From 5371eca0a5672238a07a473483cdd4a7eeb4a31f Mon Sep 17 00:00:00 2001
From: Karl Berry <karl@freefriends.org>
Date: Fri, 17 Jul 2009 00:53:37 +0000
Subject: memoir 1.6180339f (15jul09)

git-svn-id: svn://tug.org/texlive/trunk@14286 c570f23f-e606-0410-a88d-b1316a301751
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 Master/texmf-dist/doc/latex/memoir/memman.tex | 4635 +++++++++++++++++++++++--
 1 file changed, 4353 insertions(+), 282 deletions(-)

(limited to 'Master/texmf-dist/doc/latex/memoir/memman.tex')

diff --git a/Master/texmf-dist/doc/latex/memoir/memman.tex b/Master/texmf-dist/doc/latex/memoir/memman.tex
index 73dfd34d792..3dcbd26a949 100644
--- a/Master/texmf-dist/doc/latex/memoir/memman.tex
+++ b/Master/texmf-dist/doc/latex/memoir/memman.tex
@@ -1,18 +1,26 @@
-% memman.tex    edition 7
+% memman.tex    edition 7, Draft of impression 9, last updated 2009/07/09
 %               Memoir class user manual
 %                Author: Peter Wilson
-%                Copyright 2001, 2002, 2003, 2004, 2008 Peter R. wilson
+%                Copyright 2001, 2002, 2003, 2004, 2008, 2009 Peter R. wilson
 %\listfiles
 \documentclass[10pt,letterpaper,extrafontsizes]{memoir}
 \listfiles
 \usepackage{comment}
 
+% For (non-printing) notes  \PWnote{date}{text}
+\newcommand{\PWnote}[2]{} 
+\PWnote{2009/04/29}{Added fonttable to the used packages}
+
+% same
+\newcommand{\LMnote}[2]{} 
+
 
 \usepackage{memsty}
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%
 \usepackage{titlepages}  % code of the example titlepages
 \usepackage{memlays}     % extra layout diagrams
 \usepackage{dpfloat}     % floats on facing pages
+\usepackage{fonttable}[2009/04/01]   % font tables
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%
 
 %%%% Change section heading styles
@@ -96,13 +104,14 @@
 \end{center}
 \clearpage
 
+\PWnote{2009/06/26}{Updated the copyright page for 9th impression}
 % copyright page
 \begingroup
 \footnotesize
 \setlength{\parindent}{0pt}
 \setlength{\parskip}{\baselineskip}
 %%\ttfamily
-\textcopyright{} 2001, 2002, 2003, 2004, 2008 Peter R. Wilson \\
+\textcopyright{} 2001 --- 2009 Peter R. Wilson \\
 All rights reserved
 
 The Herries Press, Normandy Park, WA.
@@ -114,8 +123,9 @@ of the American National Standard for Information
 Sciences --- Permanence of Paper for Printed Library Materials, 
 ANSI Z39.48--1984.
 
+\PWnote{2009/07/08}{Changed manual date to 8 July 2009}
 \begin{center}
-10 09 08 07 06 05 04 03 02 01\hspace{2em}17 16 15 14 13 12 11
+10 09 08 07 06 05 04 03 02 01\hspace{2em}18 17 16 15 14 13 12
 \end{center}
 \begin{center}
 \begin{tabular}{ll}
@@ -131,6 +141,7 @@ Sixth edition:                        & 31 January 2004 \\
 %%Draft Seventh edition:                & 31 January 2008 \\
 Seventh edition:                       & 10 May 2008 \\
 Eighth impression, with very minor corrections: & 12 July 2008 \\
+Ninth impression, with additions and corrections: & 8 July 2009 \\
 \end{tabular}
 \end{center}
 
@@ -240,6 +251,7 @@ answers. It is a friendly and educational forum.
 
 {\raggedleft{\scshape Peter Wilson} \\ Seattle, WA \\ June 2001\par}
 
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
 \begin{comment}
 \chapter{Introduction to the first edition}
 
@@ -374,8 +386,6 @@ is to rewrite the text so that they don't come at the end of a typeset
 line. This is tedious and I haven't done it because I expect the manual
 to be revised and that would throw off any hand tweaking done now.
 
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\begin{comment}
 
 \chapter{Introduction to the second edition}
 
@@ -624,9 +634,9 @@ Patrik Nyman,
 Heiko Oberdiek, 
 Scott Pakin,
 Adriano Pascoletti,
+Bernd Raichle,
 Robert,
 Chris Rowley,
-Bernd Raichle,
 Doug Schenck,
 Rainer Sch\"{o}pf,
 Paul Stanley,
@@ -886,7 +896,7 @@ that you can make a poem appear optically centered within the textwidth.
 
     Stanzas may be numbered, as can individual lines within a poem. There is
 a special environment for stanzas where lines are alternately indented. Also
-you can can define an indentation pattern for stanzas when this is not regular 
+you can define an indentation pattern for stanzas when this is not regular 
 as, for example, in a limerick where the 3rd and 4th of the five lines are 
 indented with respect to the other three as shown below. 
 
@@ -1234,14 +1244,17 @@ Steven Douglas Cochran,    % code
 Frederic Connes,           % code
 \v{Z}arko F. \v{C}u\v{c}ej, % bug report (contcaption & hyperref)
 Christopher Culver,       % chapterstyle
+Iain Dalton,              % typos
 Michael W. Daniels,       % code
 Michael Downes,           % code
 Christopher Dutchyn,
-Thomas Dye,               % code
+Thomas Dye,               % code, typos
 Victor Eijkhout,          % code
+Roman Eisele,             % fix of \parnopar (2008/09/13)
 Danie Els,                % code
 Robin Fairbairns,         % code
 Simon Fear,               % code
+Ant\'{o}nio Ferreira,     % many typos (2008/08/29)
 Kai von Fintel,
 Ivars Finvers,            % bug report
 Ulrike Fischer,           % general code ideas
@@ -1261,11 +1274,13 @@ hazydirk,                % code
 Carsten Heinz,           % code
 Florence Henry,
 Peter Heslin,
+Timo Hoenig,             % thank you letter
 Morton H{\o}gholm,       % code
 Henrik Holm,
 Vladimir Ivanovich,
 Martin J{\o}rgensen,     % bug report
 Stefan Kahrs,
+Christian Keil,          % typos
 Marcus Kohm,             % algorithm
 Flavian Lambert,         % float type bug
 J\o{}gen Larsen,         % bug reports and fix
@@ -1278,6 +1293,7 @@ Lars Madsen,             % code
 Vittorio De Martino,
 Ben McKay,               % errors in pagenote instructions
 Frank Mittelbach,        % code
+Wilhelm M\"{u}ller,      % bugs & suggested extensions
 Vilar Camara Neto,
 Rolf Niepraschk,
 Patrik Nyman,    
@@ -1288,9 +1304,10 @@ Paul,                    % bug report
 Ted Pavlic,              % typo report
 Troels Pedersen,         % chapterstyle
 Steve Peter,
-Fran\c{c}ois Poulain,     % typo in Magellan's voyage title
+Fran\c{c}ois Poulain,    % typo in Magellan's voyage title
 Erik Quaeghebeur,        % bug report
 Bernd Raichle,           % code
+Martin Reinders,         % requested titleref extensions
 Aaron Rendahl,           % bug report and fix
 Ren{\'e},                % correction (paper folding)
 Alan Ristow,             % request for \leavespergathering
@@ -1366,6 +1383,18 @@ folios, whether printed or not, form the \emph{pagination}\index{pagination}
 of the book. Pages
 that are not counted in the pagination have no folios.
 
+ I have not been able to find what I think is a good
+definition for `type' as it seems to be used in different contexts with
+different meanings. It appears to be a kind of generic word; for instance
+there are type designers, type cutters, type setters, type foundries,...
+For my purposes I propose that \emph{type}\index{type|seealso{typeface}} is 
+one or more printable characters (or variations or extensions to this idea).  
+Printers use the term \emph{sort}\index{sort} to refer to one piece of lead
+type.
+
+   A \emph{typeface}\index{typeface} is a set of one or more fonts, in one
+or more sizes, designed as a stylistic whole. 
+
    A \emph{font}\index{font} is a set of characters. In the days of 
 metal type and hot lead a font meant a complete alphabet and auxiliary
 characters in a given size. More recently it is taken to mean a complete
@@ -1373,6 +1402,7 @@ set of characters regardless of size. A font of roman type normally
 consists of CAPITAL LETTERS, \textsc{small capitals}, lowercase letters,
 numbers, punctuation marks, ligatures (such as `fi' and `ffi'), and a
 few special symbols like \&.
+
    A \emph{font family}\index{font!family} is a set of fonts designed to
 work harmoniously together, such as a pair of roman and italic fonts.
 
@@ -1452,8 +1482,8 @@ the most common units employed.
 \begin{table}
 \centering
 \caption{Printers units} \label{tab:units}
-\begin{tabular}{ll} \hline
-Name (abbreviation) & Value \\ \hline
+\begin{tabular}{ll} \toprule
+Name (abbreviation) & Value \\ \midrule
 point (pt)\index{point}\index{pt}          &            \\
 pica (pc)\index{pica}\index{pc}           & 1pc = 12pt \\
 inch (in)\index{inch}\index{in}           & 1in = 72.27pt \\
@@ -1462,7 +1492,7 @@ millimetre (mm)\index{millimetre}\index{mm}     & 10mm = 1cm \\
 big point (bp)\index{big point}\index{bp}      & 72bp = 72.27pt \\
 didot point (dd)\index{didot point}\index{dd}    & 1157dd = 1238pt \\
 cicero (cc)\index{cicero}\index{cc}         & 1cc = 12dd \\
-\hline
+\bottomrule
 \end{tabular}
 \end{table}
 
@@ -1488,7 +1518,7 @@ is somewhat of an anomaly in that it is a recent
 invention. It tends to be used
 in page markup languages, like \pscript\footnote{\pscript{} is a 
 registered trademark of Adobe Systems Incorporated.\label{fn:ps}},
-in order to make to make calculations quicker and easier.
+in order to make calculations quicker and easier.
 
     The above units are all constant in value. There are also some units
 whose value depends on the particular font\index{font} being used. 
@@ -1510,6 +1540,1757 @@ an em, often a quad is 1em.
 
