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diff --git a/Master/texmf-dist/source/fonts/drm/drm.dtx b/Master/texmf-dist/source/fonts/drm/drm.dtx new file mode 100644 index 00000000000..073c2054ef0 --- /dev/null +++ b/Master/texmf-dist/source/fonts/drm/drm.dtx @@ -0,0 +1,2734 @@ +% \iffalse +% +AMDG This document was begun on 25 May 11EX, the feast +% of St. Mary Magdalen de Pazzi, and it is humbly dedicated +% to her and to the Immaculate Heart of Mary for their +% prayers, and to the Sacred Heart of Jesus for His mercy. +% +% This document is copyright 2014 by Donald P. Goodman, and is +% released publicly under the LaTeX Project Public License. The +% distribution and modification of this work is constrained by the +% conditions of that license. See +% http://www.latex-project.org/lppl.txt +% for the text of the license. This document is released +% under version 1.3 of that license, and this work may be distributed +% or modified under the terms of that license or, at your option, any +% later version. +% +% This work has the LPPL maintenance status 'maintained'. +% +% The Current Maintainer of this work is Donald P. Goodman +% (dgoodmaniii@gmail.com). +% +% This work consists of all files listed in drmfilelist.txt. +% \fi + +% \iffalse +%<package>\NeedsTeXFormat{LaTeX2e}[1999/12/01] +%<package>\ProvidesPackage{drm}[2015/01/01 v1.0 support for dozenal fonts] +%<*driver> +\documentclass{ltxdoc} + +\usepackage[absolute]{textpos} +\usepackage{doc} +\usepackage{array} +\usepackage{lettrine} + \setcounter{DefaultLines}{3} + \setlength{\DefaultFindent}{2pt} + \renewcommand{\LettrineFontHook}{\color{red}} +\usepackage{url} +\usepackage{booktabs} +\usepackage{supertabular} +\usepackage{longtable} +\usepackage{fetamont} +\usepackage{spverbatim} +\usepackage[greek,english]{babel} +\languageattribute{greek}{polutoniko} +\usepackage[colorlinks]{hyperref} +\usepackage[]{drm} +\usepackage{makeidx} +\EnableCrossrefs +\PageIndex +\CodelineNumbered +\RecordChanges +\makeindex +\DoNotIndex{\?,\{,\},\|,\DeclareFontFamily,\DeclareFontShape, + \DeclareMathAccent,\DeclareMathAlphabet,\DeclareMathDelimiter, + \DeclareMathSymbol,\DeclareMathVersion,\DeclareSymbolFont,\def, + \drmsym,\encodingdefault,\familydefault,\fontencoding,\fontfamily, + \fontseries,\fontshape,\hfil,\hbox,\mathalpha,\mathclose, + \mathopen,\mathord,\mathversion,\mp,\nabla,\nbshortroman, + \RedefineMRmdclxvij,\relax,\renewcomand,\RequirePackage, + \selectfont,\SetMathAlphabet,\SetSymbolFont,\drmsymbolredef, + \nodefaultfalse,\nodefaultmathfalse,\nodefaultmathtrue,\nodefaulttrue, + \nodefaulttextfalse,\nodefaulttexttrue,\noindent,\numexpr, + \acute,\addtolength\advance,\backslash,\baselineskip, + \char,\counterA,\counterB,\DeclareOption,\ProcessOptions, + \drmmathlets,\symbolsonlytrue,\if,\else,\fi,\ifnum,\fi,\ifdim,\fi, + \symbolsonlyfalse,\fontsize,\newif,\newcount, + \loop,\iter,\let,\renewcommand,\setbox,\setlength,\the,\vss, + \vskip,\vbox,\ifnodefault,\fi,\ifnodefaulttext,\fi, + \ifnodefaultmath,\fi,\ifsymbolsonly,\fi,\newlength, + \counterA,\counterB,\newcount,\r@@t,\z@,\DeclareMathRadical, + \DeclareRobustCommand,\bBigg@,\@ifnextchar,\@sqrt} + +\begin{document} +\DocInput{drm.dtx} +\end{document} +%</driver> +% \fi +% +% \title{The \texttt{drm} Font Package, v1.0} +% \author{Donald P.\ Goodman III} +% \date{\today} +% +% \maketitle +% \begin{abstract} +% The |drm| package provides access to the DRM (Don's +% Revised Modern) family of fonts, which includes a variety +% of optical sizes in Roman, italic, and small caps, along +% with a set of symbols and ornaments. It is intended to be +% a full-body text font, but its larger sizes can also be +% used for simple display purposes, and its significant body +% of symbols can stand on its own. It comes complete with +% textual (``old-style'') and lining figures, and even has +% \emph{small-caps figures}. It also comes with +% extensible decorative rules to be used with ornaments from +% itself or other fonts, along with an extremely flexible +% ellipsis package. A set of decorative initials is planned. +% \end{abstract} +% +% \tableofcontents +% +% \section{Introduction} +% \label{sect:intro} +% +% \lettrine{A}{fter some time} of involvement with \TeX\ and \LaTeX\, +% your author finally bothered to go read \textit{The \TeX +% book} and \textit{The \MF book}. This latter closes, +% of course, with Donald E.\ Knuth's famous exhortation to +% ``\textsc{Go forth} now and create \textsl{masterpieces of +% digital typography!''} This call to arms stirred a longing to actually +% do so in my soul. +% +% I had some experience with the \MF\ language through +% my work with \MP, so I thought I might try my hand at +% it. I started in fits and stops some years ago, and only +% a few months ago took up the cause again in earnest. I +% found that, as Knuth also warned, +% +% \begin{quote}\textsc{Warning}: Type design can be +% hazardous to your other interests. Once you get hooked, +% you will develop intense feelings about letterforms; the +% medium will intrude on the messages that you read. And +% you will perpetually be thinking of improvements to the +% fonts that you see everywhere, especially those of your +% own design.\end{quote} +% +% Truer words were never spoken. +% +% This document is typeset in accordance with the +% \textsc{docstrip} utility for automatically extracting +% package code and documentation. +% +% \section{License(s)} +% +% \lettrine{T}{he \TeX\ and \LaTeX\ code} in this package is +% licensed under the \LaTeX\ Project Public License v1.3c, +% the details of which can be found in Appendix \ref{lppl} +% on page \pageref{lppl}. It's a legal document, and bears +% all the concomitant complications of such. The basic +% import is that you can use and distribute these files as +% you will, provided only that you do not restrict their use +% by their recipients; and that you can even modify them as +% you will, provided that if you distribute your +% modifications, you do so under a different name. +% +% The fonts themselves are licensed under the SIL Open Font +% License, v1.1, the details of which can be found in +% Appendix \ref{sil} on page \pageref{sil}. It's a less +% complex legal document, but a legal document all the same. +% The basic import is that you can't sell the fonts all by +% themselves (why anyone would pay for them anyway is beyond +% me, but there it is); you can distribute original or +% modified versions of the fonts otherwise however you wish, +% as long as you keep the copyright notice and license with +% it; and if you distribute a modified version, that you do +% so under a different name; that you not use the name of +% the font designer to promote a modified version; and that +% any modified versions of the fonts must be kept under the +% same license. +% +% Finally, the software I used to build things, which is +% very simple and mostly uninteresting stuff, is also made +% available, under the GNU General Public License v3. This +% is sufficiently well-known that it's not duplicated in +% this document; but the text is, of course, included in +% the distribution. +% +% That said, I'm pretty easy-going about this sort of thing; +% so if for some reason the above terms don't suit you, feel +% free to contact me and see if we can work something else +% out. But honestly, the terms of these licenses are +% more than fair, and it's hard for me to see a reason to +% depart from them. +% +% \section{Usage} +% \label{sect:usage} +% +% \subsection{Basic Usage} +% \label{sub:basicusage} +% +% Using the DRM fonts is beyond easy; just include the +% following in your preamble: +% +% \begin{quote} +% |\usepackage{drm}| +% \end{quote} +% +% And you're done! This makes the DRM fonts the default for +% your document, and defines appropriate commands for using +% them. I've made every effort to make using DRM as +% unsurprising as possible, so the commands you'd use to +% change sizes, styles, shapes, and so forth should all work +% as expected. That said, there are some unusual shapes and +% options available, and these are explained below. +% +% You do \emph{not} need to load |textcomp|; all those +% symbols and more are available from |drm|. +% +% \subsection{Package Options} +% \label{sub:packopt} +% +% DRM doesn't offer too many options, because too many +% aren't really needed; but it does allow some control over +% what defaults it resets. +% +% \begin{description} +% \item[nodefault] \DescribeMacro{nodefault}The |nodefault| +% option means that |drm| will not change any of the +% defaults of the document; that is, loading |drm| with the +% |nodefault| option should have no effect whatsoever on the +% appearance of your document. The fonts are defined, +% though, so you can use them if you decide you want to. +% Symbols will \emph{not} be redefined. +% \item[nodefaulttext] \DescribeMacro{nodefaulttext}The +% |nodefaulttext| option means that text fonts are +% \emph{not} redefined but math fonts \emph{are}. Symbols +% will \emph{not} be redefined. +% \item[nodefaultmath] \DescribeMacro{nodefaultmath}The +% |nodefaultmath| option means that text fonts \emph{are} +% redefined but math fonts are \emph{not}. Symbols +% \emph{will} be redefined. +% \item[symbolsonly] \DescribeMacro{symbolsonly}The +% |symbolsonly| option defines all the commands for the +% symbols (note that this may overwrite some command names, +% like |\textcopyright|; if you need these undefined, load +% |textcomp| \emph{after} |drm|). +% \end{description} +% +% The default is that none of these are selected; that is, +% the default is that both text and math fonts, along with +% symbols, are redefined to be DRM. Commands which are +% font-independent, like |\tulipframe| and |\extrule|, are +% always defined when the package is loaded. Also, the +% fonts themselves are always defined, so they can be +% accessed directly even if they are not the default. +% +% Note that even if symbols are not redefined, they are +% still available directly through the +% \DescribeMacro{\drmsym}|\drmsym| command. +% This command takes one argument, typically a |\char| +% directive, which will be the decimal, octal (if preceded +% by |'|), or hexadecimal (if preceded by |"|) position of +% the desired symbol in the font. E.g.: +% +% \hbox to\linewidth{% +% \hfil|\drmsym{\char'117}|\hfil|\drmsym{\char"4F}|\hfil% +% |\drmsym{\char79}|\hfil} +% +% \noindent yields +% +% \hbox to\linewidth{% +% \hfil\drmsym{\char'117}\hfil\drmsym{\char"4F}\hfil% +% \drmsym{\char79}\hfil} +% +% \subsection{Interaction with Other Packages} +% \label{sub:interpack} +% +% As far as your author has been able to tell, |drm| has no +% adverse reactions with any other packages. A few notes +% are probably appropriate, however. +% +% \DescribeMacro{textcomp}You do \emph{not} have to load +% |textcomp| when you're loading |drm|; |drm| defines all +% the symbols in |textcomp|, and then some, allowing access +% to them with the same commands. This is the |drmsym| +% font, which is encoded, like the |textcomp| font, as TS1. +% If you're not loading the symbols, though (e.g., you've +% loaded |drm| with options |nodefault| or |nodefaulttext|), +% you may still want to load |textcomp|. +% +% \DescribeMacro{lettrine}The |lettrine| package is used to +% typeset large dropped capitals at the beginning of +% paragraphs; it's an extraordinarily flexible and +% well-designed package. |drm| works just fine with it; +% however, the proportions of the letters make a small +% tweak advisable. If you'll be using lettrines larger than +% two lines high, the following will be helpful: +% +% \hbox to\linewidth{\hfil|\setlength{\DefaultFindent}{2pt}|\hfil} +% +% \noindent This will prevent your text from bumping into +% your lettrine. +% +% \subsection{Further Work Needed} +% \label{sub:further} +% +% While I'm quite happy with DRM right now, there are a few +% notable places where it needs some additional work. +% +% \begin{description} +% \item[Kerning] The kerning is sometimes suboptimal. +% There really isn't much else to say about this. For +% most of the fonts, the kerning is reasonably good (at +% least, in my opinion), but for upright italic, boldface, +% and occasionally small and titling caps, I do still find +% lacun\ae\ in my handling of certain kerning pairs. +% \item[Internal Code] While the code is parameterized +% enough that, for example, boldfacing was a relatively +% simple process, it could use some improvement in this. +% Also, some code was repeated that would surely be better +% off included in macros, especially the placing of accents. +% \item[Decorative Initials] I love, love, \emph{love} +% decorative initials, and want DRM to have them. But +% writing them is a \emph{lot} of work. I decided I wanted +% the fonts as they stand done before I get to work on +% those; but it's still further work that needs to happen. +% \item[More Ornaments] I'm pretty happy with what +% ornaments I've designed for DRM, but it needs more of +% them. A full, 8-bit ornamental font is in the works (the +% decorative initials will likely be A--Z in this font), but +% designing these is a similarly large amount of work, so +% it's still on the burners. +% \item[Greek Fonts] DRM badly needs real Greek fonts. +% After I did the math fonts, Greek fonts seemed like a +% short step; but now I really need to add italic and +% boldface versions, and optically size the upright ones. +% \end{description} +% +% In addition to these specific needs, font metrics may +% still change, though only slightly, and shapes are subject +% to tweaking here and there. But even now, the DRM fonts +% are usable, reasonably complete, and (in my view, at +% least) attractive. +% +% \section{About the DRM Fonts} +% +% So I've been plumbing the depths of alphabet design, and +% having a great time doing it. The result is what you see +% before you, the DRM fonts. +% +% \subsection{About the Fonts} +% +% They're not \textit{modern}, per se, but they do have +% modern characteristics, most especially the distinction +% between thick and thin strokes and the vertical +% orientation. They have a number of old-style +% characteristics, as well, though, like the aforementioned +% ``Q'' tail, the relatively prominent serifs, and the +% slight but still present brackets. +% +% Overall, they're fairly dark fonts on average, as well as +% fairly wide. To my eye, this makes them ideal for reading +% long passages. +% +% They have some unusual features. For example, they have not +% only the standard run of f-ligatures (fi, fl, ff, ffi, +% ffl), but also some unusual f-ligatures (ft, fj), as well +% as a non-f-ligature (Th). Some larger-size examples of +% the ligatures can be found in Table \ref{table:ligs}. DRM +% also contains some unusual shapes, such as \textui{upright +% italic} and \texttc{titling caps}\index{titling caps}. +% +% \begin{table} +% \begin{center}\setlength{\extrarowheight}{9pt} +% \begin{tabular}{>{\Large}c>{\Large\itshape}c +% >{\Large}c>{\Large\itshape}c +% >{\Large}c>{\Large\itshape}c} +% \toprule +% Roman & Italic & Roman & Italic & Roman & Italic \\ +% \midrule +% fi & fi & ff & ff & fl & fl \\ +% fj & fj & ffi & ffi & ffl & ffl \\ +% ft & ft & Th & Th & {} & {} \\ +% \bottomrule +% \end{tabular} +% \caption{Ligatures in the DRM fonts.