From 5a245e4147336f470606e4096a61b6d4c62912dc Mon Sep 17 00:00:00 2001 From: Karl Berry Date: Mon, 12 Apr 2010 18:03:12 +0000 Subject: rm typespec, just speciments of nonfree fonts git-svn-id: svn://tug.org/texlive/trunk@17826 c570f23f-e606-0410-a88d-b1316a301751 --- Master/texmf-dist/doc/plain/typespec/TypeSpec.pdf | Bin 646412 -> 0 bytes Master/texmf-dist/doc/plain/typespec/TypeSpec.tex | 255 ---------------------- 2 files changed, 255 deletions(-) delete mode 100644 Master/texmf-dist/doc/plain/typespec/TypeSpec.pdf delete mode 100644 Master/texmf-dist/doc/plain/typespec/TypeSpec.tex (limited to 'Master/texmf-dist/doc/plain') diff --git a/Master/texmf-dist/doc/plain/typespec/TypeSpec.pdf b/Master/texmf-dist/doc/plain/typespec/TypeSpec.pdf deleted file mode 100644 index 5a63b687b7f..00000000000 Binary files a/Master/texmf-dist/doc/plain/typespec/TypeSpec.pdf and /dev/null differ diff --git a/Master/texmf-dist/doc/plain/typespec/TypeSpec.tex b/Master/texmf-dist/doc/plain/typespec/TypeSpec.tex deleted file mode 100644 index 5b2f19781c1..00000000000 --- a/Master/texmf-dist/doc/plain/typespec/TypeSpec.tex +++ /dev/null @@ -1,255 +0,0 @@ -\hsize4.5in -\hoffset6.5in -\advance\hoffset-\hsize -\divide\hoffset2 - -\def\ob{\tt\string{} -\def\cb{\tt\string}} - -\footline={\ifnum\pageno=1 \else \hss\folio\hss\fi} - -\chardef\other=12 -\def\deactivate{% -\catcode`\\=\other \catcode`\{=\other -\catcode`\}=\other \catcode`\$=\other -\catcode`\&=\other \catcode`\#=\other -\catcode`\%=\other \catcode`\~=\other -\catcode`\^=\other \catcode`\_=\other} - -\def\makeactive#1{\catcode`#1=\active \ignorespaces} - -\def\LaTeX{L\kern-.26em \raise.6ex\hbox{\fivei A}% -\kern-.15em TeX}% - -{\makeactive\^^M % -\gdef\obeywhitespace{\makeactive\^^M % -\let^^M=\newline % -\aftergroup\removebox % -\obeyspaces}} - -\def\newline{\par\indent} -\def\removebox{\setbox0=\lastbox} - -{\catcode`\|=\active -\gdef\verbatim{% - \par\begingroup\deactivate\obeywhitespace\tt - \catcode`\|=\active - \def|{\endgroup\par}}} - -\clubpenalty10000 -\widowpenalty10000 -\raggedbottom -\interlinepenalty10000 - -\def\section#1\par{% -\medskip -\noindent\llap{\raise1.25pt\hbox{$\diamond$\enskip}}{\bf#1}\par\nobreak\noindent} - -\section Introduction - -I use a lot of type. I also use \TeX~--~what better medium can there be for showing off type?~--~in -its Macintosh incarnation as Textures. I need samples that I can show clients, and that I can -refer to for the technical details of the typeface. The results are the type specimens you see -here. The code itself has some annotations that you might want to read. The macros are not -complex~--~I don't have time to decode clever macros, and I may need to alter them for unusual -situations as they arise. You are encouraged to do the same. The current distribution of these -specimens includes: This introduction; eight type specimens; an Acrobat PDF file with typeset -examples of the specimens and this introduction. - -Some of the fonts in these examples (particularly {\it Centaur} in {\tt TypeSpc8.tex}) were made \TeX-ready -by using Alan Jeffrey's {\tt fontinst}. The {\tt fontinst} package is discussed in considerable detail in Alan -Hoenig's new book {\it\TeX\ Unbound:\ \LaTeX\ and \TeX\ Strategies for Fonts, Graphics \& More} (Oxford 1998), which -discusses {\tt fontinst} over the course of several chapters and works through numerous examples. If you deal at all with -fonts and -\TeX\ you will need this book. - -Clearly, these specimens will be most easily produced on systems that use outline fonts -as opposed to bitmaps. I have used these specimens on a Mac with Textures using both PostScript and TrueType, and on a PC -with PC\TeX using TrueType. Textures (now at version 2.0) is interesting in that it can create font metrics -``on the fly'' from the Mac's bitmap files. For more demanding work, you will, however, want to stick with {\tt fontinst}. - -\section A word about color - -Blue Sky Research {\it Textures} is a wonderful implementation of \TeX\ that has a very convenient -way to use color through the {\tt\string\special} mechanism. I'm going to describe it so that if -you use a different implementation that can take advantage of color, you will understand the -macros here. Color is invoked by: - -\verbatim\special{color rgb 1.0 0.0 0.0}| - -\noindent This tells \TeX\ to trun everything red from this point on. This specification could -also have been given by: - -\verbatim\special{color cmyk 0.0 1.0 0.1 0.0}| - -\noindent as red in the CMYK model is 100\% of magenta and yellow. To jump back and forth between -colors, Textures has a color stack and you can push colors onto the stack and pop them off. So, a -typical use of color might be something like this: - -\verbatim\special{color push}% Puts current color (black) on stack| -\verbatim%%% Calls red and puts it on stack:| -\verbatim\special{color rgb 1.0 0.0 0.0}| -\verbatim Some text in red.