 \part{Art and Theory} \label{part:art} 
 
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
+
+\PWnote{2009/02/02}{Added Historical background chapter}
+\chapter{Historical background} \label{chap:history}
+
+\section{Galloping through the millenia}
+
+    The earliest known writing dates back to the Sumerians around 3300\textsc{bc}
+who used pointed sticks or reeds to impress marks into wet clay tablets
+that were subsequently dried. The result is what we call 
+Cuneiform\index{cuneiform}.\footnote{From the Latin \emph{cuneus} meaning wedge.}
+For the next several thousand years all texts were produced, one way or 
+another, individually by hand.
+
+    The earliest printed book known is a 9th century Chinese woodblock
+printing of the \emph{Diamond Sutra}. In this technique the complete text
+for a page is carved on a wooden block which is then used to impress
+the ink onto the paper. Once the woodblocks were available many copies 
+of the text could be produced very quickly.
+
+    The Koreans were perhaps the first to print using moveable 
+type\index{type} where 
+the individual characters were engraved on wood blocks so they could be 
+reused for different texts. In his \emph{Writings Beside the Meng Creek}
+the Song Dynasty essayist Shen Kuo\index{Shen Kuo} (1031--1095) 
+described how Bi Sheng\index{Bi Sheng} during the reign of 
+Chingli (1041--1048) printed
+from moveable type that he made from baked clay, which was rather fragile.
+Somewhat later Wang Zhen\index{Wang Zhen} (c. 1290--1333) improved the 
+process by using
+wooden type. These never became particularly popular methods because 
+of the thousands of different characters that a printing house might need.
+By 1230 the Koreans used moveable metal type for printing. None of this was 
+known outside Asia.
+
+    In the West books and manuscripts were hand written by scribes, 
+although some
+small items, like playing cards or depictions of saints, were printed
+from woodblocks. Then Johannes\index{Gutenberg, Johannes} Gutenberg 
+(c. 1398--1468) of Mainz invented printing using moveable type 
+around about 1440--1450.\footnote{Others have been put forward as the 
+inventor, notably a Dutchman named Coster, but the preponderance of 
+opinion favours Gutenberg.}
+ He had to experiment to determine the formula for
+a suitable ink and also to develop a good metal alloy\index{typemetal} 
+for the type itself.
+He came up with lead to which he added antinomy for strength and hardness and
+tin for toughness.\footnote{This is still the basis for metal type today;
+Monotype casting machines use lead with 15--24\% antinomy and 6--12\% tin.}
+
+    In order be successful in the market Gutenberg had to produce books
+that equaled those produced by the scribes, except that they did not
+have to be decorated so lavishly. The scribes used many ligatures,
+contractions, and other techniques in order to have justified text with
+no raggedy edges. To compete with them his font for the famous 42-line 
+Bible, published around 1455, consisted of some 290 characters though all
+the text was in Latin which requires a basic character set of only forty 
+letters --- twenty lowercase letters and twenty caps --- plus
+some punctuation marks.
+
+    The 42-line Bible is set in two columns of 42 lines each. It is believed
+that about 135 copies were printed on paper and 40 on vellum. The page size was
+12 by 16\slashfrac{1}{2} inches and it is estimated that more than five 
+thousand calfskins were required for the vellum copies.
+
+    The new technology spread rapidly. In 1465 
+Konrad\index{Sweynham, Konrad} Sweynheym and Arnold\index{Pannartz, Arnold}
+Pannartz set up a printing shop in the monastery at Subiaco, east of Rome.
+There was printing in K\"{o}ln in 1466 and in 1468 in Augsberg and Rome itself.
+The first Venetian printer was Johann\index{Speyer, Johann van} van Speyer 
+who started work in 1469. A year later printing was established at the 
+Sorbonne and Nicolas\index{Jenson, Nicolas} Jenson
+had his press in Venice. Printing was introduced into Spain at Valencia 
+in 1474. William\index{Caxton, William} Caxton started printing in England 
+in 1476 setting up a press at The Sign of the Red Pale in Westminster, 
+near the Abbey; Theoderic\index{Rood, Theoderic} Rood was printing in 
+Oxford between 1478 and 1485 and John\index{Sieberch, John} Sieberch at 
+Cambridge in 1520.
+
+    The German printers kept with the initial gothic
+style of Gutenberg's type and Caxton used a cursive bastarda gothic. The
+Italians and other Europeans, though, moved to a roman type, based on the
+humanist bookhands, for their
+work. In 1471 Jenson produced the first full set of Greek type, which still
+remains one of the best. Aldus\index{Manutius, Aldus} Manutius, printing in 
+Venice, introduced the italic type in 1500.
+
+   The early printers were jack of all trades. They had to make their presses,
+design, make and cast their type\index{type}, 
+and print and sell the results. As time went
+on typemaking and printing became separate crafts. It became possible to 
+purchase the materials and equipment for printing but the printer was still
+the book designer.
+
+   For four centuries setting the type for printing was done by hand until 
+the introduction of Ottmar Mergenthaler's\index{Mergenthaler, Ottmar} 
+Linotype\index{Linotype} machine in 1886. The operator
+sat at a keyboard, typing the text line by line and the machine produced a 
+corresponding solid line of type. The disadvantage was when an error needed
+correcting at least one whole new line of type was needed, or two or more if
+the correction spilled over the end of the line, or even more if it continued
+onto the following page. The competing 
+Monotype\index{Monotype} machine, invented by Tolbert\index{Lanston, Tolbert} 
+Lanston, was first available in 1896. This was operated via a keyboard which
+produced a punched paper tape which was fed to the caster which produced
+lines of type composed of individual pieces. Correcting typos was easier
+because individual characters could be added or replaced. On the other hand,
+Linotype output was easier to handle if complete sections had to be moved
+around, for example for `quick' printing such as a daily newspaper. 
+
+    Alan Bartram~\cite{BARTRAM01} shows examples of book designs from between
+1470 and 1948, not all of which he considers to be good. Examples of printed
+pages from the 15th to the 20th century are in the TUG 2007 San Diego Meeting
+keynote presentation~\cite{TUGKEYNOTE07}.
+
+
+\section{Making type}
+
+\typesubidx{manufacture|(}
+    This is a very brief description of how lead type is made. For
+a good overview see~\cite{CHAPPELL99} and Fred Smeijers~\cite{SMEIJERS96}
+provides a detailed description of punchcutting.
+ 
+    Making type has been an inherently manual process. Having got a design
+for a font, for each character, a punchcutter makes a punch starting 
+with a square steel bar about 2\slashfrac{1}{4}inches (6cm) long with an 
+end face large enough to encompass the character. Using files and gravers,
+and perhaps some specialized tools like a counterpunch, 
+he carves out the character in relief on one end of the bar. The character
+is oriented so that is backwards with respect to its appearance when printed.
+To check the shape, the end of the punch is put into the flame of an alcohol
+lamp which coats it with lampblack, and it is then pressed against a chalky 
+paper to leave a black image of the character. Once the shape is correct 
+the punch is hardened and annealed.
+
+   The next stage is to create the matrix for the character. The punch is
+hammered into a softer material, usually copper, or sometimes brass which
+is harder but lasts longer. At this point the character is in the same
+orientation as printed but is a negative impression in the matrix.
+
+   The matrix is then put into a casting box and molten typemetal poured in.
+Once it has hardened and removed from the mould the new piece of type is 
+dressed to the same length as all the other pieces for the font. Many, many 
+pieces of type can be cast from one matrix, and if the punch is retained new
+matrices can be made. Typically one buys the lead type from a typecasting
+company, and a typecasting company would purchase matrices from the type
+design company. Of course, in the early days these were all the same 
+organisation and only as the centuries passed did they tend to become
+separated.
+
+   The Linotype\index{Linotype} and Monotype\index{Monotype} machines 
+require the matrices but cast the type only when needed. After use the type 
+from these machines is melted down and reused time and time again.
+\typesubidx{manufacture|)}
+
+\section{Book types}
+
+\PWnote{2009/04/25}{Added longish section on book types}
+\PWnote{2009/04/25}{Used endnotes in book types section}
+
+    Roughly speaking, there are two kinds of printing type\index{type};
+one, called 
+in general \emph{book type}\index{book type}, 
+is what is used for setting longer pieces 
+of text such as a poem or a book, or other material meant for continuous
+reading. The other, called \emph{display type}\index{display type}, is used 
+for pretty much everything else, such as company names, posters,
+advertisements, ephemera and sometimes even book titles, all of which are 
+short pieces of text, often intended to catch your eye. There are a multitude
+of display types, some of them almost illegible. Here I want to say a little
+bit about book types.
+
+    There are several ways of categorizing typefaces and the following is based
+on what Lawson \& Agner~\cite{LAWSONAGNER90} have proposed as 
+\emph{a Rational System} based on the historical sequence; their system
+is shown in \tref{tab:typecat}. Later I will show some types corresponding
+to some of the categories. I have limited the examples to those types which
+are included in a modern \ltx\ 
+distribution\pagenote[modern \ltx\ distribution]{An example of a modern 
+distribution is TeXlive 2008. There are many more fonts that could
+be used but I wanted \ltx ers to be able to run the manual's source through
+\ltx\ themselves without having to install any extra fonts.}, 
+which unfortunately does not include types corresponding to all the 
+categories.
+
+\begin{table}
+\centering
+\caption[A rational typeface categorization system]%
+        {A rational typeface categorization system~\cite{LAWSONAGNER90}} \label{tab:typecat}
+\begin{tabular}{p{0.5\textwidth}} \toprule
+\begin{enumerate}
+\item Blackletter
+\item Oldstyle
+  \begin{enumerate} 
+  \item Venetian
+  \item Aldine/French
+  \item Dutch/English
+  \end{enumerate}
+\item Transitional
+\item Modern
+\item Square Serif
+\item Sans serif
+\item Script/Cursive
+\item Display/Decorative
+\end{enumerate} \\ \bottomrule
+\end{tabular}
+\end{table}
+
+
+\subsection{Type-related terminology}
+
+    First, though, some typographical terms related to types, and illustrated 
+in \fref{fig:typeterms}\pagenote[illustrated in \fref{fig:typeterms}]{The \ltx\
+fontfamily names for the typefaces used in the illustration are: 
+\begin{center}
+\begin{tabular}{llcll}
+Antiqua Turin & \pfontfam{antt} & &
+Avant Garde & \pfontfam{pag} \\
+Bera Serif & \pfontfam{fve} & &
+Bookman & \pfontfam{pbk} \\
+GFS Bodoni & \pfontfam{bodoni} & &
+GFS Didot & \pfontfam{udidot} \\
+Times Roman & \pfontfam{ptm} & &
+Utopia & \pfontfam{put} \\
+\end{tabular}
+\end{center}}. 
+\begin{labelled}{itlabel}
+\item[Serif:] The\index{serif} cross stroke that finishes the stems or arms of letters.
+\item[Bracketed serif:] A\index{bracketed serif} serif that transitions gradually into the stem it 
+              is attached to.
+\item[Unbracketed serif:] A\index{unbracketed serif} serif with a sharp break between it and the 
+              stem.
+\item[Square serif:] A\index{square serif} rectangular serif with squared ends.
+\item[Sans serif:] Without\index{sans serif} serifs.
+\item[Axis:] The\index{axis} direction of the hypothetical line joining the thinnest 
+             parts of a letter like `O'. It is related to the angle that
+             a broad nibbed pen would be held in order to replicate the
+             inner and outer contours.\footnote{The axis and angle are 
+             perpendicular to each other.}
+\item[Contrast (also called shading):] The\index{contrast}\index{shading} 
+              difference between the thick and thin strokes.
+\item[Counter:] The\index{counter (of a letter)} white space enclosed by a letter, whether 
+                open or closed.
+                Sometimes used to refer to the closed part of letters such
+                as `a' or `e', which may also be referred to as the 
+               \textit{eye}\index{eye}.
+\item[Ligature:] The\index{ligature} conjoining of two (or more) letters, 
+                 usually with a change of shape.
+\end{labelled}
+
+
+For more detailed descriptions and further terms
+you may wish to consult other sources, such as 
+\cite{BRINGHURST99,LAWSONAGNER90,MEGGS00}. If you are interested in the
+subtle, and the not so subtle, differences between typefaces then Karen 
+Cheng's \btitle{Designing Type}~\cite{CHENG05} has a great deal to offer.
+
+    The names of typefaces can be confusing; different suppliers have a
+tendency to give different names to the same underlying typeface. For
+example Goudy's\index{Goudy, Frederick} University of California Old 
+Style\facesubseeidx{University of California Old Style} can also be found
+as Californian\facesubseeidx{Californian}, 
+University Old Style\facesubseeidx{University Old Style}, 
+Berkely Old Style\facesubseeidx{Berkely Old Style}, 
+and possibly under other names as well, all more or less adhering to the 
+original design.\pagenote[more or less adhering to the original design]{The
+final printed character depends not only on the geometric shape but also on
+the printing technology used, the ink, and the paper. With letterpress printing
+where the inked metal type is impressed into the paper, the ink tends to spread
+just a little bit; all other things being equal the spread depends on the 
+type and amount of ink, the hardness of the paper, the surface finish of the 
+paper, the amount of pressure applied, in some cases the dampness of the
+paper, and so on. To get a similar looking result using offset lithography
+where the ink stays where it is put, 
+the geometric shape must be changed to simulate the ink spread of the 
+letterpress process, but then the question arises as to which of the many
+letterpress impressions is the one to be simulated? Different designers and
+different manufacturers have different ideas about this.}
+
+\begin{figure}
+\centering
+\begin{tabular}{cccc} \toprule
+Bracketed serif & Unbracketed serif & Square serif & Sans serif \\
+\usethisfont{25}{30}{pbk}{m}{n} H & 
+\usethisfont{25}{30}{antt}{m}{n} H &
+\usethisfont{25}{30}{fve}{m}{n} H &
+\usethisfont{25}{30}{pag}{m}{n} H \\
+\itshape Bookman & \itshape Antiqua Turin & \itshape Bera Serif & \itshape Avant Garde \\ \midrule
+Inclined axis & Vertical axis & Gradual contrast & Abrupt contrast \\
+\usethisfont{25}{30}{antt}{m}{n} O &
+\usethisfont{25}{30}{ptm}{m}{n} O &
+\usethisfont{25}{30}{pbk}{m}{n} N U &
+\usethisfont{25}{30}{udidot}{m}{n} N U \\
+\itshape Antiqua Turin & \itshape Times Roman & \itshape Bookman & \itshape GFS Didot \\ \midrule
+small counter & large counter & small counter & large counter \\
+\usethisfont{25}{30}{pbk}{m}{n} e &
+\usethisfont{25}{30}{fve}{m}{n} e &
+\usethisfont{25}{30}{pbk}{m}{n} a &
+\usethisfont{25}{30}{antt}{m}{n} a \\
+\itshape Bookman & \itshape Bera Serif & \itshape Bookman & \itshape Antiqua Turin \\ \midrule
+separate & ligatured & separate & ligatured \\
+\termfont{put}{m}{n} f{}i f{}l & 
+\termfont{put}{m}{n} fi fl &
+\termfont{bodoni}{m}{n} a{}e o{}e &
+\termfont{bodoni}{m}{n} \ae{} \oe{} \\
+\itshape Utopia & \itshape Utopia & \itshape GFS Bodoni & \itshape GFS Bodoni \\ \bottomrule
+\end{tabular}
+\caption{Examples of some typographical type-related terms} \label{fig:typeterms}
+\end{figure}
+
+
+\subsection{Blackletter}
+
+    The first type was \emph{Gothic}\typesubidx{Gothic}, or 
+\emph{Blackletter}\typesubidx{Blackletter}, used by Guthenberg which was based on
+the kind of script that the scribes were using at that time (c. 1455). 
+It remained in
+fashion in Germany until towards the end of the last century, and is still
+often used for the names of newspapers. Elsewhere, starting in Italy, 
+it was replaced by the \emph{Roman}\typesubidx{Roman} type. 
+
+    There are several kinds of blackletter type. The first is 
+\emph{Textura}\typesubidx{Textura} where the characters are squarely 
+drawn without any curves
+and are the kind that Guthenberg used. 
+In the scribal tradition from which these came the idea was that the words
+created a uniform texture along each line and down each page. To modern eyes it
+is difficult to tell one letter from another. Two modern versions are
+Goudy Text\facesubseeidx{Goudy Text} and 
+Cloister Black\facesubseeidx{Cloister Black}.
+
+    Another grouping is \emph{Rotunda}\typesubidx{Rotunda} where the letters are 
+more rounded than Textura and are easier to read. A modern example is 
+Goudy Thirty\facesubseeidx{Goudy Thirty}.
+
+    The last subdivision is \emph{Bastarda}\typesubidx{Bastarda} which has been
+the common type used in Germany for many a year. The most common form
+is \emph{Fraktur}\typesubidx{Fraktur}, first cut in the sixteenth century, which
+is a lighter and more open version of Textura\typesubidx{Textura} and so easier
+to read. Many newspapers use a Fraktur type for their headline. An
+example of a \emph{Fraktur}\typesubidx{Fraktur}
+\pagenote[An example of a \emph{Fraktur}]{The typeface was originally created
+by Yannis Haralambous\index{Haralambous, Yannis} and is accessed in \ltx\ 
+as the \pfontfam{yfrak} fontfamily.}
+is shown in \fref{fig:fraktur}.%
+
+\begin{figure}
+\centering
+{\centering\fontfamily{yfrak}\selectfont
+  Blackletter --- Fraktur \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of the Fraktur style of Blackletter types} \label{fig:fraktur}
+\end{figure}
+
+\subsection{Oldstyle}
+
+\subsubsection{Venetian}
+
+    Early roman types, based on the humanist scribal hand, were cut by 
+Sweynheym \& Pannartz in the Rome area (c. 1467). In Venice Nicolas
+Jenson cut what is considered to be the first, and one of the best, romans
+(c. 1471). His types have been widely reproduced and copied and the style
+is known as \emph{Venetian}\typesubidx{Venetian}. Some modern day Venetians
+include Cloister\facesubseeidx{Cloister}, Eusebius\facesubseeidx{Eusebius} (originally
+called Nicolas Jenson) and  Venezia\facesubseeidx{Venezia}; 
+Bruce Roger's Centaur\facesubseeidx{Centaur} is an elegant modernized Venetian.
+
+    The characteristics of the Venetian types include uneven or slightly
+concave serifs, there is minimal contrast between the thick and thin 
+strokes, and an inclined axis. The crossbar of the lowercase `e' is slanted 
+upwards. On some
+capitals, principally `N' and `M', there are slab serifs that extend
+across the tops of the vertical strokes.
+  
+    William Morris\index{Morris, William} chose Jenson's type as the model
+for his Golden Type\facesubseeidx{Golden Type}, cut by Edward 
+Prince\index{Prince, Edward} around 1890. This started the revival of the
+Venetian types. 
+
+    The first type generally available was Morris Benton's\index{Benton, Morris}
+Cloister Oldstyle\facesubseeidx{{Cloister Oldstyle}}. Other modern Venetians include 
+Goudy's\index{Goudy, Frederick} Kennerly\facesubseeidx{Kennerly}, 
+Deepdene\facesubseeidx{Deepdene} and Californian\facesubseeidx{Californian}, which is now
+called Berkely Old Style\facesubseeidx{Berkely Old Style}. One, perhaps the best,
+is Bruce Rogers'\index{Rogers, Bruce} Centaur\facesubseeidx{Centaur} which he created
+in 1914.
+
+
+\subsubsection{Aldine/French}
+\typesubidx{Aldine/French}\typesubidx{Aldine}\typesubidx{French}
+
+    Another of the many printers in Venice, 
+Aldus Manutius\index{Manutius, Aldus}, wanted a type
+that was less related to the pen-drawn scribal characters. Aldus employed
+Francesco Griffo da Bologna\index{Griffo, Francesco} to cut two types
+for him.  The first, cut in 1497, was for an edition of \emph{De Aetna} 
+by the humanist scholar Pietro Bembo\index{Bembo, Pietro} --- the modern
+version of this is called Bembo\facesubseeidx{Bembo}. Griffo also cut another
+variation on Jenson's roman and which soon superseded it in popularity.
+It was first used in the famous \emph{Hypnerotomachia Poliphili} by
+Francesco Colonna\index{Colonna, Francesco} which Aldus published in 1499.
+A modern version is available called Poliphilus\facesubseeidx{Poliphilus}.
+
+    The Aldine roman soon spread across Europe. One of the first typecutters
+to use it as a model was Claude Garamond\index{Garamond, Claude} 
+in Paris (c. 1540), and his types 
+had a wide distribution, for example being used in Antwerp by Christopher 
+Plantin\index{Plantin, Christopher}. The main basis for modern versions
+is a version of Garamond's types cut by the French printer 
+Jean Jannon\index{Jannon, Jean} about 1621.
+
+    Characteristics of these types are wide concave serifs, particularly
+on the capitals, which are narrower than the Venetians and may be not as high
+as the lowercase ascenders. The crossbar of the lowercase `e' is horizontal, 
+as opposed to the slanted crossbar of the Venetians. There is an inclined axis
+and a medium contrast between the thick and thin strokes.
+
+    Some modern Aldine/French Oldstyle types are 
+Bembo\facesubseeidx{Bembo}, 
+Estienne\facesubseeidx{Estienne}, 
+Garamond\facesubseeidx{Garamond}, 
+Geraldus\facesubseeidx{Geraldus}, 
+Granjon\facesubseeidx{Granjon},
+Palatino\facesubseeidx{Palatino},  
+Poliphilus\facesubseeidx{Poliphilus}, 
+and Sabon\facesubseeidx{Sabon}.
+An example of Palatino\facesubseeidx{Palatino}%
+\pagenote[An example of Palatino]{In \ltx\ the Palatino\index{Palatino} 
+font is accessed as the \pfontfam{ppl} fontfamily.}, 
+which was created by Hermann Zapf\index{Zapf, Hermann}
+in 1950, is shown in \fref{fig:palatino}.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{ppl}\selectfont
+  Oldstyle Aldine/French --- Palatino \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of an Oldstyle Aldine/French type: Palatino} 
+   \label{fig:palatino}
+\end{figure}
+
+
+\subsubsection{Dutch/English}
+\typesubidx{Dutch/English}\typesubidx{Dutch}\typesubidx{English}
+
+    During the sixteenth century the French types were popular throughout
+Europe but then the pendulum swung towards types from the Low Countries.
+The Dutch were principally traders and their printing style became 
+increasingly known. They produced types that were more practical for
+commercial printing. The contrast between thick and thin strokes increased
+and the serifs straightened.
+
+The English typecutter William Caslon\index{Caslon, William} (1692--1766) 
+cut a famous face of this kind that has been used ever since throughout the 
+world; in America the first printed version of the 
+\btitle{Declaration of Independence}
+was set with Caslon type.
+
+    Modern Dutch/English types include
+Caslon\facesubseeidx{Caslon} (of course),
+and Janson\facesubseeidx{Janson}.
+
+\subsection{Transitional}
+\typesubidx{Transitional}
+
+    Transitional types are those based on the Oldstyle\typesubidx{Oldstyle} 
+types but with features of the style called Modern\typesubidx{Modern} 
+
+    By the end of the sixteenth century the quality of printing in Italy 
+and France had fallen off from when Claude Garamond\index{Garamond, Claude} 
+was working. In 1692
+King Louis \textsc{xiv} ordered a new set of types for the Royal Printing
+House. In a lengthy report the Academy of Sciences recommended a roman type
+constructed on mathematical principles. 
+Lucien Grandjean\index{Grandjean, Lucien} who cut the
+new Romain du Roi\facesubseeidx{Romain du Roi} allowed his typecutter's eye to 
+sometimes overrule the 
+academicians to the betterment of the result.
+
+    Grandjean's type was copied by many others and effectively replaced 
+Oldstyle in Europe. Pierre Simon Fournier\index{Fournier, Pierre Simon} 
+(1712--1768) started his typecutting 
+business in 1737, cutting over eighty types in twenty-four years. These were
+based on Garamond's types but influenced by Grandjean's work. The result was
+the first intimations of the Transitional types.
+
+    The changes on the continent had had little impact in England, but John
+Baskerville\index{Baskerville, John}, about 1750, set up a printing shop 
+in Birmingham and created the type that bears his name. Some consider this
+to be the real beginning of the Transitionals. Baskerville's work was
+disliked in England but was siezed on with alacrity on the Continent.
+
+    Some modern day Transitional types are 
+Baskerville\facesubseeidx{Baskerville}, 
+Bell\facesubseeidx{Bell}, 
+Fournier\facesubseeidx{Fournier},
+Georgian\facesubseeidx{Georgian},
+and URW Antiqua\facesubseeidx{URW Antiqua}\pagenote[and URW Antiqua]{The URW
+Antiqua\index{URW Antiqua} font in \ltx\ is known as the \pfontfam{uaq} fontfamily.} which is shown in \fref{fig:antiqua}.. 
+
+\begin{figure}
+\centering
+{\centering\fontfamily{uaq}\selectfont
+  Transitional --- URW Antiqua \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of a Transitional type: URW Antiqua} 
+   \label{fig:antiqua}
+\end{figure}
+
+\begin{figure}
+\centering
+{\centering\fontfamily{pnc}\selectfont
+  Transitional (newspaper) --- New Century Schoolbook \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of a Transitional newspaper type: New Century Schoolbook} 
+   \label{fig:newcent}
+\end{figure}
+
+    Much later, around the end of the nineteenth century, another kind of 
+Transitional type was introduced, designed for legibility for newspapers 
+when printed on high speed presses. The counter spaces were open, the 
+serifs were even and strongly bracketed and with a high x-height.
+Examples are Century\facesubseeidx{Century} designed by 
+ Linn Boyd Benton\index{Benton, Linn Boyd} in 1895 for the \emph{Century}
+magazine, and 
+Cheltenham\facesubseeidx{Cheltenham} by Betram Goodhue\index{Goodhue, Bertram} 
+in 1896, which has become one of the printers' standard types. Stanley
+Morison's\index{Morison, Stanley} Times Roman\facesubseeidx{Times Roman}, 
+which he
+designed for \emph{The Times} of London fits into the Transitional
+classification. The general characteristics include vertical, or nearly
+vertical axis, more pronounced contrast compared with the Oldstyle faces, but
+nowhere nearly as pronounced as the later Didot types. Some have finely, or
+unbracketed, serifs.
+
+    A version of one of the Century 
+series\pagenote[version of one of the Century series]{In \ltx\ the New 
+Century Schoolbook\facesubseeidx{New Century Schoolbook} font
+is known as the \pfontfam{pnc} fontfamily.} of typefaces, 
+New Century\facesubseeidx{New Century Schoolbook} Schoolbook, designed
+by Morris Benton\index{Benton, Morris},
+is shown in \fref{fig:newcent}.
+
+\subsection{Modern}
+\typesubidx{Modern}
+
+    Modern in this case means with respect to Transitional\typesubidx{Transitional} 
+and applies to a style of type introduced in the eighteenth century.
+
+    Grandjean's Romain du Roi\facesubseeidx{Romain du Roi} had started a trend 
+in which the contrast 
+between thick and thin strokes gradually increased. Following Baskerville's
+type, Giambattista Bodoni\index{Bodoni, Giambattista} in Italy and the 
+Didot\index{Didot} foundry in France increased the contrast 
+to extreme limits with the thin strokes degenerating into hairlines.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{udidot}\selectfont
+  Modern --- GFS Didot \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of a Modern type: GFS Didot} 
+   \label{fig:didot}
+\end{figure}
+
+A modern type, GFS Didot\facesubseeidx{GFS Didot}\pagenote[GFS Didot]{The
+\ltx\ fontfamily for GFS Didot\index{GFS Didot} is \pfontfam{udidot}.},
+after the style of 
+Didot\index{Didot} is illustrated in \fref{fig:didot}.
+
+    The general characteristics are vertical axis, exaggerated contrast, 
+and flat, unbracketed, serifs.
+    
+\subsection{Square serif}
+\typesubidx{Square serif}
+
+    The Victorian printers found that they needed new type forms that
+would work better than the traditional romans when used with the new 
+and faster breeds of printing presses, and particularly for use in
+commercial printing and advertising. 
+
+\begin{figure}
+\centering
+{\centering\fontfamily{fve}\selectfont
+  Square serif --- Bera Serif \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of a square serif type: Bera Serif} 
+   \label{fig:beraserif}
+\end{figure}
+
+    The types went out of fashion during the first half of the twentieth
+century but have since become more popular with the 
+Clarendon\facesubseeidx{Clarendon}
+type. An example of square serif\pagenote[An example of square serif]{The 
+Bera Serif's\index{Bera Serif} fontfamily name in \ltx\ is \pfontfam{fve}.}
+is shown in \fref{fig:beraserif}.
+
+
+\subsection{Sans Serif}
+\typesubidx{Sans Serif}
+
+    Sans serif types were first created around 1830. In England they were
+called Grotesques\index{Grotesques} and in America Gothics\index{Gothics}. 
+Around 1920 there appeared artistic
+schools such as Expressionism, Constructivism and Cubism. These had a
+marked effect on typographic styles and the sans serif types experienced
+a great burst of popularity, seeming to express `modern' ideas. They tend to
+be geometric in form as opposed to the curvaceous romans.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{fvs}\selectfont
+  Sans serif --- Bera Sans \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of a sans serif type: Bera Sans} 
+   \label{fig:berasans}
+\end{figure}
+
+    Examples of modern sans serifs are 
+Helvetica\facesubseeidx{Helvetica}, 
+Futura\facesubseeidx{Futura},
+and, famously, Gill Sans\facesubseeidx{Gill Sans}. 
+Yet another sans\pagenote[Yet another sans]{\pfontfam{fvs} is the \ltx\
+fontfamily name name for the Bera Sans\index{Bera Sans} font.}, 
+Bera Sans\facesubseeidx{Bera Sans}, is shown in \fref{fig:berasans}.
+
+
+\subsection{Script/Cursive}
+\typesubidx{Script/Cursive}\typesubidx{Script}\typesubidx{Cursive}
+
+    This is a very broad category but 
+essentially the forms are closer
+to handwriting rather than printing. Some are based on letter forms created
+by drawing with a brush while others are based on forms written using
+a pen. In general they have an informal
+presence but some of the latter kind are used in formal settings such 
+as wedding invitations.
+
+\begin{figure}
+\centering
+{\centering%\fontfamily{pbsi}\selectfont
+  \usethisfont{10}{12}{pbsi}{xl}{n}
+  Brush  --- Brush Script \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of a Script/Cursive Brush type: Brush Script} 
+   \label{fig:brush}
+\end{figure}
+
+\begin{figure}
+\centering
+{\centering\fontfamily{pzc}\selectfont
+  Calligraphic --- Zapf Chancery \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of a Script/Cursive Calligraphic type: Zapf Chancery} 
+   \label{fig:chancery}
+\end{figure}
+
+    Figure~\ref{fig:brush} shows a brush-based script 
+unimaginatively\pagenote[unimaginatively]{The Brush Script\index{Brush Script}
+font is accessible as the \pfontfam{pbsi} fontfamily.} called 
+Brush Script\facesubseeidx{Brush Script} while a
+calligraphic script, Hermann Zapf's\index{Zapf, Hermann} fine
+Zapf Chancery\facesubseeidx{Zapf Chancery}\pagenote[a calligraphic script]{Zapf
+Chancery\index{Zapf Chancery} is called the \pfontfam{pzc} 
+fontfamily in \ltx.},
+is in \fref{fig:chancery}.
+
+\subsection{Display/Decorative}
+\typesubidx{Display/Decorative}\typesubidx{Display}\typesubidx{Decorative}
+
+    This is another very broad category 
+but all the members are designed
+to catch the eye. Display types tend to be used for display purposes and
+are not meant to be too difficult to read. The decoratives are smaller in scale
+but can be extremely detailed, such as alphabets based on human figures 
+apparently performing calisthenic exercises. One of the many fonts
+in this category, Cyklop\facesubseeidx{Cyklop}, is shown in 
+\fref{fig:cyklop}.\pagenote[shown in \fref{fig:cyklop}]{The Cyklop\index{Cyklop}
+typeface has been given the \pfontfam{cyklop} fontfamily name for access with \ltx.}
+
+    As far as bookwork goes the more restrained of these types may occasionally
+be useful for book or chapter titles.
+
+\begin{figure}
+\centering
+{\centering\fontfamily{cyklop}\selectfont
+  Display/Decorative --- Cyklop \\
+  \UCalphabet \\
+  \LCalphabet \\
+  \fox\par}
+\caption{An example of a Display/Decorative type: Cyklop} 
+   \label{fig:cyklop}
+\end{figure}
+
+\section{Setting type}
+
+\PWnote{2009/04/03}{Added bits and pieces about letterpress.}
+
+   Until the last hundred years or so, type has been hand set. Today there
+are still a few printers who still set type by hand, called 
+now letterpress\index{letterpress} printing, and on the odd occasion I am 
+one of them. Again, this is a brief description of the process but 
+Chappell~\cite{CHAPPELL99}
+provides much more detail if you are interested. If you have a desire to
+set up your own small print shop, perhaps in your garage or shed in the garden,
+then John Ryder\index{Ryder, John} has lots of pertinent advice~\cite{RYDER}. 
+He directed
+the design and production of many books for The Bodley Head, and, starting in
+1930, produced much interesting work on an Adana\index{hand press!Adana} 
+quarto press in his home.
+The Briar Press\index{Briar Press} is another very useful resource, 
+available via the web\label{briar}\footnote{\url{http://www.briarpress.org}} 
+--- and in their words: `Proudly
+introducing the bleeding-edge world of personalized desktop publishing
+circa 1820'!
+
+    The type is kept in type-, or job-, cases\index{typecase}\index{job case|see{typecase}}. 
+These are shallow wooden 
+partitioned trays and traditionally there were two of them for each font --- 
+a lower one closer to the typesetter for the minuscule characters and the 
+second one, arranged above the first as an `upper case', for the majuscules
+(capitals); hence the terms lowercase and uppercase characters. The
+characters are not arranged in alphabetical order but follow a system
+that is meant to reduce the amount of movement required from the typesetter.
+The shop where I print uses a `California job case' for type, 
+illustrated in \fref{fig:cacase}, which combines both the lowercase and 
+uppercase into a single case. The lowercase letters are arranged in a 
+seemingly semi-random order while the uppercase, which are used much less
+frequently, are in alphabetical order. The exceptions here are `U' and `J' 
+which are latecomers to the alphabet only being generally accepted in the 16th
+and 17th centuries, respectively --- printing has strong traditions.
+
+
+\begin{figure}
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+  \put(47,25){\framebox(2,4){]}}
+\end{picture}
+\caption{The California job case layout} \label{fig:cacase}
+\end{figure}
+
+    A line of type is set, or composed, in a hand-held 
+composing\index{composing stick} stick, which
+has an adjustable stop which is set to the required line length. Since the
+letters read in reverse, right to left, they are assembled upside down, 
+allowing working from left to right by the compositor. The characters for
+a word are put into the stick, then a space, the next word, a space and on
+until the line is almost full when it can be justified by inserting small extra 
+spaces between the words. A lead may be put separating this line from the next,
+which is then built up as before. When several lines have been assembled they
+are slid from the composing stick onto the composing table, which is
+a large, smooth and flat marble slab.
+
+    When sufficient type has been assembled for printing one sheet of paper
+it is put into a chase\index{chase} which is a rectangular cast-iron frame, 
+rather like a picture frame. The chase is placed round the type
+on the composing table and rectangular
+blocks of wood, called furniture, are placed between the type and the chase
+to hold the type in position, then expandable metal wedges, called 
+quoins\index{quoin},
+are inserted to lock the type within the chase. This is essential as the
+chase and contents will be lifted up and transferred to the press itself ---
+there is nothing like the joy of picking up and sorting out several hundred
+small pieces of type that have scattered themselves all over the floor, and 
+then putting them all back in the chase in the correct order! The assembled
+and locked up type, furniture, and chase are called a forme\index{forme}.
+
+\PWnote{2009/03/29}{Revised description of composing type and added paras 
+        about kinds of hand presses}
+    There are two basic types of hand\index{hand press} press. In the 
+flat-bed\index{hand press!flat-bed} type, as 
+used from Gutenberg's day onwards, the forme is fixed on a horizontal bed
+which is mounted on horizontal rails, the type is inked (usually by hand), 
+a sheet of paper is positioned over the forme, and the bed
+slid under the platen --- a large flat plate --- which is then pressed
+down hard by a screw mechanism to force the paper against the type. The platen 
+is raised, the bed slid out and the printed sheet removed, ready for the next
+sheet to be positioned. Originally the presses were made of oak but
+nowadays are steel and cast iron. Typical of
+the flat-bed presses are the \index{hand press!Albion} Albion in England 
+and the Washington\index{hand press!Washington} in America.
+
+    The other type is a platen\index{hand press!platen} press 
+exemplified by the Excelsior\index{hand press!Excelsior} in England 
+and the Chandler \& Price\index{hand press!Chandler \& Price}, which 
+is the one I use, in America. Here the bed --- a rectangular steel plate ---
+is vertical and fixed and the forme is locked onto the bed. Above the bed
+is a circular disc on which the ink is spread. As the press operates rollers
+come down over the disc picking up a thin film of ink, 
+then over the forme --- thus inking the type ---
+and back up again; while the rollers are inking the type the disc is
+rotated a few degrees so that the rollers will run over a different section 
+of the disc each time thus improving the uniformity of the ink pickup. 
+A sheet of paper is clipped to the platen which, as the 
+rollers go over the disc, swings up to press the paper against the inked type
+and then down again so the sheet can be removed and the next one inserted.
+
+    You can see pictures of the presses mentioned above, and many other as 
+well, on the 
+Briar Press\index{Briar Press} website (see \pref{briar}).
+
+    At the end, the forme is put back on the composing table and any ink 
+is cleaned off the type, which is then taken from the chase 
+and `distributed' back into
+the correct places in the typecases(s)\index{typecase}. The furniture and
+leads are also put back into the proper places in their respective
+storage areas.
+
+    If the text is to be printed in multiple colours, the type for the first
+colour is set with spaces left for the second coloured type, and then printed.
+The type for the second colour is set in the spaces left for it, and the first
+set of type removed and replaced by spaces. The press is cleaned and the first
+colour ink replaced by the second colour ink. The original partially printed
+pages are then printed with the next colour. If all is well the differently
+coloured printed characters will all be aligned. Understandably, it is rare 
+that more than two colours are used.
+
+ 
+\section{Today}
+
+    Today the great majority of printed works are produced with 
+offset\index{offset printing} printer presses, the first of which was
+invented by Ira Washington\index{Rubel, Ira Washington} Rubel in 
+1903.\footnote{Rubel was an American; with a name like that he certainly
+couldn't be English.}
+
+    In the offset lithography process the original work image is put 
+onto metal foils which 
+are wrapped around a cylinder on the press; ink is picked up by the foil 
+and is transferred to a `blanket' or `offset' cylinder that is in contact
+with the first one. In turn, the ink from the offset cylinder is 
+transferred to the paper which is pressed against it.
+
+    Nowadays the original image is created on a computer and the foils
+produced automatically. The system is excellent for coloured work --- one foil
+is produced for each colour, following the CMYK\index{CMYK}
+(Cyan, Magenta, Yellow, Key (black)) subtractive colour system 
+(televisions and computer monitiors use the RGB\index{RGB} (Red, Green, Blue) 
+additive colour system). In the lowest capital cost situation only a
+single station press is used which can print a single colour. To get full
+colour the paper must be run through the press four times in all, once for
+each colour (and black) and if both sides are to be printed, then another
+four times for the second side. Moving up
+the scale there are two stand presses that can do two colours in one run,
+four stand presses that will do all four in one run.\footnote{The press shop
+where I occasionally go to do traditional hand set printing has all of these.} 
+In most
+smaller printing shops single sheets of paper are used which have to be put 
+through the pres(ses) at least twice, once for each side. Newspapers are
+also printed using offset lithography. In their case, though, web offset
+printers are used where the paper is fed in continuously from a large roll and
+is printed on both sides on its journey through the press.
+
+    Up and coming are digital presses operating directly from the 
+computer.\footnote{Think sophisticated inkjet or colour laser printers.}
+These are approaching the cost and quality tradeoffs of offset printers
+and are increasingly being used for on-demand small quantity printing. 
+
+   Apart from the time and effort involved the principal difference between
+traditional letterpress\index{letterpress} printing and the modern methods 
+is the way the ink is put onto the paper. In the traditional method the type
+is inked and then pressed \emph{into} the paper (think typewriters), while 
+in modern methods the ink is effectively laid \emph{onto} the paper (think
+inkjet printers). You can sometimes tell if something has 
+been printed by letterpress methods by running a finger lightly over the page;
+if the lines are `bumpy' then it has been printed letterpress. Printers using
+letterpress actually face a dichotomy. In order to obtain the finest detail
+from the type then it should be pressed as lightly as possible into the paper,
+but to indicate clearly that it has been letterpress printed, then it is 
+advisable to impress hard enough to leave permanent indentations, no matter
+how slight. As is common, tradeoffs seem inevitable.
+
+
+
+\section{Setting maths}
+
+    I had always wondered how maths was typeset before TeX was available and
+I eventually found an answer in an article by David Wishart~\cite{WISHART03}.
+The following is based upon his descriptions.
+
+    As described above, before the advent of typesetting machines compositors 
+picked pieces of type from a double typecase\index{typecase}, 
+typically just containing the 
+upper and lower case roman characters, the numerals and punctuation marks, 
+assembled some lines in a composing stick\index{composing stick}, 
+and transferred them to a chase\index{chase}, which when full was locked 
+up and then 
+put into the press to print onto the paper. When setting text this is
+straightforward as each `line' in the composing stick is a line of text.
+This is not the case with maths, such as this formula
+
+\begin{equation} \label{eq:typeset}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{equation}
+
+    For setting math the compositor will have two double 
+typecases\index{typecase} (roman
+and italic), a case of mathematical sorts containing signs, superscripts
+and subscripts, etc., and a case of unaccented Greek characters.
+    In order to set maths such as shown as formula~\ref{eq:typeset},
+in an assumed 11pt font with 24pt spacing, 
+the widest elements, properly spaced and centered within the measure, 
+are set in the composing\index{composing stick} stick as
+
+\begin{displaymath}
+P_{N_1 + m} = N_{1} + m \raisebox{-0.6\baselineskip}{$\displaystyle\binom{N_{2} - N_{1}}{\phantom{m}}$}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+    The terms to the right of the $=$ sign are then removed and stored where
+hopefully they won't be disturbed. A lead of 6.5pt is then inserted above and below 
+the first terms.
+The $N_{1} +m$ term is taken from the storage, and a piece of 2pt rule is cut
+to the exact length of the term and the $C$ centered above it. Then the opening
+parenthesis is added, so the contents of the composing stick look like:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \bigg(
+\end{displaymath}
+
+   Moving on, the $N_{2}-N_{1}$ term is put in the composing stick and a 2pt
+lead put below it with the $m$ centered underneath, then the closing parenthesis
+is added, so the formula now appears as:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+\end{displaymath}
+ 
+    Finally the Greek terms are added, with 6.5pt leads above and below, 
+resulting in:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+    Even if an automatic caster, such as a Linotype or Monotype, was being 
+used the process was certainly not automatic. With a 
+Monotype\index{Monotype} caster the 
+operator would produce
+
+\providecommand*{\tmri}{\mathrm{i}}
+\providecommand*{\tmrx}{\mathrm{x}}
+\begin{displaymath}
+P_{N}\tmri_{+m} = N_{1} + m\tmrx N_{2}-N_{1}\tmrx \alpha^{m}\beta^{(N_{\tmri}-N_{\tmri}) - m} \; C \; m
+\end{displaymath}
+
+This would then go to the `marker-up' who would turn it into
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+After 1958 it was slightly easier when Monotype had introduced the 
+`4-line' system but there was still a lot of handwork required. 
+It is, however, much easier using LaTeX where 
+formula~\ref{eq:typeset} above was specified as:
+\begin{lcode}
+\begin{equation}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{equation}
+\end{lcode}
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+\begin{comment}
+\chapter{Historical background}
+
+\section{Galloping through the millenia}
+
+    The earliest known writing dates back to the Sumerians around 3300\textsc{bc}
+who used pointed sticks or reeds to impress marks into wet clay tablets
+that were subsequently dried. The result is what we call 
+Cuneiform\index{cuneiform}.\footnote{From the Latin \emph{cuneus} meaning wedge.}
+For the next several thousand years all texts were produced, one way or 
+another, individually by hand.
+
+    The earliest printed book known is a 9th century Chinese woodblock
+printing of the \emph{Diamond Sutra}. In this technique the complete text
+for a page is carved on a wooden block which is then used to impress
+the ink onto the paper. Once the woodblocks were available many copies 
+of the text could be produced very quickly.
+
+    The Koreans were perhaps the first to print using moveable type where 
+the individual characters were engraved on wood blocks so they could be 
+reused for different texts. In his \emph{Writings Beside the Meng Creek}
+the Song Dynasty essayist Shen Kuo (1031--1095) 
+described how Bi Sheng during the reign of Chingli (1041--1048) printed
+from moveable type that he made from baked clay, which was rather fragile.
+Somewhat later Wang Zhen (c. 1290--1333) improved the process by using
+wooden type. These never became particularly popular methods because 
+of the thousands of different characters that a printing house might need.
+By 1230 the Koreans used moveable metal type for printing. None of this was 
+known outside Asia.
+
+    In the West books and manuscripts were hand written by scribes, 
+although some
+small items, like playing cards or depictions of saints, were printed
+from woodblocks. Then Johannes\index{Gutenberg, Johannes} Gutenberg 
+(c. 1398--1468) of Mainz invented printing using moveable type 
+around about 1440--1450.\footnote{Others have been put forward as the 
+inventor, notably a Dutchman named Coster, but the preponderance of 
+opinion favours Gutenberg.}
+ He had to experiment to determine the formula for
+a suitable ink and also to develop a good metal alloy for the type itself.
+He came up with lead to which he added antinomy for strength and hardness and
+tin for toughness.\footnote{This is still the basis for metal type today;
+Monotype casting machines use lead with 15--24\% antinomy and 6--12\% tin.}
+
+    In order be successful in the market Gutenberg had to produce books
+that equaled those produced by the scribes, except that they did not
+have to be decorated so lavishly. The scribes used many ligatures,
+contractions, and other techniques in order to have justified text with
+no raggedy edges. To compete with them his font for the famous 42-line 
+Bible, published around 1455, consisted of some 290 characters though all
+the text was in Latin which requires a basic character set of only forty 
+letters --- twenty lowercase letters and twenty caps --- plus
+some punctuation marks.
+
+    The 42-line Bible is set in two columns of 42 lines each. It is believed
+that about 135 copies were printed on paper and 40 on vellum. The page size was
+12 by 16\slashfrac{1}{2} inches and it is estimated that more than five 
+thousand calfskins were required for the vellum copies.
+
+    The new technology spread rapidly. In 1465 
+Konrad\index{Sweynham, Konrad} Sweynheym and Arnold\index{Pannartz, Arnold}
+Pannartz set up a printing shop in the monastery at Subiaco, east of Rome.
+There was printing in K\"{o}ln in 1466 and in 1468 in Augsberg and Rome itself.
+The first Venetian printer was Johann\index{Speyer, Johann van} van Speyer 
+who started work in 1469. A year later printing was established at the 
+Sorbonne and Nicolas\index{Jenson, Nicolas} Jenson
+had his press in Venice. Printing was introduced into Spain at Valencia 
+in 1474. William\index{Caxton, William} Caxton started printing in England 
+in 1476 setting up a press at The Sign of the Red Pale in Westminster, 
+near the Abbey; Theoderic\index{Rood, Theoderic} Rood was printing in 
+Oxford between 1478 and 1485 and John\index{Sieberch, John} Sieberch at 
+Cambridge in 1520.
+
+    The German printers kept with the initial gothic
+style of Gutenberg's type and Caxton used a cursive bastarda gothic. The
+Italians and other Europeans, though, moved to a roman type, based on the
+humanist bookhands, for their
+work. In 1471 Jenson produced the first full set of Greek type, which still
+remains one of the best. Aldus\index{Manutius, Aldus} Manutius, printing in 
+Venice, introduced the italic type in 1500.
+
+   The early printers were jack of all trades. They had to make their presses,
+design, make and cast their type, and print and sell the results. As time went
+on typemaking and printing became separate crafts. It became possible to 
+purchase the materials and equipment for printing but the printer was still
+the book designer.
+
+   For four centuries setting the type for printing was done by hand until 
+the introduction of the Linotype\index{Linotype} machine in 1886. The operator
+sat at a keyboard, typing the text line by line and the machine produced a 
+corresponding solid line of type. The disadvantage was when an error needed
+correcting at least one whole new line of type was needed, or two or more if
+the correction spilled over the end of the line, or even more if it continued
+onto the following page. The competing 
+Monotype\index{Monotype} machine, invented by Tolbert\index{Lanston, Tolbert} 
+Lanston, was first available in 1896. This was operated via a keyboard which
+produced a punched paper tape which was fed to the caster which produced
+lines of type composed of individual pieces. Correcting typos was easier
+because individual characters could be added or replaced. On the other hand,
+Linotype output was easier to handle if complete sections had to be moved
+around, for example for `quick' printing such as a daily newspaper. 
+
+    Alan Bartram~\cite{BARTRAM01} shows examples of book designs from between
+1470 and 1948, not all of which he considers to be good. Examples of printed
+pages from the 15th to the 20th century are in the TUG 2007 San Diego Meeting
+keynote presentation~\cite{TUGKEYNOTE07}.
+
+
+\section{Making type}
+
+    This is a very brief description of how lead type is made. For
+a good overview see~\cite{CHAPPELL99} and Fred Smeijers~\cite{SMEIJERS96}
+provides a detailed description of punchcutting.
+ 
+    Making type has been an inherently manual process. Having got a design
+for a font, for each character, a punchcutter makes a punch starting 
+with a square steel bar about 2\slashfrac{1}{4}inches (6cm) long with an 
+end face large enough to encompass the character. Using files and gravers,
+and perhaps some specialized tools like a counterpunch, 
+he carves out the character in relief on one end of the bar. The character
+is oriented so that is backwards with respect to its appearance when printed.
+To check the shape, the end of the punch is put into the flame of an alcohol
+lamp which coats it with lampblack, and it is then pressed against a chalky 
+paper to leave a black image of the character. Once the shape is correct 
+the punch is hardened and annealed.
+
+   The next stage is to create the matrix for the character. The punch is
+hammered into a softer material, usually copper, or sometimes brass which
+is harder but lasts longer. At this point the character is in the same
+orientation as printed but is a negative impression in the matrix.
+
+   The matrix is then put into a casting box and molten typemetal poured in.
+Once it has hardened and removed from the mould the new piece of type is 
+dressed to the same length as all the other pieces for the font. Many, many 
+pieces of type can be cast from one matrix, and if the punch is retained new
+matrices can be made. Typically one buys the lead type from a typecasting
+company, and a typecasting company would purchase matrices from the type
+design company. Of course, in the early days these were all the same 
+organisation and only as the centuries passed did they tend to become
+separated.
+
+   The Linotype\index{Linotype} and Monotype\index{Monotype} machines 
+require the matrices but cast the type only when needed. After use the type 
+from these machines is melted down and reused time and time again.
+
+\section{Book types}
+
+    Roughly speaking, there are two kinds of printing type; one, called 
+in general \emph{book type}\index{book type}, 
+is what is used for setting longer pieces 
+of text such as a poem or a book, or other material meant for continuous
+reading. The other, called \emph{display type}\index{display type}, is used 
+for pretty much everything else, such as company names, posters,
+advertisements, ephemera and sometimes even book titles, all of which are 
+short pieces of text, often intended to catch your eye. There are a multitude
+of display types, some of them almost illegible. Here I want to say a little
+bit about book types.
+
+\subsection{Gothic}
+
+    The first type was \emph{gothic}\index{gothic}, or 
+\emph{blackletter}\index{blackletter}, used by Guthenberg which was based on
+the kind of script that the scibes were using at that time (c. 1455). 
+It remained in
+fashion in Germany until towards the end of the last century, and is still
+often used for the names of newspapers. Elsewhere, starting in Italy, 
+it was replaced by the \emph{roman}\index{roman} type.
+
+\subsection{Roman Venetian}
+
+    Early roman types, based on the humanist scribal hand, were cut by 
+Sweynheym \& Pannartz in the Rome area (c. 1467). In Venice Nicolas
+Jenson cut what is considered to be the first, and one of the best, romans
+(c. 1471). His types have been widely reproduced and copied and the style
+is known as \emph{Venetian}\index{Venetian}. Some modern day Venetians
+include Cloister\index{Cloister}, Eusebius\index{Eusebius} (originally
+called Nicolas Jenson), Venezia\index{Venezia}; 
+Bruce Roger's Centaur\index{Centaur} has been described as a modernized 
+Venetian.
+
+\subsubsection{Characteristics}
+
+    The general characteristics of Venetian romans are:
+%%%%%%%%%%%%%%%\newcommand*{\sflabel}[1]{\hspace\labelsep \normalfont\sffamily #1}
+\begin{labelled}{sflabel}
+\item[Stress] Oblique, i.e., the thickest parts of curves are approximately
+              northeast and southwest.
+\item[Contrast] Gradual transition between thick and thin strokes.
+\item[Serifs] Bracketed, heavy, and sometimes slablike and often cupped.
+\item[Other] In general the letters are wide with strong colour, especially
+             for the uppercase. The bar of the lowercase `e' slopes up to 
+             the right.
+\end{labelled}
+
+
+\subsection{Roman Old Face}
+
+    Another of the many printers in Venice, Aldus Manutius, cut a 
+variation on Jenson's roman and which soon superseded it in popularity.
+It was first used in the famous \emph{Hypnerotomachia Poliphili} by
+Francesco Colonna which Aldus published in 1499.
+
+    The Aldine roman soon spread across Europe. One of the first typecutters
+to use it as a model was Claude Garamond in Paris (c. 1540), and his types 
+had a wide distribution, for example being used in Antwerp by Christopher 
+Plantin. The English typecutter William Caslon (1692--1766) cut a famous 
+old-face that has been used ever since.
+
+    Some modern day old-face types are Bembo, Caslon, Estienne, Granjon,
+Imprint, Poliphilus and Van Dijck.
+
+\subsubsection{Characteristics}
+
+    The general characteristics of old-face romans are:
+\begin{labelled}{sflabel}
+\item[Stress] Oblique, i.e., the thickest parts of curves are approximately
+              northeast and southwest.
+\item[Contrast] Gradual transition between thick and thin strokes, but more
+                pronounced than the Venetians.
+\item[Serifs] Bracketed but not slab and so are lighter than with the
+              Venetians.
+\item[Other] In general the letters are narrower than the Venetians, especially
+             the capitals which are often lower than the lowercase ascenders.
+             The bar of the lowercase `e' is horizontal.
+\end{labelled}
+
+
+\subsection{Transitional Romans}
+
+    By the end of the sixteenth century the quality of printing in Italy 
+and France had fallen off from when Claude Garamond was working. In 1692
+King Louis \textsc{xiv} ordered a new set of types for the Royal Printing
+House. In a lengthy report the Academy of Sciences recommended a roman type
+constructed on mathematical principles. Lucien Grandjean who cut the
+new Roman du Roi allowed his typecutter's eye to sometimes overrule the 
+academicians to the betterment of the result.
+
+    Grandjean's type was copied by many others and effectively replaced 
+old-face in Europe. Pierre Simon Fournier (1712--1768) started his typecutting 
+business in 1737, cutting over eighty types in twenty-four years. These were
+based on Garamond's types but influenced by Grandjean's work. The result was
+the first of the Transitional types.
+
+    The changes on the continent had little impact in England, old-face
+still being very popular.
+
+    Some modern day transitional types are Baskerville, Bell, Fournier
+and Georgian.
+
+
+\subsubsection{Characteristics}
+
+    The general characteristics of Old Face romans are:
+\begin{labelled}{sflabel}
+\item[Stress] Oblique, i.e., the thickest parts of curves are approximately
+              northeast and southwest.
+\item[Contrast] Gradual transition between thick and thin strokes, but more
+                pronounced than the Venetians.
+\item[Serifs] Bracketed but not slab and so are lighter than with the
+              Venetians.
+\item[Other] In general the letters are narrower than the Venetians, especially
+             the capitals which are often lower than the lowercase ascenders.
+             The bar of the lowercase `e' is horizontal.
+\end{labelled}
+
+
+
+\section{Setting type}
+
+\PWnote{2009/04/03}{Added bits and pieces about letterpress.}
+
+   Until the last hundred years or so, type has been hand set. Even now there
+are printers who still set lead type by hand, called 
+now letterpress\index{letterpress} printing, and on the odd occasion I am 
+one of them. Again, this is a brief description of the process but 
+Chappell~\cite{CHAPPELL99}
+provides much more detail if you are interested. If you have a desire to
+set up your own small print shop, perhaps in your garage or shed in the garden,
+then John Ryder\index{Ryder, John} has lots of pertinent advice~\cite{RYDER}. 
+He directed
+the design and production of many books for The Bodley Head, and, starting in
+1930, produced much interesting work on an Adana\index{hand press!Adana} 
+quarto press in his home.
+The Briar Press\index{Briar Press} is another very useful resource, 
+available via the web\label{briar}\footnote{\url{http://www.briarpress.org}} 
+--- and in their words: `Proudly
+introducing the bleeding-edge world of personalized desktop publishing
+circa 1820'!
+
+    The type is kept in type-, or job-, cases\index{typecase}\index{job case|see{typecase}}. 
+These are shallow wooden 
+partitioned trays and traditionally there were two of them for each font --- 
+a lower one closer to the typesetter for the minuscule characters and the 
+second one, arranged above the first as an `upper case', for the majuscules
+(capitals); hence the terms lowercase and uppercase characters. The
+characters were not arranged in alphabetical order but followed a system
+that was meant to reduce the amount of movement required from the typesetter.
+The shop where I print uses a `California job case' for type, 
+illustrated in \fref{fig:cacase}, which combines both the lowercase and 
+uppercase into a single case. The lowercase letters are arranged in a 
+seemingly semi-random order while the uppercase, which are used much less
+frequently, are in alphabetical order. The exceptions here are `U' and `J' 
+which are latecomers to the alphabet only being generally accepted in the 16th
+and 17th centuries, respectively --- printing has strong traditions.
+
+
+\begin{figure}
+\centerfloat
+\setlength{\unitlength}{0.8pc}
+\setlength{\unitlength}{0.7pc}
+\setlength{\unitlength}{0.75pc}
+\noindent \begin{picture}(50,30)
+%  framing
+  \put(0,0){\framebox(50,30){}}
+  \put(1,1){\framebox(48,28){}}
+% first 1/3
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+  \put(13,9){\framebox(4,8){h}}
+  \put(13,17){\framebox(4,12){e}}
+%  second 1/3
+  \put(18,1){\framebox(4,8){a}}
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+  \put(30,25){\framebox(2,4){7}}
+%  \put(37,1){\framebox(5,8){quads}}
+
+  \put(32,9){\framebox(2,8){ems}}
+  \put(32,17){\framebox(2,4){0}}
+  \put(32,21){\framebox(2,4){9}}
+  \put(32,25){\framebox(2,4){8}}
+%   third 1/3
+  \put(35,1){\framebox(2,4){X}}
+  \put(35,5){\framebox(2,6.67){P}}
+  \put(35,11.67){\framebox(2,6.67){H}}
+  \put(35,18.33){\framebox(2,6.66){A}}
+  \put(35,25){\framebox(2,4){\$}}
+
+  \put(37,1){\framebox(2,4){Y}}
+  \put(37,5){\framebox(2,6.67){Q}}
+  \put(37,11.67){\framebox(2,6.67){I}}
+  \put(37,18.33){\framebox(2,6.66){B}}
+  \put(37,25){\framebox(2,4){--}}
+
+  \put(39,1){\framebox(2,4){Z}}
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+  \put(39,25){\framebox(2,4){---}}
+
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+  \put(41,25){\framebox(2,4){(}}
+
+  \put(43,1){\framebox(2,4){U}}
+  \put(43,5){\framebox(2,6.67){T}}
+  \put(43,11.67){\framebox(2,6.67){M}}
+  \put(43,18.33){\framebox(2,6.66){E}}
+  \put(43,25){\framebox(2,4){)}}
+
+  \put(45,1){\framebox(2,4){\&}}
+  \put(45,5){\framebox(2,6.67){V}}
+  \put(45,11.67){\framebox(2,6.67){N}}
+  \put(45,18.33){\framebox(2,6.66){F}}
+  \put(45,25){\framebox(2,4){[}}
+
+  \put(47,1){\framebox(2,4){ffl}}
+  \put(47,5){\framebox(2,6.67){W}}
+  \put(47,11.67){\framebox(2,6.67){O}}
+  \put(47,18.33){\framebox(2,6.66){G}}
+  \put(47,25){\framebox(2,4){]}}
+\end{picture}
+\caption{The California job case layout} \label{fig:cacase}
+\end{figure}
+
+    A line of type is set, or composed, in a hand-held 
+composing\index{composing stick} stick, which
+has an adjustable stop which is set to the required line length. Since the
+letters read in reverse, right to left, they are assembled upside down, 
+allowing working from left to right by the compositor. The characters for
+a word are put into the stick, then a space, the next word, a space and on
+until the line is almost full when it can be justified by inserting small extra 
+spaces between the words. A lead may be put separating this line from the next,
+which is then built up as before. When several lines have been assembled they
+are slid from the composing stick onto the composing table, which is
+a large, smooth and flat marble slab.
+
+    When sufficient type has been assembled for printing one sheet of paper
+it is put into a chase\index{chase} which is a rectangular cast-iron frame, 
+rather like a picture frame. The chase is placed round the type
+on the composing table and rectangular
+blocks of wood, called furniture, are placed between the type and the chase
+to hold the type in position, then expandable metal wedges, called 
+quoins\index{quoin},
+are inserted to lock the type within the chase. This is essential as the
+chase and contents will be lifted up and transferred to the press itself ---
+there is nothing like the joy of picking up and sorting out several hundred
+small pieces of type that have scattered themselves all over the floor, and 
+then putting them all back in the chase in the correct order! The assembled
+and locked up type, furniture, and chase are called a forme\index{forme}.
+
+\PWnote{2009/03/29}{Revised description of composing type and added paras 
+        about kinds of hand presses}
+    There are two basic types of hand\index{hand press} press. In the 
+flat-bed\index{hand press!flat-bed} type, as 
+used from Gutenberg's day onwards, the forme is fixed on a horizontal bed
+which is mounted on horizontal rails, the type is inked (usually by hand), 
+a sheet of paper is positioned over the forme, and the bed
+slid under the platen --- a large flat plate --- which is then pressed
+down hard by a screw mechanism to force the paper against the type. The platen 
+is raised, the bed slid out and the printed sheet removed, ready for the next
+sheet to be positioned. Originally the presses were made of oak but
+nowadays are steel and cast iron. Typical of
+the flat-bed presses are the \index{hand press!Albion} Albion in England 
+and the Washington\index{hand press!Washington} in America.
+
+    The other type is a platen\index{hand press!platen} press 
+exemplified by the Excelsior\index{hand press!Excelsior} in England 
+and the Chandler \& Price\index{hand press!Chandler \& Price}, which 
+is the one I use, in America. Here the bed --- a rectangular steel plate ---
+is vertical and fixed and the forme is locked onto the bed. Above the bed
+is a circular disc on which the ink is spread. As the press operates rollers
+come down over the disc picking up a thin film of ink, 
+then over the forme --- thus inking the type ---
+and back up again; while the rollers are inking the type the disc is
+rotated a few degrees so that the rollers will run over a different section 
+of the disc each time thus improving the uniformity of the ink pickup. 
+A sheet of paper is clipped to the platen which, as the 
+rollers go over the disc, swings up to press the paper against the inked type
+and then down again so the sheet can be removed and the next one inserted.
+
+    You can see pictures of the presses mentioned above, and many other as 
+well, on the 
+Briar Press\index{Briar Press} website (see \pref{briar}).
+
+    At the end, the forme is put back on the composing table and any ink 
+is cleaned off the type, which is then taken from the chase 
+and `distributed' back into
+the correct places in the typecases(s)\index{typecase}. The furniture and
+leads are also put back into the proper places in their respective
+storage areas.
+
+    If the text is to be printed in multiple colours, the type for the first
+colour is set with spaces left for the second coloured type, and then printed.
+The type for the second colour is set in the spaces left for it, and the first
+set of type removed and replaced by spaces. The press is cleaned and the first
+colour ink replaced by the second colour ink. The original partially printed
+pages are then printed with the next colour. If all is well the differently
+coloured printed characters will all be aligned. Understandably, it is rare 
+that more than two colours are used.
+
+ 
+\section{Today}
+
+    Today the great majority of printed works are produced with 
+offset\index{offset printing} printer presses, the first of which was
+invented by Ira Washington\index{Rubel, Ira Washington} Rubel in 
+1903.\footnote{Rubel was an American; with a name like that he certainly
+couldn't be English.}
+
+    In the offset lithography process the original work image is put 
+onto metal foils which 
+are wrapped around a cylinder on the press; ink is picked up by the foil 
+and is transferred to a `blanket' or `offset' cylinder that is in contact
+with the first one. In turn, the ink from the offset cylinder is 
+transferred to the paper which is pressed against it.
+
+    Nowadays the original image is created on a computer and the foils
+produced automatically. The system is excellent for coloured work --- one foil
+is produced for each colour, following the CMYK\index{CMYK}
+(Cyan, Magenta, Yellow, Key (black)) subtractive colour system 
+(televisions and computer monitiors use the RGB\index{RGB} (Red, Green, Blue) 
+additive colour system). In the lowest capital cost situation only a
+single station press is used which can print a single colour. To get full
+colour the paper must be run through the press four times in all, once for
+each colour (and black) and if both sides are to be printed, then another
+four times for the second side. Moving up
+the scale there are two stand presses that can do two colours in one run,
+four stand presses that will do all four in one run.\footnote{The press shop
+where I occasionally go to do traditional hand set printing has all of these.} 
+In most
+smaller printing shops single sheets of paper are used which have to be put 
+through the pres(ses) at least twice, once for each side. Newspapers are
+also printed using offset lithography. In their case, though, web offset
+printers are used where the paper is fed in continuously from a large roll and
+is printed on both sides on its journey through the press.
+
+    Up and coming are digital presses operating directly from the 
+computer.\footnote{Think sophisticated colour laser printers.}
+These are approaching the cost and quality tradeoffs of offset printers
+and are increasingly being used for on-demand small quantity printing. 
+
+   Apart from the time and effort involved the principal difference between
+traditional letterpress\index{letterpress} printing and the modern methods 
+is the way the ink is put onto the paper.In the traditional method the type
+is inked and then pressed \emph{into} the paper (think typewriters), while 
+in modern methods the ink is effectively laid \emph{onto} the paper (think
+inkjet printers). You can sometimes tell if something has 
+been printed by letterpress methods by running a finger lightly over the page;
+if the lines are `bumpy' then it has been printed letterpress. Printers using
+letterpress actually face a dichotomy. In order to obtain the finest detail
+from the type then it should be pressed as lightly as possible into the paper,
+but to indicate clearly that it has been letterpress printed, then it is 
+advisable to impress hard enough to leave permanent indentations, no matter
+how slight. As is common, tradeoffs seem inevitable.
+
+
+
+\section{Setting maths}
+
+    I had always wondered how maths was typeset before TeX was available and
+I eventually found an answer in an article by David Wishart~\cite{WISHART03}.
+The following is based upon his descriptions.
+
+    As described above, before the advent of typesetting machines compositors 
+picked pieces of type from a double typecase\index{typecase}, 
+typically just containing the 
+upper and lower case roman characters, the numerals and punctuation marks, 
+assembled some lines in a composing stick\index{composing stick}, 
+and transferred them to a chase\index{chase}, which when full was locked 
+up and then 
+put into the press to print onto the paper. When setting text this is
+straightforward as each `line' in the composing stick is a line of text.
+This is not the case with maths, such as this formula
+
+\begin{equation} \label{eq:typeset}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{equation}
+
+    For setting math the compositor will have two double 
+typecases\index{typecase} (roman
+and italic), a case of mathematical sorts containing signs, superscripts
+and subscripts, etc., and a case of unaccented Greek characters.
+    In order to set maths such as shown as formula~\ref{eq:typeset},
+in an assumed 11pt font with 24pt spacing, 
+the widest elements, properly spaced and centered within the measure, 
+are set in the composing\index{composing stick} stick as
+
+\begin{displaymath}
+P_{N_1 + m} = N_{1} + m \raisebox{-0.6\baselineskip}{$\displaystyle\binom{N_{2} - N_{1}}{\phantom{m}}$}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+    The terms to the right of the $=$ sign are then removed and stored where
+hopefully they won't be disturbed. A lead of 6.5pt is then inserted above and below 
+the first terms.
+The $N_{1} +m$ term is taken from the storage, and a piece of 2pt rule is cut
+to the exact length of the term and the $C$ centered above it. Then the opening
+parenthesis is added, so the contents of the composing stick look like:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \bigg(
+\end{displaymath}
+
+   Moving on, the $N_{2}-N_{1}$ term is put in the composing stick and a 2pt
+lead put below it with the $m$ centered underneath, then the closing parenthesis
+is added, so the formula now appears as:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+\end{displaymath}
+ 
+    Finnaly the Greek terms are added, with 6.5pt leads above and below, 
+resulting in:
+
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+    Even if an automatic caster, such as a Linotype or Monotype, was being 
+used the process was certainly not automatic. With a 
+Monotype\index{Monotype} caster the 
+operator would produce
+
+\providecommand*{\tmri}{\mathrm{i}}
+\providecommand*{\tmrx}{\mathrm{x}}
+\begin{displaymath}
+P_{N}\tmri_{+m} = N_{1} + m\tmrx N_{2}-N_{1}\tmrx \alpha^{m}\beta^{(N_{\tmri}-N_{\tmri}) - m} \; C \; m
+\end{displaymath}
+
+This would then go to the `marker-up' who would turn it into
+\begin{displaymath}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{displaymath}
+
+After 1958 it was slightly easier when Monotype had introduced the 
+`4-line' system but there was still a lot of handwork required. 
+It is, however, much easier using LaTeX where 
+formula~\ref{eq:typeset} above was specified as:
+\begin{lcode}
+\begin{equation}
+P_{N_1 + m} = \frac{C}{N_{1} + m} \binom{N_{2} - N_{1}}{m}
+              \alpha^{m}\beta^{(N_{2}-N_{1}) - m}
+\end{equation}
+\end{lcode}
+\end{comment}
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+
 \chapter{The Parts of a Book}
 