} +% \label{table:ligs} +% \end{center} +% \end{table} +% +% \subsection{Font Families} +% +% DRM contains a full set of the normal font families you'd +% expect: roman, bold, italic, small caps, and so forth. +% But it also contains some shapes that are rather unusual, +% as well as a wide variety of sizes, forms, and weights +% capable of filling most needs. +% +% \subsubsection{Optical Sizing} +% +% The advent of digital fonts made many typographers lazy. +% Previously, of course, a printer could only print fonts in +% sizes that he had; each size had to be separately cut and +% designed. Digital fonts seemed to relieve this problem; +% now we can simply scale up or down, and only design a +% single size! Experience has shown, however, that this +% produces suboptimal results, as Table \ref{tab:optsize} +% demonstrates. +% +% \begin{table}[htbp] +% \hbox to\linewidth{% +% \hfil% +% \Large Fourteen point font is different% +% \hfil% +% }% +% \hbox to\linewidth{% +% \hfil% +% \font\scalio=drm7 at14pt\scalio from scaled seven point font.% +% \hfil% +% }% +% \caption{Scaling and Optical Sizing Compared} +% \label{tab:optsize} +% \end{table} +% +% The human eye, as it turns out, does not perceive the +% world, least of all letterforms, as geometrically scaled +% versions of larger or smaller shapes. For example, at +% small point sizes the eye tends to run adjacent strokes +% together, so proportionally wider letters and increased +% letterspacing are appropriate in smaller sizes but not in +% larger. For another example, strokes often overlap the +% technical top or bottom lines because a curved line will +% appear to be lower than a straight line at the same +% height. This effect diminishes at larger sizes; so this +% overshoot might be zero at double pica (twenty-four +% point), still significant at pica (twelve-point), and +% quite large at six-point. If we merely scaled the six +% point to get our twenty-four point, this overshoot would +% make the curved strokes look comically larger than the +% straight ones; if we did the opposite, then our curved +% letters would seem noticeably shorter than our straight +% ones. +% +% The only real solution to this is to use \emph{optical +% sizes}; that is, have a reasonable set of sizes which are +% designed for use at that particular size. \LaTeX\ +% (largely transparently to the user, thanks to the magic of +% NFSS) will then select the closest optical size and scale +% as necessary from that. This minimizes the effects of +% scaling on the appearance of the font, and gives vastly +% superior results. +% +% \begin{table}[htbp] +% \begin{center}\footnotesize +% \begin{tabular}{lp{0.2\textwidth}p{0.2\textwidth}p{0.2\textwidth}} +% \toprule +% Point & \multicolumn{2}{c}{Traditional Name} & +% DRM \\ +% {} & American & British & {} \\ +% \midrule +% 3 & Excelsior & Minikin & |\excelsior|, |\minikin| \\ +% 4 & Brilliant & {} & |\brilliant| \\ +% 4.5 & Diamond & {} & |\diamond| \\ +% 5 & Pearl & {} & |\pearl| \\ +% 5.5 & Agate & Ruby & |\agate|, |\ruby| \\ +% 6 & Nonpareille & {} & |\nonpareille| \\ +% 6.5 & Minionette & Emerald & |\minionette|, |\emerald| \\ +% 7 & Minion & {} & |\minion| \\ +% 8 & Brevier, Petit, small text & {} & |\brevier|, +% |\petit|, |\smalltext| \\ +% 9 & Bourgeois; Galliard & {} & |\bourgeois|, +% |\galliard| \\ +% 10 & Long Primer; Corpus; Garamond & {} & +% |\longprimer|, |\corpus|, |\garamond| \\ +% 11 & Small Pica; Philosophy & {} & |\smallpica|, +% |\philosophy| \\ +% 12 & Pica & {} & |\pica| \\ +% 14 & English; Mittel; Augustin & {} & |\english|, +% |\mittel|, |\augustin| \\ +% 16 & Columbian & Two-line Brevier & |\columbian|, +% |\twolinebrevier| \\ +% 18 & Great Primer & {} & |\greatprimer| \\ +% 20 & Paragon & {} & |\paragon| \\ +% 21 & Double Small Pica & {} & |\doublesmallpica| \\ +% 22 & Double Small Pica & Double Pica & +% |\doublesmallpicaus|, |\doublepicabrit| \\ +% 24 & Double Pica & Two-line Pica & |\doublepica|, +% |\twolinepica| \\ +% 28 & Double English & Two-line English & |\doubleenglish|, +% |\twolineenglish| \\ +% 30 & Five-line Nonpareil & {} & |\fivelinenonpareil| \\ +% 32 & Four-line Brevier & {} & |\fourlinebrevier| \\ +% 36 & Double Great Primer & Two-line Great Primer & +% |\doublegreatprimer|, |\twolinegreatprimer| \\ +% 44 & Meridian & Two-line Double Pica; Trafalgar & +% |\meridian|, |\twolinedoublepica|, |\trafalgar| \\ +% 48 & Canon; Four-line & {} & |\canon|, |\fourline| \\ +% 60 & Five-line Pica & {} & |\fivelinepica| \\ +% 72 & Inch & {} & |\inch| \\ +% \bottomrule +% \end{tabular} +% \caption{Traditional size names, both American and +% British, with their corresponding point sizes and DRM +% command names.} +% \label{tab:fontsizes} +% \end{center} +% \end{table} +% +% DRM offers a reasonable selection of optical sizes, at 6-, +% 7-, 8-, 9-, 10-, 11-, 12-, 14-, 17-, and 24-point sizes in +% roman, italic, slanted, small caps, titling +% caps\index{titling caps}, and upright italic. This +% variety should be sufficient for the vast majority of +% needs. +% +% However, traditional printing has developed a vast array +% of standard sizes, with the quaint, colorful names that +% always go with traditional crafts. Setting text in +% Brevier Roman or Long Primer Italic means something very +% specific. \LaTeX\ only offers a few default font +% size commands (e.g., |\small|, |\normalsize|, etc.), and +% DRM leaves those unchanged, as users expect specific +% things to happen when they issue those commands. However, +% DRM does offer those traditional size names as commands, +% as well, giving quite a bit more breadth in font size +% choice than the default before one must resort to explicit +% |\fontsize| commands. Table \ref{tab:fontsizes} on page +% \pageref{tab:fontsizes} lists these commands by name; where +% there is a name unique to British typesetting that differs +% from the American name, both are offered as equivalents. +% +% \subsubsection{Small Caps} +% +% In the first place, it's important to have what +% typographers call ``real'' small caps, not ``faked'' small +% caps. There is a real and noticeable difference between +% the two. Real small caps are designed for a particular +% size; the stroke widths match, the spacing is appropriate, +% and so forth. Faked small caps are produced merely by +% scaling down normal capital letters for a given size, +% which produces inferior results. The two types are +% compared in Table \ref{tab:smallcaps}. +% +% \begin{table}[htbp] +% \hbox to\linewidth{\hfil% +% \LARGE\textsc{These are real small caps.} +% \hfil}% +% \vskip2em% +% \hbox to\linewidth{\hfil% +% \LARGE{T\large HESE ARE FAKED SMALL CAPS.} +% \hfil}% +% \caption{Real and faked small caps compared.} +% \label{tab:smallcaps} +% \end{table} +% +% Plainly, the results of real small caps are far superior, +% and faked ones should only be employed when the +% typographer has no small caps available, and possibly +% not even then. +% +% \index{small caps}\index{small caps>petite small caps} +% \index{small caps>and titling caps, difference between} +% \index{titling caps>and small caps, difference between} +% DRM has, of course, a full set of real small cap fonts, +% which are appropriately scaled. But DRM goes even further +% than this, offering both \emph{small caps} and +% \emph{petite small caps}. +% \index{petite small caps>small caps} +% \index{petite small caps>and titling caps} DRM, though, considers petite +% small caps to be the normal type, and therefore refers to +% these as \emph{small caps} and \emph{titling +% caps}.\index{titling caps}\index{small caps>titling caps} The +% distinction between these two probably bears some +% explanation. +% +% In Anglo-American typography small caps are +% typically a bit larger than the ex-height; in other +% countries, they are typically equal to the +% ex-height.\footnote{These are sometimes called +% \textit{petite small caps} among Anglo-American +% typographers.} I see advantages in both approaches. +% So-called ``petite'' small caps look great in running text +% but seem rather squashed in titles and headings; larger +% small caps look better in titles and headings (they +% maintain the gravity of all-caps without the impression of +% shouting, a rather common impression here in the Internet +% age) but are simply too large to blend well with normal +% lowercase text. So DRM offers both; \textsc{normal small +% caps}, accessed via the normal \LaTeX\ |\textsc| and +% |\scshape| commands, are ``petite'' small caps; +% Anglo-American large small caps are available as +% \texttc{titling small caps}, via the commands +% |\texttc|\DescribeMacro{\texttc}\ and +% |\tcshape|\DescribeMacro{\tcshape}. (These stand, +% transparently enough, for ``titling caps.'') An example +% of the difference, which may give further ideas for the +% appropriate uses for each, is in Table +% \ref{table:littlecaps}. +% +% \begin{table} +% \begin{center} +% \begin{tabular}{>{\centering\arraybackslash}p{0.48\textwidth} +% >{\centering\arraybackslash}p{0.48\textwidth}} +% \LARGE\texttc{The Adventures of Robinson Crusoe} & +% \LARGE\textsc{The Adventures of Robinson Crusoe} \\ +% \texttc{Titling Caps} & +% \textsc{Small Caps} \\ +% \end{tabular} +% \caption{Small caps and titling caps compared.} +% \label{table:littlecaps} +% \end{center} +% \end{table} +% +% \subsubsection{Slanted, Italic, and Upright Italic} +% +% DRM also offers the usual \emph{italic} type, typically +% used for titles of certain types of works, emphasis, and +% similar functions; and the \textsl{slanted} type, which is +% usually simply a poor-man's italic in fonts which don't +% have a real italic, but occasionally does find its uses in +% full-featured fonts. +% +% Often, non-typographers think that italic type is simply +% normal type slanted a little to the right, but that's not +% really the case. A comparison is given in Table +% \ref{tab:slantedtypes}. +% +% \begin{table}[htbp] +% \hbox to\linewidth{\hfil% +% \Large\textsl{This is slanted text.} +% \hfil}% +% \vskip2em% +% \hbox to\linewidth{\hfil% +% \Large\textit{This is italic text.} +% \hfil}% +% \caption{Slanted and italic text compared.} +% \label{tab:slantedtypes} +% \end{table} +% +% As Table \ref{tab:slantedtypes} shows, true italic is much +% more than simply slanted roman. Many of the letterforms +% are quite different; the two-story ``a'' becomes a +% one-story ``\textit{a},'' the straight ``k'' becomes a +% curved or (in DRM's case) looped ``\textit{k},'' the +% double-looped ``g'' becomes a single-looped +% ``\textit{g},'' and so forth. +% +% So DRM offers true italic, often with some very ornate +% and, in the author's opinion, beautiful letterforms. The +% ``\textit{Q}'' and ``\textit{J}'' and particular favorites +% of his, but the somewhat unusual looped ``\textit{k}'' and +% curled ``\textit{h},'' along with some other shapes like +% ``\textit{2}'' and ``\textit{3},'' are also interestingly +% different from most other fonts, as well as visually +% striking in their own right. +% +% DRM also offers \textui{upright italic}, a face with the +% italic letterforms but not slanted at all. Some fonts +% have offered this as a difficult-to-access novelty, but as +% far the author knows DRM is the only one to offer it as a +% first-class citizen, accessed in the same way and just as +% easily as the more usual slanted italic shape. It is +% accessed via the commands |\textui|\DescribeMacro{\textui}\ and +% |\uishape|\DescribeMacro{\uishape}. This shape is not +% commonly used in running text; it remains to be seen +% whether this is due to its being not useful, or simply to +% its being rarely easily available. +% +% Your author can see certain uses for it; for example, when +% some font distinction is needed but no connotation of +% emphasis is desired, as in book titles. In any case, DRM +% makes it easy to use in the event that it is wanted. +% +% \subsubsection{Weights} +% \label{subsub:weights} +% +% \textit{Weight} is the typographical term for what most +% folks call \emph{boldface} type; however, the dimension +% can go much deeper than that. Fonts can be +% \textl{lighter than surrounding text} as well as +% \textbf{heavier}, and heavier weights can often be +% \textbf{extended in width as well as heavier in weight}, +% or simply \textb{heavier in weight without increasing its +% width}. +% +% Some fonts take this to arguably absurd extremes, offering +% up to a dozen weights. I've never seen much sense in +% this, and consequently haven't gone to these lengths. +% Instead, DRM offers three weights: \textl{light}, normal, +% and \textb{bold}. As noted, bold fonts are often wider +% than medium weights, and are referred to as \emph{bold +% extended}; DRM has a \textbf{bold extended}, as well. +% Lighter fonts are sometimes narrower, or \emph{condensed}; +% \textl{DRM's light weight is not condensed, but rather +% normal width}. +% +% Light is achieved by |\textl|\DescribeMacro{\textl}\ and +% |\lseries|\DescribeMacro{\lseries}; boldface by +% |\textb|\DescribeMacro{\textb}\ and +% |\bseries|\DescribeMacro{\bseries}; bold extended by +% |\textbf|\DescribeMacro{\textbf}\ and +% |\bfseries|\DescribeMacro{\bfseries}. Table +% \ref{tab:weights} shows the differences between these +% weights in twelve-point size. +% +% \begin{table}[htbp]\setlength{\extrarowheight}{8pt} +% \begin{tabular}{>{\large}c>{\large}p{0.7\linewidth}} +% |\lseries| & \textl{This sentence shows one of DRM's +% weights.} \\ +% |\mdseries| & \textmd{This sentence shows one of DRM's +% weights.} \\ +% |\bseries| & \textb{This sentence shows one of DRM's +% weights.} \\ +% |\bfseries| & \textbf{This sentence shows one of DRM's +% weights.} \\ +% \end{tabular} +% \caption{DRM's font weights compared.