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+\documentstyle[12pt,ipalmacs]{article}
+\def\tenbf{\fontfamily{cmr}\fontseries{bx}\fontshape{n}\fontsize{10}{12pt}
+ \selectfont}
+%\input ipamacs
+
+\font\smokefont=wsuipa17
+\font\mf=cmr10
+\def\deg{$^\circ$}
+
+\def\vs #1{\vskip #1}
+\def\meta{{\mf METAFONT}}
+\def\wsu{{\ WSUIPA}}
+\def\ipam{{ IPAMACS}}
+\def\PL{{\it Phonetic Symbol Guide}}
+
+\def\pos#1{\vs{10pt}\hrule width 1in\vs{1pt}\hrule width 1in
+ \noindent\begin{tabular}{rl}
+ \tenbf WSUIPA Char' Position: & #1\\ }
+\def\pl#1{\tenbf Pullum \&\ Ladusaw name: & #1\\ }
+\def\mac#1{\tenbf IPAMACS Name: & \tt\char'134 #1\\ }
+\def\smoke#1{\tenbf IPA Character: & \smokefont\char#1
+ \end{tabular}}
+
+\begin{document}
+\title{ Using the WSU International Phonetic Alphabet -- \LaTeX\ Version}
+\author{} % Janene Winter
+\date{April 22, 1992} % \LaTeX version, J"org Knappen
+\maketitle
+
+\section{Preface}
+
+This users guide is intended to serve as a help and supplement to the
+Washington State University International Phonetic Alphabet (\wsu) fonts.
+It is not intended to be a manual on \TeX, linguistics, or the correct usage of
+the characters, accents and diacritics contained within the font.
+It is assumed that the user is familiar with the version of \TeX\ he or she is
+using and with the characters contained within the \wsu\ font.
+Because the uses for a phonetic alphabet font are probably as varied as the
+many disciplines which use the characters, this guide is intended to merely
+show some of the most common ways of using the \wsu\ font. Surely each person
+who implements the font will develop his or her own favorite way of working with
+ and
+using the font.
+
+The principal
+source of information regarding the characters and their shapes has come from
+sources within the linguistic field---most
+notably, Geoffrey K. Pullum and William A. Ladusaw, whose book, {\it Phonetic
+Symbol Guide} was used extensively.
+The \PL\ not only lists the International Phonetic Alphabet (IPA) characters
+and diacritics, it also
+gives an enlarged illustration of each character which shows its baseline,
+height, depth and x-height. These character illustrations were invaluable
+in the design of the \wsu\ \meta\ characters.
+
+Several other people involved
+in the wonderful world of linguistics also aided in the design of the \wsu\
+font. Their input concerning everything
+from character shape, to placement within the font, to determining which
+characters should be included, is gratefully acknowledged. I would especially
+like to thank Karen Mullen, Associate Professor of English, University of
+Louisville, Louisville, Kentucky. She tested, used the \wsu\ fonts, and took
+the time to give several suggestions and recommendations that have improved
+the font. Also, Christina A. Thiele, Managing Director, Journal Production
+ Centre,
+Carleton University, Ottawa, Ontario, who not only provided a wealth
+of phonetic information, but also a wealth of encouragement throughout
+the entire font designing process.
+
+
+Included with the \wsu\ fonts are:
+
+\begin{enumerate}
+\item
+The basic \wsu\ font which contains 128 phonetic characters
+and/or diacritics in five different point sizes (8,
+9, 10, 11 and 12) and in
+three typefaces (roman, slanted and bold extended).
+
+\item Each size and typeface includes a TFM (\TeX\ Font Metric)
+file and its related GF, PK or PXL file.
+
+\item A macro package (\ipam.TEX) for use with the \wsu\ font, and
+
+\item the {\it WSUIPA Font User's Guide}.
+\end{enumerate}
+
+This guide is divided into three main sections: 1) an introduction to the \wsu\
+font,
+2) a description of the font layout and the characters included in the font
+and 3) some \TeX niques for use with the \wsu\ fonts.
+
+Although the \wsu\ fonts are written in \meta , the user does not need
+experience with or knowledge of \meta\ to use the font. However, at least a
+beginning understanding of \TeX\ and the use of fonts in the \TeX\ environment
+{\it is} necessary. For information about either \TeX\ or font usage in \TeX ,
+see {\it The \TeX book} by Donald Knuth.
+
+\section{Introduction to the WSUIPA Font}
+
+The \wsu\ fonts are written in \meta\ and use the same font parameter values
+as their Computer Modern (CM) counterparts (cmr and cmbx). In fact, while
+designing the character shapes, the computer modern code was left intact or
+modified only slightly whenever possible. Therefore, the \wsu\ fonts
+are totally compatible with computer modern fonts---the design and shape
+of the characters are computer modern wherever possible. For the characters
+that are drastically different from any computer modern characters or symbols,
+such as the ``Gamma,'' ``Baby Gamma'' and the ``Esh,'' Pullum and Ladusaw's
+{\it Phonetic Symbol Guide} was used as the character design
+standard.
+
+The \wsu\ fonts are obviously not an exhaustive collection of phonetic or
+even recognized International Phonetic Alphabet characters. The characters
+included in the \wsu\ font were chosen either because they were listed
+as a ``major'' entry in Pullum and Ladusaw's {\it Guide\/},
+or because of the recommendations from
+various people with an interest in the font.
+
+The {\it Guide} contains what it classifies as ``major'' and ``minor''
+characters, based upon whether the symbol is an officially recognized IPA
+character or is determined by Pullum and Ladusaw
+to be a standard symbol in current American
+transcriptual practice. The {\it Guide}
+lists 78 ``major'' entries which are not easily
+attainable in the CM fonts. All 78 of these characters are included in the
+\wsu\ font, along with 50 ``minor'' entries from the {\it Guide}.
+The selection of which
+``minor'' entries to include was based on information and requests from
+various phoneticians and linguists who contacted WSU during the beginning
+stages of the creation of the font.
+
+\section{The Layout of the WSUIPA Font}
+
+The character-grouping pattern followed by Pullum and Ladusaw in their
+{\it Guide} was adopted as the basis
+for the \wsu\ font layout. The characters
+are grouped together according to shape rather than usage. Therefore,
+the ``a'' shapes occupy
+the first positions: '00 through '04, ``b'' shapes are in positions '05
+through '11 and so forth. The accents and diacritics follow the character
+shapes and are in the last positions in the font. This approach was taken
+because under it was assumed that under most circumstances,
+the user would most likely be accessing the characters with the use of macros
+rather than by typing large portions of entirely phonetic text.
+Aside from keeping like shapes together, the positioning of the
+\wsu\ font was fairly arbitrary.
+
+\section{Character Description}
+
+Within this section each of the \wsu\ characters are shown in a \meta\
+``smoke mode'' proof. The octal character position is indicated, along with the
+corresponding macro name in \ipam, and the
+name of the character given in P\&L.
+Only the roman characters will be illustrated since the shapes of the slanted
+and bold extended are the same.
+
+There are several Greek characters included in the \wsu\ font, and initially
+it may appear these are merely copies of the corresponding CM Greek characters.
+That is true with one very important distinction: the \wsu\ Greek characters
+included are not italic. All the lowercase Greek characters included in
+the CM fonts are italic which makes them unsuitable for some situations in
+phonetics where a non-italic Greek character is essential.
+\newpage
+\raggedbottom
+\vbox{ \pos{'00}\mac{inva}\pl{turned a}\smoke{'00}}
+
+\vbox{ \pos{'01}\mac{scripta}\pl{script a}\smoke{'01}}
+
+\vbox{ \pos{'02}\mac{nialpha}\pl{lowercase non-italic alpha}\smoke{'02}
+}
+
+\vbox{\pos{'03}\mac{invscripta}\pl{turned script a}\smoke{'03}}
+
+\vbox{\pos{'04}\mac{invv}\pl{inverted v}\smoke{'04}}
+
+\vbox{\pos{'05}\mac{crossb}\pl{crossed b}\smoke{'05}}
+
+\vbox{\pos{'06}\mac{barb}\pl{barred b}\smoke{'06}}
+
+\vbox{\pos{'07}\mac{slashb}\pl{slashed b}\smoke{'07}}
+
+\vbox{\pos{'10}\mac{hookb}\pl{hooktop b}\smoke{'10}}
+
+\vbox{\pos{'11}\mac{nibeta}\pl{non-italic lowercase beta}\smoke{'11}}
+
+\vbox{\pos{'12}\mac{slashc}\pl{slashed c}\smoke{'12}}
+
+\vbox{\pos{'13}\mac{curlyc}\pl{curly-tail c}\smoke{'13}}
+
+\vbox{\pos{'14}\mac{clickc}\pl{stretched c}\smoke{'14}}
+
+\vbox{\pos{'15}\mac{crossd}\pl{crossed d}\smoke{'15}}
+
+\vbox{\pos{'16}\mac{bard}\pl{barred d}\smoke{'16}}
+
+\vbox{\pos{'17}\mac{slashd}\pl{slashed d}\smoke{'17}}
+
+\vbox{\pos{'20}\mac{hookd}\pl{hooktop d}\smoke{'20}}
+
+\vbox{\pos{'21}\mac{taild}\pl{right-tail d}\smoke{'21}}
+
+\vbox{\pos{'22}\mac{dz}\pl{d-yogh ligature}\smoke{'22}}
+
+\vbox{\pos{'23}\mac{eth}\pl{eth}\smoke{'23}}
+
+\vbox{\pos{'24}\mac{scd}\pl{small capital D}\smoke{'24}}
+
+\vbox{\pos{'25}\mac{schwa}\pl{schwa}\smoke{'25}}
+
+\vbox{\pos{'26}\mac{er}\pl{right-hook schwa}\smoke{'26}}
+
+\vbox{\pos{'27}\mac{reve}\pl{reversed e}\smoke{'27}}
+
+\vbox{\pos{'30}\mac{niepsilon}\pl{non-italic greek epsilon}\smoke{'30}}
+
+\vbox{\pos{'31}\mac{revepsilon}\pl{reversed non-italic epsilon}\smoke{'31}}
+
+\vbox{\pos{'32}\mac{hookrevepsilon}\pl{right-hook reversed non-italic epsilon}
+\smoke{'32}}
+
+\vbox{\pos{'33}\mac{closedrevepsilon}\pl{closed reversed non-italic epsilon}
+\smoke{'33}}
+
+\vbox{\pos{'34}\mac{scriptg}\pl{lowercase variant g}\smoke{'34}}
+
+\vbox{\pos{'35}\mac{hookg}\pl{hooktop g}\smoke{'35}}
+
+\vbox{\pos{'36}\mac{scg}\pl{small capital G}\smoke{'36}}
+
+\vbox{\pos{'37}\mac{nigamma}\pl{non-italic gamma}\smoke{'37}}
+
+\vbox{\pos{'40}\mac{ipagamma}\pl{IPA Gamma}\smoke{'40}}
+
+\vbox{\pos{'41}\mac{babygamma}\pl{baby gamma}\smoke{'41}}
+
+\vbox{\pos{'42}\mac{hv}\pl{h-v ligature}\smoke{'42}}
+
+\vbox{\pos{'43}\mac{crossh}\pl{crossed h}\smoke{'43}}
+
+\vbox{\pos{'44}\mac{hookg}\pl{hooktop g}\smoke{'44}}
+
+\vbox{\pos{'45}\mac{hookheng}\pl{hooktop heng}\smoke{'45}}
+
+\vbox{\pos{'46}\mac{invh}\pl{turned h}\smoke{'46}}
+
+\vbox{\pos{'47}\mac{bari}\pl{barred i}\smoke{'47}}
+
+\vbox{\pos{'50}\mac{dlbari}\pl{barred dotless i}\smoke{'50}}
+
+\vbox{\pos{'51}\mac{niiota}\pl{non-italic greek iota}\smoke{'51}}
+
+\vbox{\pos{'52}\mac{sci}\pl{small capital I}\smoke{'52}}
+
+\vbox{\pos{'53}\mac{barsci}\pl{barred small capital I}\smoke{'53}}
+
+\vbox{\pos{'54}\mac{invf}\pl{barred dotless j}\smoke{'54}}
+
+\vbox{\pos{'55}\mac{tildel}\pl{l with tilde}\smoke{'55}}
+
+\vbox{\pos{'56}\mac{barl}\pl{barred l}\smoke{'56}}
+
+\vbox{\pos{'57}\mac{latfric}\pl{belted l}\smoke{'57}}
+
+\vbox{\pos{'60}\mac{taill}\pl{l with right tail}\smoke{'60}}
+
+\vbox{\pos{'61}\mac{lz}\pl{l-yogh ligature}\smoke{'61}}
+
+\vbox{\pos{'62}\mac{nilambda}\pl{non-italic greek lambda}\smoke{'62}}
+
+\vbox{\pos{'63}\mac{crossnilambda}\pl{crossed lambda}\smoke{'63}}
+
+\vbox{\pos{'64}\mac{labdentalnas}
+\pl{m with leftward tail at right}\smoke{'64}}
+
+\vbox{\pos{'65}\mac{invm}\pl{turned m}\smoke{'65}}
+
+\vbox{\pos{'66}\mac{legm}\pl{turned m with long right leg}\smoke{'66}}
+
+\vbox{\pos{'67}\mac{nj}\pl{n with leftward hook at left}\smoke{'67}}
+
+\vbox{\pos{'70}\mac{eng}\pl{eng}\smoke{'70}}
+
+\vbox{\pos{'71}\mac{tailn}\pl{n with right tail}\smoke{'71}}
+
+\vbox{\pos{'72}\mac{scn}\pl{small capital N}\smoke{'72}}
+
+\vbox{\pos{'73}\mac{clickb}\pl{bull's eye}\smoke{'73}}
+
+\vbox{\pos{'74}\mac{baro}\pl{barred o}\smoke{'74}}
+
+\vbox{\pos{'75}\mac{openo}\pl{open o}\smoke{'75}}
+
+\vbox{\pos{'76}\mac{niomega}\pl{non-italic lowercase greek omega}\smoke{'76}}
+
+\vbox{\pos{'77}\mac{closedniomega}\pl{closed omega}\smoke{'77}}
+
+\vbox{\pos{'100}\mac{oo}\pl{double o}\smoke{'100}}
+
+\vbox{\pos{'101}\mac{barp}\pl{barred p}\smoke{'101}}
+
+\vbox{\pos{'102}\mac{thorn}\pl{thorn}\smoke{'102}}
+
+\vbox{\pos{'103}\mac{niphi}\pl{non-italic lowercase greek phi}\smoke{'103}}
+
+\vbox{\pos{'104}\mac{flapr}\pl{fish hook r}\smoke{'104}}
+
+\vbox{\pos{'105}\mac{legr}\pl{r with long leg}\smoke{'105}}
+
+\vbox{\pos{'106}\mac{tailr}\pl{r with right tail}\smoke{'106}}
+
+\vbox{\pos{'107}\mac{invr}\pl{turned r}\smoke{'107}}
+
+\vbox{\pos{'110}\mac{tailinvr}\pl{turned r with right tail}\smoke{'110}}
+
+\vbox{\pos{'111}\mac{invlegr}\pl{turned long-legged r}\smoke{'111}}
+
+\vbox{\pos{'112}\mac{scr}\pl{small capital R}\smoke{'112}}
+
+\vbox{\pos{'113}\mac{invscr}\pl{inverted small capital R}\smoke{'113}}
+
+\vbox{\pos{'114}\mac{tails}\pl{s with right tail}\smoke{'114}}
+
+\vbox{\pos{'115}\mac{esh}\pl{esh}\smoke{'115}}
+
+\vbox{\pos{'116}\mac{curlyesh}\pl{curly-tail esh}\smoke{'116}}
+
+\vbox{\pos{'117}\mac{nisigma}\pl{non-italic lowercase greek sigma}\smoke{'117}}
+
+\vbox{\pos{'120}\mac{tailt}\pl{t with right tail}\smoke{'120}}
+
+\vbox{\pos{'121}\mac{tesh}\pl{t-esh ligature}\smoke{'121}}
+
+\vbox{\pos{'122}\mac{clickt}\pl{turned t}\smoke{'122}}
+