 %\section{Introduction}
@@ -1616,8 +3397,8 @@ a like sort depending on the particular work.
 \begin{table}
 \centering
 \caption{\prFrontmatter}\label{tab:front}
-\begin{tabular}{llcc} \hline
-Element                      & Page  & Folio     & Leaf \\ \hline
+\begin{tabular}{llcc} \toprule
+Element                      & Page  & Folio     & Leaf \\ \midrule
 Half-title page              & recto & no        & 1 \\
 Frontispiece, etc., or blank & verso & no        & 1 \\
 Title page                   & recto & no        & 2 \\
@@ -1632,7 +3413,7 @@ Preface             & recto or verso & yes       & etc. \\
 Acknowledgements    & recto or verso & yes       & etc. \\
 Introduction        & recto or verso & yes       & etc. \\
 Abbreviations, etc  & recto or verso & yes       & etc. \\
-\hline
+\bottomrule
 \end{tabular}
 \end{table}
 
@@ -1814,16 +3595,16 @@ leaves and 16 pages, and so on as listed in \tref{tab:signatures}.
 \begin{table}
 \centering
 \caption{Common signatures} \label{tab:signatures}
-\begin{tabular}{lcccrccrccrc} \hline
+\begin{tabular}{lcccrccrccrc} \toprule
 Name      & Folds & Size             & \multicolumn{3}{c}{Sheets} & 
-\multicolumn{3}{c}{Leaves} & \multicolumn{3}{c}{Pages} \\ \hline
+\multicolumn{3}{c}{Leaves} & \multicolumn{3}{c}{Pages} \\ \midrule
 Broadside & 0     & $a \times b$     & &  1 & & &  1 & & &   2 & \\
 Folio     & 1     & $b/2 \times a$   & &  1 & & &  2 & & &   4 & \\
 Quarto, \emph{4to} & 2 & $a/2 \times b/2$ & & 2 & & & 4 & & & 8 & \\
 Octavo, \emph{8vo} & 3 & $b/4 \times a/2$ & & 4 & & & 8 & & & 16 & \\
 \emph{16mo} & 4   & $a/4 \times b/4$ & &  8 & & & 16 & & &  32 & \\
 \emph{32mo} & 5   & $b/8 \times a/4$ & & 16 & & & 32 & & &  64 & \\
-\emph{64mo} & 6   & $a/8 \times b/8$ & & 32 & & & 64 & & & 128 & \\ \hline
+\emph{64mo} & 6   & $a/8 \times b/8$ & & 32 & & & 64 & & & 128 & \\ \bottomrule
 \end{tabular}%
 \index{broadside}\index{folio}\index{quarto}\index{4to}\index{octavo}%
 \index{8vo}\index{16mo}\index{32mo}\index{64mo}%
@@ -2054,7 +3835,7 @@ English\index{paper!English finish}.
 adhesive to make them particularly good for halftones. Finishes range from 
 dull through matte to glossy. 
 \item[Impregnated]\index{paper!impregnated} papers are also known as
-as pigmented\index{paper!pigmented}. They are surface sized, lightly coated
+pigmented\index{paper!pigmented}. They are surface sized, lightly coated
 and calendered and can take halftones, especially by lithography.
 \item[Text]\index{paper!text} papers are textured and coloured and are 
 useful for limited editions, book jackets and end papers. They often have 
@@ -2075,7 +3856,7 @@ same quantity of paper in sheet form; the downside was that I had to slice
 it up into
 the sheet size I wanted to use, but in this case the upside was that I tore
 rather than cut and obtained sheets with deckle edges on all four sides
-so that it at the end it looked rather like handmade paper.
+so that at the end it looked rather like handmade paper.
 
 
 \index{paper!machine-made|)}
@@ -2096,7 +3877,7 @@ Linweave Early American\index{paper!Linweave Early American}, which
 has been used by the University of California press;
 Mohawk Superfine\index{paper!Mohawk superfine};
 Strathmore\index{paper!Strathmore},\footnote{At the time of writing I 
-have nearly finished hand letterpress printing a small book of 35 printed
+have just finished hand letterpress printing a small book of 35 printed
 pages on Strathmore 400 Drawing Paper.}  of several kinds; and
 Warren's Old Style\index{paper!Warren's Old Style}, which has been used for 
 several books published by the University of California.
@@ -2611,8 +4392,8 @@ or folios\index{folio}.
 for Robert Bringhurst's\index{Bringhurst, Robert} 
 \btitle{The Elements of Typographical Style} published
 by Hartley \& Marks in 1992, and designed by Bringhurst. The text face is
-Minion\index{Minion} set with $12$pt leading on a $21$pc measure. 
-The captions are set in Scala Sans\index{Scala Sans}. The original
+Minion\facesubseeidx{Minion} set with $12$pt leading on a $21$pc measure. 
+The captions are set in Scala Sans\facesubseeidx{Scala Sans}. The original
 size is \abybm{227}{132}{mm} and is printed on Glatfelter laid 
 \index{paper!Glatfelter}paper. 
 I highly recommend this book if you are
@@ -2620,12 +4401,13 @@ interested in typography.
 
 The layout on the right is The Folio Society's\index{Folio Society}
 1970 edition of \btitle{The Prince} by Niccol\`{o} Machiavelli. The original
-size is \abybm{216}{125}{mm} and is set in \abyb{12/13}{22} Centaur\index{Centaur}.
+size is \abybm{216}{125}{mm} and is set in \abyb{12/13}{22} 
+Centaur\facesubseeidx{Centaur}.
 Chapter titles\index{chapter!design} are set as raggedright block 
 paragraphs using Roman numbers
 and small caps for the text; not all chapters start a new page. There are
 no running headers and the folios\index{folio} 
-are set at the center of the footer\index{footer!design}
+are set at the center of the footer\index{footer!design}.
 The ToC is typeset like the standard \ltx\ ToC\index{ToC!design} 
 but with the chapter titles
 in small caps.
@@ -2669,7 +4451,7 @@ On the right is another book from the
 Folio Society\index{Folio Society} --- \btitle{Three Men in a Boat} 
 by Jerome K.~Jerome printed
 in 1964. The original size is \abybm{215}{128}{mm} and is typeset with
-Ehrhardt\index{Ehrhardt} at \abyb{11/12}{22}. 
+Ehrhardt\facesubseeidx{Ehrhardt} at \abyb{11/12}{22}. 
 Chapter\index{chapter!design} titles are
 centered and simply consist of  the word `CHAPTER' followed by the number.
 There are no headers and the folio\index{folio} 
@@ -2708,7 +4490,7 @@ Another Hartley \& Marks
 typography book --- \btitle{Finer Points in the Spacing \& Arrangement
 of Type} by Geoffrey Dowding\index{Dowding, Geoffrey} --- 
 is shown at the right of \fref{fb:3}.
-This is typeset in Ehrhardt\index{Ehrhardt} at \abyb{10.5/14}{23} on a page 
+This is typeset in Ehrhardt\facesubseeidx{Ehrhardt} at \abyb{10.5/14}{23} on a page 
 size of \abybm{231}{143}{mm} on Glatfelter\index{paper!Glatfelter} Laid 
 Offset paper. 
 The half-title\index{half-title} is uppercased,
@@ -2747,7 +4529,7 @@ Bibliography, are typeset in italics.
 \end{figure}
 
     Bruce Rogers\index{Rogers, Bruce} (1870--1957) 
-described how he came to design his Centaur\index{Centaur} typeface in
+described how he came to design his Centaur\facesubseeidx{Centaur} typeface in
 \btitle{Centaur Types}, a privately published book by his studio October
 House in 1949. The layout of this book, which of course was typeset in
 Centaur, is shown at the left of \fref{fb:4}. Centaur is an upright
@@ -2760,7 +4542,7 @@ patterns. It is set at \abyb{14/16}{22} on a page size of \abybm{240}{150}{mm}.
    Figure~\ref{fb:4} (right) is the layout of another book on typefaces.
 It is \btitle{The Anatomy of a Typeface} by Alexander Lawson published by
 David R.~Godine in 1990.
-This is set in Galliard\index{Galliard} with $13$pt leading and a measure of $24$pc on
+This is set in Galliard\facesubseeidx{Galliard} with $13$pt leading and a measure of $24$pc on
 a page size of \abybm{227.5}{150}{mm} on Glatfelter\index{paper!Glatfelter} 
 Offset Smooth Eggshell paper. The half-title\index{half-title}\index{page!half-title}
 is set in uppercase in the upper quarter of the page. On the 
@@ -2814,7 +4596,7 @@ and there are no running heads. There is no table of contents.
 The right of this figure illustrates a book with another unusual title ---
 \btitle{The Alphabet Abecedarium} by Richard A.~Firmage and published by
 David R.~Godine in 1993. It is set in 
-Adobe Garamond\index{Adobe Garamond}\index{Garamond!Adobe} on a $27$pc measure
+Adobe Garamond\facesubseeidx{Adobe Garamond}\index{Garamond!Adobe} on a $27$pc measure
 with $14$pt leading. The original page size is \abybm{227.5}{150}{mm}. The
 book gives a history of each letter of the Latin alphabet. 
 Chapter\index{chapter!design} heads are centered and consist of an 
@@ -2851,7 +4633,7 @@ The right of the figure illustrates the layout of a book called
 by Brooke Crutchley\index{Crutchley, Brooke} 
 and published by Cambridge University 
 Press\index{Cambridge University Press} in 1968. This is typeset in 
-Monotype Barbon\index{Monotype Barbon}\index{Barbon!Monotype}
+Monotype Barbon\facesubseeidx{Monotype Barbon}\index{Barbon!Monotype}
 with $17.5$ leading on a $26$pc measure on a \abybm{253}{162}{mm} page.
 Crutchley was the Cambridge University 
 Printer\index{Cambridge University Press!Crutchley, Brooke} and each year would produce
@@ -2884,14 +4666,14 @@ or other appurtenances, apart from a Preface.
     A modern technical book layout is given in \fref{fb:7}. The book
 is \btitle{Information Modeling the EXPRESS Way} by Douglas Schenck and Peter
 Wilson, published by Oxford University Press (New York) in 1994. This is
-set in Computer Modern Roman\index{Computer Modern Roman} at \abyb{10/12}{27} 
+set in Computer Modern Roman\facesubseeidx{Computer Modern Roman} at \abyb{10/12}{27} 
 on a page \abybm{233}{150}{mm}. 
 It has the typical \ltx\ appearance with perhaps the exception of the
 epigraphs\index{epigraph} after each chapter\index{chapter!design} heading.
 
 Ruari McLean's\index{McLean, Ruari} \btitle{The Thames and Hudson Manual of
 Typography} (1988) is at the right in \fref{fb:7}. This is typeset in \abyb{10/11}{20} 
-Monophoto Garamond\index{Monophoto Garamond}\index{Garamond!Monophoto} 
+Monophoto Garamond\facesubseeidx{Monophoto Garamond}\index{Garamond!Monophoto} 
 on a \abybm{240}{156}{mm} page. The wide
 \foredge{} is used for small illustrations\index{illustration}. 
 Notes are also set in this
@@ -3044,8 +4826,8 @@ and the type is set with a $15$pt leading.
 type designer. Shown at the left of
 \fref{fb:11} is the layout of his book \btitle{The Alphabet and Elements
 of Lettering} published by the University of California Press in 1952.
-This is typeset in his University of California Old Style
-\index{University of California Old style}, which has
+This is typeset in his University of California Old 
+Style\facesubseeidx{University of California Old Style}, which has
 interesting ct and st ligatures. The measure is $36$pc and the leading
 is $18$pt. The first half of the book gives a short history of the development
 of writing and fonts. The second half consists of 27 plates, one for each 
@@ -3144,8 +4926,8 @@ His work on book design, \btitle{The Design of Books}, out of print since
 at the left of \fref{fb:14}. This is in two columns\index{column!double}, 
 with many illustrations\index{illustration},
 on letterpaper\index{paper!size!letterpaper} size pages. 
-It is typeset in Palatino\index{Palatino} and 
-Linotype Aldus\index{Linotype Aldus}\index{Aldus!Linotype} 
+It is typeset in Palatino\facesubseeidx{Palatino} and 
+Linotype Aldus\facesubseeidx{Linotype Aldus}\index{Aldus!Linotype} 
 with $12$pt leading. 
 Each column is $18$pc wide. The title page is a simple design and an
 example based on it is shown in \fref{fig:titleDB}. 
@@ -3245,7 +5027,7 @@ mode (i.e., they are wider than they are high); the shape of the drawings
 has had a major effect on the page proportions. In the case on the left 
 the page proportion is in the ratio \ratio{{\pi}}{e}. The measure is 
 longer than usual at $37$pc and to compensate for this the leading of $17$pt 
-is also larger than customary. It is typeset in Centaur\index{Centaur}.
+is also larger than customary. It is typeset in Centaur\facesubseeidx{Centaur}.
 The book is
 \btitle{Hammer and Hand} by Raymond Lister with drawings by Richard Bawden.
 It was published in 1969 by Cambridge University 
@@ -3515,7 +5297,8 @@ with no physical strain caused by the appearance, but the contents,
 of course, may lead to anything ranging from acute mental strain to 
 extreme boredom.
 
-    Type faces and the layout of the typeblock\index{typeblock} must be 
+    Typefaces\index{typeface} and the layout of the 
+typeblock\index{typeblock} must be 
 chosen to optimise between legibility and `artistic' presentation. 
 The design of the document should be almost invisible, giving full 
 compliments to the author's communication. However, if you are a master, 
@@ -3523,7 +5306,8 @@ like Hermann Zapf\index{Zapf, Hermann}~\cite{ZAPF00}, you can break the rules.
 
     
 
-\subsubsection{Type faces}
+\subsubsection{Typefaces}
+\index{typeface}
 
     The first European letter forms that have survived are Greek inscriptions
 carved into stone. These were freehand carvings with thin strokes. In time,
@@ -3727,7 +5511,7 @@ that serif fonts are somwhat easier to read upside down than sans-serif,
 but sans-serif is far easier to read mirored than serif. (I spent much
 of my time as a child reading comics on the floor with my brother. As
 he hated reading any way but straight on, we faced in different directions
-and I saw the page upside down. I tried mirror reading just to se if
+and I saw the page upside down. I tried mirror reading just to see if
 I could do that as easily. Serif fonts were almost impossible, sans-serif
 actually quite easy.)
 
@@ -3763,6 +5547,45 @@ words are nearly as easy to read as normal ones.
 \index{font!sans|)}
 \index{font!seriffed|)}
 
+\PWnote{2009/04/26}{Added subsection on selecting a typeface}
+\subsection{Selecting a typeface}
+\index{typeface!selecting}
+
+
+    First off\pagenote[First off]{Practically, though, the very first
+thing is to select a typeface that you already have or that you can
+\emph{legally} obtain.}, 
+select a typeface that is both legible and readable.
+The classical faces, those that have withstood the test of 
+time\footnote{Measured in decades, if not centuries.} are
+usually safe in this respect.
+
+    After that there are two main considerations: does the face match the
+`feel' of the work and is the face consistent with the period of the 
+work? 
+
+    The latter consideration is effectively a historical one. If you are
+resetting a work that was originally published in the 1800's don't
+use a twentieth century typeface, and certainly not a sans serif. On the
+other hand using blackletter for setting a twentieth century novel, 
+even a gothic one, is not a good idea even apart from the legibility and
+readability factors.
+
+    The `feel' question is somewhat harder, partly depending on the 
+presumed
+sensibilities of the reader. If the work is about aspects of Italian
+life then perhaps a light and quick Italian typeface would be 
+preferable to a stolid English face. If it is a scientific work then
+a clean and precise face would perhaps fit the bill. Technical
+works often use analphabetic symbols, such as mathematical, chemical, or 
+astrological symbols. Try and use a face that includes those symbols
+that you need or, failing that, try and find complementary typefaces
+that cover the range you need. The same applies if the work is 
+multilingual, and especially if it involves different scripts
+like, say, Latin and Greek; try and find matching faces, or at least 
+typefaces that don't clash with each other.
+
+
 \subsection{Widows and orphans}
 
     Inconvenient page breaks can also cause a hiatus in the reader's perusal
@@ -4115,7 +5938,7 @@ have tried to print the page.
 some elements, principally those in the \pixfrontmatter\ and \pixbackmatter\ 
 may be treated slightly differently than the main body. 
 
-    Much of this chapter is based my interpretation of my namesake's 
+    Much of this chapter is based on my interpretation of my namesake's 
 work~\cite{ADRIANWILSON93} and the \btitle{Chicago Manual of Style}~\cite{CMS}.
 
 \section{\prFrontmatter}
@@ -4153,7 +5976,7 @@ the half-title\index{half-title page}\index{page!half-title} page.
     The traditional place for a frontispiece\index{frontispiece}, 
 which may be the only
 illustration in the book, is facing the title page. Every attempt must be
-made to make the resulting double spread hamonious.
+made to make the resulting double spread harmonious.
 
 \subsection{Copyright page}
 
@@ -4188,7 +6011,7 @@ is treated like a chapter opening, and commences on a recto page.
     If there are any acknowledgements\index{acknowledgements} and they 
 require only a few sentences then they are often put at the end of the 
 preface\index{preface}, if there is one. Otherwise the acknowledgements
-shoud be treated as a distinct unit, like a foreword or preface, and commence
+should be treated as a distinct unit, like a foreword or preface, and commence
 on a recto page.
 
 \subsection{Contents and illustration lists}
@@ -4353,7 +6176,7 @@ three points, should be inserted and below the extract.
 Jan Tschichold~\cite{TSCHICHOLD91} and 
 Emerson Wulling~\cite{WULLING-FOOTNOTES}.
 
-    Footnotes\index{footnote} are ancilliary the the main material and 
+    Footnotes\index{footnote} are ancilliary to the main material and 
 expand in some way
 upon the current theme. For instance, remarks that are too large or off the
 main thread, or some side comment by the author, may be sunk to a footnote 
@@ -4362,11 +6185,11 @@ bottom of a page but, if it is long or space is short, may run over to a
 second, or even a third page. A footnote should have some immediate 
 relevance to the reader.
 
-Endnotes\index{endnote}, which are collected together at the end of the 
+Endnotes\index{endnotes}, which are collected together at the end of the 
 document, include 
 material similar to that in footnotes, but which is not of immediate interest.
-If you use endnotes it is safe to assume that only a small percentage
-of your readers will ever correlate them with the text.
+If you use an endnote\index{endnote} it is safe to assume that only a small 
+percentage of your readers will ever correlate it with the text.
  
     Within the text the presence of a footnote is indicated by a raised 
 `reference mark'\index{reference mark} following the
@@ -4377,7 +6200,7 @@ symbol or a number. For illustrative purposes I'm using symbols
 as markers in this section.
 
    If there are many footnotes then it is convenient for the reader if numbers 
-are used for the marks\index{footnote!mark} The numbering may be continuous 
+are used for the marks\index{footnote!mark}. The numbering may be continuous 
 throughout the document,
 or start afresh with each chapter; starting anew on each page may lead to
 some confusion. When there is only an occasional footnote then symbols 
@@ -4419,7 +6242,7 @@ text.
 
    Endnotes may be set in the same font font as the main text, but usually in
 the same size\index{endnote!font size} as for footnotes.\footnote{That is, two
-sizes smaller than the main text,but with the same leading.} 
+sizes smaller than the main text, but with the same leading.} 
 
    Endnotes may be grouped at the end of each chapter or collected together
 towards the end of the document. If the latter, then they should be presented
@@ -4594,8 +6417,8 @@ is used for both, then uppercase for acts and lowercase for scenes.
 identifiable and stand apart from the speech. Names are commonly set in a 
 different font, such as small caps or italic, to the text which is usually set
 in roman. They may be placed on a separate line, where they are most easily
-identifiable, of, to save space, in the margin. The names are often abbreviated,
-and if so the abbreviations must be cinsisten throughout the work.
+identifiable, or , to save space, in the margin. The names are often abbreviated,
+and if so the abbreviations must be consistent throughout the work.
 
