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1. e PostScript fonts can contain ligatures but not smart ligatures if you want your Dutch to become an e at the end of a line you need a begin of word ligature something trivial for TEX Virtual fonts are one of the most important aspects of the TEX system This is not just the case for exotic situations I voluntarily do not speak of Arabic and other extremely important uses of virtual fonts in oriental languages virtual fonts are important for all of us Occidental language writers A PostScript font has poor typographical properties no smart ligatures restricted character composition since you have to remain in the same font and the same size etc by the use of virtual fonts TEX s typographical possibilities can be added to the font a virtual font structure makes a PostScript font richer It is not necessary to use virtual fonts to reencode a font True But we want more than just re encoding word processors like Word or WordPerfect simply reencode fonts TEX can do more out of a PostScript font and the proof can be found in the virtual fonts made by Alan Jeffrey s utility Horn states that virtual fonts cannot make unencoded characters accessible This is certainly true and as he says this issue is solely solved by reencoding of fonts But it is not an argument against the use of virtual fonts one can always reencode a font into some universal encoding for example TSOLatin1 The latter might be unive
2. 23 23 23 21 reprinted from Baskerville IX_Malcolm s Gleanings 0 1 Bookreview 0 2 Information design journal 1 Nonsense X Letters to the edito 1 A TEX front end in NextStep 2 Command line TEX for eve 3 Jove JATRX nodg 1 Membership of UK TEX Users Group 1994 2 2 Balance shee es Volume 4 Number 1 30 32 32 Conse on eaten N eeu ee 34 34 34 35 See ee eet ee ee ee eee 36 XI UKTUG Business Reports 0 c ccc cece cece eee eeeeeeees 36 36 37 oy 37 37 I Editorial 1 Baskerville articles needed We need material for Baskerville Please send your interesting articles to the editor and delight fellow TEX users Please note the following schedule of copy deadlines Ae a S A th S aA ov T A KO OA A 0 Aa rs ww S E o X AA A N QO a A S WaN SY A we o RN EO 4 2 Mar 21 Mar 28 Apr 4 4 3 May 23 May 30 Jun 6 4 4 Aug 15 Aug 22 Aug 29 4 5 Oct 17 Oct 24 Oct 31 Each issue of Baskerville will have a special theme although articles on any T X related subject are always wel come Contributions on the themes for the first half of 1994 are eagerly solicited t Baskerville 4 2 will be a special issue on TEX 2e which may be fully released by then t Baskerville 4 3 will be a back to basics special issue on mathematical and tabular typesetting Baskerville regularly publishes articles answering common TEX questio
3. Minutes and APendiceS 93 1 Nederlandstalige TEX Gebruikersgroep 1993 Yannis Haralambous Parameterization of PostScript fonts through METAFONT an alternative to Adobe s multiple master fonts to appear in Proceedings of Raster Imaging and Digital Typography Darmstadt 1994 19 VI Colour slides with TFX and seminar Michel Goossens CERN Sebastian Rahtz ArchaeoInformatica 1 Slides and BIFX Many IA4TRX users want to take advantage of T X s high quality typesetting when they produce overhead slides for a presentation This facility was originally provided by a separate package SUUTpxX but that had a number of disadvan tages it was limited to a set of specially scaled Computer Modern fonts and it was not easy to adapt to other fonts the user was required to have two separate files one for control information and the other for the actual slides the control of colour and overlays was limited and crude There was only one style for slides and writing a different layout to say put a logo on each slide was not documented IATEX users now have a variety of fonts and vast numbers of styles to choose from but SUTgxX has lagged behind When IATRX 2 was released at the end of 1993 this included a simple IATRX document class already available in the New Font Selection Scheme version 2 to emulate SUTEX without the overhead of a separate macro package However there is a much better IATEX packag
4. TEX virtual font can contain such kerning pairs some of them like TA or VA being quite important after a little experimenting the quality conscious user will easily add the most important kerning pairs to the VPL file Only TEX knows anything about virtual fonts Actually Horn is not saying do not use virtual fonts but do not use PK fonts since they will never be able to enter into illustrations He continues Well in the TEX world we tend to be somewhat myopic Hence PK bitmapped fonts are not useful one needs to use fonts in some established industry standard form such as Type I or TrueType To my myopic eyes the PostScript world seems much more myopic For many years poor PostScript fonts have been designed in the meantime the TEX community kept saying fonts without metaness are anti typographic but apart from a few exceptions like Jacques Andr s papers on pointsize dependent PostScript font code cf and 3 metaness seemed to be tabou outside the TEX world suddenly two years ago the goddess Adobe declared that fonts without metaness are no good and introduced a new object of veneration Multiple Master fonts These are extremely complex and memory consuming but still much poorer than METAFONT created fonts nevertheless myopic PostScript font users consider them as the non plus ultra METAFONT can do things PostScript cannot even dream of Try to adjust gray density of Hi