+\vbox{\pos{'123}\mac{nitheta}\pl{non-italic lowercase greek theta}\smoke{'123}}
+
+\vbox{\pos{'124}\mac{baru}\pl{barred u}\smoke{'124}}
+
+\vbox{\pos{'125}\mac{slashu}\pl{slashed u}\smoke{'125}}
+
+\vbox{\pos{'126}\mac{niupsilon}\pl{non-italic lowercase greek
+ upsilon}\smoke{'126}}
+
+\vbox{\pos{'127}\mac{scu}\pl{small capital U}\smoke{'127}}
+
+\vbox{\pos{'130}\mac{barscu}\pl{barred small capital U}\smoke{'130}}
+
+\vbox{\pos{'131}\mac{scriptv}\pl{script v}\smoke{'131}}
+
+\vbox{\pos{'132}\mac{invw}\pl{inverted w}\smoke{'132}}
+
+\vbox{\pos{'133}\mac{nichi}\pl{non-italic lowercase greek chi}\smoke{'133}}
+
+\vbox{\pos{'134}\mac{invy}\pl{turned y}\smoke{'134}}
+
+\vbox{\pos{'135}\mac{scy}\pl{small capital Y}\smoke{'135}}
+
+\vbox{\pos{'136}\mac{curlyz}\pl{curly-tail z}\smoke{'136}}
+
+\vbox{\pos{'137}\mac{tailz}\pl{z with right tail}\smoke{'137}}
+
+\vbox{\pos{'140}\mac{yogh}\pl{yogh}\smoke{'140}}
+
+\vbox{\pos{'141}\mac{curlyyogh}\pl{curly-tail yogh}\smoke{'141}}
+
+\vbox{\pos{'142}\mac{glotstop}\pl{glottal stop}\smoke{'142}}
+
+\vbox{\pos{'143}\mac{revglotstop}\pl{reversed glottal stop}\smoke{'143}}
+
+\vbox{\pos{'144}\mac{invglotstop}\pl{inverted glottal stop}\smoke{'144}}
+
+\vbox{\pos{'145}\mac{ejective}\pl{ejective}\smoke{'145}}
+
+\vbox{\pos{'146}\mac{reveject}\pl{reversed ejective}\smoke{'146}}
+
+\vbox{\pos{'147}\mac{dental\{\#1\}}\pl{subscript bridge}\smoke{'147}}
+
+\vbox{\pos{'150}\mac{stress}\pl{vertical stroke (superior)}\smoke{'150}}
+
+\vbox{\pos{'151}\mac{secstress}\pl{vertical stroke (inferior)}\smoke{'151}}
+
+\vbox{\pos{'152}\mac{syllabic}\pl{syllabicity mark}\smoke{'152}}
+
+\vbox{\pos{'153}\mac{corner}\pl{corner}\smoke{'153}}
+
+\vbox{\pos{'154}\mac{upt}\pl{IPA pointer}\smoke{'154}}
+
+\vbox{\pos{'155}\mac{downt}\pl{IPA pointer}\smoke{'155}}
+
+\vbox{\pos{'156}\mac{leftt}\pl{IPA pointer}\smoke{'156}}
+
+\vbox{\pos{'157}\mac{rightt}\pl{IPA pointer}\smoke{'157}}
+
+\vbox{\pos{'160}\mac{halflength}\pl{half-length mark}\smoke{'160}}
+
+\vbox{\pos{'161}\mac{length}\pl{length mark}\smoke{'161}}
+
+\vbox{\pos{'162}\mac{underdots}\pl{subscript umlaut}\smoke{'162}}
+
+\vbox{\pos{'163}\mac{ain}\pl{reversed apostrophe}\smoke{'163}}
+
+\vbox{\pos{'164}\mac{upp}\pl{pointer}\smoke{'164}}
+
+\vbox{\pos{'165}\mac{downp}\pl{pointer}\smoke{'165}}
+
+\vbox{\pos{'166}\mac{leftp}\pl{pointer}\smoke{'166}}
+
+\vbox{\pos{'167}\mac{rightp}\pl{pointer}\smoke{'167}}
+
+\vbox{\pos{'170}\mac{overring}\pl{over-ring}\smoke{'170}}
+
+\vbox{\pos{'171}\mac{underring}\pl{under-ring}\smoke{'171}}
+
+\vbox{\pos{'172}\mac{open}\pl{subscript left half-ring}\smoke{'172}}
+
+\vbox{\pos{'173}\mac{midtilde}\pl{superimposed (mid-) tilde}\smoke{'173}}
+
+\vbox{\pos{'174}\mac{undertilde}\pl{subscript tilde}\smoke{'174}}
+
+\vbox{\pos{'175}\mac{underwedge}\pl{subscript wedge}\smoke{'175}}
+
+\vbox{\pos{'176}\mac{polishhook}\pl{polish hook}\smoke{'176}}
+
+\vbox{\pos{'177}\mac{underarch\{\#1\}}\pl{subscript arch}\smoke{'177}}
+
+\newpage
+\flushbottom
+\section{Using the {\tt ipalmacs} style option}
+
+ The {\tt ipalmcas} document style option loads the \wsu\ fonts and changes
+ them automatically according to the specified fontsize, fontseries and
+ fontshape. You need a \LaTeX\ with the {\em New Font Selection Scheme} (NFSS)
+ by Sch\"opf and Mittelbach. This is available from all the wellknown
+ \TeX\ servers.
+
+ Use the {\tt ipalmacs} option by adding it as an optional argument to the
+ \verb:\documentstyle: command, i.e. type
+\begin{verbatim}
+ \documentstyle[ipalmacs]{article}
+\end{verbatim}
+ at the very beginning of your document. Of course, {\tt ipalmacs} also works
+ with {\tt report} and {\tt book} style.
+
+To access individual \wsu\ characters within sentences set in Computer Modern,
+you need only to enter the \ipam\ command. For example,
+\begin{verbatim}
+A shibilant is a term occasionally found for a fricative
+corresponding to
+a ``hushing'' sound, e.g., IPA [\esh] (more technically,
+a grooved laminal fricative).
+\end{verbatim}
+\noindent which will print as:
+\vs{5pt}
+{\bf
+A shibilant is a term occasionally found for a fricative
+corresponding to
+a ``hushing'' sound, e.g., IPA [\esh] (more technically,
+a grooved laminal fricative).
+}
+\vs{5pt}
+
+The {\tt ipalmacs} character macros are defined so they can be used with the CM
+characters and accents without the need for delimiting curly braces. By using
+the {\tt ipalmacs}
+definitions, you can use the CM accents with a \wsu\ character in the
+same way you would accent a CM character. The following input
+
+\begin{verbatim}
+The superscript tilde is a nasalization marker for vowels,
+thus [\tilde\scripta] is a nasalized [\scripta].
+\end{verbatim}
+\noindent will print as:
+\vs{5pt}
+{\bf The superscript tilde is a nasalization marker for vowels, thus
+[\~\scripta] is a nasalized [\scripta].
+}
+\vs{5pt}
+
+The \wsu\ accents can be used with CM characters. However, only the \wsu\
+``\dental'' and ``\underarch'' have been defined in {\tt ipalmacs} and both are
+diacritics which go under a character.
+To use any other \wsu\ character as an accent either with a CM character or with
+another \wsu\ character, you can define the \wsu\ accent
+in the same way that the CM accents are defined.
+
+There are three control sequences provided from smart accenting.
+
+\verb:\oaccent: is used for typesetting an accent over any letter. The input
+\verb:\oaccent{\overring}{g}: will produce a \oaccent{\overring}{g}.
+
+Most of the \wsu\ diacritics are intended to go under characters, like the
+``underarch'' and ``dental'' mentioned above. The control sequence
+\verb:\uaccent: produces a letter with an accent below, for example
+\verb:\uaccent{\c{}}{g}: gives you \uaccent{\c{}}{g}. (Note that this result
+ cannot achieved by just typing
+ \verb:\c{g}: which would result in \c{g}---the cedilla being not lowered.)
+
+\verb:\taccent: is somewhat special. It puts a diacritic designed to go under
+ a letter over it. It is needed for the lattvian special letter
+ \taccent{\polishhook}{g}, which you get by typing
+ \verb:\taccent{\polishhook}{g}:.
+
+For compatibility with the original \ipam\ package, the command
+ \verb:\diatop: is provided. Its use is discouraged within \LaTeX, because it
+ is fragile and would need \verb:\protect:ion under many circumstances.
+ It is used as \verb:\diatop[\overringºg]:, producing \diatop[\overringºg].
+
+ With the commands given above, you can stack as many diacritcs as you want
+ above and below any letter, for example
+\begin{verbatim}
+ Here are some very special
+ \oaccent{\overring}{\uaccent{\underring}{r}},
+ \oaccent{\'}{\oaccent{\overring}{n}},
+ and \uaccent{\underring}{\dental{d}}.
+\end{verbatim}
+ will print as
+
+{\bf Here are some very special
+ \oaccent{\overring}{\uaccent{\underring}{r}},
+ \oaccent{\'}{\oaccent{\overring}{n}},
+ and \uaccent{\underring}{\dental{d}}.
+}
+
+\section{Defining your own commands}
+
+Of course, you don't want to get tired by typing several times the same long
+ command. You may define your own abbereviations with the help of
+ \verb:\newcommand:, like the following:
+\begin{verbatim}
+\newcommand{\rr}{\uaccent{\underring}{r}} % \rr is a voiceless trilled r
+\newcommand{\og}[1]{\uaccent{\polishhook}{#1}} % ogonek below a letter
+\end{verbatim}
+Afterwards, you can use them like any ordinary \LaTeX\ command.
+\begin{verbatim}
+A voiceless trilled r [\rr] occurs in certain scottisch dialects.\\
+The polish \og{e} is pronounced [\~\niepsilon].
+\end{verbatim}
+will print as
+\newcommand{\rr}{\uaccent{\underring}{r}} % \rr is a voiceless trilled r
+\newcommand{\og}[1]{\uaccent{\polishhook}{#1}} % ogonek below a letter
+
+{\bf
+A voiceless trilled r [\rr] occurs in certain scottisch dialects.\\
+The polish \og{e} is pronounced [\~\niepsilon].
+}
+
+
+\parindent 0pt
+
+% macros for font tables
+\def\oct#1{\hbox{\rm\'{}\kern-.1em\it#1\/\kern.05em}}
+\def\hex#1{\hbox{\rm\H{}\tt#1}} % hexadecimal constant
+
+\abovedisplayskip=3pt\belowdisplayskip=2pt
+\font\smalltextfont=cmr7
+\newcount\fontcount
+\newbox\charbox
+\def\oddline#1{\cr
+ \noalign{\nointerlineskip}
+ \multispan{19}\hrulefill&
+ \setbox\charbox=\hbox{\lower 2.3pt\hbox{\hex{#1x}}}
+ \smash{\box\charbox}\cr
+ \noalign{\nointerlineskip}}
+\def\evenline{\cr\noalign{\hrule}}
+\def\chartstrut{\lower3.5pt\vbox to14pt{}}
+\def\beginchart#1{ \global\fontcount=0 #1
+ \halign to\hsize\bgroup
+ \chartstrut##\tabskip0pt plus10pt&
+ &\hfil##\hfil&\vrule##\cr
+ \lower6.5pt\null
+ &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline}
+\def\endchart{\raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B&
+ &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup}
+\def\:{\setbox\charbox=%\drawbox{
+\hbox{\char\fontcount
+%\llap{\vrule height.4pt width5pt depth0pt} %this will draw line at baseline
+}%}%
+ \ifdim\ht\charbox>7.5pt\reposition
+ \else\ifdim\dp\charbox>2.5pt\reposition
+ \else\ifdim\wd\charbox>0pt
+ \ifdim\ht\charbox<.01pt
+ \ifdim\dp\charbox<.01pt\unposition\fi\fi\fi\fi\fi
+ \box\charbox\global\advance\fontcount by1 }
+\def\reposition{}%\setbox\charbox=\hbox{@\vcenter{\kern2pt
+% \box\charbox\kern2pt}@}}
+\def\unposition{\setbox\charbox=\hbox{\smalltextfont undef}}
+\def\normalchart{%
+ &\oct{00x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline0
+ &\oct{01x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{02x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline1
+ &\oct{03x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{04x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline2
+ &\oct{05x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{06x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline3
+ &\oct{07x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{10x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline4
+ &\oct{11x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{12x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline5
+ &\oct{13x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{14x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline6
+ &\oct{15x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{16x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline7
+ &\oct{17x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline}
+
+\newpage
+\font\chartfont=wsuipa12
+{\tt WSUIPA12\bf--- WSU International Phonetic Alphabet Roman -- 12pt}
+\beginchart{\chartfont}
+\normalchart
+\endchart
+\vfill
+\font\newchartfont=wslipa12
+{\tt WSLIPA12\bf---WSU International Phonetic Alphabet Slanted -- 12pt}
+\nopagebreak
+\beginchart{\newchartfont}
+\normalchart
+\endchart
+
+\newpage
+\font\nchartfont=wbxipa12
+{\tt WBXIPA12\bf---WSU International Phonetic Alphabet Bold Extended
+-- 12pt}\
+\beginchart{\nchartfont}
+\normalchart
+\endchart
+\vfill
+\end{document}
diff --git a/Master/texmf-dist/doc/generic/wsuipa/latex209/lipaman.tex b/Master/texmf-dist/doc/generic/wsuipa/latex209/lipaman.tex
new file mode 100644
index 00000000000..61b5d64fb3f
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/wsuipa/latex209/lipaman.tex
@@ -0,0 +1,811 @@
+\documentstyle[12pt]{article}
+\input ipamacs
+
+\font\smokefont=wsuipa17
+\font\mf=cmr10
+\def\deg{$^\circ$}
+
+\def\vs #1{\vskip #1}
+\def\meta{{\mf METAFONT}}
+\def\wsu{{\ WSUIPA}}
+\def\ipam{{ IPAMACS}}
+\def\PL{{\it Phonetic Symbol Guide}}
+
+\def\pos#1{\vs{10pt}\hrule width 1in\vs{1pt}\hrule width 1in
+ \noindent\begin{tabular}{rl}
+ \tenbf WSUIPA Char' Position: & #1\\ }
+\def\pl#1{\tenbf Pullum \&\ Ladusaw name: & #1\\ }
+\def\mac#1{\tenbf IPAMACS Name: & \tt\char'134 #1\\ }
+\def\smoke#1{\tenbf IPA Character: & \smokefont\char#1
+ \end{tabular}}
+
+\begin{document}
+\title{ Using the WSU International Phonetic Alphabet}
+\author{} % Janene Winter
+\date{January 9, 1990}
+\maketitle
+
+\section{Preface}
+
+This users guide is intended to serve as a help and supplement to the
+Washington State University International Phonetic Alphabet (\wsu) fonts.
+It is not intended to be a manual on \TeX, linguistics, or the correct usage of
+the characters, accents and diacritics contained within the font.
+It is assumed that the user is familiar with the version of \TeX\ he or she is
+using and with the characters contained within the \wsu\ font.
+Because the uses for a phonetic alphabet font are probably as varied as the
+many disciplines which use the characters, this guide is intended to merely
+show some of the most common ways of using the \wsu\ font. Surely each person
+who implements the font will develop his or her own favorite way of working with
+ and
+using the font.
+
+The principal
+source of information regarding the characters and their shapes has come from
+sources within the linguistic field---most
+notably, Geoffrey K. Pullum and William A. Ladusaw, whose book, {\it Phonetic
+Symbol Guide} was used extensively.
