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diff --git a/Master/texmf-dist/doc/latex/mff/mffdoc.tex b/Master/texmf-dist/doc/latex/mff/mffdoc.tex new file mode 100644 index 00000000000..1f88354d18a --- /dev/null +++ b/Master/texmf-dist/doc/latex/mff/mffdoc.tex @@ -0,0 +1,1455 @@ +\documentstyle{article} +\title{{\sc mff.sty}: Computer Modern Typefaces\\ +as the Multiple Master Fonts\\[0.5\baselineskip] +\Large Version 1.21} + +\author{ +\begin{minipage}{0.4\textwidth} +\begin{center} A.S.Berdnikov\\{\tt berd{\sl @}ianin.spb.su} \end{center} +\end{minipage} +\hfill +\begin{minipage}{0.4\textwidth} +\begin{center} S.B.Turtia\\{\tt turtia{\sl @}ianin.spb.su} \end{center} +\end{minipage} +} + +\date{} + +\def\PiC{P\kern-.12em\lower.5ex\hbox{I}\kern-.075emC\spacefactor1000 } +\font\manual=logo10 at 12pt +\def\MF{{\manual META}\-{\manual FONT}\spacefactor1000 } +\def\AW{Addison\kern.1em-\penalty 0pt \hskip 0pt Wesley} +\def\CandT{{\sl Computers \& Typesetting}} +\def\TUB{{\sl TUGboat\/}} + +\font\cmcmss=cmss12 scaled 1000 +\font\cmcmbx=cmbx12 scaled 1000 +\font\cmcmtt=cmtt12 scaled 1000 +\font\cmcmsl=cmsl12 scaled 1000 +\font\cmfunny=cmff10 scaled 1200 +\font\cmquote=cmssq8 scaled 1200 +\font\cmdunh=cmdunh10 scaled 1200 +\font\cmcmr=cmr12 scaled 1000 + +\font\cmq=cmssq8 scaled 800 +\font\cmd=cmdunh10 scaled 800 +\font\csl=cmsl10 scaled 800 + +\newcommand{\bs}{\char92} % char \ + +\makeatletter +\def\hackersmile{\@ifnextchar[{\@hackersmile}{\@hackersmile[10]}} +\def\@hackersmile[#1]{\hbox{% + \unitlength=1pt\relax + \unitlength=#1\unitlength + \divide\unitlength by 10\relax + \thicklines + \raise -3\unitlength \hbox{% + \begin{picture}(12,12)(-6,-6) + \put(0,0){\circle{10}} + \put(-2,1.75){\circle*{1}} + \put(2,1.75){\circle*{1}} + \thicklines + \put(-2.75,3){\line(1,0){1.5}} + \put(2.75,3){\line(-1,0){1.5}} + \put(0,-1){\line(0,1){3}} + \put(-2.5,-2.5){\line(1,0){5}} + \put(-2.5,-2.5){\line(0,1){1}} + \put(2.5,-2.5){\line(0,1){1}} + \end{picture}% +}}} +\makeatother + +\begin{document} + +\maketitle + +\begin{flushright} +\begin{minipage}{0.55\textwidth} +\small +We would like to express our warmest thanks +to Dr.\ A.Compagner from the Delft University of Technology +who spent a lot of his time and efforts +trying to transform two naive students from Russia +into serious scientists. +\end{minipage} +\end{flushright} + +\bigskip + +\begin{abstract} +The style file {\sc mff.sty} simulates the effect of +{\sl Multiple Master Fonts} created by Adobe using +the Computer Modern typefaces as a template. +It enables to vary continuously in a wide range +the shape of \TeX{} fonts and create the unique font +which suites the User's demands. +Although originally {\sc mff.sty} was created for internal +purposes to investigate the possibilities hidden inside +the \MF{} source code for Computer Modern typefaces, +it might be useful for professional applications too. +The style file works correctly with +\LaTeX{} 2$_{\hbox{\normalsize$\varepsilon$}}$ +as well as with \LaTeX{} $2.09$. +\end{abstract} + +\section{Introduction} + +The {\sl Multiple Master Font} format for PostScript +fonts was suggested some time ago +by the well-known company {\sl Adobe Inc}. +It enables to vary continuously the +font characteristics (say, {\em weight} (``boldness'') +from light to black, {\em width} from condensed to expanded, +etc.) and create the unique font which suites +the particular User's demands. +Like many other ``new inventions'' +in computer assisted typography, the roots of this +idea can be found inside \TeX{}\footnote{For example, +{\sl Microsoft Word} 6.0 was announced as the {\em first} +program which enables to mark some place in the text by +a special marker and then to refer to its position +in a form: ``see page \dots'' \hackersmile.} --- namely, in \MF{} +as the language for font description, and in Computer +Modern font family created by D.Knuth in 1977--1985. + +The \MF{} source code was created, and the {\sl Computer Modern} +font parameters were selected using the advises of such +professional font designers as Hermann Zapf, +Matthew Carter, Charles Bigelow and others +(see \cite{CM} for the {\em full} list of contributors). +The \MF{} code for {\sl Computer Modern} typefaces +has the following essential features: +\begin{itemize} +\item +the parameter files are separated from the main source code +so that the font parameters can be variated easily; +\item +the role of the font parameters, the details of the \MF{} source code, +etc., are documented in \cite{CM} in deep details; +\item +the font variations (provided that the fonts and all +changed {\tt .mf} files have the names \underline{\bf different} +from that for the original CM fonts) +are encouraged by the author. +\end{itemize} +The {\sl Computer Modern} fonts are parametrized using +sixty two \hbox{(!!!)} parameters most of which are independent. +It can be seen easily that such big amount of free parameters +exceeds the flexibility of {\em any} multiple master font +which is created up to now or even {\em will be} created +by somebody in future. + +The continuous parametrization of the canonical Computer Modern +typefaces created by John Sauter and Karl Berry +({\sc sauter} fonts \cite{SAUTER}), and, on a different basis, +by J\"org Knappen and Norbert Schwarz for +{\sl European Computer Modern} typefaces \cite{DC}, +enables to vary continuously the font size in a wide range +without loosing the high quality of the output. +As a result it is easy to manipulate with +{\sl Computer Modern} typefaces like the Adobe multiple master fonts, +and to produce an enomorous amount of {\bf freeware} +fonts of professional quality. + +The style file {\sc mff.sty} described here performs this work. +It follows the ideas implimented in the package MF\PiC{}\footnote{% +Like MF\PiC, the first pass of \LaTeX{} +creates the {\tt .mf} file, +then the {\tt .mf} file is processed by \MF, +and at the second pass of \LaTeX{} the new +font is used to make the output.} +and enables to specify the new fonts inside \LaTeX{} document +without dealing with the details of \MF{} programming and +manual specification of each of 62 parameters used in +{\sl Computer Modern} source files. +The User can variate the font shape continuously between +CMR, CMBX, CMSL, CMSS, CMTT and CMFF font families, +specify the {\em weight}, {\em width}, {\em height} +and {\em contrast} of the output font independently, +and in addition he/she can play the character +characteristics so that the output does not +look like the canonical {\sl Computer Modern} +typefaces at all. + +\section{Main Command: define a font\label{GENER}} + +The generation of the {\tt .mf} header file and the activation +of the new font is performed by the command +{\tt\bs{}MFFgener} which has the format: +\begin{itemize} +\item[] \tt \bs{}MFFgener[{\em fntscaled}]\{{\em{\tt\bs}fntcmd}\}\{{\em filename}\}\{{\em fntsize}\} +\end{itemize} +The command {\em{\tt\bs}fntcmd} will switch inside the document +to the desired font like it is done by the \LaTeX{} commands +\verb?\bf?, \verb?\sl?, \verb?\sf?, etc.\footnote{The difference is that +the size of this font is not influenced by the commands like +{\tt\bs{}large} or {\tt\bs{}small} --- it is fixed and is +determined totally by the parameters {\em fntscaled} and {\em fntsize}.} +The file {\em filename{\tt.mf}} will contain the \MF{} source +code of the new font\footnote{To minimize the attempts to create the +fonts with the names already used in Computer Modern family, etc., +the prefix {\em xx} is added before the file name automatically. +See section~\ref{MORE} for more details.