     Stage directions\index{play!stage directions}\index{stage directions} have to
 be differentiated from the text. They are usually set in italics and enclosed
@@ -4748,6 +6571,71 @@ next line instead of the next word. \par
 \end{figure}
 \setlength{\unitlength}{1pt}
 
+\PWnote{2009/03/31}{Added section on letterspacing}
+\section{Letterspacing}
+\index{letterspacing|(}
+
+    \emph{Letterspacing} is the insertion of spaces between the letters
+of a word.
+    Frederick\index{Goudy, Frederick} Goudy (1865--1947), a very respected 
+American typographer and type designer, is said to have been fond of saying, 
+`A man who would letterspace lower case letters would steal sheep!' Writing
+in 1999 Robert\index{Bringhurst, Robert} Bringhurst~\cite[p. 31]{BRINGHURST99}
+felt that to bring this dictum to modern times it was simply necessary to 
+add that `A woman who would letterspace lower case would also steal sheep.'
+
+    Letterspacing is usually restricted to titles composed of upper case
+letters with the intent of making the spaces between the letters visually
+equal. Figure~\ref{fig:spacecaps} shows the word `HISTORY' with various 
+amounts of interletter spacings. With no extra spacing it looks cramped 
+compared with the spaced versions. Versions with uniform spacing of thin
+(0.167em) and hair (0.1em) spaces are much improved. However, the spacing
+of the letters `H', `I' and `S' leave something to be desired, and is
+especially noticeable in the version with thin spaces. Lastly a version
+with varied interletter spacing is shown which is optically balanced; the 
+spaces in this case are 0.09em, 0.12em,0.1em, 0.1em, 0.07em and 0.1em. The 
+difference between this and the uniformly hair-spaced version is subtle. 
+Different letter combinations and different fonts will require different 
+amounts of spaces.
+
+    Figure~\ref{fig:spacesmallcaps} shows similar results for the same word
+set in small caps instead of regular caps. In general you might find that 
+if you do letterspace then uniform spacing is adequate for small caps.
+
+
+\begin{figure}
+\centering
+\begin{tabular}{>{\Large}ll}
+HISTORY & without letter spacing \\
+H\,I\,S\,T\,O\,R\,Y & thin space between each letter \\
+H\kern0.1em I\kern0.1em S\kern0.1em T\kern0.1em O\kern0.1em R\kern0.1em Y & hair space between each letter \\
+H\kern0.09em I\kern0.12em S\kern0.1em T\kern0.1em O\kern0.07em R\kern0.1em Y & visually spaced \\
+
+\end{tabular}
+\caption{Letterspacing: uppercase letters} \label{fig:spacecaps}
+\end{figure}
+
+\begin{figure}
+\centering
+\begin{tabular}{>{\Large\scshape}ll}
+history & without letter spacing \\
+h\,i\,s\,t\,o\,r\,y & thin space between each letter \\
+h\kern0.1em i\kern0.1em s\kern0.1em t\kern0.1em o\kern0.1em r\kern0.1em y & hair space between each letter \\
+h\kern0.09em i\kern0.12em s\kern0.1em t\kern0.1em o\kern0.07em r\kern0.1em y & visually spaced \\
+\end{tabular}
+
+\caption{Letterspacing: small caps}\label{fig:spacesmallcaps}
+\end{figure}
+
+    There can be occasions, as with emphasis with fraktur fonts, when 
+letterspacing lower case will not get you hung for sheep stealing. These,
+typically, are when dealing with some sans fonts such as a bold condensed
+Univers. But be very careful. Italics should never be letterspaced as they
+come from the handwriting tradition of `joined up letters', as my 
+kindergarten teacher used to call them.
+
+\index{letterspacing|)}
+
 \section{Abbreviations and acronyms}
 
 \index{abbreviation}
@@ -4846,7 +6734,7 @@ Mr --------- was not a Fredericktonian.
     Quotation marks surrounding speech and associated punctuation 
 are a fruitful source of confusion.
 
-    The American style is to use double quotes at the start(``) and 
+    The American style is to use double quotes at the start (``) and 
 end ('') of spoken words. If the speaker quotes in the speech then single
 quote marks (` and ') are used to delineate the internal quotation\index{quotation}.
 
@@ -5113,7 +7001,8 @@ characters are slightly larger than normal, which is not the case.
 
     With the range of fonts and sizes available when typesetting there
 are other methods for emphasis, although German typographers have used
-letterspacing\index{letterspacing} for emphasis with the fraktur and other similar font types.
+letterspacing\index{letterspacing} for emphasis with the fraktur and other 
+similar font types.
 
     There are basically three aproaches: 
 change the {\large size} of the font;
@@ -5430,7 +7319,7 @@ as each entry is typically short. Also, indexes are typically
 consulted
 for a particular entry rather than being read as continuous text. To help
 the eye, page numbers are normally typeset immediately after the 
-the name of the indexed topic, so indexes tend to be 
+name of the indexed topic, so indexes tend to be 
 naturally raggedright\indextwo{index}{raggedright} as a matter of reader 
 convenience.
 
@@ -5460,8 +7349,8 @@ that could be done. The other way of emphasising something was to
 put extra space between the characters of the w\,o\,r\,d being
 e\,m\,p\,h\,a\,s\,i\,s\,e\,d, as has been done twice in this sentence
 (for the words `word' and `emphasised' in case you didn't spot them).
-This is called \emph{letterspacing}\index{letterspacing}; it is more often 
-used to make fine adjustments to the physical spacing between letters in a book
+Letterspacing\index{letterspacing} is usually confined to making fine adjustments to the 
+physical spacing between letters in a book
 title in order to make them appear to be optically uniformly spaced. 
 As an aside, for me at least, that extra spacing just now produces the 
 illusion that the
@@ -5914,7 +7803,7 @@ The default type size\indextwo{default}{type size} is \Lopt{10pt}.
 
     Options greater than \Lopt{17pt} or \Lopt{20pt} are of little use unless
 you are using scalable fonts --- the regular Computer 
-Modern\index{Computer Modern} bitmap fonts only go up
+Modern\facesubseeidx{Computer Modern} bitmap fonts only go up
 to 25pt. The option \Lopt{extrafontsizes} indicates that you will be using
 scalable fonts that can exceed 25pt. By default this option makes 
 Latin Modern in the \texttt{T1} encoding as the default font (normally
@@ -5923,12 +7812,13 @@ Computer Modern in the \texttt{OT1} encoding is the default).
 \subsection{Extended font sizes}
 
     By default, if you use the \Lopt{extrafontsizes} option the default
-font for the document is Latin Modern in the \texttt{T1} font encoding.
+font for the document is Latin Modern\facesubseeidx{Latin Modern} 
+in the \texttt{T1} font encoding.
 This is like putting 
 \begin{lcode}
 \usepackage{lmodern}\usepackage[T1]{fontenc}
 \end{lcode}
-in the documents's premable (but with the \Lopt{extrafontsizes} option
+in the documents's preamble (but with the \Lopt{extrafontsizes} option
 you need not do this). 
 
 \begin{syntax}
@@ -5954,9 +7844,11 @@ package to be used to implement the font. The internal definitions are:
 \providecommand*{\memfontenc}{T1}
 \providecommand*{\memfontpack}{lmodern}
 \end{lcode}
-which result in the \texttt{lmr} font (Latin Modern) in the \texttt{T1} 
+which result in the \texttt{lmr} font 
+(Latin Modern)\facesubseeidx{Latin Modern}  in the \texttt{T1} 
 encoding as the default font, which is implemented by the \Lpack{lmodern}
-package. If you want a different default, say New Century Schoolbook 
+package. If you want a different default, say 
+New Century Schoolbook\facesubseeidx{New Century Schoolbook}
 (which comes in the \texttt{T1} encoding), then 
 \begin{lcode}
 \newcommand*{\memfontfamily}{pnc}
@@ -5984,7 +7876,7 @@ size, and also tell \Mname\ the name of the file. \emph{Before} the
    \Popt{*pt} class option (default \texttt{mem}).}
   
 When it comes time to get the font size and spacing information \Mname\
-will try and input a file called \verb?\anypfilebase\anyptsize.clo? which
+will try and input a file called \verb?\anyptfilebase\anyptsize.clo? which
 you should have made available; the \cmd{\anyptsize} \meta{num} must be an
 integer.\footnote{If it is not an integer then \tx\ could get confused
 as to the name of the file --- it normally expects there to be only one
@@ -6155,7 +8047,7 @@ the default options.
 region of the file between the \cmd{\documentclass} command and the start
 of the \Ie{document} environment is called the 
 \emph{preamble}\index{preamble}. This is where you ask for external packages
-and define you own macros if you feel so inclined.
+and define your own macros if you feel so inclined.
 
 \begin{syntax}
 \cmd{\flushbottom} \cmd{\raggedbottom} \\
@@ -6179,7 +8071,7 @@ introduced when the page might run short. In order to maintain a constant
 height it may stretch or shrink some vertical spaces 
 (e.g., between paragraphs\index{paragraph}, around headings\index{heading} or 
  around floats\index{float} or other inserts like displayed maths).
-This may have a deleterious affect on the color\index{page color} 
+This may have a deleterious effect on the color\index{page color} 
 of some pages. 
 % Serendipitously this has happened on \pref{chap:lpage} where
 % there is additional space between the paragraphs\index{paragraph} (caused by the next sectional
@@ -6494,15 +8386,15 @@ rectangular with the height greater than the width.
 
 Table~\ref{tab:cmrlengths} gives the lowercase 
 alphabet\index{alphabet length} lengths for 
-some typefaces over a range font sizes; this may be used in conjunction
+some typefaces over a range of font sizes; this may be used in conjunction
 with \tref{tab:copyfitting} on \pref{tab:copyfitting} when deciding
 on an appropriate textwidth\index{textwidth}. I have grouped the 
 listed typefaces into roman, sans-serif, and monospaced, and they are 
 all available in a standard \ltx\ system. The 
-Computer Modern\index{Computer Modern Roman}\index{Computer Modern},
-Concrete Roman\index{Concrete Roman},
-Computer Sans\index{Computer Modern Sans},
-and Typewriter\index{Computer Modern Typewriter}
+Computer Modern Roman\facesubseeidx{Computer Modern},
+Concrete Roman\facesubseeidx{Concrete Roman},
+Computer Sans\facesubseeidx{Computer Sans},
+and Typewriter\facesubseeidx{Computer Typewriter}
 typefaces\index{typeface} were all designed by Donald Knuth 
 using\index{font!Metafont} 
 \metafont, specifically for use with \tx. The other font families are
@@ -6515,24 +8407,24 @@ that is, they were designed to work together and complement each other ---
 while the listed \pscript{}
 fonts\index{font!PostScript} were designed by different people at different 
 times and for different purposes. Bringhurst~\cite[p. 96]{BRINGHURST99}
-memorably says `Baskerville\index{Baskerville}, 
-Helvetica\index{Helvetica}, 
-Palatino\index{Palatino} and 
-Times Roman\index{Times Roman}, 
+memorably says `Baskerville\facesubseeidx{Baskerville}, 
+Helvetica\facesubseeidx{Helvetica}, 
+Palatino\facesubseeidx{Palatino} and 
+Times Roman\facesubseeidx{Times Roman}, 
 for example --- which are four of the most widely available 
 typefaces --- are four faces with nothing to offer one another except
 public disagreement'.
 
 
     The monospaced\index{font!monospaced}\index{monospaced font} fonts, 
-Courier\index{Courier} and Typewriter\index{Typewriter}
+Courier\facesubseeidx{Courier} and Typewriter\facesubseeidx{Typewriter}
 have no place in high quality typesetting except when typesetting computer
 code or the like, or when trying to fake text written on a real typewriter.
 Ignoring these, a quick glance at the \tablerefname{} shows that 
-Bookman\index{Bookman} is a broad font while 
-Times\index{Times} is narrow as befits its original 
+Bookman\facesubseeidx{Bookman} is a broad font while 
+Times\facesubseeidx{Times Roman} is narrow as befits its original 
 design intent for typesetting narrow columns in newspapers. 
-Computer Modern\index{Computer Modern}
+Computer Modern\facesubseeidx{Computer Modern}
 tends towards the narrow end of the range.
 
 
@@ -6617,82 +8509,35 @@ commands\index{packages before class} before
 
 
 
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\begin{comment}
-\begin{table}
-\centering
-\caption{Length of CMR lowercase alphabets}\label{tab:cmrlengths}
-\begin{tabular}{rr}\hline
-\multicolumn{1}{c}{Font} & \multicolumn{1}{c}{Length} \\
-\multicolumn{1}{c}{size} & \multicolumn{1}{c}{(points)} \\ \hline
-5 pt & 87 \\
-6 pt & 94 \\
-7 pt & 102 \\
-8 pt & 108 \\
-9 pt & 118 \\
-10 pt & 128 \\
-11 pt & 140 \\
-12 pt & 150 \\
-14 pt & 184 \\
-17 pt & 202 \\
-20 pt & 265 \\
-25 pt & 317 \\ 
-\hline
-\end{tabular}
-\end{table}
-\end{comment}
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\begin{comment}
-\begin{table}
-\centering
-\caption{Lowercase alphabet lengths in picas}\label{tab:cmrlengths}
-%\begin{tabular}{lrrrrrrrr} \hline
-\begin{tabular}{lrrrrrrrr} \toprule
-                                            &  8pt &  9pt & 10pt & 11pt & 12pt & 14pt & 17pt & 20pt \\ \midrule
-\fontfamily{pbk}\selectfont Bookman         &  9.4 & 10.6 & 11.8 & 12.9 & 14.2 & 17.0 & 20.4 & 24.5 \\
-\fontfamily{bch}\selectfont Charter         &  8.5 &  9.6 & 10.6 & 11.6 & 12.7 & 15.3 & 18.4 & 22.0 \\
-\fontfamily{cmr}\selectfont Computer Modern &  9.0 &  9.8 & 10.6 & 11.6 & 12.4 & 15.0 & 16.8 & 20.2 \\
-\fontfamily{ccr}\selectfont Concrete Roman  &  9.1 &  9.9 & 10.7 & 11.7 & 12.8 & 15.4 & 18.5 & 22.2 \\
-\fontfamily{pnc}\selectfont New Century     &  9.0 & 10.2 & 11.3 & 12.4 & 13.5 & 16.2 & 19.5 & 23.4 \\ 	
-\fontfamily{ppl}\selectfont Palatino        &  8.9 & 10.0 & 11.1 & 12.2 & 13.3 & 16.0 & 19.2 & 23.0 \\ 	
-\fontfamily{ptm}\selectfont Times           &  8.0 &  9.0 & 10.0 & 10.9 & 11.9 & 14.3 & 17.2 & 20.6 \\
-%%% \fontfamily{put}\selectfont Utopia          &  8.9 & 10.0 & 11.2 & 12.2 & 13.4 & 16.1 & 19.3 & 23.1 \\
-\fontfamily{pag}\selectfont Avantgard       &  9.4 & 10.6 & 11.8 & 12.9 & 14.1 & 16.9 & 20.3 & 24.4 \\
-\fontfamily{cmss}\selectfont Computer Sans  &  8.5 &  9.2 & 10.0 & 10.9 & 11.7 & 14.0 & 16.1 & 19.4 \\
-\fontfamily{phv}\selectfont Helvetica       &  8.5 &  9.5 & 10.6 & 11.6 & 12.7 & 15.3 & 18.3 & 22.0 \\
-\fontfamily{pcr}\selectfont Courier         & 10.4 & 11.7 & 13.0 & 14.2 & 15.6 & 18.7 & 22.5 & 27.0 \\
-\fontfamily{cmtt}\selectfont Typewriter     &  9.2 & 10.2 & 11.4 & 12.4 & 13.4 & 16.0 & 19.3 & 23.1 \\
-\bottomrule
-\end{tabular}
-\end{table}
-\end{comment}
-%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
 
+\PWnote{2009/04/01}{Fixed errors in lowercase alphabet lengths for Utopia (2) and Avantgarde (1)}
+\PWnote{2009/04/28}{Corrected font names of Avant Garde Gothic, Times Roman,
+   New Century Schoolbook}
 \begin{table}
 \centering
-\caption{Lowercase alphabet lengths in points}\label{tab:cmrlengths}
+\caption{Lowercase alphabet lengths, in points, for various fonts}\label{tab:cmrlengths}
 \begin{tabular}{lrrrrrrrr} \toprule
                                             & 8pt & 9pt & 10pt & 11pt & 12pt & 14pt & 17pt & 20pt \\ \midrule
 \fontfamily{pbk}\selectfont Bookman         & 113 & 127 & 142 & 155 & 170 & 204 & 245 & 294 \\
 \fontfamily{bch}\selectfont Charter         & 102 & 115 & 127 & 139 & 152 & 184 & 221 & 264 \\
 \fontfamily{cmr}\selectfont Computer Modern & 108 & 118 & 127 & 139 & 149 & 180 & 202 & 242 \\
 \fontfamily{ccr}\selectfont Concrete Roman  & 109 & 119 & 128 & 140 & 154 & 185 & 222 & 266 \\
-\fontfamily{pnc}\selectfont New Century     & 108 & 122 & 136 & 149 & 162 & 194 & 234 & 281 \\ 	
+\fontfamily{pnc}\selectfont New Century Schoolbook     & 108 & 122 & 136 & 149 & 162 & 194 & 234 & 281 \\ 	
 \fontfamily{ppl}\selectfont Palatino        & 107 & 120 & 133 & 146 & 160 & 192 & 230 & 276 \\ 	
-\fontfamily{ptm}\selectfont Times           &  96 & 108 & 120 & 131 & 143 & 172 & 206 & 247 \\
-\fontfamily{put}\selectfont Utopia          & 107 & 120 & 107 & 146 & 146 & 193 & 232 & 277 \\
-\fontfamily{pag}\selectfont Avantgard       & 113 & 127 & 142 & 155 & 169 & 193 & 243 & 293 \\
+\fontfamily{ptm}\selectfont Times Roman     &  96 & 108 & 120 & 131 & 143 & 172 & 206 & 247 \\
+\fontfamily{put}\selectfont Utopia          & 107 & 120 & 134 & 146 & 161 & 193 & 232 & 277 \\
+\fontfamily{pag}\selectfont Avant Garde Gothic  & 113 & 127 & 142 & 155 & 169 & 203 & 243 & 293 \\
 \fontfamily{cmss}\selectfont Computer Sans  & 102 & 110 & 120 & 131 & 140 & 168 & 193 & 233 \\
 \fontfamily{phv}\selectfont Helvetica       & 102 & 114 & 127 & 139 & 152 & 184 & 220 & 264 \\
 \fontfamily{pcr}\selectfont Courier         & 125 & 140 & 156 & 170 & 187 & 224 & 270 & 324 \\
 \fontfamily{cmtt}\selectfont Typewriter     & 110 & 122 & 137 & 149 & 161 & 192 & 232 & 277 \\
 \bottomrule
-\index{Bookman}\index{Charter}\index{Computer Modern}\index{Concrete Roman}%
-\index{New Century}\index{Palatino}\index{Times}\index{Utopia}%
-\index{Avantgard}\index{Computer Sans}\index{Helvetica}\index{Courier}%
-\index{Typewriter}%
+\facesubseeidx{Bookman}\facesubseeidx{Charter}\facesubseeidx{Computer Modern}%
+\facesubseeidx{Concrete Roman}\facesubseeidx{New Century Schoolbook}
+\facesubseeidx{Palatino}\facesubseeidx{Times Roman}\facesubseeidx{Utopia}%
+\facesubseeidx{Avant Garde Gothic}\facesubseeidx{Computer Sans}
+\facesubseeidx{Helvetica}\facesubseeidx{Courier}%
+\facesubseeidx{Computer Typewriter}%
 \end{tabular}
 \end{table}
 
@@ -6755,7 +8600,7 @@ margin\index{margin!upper} is less than the lower margin\index{margin!lower}
 so the typeblock\index{typeblock!location} is not vertically centered.
 
     Two methods are provided for setting the horizontal dimensions on a page.
-One is where the width the width of the typeblock\index{typeblock!width} 
+One is where the width of the typeblock\index{typeblock!width} 
 is fixed and the margins\index{margin} are adjustable. 
 The other method is where the size of the margins\index{margin} determines 
 the width of the typeblock\index{typeblock!width}.
@@ -6894,8 +8739,23 @@ will do it:
     \setlrmarginsandblock{*}{1in}{*}   
 \end{lcode}
 
+\begin{syntax}
+\cmd{\setbinding}\marg{length} \\
+\end{syntax}
+\glossary(setbinding)%
+  {\cs{setbinding}\marg{length}}%
+  {Adds a binding allowance to the spine margin.}
+In some cases, for example when doing a Japanese stab binding, it may be 
+desireable to add a small allowance\index{binding allowance} 
+to the spine margin for the binding.
+You can use the command \cmd{\setbinding} for this purpose. It decreases the
+effective page width by \meta{length} and later this length will be added
+on to the spine margin, thus restoring the page width to its original value.
+If you use \cmd{\setbinding} than it must be \emph{after} setting the page 
+width and \emph{before} setting the spine and fore-edge margins.
+
     That completes the methods for specifying the horizontal spacings. There 
-are similar commmands for setting the vertical spacings which are 
+are similar commands for setting the vertical spacings which are 
 described below.
 
 \begin{syntax}
@@ -6919,7 +8779,7 @@ and $P_{h}$ and $B_{h}$ being the
 \emph{height} of the page\index{page!height} and 
 typeblock\index{typeblock!height}, respectively, 
 the results are shown in \tref{tab:ulmargins}.
-The \cmd{\setlrmargins} command maintains the relationship
+The \cmd{\setulmargins} command maintains the relationship
 \begin{displaymath}
 U + L = K_{h}  = \textrm{constant} \mbox{\space} (= P_{h} - B_{h}).
 \end{displaymath}
@@ -7172,6 +9032,8 @@ is along these lines:
 \item Decide on the size of the typeblock\indextwo{typeblock}{size} and 
       use \cmd{\settypeblocksize}\index{typeblock!specifying size}
       to specify the values of \lnc{\textheight} and \lnc{\textwidth}.
+\item If you need a binding\index{binding allowance} allowance, 
+      now is the time for \cmd{\setbinding}.
 \item Pick the value for the spine margin\index{margin!spine}, and use 
      \cmd{\setlrmargins}\index{margin!specifying size}
       to set the values for the \lnc{\spinemargin} and \lnc{\foremargin}.
@@ -7371,7 +9233,8 @@ the following in a page layout specification:
 \settypeblocksize{41\baselineskip + \topskip}{33pc}{*}
 \end{lcode}
 
-    The \cmd{\fixthelayout} macro finally implements the layout 
+    The \cmd{\fixthelayout} macro finally implements the layout,
+making due adjustement for any binding\index{binding allowance} allowance,
 and calculates the values for all the standard \ltx\ layout 
 parameters\index{page layout!LaTeX parameters?\ltx\ parameters}.
 If you have used the class macros to change
@@ -7806,9 +9669,9 @@ stock.
 ...
 \checkandfixthelayout
 \end{lcode}
-The macros position the page at the left of the stock because usually trimming
-of the stock is limited to the top, right, and bottom, the left being the 
-spine when the pages are finally assembled. To reposition the page to
+The above macros position the page at the left of the stock because usually 
+trimming of the stock is limited to the top, right, and bottom, the left 
+being the spine when the pages are finally assembled. To reposition the page to
 the center of the stock the following will halve the top and edge
 trims.
 \begin{lcode}
@@ -7817,6 +9680,45 @@ trims.
 \checkandfixthelayout
 \end{lcode}
 
+\begin{syntax}
+\cmd{\setpagetm}\marg{height}\marg{width}\marg{ratio} \\
+\cmd{\setpagetr}\marg{height}\marg{width}\marg{ratio} \\
+\cmd{\setpagemr}\marg{height}\marg{width}\marg{ratio} \\
+\cmd{\setpagebr}\marg{height}\marg{width}\marg{ratio} \\
+\cmd{\setpagebm}\marg{height}\marg{width}\marg{ratio} \\
+\cmd{\setpagecc}\marg{height}\marg{width}\marg{ratio} \\
+\end{syntax}
+\glossary(setpagetm)%
+  {\cs{setpagetm}\marg{height}\marg{width}\marg{ratio}}%
+  {Specifies a page of the given dimensions positioned at the top middle
+   of the stock; see \cs{settrimmedsize}.}
+\glossary(setpagetr)%
+  {\cs{setpagetr}\marg{height}\marg{width}\marg{ratio}}%
+  {Specifies a page of the given dimensions positioned at the top right
+   of the stock; see \cs{settrimmedsize}.}
+\glossary(setpagemr)%
+  {\cs{setpagemr}\marg{height}\marg{width}\marg{ratio}}%
+  {Specifies a page of the given dimensions positioned at the middle right
+   of the stock; see \cs{settrimmedsize}.}
+\glossary(setpagebr)%
+  {\cs{setpagebr}\marg{height}\marg{width}\marg{ratio}}%
+  {Specifies a page of the given dimensions positioned at the bottom right
+   of the stock; see \cs{settrimmedsize}.}
+\glossary(setpagebm)%
+  {\cs{setpagebm}\marg{height}\marg{width}\marg{ratio}}%
+  {Specifies a page of the given dimensions positioned at the bottom middle
+   of the stock; see \cs{settrimmedsize}.}
+\glossary(setpagecc)%
+  {\cs{setpagecc}\marg{height}\marg{width}\marg{ratio}}%
+  {Specifies a page of the given dimensions positioned at the center
+   of the stock; see \cs{settrimmedsize}.}
+
+    The commands \cmd{\setpagetm}, \cmd{\setpagetr}, \cmd{\setpagemr},
+\cmd{\setpagebr}, \cmd{\setpagebm}, \cmd{\setpagecc} are analagous to the
+earlier ones and they set a page at the top middle, top right, middle right,
+bottom right, bottom middle and centered with respect to the stock.
+
+
 Remember that after you have finished defining the layout you want you
 have to call \cmd{\checkandfixthelayout} for all the changes to take
 effect.
@@ -7828,7 +9730,7 @@ effect.
 \chapter{Text and fonts}
 
     Presumably you will be creating a document that contains at least some
-text. This chapter talks a little about the kinds of fonts that you might
+text. In this chapter I talk a little about the kinds of fonts that you might
 use and how text appears on a page.
 
 
@@ -7845,10 +9747,10 @@ program~\cite{METAFONT,CM}\index{metafont?\metafont}
 and are in the form of bitmaps\index{bitmap}
 (i.e., each character is represented as a bunch of tiny dots). Fonts of
 this kind are called \emph{bitmap fonts}\indextwo{bitmap}{font}.
- There is also a wide range of \metafont{} fonts, created by many others, 
-available in addition to the standard set.  More modern
-digital fonts, such as \pscript\index{font!PostScript} or 
-TrueType\index{font!TrueType} fonts are represented in terms
+ There is also a wide range of \metafont{} fonts available, created by 
+many others, in addition to the standard set.  More modern
+digital fonts, such as \pscript\indexsupsubmain{font}{PostScript} or 
+TrueType\indexsupsubmain{font}{TrueType} fonts are represented in terms
 of the curves outlining the character, and it is the job of the printing
 machine to fill in the outlines (with a bunch of tiny dots). Fonts of
 this type are called \emph{outline fonts}\indextwo{outline}{font}.
@@ -7858,19 +9760,302 @@ are designed for a particular display resolution and cannot reasonably
 be scaled to match an arbitrary display device, whereas outline fonts can be 
 scaled before they are physically displayed.
 
-    There is an excessive number of \pscript{} and TrueType fonts available 
-and these can all, with a little bit of work, be used with \ltx. How to do
+\PWnote{2009/04/27}{Extended the font use/installation references}
+    There is an excessive number of \pscript\indexsupsubmain{font}{PostScript}
+and TrueType\indexsupsubmain{font}{TrueType}
+fonts available 
+and these can all, with some amount of effort, be used with \ltx. How to do
 that is outside the scope of this work; Alan Hoenig has written an excellent
-book on the subject~\cite{HOENIG98}. There is less detailed, but free, 
+book on the subject~\cite{HOENIG98} and there is the invaluable 
+\btitle{The \ltx\ Companion} \cite[Chapter 7 Fonts and Encodings]{COMPANION}. 
+The original \btitle{The \ltx\ Graphics Companion} had chapters on PostScript
+fonts and tools but these were dropped in the second edition to keep it below
+an overwhelming size. This material has been updated and is available
+free from \url{http://xml.cern.ch/lgc2}; you can also get a 
+`work in progress'\pagenote[`work in progress']{\pixxetx\ enables you to 
+use Opentype fonts with \ltx, and supports both left-to-right and 
+right-to-left typesetting. It has become very popular with those involved
+in linguistics and non-Latin scripts.}
+about \pixxetx, Unicode\index{Unicode}, and 
+Opentype\indexsupsubmain{font}{Opentype}
+fonts from the same source. 
+There is less detailed, but also free, 
 information available via \pixctan, for example Philipp Lehman's 
 \textit{Font Installation Guide}~\cite{FONTINST}; even if you are not 
 interested in
-installing \pscript{} fonts this is well worth looking at just as an
+installing \pscript\ fonts this is well worth looking at just as an
 example of the kind of elegant document that can be achieved with \ltx.
 If you choose one of the popular
-\pscript{} fonts, such as those built into \pscript{} printers, you may 
+\pscript\indexsupsubmain{font}{PostScript} fonts, such as those built 
+into \ixpscript\ printers, you may 
 well find that the work has been done for you and it's just a question
-of using the appropriate package. 
+of using the appropriate 
+package.%
+\pagenote[using the appropriate package]{I have found Christopher
+League's\index{League, Christopher} \textit{\tx\ support for the FontSite
+500 CD}, obtainable from \url{http:contrapunctus.net/fs500tex}, 
+extremely useful in providing packages for a wide range of 
+\pscript\indexsupsubmain{font}{PostScript} fonts for me to use. You do have 
+to buy a CD containing the sources of the fonts from FontSite
+(\url{http://www.fontsite.com}); it cost me
+a total of \$37.12, including taxes and shipping, in 2002 for 512 
+\pscript\ and TrueType\indexsupsubmain{font}{TrueType} professional
+quality fonts that are legal and very reasonably priced.
+
+    Many of the fonts fall into the Decorative/Display category but the book
+fonts include:
+\begin{description}
+
+\item[Blackletter]\typesubidx{Blackletter}
+Alte Schwabacher\facesubseeidx{Alte Schwabacher},
+Engravers Old English\facesubseeidx{Engravers Old English},
+Fette Fraktur\facesubseeidx{Fette Fraktur},
+Fette Gotisch\facesubseeidx{Fette Gotisch}, and
+Olde English\facesubseeidx{Olde English}.
+
+\item[Uncial/Mediaeval]\typesubidx{Uncial}\typesubidx{Mediaeval}
+American UncialXX{American Uncial},
+Linden\facesubseeidx{Linden}, and
+Rosslaire\facesubseeidx{Rosslaire}.
+
+\item[Geralde/Venetian]\typesubidx{Geralde}\typesubidx{Venetian}
+Bergamo\facesubseeidx{Bergamo} (also known as Bembo\facesubseeidx{Bembo}),
+Caslon\facesubseeidx{Caslon}, 
+Garamond\facesubseeidx{Garamond}, 
+Goudy Old Style\facesubseeidx{Goudy Old Style},
+Jenson Recut\facesubseeidx{Jenson Recut} (also known as Centaur\facesubseeidx{Centaur}),
+URW Palladio\facesubseeidx{URW Palladio} (also known as Palatino\facesubseeidx{Palatino}),
+Savoy\facesubseeidx{Savoy} (also known as Sabon\facesubseeidx{Sabon}),
+Schnittger\facesubseeidx{Schnittger},
+University Old Style\facesubseeidx{University Old Style}, and
+Vendome\facesubseeidx{Vendome}.
+
+\item[Transitional]\typesubidx{Transitional}
+URW Antiqua\facesubseeidx{URW Antiqua}, 
+Baskerville\facesubseeidx{Baskerville},
+Century Old Style\facesubseeidx{Century Old Style},
+ATF Clearface\facesubseeidx{ATF Clearface},
+English Serif\facesubseeidx{English Serif},
+Jessica\facesubseeidx{Jessica} (also known as Joanna\facesubseeidx{Joanna}),
+Lanston Bell\facesubseeidx{Lanston Bell},
+New Baskerville\facesubseeidx{New Baskerville}, and
+Nicholas Cochin\facesubseeidx{Nicholas Cochin}.
+
+\item[Modern/Didone]\typesubidx{Modern}\typesubidx{Didone}
+Basel\facesubseeidx{Basel} (also known as Basilia\facesubseeidx{Basilia}),
+Bodoni\facesubseeidx{Bodoni},
+Modern\facesubseeidx{Modern}, and
+Walbaum\facesubseeidx{Walbaum}.
+
+\item[Free Form]\typesubidx{Free Form}
+Barbedour\facesubseeidx{Barbedour},
+Bernhard Modern\facesubseeidx{Bernhard Modern},
+Della Robbia\facesubseeidx{Della Robbia},
+Engravers Litho\facesubseeidx{Engravers Litho},
+Flanders\facesubseeidx{Flanders}, and
+Lydian\facesubseeidx{Lydian}.
+
+\item[Sans Serif]\typesubidx{Sans Serif}
+There are over 20 in this category but some of the ones I am most familiar
+with are: 
+Chantilly\facesubseeidx{Chantilly} (also known as Gill Sans\facesubseeidx{Gill Sans}),
+Franklin Gothic\facesubseeidx{Franklin Gothic},
+Function\facesubseeidx{Function} (also known as  Futura\facesubseeidx{Futura}),
+Lanston Koch\facesubseeidx{Lanston Koch},
+News Gothic\facesubseeidx{News Gothic},
+Opus\facesubseeidx{Opus} (also known as Optima\facesubseeidx{Optima}),
+Struktor\facesubseeidx{Struktor} (also known as Syntax\facesubseeidx{Syntax}), and
+Unitus\facesubseeidx{Unitus} (also known as Univers\facesubseeidx{Univers}).
+
+\item[Slab Serif]\typesubidx{Slab Serif}
+Cheltenham\facesubseeidx{Cheltenham},
+Clarendon\facesubseeidx{Clarendon},
+Egyptian\facesubseeidx{Egyptian},
+Glytus\facesubseeidx{Glytus} (also known as Glypha\facesubseeidx{Glypha}),
+URW Latino\facesubseeidx{URW Latino} (also known as Melior\facesubseeidx{Melior}),
+Litho Antique\facesubseeidx{Litho Antique},
+Serific\facesubseeidx{Serific} (also known as Serifa\facesubseeidx{Serifa}).
+
+\item[Script]\typesubidx{Script}
+There are some sixteen Script fonts.
+
+\item[Decorative]\typesubidx{Decorative}
+There are over fifty Decorative fonts.
+
+\item[Symbol]\typesubidx{Symbol}
+There are a dozen miscellaneous symbol fonts which include, among others,
+arrows, borders, fleurons\index{fleuron} and various icons.
+\end{description}
+}  % end pagenote
+
+    A standard \ltx\ distribution includes some 
+\pscript\indexsupsubmain{font}{PostScript} fonts and the packages to support
+them are in the \Ppack{psnfss}\index{psnfss?\Ppack{psnfss}}
+bundle. Most of the fonts are for normal text work but two supply
+symbols rather than characters. Table~\ref{tab:palatinoglyphs}, although it
+is specifically for Palatino\facesubseeidx{Palatino}, shows the glyphs 
+typically available. Tables~\ref{tab:symbolglyphs} and~\ref{tab:dingglyphs}
+show the glyphs in the two symbol fonts.
+
+\begin{table}
+\centering
+\caption{Glyphs in the \ltx\ supplied Palatino roman font}\label{tab:palatinoglyphs}
+\nohexoct
+\fonttable{pplr}
+\end{table}
+
+\begin{table}
+\centering
+\caption{Glyphs in the \ltx\ distributed Symbol font}\label{tab:symbolglyphs}
+\nohexoct
+\fonttable{psyr}
+\end{table}
+
+\begin{table}
+\centering
+\caption{Glyphs in the \ltx\ distributed Zapf Dingbat font}\label{tab:dingglyphs}
+\nohexoct
+\fonttable{pzdr}
+\end{table}
+
+
+These supplied \pscript\ fonts, their respective \ltx\ fontfamily\index{fontfamily} names,
+and running text examples of each, are:
+\begin{description}
+\item[ITC Avant Garde Gothic\facesubseeidx{Avant Garde Gothic}] {\FSfont{pag} 
+  is a geometric sans type designed 
+  by Herb Lubalin\index{Lubalin, Herb} and Tom Carnase\index{Carnase, Tom} and 
+  based on the logo of the \textit{Avant Garde} magazine. 
+The fontfamily name is \pfontfam{pag}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[ITC Bookman\facesubseeidx{Bookman}] {\FSfont{pbk} was originally 
+sold in 1860 by the Miller \&  Richard\index{Miller \& Richard} foundry 
+in Scotland; it was designed by 
+Alexander Phemister\index{Phemister, Alexander}. The ITC revival is by
+Ed Benguiat\index{Benguiat, Ed}. 
+The fontfamily name is \pfontfam{pbk}.
+
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[Bitstream Charter\facesubseeidx{Charter}] {\FSfont{bch} was designed
+by Matthew Carter\index{Carter, Matthew} for display on low resolution
+devices, and is useful for many applications, including bookwork.
+The fontfamily name is \pfontfam{bch}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[Courier\facesubseeidx{Courier}] {\FSfont{pcr} is a monospaced font
+that was originally
+designed by Howard Kettler\index{Kettler, Howard} at IBM and then later
+redrawn by Adrian Frutiger\index{Frutiger, Adrian}.
+The fontfamily name is \pfontfam{pcr}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[Helvetica\facesubseeidx{Helvetica}] {\FSfont{phv} was originally 
+designed for the Haas
+foundry in Switzerland by Max Miedinger\index{Miedinger, Max}; it was later
+extended by the Stempel foundry and further refined by 
+Linotype\index{Linotype}.
+The fontfamily name is \pfontfam{phv}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[New Century Schoolbook\facesubseeidx{New Century Schoolbook}] 
+  {\FSfont{pnc}
+was designed by Morris Benton\index{Benton, Morris} for ATF (American
+Type Founders) in the early 20th century. As its name implies it was designed
+for maximum legibility in schoolbooks.
+The fontfamily name is \pfontfam{pnc}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[Palatino\facesubseeidx{Palatino}] 
+  {\FSfont{ppl} was designed by Hermann 
+Zapf\index{Zapf, Hermann} and is one of the most popular typefaces today.
+The fontfamily name is \pfontfam{ppl}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[Times Roman\facesubseeidx{Times Roman}] 
+  {\FSfont{ptm} is Linotype's version
+of the Times New Roman\facesubseeidx{Times New Roman} face designed by 
+Stanley Morison\index{Morison, Stanley} for the
+Monotype Corporation for printing \emph{The Times} newspaper.
+The fontfamily name is \pfontfam{ptm}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[Utopia\facesubseeidx{Utopia}] 
+  {\FSfont{put} was designed by Robert 
+Slimbach\index{Slimbach, Robert} and combines 
+Transitional\indextwo{type}{Transitional} features and contemporary details.
+The fontfamily name is \pfontfam{put}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[ITC Zapf Chancery\facesubseeidx{Zapf Chancery}] 
+  {\FSfont{pzc} is a 
+Script\indextwo{type}{Script} type fashioned after the chancery
+handwriting styles of the Italian Renaissance. It was created by
+Hermann Zapf\index{Zapf, Hermann}.
+The fontfamily name is \pfontfam{pzc}.
+
+\vspace{0.5\onelineskip}
+\fox\par\Kafka\par\namesAZ
+\vspace{0.5\onelineskip}
+}
+
+\item[Symbol\facesubseeidx{Symbol}]
+  {\FSfont{psy} contains various symbols and Greek letters for 
+  mathematical work; these are most easily accessible via
+  the \Lpack{pifont} package.
+The fontfamily name is \pfontfam{psy}.
+
+    The available glyphs are shown in \tref{tab:symbolglyphs}.
+}
+
+\item[Zapf Dingbats]\facesubseeidx{Zapf Dingbats}
+  {\FSfont{pzd} contains a variety of dingbats which, like the Symbol
+   characters, are most easily 
+   accessible via the \Lpack{pifont} package.
+The fontfamily name is \pfontfam{pzd}.
+
+    The available glyphs are shown in \tref{tab:dingglyphs}.
+}
+
+
+\end{description}
 