+The \PL\ not only lists the International Phonetic Alphabet (IPA) characters
+and diacritics, it also
+gives an enlarged illustration of each character which shows its baseline,
+height, depth and x-height. These character illustrations were invaluable
+in the design of the \wsu\ \meta\ characters.
+
+Several other people involved
+in the wonderful world of linguistics also aided in the design of the \wsu\
+font. Their input concerning everything
+from character shape, to placement within the font, to determining which
+characters should be included, is gratefully acknowledged. I would especially
+like to thank Karen Mullen, Associate Professor of English, University of
+Louisville, Louisville, Kentucky. She tested, used the \wsu\ fonts, and took
+the time to give several suggestions and recommendations that have improved
+the font. Also, Christina A. Thiele, Managing Director, Journal Production
+ Centre,
+Carleton University, Ottawa, Ontario, who not only provided a wealth
+of phonetic information, but also a wealth of encouragement throughout
+the entire font designing process.
+
+
+Included with the \wsu\ fonts are:
+
+\begin{enumerate}
+\item
+The basic \wsu\ font which contains 128 phonetic characters
+and/or diacritics in six different point sizes (8,
+9, 10, 11, 12 and 17) and in
+three typefaces (roman, slanted and bold extended).
+
+\item Each size and typeface includes a TFM (\TeX\ Font Metric)
+file and its related GF, PK or PXL file.
+
+\item A macro package (\ipam.TEX) for use with the \wsu\ font, and
+
+\item the {\it WSUIPA Font User's Guide}.
+\end{enumerate}
+
+This guide is divided into three main sections: 1) an introduction to the \wsu\
+font,
+2) a description of the font layout and the characters included in the font
+and 3) some \TeX niques for use with the \wsu\ fonts.
+
+Although the \wsu\ fonts are written in \meta , the user does not need
+experience with or knowledge of \meta\ to use the font. However, at least a
+beginning understanding of \TeX\ and the use of fonts in the \TeX\ environment
+{\it is} necessary. For information about either \TeX\ or font usage in \TeX ,
+see {\it The \TeX book} by Donald Knuth.
+
+\section{Introduction to the WSUIPA Font}
+
+The \wsu\ fonts are written in \meta\ and use the same font parameter values
+as their Computer Modern (CM) counterparts (cmr and cmbx). In fact, while
+designing the character shapes, the computer modern code was left intact or
+modified only slightly whenever possible. Therefore, the \wsu\ fonts
+are totally compatible with computer modern fonts---the design and shape
+of the characters are computer modern wherever possible. For the characters
+that are drastically different from any computer modern characters or symbols,
+such as the ``Gamma,'' ``Baby Gamma'' and the ``Esh,'' Pullum and Ladusaw's
+{\it Phonetic Symbol Guide} was used as the character design
+standard.
+
+The \wsu\ fonts are obviously not an exhaustive collection of phonetic or
+even recognized International Phonetic Alphabet characters. The characters
+included in the \wsu\ font were chosen either because they were listed
+as a ``major'' entry in Pullum and Ladusaw's {\it Guide\/},
+or because of the recommendations from
+various people with an interest in the font.
+
+The {\it Guide} contains what it classifies as ``major'' and ``minor''
+characters, based upon whether the symbol is an officially recognized IPA
+character or is determined by Pullum and Ladusaw
+to be a standard symbol in current American
+transcriptual practice. The {\it Guide}
+lists 78 ``major'' entries which are not easily
+attainable in the CM fonts. All 78 of these characters are included in the
+\wsu\ font, along with 50 ``minor'' entries from the {\it Guide}.
+The selection of which
+``minor'' entries to include was based on information and requests from
+various phoneticians and linguists who contacted WSU during the beginning
+stages of the creation of the font.
+
+\section{The Layout of the WSUIPA Font}
+
+The character-grouping pattern followed by Pullum and Ladusaw in their
+{\it Guide} was adopted as the basis
+for the \wsu\ font layout. The characters
+are grouped together according to shape rather than usage. Therefore,
+the ``a'' shapes occupy
+the first positions: '00 through '04, ``b'' shapes are in positions '05
+through '11 and so forth. The accents and diacritics follow the character
+shapes and are in the last positions in the font. This approach was taken
+because under it was assumed that under most circumstances,
+the user would most likely be accessing the characters with the use of macros
+rather than by typing large portions of entirely phonetic text.
+Aside from keeping like shapes together, the positioning of the
+\wsu\ font was fairly arbitrary.
+
+\section{Character Description}
+
+Within this section each of the \wsu\ characters are shown in a \meta\
+``smoke mode'' proof. The octal character position is indicated, along with the
+corresponding macro name in \ipam, and the
+name of the character given in P\&L.
+Only the roman characters will be illustrated since the shapes of the slanted
+and bold extended are the same.
+
+There are several Greek characters included in the \wsu\ font, and initially
+it may appear these are merely copies of the corresponding CM Greek characters.
+That is true with one very important distinction: the \wsu\ Greek characters
+included are not italic. All the lowercase Greek characters included in
+the CM fonts are italic which makes them unsuitable for some situations in
+phonetics where a non-italic Greek character is essential.
+\newpage
+\raggedbottom
+\vbox{ \pos{'00}\mac{inva}\pl{turned a}\smoke{'00}}
+
+\vbox{ \pos{'01}\mac{scripta}\pl{script a}\smoke{'01}}
+
+\vbox{ \pos{'02}\mac{nialpha}\pl{lowercase non-italic alpha}\smoke{'02}
+}
+
+\vbox{\pos{'03}\mac{invscripta}\pl{turned script a}\smoke{'03}}
+
+\vbox{\pos{'04}\mac{invv}\pl{inverted v}\smoke{'04}}
+
+\vbox{\pos{'05}\mac{crossb}\pl{crossed b}\smoke{'05}}
+
+\vbox{\pos{'06}\mac{barb}\pl{barred b}\smoke{'06}}
+
+\vbox{\pos{'07}\mac{slashb}\pl{slashed b}\smoke{'07}}
+
+\vbox{\pos{'10}\mac{hookb}\pl{hooktop b}\smoke{'10}}
+
+\vbox{\pos{'11}\mac{nibeta}\pl{non-italic lowercase beta}\smoke{'11}}
+
+\vbox{\pos{'12}\mac{slashc}\pl{slashed c}\smoke{'12}}
+
+\vbox{\pos{'13}\mac{curlyc}\pl{curly-tail c}\smoke{'13}}
+
+\vbox{\pos{'14}\mac{clickc}\pl{stretched c}\smoke{'14}}
+
+\vbox{\pos{'15}\mac{crossd}\pl{crossed d}\smoke{'15}}
+
+\vbox{\pos{'16}\mac{bard}\pl{barred d}\smoke{'16}}
+
+\vbox{\pos{'17}\mac{slashd}\pl{slashed d}\smoke{'17}}
+
+\vbox{\pos{'20}\mac{hookd}\pl{hooktop d}\smoke{'20}}
+
+\vbox{\pos{'21}\mac{taild}\pl{right-tail d}\smoke{'21}}
+
+\vbox{\pos{'22}\mac{dz}\pl{d-yogh ligature}\smoke{'22}}
+
+\vbox{\pos{'23}\mac{eth}\pl{eth}\smoke{'23}}
+
+\vbox{\pos{'24}\mac{scd}\pl{small capital D}\smoke{'24}}
+
+\vbox{\pos{'25}\mac{schwa}\pl{schwa}\smoke{'25}}
+
+\vbox{\pos{'26}\mac{er}\pl{right-hook schwa}\smoke{'26}}
+
+\vbox{\pos{'27}\mac{reve}\pl{reversed e}\smoke{'27}}
+
+\vbox{\pos{'30}\mac{niepsilon}\pl{non-italic greek epsilon}\smoke{'30}}
+
+\vbox{\pos{'31}\mac{revepsilon}\pl{reversed non-italic epsilon}\smoke{'31}}
+
+\vbox{\pos{'32}\mac{hookrevepsilon}\pl{right-hook reversed non-italic epsilon}
+\smoke{'32}}
+
+\vbox{\pos{'33}\mac{closedrevepsilon}\pl{closed reversed non-italic epsilon}
+\smoke{'33}}
+
+\vbox{\pos{'34}\mac{scriptg}\pl{lowercase variant g}\smoke{'34}}
+
+\vbox{\pos{'35}\mac{hookg}\pl{hooktop g}\smoke{'35}}
+
+\vbox{\pos{'36}\mac{scg}\pl{small capital G}\smoke{'36}}
+
+\vbox{\pos{'37}\mac{nigamma}\pl{non-italic gamma}\smoke{'37}}
+
+\vbox{\pos{'40}\mac{ipagamma}\pl{IPA Gamma}\smoke{'40}}
+
+\vbox{\pos{'41}\mac{babygamma}\pl{baby gamma}\smoke{'41}}
+
+\vbox{\pos{'42}\mac{hv}\pl{h-v ligature}\smoke{'42}}
+
+\vbox{\pos{'43}\mac{crossh}\pl{crossed h}\smoke{'43}}
+
+\vbox{\pos{'44}\mac{hookg}\pl{hooktop g}\smoke{'44}}
+
+\vbox{\pos{'45}\mac{hookheng}\pl{hooktop heng}\smoke{'45}}
+
+\vbox{\pos{'46}\mac{invh}\pl{turned h}\smoke{'46}}
+
+\vbox{\pos{'47}\mac{bari}\pl{barred i}\smoke{'47}}
+
+\vbox{\pos{'50}\mac{dlbari}\pl{barred dotless i}\smoke{'50}}
+
+\vbox{\pos{'51}\mac{niiota}\pl{non-italic greek iota}\smoke{'51}}
+
+\vbox{\pos{'52}\mac{sci}\pl{small capital I}\smoke{'52}}
+
+\vbox{\pos{'53}\mac{barsci}\pl{barred small capital I}\smoke{'53}}
+
+\vbox{\pos{'54}\mac{invf}\pl{barred dotless j}\smoke{'54}}
+
+\vbox{\pos{'55}\mac{tildel}\pl{l with tilde}\smoke{'55}}
+
+\vbox{\pos{'56}\mac{barl}\pl{barred l}\smoke{'56}}
+
+\vbox{\pos{'57}\mac{latfric}\pl{belted l}\smoke{'57}}
+
+\vbox{\pos{'60}\mac{taill}\pl{l with right tail}\smoke{'60}}
+
+\vbox{\pos{'61}\mac{lz}\pl{l-yogh ligature}\smoke{'61}}
+
+\vbox{\pos{'62}\mac{nilambda}\pl{non-italic greek lambda}\smoke{'62}}
+
+\vbox{\pos{'63}\mac{crossnilambda}\pl{crossed lambda}\smoke{'63}}
+
+\vbox{\pos{'64}\mac{labdentalnas}
+\pl{m with leftward tail at right}\smoke{'64}}
+
+\vbox{\pos{'65}\mac{invm}\pl{turned m}\smoke{'65}}
+
+\vbox{\pos{'66}\mac{legm}\pl{turned m with long right leg}\smoke{'66}}
+
+\vbox{\pos{'67}\mac{nj}\pl{n with leftward hook at left}\smoke{'67}}
+
+\vbox{\pos{'70}\mac{eng}\pl{eng}\smoke{'70}}
+
+\vbox{\pos{'71}\mac{tailn}\pl{n with right tail}\smoke{'71}}
+
+\vbox{\pos{'72}\mac{scn}\pl{small capital N}\smoke{'72}}
+
+\vbox{\pos{'73}\mac{clickb}\pl{bull's eye}\smoke{'73}}
+
+\vbox{\pos{'74}\mac{baro}\pl{barred o}\smoke{'74}}
+
+\vbox{\pos{'75}\mac{openo}\pl{open o}\smoke{'75}}
+
+\vbox{\pos{'76}\mac{niomega}\pl{non-italic lowercase greek omega}\smoke{'76}}
+
+\vbox{\pos{'77}\mac{closedniomega}\pl{closed omega}\smoke{'77}}
+
+\vbox{\pos{'100}\mac{oo}\pl{double o}\smoke{'100}}
+
+\vbox{\pos{'101}\mac{barp}\pl{barred p}\smoke{'101}}
+
+\vbox{\pos{'102}\mac{thorn}\pl{thorn}\smoke{'102}}
+
+\vbox{\pos{'103}\mac{niphi}\pl{non-italic lowercase greek phi}\smoke{'102}}
+
+\vbox{\pos{'104}\mac{flapr}\pl{fish hook r}\smoke{'104}}
+
+\vbox{\pos{'105}\mac{legr}\pl{r with long leg}\smoke{'105}}
+
+\vbox{\pos{'106}\mac{tailr}\pl{r with right tail}\smoke{'106}}
+
+\vbox{\pos{'107}\mac{invr}\pl{turned r}\smoke{'107}}
+
+\vbox{\pos{'110}\mac{tailinvr}\pl{turned r with right tail}\smoke{'110}}
+
+\vbox{\pos{'111}\mac{invlegr}\pl{turned long-legged r}\smoke{'111}}
+
+\vbox{\pos{'112}\mac{scr}\pl{small capital R}\smoke{'112}}
+
+\vbox{\pos{'113}\mac{invscr}\pl{inverted small capital R}\smoke{'113}}
+
+\vbox{\pos{'114}\mac{tails}\pl{s with right tail}\smoke{'114}}
+
+\vbox{\pos{'115}\mac{esh}\pl{esh}\smoke{'115}}
+
+\vbox{\pos{'116}\mac{curlyesh}\pl{curly-tail esh}\smoke{'116}}
+
+\vbox{\pos{'117}\mac{nisigma}\pl{non-italic lowercase greek sigma}\smoke{'117}}
+
+\vbox{\pos{'120}\mac{tailt}\pl{t with right tail}\smoke{'120}}
+
+\vbox{\pos{'121}\mac{tesh}\pl{t-esh ligature}\smoke{'121}}
+
+\vbox{\pos{'122}\mac{clickt}\pl{turned t}\smoke{'122}}
+
+\vbox{\pos{'123}\mac{nitheta}\pl{non-italic lowercase greek theta}\smoke{'123}}
+
+\vbox{\pos{'124}\mac{baru}\pl{barred u}\smoke{'124}}
+
+\vbox{\pos{'125}\mac{slashu}\pl{slashed u}\smoke{'124}}
+
+\vbox{\pos{'126}\mac{niupsilon}\pl{non-italic lowercase greek
+ upsilon}\smoke{'126}}
+
+\vbox{\pos{'127}\mac{scu}\pl{small capital U}\smoke{'127}}
+
+\vbox{\pos{'130}\mac{barscu}\pl{barred small capital U}\smoke{'130}}
+
+\vbox{\pos{'131}\mac{scriptv}\pl{script v}\smoke{'131}}
+
+\vbox{\pos{'132}\mac{invw}\pl{inverted w}\smoke{'132}}
+
+\vbox{\pos{'133}\mac{nichi}\pl{non-italic lowercase greek chi}\smoke{'133}}
+
+\vbox{\pos{'134}\mac{invy}\pl{turned y}\smoke{'134}}
+
+\vbox{\pos{'135}\mac{scy}\pl{small capital Y}\smoke{'135}}
+
+\vbox{\pos{'136}\mac{curlyz}\pl{curly-tail z}\smoke{'136}}
+
+\vbox{\pos{'137}\mac{tailz}\pl{z with right tail}\smoke{'137}}
+
+\vbox{\pos{'140}\mac{yogh}\pl{yogh}\smoke{'140}}
+
+\vbox{\pos{'141}\mac{curlyyogh}\pl{curly-tail yogh}\smoke{'141}}
+
+\vbox{\pos{'142}\mac{glotstop}\pl{glottal stop}\smoke{'142}}
+
+\vbox{\pos{'143}\mac{revglotstop}\pl{reversed glottal stop}\smoke{'143}}
+
+\vbox{\pos{'144}\mac{invglotstop}\pl{inverted glottal stop}\smoke{'144}}
+
+\vbox{\pos{'145}\mac{ejective}\pl{ejective}\smoke{'145}}
+
+\vbox{\pos{'146}\mac{reveject}\pl{reversed ejective}\smoke{'146}}
+
+\vbox{\pos{'147}\mac{dental\#1}\pl{subscript bridge}\smoke{'147}}
+
+\vbox{\pos{'150}\mac{stress}\pl{vertical stroke (superior)}\smoke{'150}}
+
+\vbox{\pos{'151}\mac{secstress}\pl{vertical stroke (inferior)}\smoke{'151}}
+
+\vbox{\pos{'152}\mac{syllabic}\pl{syllabicity mark}\smoke{'152}}
+
+\vbox{\pos{'153}\mac{corner}\pl{corner}\smoke{'153}}
+
+\vbox{\pos{'154}\mac{upt}\pl{IPA pointer}\smoke{'154}}
+
+\vbox{\pos{'155}\mac{downt}\pl{IPA pointer}\smoke{'155}}
+
+\vbox{\pos{'156}\mac{leftt}\pl{IPA pointer}\smoke{'156}}
+
+\vbox{\pos{'157}\mac{rightt}\pl{IPA pointer}\smoke{'157}}
+
+\vbox{\pos{'160}\mac{halflength}\pl{half-length mark}\smoke{'160}}
+
+\vbox{\pos{'161}\mac{length}\pl{length mark}\smoke{'161}}
+
+\vbox{\pos{'162}\mac{underdots}\pl{subscript umlaut}\smoke{'162}}
+
+\vbox{\pos{'163}\mac{ain}\pl{reversed apostrophe}\smoke{'163}}
+
+\vbox{\pos{'164}\mac{upp}\pl{pointer}\smoke{'164}}
+
+\vbox{\pos{'165}\mac{downp}\pl{pointer}\smoke{'165}}
+
+\vbox{\pos{'166}\mac{leftp}\pl{pointer}\smoke{'166}}
+
+\vbox{\pos{'167}\mac{rightp}\pl{pointer}\smoke{'167}}
+
+\vbox{\pos{'170}\mac{overring}\pl{over-ring}\smoke{'170}}
+
+\vbox{\pos{'171}\mac{underring}\pl{under-ring}\smoke{'171}}
+
+\vbox{\pos{'172}\mac{open}\pl{subscript left half-ring}\smoke{'172}}
+
+\vbox{\pos{'173}\mac{midtilde}\pl{superimposed (mid-) tilde}\smoke{'173}}
+
+\vbox{\pos{'174}\mac{undertilde}\pl{subscript tilde}\smoke{'174}}
+
+\vbox{\pos{'175}\mac{underwedge}\pl{subscript wedge}\smoke{'175}}
+
+\vbox{\pos{'176}\mac{polishhook}\pl{polish hook}\smoke{'176}}
+
+\vbox{\pos{'177}\mac{underarch}\pl{subscript arch}\smoke{'177}}
+
+\newpage
+\flushbottom
+\section{Using the IPAMACS Macros}
+
+In addition to the necessary font-related files, the \wsu\ font package
+also includes a file called IPAMACS.TEX. This is a macro file which includes
+font declarations and definitions for use with the \wsu\ fonts.