}. +The value {\em fntsize} specifies the design size +of the new font (it defines the size of a new font and +is used by {\sc mff.sty} to calculate the font parameters +as the functions of this reference value --- +see sections \ref{MIXTURE} and \ref{CORRECT} for more details). +The optional parameter {\em fntscaled} specifies +the additional scaling of this font in \LaTeX{} document. +Examples: +\begin{itemize} +\item[]\verb?\MFFgener{\zfnt}{zmz30}{30pt}?\\ + \verb?\MFFgener[scaled 2000]{\zfnt}{zmz15}{15pt}?\\ + \verb?\MFFgener[at 30pt]{\zfnt}{zmz20}{20pt}? +\end{itemize} + +The {\tt .mf} file created by {\sc mff.sty} +contains only the list of 62 font +parameters which determine the character shapes. +It also contains the command that loads the +driver file ({\tt roman.mf}, {\tt csc.mf}, etc.), +and the driver file assemblers all the necessary \MF{} source code. +It is assumed that the driver files for the fonts described +in section~\ref{CLASS} together with all necessary +{\tt .mf} files are already installed on your computer. + +When the file {\em filename{\tt.mf}} is created, +it is necessary to process it by \MF{} to get the metric +file {\em filename{\tt.tfm}} and the bitmap file +{\em filename{\tt.pk}}. The second pass of \LaTeX{} will use the metric +information to format the document properly, and the {\sl DVI}-drivers +will use the bitmap data to make the output. +The proper configuration of \TeX-compiler and {\sl DVI}-drivers +so that they can find these files is the User's task +(please consult your local \TeX-expert how to configure +it\footnote{Some advises how to configure the programs +if you use {\sl MS DOS}/{\sf em\TeX} are in section~\ref{CONFIG}.}). + +If \LaTeX{} can find the file {\em filename}{\tt .tfm}, it assigns +the font {\em filename} to the command {\em{\tt\bs}fntcmd} which +can be used later in the document to switch to the desired font. +If \LaTeX{} cannot find the {\tt .tfm} file, the warning message +\begin{itemize} +\item[] {\tt No file {\em filename}.tfm -- dummy font will be used} +\end{itemize} +is displayed which means that the text typed by this new font +will disappear from the {\sl DVI}-file ({\tt dummy} font is the +artificial font which contains no characters). + +The file {\em filename{\tt.mf}} which contains the \MF{} data +necessary to make the font is created after {\em each} pass +of \LaTeX{} and the warning message +\begin{itemize} +\item[] {\tt Do not forget to process {\em filename}.mf + and reprocess this file} +\end{itemize} +is displayed even if the new {\tt .mf} file is identical to the previous +one. It is the User's responcibility to guarantee that the {\sc mff.sty} +commands are the same as during the previous pass of \LaTeX{} and that +the {\tt .tfm} and {\tt .pk} files are produced from the correct version +of {\tt .mf} file. + +\section{Mixture of independent fonts\label{MIXTURE}} + +The {\sl Computer Modern} font sequences +\begin{itemize} +\item[]\begin{flushleft} +{\cmcmr roman},\quad {\cmcmbx bold},\quad +{\cmcmsl slanted},\quad {\cmcmss sans serif},\quad +{\cmcmtt typewriter},\quad {\cmfunny funny},\quad +{\cmdunh dunhill},\quad {\cmquote quotation}\end{flushleft} +\end{itemize} +share just the same \MF{} source code but with different values for +font parameters. Since each font exists at different sizes, it is +possible to construct for each sequence and for each parameter +a continuous approximation which is the function of the font size. +Such approximations, for example, enable to generate fonts with the +font sizes different from that created by D.E.Knuth. + +At least two {\em ready-to-use} font approximations are available from +CTAN. One is the {\sc sauter} font package created by +John Sauter and Karl Berry \cite{SAUTER}, and the other is realized +in {\sc dc} and {\sc tc} fonts created by J\"org Knappen and Norbert +Schwarz \cite{DC}. Special {\sc mff.sty} comands control +the approximation scheme: +\begin{itemize} +\item[] {\tt \bs{}MFFsauter} --- {\sc sauter}-type approximation + is used;\\ + {\tt \bs{}MFFdcfonts} --- {\sc DC font} approximation + is used; +\end{itemize} +where the default mode is {\tt\bs{}MFFsauter}. + +The continuous approximation for CMR parameters enables to create +the \MF{} header file for CMR font with an arbitrary font size. +Similar approximations and, as a result, the font headers with +an arbitrary font size, can be constructed for CMBX, CMTT, CMSS, etc. +The main hypothesis used below is the following: +if some font headers result to correct fonts when processed by \MF{}, +the font header contructed from the {\em weighted sum} of the font +parameters extracted from these font headers gives +the correct font also\footnote{The internal relations between +font parameters described in \cite{CM} are conserved for the weighted +sum of font parameters.}. +Although it is not necessarily true, the experiments +with {\sl Computer Modern} typefaces show that if the header files +corresponding to different {\sl Computer Modern} fonts +{\em with the same font size} are selected, this assumption is fulfilled +with great probability. + +The fonts CMR, CMBX, CMTT, CMSS, etc., have quite different +character styles although they use just the same \MF{} driver file +{\tt roman.mf}. +The CMTT fonts have nearly rectangular serifs, +nearly no contrast between thin and thick lines, +and different ratio width/height as compared with CMR. +The CMSS fonts has no serifs at all, they also +have no contrast, the thickness of their lines is greater +than that for CMTT. +Other fonts have their own specific +features, but inspite of this fact they can be ``added'' +together --- at least mathematically as the 62-dimensional +vectors of font parameters. +The resulting font is no longer CMR, CMBX, CMTT, etc., +but something intermediate with a unique shape. + +Taking into account the {\sf New Font Selection Scheme} used by +\LaTeX~2$_{\hbox{\normalsize$\varepsilon$}}$, +it is preferable to decompose +the CMBX font sequence into {\em two} sequences --- one +for ``boldness'' ({\em weight}) and one for ``extension'' +({\em width}) characteristics. +The {\sc mff.sty} uses the special fonts +$\overline{\hbox{CMB}}$\footnote{It is not the same as +{\tt cmb10} created by D.E.Knuth --- the font parameters +are different.} (bold as CMBX and wide as +CMR) and $\overline{\hbox{CMX}}$ (wide as CMBX and bold as CMR) +which are derived from CMBX. + +The mixture of fonts is performed by the command +\begin{itemize} +\item[] {\tt \bs{}MFFmixture\{$\alpha_1$\}\{$\alpha_2$\}% + \{$\alpha_3$\}\{$\alpha_4$\}\{$\alpha_5$\}\{$\alpha_6$\}} +\end{itemize} +where $\alpha_1$, $\alpha_2$, $\alpha_3$, $\alpha_4$, +$\alpha_5$, $\alpha_6$ specify +the weight factors: +$\alpha_1$ corresponds to $\overline{\hbox{CMB}}$, +$\alpha_2$ corresponds to $\overline{\hbox{CMX}}$, +$\alpha_3$ corresponds to CMSS (sans serif fonts), +$\alpha_4$ corresponds to CMTT (typewriter fonts), +$\alpha_5$ corresponds to CMFIB (``Fibonacci'' fonts), +$\alpha_6$ corresponds to CMFF (funny fonts)\footnote{% +The fonts {\csl slanted}, {\cmq quotation} and {\cmd dunhill} + +are not included in this list because they can be produced +from CMR easily using the scaling commands described +in section~\ref{CORRECT}.}. + +If some parameter has the value $p_{cmr}$ for CMR font, +the value $p_{cmb}$ for $\overline{\hbox{CMB}}$ font +(with the same font size!), the value $p_{sf}$ for CMSS font, etc., +the {\em mixture} value $p_*$ for this parameter is calculated as +\begin{eqnarray} +p_* &=& \alpha_0 p_{cmr} + + \alpha_1 \left(p_{cmb}-p_{cmr}\right) + + \alpha_2 \left(p_{cmx}-p_{cmr}\right) + + \alpha_3 \left(p_{sf}-p_{cmr}\right) +\cr &&\quad\quad + + \alpha_4 \left(p_{tt}-p_{cmr}\right) + + \alpha_5 \left(p_{fib}-p_{cmr}\right) + + \alpha_6 \left(p_{funny}-p_{cmr}\right) +\label{Eq1} +\end{eqnarray} +The value $\alpha_0$ is set to 1.0 by the command {\tt \bs{}MFFmixture}, +but the User can assign an arbitrary value to it using the +commands {\tt\bs{}setMFF[$\alpha_0$]\{cmr\}} and +{\tt\bs{}mixMFF[$\alpha_0$]\{cmr\}} which are decribed below. + +This procedure enables, for example, to make the font ``less bold'' +than CMR or ``more bold'' and ``more extended'' than CMBX +using the weight factors which are less than 0 or greater than 1, +and to create the ``mutant'' combinations of nearly incompatible +font families\footnote{Caution: playing this game +it is very easy to get the {\tt .mf} file which cannot +be passed through \MF{} without errors if you do not +understand clearly what are you doing.