     In \ltx\ there are three characteristics that apply to a font. These are:
 (a)~the shape\index{font characteristic!shape}, 
@@ -8088,7 +10273,7 @@ just like in this sentence.
 \glossary(eminnershape)%
   {\cs{eminnershape}\marg{shape}}%
   {Font shape for emphasized text within emphasized text.}%
-If the \cmd{\emph} commmand is used within italic text then the
+If the \cmd{\emph} command is used within italic text then the
 newly emphasized text will be typeset using the 
 \cmd{\eminnershape} font shape. The default definition is:
 \begin{lcode}
@@ -8170,11 +10355,12 @@ aspects of a document, for example sectional headings.
 
 With respect to the standard classes, the \Mname\ class 
 provides a wider range of the document class type size options and
-adds two extra font size names, namely \cmd{\miniscule}
+adds two extra font size declarations, namely \cmd{\miniscule}
 and \cmd{\HUGE}, one at each end of the range.
 
-    The \Mname\ class font size names are given in \tref{tab:fsizenames} 
-together with the name set in the specified size for this manual's normal
+    The \Mname\ class font size declarations names are given in 
+\tref{tab:fsizenames} together with the name set in the specified size 
+relative to the manual's \cs{normalsize} font.
 font. The corresponding actual sizes are given in \tref{tab:fsizepoints}.
 
 \begin{table}
@@ -8234,7 +10420,8 @@ provides for fonts ranging from 4pt to 132pt. That is: \par
 
 
 This extended range, though,
-is only accessible if you are using outline\indextwo{outline}{font} fonts.
+is only accessible if you are using outline\indextwo{outline}{font} fonts
+and the \Lopt{extrafontsizes} class option.
 If you are using bitmap fonts\indextwo{bitmap}{font} then, for example,
 the \cmd{\HUGE} font will be automatically limited to 25pt, and the minimum
 size of a \cmd{\miniscule} font is 5pt.
@@ -8380,22 +10567,23 @@ looks bad; but if you have to use it, it is there. The spacing in footnotes
 and floats (e.g., captions) is unaltered, which is usually required once
 the controllers see what a blanket double spacing brings.
 
+\PWnote{2009/06/24}{Corrected \cs{SetSingleSpace} to \cs{setSingleSpace}}
 \begin{syntax}
-\cmd{\SingleSpacing} \cmd{\SetSingleSpace}\marg{factor} \\
+\cmd{\SingleSpacing} \cmd{\setSingleSpace}\marg{factor} \\
 \end{syntax}
 \glossary(SingleSpacing)%
   {\cs{SingleSpacing}}%
-  {Declaration restoring normal single spacing (or that set by \cs{SetSingleSpace}).}
-\glossary(SetSingleSpace)%
-  {\cs{SetSingleSpace}\marg{factor}}%
+  {Declaration restoring normal single spacing (or that set by \cs{setSingleSpace}).}
+\glossary(setSingleSpace)%
+  {\cs{setSingleSpace}\marg{factor}}%
   {Change the baselineskip by \meta{factor}.}
-The \cmd{\SetSingleSpace} command is meant to be used to
+The \cmd{\setSingleSpace} command is meant to be used to
 adjust \emph{slightly} the normal spacing betwen lines, perhaps because
 the font being used looks too crampled or loose. The effect is that the 
 normal \lnc{\baselineskip} spacing will be multiplied by \meta{factor}, which
-should be close to 1.0
+should be close to 1.0.
 The declaration \cmd{\SingleSpacing} returns everthing to normal, or at
-least the setting from \cmd{\SetSingleSpace} if it has been used.
+least the setting from \cmd{\setSingleSpace} if it has been used.
 
 \begin{syntax}
 \senv{SingleSpace} ...\eenv{SingleSpace} \\
@@ -8408,7 +10596,7 @@ least the setting from \cmd{\SetSingleSpace} if it has been used.
   {Environment form of \cs{SingleSpacing}}
 \glossary(Spacing)%
   {\senv{SingleSpace}\marg{factor}}%
-  {Environment form of \cs{SetSingleSpace}}
+  {Environment form of \cs{setSingleSpace}}
 \glossary(OnehalfSpace)%
   {\senv{OnehalfSpace}}%
   {Environment form of \cs{OnehalfSpacing}}
@@ -8592,7 +10780,7 @@ may reduce the number of lines per page). For example, in the preamble:
 [want] to \emph{absolutely} prohibit widow/orphan break, but come
 about as close as \tx\ permits otherwise. This is copied straight out
 of some code that I had lying around. I guess I could wrap it into
-package from and post it to CTAN. \\
+package form and post it to CTAN. \\
 \hfill Michael Downes
 \end{quote}
 
@@ -9421,7 +11609,7 @@ they are often an essential
 part of an article in a technical journal. Reports may or may not
 include an abstract, but if so it will often be called a `Summary'.
 There may be an even shorter abstract as well, often called an 
-`Ececutive Summary', for those who feel that details are irrelevant.
+`Executive Summary', for those who feel that details are irrelevant.
 
     In the standard classes appearance of the \Ie{abstract} environment
 is fixed. The class provides a set of controls adjusting the appearance of
@@ -9770,6 +11958,29 @@ The \cmd{\backmatter} declaration makes no change to the pagination or
 folios\index{folio} but does prohibit sectional division numbering, and 
 captions\index{caption}, etc., will be numbered continuously.
 
+\fancybreak{}
+
+\LMnote{2009/06/29}{Added the following section}
+
+If you have other types of floats that might be used in the front-
+main- or backmatter, then you can change some internals to add these
+to be numbered in the same manner as we do with figures and
+tables. They are defined as
+\begin{lcode}
+  \newcommand\@memfront@floats{%
+  \counterwithout{figure}{chapter}
+  \counterwithout{table}{chapter}}
+\newcommand\@memmain@floats{%
+   \counterwithin{figure}{chapter}
+   \counterwithin{table}{chapter}}
+\newcommand\@memback@floats{%
+    \counterwithout{figure}{chapter}
+    \counterwithout{table}{chapter}
+    \setcounter{figure}{0}
+    \setcounter{table}{0}}
+\end{lcode}
+
+
 
 \section{Sectional divisions}
 
@@ -9798,7 +12009,7 @@ two exceptions.
    is used instead of \meta{title} for the ToC and running header. If given
    \meta{head-title} is used for a running header.}
 \glossary(section*)%
-  {\cs{section}\marg{title}}%
+  {\cs{section*}\marg{title}}%
   {Typesets an unnumbered section subhead \meta{title}. There are no ToC or
    running header entries.}
 
@@ -10088,7 +12299,7 @@ and above numbered:
 \end{lcode}
 You can also use \texttt{all} or \texttt{none} for \meta{secname} which
 will either turn on numbering for all levels, or turn off numbering
-alltogether.
+altogether.
 
 When used in the preamble\index{preamble} \cmd{\setsecnumdepth} also
 calls \cmd{\maxsecnumdepth}, which is the numbering level used once
@@ -10288,7 +12499,7 @@ by \cmd{\booktitlefont}.
 By default this is a \cmd{\bfseries} font in the \cmd{\Huge} size. This can
 be changed to have, say, the title set raggedleft in a small caps font by
 \begin{lcode}
-\renewcommmand{\booktitlefont}{\normalfont\Huge\scshape\raggedleft}
+\renewcommand{\booktitlefont}{\normalfont\Huge\scshape\raggedleft}
 \end{lcode}
 
     Similarly a part's title is typeset by \cmd{\printparttitle} using 
@@ -10645,7 +12856,7 @@ number is put in the margin\index{margin!left}, as shown in \fref{dchangnum}.
   {\Pcstyle{companion}}%
   {Chapterstyle like those in the \textit{LaTeX companion} series.}
  This produces chapter headings like those of the
-\textit{LaTeX Companion} series of books. An eaxample is in \fref{dccompanion}.
+\textit{LaTeX Companion} series of books. An example is in \fref{dccompanion}.
 %%    See \Cref{chap:signposts} on \pref{chap:signposts} for an example.
 \begin{demochap}[2\onelineskip]{companion}\end{demochap}
 
@@ -10685,7 +12896,7 @@ of the remaining predefined chapterstyles shown a little later.
 The various macros shown in the \cs{chapterhead} code above are initially 
 set up as:
 \begin{lcode}
-\newcommmand{\chapterheadstart}{\vspace*{\beforechapskip}}
+\newcommand{\chapterheadstart}{\vspace*{\beforechapskip}}
 \newcommand{\printchaptername}{\chapnamefont \@chapapp}
 \newcommand{\chapternamenum}{\space}
 \newcommand{\printchapternum}{\chapnumfont \thechapter}
@@ -10711,7 +12922,7 @@ style, which mimics the chapter heads in the standard \Lclass{book} and
 \begin{lcode}
 \makechapterstyle{default}{%
   \def\chapterheadstart{\vspace*{\beforechapskip}
-  \def\printchaptername{\chapnamefont \@chapap}
+  \def\printchaptername{\chapnamefont \@chapapp}
   \def\chapternamenum{\space}
   \def\printchapternum{\chapnumfont \thechapter}
   \def\afterchapternum{\par\nobreak\vskip \midchapskip}
@@ -10727,7 +12938,7 @@ style, which mimics the chapter heads in the standard \Lclass{book} and
 \newlength{\afterchapskip}\setlength{\afterchapskip}{40pt}
 \chapterstyle{default}
 \end{lcode}
-(The mysterious \cmd{\@chapap} is the internal macro that \ltx\ uses
+(The mysterious \cmd{\@chapapp} is the internal macro that \ltx\ uses
 to store normally the chapter name.\footnote{Remember, if you use
 a macro that has an \texttt{@} in its name it must be in a place
 where \texttt{@} is treated as a letter.} It will normally have 
@@ -11456,7 +13667,7 @@ on recto pages.
  file. For example:
  \begin{lcode}
  ...
- \chapter{}  first chapter
+ \chapter{}%  first chapter
  \chapterprecis{Our hero is introduced; family tree; early days.}
  ...
  \end{lcode}
@@ -11513,7 +13724,7 @@ where \cmd{\prechapterprecis}, \cmd{\postchapterprecis} and \cmd{\precisfont}
 are defined as:
 \begin{lcode}
 \newcommand{\prechapterprecis}{%
-  \vspace*{-2\baselineskip}%
+  \vspace*{\prechapterprecisshift}%
   \begin{quote}\precisfont}
 \newcommand{\postchapterprecis}{\end{quote}}
 \newcommand*{\precisfont}{\normalfont\itshape}
@@ -11558,7 +13769,7 @@ following text may also be adjusted. Figure~\ref{fig:displaysechead} shows the
 parameters controlling a displayed sectional heading and \fref{fig:runsechead}
 shows the parameters for a run-in heading. The default values of the
 parameters for the different heads are in \tref{tab:defdisplaySvals} for
-the display heads and \tref{tab:defruninSvals} for the runin heads.
+the display heads and \tref{tab:defruninSvals} for the run-in heads.
 
 
 \begin{figure}
@@ -11594,7 +13805,7 @@ font   & \cs{Large}\cs{bfseries} & \cs{large}\cs{bfseries} & \cs{bfseries} \\
 
 \begin{table}
 \centering
-\caption{Default runin sectioning layout parameter values}\label{tab:defruninSvals}
+\caption{Default run-in sectioning layout parameter values}\label{tab:defruninSvals}
 \begin{tabular}{lcc} \toprule
   & paragraph & subparagraph \\ \midrule
 beforeskip (+ex) & 3.25+1-.2 & 3.25+1-.2 \\
@@ -12173,7 +14384,7 @@ use in \ltx\ and these can be combined in potentially attractive ways to
 produce a fancy break like the one just above.
 
     The following idea was originally suggested by Christina 
-Thiele\cite{ORNAMENTAL}, and can
+Thiele~\cite{ORNAMENTAL}, and can
 be used to string together mathematical symbols. It works following the same
 principles as the dot leaders in the Table of Contents.
 
@@ -12632,7 +14843,7 @@ Called from & Style \\ \midrule
 \cmd{\epigraphhead} & \pstyle{epigraph} \\
 \cmd{\listoffigures} & \pstyle{chapter} \\
 \cmd{\listoftables} & \pstyle{chapter} \\
-\cmd{\maketitle} & \pstyle{title} \\\
+\cmd{\maketitle} & \pstyle{title} \\
 \cmd{\part}      & \pstyle{part} \\
 \cmd{\tableofcontents} & \pstyle{chapter} \\
 \Ie{thebibliography} & \pstyle{chapter} \\
@@ -12830,22 +15041,29 @@ Similarly \cmd{\makeoddhead}, \cmd{\makeevenfoot}, and
 \cmd{\makeoddfoot} define the \meta{left}, \meta{center} and \meta{right}
 portions of the \meta{style} header\index{header} for odd numbered 
 (recto) pages, and the footers\index{footer} for verso and recto pages. 
-These commmands for \meta{style}
+These commands for \meta{style}
 should be used after the corresponding \cmd{\makepagestyle} for \meta{style}.
 
 \begin{syntax}
-\cmd{\makerunningwidth}\marg{style}\marg{length} \\
+\cmd{\makerunningwidth}\marg{style}\oarg{footwidth}\marg{headwidth} \\
 \lnc{\headwidth} \\
 \end{syntax}
-\glossary(makerunninheadwidth)%
-  {\cs{makerunningheadwidth}\marg{style}\marg{length}}%
-  {Sets the width of the \meta{style} pagestyle headers and footers to \meta{length}.}
+\glossary(makerunningwidth)%
+  {\cs{makerunningwidth}\marg{style}\oarg{footwidth}\marg{headwidth}}%
+  {Sets the width of the \meta{style} pagestyle headers to \meta{headwidth}.
+   The footers are set to \meta{headwidth}, or \meta{footwidth} if it
+   is given.}
 \glossary(headwidth)%
   {\cs{headwith}}%
   {A (scratch) length normally used in the definition of headers and footers.}
-The macro \cmd{\makerunningwidth} sets the width of the \meta{style}
-pagestyle headers\index{header} and footers\index{footer} to be \meta{length}.
-The \cmd{\makepagestyle} initialises the width to be the textwidth, 
+The macro \cmd{\makerunningwidth} sets the widths of the \meta{style}
+pagestyle headers\index{header} and footers\index{footer}. The header
+width is set to \meta{headwidth}. If the optional \meta{footwidth} is
+present, then the footer width is set to that, otherwise to \meta{headwidth}.
+The header width is stored as the length \cs{\meta{style}headrunwidth}
+and the footer width as \cs{\meta{style}footrunwidth}.
+
+The \cmd{\makepagestyle} initialises the widths to be the textwidth, 
 so the macro need only be used if some
 other width is desired. The length \lnc{\headwidth} is provided as a
 (scratch) length that may be used for headers\index{header} or 
@@ -13482,9 +15700,49 @@ of the page.
 \index{float!page|)}
 \index{pagestyle!float pages|)}
 
-
-
-
+\section{The showlocs pagestyle}
+
+    The \pstyle{showlocs} pagestyle is somewhat special as it is meant to be
+used as an aid when designing a page layout. Lines are drawn showing the 
+vertical positions of the headers and footers and a box is drawn around
+the textblock. It is implemented using two 
+zero-sized\index{zero-sized picture} pictures.\verbfootnote{A
+zero-sized picture starts off with \verb?begin{picture}(0,0)...?.}
+\begin{syntax}
+\cmd{\framepichead} \\
+\cmd{\framepictextfoot} \\
+\cmd{\showheadfootlocoff} \\
+\cmd{\showtextblockoff} \\
+\end{syntax}
+\glossary(framepichead)%
+  {\cs{framepichead}}%
+  {Used by the \Ppstyle{showlocs} pagestyle to draw a line at the header 
+   location.}
+\glossary(framepictextfoot)%
+  {\cs{framepictextfoot}}%
+  {Used by the \Ppstyle{showlocs} pagestyle to draw a box around the textblock
+   and a line at the footer location.}
+\glossary(showtextblockoff)%
+  {\cs{showtextblockoff}}%
+  {Prevents \cs{framepictextfoot} from drawing a box around the textblock.}
+\glossary(showheadfootlocoff)%
+  {\cs{showheadfootlocoff}}%
+  {Prevents \cs{framepichead} and \cs{framepictextfoot} from drawing
+   lines at the header and footer locations.}
+
+The macro \cmd{\framepichead} creates a zero-sized\index{zero-sized picture} 
+picture that draws a line at the header location, and the macro 
+\cmd{\framepictextfoot} creates a zero-sized\index{zero-sized picture} 
+picture that draws a line at the footer location
+and also draws a box around the typeblock. Following the declaration
+\cmd{\showheadfootlocoff} the macros \cmd{\framepichead} and 
+\cmd{\framepictextfoot} do not draw lines showing the header and footer
+locations. The declaration \cmd{\showtextblockoff} prevents
+\cmd{\framepictextfoot} from drawing a box around the textblock.
+
+    If you generally want a box around the textblock you may want to create
+your own pagestyle using \cmd{\framepictextfoot} and the \pstyle{showlocs}
+code as a starting point.
 
 
 
@@ -13580,7 +15838,7 @@ to be a special case of a hanging paragraph where `few = one').
 to be hung. If the length \meta{indent} is positive the lefthand end of the 
 lines will be indented but if it is negative the righthand ends will be 
 indented by the specified amount.
-    If the number \meta{num}, say N, is is negative the first N lines of
+    If the number \meta{num}, say N, is negative the first N lines of
 the paragraph will be indented while if N is positive the N+1 th lines onwards
 will be indented. This paragraph was set with \verb?\hangpara{3em}{-3}?. There 
 should be no space between the \cmd{\hangpara} command and the start of the
@@ -13699,6 +15957,33 @@ causes typesetting to be flushleft and raggedright. The declaration
 \cmd{\centering} typesets raggedleft and raggedright with each line centered.
 Unlike the environments, no additional space is added. 
 
+\begin{syntax}
+\cmd{\centerfloat} \\
+\end{syntax}
+\glossary(centerfloat)%
+  {\cs{centerfloat}}%
+  {Within a float, centers it with respect to the typeblock; the float 
+   may extend into both margins.}
+\indextwo{float}{centering}
+The contents of floats like tables or figures are usually centered 
+and \cmd{\centering}
+should be used for this, not the \Ie{center} environment which adds extra,
+usually undesired, vertical space. For example:
+\begin{lcode}
+\begin{figure}
+\centering
+...
+\caption{...}
+\end{figure}
+\end{lcode} 
+However, if the float is wider than the
+textblock then it is aligned with the left margin and extends into the right
+margin. The command \cmd{\centerfloat} is a special version of \cmd{\center}
+that when used in a wide float will center it with respect to the textblock,
+i.e., it will extend equally into both margins. Note that \cmd{\centerfloat}
+needs to be applied where there is a known width; if applied to a regular
+text paragraph it will center the paragraph but put all the text on one line.
+
 \begin{syntax}
 \cmd{\raggedyright}\oarg{space} \\
 \lnc{\ragrparindent} \\
@@ -13748,9 +16033,338 @@ quotations\index{quotation}.
 
      In both of these environments the text is set flushleft and flushright
 in a measure that is smaller than the normal textwidth. The only difference
-between the two environments is that paragraphs\index{paragraph!indentation} are not indented in the \Ie{quote}
+between the two environments is that paragraphs\index{paragraph!indentation} 
+are not indented in the \Ie{quote}
 environment but normal paragraphing is used in the \Ie{quotation} environment.
 
+
+\begin{egresult}[Setting the source of a quotation]{eg:quotesource}
+\begin{quotation}
+\hspace*{-0.5\parindent}This quotation has a short last line so there there is enough space 
+for the source to be set at
+the end of the line.\sourceatright{I. M. Short}
+\end{quotation}
+
+\begin{quotation}
+The last line of this quotation turns out to be too long for
+the source to be set at the end, so it is automatically
+set flushright on the following line.\sourceatright{N. O. Space}
+\end{quotation}
+\end{egresult}
+
+\begin{syntax}
+\cmd{\sourceatright}\oarg{length}\marg{text} \\
+\end{syntax}
+\glossary(sourceatright)%
+  {\cs{sourceatright}\oarg{length}\marg{text}}%
+  {At the end of a paragraph puts \meta{text} at the end of the line
+   if the line is short enough for a space \meta{length} and the \meta{text},
+   otherwise puts \meta{text} flushright on the following line.}
+Some quotations are completed by giving the source or author. Using
+\cmd{\sourceatright} at the end of the quotation will typeset \meta{text}
+flushright at the end of the line if there is enough space, otherwise it 
+typesets it flushright on the next line. A space \meta{length} (default 2em)
+is left between the end of the quote and \meta{text}.
+
+\begin{egsource}{eg:quotesource}
+\begin{quotation}
+This quotation has a short last line so there there is enough space 
+for the source to be set at
+the end of the line.\sourceatright{I. M. Short}
+\end{quotation}
+
+\begin{quotation}
+The last line of this quotation turns out to be too long for
+the source to be set at the end, so it is automatically
+set flushright on the following line.\sourceatright{N. O. Space}
+\end{quotation}
+\end{egsource}
+
+\section{Some less common paragraph shapes}
+
+    The paragraph shapes described in this section are based on a series
+that I presented in my \emph{Glisterings} column~\cite{GLISTER07,GLISTER08}.
+Like the earlier \cmd{\centering}, etc., paragraph style declarations, the
+style that applies is the one in effect at the \emph{end} of the paragraph.
+Thus the general usage is:
+\begin{lcode}
+\bgroup%    a group to keep changes local % or could be { or \begin...
+\paragraphstyle
+.... text
+\par%       ensure the end of a paragraph
+\egroup%    end the group % or could be } or \end...
+\end{lcode}
+
+    If you use one of these paragraph shapes then using \cmd{\\} to break
+a line may give a surprising result. If so, the following may help.
+\begin{syntax}
+\cmd{\atcentercr} \\
+\cmd{\break} \\
+\cmd{\memoirgdbs} \\
+\cmd{\memorigpar} \\
+\end{syntax}
+\glossary(atcentercr)%
+  {\cs{atcentercr}}%
+  {Breaks a line in a (unusual) paragraph.}
+\glossary(break)%
+  {\cs{break}}%
+  {TeX macro to break a line.}
+\glossary(memoirgdbs)%
+  {\cs{memoirgdbs}}%
+  {Stores the original definition of \texttt{\bs}\texttt{\bs}.} % not \cs{\}
+\glossary(memorigpar)%
+  {\cs{memorigpar}}%
+  {Stores the original definition of %\texttt{\bs}\texttt{par}.}
+  \cs{par}.}
+You could try \cmd{\atcentcr}, which is user level version of an internal
+\ltx\ command used in some paragraph settings for line breaking, 
+or \cmd{\break}, which is a \tx\ command to end a line.
+
+   In some cases the paragraph shaping commands change the definitions 
+of \cmd{\\} or \cs{par}. Just in case you need to restore them, copies
+of the original definitions are in
+\cmd{\memoirgdbs} (for \cmd{\\}) and \cmd{\memorigpar} (for \cs{par}).
+
+\begin{syntax}
+\cmd{\flushleftright} \\
+\end{syntax}
+\glossary(flushleftright)%
+  {\cs{flushleftright}}%
+  {Following this declaration paragraphs are set in their usual form.}
+
+    If you use one of the shapes listed later in this section and things
+go wrong, the declaration \cmd{\flushleftright} returns all paragraphing
+parameters\footnote{Except for the \cs{parindent}, which it leaves at its
+current value.} 
+to their normal values, thus producing paragraphs as normal ---
+justified left and right with the last line flushleft and raggedright.
+
+    
+\subsection{Last line not short}
+
+    On occasion a paragraph may end with a single short word as the last
+line.
+
+\begin{syntax}
+\cmd{\linenottooshort}\oarg{length} \\
+\end{syntax}
+\glossary(linenottooshort)%
+  {\cs{linenottooshort}\oarg{length}}%
+  {Following this declaration the last line of a paragraph will not be
+   shorter than \meta{length} (default 2em).}
+Following the \cmd{\linenottooshort} declaration paragraphs will be set
+as normal, except that the last line will not be shorter than
+\meta{length} (default 2em).
+
+
+\begin{egresult}[Paragraph's line not too short]{eg:nottooshort}
+\linenottooshort[4em]
+The last line of this paragraph will be no shorter than a particular
+length. a b c d e f g h i % j k l m n
+
+The last line of this paragraph will be no shorter than a particular
+length. a b c d e f g h i j k % l m n
+\end{egresult}
+
+\begin{egsource}{eg:nottooshort}
+\linenottooshort[4em]
+The last line of this paragraph will be no shorter than a particular
+length. a b c d e f g h i % j k l m n
+
+The last line of this paragraph will be no shorter than a particular
+length. a b c d e f g h i j k % l m n
+\end{egsource}
+
+\subsection{Russian typography}
+
+    Apparently in the Russian typographic tradition the last line of a
+multiline paragraph must either be at least as long as the \lnc{\parindent}
+and have at least \lnc{\parindent} at the end, or it must fill 
+the whole line (i.e., flushleft and flushright).
+
+\begin{syntax}
+\cmd{\russianpar} \\
+\end{syntax}
+\glossary(russianpar)%
+  {\cs{russianpar}}%
+  {Ending a paragraph with \cs{russianpar} causes it to be set
+   following Russian typographic rules.}
+Ending a paragraph with \cmd{\russianpar} causes it to be set following
+Russian typographic rules.
+
+If you have many such paragraphs it may be more convenient to do it like:
+\begin{lcode}
+\let\par\russianpar
+... many paragraphs
+\let\par\memorigpar
+\end{lcode}
+or as:
+\begin{lcode}
+\begingroup% start a group
+\let\par\russianpar
+... many paragraphs
+\endgroup% end the group
+\end{lcode}
+
+
+\subsection{Fill with rules}
+
+    In some legal documents there must be no space at the end of the lines
+in order to prevent anyone inserting something at a later date. Typically 
+it is only the last line in a paragraph that needs this treatment.
+
+\begin{syntax}
+\cmd{\lastlinerulefill} \\
+\cmd{\lastlineparrule} \\
+\end{syntax}
+\glossary(lastlinerulefill)%
+  {\cs{lastlinerulefill}}%
+  {Ending a paragraph with this will cause any spaces at the ends of 
+   the lines will be filled with a rule (\cs{lastlineparrule}).}
+\glossary(lastlineparrule)%
+  {\cs{lastlineparrule}}%
+  {The rule used by \cs{lastlinerulefill} to eliminate spaces at 
+   the ends of lines.}
+
+\begin{egresult}[Rules for spaces]{eg:rulefill}
+The last line of this paragraph will be be set by ending it with
+a rule to fill up any space.\lastlinerulefill
+\end{egresult}
+
+
+\begin{egsource}{eg:rulefill}
+The last line of this paragraph will be be set by ending it with
+a rule to fill up any space.\lastlinerulefill
+\end{egsource}
+
+
+Using \cmd{\lastlinerulefill} to end a paragraph will cause any spaces
+at the ends of the lines to be filled with the \cmd{\lastlineparrule} rule.
+If you have many paragraphs of this kind then try:
+\begin{lcode}
+\let\par\lastlinerulefill
+.... many paragraphs
+\let\par\memorigpar
+\end{lcode}
+Remember that \ltx\ treats many constructs (like section headings or captions)
+as paragraphs, so you may have to alternate between filled text paragraphs
+and regular paragraphing.
+
+
+
+\subsection{Some ragged paragraphs}
+
+   A few paragraph shapes with unusual ragged lines are avaiable.
+
+\begin{egresult}[Ragged paragraphs]{eg:raggeds}
+\justlastraggedleft
+Paragraphs following the \verb?\justlastraggedleft? declaration, as
+this one does, have their lines justified except for the last which
+is set raggedleft. The demonstration works best if there are three
+or more lines.
+
+\raggedrightthenleft
+This paragraph is set following the \verb?\raggedrightthenleft?
+declaration. The first line is set raggedright and all the remaining
+lines are set raggedleft. The demonstration is better if there are three or 
+more lines.
+
+\leftcenterright
+This paragraph is set following the \verb?\leftcenterright?
+declaration. We really need three, \\ or four may be better, \\
+lines to show the effect of this.
+\everypar{}
+\end{egresult}
+
+
+
+\begin{syntax}
+\cmd{\justlastraggedleft} \\
+\cmd{\raggedrightthenleft} \\
+\cmd{\leftcenterright} \\
+\end{syntax}
+\glossary(justlastraggedleft)%
+  {\cs{justlastraggedleft}}%
+  {Following this declaration paragraphs will be set justified except the
+  last line will be set raggedleft.}
+\glossary(raggedrightthenleft)%
+  {\cs{raggedrightthenleft}}%
+  {Following this declaration paragraphs will be
+set with the first line raggedright and the rest raggedleft.}
+\glossary(raggedrightthenleft)%
+  {\cs{leftcenterright}}%
+  {Following this declaration paragraphs will be
+set with the first line raggedright, the last raggedleft, and those
+ in the middle centered.}
+
+  Following the \cmd{\justlastraggedleft}  declaration paragraphs will be 
+set justified except the last line will be set raggedleft.
+
+  Following the declaration \cmd{\raggedrightthenleft} paragraphs will be
+set with the first line raggedright and the remainder set raggedleft.
+
+  Following the declaration \cmd{\leftcenteright} paragraphs will be
+set with the first line flushleft (and raggedright) and the last line
+flushright (and raggedleft) and those in the middle will be centered.
+This declaration should be used within a group; also \cmd{\everypar}\verb?{}?
+should be called at the end.
+
+\begin{egsource}{eg:raggeds}
+\justlastraggedleft
+Paragraphs following the \verb?\justlastraggedleft? declaration, as
+this one does, have their lines justified except for the last which
+is set raggedleft. The demonstration works best if there are three
+or more lines.
+
+\raggedrightthenleft
+This paragraph is set following the \verb?\raggedrightthenleft?
+declaration. The first line is set raggedright and all the remaining
+lines are set raggedleft. The demonstration is better if there are three or 
+more lines.
+
+\leftcenterright
+This paragraph is set following the \verb?\leftcenterright?
+declaration. We really need three, \\ or four may be better, \\
+lines to show the effect of this.
+\everypar{}
+\end{egsource}
+
+
+\subsection{Left spring right}
+
+    Typically the lines of a paragraph are both flushleft and flushright and
+filled with text, but sometimes filling is not desired.
+
+\begin{egresult}[A sprung paragraph]{eg:sprung}
+\leftspringright{0.3}{0.6}%
+  {Text at the left is set flushleft and raggedright.}
+  {But the text at the right is set raggedleft and flushright.
+   It's as though there was a spring pushing the lines apart.}
+\vspace*{0.25\baselineskip}
+\end{egresult}
+
+
+\begin{syntax}
+\cmd{\leftspringright}\marg{lfrac}\marg{rfrac}\marg{ltext}\marg{rtext} \\
+\end{syntax}
+\glossary(leftspringright)%
+  {\cs{leftspringright}\marg{lfrac}\marg{rfrac}\marg{ltext}\marg{rtext}}%
+  {Sets \meta{ltext} flushleft and raggedright, and \meta{rtext} raggedleft
+   and flushright with horizontal space between the two texts.}
+The \cmd{\leftspringright} macro sets \meta{ltext} flushleft and raggedright
+in a column whose width is \meta{lfrac} of the textwidth and, in parallel,
+it also sets \meta{rtext} raggedleft and flushright in a column that is
+\meta{rfrac} of the textwidth; the effect is as though there are springs 
+between the lines of the two texts. The sum of \meta{lfrac} and \meta{rfac} 
+must be less than one.
+
+\begin{egsource}{eg:sprung}
+\leftspringright{0.3}{0.6}%
+  {Text at the left is set flushleft and raggedright.}
+  {But the text at the right is set raggedleft and flushright.
+   It's as though there was a spring pushing the lines apart.}
+\end{egsource}
+
 \section{Changing the textwidth}\label{sec:adjustwidth}
 
     The \Ie{quote} and \Ie{quotation} environments both locally change the 
@@ -13782,7 +16396,7 @@ to the lefthand margin\index{margin!left} and \meta{right} to the righthand
 margin\index{margin!right}. That is, a positive length value increases the 
 margin\index{margin} and hence reduces the textwidth,
 and a negative value reduces the margin\index{margin} and increases the 
-textwidth. The Ie{quotation} environment is roughly equivalent to
+textwidth. The \Ie{quotation} environment is roughly equivalent to
 \begin{lcode}
 \begin{adjustwidth}{2.5em}{2.5em}
 \end{lcode}
@@ -13912,16 +16526,24 @@ environment\footnote{The \Ie{quote} and \Ie{quotation} environments are also
 defined in terms of the general \Ie{list} environment. You may be 
 surprised where it crops up.}).
 
