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-\hsize4.5in
-\hoffset6.5in
-\advance\hoffset-\hsize
-\divide\hoffset2
-
-\def\ob{\tt\string{}
-\def\cb{\tt\string}}
-
-\footline={\ifnum\pageno=1 \else \hss\folio\hss\fi}
-
-\chardef\other=12
-\def\deactivate{%
-\catcode`\\=\other \catcode`\{=\other
-\catcode`\}=\other \catcode`\$=\other
-\catcode`\&=\other \catcode`\#=\other
-\catcode`\%=\other \catcode`\~=\other
-\catcode`\^=\other \catcode`\_=\other}
-
-\def\makeactive#1{\catcode`#1=\active \ignorespaces}
-
-\def\LaTeX{L\kern-.26em \raise.6ex\hbox{\fivei A}%
-\kern-.15em TeX}%
-
-{\makeactive\^^M %
-\gdef\obeywhitespace{\makeactive\^^M %
-\let^^M=\newline %
-\aftergroup\removebox %
-\obeyspaces}}
-
-\def\newline{\par\indent}
-\def\removebox{\setbox0=\lastbox}
-
-{\catcode`\|=\active
-\gdef\verbatim{%
- \par\begingroup\deactivate\obeywhitespace\tt
- \catcode`\|=\active
- \def|{\endgroup\par}}}
-
-\clubpenalty10000
-\widowpenalty10000
-\raggedbottom
-\interlinepenalty10000
-
-\def\section#1\par{%
-\medskip
-\noindent\llap{\raise1.25pt\hbox{$\diamond$\enskip}}{\bf#1}\par\nobreak\noindent}
-
-\section Introduction
-
-I use a lot of type. I also use \TeX~--~what better medium can there be for showing off type?~--~in
-its Macintosh incarnation as Textures. I need samples that I can show clients, and that I can
-refer to for the technical details of the typeface. The results are the type specimens you see
-here. The code itself has some annotations that you might want to read. The macros are not
-complex~--~I don't have time to decode clever macros, and I may need to alter them for unusual
-situations as they arise. You are encouraged to do the same. The current distribution of these
-specimens includes: This introduction; eight type specimens; an Acrobat PDF file with typeset
-examples of the specimens and this introduction.
-
-Some of the fonts in these examples (particularly {\it Centaur} in {\tt TypeSpc8.tex}) were made \TeX-ready
-by using Alan Jeffrey's {\tt fontinst}. The {\tt fontinst} package is discussed in considerable detail in Alan
-Hoenig's new book {\it\TeX\ Unbound:\ \LaTeX\ and \TeX\ Strategies for Fonts, Graphics \& More} (Oxford 1998), which
-discusses {\tt fontinst} over the course of several chapters and works through numerous examples. If you deal at all with
-fonts and
-\TeX\ you will need this book.
-
-Clearly, these specimens will be most easily produced on systems that use outline fonts
-as opposed to bitmaps. I have used these specimens on a Mac with Textures using both PostScript and TrueType, and on a PC
-with PC\TeX using TrueType. Textures (now at version 2.0) is interesting in that it can create font metrics
-``on the fly'' from the Mac's bitmap files. For more demanding work, you will, however, want to stick with {\tt fontinst}.
-
-\section A word about color
-
-Blue Sky Research {\it Textures} is a wonderful implementation of \TeX\ that has a very convenient
-way to use color through the {\tt\string\special} mechanism. I'm going to describe it so that if
-you use a different implementation that can take advantage of color, you will understand the
-macros here. Color is invoked by:
-
-\verbatim\special{color rgb 1.0 0.0 0.0}|
-
-\noindent This tells \TeX\ to trun everything red from this point on. This specification could
-also have been given by:
-
-\verbatim\special{color cmyk 0.0 1.0 0.1 0.0}|
-
-\noindent as red in the CMYK model is 100\% of magenta and yellow. To jump back and forth between
-colors, Textures has a color stack and you can push colors onto the stack and pop them off. So, a
-typical use of color might be something like this:
-
-\verbatim\special{color push}% Puts current color (black) on stack|
-\verbatim%%% Calls red and puts it on stack:|
-\verbatim\special{color rgb 1.0 0.0 0.0}|
-\verbatim Some text in red.|
-\verbatim\special{color pop}% Pops red off stack, restores black|
-\verbatim More text in black.|
-
-\noindent Simple. You can also define a color for later use:
-
-\verbatim\special{color define red rgb 1.0 0.0 0.0}|
-
-\noindent and summon it by calling:
-
-\verbatim\special{color red}|
-
-\noindent The advantage of this is that you can call colors that downstream processors (separation
-software, or a printer) can use to identify color use. You can even screen the color for tints:
-
-\verbatim\special{color red .5}|
-
-\noindent which would give a 50\% tint of red, or pink.