+It also contains macro definitions for accessing each \wsu\ character
+mnemonically, as well as some macro definitions
+to simplify using \wsu\ accents and diacritics with Computer Modern
+characters and vice versa.
+
+Before you can use any of the macros from the \ipam\ file, you must input the
+{\tt IPAMACS.TEX} file by entering,
+\begin{verbatim}
+\input ipamacs
+\end{verbatim}
+
+\noindent at the top of your \TeX\ file. This assumes, of course, that you have
+installed this file.
+The \ipam\ file defines a font called
+\verb?\ipa? to be the twelve point roman \wsu\
+font. The \verb?\ipa? font is used in all the macro definitions in \ipam\
+to access the
+characters from the \wsu\ font. You may redefine \verb?\ipa?, say to be ten point
+roman, by entering
+\begin{verbatim}
+\font\ipatenrm=wsuipa10
+\def\ipa\{\ipatenrm\}
+\end{verbatim}
+\noindent within your file. From that point on, all the \wsu\ characters
+ accessed by
+using the \ipam\ macros will be the ten-point roman \wsu.
+
+To access individual \wsu\ characters within sentences set in Computer Modern,
+you need only to enter the \verb?\ipa? command. For example,
+\begin{verbatim}
+A shibilant is a term occasionally found for a fricative
+corresponding to
+a ``hushing'' sound, e.g., IPA [\esh] (more technically,
+a grooved laminal fricative).
+\end{verbatim}
+\noindent which will print as:
+\vs{5pt}
+{\bf
+A shibilant is a term occasionally found for a fricative
+corresponding to
+a ``hushing'' sound, e.g., IPA [\esh] (more technically,
+a grooved laminal fricative).
+}
+\vs{5pt}
+
+The \ipam\ character macros are defined so they can be used with the CM
+characters and accents without the need for delimiting curly braces. By using
+the \ipam\
+definitions, you can use the CM accents with a \wsu\ character in the
+same way you would accent a CM character. The following input
+
+\begin{verbatim}
+The superscript tilde is a nasalization marker for vowels,
+thus [\tilde\scripta] is a nasalized [\scripta].
+\end{verbatim}
+\noindent will print as:
+\vs{5pt}
+{\bf The superscript tilde is a nasalization marker for vowels, thus
+[\~\scripta] is a nasalized [\scripta].
+}
+\vs{5pt}
+
+The \wsu\ accents can be used with CM characters. However, only the \wsu\
+``\dental'' and ``\underarch'' have been defined in \ipam\ and both are
+diacritics which go under a character.
+To use any other \wsu\ character as an accent either with a CM character or with
+another \wsu\ character, you can define the \wsu\ accent
+in the same way that the CM accents are defined. For example, an ``over-ring''
+accent could be defined as,
+
+\begin{verbatim}
+\def\or#1{{\edef\next{\the\font}%
+ \ipatwelverm\accent"78\next#1}}
+\end{verbatim}
+\noindent and may be used like,
+
+\begin{verbatim}
+The over-ring may be used over letters with descenders as an
+alternative to under-ring to indicate devoicing, e.g. [\or g].
+\end{verbatim}
+\noindent which will print as:
+\vs{5pt}
+{\def\or#1{{\edef\next{\the\font}%
+ \ipatwelverm\accent"78\next#1}}
+\bf The over-ring may be used over letters with descenders as an
+alternative to under-ring to indicate devoicing, e.g. [\or g].}
+\vs{5pt}
+
+Most of the \wsu\ diacritics are intended to go under characters, like the
+``underarch'' and ``dental'' mentioned above. You may define other ``under''
+accents in the same way as these two. For example, an ``undercircle''
+could be defined as,
+
+\begin{verbatim}
+\def\undercirc#1{\oalign{#1\crcr
+ \hidewidth\underring\hidewidth}}
+\end{verbatim}
+\noindent With this definition, the input
+\begin{verbatim}
+A voiceless trilled r [\undercirc r] in
+certain Scottish dialects
+\end{verbatim}
+\noindent will print as:
+\vs{5pt}
+{\def\undercirc#1{\oalign{#1\crcr\hidewidth\underring\hidewidth}}
+\bf A voiceless trilled r [\undercirc r] in certain Scottish dialects
+}
+\vs{5pt}
+
+If the spacing or placement of the diacritic is not exactly what you desire
+with the basic definition given above, you can add kerns where needed.
+For example, if you want less space between the ``undercircle'' and
+the character, you could change the definition to be,
+\begin{verbatim}
+\def\undercirc#1{\oalign{#1\crcr
+ \hidewidth\raise.1ex\hbox{\underring}\hidewidth}}
+\end{verbatim}
+
+\noindent and this input
+\begin{verbatim}
+A voiceless trilled r [\undercirc r] in
+certain Scottish dialects
+\end{verbatim}
+\noindent will print as:
+\vs{5pt}
+{\def\undercirc#1{\oalign{#1\crcr\hidewidth
+\raise.1ex\hbox{\underring}\hidewidth}}
+\bf A voiceless trilled r [\undercirc r] in certain Scottish dialects
+}
+\vs{5pt}
+
+Your diacritic definitions may be as general or specific as you wish. At one
+institution which uses the \wsu\ fonts, they prefer the ``undercircle'' to be
+placed differently when it falls under an r than any other character. To
+accomplish this, they use the following definition for \verb?\undercirc?.
+
+\begin{verbatim}
+\def\undercirc#1{\ifx#1r
+ \oalign{#1\crcr\hidewidth\kern.24em\underring
+ \hidewidth\crcr}
+ \else\oalign{#1\crcr
+ \hidewidth\raise.1ex\hbox{\underring}\hidewidth}
+ \fi}
+\end{verbatim}
+
+With this definition of \verb?\undercirc?, the following input
+
+\begin{verbatim}
+To illustrate the different placement of the \underring on
+an \undercirc s and on an \undercirc r.
+\end{verbatim}
+
+\noindent will print as
+\vs{5pt}
+{\def\undercirc#1{\ifx#1r
+ \oalign{#1\crcr\hidewidth\kern.24em\underring\hidewidth\crcr}\fi}
+\bf To illustrate the different placement of the \underring on an \undercirc s
+and on an \undercirc r.
+}
+\vs{5pt}
+
+\ipam\
+also includes a macro called \verb?\diatop? which provides an alternative way
+of getting one or more characters, accents, or diacritics over one another. The
+\verb?\diatop? macro takes one argument which is delimited by square
+brackets ([])
+rather than curly braces, and has two parts. The first part of the
+argument is delimited, or separated, from the second part by a vertical bar
+($\vert$). \verb?\diatop? puts the first part of the argument over the second.
+
+Using \verb?\diatop? instead of our previous definition for the ``overring,'' (\\or)
+you could input,
+
+\begin{verbatim}
+The overring may be used over letters with descenders as
+an alternative to
+under-ring to indicate devoicing, e.g. [\diatop[\overring|g]].
+\end{verbatim}
+\noindent and the output would be,
+\vs{5pt}
+{\bf The overring may be used over letters with descenders as an alternative to
+under-ring to indicate devoicing, e.g. [\diatop[\overring|g]].
+}
+\vs{5pt}
+
+More than one character can be stacked over another character by using
+\verb?\diatop?. For example,
+
+\begin{verbatim}
+For a really special \diatop[{\diatop[\'|\overring]}|n]
+\end{verbatim}
+\noindent will print as:
+\vs{5pt}
+{\bf For a really special \diatop[{\diatop[\'|\overring]}|n]
+}
+\vs{5pt}
+
+\noindent Notice the use of curly braces to group the argument of the first
+\verb?\diatop? when more than one \verb?\diatop? command is used.
+
+It is also possible to get one or more accents over a character and another
+accent or character under it. Assuming that \verb?\undercirc? has been defined as
+described earlier, the following example
+
+\begin{verbatim}
+This is a really, really special
+\diatop[\overring|\undercirc{r}]
+\end{verbatim}
+\noindent will print as:
+\vs{5pt}
+{\def\undercirc#1{\oalign{#1\crcr\hidewidth\underring\hidewidth}}
+\bf This is a really, really special \diatop[\overring|\undercirc{r}]
+}
+\vs{5pt}
+
+The \ipam\ do not sent up the \wsu\ fonts to be part of a font family
+definition, which means that any \wsu\ character that is accessed by
+an \ipam\
+macro, will always print out in the same font (wsuipa12, by default),
+regardless of what size or typeface you may have been using when
+the \ipam\
+macro was called. In other words, whatever font \verb?\ipa? is defined to be,
+determines the font \ipam\ will call.
+
+In order to get slanted \wsu\ characters when \verb?\it? or \verb?\sl? is being used, or
+bold \wsu\ characters when \verb?\bf? is being used, you must include the definition
+of \verb?\ipa? as part of your font family definitions.
+
+Without redefining \verb?\ipa?, the following input,
+
+\begin{verbatim}
+\dots which is the case in the aforementioned
+instances, however, {\bf this
+does not preclude the other retroflex consonants:
+[\nj], [\taill], [\taild], and [\tailr]}.
+\end{verbatim}
+\noindent will print as,
+
+\vs{5pt}
+{\bf \dots which is the case in the aforementioned instances, however, {\bf this
+does not preclude the other retroflex consonants: [\nj], [\taill], [\taild],
+and [\tailr]}.
+}
+\vs{5pt}
+
+Now, with \verb?\ipa? defined within the twelve-point font family, as illustrated
+below
+
+\begin{verbatim}
+\font\twelverm=cmr12
+\font\twelvei=cmmi12
+\font\twelvesy=cmsy12
+\font\twelveex=cmex12
+\font\twelveit=cmti12
+\font\twelvebf=cmbx12
+\font\twelveipa=wsuipa12
+\font\twelveslipa=wslipa12
+\font\twelvebfipa=wbxipa12
+
+\def\twelvepoint{%
+ \textfont0=\twelverm
+ \scriptfont0=\sevenrm \scriptscriptfont0=\sevenrm
+ \def\rm{\fam0\twelverm\def\ipa{\twelvermipa}}%
+ \textfont1=\twelvei
+ \scriptfont1=\sevenrm \scriptscriptfont1=\sevenrm
+ \textfont2=\twelvesy
+ \scriptfont2=\sevensy \scriptscriptfont2=\sevensy
+ \textfont3=\twelveex
+ \scriptfont3=\twelveex \scriptscriptfont3=\twelveex
+ \textfont\itfam=\twelveit
+ \def\it{\fam\itfam\twelveit\def\ipa{\twelveslipa}}%
+ \textfont\bffam=\twelvebf
+ \def\bf{\fam\bffam\twelvebf\def\ipa{\twelvebfipa}}%
+ \rm}%
+%
+
+%
+\end{verbatim}
+\noindent the previous input of
+\begin{verbatim}
+\dots which is the case in the aforementioned
+instances, however, \{\bf this
+does not preclude the other retroflex consonants:
+[\nj], [\taill], [\taild], and [\tailr]\}.
+\end{verbatim}
+\noindent will print as,
+
+\vs{5pt}
+{\font\twelvebfipa=wbxipa12\font\twelvebf=cmbx12\def\bf{\fam\bffam\twelvebf
+\def\ipa{\twelvebfipa}}%
+\bf\dots which is the case in the aforementioned instances, however, {\bf this
+does not preclude the other retroflex consonants: [\nj], [\taill], [\taild],
+and [\tailr]}.