}. + +The command + {\tt \bs{}MFFmixture\{$\alpha_{1}$\}\{$\alpha_{2}$\}% + \{$\alpha_{3}$\}\{$\alpha_{4}$\}\{$\alpha_{5}$\}% + \{$\alpha_{6}$\}} +is equivalent to the following sequence of commands: +\begin{itemize} +\item[]{\tt \bs{}clearMFF\ \ \ \ \ \ + \% synonim for \bs{}MFFmixture\{0\}\{0\}\{0\}\{0\}\{0\}\{0\}}\\ + {\tt \bs{}mixMFF[$\alpha_{1}$]\{bold\}} \\ + {\tt \bs{}mixMFF[$\alpha_{2}$]\{x\}} \\ + {\tt \bs{}mixMFF[$\alpha_{3}$]\{sf\}} \\ + {\tt \bs{}mixMFF[$\alpha_{4}$]\{tt\}} \\ + {\tt \bs{}mixMFF[$\alpha_{5}$]\{fib\}} \\ + {\tt \bs{}mixMFF[$\alpha_{6}$]\{funny\}} +\end{itemize} +These commands are better recognized due to their mnemonic form, +they can be specified in an arbitrary order, the commands with +zero $\alpha$'s can be skipped since the zero weight factors are +already assigned by {\tt\bs{}clearMFF}. +If several commands with the same font name are encountered, +the last specification is active. The default value for the +optional parameter $\alpha$ is {\tt 1.0}. + +The mixture between CMR and a {\em single} font can be +specified by a single mnemonic command selected from +\begin{center}\begin{tabular}{l@{\qquad}l@{\qquad}l} +{\tt \bs{}setMFF[$\alpha_{1}$]\{bold\}} & +{\tt \bs{}setMFF[$\alpha_{3}$]\{sf\}} & +{\tt \bs{}setMFF[$\alpha_{5}$]\{fib\}} \\ +{\tt \bs{}setMFF[$\alpha_{2}$]\{x\}} & +{\tt \bs{}setMFF[$\alpha_{4}$]\{tt\}} & +{\tt \bs{}setMFF[$\alpha_{6}$]\{funny\}} +\end{tabular}\end{center} +which is equivalent to {\tt \bs{}MFFmixture} where only +one weight factor has non-zero value. If the optional parameter $\alpha$ +is skipped, the default value {\tt 1.0} is used. It means that +the ``pure'' font family can be specified by the commands +\begin{center}\begin{tabular}{l@{\qquad}l@{\qquad}l} +{\tt \bs{}setMFF\{bold\}} & +{\tt \bs{}setMFF\{sf\}} & +{\tt \bs{}setMFF\{fib\}} \\ +{\tt \bs{}setMFF\{x\}} & +{\tt \bs{}setMFF\{tt\}} & +{\tt \bs{}setMFF\{funny\}} +\end{tabular}\end{center} + +Although \LaTeX{} 2$_{\hbox{\normalsize$\varepsilon$}}$/NFSS +considers the {\em weight} and the {\em width} as two +independent font characteristics, the movement in the direction +``bold + extended'' (i.e., to CMBX font family) usually gives +more pleasant results. +To perform this operation it is necessary to assign the equal weights +to $\alpha_{cmb}$ and $\alpha_{cmx}$ which can be done +by the mnemonic commands +\begin{itemize} +\item[]{\tt \bs{}mixMFF[$\alpha_{bx}$]\{bx\}} + \qquad and \qquad + {\tt \bs{}setMFF[$\alpha_{bx}$]\{bx\}} +\end{itemize} +The commands +\begin{itemize} +\item[]{\tt \bs{}mixMFF[$\alpha_{cmr}$]\{cmr\}} + \qquad and \qquad + {\tt \bs{}setMFF[$\alpha_{cmr}$]\{cmr\}} +\end{itemize} +play a special role: they enable to assign the value +$\alpha_0=\alpha_{cmr}$ in the equation~(\ref{Eq1}) +(usually $\alpha_0$ is set to 1.0 by the command +{\tt\bs{}MFFmixture} --- for the evident reasons). + +%\section*{Some notes about the font sequences +% with continuously variated font size} +% +%Suppose that there is a continuous approximation +%for {\sl Computer Modern Roman} (CMR) which enables +%to calculate the \MF{} font parameters for an {\em arbitrtary} +%design size even with weak \TeX{} arithmetical capabilities. +%The desired font size is specified as the input parameter, +%all the internal calculations of the font parameters are performed +%by \TeX{}, and at the output there is the \MF{} {\em ready-to-run} +%font header file for a new font. When this new font header file +%is processed by \MF{}, it can be used in \TeX{} documents like +%other generic \TeX{} fonts. +% +%It is interesting to compare the possibilities of this simplest +%form of pa\-ra\-me\-tri\-za\-ti\-on +%of CMR-fonts and the {\sc PostScript} vector fonts. +%The nearly-proportional changing of the font dimensions +%with respect to magnification parameter is the analog of the +%linear scaling of the {\sc PostScript} fonts. +%The non-linear relationship of the inter-character spacing from +%the font size imitates the {\em tracking} mechanism implemented +%in {\sc PostScript} fonts (which is not taken into account in most +%cases by text processors). The fact that the ratio height/width is a +%non-constant (and non-linear) function of the font size is a +%serious advantage of these pseudo-CMR fonts in comparison with +%the linearly scaled {\sc Postscript} fonts since it enables to make +%the font proportions more suitable for a human eye +%(it is well known that for good eye recognision small letters +%are to be more expanded and have greater inter-character spacing). +% +%There are at least {\em two} ready-to-use font approximations +%available from CTAN. The first one is the \MF{} {\sc sauter} +%font package created by John Sauter and Karl Berry. It uses +%the continuous functions composed from constant, linear and quadratic +%pieces which are constructed so that for {\em canonical} font sizes they +%produce nearly just the same {\tt *.mf} files as the ones used +%by the original {\sl Computer Modern} typefaces. Although the latest +%version of {\sc sauter} is dated 1992, and in 1995 the parameters +%of {\sl Computer Modern} fonts were again slightly changed, +%it seems still to be the reliable source of the fonts with +%intermediate design sizes. +% +%The other approximation is realized in {\sc dc} and {\sc tc} +%fonts by by J\"org Knappen and Norbert Schwarz \cite{DC}. +%It is based on cubic splines --- Lagrange cubic splines or +%canonical cubic splines --- using the parameters of +%{\sl Computer Modern} typefaces as the base points. +%Although generally piecewise-cubic functions produce +%good quality approximations, it is not so with the data extracted +%from {\sl Computer Modern} \MF{} files. The plots of its parameters +%with respect to the design size are ``noisy'' functions with some +%abrupt jumps since these parameters were selected +%manually to optimize the font shape, not the mathematical plots. +%As a result the cubic smooth approximations obey parasilic local +%minima and maxima and do not work far outside the range of +%design sizes used as the base data points. The {\sc dc} and {\sc tc} +%fonts with intermediate font sizes are visually good even with +%this ``mathematical'' defects but it was more advantageous +%to impliment piecewise-linear approximation instead of +%piesewise-cubic one. +% +%The first version of {\sc mff.sty} was based on piecewise-linear and +%piecewise-cubic (Lagrange splines) functions using {\sl Computer Modern} +%typefaces as the reference data. To eliminate the parasitic local +%minima and maxima some data points were slightly changed, and new +%data points were added to guarantee a good behavour of the approximating +%expressions outside the range {\tt 5pt} -- {\tt 17.28pt}. The current +%version of {\sc mff.sty} is based on {\sc sauter}-type approximation +%with some modifications (especially for {\tt cmff} and {\tt cmfib} fonts) +%and on the piecewise-linear approximations based on {\sc dc} data. +%The variated {\sl Computer Modern} data used in the previous versions +%became obsolete and is discarded now since it is not a good idea +%to modify voluntary the original {\sc Computer Modern} parameters. + +\section{Modifications of font