-
-\section TypeSpc1.tex, TypeSpc2.tex, TypeSpc3.tex
-
-These are essentially variations on a theme, differing only in the display type at the top of the
-page. TypeSpc1 has a selection of telltale characters. The top of the {\it A\/} often has a distinctive
-treatment; the lower half of the {\it G\/} and the tail of the {\it Q\/} also tend to
-be distinctive; the shape and size of the enclosed
-areas of the lowercase {\it a\/} and {\it e\/} are also
-telltale, and important in that very small such spaces
-are likely to close up under less than ideal printing
-conditions; the ampersand frequently has a good deal of
-creativity lavished upon it. TypeSpc2 sets the
-uppercase and lowercase of each letter next to each other. TypeSpc3 has a line of uppercase
-characters (not good design, but some people like or expect it) followed by a line of lowercase characters.
-
-\section Selecting the type
-
-At the beginning you can insert three items of information: the \TeX\ name of the font; the name
-of the font that will appear as the `title' of the specimen; and any comments that you wish to
-have at the end of the chart. I like this specimen because the chosen typeface is used for the
-whole specimen, including annotations. Clearly, these specimens and macros are more suited to
-PostScript and TrueType fonts than bitmaps -- proceed accordingly.
-
-\section Column width
-
-Under normal circumstances, a column of type should be about 70 lowercase characters (about 2.5
-lowercase alphabets) in width, or about 4.5 inches in width, which ever comes first. Much longer, and the eye tires, and
-loses its place when moving to the next line; much shorter and you increase the level of visual
-noise such as hyphenation and highly variable word spacing. This sample shows 10pt type at the
-width of 2.5 lowercase alphabets, and calculates the size of type necessay to set 70 characters
-to a measure of 4.5 inches. Interestingly, 10pt type
-usually comes very close to fitting 4.5 inches with 70
-characters. One of the most common signs of uninformed typography is
-column width that pays no attention to the realities of
-type and reading.
-
-\section Leading
-
-The calculation of leading~--~{\tt\string\baselineskip} in \TeX~--~is based purely on the
-physical realities of the type being set. The maximum height and depth of the typeface's characters is found, and then a
-percentage of that amount is added to itself to arrive at the leading. The x-height of the font
-is also given some influence over the leading.
-
-\section Choice of text
-
-I have provided three sample texts in token registers. The first is a simple piece of English
-prose. The second is a collection of {\it pangrams}~--~sentences using all twenty-six letters of the alphabet~--~from the large
-collection of David Lemon of Adobe Systems, Inc.; so you get to see all of the letters of the alphabet in
-use. The third is an amalgam of Latin and semi-Latin texts. In the first place, Latin~--~as
-Beatrice Warde pointed out~--~has fewer descenders so the text sits more cleanly on the baseline;
-second, as W.\ A.\ Dwiggins pointed out to Beatrice Warde, it is good to have a sample of text in
-a language the reader does not read~--~in this way the reader looks at the type itself, and not
-through the type to the information it conveys.