+}
+
+\parindent 0pt
+
+% macros for font tables
+\def\oct#1{\hbox{\rm\'{}\kern-.1em\it#1\/\kern.05em}}
+\def\hex#1{\hbox{\rm\H{}\tt#1}} % hexadecimal constant
+
+\abovedisplayskip=3pt\belowdisplayskip=2pt
+\font\smalltextfont=cmr7
+\newcount\fontcount
+\newbox\charbox
+\def\oddline#1{\cr
+ \noalign{\nointerlineskip}
+ \multispan{19}\hrulefill&
+ \setbox\charbox=\hbox{\lower 2.3pt\hbox{\hex{#1x}}}
+ \smash{\box\charbox}\cr
+ \noalign{\nointerlineskip}}
+\def\evenline{\cr\noalign{\hrule}}
+\def\chartstrut{\lower3.5pt\vbox to14pt{}}
+\def\beginchart#1{ \global\fontcount=0 #1
+ \halign to\hsize\bgroup
+ \chartstrut##\tabskip0pt plus10pt&
+ &\hfil##\hfil&\vrule##\cr
+ \lower6.5pt\null
+ &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline}
+\def\endchart{\raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B&
+ &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup}
+\def\:{\setbox\charbox=%\drawbox{
+\hbox{\char\fontcount
+%\llap{\vrule height.4pt width5pt depth0pt} %this will draw line at baseline
+}%}%
+ \ifdim\ht\charbox>7.5pt\reposition
+ \else\ifdim\dp\charbox>2.5pt\reposition
+ \else\ifdim\wd\charbox>0pt
+ \ifdim\ht\charbox<.01pt
+ \ifdim\dp\charbox<.01pt\unposition\fi\fi\fi\fi\fi
+ \box\charbox\global\advance\fontcount by1 }
+\def\reposition{}%\setbox\charbox=\hbox{@\vcenter{\kern2pt
+% \box\charbox\kern2pt}@}}
+\def\unposition{\setbox\charbox=\hbox{\smalltextfont undef}}
+\def\normalchart{%
+ &\oct{00x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline0
+ &\oct{01x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{02x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline1
+ &\oct{03x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{04x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline2
+ &\oct{05x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{06x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline3
+ &\oct{07x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{10x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline4
+ &\oct{11x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{12x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline5
+ &\oct{13x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{14x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline6
+ &\oct{15x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{16x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline7
+ &\oct{17x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline}
+
+\newpage
+\font\chartfont=wsuipa12
+{\tt WSUIPA12\bf--- WSU International Phonetic Alphabet Roman -- 12pt}
+\beginchart{\chartfont}
+\normalchart
+\endchart
+\vfill
+\font\newchartfont=wslipa12
+{\tt WSLIPA12\bf---WSU International Phonetic Alphabet Slanted -- 12pt}
+\nopagebreak
+\beginchart{\newchartfont}
+\normalchart
+\endchart
+
+\newpage
+\font\nchartfont=wbxipa12
+{\tt WBXIPA12\bf---WSU International Phonetic Alphabet Bold Extended
+-- 12pt}\
+\beginchart{\nchartfont}
+\normalchart
+\endchart
+\vfill
+\font\nwchartfont=wsuipa9
+{\tt WSUIPA9\bf---WSU International Phonetic Alphabet Roman -- 9pt}\relax
+\nopagebreak
+\beginchart{\nwchartfont}
+\normalchart
+\endchart
+\end{document}
diff --git a/Master/texmf-dist/doc/generic/wsuipa/latex2e/ipaman.tex b/Master/texmf-dist/doc/generic/wsuipa/latex2e/ipaman.tex
new file mode 100644
index 00000000000..694914adbf5
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/wsuipa/latex2e/ipaman.tex
@@ -0,0 +1,532 @@
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%%%%% International Phonetic Alphabet %%%%%
+%%%%% -- Manual -- %%%%%
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%%%%%
+%%%%% adapted to LaTeX by W. Antweiler, UnivCologneCompCen, 05/28/90
+%%%%%
+%%%%% adapted by Andrej Brodnik (Andy) for NFSS, University of
+%%%%% Waterloo, 11.01.93
+%%%%%
+%%%%% adapted by Andrej Brodnik and Denis Roegel for NFSS2, CRIN
+%%%%% (Centre de Recherche en Informatique de Nancy), F-54506
+%%%%% VANDOEUVRE-LES-NANCY, for NFSS2, 16.07.94
+%%%%%
+\documentclass[12pt]{article}
+\usepackage{ipa}
+\newcommand{\B}[1]{$\backslash$#1}
+\newcommand{\MF}{{\rm\sc{}metafont}}
+\newcommand{\wsu}{{\small\rm WSUIPA}}
+\newcommand{\ipam}{{\small\rm IPAMACS}}
+\newcommand{\ipas}{{\small\rm IPA}}
+\newcommand{\PL}{{\em Phonetic Symbol Guide}}
+
+\begin{document}
+\title{Using the WSU International Phonetic Alphabet}
+\author{Washington State University}
+\date{
+ January 9, 1990 \\
+ January 11, 1993\footnote{Adapted for \LaTeX\ and NFSS} \\
+ July 16, 1994\footnote{Adapted for \LaTeX\ and NFSS2}
+}
+\maketitle
+
+\section{Preface}
+
+This users guide is intended to serve as a help and supplement to the
+Washington State University International Phonetic Alphabet (\wsu)
+fonts. It is not intended to be a manual on \TeX, \LaTeX, linguistics,
+or the correct usage of the characters, accents and diacritics
+contained within the font. It is assumed that the user is familiar
+with the version of \LaTeX\ he or she is using and with the characters
+contained within the \wsu\ font. Because the uses for a phonetic
+alphabet font are probably as varied as the many disciplines which use
+the characters, this guide is intended to merely show some of the most
+common ways of using the \wsu\ font. Surely each person who implements
+the font will develop his or her own favorite way of working with and
+using the font.
+
+The principal source of information regarding the characters and their
+shapes has come from sources within the linguistic field---most
+notably, Geoffrey K. Pullum and William A. Ladusaw, whose book, {\em
+Phonetic Symbol Guide} was used extensively. The \PL\ not only lists
+the International Phonetic Alphabet (IPA) characters and diacritics,
+it also gives an enlarged illustration of each character which shows
+its baseline, height, depth and x-height. These character
+illustrations were invaluable in the design of the \wsu\ \MF\
+characters.
+
+Several other people involved in the wonderful world of linguistics
+also aided in the design of the \wsu\ font. Their input concerning
+everything from character shape, to placement within the font, to
+determining which characters should be included, is gratefully
+acknowledged. I would especially like to thank Karen Mullen, Associate
+Professor of English, University of Louisville, Louisville, Kentucky.
+She tested, used the \wsu\ fonts, and took the time to give several
+suggestions and recommendations that have improved the font. Also,
+Christina A. Thiele, Managing Director, Journal Production Centre,
+Carleton University, Ottawa, Ontario, who not only provided a wealth
+of phonetic information, but also a wealth of encouragement throughout
+the entire font designing process.
+
+Included with the \wsu\ fonts are:
+%
+\begin{itemize}
+ \item The basic \wsu\ font which contains 128 phonetic characters
+and/or diacritics in five different point sizes (8, 9, 10, 11 and 12)
+and in three typefaces (roman, slanted and bold extended).
+ \item Each size and typeface includes a TFM (\TeX\ Font Metric) file
+and its related GF, PK or PXL file (after you generate them).
+ \item A macro package (\ipam.TEX) for use with the \wsu\ font for
+\TeX\ and \LaTeX\ without NFSS users. Note, that this package is not
+necessary for NFSS \LaTeX users.
+ \item A style file (\ipas.STY) for NFSS \LaTeX\ users, and
+ \item three {\em WSUIPA Font User's Guides}. The first one is for
+\TeX\ ({\small\rm IPAMAN.TEX} -- the original manual), the second one
+for \LaTeX\ without NFSS ({\small\rm IPAMAN.LTX} -- the manual adapted
+by W.~Antweiler) and the third one is this one.
+\end{itemize}
+
+This guide is divided into three main sections:
+%
+\begin{enumerate}
+ \item an introduction to the \wsu\ font,
+ \item a description of the font layout and the characters included
+in the font and
+ \item how to use \ipas\ more in more sophisticated and in simpler
+way.
+\end{enumerate}
+
+Although the \wsu\ fonts are written in \MF, the user does not need
+experience with or knowledge of \MF\ to use the font.
+
+
+\section{Introduction to the WSUIPA Font}
+
+The \wsu\ fonts are written in \MF\ and use the same font parameter
+values as their Computer Modern (CM) counterparts (cmr and cmbx). In
+fact, while designing the character shapes, the computer modern code
+was left intact or modified only slightly whenever possible.
+Therefore, the \wsu\ fonts are totally compatible with computer modern
+fonts---the design and shape of the characters are computer modern
+wherever possible. For the characters that are drastically different
+from any computer modern characters or symbols, such as the ``Gamma,''
+``Baby Gamma'' and the ``Esh,'' Pullum and Ladusaw's \PL\ was used as
+the character design standard.
+
+The \wsu\ fonts are obviously not an exhaustive collection of phonetic
+or even recognized International Phonetic Alphabet characters. The
+characters included in the \wsu\ font were chosen either because they
+were listed as a ``major'' entry in Pullum and Ladusaw's \PL, or
+because of the recommendations from various people with an interest in
+the font.
+
+\PL\ contains what it classifies as ``major'' and ``minor''
+characters, based upon whether the symbol is an officially recognized
+IPA character or is determined by Pullum and Ladusaw to be a standard
+symbol in current American transcriptual practice. \PL\ lists 78
+``major'' entries which are not easily attainable in the CM fonts. All
+78 of these characters are included in the \wsu\ font, along with 50
+``minor'' entries from \PL. The selection of which ``minor'' entries
+to include was based on information and requests from various
+phoneticians and linguists who contacted WSU during the beginning
+stages of the creation of the font.
+
+
+\section{The Layout of the WSUIPA Font}
+
+The character-grouping pattern followed by Pullum and Ladusaw in their
+\PL\ was adopted as the basis for the \wsu\ font layout. The
+characters are grouped together according to shape rather than usage.
+Therefore, the ``a'' shapes occupy the first positions: '00 through
+'04, ``b'' shapes are in positions '05 through '11 and so forth. The
+accents and diacritics follow the character shapes and are in the last
+positions in the font. This approach was taken because under it was
+assumed that under most circumstances, the user would most likely be
+accessing the characters with the use of macros rather than by typing
+large portions of entirely phonetic text. Aside from keeping like
+shapes together, the positioning of the \wsu\ font was fairly
+arbitrary.
+
+
+\section{Character Description}
+
+Within this section each of the \wsu\ characters are shown in a \MF\
+``smoke mode'' proof. The octal character position is indicated, along
+with the corresponding macro name in \ipam, and the name of the
+character given in \PL. Only the roman characters will be illustrated
+since the shapes of the slanted and bold extended are the same.
+
+There are several Greek characters included in the \wsu\ font, and
+initially it may appear these are merely copies of the corresponding
+CM Greek characters. That is true with one very important distinction:
+the \wsu\ Greek characters included are not italic. All the lowercase
+Greek characters included in the CM fonts are italic which makes them
+unsuitable for some situations in phonetics where a non-italic Greek
+character is essential.
+
+\newcommand{\D}[1]{#1&{\ipa\char#1}}
+\raggedbottom
+\begin{center}
+\begin{tabular}{|l|c|l|l|}
+\hline
+\multicolumn{4}{|c|}{\bf WSUIPA Characters}\\
+\hline\hline
+Char&Char&{\sc IPAMACS}&{\sc Pullum \&\ Ladusaw}\\
+Code& & Name & Name\\
+\hline
+\D{'00} &\B{inva} &turned a\\
+\D{'01} &\B{scripta} &script a\\
+\D{'02} &\B{nialpha} &lowercase non-italic alpha\\
+\D{'03} &\B{invscripta} &turned script a\\
+\D{'04} &\B{invv} &inverted v\\
+\D{'05} &\B{crossb} &crossed b\\
+\D{'06} &\B{barb} &barred b\\
+\D{'07} &\B{slashb} &slashed b\\
+\D{'10} &\B{hookb} &hooktop b\\
+\D{'11} &\B{nibeta} &non-italic lowercase beta\\
+\D{'12} &\B{slashc} &slashed c\\
+\D{'13} &\B{curlyc} &curly-tail c\\
+\D{'14} &\B{clickc} &stretched c\\
+\D{'15} &\B{crossd} &crossed d\\
+\D{'16} &\B{bard} &barred d\\
+\D{'17} &\B{slashd} &slashed d\\
+\D{'20} &\B{hookd} &hooktop d\\
+\D{'21} &\B{taild} &right-tail d\\
+\D{'22} &\B{dz} &d-yogh ligature\\
+\D{'23} &\B{eth} &eth\\
+\D{'24} &\B{scd} &small capital D\\
+\D{'25} &\B{schwa} &schwa\\
+\D{'26} &\B{er} &right-hook schwa\\
+\D{'27} &\B{reve} &reversed e\\
+\D{'30} &\B{niepsilon} &non-italic greek epsilon\\
+\D{'31} &\B{revepsilon} &reversed non-italic epsilon\\
+\D{'32} &\B{hookrevepsilon} &right-hook reversed non-italic epsilon\\
+\D{'33} &\B{closedrevepsilon} &closed reversed non-italic epsilon\\
+\D{'34} &\B{scriptg} &lowercase variant g\\
+\D{'35} &\B{hookg} &hooktop g\\
+\D{'36} &\B{scg} &small capital G\\
+\D{'37} &\B{nigamma} &non-italic gamma\\
+\hline
+\end{tabular}
+\end{center}
+\newpage
+\begin{center}
+\begin{tabular}{|l|c|l|l|}
+\hline
+\multicolumn{4}{|c|}{\bf WSUIPA Characters}\\
+\hline\hline
+Char&Char&{\sc IPAMACS}&{\sc Pullum \&\ Ladusaw}\\
+Code& & Name & Name\\
+\hline
+\D{'40} &\B{ipagamma} &IPA Gamma\\
+\D{'41} &\B{babygamma} &baby gamma\\
+\D{'42} &\B{hv} &h-v ligature\\
+\D{'43} &\B{crossh} &crossed h\\
+\D{'44} &\B{hookg} &hooktop g\\
+\D{'45} &\B{hookheng} &hooktop heng\\
+\D{'46} &\B{invh} &turned h\\
+\D{'47} &\B{bari} &barred i\\
+\D{'50} &\B{dlbari} &barred dotless i\\
+\D{'51} &\B{niiota} &non-italic greek iota\\
+\D{'52} &\B{sci} &small capital I\\
+\D{'53} &\B{barsci} &barred small capital I\\
+\D{'54} &\B{invf} &barred dotless j\\
+\D{'55} &\B{tildel} &l with tilde\\
+\D{'56} &\B{barl} &barred l\\
+\D{'57} &\B{latfric} &belted l\\
+\D{'60} &\B{taill} &l with right tail\\
+\D{'61} &\B{lz} &l-yogh ligature\\
+\D{'62} &\B{nilambda} &non-italic greek lambda\\
+\D{'63} &\B{crossnilambda} &crossed lambda\\
+\D{'64} &\B{labdentalnas} &m with leftward tail at right\\
+\D{'65} &\B{invm} &turned m\\
+\D{'66} &\B{legm} &turned m with long right leg\\
+\D{'67} &\B{nj} &n with leftward hook at left\\
+\D{'70} &\B{eng} &eng\\
+\D{'71} &\B{tailn} &n with right tail\\
+\D{'72} &\B{scn} &small capital N\\
+\D{'73} &\B{clickb} &bull's eye\\
+\D{'74} &\B{baro} &barred o\\
+\D{'75} &\B{openo} &open o\\
+\D{'76} &\B{niomega} &non-italic lowercase greek omega\\
+\D{'77} &\B{closedniomega} &closed omega\\
+\hline
+\end{tabular}
+\end{center}
+\newpage
+\begin{center}
+\begin{tabular}{|l|c|l|l|}
+\hline
+\multicolumn{4}{|c|}{\bf WSUIPA Characters}\\
+\hline\hline
+Char&Char&{\sc IPAMACS}&{\sc Pullum \&\ Ladusaw}\\
+Code& & Name & Name\\
+\hline
+\D{'100} &\B{oo} &double o\\
+\D{'101} &\B{barp} &barred p\\
+\D{'102} &\B{thorn} &thorn\\
+\D{'103} &\B{niphi} &non-italic lowercase greek phi\\
+\D{'104} &\B{flapr} &fish hook r\\
+\D{'105} &\B{legr} &r with long leg\\
+\D{'106} &\B{tailr} &r with right tail\\
+\D{'107} &\B{invr} &turned r\\
+\D{'110} &\B{tailinvr} &turned r with right tail\\
+\D{'111} &\B{invlegr} &turned long-legged r\\
+\D{'112} &\B{scr} &small capital R\\
+\D{'113} &\B{invscr} &inverted small capital R\\
+\D{'114} &\B{tails} &s with right tail\\
+\D{'115} &\B{esh} &esh\\
+\D{'116} &\B{curlyesh} &curly-tail esh\\
+\D{'117} &\B{nisigma} &non-italic lowercase greek sigma\\
+\D{'120} &\B{tailt} &t with right tail\\
+\D{'121} &\B{tesh} &t-esh ligature\\
+\D{'122} &\B{clickt} &turned t\\
+\D{'123} &\B{nitheta} &non-italic lowercase greek theta\\
+\D{'124} &\B{baru} &barred u\\
+\D{'125} &\B{slashu} &slashed u\\
+\D{'126} &\B{niupsilon} &non-italic lowercase greek upsilon\\
+\D{'127} &\B{scu} &small capital U\\
+\D{'130} &\B{barscu} &barred small capital U\\
+\D{'131} &\B{scriptv} &script v\\
+\D{'132} &\B{invw} &inverted w\\
+\D{'133} &\B{nichi} &non-italic lowercase greek chi\\
+\D{'134} &\B{invy} &turned y\\
+\D{'135} &\B{scy} &small capital Y\\
+\D{'136} &\B{curlyz} &curly-tail z\\
+\D{'137} &\B{tailz} &z with right tail\\
+\hline
+\end{tabular}
+\end{center}
+\newpage
+\begin{center}
+\begin{tabular}{|l|c|l|l|}
+\hline
+\multicolumn{4}{|c|}{\bf WSUIPA Characters}\\
+\hline\hline
+Char&Char&{\sc IPAMACS}&{\sc Pullum \&\ Ladusaw}\\
+Code& & Name & Name\\
+\hline
+\D{'140} &\B{yogh} &yogh\\
+\D{'141} &\B{curlyyogh} &curly-tail yogh\\
+\D{'142} &\B{glotstop} &glottal stop\\
+\D{'143} &\B{revglotstop} &reversed glottal stop\\
+\D{'144} &\B{invglotstop} &inverted glottal stop\\
+\D{'145} &\B{ejective} &ejective\\
+\D{'146} &\B{reveject} &reversed ejective\\
+\D{'147} &\B{dental{\char'043}1} &subscript bridge\\
+\D{'150} &\B{stress} &vertical stroke (superior)\\
+\D{'151} &\B{secstress} &vertical stroke (inferior)\\
+\D{'152} &\B{syllabic} &syllabicity mark\\
+\D{'153} &\B{corner} &corner\\
+\D{'154} &\B{upt} &IPA pointer\\
+\D{'155} &\B{downt} &IPA pointer\\
+\D{'156} &\B{leftt} &IPA pointer\\
+\D{'157} &\B{rightt} &IPA pointer\\
+\D{'160} &\B{halflength} &half-length mark\\
+\D{'161} &\B{length} &length mark\\
+\D{'162} &\B{underdots} &subscript umlaut\\
+\D{'163} &\B{ain} &reversed apostrophe\\
+\D{'164} &\B{upp} &pointer\\
+\D{'165} &\B{downp} &pointer\\
+\D{'166} &\B{leftp} &pointer\\
+\D{'167} &\B{rightp} &pointer\\
+\D{'170} &\B{overring} &over-ring\\
+\D{'171} &\B{underring} &under-ring\\
+\D{'172} &\B{open} &subscript left half-ring\\
+\D{'173} &\B{midtilde} &superimposed (mid-) tilde\\
+\D{'174} &\B{undertilde} &subscript tilde\\
+\D{'175} &\B{underwedge} &subscript wedge\\
+\D{'176} &\B{polishhook} &polish hook\\
+\D{'177} &\B{underarch} &subscript arch\\
+\hline
+\end{tabular}
+\end{center}
+\newpage
+\flushbottom
+
+
+\section{Using the {\tt{}ipa.sty} Style File}
+
+In addition to the necessary font-related files, the \wsu\ font
+package also includes a file called {\ipas.STY}. This is a macro style
+file which supports \LaTeX\ under NFSS (new font selection scheme). It
+greatly simplifies the usage of new font as it will be seen in this
+section. The file also defines mnemonics for simpler usage of
+characters from a new font. They are the same as ones given in tables
+in the previous section.