parameters\label{CORRECT}} + +You can use the weighted mixture of font ingredients using the commands +{\tt\bs{}setMFF}, {\tt\bs{}mixMFF} and {\tt\bs{}MFFmixture} described +above, but you can also vary ``by hand'' the font parameters +which control the essential details of the character shape. +%The commands described in this section enable to do: +%\begin{itemize} +%\item scale the {\em width} of the character; +%\item scale the {\em height} of the character; +%\item scale the length of ascenders and descenders; +%\item scale the height of digits and the middle line for +% mathematical symbols; +%\item scale the thickness of {\em thin strokes} +% and {\em thick strokes}; +%\item correct the {\em contrast} of the character; +%\item specify the tilt ratio $(\Delta x/\Delta y)$ +% for {\sl slanted} fonts; +%\item scale (or set to some value) some specific parameters +% which are responcible for fine character tuning; +%\item specify the logical flags which control the ligatures, +% character serifs, etc. +%\end{itemize} + +\subsection{Variations of the height\label{HEIGHT}} + +The following commands enable to vary the height of the vertical +elements of the characters: +\begin{description} +\item[\quad{\tt \bs{}MFFscaleHeight\{{\em factor}\}}] --- scale proportionally + the height and the depth of the characters; +\item[\quad{\tt \bs{}MFFscaleAsc\{{\em factor}\}}] --- scale + the height of the capital characters, brackets, digits, etc., + and the ascenders of the characters like `b', `h'; +\item[\quad{\tt \bs{}MFFscaleDesc\{{\em factor}\}}] --- scale + the depth of comma and the descenders of the characters + like `Q', `y'; +\item[\quad{\tt \bs{}MFFscaleMath\{{\em factor}\}}] --- scale + the height of digits and the height of + the horizontal bar (the middle line) for mathematical symbols + like $=$, $+$, $-$. +\end{description} +If several height factors are specified, their effect is combined. +The curious font {\tt cmdunh10} can be reproduced {\em exactly} +by proper specification of all these factors. + +Example: +\begin{eqnarray*} +&&\hbox{\tt \bs{}MFFscaleAsc\{1.5\}}\\ +&&\hbox{\tt \bs{}MFFscaleDesc\{1.2\}} +\end{eqnarray*} + +\subsection{Variations of the width\label{WIDTH}} + +The {\em width} of CMR font can be variated by mixturing +with the $\overline{\hbox{CMX}}$ font. It increases the character width +and also performs some fine tuning of other font parameters. +Due to this reason the mixturing with +$\overline{\hbox{CMX}}$ can be advantageous to variate +the width of characters if you deal with CMR family. +From the other side, for CMTT fonts or CMSS fonts the +mixturing with $\overline{\hbox{CMX}}$ results also +to some variation of the character shapes which can be +an undesirable effect. + +The User can specify the explicit width multiplication +which means that the font parameters which define the width +of the characters are multiplied by some factor: +\begin{itemize} +\item[]{\tt \bs{}MFFscaleWidth\{{\em factor}\}} +\end{itemize} +After this command the font parameters +\begin{itemize} +\item[]\begin{flushleft} +{\tt u\#}, {\tt serif\_fit\#}, {\tt cap\_serif\_fit\#}, +{\tt jut\#}, {\tt cap\_jut\#} +\end{flushleft}\end{itemize} +are scaled proportionally to {\em factor}. +The values $\hbox{\em factor}>1.0$ correspond to expansion, +the values $0<\hbox{\em factor}<1.0$ --- to compression of the +characters. The command {\tt \bs{}MFFscaleWidth\{1.0\}} +restores the default width. + +\subsection{Variations of the weight\label{WEIGHT}} + +The {\em weight}, i.e., the ``boldness'' of the characters can be +controlled by muxturing with $\overline{\hbox{CMB}}$. +Similarly to {\em width} correction described in the previous section, +for such fonts as CMTT or CMSS it is accompanied +by some undesirable changes in the character shapes. + +The following commands control explicitly +the {\em weight} and the {\em contrast} of the characters: +\begin{description} +\item[\quad{\tt \bs{}MFFscaleBoldLines\{{\em coef}$_1$\}}] +--- scale the thickness of {\em thick} strokes by {\em coef}$_1$; +\item[\quad{\tt \bs{}MFFscaleThinLines\{{\em coef}$_2$\}}] +--- scale the thickness of {\em thin} strokes by {\em coef}$_2$. +\end{description} +The coefficient {\em coef}$_1$ scales the values of the font parameters +\begin{itemize} +\item[]\begin{flushleft} +{\tt stem\#}, {\tt curve\#}, {\tt ess\#}, {\tt flare\#}, {\tt dot\_size\#}, +{\tt cap\_stem\#}, {\tt cap\_curve\#}, {\tt cap\_ess\#}, +{\tt bar\#}, {\tt slab\#}, {\tt cap\_bar\#}, {\tt cap\_band\#}, +{\tt thin\_join\#}. +\end{flushleft}\end{itemize} +The coefficient {\em coef}$_2$ scales the values of font parameters +\begin{itemize} +\item[]\begin{flushleft} +{\tt hair\#}, {\tt vair\#}, {\tt cap\_hair\#}, +{\tt rule\_thickness\#}, {\tt notch\_cut\#}, {\tt cap\_notch\_cut\#}. +\end{flushleft}\end{itemize} + +Multiplication by {\em coef}$_1$ and {\em coef}$_2$ increases +the font contrast in $\hbox{\em coef}_1/\hbox{\em coef}_2$ times. +The contrast can be specified explicitly using the commands +\begin{itemize} +\item[]{\tt \bs{}MFFcontrast[{\em type}]}\qquad or \qquad + {\tt \bs{}MFFcontrast\{{\em value}\}} +\end{itemize} +which defines the parameter {\em value} equal to the ratio +of the thickness of {\em thin strokes} to the thickness of +{\em thick strokes}. The commands work as: +\begin{eqnarray*} +&&\hbox{{\tt\bs{}MFFcontrast[s]} --- no correction of the contrast;}\\ +&&\hbox{{\tt\bs{}MFFcontrast[n]} --- no contrast at all ({\em value}=1);}\\ +&&\hbox{{\tt\bs{}MFFcontrast[d]} --- 50\% contrast ({\em value}=0.5);}\\ +&&\hbox{{\tt\bs{}MFFcontrast\{{\em value}\}} + --- the {\em value} is specified explitly.} +\end{eqnarray*} +If the correction of the contrast is active +(no command {\tt\bs{}MFFcontrast[s]}), +all thick element of lowercase characters are equal to {\tt stem\#}, +all thick element of uppercase characters are equal to {\tt cap\_stem\#}, +all thin elements have the thickness of {\tt stem\#} or {\tt cap\_stem\#} +multiplied by {\em value}, the values {\tt stem\#} and {\tt cap\_stem\#} +are multiplied by $\hbox{\em coef}_1$, +the value $\hbox{\em coef}_2$ is ignored. + +\subsection{Miscellaneous variations\label{MISC}} + +The following scaling factors can help to perform fine tuning +of the characters (see \cite{CM} for more details): +\begin{description} +\item[\quad{\tt \bs{}MFFscaleJoinLines\{{\em factor}\}}] +--- variable {\tt thin\_join\#} is multiplied by {\em factor} + (this variable is responcible + for fine connection between thin and thick lines in `h', `m', `n'); +\item[\quad{\tt \bs{}MFFscaleNotchCut\{{\em factor}\}}] --- + variables {\tt notch\_cut\#} and {\tt cap\_notch\_cut\#} are + multiplied by {\em factor} (these variables + are responcible for sharp corners in letters `A', `V', `w'); +\item[\quad{\tt \bs{}MFFscaleDotSize\{{\em factor}\}}] --- + variables {\tt dot\_size\#} and {\tt flare\#} are multiplied + by {\em factor} (these variables + are responcible for dots in `i', `:' and bulbs in `a', `c'); +\item[\quad{\tt \bs{}MFFscaleSerifDish\{{\em factor}\}}] --- + variable {\tt dish\#} is multiplied by {\em factor} (this + variable defines the curved shape of the serif platform). +\end{description} + +Since these parameters perform fine tuning of the character shape, +it can be desirable to assign the specific value to some of them +instead of scaling the default value. +This operation requires the ``expert level macros'' +described in section~\ref{EXPERT}. +For example, to assign a very big number to the variables +{\tt notch\_cut\#} and {\tt cap\_notch\_cut\#} +which control the sharpness of the corners in letters `A', `V', `w', +etc.\footnote{This operation is necessary to produce high-quality +outlined characters using {\em font tricks} commands described +in section~\ref{TRICKS} (see \cite{Outline} for more +details).