-    This class provides the normal \Ie{description} list but the \Ie{itemize} 
+\PWnote{2009/04/25}{Added the blockdescription, labelled and flexlabelled environments}
+
+    This class provides the normal \Ie{description} list, plus a couple of others 
+of the same kind, but the \Ie{itemize} 
 and \Ie{enumerate} lists are extended versions of the normal ones.
 
 \begin{syntax}
 \senv{description} \cmd{\item}\oarg{label} ... \eenv{description} \\
+\senv{blockdescription} \cmd{\item}\oarg{label} ... \eenv{blockdescription} \\
 \cmd{\descriptionlabel}\meta{label} \\
+\cmd{\blockdescriptionlabel}\meta{label} \\
 \end{syntax}
 \glossary(description)%
   {\senv{description}}%
-  {A list of descriptions of \cs{item}s.}
+  {A list of descriptions of \cs{item}s formatted as regular paragraphs.}
+\glossary(blockdescription)%
+  {\senv{blockdescription}}%
+  {A list of descriptions of \cs{item}s formatted as indented block paragraphs.}
 \glossary(item)%
   {\cs{item}\oarg{label}}%
   {Intoduces a new element in a list. The effect of \meta{label} depends
@@ -13930,6 +16552,10 @@ and \Ie{enumerate} lists are extended versions of the normal ones.
   {\cs{descriptionlabel}\marg{label}}%
   {Specifies the format of the \meta{label} of an \cs{item} in a 
    \Pe{description} environment.}
+\glossary(blockdescriptionlabel)%
+  {\cs{blockdescriptionlabel}\marg{label}}%
+  {Specifies the format of the \meta{label} of an \cs{item} in a 
+   \Pe{blockdescription} environment.}
 In a \Ie{description} list an \cs{item}'s \meta{label} is typeset by
 \cmd{descriptionlabel}. The default definition is
 \begin{lcode}
@@ -13942,6 +16568,76 @@ which gives a bold label. To have, for example, a sans label instead, do
                                      \normalfont\sffamily #1}
 \end{lcode}
 
+    The only noticeable difference between a \Ie{description} list and a 
+\Ie{blockdescription} list is that the latter is set as indented block paragraphs;
+invisibly, it also has its own \cmd{\blockdescriptionlabel}.
+
+\begin{syntax}
+\senv{labelled}\marg{name} \cmd{\item}\oarg{label} ... \eenv{labelled} \\
+\senv{flexlabelled}\marg{name}\marg{labelwidth}\marg{labelsep}\marg{itemindent}\% \\
+                   \marg{leftmargin}\marg{rightmargin} \\
+\cmd{\item}\oarg{label} ... \eenv{flexlabelled} \\
+\end{syntax}
+\glossary(labelled)%
+  {\senv{labelled}\marg{name}}%
+  {A list of descriptions of \cs{item}s with the labels formatted according to \cs{name}}.
+\glossary(flexlabelled)%
+  {\senv{labelled}\marg{name}\marg{width}\marg{sep}\marg{indent}\marg{left}\marg{right}}%
+  {A list of descriptions of \cs{item}s with the labels formatted according to \cs{name}
+   and the overall layout specified by the other list length arguments.}
+
+The \Ie{labelled} environment is like the \Ie{description} environment except that
+you can specify the label format via the \meta{name} argument where \cs{name} is
+the formatting macro. For example, if you wanted the item labels set in italics, then
+\begin{lcode}
+\newcommand*{\itlabel}[1]{\hspace\labelsep \normalfont\itshape #1}
+\begin{labelled}{itlabel}
+\item[First] ...
+...
+\end{lcode}
+
+    The \Ie{flexlabelled} environment adds additional controls to the \Ie{labelled} one.
+The \meta{name} argument is the same as that for \Ie{labelled} and the remainder are
+lengths that correspond to the dimensions shown in \fref{fig:listlay}. If you want
+any of the dimensions to retain their current values, use \verb?*? instead of a length
+as the value for that particular argument.
+
+\begin{egsource}{eg:flexlabelled}
+This example shows how the \texttt{flexlabelled} list can be used to
+change the formatting of a description-like list.
+\newcommand*{\sclabel}[1]{\normalfont\scshape #1}
+\begin{flexlabelled}{sclabel}{0pt}{0.5em}{0.5em}{*}{\leftmargin}
+\item[First] The labels should be typeset using smallcaps and the first
+             paragraph should be set as block paragraph.
+
+             Further paragraphs completing an \cs{item}'s descriptive text
+             will be set with the normal paragraph indent.
+\item[Second] The list should be indented from each margin like the
+              \texttt{quote} and \texttt{quotation} environments.
+\end{flexlabelled}
+More major changes to a description-like list will probably involve writing 
+the code for a new environment. 
+\end{egsource}
+
+\begin{egresult}[Smallcap quote style description list]{eg:flexlabelled}
+This example shows how the \texttt{flexlabelled} list can be used to
+change the formatting of a description-like list.
+\newcommand*{\sclabel}[1]{\normalfont\scshape #1}
+\begin{flexlabelled}{sclabel}{0pt}{0.5em}{0.5em}{*}{\leftmargin}
+\item[First] The labels should be typeset using smallcaps and the first
+             paragraph should be set as block paragraph.
+
+             Further paragraphs completing an \cs{item}'s descriptive text
+             will be set with the normal paragraph indent.
+\item[Second] The list should be indented from each margin like the
+              \texttt{quote} and \texttt{quotation} environments.
+\end{flexlabelled}
+More major changes to a description-like list will probably involve writing 
+the code for a new environment. 
+\end{egresult}
+
+
+
     The \Ie{itemize} and \Ie{enumerate} environments below are based on
 the \Lpack{enumerate} package~\cite{ENUMERATE}.
 
@@ -14219,7 +16915,7 @@ The normal spacing can be restored by using the \restoretrivseps
 An alternative is to use the \verb?\centering? macro.
 \end{egsource}
 
-\enlargethispage{\onelineskip}
+%%%%\enlargethispage{\onelineskip}
 Among the environments defined in terms of a \Ie{trivlist} are:
 \Ie{flushleft},
 \Ie{center},
@@ -14300,13 +16996,13 @@ can be changed by using \cmd{\setcounter} or \cmd{\settocdepth}.
  \cmd{\tableofcontents} command. The sectioning 
  commands\footnote{For figures and tables it is the 
  \cmd{\caption} command
- that populates the \ixfile{lof} and \ixfile{lot} files.}
- put entries into the \ixfile{toc} file by calling the 
+ that populates the \pixfile{lof} and \pixfile{lot} files.}
+ put entries into the \pixfile{toc} file by calling the 
  \cmd{\addcontentsline} 
  command, where \meta{file} is the file extension (e.g., \texttt{toc}),
  \meta{kind} is the kind of entry (e.g., \texttt{section} or \texttt{subsection}),
  and \meta{text} is the (numbered) title text. In the cases where
- there is a number, the \meta{title} argument is given in the
+ there is a number, the \meta{text} argument is given in the
  form \verb?{\numberline{number}title text}?.
 
 \begin{syntax}
@@ -14649,6 +17345,31 @@ into the \toc, while the starred versions do not.
     You can use \cmd{\tableofcontents}, \cmd{\listoffigures}, etc., more
 than once in a \Lclass{memoir} class document.
 
+\PWnote{2009/03/17}{Added \cs{(one|two|doc)coltocetc} descriptions.}
+\begin{syntax}
+\cmd{\onecoltocetc} \\
+\cmd{\twocoltocetc} \\
+\cmd{\doccoltocetc} \\
+\end{syntax}
+\glossary(onecoltocetc)%
+  {\cs{onecoltocetc}}%
+  {Set the ToC, etc., in one column.}
+\glossary(twocoltocetc)%
+  {\cs{twocoltocetc}}%
+  {Set the ToC, etc., in two columns.}
+\glossary(doccoltocetc)%
+  {\cs{doccoltocetc}}%
+  {Set the ToC, etc., in one or two columns according to the class option.}
+
+
+In the standards classes the \toc, etc., are set in one column even if the
+document as a whole is set in two columns. This limitation is removed.
+Following the \cmd{\onecoltocetc} declaration, which is the default, the
+\toc\ and friends will be set in one column but after the \cmd{\twocoltocetc}
+declaration they will be set in two columns. Following the \cmd{\doccoltocetc}
+declaration they will be set in either one or two columns to match the 
+document class \Lopt{onecolumn} or \Lopt{twocolumn} option. 
+
 \begin{syntax}
 \cmd{\maxtocdepth}\marg{secname} \\
 \cmd{\settocdepth}\marg{secname} \\
@@ -14716,7 +17437,7 @@ titles all follow a similar pattern So for convenience (certainly mine,
 and hopefully yours) in the following descriptions I will use \texttt{X},
 as listed in \tref{tab:Xlistofxtitles},
 to stand for the file extension for the appropriate \listofx. That is, any
-of the following.
+of the following:
 \begin{itemize}
 \item \texttt{toc} or
 \item \texttt{lof} or
@@ -14808,7 +17529,7 @@ using \cmd{\printchaptertitle} for the actual typesetting.
  These macros sets the marks for use by the running heads on the \toc, \lof, and
  \lot\ pages. The default definition is equivalent to:
 \begin{lcode}
-\newcommmand{\Xmark}{\markboth{\...name}{\...name}}
+\newcommand{\Xmark}{\markboth{\...name}{\...name}}
 \end{lcode}
 where \verb?\...name? is \cmd{\contentsname} or \cmd{\listfigurename} or
 \cmd{\listtablename} as appropriate. You probably don't need to change these, and
@@ -15606,6 +18327,23 @@ fragile\index{fragile}.
 
 \subsection{Example: Multiple contents}
 
+\PWnote{2009/03/17}{Added bit about simple short \& long ToC.}
+    It is easy to have two \toc s, one short and one long, when they are
+of the same style, like this:
+\begin{lcode}
+...
+\renewcommand*{\contentsname}{Short contents}
+\setcounter{tocdepth}{0}%  chapters and above
+\tableofcontents
+% \clearpage
+\renewcommand*{\contentsname}{Contents}
+\setcounter{tocdepth}{2}%  subsections and above
+\tableofcontents
+\end{lcode}
+(Note that you can't use \cmd{\settocdepth} in this case as that writes the 
+change into the \toc, so that the second use would override the first.)
+
+
     This book has both a short and a long \toc, neither of which look like
 those typically associated with \ltx. This is how they were done.
 
@@ -15793,7 +18531,7 @@ will add \meta{listofname} to the \toc, while the starred version,
  \newcommand{\listanswername}{List of Answers}
  \newlistof{listofanswers}{ans}{\listanswername}
  \end{lcode}
- will create a new \cmd{\listofanswers} commmand that can be used
+ will create a new \cmd{\listofanswers} command that can be used
 to typeset a listing of answers under the
 title \cmd{\listanswername}, where the answer titles are in an \file{ans}
 file. 
@@ -15801,7 +18539,7 @@ file.
 for the answers in the document. For example:
  \begin{lcode}
  \newcounter{answer}[chapter]
- \renewcommand{\theanswer}{\thechapter.\arabic{answer}}
+ \renewcommand{\theanswer}{\arabic{answer}}
  \newcommand{\answer}[1]{
    \refstepcounter{answer}
    \par\noindent\textbf{Answer \theanswer. #1}
@@ -16143,7 +18881,7 @@ where \cmd{\prechapterprecis} and \cmd{\postchapterprecis} are defined
 as:
 \begin{lcode}
 \newcommand{\prechapterprecis}{%
-  \vspace*{-2\baselineskip}%
+  \vspace*{\prechapterprecisshift}%
   \begin{quote}\normalfont\itshape}
 \newcommand{\postchapterprecis}{\end{quote}}
 \end{lcode}
@@ -16168,6 +18906,25 @@ a chapter title using the \cmd{\precistocfont} (default \cmd{\itshape}).
 \index{chapter!precis|)}
 
 
+\section{Contents lists and bookmarks}
+\label{sec:cont-lists-bookm}
+
+\LMnote{2009/06/29}{Added section about contents lists and bookmarks}
+
+With the \Lpack{hyperref} package, the table of contents is often
+added as a list of bookmarks thus providing a nice navigation for the
+user. There is one slight problem though: when using, say, parts in
+the document, all chapters in that part ends up as a child of this
+part bookmark---including the index and bibliography. A simple fix to
+this is to add
+\begin{lcode}
+  \makeatletter
+  \renewcommand*{\toclevel@chapter}{-1}
+  \makeatother
+\end{lcode}
+just before the material you would like to pull out of the part tree.
+
+
 
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
@@ -16229,7 +18986,7 @@ the \texttt{figure} float\index{figure!float definition} for the class
 is defined as:
 \begin{lcode}
 \newfloat[chapter]{figure}{lof}{\figurename}
-\renewcommmand{\thefigure}{%
+\renewcommand{\thefigure}{%
   \ifnum\c@chapter>\z@ \thechapter.\fi \@arabic\c@figure}
 \end{lcode}
 The last bit of the definition is internal code to make sure that if a
@@ -16915,7 +19672,7 @@ the float page with the first float. \ltx\ is stuck!
 
  You must try and pick a combination from these that will let \ltx\ find
 a place to put your floats. However, you can 
-also can change the float parameters to make it easier to find places
+also change the float parameters to make it easier to find places
 to put floats. Some examples are:
 \begin{itemize}
 \item Decrease \cmd{\textfraction} to get more `float' on a text page, 
@@ -17124,13 +19881,15 @@ centered:
 \glossary(normalcaption)%
   {\cs{normalcaption}}%
   {Multiline captions will be typeset as a block paragraph.}
+\PWnote{2009/06/25}{Hang/indent no longer affects short captions}
  The declaration \cmd{\hangcaption} causes captions to be typeset with 
 the second and later lines of a multiline\index{caption!multiline} 
 caption title indented by 
 the width of the caption name. 
 The declaration \cmd{\indentcaption} will indent title lines after 
 the first by \meta{length}. These commands are independent of 
-the \cmd{\captionstyle}\verb?{...}?. Note that a caption will not 
+the \cmd{\captionstyle}\verb?{...}? and have no effect on short captions.
+Note that a caption will not 
 be simultaneously hung and indented. The \cmd{\normalcaption} declaration 
 undoes any previous \cmd{\hangcaption} or \cmd{\indentcaption} declaration.
 The class initially specifies \cmd{\normalcaption} to give the normal 
@@ -17167,7 +19926,7 @@ then it must be a \cmd{\normalcaptionwidth} caption.
 
 \begin{syntax}
 \cmd{\precaption}\marg{pretext} \\
-\cmd{\captiontitlefinal}{text} \\
+\cmd{\captiontitlefinal}\marg{text} \\
 \cmd{\postcaption}\marg{posttext} \\
 \end{syntax}
 \glossary(precaption)%
@@ -18290,7 +21049,7 @@ of a float. The positioning and styling commands for these are exactly
 those for \Ie{sidecaption}. 
 Bilingual captions, which are not considered to be simple, can only be 
 placed above or below a float; 
-no facilities are provided for setting tham at the side..
+no facilities are provided for setting them at the side..
 
 \begin{syntax}
 \senv{sidecontcaption}\marg{title}\oarg{label} \\
@@ -18830,7 +21589,7 @@ environments. These are based partly on a merging of the
     Much of the material in this chapter strongly reflects the
 documentation of these packages.
 
- Additionaly, new kinds of tabular environments are also provided.
+ Additionally, new kinds of tabular environments are also provided.
 
 
 \section{General}
@@ -18916,6 +21675,8 @@ are listed in \tref{tab:tabpream}.
                            vertical line, so this option doesn't
                            suppress the normally inserted space between
                            columns in contrast to \verb?@{...}?.\\
+ \texttt{*}\marg{num}\marg{opts} & Equivalent to \meta{num} copies of
+                                   \meta{opts} \\
  \texttt{D}\marg{ssep}\marg{osep}\marg{places} & Column entries aligned
                            on a `decimal point' \\
        \bottomrule
@@ -19797,8 +22558,8 @@ will be increased by \lnc{\doublerulesep}.
  The default dimensions are
  \begin{quote}
    \lnc{\heavyrulewidth} = 0.08em \\
-   \lnc{\lightrulewidth} = 0.5em \\
-   \lnc{\cmidrulewidth}  = 0.3em \\
+   \lnc{\lightrulewidth} = 0.05em \\
+   \lnc{\cmidrulewidth}  = 0.03em \\
    \lnc{\belowrulesep}   = 0.65ex \\
    \lnc{\aboverulesep}   = 0.4ex \\
    \lnc{\defaultaddspace} = 0.5em \\
@@ -20256,7 +23017,7 @@ The `poor man's \cmd{\verb}' (and
 \begin{lcode}
 \let\verb=\TX@verb
 \end{lcode}
-It must sure that the real definition is restored afterwards.
+It must ensure that the real definition is restored afterwards.
 
     This version of \cmd{\verb} and \cmd{\verb*} are subject to the 
 following restictions:
@@ -20797,7 +23558,7 @@ counter is stepped and provides the mark's value. The \cmd{\footnote}
 command should be used in paragraph mode where it puts the note at the
 bottom of the page, or in a \Ie{minipage} where it puts the note
 at the end of the \Ie{minipage}. Results are likely to be peculiar if
-it used anywhere else (like in a \Ie{tabular}).
+it is used anywhere else (like in a \Ie{tabular}).
 
 \begin{syntax}
 \cmd{\footnotemark}\oarg{num} \\
@@ -21153,9 +23914,9 @@ You can change this if, for example,
  \begin{lcode}
  \renewcommand*{\@makefnmark}[1]{{\footnotesize (#1)}}
  \end{lcode}
- or, somewhat better to take acount of the size of the surounding text
+ or, somewhat better to take account of the size of the surrounding text
  \begin{lcode}
- \renewcommand*{\@makefnmark}[1]{\slashfracstyle{(#1)}
+ \renewcommand*{\@makefnmark}[1]{\slashfracstyle{(#1)}}
  \end{lcode}
 
 
@@ -21171,7 +23932,7 @@ You can change this if, for example,
   {\cs{footmarkstyle}\marg{style}}%
   {Style of the footnote mark at the bottom of the page.}
 The class macro for typesetting the marker at the foot of the page is
-\cmd{\footfootmark}.  The appearance of the mark is contolled by
+\cmd{\footfootmark}.  The appearance of the mark is controlled by
 \cmd{\footmarkstyle}. The default specification is
 \begin{lcode}
 \footmarkstyle{\textsuperscript{#1}}
@@ -21332,6 +24093,13 @@ original definition is:
   \mathsection\or \mathparagraph\or \|\or **\or 
   \dagger\dagger \or \ddagger\ddagger \else\@ctrerr\fi}}
 \end{lcode}
+\makeatletter
+\let\m@mold@fnsymbol\@fnsymbol
+\def\@fnsymbol#1{\ensuremath{%
+  \ifcase#1\or *\or \dagger\or \ddagger\or 
+  \mathsection\or \mathparagraph\or \|\or **\or 
+  \dagger\dagger \or \ddagger\ddagger \else\@ctrerr\fi}}
+\makeatother
 This, as shown by \verb?\@fnsymbol{1},...\@fnsymbol{9}? produces the series:
 \begin{center}
  \makeatletter
@@ -21349,7 +24117,6 @@ This, as shown by \verb?\@fnsymbol{1},...\@fnsymbol{9}? produces the series:
 \end{center}
 
 \makeatletter
-\let\m@mold@fnsymbol\@fnsymbol
 \renewcommand*{\@fnsymbol}[1]{\ensuremath{%
   \ifcase#1\or *\or \dagger\or \ddagger\or
   \mathsection\or \|\or \mathparagraph\or **\or \dagger\dagger
@@ -21463,7 +24230,7 @@ is used no matter which margin. The note text is typeset in a parbox.
      Following the \cmd{\reversemarginpar} declaration the default margins
 are reversed. The placement is determined by the declaration in effect at the
 end of the paragraph containing the \cmd{\marginpar} command. \ltx\ tries
-to align the the top line of the note with the line in the main text where
+to align the top line of the note with the line in the main text where
 the command was given. However, if this would overlap a previous note it will
 be moved\index{margin note!moved} down, and possibly below, the page; 
 a warning message is printed on the terminal if a note is moved. 
@@ -22815,7 +25582,7 @@ is what you will need.
   {\cs{thepoemline}}%
   {The numeric representation of verse line numbers (default arabic).}
     The \Icn{poemline} counter is used in numbering the lines, so the
-number repesentation is \cmd{\thepoemline}, which defaults to 
+number representation is \cmd{\thepoemline}, which defaults to 
 arabic numerals, and they are typeset using the font 
 specified\index{line number!font}
 via \cmd{\linenumberfont}; the default is 
@@ -22912,7 +25679,7 @@ for example, it can be redefined to specify a particular pagestyle that should
 be used. For example:
 \begin{lcode}
 \renewcommand*{\poemtitlemark}[1]{\markboth{#1}{#1}}
-\renewcommmand*{\poemtitlepstyle}{%
+\renewcommand*{\poemtitlepstyle}{%
   \pagestyle{headings}%
   \thispagestyle{empty}}
 \end{lcode}
@@ -23282,7 +26049,7 @@ And made cider inside her inside.
 \vspace{\onelineskip}
 
 
-    The next example is a song you may have head of. This uses 
+    The next example is a song you may have heard of. This uses 
 \cmd{\flagverse} for labelling\index{stanza!number} the stanzas, 
 and because the lines are numbered\index{line number} they can be referred to. 
 
@@ -23421,7 +26188,7 @@ and the result is shown on the next page.
 
     The title of this chapter indicates that it deals with three 
 disconnected topics, but there is method in the seeming peculiarity.
-By the end of the chapter you will be able to to write \ltx\ code that
+By the end of the chapter you will be able to write \ltx\ code that
 lets you put things in your document source at one place and have them
 typeset at a different place, or places. For example, if you are writing
 a text book that includes questions and answers then you could write 
@@ -23503,7 +26270,7 @@ extends the available kinds of boxes.
 \begin{syntax}
 \senv{framed} text \eenv{framed} \\
 \senv{shaded} text \eenv{shaded} \\
-\senv{snugshaded} text \eenv{snugshaded} \\
+\senv{snugshade} text \eenv{snugshade} \\
 %%%%%\cmd{\frameasnormaltrue} \cmd{\frameasnormalfalse} \\
 \end{syntax}
 \glossary(framed)%
@@ -23571,11 +26338,14 @@ in the boxes will disappear.
 The \Ie{framed} environment puts the text into an `\cmd{\fbox}' with
 the settings:
 \begin{lcode}
-\setlength{\FrameRule}{\fboxsep}
+\setlength{\FrameRule}{\fboxrule}
 \setlength{\FrameSep}{3\fboxsep}
 \end{lcode}
-The length \lnc{\FrameHeightAdjust} is the height of the top of the frame
-above the baseline at the top of a page; its default value is 0.6em.
+The macro \cmd{\FrameHeightAdjust} specifies the height of the top of the frame
+above the baseline at the top of a page; its initial definition is:
+\begin{lcode}
+\providecommand*{\FrameHeightAdjust}{0.6em}
+\end{lcode}
 
 \index{frame!box!styling}
 \begin{syntax}
@@ -23675,6 +26445,12 @@ package~\cite{FANCYBOX} and the following code:
 from the surrounding text. A title for the environment may be useful, and
 if there was a pagebreak in the middle, a title on the continuation could
 be desireable. Doing this takes a bit more work than I have shown so far.
+This first part was inspired by a posting to \ctt\ by 
+Donald Arseneau\index{Arseneau, Donald}.\footnote{On 2003/10/24 in the thread
+\textit{framed.sty w/heading?}. The particulars are no longer applicable as 
+the framing code in question then has since been revised.}.
+\PWnote{2009/06/25}{Rewrote section and code for titled frames.}
+\begin{comment}
 This first part is from a posting to \ctt\ by 
 Donald Arseneau\index{Arseneau, Donald}.\footnote{On 2003/10/24 in the thread
 \textit{framed.sty w/heading?}}.
@@ -23699,6 +26475,30 @@ Donald Arseneau\index{Arseneau, Donald}.\footnote{On 2003/10/24 in the thread
   \MakeFramed{\advance\hsize-\width \FrameRestore}}%
   {\endMakeFramed}
 \end{lcode}
+\end{comment}
+
+\begin{lcode}
+\newcommand{\FrameTitle}[2]{%
+  \fboxrule=\FrameRule \fboxsep=\FrameSep
+  \fbox{\vbox{\nobreak \vskip -0.7\FrameSep
+    \rlap{\strut#1}\nobreak\nointerlineskip% left justified
+    \vskip 0.7\FrameSep
+    \hbox{#2}}}}
+\newenvironment{framewithtitle}[2][\FrameFirst@Lab\ (cont.)]{%
+  \def\FrameFirst@Lab{\textbf{#2}}%
+  \def\FrameCont@Lab{\textbf{#1}}%
+  \def\FrameCommand##1{%
+    \FrameTitle{\FrameFirst@Lab}{##1}}%
+  \def\FirstFrameCommand##1{%
+    \FrameTitle{\FrameFirst@Lab}{##1}}%
+  \def\MidFrameCommand##1{%
+    \FrameTitle{\FrameCont@Lab}{##1}}%
+  \def\LastFrameCommand##1{%
+    \FrameTitle{\FrameCont@Lab}{##1}}%
+  \MakeFramed{\advance\hsize-\width \FrameRestore}}%
+  {\endMakeFramed}
+\end{lcode}
+
 The \Ie{framewithtitle} environment, which is the end goal of this
 exercise, acts like the \Ie{framed} environment except that it puts
 a left-justified title just after the top of the frame box and before the
@@ -23713,13 +26513,24 @@ any suceeding pages, otherwise the phrase `\meta{title} (cont.)' is used
 for the continuation title.
 
     If you would like the titles centered, replace the line 
-marked `left justified' in the code for \cmd{FrameTitle} with the line:
+marked `left justified' in the code for \cmd{\FrameTitle} with the line:
 \begin{lcode}
 \rlap{\centerline{\strut#1}}\nobreak\nointerlineskip% centered
 \end{lcode}
 
+    The code for the \Ie{frametitle} environment is not obvious. The difficulty
+in creating the environment was that the underlying framing code goes through
+the `stuff' to be framed by first trying to fit it all onto one page 
+(\cs{FrameCommand}). If it does not fit, then it takes as much as will fit
+and typesets that using \cs{FirstFrameCommand}, then tries to typeset the 
+remainder on the next page. If it all fits then it uses \cs{LastFrameCommand}.
+If it doesn't fit, it typesets as much as it can using \cs{MidFrameCommand}, 
+and then tries to set the remainder on the following page. The process repeats
+until all has been set.
+
     If you would prefer to have the title at the top outside the frame the 
 above code needs adjusting.
+\begin{comment}
 \begin{lcode}
 \newcommand{\TitleFrame}[2]{%
   \fboxrule=\FrameRule \fboxsep=\FrameSep
@@ -23743,6 +26554,32 @@ above code needs adjusting.
               \FrameRestore}}%
   {\endMakeFramed}
 \end{lcode}
+\end{comment}
+
+\begin{lcode}
+\newcommand{\TitleFrame}[2]{%
+  \fboxrule=\FrameRule \fboxsep=\FrameSep
+  \vbox{\nobreak \vskip -0.7\FrameSep
+    \rlap{\strut#1}\nobreak\nointerlineskip% left justified
+    \vskip 0.7\FrameSep
+    \noindent\fbox{#2}}}
+\newenvironment{titledframe}[2][\FrameFirst@Lab\ (cont.)]{%
+  \def\FrameFirst@Lab{\textbf{#2}}%
+  \def\FrameCont@Lab{\textbf{#1}}%
+  \def\FrameCommand##1{%
+    \TitleFrame{\FrameFirst@Lab}{##1}}
+  \def\FirstFrameCommand##1{%
+    \TitleFrame{\FrameFirst@Lab}{##1}}
+  \def\MidFrameCommand##1{%
+    \TitleFrame{\FrameCont@Lab}{##1}}
+  \def\LastFrameCommand##1{%
+    \TitleFrame{\FrameCont@Lab}{##1}}
+  \MakeFramed{\hsize\textwidth
+              \advance\hsize -2\FrameRule
+              \advance\hsize -2\FrameSep
+              \FrameRestore}}%
+  {\endMakeFramed}
+\end{lcode}
 
 \begin{syntax}
 \senv{titledframe}\oarg{cont-title}\marg{title} text \eenv{titledframe} \\
@@ -23750,7 +26587,7 @@ above code needs adjusting.
 The \Ie{titledframe} environment is identical to \Ie{framewithtitle}
 except that the title is placed just before the frame. Again, if
 you would like a centered title, replace the line marked `left justified'
-in \cmd{TitleFrame} by
+in \cmd{\TitleFrame} by
 \begin{lcode}
 \rlap{\centerline{\strut#1}}\nobreak\nointerlineskip% centered
 \end{lcode}
@@ -23942,8 +26779,8 @@ have found them so convenient that I added them to the class.
   {\cs{setverbatimfont}\marg{fontspec}}%
   {Sets the font to be used for verbatim text.}
 The default font\index{verbatim!changing font} for verbatims is the normal 
-sized monospaced font. The
-\cmd{\setverbatim} declaration can be used to specify a different font.
+sized monospaced font. The declaration
+\cmd{\setverbatimfont} can be used to specify a different font.
 The class default is 
 \begin{lcode}
 \setverbatimfont{\normalfont\ttfamily}
@@ -25002,7 +27839,7 @@ a page break in the middle of the box.
     The above code should be either put in the preamble\index{preamble} 
 or in a separate package\index{package} file.
 
-   The first four lines of the code perform the initial settup described
+   The first four lines of the code perform the initial setup described
 earlier. Lines 1 and 2 set up for outputting\index{file!write} to a file 
 \verb?\jobname.fig?, which
 is where the figures will be collected. Lines 3 and 4 create the 
@@ -25247,7 +28084,7 @@ a separate document.
 
     The real answer to all the problems is force an answer to come immediately
 after the question in the source and to use the \Icn{question} counter
-directly, as in the endnotes\index{endnote} example. In the traditional manner,
+directly, as in the endnotes\index{endnotes} example. In the traditional manner,
 this is left as an exercise for the 
 reader.
 