+
+If you are using IPA font all what you need to do is to mention \ipas\
+style file in the header of your \LaTeX\ source. For example:
+%
+\begin{verbatim}
+\documentstyle[ipa]{article}
+\end{verbatim}
+
+The \ipas\ style file defines a new font family \B{ipa}, but you
+don't need to know this, because you will use it only through the
+mnemonics.
+
+Because the new font is installed under NFSS, the system will also
+always choose the correct shape, series, and size whenever you wish to
+use it. For example:
+%
+\begin{quote}\begin{verbatim}
+A shibilant is a term occasionally found for a
+fricative corresponding to a ``hushing'' sound,
+e.g., IPA [\esh] (more technically, a grooved
+laminal fricative with a sign {\large\bf \esh}.).
+\end{verbatim}\end{quote}
+%
+which will print as:
+%
+\begin{quote}
+A shibilant is a term occasionally found for a
+fricative corresponding to a ``hushing'' sound,
+e.g., IPA [\esh] (more technically, a grooved
+laminal fricative with a sign {\large\bf \esh}.).
+\end{quote}
+%
+or even
+%
+\begin{quote}\begin{verbatim}
+\dots which is the case in the aforementioned
+instances, however, {\large\bf we get the other
+retroflex consonants:
+[\nj], [\taill], [\taild], and [\tailr]}. They
+are printed {\small\sl also as
+[\nj], [\taill], [\taild], and [\tailr]}.
+\end{verbatim}\end{quote}
+%
+will print as,
+%
+\begin{quote}
+\dots which is the case in the aforementioned
+instances, however, {\bf\large we get the
+other retroflex consonants:
+[\nj], [\taill], [\taild], and [\tailr]}. They
+are printed {\sl\small also as
+[\nj], [\taill], [\taild], and [\tailr]}.
+\end{quote}
+%
+%
+This means that you can freely change sizes, series, shapes and fonts
+(assuming that there exists a wanted font -- note however, that IPA
+font comes only in bold extended and medium series, and in normal and
+slanted shape.)
+
+A number of \wsu\ diacritics can be used on top or the bottom of other
+characters. To handle this \ipas\ provides two macros: \B{diatop} and
+\B{diaunder}. The first one (\B{diatop}) has the syntax:
+%
+\begin{center}
+\verb+\diatop[diacritics|character]+
+\end{center}
+%
+It takes one argument which is delimited by square brackets ([])
+rather than curly braces, and has two parts.\footnote{From the \LaTeX\
+perspective more correctly would be to use curly braces (\{\}) instead
+of square brackets ([]), but we left the square brackets to remain
+compatible with the previous versions of the \ipam\ file.}
+%
+The first part of the argument is delimited, or separated, from the
+second part by a vertical bar ($\vert$). The macro \B{diatop} puts the
+first part of the argument over the second.
+
+Using \B{diatop} we can put a ring over another character by,
+%
+\begin{quote}\begin{verbatim}
+The overring may be used over letters with descenders
+as an alternative to under-ring to indicate devoicing,
+e.g. [\diatop[\overring|g]].
+\end{verbatim}\end{quote}
+%
+and the output would be,
+%
+\begin{quote}
+The overring may be used over letters with descenders as an
+alternative to under-ring to indicate devoicing, e.g.
+[\diatop[\overring|g]].
+\end{quote}
+
+The \B{diatop} macro also allows placement more than one character
+stacked over another character. For example,
+%
+\begin{quote}\begin{verbatim}
+For a really special \diatop[{\diatop[\'|\overring]}|n]
+\end{verbatim}\end{quote}
+%
+will print as:
+%
+\begin{quote}
+For a really special \diatop[{\diatop[\'|\overring]}|n]
+\end{quote}
+%
+Notice the use of curly braces to group the argument of the first \B{diatop}
+when more than one \B{diatop} command is used.
+
+The second macro (\B{diaunder}) has a similar syntax:
+%
+\begin{center}
+\verb+\diaunder[diacritics|character]+
+\end{center}
+%
+As \B{diatop} it also takes one argument which is delimited by square
+brackets, and has two parts separated by a vertical bar ($\vert$). It
+puts the first part of the argument under the second.
+
+Using \B{diaunder} we can put \underring under r as in:
+%
+\begin{quote}\begin{verbatim}
+A voiceless trilled r \diaunder[\underring|r]
+in certain Scottish dialects.
+\end{verbatim}\end{quote}
+%
+which will print as:
+%
+\begin{quote}
+A voiceless trilled r \diaunder[\underring|r]
+in certain Scottish dialects.
+\end{quote}
+%
+
+Furthermore, it is also possible to get one or more accents over a
+character and another accent or character under it. For example:
+%
+\begin{quote}\begin{verbatim}
+This is a really, really special
+\diatop[\overring|{\diaunder[\underring|r]}]
+\end{verbatim}\end{quote}
+%
+will print as:
+%
+\begin{quote}
+This is a really, really special
+\diatop[\overring|{\diaunder[\underring|r]}]
+\end{quote}
+
+\section{Historical remarks}
+
+The first version of this manual was written by W.\ Antweiler of the
+University of Cologne Computing Centre, Robert-Koch-Str.\ 10, D-5000
+K\"{o}ln 41, Germany, e-mail: {\tt a0062@uvax.rrz.uni-koeln.de}. This
+manual did not include information about the original author. All
+fonts along with the \TeX-macros and the original manual can be
+retrieved via anonymous ftp from {\tt ymir.claremont.edu}.
+
+The next version consisted of a changed manual and new \LaTeX\ style
+file {\tt ipa.sty}, which supported NFSS. The style file was based on
+previous \TeX-macros. It with an accompanying WSUIPA manual was
+prepared by Andrej Brodnik (Andy) of the University of Waterloo,
+Department of Computer Science, 200 University Avenue West, Waterloo,
+Ontario, N2L 3G1, Canada, e-mail: {\tt abrodnik@uwaterloo.ca}.
+
+This version of the manual is almost the same as the previous one,
+only style file was upgraded for \LaTeX\ NFSS2. They were prepared by
+Denis Roegel of CRIN (Centre de Recherche en Informatique de Nancy),
+F-54506 Vandoeuvre-les-Nancy, France, e-mail: {\tt roegel@loria.fr}
+and Andrej Brodnik.
+
+\end{document}
+
+
diff --git a/Master/texmf-dist/doc/generic/wsuipa/text1/ipaman.tex b/Master/texmf-dist/doc/generic/wsuipa/text1/ipaman.tex
new file mode 100644
index 00000000000..8da69434be4
--- /dev/null
+++ b/Master/texmf-dist/doc/generic/wsuipa/text1/ipaman.tex
@@ -0,0 +1,809 @@
+\input ipamacs
+\asisformat{\skipbefore{6pt}
+ \everyasis{\leftindent{.5in}\rightindent{.5in}\tt}
+ \skipafter{6pt}}
+\font\smokefont=wsuipa17
+\newbox\tagbox
+\setbox\tagbox=\hbox{\tenpt\bf Pullum \&\ Ladusaw name:}
+
+\labelformat{\skipbefore{4pt}
+ \labelwidth{\wd\tagbox}
+ \gutter{1em}
+ \everylabel{\tenpt\bf}
+}
+\rhf{\oddpages{\twelvept\line{\lft{{\it WSUIPA Users Guide}}\rt{\pn}}\vs{\bl}}
+ \evenpages{\twelvept\line{\lft{\pn}\rt{{\it WSUIPA Users Guide}}}\vs{\bl}}}
+\font\mf=manfnt
+\def\deg{$^\circ$}
+
+\def\meta{{\mf METAFONT}}
+\def\wsu{{\tenpt WSUIPA}}
+\def\ipam{{\tenpt IPAMACS}}
+\def\PL{{\it Phonetic Symbol Guide}}
+
+\def\pos#1{\vs{10pt}\hrule width 1in\vs{1pt}\hrule width 1in
+ \noindent\label{\hfill\tenbf WSUIPA Char' Position:}\rm #1\par}
+\def\pl#1{\noindent\label{\hfill\tenbf Pullum \&\ Ladusaw name:}\rm #1\par}
+\def\mac#1{\noindent\label{\hfill\tenbf IPAMACS Name:}\tt\char'134 #1\par}
+\def\smoke#1{\noindent\label{\hfill\tenbf IPA Character:}
+\smokefont\char#1\par}
+\sfs{cm14}{fourteenpt}{default}
+\fourteenpt
+\cl{\bd Using the WSU International Phonetic Alphabet}
+\cl{January 9, 1990}
+\twelvept
+
+\subheada{Preface}
+
+This users guide is intended to serve as a help and supplement to the
+Washington State University International Phonetic Alphabet (\wsu) fonts.
+It is not intended to be a manual on \TeX, linguistics, or the correct usage of
+the characters, accents and diacritics contained within the font.
+It is assumed that the user is familiar with the version of \TeX\ he or she is
+using and with the characters contained within the \wsu\ font.
+Because the uses for a phonetic alphabet font are probably as varied as the
+many disciplines which use the characters, this guide is intended to merely
+show some of the most common ways of using the \wsu\ font. Surely each person
+who implements the font will develop his or her own favorite way of working with
+ and
+using the font.
+
+The principal
+source of information regarding the characters and their shapes has come from
+sources within the linguistic field---most
+notably, Geoffrey K. Pullum and William A. Ladusaw, whose book, {\it Phonetic
+Symbol Guide} was used extensively.
+The \PL\ not only lists the International Phonetic Alphabet (IPA) characters
+and diacritics, it also
+gives an enlarged illustration of each character which shows its baseline,
+height, depth and x-height. These character illustrations were invaluable
+in the design of the \wsu\ \meta\ characters.
+
+Several other people involved
+in the wonderful world of linguistics also aided in the design of the \wsu\
+font. Their input concerning everything
+from character shape, to placement within the font, to determining which
+characters should be included, is gratefully acknowledged. I would especially
+like to thank Karen Mullen, Associate Professor of English, University of
+Louisville, Louisville, Kentucky. She tested, used the \wsu\ fonts, and took
+the time to give several suggestions and recommendations that have improved
+the font. Also, Christina A. Thiele, Managing Director, Journal Production
+ Centre,
+Carleton University, Ottawa, Ontario, who not only provided a wealth
+of phonetic information, but also a wealth of encouragement throughout
+the entire font designing process.
+
+
+Included with the \wsu\ fonts are:
+
+\listbegin
+\lil1
+The basic \wsu\ font which contains 128 phonetic characters
+and/or diacritics in six different point sizes (8,
+9, 10, 11, 12 and 17) and in
+three typefaces (roman, slanted and bold extended).
+
+\lil1 Each size and typeface includes a TFM (\TeX\ Font Metric)
+file and its related GF, PK or PXL file.
+
+\lil1 A macro package (\ipam.TEX) for use with the \wsu\ font, and
+
+\lil1 the {\it WSUIPA Font User's Guide}.
+\listend
+
+This guide is divided into three main sections: 1) an introduction to the \wsu\
+font,
+2) a description of the font layout and the characters included in the font
+and 3) some \TeX niques for use with the \wsu\ fonts.
+
+Although the \wsu\ fonts are written in \meta , the user does not need
+experience with or knowledge of \meta\ to use the font. However, at least a
+beginning understanding of \TeX\ and the use of fonts in the \TeX\ environment
+{\it is} necessary. For information about either \TeX\ or font usage in \TeX ,
+see {\it The \TeX book} by Donald Knuth.
+
+\subheada{Introduction to the WSUIPA Font}
+
+The \wsu\ fonts are written in \meta\ and use the same font parameter values
+as their Computer Modern (CM) counterparts (cmr and cmbx). In fact, while
+designing the character shapes, the computer modern code was left intact or
+modified only slightly whenever possible. Therefore, the \wsu\ fonts
+are totally compatible with computer modern fonts---the design and shape
+of the characters are computer modern wherever possible. For the characters
+that are drastically different from any computer modern characters or symbols,
+such as the ``Gamma,'' ``Baby Gamma'' and the ``Esh,'' Pullum and Ladusaw's
+{\it Phonetic Symbol Guide} was used as the character design
+standard.