}, the following commands can be used: +\begin{itemize} +\item[] + {\tt\bs{}MFFcatcode}\\ + {\tt \bs{}def\bs{}MFF@assign@notch\_cut\{\bs{}@tempdimb=16383pt\}}\\ + {\tt \bs{}def\bs{}MFF@assign@cap\_notch\_cut\{\bs{}@tempdimb=16383pt\}}\\ + {\tt\bs{}noMFFcatcode} +\end{itemize} +To return the rule of calculation for these parameters +to the default state, the commands +\begin{itemize} +\item[] + {\tt\bs{}MFFcatcode}\\ + {\tt \bs{}def\bs{}MFF@assign@notch\_cut\{\}}\\ + {\tt \bs{}def\bs{}MFF@assign@cap\_notch\_cut\{\}}\\ + {\tt\bs{}noMFFcatcode} +\end{itemize} +should be used. + +\subsection{Slanted characters\label{SLANT}} + +The inclination of the characters is defined by the +variable {\tt slant\#} which is specified explicitly +by the commands: +\begin{itemize} +\item[]{\tt \bs{}MFFslant\{{\em parm}\}} --- set {\em slant} as a fraction; +\item[]{\tt \bs{}MFFslantD\{{\em parm}\}} --- set {\em slant} as an angle + specified in degrees. +\end{itemize} +For example, {\em slant} typical for CMSL is specified +as {\tt \bs{}MFFslant\{1/6\}}, and {\em slant} typical for +CMSSI is specified as {\tt \bs{}MFFslantD\{12\}} which is +just the same as {\tt \bs{}MFFslant\{sind(12)/cosd(12)\}}. +The arguments of the commands {\tt\bs{}MFFslant} and {\tt\bs{}MFFslantD} +are interpreted as the text strings directly transferred to +{\tt .mf} files, not as the numerical values. + + +\subsection{Logical flags\label{FLAGS}} + +The logical switches usually specified at the end of {\tt *.mf} +file can be controlled by the following commands +({\sl char}={\tt n} means {\em false}, {\sl char}={\tt y} means {\em true}): +\begin{description} +\item[\quad{\tt \bs{}MFFflagSquareDots\{{\sl char}\}}] --- set logical variable + {\tt square\_dots} (should dots be square?); +\item[\quad{\tt \bs{}MFFflagHefty\{{\sl char}\}}] --- set logical variable + {\tt hefty} (should we try hard not to be overweight?); +\item[\quad{\tt \bs{}MFFflagSerifs\{{\sl char}\}}] --- set logical variable + {\tt serifs} (should bulbs and se\-rifs be attached?); +\item[\quad{\tt \bs{}MFFflagMonospace\{{\sl char}\}}] --- set logical variable + {\tt monospace} (are all characters of the same width?); +\item[\quad{\tt \bs{}MFFflagVariantG\{{\sl char}\}}] --- set logical variable + {\tt variant\_g} (should an italic-style g be used?); +\item[\quad{\tt \bs{}MFFflagLowAsterisk\{{\sl char}\}}] --- set logical variable + {\tt low\_asterisk} (should the asterisk be centered at the axis?); +\item[\quad{\tt \bs{}MFFflagMathSpacing\{{\sl char}\}}] --- set logical variable + {\tt math\_fitting} (should math-mode spacing be used?). +\end{description} +The level of ligature and kerning data is specified by the command: +\begin{description} +\item[\quad{\tt \bs{}MFFflagLigs\{{\em type}\}}] where {\em type} is + {\tt 0}, {\tt 1}, {\tt 2}, {\tt s} or {\tt n} --- set ligature level: + {\tt 0}, {\tt 1}, {\tt 2} correspond to the value of the variable {\tt ligs}, + {\tt n} is equivalent to {\tt 0}, {\tt s} set ligature level like + in CMR fonts (it is {\tt 1} if font design size is less than {\tt 6pt}, + and {\tt 2} otherwise). +\end{description} + +\subsection{Expert level macros\label{EXPERT}} + +It is possible to change manually each font variable +if the default value calculated by {\sc mff.sty} is +not satisfactory. To perform such operation it is necessary +to specify the macro with the name +\begin{itemize} +\item[] {\tt \bs{}MFF@assign@{\em varname}} +\end{itemize} +which redefine the value of the register \verb?\@tempdimb?. +On input the register \verb?\@tempdimb? +is equal to automatically calculated value for that parameter, +and the register \verb?\@tempdima? is equal to the font design size. +On output the register \verb?\@tempdimb? should contain +the new value for the font parameter. +When the macro {\tt\bs{}MFF@assign@{\em varname}} is executed, +the correction procedure described in section~\ref{CORR} +is performed. + +For example, the following macro +\begin{itemize} +\item[] {\tt \bs{}def\bs{}MFF@assign@x\_height\{\bs{}@tempdimb=3\bs{}@tempdimb\}} +\end{itemize} +scales by 3 the font variable {\tt x\_height\#}, and the macro +\begin{itemize} +\item[] {\tt \bs{}def\bs{}MFF@assign@crisp\{\bs{}@tempdimb=0pt\}} +\end{itemize} +assigns zero value to the font variable {\tt crisp\#}. +To delete this user-specified transformation it is +necessary to use the explicit dummy definition +\begin{itemize} +\item[] {\tt \bs{}def\bs{}MFF@assign@x\_height\{\}}\\ + {\tt \bs{}def\bs{}MFF@assign@crisp\{\}} +\end{itemize} + +The characters `{\tt \_}' and `{\tt @}' should have the status +{\em letters} to type such macro definition. The command +{\tt\bs{}MFFcatcode} assigns the status {\em letters} to +`{\tt \_}' and `{\tt @}', and the command {\tt\bs{}noMFFcatcode} +returns the previous status for these characters. +These commands work correctly even inside {\tt .sty} files where +the character `{\tt @}' have the status {\em letter} before \LaTeX{} +starts to process the style file, and should conserve this status +when \LaTeX{} finishes to process the style file. +Since the command {\tt\bs{}noMFFcatcode} returns {\em the previous} +status to `{\tt \_}' and `{\tt @}' (that is, the catcode which +they have during the last command {\tt\bs{}MFFcatcode}), two subsequent +commands {\tt\bs{}MFFcatcode} without intermediate{\tt\bs{}noMFFcatcode} +produce an error: the status of `{\tt \_}' and `{\tt @}' will be +{\em letters} even after the command {\tt\bs{}noMFFcatcode}. +To assign the status {\em other characters} to `{\tt \_}' and `{\tt @}' +unconditionally, the command {\tt\bs{}otherMFFcatcode} can be used. + +\bigskip + +The only operation that should be performed inside +{\tt\bs{}MFF@assign@{\em varname}} is the re-definition of +{\tt\bs{}@tempdimb}. No {\tt\bs{}@tempdima} nor other +internal variables can be changed although the contents of +{\tt\bs{}@tempdima} and the initial value of {\tt\bs{}@tempdimb} +can be used to calculate the output value. The exception are +the dimensional registers +{\tt\bs{}MFF@dimenA}, {\tt\bs{}MFF@dimenB}, +{\tt\bs{}MFF@dimenC}, {\tt\bs{}MFF@dimenD} +which can be used for intermediate calculations. +Also, it is necessary to take into account that: +\begin{itemize} +\item the value of all dimensional {\tt .mf} variables except + \begin{itemize}\item[] + {\tt notch\_cut\#}, {\tt cap\_notch\_cut\#}, + {\tt rule\_thickness\#} + \end{itemize} + is divided by 36 when printed to the header file; +\item the values of the variables + \begin{itemize}\item[] + {\tt notch\_cut\#}, {\tt cap\_notch\_cut\#}, + {\tt rule\_thickness\#} + \end{itemize} + are divided by 100 when printed to the header file; +\item the values of non-dimensional variables + \begin{itemize} + \item[]\begin{flushleft} + {\tt fudge}, {\tt math\_spread}, + {\tt superness}, {\tt superpull}, + {\tt beak\_darkness} + \end{flushleft}\end{itemize} + are printed to the header file `as it is' but it is to be + specified in {\tt pt} --- say, to assign + the value 0.5 to the variable {\tt fudge}, + the command + \begin{itemize} + \item[] {\tt \bs{}def\bs{}MFF@assign@fudge\{\bs{}@tempdimb=0.5pt\}} + \end{itemize} + should be used; +\item the value of the font parameter {\tt slant} is + set directly by the commands {\tt \bs{}MFFslant} + and {\tt \bs{}MFFslantD} and cannot be specified + using the command {\tt\bs{}MFF@assign@slant}; +\item the value of {\tt font\_size} is defined by the parameter + {\em fntsize} of the command {\tt\bs{}MFFgener} + (see section~\ref{GENER}) and cannot be changed + after it. +\end{itemize} + + +\section{Automatic control of font parameters\label{CORR}} + +The \MF{} programs which describe the {\sl Computer Modern} typefaces +assume that the following mutial relations between font parameters +are fulfilled (see \cite{CM} for