5. 35 640 79 35 640 79 Total income 45 472 09 EXPENDITURE Postage copying stationery 400 92 Committee Expenses 429 20 TEX and TUG News Printing 4 053 06 Books 59 88 Meeting costs EPS 191 24 October 1992 304 60 January 1993 509 23 April 1993 3 400 94 Bank charges 30 00 Bounced cheque 10 00 IATEX3 0 fund 263 00 TUG 93 conference 28 197 58 Subtotal 37 849 65 Total expenditure 37 849 65 SURPLUS 7 622 44 2 2 Balance sheet CURRENT ASSETS Debtors TTN 4 053 06 TUG TpxXhax 3 338 90 Cash in hand 0 00 Cash in bank 13 494 35 Total assets 20 886 31 20 886 31 CURRENT LIABILITIES Creditors TUG 93 7 443 21 TUG memb fees 4 549 00 Donation to TUG 93 travel fund 500 00 IATEX3 0 fund 389 50 Total liabilities 12 881 71 12 881 71 BALANCE 8 004 60 2 3 Position with regard to opening balance OPENING BALANCE P0122 SURPLUS 7 622 44 CLOSING BALANCE 13 494 66 D
6. Frame styles 6 Frame styles Text colours and colour tables Text colours and colour tables e Text colors 8 Text colors Colour tests 9 Colour tests A multi page coloured table 10 A multi page coloured table Z schemas built up with over 11 Z schemas built up with overlays January 16 1994 Introduction 2 January 16 1994 Frame styles 2 For slide headings there is a predefined slideheading command we will amend this so that it is typeset with a shadow The slidechapter command is also defined the code is not given here which allows the user to break the slides into groups the slide chapter title will be given in the bottom right corner with this CERN style def empty renewcommand makeslideheading 1 gdef theslideheading 1 def tempa 1 ifx tempa empty else begin Sbox begin Bcenter large bfseries 1l end Bcenter end Sbox centerline shadowbox TheSbox vspace lex minus lex fi Now the CERN page and frame styles the plain cern style just places registration marks and the date newpagestyle cern color Black small bfseries hfil today hfil bfseriest 3 color Black small bfseries hfil thepage hfil bfseriest Whereas the cernsections style has section headings and a logo newpagestyle cernsections color Black small raisebox 5cm O0cm 0cm 3 epsfig figure cernlogo ps height 8cm hfil bfseri
7. TEX is a public domain program whose official development has stopped and has been unofficially taken over by mostly unorganized volunteers this makes both the charm and the pain of T X history Virtual fonts may be one of the innovations that all commercial products haven t adopted yet or maybe not but we should think twice before giving Bien que j aurais pu changer de langue A tout instant si j cris en anglais ce n est pas pour la gloire de la langue mais pour faciliter la lecture au lecteur britannique Passons q With a single exception the user interface Public domain software is never as user friendly as commercial ones f 8 Colour slides with BTFX and seminar away virtual fonts in exchange for something poorer PostScript font reencoding when we can equally well use both at the same time and produce even better results References 1 2 3 4 5 6 Adobe Systems International PostScript Language Reference Manual second edition Addison Wesley 1990 Jacques Andr Adapting Character Shape to Point Size PostScript Review April 1991 Jacques Andr and Irene Vatton Contextual Typesetting of Mathematical Symbols Taking Care of Optical Scaling sub mitted to Electronic Publishing 1993 Yannis Haralambous TEX conventions concerning languages TEX and TUG News Volume 1 Number 4 1992 Yannis Haralambous Virtual Fonts Great Fun not for Wizards Only
8. black squares above The problem of incompatible font encodings is addressed in TEX by virtual fonts 4The TeXnically minded may note that the glyphs P and are not normally in the TEX text encoding This is because Computer Modern has a special I slash glyph for building f and which Adobe Times Roman does not have Its place is therefore taken by a black square and there are ligatures with l and L to produce F and Thus this font is drop in compatible with Computer Modern despite the lack of an I slash glyph reprinted from Baskerville Volume 4 Number 1 Building virtual fonts with fontinst 3 A solution virtual fonts As far as T X is concerned a virtual font VF is a font like any other It has a TEX font metric file which contains the dimensions of each character together with ligatures kerning and other typographical information However a VF does not have an associated bitmap Type 1 font TrueType font or other information about what the font should look like Instead a VF has an associated vf file which contains a small fragment of dvi file for each character in the font This dvi fragment may contain characters from other fonts rules or specials For example the Adobe Standard encoded Times Roman font above is a raw Type 1 font but the TEX text encoded Times Roman font is a virtual font The ff ffi and ffl ligature