@@ -25559,9 +28396,13 @@ items in enumerated lists
 that should not be referenced by \verb?\titleref?.
 \end{egresult}
 
+    As the above example shows, you have to be a little careful in using
+\cmd{\titleref}.
+Generally speaking, \cmd{\titleref}\marg{key} produces the last named 
+thing before the \cmd{\label} that defines the \meta{key}. 
+
 \begin{syntax}
 \cmd{\headnameref} \cmd{\tocnameref} \\
-\cmd{\namerefon} \cmd{\namerefoff} \\
 \end{syntax}
 \glossary(headnameref)%
   {\cs{headnameref}}%
@@ -25569,12 +28410,6 @@ that should not be referenced by \verb?\titleref?.
 \glossary(tocnameref)%
   {\cs{tocnameref}}%
   {Use \prtoc{} title for sectional title references.}
-\glossary(namerefon)%
-  {\cs{namerefon}}%
-  {Makes \cs{titleref} operative.}
-\glossary(namerefoff)%
-  {\cs{namerefoff}}%
-  {Makes \cs{titleref} inoperative.}
 There can be three possibilities for the name of a sectional division;
 the full name, the name in the \toc, and the name in the page header.
 As far as \cmd{\titleref} is concerned it does not use the fullname, 
@@ -25583,6 +28418,72 @@ the declaration \cmd{\headnameref} it uses the page header name.
 Following the opposite declaration \cmd{\tocnameref}, which is the
 default, it uses the \toc\ name.
 
+\Note{} Specifically with the \Lclass{memoir} class, 
+do not put a \cmd{\label} command inside an
+argument to a \cmd{\chapter} or \cmd{\section} or \cmd{\caption}, etc.,
+command. Most likely it will either be ignored or referencing it will
+produce incorrect values. This restriction does not apply to the standard
+classes, but in any case I think it is good practice not to embed any 
+\cmd{\label} commands.
+
+\begin{syntax}
+\cmd{\currenttitle} \\
+\end{syntax}
+\glossary(currenttitle)%
+  {\cs{currenttitle}}%
+  {Gives the title of the last sectional division command.}
+    If you just want to refer to the current title you can do so with
+\cmd{\currenttitle}. This acts as though there had been a label associated
+with the title and then \cmd{\titleref} had been used to refer to that label.
+For example:
+\begin{egsource}{eg:sec:nxref:2}
+This sentence in the section titled `\currenttitle' is an example of the
+use of the command \verb?\currenttitle?.
+\end{egsource}
+
+\begin{egresult}[Current title]{eg:sec:nxref:2}
+This sentence in the section titled `\currenttitle' is an example of the
+use of the command \verb?\currenttitle?.
+\end{egresult}
+
+\begin{syntax}
+\cmd{\theTitleReference}\marg{num}\marg{text} \\
+\end{syntax}
+\glossary(theTitleReference)%
+  {\cs{theTitleReference}\marg{num}\marg{text}}
+  {Called by \cs{titleref} and \cs{currenttitle} with the number and
+   text of the title to print the values.}
+Both \cmd{\titleref} and \cmd{\currenttitle} use the \cmd{\theTitleReference}
+to typeset the title. This is called with two arguments --- 
+the number, \meta{num}, and the text, \meta{text}, of the title. The
+default definition is:
+\begin{lcode}
+\newcommand{\theTitleReference}[2]{#2}
+\end{lcode}
+so that only the \meta{text} argument is printed. You could, for example,
+change the definition to
+\begin{lcode}
+\renewcommand{\theTitleReference}[2]{#1\space \textit{#2}}
+\end{lcode}
+to print the number followed by the title in italics. If you do this, only use
+\cmd{\titleref} for numbered titles, as a printed number for an 
+unnumbered title (a) makes no sense, and (b) will in any case be 
+incorrect.
+
+    The commands \cmd{\titleref}, \cmd{\theTitleReference} and 
+\cmd{\currenttitle} are direct equivalents of those in the \Lpack{titleref}
+package~\cite{TITLEREF}.
+
+\begin{syntax}
+\cmd{\namerefon} \cmd{\namerefoff} \\
+\end{syntax}
+\glossary(namerefon)%
+  {\cs{namerefon}}%
+  {Makes \cs{titleref} operative.}
+\glossary(namerefoff)%
+  {\cs{namerefoff}}%
+  {Makes \cs{titleref} inoperative.}
+
     The capability for referencing by name has one potentially
 unfortunate side effect --- it causes some arguments, such as that
 for \cmd{\legend}, to be moving\index{moving argument} arguments 
@@ -25600,8 +28501,8 @@ will require the use of \cmd{\titleref} and so the declaration
 The \pixbackmatter\ consists of reference and supportive elements for 
 the \pixmainmatter;
 things like bibliographies, indexes, glossaries, endnotes, and other
-material. The class provides some features of such matter that
-is not in the standard classes.
+material. The class provides additional elements and features of such 
+matter that are not in the standard classes.
 
 \section{Bibliography} \label{sec:xref:bibliography}
 
@@ -25754,7 +28655,7 @@ several CTAN mirrors can be found at \url{http://www.tug.org}.}
   {\cs{biblistextra}}%
   {Called immediately after the \Pe{bibitemlist} is set up.}
 Just at the end of setting up the \Ie{bibitemlist} the \cmd{\biblistextra}
-command is called. By default this does nothing by you may change it to
+command is called. By default this does nothing but you may change it to
 do something useful. For instance, it can be used to change
 the list parameters so that the entries are 
 typeset flushleft.\index{bibliography!flushleft entries}
@@ -25854,7 +28755,7 @@ Only the file name(s) should be supplied, the extension must not be given.
   {\cs{nocite}\marg{labstr}}%
   {Add entry \meta{labstr} to the bibliography, but with no in-text citation.}
 The command \cmd{\nocite} causes \Lbibtex\ to make an entry 
-in the bibliography but no citatation will appear in the text. The special
+in the bibliography but no citation will appear in the text. The special
 case \verb?\nocite{*}? causes \emph{every} entry in the database to be
 listed in the bibliography.
 
@@ -26601,7 +29502,7 @@ is defined, you would do
 \index{entry|textbf}
 \end{lcode}
 
-    As a special case, if you want an index item to to have a page range 
+    As a special case, if you want an index item to have a page range 
 put the two
 characters \verb?|(? at the end of the the argument on the first page, and 
 the character pair \verb?|)? at the end of the argument on the last page.
@@ -26844,6 +29745,28 @@ Thus, main entries will appear in an \pixfile{ind} file like
  Read the \Lmakeindex\ manual~\cite{CHEN88} for full details
 on how to get \Lmakeindex\ to do what you want.
 
+\LMnote{2009/06/30}{described \doidxbookmark}
+The \verb?\doidxbookmark? that is used to wrap around the letter group
+headers, can be used to not only style the group header, but can also
+be used to add the headers in the bookmarks list. This can be done using
+\begin{lcode}
+\newcommand{\doidxbookmark}[1]{{\def\@tempa{Symbols}\def\@tempb{#1}%
+  \centering\bfseries \ifx\@tempa\@tempb %
+  Analphabetics 
+  \phantomsection%
+  \pdfbookmark[0]{Analphabetics}{Analphabetics-idx}%
+%  \label{AnalphabeticsAnalphabeticsAnalphabetics-idx}%
+  \else 
+  #1%
+  \phantomsection%
+  \pdfbookmark[0]{#1}{#1-idx}%
+%  \label{#1#1#1-idx}%
+  \fi%
+  \vskip\onelineskip\par}}
+\end{lcode}
+The labels are generally not needed but can be used to add a visual
+representation of the index bookmarks into the index itself.
+
 
 \subsection{Indexing and the \Lpack{natbib} package}
 
@@ -27018,6 +29941,9 @@ postamble "\n\\end{theglossary}\n"
 item_0    "\n\\glossitem"
 delim_0   "{\\memglonum{"
 encap_suffix "}}}"
+headings_flag 1
+heading_prefix "\\doglobookmark{"
+heading_suffix "}"
 %%% Input style parameters
 keyword "\\glossaryentry"
 \end{lcode}
@@ -27035,7 +29961,7 @@ and end its output file with \senv{theglossary} and \eenv{theglossary},
 respectively.
 The \verb?item_0? tells the program to start each output entry with
 \cmd{\glossitem}. The \verb?delim_0? says that \verb?{\memglonum{?
-sould be put between the end of the entry text and the (page) number. Finally
+should be put between the end of the entry text and the (page) number. Finally
 \verb?encap_suffix? requests \verb?}}}? to be put after any `encapsulated'
 (page) number.
 
@@ -27044,6 +29970,25 @@ also called a style file, for \Lmakeindex{} is in
 \tablerefname~\ref{tab:configin} and~\ref{tab:configout} with the exception
 of the output file page number setting keywords.
 
+\LMnote{2009/06/30}{Added bookmarks for letter groups in the glossary}
+The \verb?\doglobookmark? macro can be used to add bookmarks for the
+letter groups. In the case of this manual we do not write anything,
+just add the letters to the glossary entry in the bookmark list. In
+\Lpack{memsty} \verb?\doglobookmark? is defined as
+\begin{lcode}
+\newcommand\doglobookmark[1]{%
+  \def\@tempa{Symbols}\def\@tempb{#1}%
+  \ifx\@tempa\@tempb %
+  \phantomsection\pdfbookmark[0]{Analphabetics}{Analphabetics-glo}%
+  \else%
+  \phantomsection\pdfbookmark[0]{#1}{#1-glo}%
+  \fi%
+}
+\end{lcode}
+\Lmakeindex\ uses the word 'Symbols' to specify the group that does not
+start with a letter.
+
+
 \subsubsection{Raw input data}
 
 \begin{syntax}
@@ -27285,12 +30230,12 @@ This is the code in the \file{sty} file that I used.
 \renewcommand*{\glossaryname}{Command summary}
 \renewcommand*{\glossarymark}{\markboth{\glossaryname}{\glossaryname}}
 \renewcommand{\glossitem}[4]{%
-  \sbox\@tempboxa{#1 \space #2 #3 #4}%
+  \sbox\@tempboxa{#1 \space #2 #3 \makebox[2em]{#4}}%
   \par\hangindent 2em
   \ifdim\wd\@tempboxa<0.8\linewidth
-    #1 \space #2 #3 \dotfill #4\relax
+    #1 \space #2 #3 \dotfill \makebox[2em][r]{#4}\relax
   \else
-    #1 \dotfill #4\\
+    #1 \dotfill \makebox[2em][r]{#4}\\
     #2 #3
   \fi}
 \end{lcode}
@@ -27406,8 +30351,8 @@ supplied as the \Lpack{pagenote} package~\cite{PAGENOTE}.
 
    The general principle is that notes are written out to a file which
 is then input at the place where the notes are to be printed. The note 
-file has an \ixfile{ent} extension, like the table of contents file
-has a \ixfile{toc} extension.
+file has an \pixfile{ent} extension, like the table of contents file
+has a \pixfile{toc} extension.
 
     You have to put \cmd{\makepagenote} in your preamble if you want 
 endnotes. This will open the \ixfile{ent} note file which is called
@@ -27420,8 +30365,14 @@ checked there are two common methods of identifying an endnote:
 \item Like a footnote, put a number in the text at the location 
 of the note and use the same number to identify the note when it
 finally gets printed.\label{pagenote:id1}
-\item Put no mark in the text, but when it is finally printed use a few 
-words from the text to identify the origin of the note. The page number
+\item Put no mark in the text, but when it is finally 
+      printed\pagenote[Put no mark \ldots finally printed]{This manual uses
+      both footnotes and endnotes. For identifying the endnotes I have used the
+      `words' method for identifying the parent location of an endnote, so as not
+      to start confusing the reader with two sets of note marks in the body of the
+      text. Typically either footnotes or endnotes are used, not both, so the
+      question of distinguishing them does not normally arise.}
+use a few words from the text to identify the origin of the note. The page number
 is often used as well with this method.\label{pagenote:id2}
 \end{enumerate}
 The \meta{text} argument of \cmd{\pagenote} is the contents of the note and
@@ -28159,7 +31110,7 @@ and the first item.
    environment should prevent a pagebreak.}
 
 Putting \cmd{\noprelistbreak} immediately before the \verb?\begin{itemize}?
-should prevent a page break. Ideally, there sould be no blank lines
+should prevent a page break. Ideally, there should be no blank lines
 between the end of the introduction and the start of the list. 
 
 \section{Changing counters}
@@ -28263,7 +31214,7 @@ The starred version of the command creates a function that takes limits
     The \ltx\ kernel defines the \cmd{\providecommand} macro that acts
 like \cmd{\newcommand} if the designated macro has not been defined
 previously, otherwise it does nothing. The class adds to that limited
-repetoire.
+repertoire.
 
 \begin{syntax}
 \cmd{\provideenvironment}\marg{name}\oarg{numargs}\oarg{optarg}\marg{begindef}\marg{enddef} \\
@@ -28407,7 +31358,7 @@ uses \cmd{\futurelet} (e.g., it is a starred command or takes an
 optional argument) only \meta{start-code} is useful --- 
 \meta{end-code} must be empty otherwise things get messed up. If
 \meta{macro} has any delimited arguments then \cmd{\patchcommand}
-connot be used.
+cannot be used.
 
 \section{String arguments}
 
@@ -28493,7 +31444,7 @@ one run before everything settles down. The simple method
 is just
 to check the current page number which, because of TeX's asynchronous page
 breaking algorithm, may not correspond to the actual page number where the
-\cmd{\checkoddpage} commmand was issued. The simple, but faster, page checking
+\cmd{\checkoddpage} command was issued. The simple, but faster, page checking
 method is used after the \cmd{\lazypagecheck} command is issued.
 
 \begin{syntax}
@@ -28678,7 +31629,7 @@ of \cmd{\fnumbersep} is:
 \verb?\fcardinal{1234} ->? \fcardinal{1234} \\
 \verb?\fcardinal{1234567} ->? \fcardinal{1234567} \\
 \verb?\renewcommand*{\fnumbersep}{\:}\fcardinal{12345678} ->?
-  \renewcommand*{\fnumbersep}{\:}\fcardinal{12345678} \\
+\renewcommand*{\fnumbersep}{\:}\fcardinal{12345678} \\
 \verb?\renewcommand*{\fnumbersep}{,\:}?
 \renewcommand*{\fnumbersep}{,\:}
 
@@ -29446,7 +32397,7 @@ and where they used.
 \centering
 \caption{Defined words and phrases}\label{tab:defwordsphrases}
 \begin{tabular}{lll}\toprule
-Macro & Default & Useage \\ \midrule
+Macro & Default & Usage \\ \midrule
 \cmd{\abstractname}     & \abstractname\     & title for \Ie{abstract} environment \\
 \cmd{\alsoname}         & \alsoname\         & used by \cmd{\seealso} \\
 \cmd{\amname}           & \amname\           & used in printing time of day \\
@@ -29526,7 +32477,7 @@ gave the required result\textsuperscript{\textregistered}.
 
 
 
-\subsection{Two simple macros}
+\section{Two simple macros}
 
     There are two trivial macros that can be generally useful.
 \begin{syntax}
@@ -29555,7 +32506,7 @@ Its definition is:
 you do various pieces of code will behave in unexpected ways that you
 will not like.
 
-\subsection{Vertical centering}
+\section{Vertical centering}
 
 \indextwo{vertical}{centering}
     Earlier there was a description of a method for centering text vertically.
@@ -29753,7 +32704,7 @@ was being used by putting the following into the \Pclass{memoir} code
 \end{lcode}
 which caused all sorts of problems.
 
-    The kernel scheme scheme looks like this:
+    The kernel scheme looks like this:
 \begin{lcode}
 \newcommand{\usepackage}[1]{%
   ...
@@ -29814,7 +32765,7 @@ else from package writers. I therefore assume that no package
 author sees any problems if a \Pclass{memoir} class document 
 author uses the package.
 
-    However, I have provided macros that that may be useful for those 
+    However, I have provided macros that may be useful for those 
 who want to do things with the contents of section headings, 
 captions, and the like. The macros are called within the 
 relevant heading or caption code, and by default are defined 
@@ -30064,7 +33015,7 @@ The macro \cs{parg}\marg{arg} prints \parg{arg} for a parenthesized argument.
   \setbeforesecskip{-\onelineskip}
   \setaftersecskip{\onelineskip}
 
-%%\setsubsecheadstyle{\renewcommmand\@hangfrom[1]{\noindent ##1}\raggedright\itshape}
+%%\setsubsecheadstyle{\renewcommand\@hangfrom[1]{\noindent ##1}\raggedright\itshape}
 \setsubsecheadstyle{\sethangfrom{\noindent ##1}\raggedright\itshape}
   \setbeforesubsecskip{-\onelineskip}
   \setaftersubsecskip{\onelineskip}
@@ -30124,7 +33075,8 @@ The macro \cs{parg}\marg{arg} prints \parg{arg} for a parenthesized argument.
 %%%\chapterstyle{bringhurst}
 \headstyles{bringhurst}
 %%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
-\chapter{An example design} \label{chap:bringhurst}
+\PWnote{2009/07/05}{Added `book' to example design chapter title}
+\chapter{An example book design} \label{chap:bringhurst}
 
 %unitlength=\printlength{\unitlength}, \\
 %pwlayi=\printlength{\pwlayi}, \\
@@ -30147,7 +33099,8 @@ of the exercise to provide both a coding and a graphic example.
 \section{Design requirements}
 
     The \textit{Elements of Typographic Style} is typeset using 
-Minion\index{Minion} as the text font and Syntax\index{Syntax} (a sans font) 
+Minion\facesubseeidx{Minion} as the text font and Syntax\facesubseeidx{Syntax} 
+(a sans font) 
 for the captions. The page layout has been
 shown diagramatically in \fref{fb:1} on \pref{fb:1}, but further details need
 to be described for those not fortunate enough to have a copy of their own.
@@ -30213,7 +33166,7 @@ versions to make the differences easier to see.
 \section{Specifying the page and typeblock}
 