-
-\section Type factor
-
-The type factor is basically an extension of the the characters per pica concept, but scaled to
-the size of the typeface. It is based on a sample of type in which $f=(c\,t)/m$ where $f$ is the
-typefactor, $c$ is the number of characters in the sample, $t$ is the type size in points, and $m$
-is the total horizontal width of the sample. The formula can be put to some good use. For
-instance, characters per pica, $p$, can be obtained from $p=h/f$ where $h$ is the size of the type
-in points; the size of the type, $h$, necessary to place $n$ characters on a column width of $w$
-(in picas) is: $h=(fw)/n$. I have used a sample based on the relative frequency of letters in
-English. This gives excellent agreement with published figures, particularly those in {\it Brown's
-Index}. It is best not to take figures like characters-per-pica or type factors too seriously. They are very useful for
-judging the relative characteristics of typefaces. Before computer typesetting they were far more useful when the actual
-typesetting of material was costly and time-consuming. Computers allow us to be able to change typesetting parameters
-interactively and quickly, relieving us from having to know precisely ahead of time how the material is going to layout.
-
-\section The ratio of the x-height to the ascender height
-
-This is an important characheristic of type. As x-height increases, type tends to look darker, or
-more crowded on the page. The antidote to this is to increase the leading slightly. {\it See above.}
-
-\section TypeSpc4.tex -- a mini-specimen
-
-The principal attraction of TypeSpc4 is the
-{\tt\string\makefontbox} macro which gives a kind miniature specimen that can be as little or as
-large as you like. In the examples I give, the grid is certainly optional as is the use of color:
-They are merely suggestions to get you started. The five arguments to {\tt\string\makefontbox} are
-as follows:
-
-\medskip
-
-\vbox{\raggedright\parskip3pt
-
-\itemitem{\#1}\TeX's name for the desired font
-
-\itemitem{\#2}The name font name as you want it to print
-
-\itemitem{\#3}The name of the type's designer, or other salient
- piece of information that lends itself to display
-
-\itemitem{\#4}The size of the type inside the box
-
-\itemitem{\#5}The overall desired width of the box}
-
-\section TypeSpc5.tex -- by the numbers
-
-It is very often useful to know where the characters of a typeface are, and to gain an overall
-impression of all of the characters of a font. This specimen is simply an enumeration of the
-characters with respect to their character numbers. The macro to notice is
-{\tt\string\lineofchars}. You can specify how may characters are to be in the line, and what the
-numerical starting point will be. Numerous other design variables can be specified, and they are
-discussed in TypeSpc5.tex.
-
-\section TypeSpc6.tex -- for florid fonts
-
-There are times when you simply have to see a font in all its splendor. You don't need it at every
-imaginable size. And in the case of ornate calligraphic fonts, it does not make any sense at all
-to shove uppercase letters together for any reason, not even for display.
-
-\section TypeSpc7.tex -- homage \`a Caslon
-
-This ornate example is meant to be both fun and useful. It was inspired by the specimen sheets of
-William Caslon. The names of the type sizes~--~Ruby, Minion, Brevier, etc.~--~are traditional and
-could be replaced with sizes in points. This is a useful sample for PostScript typefaces which are
-often packaged as a family of four fonts: roman, italic, bold and bold-italic. The principle fonts
-are the roman and italic, however, and these are the fonts primarily featured in this specimen. The
-sample text is in a token list and can be changed at will~--~just make sure that there is enough
-of it.
-
-\section TypeSpc8.tex
-
-This specimen uses techniques that we have established in earlier samples. Again, this is suitable
-for typefaces that exist in pairs (or pairs of pairs) of fonts: roman and italic, bold and
-bold-italic. There is also a macro for a single, centered paragraph that could be used, say, for
-small caps. The type size, leading and type factor are given for each font.
-
-\section TypeSpc9.tex
-
-I combined two formats here to show off the principal characteristics of the roman along with the
-fonts of the family as used for text.
-
-\section TypeSp10.tex
-
-Another variation using one sample per line. Also notice the very beautiful typeface.
-
-\bigskip
-\hrule
-
-\section Stephen Moye, 23 IV 1998
-
-Stephen\hbox to .5em{\hrulefill}Moye@brown.edu\hfill\break Brown University Graphic Services
-
-\bye \ No newline at end of file