9. contents no longer align is this yet another demonstration of the inferiority of IATEX when compared to the Real Thing I remain Sir Yours etc Philip Taylor 35 XI UKTUG Business Reports 1 Membership of UK TFX Users Group 1994 This issue of Baskerville is being posted to 1993 members Below I present the details of the 1992 3 Income and Expenditure and Balance sheet The cost of distributing each issue of Baskerville is quite considerable and the group s funds whilst reasonably healthy cannot stand avoidable expenditure Please renew your membership as soon as pos sible I am grateful to those who have already paid as it helps the committee to plan its expenditure for the year 1994 memberships have been acknowledged by email or paper mail if no email is available Please contact me if you have renewed and not received an acknowledgement 1 1 Membership Data 1993 1994 UKTUG 31 11 TUG 11 TUG and UKTUG 136 47 TUG and UKTUG student 3 3 as at 7th January 1994 reprinted from Baskerville Volume 4 Number 1 UKTUG Business Reports 2 UKTUG accounts 1 October 1992 to 19 August 1993 2 1 Statement of Income and Expenditure INCOME Membership see separate table 6 248 80 IATEX3 0 contributions 402 50 UK Book sales 43 30 Sale of mailing labels 45 00 Income from meetings October 1992 230 00 January 1993 982 50 April 1993 1 878 89 Subtotal 3 091 39 3 091 79 TUG 93 Conference fees
10. fonts 5 A solution the fontinst package The fontinst package is designed to read AFMs and produce VPLs It e Is written in TEX for maximum portabilty at the cost of speed e Supports the T X text TEX math and extended TFX text encoding e Allows fonts to be generated in an arbitrary encoding with arbitrary fake characters for example the ff char acter can be faked if necessary by putting an f next to a f e Allows caps and small caps fonts with letter spacing and kerning e Allows kerning to be shared between characters for example can be kerned as if it were an A This is useful since many PostScript fonts only include kerning information for characters without accents e Allows the generation of math fonts e Allows more than one PostScript font to contribute to a T X font for example the ff ligature can be taken from the Expert encoding if you have it e Automatically generates an fd file for use with TEX 2e f t reprinted from Baskerville Volume 4 Number 1 The fontinst package is available as freeware from the CTAN archives along with a selection of VFs which have been generated with fontinst Version 0 19 of fontinst is described in the proceedings of the Aston TUG AGM TUGboat 14 3 This de scription is now largely out of date The VFs generated by fontinst will be the standard VFs for use with Sebastian Rahtz s psnfss package for LATEX 2 6 Usi
11. s own contribution Through the eyes of a child perception and type design is an account of designing a typeface which would aid children learning to read Some of her observations on legibility are interesting and intriguing but they are hard to relate to computer in general or the more specific needs of computer aided publish ing for a wide market For educationalists and teachers there is probably much here Perhaps not surprisingly she also makes a plea for handwriting The final paper is daunting Roger Watt in The visual analysis of pages of text describes some experiments the visual perception of printed pages He analyses the same text with different inter word and inter line spacing The technique of analysis is claimed to have some reasonable closeness to the way in which the human visual system works In this analysis he identifies a number of different perceived structures which he then relates to the specifics of the text like sentence breaks rivers words inter line space and so on Perhaps contrary to received wisdom he suggests that rivers may be useful as landmarks for navigation in a text The result is the conclusion that it should be possible to specify the riveriness and wordiness desired the visual effect and then find the appropriate word and line spacing This seems a little radical and the views of some typographers on this could be interesting Clearly it is appropriate to attempt to bring in a more p
