\footnoterule +\renewcommand*{\footnoterule}{} + This section is a synthesis of the views of Ruari McLean~\cite{MCLEAN80}, +Jan Tschichold~\cite{TSCHICHOLD91} and +Emerson Wulling~\cite{WULLING-FOOTNOTES}. + + Footnotes\index{footnote} are ancilliary to the main material and +expand in some way +upon the current theme. For instance, remarks that are too large or off the +main thread, or some side comment by the author, may be sunk to a footnote +at the bottom of the page. By definition, a footnote is placed at the +bottom of a page but, if it is long or space is short, may run over to a +second, or even a third page. A footnote should have some immediate +relevance to the reader. + +Endnotes\index{endnotes}, which are collected together at the end of the +document, include +material similar to that in footnotes, but which is not of immediate interest. +If you use an endnote\index{endnote} it is safe to assume that only a small +percentage of your readers will ever correlate it with the text. + + Within the text the presence of a footnote is indicated by a raised +`reference mark'\index{reference mark} following the +word, phrase, or sentence to which it refers. The same mark is used +to introduce the footnote at the bottom of the page. +The reference mark may be either a +symbol or a number. For illustrative purposes I'm using symbols +as markers in this section. + + If there are many footnotes then it is convenient for the reader if numbers +are used for the marks\index{footnote!mark}. The numbering may be continuous +throughout the document, +or start afresh with each chapter; starting anew on each page may lead to +some confusion. When there is only an occasional footnote then symbols +are usually preferred as reference marks. + + Endnotes may or may not be marked\index{endnote!mark} in the main text. +If they are marked then numbers +should be used, not symbols. If there are both footnotes and marked endnotes +then different series of marks must be used for the two classes of notes. + + There is some debate as to how reference marks should relate to the +marked element in the main text. For example, should the mark immediately +follow the element\footnote{This mark immediately folllows the main element.} +or should there be a thin space\,\footnote{There is a thin space between this +mark and the element it is attached to.} separating the two. A convenient +procedure is to use a thin space between the +element\,\footnote{A thin space is used here.} and the mark when the end of +the element is tall, and +none\footnote{There is no extra space here.} when the end of the element is +low. There is no need for any extra space between punctuation and a reference +mark.\footnote{There is no extra space here.} + + McLean, Tschichold, and Wulling are all agreed that there should not be +a rule separating the main text from any footnotes --- a space and change in +font size is sufficient to distinguish the two. The font size for +footnotes\index{footnote!font size} +is usually two sizes smaller than the main font but with the same +leading\index{leading}. For example if the main text is set 10/12 then +footnotes would be set 8/10. Notes to tables, though, are often set even +smaller; for instance at 6pt or 7pt in a 10pt document. +Each footnote should be introduced by the +appropriate reference mark in the same font size as the note itself. If it is +not raised then follow it by a period if it is a number, or by a space +if a symbol, in order to distinguish it from the note's text. +If there are any footnotes on a +short page, such as perhaps the last page of a chapter, they are placed +at the bottom of the page, not immediately below the last line of the main +text. + + Endnotes may be set in the same font font as the main text, but usually in +the same size\index{endnote!font size} as for footnotes.\footnote{That is, two +sizes smaller than the main text, but with the same leading.} + + Endnotes may be grouped at the end of each chapter or collected together +towards the end of the document. If the latter, then they should be presented +in groups corresponding to the noted chapters. It is a courtesy to the reader +to indicate the page which gives rise to each note so that backward reference, +as well as forward reference, is facilitated; this is especially important +if there is no endnote mark\index{endnote!mark} in the main text. Endnotes +that have no reference mark\index{reference mark} in the text are usually +tagged with some words from the main text that identify the idea or statement +that they are referring to. + In an endnote listing note numbers are usually either indented or the note +is set flush-and-hang\index{flush-and-hang} style; that is, with the +first line set flushleft and any remaining lines indented. + +Whether a note +is presented as a footnote or an endnote, it should always finish with a +period\index{period}. + + +\renewcommand*{\thefootnote}{\arabic{footnote}} +%%%%\afterpage{\let\footnoterule\oldfootnoterule} + +\section{\prBackmatter} + + Divisions in the \pixbackmatter\ are not numbered. + + In commercial printing, saving a page here and a page there can save the +publisher money and hopefully at least some of the reduced cost will be passed +on to the readers. One way of reducing the number of pages is by reducing +the font size. The material in the \pixbackmatter\ is in some sense auxiliary +to the \pixmainmatter, hence of less importance, and some of it may then be +reasonably set in smaller type. + +\subsection{Appendices} + + Appendices\index{appendix} come immediately after the main text. Depending +on their importance and interest they can be set in the same manner as the +main text. If the appendices consist of long supporting documents they could +be set in a type one or two points smaller than the main text. + + In some instances there are appendices at the end of individual chapters, +where they form the last divisions of the chapters, and are treated as any of +the other divisions. + +\subsection{Endnotes} + + In an endnote\index{endnotes} listing, note numbers are usually +either indented or the note +is set flush-and-hang\index{flush-and-hang} style; that is, with the +first line set flushleft and any remaining lines indented. There are, +of course, corresponding numbers at the appropriate points in the main text. + + In another style, the endnotes are identified by a phrase taken from the +main text together with the relevant page number. In this case there +are no numbers in the text to disturb the flow, but that often means that the +notes never get read. + + The notes are often set in the same sized type as used for footnotes or, +if they are exceptionally interesting, in a size intermediate with the main +text. + +\subsection{Bibliography} + + The list of books, etc., that the author has used as source material is +usually placed at the back of the book under the title `Bibliography'. In +some works there may be a bibliography\index{bibliography} at the end of +each chapter and the title `References' is often used for these. + + A font size intermediate between those for quotations and footnotes is +very reasonable, and a slight extra space between entries, say two points, +can improve the readability. + +\subsection{Glossary} + + The list of definitions of terms or symbols used in the text normally +comes towards the end of a book, although it could as well come towards +the end of the \pixfrontmatter, or a symbol list\indextwo{symbol}{list} +in the \pixfrontmatter\ and a glossary\index{glossary} +in the \pixbackmatter. The terms are usually set in italics, or in textbooks +in bold. Most often a flush-and-hang\index{flush-and-hang} style is used, with +perhaps one or two points extra leading between the entries. + + The type size could be the same as for quotations if the glossary is short, +or the size used for the bibliography for longer lists. + +\subsection{Index} + + The entries in an index\index{index} are usually short and most indexes +are set in two, or more columns. As examples, author's names are usually +relatively short so an index of names would typically be in two columns; +on the other hand, verse lines are relatively long and an index of first lines +is often set as a single column. In either case, the entries are usually set +raggedright with the page numbers close to the corresponding item's text. +In multicolumn setting the gutter between the columns must be wide enough, +at least a pica, so +that the eye does not jump across it when reading an entry. The entries are +normally set flush-and-hang\index{flush-and-hang}. + + When there are subentries, or sub-subentries, they are typically +each indented by 1em with respect to the major entry. + + A change of collation, such as between entries starting with `P' and those +with `Q' should be signalled by at least one or two blank lines. If the index +is long, then a suitable character (e.g., `Q') or word should be used as +part of the break, indicating what is coming next. The index could be set +in the same size type as the bibliography\index{bibliography}. + +\section{Type size} + +\begin{table} +\centering +\caption{Some relative type sizes for elements of books}\label{tab:reltypesizing} +\begin{tabular}{lll} \toprule +Body size & 12/14 & 10/12 \\ +Extracts & 10/12 & 9/10 \\ +Bibliography & 9/10 & 8/9 \\ +Glossary & 9/10 & 8/9 \\ +Footnotes & 8/9 & 8/8 \\ +\bottomrule +\end{tabular} +\end{table} + + As indicated above, the type size is normally related to the `importance' +of what is being set. Chapter headings are set in large type and footnotes +set in small type. Of course, it is a matter of judgement as to what +`important' means in any given work. Some possible combinations of type sizes +are given in \tref{tab:reltypesizing} though these should be considered as +starting points for a design rather than fixed rules. + +\section{Poems and plays} + + In literature such as poems\index{poem} or plays\index{play} +the length of the line is determined +by the author whereas in prose works the book designer establishes the measure. +For this kind of work the designer should respect the author's wishes as +far as possible within a maximum text width. + +\subsection{Poetry} + + If possible the type and measure should be chosen so that the longest +poetical line will fit on one printed line, so that the shape of the poem +is retained. + + Poems in a book of poetry will differ from one another in their width, +and the best way of setting these is to optically center each poem on the +page. However, blank verse and poems where the majority of the lines are +long are usually indented by a constant amount from the left margin. + + In some context verse lines are numbered, often every fifth or tenth line. +The numbers are usually small and right justified. + +\subsection{Plays} + + When presenting a play a list of characters\indextwo{characters}{list} +(\textit{Dramatis Personae}\index{Dramatis Personae?\textit{Dramatis Personae}}) +is frequently given at the beginning of the play. It is presented between the +title and the start of the play itself, either on the same page as the title, +or on a page by itself, or at the top of the first page of the play. The +list may be ordered alphabetically, in order of appearance, or by the +character's importance. A remark about a character, if less than a sentence, +follows the name, separated by a comma. If the remark is one or several +sentences they are set as usual. + + Act\indextwo{play}{act} and scene\indextwo{play}{scene} +names and numbers are often treated in the same manner as +subheads in a prose work. A new act does not necessarily start a new page +but there should be at least twelve points above and six below the number. +A new scene has about eight points above and six points below the number. +Either arabic or roman numerals may be used for the numbers. If roman +is used for both, then uppercase for acts and lowercase for scenes. + + The name of each speaker in a play\indextwo{play}{speaker} must be readily +identifiable and stand apart from the speech. Names are commonly set in a +different font, such as small caps or italic, to the text which is usually set +in roman. They may be placed on a separate line, where they are most easily +identifiable, or, to save space, in the margin. The names are often +abbreviated, and if so the abbreviations must be consistent throughout +the work. + + Stage directions\index{play!stage directions}\index{stage directions} +have to be differentiated from the text. They are usually set in italics +and enclosed in brackets, or less often, in parentheses; speakers' names +in stage directions, though, are set in roman to distinguish themselves. +Directions at the start of a scene, such as saying who is entering, are +typically centered while in the body of the scene are set flush right, +often on a line by themselves. + + +\PWnote{2009/04/26}{Added section on selecting a typeface} +\section{Selecting a typeface} +\index{typeface!selecting} + + Choosing the `best' typeface to use is first a matter of practicalites +and secondly a question of aeshetics, feel, judgement, and other +imponderables. + + First off\pagenote[First off]{Practically, though, the very first +thing is to select a typeface that you already have or that you can +\emph{legally} obtain.