+
+The \wsu\ fonts are obviously not an exhaustive collection of phonetic or
+even recognized International Phonetic Alphabet characters. The characters
+included in the \wsu\ font were chosen either because they were listed
+as a ``major'' entry in Pullum and Ladusaw's {\it Guide\/},
+or because of the recommendations from
+various people with an interest in the font.
+
+The {\it Guide} contains what it classifies as ``major'' and ``minor''
+characters, based upon whether the symbol is an officially recognized IPA
+character or is determined by Pullum and Ladusaw
+to be a standard symbol in current American
+transcriptual practice. The {\it Guide}
+lists 78 ``major'' entries which are not easily
+attainable in the CM fonts. All 78 of these characters are included in the
+\wsu\ font, along with 50 ``minor'' entries from the {\it Guide}.
+The selection of which
+``minor'' entries to include was based on information and requests from
+various phoneticians and linguists who contacted WSU during the beginning
+stages of the creation of the font.
+
+\subheada{The Layout of the WSUIPA Font}
+
+The character-grouping pattern followed by Pullum and Ladusaw in their
+{\it Guide} was adopted as the basis
+for the \wsu\ font layout. The characters
+are grouped together according to shape rather than usage. Therefore,
+the ``a'' shapes occupy
+the first positions: '00 through '04, ``b'' shapes are in positions '05
+through '11 and so forth. The accents and diacritics follow the character
+shapes and are in the last positions in the font. This approach was taken
+because under it was assumed that under most circumstances,
+the user would most likely be accessing the characters with the use of macros
+rather than by typing large portions of entirely phonetic text.
+Aside from keeping like shapes together, the positioning of the
+\wsu\ font was fairly arbitrary.
+
+\subheada{Character Description}
+
+Within this section each of the \wsu\ characters are shown in a \meta\
+``smoke mode'' proof. The octal character position is indicated, along with the
+corresponding macro name in \ipam, and the
+name of the character given in P\&L.
+Only the roman characters will be illustrated since the shapes of the slanted
+and bold extended are the same.
+
+There are several Greek characters included in the \wsu\ font, and initially
+it may appear these are merely copies of the corresponding CM Greek characters.
+That is true with one very important distinction: the \wsu\ Greek characters
+included are not italic. All the lowercase Greek characters included in
+the CM fonts are italic which makes them unsuitable for some situations in
+phonetics where a non-italic Greek character is essential.
+\newpage
+\raggedbottom
+\vbox{ \pos{'00}\mac{inva}\pl{turned a}\smoke{'00}}
+
+\vbox{ \pos{'01}\mac{scripta}\pl{script a}\smoke{'01}}
+
+\vbox{ \pos{'02}\mac{nialpha}\pl{lowercase non-italic alpha}\smoke{'02}
+}
+
+\vbox{\pos{'03}\mac{invscripta}\pl{turned script a}\smoke{'03}}
+
+\vbox{\pos{'04}\mac{invv}\pl{inverted v}\smoke{'04}}
+
+\vbox{\pos{'05}\mac{crossb}\pl{crossed b}\smoke{'05}}
+
+\vbox{\pos{'06}\mac{barb}\pl{barred b}\smoke{'06}}
+
+\vbox{\pos{'07}\mac{slashb}\pl{slashed b}\smoke{'07}}
+
+\vbox{\pos{'10}\mac{hookb}\pl{hooktop b}\smoke{'10}}
+
+\vbox{\pos{'11}\mac{nibeta}\pl{non-italic lowercase beta}\smoke{'11}}
+
+\vbox{\pos{'12}\mac{slashc}\pl{slashed c}\smoke{'12}}
+
+\vbox{\pos{'13}\mac{curlyc}\pl{curly-tail c}\smoke{'13}}
+
+\vbox{\pos{'14}\mac{clickc}\pl{stretched c}\smoke{'14}}
+
+\vbox{\pos{'15}\mac{crossd}\pl{crossed d}\smoke{'15}}
+
+\vbox{\pos{'16}\mac{bard}\pl{barred d}\smoke{'16}}
+
+\vbox{\pos{'17}\mac{slashd}\pl{slashed d}\smoke{'17}}
+
+\vbox{\pos{'20}\mac{hookd}\pl{hooktop d}\smoke{'20}}
+
+\vbox{\pos{'21}\mac{taild}\pl{right-tail d}\smoke{'21}}
+
+\vbox{\pos{'22}\mac{dz}\pl{d-yogh ligature}\smoke{'22}}
+
+\vbox{\pos{'23}\mac{eth}\pl{eth}\smoke{'23}}
+
+\vbox{\pos{'24}\mac{scd}\pl{small capital D}\smoke{'24}}
+
+\vbox{\pos{'25}\mac{schwa}\pl{schwa}\smoke{'25}}
+
+\vbox{\pos{'26}\mac{er}\pl{right-hook schwa}\smoke{'26}}
+
+\vbox{\pos{'27}\mac{reve}\pl{reversed e}\smoke{'27}}
+
+\vbox{\pos{'30}\mac{niepsilon}\pl{non-italic greek epsilon}\smoke{'30}}
+
+\vbox{\pos{'31}\mac{revepsilon}\pl{reversed non-italic epsilon}\smoke{'31}}
+
+\vbox{\pos{'32}\mac{hookrevepsilon}\pl{right-hook reversed non-italic epsilon}
+\smoke{'32}}
+
+\vbox{\pos{'33}\mac{closedrevepsilon}\pl{closed reversed non-italic epsilon}
+\smoke{'33}}
+
+\vbox{\pos{'34}\mac{scriptg}\pl{lowercase variant g}\smoke{'34}}
+
+\vbox{\pos{'35}\mac{hookg}\pl{hooktop g}\smoke{'35}}
+
+\vbox{\pos{'36}\mac{scg}\pl{small capital G}\smoke{'36}}
+
+\vbox{\pos{'37}\mac{nigamma}\pl{non-italic gamma}\smoke{'37}}
+
+\vbox{\pos{'40}\mac{ipagamma}\pl{IPA Gamma}\smoke{'40}}
+
+\vbox{\pos{'41}\mac{babygamma}\pl{baby gamma}\smoke{'41}}
+
+\vbox{\pos{'42}\mac{hv}\pl{h-v ligature}\smoke{'42}}
+
+\vbox{\pos{'43}\mac{crossh}\pl{crossed h}\smoke{'43}}
+
+\vbox{\pos{'44}\mac{hookg}\pl{hooktop g}\smoke{'44}}
+
+\vbox{\pos{'45}\mac{hookheng}\pl{hooktop heng}\smoke{'45}}
+
+\vbox{\pos{'46}\mac{invh}\pl{turned h}\smoke{'46}}
+
+\vbox{\pos{'47}\mac{bari}\pl{barred i}\smoke{'47}}
+
+\vbox{\pos{'50}\mac{dlbari}\pl{barred dotless i}\smoke{'50}}
+
+\vbox{\pos{'51}\mac{niiota}\pl{non-italic greek iota}\smoke{'51}}
+
+\vbox{\pos{'52}\mac{sci}\pl{small capital I}\smoke{'52}}
+
+\vbox{\pos{'53}\mac{barsci}\pl{barred small capital I}\smoke{'53}}
+
+\vbox{\pos{'54}\mac{invf}\pl{barred dotless j}\smoke{'54}}
+
+\vbox{\pos{'55}\mac{tildel}\pl{l with tilde}\smoke{'55}}
+
+\vbox{\pos{'56}\mac{barl}\pl{barred l}\smoke{'56}}
+
+\vbox{\pos{'57}\mac{latfric}\pl{belted l}\smoke{'57}}
+
+\vbox{\pos{'60}\mac{taill}\pl{l with right tail}\smoke{'60}}
+
+\vbox{\pos{'61}\mac{lz}\pl{l-yogh ligature}\smoke{'61}}
+
+\vbox{\pos{'62}\mac{nilambda}\pl{non-italic greek lambda}\smoke{'62}}
+
+\vbox{\pos{'63}\mac{crossnilambda}\pl{crossed lambda}\smoke{'63}}
+
+\vbox{\pos{'64}\mac{labdentalnas}
+\pl{m with leftward tail at right}\smoke{'64}}
+
+\vbox{\pos{'65}\mac{invm}\pl{turned m}\smoke{'65}}
+
+\vbox{\pos{'66}\mac{legm}\pl{turned m with long right leg}\smoke{'66}}
+
+\vbox{\pos{'67}\mac{nj}\pl{n with leftward hook at left}\smoke{'67}}
+
+\vbox{\pos{'70}\mac{eng}\pl{eng}\smoke{'70}}
+
+\vbox{\pos{'71}\mac{tailn}\pl{n with right tail}\smoke{'71}}
+
+\vbox{\pos{'72}\mac{scn}\pl{small capital N}\smoke{'72}}
+
+\vbox{\pos{'73}\mac{clickb}\pl{bull's eye}\smoke{'73}}
+
+\vbox{\pos{'74}\mac{baro}\pl{barred o}\smoke{'74}}
+
+\vbox{\pos{'75}\mac{openo}\pl{open o}\smoke{'75}}
+
+\vbox{\pos{'76}\mac{niomega}\pl{non-italic lowercase greek omega}\smoke{'76}}
+
+\vbox{\pos{'77}\mac{closedniomega}\pl{closed omega}\smoke{'77}}
+
+\vbox{\pos{'100}\mac{oo}\pl{double o}\smoke{'100}}
+
+\vbox{\pos{'101}\mac{barp}\pl{barred p}\smoke{'101}}
+
+\vbox{\pos{'102}\mac{thorn}\pl{thorn}\smoke{'102}}
+
+\vbox{\pos{'103}\mac{niphi}\pl{non-italic lowercase greek phi}\smoke{'102}}
+
+\vbox{\pos{'104}\mac{flapr}\pl{fish hook r}\smoke{'104}}
+
+\vbox{\pos{'105}\mac{legr}\pl{r with long leg}\smoke{'105}}
+
+\vbox{\pos{'106}\mac{tailr}\pl{r with right tail}\smoke{'106}}
+
+\vbox{\pos{'107}\mac{invr}\pl{turned r}\smoke{'107}}
+
+\vbox{\pos{'110}\mac{tailinvr}\pl{turned r with right tail}\smoke{'110}}
+
+\vbox{\pos{'111}\mac{invlegr}\pl{turned long-legged r}\smoke{'111}}
+
+\vbox{\pos{'112}\mac{scr}\pl{small capital R}\smoke{'112}}
+
+\vbox{\pos{'113}\mac{invscr}\pl{inverted small capital R}\smoke{'113}}
+
+\vbox{\pos{'114}\mac{tails}\pl{s with right tail}\smoke{'114}}
+
+\vbox{\pos{'115}\mac{esh}\pl{esh}\smoke{'115}}
+
+\vbox{\pos{'116}\mac{curlyesh}\pl{curly-tail esh}\smoke{'116}}
+
+\vbox{\pos{'117}\mac{nisigma}\pl{non-italic lowercase greek sigma}\smoke{'117}}
+
+\vbox{\pos{'120}\mac{tailt}\pl{t with right tail}\smoke{'120}}
+
+\vbox{\pos{'121}\mac{tesh}\pl{t-esh ligature}\smoke{'121}}
+
+\vbox{\pos{'122}\mac{clickt}\pl{turned t}\smoke{'122}}
+
+\vbox{\pos{'123}\mac{nitheta}\pl{non-italic lowercase greek theta}\smoke{'123}}
+
+\vbox{\pos{'124}\mac{baru}\pl{barred u}\smoke{'124}}
+
+\vbox{\pos{'125}\mac{slashu}\pl{slashed u}\smoke{'124}}
+
+\vbox{\pos{'126}\mac{niupsilon}\pl{non-italic lowercase greek
+ upsilon}\smoke{'126}}
+
+\vbox{\pos{'127}\mac{scu}\pl{small capital U}\smoke{'127}}
+
+\vbox{\pos{'130}\mac{barscu}\pl{barred small capital U}\smoke{'130}}
+
+\vbox{\pos{'131}\mac{scriptv}\pl{script v}\smoke{'131}}
+
+\vbox{\pos{'132}\mac{invw}\pl{inverted w}\smoke{'132}}
+
+\vbox{\pos{'133}\mac{nichi}\pl{non-italic lowercase greek chi}\smoke{'133}}
+
+\vbox{\pos{'134}\mac{invy}\pl{turned y}\smoke{'134}}
+
+\vbox{\pos{'135}\mac{scy}\pl{small capital Y}\smoke{'135}}
+
+\vbox{\pos{'136}\mac{curlyz}\pl{curly-tail z}\smoke{'136}}
+
+\vbox{\pos{'137}\mac{tailz}\pl{z with right tail}\smoke{'137}}
+
+\vbox{\pos{'140}\mac{yogh}\pl{yogh}\smoke{'140}}
+
+\vbox{\pos{'141}\mac{curlyyogh}\pl{curly-tail yogh}\smoke{'141}}
+
+\vbox{\pos{'142}\mac{glotstop}\pl{glottal stop}\smoke{'142}}
+
+\vbox{\pos{'143}\mac{revglotstop}\pl{reversed glottal stop}\smoke{'143}}
+
+\vbox{\pos{'144}\mac{invglotstop}\pl{inverted glottal stop}\smoke{'144}}
+
+\vbox{\pos{'145}\mac{ejective}\pl{ejective}\smoke{'145}}
+
+\vbox{\pos{'146}\mac{reveject}\pl{reversed ejective}\smoke{'146}}
+
+\vbox{\pos{'147}\mac{dental\#1}\pl{subscript bridge}\smoke{'147}}
+
+\vbox{\pos{'150}\mac{stress}\pl{vertical stroke (superior)}\smoke{'150}}
+
+\vbox{\pos{'151}\mac{secstress}\pl{vertical stroke (inferior)}\smoke{'151}}
+
+\vbox{\pos{'152}\mac{syllabic}\pl{syllabicity mark}\smoke{'152}}
+
+\vbox{\pos{'153}\mac{corner}\pl{corner}\smoke{'153}}
+
+\vbox{\pos{'154}\mac{upt}\pl{IPA pointer}\smoke{'154}}
+
+\vbox{\pos{'155}\mac{downt}\pl{IPA pointer}\smoke{'155}}
+
+\vbox{\pos{'156}\mac{leftt}\pl{IPA pointer}\smoke{'156}}
+
+\vbox{\pos{'157}\mac{rightt}\pl{IPA pointer}\smoke{'157}}
+
+\vbox{\pos{'160}\mac{halflength}\pl{half-length mark}\smoke{'160}}
+
+\vbox{\pos{'161}\mac{length}\pl{length mark}\smoke{'161}}
+
+\vbox{\pos{'162}\mac{underdots}\pl{subscript umlaut}\smoke{'162}}
+
+\vbox{\pos{'163}\mac{ain}\pl{reversed apostrophe}\smoke{'163}}
+
+\vbox{\pos{'164}\mac{upp}\pl{pointer}\smoke{'164}}
+
+\vbox{\pos{'165}\mac{downp}\pl{pointer}\smoke{'165}}
+
+\vbox{\pos{'166}\mac{leftp}\pl{pointer}\smoke{'166}}
+
+\vbox{\pos{'167}\mac{rightp}\pl{pointer}\smoke{'167}}
+
+\vbox{\pos{'170}\mac{overring}\pl{over-ring}\smoke{'170}}
+
+\vbox{\pos{'171}\mac{underring}\pl{under-ring}\smoke{'171}}
+
+\vbox{\pos{'172}\mac{open}\pl{subscript left half-ring}\smoke{'172}}
+
+\vbox{\pos{'173}\mac{midtilde}\pl{superimposed (mid-) tilde}\smoke{'173}}
+
+\vbox{\pos{'174}\mac{undertilde}\pl{subscript tilde}\smoke{'174}}
+
+\vbox{\pos{'175}\mac{underwedge}\pl{subscript wedge}\smoke{'175}}
+
+\vbox{\pos{'176}\mac{polishhook}\pl{polish hook}\smoke{'176}}
+
+\vbox{\pos{'177}\mac{underarch}\pl{subscript arch}\smoke{'177}}
+
+\newpage
+\normalbottom
+\subheada{Using the IPAMACS Macros}
+
+In addition to the necessary font-related files, the \wsu\ font package
+also includes a file called IPAMACS.TEX. This is a macro file which includes
+font declarations and definitions for use with the \wsu\ fonts.