} +% \label{tab:weights} +% \end{table} +% +% One will probably note that bold extended is actually +% bolder than normal bold (that is, |\bfseries| is bolder +% than |\bseries|). This is because the extra space means +% that it can be. This is probably not the way it should +% be; but I think that people expect at least that much +% boldness when selecting |\bfseries|, so I decided to make +% it that way. +% +% DRM does \emph{not} offer a bold italic or a bold small +% caps; this is because both italics and small caps are +% already meant to serve for emphasis, and bolding your +% already emphasized text is really a bad idea. Bold +% italic is a particularly egregious typographical crime. +% +% \subsection{Figures (Digits) (Numbers)} +% \label{sub:figures} +% +% Typographers typically call them ``figures''; +% mathematicians tend to prefer ``digits''; most folks +% simply call them ``numbers.'' Whatever we call them, +% there is a surprisingly large variety of ways to write +% them. +% +% There are, at the very least, five separate kinds of +% figures: textual, lining, tabular textual, tabular +% lining, and small caps. This last is for some reason +% rather rare, and strictly speaking there could be tabular +% and non-tabular versions of them, as well, but I've never +% encountered them. +% +% \emph{Textual figures}, also called \emph{old-style +% figures}, \emph{lowercase figures}, or even +% \emph{medi\ae val figures}, are the ones that look sort +% of\drmelip well, old-styled and lowercase. They are +% centered on the ex-height, like lowercase letters, and +% some have ascenders, some descenders, and some neither, +% like lowercase letters. They blend in with running text +% very well, whereas lining figures (which we'll get to in a +% moment) tend to stick out because they are all quite +% tall and often come in groups. Most commonly, ``0,'' +% ``1,'' and ``2'' have neither ascenders nor descenders; +% ``6'' and ``8'' have ascenders, and ``3,'' ``4,'' ``5,'' +% ``7,'' and ``9'' have descenders; DRM follows this typical +% scheme in its roman types. However, other systems have +% existed, particularly in France, where some famous fonts +% had an ascending rather than descending 3. DRM has a +% non-typical set in its italic fonts, with a descending 3 +% but an ascending 2: \textit{0, 1, 2, 3, +% 4, 5, 6, 7, 8, 9}. +% +% Textual figures are the default in DRM in the roman and +% italic fonts. +% +% \emph{Lining figures}, also called \emph{titling figures} +% or \emph{modern figures}, line up at the baseline and all +% have a common height, typically something close to the +% height of capital letters or the ascenders of lowercase +% letters. They look like this: \liningnums{0123456789}. +% They're great when one wishes to draw extra attention to +% the figures, and practically mandatory when figures are +% being used with all caps; however, they throw off the +% color of the page and don't blend well with other running +% text. In DRM, we get lining figures by using the +% \DescribeMacro{\liningnums}|\liningnums| command, which +% takes a single argument; namely, the number to be typeset +% in lining figures. Each individual number can be accessed +% by command, as well, of the form |\liningzero|, +% |\liningone|, and so forth. +% +% Both of these types of figures can be \emph{tabular} or +% not. This means, as a practical matter, +% \emph{monospaced}; that is, with tabular figures each +% digit takes up an identical horizontal space. This is +% great for lining up numbers in columns, but produces +% rather bad spacing when used in running text. +% +% In DRM, the default textual (old-style) figures \emph{are +% not} tabular, while the lining figures \emph{are} tabular. +% It is possible to have tabular textual figures and +% proportional lining figures, but I've never seen much +% sense in either, as it seems that they defeat the purposes +% of their own particular form. +% +% DRM also has \emph{small-cap figures}, a relative rarity +% in the typographical world. These are simply figures +% which match the style of the small caps fonts. Neither +% textual nor lining figures work well with small caps; +% lining figure are too tall, and textual figures' ascenders +% and descenders don't fit with the relatively straight +% lines of small caps text. So DRM has proportional +% (non-tabular), but short figures for small caps: +% +% \begin{center} +% \scshape\Huge Small caps 0123 figures. +% \end{center} +% +% Otherwise, it would like one of the following: +% +% \begin{center} +% \Huge\scshape Small caps \liningnums{0123} figures. \\ +% Small caps \textup{0123} figures. +% \end{center} +% +% Neither of which looks very good. There are similar +% digits for titling caps. These are, of course, the +% defaults when using small or titling caps; if you need +% lining figures, you can still use |\liningnums|, and if +% you need textual figures, typeset them in normal roman +% text. +% +% \subsection{Symbols and Ornaments} +% \label{sub:symbols} +% +% One of DRM's strengths is its wide variety of symbols +% contained by default; rather than having to import +% separate fonts, or define macros to assemble common +% symbols out of their component parts, we can often simply +% use the symbols contained in DRM. +% +% Starting with the staples of traditional typography like +% the numero \DescribeMacro{\textnumero}(\textnumero) and +% the reference mark % +% \DescribeMacro{\textrefmark}(\textrefmark) to +% near-obsolete typesetting symbols like the asterism +% \DescribeMacro{\textasterism}(\textasterism) to more +% unique symbols like the international sign for radiation +% hazards \DescribeMacro{\textradiation}(\textradiation), +% DRM has something for most needs. +% +% \begin{center} +% \begin{longtable}{>{\Large}cp{0.4\textwidth}>{\raggedright\let\newline\\\arraybackslash}p{0.3\textwidth}} +% \toprule +% \multicolumn{3}{c}{Symbols of the DRM Font} \\ +% \midrule +% \multicolumn{3}{c}{\itshape Religious Symbols} \\ +% \midrule +% \textcrusadecross & |\textcrusadecross|\SpecialIndex{\textcrusadecross} & ``Crusader'' cross \\ +% \textcrusadecrossoutline & |\textcrusadecrossoutline|\SpecialIndex{\textcrusadecrossoutline} & +% ``Crusader'' cross in outline \\ +% \textlatincross & |\textlatincross|\SpecialIndex{\textlatincross} & Latin cross \\ +% \textlatincrossoutline & |\textlatincrossoutline|\SpecialIndex{\textlatincrossoutline} & Latin +% cross in outline \\ +% \textgreekcross & |\textgreekcross|\SpecialIndex{\textgreekcross} & Greek cross \\ +% \textgreekcrossoutline & |\textgreekcrossoutline|\SpecialIndex{\textgreekcrossoutline} & Greek +% cross in outline \\ +% \textsaltirecross & |\textsaltirecross|\SpecialIndex{\textsaltirecross} & Saltire cross; +% cross of St.\ Andrew \\ +% \textsaltirecrossoutline & |\textsaltirecrossoutline|\SpecialIndex{\textsaltirecrossoutline} & +% Saltire cross, cross of St.\ Andrew in outline \\ +% \texteucharist & |\texteucharist|\SpecialIndex{\texteucharist} & Traditional +% representation of the Eucharist; chalice with Host and rays +% \\ +% \textstardavid & |\textstardavid|\SpecialIndex{\textstardavid} & Traditional Star of +% David \\ +% \textstardavidsolid & |\textstardavidsolid|\SpecialIndex{\textstardavidsolid} & Traditional +% Star of David, solid \\ +% \textstardavidoutline & |\textstardavidoutline|\SpecialIndex{\textstardavidoutline} & +% Traditional Star of David in outline \\ +% \midrule +% \multicolumn{3}{c}{\itshape Genealogical Symbols} \\ +% \midrule +% \textborn & |\textborn|\SpecialIndex{\textborn} & Symbol for born \\ +% \textdied & |\textdied|\SpecialIndex{\textdied} & Symbol for died \\ +% \textdivorced & |\textdivorced|\SpecialIndex{\textdivorced} & Symbol for divorced \\ +% \textmarried & |\textmarried|\SpecialIndex{\textmarried} & Symbol for married \\ +% \textleaf & |\textleaf|\SpecialIndex{\textleaf} & Leaf symbol \\ +% \textmale & |\textmale|\SpecialIndex{\textmale} & Symbol for male \\ +% \textfemale & |\textfemale|\SpecialIndex{\textfemale} & Symbol for female \\ +% \midrule +% \multicolumn{3}{c}{\itshape Intellectual Property Symbols} \\ +% \midrule +% \textregistered & |\textregistered|\SpecialIndex{\textregistered} & Registered mark \\ +% \texttrademark & |\texttrademark|\SpecialIndex{\texttrademark} & Trademark sign \\ +% \textservicemark & |\textservicemark|\SpecialIndex{\textservicemark} & Service mark sign \\ +% \textsoundrecording & |\textsoundrecording|\SpecialIndex{\textsoundrecording} & Sound +% recording sign \\ +% \textcopyright & |\textcopyright|\SpecialIndex{\textcopyright} & Copyright mark \\ +% \textcopyleft & |\textcopyleft|\SpecialIndex{\textcopyleft} & Copyleft mark \\ +% \midrule +% \multicolumn{3}{c}{\itshape Astronomical Symbols} \\ +% \midrule +% \textsun & |\textsun|\SpecialIndex{\textsun} & Sun, Sol \\ +% \textsunvar & |\textsunvar|\SpecialIndex{\textsunvar} & Variant Sun or Sol; with ray \\ +% \textwaxcrescent & |\textwaxcrescent|\SpecialIndex{\textwaxcrescent} & Waxing crescent moon \\ +% \textfullmoon & |\textfullmoon|\SpecialIndex{\textfullmoon} & Full moon \\ +% \textwanecrescent & |\textwanecrescent|\SpecialIndex{\textwanecrescent} & Waning crescent moon \\ +% \textnewmoon & |\textnewmoon|\SpecialIndex{\textnewmoon} & New moon \\ +% \textmercury & |\textmercury|\SpecialIndex{\textmercury} & Mercury; Hermes \\ +% \textearth & |\textearth|\SpecialIndex{\textearth}, |\textterra|\SpecialIndex{\textterra} & Earth, Terra \\ +% \textearthvar & |\textearthvar|\SpecialIndex{\textearthvar},|\textterravar|\SpecialIndex{\textterravar} & Variant +% Earth, Terra \\ +% \textmars & |\textmars|\SpecialIndex{\textmars} & Mars, Ares \\ +% \textvenus & |\textvenus|\SpecialIndex{\textvenus} & Venus, Aphrodite \\ +% \textjupiter & |\textjupiter|\SpecialIndex{\textjupiter} & Jupiter, Jove, Zeus \\ +% \textsaturn & |\textsaturn|\SpecialIndex{\textsaturn} & Saturn \\ +% \texturanus & |\texturanus|\SpecialIndex{\texturanus} & Uranus \\ +% \texturanusvar & |\texturanusvar|\SpecialIndex{\texturanusvar} & Variant Uranus \\ +% \textneptune & |\textneptune|\SpecialIndex{\textneptune} & Neptune, Poseidon \\ +% \textpluto & |\textpluto|\SpecialIndex{\textpluto} & Pluto \\ +% \textplutovar & |\textplutovar|\SpecialIndex{\textplutovar} & Variant Pluto \\ +% \textceres & |\textceres|\SpecialIndex{\textceres} & Ceres \\ +% \textpallas & |\textpallas|\SpecialIndex{\textpallas} & Pallas \\ +% \textjuno & |\textjuno|\SpecialIndex{\textjuno} & Juno, Hera \\ +% \textjunovar & |\textjunovar|\SpecialIndex{\textjunovar} & Variant Juno, Hera \\ +% \textvesta & |\textvesta|\SpecialIndex{\textvesta} & Vesta \\ +% \textvestavar & |\textvestavar|\SpecialIndex{\textvestavar} & Variant Vesta \\ +% \textastraea & |\textastraea|\SpecialIndex{\textastraea} & Astr\ae a \\ +% \textastraeavar & |\textastraeavar|\SpecialIndex{\textastraeavar} & Variant Astr\ae a \\ +% \texthebe & |\texthebe|\SpecialIndex{\texthebe} & Hebe \\ +% \textiris & |\textiris|\SpecialIndex{\textiris} & Iris \\ +% \textaries & |\textaries|\SpecialIndex{\textaries}, |\textari|\SpecialIndex{\textari} & Aries \\ +% \texttaurus & |\texttaurus|\SpecialIndex{\texttaurus}, |\texttau|\SpecialIndex{\texttau} & Taurus \\ +% \textgemini & |\textgemini|\SpecialIndex{\textgemini}, |\textgem|\SpecialIndex{\textgem} & Gemini \\ +% \textcancer & |\textcancer|\SpecialIndex{\textcancer}, |\textcnc|\SpecialIndex{\textcnc} & Cancer \\ +% \textleo & |\textleo|\SpecialIndex{\textleo} & Leo \\ +% \textvirgo & |\textvirgo|\SpecialIndex{\textvirgo}, |\textvir|\SpecialIndex{\textvir} & Virgo \\ +% \textlibra & |\textlibra|\SpecialIndex{\textlibra}, |\textlib|\SpecialIndex{\textlib} & Libra \\ +% \textscorpius & |\textscorpius|\SpecialIndex{\textscorpius}, |\textsco|\SpecialIndex{\textsco} & Scorpius \\ +% \textsagittarius & |\textsagittarius|\SpecialIndex{\textsagittarius}, |\textsgr|\SpecialIndex{\textsgr} & Sagittarius \\ +% \textcapricorn & |\textcapricorn|\SpecialIndex{\textcapricorn}, |\textcap|\SpecialIndex{\textcap} & Capricorn \\ +% \textaquarius & |\textaquarius|\SpecialIndex{\textaquarius}, |\textaqr|\SpecialIndex{\textaqr} & Aquarius \\ +% \textpisces & |\textpisces|\SpecialIndex{\textpisces}, |\textpsc|\SpecialIndex{\textpsc} & Pisces \\ +% \textstar & |\textstar|\SpecialIndex{\textstar} & Star \\ +% \textcomet & |\textcomet|\SpecialIndex{\textcomet} & Comet \\ +% \textquadrature & |\textquadrature|\SpecialIndex{\textquadrature} & Quadrature \\ +% \textopposition & |\textopposition|\SpecialIndex{\textopposition} & Opposition \\ +% \textconjunction & |\textconjunction|\SpecialIndex{\textconjunction} & Conjunction \\ +% \textascendingnode & |\textascendingnode|\SpecialIndex{\textascendingnode} & Ascending node \\ +% \textdescendingnode & |\textdescendingnode|\SpecialIndex{\textdescendingnode} & Descending node \\ +% \midrule +% \multicolumn{3}{c}{\itshape Currency Symbols} \\ +% \midrule +% \textdollarsign & |\textdollarsign|\SpecialIndex{\textdollarsign} & Dollar sign \\ +% \textolddollarsign & |\textolddollarsign|\SpecialIndex{\textolddollarsign} & Old-style dollar +% sign; double-slashed dollar sign \\ +% \textcentsign & |\textcentsign|\SpecialIndex{\textcentsign} & Cent sign \\ +% \textoldcentsign & |\textoldcentsign|\SpecialIndex{\textoldcentsign} & Old-style cent sign; +% diagonally slashed cent sign \\ +% \textpoundsterling & |\textpoundsterling|\SpecialIndex{\textpoundsterling} & British pound +% sterling sign \\ +% \textoldpoundsterling & |\textoldpoundsterling|\SpecialIndex{\textoldpoundsterling}, |\textlira|\SpecialIndex{\textlira} & Old-style +% British pound sterling sign; double-slashed British pound +% sterling sign; Italian lira sign \\ +% \texteuro & |\texteuro|\SpecialIndex{\texteuro} & Euro sign \\ +% \textyen & |\textyen|\SpecialIndex{\textyen} & Japanese yen sign \\ +% \textbaht & |\textbaht|\SpecialIndex{\textbaht} & Thai baht sign \\ +% \textcolon & |\textcolon|\SpecialIndex{\textcolon} & Costa Rican, Salvadoran colon sign \\ +% \textdong & |\textdong|\SpecialIndex{\textdong} & Vietnamese dong sign \\ +% \textflorin & |\textflorin|\SpecialIndex{\textflorin} & Florin sign \\ +% \textguarani & |\textguarani|\SpecialIndex{\textguarani} & Uruguayan guarani sign \\ +% \textnaira & |\textnaira|\SpecialIndex{\textnaira} & Nigerian naira sign \\ +% \textpeso & |\textpeso|\SpecialIndex{\textpeso}, |\textruble|\SpecialIndex{\textruble} & Mexican peso sign; Russian ruble +% sign \\ +% \textwon & |\textwon|\SpecialIndex{\textwon} & Won sign \\ +% \textcurrency & |\textcurrency|\SpecialIndex{\textcurrency} & Generic currency \\ +% \midrule +% \multicolumn{3}{c}{\itshape Roman Numerals} \\ +% \midrule +% \romone & |\romone|\SpecialIndex{\romone} & Roman numeral one \\ +% \romfive & |\romfive|\SpecialIndex{\romfive} & Roman numeral five \\ +% \romten & |\romten|\SpecialIndex{\romten} & Roman numeral ten \\ +% \romfifty & |\romfifty|\SpecialIndex{\romfifty} & Roman numeral fifty \\ +% \romhundred & |\romhundred|\SpecialIndex{\romhundred} & Roman numeral hundred \\ +% \romfivehundred & |\romfivehundred|\SpecialIndex{\romfivehundred} & Roman numeral hundred \\ +% \romthousand & |\romthousand|\SpecialIndex{\romthousand} & Roman numeral thousand \\ +% \romanize{1651} & |\romanize{1668}| & Convert Indo-arabic +% numeral to Roman numerals \\ +% \midrule +% \multicolumn{3}{c}{\itshape Lining Numerals} \\ +% \midrule +% \liningzero & |\liningzero|\SpecialIndex{\liningzero} & Lining numeral 0 \\ +% \liningone & |\liningone|\SpecialIndex{\liningone} & Lining numeral 1 \\ +% \liningtwo & |\liningtwo|\SpecialIndex{\liningtwo} & Lining numeral 2 \\ +% \liningthree & |\liningthree|\SpecialIndex{\liningthree} & Lining numeral 3 \\ +% \liningfour & |\liningfour|\SpecialIndex{\liningfour} & Lining numeral 4 \\ +% \liningfive & |\liningfive|\SpecialIndex{\liningfive} & Lining numeral 5 \\ +% \liningsix & |\liningsix|\SpecialIndex{\liningsix} & Lining numeral 6 \\ +% \liningseven & |\liningseven|\SpecialIndex{\liningseven} & Lining numeral 7 \\ +% \liningeight & |\liningeight|\SpecialIndex{\liningeight} & Lining numeral 8 \\ +% \liningnine & |\liningnine|\SpecialIndex{\liningnine} & Lining numeral 9 \\ +% \liningnums{3091} & |\liningnums{3091}| & Convert figures +% into lining figures \\ +% \midrule +% \multicolumn{3}{c}{\itshape Traditional and Innovative