}, +select a typeface that is both legible and readable. +The classical faces, those that have withstood the test of +time\footnote{Measured in decades, if not centuries.} are +usually safe in this respect. + + Regarding the practicalities, +if the work is to be presented on paper then +a more delicate face can be used than if it is to be displayed on a computer +screen where a more robust type is necessary (e.g., no fine serifs, no +thin strokes), especially if it is a low resolution device. + + A work that includes many dates or dimensions needs a typeface with good +numerals and fractions. A face such as Palatino\facesubseeidx{Palatino} + that has both lining and non-lining (oldstyle) +numerals is likely to be useful, or a face with numerals snaller than the +capitals, like Bell for example. Mathematics of course requires mathematical +symbols that do not clash with the regular text face. + + Where there are many quotations, particularly of verse, or references +to titles of pictures or books implies that a good italic might be used +to advantage, for instance Joanna\facesubseeidx{Joanna} or +Van Dijk\facesubseeidx{Van Dijk}. + + In technical works the font, size, and weight are used to distinguish +between several layers of subdivisions. Faces with good relationships between +capitals, small caps, italic, and possibly boldness, should be sought out. +Some sans bold types can mix with serif types; you might try +Gill Sans\facesubseeidx{Gill Sans} or Futura\facesubseeidx{Futura}. + + + + After the practical aspects there are two main considerations: +does the face match the `feel' of the work and is the face consistent +with the period of the +work? + + The latter consideration is effectively a historical one. If you are +resetting a work that was originally published in the 1800's don't +use a twentieth century typeface, and certainly not a Sans-serif. On the +other hand using blackletter for setting a twentieth century novel, +even a gothic one, is not a good idea even apart from the legibility and +readability factors. + The face may be chosen to match the era of the text; perhaps a Sans-serif +for a book about modern art but not for one about medieval England. Using +Caslon\facesubseeidx{Caslon}, which was created in England in the early +18th century would +probably not be a good choice for a book about Italian Renaissance art +whereas Centaur\facesubseeidx{Centaur} which is based on Jenson's +15th century Venetian roman +typeface would be, but then Centaur in turn would probably not be the +best choice for a physics book on the big bang and string theory. + + The `feel' question is somewhat harder, partly depending on the +presumed +sensibilities of the reader. If the work is about aspects of Italian +life then perhaps a light and quick Italian typeface would be +preferable to a stolid English face. If it is a scientific work then +a clean and precise face would perhaps fit the bill. Technical +works often use analphabetic symbols, such as mathematical, chemical, or +astrological symbols. Try and use a face that includes those symbols +that you need or, failing that, try and find complementary typefaces +that cover the range you need. The same applies if the work is +multilingual, and especially if it involves different scripts +like, say, Latin and Greek; try and find matching faces, or at least +typefaces that don't clash with each other. + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + + +\begin{figure} +\begin{adjustwidth}{-0.05\textwidth}{-0.05\textwidth} +\centering +\begin{minipage}[t]{0.52\textwidth}\caslon +\Campion +\end{minipage} +\hfill +\begin{minipage}[t]{0.52\textwidth}\garamond +\Shelley +\end{minipage} + +\vspace*{2\onelineskip} + +\begin{minipage}[t]{0.52\textwidth}\bodoni +\Beddoes +\end{minipage} +\hfill +\begin{minipage}[t]{0.52\textwidth}\della +\Housman +\end{minipage} +\caption{Verses from four poems set with Caslon, Garamond, Bodoni and Della Robbia} \label{fig:poems1} +\end{adjustwidth} +\end{figure} + + +\begin{figure} +\begin{adjustwidth}{-0.05\textwidth}{-0.05\textwidth} +\centering +\begin{minipage}[t]{0.52\textwidth}\garamond +\Campion +\end{minipage} +\hfill +\begin{minipage}[t]{0.52\textwidth}\bodoni +\Shelley +\end{minipage} + +\vspace*{2\onelineskip} + +\begin{minipage}[t]{0.52\textwidth}\della +\Beddoes +\end{minipage} +\hfill +\begin{minipage}[t]{0.52\textwidth}\caslon +\Housman +\end{minipage} +\caption{Verses from four poems set with Garamond, Bodoni, Della Robbia +and Caslon}\label{fig:poems2} +\end{adjustwidth} +\end{figure} + + +\begin{figure} +\begin{adjustwidth}{-0.05\textwidth}{-0.05\textwidth} +\centering +\begin{minipage}[t]{0.52\textwidth}\bodoni +\Campion +\end{minipage} +\hfill +\begin{minipage}[t]{0.52\textwidth}\della +\Shelley +\end{minipage} + +\vspace*{2\onelineskip} + +\begin{minipage}[t]{0.52\textwidth}\caslon +\Beddoes +\end{minipage} +\hfill +\begin{minipage}[t]{0.52\textwidth}\garamond +\Housman +\end{minipage} +\caption{Verses from four poems set with Bodoni, Della Robbia, Caslon and Garamond}\label{fig:poems3} +\end{adjustwidth} +\end{figure} + + +\begin{figure} +\begin{adjustwidth}{-0.05\textwidth}{-0.05\textwidth} +\centering +\begin{minipage}[t]{0.52\textwidth}\della +\Campion +\end{minipage} +\hfill +\begin{minipage}[t]{0.52\textwidth}\caslon +\Shelley +\end{minipage} + +\vspace*{2\onelineskip} + +\begin{minipage}[t]{0.52\textwidth}\garamond +\Beddoes +\end{minipage} +\hfill +\begin{minipage}[t]{0.52\textwidth}\bodoni +\Housman +\end{minipage} +\caption{Verses from four poems set with Della Robbia, Caslon, Garamond and Bodoni}\label{fig:poems4} +\end{adjustwidth} +\end{figure} + + + I was recently letterpress printing some poems and the fonts +available in the print shop were Bodoni\facesubseeidx{Bodoni}, +Caslon\facesubseeidx{Caslon}, Della Robbia\facesubseeidx{Della Robbia} and +Garamond\facesubseeidx{Garamond}, +all in 14pt. The poems +were originally written within the period 701--2008 and my problem was to +try and choose what I thought would be the most appropriate font for each +poem. Caslon\facesubseeidx{Caslon} was created in 1720 so I decided that +I would only use it for poems after that date. Although +Garamond\facesubseeidx{Garamond} was created around 1550--1600 I +decided to use it for the pre-Caslon poems. +To me the Bodoni\facesubseeidx{Bodoni} and +Della Robbia\facesubseeidx{Della Robbia} +had a very different feel to them, one being light and the other on the grim +side; I used these for the occasional poem instead of the +Caslon\facesubseeidx{Caslon} or Garamond\facesubseeidx{Garamond} +to try and convey some of the emotional aspect of the piece. +Figures~\ref{fig:poems1} through~\ref{fig:poems4} show verses from four +of the collection of poems set with the four fonts I had available. +Decide what you would have chosen as being most appropriate. As a +sidenote they are set here using 12pt instead of the 10pt body text size. +Poetry\index{poetry} can, with advantage, be set with larger type and +leading than prose, +and in italic instead of roman. + + + + +\chapter{Picky points} +\let\footnoterule\oldfootnoterule + + The main elements of good typography are legibility\index{legibility} +and page color\index{color}. +This chapter discusses some of the smaller points related to +these topics. + +\section{Word and line spacing} + + Research has shown that the competent reader recognises words by +their overall shape rather than by stringing together the individual letters +forming the words. A surprisingly narrow gap between words +is sufficient for most to distinguish the word boundaries. + + Most typographers state that the space between +words\index{space!interword} + in continuous +text should be about the width of the letter `i'. Any closer and the +words run together and too far apart the page looks speckled with white +spots and the eye finds it difficult to move along the line rather than +jumping to the next word in the next line. + Figure~\ref{fig:interword} illustrates different values of interword +spacing. + +\setlength{\unitlength}{\fontdimen2\font} +\begin{figure} +\centering +%\fbox{% +\begin{minipage}{\textwidth} +\mbox{}\hrulefill\mbox{} +\begin{quotation} +\fontdimen2\font=2\fontdimen2\font + The following paragraph is typeset with double the normal interword +spacing for this font. + + Most typographers state that the space between words in continuous +text should be about the width of the letter `i'. Any closer and the +words run together and too far apart the page looks speckled with white +spots and the eye finds it difficult to move along the line rather than +jumping to the next word in the next line. +Extra spacing after punctuation is not necessary. +\end{quotation} +\begin{quotation} +\fontdimen2\font=\unitlength + The following paragraph is typeset with the normal interword spacing +for this font. + + Most typographers state that the space between words in continuous +text should be about the width of the letter `i'. Any closer and the +words run together and too far apart the page looks speckled with white +spots and the eye finds it difficult to move along the line rather than +jumping to the next word in the next line. +Extra spacing after punctuation is not necessary. +\end{quotation} +\begin{quotation} +\settowidth{\unitlength}{i} +\setlength{\unitlength}{0.75\unitlength} +\fontdimen2\font=\unitlength + The interword spacing in the following paragraph is three-quarters of +the width of the letter `i'. + + Most typographers state that the space between words in continuous +text should be about the width of the letter `i'. Any closer and the +words run together and too far apart the page looks speckled with white +spots and the eye finds it difficult to move along the line rather than +jumping to the next word in the next line. +Extra spacing after punctuation is not necessary. +\end{quotation} +\mbox{}\hrulefill\mbox{} +\end{minipage} +%} % end fbox +\fontdimen2\font=\unitlength \setlength{\unitlength}{1pt} +\caption{Interword spacings}\label{fig:interword} +\end{figure} + + In keeping with avoiding white spots, many typographers do not +recommend extra spacing after punctuation, although this does depend +partly on a country's typographic history and partly on the individual. +I always found typewritten texts with double spaces after the end +of sentences a particular eyesore. However, with typeset texts any +extra spacing is usually not as large as that. + + The spacing between lines\index{space!interline} of text +should be greater than the interword\index{space!interword} +spacing, otherwise there is a tendency for the eye to skip to the +next line instead of the next word. The space in question is the apparent +amount of whitespace between the bottom of the text on one line and the top +of the text on the next line. In a rough sense it is the leading minus the +actual height of the font. +Figure~\ref{fig:interline} illustrates +some text typeset with different line spacings. The normal interword +spacing is used in the samples. When text is set solid there is a tendancy +for the descenders on one line to touch, or even overlap, the ascenders on the +following line.\footnote{\tx\ has a built-in mechanism that tries hard to +prevent this from happening.