more details): +\begin{itemize} +\item $0.5\cdot${\tt x\_height} $\le$ {\tt bar\_height} + $\le 0.55\cdot${\tt x\_height} +\item $\displaystyle\begin{array}[t]{rcl} + \hbox{\tt asc\_height} &\ge& 1.2\cdot\hbox{\tt x\_height}\\ + \hbox{\tt curve} &\ge& \hbox{\tt stem}\\ + \hbox{\tt cap\_stem} &\ge& \hbox{\tt stem}\\ + \hbox{\tt cap\_curve} &\ge& \hbox{\tt curve} + \end{array}$ +\item +each of the variables +\begin{itemize} +\item[] \begin{flushleft} + {\tt thin\_join}, {\tt hair}, {\tt vair}, {\tt stem}, {\tt curve}, + {\tt ess}, {\tt flare}, {\tt dot\_size}, {\tt bar}, {\tt slab}, + {\tt cap\_hair}, {\tt cap\_stem}, {\tt cap\_curve}, + {\tt cap\_ess}, {\tt cap\_bar}, {\tt cap\_band} + \end{flushleft} +\end{itemize} +are no less than {\tt crisp}, {\tt tiny} and {\tt fine}; +\item +the variables {\tt stem\_corr} and {\tt vair\_corr} +are no greater than +$\frac{1}{5}$ {\tt cap\_hair}, +$\frac{1}{6}$ {\tt stem}, +$\frac{1}{4}$ {\tt fudge}$\times${\tt stem} +and $\frac{1}{12}$ {\tt curve}; +\item +the variable {\tt vair\_corr} is no greater than +$\frac{1}{4}\hbox{\tt slab}$; +\item +the variable {\tt stem\_corr} is no greater than +$\frac{1}{16}\hbox{\tt fudge}\times\hbox{\tt hair}$. +\end{itemize} + +Although even the canonical header files sometimes +violate these conditions, +it is more safe if the font parameters calculated by {\sc mff.sty} +satisfy these relations (especially if the {\sl Computer Modern} +driver files {\tt roman.mf}, {\tt textit.mf}, {\tt csc.mf} are used). +From the other side, several interesting effects can be achieved only +when these relations are violated (provided that the {\tt .mf} file +is still processed by \MF{} without errors). +The automatical correction is switched {\em on} and {\em off} +by the commands: +\begin{description} +\item[\quad{\tt\bs{}MFFcheck}] --- the conditions described above +are checked and the variable values are corrected if necessary; +\item[\quad{\tt\bs{}MFFnocheck}] --- the automatical checking +and correction of the font parameters is switched off although +the condition that some critical parameters +are not negative, is still checked and corrected, if necessary. +\end{description} + +\section{Font classes\label{CLASS}} + +The NFSS/\LaTeX$2_{\varepsilon}$ classifies \TeX{} font +families in a way which is different from the logical structure +of {\tt .mf} files for {\sl Computer Modern} typefaces. +That is, the {\em italic} and {\sc small caps} +are at the same family {\cmcmr roman} together with +{\cmcmbx bold} and {\cmcmsl slanted} fonts, although they are produced +by different driver files. Similarly, {\cmcmr roman}, +{\cmcmtt typewriter}, {\cmcmss sans serif}, {\cmdunh dunhill}, +{\cmquote quotation} and {\cmfunny funny} fonts are considered +as different font families +although they are produced by the same driver file {\tt roman.mf} +(but with different font parameters). + +As soon as we deal with {\sc mff.sty} there is no sharp boundary +between {\cmcmr roman}, {\cmcmbx bold}, {\cmcmsl slanted}, +{\cmcmtt typewriter}, {\cmcmss sans serif}, {\cmfunny funny} and +{\cmdunh dunhill} fonts --- each font is smoothly +converted to another one, while {\em italic} and {\sc small caps} +fonts are quite different --- they use different driver files. +The macros {\sc mff.sty} assign different {\em classes} to these fonts +to distinguish such difference from {\em font families} +used in NFSS. The following font classes can be specified now: +\begin{description} +\item[\quad CMR] --- Computer Modern Roman; +\item[\quad CMTI] --- Computer Modern Text Italic; +\item[\quad CMCSC] --- Computer Modern Small Caps; +\item[\quad DCR] --- European Computer Modern Roman; +\item[\quad DCTI] --- European Computer Modern Text Italic; +\item[\quad DCCSC] --- European Computer Modern Small Caps; +\item[\quad CMRZ] --- {\sl CMZ} Computer Modern Roman/Cyrillic + created by Nana Glonti and Alexander Samarin; +\item[\quad CMRIZ] --- {\sl CMZ} Computer Modern Text Italic/Cyrillic; +\item[\quad CMCCSC] --- {\sl CMZ} Computer Modern Small Caps/Cyrillic; +\item[\quad LHR] --- {\sl LH} Computer Modern Roman/Cyrillic + created by Olga Lapko and Alexey Khodulev; +\item[\quad LHTI] --- {\sl LH} Computer Modern Text Italic/Cyrillic; +\item[\quad LHCSC] --- {\sl LH} Computer Modern Small Caps/Cyrillic. +\item[\quad LLR] --- {\sl LL} Computer Modern Roman/Cyrillic + created by Olga Lapko and Alexey Khodulev + (cyrillic part only); +\item[\quad LLTI] --- {\sl LL} Computer Modern Text Italic/Cyrillic; +\item[\quad LLCSC] --- {\sl LL} Computer Modern Small Caps/Cyrillic. +\end{description} +The font class is specified by the command +\begin{itemize} +\item[]{\tt \bs{}MFFclass\{{\em class}\}} +\end{itemize} +For example the command {\tt \bs{}MFFclass\{CMR\}} +activates {\sl Computer Modern Roman} fonts +(that is, the font header file will use the driver file +{\tt roman.mf}). + +The set of font classes +can be extended easily as soon as there is a font based +on the same set of parameters as {\sl Computer Modern} fonts. +The only thing to do is to specify the macro which writes the +{\tt font\_identifier} value and the operator {\tt generate} +with corresponding name of the driver file (see {\sc mff.sty} +for the examples). + +\section{Special Effects\label{TRICKS}} + +To make more fun some special effects described in \cite{ABC,Outline} +can be included in your font. If you specify some {\em font trick} +declaration, the special portion of \MF{} code is inserted in the +header file which modifies the characters generated by +original \MF{} subroutines. +The {\em font trick} declarations can specify +\begin{itemize} +\item pattern for the main body of the character; +\item pattern for the rectangular box (background) of the character; +\item pattern for the character shadow (if present); +\item pattern for the underlining of the character (if present) + [this feature will be realized in future versions]; +\item additional transformations (reflections, rotations, etc.) + of the characters. +\end{itemize} +The command {\tt \bs{}MFFtrick} which specifies these attributes +has the format: +\begin{itemize} +\item[] {\tt \bs{}MFFtrick\{{\em char-style}\}\{{\em box-style}\}% + \{{\em shadow-style}\}\{{\em underline}\}\{{\em transform}\}} +\end{itemize} +where the parameter {\em underline} is reserved for future +improvements and means nothing in the current version. +The following letters can be used to specify the +{\em char-style}, {\em box-style} and {\em shadow-style}: +\begin{eqnarray*} +&&\hbox{{\tt z} --- no such element or solid white pattern;}\\ +&&\hbox{{\tt b} --- solid black pattern;}\\ +&&\hbox{{\tt h} --- horizontal stripes;}\\ +&&\hbox{{\tt v} --- vertical stripes;}\\ +&&\hbox{{\tt r} --- slanted stripes {\tt /};}\\ +&&\hbox{{\tt l} --- slanted stripes {\tt \bs};}\\ +&&\hbox{{\tt g} --- rectangular grid (`{\tt h}'$+$`{\tt v}');}\\ +&&\hbox{{\tt s} --- slanted grid (`{\tt r}'$+$`{\tt l}');}\\ +&&\hbox{{\tt d} --- dotted grid.} +\end{eqnarray*} +The capital letters {\tt Z}, {\tt B}, {\tt H}, {\tt V}, {\tt R}, +{\tt L}, {\tt G}, {\tt S}, {\tt D} +mean that the outline of the element contour +is added to the filling pattern. +The specifications {\tt b} and {\tt B} +are equivalent since the outlined contour is undistinguishable +over the solid black pattern. +For example, the outlined main character +with a white body, white box background and +outlined shadow filled with dotted grid is specified by the command +{\tt \bs{}MFFtrick\{Z\}\{z\}\{D\}\{\}}. + +The parameter {\em transform} specifies the transformation +of the character\footnote{Several transformations can be used +--- in this case the individual letters are separated by commas +like in {\tt\{rr,sx,ro\}}.