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diff --git a/Master/texmf-dist/doc/generic/wsuipa/ipaman.ps.gz b/Master/texmf-dist/doc/generic/wsuipa/ipaman.ps.gz Binary files differnew file mode 100644 index 00000000000..5ddb55e3d45 --- /dev/null +++ b/Master/texmf-dist/doc/generic/wsuipa/ipaman.ps.gz diff --git a/Master/texmf-dist/doc/generic/wsuipa/latex209/ipalman.tex b/Master/texmf-dist/doc/generic/wsuipa/latex209/ipalman.tex new file mode 100644 index 00000000000..0013198723d --- /dev/null +++ b/Master/texmf-dist/doc/generic/wsuipa/latex209/ipalman.tex @@ -0,0 +1,627 @@ +\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} ð\\ +\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} þ\\ +\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 |