} + +\begin{figure} +\centering +%\fbox{% +\begin{minipage}{\textwidth} +\mbox{}\hrulefill\mbox{} +\normalfont\setlength{\unitlength}{\baselineskip} +\begin{quotation} +\normalfont\setlength{\baselineskip}{1em} + This and the next paragraph are set solid --- the interline spacing +is the same as the font size. \par +The normal interword spacing is used in these paragraphs. + The spacing between lines of text should be greater than the interword +spacing, otherwise there is a tendency for the eye to skip to the +next line instead of the next word. \par +\end{quotation} +\begin{quotation} +\normalfont\setlength{\baselineskip}{\unitlength} + This and the next paragraph are set with the normal interline spacing +for the font. \par +The normal interword spacing is used in these paragraphs. + The spacing between lines of text should be greater than the interword +spacing, otherwise there is a tendency for the eye to skip to the +next line instead of the next word. \par +\end{quotation} +\begin{quotation} +\normalfont\setlength{\parskip}{0.2\baselineskip}\setlength{\baselineskip}{1.2\unitlength} + This and the next paragraph are set with the interline spacing 20\% +greater than is normal for the font. \par +The normal interword spacing is used in these paragraphs. + The spacing between lines of text should be greater than the interword +spacing, otherwise there is a tendency for the eye to skip to the +next line instead of the next word. \par +\end{quotation} +\mbox{}\hrulefill\mbox{} +\end{minipage} +%} % end fbox +\normalfont\setlength{\baselineskip}{\unitlength} +\setlength{\unitlength}{1pt} +\caption{Interline spacings}\label{fig:interline} +\end{figure} +\setlength{\unitlength}{1pt} + +\PWnote{2009/03/31}{Added section on letterspacing} +\section{Letterspacing} +\index{letterspacing|(} + + \emph{Letterspacing} is the insertion of spaces between the letters +of a word. + Frederic\index{Goudy, Frederic} Goudy (1865--1947), a very respected +American typographer and type designer, is said to have been fond of saying, +`A man who would letterspace lower case letters would steal sheep!' Writing +in 1999 Robert\index{Bringhurst, Robert} Bringhurst~\cite[p. 31]{BRINGHURST99} +felt that to bring this dictum to modern times it was simply necessary to +add that `A woman who would letterspace lower case would also steal sheep.' + + Letterspacing is usually restricted to titles composed of upper case +letters with the intent of making the spaces between the letters visually +equal. Figure~\ref{fig:spacecaps} shows the word `HISTORY' with various +amounts of interletter spacings. With no extra spacing it looks cramped +compared with the spaced versions. Versions with uniform spacing of thin +(0.167em) and hair (0.1em) spaces are much improved. However, the spacing +of the letters `H', `I' and `S' leave something to be desired, and is +especially noticeable in the version with thin spaces. Lastly a version +with varied interletter spacing is shown which is optically balanced; the +spaces in this case are 0.09em, 0.12em,0.1em, 0.1em, 0.07em and 0.1em. The +difference between this and the uniformly hair-spaced version is subtle. +Different letter combinations and different fonts will require different +amounts of spaces. + + Figure~\ref{fig:spacesmallcaps} shows similar results for the same word +set in small caps instead of regular caps. In general you might find that +if you do letterspace then uniform spacing is adequate for small caps. + + +\begin{figure} +\centering +\begin{tabular}{>{\Large}ll} +HISTORY & without letter spacing \\ +H\,I\,S\,T\,O\,R\,Y & thin space between each letter \\ +H\kern0.1em I\kern0.1em S\kern0.1em T\kern0.1em O\kern0.1em R\kern0.1em Y & hair space between each letter \\ +H\kern0.09em I\kern0.12em S\kern0.1em T\kern0.1em O\kern0.07em R\kern0.1em Y & visually spaced \\ + +\end{tabular} +\caption{Letterspacing: uppercase letters} \label{fig:spacecaps} +\end{figure} + +\begin{figure} +\centering +\begin{tabular}{>{\Large\scshape}ll} +history & without letter spacing \\ +h\,i\,s\,t\,o\,r\,y & thin space between each letter \\ +h\kern0.1em i\kern0.1em s\kern0.1em t\kern0.1em o\kern0.1em r\kern0.1em y & hair space between each letter \\ +h\kern0.09em i\kern0.12em s\kern0.1em t\kern0.1em o\kern0.07em r\kern0.1em y & visually spaced \\ +\end{tabular} + +\caption{Letterspacing: small caps}\label{fig:spacesmallcaps} +\end{figure} + + There can be occasions, as with emphasis with fraktur fonts, when +letterspacing lower case will not get you hung for sheep stealing. These, +typically, are when dealing with some sans fonts such as a bold condensed +Univers. But be very careful. Italics should never be letterspaced as they +come from the handwriting tradition of `joined up letters', as my +kindergarten teacher used to call them. + +\index{letterspacing|)} + +\section{Abbreviations and acronyms} + +\index{abbreviation} + The English style with abbreviations is to put a full stop (period) after +the abbreviation, unless the abbreviation ends with the same letter as the +full word. Thus, it is Mr for Mister, Dr for Doctor, but Prof.~for Professor. +No extra spacing should be used after the full stop, even if extra +spacing is normally used after punctuation. + + The general American, and English, trend nowadays is away from the use +of periods (full stops) after abbreviations following the precept that +reducing typographic fussiness increases the ease of reading. Having said that, +where an abbreviation is a combination of abbreviations, such as Lt.Col for +Lieutentant Colonel, often an internal period is used with a word space +between the elements. + + Acroynms\index{acronym} are typeset in uppercase but the +question is, which uppercase? +The simple way is to use the uppercase of the normal font, like UNICEF, but +if there are too many acronyms scattered around the speckled effect starts +to intrude. If the font family has one, then small caps can be used, +giving \textsc{unicef}. If small caps are not available, or appear +undesireable, then a smaller size of the normal uppercase can be used, +such as {\small UNICEF} or {\footnotesize UNICEF}; some experimentation +may be required to select the appropriate size. These several versions +were input as:\par +\begin{tabular}{ll} +regular UNICEF text & \verb?regular UNICEF text? \\ +regular \textsc{unicef} text & \verb?regular \textsc{unicef} text? \\ +regular {\small UNICEF} text & \verb?regular {\small UNICEF} text? \\ +regular {\footnotesize UNICEF} text & \verb?regular {\footnotesize UNICEF} text? +\end{tabular} + + +\section{Dashes and ellipses} + +\index{dash|(} + Most fonts provide at least three lengths of dashes. The shortest is +the hyphen (-), then there is the en-dash (--) which is approximately the +width of the letter `n', and the largest is the em-dash (---) which is +approximately twice the length of an en-dash. An expert font may provide +more. + + Unsurprisingly, the hyphen\index{dash!hyphen}\index{hyphen} +is used for hyphenation, such as in em-dash, or +at the end of a line where a word had to be broken. + + The en-dash\index{dash!en}\index{en-dash} +is normally used between numerals to indicate a range. For +example a reference may refer to pages 21--27 in some journal or book. There +is no space surrounding the en-dash when used in this manner. + + The em-dash\index{dash!em}\index{em-dash}, +or the en-dash, is used as punctuation --- often when making a side +remark --- as a phrase separator. + When en-dashes are used as punctuation it is normal to put spaces around them +but the question of spaces around an em-dash appears to be the subject of +some contention. Roughly half the participants in any discussion advocate +spaces while the other half view them as anathema. If you do use em-dashes +be sure to be consistent in your use, or otherwise, of spaces. + + Ellipses\index{ellipses} are those three, or is it four, +dots indicating something is +missing or continues somewhat indefinitely. In the middle of a sentence, +or clause or \ldots\ they have a space on either side. At the end of +a sentence the English style is to have no spaces and include the full +stop, making four dots in all, like so\ldots. + + Dashes are also used to indicate missing characters or a word. Missing +characters in the middle of a word are indicated by a +2em-dash\index{dash!2em}\index{2em-dash} (a dash that +is twice as long as an em-dash), as in: +\begin{quote} +\textbf{snafu,} \textit{(U.S. slang)} \textit{n.} chaos. --- \textit{adj.} + chaotic. [\textit{s}ituation \textit{n}ormal --- \textit{a}ll + \textit{f}------d \textit{u}p.] +\end{quote} +A 3em-dash\index{dash!3em}\index{3em-dash} is used to indicate a +missing word. When I lived in Maryland my +local small town newspaper was the \textit{Frederick Post.} +The following is from an +obituary I happened to read; I have hidden the name to protect the +innocent. +\begin{quote} + Although he had spent the last 92 years of his life here, +Mr --------- was not a Fredericktonian. +\end{quote} + +\index{dash|)} + +\section{Punctuation} + +\subsection{Quotation marks} + +\index{quotation marks|(} + Quotation marks surrounding speech and associated punctuation +are a fruitful source of confusion. + + The American style is to use double quotes at the start (``) and +end ('') of spoken words. If the speaker quotes in the speech then single +quote marks (` and ') are used to delineate the internal quotation\index{quotation}. + + The English practice is exactly the opposite. Main speech is delineated +by single quotes and internal quotations\index{quotation} by double quotes. +In any event, +if single and double quotes are adjacent they should be separated by a thin +space\index{space!thin} in order to distinguish one from the other --- +a full interword space is too wide. + + As there are likely to be few internal quotations\index{quotation} +it seems to me that +the English practice produces a less spotty appearance than the American. +Figure~\ref{fig:qmarks} shows the same text typeset in both the English +and American styles. The example is from Lewis Carroll's +\emph{Through the Looking Glass and what Alice Found There} +and has an unusually large number of internal quotations\index{quotation}. + +\begin{figure} +\centering +\begin{minipage}{\textwidth} +\mbox{}\hrulefill\mbox{} +\begin{quotation} + `There's glory for you!' + + `I don't know what you mean by ``glory''\,', Alice said. + + Humpty Dumpty smiled contemptuously. `Of course you don't --- till I tell +you. I meant ``there's a nice knock-down argument for you''!' + + `But ``glory'' doesn't mean ``a nice knock-down argument''\,', Alice +objected. + + `When \emph{I} use a word', Humpty Dumpty said, in a rather scornful +tone, `it means just what I choose it to mean --- neither more nor less'. +\end{quotation} +\mbox{}\hrulefill\mbox{} +\begin{quotation} + ``There's glory for you!'' + + ``I don't know what you mean by `glory,'\,'' Alice said. + + Humpty Dumpty smiled contemptuously. ``Of course you don't --- till I tell +you. I meant `there's a nice knock-down argument for you!'\,'' + + ``But `glory' doesn't mean `a nice knock-down argument,'\,'' Alice +objected. + + ``When \emph{I} use a word,'' Humpty Dumpty said, in a rather scornful +tone, ``it means just what I choose it to mean --- neither more nor less.'' +\end{quotation} +\mbox{}\hrulefill\mbox{} +\end{minipage} +\caption{Quotation marks: top English, bottom American}\label{fig:qmarks} +\end{figure} + + Where to put punctuation marks with quotes is vexatious. Again the +English and American practice tends to differ. The American tendency is +to put commas and periods inside the closing quote mark and colons and +semicolons after the mark. English editors prefer to put punctuation +after the mark. +In either case, it is difficult +to know exactly what to do. I get the impression that for every example +of the `correct' form there is a counter-example. +Some try and avoid the problem altogether by putting the lower marks, +like commas or periods, +directly below the quotation mark but that may cause problems if the +resulting constructs look like question or exclamation marks. +In \fref{fig:qmarks} I have tried to use the English and American +punctuation styles in the respective examples but it is likely that there +are misplacements in both. I think it's basically a question of doing what +you think best conveys the sense, provided there is consistency. +\index{quotation marks|)} + +\subsection{Footnote marks} + +\index{footnote!mark|(} + Where to put a footnote marker may be another vexed question in spite +of the general principal being easy to state: The mark goes immediately +after the text element that the note refers to. + + There is no doubt what this means\footnote{Except to some I know.} when +the text element is a word in the middle of other words. Doubt raises +its head when the reference is to a phrase, like this one\footnote{I hope +that this is a phrase.\label{fn:phrase}}, +which is set off within commas, or when the note refers to a complete +sentence.\footnote{Is this mark in the correct place?\label{fn:sentence}} + + Like punctuation and quotation marks\index{quotation marks}, +should a footnote mark come before +or after the punctuation mark at the end of a phrase or a sentence? I have +shown both positions\footnote{Marks \ref{fn:phrase} and \ref{fn:sentence}.} + in the previous paragraph. The +general rule that I have deduced is that the mark comes after the +punctuation, but there are always those who like to prove a rule. + +\index{footnote!mark|)} + +\index{symbol|(} + There are other marks that may be associated with a word, like +(registered) trademarks. These may produce ugly gaps. Sometimes these +cannot be avoided but it may be possible to change the text to minimise +the hiccup. There is an example of this on \pref{fn:ps}. I tried various +schemes in identifying `\pscript' as being a registered trademark of +Adobe Systems Incorporated. Among the discarded trials were: +\begin{quote} +\ldots languages like \pscript\texttrademark, presumably \ldots + +\ldots languages like \pscript\textsuperscript{\textregistered}, presumably \ldots + +\ldots like the \pscript\textsuperscript{\textregistered}{} language, presumably \ldots + +\end{quote} +My final solution was to note the registered trademark information in +a footnote: +\begin{quote} +\ldots languages, like \pscript\footnote{\pscript{} is a registered +trademark of Adobe Systems Incorporated.