}: +\begin{eqnarray*} +&&\hbox{{\tt rr} --- rotation $-90^{\circ}$;}\\ +&&\hbox{{\tt rl} --- rotation $+90^{\circ}$;}\\ +&&\hbox{{\tt ro} --- rotation $180^{\circ}$;}\\ +&&\hbox{{\tt sx} --- symmetry $x \longrightarrow -x$;}\\ +&&\hbox{{\tt sy} --- symmetry $y \longrightarrow -y$;}\\ +&&\hbox{{\tt sz} --- symmetry $(x,y) \longrightarrow (y,x)$,}\\ +&&\hbox{{\tt st} --- symmetry $(x,y) \longrightarrow (-y,-x)$.} +\end{eqnarray*} +The font trick effects specified by the command {\tt\bs{}MFFtrick} +are used immediately by the subsequent commands {\tt\bs{}MFFgener}. +The following commands switch {\em on} and {\em of} +the font trick effects provided that the font trick +parameters are already established: +\begin{itemize} +\item[] {\tt \bs{}MFFfonttricks} --- activates + the font trick declarations; +\item[] {\tt \bs{}MFFnotricks} --- deactivates + the font trick declarations. +\end{itemize} +The following commands can be used to specify the individual +font trick elements (these declarations are used by the subsequent +commands {\tt\bs{}MFFgener} only after the explicit +command {\tt\bs{}MFFfonttricks} or if they are specified after the +command {\tt\bs{}MFFtrick}): +\begin{description} +\item[\quad{\tt\bs{}trickMFFchar\{{\em char-style}\}}] --- the pattern style + for filling of the body of the character (``{\tt z}'' means white body); +\item[\quad{\tt\bs{}trickMFFbox\{{\em box-style}\}}] --- the pattern style + for filling of the background box (``{\tt z}'' means empty background); +\item[\quad{\tt\bs{}trickMFFshadow\{{\em shadow-style}\}}] --- the pattern style + for filling of the character shadow (``{\tt z}'' means no shadow); +\item[\quad{\tt\bs{}trickMFFtransform\{{\em transform}\}}] + --- the additional transformation of the character. +\end{description} +Some typical font trick effects can be specified using the +command +\begin{itemize} +\item[] {\tt\bs{}MFFstdtrick\{{\em trick-name}\}} +\end{itemize} +where the following {\em trick-name} identifiers can be used: +\begin{description} +\item[\quad{\tt standard}] --- no font tricks +(={\tt\bs{}MFFtrick\{b\}\{z\}\{z\}\{\}}); +\item[\quad{\tt reversed}] --- {\em reversed} characters: +white letters over black rectangle; +\item[\quad{\tt dotted}] --- characters with a body filled with dots; +\item[\quad{\tt striped}] --- characters with a body filled with +rectangular grid; +\item[\quad{\tt stripedH}] --- characters with a body filled with +horizontal stripes; +\item[\quad{\tt stripedV}] --- characters with a body filled with +vertical stripes; +\item[\quad{\tt slanted}] --- characters with a body filled with +slanted rectangular grid; +\item[\quad{\tt slantedL}] --- characters with a body filled with +slanted stripes ``{\tt\bs}''; +\item[\quad{\tt slantedR}] --- characters with a body filled with +slanted stripes ``{\tt/}''; +\item[\quad{\tt outlined}] --- outlined white characters; +\item[\quad{\tt shadowed}] --- outlined white characters +with solid shadows; +\item[\quad{\tt sHadowed}] --- outlined white characters +with outlined white shadows; +\item[\quad{\tt shadowonly}] --- +only the solid shadow of the character is still present. +\end{description} +The parameters of the {\em font trick} effects are controlled +by the commands: +\begin{itemize} + +\item outline contour parameters: +\begin{description} +\item[\quad{\tt \bs{}stepMFFoutline\{{\em value}\}}] --- +the thickness of the outline contour. +\end{description} + +\item shadow parameters: +\begin{description} +\item[\quad{\tt \bs{}stepMFFshadow\{{\em value}\}}] --- +the step of the shadow shift; +\item[\quad{\tt \bs{}cornerMFFshadow\{{\em char}\}}] --- +the corner of the shadow: +\begin{itemize} +\item[]{\tt A} --- right/down corner;\\ + {\tt B} --- right/upper corner;\\ + {\tt C} --- left/upper corner;\\ + {\tt D} --- left/down corner. +\end{itemize} +\end{description} + +\item the parameters for the patterns which are used + for the main body of the character: +\begin{description} +\item[\quad{\tt \bs{}stepMFFcharpattern\{{\em value}\}}] --- +the step between lines and dots; +\item[\quad{\tt \bs{}penMFFcharpattern\{{\em value}\}}] --- +the thickness of lines and dots. +\end{description} + +\item the parameters for the patterns which are used + for the background of the character: +\begin{description} +\item[\quad{\tt \bs{}stepMFFboxpattern\{{\em value}\}}] --- +the step between lines and dots; +\item[\quad{\tt \bs{}penMFFboxpattern\{{\em value}\}}] --- +the thickness of lines and dots. +\end{description} + +\item the parameters for the patterns which are used + for the character shadow: +\begin{description} +\item[\quad{\tt \bs{}stepMFFshadowpattern\{{\em value}\}}] --- +the step between lines and dots; +\item[\quad{\tt \bs{}penMFFshadowpattern\{{\em value}\}}] --- +the thickness of lines and dots. +\end{description} +\end{itemize} +The values of the thickness/step size for the +striped, slanted and dotted patterns +are specified using the non-dimensional {\em value} +which is the factor applied to the (dimensional) +font parameter {\tt hair\#}. For example, +the command {\tt\bs{}stepMFFboxpattern\{0.5\}} +specifies that the step size between horizontal, +vertical or slanted lines used to +construct the pattern for the background +is equal to $0.5\times${\tt hair\#}. + +\section{Default state} + +The default values for {\em all} parameters used by {\sc mff.sty} +are assigned by the command {\tt \bs{}MFFdefault} which +is defined as +\begin{itemize} +\item[]\small +\begin{verbatim} +\def\MFFdefault{ +% + \MFFcontrast[s] + \MFFscaleBoldLines{1} \MFFscaleThinLines{1} + \MFFscaleWidth{1} \MFFscaleHeight{1} + \MFFscaleAscend{1} \MFFscaleDescend{1} \MFFscaleMath{1} + \MFFscaleJoinLines{1} \MFFscaleNotchCut{1} + \MFFscaleDotSize{1} \MFFscaleSerifDish{1} +% + \MFFslant{0} + \MFFflagLigs{s} \MFFflagMonospace{n} + \MFFflagSquareDots{n} \MFFflagHefty{n} + \MFFflagSerifs{y} \MFFflagVariantG{n} + \MFFflagLowAsterisk{n} \MFFflagMathSpacing{n} +% + \stepMFFoutline{0.075} + \stepMFFshadow{0.5} + \cornerMFFshadow{A} + \stepMFFbackpattern{0.375} \penMFFbackpattern{0.075} + \stepMFFcharpattern{0.375} \penMFFcharpattern{0.075} + \stepMFFshadowpattern{0.375} \penMFFshadowpattern{0.075} +% + \MFFstdtrick{standard} + \MFFnotricks +% + \MFFsauter + \MFFclass{CMR} + \MFFmixture{0}{0}{0}{0}{0}{0}{0} + \MFFnocheck +} +\end{verbatim} +\end{itemize} +It can be called at any moment to initialize +from the very beginning the {\sc mff.sty} parameters. + + +\section{Configuration of {\sf em\TeX} programs\label{CONFIG}} + +The way you should setup \TeX\ and \MF\ to work with {\sc mff.sty} +correctly depends on your local system. +The most difficult (and system-dependent) aspect is how to teach +\MF{} to generate the {\tt *.pk}-files according to +your printer specification, and how to teach \TeX\ and +{\sl DVI}-drivers to find \MF's output files. +For {\sl MS DOS} and {\sl OS/2} and for {\sf em\TeX} +package this problem can be solved using the utility {\sl MFJob} +as it is described below. + +The configuration used here assumes that the {\tt .mf} files +and {\tt .tfm} files are placed at the working directory, and +the {\tt .pk} files are placed in its subdirectories with the names +corresponding to font resolution. The {\tt .mf} files created +by {\sc mff.sty} are placed at the current directory automatically. +The {\tt .tfm} and {\tt .pk} files are placed at the proper directories +by the utility {\sl MFJob} if it uses the following script file: +\begin{verbatim} +% +% file mff.mfj / script for MFPiC and MFF.STY +% +input [modes]; +def s=[s0]; +{ +base=plain; +fonts=f; mags=s; m; +output=pk[.