     The first and second things to do are to specify the sizes of the page
-after trimmming and the typeblock\index{typeblock}. The trimmed size is 
+after trimming and the typeblock\index{typeblock}. The trimmed size is 
 easy as we have the dimensions.
 \begin{lcode}
 \settrimmedsize{23cm}{13.3cm}{*}
@@ -30606,6 +33559,1018 @@ in your document's preamble\index{preamble}.
 %%%\chapterstyle{demo3}
 \headstyles{memman}
 \pagestyle{ruled}
+
+\PWnote{2009/07/05}{Added thesis design chapter}
+\PWnote{2009/07/08}{Revised thesis design chapter}
+\chapter{An example thesis design} \label{chap:thesis}
+
+    Many universities in the United States have strict regulations about 
+the typography of theses.
+The title and administrative pages are inherently specific to a particular 
+university, but often the design for the body of the thesis clashes 
+with normally accepted typographic practice. This chapter presents 
+fairly typical guidelines for some US universities and code intended 
+to meet them. Let's call the university in question the 
+\emph{Archibald Smythe University}, or ASU for short. 
+
+    The requirements that are listed below are not from any single
+university but I have, over the years, seen each one of them. In reality
+there are likely to be many more nit-picking rules than I have shown.
+
+    It amuses me that I have never seen a printed set of requirements that 
+followed the rules laid down therein.
+
+    Universities outside the US tend to be more relaxed with the result
+that theses from these establishments are very often more attractive (certainly
+less bulky) and more readable. The ASU requirements lead to an exceptionally
+dull and unatractive appearance.
+
+\section{Example US thesis typographic requirements}
+
+\subsection{General}  
+
+\begin{description}
+\item[Paper size] The thesis shall be printed on 8.5 by 11 inch plain
+white paper.
+
+\item[Single-sided] The thesis shall be printed single-sided; that is,
+one side of each sheet of paper will be blank.
+
+\item[Margins] Every page of the document shall meet the requirements of
+a 1.5~inch margin on the left and a 1~inch margin at the top, right, and 
+bottom of the page. Nothing shall appear in any margin.
+
+\item[Fonts] The thesis may be set in 10, 11 or 12pt 
+Arial\index{Arial}, 
+Century\index{Century}, 
+Garamond\index{Garamond},
+Lucida Bright\index{Lucida Bright} (10pt only), 
+Tahoma\index{Tahoma}, 
+Times\index{Times}, or 
+Verdana\index{Verdana}. 
+The same font and size shall be used throughout the thesis. 
+
+    There shall be no bold type.
+
+ Italic type (or underlining) is limited to the names of species, genera, 
+book titles, musical compositions, or foreign words.
+
+\item[Line Spacing] All text shall be double-spaced, except material in tables
+and the optional biographical sketch (which must be single-spaced). You shall
+single-space individual footnotes and endnotes with a double space between
+each entry.
+\end{description}
+
+\subsection{Preliminary matter}
+
+The preliminary matter consists of the following pages in this
+order:
+\begin{enumerate}
+\item Title page
+\item Approval page
+\item Abstract
+\item Dedication (optional)
+\item Acknowledgements (optional)
+\item Table of contents
+\item List of tables (if there are any tables)
+\item List of figures (if there are any figures)
+\item Other lists (e.g., nomenclature, definitions, glossary of terms, etc.)
+\item Preface (optional but must be less than ten pages)
+\item Under special circumstances further sections may be allowed
+\end{enumerate}
+
+    The heading for each preliminary page (except the Dedication which shall
+not have a heading) is centered between the margins, in all capital letters,
+double-spaced and begin on the first line below the top margin.
+
+    The title and approval page are counted as pages one and two, but
+no page numbers shall appear on them. All subsequent preliminary pages are 
+paginated with lowercase Roman numerals. Starting with `iii' on the abstract
+page, place all page numbers at the bottom of the page, centered between
+the left and right margins and upon the 1~inch bottom margin. Continue
+numbering consecutively on the subsequent pages up to the first page
+of the main text. 
+
+\subsubsection{Title page}
+
+\begin{enumerate}
+\item All text shall be centered between the side margins.
+
+\item Set the title in all capital letters, double-spaced, 
+starting at the top of the page (but below the top margin).
+\item On a new line (double-spaced) type `by' in lowercase letters.
+\item On a new line (double-spaced) type your full legal name.
+\item At the center of the page type the appropriate description for
+your degree with the exact wording and line breaks as shown, and single-spaced:
+\begin{quote} \centering
+A \rule{1in}{0.4pt} Presented in Partial Fulfillment \\
+of the Requirements for the Degree \\
+\rule{2in}{0.4pt}
+\end{quote}
+    Replace the blanks with the appropriate wording: Thesis and Master
+of Arts or Dissertation and Doctor of Philosophy.
+\item At the bottom of the page type `ARCHIBALD SMYTHE UNIVERSITY' in all 
+     capitals.
+\item Type the month and year of the date you will graduate, with the
+month in title case and no comma between the month and year.
+\item The space between your name and the degree description should equal
+the space between the degree description and the name of the University.
+\end{enumerate}
+
+\subsubsection{Approval page}
+
+\begin{enumerate}
+\item All text shall be centered between the side margins.
+
+\item Set the title in all capital letters, double-spaced, 
+starting at the top of the page (but below the top margin).
+\item On a new line (double-spaced) type `by' in lowercase letters.
+\item On a new line (double-spaced) type your full legal name in
+title-cased letters.
+\item Add two double-spaced lines (four single-spaced lines) and type
+`has been aproved' in lowercase
+\item Add a double-space.
+\item Type the month and year of your oral defense, with the
+month in title case and no comma between the month and year.
+
+\item At about the center of the page type `Graduate Supervisory Committee:'
+\item A blank (double-spaced) line
+\item Type the members' names, without titles, one per line, 
+      single-spaced, as follows:
+  \begin{enumerate}
+  \item If you have one chair, type: the chair's name, comma, space `Chair'
+  \item If two chairs, type: comma, space, `Co-Chair' after the first two names
+  \item Follow with the other members' names.
+  \end{enumerate}
+\item At the bottom of the page, type `ACCEPTED BY THE GRADUATE COLLEGE'
+\item The space between the date and `Graduate Supervisory Committe' lines
+should equal the space between the last member's name and the `ACCEPTED\ldots'
+line.
+\end{enumerate}
+
+\subsubsection{Abstract page}
+
+    Center the title `ABSTRACT' at the top of the page. Number the page
+at the bottom, centered with the Roman numeral `iii'. If there is a second 
+page, number it similarly with `iv'.
+
+\subsubsection{Dedication and Acknowledgements (optional)}
+
+\begin{itemize}
+\item  The dedication and acknowledgements together must not exceed three 
+pages.
+\item The dedication page is not titled and the text should be centered both
+vertically and horizontally.
+\item The heading for the acknowledgements page is `ACKNOWLEDGEMENTS', centered
+and at the top of the page.
+\item Continue the page numbering in lowercase Roman, at the bottom and 
+centered.
+\end{itemize}
+
+\subsection{Table of contents}
+
+\begin{enumerate}
+\item Type `TABLE OF CONTENTS' centered at the top of the page.
+\item On the next line type the word `Page' right justified
+\item Begin listing any preliminary pages that follow the table of contents
+(e.g., lists) in ALL CAPS. The title is left justified, the page number is
+right justified and a dotted line fills the gap between.
+\item Double space between entries.
+\item Chapter headings and subheadings to three levels shall be listed, 
+with a lower level being indented with respect to a higher level. 
+\item The wording of headings shall correspond exactly to those in
+the main body.
+\item The page number is centered at the bottom of the page.
+\item If the listing continues for more than one page, subsequent pages
+shall be headed with one line consisting of `Chapter' left justified 
+and `Page' right justified.
+\end{enumerate}
+
+\subsection{Lists}
+
+    For a given kind of list (often figures or tables) called, say, `things':
+\begin{enumerate}
+\item Type `LIST OF THINGS' centered at the top of the page.
+\item On the next line type `Thing' left justified and `Page' right justified.
+\item List, double-spaced, the caption or title of the thing left justified
+and the page number right justified, with a dotted line between them.
+\item Use Roman lowercase to number the page(s) at the bottom, centered.
+\item If the listing continues for more than one page, subsequent pages
+shall be headed with one line consisting of `Thing' left justified 
+and `Page' right justified.
+\end{enumerate}
+
+\subsection{Main text}
+
+    Nothing shall appear in the margins.
+
+    The top line on a page is the line immediately below the top margin.
+The top text line is the one following that (i.e. the second line below
+the margin).
+
+\subsubsection{Page numbering}
+
+    All pages are counted, but the first page of each chapter is not 
+numbered (paginated); other pages are paginated. The first page of the 
+main text is counted as number 1. Numbered pages have the number right 
+justified on the top line.
+
+\subsubsection{Headings}
+
+   Chapter headings shall be centered. On the top line type `Chapter' followed
+by the number. On the top text line type the heading in all uppercase. 
+Type the text on the subsequent lines.
+
+   Subheadings, consisting of the number and title (not in all caps), 
+shall be centered, with one blank line before and after.
+
+\subsubsection{Captions}
+
+Table captions, which are left justified, shall be put before the table 
+itself. The first line consists of `Table' followed by the number; the caption
+wording commences on the next line.
+
+Captions for figures are similar, except that they shall be put below the 
+figure and `Table' replaced by `Figure'.
+
+Tables and figures shall be single-spaced.
+
+\subsubsection{Notes}
+
+    Notes may be placed at the bottom of the page (i.e., footnotes), or
+grouped in the backmatter (i.e., endnotes) before the reference list.
+
+    All notes shall be introduced by a superior number in the text, with
+the same number used for the text of the note. Notes should be single spaced,
+with double spacing between them.
+
+\subsection{Backmatter}
+
+    The backmatter consists of the following pages, in order (all of which
+are optional).
+\begin{enumerate}
+\item Notes (if you are using endnotes and grouping them at the end)
+\item References (AKA `Bibliography' or `Works Cited')
+\item Appendices
+\item Biographical sketch (optional)
+\end{enumerate}
+
+    Pagination continues from the main text; but as with chapters, the first
+pages of any notes, references, or appendices are not numbered. A biographical
+sketch, if it is included, is the last page and is neither counted
+nor paginated.
+
+    Headings for the backmatter sections shall be in uppercase, centered, and
+on the top line.
+
+\subsubsection{Notes}
+
+    The section for endnotes should begin on a new, unnumbered page. Subsequent
+pages should be numbered.
+
+    Use `NOTES', centered and at the top, as the heading for the notes section.
+
+\subsubsection{References}
+
+    Use the reference heading appropriate for your discipline, in uppercase,
+centered and at the top of the page. Individual refences 
+should be single-spaced with the second and later lines of a multiline
+reference indented with respect to the first line. 
+There should be double-spacing between references.
+
+\subsubsection{Appendices}
+
+    The heading for an appendix consists of the word `APPENDIX' followed by 
+the uppercase letter signifying its position in the sequence of appendices
+(e.g., A or B or C or \ldots).
+This shall be centered on the top line. The title of the appendix, in 
+uppercase, is centered on the following line. This page is not numbered.
+Subsequent pages are numbered and the text commences on the top text line
+of the following page.
+
+\subsubsection{Biography}
+
+    The title for the optional biographical page is `BIOGRAPHICAL SKETCH', 
+in the usual position. The text shall not exceed the one page.
+
+\section{Code}
+
+    Given the above set of requirements we can produce code that, hopefully,
+will generate documents that will not fall foul of the inspectorate. 
+For simplicity I'll do the code in the form of a package 
+called \verb?pwasu.sty?. 
+I will be using some \ltx\ kernel commands that you won't normally come. Some
+of the macros include \idxatincode\texttt{@} as part of their name but 
+this is safe
+as they are in a package, otherwise they would have to be within a
+\cmd{\makeatletter} \ldots \cmd{\makeatother} grouping (\seeatincode).
+
+\subsection{Initialisation}
+
+    First, identify the package and its basic requirements.
+\begin{lcode}
+%%%% file pwasu.sty
+\NeedsTeXFormat{LaTeX2e}
+\ProvidesPackage{pwasu}[2009/04/18 v0.3 ASU thesis]
+\end{lcode}
+This is only going to work with memoir, so check if the class is being
+used, and if not then give an error message and stop reading the package code.
+\begin{lcode}
+%% Only works with the memoir class!!!!!!!!!!!!!!!
+\@ifclassloaded{memoir}{\let\endpwasu\relax}{\let\endpwasu\endinput
+  \PackageError{pwasu}{The pwasu package only works with the memoir class}%
+               {\@ehd}}
+\endpwasu
+
+\end{lcode}
+
+    ASU is very strict about only using a single font in a single size. 
+It is probable that
+at least one reference will be made to a location on the web. With \ltx\
+such references are set using the \Lpack{url} package, which defaults
+to using a monospaced font for urls. For ASU we have to make sure that
+they will be made using the body font (and the same applies to any verbatim
+text, such as computer code listings, for which we can use the 
+\cmd{\setverbatimfont} command).
+\begin{lcode}
+\usepackage{url}
+\urlstyle{same}
+\setverbatimfont{\normalfont\rmfamily}% make verbatims use the body font
+\end{lcode}
+Ensuring that footnotes use the body font is a simple matter of redefining
+\cmd{\foottextfont}.
+\begin{lcode}
+\renewcommand*{\foottextfont}{\normalfont\normalsize}
+
+\end{lcode}
+
+
+    Noticing that the requirements can involve switching between double
+and single spacing, some of which will be done internally in the package,
+give the user a chance to change the default double spacing. The argument
+to \cs{setasuspacing} can be either \cmd{\OnehalfSpacing} or \cmd{\DoubleSpacing}.
+ The result sets \cs{AsuSpacing} to be one of these commands.
+\begin{lcode}
+% To enable spacing to be changed if neccesary by the user
+\newcommand*{\setasuspacing}[1]{%
+  \let\AsuSpacing#1
+  \AsuSpacing}
+\setasuspacing{\DoubleSpacing}
+\end{lcode}
+
+\subsection{Page layout}
+
+    As this is for an American University on letterpaper sized paper
+we'll assume letterpaper stock, so
+no cropping will be needed. Setting the side margins is easy:
+\begin{lcode}
+% left, right margins and textwidth
+\setlrmarginsandblock{1.5in}{1in}{*}
+\end{lcode}
+
+
+Setting the top and bottom margins requires more thought. \ltx\ provides the 
+header and footer areas for page numbers. However, the requirements state
+that page numbers must be either on the top or bottom line (of the textblock)
+with the text extending down to the bottom line or up to the top line (of
+the textblock). I'll organise it according to the layout for the main body.
+Here, the top of the header is 1 inch below the top of the paper and the
+bottom of the text is 1 inch above the bottom of the paper (with the footer
+below that).
+\begin{lcode}
+%% for main body, bottom of text at 1in, footer below
+%% top of header at 1in, first text line double spaced 
+%% below base of header
+\newlength{\linespace}
+\setlength{\linespace}{\baselineskip} % current equivalent of \onelineskip
+\setlength{\headheight}{\onelineskip}
+\setlength{\headsep}{\linespace}
+\addtolength{\headsep}{-\topskip}
+\setlength{\uppermargin}{1in}
+\addtolength{\uppermargin}{\headheight}
+\addtolength{\uppermargin}{\headsep}
+\end{lcode}
+And for the bottom margin:
+\begin{lcode}
+%% and for the bottom
+\setlength{\lowermargin}{1in}
+\setlength{\textheight}{\paperheight}
+\addtolength{\textheight}{-\uppermargin}
+\addtolength{\textheight}{-\lowermargin}
+\end{lcode}
+And finally for footnotes:
+\begin{lcode}
+%% footnote settings
+\setlength{\footskip}{\onelineskip}
+\setlength{\footnotesep}{\onelineskip}
+
+\end{lcode}
+The layout on the preliminary pages is different, so I'll need
+some handy lengths in order to change the layout as appropriate.
+The user can also make adjustments with these if necessary.
+\begin{lcode}
+%% the fiddle lengths (..ta.. for title/approval page, others for prelims)
+\newlength{\toptafiddle} \setlength{\toptafiddle}{2\linespace}
+\newlength{\bottafiddle} \setlength{\bottafiddle}{0pt}
+\newlength{\topfiddle}   \setlength{\topfiddle}{\toptafiddle}
+\newlength{\botfiddle}   \setlength{\botfiddle}{\onelineskip}
+\end{lcode}
+That's it for the general layout, except for increasing the paragraph 
+indentation as the line spacing is larger than normal.
+\begin{lcode}
+\setlength{\parindent}{2em}
+\checkandfixthelayout[nearest]
+
+\end{lcode}
+
+    As the layout is set up, the bottom of the text is one inch above the
+bottom of the paper. This is fine for the main text and the Title and Approval
+pages but the text height must be decreased, temporarily, for the other
+pages in the prelims. Changes to the page layout\index{page layout!change} 
+may be accomplished by
+the following sneaky procedure.
+First change from one- to two-column (or vice-versa), which starts a new 
+page, make the changes, then change from two- to one-column (or vice-versa)
+which starts the same new page again but with the layout changes implemented.
+The following code implements this for the \cs{textheight} in a one
+column document, which is what we are dealing with here.
+\begin{lcode}
+\newcommand*{\addtotextheight}[1]{%
+  \twocolumn
+  \addtolength{\textheight}{#1}%
+  \onecolumn}
+\end{lcode}
+
+\subsection{Page styles}
+
+    Next I'll tackle the page styles. The style for the main body is simple,
+with the page number top right, and the \pstyle{empty} style is the one for 
+chapter pages. The page number for the preliminary pages is centered
+at the bottom, and the \pstyle{plain} page style provides that. For the main
+text define the \pstyle{asu} page style.
+\begin{lcode}
+%%%% pagestyles
+%% the main text
+\makepagestyle{asu}
+  \makeevenhead{asu}{\thepage}{}{}
+  \makeoddhead{asu}{}{}{\thepage}
+\end{lcode}
+
+    Any `continuation' pages for the \toc, etc., have a header that consists 
+of a name at the left and the word `Page' at the right. We need a header for
+each kind of listing.
+\begin{lcode}
+%% for continuation pages of the ToC, LoF, LoT
+\makepagestyle{toc}
+  \makeevenfoot{toc}{}{\thepage}{}
+  \makeoddfoot{toc}{}{\thepage}{}
+  \makeevenhead{toc}{Chapter}{}{Page}
+  \makeoddhead{toc}{Chapter}{}{Page}
+\makepagestyle{lof}
+  \makeevenfoot{lof}{}{\thepage}{}
+  \makeoddfoot{lof}{}{\thepage}{}
+  \makeevenhead{lof}{Figure}{}{Page}
+  \makeoddhead{lof}{Figure}{}{Page}
+\makepagestyle{lot}
+  \makeevenfoot{lot}{}{\thepage}{}
+  \makeoddfoot{lot}{}{\thepage}{}
+  \makeevenhead{lot}{Table}{}{Page}
+  \makeoddhead{lot}{Table}{}{Page}
+\end{lcode}
+
+\subsection{The ToC and friends}
+
+    While we're at it, do the code for the \lof\ and \lot, which is simpler
+than that needed for the \toc. We have to specify our new pagestyles which
+can be done by extending the \cs{listof...} macros. The \cmd{\addtodef}
+macro makes this rather easy.
+\begin{lcode}
+%%%% The LoF
+\renewcommand{\listfigurename}{LIST OF FIGURES}
+\addtodef{\listoffigures}{\clearpage\pagestyle{lof}}{}
+\end{lcode}
+For the titles, these have to be moved up into the header area, so that
+they come just below the top margin, and set the initial pagestyle as 
+\pstyle{plain}. After the title we can insert the relevant column headers.
+\begin{lcode}
+\renewcommand*{\lofheadstart}{\vspace*{-\topfiddle}}
+\renewcommand*{\afterloftitle}{\thispagestyle{plain}%
+  \par\nobreak {\normalfont Figure \hfill Page}\par\nobreak}
+
+\end{lcode}
+And the same for the \lot.
+\begin{lcode}
+%%% The LoT
+\renewcommand{\listtablename}{LIST OF TABLES}
+\addtodef{\listoftables}{\clearpage\pagestyle{lot}}{}
+\renewcommand*{\lotheadstart}{\vspace*{-\topfiddle}}
+\renewcommand*{\afterlottitle}{\thispagestyle{plain}%
+  \par\nobreak {\normalfont Table \hfill Page}\par\nobreak}
+
+\end{lcode}
+
+    The \toc\ is similar but we also have to deal with the entries themselves.
+\begin{lcode}
+%%%% Do the ToC
+\renewcommand{\contentsname}{TABLE OF CONTENTS}
+\addtodef{\tableofcontents}{\clearpage\pagestyle{toc}}{}
+\renewcommand*{\tocheadstart}{\vspace*{-\topfiddle}}
+\renewcommand*{\aftertoctitle}{\thispagestyle{plain}%
+  \par\nobreak \mbox{}\hfill{\normalfont Page}\par\nobreak}
+\end{lcode}
+And the changes to the entries, all of which are set in the normal font
+and with dotted leaders, with no extra space between any of the entries.
+\begin{lcode}
+\renewcommand*{\cftchapterfont}{\normalfont}
+\renewcommand*{\cftchapterpagefont}{\normalfont}
+\renewcommand*{\cftchapterleader}{%
+  \cftchapterfont\cftdotfill{\cftchapterdotsep}}
+\renewcommand*{\cftchapterdotsep}{\cftdotsep}
+\end{lcode}
+Unlike the typical \ltx\ \toc\ there must be no additional space before
+chapter entries; also, there should be no additional space inserted by
+the chapters in the \lof\ or \lot\ which just requires a simple redefinition
+of \cmd{\insertchapterspace}..
+\begin{lcode}
+%%% no extra space before the entry, or in the LoF/LoT
+\setlength{\cftbeforechapterskip}{0pt plus 0pt}
+\renewcommand*{\insertchapterspace}{}
+\end{lcode}
+
+\subsection{Chapter styling}
+
+    Moving on to styling the chapter titles, the first line must be moved up
+into the header area, and other spacings set to give blank lines. The fonts
+are just the regular body font. Call the chapterstyle \cstyle{asu} and make
+sure that the \pstyle{empty} pagestyle is used for it.
+
+\begin{lcode}
+%% chapter style
+\makechapterstyle{asu}{%
+  \setlength{\beforechapskip}{-\topfiddle}
+  \setlength{\midchapskip}{1.0\onelineskip}
+  \setlength{\afterchapskip}{1.0\onelineskip}
+  \renewcommand*{\chapnamefont}{\normalfont}
+  \renewcommand*{\chapnumfont}{\chapnamefont}
+  \renewcommand*{\printchapternum}{\centering\chapnumfont \thechapter}
+  \renewcommand*{\chaptitlefont}{\normalfont\centering}
+  \renewcommand*{\printchapternonum}{}}
+\aliaspagestyle{chapter}{empty}
+
+\end{lcode}
+
+   The chapterstyle for any appendices is slightly different as the title,
+all in uppercase, is
+on one page by itself and the text starts on the following page. Call
+this the \cstyle{asuappendix} chapterstyle.
+
+\begin{lcode}
+%% chapter style for appendices, text comes on following page
+\makechapterstyle{asuappendix}{%
+  \setlength{\beforechapskip}{-\topfiddle}
+  \setlength{\midchapskip}{1.0\onelineskip}
+  \setlength{\afterchapskip}{1.0\onelineskip}
+  \renewcommand*{\chapnamefont}{\normalfont}
+  \renewcommand*{\chapnumfont}{\chapnamefont}
+  \renewcommand*{\printchaptername}{%
+    \chapnamefont\MakeUppercase{\@chapapp}}
+  \renewcommand*{\printchapternum}{\centering\chapnumfont \thechapter}
+  \renewcommand*{\chaptitlefont}{\normalfont\centering}
+  \renewcommand*{\printchapternonum}{}
+  \renewcommand*{\afterchaptertitle}{\clearpage}}
+
+\end{lcode}
+
+   We have to extend the \cmd{\appendix} command to use the new chapter
+style, and also to ensure that double spacing will be used (certain elements
+that come before the appendices are single spaced).
+
+\begin{lcode}
+%%% different chapter style for appendices, (and double spaced)
+\addtodef{\appendix}{}{\chapterstyle{asuappendix}\AsuSpacing}
+\end{lcode}
+
+\subsection{Section, etc., styling}
+
+    Set up the section headings so that they are centered, use the normal
+font, and have a blank line before and after.
+
+\begin{lcode}
+%%% (subsub)section styles
+\setsecheadstyle{\centering\normalfont}
+\setbeforesecskip{-1\onelineskip plus -1ex minus -.2ex}
+\setaftersecskip{1\onelineskip plus .2ex}
+\setsubsecheadstyle{\centering\normalfont}
+\setbeforesubsecskip{-1\onelineskip plus -1ex minus -.2ex}
+\setaftersubsecskip{1\onelineskip plus .2ex}
+\end{lcode}
+
+
+\subsection{Captions}
+
+The captions are set flushleft and raggedright with the name and number
+on one line and the title on the following line. Fortunately floats are 
+automatically set single spaced, which is what the requirements specify.
+
+\begin{lcode}
+%% Captions
+\captiontitlefont{\normalfont}% title font
+\precaption{\raggedright}% for Caption N
+\captiondelim{\newline}% newline
+\captionstyle{\raggedright}% for title 
+\setlength{\belowcaptionskip}{\onelineskip}
+\end{lcode}
+
+\subsection{The bibliography}
+
+    The requirements imply that the title is likely to be `REFERENCES'. 
+The bibliography is set single spaced but with a blank line between
+the entries. 
+
+\begin{lcode}
+%% for REFERENCE section
+\renewcommand*{\bibname}{REFERENCES}
+\setlength{\bibitemsep}{\onelineskip}
+\end{lcode}
+
+    The second and later lines of any entry are to be indented. We use the
+\cmd{\biblistextra} hook for setting this up.
+\begin{lcode}
+\renewcommand*{\biblistextra}{%
+  \setlength{\itemsep}{\bibitemsep}
+  \setlength{\labelwidth}{0pt}
+  \setlength{\leftmargin}{3em}% hanging indent
+  \setlength{\itemindent}{-\leftmargin}}
+\end{lcode}
+
+The title for the bibliography is set via the \cmd{\bibsection} macro.
+The heading is unnumbered but is added to the \toc. To get the spacing
+right the heading, set as a \cs{chapter*}, which must be called double spaced,
+and then single spacing is called for after that.
+\begin{lcode}
+\renewcommand*{\bibsection}{%
+  \AsuSpacing
+  \chapter*{\bibname}\addcontentsline{toc}{chapter}{\bibname}
+  \SingleSpacing}
+\end{lcode}
+
+
+\subsection{End notes}
+
+    The heading for the Notes section is similar to the bibliography
+heading.
+\begin{lcode}
+%% endnotes
+\renewcommand*{\notesname}{NOTES}
+\renewcommand*{\notedivision}{%
+  \AsuSpacing
+  \chapter*{\notesname}
+  \addcontentsline{toc}{chapter}{\notesname}
+  \SingleSpacing}
+\end{lcode}
+
+    The rest of the code for endnotes\index{endnotes} ensures that they are 
+numbered
+continuously throughout the text, the number is set as a superscript, that
+there is a blank line between each entry, and that there are no subdivisions
+within the listing.
+\begin{lcode}
+\continuousnotenums 
+\renewcommand*{\notenuminnotes}[1]{\textsuperscript{#1}\space}
+\renewcommand{\noteinnotes}[1]{#1\\}
+\renewcommand*{\pagenotesubhead}[3]{}% no subheads
+\end{lcode}
+
+\subsection{Preliminary headings}
+
+    There can be any number of sections in the prelims. The
+titles for these are located in the \ltx\ header area. Here's a general 
+macro for setting these.
+
+\begin{lcode}
+%%% general macro for Abstract, etc., headings
+\newcommand*{\pretoctitle}[1]{{\clearpage\centering 
+  \vspace*{-\topfiddle}#1\par}}
+%%% Start the ACKNOWLEDGEMENTS
+\newcommand{\asuacknowledgements}{\pretoctitle{ACKNOWLEDGEMENTS}}
+
+\end{lcode}
+
+    The Abstract is the
+first section after the title and approval pages. At this point we must reduce
+the textheight in order to raise the footer area.
+\begin{lcode}
+%%% Start the ABSTRACT
+\newcommand{\asuabstract}{%
+  \addtotextheight{-\botfiddle}%
+  \pretoctitle{ABSTRACT}}
+\end{lcode}
+    While we are at this, the textheight must be reset to its default value
+just before the first chapter in the main matter. A simple addition to
+\cmd{\mainmatter} handles this.
+\begin{lcode}
+\addtodef{\mainmatter}{\addtotextheight{\botfiddle}{}
+
+\end{lcode}
+
+    The dedication, if any, does not have a heading and the text is centered
+horizontally and vertically. 
+\begin{lcode}
+%% make it easy to center any dedication
+\newcommand{\asudedication}[1]{%
+  {\clearpage\mbox{}\vfill\centering #1 \par\vfill\clearpage}}
+
+\end{lcode}
+
+    There may be sections in the prelims that come after the \toc, and
+the titles of these are added to the \toc.
+\begin{lcode}
+%% for any headings after the tocloft and before the main body
+\newcommand{\prelimtitle}[1]{%
+  \pretoctitle{#1}\addcontentsline{toc}{chapter}{#1}}
+\end{lcode}
+
+\subsection{Components of the title and approval pages}
+
+    There are several items that are set on the title and approval pages.
+In order to separate the information from the particular layout, I've 
+defined a macro for defining each item.
+\begin{lcode}
+%%%% for the title page and approval page. 
+% your title
+\newcommand{\settitle}[1]{\def\asutitle{#1}}
+% you
+\newcommand{\setauthor}[1]{\def\asuauthor{#1}}
+% document type (e.g., thesis)
+\newcommand{\setdoctype}[1]{\def\asudoctype{#1}}
+% possible degree
+\newcommand{\masters}{\def\asudegree{Master of Arts}}
+\newcommand{\doctors}{\def\asudegree{Doctor of Philosophy}}
+% defence date
+\newcommand{\setdefdate}[1]{\def\asudefdate{#1}}
+% graduation date
+\newcommand{\setgraddate}[1]{\def\asugraddate{#1}}
+% committe chair
+\newcommand{\setchair}[1]{\def\asuchair{#1, Chair}}
+% committe co-chairs
+\newcommand{\setchairs}[2]{%
+  \def\asuchair{#1, Co-chair \\ #2, Co-chair}}
+% other members (separated by \\s)
+\newcommand{\setmembers}[1]{\def\asumembers{#1\par}}
+
+\end{lcode}
+
+    Just for fun, create some default settings for these. The successful 
+user will have changed them all!
+\begin{lcode}
+%% Use them like this, and if you don't change them you will
+%% get unacceptable title and/or approval pages
+\settitle{AN INCREDIBLE PIECE OF WORK OVER WHICH I HAVE STRUGGLED
+DAY AND NIGHT FOR FAR TOO LONG AND NOW IT IS OVER}
+\setauthor{A. N. Author}
+\setdoctype{Polemic}
+\masters  % going for a Masters degree
+%% \doctors % going for a PhD
+\setdefdate{April 2018}
+\setgraddate{May 2021}
+% \setchair{A. Jones}           % this one
+\setchairs{A. Jones}{B. Doe}  % or this one
+\setmembers{C. Smith \\ D. Somebody \\ Some One Else \\ Yet Another}
+\end{lcode}
+
+\subsection{The title and approval pages}
+
+\PWnote{2009/07/09}{Added 2 ASU figures}
+An example of a title page is shown in \fref{fig:titleASUt} and 
+an example of the corresponding approval page is in \fref{fig:titleASUa}.
+
+\begin{figure}
+\centering
+\begin{showtitle}
+  \titleASUt
+\end{showtitle}
+\caption{Example Archibald Smythe University title page}\label{fig:titleASUt}
+\end{figure}
+
+\begin{figure}
+\centering
+\begin{showtitle}
+  \titleASUa
+\end{showtitle}
+\caption{Example Archibald Smythe University approval page}\label{fig:titleASUa}
+\end{figure}
+
+    Now we can set up the layouts for the title and approval pages. The
+information typeset on these pages is obtained from the previous set of 
+commands. Note that the last line on each of these pages has to be set
+upon the bottom margin. The ASU inspectorate is likely to be very
+keen on this, perhaps using a ruler to measure the actual distance from 
+the bottom of the page to ensure that it is the magic 1~inch. I have
+included an \cmd{\enlargethispage} by the amount \cs{bottafiddle} so the
+user can make any fine adjustment that might be requested. Similarly, the
+length \cs{toptafiddle} may be altered to fine tune the position of the
+title. Hopefully, neither of these tweaks will be needed, but if so, then use
+\cmd{\addtolength} instead of \cmd{\setlength} to make an adjustement.
+
+\begin{lcode}
+%%% typesets the TITLE page
+\newcommand{\thetitlepage}{{%
+  \clearpage
+  \thispagestyle{empty}
+  \centering
+  \vspace*{-\toptafiddle}
+  \asutitle \\ by \\ \asuauthor
+  \vfill
+
+  {\SingleSpace
+  A \asudoctype\ Presented in Partial Fulfillment \\
+  of the Requirements for the Degree \\
+  \asudegree\par}
+
+  \vfill
+  ARCHIBALD SMYTHE UNIVERSITY \\
+  \asugraddate 
+  \par
+  \enlargethispage{\bottafiddle}
+  \clearpage}}
+
+\end{lcode}
+
+    And similary for the approval page.
+
+\begin{lcode}
+%%% typesets the APPROVAL page
+\newcommand{\approvalpage}{{%
+  \thispagestyle{empty}
+  \centering
+  \vspace*{-\toptafiddle}
+  \asutitle \\ by \\ \asuauthor \\[3\onelineskip]
+  has been approved \\
+  \asudefdate
+
+  \vfill
+
+  Graduate Supervisory Committee: \\[-0.5\onelineskip]
+  {\SingleSpacing
+  \asuchair \\
+  \asumembers}
+
+  \vfill
+  ACCEPTED BY THE GRADUATE COLLEGE 
+  \par
+  \enlargethispage{\bottafiddle}
+  \clearpage}}
+\end{lcode}
+
+\subsection{The last bits}
+
+    The biographical sketch has a title (which is not added to
+the \toc), the text is single spaced and there is no page number. 
+It is easiest to provide this as an environment.
+\begin{lcode}
+%%% put your biographical text in this environment
+%% \begin{biosketch} I'm a person who has accomplished .... \end{biosketch}
+\newenvironment{biosketch}{%
+  \pretoctitle{BIOGRAPHICAL SKETCH}\thispagestyle{empty}\SingleSpacing}%
+  {}
+\end{lcode}
+
+    Make sure that the requisite initial page style and appropriate
+chapter style is used.
+\begin{lcode}
+%% use the asu chapterstyle and plain pagestyle
+\chapterstyle{asu}
+\pagestyle{plain}
+
+%%%%%%%%%%%%%%% end of *.sty file
+\endinput
+%%%%%%%%%%%%%%%
+\end{lcode}
+
+\section{Usage}
+
+    This is a sketch of how an ASU thesis could be written. 
+
+  With the wide textblock, 12pt is too small for reading ease, so best not
+to use 11pt or 10pt.
+
+    Times Roman\index{Times Roman} comes with \ltx, but you are 
+effectively writing a book, 
+not a newspaper column. If you have Garamond\index{Garamond} 
+or Lucida Bright\index{Lucida Bright} then 
+seriously consider using one or other of them.\footnote{Garamond is a 
+commercial font and, for example, is available along with many other fonts 
+from FontSite (\url{http://www.fontsite.com})
+with \ltx\ support from \url{http://contrapunctus.net/fs500tex}.
+Lucida Bright, another commercial font,
+is available from TUG at \url{http://tug.org/store/lucida} and is supported
+by several \ltx\ packages.} Lucida Bright is probably more appropriate if
+your thesis includes mathematics while Garamond is perhaps more in keeping
+if your thesis topic falls into the humanities area.
+If the requirements did not limit your choices then there are other
+fonts that might better express your work. In any case
+I suggest that you do not use a sans font (e.g.,
+Arial\index{Arial},
+Tahoma\index{Tahoma} or
+Verdana\index{Verdana} from the ASU list).
+
+\begin{lcode}
+\documentclass[oneside,12pt]{memoir}
+\usepackage{mathptmx}  % Times New Roman
+\usepackage{pwasu}     % the package
+
+\end{lcode}
+
+    The general sequence in your document, after you have set the data for
+the TITLE and APPROVAL pages and any other specifics and packages in the 
+preamble, is:
+\begin{lcode}
+%  if you can get away without the default \DoubleSpacing, then
+%\setasuspacing{\OnehalfSpacing}
+%% if you use endnotes, then
+   \makepagenote
+\begin{document}
+\maxtocdepth{subsection} % put 3 levels into the ToC
+\frontmatter
+\thetitlepage
+\approvalpage
+\asuabstract 
+   abstract text
+%% if you have any acknowledgements, then
+  \asuacknowledgements
+    acknowledgements text
+% \asudedication{ text } % if you want a dedication
+\tableofcontents
+% \listoffigures  % if you have any figures
+% \listoftables   % if you have any tables
+%%% if you have more prelim sections, then
+%%% \clearpage
+%%% \pagestyle{plain}
+%%% \prelimtitle{title} text % for each section before main text
+\mainmatter
+\pagestyle{asu}
+\chapter{...} % start of your main text
+... report on lots of incredible work, now you are on your
+own until...
+
+%% if endnotes then
+   \printpagenotes
+%% if a bibliography then
+   \begin{thebibliography}...\end{thebibliography}
+%% if appendices, then
+  \appendix
+  \chapter{...}
+  ...
+%% if Biographical sketch then
+   \begin{biosketch} ... \end{biosketch}
+\end{document}
+
+\end{lcode}
+
+    If you actually try any of the above code and it does not work, then
+I may have made a typo or two, or maybe you have, or perhaps we both have.
+In any event, the code is more of a sketch of what might be needed than
+a prescription of how it must be done.
+
+\section{Comments}
+
+    Having read through the requirements you will have realised
+that whatever committees set them had not advanced beyond the 19th century
+technology of the typewriter\index{typewriter}.\footnote{Remington sold 
+their first commercial typewriter in 1873 which even then had the QWERTY 
+keyboard layout. By 1910 typewriter designs were pretty well standardised.} 
+When I wrote my thesis some forty years ago
+it was, of necessity, single sided so that carbon copies could be made
+by the typist\index{typist} (who would have objected strongly to having 
+to type the hundred
+and fifty or so pages six times). I must admit, though, that the sixth copy
+was almost too faint and blurry to be read comfortably even though the typist
+had used thin paper and kept replacing the carbon paper. 
+In this day of double sided printers and double sided copiers I see no 
+reason except inertia to keep a single sided requirement. Many students, 
+and faculty members, have beaten their heads against
+the diehards and very rarely have they managed to prevail.
+
+\PWnote{2009/07/09}{Added comments on Sneep's thesis}
+   In contrast to the ASU style I have a copy of a doctoral
+thesis~\cite{SNEEP04} for Vrije Universiteit, Amsterdam. This is a
+professionally printed 100 page, double sided, glossy paperbound book with an 
+attractive coloured 
+photograph of a sunset on the front and rear covers. The page size is 40.5pc by
+57pc with spine and top margins of 5pc and foredge and bottom margins of
+7pc.\footnote{Professional printers use points and picas for their 
+measurements.}  The textblock, then, is 28.5 by 45pc set with 45 lines of 
+a 10pt Lucida Bright seriffed font.
+Chapter and section heads are in a sans font, with the chapter heads larger
+than the section heads. Caption names are a bold sans with the caption text 
+in an italic. Headers on the verso pages are the chapter title with the section
+title as the recto header. The page numbers are in the footers by the foredge
+margin. Altogether, a much more appealing production 
+than Archibald Smythe University will permit.
+
+
+%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
+%%%%%%%%%% appendices
 \appendix
 \appendixpage*
 %%\pagestyle{ruled}
@@ -30626,6 +34591,8 @@ additional macros, some of which I will show you.
     The packages that I have used that you are likely to have, and if
 you do  not have them please consider getting them, are:
 \begin{itemize}
+\item \Lpack{etex} lets you take advantage of e\tx's extended support
+      for counters and such.
 \item \Lpack{url}~\cite{URL} is for typesetting URL's without worrying
   about special characters or line breaking.
 \item \Lpack{fixltx2e}~\cite{FIXLTX2E} eliminates some infelicities
@@ -30640,10 +34607,20 @@ you do  not have them please consider getting them, are:
       performing various kinds of graphical functions. 
 \item \Lpack{color}~\cite{COLOR} is a required package for using color,
        or \Lpack{xcolor}~\cite{XCOLOR} is an enhanced version of \Lpack{color}.
+\item \Lpack{latexsym} gives access to some extra symbols.
+\item \Lpack{amsmath} for when you are doing anything except the
+       simplest kind of maths typeseting.
+\item \Lpack{fontenc} for using fonts with anything other than the
+      original \texttt{OT1} encoding (i.e., for practically any font).
+\item \Lpack{pifont} for typesetting Pifonts 
+       (i.e., Symbol\facesubseeidx{Symbol} and 
+               Zapf Dingbats\facesubseeidx{Zapf Dingbats})
 \end{itemize}
 
-    The package that I used and you most likely do not have is 
-\Lpack{layouts}~\cite{LAYOUTS}. I used it for all the layout diagrams. 
+    Apart from the packages that are supplied as part of the \Mname\ 
+distribution, the packages that I used and you most likely do not have are:
+\begin{itemize}
+\item \Lpack{layouts}~\cite{LAYOUTS}. I used it for all the layout diagrams. 
 For example, \fref{fig:displaysechead} and \fref{fig:runsechead} 
 were drawn simply by:
 \begin{lcode}
@@ -30672,6 +34649,16 @@ v2.4 dated 2001/04/30. Earlier versions will fail when attempting
 to draw some figures 
 ( e.g., to draw \fref{fig:oddstock}).
 
+\item \Lpack{fonttable}~\cite{FONTTABLE}. I used this for the font tables 
+(e.g., \tref{tab:symbolglyphs}). 
+You must have at least version 1.3 dated April 2009
+for processing the manual (earlier versions are likely to produce errors
+in the number formatting area with minor, but odd looking, effect on 
+the printed result).
+
+\end{itemize}
+
+
 \section{Macros}
 
     Originally the preamble\index{preamble} of the manual contained many macro 
@@ -30939,7 +34926,7 @@ Its input is a sequence of tokens from the input processor and its output
 is a sequence of different tokens.
 
     In outline, the expansion processor takes each input token in turn
-and sees if it is expandible; if it is not is simply passes it on to the
+and sees if it is expandible; if it is not it simply passes it on to the
 output. If the token is expandible then it is replaced by its expansion.
 The most common expandible tokens are control sequences that have been 
 defined as macros. If the macro takes no arguments then the macro's name
@@ -31948,7 +35935,7 @@ is for the comparison of two integers. The \piif{ifodd} test is \ptrue\
 if the integer \meta{number} is an odd number, otherwise it results 
 in \pfalse.
 
-    Among other things, the\ltx\ class code that organizes the page layout
+    Among other things, the \ltx\ class code that organizes the page layout
 checks if the length values are sensible. The following code is a snippet
 from the layout algorithm. It checks that the sum of the margins and the
 width of the typeblock is the same as the width of the page after trimming.
@@ -32002,7 +35989,7 @@ it would take more than 58 million million years before we would have to
 start being concerned.
 
     In his turn, Lucas has a number sequence named after him. There are many 
-relationshps between the Fibonacci 
+relationships between the Fibonacci 
 numbers $F_{n}$ and the Lucas numbers $L_{n}$, the simplest, perhaps, being
 \begin{eqnarray}
 L_{n} & = & F_{n-1} + F_{n+1} \\
@@ -32188,7 +36175,7 @@ but in this case the best place to look for further information is in the
 % merrors.tex    Chapter on (La)TeX errors/warnings
 
 
-\chapter{The terror of errors} \label{chap:errors}
+\chapter{The terrors of errors} \label{chap:errors}
 
     No matter how conscientious you are a mistake or two will occasionaly
 creep into your document source. The good news is that whatever happens
@@ -34644,6 +38631,13 @@ recognized.
 
 % back end
 \backmatter
+
+\PWnote{2009/07/08}{Changed \cs{toclevel@section} so that Notes 
+                    divisions appear in the bookmarks}
+\makeatletter\renewcommand*{\toclevel@chapter}{-1}\makeatother 
+\makeatletter\renewcommand*{\toclevel@section}{0}\makeatother
+\clearpage
+\printpagenotes
 \clearpage
 \pagestyle{plainmarkruled}
 %%\chapterstyle{section}
@@ -34708,6 +38702,13 @@ access CTAN is available at \url{http://www.tug.org}.
   \newblock Italica Press, 1992.
   \newblock ISBN 0--934977--22--4.
 
+\bibitem[Bar01]{BARTRAM01}
+  Alan Bartram.
+  \newblock \emph{Five hundred years of book design}.
+  \newblock Yale university Press, 2001.
+  \newblock ISBN 0--300--09058--7.
+  \newblock (First published 2001 by The British Library)
+
 \bibitem[BDG89]{BIGELOW89}
   Charles Bigelow, Paul Hayden Duensing and Linnea Gentry (Eds).
   \newblock \emph{Fine Print on Type}. 1989.
@@ -34838,6 +38839,12 @@ access CTAN is available at \url{http://www.tug.org}.
   \newblock (Available from CTAN in
              \url{/indexing/makeindex/paper})
 
+\bibitem[Che05]{CHENG05}
+  Karen Cheng.
+  \newblock \emph{Designing Type}.
+  \newblock Yale University Press, 2005.
+  \newblock ISBN 0--300--11150--9.
+
 \bibitem[Chi93]{CMS}
   \newblock \emph{The Chicago Manual of Style}, Fourteenth Edition.
   \newblock The University of Chicago, 1993.
@@ -35098,6 +39105,12 @@ access CTAN is available at \url{http://www.tug.org}.
   \newblock David R.~Godine, 1990. 
   \newblock ISBN 0--87923--333--8.
 
+\bibitem[LA90]{LAWSONAGNER90}
+  Alexander S.~Lawson with Dwight Agner.
+  \newblock \emph{Printing Types: An Introduction}.
+  \newblock Beacon Press, 1990. 
+  \newblock ISBN 0--8070--6661--3.
+
 \bibitem[Lea03]{TEXFONTSITE}
   Christopher League.
   \newblock \emph{TeX support for the FontSite 500 CD}.
@@ -35168,6 +39181,12 @@ access CTAN is available at \url{http://www.tug.org}.
   \newblock W.~W.~Norton \& Co., 1995.
   \newblock ISBN 0--393--70201--4.
 
+\bibitem[MMc95]{MEGGS00}
+  Philip B.~Meggs and Roy McKelvey (Eds).
+  \newblock \emph{Revival of the Fittest: Digital Versions of the Classic Typefaces}.
+  \newblock RC Publications, Inc., 2000.
+  \newblock ISBN 1--883915--08--2.
+
 \bibitem[Mit95]{DOCSHORTVRB}
   Frank Mittelbach.
   \newblock \emph{The doc and shortvrb packages}.
@@ -35314,6 +39333,14 @@ access CTAN is available at \url{http://www.tug.org}.
   \newblock \emph{Mathematical Recreations and Essays}.
   \newblock University of Toronto Press, twelfth edition, 1974.
 
+\bibitem[Ryd76]{RYDER}
+  John Ryder. 
+  \newblock \emph{Printing for Pleasure}. Revised edition.
+  \newblock The Bodley Head, 1976.
+  \newblock ISBN 0--370--10443--9.
+  \newblock (In the USA published by Henry Regenery Co., Michigan, 1977.
+             ISBN 0--8092--78103--3)
+
 \bibitem[SW94]{EBOOK}
   Douglas Schenck and Peter Wilson.
   \newblock \emph{Information Modeling the EXPRESS Way}.
@@ -35333,6 +39360,20 @@ access CTAN is available at \url{http://www.tug.org}.
   \newblock \emph{Dynamics in Document Design}.
   \newblock Wiley \& Sons, 1997.
 
+\bibitem[Sme96]{SMEIJERS96}
+  Fred Smeijers.
+  \newblock \emph{Counterpunch: making type in the sixteenth century,
+                  designing typefaces now}.
+  \newblock Hyphen Press, London, 1996.
+  \newblock ISBN 0--907259--06--5.
+
+\bibitem[Sne04]{SNEEP04}
+  Maarten Sneep.
+  \newblock \emph{The atmosphere in the laboratory: cavity ring-down
+                  measurements on scattering and absorption}.
+  \newblock Phd thesis,
+  \newblock Vrijie Universiteit, Amsterdam, 2004. 
+
 \bibitem[Tal06]{DATETIME}
   Nicola L. C. Talbot.
   \newblock \emph{datetime.sty: Formatting Current Date and Time}.
@@ -35593,18 +39634,48 @@ Peter Wilson.
   \newblock (Available from CTAN in 
             \url{/macros/latex/contrib/memoir})
 
-\bibitem[Wil08]{CHANGEPAGE}
+\bibitem[Wil07e]{GLISTER07}
+Peter Wilson.
+  \newblock `Glisterings', \emph{TUGboat}, 28(2):229--232, 2007.
+
+\bibitem[Wil07f]{TUGKEYNOTE07}
+Peter Wilson.
+  \newblock `Between then and now --- A meandering memoir', 
+  \newblock \emph{TUGboat}, 28(3):280--298, 2007.
+
+
+\bibitem[Wil08a]{CHANGEPAGE}
   Peter Wilson.
   \newblock \emph{The changepage package}.
   \newblock March, 2008.
   \newblock (Available from CTAN as 
             \url{/macros/latex/contrib/misc/changepage.sty})
 
+\bibitem[Wil08b]{GLISTER08}
+Peter Wilson.
+  \newblock `Glisterings', \emph{TUGboat}, 29(2):324--327, 2008.
+
+\bibitem[Wil09a]{FONTTABLE}
+  Peter Wilson.
+  \newblock \emph{The fonttable package}
+  \newblock April, 2009.
+  \newblock (Available from CTAN in 
+            \url{/macros/latex/contrib/fonttable})
+
 \bibitem[Wil??]{RUMOUR}
 Peter Wilson.
 \newblock \emph{A Rumour of Humour: A scientist's commonplace book}.
 \newblock To be published?
 
+\bibitem[Wis03]{WISHART03}
+David Wishart.
+\newblock \emph{The Printing of Mathematics}
+\newblock in \emph{Type \& Typography: Highlights from \emph{Matrix}, the
+       review for printers \& bibliophiles}.
+\newblock Mark Batty Publisher, 2003.
+\newblock ISBN 0--9715687--6--6.
+\newblock (Originally published in \emph{Matrix 8}, 1988)
+
 \bibitem[Wul53]{WULLING-FOOTNOTES}
   Emerson G. Wulling.
   \newblock \emph{A Comp's-Eye View of Footnotes}.
-- 
cgit v1.2.3