Typography} \\ +% \midrule +% \textnumero & |\textnumero|\SpecialIndex{\textnumero} & Numero \\ +% \textrefmark & |\textrefmark|\SpecialIndex{\textrefmark} & Reference mark \\ +% \textasterism & |\textasterism|\SpecialIndex{\textasterism} & Asterism \\ +% \textfeminineordinal & |\textfeminineordinal|\SpecialIndex{\textfeminineordinal} & Feminine +% Ordinal \\ +% \textmasculineordinal & |\textmasculineordinal|\SpecialIndex{\textmasculineordinal} & Masculine +% Ordinal \\ +% \textsupone & |\textsupone|\SpecialIndex{\textsupone} & Superscript 1; superior +% digit 1 \\ +% \textsuptwo & |\textsuptwo|\SpecialIndex{\textsuptwo} & Superscript 2; superior +% digit 2 \\ +% \textsupthree & |\textsupthree|\SpecialIndex{\textsupthree} & Superscript 3; superior +% digit 3\\ +% \textpilcrowsolid & |\textpilcrowsolid|\SpecialIndex{\textpilcrowsolid} & Solid-lined +% pilcrow \\ +% \textpilcrowoutline & |\textpilcrowoutline|\SpecialIndex{\textpilcrowoutline} & Outlined +% pilcrow \\ +% \textsection & |\textsection|\SpecialIndex{\textsection} & Section mark \\ +% \textdagger & |\textdagger|\SpecialIndex{\textdagger}, |\textdag|\SpecialIndex{\textdag}, |\dag|\SpecialIndex{\dag} & Dagger \\ +% \textdbldagger & |\textdbldagger|\SpecialIndex{\textdbldagger}, |\textdbldag|\SpecialIndex{\textdbldag}, |\dbldag|\SpecialIndex{\dbldag} & +% Double dagger \\ +% \textpipe & |\textpipe|\SpecialIndex{\textpipe} & Pipe \\ +% \textbrokenpipe & |\textbrokenpipe|\SpecialIndex{\textbrokenpipe} & Broken pipe \\ +% \textrecipe & |\textrecipe|\SpecialIndex{\textrecipe} & Recipe mark \\ +% \textintbang & |\textintbang|\SpecialIndex{\textintbang} & Interrobang \\ +% \textopenintbang & |\textopenintbang|\SpecialIndex{\textopenintbang} & Opening interrobang \\ +% \midrule +% \multicolumn{3}{c}{\itshape Text-mode Math Symbols} \\ +% \midrule +% \textprime & |\textprime|\SpecialIndex{\textprime} & Single prime mark \\ +% \textdoubleprime & |\textdoubleprime|\SpecialIndex{\textdoubleprime} & Double prime mark \\ +% \texttripleprime & |\texttripleprime|\SpecialIndex{\texttripleprime} & Triple prime mark \\ +% \textsqrt & |\textsqrt|\SpecialIndex{\textsqrt} & Square root sign; radical \\ +% \textquarter & |\textquarter|\SpecialIndex{\textquarter} & One-quarter fraction, +% slanted \\ +% \texthalf & |\texthalf|\SpecialIndex{\texthalf} & One-half fraction, slanted \\ +% \textthreequarters & |\textthreequarters|\SpecialIndex{\textthreequarters} & Three-quarters +% fraction, slanted \\ +% \textthird & |\textthird|\SpecialIndex{\textthird} & One-third fraction, slanted \\ +% \texttwothirds & |\texttwothirds|\SpecialIndex{\texttwothirds} & Two-thirds fraction, +% slanted \\ +% \textperbiqua & |\textperbiqua|\SpecialIndex{\textperbiqua}, |\textpermille|\SpecialIndex{\textpermille} & Perbiqua, +% permille, per thousand \\ +% \textpertriqua & |\textpertriqua|\SpecialIndex{\textpertriqua}, |\textpertenmille|\SpecialIndex{\textpertenmille} & +% Pertriqua, per ten thousand \\ +% \textequals & |\textequals|\SpecialIndex{\textequals} & Equals sign \\ +% \textslash & |\textslash|\SpecialIndex{\textslash} & Forward slash \\ +% \texttimes & |\texttimes|\SpecialIndex{\texttimes} & Multiplication; times \\ +% \textdiv & |\textdiv|\SpecialIndex{\textdiv} & Division sign \\ +% \textuparrow & |\textuparrow|\SpecialIndex{\textuparrow} & Upward-pointing arrow \\ +% \textdownarrow & |\textdownarrow|\SpecialIndex{\textdownarrow} & Downward-pointing arrow \\ +% \textleftarrow & |\textleftarrow|\SpecialIndex{\textleftarrow} & Left-pointing arrow \\ +% \textrightarrow & |\textrightarrow|\SpecialIndex{\textrightarrow} & Right-pointing arrow \\ +% \midrule +% \multicolumn{3}{c}{\itshape Warning Signs} \\ +% \midrule +% \textradiation & |\textradiation|\SpecialIndex{\textradiation} & Radiation warning sign \\ +% \textradiationnocircle & |\textradiationnocircle|\SpecialIndex{\textradiationnocircle} & +% Radiation warning sign, no enclosing circle \\ +% \textbiohazard & |\textbiohazard|\SpecialIndex{\textbiohazard} & Biohazard warning sign \\ +% \textbiohazardnocircle & |\textbiohazardnocircle|\SpecialIndex{\textbiohazardnocircle} & +% Biohazard warning sign, no enclosing circle \\ +% \texthighvoltage & |\texthighvoltage|\SpecialIndex{\texthighvoltage} & High voltage warning +% sign \\ +% \texthighvoltagenotriangle & |\texthighvoltagenotriangle|\SpecialIndex{\texthighvoltagenotriangle} & +% High voltage warning sign, no enclosing triangle \\ +% \textgeneralwarning & |\textgeneralwarning|\SpecialIndex{\textgeneralwarning} & General +% warning sign \\ +% \midrule +% \multicolumn{3}{c}{\itshape Bullets and Other Marks} \\ +% \midrule +% \textbullet & |\textbullet|\SpecialIndex{\textbullet} & Solid circular bullet \\ +% \textopenbullet & |\textopenbullet|\SpecialIndex{\textopenbullet} & Open circular bullet \\ +% \textheart & |\textheart|\SpecialIndex{\textheart} & Solid heart \\ +% \textopenheart & |\textopenheart|\SpecialIndex{\textopenheart} & Open heart \\ +% \texteighthnote & |\texteighthnote|\SpecialIndex{\texteighthnote} & Eighth note \\ +% \textdiamond & |\textdiamond|\SpecialIndex{\textdiamond} & Solid diamond; solid lozenge \\ +% \textopendiamond & |\textopendiamond|\SpecialIndex{\textopendiamond}, |\textlozenge|\SpecialIndex{\textlozenge} & Open +% diamond; open lozenge \\ +% \textdegree & |\textdegree|\SpecialIndex{\textdegree} & Degree symbol \\ +% \textdegreec & |\textdegreec|\SpecialIndex{\textdegreec} & Degrees Celsius \\ +% \texttilde & |\texttilde|\SpecialIndex{\texttilde}, |\tilde|\SpecialIndex{\tilde} & Tilde \\ +% \midrule +% \multicolumn{3}{c}{\itshape Ornaments and Fleurons} \\ +% \midrule +% \textrightupfleuron & |\textrightupfleuron|\SpecialIndex{\textrightupfleuron} & +% Rightward-pointing, upward fleuron \\ +% \textrightdownfleuron & |\textrightdownfleuron|\SpecialIndex{\textrightdownfleuron} & +% Rightward-pointing, downward fleuron \\ +% \textleftupfleuron & |\textleftupfleuron|\SpecialIndex{\textleftupfleuron} & +% Leftward-pointing, upward fleuron \\ +% \textleftdownfleuron & |\textleftdownfleuron|\SpecialIndex{\textleftdownfleuron} & +% Leftward-pointing, downward fleuron \\ +% \textupleftfleuron & |\textupleftfleuron|\SpecialIndex{\textupleftfleuron} & +% Upward-pointing, leftward fleuron \\ +% \textuprightfleuron & |\textuprightfleuron|\SpecialIndex{\textuprightfleuron} & +% Upward-pointing, rightward fleuron \\ +% \textdownrightfleuron & |\textdownrightfleuron|\SpecialIndex{\textdownrightfleuron} & +% Downward-pointing, rightward fleuron \\ +% \textdownleftfleuron & |\textdownleftfleuron|\SpecialIndex{\textdownleftfleuron} & +% Downward-pointing, leftward fleuron \\ +% \textsquaretulip & |\textsquaretulip|\SpecialIndex{\textsquaretulip} & +% Square of four tulips, facing up and down \\ +% \textsquaretulipside & +% |\textsquaretulipside|\SpecialIndex{\textsquaretulipside} & Square of four tulips, +% facing left and right \\ +% \textupdoubletulip & |\textupdoubletulip|\SpecialIndex{\textupdoubletulip} & +% Double tulips, facing upward \\ +% \textdowndoubletulip & +% |\textdowndoubletulip|\SpecialIndex{\textdowndoubletulip} & Double tulips, facing +% downward \\ +% \textrightdoubletulip & +% |\textrightdoubletulip|\SpecialIndex{\textrightdoubletulip} & Double tulips, facing +% righward \\ +% \textleftdoubletulip & +% |\textleftdoubletulip|\SpecialIndex{\textleftdoubletulip} & Double tulips, facing +% leftward \\ +% \textupleftcornertulip & +% |\textupleftcornertulip|\SpecialIndex{\textupleftcornertulip} & Single corner-facing +% tulip, for upper left corners \\ +% \textuprightcornertulip & +% |\textuprightcornertulip|\SpecialIndex{\textuprightcornertulip} & Single corner-facing +% tulips, for upper right corners \\ +% \textlowleftcornertulip & +% |\textlowleftcornertulip|\SpecialIndex{\textlowleftcornertulip} & Single corner-facing +% tulips, for lower left corners \\ +% \textlowrightcornertulip & +% |\textlowrightcornertulip|\SpecialIndex{\textlowrightcornertulip} & Single +% corner-facing tulip, for lower right corners \\ +% \textupsingletuliplong & |\textupsingletuliplong|\SpecialIndex{\textupsingletuliplong} & Single tulip, +% upward-facing \\ +% \textdownsingletuliplong & |\textdownsingletuliplong|\SpecialIndex{\textdownsingletuliplong} & Single +% tulip, downward-facing \\ +% \textleftsingletuliplong & |\textleftsingletuliplong|\SpecialIndex{\textleftsingletuliplong} & Single +% tulip, leftward-facing \\ +% \textrightsingletuliplong & |\textrightsingletuliplong|\SpecialIndex{\textrightsingletuliplong} & Single +% tulip, rightward-facing \\ +% \textupsingletulip & |\textupsingletulip|\SpecialIndex{\textupsingletulip} & Single tulip, +% upright \\ +% \textdownsingletulip & |\textdownsingletulip|\SpecialIndex{\textdownsingletulip} & Single +% tulip, downward \\ +% \textleftsingletulip & |\textleftsingletulip|\SpecialIndex{\textleftsingletulip} & Single +% tulip, leftward \\ +% \textrightsingletulip & |\textrightsingletulip|\SpecialIndex{\textrightsingletulip} & Single +% tulip, rightward \\ +% \spearright & |\spearright|\SpecialIndex{\spearright} & +% Rightward-pointing spear head \\ +% \spearleft & |\spearleft|\SpecialIndex{\spearleft} & +% Leftward-pointing spear head \\ +% \horizspearext & +% |\horizspearext|\SpecialIndex{\horizspearext} & Extension +% piece for horizontal shafts \\ +% \spearup & |\spearup|\SpecialIndex{\spearup} & +% Upward-pointing spear head \\ +% \speardown & |\speardown|\SpecialIndex{\speardown} & +% Downward-pointing spear head \\ +% \vertspearext & |\vertspearext|\SpecialIndex{\vertspearext} +% & Extension piece for vertical shafts \\ +% \fleurdelis & |\fleurdelis|, |\fleurdelys|\SpecialIndex{\fleurdelis} +% \SpecialIndex{\fleurdelys} & Fleur-de-lis \\ +% \fleurdelisdown & +% |\fleurdelisdown|, |\fleurdelysdown|\SpecialIndex{\fleurdelisdown} +% \SpecialIndex{\fleurdelys} & Fleur-de-lis, downward \\ +% \fleurdelisleft & +% |\fleurdelisleft|, |\fleurdelysleft|\SpecialIndex{\fleurdelisleft} +% \SpecialIndex{\fleurdelys} & Fleur-de-lis, leftward \\ +% \fleurdelisright & +% |\fleurdelisright|, |\fleurdelysright|\SpecialIndex{\fleurdelisright} +%\SpecialIndex{\fleurdelys} & Fleur-de-lis, rightward \\ +% \LARGE\woundcordleftext & |\woundcordleftext|\SpecialIndex{\woundcordleftext} +% & Wound cord, leftward facing, extender \\ +% \LARGE\woundcordrightext & +% |\woundcordrightext|\SpecialIndex{\woundcordrightext} & +% Wound cord, rightward facing, extender \\ +% \LARGE\woundcordleftend & |\woundcordleftend|\SpecialIndex{\woundcordleftend} +% & Wound cord, left end \\ +% \LARGE\woundcordrightend & +% |\woundcordrightend|\SpecialIndex{\woundcordrightend} & +% Wound cord, right end \\ +% \LARGE\woundcordleftendinv & +% |\woundcordleftendinv|\SpecialIndex{\woundcordleftendinv} & +% Wound cord, left end, inverted \\ +% \LARGE\woundcordrightendinv & +% |\woundcordrightendinv|\SpecialIndex{\woundcordrightendinv} & +% Wound cord, right end, inverted \\ +% \end{longtable} +% \end{center} +% +% \label{page:orncomment} +% These ornaments are often quite useful for decorative +% purposes, though textual ornaments are too often neglected +% these days. (The sturdy |adforn| and intricate +% |psvectorian| packages for \LaTeX\ are notable and +% admirable exceptions.) The possibilities with even just a +% few decorative shapes are endless. +% +% \subsection{Special Symbol and Ornamental Commands} +% \label{sub:ornamentals} +% +% \lettrine{B}{ecause typography} is an ancient art full of arcane +% knowledge, there are some things that simply won't fit +% into the general rules. As a result, DRM offers a few +% interesting tidbits that your author hasn't found, or +% hasn't found useful, elsewhere. We start with a few +% commands for using the textual ornaments DRM provides, +% followed by some more mundane but still useful +% typographical tools. +% +% \subsubsection{Ornamental Commands} +% \label{subsub:orncommands} +% +% Having just mentioned the great decorative utility of +% old-fashioned textual ornaments,\footnote{\textit{See +% supra} at \pageref{page:orncomment}.} it would be remiss not to +% offer some tools for actually using such ornaments short +% of entering them in and designing interlocking boxes by +% hand. Ornaments, being inherently decorative rather than +% systematic, are not always subject to automation; but some +% limited applications can be, and DRM tries to offer some +% help with them. +% +% DRM offers |\tulipframe|\DescribeMacro{\tulipframe}, which +% frames a title in decorative tulip fleurons: +% +% \vskip1em% +% +% \hbox to\linewidth{\hfil|\tulipframe{\texttc{Example}}|\hfil}% +% {\LARGE\tulipframe{\texttc{Example}}} +% +% \vskip1em% +% +% The nature of the tulip fleurons in DRM's symbol font is +% such that these frames can be extended or shrunk as one +% wishes. |\tulipframe|, alas, is not that intelligent; it +% doesn't grow or shrink with the text, but simply sits as +% it is. Doing better than this will require box-fiddling +% by hand. However, since DRM offers vertical \emph{and} +% horizontal tulip ornaments, it's possible to have +% ornamental frames of any height or width. +% +% DRM also offers an extremely flexible \emph{rule system}, +% allowing the creation of vertical and horizontal rules of +% any length, out of any characters, in the beginning, the +% middle figures, and the end. Meet +% \DescribeMacro{\extrule}|\extrule|, or \emph{extensible +% rule}, which can produce rules with whatever characters +% you'd like. +% +% |\extrule| requires five arguments, as shown below: +% +% \begin{center} +% \cmd{\extrule} \marg{orient} \marg{len} +% \marg{start} \marg{end} \marg{ext} +% \end{center} +% +% \begin{description} +% \item[orient] The rule's \emph{orientation}. This can +% take the value \marg{h}, for \emph{horizontal}, or +% \marg{v}, for \emph{vertical}. +% \item[len] The rule's \emph{length}. This will be the +% total length of the rule, including the start and end +% characters. It can be passed in any form understood by +% \eTeX's |\numexpr| and |\dimexpr|, meaning that you can +% give it formul\ae, such as |{0.2\linewidth}|. +% \item[start] The first character in the rule; this means +% either the left character in a horizontal rule, or the +% bottom character in a vertical rule. +% \item[end] The last character in the rule, either the +% right in a horizontal or the top in a vertical. +% \item[ext] The extension character; this is the character +% which will be repeated until the rule is the appropriate +% length. +% \end{description} +% +% DRM offers several useful characters for producing such +% rules, which are designed to line up properly and thus +% produce attractive decorative rules. Among these are the +% \emph{spear characters}, and we will demonstrate their use +% with a couple of sample rules: +% +% \begin{center} +% \begin{tabular}{m{0.5\linewidth}c} +% |\extrule{h}{\linewidth/2}{\spearleft}| +% |{\spearright}{\horizspearext}| & +% \extrule{h}{\linewidth/6}{\spearleft} +% {\spearright}{\horizspearext} \\ +% |\extrule{v}{\linewidth/6}{\speardown}| +% |{\spearup}{\vertspearext}| & +% \extrule{v}{\linewidth/6}{\speardown} +% {\spearup}{\vertspearext} \\ +% \end{tabular} +% \end{center} +% +% Of course, these are typically more useful when longer, as +% in the rule below, which is equal to the |\linewidth|: +% +% \extrule{h}{\linewidth}{\spearleft}{\spearright}{\horizspearext} +% +% As is evident, |\extrule| also suppresses indentation, +% which is almost certainly the right choice. If you want +% an indent with it, it's easy enough to put one in +% explicitly. +% +% While characters like these, designed to line up +% correctly, are naturally the most likely candidates for +% such rules, you can use any characters you'd like, which +% can sometimes lead to some interesting choices: +% +% |\extrule{h}{\linewidth/2}{\textleftarrow}{\textrightarrow}{\dag}| +% +% \begin{center} +% \extrule{h}{\linewidth/2}{\textleftarrow}{\textrightarrow}{\dag} +% \end{center} +% +% This is a pretty absurd example, of course, but it's +% likely that better ones could and will be devised. +% +% And what about when we desire a special character in the +% \emph{middle} of the rule? Use \emph{two} |\extrule|s and +% put the symbol you want in the middle between them; make +% sure you comment out the end of your first and second +% lines, so as not to introduce any extraneous spaces: +% +% \begin{verbatim} +% \extrule{h}{\linewidth/2}{\spearleft}{}{\horizspearext}% +% \textbigcircle% +% \extrule{h}{\linewidth/2}{}{\spearright}{\horizspearext}% +% \end{verbatim} +% \begin{center} +% \extrule{h}{\linewidth/4}{\spearleft}{}{\horizspearext}\textbigcircle\extrule{h}{\linewidth/4}{}{\spearright}{\horizspearext} +% \end{center} +% +% There's no reason we can't put more than one character into +% these slots, as well, if we want to mix them with some +% different characters: +% +% \begin{verbatim} +% \extrule{h}{\linewidth/2}{\spearleft\raisebox{0.8pt}{\textpipe}}% +% {\raisebox{0.8pt}{\textpipe}\spearright}{\horizspearext}% +% \end{verbatim} +% \begin{center} +% \extrule{h}{\linewidth/2}{\spearleft\raisebox{0.8pt}{\textpipe}}% +% {\raisebox{0.8pt}{\textpipe}\spearright}{\horizspearext}% +% \end{center} +% +% Some other useful characters for decorative rules are the +% ``wound cord'' characters: +% +% \begin{center} +% \Huge +% \extrule{h}{\linewidth/2}{\drmsym{\char'323}}{\drmsym{\char'322}}{\drmsym{\char'324}} +% \extrule{h}{\linewidth/2}{\drmsym{\char'320}}{\drmsym{\char'321}}{\drmsym{\char'317}} +% \end{center} +% \vskip1em% +% +% Finally, these rules can often form very dignified page +% borders. The border on this page, for example, was formed +% very simply by the following (using +% |\usepackage[absolute]{textpos}|): +% \setlength{\TPHorizModule}{\linewidth} +% \begin{textblock}{1}(0.22,2) +% \extrule{v}{\textheight/6*7}{\textbigcircle}{\spearup}{\vertspearext}% +% \hskip-1.3em% +% \extrule{h}{8\textwidth/6}{}{\spearright}{\horizspearext}% +% \end{textblock} +% +% \begin{verbatim} +% \setlength{\TPHorizModule}{\linewidth} +% \begin{textblock}{1}(0.22,2) +% \extrule{v}{\textheight/6*7}{\textbigcircle}{\spearup}{\vertspearext}% +% \hskip-1.3em% +% \extrule{h}{8*\textwidth/6}{}{\spearright}{\horizspearext}% +% \end{textblock} +% \end{verbatim} +% +% This takes a little hand-tuning (e.g., the |\hskip| prior +% to the horizontal |\extrule|, and the offset in the +% parentheses), but once done, it can look quite nice. +% +% \subsubsection{Ellipses} +% \label{subsub:ellipses} +% +% DRM also has some unreasonably configurable ellipses. +% Your author included these because he's often been +% displeased by the default ellipsis options. (Of course, +% there is the excellent |ellipsis| package; but why not fix +% the problem here, when I've got the chance?) DRM offers +% two ellipsis commands, \DescribeMacro{\drmelip}|\drmelip|, +% which gives a three-dot ellipsis, and +% \DescribeMacro{\drmfelip}|\drmfelip|, which gives a +% four-dot ellipsis. +% +% I was always taught then when an ellipsis occurs after a +% period, four dots should be used, the first dot being the +% period itself and the next three being the ellipsis. +% However, using |\ldots| and similar commands after a +% period always seems to result in spacing that was subtlely +% (or not-so-subtlely) off. So DRM tries to fix that +% problem with these commands. +% +% The default behavior of the two: +% +% \begin{table}[htbp] +% \begin{center}\Large +% \begin{tabular}{ll} +% |\drmelip| & |Trying out\drmelip the ellipsis.| \\ +% {} & Trying out\drmelip the ellipsis. \\ +% |\drmfelip| & |\drmelip and so on\drmfelip| \\ +% {} & \drmelip and so on\drmfelip \\ +% \end{tabular} +% \caption{A demonstration of DRM's two types of ellipses.} +% \end{center} +% \end{table} +% +% It goes without saying, of course, that these ellipses +% won't break across lines. +% +% There are four parameters that govern how these ellipses +% actually appear: the space before the ellipsis starts, +% the space in between the ellipsis characters, the space +% after the ellipsis ends, and the character used for the +% ellipsis. Each of these parameters are configurable. +% +% \DescribeMacro{\drmelipgap}|\drmelipgap| is a \LaTeX\ +% length which determines how much space is between each +% ellipsis character; reset it, if you like, with the +% standard |\setlength| command. By default, it is just +% under three points (2.9, to be precise.) +% +% \DescribeMacro{\drmelipbef}|\drmelipbef| and +% \DescribeMacro{\drmelipaft}|\drmelipaft| are, as the names +% imply, the lengths which govern the amount of space +% before and after the ellipsis. Reset them with the +% \LaTeX\ |\setlength| command. By default, they are 2.4 +% points and 1.4 points, respectively. +% +% Finally, the \DescribeMacro{\drmelipchar}|\drmelipchar| +% macro tells \LaTeX\ what character is used for the +% ellipsis. By default, this is |.|, but it can be +% |\def|ed or |\renewcommand|ed to be anything you like. +% Always wanted an ellipse made out ampersands for some +% reason? Or perhaps one made out of daggers? +% +% \vskip2em% +% \hbox to\linewidth{\hfil|\def\drmelipchar{\dag}\drmelip|\hfil} +% \hbox to\linewidth{\hfil\def\drmelipchar{\dag}\drmelip\hfil} +% \vskip2em% +% +% \def\drmelipchar{.}% +% It's probably wise not to abuse this, but it's good for a +% little fun sometimes, and it's easier to use (though +% obviously much less flexible) than \TeX's |\dotfill| +% incantations. +% +% It is occasionally useful, however; e.g., some legal +% writing makes ellipses out of asterisks: +% +% \vskip2em% +% \hbox % to\linewidth{\hfil|\def\drmelipchar{$^*$}The decision is hereby\drmelip reversed.|\hfil} +% \hbox to\linewidth{\hfil\def\drmelipchar{$^*$}The decision is +% hereby\drmelip reversed.\hfil} +% \vskip2em% +% +% \def\drmelipchar{.}% +% So once in a while, we might actually be able to use this +% feature for something other than its novelty value. +% +% \subsection{Math} +% \label{sub:math} +% +% Your author is far from a mathematician, so he's not +% really able to judge the quality of the following; but DRM +% does offer matching math fonts. These are limited to the +% default \TeX\ math fonts, however; AMS extensions and the +% like are not available. Perhaps one day (after finishing +% the ornaments and decorative initials) they will be, but +% for now one will have to pull in other fonts for anything +% that goes beyond plain \TeX. Using them in bold goes a +% long way to making them match the rest of DRM. +% +% First, we have a full set of mathematical Greek letters. +% As seems to be the custom, the capitals are upright and +% the lowercase slanted. These can all be accessed via the +% customary \TeX\ math character names. +% +% \begin{center} +% \begin{longtable}{llllllll} +% \toprule +% \multicolumn{8}{c}{Greek Letters} \\ +% \midrule +% A & |A| & $\alpha$ & |$\alpha$| & B & |B| & $\beta$& |$\beta$| \\ +% $\Gamma$& |$\Gamma$| & $\gamma$& |$\gamma$| & $\Delta$& |$\Delta$| & +% $\delta$& |$\delta$| \\ E & |E| & $\epsilon$& |$\epsilon$| & Z & +% |Z| & +% $\zeta$ & |$\zeta$| \\ H & |H| & $\eta$& |$\eta$| & $\Theta$& |$\Theta$| & +% $\theta$& |$\theta$| \\ I & |I| & $\iota$& |$\iota$| & K & |K| & +% $\kappa$& |$\kappa$| \\ $\Lambda$& |$\Lambda$| & $\lambda$& +% |$\lambda$| & M & |M| & +% $\mu$ & |$\mu$| \\ N & |N| & $\nu$& |$\nu$| & $\Xi$& |$\Xi$| & +% $\xi$& |$\xi$| \\ O & |O| & o & |o| & $\Pi$& |$\Pi$| & +% $\pi$& |$\pi$| \\ P & |P| & $\rho$& |$\rho$| & $\Sigma$& |$\Sigma$| & +% $\sigma$& |$\sigma$| \\ T & |T| & $\tau$& |$\tau$| & Y & |Y| & +% $\upsilon$& |$\upsilon$| \\ $\Phi$& |$\Phi$| & $\phi$& |$\phi$| & X & |X| & +% $\chi$& |$\chi$| \\ $\Psi$& |$\Psi$| & $\psi$& |$\psi$| & $\Omega$& +% |$\Omega$| & $\omega$& |$\omega$| \\ $\vartheta$& |$\vartheta$| & $\varpi$& +% |$\varpi$| & $\varsigma$& |$\varsigma$| & $\varphi$ & +% |$\varphi$| \\ +% \bottomrule +% \end{longtable} +% \end{center} +% +% This alphabet led directly to DRM's Greek font, which we +% discuss elsewhere.\footnote{\textit{See supra}, Section +% \ref{sub:greek}, at \pageref{sub:greek}.} +% +% \begin{center} +% \begin{longtable}{llllllll} +% \toprule +% \multicolumn{8}{c}{Math Calligraphic} \\ +% \midrule +% $\mathcal{A}$ & $\mathcal{B}$ & $\mathcal{C}$ & $\mathcal{D}$ & $\mathcal{E}$ & $\mathcal{F}$ & $\mathcal{G}$ & $\mathcal{H}$ \\ +% $\mathcal{I}$ & $\mathcal{J}$ & $\mathcal{K}$ & $\mathcal{L}$ & $\mathcal{M}$ & $\mathcal{N}$ & $\mathcal{O}$ & $\mathcal{P}$ \\ +% $\mathcal{Q}$ & $\mathcal{R}$ & $\mathcal{S}$ & $\mathcal{T}$ & $\mathcal{U}$ & $\mathcal{V}$ & $\mathcal{W}$ & $\mathcal{X}$ \\ +% $\mathcal{Y}$ & $\mathcal{Z}$ & {} & {} & {} & {} & {} & {} \\ +% \bottomrule +% \end{longtable} +% \end{center} +% +% DRM also has its own extensible characters and +% variable-sized math characters; a few examples +% in various sizes are below. +% +% $$ \sum\limits_{i=1}^n i^2 = \frac{n(n+1)(2n+1)}{6} $$ +% $$ \prod\limits_{i=1}^n i^2 = \left(\frac{n(n+1)(2n+1)}{6}\right) $$ +% $$ \sum\nolimits_{P_i \in Paths(I)} Probes(P_{i}) $$ +% $$ \underbrace{\overbrace{abcdefghijklmnop}} $$ +% +% By default, using |\big| and friends doesn't work, a +% problem I haven't been able to resolve. However, by +% requiring |amsmath|, |drm| provides a more directly +% flexible mechanism for this: % \DescribeMacro{\bigd}|\bigd|, +% which allows arbitrarily sized delimiters. It takes a +% single argument, which is an integer describing the +% desired size: +% +% \begin{center} +% \begin{tabular}{llllll} +% |\bigd{2}\{| & \bigd{2}\{ & +% |\bigd{4}\{| & \bigd{4}\{ & +% |\bigd{8}\{| & \bigd{8}\{ \\ +% \end{tabular} +% \end{center} +% +% |\left| and |\right| work as expected with DRM's +% delimiters. +% +% This symbols, of course, also work inline (as opposed to +% displayed, which is what we have above); you can take +% $\sqrt{2}$ and have $(3\times\left(4\over3\right))$ just +% as easily in a paragraph as in a display, though you may +% want to take care that you're not using too much space for +% your lines. (I didn't take care in this paragraph, and +% you can see how bad it looks.) +% +% \subsection{Greek} +% \label{sub:greek} +% +% Because DRM offers Greek characters in math, it was a +% short step to offer actual Greek text, and so I've done +% so, according to the standard LGR encoding. I can just +% barely read the Greek alphabet and remember very little of +% the grammar, and what little I once knew was all ancient +% and koine, but here it is. DRM's Greek support is +% limited; while it offers all the normal \emph{polutoniko} +% accents, subscripts, and breathings, along with some +% archaic characters like the digamma, there is no italic, +% small caps, or various weights. DRM isn't, therefore, +% really suitable for typesetting whole Greek works; it +% will, however, offer attractive typesetting of Greek +% phrases and quotations within a text set otherwise in the +% Latin alphabet. +% +% The |\grktext|\DescribeMacro{\grktext}\ command changes the +% current font encoding to LGR, which for DRM's purposes +% means it's typesetting with Greek characters from then on. +% The macro |\textgrk|\DescribeMacro{\textgrk}\ is similar, +% but takes a single argument, which is typeset in Greek +% characters. A few examples follow. +% +% \begin{center} +% \begin{tabular}{p{0.4\textwidth}p{0.4\textwidth}} +% \begin{spverbatim}We know that \textgrk{Aqilleuc} was one of the Greeks' greatest warriors.\end{spverbatim} & +% \begin{spverbatim}{\grktext >En {\>a}rq\char'254\ {\>~h}n {\<o} l{\'o}goc, ka{\'i} {\<o} l{\'o}goc {\~\>h}n pr{\'o}c t{\'o}n je{\'o}n, ka{\'i} je{\'o}c {\>\~h}n {\<o} l{\'o}goc.}\end{spverbatim} \\ +% We know that \textgrk{Aqilleuc} was one +% of the Greeks' greatest warriors. & +% {\grktext >En {\>a}rq\char'254\ +% {\>~h}n {\<o} l{\'o}goc, ka{\'i} {\<o} l{\'o}goc {\~\>h}n +% pr{\'o}c t{\'o}n je{\'o}n, ka{\'i} je{\'o}c {\>\~h}n {\<o} +% l{\'o}goc.} \\ +% \end{tabular} +% \end{center} +% +% I understand that |babel| has facilities for making the +% typesetting of all the \textgrk{polutoniko} accents much +% cleaner, but I don't write enough in Greek to have learned +% to use it, resulting in the mess you see above. Note that +% |drm| (the package) does \emph{not} pull in |babel| or the +% |polutoniko| option, or any other Greek typesetting +% package; it simply provides the fonts. If you're +% typesetting long enough passages that you need Greek +% hyphenation and the like, you'll have to invoke the +% appropriate package yourself. +% +% \section{Implementation} +% \label{sect:code} +% +% Load the required packages. DRM contains TS1, LGR, OML, +% OMS, and T1 encoded fonts, so we load |fontenc| with all +% these encodings as options. We also load |modroman| for +% the |\romanize| macro, defined below. +% \begin{macrocode} +\RequirePackage[LGR,OML,OMS,TS1,T1]{fontenc} +\RequirePackage{modroman} +\RequirePackage{amsmath} +% \end{macrocode} +% Now we declare our options. +% \begin{macrocode} +\newif\ifnodefault\nodefaultfalse +\newif\ifnodefaultmath\nodefaultmathfalse +\newif\ifnodefaulttext\nodefaulttextfalse +\newif\ifsymbolsonly\symbolsonlyfalse +\DeclareOption{nodefault}{\nodefaulttrue\nodefaultmathtrue% + \nodefaulttexttrue} +\DeclareOption{nodefaultmath}{\nodefaultmathtrue} +\DeclareOption{nodefaulttext}{\nodefaulttexttrue} +\DeclareOption{symbolsonly}{\symbolsonlytrue\nodefaulttrue% + \nodefaulttexttrue\nodefaultmathtrue} +\ProcessOptions +% \end{macrocode} +% Begin defining the font families. +% \begin{macrocode} +\DeclareFontFamily{T1}{drm}{} +\DeclareFontFamily{TS1}{drm}{} +\DeclareFontFamily{LGR}{drm}{} +\DeclareFontShape{T1}{drm}{m}{n}{ <-7> drm6 <7> drm7 <8> drm8 + <9> drm9 <10-12> drm10 <12-13> drm12 <14-17> drm14 + <17-24> drm17 <24-> drm24 }{} +\DeclareFontShape{T1}{drm}{m}{sc}{<-7> drmsc6 <7> drmsc7 + <8> drmsc8 <9> drmsc9 <10-12> drmsc10 <12-14> drmsc12 + <14-17> drmsc14 <17-24> drmsc17 <24-> drmsc24 }{} +\DeclareFontShape{T1}{drm}{m}{tc}{<-7> drmtc6 <7> drmtc7 + <8> drmtc8 <9> drmtc9 <10-12> drmtc10 <12-14> drmtc12 + <14-17> drmtc14 <17-24> drmtc17 <24-> drmtc24 }{} +\DeclareFontShape{T1}{drm}{m}{sl}{<-7> drmsl6 <7> drmsl7 + <8> drmsl8 <9> drmsl9 <10-12> drmsl10 <12-14> drmsl12 + <14-17> drmsl14 <17-24> drmsl17 <24-> drmsl24 }{} +\DeclareFontShape{T1}{drm}{m}{it}{ <-7> drmit6 <7> drmit7 + <8> drmit8 <9> drmit9 <10-12> drmit10 <12-14> drmit12 + <14-17> drmit14 <17-24> drmit17 <24-> drmit24 }{} +\DeclareFontShape{T1}{drm}{m}{ui}{<-7> drmui6 <7> drmui7 + <8> drmui8 <9> drmui9 <10-12> drmui10 <12-14> drmui12 + <14-17> drmui14 <17-24> drmui17 <24-> drmui24 }{} +\DeclareFontShape{T1}{drm}{l}{n}{<-7> drml6 <7> drml7 + <8> drml8 <9> drml9 <10-12> drml10 <12-14> drml12 + <14-17> drml14 <17-24> drml17 <24-> drml24 }{} +\DeclareFontShape{T1}{drm}{b}{n}{<-7> drmb6 <7> drmb7 + <8> drmb8 <9> drmb9 <10-12> drmb10 <12-14> drmb12 + <14-17> drmb14 <17-24> drmb17 <24-> drmb24 }{} +\DeclareFontShape{T1}{drm}{bx}{n}{<-7> drmbx6 <7> drmbx7 + <8> drmbx8 <9> drmbx9 <10-12> drmbx10 <12-14> drmbx12 + <14-17> drmbx14 <17-24> drmbx17 <24-> drmbx24 }{} +\DeclareFontShape{TS1}{drm}{m}{n}{<-7> drmsym7 + <8> drmsym8 <9> drmsym9 <10-12> drmsym10 <12-14> drmsym12 + <14-17> drmsym14 <17-24> drmsym17 <24-> drmsym24 }{} +\DeclareFontShape{LGR}{drm}{m}{n}{<-> drmgrk10 }{} +% \end{macrocode} +% Now, set the default text font as DRM unless |nodefault| +% or |nodefaulttext| has been specified. +% \begin{macrocode} +\ifnodefault\else\ifnodefaulttext\else + \renewcommand\encodingdefault{T1} + \renewcommand\familydefault{drm} +\fi\fi +% \end{macrocode} +% Now we move on to define commands for the more unusual +% shapes, since \LaTeXe\ doesn't have them built in. We +% start with \texttc{titling small caps}, then move on to +% \textui{upright italics}. We also define |\textgrk| and +% |\grktext|, for typesetting in Greek characters. +% \begin{macrocode} +\def\tcshape{\fontshape{tc}\selectfont} +\def\texttc#1{{\tcshape#1}} +\def\uishape{\fontshape{ui}\selectfont} +\def\textui#1{{\uishape#1}} +\def\grktext{\fontencoding{LGR}\selectfont} +\def\textgrk#1{{\grktext#1}} +% \end{macrocode} +% Next, we define the weights. We know that |\textbf| will +% give us normal boldface, and that |\textmd| will return us +% to medium weight; but since DRM also has a light weight +% and a bold non-extended, we need to define commands for +% those, as well. +% \begin{macrocode} +\def\lseries{\fontseries{l}\selectfont} +\def\textl#1{{\lseries#1}} +\def\bseries{\fontseries{b}\selectfont} +\def\textb#1{{\bseries#1}} +% \end{macrocode} +% Moving on, we define size commands based on +% traditional English-language printers' names. Why? +% \emph{Because we can}, that's why. +% \begin{macrocode} +% \def\loosen{\addtolength{\baselineskip}{1pt}} +% \def\excelsior{\fontsize{3pt}{3.5pt}\selectfont} +% \def\minikin{\excelsior} +% \def\brilliant{\fontsize{4pt}{4.5pt}\selectfont} +% \def\diamond{\fontsize{4.5pt}{5pt}\selectfont} +% \def\pearl{\fontsize{5pt}{6pt}\selectfont} +% \def\agate{\fontsize{5.5pt}{6.5pt}\selectfont} +% \def\ruby{\agate} +% \def\nonpareille{\fontsize{6pt}{7pt}\selectfont} +% \def\minionette{\fontsize{6.5pt}{7.5pt}\selectfont} +% \def\emerald{\minionette} +% \def\minion{\fontsize{7pt}{8pt}\selectfont} +% \def\brevier{\fontsize{8pt}{9pt}\selectfont} +% \def\petit{\brevier} +% \def\smalltext{\brevier} +% \def\bourgeois{\fontsize{9pt}{10pt}\selectfont} +% \def\galliard{\bourgeois} +% \def\longprimer{\fontsize{10pt}{12pt}\selectfont} +% \def\corpus{\longprimer} +% \def\garamond{\longprimer} +% \def\smallpica{\fontsize{11pt}{13pt}\selectfont} +% \def\philosophy{\smallpica} +% \def\pica{\fontsize{12pt}{15pt}\selectfont} +% \def\english{\fontsize{14pt}{17pt}\selectfont} +% \def\mittel{\english} +% \def\augustin{\english} +% \def\columbian{\fontsize{16pt}{19pt}\selectfont} +% \def\twolinebrevier{\columbian} +% \def\greatprimer{\fontsize{18pt}{22pt}\selectfont} +% \def\paragon{\fontsize{20pt}{24pt}\selectfont} +% \def\doublesmallpica{\fontsize{21pt}{25pt}\selectfont} +% \def\doublesmallpicaus{\fontsize{22pt}{26pt}\selectfont} +% \def\doublepicabrit{\doublesmallpicaus} +% \def\doublepica{\fontsize{24pt}{28pt}\selectfont} +% \def\twolinepica{\doublepica} +% \def\doubleenglish{\fontsize{28pt}{33pt}\selectfont} +% \def\twolineenglish{\doubleenglish} +% \def\fivelinenonpareil{\fontsize{30pt}{35pt}\selectfont} +% \def\fourlinebrevier{\fontsize{32pt}{38pt}\selectfont} +% \def\doublegreatprimer{\fontsize{36pt}{42pt}\selectfont} +% \def\twolinegreatprimer{\doublegreatprimer} +% \def\meridian{\fontsize{44pt}{50pt}\selectfont} +% \def\twolinedoublepica{\meridian} +% \def\trafalgar{\meridian} +% \def\canon{\fontsize{48pt}{54pt}\selectfont} +% \def\fourline{\canon} +% \def\fivelinepica{\fontsize{60pt}{66pt}\selectfont} +% \def\inch{\fontsize{72pt}{78pt}\selectfont} +% \end{macrocode} +% Now we move on to define the math fonts. This turned out +% to be a surprisingly convoluted process, and I only +% marginally understand what's going on here; but it works, +% and I'll try to go through it as best as I can. +% +% First, we make \LaTeX\ aware of our math fonts: +% \begin{macrocode} +\DeclareFontFamily{OML}{drm}{} +\DeclareFontShape{OML}{drm}{m}{n}{ <-> drmmi10 }{} +\DeclareFontFamily{OMS}{drm}{} +\DeclareFontShape{OMS}{drm}{m}{n}{ <-> drmsy10 }{} +\DeclareFontFamily{OMX}{drm}{} +\DeclareFontShape{OMX}{drm}{m}{n}{ <-> drmomx10 }{} +% \end{macrocode} +% Next, we declare something called a math \emph{version}; +% this way we can define new math shapes without clobbering +% the default settings. I'm not sure why this is really +% necessary, but it appears to be; so we define a math +% version |drmmath|: +% \begin{macrocode} +\DeclareMathVersion{drmmath} +% \end{macrocode} +% Now we define our symbol fonts. This lets \LaTeX\ know +% where to yank its symbols from when typesetting a math +% formula. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\SetSymbolFont{operators}{drmmath}{T1}{drm}{m}{n} +\SetSymbolFont{letters}{drmmath}{OML}{drm}{m}{n} +\DeclareSymbolFont{symbs}{TS1}{drm}{m}{n} +\SetSymbolFont{symbs}{drmmath}{TS1}{drm}{m}{n} +\DeclareSymbolFont{drmmathsy}{OMS}{drm}{m}{n} +\SetSymbolFont{drmmathsy}{drmmath}{OMS}{drm}{m}{n} +\DeclareSymbolFont{drmmathomx}{OMX}{drm}{m}{n} +\SetSymbolFont{drmmathomx}{drmmath}{OMX}{drm}{m}{n} +\fi\fi +% \end{macrocode} +% Now we write in our \emph{math alphabets}, so that when we +% request |\mathcal| or something similar we'll get DRM and +% not Computer Modern. We define |\mathcal|, of course, and +% also |\drmmathlets|, just in case we want to request DRM +% directly. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathAlphabet{\drmmathlets}{OML}{drm}{m}{n} +\SetMathAlphabet{\drmmathlets}{drmmath}{OML}{drm}{m}{n} +\DeclareMathAlphabet{\mathcal}{OMS}{drm}{m}{n} +\SetMathAlphabet{\mathcal}{drmmath}{OMS}{drm}{m}{n} +\fi\fi +% \end{macrocode} +% Now ensure that we get lining figures in math mode. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathSymbol{0}{0}{symbs}{48} +\DeclareMathSymbol{1}{0}{symbs}{49} +\DeclareMathSymbol{2}{0}{symbs}{50} +\DeclareMathSymbol{3}{0}{symbs}{51} +\DeclareMathSymbol{4}{0}{symbs}{52} +\DeclareMathSymbol{5}{0}{symbs}{53} +\DeclareMathSymbol{6}{0}{symbs}{54} +\DeclareMathSymbol{7}{0}{symbs}{55} +\DeclareMathSymbol{8}{0}{symbs}{56} +\DeclareMathSymbol{9}{0}{symbs}{57} +\fi\fi +% \end{macrocode} +% Now, it appears to be necessary to redefine all the math +% symbols, so we do that. Beginning with the Greek letters: +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathSymbol{\Gamma}{0}{letters}{0} +\DeclareMathSymbol{\Delta}{0}{letters}{1} +\DeclareMathSymbol{\Theta}{0}{letters}{2} +\DeclareMathSymbol{\Lambda}{0}{letters}{3} +\DeclareMathSymbol{\Xi}{0}{letters}{4} +\DeclareMathSymbol{\Pi}{0}{letters}{5} +\DeclareMathSymbol{\Sigma}{0}{letters}{6} +\DeclareMathSymbol{\Upsilon}{0}{letters}{7} +\DeclareMathSymbol{\Phi}{0}{letters}{8} +\DeclareMathSymbol{\Psi}{0}{letters}{9} +\DeclareMathSymbol{\Omega}{0}{letters}{10} +\DeclareMathSymbol{\alpha}{0}{letters}{11} +\DeclareMathSymbol{\beta}{0}{letters}{12} +\DeclareMathSymbol{\gamma}{0}{letters}{13} +\DeclareMathSymbol{\delta}{0}{letters}{14} +\DeclareMathSymbol{\epsilon}{0}{letters}{15} +\DeclareMathSymbol{\zeta}{0}{letters}{16} +\DeclareMathSymbol{\eta}{0}{letters}{17} +\DeclareMathSymbol{\theta}{0}{letters}{18} +\DeclareMathSymbol{\iota}{0}{letters}{19} +\DeclareMathSymbol{\kappa}{0}{letters}{20} +\DeclareMathSymbol{\lambda}{0}{letters}{21} +\DeclareMathSymbol{\mu}{0}{letters}{22} +\DeclareMathSymbol{\nu}{0}{letters}{23} +\DeclareMathSymbol{\xi}{0}{letters}{24} +\DeclareMathSymbol{\pi}{0}{letters}{25} +\DeclareMathSymbol{\rho}{0}{letters}{26} +\DeclareMathSymbol{\sigma}{0}{letters}{27} +\DeclareMathSymbol{\tau}{0}{letters}{28} +\DeclareMathSymbol{\upsilon}{0}{letters}{29} +\DeclareMathSymbol{\phi}{0}{letters}{30} +\DeclareMathSymbol{\chi}{0}{letters}{31} +\DeclareMathSymbol{\psi}{0}{letters}{32} +\DeclareMathSymbol{\omega}{0}{letters}{33} +\DeclareMathSymbol{\varepsilon}{0}{letters}{34} +\DeclareMathSymbol{\vartheta}{0}{letters}{35} +\DeclareMathSymbol{\varpi}{0}{letters}{36} +\DeclareMathSymbol{\varrho}{0}{letters}{37} +\DeclareMathSymbol{\varsigma}{0}{letters}{38} +\DeclareMathSymbol{\varphi}{0}{letters}{39} +\fi\fi +% \end{macrocode} +% Now let's define some of the other symbols in the OML +% encoding. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathSymbol{\leftharpoonup}{0}{letters}{40} +\DeclareMathSymbol{\leftharpoondown}{0}{letters}{41} +\DeclareMathSymbol{\rightharpoonup}{0}{letters}{42} +\DeclareMathSymbol{\rightharpoondown}{0}{letters}{43} +\DeclareMathSymbol{\triangleright}{0}{letters}{46} +\DeclareMathSymbol{\triangleleft}{0}{letters}{47} +\DeclareMathSymbol{\flat}{0}{letters}{91} +\DeclareMathSymbol{\natural}{0}{letters}{92} +\DeclareMathSymbol{\sharp}{0}{letters}{93} +\DeclareMathSymbol{\smile}{0}{letters}{94} +\DeclareMathSymbol{\frown}{0}{letters}{95} +\DeclareMathSymbol{\ell}{0}{letters}{96} +\DeclareMathSymbol{\imath}{0}{letters}{123} +\DeclareMathSymbol{\jmath}{0}{letters}{124} +\DeclareMathSymbol{\wp}{0}{letters}{125} +\fi\fi +% \end{macrocode} +% Now we go on to define the symbols from the OMS-encoded +% fonts. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathSymbol{-}{2}{drmmathsy}{'000} +\DeclareMathSymbol{\cdot}{2}{drmmathsy}{'001} +\DeclareMathSymbol{\times}{2}{drmmathsy}{'002} +\DeclareMathSymbol{\ast}{2}{drmmathsy}{'003} +\DeclareMathSymbol{\div}{2}{drmmathsy}{'004} +\DeclareMathSymbol{\diamond}{2}{drmmathsy}{'005} +\DeclareMathSymbol{\pm}{2}{drmmathsy}{'006} +\DeclareMathSymbol{\mp}{2}{drmmathsy}{'007} +\DeclareMathSymbol{\oplus}{2}{drmmathsy}{'010} +\DeclareMathSymbol{\ominus}{2}{drmmathsy}{'011} +\DeclareMathSymbol{\otimes}{2}{drmmathsy}{'012} +\DeclareMathSymbol{\oslash}{2}{drmmathsy}{'013} +\DeclareMathSymbol{\odot}{2}{drmmathsy}{'014} +\DeclareMathSymbol{\bigcirc}{2}{drmmathsy}{'015} +\DeclareMathSymbol{\circ}{2}{drmmathsy}{'016} +\DeclareMathSymbol{\bullet}{2}{drmmathsy}{'017} +\DeclareMathSymbol{\asymp}{3}{drmmathsy}{'020} +\DeclareMathSymbol{\equiv}{3}{drmmathsy}{'021} +\DeclareMathSymbol{\subseteq}{3}{drmmathsy}{'022} +\DeclareMathSymbol{\supseteq}{3}{drmmathsy}{'023} +\DeclareMathSymbol{\leq}{3}{drmmathsy}{'024} +\DeclareMathSymbol{\geq}{3}{drmmathsy}{'025} +\DeclareMathSymbol{\preceq}{3}{drmmathsy}{'026} +\DeclareMathSymbol{\succeq}{3}{drmmathsy}{'027} +\DeclareMathSymbol{\sim}{3}{drmmathsy}{'030} +\DeclareMathSymbol{\approx}{3}{drmmathsy}{'031} +\DeclareMathSymbol{\subset}{3}{drmmathsy}{'032} +\DeclareMathSymbol{\supset}{3}{drmmathsy}{'033} +\DeclareMathSymbol{\ll}{3}{drmmathsy}{'034} +\DeclareMathSymbol{\gg}{3}{drmmathsy}{'035} +\DeclareMathSymbol{\prec}{3}{drmmathsy}{'036} +\DeclareMathSymbol{\succ}{3}{drmmathsy}{'037} +\DeclareMathSymbol{\simeq}{3}{drmmathsy}{'047} +\DeclareMathSymbol{\propto}{3}{drmmathsy}{'057} +\DeclareMathSymbol{\prime}{0}{drmmathsy}{'060} +\DeclareMathSymbol{'}{0}{drmmathsy}{'060} +\DeclareMathSymbol{\infty}{0}{drmmathsy}{'061} +\DeclareMathSymbol{\in}{0}{drmmathsy}{'062} +\DeclareMathSymbol{\ni}{0}{drmmathsy}{'063} +\DeclareMathSymbol{\bigtriangleup}{2}{drmmathsy}{'064} +\DeclareMathSymbol{\bigtriangledown}{2}{drmmathsy}{'065} +\DeclareMathSymbol{/}{2}{drmmathsy}{'066} +%\DeclareMathSymbol{'}{2}{drmmathsy}{'067} +\DeclareMathSymbol{\forall}{2}{drmmathsy}{'070} +\DeclareMathSymbol{\exists}{2}{drmmathsy}{'071} +\DeclareMathSymbol{\neg}{2}{drmmathsy}{'072} +\DeclareMathSymbol{\emptyset}{2}{drmmathsy}{'073} +\DeclareMathSymbol{\Im}{0}{drmmathsy}{'074} +\DeclareMathSymbol{\Re}{0}{drmmathsy}{'075} +\DeclareMathSymbol{\top}{0}{drmmathsy}{'076} +\DeclareMathSymbol{\bot}{0}{drmmathsy}{'077} +%\DeclareMathSymbol{\aleph}{0}{drmmathsy}{'080} +\DeclareMathSymbol{\cup}{2}{drmmathsy}{'133} +\DeclareMathSymbol{\cap}{2}{drmmathsy}{'134} +\DeclareMathSymbol{\uplus}{2}{drmmathsy}{'135} +\DeclareMathSymbol{\wedge}{2}{drmmathsy}{'136} +\DeclareMathSymbol{\vee}{2}{drmmathsy}{'137} +\DeclareMathSymbol{\vdash}{3}{drmmathsy}{'140} +\DeclareMathSymbol{\dashv}{3}{drmmathsy}{'141} +\fi\fi +% \end{macrocode} +% Now we define some arrow symbols; there is a surprisingly +% large variety of these. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathSymbol{\leftarrow}{0}{drmmathsy}{'040} +\DeclareMathSymbol{\rightarrow}{0}{drmmathsy}{'041} +\DeclareMathSymbol{\leftrightarrow}{0}{drmmathsy}{'044} +\DeclareMathSymbol{\nearrow}{0}{drmmathsy}{'045} +\DeclareMathSymbol{\searrow}{0}{drmmathsy}{'046} +\DeclareMathSymbol{\Leftarrow}{0}{drmmathsy}{'050} +\DeclareMathSymbol{\Rightarrow}{0}{drmmathsy}{'051} +\DeclareMathSymbol{\Leftrightarrow}{0}{drmmathsy}{'054} +\DeclareMathSymbol{\nwarrow}{0}{drmmathsy}{'055} +\DeclareMathSymbol{\swarrow}{0}{drmmathsy}{'056} +\DeclareMathSymbol{\wr}{2}{drmmathsy}{'157} +\DeclareMathSymbol{\surd}{0}{drmmathsy}{'160} +\DeclareMathSymbol{\amalg}{2}{drmmathsy}{'161} +\DeclareMathSymbol{\nabla}{0}{drmmathsy}{'162} +\DeclareMathSymbol{\sqcup}{2}{drmmathsy}{'164} +\DeclareMathSymbol{\sqcap}{2}{drmmathsy}{'165} +\DeclareMathSymbol{\sqsubseteq}{2}{drmmathsy}{'166} +\DeclareMathSymbol{\sqsupseteq}{2}{drmmathsy}{'167} +\DeclareMathSymbol{\dagger}{2}{drmmathsy}{'171} +\DeclareMathSymbol{\ddagger}{2}{drmmathsy}{'172} +\DeclareMathSymbol{:}{2}{operators}{'072} +\DeclareMathSymbol{;}{0}{operators}{'073} +\DeclareMathSymbol{.}{0}{letters}{'072} +\DeclareMathSymbol{,}{0}{operators}{'054} +\DeclareMathSymbol{\ldotp}{0}{letters}{'072} +\DeclareMathSymbol{\clubsuit}{0}{letters}{'174} +\DeclareMathSymbol{\diamondsuit}{0}{letters}{'175} +\DeclareMathSymbol{\heartsuit}{0}{letters}{'176} +\DeclareMathSymbol{\spadesuit}{0}{letters}{'177} +\DeclareMathSymbol{\partial}{0}{drmmathsy}{'100} +\fi\fi +% \end{macrocode} +% Now we define some of the large/small symbols, like |\sum| +% and |\prod|. It proved necessary to cancel out the +% previous definitions of these, or \LaTeX\ complained about +% them being already defined; it seems that it ought to be +% possible to redefine them only for a given math version, +% but I haven't figured it out yet. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\let\coprod\relax +\DeclareMathSymbol{\coprod}{\mathop}{drmmathomx}{"60} +\let\bigvee\relax +\DeclareMathSymbol{\bigvee}{\mathop}{drmmathomx}{"57} +\let\bigwedge\relax +\DeclareMathSymbol{\bigwedge}{\mathop}{drmmathomx}{"56} +\let\biguplus\relax +\DeclareMathSymbol{\biguplus}{\mathop}{drmmathomx}{"55} +\let\bigcap\relax +\DeclareMathSymbol{\bigcap}{\mathop}{drmmathomx}{"54} +\let\bigcup\relax +\DeclareMathSymbol{\bigcup}{\mathop}{drmmathomx}{"53} +\let\intop\relax +\DeclareMathSymbol{\intop}{\mathop}{drmmathomx}{"52} + \def\int{\intop\nolimits} +\let\prod\relax +\DeclareMathSymbol{\prod}{\mathop}{drmmathomx}{"51} +\let\sum\relax +\DeclareMathSymbol{\sum}{\mathop}{drmmathomx}{"50} +\let\bigotimes\relax +\DeclareMathSymbol{\bigotimes}{\mathop}{drmmathomx}{"4E} +\let\bigoplus\relax +\DeclareMathSymbol{\bigoplus}{\mathop}{drmmathomx}{"4C} +\let\bigodot\relax +\DeclareMathSymbol{\bigodot}{\mathop}{drmmathomx}{"4A} +\let\ointcup\relax +\DeclareMathSymbol{\ointop}{\mathop}{drmmathomx}{"48} + \def\oint{\ointop\nolimits} +\let\bigsqcup\relax +\DeclareMathSymbol{\bigsqcup}{\mathop}{drmmathomx}{"46} +\fi\fi +% \end{macrocode} +% Moving on to delimiters. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathSymbol{|}{0}{drmmathsy}{'152} +\let\backslash\relax\DeclareMathSymbol{\backslash}{0}{drmmathsy}{'156} +\fi\fi +% \end{macrocode} +% Declare the math accents. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathAccent{\vec}{\mathord}{letters}{126} +\DeclareMathAccent{\acute}{\mathalpha}{operators}{1} +\DeclareMathAccent{\hat}{\mathalpha}{operators}{2} +\DeclareMathAccent{\grave}{\mathalpha}{operators}{0} +\DeclareMathAccent{\check}{\mathalpha}{operators}{7} +\DeclareMathAccent{\bar}{\mathalpha}{operators}{9} +\DeclareMathAccent{\dot}{\mathalpha}{operators}{10} +\DeclareMathAccent{\ddot}{\mathalpha}{operators}{4} +\DeclareMathAccent{\breve}{\mathalpha}{operators}{8} +\DeclareMathAccent{\tilde}{\mathalpha}{operators}{3} +\fi\fi +% \end{macrocode} +% Declare our math delimiters, so that \TeX's +% delimiter-expanding magic can work with our new +% characters. +% \begin{macrocode} +\def\bigd#1{\bBigg@{#1}} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathDelimiter{(}{\mathopen}{operators}{"28} + {drmmathomx}{"00} +\DeclareMathDelimiter{)}{\mathopen}{operators}{"29} + {drmmathomx}{"01} +\let\{\relax\let\}\relax +\DeclareMathDelimiter{\{}{\mathopen}{operators}{"7B} + {drmmathomx}{"08} +\DeclareMathDelimiter{\}}{\mathopen}{operators}{"7D} + {drmmathomx}{"09} +\DeclareMathDelimiter{[}{\mathopen}{operators}{"5B} + {drmmathomx}{"02} +\DeclareMathDelimiter{]}{\mathopen}{operators}{"5D} + {drmmathomx}{"03} +\DeclareMathDelimiter{\lfloor}{\mathopen}{drmmathsy}{"62} + {drmmathomx}{"04} +\DeclareMathDelimiter{\rfloor}{\mathclose}{drmmathsy}{"63} + {drmmathomx}{"05} +\DeclareMathDelimiter{\lceil}{\mathopen}{drmmathsy}{"64} + {drmmathomx}{"06} +\DeclareMathDelimiter{\rceil}{\mathclose}{drmmathsy}{"65} + {drmmathomx}{"07} +\DeclareMathDelimiter{\langle}{\mathopen}{drmmathsy}{"68} + {drmmathomx}{"0A} +\DeclareMathDelimiter{\rangle}{\mathclose}{drmmathsy}{"69} + {drmmathomx}{"0B} +\DeclareMathDelimiter{|}{\mathclose}{drmmathomx}{"0C} + {drmmathomx}{"0C} +\DeclareMathDelimiter{\vert}{\mathclose}{drmmathomx}{"0C} + {drmmathomx}{"0C} +\DeclareMathDelimiter{\|}{\mathclose}{drmmathomx}{"0D} + {drmmathomx}{"0D} +\DeclareMathDelimiter{\Vert}{\mathclose}{drmmathomx}{"0D} + {drmmathomx}{"0D} +\DeclareMathDelimiter{\uparrow}{\mathrel}{drmmathomx}{"78} + {drmmathomx}{"78} +\DeclareMathDelimiter{\downarrow}{\mathrel}{drmmathomx}{"79} + {drmmathomx}{"79} +\DeclareMathDelimiter{\updownarrow}{\mathrel}{drmmathsy}{"6C} + {drmmathomx}{"3F} +\DeclareMathDelimiter{\Uparrow}{\mathrel}{drmmathsy}{"2A} + {drmmathomx}{"7E} +\DeclareMathDelimiter{\Downarrow}{\mathrel}{drmmathsy}{"2B} + {drmmathomx}{"7F} +\DeclareMathDelimiter{\Updownarrow}{\mathrel}{drmmathsy}{"6D} + {drmmathomx}{"77} +\fi\fi +% \end{macrocode} +% Next, we define a \emph{math radical}, which essentially +% means a square root sign. Curiously, the thickness of the +% rule enclosing the square root sign is governed by the +% \emph{height} of the square root character; this means +% that almost the entire character is \emph{depth}. I had +% to jimmy a bit with the default \LaTeX\ |\sqrt| definition +% to make the root numbers (say, the 3 for the cube root) +% line up properly, as well, which is what all the |\r@@t| +% business here is. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else +\DeclareMathRadical{\sqrtsign}{drmmathsy}{"70}{drmmathomx}{"70} +\DeclareRobustCommand\sqrt{\@ifnextchar[\@sqrt\sqrtsign} +\def\r@@t#1#2{ + \setbox\z@\hbox{$\m@th#1\sqrtsign{#2}$} + \dimen@\ht\z@ \advance\dimen@-\dp\z@ + \mkern5mu\raise.8\dimen@\copy\rootbox + \mkern-7mu\box\z@} +\fi\fi +% \end{macrocode} +% Now, finally, we declare |drmmath| to be the default math +% version, so that all this will become the norm in a +% document declaring the |drm| package. Unless, of course, +% either |nodefault| or |nodefaultmath| has been specified +% as an option. +% \begin{macrocode} +\ifnodefault\else\ifnodefaultmath\else + \mathversion{drmmath} +\fi\fi +% \end{macrocode} +% Now we define the special symbols. First, we define +% |\drmsym|, which takes a single argument to be typeset +% from the |drmsym| font. Then we define a (rather huge) +% macro for redefining all the symbols. This macro will be +% called only if |nodefault| or |nodefaulttext| have not +% been selected, or if |symbolsonly| has been selected. +% \begin{macrocode} +\def\drmsym#1{{\fontencoding{TS1}\selectfont\fontfamily{drm}\selectfont#1}} +\def\drmsymbolredef{ + \def\textbigcircle{\drmsym{\char'117}} + \def\textregistered{\drmsym{\char'256}} + \def\texttrademark{\drmsym{\char'227}} + \def\textservicemark{\drmsym{\char'237}} + \def\textsoundrecording{\drmsym{\char'255}} + \def\textcopyright{\drmsym{\char'251}} + \def\textcopyleft{\drmsym{\char'253}} + \def\textborn{\drmsym{\char'142}} + \def\textdied{\drmsym{\char'144}} + \def\textdivorced{\drmsym{\char'143}} + \def\textmarried{\drmsym{\char'155}} + \def\textleaf{\drmsym{\char'154}} + \def\textmale{\drmsym{\char'153}} + \def\textfemale{\drmsym{\char'145}} + \def\textcrusadecross{\drmsym{\char'130}} + \def\textcrusadecrossoutline{\drmsym{\char'131}} + \def\textlatincross{\drmsym{\char'144}} + \def\textlatincrossoutline{\drmsym{\char'134}} + \def\textgreekcross{\drmsym{\char'170}} + \def\textgreekcrossoutline{\drmsym{\char'171}} + \def\textsaltirecross{\drmsym{\char'172}} + \def\textsaltirecrossoutline{\drmsym{\char'173}} + \def\texteucharist{\drmsym{\char'120}} + \def\textstardavid{\drmsym{\char'140}} + \def\textstardavidsolid{\drmsym{\char'141}} + \def\textstardavidoutline{\drmsym{\char'151}} + \def\textsun{\drmsym{\char'330}} + \def\textsunvar{\drmsym{\char'331}} + \def\textwaxcrescent{\drmsym{\char'332}} + \def\textfullmoon{\drmsym{\char'333}} + \def\textwanecrescent{\drmsym{\char'334}} + \def\textnewmoon{\drmsym{\char'335}} + \def\textmercury{\drmsym{\char'336}} + \def\textearth{\drmsym{\char'337}} + \def\textterra{\drmsym{\char'337}} + \def\textearthvar{\drmsym{\char'340}} + \def\textterravar{\drmsym{\char'340}} + \def\textmars{\drmsym{\char'153}} + \def\textvenus{\drmsym{\char'145}} + \def\textjupiter{\drmsym{\char'341}} + \def\textsaturn{\drmsym{\char'342}} + \def\texturanus{\drmsym{\char'343}} + \def\texturanusvar{\drmsym{\char'344}} + \def\textneptune{\drmsym{\char'345}} + \def\textceres{\drmsym{\char'346}} + \def\textpallas{\drmsym{\char'347}} + \def\textjuno{\drmsym{\char'350}} + \def\textjunovar{\drmsym{\char'351}} + \def\textvesta{\drmsym{\char'352}} + \def\textvestavar{\drmsym{\char'353}} + \def\textastraea{\drmsym{\char'354}} + \def\textastraeavar{\drmsym{\char'355}} + \def\texthebe{\drmsym{\char'356}} + \def\textiris{\drmsym{\char'357}} + \def\textaries{\drmsym{\char'360}} + \def\textari{\drmsym{\char'360}} + \def\texttaurus{\drmsym{\char'361}} + \def\texttau{\drmsym{\char'361}} + \def\textgemini{\drmsym{\char'362}} + \def\textgem{\drmsym{\char'362}} + \def\textcancer{\drmsym{\char'363}} + \def\textcnc{\drmsym{\char'363}} + \def\textleo{\drmsym{\char'364}} + \def\textvirgo{\drmsym{\char'365}} + \def\textvir{\drmsym{\char'365}} + \def\textlibra{\drmsym{\char'367}} + \def\textlib{\drmsym{\char'367}} + \def\textscorpius{\drmsym{\char'370}} + \def\textsco{\drmsym{\char'370}} + \def\textsagittarius{\drmsym{\char'371}} + \def\textsgr{\drmsym{\char'371}} + \def\textcapricorn{\drmsym{\char'372}} + \def\textcap{\drmsym{\char'372}} + \def\textaquarius{\drmsym{\char'373}} + \def\textaqr{\drmsym{\char'373}} + \def\textpisces{\drmsym{\char'374}} + \def\textpsc{\drmsym{\char'374}} + \def\textpluto{\drmsym{\char'375}} + \def\textplutovar{\drmsym{\char'376}} + \def\textstar{\drmsym{\char'142}} + \def\textcomet{\drmsym{\char'377}} + \def\textquadrature{\drmsym{\char'310}} + \def\textopposition{\drmsym{\char'311}} + \def\textconjunction{\drmsym{\char'312}} + \def\textascendingnode{\drmsym{\char'315}} + \def\textdescendingnode{\drmsym{\char'314}} + \def\textdollarsign{\drmsym{\char'044}} + \def\textolddollarsign{\drmsym{\char'212}} + \def\textcentsign{\drmsym{\char'242}} + \def\textoldcentsign{\drmsym{\char'213}} + \def\textpoundsterling{\drmsym{\char'243}} + \def\textoldpoundsterling{\drmsym{\char'222}} + \def\textlira{\drmsym{\char'222}} + \def\texteuro{\drmsym{\char'277}} + \def\textyen{\drmsym{\char'245}} + \def\textbaht{\drmsym{\char'232}} + \def\textcolon{\drmsym{\char'215}} + \def\textdong{\drmsym{\char'226}} + \def\textflorin{\drmsym{\char'214}} + \def\textguarani{\drmsym{\char'220}} + \def\textnaira{\drmsym{\char'217}} + \def\textpeso{\drmsym{\char'221}} + \def\textruble{\drmsym{\char'221}} + \def\textwon{\drmsym{\char'216}} + \def\textcurrency{\drmsym{\char'244}} + \def\romone{\drmsym{\char'100}} + \def\romfive{\drmsym{\char'101}} + \def\romten{\drmsym{\char'102}} + \def\romfifty{\drmsym{\char'103}} + \def\romhundred{\drmsym{\char'104}} + \def\romfivehundred{\drmsym{\char'105}} + \def\romthousand{\drmsym{\char'106}} + \def\liningzero{\drmsym{\char'060}} + \def\liningone{\drmsym{\char'061}} + \def\liningtwo{\drmsym{\char'062}} + \def\liningthree{\drmsym{\char'063}} + \def\liningfour{\drmsym{\char'064}} + \def\liningfive{\drmsym{\char'065}} + \def\liningsix{\drmsym{\char'066}} + \def\liningseven{\drmsym{\char'067}} + \def\liningeight{\drmsym{\char'070}} + \def\liningnine{\drmsym{\char'071}} + \def\textnumero{\drmsym{\char'233}} + \def\textrefmark{\drmsym{\char'270}} + \def\textasterism{\drmsym{\char'302}} + \def\textfeminineordinal{\drmsym{\char'252}} + \def\textmasculineordinal{\drmsym{\char'272}} + \def\textsupone{\drmsym{\char'271}} + \def\textsuptwo{\drmsym{\char'262}} + \def\textsupthree{\drmsym{\char'263}} + \def\textpilcrowsolid{\drmsym{\char'231}} + \def\textpilcrowoutline{\drmsym{\char'266}} + \def\textsection{\drmsym{\char'247}} + \def\textdagger{\drmsym{\char'204}} + \def\textdag{\drmsym{\char'204}} + \def\dag{\drmsym{\char'204}} + \def\textdbldagger{\drmsym{\char'205}} + \def\textdbldag{\drmsym{\char'205}} + \def\dbldag{\drmsym{\char'205}} + \def\textpipe{\drmsym{\char'206}} + \def\textbrokenpipe{\drmsym{\char'246}} + \def\textprime{\drmsym{\char'264}} + \def\textdoubleprime{\drmsym{\char'303}} + \def\texttripleprime{\drmsym{\char'313}} + \def\textsqrt{\drmsym{\char'273}} + \def\textquarter{\drmsym{\char'274}} + \def\texthalf{\drmsym{\char'275}} + \def\textthreequarters{\drmsym{\char'276}} + \def\textthird{\drmsym{\char'304}} + \def\texttwothirds{\drmsym{\char'305}} + \def\textpermille{\drmsym{\char'207}} + \def\textperbiqua{\drmsym{\char'207}} + \def\textpertenmille{\drmsym{\char'230}} + \def\textpertriqua{\drmsym{\char'230}} + \def\textequals{\drmsym{\char'055}} + \def\textslash{\drmsym{\char'057}} + \def\texttimes{\drmsym{\char'326}} + \def\textdiv{\drmsym{\char'366}} + \def\textradiation{\drmsym{\char'161}} + \def\textradiationnocircle{\drmsym{\char'160}} + \def\textbiohazard{\drmsym{\char'163}} + \def\textbiohazardnocircle{\drmsym{\char'162}} + \def\texthighvoltage{\drmsym{\char'166}} + \def\texthighvoltagenotriangle{\drmsym{\char'165}} + \def\textgeneralwarning{\drmsym{\char'164}} + \def\textuparrow{\drmsym{\char'136}} + \def\textdownarrow{\drmsym{\char'137}} + \def\textleftarrow{\drmsym{\char'030}} + \def\textrightarrow{\drmsym{\char'031}} + \def\textrecipe{\drmsym{\char'223}} + \def\textintbang{\drmsym{\char'224}} + \def\textopenintbang{\drmsym{\char'225}} + \def\textbullet{\drmsym{\char'210}} + \def\textopenbullet{\drmsym{\char'236}} + \def\textheart{\drmsym{\char'174}} + \def\textopenheart{\drmsym{\char'175}} + \def\texteighthnote{\drmsym{\char'156}} + \def\textdiamond{\drmsym{\char'306}} + \def\textopendiamond{\drmsym{\char'307}} + \def\textlozenge{\drmsym{\char'307}} + \def\textdegree{\drmsym{\char'260}} + \def\texttilde{\drmsym{\char'176}} + \def\textasciitilde{\texttilde} + \def\tilde{\texttilde} + \def\textasciicircum{\drmsym{\char'002}} + \def\textdegreec{\drmsym{\char'211}} + \def\textrightupfleuron{\drmsym{\char'016}} + \def\textrightdownfleuron{\drmsym{\char'017}} + \def\textleftupfleuron{\drmsym{\char'020}} + \def\textleftdownfleuron{\drmsym{\char'021}} + \def\textupleftfleuron{\drmsym{\char'050}} + \def\textuprightfleuron{\drmsym{\char'051}} + \def\textdownrightfleuron{\drmsym{\char'077}} + \def\textdownleftfleuron{\drmsym{\char'107}} + \def\textsquaretulip{\drmsym{\char'023}} + \def\textsquaretulipside{\drmsym{\char'046}} + \def\textupdoubletulip{\drmsym{\char'024}} + \def\textdowndoubletulip{\drmsym{\char'027}} + \def\textrightdoubletulip{\drmsym{\char'036}} + \def\textleftdoubletulip{\drmsym{\char'037}} + \def\textupleftcornertulip{\drmsym{\char'053}} + \def\textuprightcornertulip{\drmsym{\char'072}} + \def\textlowleftcornertulip{\drmsym{\char'073}} + \def\textlowrightcornertulip{\drmsym{\char'110}} + \def\textupsingletuliplong{\drmsym{\char'111}} + \def\textdownsingletuliplong{\drmsym{\char'112}} + \def\textleftsingletuliplong{\drmsym{\char'113}} + \def\textrightsingletuliplong{\drmsym{\char'114}} + \def\textupsingletulip{\drmsym{\char'116}} + \def\textdownsingletulip{\drmsym{\char'121}} + \def\textleftsingletulip{\drmsym{\char'122}} + \def\textrightsingletulip{\drmsym{\char'123}} + \def\spearright{\drmsym{\char'124}} + \def\spearleft{\drmsym{\char'125}} + \def\horizspearext{\drmsym{\char'126}} + \def\spearup{\drmsym{\char'132}} + \def\speardown{\drmsym{\char'146}} + \def\vertspearext{\drmsym{\char'147}} + \def\fleurdelis{\drmsym{\char'157}} + \def\fleurdelys{\drmsym{\char'157}} + \def\fleurdelisdown{\drmsym{\char'167}} + \def\fleurdelysdown{\drmsym{\char'167}} + \def\fleurdelisleft{\drmsym{\char'316}} + \def\fleurdelysleft{\drmsym{\char'316}} + \def\fleurdelisright{\drmsym{\char'177}} + \def\fleurdelysright{\drmsym{\char'177}} + \def\woundcordleftext{\drmsym{\char'317}} + \def\woundcordrightext{\drmsym{\char'324}} + \def\woundcordleftend{\drmsym{\char'320}} + \def\woundcordrightend{\drmsym{\char'321}} + \def\woundcordleftendinv{\drmsym{\char'323}} + \def\woundcordrightendinv{\drmsym{\char'322}} +} +\ifnodefault\else\ifnodefaulttext\else + \drmsymbolredef +\fi\fi +\ifsymbolsonly\drmsymbolredef\fi +% \end{macrocode} +% Now, rather than require people to enter the Roman numeral +% macros by hand, we provide a command, |\romanize|, which +% takes as its only argument an Indo-Arabic numeral and +% converts it into a Roman numeral. This macro is a thin +% wrapper around one from the |modroman| package, and in +% fact requires |modroman| to