}, presumably \ldots +\end{quote} +In this case I decided that the footnote\index{footnote} was really tied to the word +`\pscript', taking the place of the registered symbol, so I put the +footnote mark\index{footnote!mark} before the comma rather than after it. +\index{symbol|)} + +\subsection{Font changes} + +\index{font!change|(} + + Sometimes a word or two may be set in a different font from the +surrounding text, such as when emphasizing\index{emphasis} +a word by setting it in an +italic font. If the word is followed by a punctuation mark the normal +practice is to set the punctuation mark using the new font instead of +the normal +font. In some cases the font used for the punctuation may not be +particularly noticeable but sometimes it may be. + + The \pixfrontmatter\ contains definitions of the word \textit{memoir,} +which is typeset using a bold font. The definitions thus commence like \\ +\hspace*{2em} \textbf{memoir,} \textit{n.} \ldots \\ +instead of \\ +\hspace*{2em} \textbf{memoir}, \textit{n}. \ldots + +\index{font!change|)} + +\section{Narrow measures} + +\index{measure!narrow|(} +\index{column!narrow|(} + + Typesetting in a narrow column is difficult, especially if you are +trying to make the text flush left and right. As the lines get shorter +it becomes more and more difficult to fit the words in without an excessive +amount of interword spacing or word breaking at the ends of lines. +In the limit, of course, there +will not be even enough room to put a syllable on a line. + + The best recourse in situations like this is to forget justification +and typeset raggedright\index{raggedright}. +Raggedright looks far better than justified +text with lots of holes in it. +The question then is, to hyphenate or not to hyphenate?\index{hyphenation} + + With no hyphenation there is likely to be increased raggedness at +the line ends when compared with permitting some hyphenation. Hyphenation +can be used to reduce the raggedness but somehow short lines ending with +a hyphen may look a bit odd. This is where you have to exercise your +judgement and design skills. + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% + + + +%% 109pt could be good for this +\newlength{\rag} + \setlength{\rag}{0.25\textwidth} %% gives 90pt + \addtolength{\rag}{10pt} + \addtolength{\rag}{9pt} +%% 107pt seems good +\setlength{\rag}{107pt} +\newcommand{\ragtext}{% +The \ltx\ document preparation system is a special version of +Donald Knuth's \tx\ program. \tx\ is a sophisticated program +designed to produce high-quality typesetting, especially for +mathamatical works. It is extremely flexible albeit somewhat +idiosynchratic. One can typeset justified, flushleft-raggedright, +centered, or raggedleft-flushright.} + +\begin{figure} +\centering +\begin{minipage}[t]{\rag} +\raggedright +%%\noindent\verb?\raggedright? +\noindent No hyphenation +\vspace{\onelineskip} + +\parindent=15pt\indent \ragtext +\end{minipage} +\hfill +\begin{minipage}[t]{\rag} +\raggedyright +%%\noindent\verb?\raggedyright? +\noindent Hyphenation (1) +\vspace{\onelineskip} + +\indent \ragtext +\end{minipage} +\hfill +\begin{minipage}[t]{\rag} +\raggedyright[1em] +%%\noindent\verb?\raggedyright[1em]? +\noindent Hyphenation (2) +\vspace{\onelineskip} + +\indent \ragtext +\end{minipage} +\caption{Raggedright text in narrow columns} \label{fig:raggedright} +\end{figure} + + Figure~\ref{fig:raggedright} shows a text set in a column +\the\rag{} wide with +different raggednesses. Preventing hyphenation, as in the left column, +resulted in very noticeably ragged text. Hyphenation has been allowed +in the other two columns, to differing degrees. I prefer +the one on the right but with different text and column widths the results +might have been different. + + Indexes\index{index!multiple column} are often typeset in double, +or even triple or quadruple columns\index{column!multiple}, +as each entry is typically short. Also, indexes are typically +consulted +for a particular entry rather than being read as continuous text. To help +the eye, page numbers are normally typeset immediately after the +name of the indexed topic, so indexes tend to be +naturally raggedright\indextwo{index}{raggedright} as a matter of reader +convenience. + + +\index{column!narrow|)} +\index{measure!narrow|)} + + Talking of hyphenation\index{hyphenation}, + each language has its own rules for allowable +hyphenation points. As you might now have come to suspect, English and +American rules are different even though the language is nominally the same. +Broadly speaking, American English hyphenation points are typically based on +the sound of the word, so the acceptable locations are between syllables. +In British English the hyphenation points tend to be related to the +etymology of the word, so there may be different locations depending on +whether the word came from the Greek or the Latin. If you are not sure +how a particular word should be hyphenated, look it up in a dictionary +that indicates the potential break points. + +\section{Emphasis} + +\index{emphasis|(} + Underlining\index{underline} should \underline{emphatically} \underline{not} be +used to emphasise something in a typeset document. This is a hangover +from the days when manuscripts were typewritten and there was little +that could be done. The other way of emphasising something was to +put extra space between the characters of the w\,o\,r\,d being +e\,m\,p\,h\,a\,s\,i\,s\,e\,d, as has been done twice in this sentence +(for the words `word' and `emphasised' in case you didn't spot them). +Letterspacing\index{letterspacing} is usually confined to making fine adjustments to the +physical spacing between letters in a book +title in order to make them appear to be optically uniformly spaced. +As an aside, for me at least, that extra spacing just now produces the +illusion that the +characters are slightly larger than normal, which is not the case. + + With the range of fonts and sizes available when typesetting there +are other methods for emphasis, although German typographers have used +letterspacing for emphasis with the fraktur and other similar font types. + + There are basically three aproaches: +change the {\Large size} of the font; +change the \textbf{weight} of the font; or most usually, change the +\emph{shape} of the font. There is a creative tension when trying +to emphasise something --- there is the need to show the reader the +emphasised +element, but there is also the desire not to interrupt the general flow +of the text. Out of the three basic options, changing the shape seems +to be a reasonable compromise between the need and the desire. +\index{emphasis|)} + +\section{Captions and legends} + +\index{caption|(} +\index{legend|(} + + I am not entirely sure what is the difference between a +caption and a legend as both terms refer to the title of an +illustration\index{illustration} or table\index{table}. +However, legend may also be used to refer to some explanatory +material within an illustration\index{illustration}, such as the +explanation of the symbols used on a map. + + In any event, captions and legends are usually typeset in a font that +is smaller than the main text font, and which may also be different from the +main font. For example, if the main font is roman and a sans font is used +for chapter titles, then it could be appropriate to use a small size +of the sans font for captions as well. + + The caption for a table\index{table} is normally placed above the +table while captions for illustrations\index{illustration} are placed below. + +\index{legend|)} +\index{caption|)} + +\section{Tables} + +\index{table|(} + + A table is text or numbers arranged in columns\index{column!multiple}, +and nearly always +with a `legend'\index{legend} above each column describing the meaning of +the entries in the column. The legends and the column entries are +separated from each other, perhaps by some vertical space but more often +by a horizontal line. + + In general typographers dislike vertical lines in a table, which may +be likely to be used to separate the columns. I'm not sure why this is. +There is an obvious explanation when hand setting the individual characters +as, although it would be easy to set horizontal rules, it would be very +difficult to get all the pieces of type with the bits of the vertical rules +aligned properly --- the eye is very sensitive to jags in what is meant to +be a straight line. In the days of digital typography the alignment problem +has gone away, so perhaps the antipathy to vertical lines is a tradition +from earlier days. On the other hand Edward Tufte~\cite[p. 96]{TUFTE83} +exhorts us to `Maximize the data-ink ratio' and to `Erase non-data-ink' +and Bringhurst~\cite[p. 70]{BRINGHURST99} says `There should be a minimum +amount of furniture (rules, boxes, dots and other guiderails for +travelling through typographic space) and a maximum amount +of information'. + + If you want to use vertical lines, just be aware that not everybody +may appreciate your effort. + + +\index{table|)} + +\section{Number formatting} + +\index{number!formatting|(} + + Number formatting is country- and language-dependent. Continental +Europe differs +from England, and in its turn the United States differs from England. + + Ignoring decimal numbers we have \emph{cardinal} and \emph{ordinal} +numbers. An ordinal\indextwo{ordinal}{number} number, like 3rd, +indicates a position in a sequence, +while a cardinal\indextwo{cardinal}{number} number, like 3, +expresses `how many'. \ltx\ typesets +numbers as cardinals, and these can be displayed as a sequence of +arabic digits or as upper- or lower-case Roman numerals. + + It general text the tradition seems to be that cardinal numbers between +one and ten are spelled out rather than being presented as numerals. +In the United States numbers between one and ninety-nine are spelled (with +twenty-one, twenty-two, etc., being hyphenated). Similar customs +apply to ordinal numbers such as eighth, twenty-first. When not spelled out +ordinals should be set like 378th rather than 378\textsuperscript{th}. + + + Regarding cardinal numbers represented as arabic digits, +some cultures prefer these to be presented as an unbroken string of +digits (e.g 12345). Other societies prefer the digits in longer +numbers to separated, in some cases by commas (e.g., 12,345) or other +punctuation marks (e.g., 12.345), and in others by small spaces (e.g., 12\:345); +the digits are grouped into threes, counting from the right. + + When the arabic digits became generally used they, like the letters, +were given both uppercase and lowercase forms. The uppercase form, like these +1 2 3 4 5 6 7 8 9 0, which +is the one normally supplied as part of a font are called +\emph{titling figures}\indextwo{titling}{figures}, +\emph{ranging figures}\indextwo{ranging}{figures}, or +\emph{lining figures}\indextwo{lining}{figures} because +they range or align with the uppercase. +Digits in this class all +have the same width so they are used in tables were numbers are meant to +be aligned vertically. They are also used when typesetting mathematics. + + The lowercase form, like \Moldstyle{1 2 3 4 5 6 7 8 9 0}, are called +\emph{text figures}\indextwo{text}{figures}, +\emph{hanging figures}\indextwo{hanging}{figures}, +\emph{lowercase figures}\indextwo{lowercase}{figures}, or +\emph{old-style figures}\indextwo{old-style}{figures}. +These may be used whenever the surrounding text is set in mixed case, or small caps; I +have seen them used typesetting the folios, but I must admit that they look very odd +to me in that situation. + + If you are typesetting mathematics, where you use lining figures, and are also using +old-style figures in the text then be very careful; `mathematical numbers' should always +be set with lining figures even if they are in the body of the text. For example: \\ +\ldots from the equation the result is 42 \ldots \\ +\ldots the men of the \Moldstyle{42}nd Foot performed magnificently \ldots. + + +\appendix + +\chapter{Some typefaces} +\index{typeface} + + Most books or articles about typography at least mention some typefaces +by name, and may provide examples, and in some cases many examples. + + I have the the commercial FontSite\index{FontSite} +fonts\pagenote[commercial FontSite fonts]{In 2002 I purchased a CD containing +512 fonts from \url{http://www.fontsite.com} but it appears that it is not +in production any more. I understand that as of 2009/08/12 there were only +39 copies still available. + + If you wish to \ltx\ the source of this document yourself and do not +have these fonts then you will get many error reports about missing fonts. +To avoid this use the \textsf{draft} class option. The document should +then process (without too many missing font errors), using the regular +body typeface instead of any FontSite font.