12. tex extension and double click to begin T Xing TX View automatically begins its preview as soon as the first page is ready That is while T X is still typesetting the remainder of the document page 1 is already there for your perusal Simple mouse click commands zoom this display and drag and scroll the preview image in the preview window dvips is a part of TFX View and so it is possible to include color in your typesetting and very easily too NextStep is built around Display PostScript so TEX View readily offers all PostScript fonts in the document for onscreen display and color if you use a color monitor Of course included epsf files are also displayed Color is rendered in an appropriate shade of gray on the typical PostScript b amp w printer There is an option for printing to fax I can t resist the temptation to note two extensions Tom has added to TX proper If the first line of a source file is amp 00 then the command tex myfile invokes the format file amp foo that is it is equivalent to the command tex amp foo myfile Output stream 18 will pipe commands to Unix It s possible to sort and input an index file say in one fell swoop via commands like immediate writel8 mysort lt index raw gt index sort input index sort in your source file Alan Hoenig 17 Bay Avenue Huntington NY 11743 USA ajhjj cunyvm cuny edu 2 Command line TpX for ever I notice from at least two articles in the curre
13. to virtual fonts A large fraction of sales from Y amp Y are to service bureaus publishers and TEX consultants power users that need all the most advanced features If VF was needed to do any of the things they want to do then you can bet that it would be supported The need for font re encoding and the inabillity of VF to provide proper re encoding The most commonly claimed reason for need to use VF is that font encoding must be controlled Now the virtual font itself like everything in TEX treats characters merely as numbers it has no concept of character other than as a number Hence VF itself can only permute the numbers of from 0 255 That is it can move characters around in the space of integers from 0 255 But most fonts have many unencoded characters There may be 224 or 500 or even over a thousand characters yet only 170 may show up in the raw encoding of the font To use the font properly it has to be re encoded There is a cmap or encoding vector that maps the integers from 0 255 to characters usually specified by some mnemonic name like space To use such a font properly the dvi printer driver or dvi previewer has to be able to reencode the font to a user specified encoding vector Note that this has nothing to do with virtual fonts it is a capability needed in the dvi processor whether or not virtual fonts are supported and in fact cannot be provided by VF itself To state this
14. virtual fonts for these purposes 1 The font designer will be in pain when he sees his creation mutated using virtual fonts to create fake smallcaps A smallcaps font should have properly designed small caps letters not scaled replicas of the uppercase letters Making a smallcaps font this way is not quite as evil as making a bold font by smearing a regular face but it comes close Admittedly many fonts do not have companion expert fonts or smallcaps versions so one is tempted to make up a fake smallcaps font but its not a good idea 2 Most text fonts contain 58 standard accented composite characters that cover ISO Latin 1 and some more These can be easily used directly if your dvi driver provides for reencoding Curiously DVIPS AFM2TFM instead uses the virtual font mechanism to compose the accented character from base and accent This is not a good idea since the designer of a quality font often makes a composite that is not exactly achievable by superimposing base and accent Aring Ccedilla and ccedilla are particular cases of glyphs usually not made by superimposing base and accent but by designing an outline Also the rendering at some resolutions will not be as good since the hinting for the composite can take into account interactions between the base and accent This is not possible if the two parts are drawn separately By the way AFMtoTFM can be used to insert convenient pseudo ligatures for the accented characters
15. 4 Number 1 pop 2 def 1 index FID eq pop pop d def ifelse ifelse forall Strokewidthi 20 def currentdict end definefont def charstring def string for charcode BuildChar dict charcode exch begin charstring dup 0 4 1 roll put Courier setfont dup stringwidth FontBBox aload pop setcachedevice set char metrics 0 0 moveto gsave dup show fill character grestore Courier Outline setfont 0 show draw outline end def currentdict end definefont pop If the PostScript character cache is large enough this method will not cause too much of a slowdown because each thickened character will be constructed only once for each size used The size of each character cannot be easily extracted from the original Courier font so each character takes the maximum size of cache needed determined from the original font s bounding box Dvips can be made aware of this new font by putting the following line in the psfonts map file rpcrsb Courier Heavy lt coursb pf3 The font metrics of this heavier font are the same as the original Courier font so the AFM file for the original font can be copied and used to generate the virtual font and TFM file needed for use with TeX Figure 5 shows how the weight of the new heavy version of Courier compared with the original Courier and Courier Bold Courier HLGYXMhlgyxm 72 0pt Courier Heavy HLGYXMhlgyxm 72 0pt Courier Bold HLGYXMhlgyxm 72 0pt Figure 5 Comparison of Co