| -\verbatim\special{color pop}% Pops red off stack, restores black| -\verbatim More text in black.| - -\noindent Simple. You can also define a color for later use: - -\verbatim\special{color define red rgb 1.0 0.0 0.0}| - -\noindent and summon it by calling: - -\verbatim\special{color red}| - -\noindent The advantage of this is that you can call colors that downstream processors (separation -software, or a printer) can use to identify color use. You can even screen the color for tints: - -\verbatim\special{color red .5}| - -\noindent which would give a 50\% tint of red, or pink. - -\section TypeSpc1.tex, TypeSpc2.tex, TypeSpc3.tex - -These are essentially variations on a theme, differing only in the display type at the top of the -page. TypeSpc1 has a selection of telltale characters. The top of the {\it A\/} often has a distinctive -treatment; the lower half of the {\it G\/} and the tail of the {\it Q\/} also tend to -be distinctive; the shape and size of the enclosed -areas of the lowercase {\it a\/} and {\it e\/} are also -telltale, and important in that very small such spaces -are likely to close up under less than ideal printing -conditions; the ampersand frequently has a good deal of -creativity lavished upon it. TypeSpc2 sets the -uppercase and lowercase of each letter next to each other. TypeSpc3 has a line of uppercase -characters (not good design, but some people like or expect it) followed by a line of lowercase characters. - -\section Selecting the type - -At the beginning you can insert three items of information: the \TeX\ name of the font; the name -of the font that will appear as the `title' of the specimen; and any comments that you wish to -have at the end of the chart. I like this specimen because the chosen typeface is used for the -whole specimen, including annotations. Clearly, these specimens and macros are more suited to -PostScript and TrueType fonts than bitmaps -- proceed accordingly. - -\section Column width - -Under normal circumstances, a column of type should be about 70 lowercase characters (about 2.5 -lowercase alphabets) in width, or about 4.5 inches in width, which ever comes first. Much longer, and the eye tires, and -loses its place when moving to the next line; much shorter and you increase the level of visual -noise such as hyphenation and highly variable word spacing. This sample shows 10pt type at the -width of 2.5 lowercase alphabets, and calculates the size of type necessay to set 70 characters -to a measure of 4.5 inches. Interestingly, 10pt type -usually comes very close to fitting 4.5 inches with 70 -characters. One of the most common signs of uninformed typography is -column width that pays no attention to the realities of -type and reading. - -\section Leading - -The calculation of leading~--~{\tt\string\baselineskip} in \TeX~--~is based purely on the -physical realities of the type being set. The maximum height and depth of the typeface's characters is found, and then a -percentage of that amount is added to itself to arrive at the leading. The x-height of the font -is also given some influence over the leading. - -\section Choice of text - -I have provided three sample texts in token registers. The first is a simple piece of English -prose. The second is a collection of {\it pangrams}~--~sentences using all twenty-six letters of the alphabet~--~from the large -collection of David Lemon of Adobe Systems, Inc.; so you get to see all of the letters of the alphabet in -use. The third is an amalgam of Latin and semi-Latin texts. In the first place, Latin~--~as -Beatrice Warde pointed out~--~has fewer descenders so the text sits more cleanly on the baseline; -second, as W.\ A.