\@Rrdpi\@f] tfm[@f] log[@f]; +} +\end{verbatim} +The script file named {\tt mff.mfj} should be placed at the directory +{\tt\bs{}EMTEX\bs{}MFJOB\bs}. +To process the {\tt .mf} file by \MF{} and to generate the output font +for the desired printer with desired magnification it is necessary +to use the command +\begin{itemize} +\item[]\tt mfjob /a mff.mfj m=$<${\em printer-mode}$>$ + s=$<${\em magn}$>$ + f=$<${\em fontname}$>$ +\end{itemize} +(option {\tt /a} forces the program to generate the output font even if +it was already generated). The program {\sl MFJob} put {\tt .tfm} +and {.log} files at the current directory, and {\tt .pk} file at +the subdirectory with the name which mirrors the font resolution. +Example: +\begin{itemize} +\item[]\tt mfjob /a mff.mfj m=lj s=1 f=zcmr10 +\end{itemize} + +To teach {\sf em\TeX} to look for {\tt .tfm} files at the current +directory as well as at the system directories, it is necessary +to specify the DOS environment variable {\tt TEXTFM} as +\begin{itemize} +\item[]\tt SET TEXTFM=\%EMTEXDIR\%\bs{}TFM!;.\bs +\end{itemize} +instead of its default value {\tt \%EMTEXDIR\%\bs{}TFM!} +(it is assumed that {\tt EMTEXDIR} +is specified already like {\tt SET EMTEXDIR=C:\bs{}EMTEX}). + +To teach {\sl DVI}-drivers to look for {\tt .pk} +files at the subdirectories of the current directory, +it is necessary to edit the printer configuration files +placed by {\sf em\TeX} at {\tt\bs{}EMTEX\bs{}DATA\bs}. +Suppose you use the {\sl HP Laser Jet} printer (the modifications +of the configuration files for other printers are performed similarly). +The original {\sl Laser Jet} configuration file {\tt lj.cnf} +looks like +\begin{verbatim} +% lj.cnf (300x300 DPI using LJ fonts) ++dvi-file={,$DVIDRVINPUT:}@i ++font-libraries=$DVIDRVFONTS:lj_{base,more} ++font-files=$DVIDRVFONTS:pixel.lj\@Rrdpi\@f{.pk,.pxl} ++graph-files={,$DVIDRVGRAPH:}{@Rrdpi\,}@PBf{@Ef,.msp,.pcx,.bmp} ++resolution=300 ++font-resolution=300 ++font-scaling=1 ++metafont-mode=laserjet ++max-drift=2 +\end{verbatim} +The new configuration file (with the file name {\em different} +from {\tt lj.cnf}) should contain the parameter {\tt +font-files} +in a form +\begin{verbatim} +.... ++font-files={$DVIDRVFONTS:pixel.lj\,}@Rrdpi\@f{.pk,.pxl} +.... +\end{verbatim} +Now it is necessary to substitute the references on this +configuration file in the batch files {\tt v.bat}, {\tt vs.bat} +and {\tt prtlj.bat} from {\tt\bs{}EMTEX\bs{}BIN\bs{}}, +and you are ready to work with {\sc mff.sty}. +Just the same re-configuration of {\sf em\TeX} will enable +to work correctly with the {\sl MF\PiC} macro package. + +\section{History} +\begin{itemize} +\item Ver. 0.?? --- the first attempt which helped + to learn more about \TeX{} commands and + the internal structure of + {\sl Computer Modern} fonts. +\item Ver. 1.0 --- the arithmetical macros finally works. + The ``empirical'' approximation scheme based + on linear splines and ``corrected-by-hand'' + CM parameters is implemented. + The fonts generated by command + {\tt\bs{}MFFmixture} (at that moment it was called + {\tt\bs{}MFFcompose}) are tested experimentally. +\item Ver. 1.1 --- {\sc sauter} approximation scheme is used instead + of the ``empirical'' approximation scheme. + Commands for the logical flags are added. + Font classes other than CMR are included. + Generation of {\sc small caps} and + {\it italic} fonts is added. + As a result new commands are added, + some commands are renamed. +\item Ver. 1.2 --- the font tricks described in \cite{ABC} and \cite{Outline} + are added. + Font classes corresponding to the {\sc DC fonts} + driver files are included. +\item Ver. 1.21a --- the approximation based on {\sc DC fonts} data is added. + Information printed at the header of {\tt .mf} file + becomes more detailed now. + The {\sc mff.sty} commands are revised + and the names of many commands are changed. + This version was distributed during the {\sl TUG-96} + Conference. +\item Ver. 1.21b --- the section ``{\em Last minute corrections}'' + is added to this manual. The obligatory prefix + {\em xx} is added now in front of the file name + containing the font header. The list of parameters + for {\tt\bs{}MFFtrick} is changed so that in future + the {\em underlining} effect can be added. + This version is put on CTAN. +\end{itemize} + +\section{Last minute corrections\label{MORE}} + +The following data is the result of discussioins +held during the {\sl TUG-96} Conference. +Some corrections suggested by the participants +are implemented just now, most of them will be +implemented in future versions: +\begin{itemize} +\item {\em Add special (and obligatory) prefix in front of + the file name so, that the fonts created + by {\sc mff.sty} cannot be confused with the fonts + created by the professional font designers.} + + Corrected. Now all the fonts created by {\sc mff.sty} are + started with {\em xx}. This feature is added to lock the + attempts to create user-defined fonts under the names of + the Computer Modern, etc., fonts. The prefix {\em xx} + used by default is defined as + \begin{itemize} + \item[] \tt\bs{}def\bs{}MFFprefix\{xx\} + \end{itemize} + and can be redefined by the User, if necessary. + +\item {\em Include {\sl Concrete Fonts} into the set of fonts + used in the arithmetical mixture of Computer Modern + families.} + + It is not done, and with great probability it will not be done + at all. The most essential effects associated with + {\em Concrete Font Family} can be produced in {\sc mff.sty} + using the scaling of the thickness for + the thin strokes (see section~\ref{WEIGHT}). + +\item {\em Extend {\sc mff.sty} to generate the mathematical fonts as well.} + + This is a very interesting and important suggestion, + but it requires a lot of time since it is also necessary + to describe all these fonts as the mathematical ones + inside \TeX. Will be done somedays in future. + +\item {\em Extend {\sc mff.sty} to work with {\sl Pandora Font Family} + as well.} + + Interesting and promising. It may be done if there + is enough time to look for for {\sl Pandora Font Family} + in more details. + +\item {\em Generate the partial fonts, i.e., generate the font where + some (or nearly all) characters from the original MetaFont source + are excluded.} + + Interesting and not too difficult using the re-definition + of the procedure {\tt beginchar} by the commands + inside the font header created by {\sc mff.sty}. + Some problems may arize due to {\sl Metafont} + memory problems. Will be done in future. + +\item {\em Include some more {\sl font trick} effect, namely the + underlining of the characters so that the underlining stroke + has some gaps near the descender of the character.} + + Interesting and not too difficult. Corresponding feature + is reserved now in the list of {\tt\bs{}MFFtrick} parameters + (see section~\ref{TRICKS}). + Will be realized in the nearest future. + +\end{itemize} + + +\section*{Acknowledgements} + +This research was partially supported by a grant +from the Dutch Organization for Scientific Research +(NWO grant No 07-30-007). + + +\begin{thebibliography}{00} +\bibitem{CM} Donald E.\ Knuth. Computer Modern Typefaces +(\CandT{} series). \AW, 1986. +\bibitem{SAUTER} John Sauter. {\em Building Computer Modern fonts}. +\TUB, {\bf 7} (1986), pp. 151--152. +\bibitem{DC} J\"org Knappen. {\em The release 1.2 of the Cork +encoded DC fonts and the text companion symbol fonts}. + Proceedings of the 9th Euro\TeX{} Conference, Arnhem, 1995. +\bibitem{LL} A.Khodulev, I.Mahovaya. +{\em On \TeX{} experience in MIR Publishers}. + Proceedings of the 7th Euro\TeX{} Conference, Prague, 1992. +\bibitem{LH} O.Lapko. + {\em MAKEFONT as a part of CurTUG--Em\TeX{} package}. + Proceedings of the 8th Euro\TeX{} Conference, Gda\'nsk, 1994. +\bibitem{ABC} Georgia K.M. Tobin. + {\em The ABS's of Special Effects}. + TUGBoat {\bf 9} (1988) No 1 pp. 15--18. +\bibitem{Outline} Doug Henderson. + {\em Outline Fonts with Metafont}. + TUGBoat {\bf 10} (1989) No 1 pp. 36--38. +\end{thebibliography} + + +\end{document} |