+It also contains macro definitions for accessing each \wsu\ character
+mnemonically, as well as some macro definitions
+to simplify using \wsu\ accents and diacritics with Computer Modern
+characters and vice versa.
+
+Before you can use any of the macros from the \ipam\ file, you must input the
+{\tt IPAMACS.TEX} file by entering,
+\aib
+\\input ipamacs
+\aie
+\nin at the top of your \TeX\ file. This assumes, of course, that you have
+installed this file.
+The \ipam\ file defines a font called
+\\ipa to be the twelve point roman \wsu\
+font. The \\ipa font is used in all the macro definitions in \ipam\
+ to access the
+characters from the \wsu\ font. You may redefine \\ipa, say to be ten point
+roman, by entering
+\aib
+\\font\\ipatenrm=wsuipa10
+\\def\\ipa\{\\ipatenrm\}
+\aie
+\nin within your file. From that point on, all the \wsu\ characters accessed by
+using the \ipam\ macros will be the ten-point roman \wsu.
+
+To access individual \wsu\ characters within sentences set in Computer Modern,
+you need only to enter the \\ipa command. For example,
+\asisbegin
+A shibilant is a term occasionally found for a fricative
+corresponding to
+a ``hushing'' sound, e.g., IPA [\\esh] (more technically,
+a grooved laminal fricative).
+\asisend
+\nin which will print as:
+\vs{5pt}
+\pb{
+A shibilant is a term occasionally found for a fricative
+corresponding to
+a ``hushing'' sound, e.g., IPA [\esh] (more technically,
+a grooved laminal fricative).
+}
+\vs{5pt}
+
+The \ipam\ character macros are defined so they can be used with the CM
+characters and accents without the need for delimiting curly braces. By using
+the \ipam\
+definitions, you can use the CM accents with a \wsu\ character in the
+same way you would accent a CM character. The following input
+
+\asisbegin
+The superscript tilde is a nasalization marker for vowels,
+thus [\\\tilde\\scripta] is a nasalized [\\scripta].
+\asisend
+\nin will print as:
+\vs{5pt}
+\pb{The superscript tilde is a nasalization marker for vowels, thus
+[\~\scripta] is a nasalized [\scripta].
+}
+\vs{5pt}
+
+The \wsu\ accents can be used with CM characters. However, only the \wsu\
+``\\dental'' and ``\\underarch'' have been defined in \ipam\ and both are
+diacritics which go under a character.
+To use any other \wsu\ character as an accent either with a CM character or with
+another \wsu\ character, you can define the \wsu\ accent
+in the same way that the CM accents are defined. For example, an ``over-ring''
+accent could be defined as,
+
+\asisbegin
+\\def\\or\#1\{\{\\edef\\next\{\\the\\font\}\%
+ \\ipatwelverm\\accent"78\\next\#1\}\}
+\aie
+\nin and may be used like,
+
+\aib
+The over-ring may be used over letters with descenders as an
+alternative to under-ring to indicate devoicing, e.g. [\\or g].
+\asisend
+\nin which will print as:
+\vs{5pt}
+\pb{\def\or#1{{\edef\next{\the\font}%
+ \ipatwelverm\accent"78\next#1}}
+The over-ring may be used over letters with descenders as an
+alternative to under-ring to indicate devoicing, e.g. [\or g].}
+\vs{5pt}
+
+Most of the \wsu\ diacritics are intended to go under characters, like the
+``underarch'' and ``dental'' mentioned above. You may define other ``under''
+accents in the same way as these two. For example, an ``undercircle''
+could be defined as,
+
+\asisbegin
+\\def\\undercirc\#1\{\\oalign\{\#1\\crcr
+ \\hidewidth\\underring\\hidewidth\}\}
+\asisend
+\nin With this definition, the input
+\aib
+A voiceless trilled r [\\undercirc r] in
+certain Scottish dialects\el3
+\aie
+\nin will print as:
+\vs{5pt}
+\pb{\def\undercirc#1{\oalign{#1\crcr\hidewidth\underring\hidewidth}}
+A voiceless trilled r [\undercirc r] in certain Scottish dialects\el3
+}
+\vs{5pt}
+
+If the spacing or placement of the diacritic is not exactly what you desire
+with the basic definition given above, you can add kerns where needed.
+For example, if you want less space between the ``undercircle'' and
+the character, you could change the definition to be,
+\asisbegin\lin{-10pt}
+\\def\\undercirc\#1\{\\oalign\{\#1\\crcr
+ \\hidewidth\\raise.1ex\\hbox\{\\underring\}\\hidewidth\}\}
+\asisend
+\np
+\nin and this input
+\aib
+A voiceless trilled r [\\undercirc r] in
+certain Scottish dialects\el3
+\aie
+\nin will print as:
+\vs{5pt}
+\pb{\def\undercirc#1{\oalign{#1\crcr\hidewidth
+\raise.1ex\hbox{\underring}\hidewidth}}
+A voiceless trilled r [\undercirc r] in certain Scottish dialects\el3
+}
+\vs{5pt}
+
+Your diacritic definitions may be as general or specific as you wish. At one
+institution which uses the \wsu\ fonts, they prefer the ``undercircle'' to be
+placed differently when it falls under an r than any other character. To
+accomplish this, they use the following definition for \\undercirc.
+
+\aib\lin{-10pt}
+\\def\\undercirc\#1\{\\ifx\#1r
+ \\oalign\{\#1\\crcr\\hidewidth\\kern.24em\\underring
+ \\hidewidth\\crcr\}
+ \\else\\oalign\{\#1\\crcr
+ \\hidewidth\\raise.1ex\\hbox\{\\underring\}\\hidewidth\}
+ \\fi\}
+\aie
+
+With this definition of \\undercirc, the following input
+
+\aib
+To illustrate the different placement of the \\underring on
+an \\undercirc s and on an \\undercirc r.
+\aie
+\nin will print as
+\vs{5pt}
+\pb{\def\undercirc#1{\ifx#1r
+ \oalign{#1\crcr\hidewidth\kern.24em\underring\hidewidth\crcr}\fi}
+To illustrate the different placement of the \\underring on an \\undercirc s
+and on an \undercirc r.
+}
+\vs{5pt}
+
+\ipam\
+also includes a macro called \\diatop which provides an alternative way
+of getting one or more characters, accents, or diacritics over one another. The
+\\diatop macro takes one argument which is delimited by square brackets ([])
+rather than curly braces, and has two parts. The first part of the
+argument is delimited, or separated, from the second part by a vertical bar
+($\vert$). \\diatop puts the first part of the argument over the second.
+
+Using \\diatop instead of our previous definition for the ``overring,'' (\\or)
+you could input,
+
+\aib
+The overring may be used over letters with descenders as
+an alternative to
+under-ring to indicate devoicing, e.g. [\\diatop[\\overring$\vert$g]].
+\aie
+\nin and the output would be,
+\vs{5pt}
+\pb{The overring may be used over letters with descenders as an alternative to
+under-ring to indicate devoicing, e.g. [\diatop[\overring|g]].
+}
+\vs{5pt}
+
+More than one character can be stacked over another character by using
+\\diatop. For example,
+
+\asisbegin
+For a really special \\diatop[\{\\diatop\{\\'$\|$\\overring]\}$\|$n]
+\asisend
+\nin will print as:
+\vs{5pt}
+\pb{For a really special \diatop[{\diatop[\'|\overring]}|n]
+}
+\vs{5pt}
+
+\nin Notice the use of curly braces to group the argument of the first \\diatop
+when more than one \\diatop command is used.
+
+It is also possible to get one or more accents over a character and another
+accent or character under it. Assuming that \\undercirc has been defined as
+described earlier, the following example
+
+\asisbegin\lin{-10pt}
+This is a really, really special
+\\diatop[\\overring$\|$\\undercirc\{r\}]
+\asisend
+\nin will print as:
+\vs{5pt}
+\pb{\def\undercirc#1{\oalign{#1\crcr\hidewidth\underring\hidewidth}}
+This is a really, really special \diatop[\overring|\undercirc{r}]
+}
+\vs{5pt}
+
+The \ipam\ do not sent up the \wsu\ fonts to be part of a font family
+definition, which means that any \wsu\ character that is accessed by
+an \ipam\
+macro, will always print out in the same font (wsuipa12, by default),
+regardless of what size or typeface you may have been using when
+the \ipam\
+macro was called. In other words, whatever font \\ipa is defined to be,
+determines the font \ipam\ will call.
+
+In order to get slanted \wsu\ characters when \\it or \\sl is being used, or
+bold \wsu\ characters when \\bf is being used, you must include the definition
+of \\ipa as part of your font family definitions.
+
+Without redefining \\ipa, the following input,
+
+\aib\lin{0pt}
+\\dots which is the case in the aforementioned
+instances, however, \{\\bf this
+does not preclude the other retroflex consonants:
+[\\nj], [\\taill], [\\taild], and [\\tailr]\}.
+\aie
+\nin will print as,
+
+\vs{5pt}
+\pb{\dots which is the case in the aforementioned instances, however, {\bf this
+does not preclude the other retroflex consonants: [\nj], [\taill], [\taild],
+and [\tailr]}.
+}
+\vs{5pt}
+
+Now, with \\ipa defined within the twelve-point font family, as illustrated
+below
+
+\aib\lin{-10pt}
+\\font\\twelverm=cmr12
+\\font\\twelvei=cmmi12
+\\font\\twelvesy=cmsy12
+\\font\\twelveex=cmex12
+\\font\\twelveit=cmti12
+\\font\\twelvebf=cmbx12
+\\font\\twelveipa=wsuipa12
+\\font\\twelveslipa=wslipa12
+\\font\\twelvebfipa=wbxipa12
+
+\\def\\twelvepoint\{\%
+ \\textfont0=\\twelverm
+ \\scriptfont0=\\sevenrm \\scriptscriptfont0=\\sevenrm
+ \\def\\rm\{\\fam0\\twelverm\\def\\ipa\{\\twelvermipa\}\}\%
+ \\textfont1=\\twelvei
+ \\scriptfont1=\\sevenrm \\scriptscriptfont1=\\sevenrm
+ \\textfont2=\\twelvesy
+ \\scriptfont2=\\sevensy \\scriptscriptfont2=\\sevensy
+ \\textfont3=\\twelveex
+ \\scriptfont3=\\twelveex \\scriptscriptfont3=\\twelveex
+ \\textfont\\itfam=\\twelveit
+ \\def\\it\{\\fam\\itfam\\twelveit\\def\\ipa\{\\twelveslipa\}\}\%
+ \\textfont\\bffam=\\twelvebf
+ \\def\\bf\{\\fam\\bffam\\twelvebf\\def\\ipa\{\\twelvebfipa\}\}\%
+ \\rm\}\%
+\%
+\\twelvepoint
+\%
+\aie
+\nin the previous input of
+\aib\lin{0pt}
+\\dots which is the case in the aforementioned
+instances, however, \{\\bf this
+does not preclude the other retroflex consonants:
+[\\nj], [\\taill], [\\taild], and [\\tailr]\}.
+\aie
+\nin will print as,
+
+\vs{5pt}
+\pb{\font\twelvebfipa=wbxipa12\font\twelvebf=cmbx12\def\bf{\fam\bffam\twelvebf
+\def\ipa{\twelvebfipa}}%
+\dots which is the case in the aforementioned instances, however, {\bf this
+does not preclude the other retroflex consonants: [\nj], [\taill], [\taild],
+and [\tailr]}.
+}
+\np
+\parindent 0pt
+\twelvept
+% macros for font tables
+\def\oct#1{\hbox{\rm\'{}\kern-.1em\it#1\/\kern.05em}}
+\def\hex#1{\hbox{\rm\H{}\tt#1}} % hexadecimal constant
+
+\abovedisplayskip=3pt\belowdisplayskip=2pt
+\font\smalltextfont=cmr7
+\newcount\fontcount
+\newbox\charbox
+\def\oddline#1{\cr
+ \noalign{\nointerlineskip}
+ \multispan{19}\hrulefill&
+ \setbox\charbox=\hbox{\lower 2.3pt\hbox{\hex{#1x}}}
+ \smash{\box\charbox}\cr
+ \noalign{\nointerlineskip}}
+\def\evenline{\cr\noalign{\hrule}}
+\def\chartstrut{\lower3.5pt\vbox to14pt{}}
+\def\beginchart#1{ \global\fontcount=0 #1
+ \halign to\hsize\bgroup
+ \chartstrut##\tabskip0pt plus10pt&
+ &\hfil##\hfil&\vrule##\cr
+ \lower6.5pt\null
+ &&&\oct0&&\oct1&&\oct2&&\oct3&&\oct4&&\oct5&&\oct6&&\oct7&\evenline}
+\def\endchart{\raise11.5pt\null&&&\hex 8&&\hex 9&&\hex A&&\hex B&
+ &\hex C&&\hex D&&\hex E&&\hex F&\cr\egroup}
+\def\:{\setbox\charbox=%\drawbox{
+\hbox{\char\fontcount
+%\llap{\vrule height.4pt width5pt depth0pt} %this will draw line at baseline
+}%}%
+ \ifdim\ht\charbox>7.5pt\reposition
+ \else\ifdim\dp\charbox>2.5pt\reposition
+ \else\ifdim\wd\charbox>0pt
+ \ifdim\ht\charbox<.01pt
+ \ifdim\dp\charbox<.01pt\unposition\fi\fi\fi\fi\fi
+ \box\charbox\global\advance\fontcount by1 }
+\def\reposition{}%\setbox\charbox=\hbox{$\vcenter{\kern2pt
+% \box\charbox\kern2pt}$}}
+\def\unposition{\setbox\charbox=\hbox{\smalltextfont undef}}
+\def\normalchart{%
+ &\oct{00x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline0
+ &\oct{01x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{02x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline1
+ &\oct{03x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{04x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline2
+ &\oct{05x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{06x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline3
+ &\oct{07x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{10x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline4
+ &\oct{11x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{12x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline5
+ &\oct{13x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{14x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline6
+ &\oct{15x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline
+ &\oct{16x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\oddline7
+ &\oct{17x}&&\:&&\:&&\:&&\:&&\:&&\:&&\:&&\:&\evenline}
+\font\chartfont=wsuipa12
+{\tt WSUIPA12\bi--- WSU International Phonetic Alphabet Roman -- 12pt}
+\beginchart{\chartfont}
+\normalchart
+\endchart
+\vfill
+\font\newchartfont=wslipa12
+{\tt WSLIPA12\bd---WSU International Phonetic Alphabet Slanted -- 12pt}
+\beginchart{\newchartfont}
+\normalchart
+\endchart
+\np
+\font\nchartfont=wbxipa12
+{\tt WBXIPA12\bi---WSU International Phonetic Alphabet Bold Extended
+-- 12pt}
+\beginchart{\nchartfont}
+\normalchart
+\endchart
+\vfill
+\font\nwchartfont=wsuipa9
+{\tt WSUIPA9\bi---WSU International Phonetic Alphabet Roman -- 9pt}
+\beginchart{\nwchartfont}
+\normalchart
+\endchart