\index{FontSite} + + If you do have the fonts you may find that some glyphs are replaced +by others, in particular the `\P'.} +% +licensed from the SoftMaker/ATF library, supported for \ltx\ through +Christopher\index{League, Christopher} League's estimable +work~\cite{TEXFONTSITE}. This enables me to show a few of the typefaces +displayed in some of the books mentioned in the bibliography, in particular +those by Birdsall~\cite{BIRDSALL04}, Bringhurst~\cite{BRINGHURST99} and +and Lawson~\cite{LAWSON90}. To make it easier +to see and compare them at first there are a few characters displayed at 18pt +and then text set at 12pt. + I have tried to indicate the typeface category +of each face, principally using those from \tref{tab:typecat}. +\pagenote[text set at 12pt]{The Latin texts, when +suitably laid out, and their translations are as follows. +\vspace{\onelineskip} + +\begin{minipage}[t]{0.45\textwidth} +Puella Rigensis ridebat \\ +Quam tigris in tergo vehebat; \\ +\hspace*{2em}Externa profecta,\\ +\hspace*{2em}Interna revecta,\\ +Risusque cum tigre manebat. +\end{minipage} +\hfill +\begin{minipage}[t]{0.45\textwidth} +There was a young lady of Riga \\ +Who went for a ride on a tiger; \\ +\hspace*{2em}They returned from the ride \\ +\hspace*{2em}With the lady inside, \\ +And a smile on the face of the tiger. +\end{minipage} +\vspace{\onelineskip} + +\begin{minipage}[t]{0.45\textwidth} +Meum est propsitum,\\ +In taberna mori,\\ +Ut sint vina proxima,\\ +Morientis ori.\\ +Tunc cantabunt laetius\\ +Angelorum chori;\\ +`Sit Deus propitius\\ +Huic potatori!' \par +{\raggedleft\footnotesize The Arch Poet (fl. 1159--67)\par} +\end{minipage} +\hfill +\begin{minipage}[t]{0.45\textwidth} +I desire to end my days in a tavern drinking, \\ +May some Christain hold the glass for me when I am shrinking; \\ +That the Cheubim may cry, when they see me sinking, \\ +`God be merciful to a soul of this gentleman's way of thinking.' \par +{\raggedleft\footnotesize Translation by Leight Hunt\par} +\end{minipage} +\vspace{\onelineskip} + +\begin{minipage}[t]{0.45\textwidth} +Gaudeamus igitur,\\ +Juvenes dum sumus\\ +Post jucundum juventutem,\\ +Post molestam senectutem,\\ +Nos habebit humus. \par +{\raggedleft\footnotesize Students' song, 1267\par} +\end{minipage} +\hfill +\begin{minipage}[t]{0.45\textwidth} +Let us then rejoice, \\ +While we are young. \\ +After the pleasures of youth \\ +And the burdens of old age \\ +Earth will hold us. +\end{minipage} +}%% end of \pagenote + +\section{Baskerville} +\facesubseeidx{Baskerville} + +{\Pickfont{5bv} \atoq\ \onetoo} {\Pickit{5bv} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5bv} Baskerville, the first of the +Transitional\typesubidx{Transitional} (Neoclassical\typesubidx{Neoclassical}) +faces, +was designed by John Baskerville\index{Baskerville, John} in the +1750's and was cut by John Handy\index{Handy, John}. +The face was more popular on the +Continent than in England where it was made. +(See~\cite{BRINGHURST99,LAWSON90}) + +\facetext} + +\section{Bell} +\facesubseeidx{Bell} + +{\Pickfont{5lb} \atoq\ \onetoo} {\Pickit{5lb} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5lb} The original Bell type was cut in London in 1788 by Richard +Austin\index{Austin, Richard} for a publisher named Bell. It is a +(Transitional\typesubidx{Transitional}, Neoclassical\typesubidx{Neoclassical}) +face. The FontSite version shown here is called +LanstonBell\facesubseeidx{LanstonBell}. +(See~\cite{BIRDSALL04,BRINGHURST99,LAWSON90}) + +\facetext} + +\section{Bembo} +\facesubseeidx{Bembo} + +{\Pickfont{5boj} \atoq\ \onetoo} {\Pickit{5bo} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5boj} Bembo, produced by Monotype in 1929, is based on a roman +type cut by Francesco Griffo\index{Griffo, Francesco} +in Venice in 1495. It is in the +(Aldine/French\typesubidx{Aldine/French}, +Renaissance\typesubidx{Renaissance}, +Garald\typesubidx{Garald}) style. The FontSite version shown here is called +Bergamo\facesubseeidx{Bergamo}. +(See~\cite{BRINGHURST99,LAWSON90}) + +\facetext} + + +\section{Bodoni} +\facesubseeidx{Bodoni} + +{\Pickfont{5bdj} \atoq\ \onetoo} {\Pickit{5bd} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5bdj} Giambattista Bodoni\index{Bodoni, Giambattista} +lived in Parma and designed hundreds of faces between 1765 and his death +in 1813. Types in his style, now categorized as (Modern\typesubidx{Modern}, +Romantic \typesubidx{Romantic}, Didone\typesubidx{Didone}), were +revived in the first part of the twentieth century. +(See~\cite{BRINGHURST99,LAWSON90}) + +\facetext} + + +\section{Californian} +\facesubseeidx{Californian} + +{\Pickfont{5uo} \atoq\ \onetoo} {\Pickit{5uo} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5uo} Frederic Goudy\index{Goudy, Frederic} +cut his University of California Old +Style\facesubseeidx{University of California Old Style} +in 1938. Since then there have been many faces more or less faithfully +based on his design. The general category of these is +(Venetian\typesubidx{Venetian}, Humanist\typesubidx{Humanist}, +Renaissance\typesubidx{Renaissance}). The FontSite version shown here +is called University Old Style\facesubseeidx{University Old Style}. +(See~\cite{BRINGHURST99,LAWSON90}) + +\facetext} + +\section{Caslon} +\facesubseeidx{Caslon} + +{\Pickfont{5ca} \atoq\ \onetoo} {\Pickit{5ca} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5ca} +William Caslon\index{Caslon, William} cut many faces between 1720 and +his death in 1766. +The first printing of the American Constitution used one of his types. +It falls into the (Dutch/English\typesubidx{Dutch/English}, +Baroque\typesubidx{Baroque}, Garald\typesubidx{Garald}) category. +(See~\cite{BRINGHURST99,LAWSON90}) + +\facetext} + + + +\section{Centaur} +\facesubseeidx{Centaur} + +{\Pickfont{5jr} \atoq\ \onetoo} {\Pickit{5jr} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5jr} Centaur was designed by Bruce Rogers\index{Rogers, Bruce} +in 1912--14 based +on Nicolas Jenson's\index{Jenson, Nicolas} roman type that he cut in +Venice in 1465. It is +perhaps the most faithfull rendition of Jenson's typeface, and is thus +categorized as (Venetian\typesubidx{Venetian}, Humanist\typesubidx{Humanist}, +Renaissance\typesubidx{Renaissance}). The FontSite version shown here +is called Jenson Recut\facesubseeidx{Jenson Recut}. +(See~\cite{BRINGHURST99,LAWSON90,ROGERS49}) + +\facetext} + + +\section{Century} +\facesubseeidx{Century} + +{\Pickfont{5cuj} \atoq\ \onetoo} {\Pickit{5cu} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5cuj} Century (Old Style) was created by +Theodore De Vinne\index{De Vinne, Theodore} and +Linn Boyd Benton\index{Benton, Linn Boyd} of the ATF as a magazine type, +named after De Vinne's \btitle{Century} magazine. It is essentially +a Transitional\typesubidx{Transitional} face. +(See~\cite{BIRDSALL04,LAWSON90}) + + +\facetext} + +\section{Clarendon} +\facesubseeidx{Clarendon} + +{\Pickfont{5cd} \atoq\ \onetoo} {\Picksl{5cd} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5cd} Clarendon is a Victorian face, one of many deriving from +a font cut by Benjamin Fox for the Fann Street Foundry, London, in 1845. +It is categorized as (Square Serif\typesubidx{Square Serif}, + Realist\typesubidx{Realist}, Mechanistic\typesubidx{Mechanistic}). +(See~\cite{BIRDSALL04,BRINGHURST99,LAWSON90}) + +\facetext} + + +\section{Della Robbia} +\facesubseeidx{Della Robbia} + +{\Pickfont{5de} \atoq\ \onetoo} {\Picksl{5de} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5de} Della Robbia was designed in 1902 by Thomas Maitland +Cleland\index{Cleland, Thomas Maitland} for the New York Type Foundry. +It is based on 15th century Florentine inscriptional capitals. +It can be classed as a (Venetian\typesubidx{Venetian}, +Renaissance\typesubidx{Renaissance}, Humanist\typesubidx{Humanist}) face. +(See~\cite{CONSUEGRA04}) + +\facetext} + + +\section{Garamond} +\facesubseeidx{Garamond} + +{\Pickfont{5gmj} \atoq\ \onetoo} {\Pickit{5gm} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5gmj} Claude Garamond\index{Garamond, Claude} +(or Garamont) was one of several great +typecutters working Paris in the early sixteenth century. His style was +revived in the 1920's. Modern Garamonds are categorized as +(Aldine/French\typesubidx{Aldine/French}, +Renaissance\typesubidx{Renaissance} or Baroque\typesubidx{Baroque}, +Garald\typesubidx{Garald}). +(See~\cite{BRINGHURST99,LAWSON90}) + +\facetext} + +\begin{comment} +\section{Goudy Old Style} +\facesubseeidx{Goudy Old Style} + +{\Pickfont{5go} \atoq\ \onetoo} {\Pickit{5go} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5go} Frederic Goudy\index{Goudy, Frederic} designed his Old Style +in 1915. It can be categorized as (Aldine/French\typesubidx{Aldine/French}, +Renaissance\typesubidx{Renaissance}, Garald\typesubidx{Garald}). +(See~\cite{LAWSON90}) + +\facetext} +\end{comment} + +\section{Joanna} +\facesubseeidx{Joanna} + +{\Pickfont{5js} \atoq\ \onetoo} {\Pickit{5js} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5js} Joanna was designed by Eric Gill\index{Gill, Eric} and was +first cut in 1930. +The FontSite version shown here is called Jessica\facesubseeidx{Jessica}. +(See~\cite{BIRDSALL04,BRINGHURST99}) % (Jessica) + +\facetext} + + +\begin{comment} +%% this is the body font of the document +\section{Palatino} +\facesubseeidx{Palatino} + +{\Pickfont{5plj} \atoq\ \onetoo} {\Pickit{5pl} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5plj} Palatino was designed by Hermann Zapf\index{Zapf, Hermann} +in 1948. It has been categorized as (Aldine/French\typesubidx{Aldine/French}, +Lyrical Modernist\typesubidx{Lyrical Modernist} cum +Neohumanist\typesubidx{Neohumanist}, Garald\typesubidx{Garald}). +The FontSite version shown here is called Palladio\facesubseeidx{Palladio}. +(See~\cite{BRINGHURST99,LAWSON90}) % (Palladio) + +\facetext} +\end{comment} + + +\section{Sabon} +\facesubseeidx{Sabon} + +{\Pickfont{5svj} \atoq\ \onetoo} {\Pickit{5sv} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5svj} Sabon was designed by Jan Tschichold\index{Tschichold, Jan} +and issued in 1964 and can be categorized as +(Aldine/French\typesubidx{Aldine/French}, + Renaissance\typesubidx{Renaissance}, + Garald\typesubidx{Garald}). +The FontSite version shown here is called Savoy\facesubseeidx{Savoy}. +(See~\cite{BRINGHURST99,LAWSON90}) % (Savoy) + + +\facetext} + + + +\section{Walbaum} +\facesubseeidx{Walbaum} + +{\Pickfont{5wb} \atoq\ \onetoo} {\Picksl{5wb} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5wb} Walbaum types were originally cut by Justus Erich +Walbaum\index{Walbaum, Justus Erich} about 1830. He was, together with +Bodoni\index{Bodoni, Giambattista} and Firmin Didot\index{Didot, Firmin}, +one of the great type designers of the period. The face +is categorized as (Modern\typesubidx{Modern}, +Romantic\typesubidx{Romantic}, Didone\typesubidx{Didone}). +(See~\cite{BIRDSALL04,BRINGHURST99}) + + +\facetext} + + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% Sans faces + +\begin{comment} +\section{Franklin Gothic} +\facesubseeidx{Franklin Gothic} + +{\Pickfont{5fg} \atoq\ \onetoo} {\Pickit{5fg} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5fg} Franklin Gothic was designed for ATF by +Morris Benton\index{Benton, Morris} in 1903 and is a +(Realist\typesubidx{Realist} +Sans-serif\typesubidx{Sans-serif}) face. +(See~\cite{LAWSON90}) + +\facetext} +\end{comment} + +\section{Futura} +\facesubseeidx{Futura} + +{\Pickfont{5fu} \atoq\ \onetoo} {\Pickit{5fu} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5fu} Futura was designed by Paul Renner\index{Renner, Paul} +in 1924--26. It has been categorized as (Sans-serif\typesubidx{Sans-serif}, +Geometric Lineal\typesubidx{Geometric Lineal}, +Geometric Modernist\typesubidx{Geometric Modernist}). +The FontSite version shown here is called Function\facesubseeidx{Function}. +(See~\cite{BIRDSALL04,BRINGHURST99,LAWSON90}) % (Function) + +\facetext} + + +\section{Gill Sans} +\facesubseeidx{Gill Sans} + +{\Pickfont{5ch} \atoq\ \onetoo} {\Pickit{5ch} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5ch} Gill Sans was designed by Eric Gill\index{Gill, Eric} in 1927. +It can be classified as (Sans-serif\typesubidx{Sans-serif}, +Geometric Modernist\typesubidx{Geometric Modernist} with +Humanist\typesubidx{Humanist} hints, +Humanist Lineal\typesubidx{Humanist Lineal}). +The FontSite version shown here is called Chantilly\facesubseeidx{Chantilly}. +(See~\cite{BIRDSALL04,BRINGHURST99,LAWSON90}) + +\facetext} + +\section{Goudy Sans} +\facesubseeidx{Goudy