16. Baskerville The Annals of the UK TFX Users Group Editor Editor Sebastian Rahtz Vol 4 No 1 ISSN 1354 5930 February 1998 Articles may be submitted via electronic mail to baskerville tex ac uk or on MSDOS compatible discs to Sebastian Rahtz Elsevier Science Ltd The Boulevard Langford Lane Kidlington Oxford OX5 1GB to whom any correspondence concerning Baskerville should also be addressed This reprint of Baskerville is set in Times Roman with Computer Modern Typewriter for literal text the source is archived on CTAN in usergrps uktug Back issues from the previous 12 months may be ordered from UKTUG for 2 each earlier issues are archived on CTAN in usergrps uktug Please send UKTUG subscriptions and book or software orders to Peter Abbott 1 Eymore Close Selly Oak Birmingham B29 4LB Fax telephone 0121 476 2159 Email enquiries about UKTUG to uktug engquiries tex ac uk Contents L EU ON AM ose on centre urate ata qe ae ane mae we eae Aa aa ee aa Bg ee eee Base BL ee ee ee 3 3 Lo 3 oe 4 3 3 _Colopho e a ee ee 3 VEE EE ETET EEE E EEEE 4 1 Introductio 4 2 Matching fonts 5 2 1 Matching height 5 6 2 3 Matching weight 7 8 a 9 see O ae eg ore eee eeuseueaeeuesen eet 10 a 10 10 S 11 11 11 6 Using the fontinst package 12 IV _Do you really need virtual fonts 0 cece eee eee eee eee eee eee e seen eee eeeeees 13 ene ee 15 17 20 20 20 21
17. EX world we tend to be somewhat myopic We try to do everything in TEX or using tools that come with TEX Sometimes we go through amazing contortions to do this even when it can be done quite easily some other way for example making graphs by drawing millions of dots in T X rather than using PostScript There are tools available for manipulation fonts in Adobe Type 1 format These create real fonts that can be used not just with TEX Such tools can combine characters from different fonts into one font create new composite accented characters add ISO Latin 2 glyphs say make obliqued versions of a font although the designer may not agree adjust the side bearings and advance widths of characters 5 and about a dozen other things BR WN It should be clear from the above that I have pretty strong feelings on this issue But that is only to counter the pretty strong feelings many users particularly in the Unix University world have on this issue 0 1 Easy totally general reencoding In dviWindo and DVIPSONE you can use any encoding for printing and for on screen display and using arbitrary encoding is as simple as adding a line like tir Times Roman remap isolatil to a font substitution file or running a batch file called encode this should all be one one line encode isolatil c afm c tfm c psfonts Ci windows N tir tii bib Cibi the latter takes care of all four styles of Times Roman Wha
18. PostScript fonts may be illegal under copyright law or licensing agreements Even if the fonts required to print a document are freely distributable using the resident fonts has the beneficial side effect of reducing the size of the document A growing number of scientific papers software manuals and technical notes are being made available in PostScript form and many of these use the ugly combination of the original LaserWriter fonts Fortunately the outline descriptions of fonts in PostScript allow us to do something about the variations in width height and weight of the fonts Anamorphic scaling can be used to squash wide characters stretch short characters and even slant characters to create obliqued fonts if desired PostScript also has tricks which can be used the thicken light characters 2 Matching fonts To match the width and height of characters from different fonts better we need to scale the characters anamorphically that is to alter their aspect ratio The idea is to make the weight width x and cap height of the fonts more consistent so that they are have a similar colour The colour of a font is the amount of ink or toner that is placed on the page when printing open wide fonts have a less colour than close heavy fonts The change of letterform still provides cues to the distinction between the elements of the page but the anoying distractions of light spaces and dark blobs will be removed The more even height of chara
19. Roman 1 1 ExtendFont _6 Mixing and matching PostScript fonts Extending or compressing fonts in this way has the undesirable effect of altering the ratio of the horizontal strokes to the vertical strokes these fonts are not true compressed or extended designs and there is unfortunately nothing that can be done in PostScript to counteract this effect When matching the font widths it is undesirable to make all of the em widths the same the design of Courier requires more space than Times Roman or Helvetica What is desired is a more acceptable balance of widths so that the most compact font Times does not look bad when used beside the widest font Courier Figure B shows a comparison of the original widths of the characters and a possible choice of new widths Normal laserwriter fonts Times Helvetica Courier HLGYXM 43 88pt HLGYXM 42 23pt HLGYXM 36 0pt hlgyxm 30 56pt hlgyxm 31 67pt higyxm 36 0pt Height and width matched laserwriter fonts Times matched 105 Helvetica matched 100 Courier matched 90 HLGYXM 47 1816pt HLGYXM 39 93031pt HLGYXM 32 82541pt hlgyxm 30 6948pt hlgyxm 26 15741pt hligyxm 32 80664pt Figure 3 Comparison of original widths and new widths Font family Cap height ratio ex heightratio Extension Stroke Width Times 10 24 9 57 105 Helvetica 9 46 8 26 Courier 12 05 10 13 90 20 Figure 4 Parameters 2 3 Matching weight Matching the weights of the fonts is one of the most awkward effects to achieve The in