\ Dwiggins pointed out to Beatrice Warde, it is good to have a sample of text in -a language the reader does not read~--~in this way the reader looks at the type itself, and not -through the type to the information it conveys. - -\section Type factor - -The type factor is basically an extension of the the characters per pica concept, but scaled to -the size of the typeface. It is based on a sample of type in which $f=(c\,t)/m$ where $f$ is the -typefactor, $c$ is the number of characters in the sample, $t$ is the type size in points, and $m$ -is the total horizontal width of the sample. The formula can be put to some good use. For -instance, characters per pica, $p$, can be obtained from $p=h/f$ where $h$ is the size of the type -in points; the size of the type, $h$, necessary to place $n$ characters on a column width of $w$ -(in picas) is: $h=(fw)/n$. I have used a sample based on the relative frequency of letters in -English. This gives excellent agreement with published figures, particularly those in {\it Brown's -Index}. It is best not to take figures like characters-per-pica or type factors too seriously. They are very useful for -judging the relative characteristics of typefaces. Before computer typesetting they were far more useful when the actual -typesetting of material was costly and time-consuming. Computers allow us to be able to change typesetting parameters -interactively and quickly, relieving us from having to know precisely ahead of time how the material is going to layout. - -\section The ratio of the x-height to the ascender height - -This is an important characheristic of type. As x-height increases, type tends to look darker, or -more crowded on the page. The antidote to this is to increase the leading slightly. {\it See above.} - -\section TypeSpc4.tex -- a mini-specimen - -The principal attraction of TypeSpc4 is the -{\tt\string\makefontbox} macro which gives a kind miniature specimen that can be as little or as -large as you like. In the examples I give, the grid is certainly optional as is the use of color: -They are merely suggestions to get you started. The five arguments to {\tt\string\makefontbox} are -as follows: - -\medskip - -\vbox{\raggedright\parskip3pt - -\itemitem{\#1}\TeX's name for the desired font - -\itemitem{\#2}The name font name as you want it to print - -\itemitem{\#3}The name of the type's designer, or other salient - piece of information that lends itself to display - -\itemitem{\#4}The size of the type inside the box - -\itemitem{\#5}The overall desired width of the box} - -\section TypeSpc5.tex -- by the numbers - -It is very often useful to know where the characters of a typeface are, and to gain an overall -impression of all of the characters of a font. This specimen is simply an enumeration of the -characters with respect to their character numbers. The macro to notice is -{\tt\string\lineofchars}. You can specify how may characters are to be in the line, and what the -numerical starting point will be. Numerous other design variables can be specified, and they are -discussed in TypeSpc5.tex. - -\section TypeSpc6.tex -- for florid fonts - -There are times when you simply have to see a font in all its splendor. You don't need it at every -imaginable size. And in the case of ornate calligraphic fonts, it does not make any sense at all -to shove uppercase letters together for any reason, not even for display. - -\section TypeSpc7.tex -- homage \`a Caslon - -This ornate example is meant to be both fun and useful. It was inspired by the specimen sheets of -William Caslon. The names of the type sizes~--~Ruby, Minion, Brevier, etc.~--~are traditional and -could be replaced with sizes in points. This is a useful sample for PostScript typefaces which are -often packaged as a family of four fonts: roman, italic, bold and bold-italic. The principle fonts -are the roman and italic, however, and these are the fonts primarily featured in this specimen. The -sample text is in a token list and can be changed at will~--~just make sure that there is enough -of it. - -\section TypeSpc8.tex - -This specimen uses techniques that we have established in earlier samples. Again, this is suitable -for typefaces that exist in pairs (or pairs of pairs) of fonts: roman and italic, bold and -bold-italic. There is also a macro for a single, centered paragraph that could be used, say, for -small caps. The type size, leading and type factor are given for each font. - -\section TypeSpc9.tex - -I combined two formats here to show off the principal characteristics of the roman along with the -fonts of the family as used for text. - -\section TypeSp10.tex - -Another variation using one sample per line. Also notice the very beautiful typeface. - -\bigskip -\hrule - -\section Stephen Moye, 23 IV 1998 - -Stephen\hbox to .5em{\hrulefill}Moye@brown.edu\hfill\break Brown University Graphic Services - -\bye \ No newline at end of file -- cgit v1.2.3