Sans} + +{\Pickfont{5ys} \atoq\ \onetoo} {\Pickit{5ys} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5ys} Goudy Sans was designed by Frederic +Goudy\index{Goudy, Frederic} in 1929--30. It is a Sans-serif\typesubidx{Sans-serif}. +(See~\cite{BRINGHURST99,LAWSON90}) + +\facetext} + +\section{Lydian} +\facesubseeidx{Lydian} + +{\Pickfont{5ly} \atoq\ \onetoo} {\Pickit{5ly} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5ly} Lydian is a calligraphic Sans-serif\typesubidx{Sans-serif} +face and was designed by Warren Chappell\index{Chappell, Warren} +in the 1930's for ATF. +(See~\cite{LAWSON90}) + +\facetext} + + +\section{News Gothic} +\facesubseeidx{News Gothic} + +{\Pickfont{5ngj} \atoq\ \onetoo} {\Picksl{5ngj} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5ngj} News Gothic is a Sans-serif\typesubidx{Sans-serif} face +designed by Morris Benton\index{Benton, Morris} for ATF. +(See~\cite{LAWSON90}) + +\facetext} + + +\section{Optima} +\facesubseeidx{Optima} + +{\Pickfont{5opj} \atoq\ \onetoo} {\Pickit{5op} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5opj} Optima is a face designed + by Hermann Zapf\index{Zapf, Hermann} in 1952--55. It has been classified +as (Sans-serif\typesubidx{Sans-serif}, Renaissance\typesubidx{Renaissance} +cum Neoclassical\typesubidx{Neoclassical}, +Humanist Lineal\typesubidx{Humanist Lineal}). +The FontSite version shown here is called Opus\facesubseeidx{Opus}. +(See~\cite{BRINGHURST99,LAWSON90}) % (Opus) + +\facetext} + + +\section{Syntax} +\facesubseeidx{Syntax} + +{\Pickfont{5sx} \atoq\ \onetoo} {\Pickit{5sx} \atoq\ \Qligs}\\%[\onelineskip] + +{\pickfont{5sx} Syntax, designed by Hans Eduard Meier\index{Meier, Hans Eduard} +and issued in 1969 is a Neohumanist\typesubidx{Neohumanist} +Sans-serif\typesubidx{Sans-serif}. +The FontSite version shown here is called Struktur\facesubseeidx{Struktur}. +(See~\cite{BRINGHURST99}) % (Struktur) + +\facetext} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% script faces + +\section{Legende} +\facesubseeidx{Legende} + +{\Pickfont{5le} \atoq\ \onetoo\ \MakeUppercase{\atoq}} \\%[\onelineskip] + +{\pickfont{5le} Legende is a Script\typesubidx{Script} face designed by +Ernst Schneider\index{Schneider, Ernst} in 1937. It could be categorised +as having a Baroque\typesubidx{Baroque} feel to it. +(See~\cite{BRINGHURST99,LAWSON90}) + +\facetext} + +\begin{comment} +\section{Mistral} +\facesubseeidx{Mistral} + +{\Pickfont{5ms} \atoq\ \onetoo\ \MakeUppercase{\atoq}} \\%[\onelineskip] + +{\pickfont{5ms} Mistral, designed by Roger Excoffon\index{Excoffon, Roger}, +is a Script\typesubidx{Script} face. +(See~\cite{MCLEAN80}) + +\facetext} +\end{comment} + + +%%%\newcommand*{\Picksl}[1]{\thisfont{18}{14}{#1}{m}{sl}} + +\section{Goudy Handtooled} +\facesubseeidx{Goudy Handtooled} + +{\Pickfont{5gh} \atoq\ \onetoo} {\Pickfont{5gh} \MakeUppercase{\atoq}}\\%[\onelineskip] + +{\thisfont{18}{14}{5gh}{m}{dp} \atoq\ \Onetoo}\\ + +{\pickfont{5gh} Goudy Handtooled was designed by Frederic +Goudy\index{goudy, Frederic} in 1922 as a Decorative\typesubidx{Decorative} +type. (See~\cite{LAWSON90}) + +\facetext} + +\section{Decorative} + +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +%%\enlargethispage{-1\onelineskip} +%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% +{\pickfont{5gh} Just for fun, here is a selection of some +Decorative\typesubidx{Decorative} faces. +Unlike Goudy Handtooled the ones shown only come in uppercase. +Also, \tref{tab:webo} shows the glyphs available in the +Web-O-Mints\facesubseeidx{Web-O-Mints} +font which may be used to create borders and other decorative elements. +Web-O-Mints is one of two free decorative fonts made available by the +Galapagos Design Group.\footnote{\url{http://www.galapagosdesign.com}}} \\ + +{\Pickfont{5ag}\facesubseeidx{Algerian} + Algerian: + \atoq\ \Onetoo} \\% {\Pickfont{5ag} \MakeUppercase{\atoq}}\\%[\onelineskip] + +{\Pickfont{5dr}\facesubseeidx{Dresden} + Dresden: + \atoq\ \Onetoo} \\%{\Pickfont{5dr} \MakeUppercase{\atoq}}\\%[\onelineskip] + +{\Pickfont{5eb}\facesubseeidx{Ebar deco} + Erbar Deco: + \atoq\ \Onetoo} \\% {\Pickfont{5eb} \MakeUppercase{\atoq}}\\%[\onelineskip] + +{\Pickfont{5ga} Gallia:\facesubseeidx{Gallia} + \atoq\ \Onetoo} \\% {\Pickfont{5ga} \MakeUppercase{\atoq}}\\%[\onelineskip] + +\begin{table} +\centering +\caption{Glyphs in the Web-O-Mints font}\label{tab:webo} +\nohexoct +\fontsize{14}{14} +\xfonttable{U}{webo}{xl}{n} +\end{table} + + +\backmatter + +\PWnote{2009/07/08}{Changed \cs{toclevel@section} so that Notes + divisions appear in the bookmarks} +\makeatletter\renewcommand*{\toclevel@chapter}{-1}\makeatother +\makeatletter\renewcommand*{\toclevel@section}{0}\makeatother +\clearpage +\printpagenotes +\clearpage + + +\renewcommand{\prebibhook}{% +CTAN is the Comprehensive TeX Archive Network. Information on how to +access CTAN is available at \url{http://www.tug.org}. +\par\vspace{\onelineskip}} + +\begin{thebibliography}{GMS94A} +\small + +\begin{comment} +\bibitem[AHK90]{IMPATIENT} + Paul W. Abrahams, Kathryn Hargreaves and Karl Berry. + \newblock \emph{TeX for the Impatient}. + \newblock Addison-Wesley, 1990. + \newblock (Available at + \url{ftp://tug.org/tex/impatient}) +\end{comment} + +%%% keep +\bibitem[Ado01]{ADOBEBOOK} + \emph{How to Create Adobe PDF eBooks}. + \newblock Adobe Systems Inc., + \newblock 2001. + \newblock (Available from + \url{http://www.adobe.com/epaper/tips/acr5ebook/pdfs/eBook.pdf}) + +\begin{comment} +\bibitem[Ars99]{URL} + Donald Arseneau. + \newblock \emph{The url package}. + \newblock February, 1999. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/misc/url.sty}) + +\bibitem[Ars01a]{TITLEREF} + Donald Arseneau. + \newblock \emph{The titleref package}. + \newblock April, 2001. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/misc/titleref.sty}) + +\bibitem[Ars01b]{CHAPTERBIB} + Donald Arseneau. + \newblock \emph{The chapterbib package}. + \newblock September, 2001. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/cite/chapterbib.sty}) + +\bibitem[Ars07]{FRAMED} + Donald Arseneau. + \newblock \emph{The framed package} v0.95. + \newblock October, 2007. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/misc/framed.sty}) +\end{comment} + +%%% keep +\bibitem[Bar92]{BAROLINI92} + Helen Barolini. + \newblock \emph{Aldus and his Dream Book}. + \newblock Italica Press, 1992. + \newblock ISBN 0--934977--22--4. + +%%% keep +\bibitem[Bar01]{BARTRAM01} + Alan Bartram. + \newblock \emph{Five hundred years of book design}. + \newblock Yale university Press, 2001. + \newblock ISBN 0--300--09058--7. + \newblock (First published 2001 by The British Library) + +\begin{comment} +\bibitem[BDG89]{BIGELOW89} + Charles Bigelow, Paul Hayden Duensing and Linnea Gentry (Eds). + \newblock \emph{Fine Print on Type}. 1989. + \newblock Fine Print, CA (ISBN 0--9607290-X) or + \newblock Bedford Arts, CA (ISBN 0--938491--17--2). +\end{comment} + +\bibitem[Bir04]{BIRDSALL04} + Derek Birdsall. + \newblock \emph{notes on book design}. + \newblock Yale University Press, 2004. + \newblock ISBN 0--300--10347--6. + +%%% keep +\bibitem[Boh90]{BOHLE90} + Robert Bohle. + \newblock \emph{Publication Design for Editors}. + \newblock Prentice-Hall, + \newblock 1990. + +\begin{comment} +\bibitem[Ber02]{JURABIB} + Jens Berger. + \newblock \emph{The titlesec and titletoc packages}. + \newblock September, 2002. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/titlesec}) + +\bibitem[Bez99]{TITLESEC} + Javier Bezos. + \newblock \emph{The titlesec and titletoc packages}. + \newblock February, 1999. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/titlesec}) + +\bibitem[Bra94]{MAKEIDX} + Johannes Braams \textit{et al}. + \newblock \emph{Standard LaTeX2e packages makeidx and showidx}. + \newblock November, 1994. + \newblock (Available from CTAN as + \url{/macros/latex/base/makeindx.dtx(ins)}) + +\bibitem[Bra97]{ALLTT} + Johannes Braams. + \newblock \emph{The alltt environment}. + \newblock June, 1997. + \newblock (Available from CTAN as + \url{/macros/latex/base/alltt.dtx(ins)}) +\end{comment} + +%% keep +\bibitem[Bri99]{BRINGHURST99} + Robert Bringhurst. + \newblock \emph{The Elements of Typographic Style}. + \newblock Hartley \& Marks, second edition, + \newblock 1999. ISBN 0--88179--033--8. + +%%% keep +\bibitem[Bur59]{BURT59} + C.~L.~Burt. + \newblock \emph{A Psychological Study of Typography}. + \newblock Cambridge University Press, + \newblock 1959. + +\begin{comment} +\bibitem[Car94]{DELARRAY} + David Carlisle. + \newblock \emph{The delarray package}. + \newblock March, 1994. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) + +\bibitem[Car95]{AFTERPAGE} + David Carlisle. + \newblock \emph{The afterpage package}. + \newblock October, 1995. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) + +\bibitem[Car98b]{LONGTABLE} + David Carlisle. + \newblock \emph{The longtable package}. + \newblock May, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) + +\bibitem[Car98c]{ENUMERATE} + David Carlisle. + \newblock \emph{The enumerate package}. + \newblock August, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) + +\bibitem[Car98d]{REMRESET} + David Carlisle. + \newblock \emph{The remreset package}. + \newblock August, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/carlisle}) + +\bibitem[Car99]{TABULARX} + David Carlisle. + \newblock \emph{The tabularx package}. + \newblock January, 1999. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) + +\bibitem[CR99]{GRAPHICX} + David Carlisle and Sebastian Rahtz. + \newblock \emph{The graphicx package}. + \newblock February, 1999. + \newblock (Available from CTAN in + \url{/macros/latex/required/graphics}) + +\bibitem[Car01]{DCOLUMN} + David Carlisle. + \newblock \emph{The dcolumn package}. + \newblock May, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) + +\bibitem[Car05]{COLOR} + David Carlisle. + \newblock \emph{Packages in the graphics bundle} (includes the color package). + \newblock November, 2005. + \newblock (Available from CTAN in + \url{/macros/latex/required/graphics}) + +\bibitem[CK09]{BIDI} + Fran\c{c}ois Charette and Vafa Khalighi. + \newblock \emph{Bidi: A convenient interface for typesetting bidirectional + texts with XeLaTeX}. + \newblock 2009. + \newblock (Available from CTAN in + \url{/macros/xetex/latex/bidi}) +\end{comment} + +%%% keep +\bibitem[CB99]{CHAPPELL99} + Warren Chappell and Robert Bringhurst. + \newblock \emph{A Short History of the Printed Word}. + \newblock Hartley \& Marks, 1999. + \newblock ISBN 0--88179--154--7. + +\begin{comment} +\bibitem[CH88]{CHEN88} + Pehong Chen and Michael A.~Harrison. + \newblock `Index Preparation and Processing'. + \newblock \emph{Software: Practice and Experience}, 19:8, pp. 897--915, + September, 1988. + \newblock (Available from CTAN in + \url{/indexing/makeindex/paper}) +\end{comment} + +%%% keep +\bibitem[Che05]{CHENG05} + Karen Cheng. + \newblock \emph{Designing Type}. + \newblock Yale University Press, 2005. + \newblock ISBN 0--300--11150--9. + +%%% keep +\bibitem[Chi93]{CMS} + \newblock \emph{The Chicago Manual of Style}, Fourteenth Edition. + \newblock The University of Chicago, 1993. + \newblock ISBN 0--226--10389--7. + +\begin{comment} +\bibitem[Coc02]{SUBFIGURE} + Steven Douglas Cochran. + \newblock \emph{The subfigure package}. + \newblock March, 2002. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/subfigure}) +\end{comment} + +\bibitem[Con04]{CONSUEGRA04} + David Consuegra. + \newblock \emph{American Type Design \& Designers}. + \newblock Allworth Press, 2004. + \newblock ISBN 1--58115--320--1. + +%%% keep +\bibitem[CG96]{CONWAY96} + John H.~Conway and Richard K.~Guy. + \newblock \emph{The Book of Numbers}. + \newblock Copernicus, Springer-Verlag, 1996. + \newblock ISBN 0--387--97993--X. + +%%% keep +\bibitem[Cra92]{CRAIG92} + James Craig. + \newblock \emph{Designing with Type: A Basic Course in Typography}. + \newblock Watson-Guptill, NY, + \newblock 1992. + +\begin{comment} +\bibitem[Dal99a]{NATBIB} + Patrick W.~Daly. + \newblock \emph{Natural Sciences Citations and References}. + \newblock May, 1999. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/natbib}) + +\bibitem[Dal99b]{MAKEBST} + Patrick W.~Daly. + \newblock \emph{Customizing Bibliographic Style Files}. + \newblock August, 1999. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/custom-bib}) +\end{comment} + +%%% keep +\bibitem[Deg92]{DEGANI92} + Asaf Degani. + \newblock \emph{On the Typography of Flight-Deck Documentation}. + \newblock NASA Contractor Report \# 177605. + \newblock December, 1992. + \newblock (Available from + \url{http://members.aol.com/willadams/typgrphy.htm#NASA}) + + +\begin{comment} +\bibitem[Dow96]{DOWDING96} + Geoffrey Dowding. + \newblock \emph{Finer Points in the Spacing \& Arrangement of Type}. + \newblock Hartley \& Marks, 1996. + \newblock ISBN 0--88179--119--9. +\end{comment} + +%%% keep +\bibitem[Dow98]{DOWDING98} + Geoffrey Dowding. + \newblock \emph{An Introduction to the History of Printing Types}. + \newblock The British Library and Oak Knoll Press, 1998. + \newblock ISBN 0--7123--4563--9 \textsc{uk}, + 1--884718--44--2 \textsc{usa}. + +\begin{comment} +\bibitem[Dow00]{PATCHCMD} + Michael J.