work. +% \begin{macrocode} +\def\romanize#1{% + \RedefineMRmdclxvij{\romthousand}{\romfivehundred} + {\romhundred}{\romfifty}{\romten}{\romfive}{\romone}{\romone}% + \nbshortroman{#1}% +}% +% \end{macrocode} +% We also define a command for producing lining numerals +% rather than old-style figures, so that these long-winded +% command names don't need to be typed if lining numerals +% will be used frequently. It takes the number to be output +% as lining as its only argument. +% \begin{macrocode} +\def\liningnums#1{% + \drmsym{#1}% +}% +% \end{macrocode} +% Now we define the decorative tulip frame macro, as an +% example of the beautiful constructions which are possible +% with fleurons and other textual ornaments. +% \begin{macrocode} +\def\tulipframe#1{% + \vbox{% + \hbox to\linewidth{\hfil% + {\drmsym{\char'053}}% + {\drmsym{\char'111}}% + {\drmsym{\char'024}}% + {\drmsym{\char'111}}% + {\drmsym{\char'072}}\hfil}% + \vskip-0.5\baselineskip% + \hbox to\linewidth{\hfil% + #1% + \hfil% + }% + \vskip-0.5\baselineskip% + \hbox to\linewidth{\hfil% + {\drmsym{\char'073}}% + {\drmsym{\char'112}}% + {\drmsym{\char'027}}% + {\drmsym{\char'112}}% + {\drmsym{\char'110}}\hfil}% + }% +}% +% \end{macrocode} +% Next, we define the macros for the extensible rules. Lots +% of down-and-dirty \TeX\ stuff here. +% \begin{macrocode} +\newcount\counterA +\newcount\counterB +\newcount\iter +\newlength{\extcharwid} +\newlength{\leftcharwid} +\newlength{\rightcharwid} +\newlength{\greaterwid} +\def\extrule#1#2#3#4#5{% + \if#1h% + \settowidth{\extcharwid}{#5}% + \settowidth{\leftcharwid}{#3}% + \settowidth{\rightcharwid}{#4}% + \counterB=\numexpr\dimexpr#2\relax\relax% + \advance\counterB by-\leftcharwid% + \advance\counterB by-\rightcharwid% + \counterA=\dimexpr\extcharwid\relax% + \divide\counterB by\counterA% + \iter=0% + \noindent#3% + \loop% + \ifnum\iter<\counterB% + \advance\iter by 1% + #5% + \repeat% + #4% + \fi% + \if#1v% + \setbox0=\hbox{#3}% + \leftcharwid=\ht0\advance\leftcharwid by\dp0% + \setbox0=\hbox{#4}% + \rightcharwid=\ht0\advance\rightcharwid by\dp0% + \setbox0=\hbox{#5}% + \extcharwid=\ht0\advance\extcharwid by\dp0% + \ifdim\leftcharwid>\rightcharwid% + \greaterwid=\leftcharwid% + \else% + \greaterwid=\rightcharwid% + \fi\if\extcharwid>\greaterwid% + \greaterwid=\extcharwid% + \fi% + \counterB=\numexpr\dimexpr#2\relax\relax% + \advance\counterB by-\leftcharwid% + \advance\counterB by-\rightcharwid% + \counterA=\dimexpr\extcharwid\relax% + \divide\counterB by\counterA% + \iter=0% + \noindent\vbox to\dimexpr#2{\baselineskip=0pt% + \hbox to\greaterwid{\hfil#4\hfil}% + \loop% + \ifnum\iter<\counterB% + \advance\iter by 1% + \vss\hbox to\greaterwid{\hfil#5\hfil}% + \repeat% + \vss\hbox to\greaterwid{\hfil#3\hfil}}% + \fi% +}% +% \end{macrocode} +% Next, we move on to define the unreasonably complex and +% configurable ellipsis commands. First we define the +% |\drmelip|, then the four-dotted |\drmfelip|. +% \begin{macrocode} +\newlength{\drmelipgap}\setlength{\drmelipgap}{2.9pt} +\newlength{\drmelipbef}\setlength{\drmelipbef}{2.4pt} +\newlength{\drmelipaft}\setlength{\drmelipaft}{1.4pt} +\def\drmelipchar{.} +\def\drmelip{% + \hbox{% + \hbox to\the\drmelipbef{\hfil}% + \drmelipchar% + \hbox to\drmelipgap{\hfil}% + \drmelipchar% + \hbox to\drmelipgap{\hfil}% + \drmelipchar% + \hbox to\drmelipaft{\hfil}% + }% +}% +\newlength{\drmfelipbef}\setlength{\drmfelipbef}{0pt} +\newlength{\drmfelipaft}\setlength{\drmfelipaft}{\the\drmelipaft} +\newlength{\drmfelipwid} +\def\drmfelip{% + \hbox{% + \hbox to\the\drmfelipbef{\hfil}% + \drmelipchar% + \hbox to\drmelipgap{\hfil}% + \drmelipchar% + \hbox to\drmelipgap{\hfil}% + \drmelipchar% + \hbox to\drmelipgap{\hfil}% + \drmelipchar% + \hbox to\drmfelipaft{\hfil}% + }% +}% +% \end{macrocode} +% And that's the end. Thanks for reading, +% folks; please email me with any suggestions or improvements. +% +% \appendix +% +% \section{The Secret History: Building DRM} +% +% \lettrine{H}{ere you can get all} the answers to questions about DRM +% that you didn't have and never asked. This appendix is +% essentially an exercise in self-gratification, to explain +% a few things about the fonts and why I made some of the +% choices that I did. As such, it'll probably be +% interesting to few, if any; but here it all is anyway. +% +% \subsection{About the Name} +% \label{sub:aboutname} +% +% When I started this font, I was trying to ape an old-style +% Caslon specimen that I'd found on the Internet. (If you +% search for one, you'll doubtlessly find the one I was +% going for; it's littered all over the place.) You can +% still see certain traces of this, particularly in the long +% tail of the Q (there it is!), and in the serifs on the E +% and F. On the other hand, even at the very beginning, +% before the font had taken on a character of its own, I was +% doing a pretty poor job of imitating this other one. My +% serifs were fairly prominent, but only slightly bracketed; +% there was a pretty drastic distinction between thick and +% thin strokes; it had a vertical orientation. Before long, +% it was clear that I had a very different font. +% +% So the name was ``DRM,'' for ``Day Roman Modern.'' But +% this didn't really accurately describe the font, and it +% didn't keep this meaning for long. (Maybe a few days; the +% original files were titled ``dayroman,'' an even more +% inaccurate appellation.) I've since backronymed this to +% ``Don's Revised Modern,'' which still isn't strictly +% correct, but it's pretty well ensconced at the moment. +% There are a limited number of descriptors with those +% initials, and I've grown pretty fond of those initials; it +% would be difficult for me to think of the font with any +% other name. But if somebody has a better backronym, I'd +% love to hear it. +% +% \subsection{Why \MF?} +% \label{sub:whymf} +% +% So why \MF? Isn't \MF\ horribly out of date, +% unconscionably producing nasty, decrepit bitmapped glyphs +% instead of shiny, futuristic outlines? Doesn't it somehow +% involve hatred of mom's apple pie, summertime barbecues, +% and the girl next door? +% +% Well, in some ways \MF\ is certainly out of date. It's +% limited to eight bits (\liningnums{2}$^8$ characters), for example, and +% that limit can't be circumvented by any trivial means. +% Due to the brilliance of its author, it has several +% similar limits which, while seeming arbitrary and +% capricious to us today, were absolutely necessary for +% allowing \MF\ to run on the machines available at the time +% it was produced. There's really no denying this, and I'd +% be the last to try. +% +% On the other hand, \MF\ is not out of date for the reasons +% most people who eloquently pronounce its obsolescence believe +% it is. The bitmapped glyph issue, for example; there +% really is nothing wrong with this. In fact, in some ways +% it's a benefit. Scaling is not really an issue, +% particularly in this age when \MF\ can be run +% automatically when \TeX\ encounters a size that it doesn't +% already have on hand; we can easily acquire fonts of +% whatever size we need. And, much like \MF's eight-bit +% stricture, whatever memory benefits come from storing +% fonts as outlines rather than bitmaps is surely irrelevant +% in this day and age. +% +% Bitmaps are beneficial in that they remind us that optical +% sizing is still important; outline fonts have made us +% lazy, preventing the development of real font families +% with many optical sizes. Too many amateurs (a term I use +% without derision, and proudly apply to myself) think they +% can avoid designing optical sizes because their outlines +% can be automatically scaled. This leads to poor results. +% +% But most importantly, \MF\ makes writing +% parameter-based fonts easy. The \textb{bold} and +% \textl{light} versions of the DRM fonts, for example, were +% produced by modifying only a few parameters of the base +% DRM roman font; the actual letterforms remain the same. +% This is a powerful tool that assists greatly in the +% creation of \emph{families} of fonts. +% +% \MF\ also lends itself quite nicely to customization. As +% a command-line program, I can easily script it to produce +% proofs, or to produce real fonts for inclusion in test +% documents, or to produce font charts, or all of the above. +% For example, your author used scripts to compile proofs as +% well as working fonts to produce this documentation; it +% was relatively trivial to produce a script which would, +% inelegantly but quite effectively, output proof sheets and +% sample texts along with charts of each individual font, +% from simple roman text to quite complex math. Below is an +% example of the (rather messy, but functional) script I +% used to produce font charts and sample texts for the +% fonts: +% +% \begin{verbatim} +% #!/bin/bash +% # +AMDG +% +% re="^drm([m|b|bx|c|sym]*)([n|it|sl|sc]*)([0-9]{1,2})$"; +% ifmath="mmi"; +% ifmathsym="sy[0-9]"; +% font=$1; +% fname="drm"; +% fenc="T1"; +% commands="\\sample\\bye"; +% if [[ $font =~ $ifmath ]]; then +% fenc="OML"; +% commands="\\table\\math\\bye"; +% fi +% if [[ $font =~ $ifmathsym ]]; then +% fenc="OMS"; +% commands="\\table\\math\\bye"; +% fi +% [[ $font =~ $re ]] && fweight="${BASH_REMATCH[1]}" && +% fshape="${BASH_REMATCH[2]}" && fsize="${BASH_REMATCH[3]}"; +% if [[ $fshape == "" ]]; then +% fshape="m"; +% fi +% if [[ $fweight == "" ]]; then +% fweight="n"; +% elif [[ $fweight == "sym" ]]; then +% fweight="n"; +% fname="drmsym"; +% fi +% #echo "fweight = $fweight; fshape = $fshape; fsize = $fsize"; +% nfssfontin=$(cat <<ENDFONTIN +% $font +% $commands +% $fenc +% $fname +% $fweight +% $fshape +% $fsize +% $commands +% ENDFONTIN +% ) +% echo $nfssfontin; +% +% rm $1*pk; rm $1*gf; +% mf "\mode=localfont; input $1"; +% gftopk $1.600gf $1.pk; +% echo "$nfssfontin" | pdflatex nfssfont; +% \end{verbatim} +% +% This little gem took a single argument, the name of the +% font that I wanted compiled; it then determined the +% appropriate parameters to hand over to |nfssfont|, including +% what type of sample was needed (text or math), and +% compiled it for me, which meant that with a single command +% (|./allcomp fontname|) I could get a complete chart of +% the font I was working on, along with a sample text to +% help judge kerning and general appearance. Doing the same +% with more ``modern'' font programs, particularly GUI ones, +% is doubtlessly more difficult. +% +% Finally, pens. Pens are \emph{endlessly} superior to +% defining points along outlines. The degree to which +% grokking and employing \MF's pen metaphor simplified the +% task of drawing these characters, particularly the more +% calligraphic varieties thereof, simply cannot be +% adequately expressed. Defining points along outlines and +% connecting them with zero-width lines did fine for +% \emph{most} of the roman characters, but would have been +% painfully sluggish with, for example, the italic fonts. +% +% Your author emphasized ``most'' above for good reason: +% while the points-and-outlines approach worked quite +% effectively for the stately forms of roman characters, +% \emph{modifying} those characters was sometimes much more +% difficult. Take, for example, the very basic different +% between ``o'' and ``\o.'' Visually, of course, these are +% almost identical shapes, the latter simply having a line +% drawn through it; however, by outlines these shapes are so +% extremely different that drawing the latter would more +% easily be done from scratch than by a simple modification +% of the former. Using \MF's pen metaphor, though, the +% shape of ``\o'' could be drawn exactly as we would draw it +% on paper: by forming an ``o,'' and then drawing a slash +% through it. And so your author accomplished it. +% +% And though your author put off the development of italic +% until he'd become really proficient with \MF's pens, +% knowing that such intricate shapes as ``\textit{f}'' and +% ``\textit{Q}'' would be quite challenging with +% points-and-outlines, he was able to race through drawing +% the italics with ease, and wound up using \MF's pens much +% more frequently in the development of the remaining fonts +% than points-and-outlines, as drawing shapes with this +% metaphor is much more intuitive and easily visualized, at +% least to him, than the alternatives. +% +% \section{The \LaTeX\ Project Public License, v1.3c} +% \label{lppl} +% \MakePercentComment\input{lppl-1-3c.tex}\MakePercentIgnore +% +% \section{The SIL Open Font License, v1.1} +% \label{sil} +% +% Copyright \textcopyright\ 2014, Donald P. Goodman III +% (dgoodmaniii@gmail.com), with Reserved Font Name Don's +% Revised Modern (DRM). +% +% \input{ofl_v1-1.tex} +% +% \PrintIndex diff --git a/Master/texmf-dist/source/fonts/drm/drm.ins b/Master/texmf-dist/source/fonts/drm/drm.ins new file mode 100644 index 00000000000..fbfa3b00ba9 --- /dev/null +++ b/Master/texmf-dist/source/fonts/drm/drm.ins @@ -0,0 +1,64 @@ +% +AMDG This document was begun on 1E July 11EX, the feast +% of St. Apollinaris, M, and the Commemoration of St. +% Liborius, EC, and it is humbly dedicated to them and to +% the Immaculate Heart of Mary for their prayers, and to the +% Sacred Heart of Jesus for His mercy. +% +% This document is copyright 2014 by Donald P. Goodman, and is +% released publicly under the LaTeX Project Public License. The +% distribution and modification of this work is constrained by the +% conditions of that license. See +% http://www.latex-project.org/lppl.txt +% for the text of the license. This document is released +% under version 1.3 of that license, and this work may be distributed +% or modified under the terms of that license or, at your option, any +% later version. +% +% This work has the LPPL maintenance status 'maintained'. +% +% The Current Maintainer of this work is Donald P. Goodman +% (dgoodmaniii@gmail.com). +% +% This work consists of the files listed in drmfilelist.txt. + +\input docstrip.tex +%\usedir{fonts/drm} + +\preamble +This is a generated file. + +This document is copyright 2014 by Donald P. Goodman, and is +released publicly under the LaTeX Project Public License. The +distribution and modification of this work is constrained by the +conditions of that license. See + http://www.latex-project.org/lppl.txt +for the text of the license. This document is released +under version 1.3 of that license, and this work may be distributed +or modified under the terms of that license or, at your option, any +later version. + +This work has the LPPL maintenance status 'maintained'. + +The Current Maintainer of this work is Donald P. Goodman +(dgoodmaniii@gmail.com). + +This work consists of the files listed in drmfilelist.txt. +\endpreamble + +\keepsilent +\generate{\file{drm.sty}{\from{drm.dtx}{package}}} + +\Msg{******************************************************} +\Msg{*} +\Msg{* To finish the installation you have to move the} +\Msg{* following file into a directory searched by TeX:} +\Msg{*} +\Msg{* \space\space drm.sty} +\Msg{*} +\Msg{* To produce the documentation run the file drm.dtx} +\Msg{* through LaTeX.} +\Msg{*} +\Msg{* Happy TeXing!} +\Msg{******************************************************} + +\endbatchfile |