~Downes. + \newblock \emph{The patchcmd package}. + \newblock July, 2000. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/patchcmd}) + +\bibitem[Eij92]{TEXBYTOPIC} + Victor Eijkhout. + \newblock \emph{TeX by Topic}. + \newblock Addison-Wesley, 1992. + \newblock ISBN 0--201--56882--9. + \newblock (Available from \url{http://www.eijkhout.net/tbt/}). + +\bibitem[Eij99]{COMMENT} + Victor Eijkhout. + \newblock \emph{comment.sty} + \newblock October, 1999. + \newblock (Available from CTAN in + \url{/macros/???????????}) + +\bibitem[Fai98]{MOREVERB} + Robin Fairbairns. + \newblock \emph{The moreverb package}. + \newblock December, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/moreverb}) + +\bibitem[Fai00]{FOOTMISC} + Robin Fairbairns. + \newblock \emph{footmisc --- a portmanteau package for customising + footnotes in LaTeX2e}. + \newblock March, 2000. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/footmisc}) + +\bibitem[FAQ]{FAQ} + Robin Fairbairns. + \newblock \emph{The UK TeX FAQ}. + \newblock (Available from CTAN in + \url{/help/uk-tex-faq}) + +\bibitem[Fea03]{BOOKTABS} + Simon Fear. + \newblock \emph{Publication quality tables in LaTeX}. + \newblock March, 2003. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/booktabs}) + +\bibitem[Fli98]{LETTRINE} + Daniel Flipo. + \newblock \emph{Typesetting `lettrines' in LaTeX2e documents}. + \newblock March, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/lettrine}) + +\bibitem[Fly98]{FLYNN02} + Peter Flynn. + \newblock \emph{Formatting Information: A Beginner's Introduction to + Typesetting with LaTeX2}. + \newblock 2002. + \newblock (Available from CTAN in + \url{/info/beginlatex}) + +\bibitem[Fra00]{CROP} + Melchior Franz. + \newblock \emph{The crop package}. + \newblock February, 2000. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/crop}) + +\bibitem[FOS98]{FRIEDL98} + Friedrich Friedl, Nicolaus Ott and Bernard Stein. + \newblock \emph{Typography: An Encyclopedic Survey of Type Designs and + Techniques throughout History}. + \newblock Black Dog \& Leventhal Publishers Inc., 1998. + \newblock ISBN 1--57912--023--7. +\end{comment} + +%%% keep +\bibitem[Gar66]{GARDNER66} + Martin Gardner. + \newblock \emph{More Mathematical Puzzles and Diversions}. + \newblock Penguin Books, 1996. + \newblock ISBN 0--14--020748--1. + +%\bibitem[GMS94]{GOOSSENS94} +% Michel Goossens, Frank Mittelbach and Alexander Samarin. +% \newblock \emph{The LaTeX Companion}. +% \newblock Addison-Wesley Publishing Company, 1994 +% \newblock (ISBN 0--201--54199--8), 1994. + +\begin{comment} +\bibitem[GM\textsuperscript{+}07]{GCOMPANION} + Michel Goossens, Frank Mittelbach, et al. + \newblock \emph{The LaTeX Graphics Companion: Second edition}. + \newblock Addison-Wesley, 2007. + \newblock ISBN 0--321--50892--0. + +\bibitem[GR99]{WCOMPANION} + Michel Goossens and Sebastian Rahtz (with Eitan Gurari, + Ross Moore and Robert Sutor). + \newblock \emph{The LaTeX Web Companion: Integrating TeX, HTML and XML}. + \newblock Addison-Wesley, 1999. + \newblock ISBN 0--201--43311--7. +\end{comment} + +%%% keep +\bibitem[Gou87]{GOULD87} + J.~D.~Gould \textit{et al}. + \newblock `Reading from CRT displays can be as fast as reading from paper'. + \newblock \emph{Human Factors}, pp 497--517, 29:5, 1987. + +%%% keep +\bibitem[HR83]{HARTLEY83} + J.~Hartley and D.~Rooum. + \newblock `Sir Cyril Burt and typography'. + \newblock \emph{British Journal of Psychology}, pp 203--212, 74:2, 1983. + +\begin{comment} +\bibitem[HM01]{HELLER01} + Steven Heller and Philip B.~Meggs (Eds). + \newblock \emph{Texts on Type: Critical Writings on Typography}. + \newblock Allworth Press, 2001. + \newblock ISBN 1--58115--082--2. + +\bibitem[Hoe98]{HOENIG98} + Alan Hoenig. + \newblock \emph{TeX Unbound: LaTeX and TeX strategies for fonts, + graphics, and more}. + \newblock Oxford University Press, 1998. + \newblock ISBN 0--19--509686--X. +\end{comment} + +%%% keep +\bibitem[HK75]{HVISTENDAHL75} + J.~K.~Hvistendahl and M.~R.~Kahl. + \newblock `Roman vs. sans serif body type: Readability and reader prference'. + \newblock \emph{AANPA News Research Bulletin}, pp 3--11, 17 Jan., 1975. + + +\begin{comment} +\bibitem[Jon95]{INDEX} + David M.~Jones. + \newblock \emph{A new implementation of LaTeX's indexing commands}. + \newblock September, 1995. + \newblock (Available from CTAN in \url{/macros/latex/contrib/camel}) + +\bibitem[Keh98]{XINDY} + Roger Kehr. + \newblock \emph{xindy: A flexible indexing system}. + \newblock February, 1998. + \newblock (Available from CTAN in \url{/indexing/xindy}) + +\bibitem[Ker07]{XCOLOR} + Uwe Kern. + \newblock \emph{Extending LaTeX's color facilities: the xcolor package}. + \newblock January, 2007. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/xcolor}) +\end{comment} + +%%% keep +\bibitem[Knu84]{TEXBOOK} + Donald E.~Knuth. + \newblock \emph{The TeXbook}. + \newblock Addison-Wesley, 1984. + \newblock ISBN 0--201--13448--9. + +\begin{comment} +\bibitem[Knu86]{TEXPROGRAM} + Donald E.~Knuth. + \newblock \emph{TeX: The Program}. + \newblock Addison-Wesley, 1986. + \newblock ISBN 0--201--13437--3. + +\bibitem[Knu87]{CM} + Donald E.~Knuth. + \newblock \emph{Computer Modern Typefaces}. + \newblock Addison-Wesley, 1987. + \newblock ISBN 0--201--134446--2. + +\bibitem[Knu92]{METAFONT} + Donald E.~Knuth. + \newblock \emph{The METAFONT Book}. + \newblock Addison-Wesley, 1992. + \newblock ISBN 0--201--13444--6. +\end{comment} + +%%% keep +\bibitem[Lam94]{LAMPORT94} + Leslie Lamport. + \newblock \emph{LaTeX: A Document Preparation System}. + \newblock Addison-Wesley, 1994. + \newblock ISBN 0--201--52983--1. +\begin{comment} + +\bibitem[LEB04]{NTG} + Leslie Lamport, Victor Eijkhout and Johannes Braams. + \newblock \emph{NTG document classes for LaTeX version 2e}. + \newblock June, 2004. + \newblock (Available from CTAN in \url{/macros/latex/contrib/ntg}) + +\bibitem[LMB99]{CLASSES} + Leslie Lamport, Frank Mittelbach and Johannes Braams. + \newblock \emph{Standard document classes for LaTeX version 2e}. + \newblock September, 1999. + \newblock (Available from CTAN as \url{/macros/latex/base/classes.dtx}) +\end{comment} + +%%% keep +\bibitem[Law90]{LAWSON90} + Alexander Lawson. + \newblock \emph{Anatomy of a Typeface}. + \newblock David R.~Godine, 1990. + \newblock ISBN 0--87923--333--8. + +%%% keep +\bibitem[LA90]{LAWSONAGNER90} + Alexander S.~Lawson with Dwight Agner. + \newblock \emph{Printing Types: An Introduction}. + \newblock Beacon Press, 1990. + \newblock ISBN 0--8070--6661--3. + +\bibitem[Lea03]{TEXFONTSITE} + Christopher League. + \newblock \emph{TeX support for the FontSite 500 CD}. + \newblock May 2003. + \newblock (Available from + \url{http://contrapunctus.net/fs500tex}) + +\begin{comment} +\bibitem[Leh04]{FONTINST} + Philipp Lehman. + \newblock \emph{The Font Installation Guide}. + \newblock December 2004. + \newblock (Available from CTAN in + \url{/info/Type1fonts/fontinstallationguide}) + +\bibitem[Leu92]{LEUNEN92} + Mary-Claire van Leunen. + \newblock \emph{A Handbook for Scholars}. + \newblock Oxford University Press, 1992. + \newblock ISBN 0--19--506954--4. +\end{comment} + +%%% keep +\bibitem[Liv02]{LIVIO02} + Mario Livio. + \newblock \emph{The Golden Ratio: The Story of Phi, the World's Most + Astonishing Number}. + \newblock Broadway Books, 2002. + \newblock ISBN 0--7679--0816--3. + +\begin{comment} +\bibitem[Lon91]{MULTIND} + F.~W.~Long. + \newblock \emph{multind}. + \newblock August, 1991. + \newblock (Available from CTAN as \url{/macros/latex209/contrib/misc/multind.sty}) + +\bibitem[Mad06]{CHAPSTYLES} + Lars Madsen. + \newblock \emph{Various chapter styles for the memoir class}. + \newblock July, 2006. + \newblock (Available from CTAN in \url{/info/latex-samples/MemoirChapStyles}) + +\bibitem[Mad07]{MEMEXSUPP} + Lars Madsen. + \newblock \emph{The Memoir Experimental Support Package}. + \newblock 2007. + \newblock (Available from CTAN in \url{/macros/latex/contrib/memexsupp}) + +\bibitem[McD98]{SECTSTY} + Rowland McDonnell. + \newblock \emph{The sectsty package}. + \newblock November, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/secsty}) + +\bibitem[McL75]{MCLEAN75} + Ruari McLean. + \newblock \emph{Jan Tschichold: Typographer}. + \newblock David R.~Godine, 1975. + \newblock ISBN 0--87923--841--0. +\end{comment} + +%%% keep +\bibitem[McL80]{MCLEAN80} + Ruari McLean. + \newblock \emph{The Thames \& Hudson Manual of Typography}. + \newblock Thames \& Hudson, 1980. + \newblock ISBN 0--500--68022--1. + +\begin{comment} +\bibitem[McL95]{MCLEAN95} + Ruari McLean (Ed). + \newblock \emph{Typographers on Type}. + \newblock W.~W.~Norton \& Co., 1995. + \newblock ISBN 0--393--70201--4. +\end{comment} + +%%% keep +\bibitem[MMc95]{MEGGS00} + Philip B.~Meggs and Roy McKelvey (Eds). + \newblock \emph{Revival of the Fittest: Digital Versions of the Classic Typefaces}. + \newblock RC Publications, Inc., 2000. + \newblock ISBN 1--883915--08--2. + +\begin{comment} +\bibitem[Mit95]{DOCSHORTVRB} + Frank Mittelbach. + \newblock \emph{The doc and shortvrb packages}. + \newblock May, 1995. + \newblock (Available from CTAN in + \url{/macros/latex/base}) + +\bibitem[Mit98]{MULTICOL} + Frank Mittelbach. + \newblock \emph{An environment for multicolumn output}. + \newblock January, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) + +\bibitem[MC98]{ARRAY} + Frank Mittelbach and David Carlisle. + \newblock \emph{A new implementation of LaTeX's tabular and array environment}. \newblock May, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) + +\bibitem[MC00]{FIXLTX2E} + Frank Mittelbach and David Carlisle. + \newblock \emph{The fixltx2e package}. + \newblock September, 2000. + \newblock (Available from CTAN in + \url{/macros/latex/base}) + +\bibitem[MG\textsuperscript{+}04]{COMPANION} + Frank Mittelbach, Michael Goossens, et al. + \newblock \emph{The LaTeX Companion: Second Edition}. + \newblock Addison-Wesley, 2004. + \newblock ISBN 0--201--36299--6. +\end{comment} + +%%% keep +\bibitem[Mor99]{MORISON99} + Stanley Morison. + \newblock \emph{A Tally of Types}. + \newblock David R. Godine, 1999. + \newblock ISBN 1--56792--004--7. + +\begin{comment} +\bibitem[NG98]{SIDECAP} + Rolf Niespraschk and Hubert G\"{a}\ss{}lein. + \newblock \emph{The sidecap package}. + \newblock June, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/sidecap}) + +\bibitem[Oet]{LSHORT} + Tobias Oetiker. + \newblock \emph{The Not So Short Introduction to LaTeX2e}. + \newblock (Available from CTAN in + \url{/info/lshort/english}) + +\bibitem[Oos96]{FANCYHDR} + Piet van Oostrum. + \newblock \emph{Page Layout in LaTeX}. + \newblock June, 1996. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/fancyhdr}) + +\bibitem[Pak01]{SYMBOLS} + Scott Pakin. + \newblock \emph{The Comprehensive LaTeX Symbol List}. + \newblock July, 2001. + \newblock (Available from CTAN in + \url{/info/symbols/comprehensive}) + +\bibitem[dP84]{PARVILLE84} + H.~de~Parville. + \newblock Recreations mathematique: {La Tour d'Hanoi} et la question + du {Tonkin}. + \newblock \emph{La Nature}, part {I}:285--286, Paris 1884. + +\bibitem[Pat88a]{BIBTEX} + Oren Patashnik. + \newblock \emph{BibTeXing}. + \newblock February, 1988. + \newblock (Available from CTAN as + \url{/bibliography/bibtex/distribs/doc/btxdoc.tex}) + +\bibitem[Pat88b]{BIBTEXHACK} + Oren Patashnik. + \newblock \emph{Designing BibTeX Styles}. + \newblock February, 1988. + \newblock (Available from CTAN as + \url{/bibliography/bibtex/distribs/doc/btxhak.tex}) +\end{comment} + +%% keep +\bibitem[PP07]{POCKETPAL} + \emph{Pocket Pal --- The Handy Book of Graphic Arts Production}. + \newblock 20th Edition (Eds: Frank Ramano and Michael Riordan). + \newblock International Paper Company, 2007. + \newblock ISBN 978--0--9772--7161--0. + +\begin{comment} +\bibitem[Pug02]{MATHPAZO} + Diego Puga. + \newblock \emph{The Pazo Math fonts for mathematical typesetting + with the Palatino fonts}. + \newblock May, 2002. + \newblock (Available from CTAN in + \url{/fonts/mathpazo}) + +\bibitem[Rahtz01]{NAMEREF} + Sebastian Rahtz. + \newblock \emph{Section name references in LaTeX}. + \newblock January, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/hyperref}) + +\bibitem[Rahtz02]{HYPERREF} + Sebastian Rahtz. + \newblock \emph{Hypertext marks in LaTeX}. + \newblock May, 2002. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/hyperref}) + +\bibitem[Rec97]{EPSLATEX} + Keith Reckdahl. + \newblock \emph{Using Imported Graphics in LaTeX2e}. + \newblock December, 1997. + \newblock (Available from CTAN as + \url{/info/epspatex.ps} or \url{/info/epslatex.pdf}) +\end{comment} + +%%% keep +\bibitem[Reh72]{REHE72} + Rolf Rehe. + \newblock `Type and how to make it most legible'. + \newblock \emph{Design Research International}, 1972. + +\begin{comment} +\bibitem[Rei07]{REINGOLD07} + Edward M. Reingold. + \newblock `Writing numbers in words in TeX'. + \newblock TUGboat, 28, 2 pp 256--259, 2007. +\end{comment} + +%%% keep +\bibitem[RAE71]{ROBINSON71} + D.~O.~Robinson, M.~Abbamonte and S.~H.~Evans. + \newblock `Why serifs are important: The perception of small print'. + \newblock \emph{Visible Language}, pp 353--359, 4, 1971. + +%%% keep +\bibitem[Rog43]{ROGERS43} + Bruce Rogers. + \newblock \emph{Paragraphs on Printing}. + \newblock William E. Rudge's Sons, Inc., 1943. + \newblock (Reissued by Dover, 1979, ISBN 0--486--23817--2) + +%%% keep +\bibitem[Rog49]{ROGERS49} + Bruce Rogers. + \newblock \emph{Centaur Types}. + \newblock October House, 1949. + +\begin{comment} +\bibitem[RBC74]{ROUSEBALL} + W. W. Rouse Ball and H. S. M. Coxeter. + \newblock \emph{Mathematical Recreations and Essays}. + \newblock University of Toronto Press, twelfth edition, 1974. +\end{comment} + +%%% keep +\bibitem[Ryd76]{RYDER} + John Ryder. + \newblock \emph{Printing for Pleasure}. Revised edition. + \newblock The Bodley Head, 1976. + \newblock ISBN 0--370--10443--9. + \newblock (In the USA published by Henry Regenery Co., Michigan, 1977. + ISBN 0--8092--78103--3) + +\begin{comment} +\bibitem[SW94]{EBOOK} + Douglas Schenck and Peter Wilson. + \newblock \emph{Information Modeling the EXPRESS Way}. + \newblock Oxford University Press, 1994. + \newblock ISBN 0--19--508714--3. + +\bibitem[SRR99]{VERBATIM} + Rainer Sch\"{o}pf, Bernd Raichle and Chris Rowley. + \newblock \emph{A New Implementation of LaTeX's verbatim + and verbatim* Environments}. + \newblock December, 1999. + \newblock (Available from CTAN in + \url{/macros/latex/required/tools}) +\end{comment} + +%%% keep +\bibitem[Sch97]{SCHRIVER97} + Karen A.~Schriver. + \newblock \emph{Dynamics in Document Design}. + \newblock Wiley \& Sons, 1997. + +%%% keep +\bibitem[Sme96]{SMEIJERS96} + Fred Smeijers. + \newblock \emph{Counterpunch: making type in the sixteenth century, + designing typefaces now}. + \newblock Hyphen Press, London, 1996. + \newblock ISBN 0--907259--06--5. + +\begin{comment} +\bibitem[Sne04]{SNEEP04} + Maarten Sneep. + \newblock \emph{The atmosphere in the laboratory: cavity ring-down + measurements on scattering and absorption}. + \newblock Phd thesis, + \newblock Vrijie Universiteit, Amsterdam, 2004. + +\bibitem[Tal06]{DATETIME} + Nicola L. C. Talbot. + \newblock \emph{datetime.sty: Formatting Current Date and Time}. + \newblock December, 2006. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/datetime}) + +\bibitem[Thi98]{ORNAMENTAL} + Christina Thiele. + \newblock `Hey --- it works: Ornamental rules'. + \newblock \emph{TUGboat}, + \newblock vol. 19, no. 4, p 427, December 1998. + +\bibitem[Thi99]{TTC199} + Christina Thiele. + \newblock `The Treasure Chest: Package tours from CTAN', + \newblock \emph{TUGboat}, + \newblock vol. 20, no. 1, pp 53--58, March 1999. + +\bibitem[TJ05]{CALC} + Kresten Krab Thorup, Frank Jensen (and Chris Rowley). + \newblock \emph{The calc package --- Infix notation arithmetic in LaTeX}. + \newblock August, 2005. + \newblock (Available from CTAN in + \url{/macros/latex/required}) +\end{comment} + +%%% keep +\bibitem[Tin63]{TINKER63} + Miles A.~Tinker. + \newblock \emph{Legibility of Print}. + \newblock Books on Demand (University Microfilms International), 1963. + +\begin{comment} +\bibitem[Tob00]{SETSPACE} + Geoffrey Tobin. + \newblock \emph{setspace.sty}. + \newblock December, 2000. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/setspace}) +\end{comment} + +%%% keep +\bibitem[Tsc91]{TSCHICHOLD91} + Jan Tschichold. + \newblock \emph{The Form of the Book}. + \newblock Lund Humphries, 1991. + \newblock ISBN 0--85331--623--6. + +%%% keep +\bibitem[Tuf83]{TUFTE83} + Edward R. Tufte. + \newblock \emph{The Visual Display of Quantative Information}. + \newblock Graphics Press, 1983. + + +\begin{comment} +\bibitem[Ume99]{GEOMETRY} + Hideo Umeki. + \newblock \emph{The geometry package}. + \newblock November, 1999. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/geometry}) +\end{comment} + +%%% keep +\bibitem[Whe95]{WHEILDON95} + Colin Wheildon. + \newblock \emph{Type \& Layout}. + \newblock Strathmore Press, 1995. + \newblock ISBN 0--9624891--5--8. + +\begin{comment} +\bibitem[Wil00]{CATALOGUE} + Graham Williams. + \newblock \emph{The TeX Catalogue}. + \newblock (Latest version on CTAN as \url{/help/Catalogue/catalogue.html}) +\end{comment} + +%%% keep +\bibitem[Wil93]{ADRIANWILSON93} + Adrian Wilson. + \newblock \emph{The Design of Books}. + \newblock Chronicle Books, 1993. + \newblock ISBN 0--8118--0304--X. + + + +\begin{comment} +\bibitem[Wil99b]{TOCVSEC2} + Peter Wilson. + \newblock \emph{The tocvsec2 package}. + \newblock January, 1999. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/tocvsec2}) + +\bibitem[Wil00a]{EPIGRAPH} + Peter Wilson. + \newblock \emph{The epigraph package}. + \newblock February, 2000. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/epigraph}) + +\bibitem[Wil00b]{ISOCLASS} + Peter Wilson. + \newblock \emph{LaTeX files for typesetting ISO standards}. + \newblock February, 2000. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/isostds/iso}) + +\bibitem[Wil00c]{NEXTPAGE} + Peter Wilson. + \newblock \emph{The nextpage package}. + \newblock February, 2000. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/misc/nextpage.sty}) + +\bibitem[Wil00d]{NEEDSPACE} + Peter Wilson. + \newblock \emph{The needspace package}. + \newblock March, 2000. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/misc/needspace.sty}) + +\bibitem[Wil00e]{XTAB} + Peter Wilson. + \newblock \emph{The xtab package}. + \newblock April 2000. + \newblock (Available from CTAN in + \texttt{macros/latex/contrib/xtab}) + +\bibitem[Wil01a]{ABSTRACT} + Peter Wilson. + \newblock \emph{The abstract package}. + \newblock February, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/abstract}) + +\bibitem[Wil01b]{CHNGPAGE} + Peter Wilson. + \newblock \emph{The chngpage package}. + \newblock February, 2001. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/misc/chngpage.sty}) + +\bibitem[Wil01c]{APPENDIX} + Peter Wilson. + \newblock \emph{The appendix package}. + \newblock March, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/appendix}) + +\bibitem[Wil01d]{CCAPTION} + Peter Wilson. + \newblock \emph{The ccaption package}. + \newblock March, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/ccaption}) + +\bibitem[Wil01e]{CHNGCNTR} + Peter Wilson. + \newblock \emph{The chngcntr package}. + \newblock April, 2001. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/misc/chngcntr.sty}) + +\bibitem[Wil01f]{HANGING} + Peter Wilson. + \newblock \emph{The hanging package}. + \newblock March, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/hanging}) + +\bibitem[Wil01g]{TITLING} + Peter Wilson. + \newblock \emph{The titling package}. + \newblock March, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/titling}) + +\bibitem[Wil01h]{TOCBIBIND} + Peter Wilson. + \newblock \emph{The tocbibind package}. + \newblock April, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/tocbibind}) + + +\bibitem[Wil01i]{TOCLOFT} + Peter Wilson. + \newblock \emph{The tocloft package}. + \newblock April, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/tocloft}) + + +\bibitem[Wil01j]{MEMOIR} + Peter Wilson. + \newblock \emph{The LaTeX memoir class for configurable book + typesetting: Source code}. + \newblock July, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) + +\bibitem[Wil01k]{VERSE} + Peter Wilson. + \newblock \emph{Typesetting simple verse with LaTeX} + \newblock July, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/verse}) + +\bibitem[Wil01l]{BOOKLET} + Peter Wilson. + \newblock \emph{Printing booklets with LaTeX} + \newblock August, 2001. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/booklet}) + +\bibitem[Wil03a]{LAYOUTS} + Peter Wilson. + \newblock \emph{The layouts package} + \newblock November, 2003. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/layouts}) + +\bibitem[Wil03b]{LEDMAC} + Peter Wilson. + \newblock \emph{ledmac: A presumptuous attempt to port EDMAC and TABMAC + to LaTeX} + \newblock November, 2003. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/ledmac}) + +\bibitem[Wil04a]{GLISTER3} + Peter Wilson. + \newblock `Glisterings'. + \newblock TUGboat, 25, 2 pp 201--202, 2004. + +\bibitem[Wil04b]{PAGENOTE} + Peter Wilson. + \newblock \emph{The pagenote package} + \newblock September, 2004. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/pagenote}) + +\bibitem[Wil07a]{TITLEPAGES} + Peter Wilson. + \newblock \emph{Some Examples of Title Pages}. + \newblock Herries Press, 2007. + \newblock (Available from CTAN as \url{info/latex-samples/titlepages.pdf}) + +\bibitem[Wil07b]{MEMCODE} +Peter Wilson. + \newblock \emph{The \ltx\ memoir class for configurable book typesetting: source code} + \newblock November, 2007. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) + +\bibitem[Wil07c]{MEMMAN} +Peter Wilson. + \newblock \emph{The Memoir Class for Configurable Typesetting --- User Guide} + \newblock November, 2007. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) + +\bibitem[Wil07d]{MEMADD} +Peter Wilson. + \newblock \emph{ADDENDUM: The Memoir Class for Configurable Typesetting --- User Guide} + \newblock November, 2007. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) + +\bibitem[Wil07e]{GLISTER07} +Peter Wilson. + \newblock `Glisterings', \emph{TUGboat}, 28(2):229--232, 2007. +\end{comment} + +%%% keep +\bibitem[Wil07f]{TUGKEYNOTE07} +Peter Wilson. + \newblock `Between then and now --- A meandering memoir', + \newblock \emph{TUGboat}, 28(3):280--298, 2007. + + +\begin{comment} +\bibitem[Wil08a]{CHANGEPAGE} + Peter Wilson. + \newblock \emph{The changepage package}. + \newblock March, 2008. + \newblock (Available from CTAN as + \url{/macros/latex/contrib/misc/changepage.sty}) + +\bibitem[Wil08b]{GLISTER08} +Peter Wilson. + \newblock `Glisterings', \emph{TUGboat}, 29(2):324--327, 2008. + +\bibitem[Wil09a]{FONTTABLE} + Peter Wilson. + \newblock \emph{The fonttable package} + \newblock April, 2009. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/fonttable}) +\end{comment} + +%%% keep +\bibitem[Wil09]{MEMMAN} +Peter Wilson. + \newblock \emph{The Memoir Class for Configurable Typesetting --- User Guide}, + Seventh edition, + \newblock July, 2009. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/memoir}) +\begin{comment} + +\bibitem[Wil??]{RUMOUR} +Peter Wilson. +\newblock \emph{A Rumour of Humour: A scientist's commonplace book}. +\newblock To be published? +\end{comment} + +%%% keep +\bibitem[Wis03]{WISHART03} +David Wishart. +\newblock \emph{The Printing of Mathematics} +\newblock in \emph{Type \& Typography: Highlights from \emph{Matrix}, the + review for printers \& bibliophiles}. +\newblock Mark Batty Publisher, 2003. +\newblock ISBN 0--9715687--6--6. +\newblock (Originally published in \emph{Matrix 8}, 1988) + +%%% keep +\bibitem[Wul53]{WULLING-FOOTNOTES} + Emerson G. Wulling. + \newblock \emph{A Comp's-Eye View of Footnotes}. + \newblock Sumac Press, 1953. + +%%% keep +\bibitem[Zac69]{ZACHRISSOM69} + B.~Zachrissom. + \newblock \emph{Studies in the Legibility of Printed Text}. + \newblock Almqvist \& Wiksell, Stockholm, 1969. + +\begin{comment} +\bibitem[Zan98]{FANCYBOX} + Timothy Van Zandt. + \newblock \emph{Documentation for fancybox.sty: Box tips and tricks for + LaTeX}, + \newblock November, 1998. + \newblock (Available from CTAN in + \url{/macros/latex/contrib/fancybox}) +\end{comment} + +%%% keep +\bibitem[Zap00]{ZAPF00} + Hermann Zapf. + \newblock \emph{The Fine Art of Letters}. + \newblock The Grolier Club, 2000. + \newblock ISBN 0--910672--35--0. + +\end{thebibliography} + + +\clearpage +\twocolindex +\pagestyle{index} +%\renewcommand{\chaptermark}[1]{} +\renewcommand{\preindexhook}{% +The first page number is usually, but not always, the primary reference to +the indexed topic.\vskip\onelineskip} +\indexintoc + +%%%\raggedright does nasty things to index entries +\printindex + + +%\onecolindex +%\renewcommand*{\preindexhook}{} +%\renewcommand*{\indexname}{Index of first lines} +%\printindex[lines] + +\cleardoublepage +\pagestyle{empty} +\null\vfil + +\begin{adjustwidth}{1in}{1in} +\begin{center} +{\Large\textsf{Colophon}} +\end{center} +\begin{center} +This manual was typeset using the LaTeX typesetting system +created by Leslie Lamport and the memoir class. +The body text is set 10/12pt on a +33pc measure with Palatino designed by Hermann Zapf, which includes +italics and small caps. Other fonts include +Sans, Slanted and Typewriter from Donald Knuth's +Computer Modern family. + +\end{center} + +\end{adjustwidth} + +\vfil + +\end{document} + +\endinput + |