20. acter data these are just translation coordinates for character parts which will be composed to produce the result PostScript interpreters know about these characters and can automatically take care of characters defined in that way in the font But these accented characters cover only the West European range excluding of course Welsh and Maltese a PostScript interpreter is not clever enough to define a new composite character for example a z as needed in Polish or a W as needed in Welsh Alan Jeffrey s utility can do this very easily this is far more than just plain reencoding but is everyday practice for virtual fonts The reader may have little interest in exotic languages like the Polish or Welsh in the previous paragraph but DC fonts have additional features which are implemented in virtual Cork like PostScript fonts by Alan Jeffrey s virtual font creation tool e certain characters may need special kerning such as the little zero for the perthousand sign the German single and double opening quotes etc e some symbols such as may be missing these can be taken from other fonts e the glyph is used twice once for the text dash and once for the hyphenation dash cf 5 why these are separate characters I doubt that reencoding can assign the same glyph to two different positions 77 e the uppercase version of B is made out of two S letters this is too much to ask for a poor PostScript interpreter
21. and font size outlines can be scaled to the size required quickly The original LaserWriter came with a set of thirteen scalable outline fonts often known as the LaserWriter 13 The LaserWriter fonts are shown in table I there are eight faces from Linotype AG the Times and Helvetica families four from IBM the Courier family and one from Adobe Symbol There is one serifed text face family Times and an accompanying mathematical symbol set Symbol one sans serif text face family Helvetica and one monospaced family Courier Times Roman Helvetica Courier Times Bold Helvetica Bold Courier Bold Times Italic Helvetica Oblique Courier Oblique Times BoldItalic Helvetica BoldOblique Courier BoldOblique Symbol Table 1 The original 13 LaserWriter fonts The choice of typeface styles for the LaserWriter was well informed for computer usage a monospaced font is required The mathematical symbol set while not complete encouraged technical writers to invest in PostScript laser printers A choice of a serif and sans serif font families was provided for text setting Unfortunately the particular typefaces chosen look terrible when used together The weight and width differences between the LaserWriter 13 fonts make the page look blotchy some words jump out at the reader some seem to vanish leaving pale holes in the page Variations in width ex height the height of the lowercase letters traditionally measured from the lowercas
22. are adjusted to keep the matched font monospaced This matching process only needs doing for one member out of each family of fonts the other members should use the same scaling ratios to stay consistent with each other Figure 2 shows the results of matching the ex heights and cap heights of the LaserWriter fonts Matched cap heights HHH LLL GGG YYY XXX MMM hhh ll ggg yyy xxx mmm Matched ex heights HHH LLL GGG YYY XXX MMM hhh Ill ggg yyy xxx mmm Matched cap and ex heights HHH LLL GGG YYY XXX MMM hhh Ill ggg yyy xxx mmm Figure 2 LaserWriter fonts with matched ex and or cap heights 2 2 Matching widths Matching the widths of the fonts is one of the easiest effects to achieve The afm2t fm program has an option to extend or compress PostScript fonts For example a virtual font for the Times Roman font extended to 110 of its normal width by the command can be created by the command afm2tfim Times Roman e 1 1 v ptmrx Times Extd This will create a virtual property list file called ptmrx vpl1 which can be scaled up or down as described above to match the heights of the fonts and then compiled into a virtual font with vpt ov A TX font metric TFM file will also be generated which should be put in an appropriate directory for TEX to find it A line needs to be inserted into the psfonts map file to tell dvips about the pseudo font Times Extd which it will create from the Times Roman base font if it is used Times Extd Times
23. ation System by Leslie Lamport hereafter called The Manual Pages 58 59 of The Manual show how to set up a simple theorem environment The command newtheorem thm Theorem creates an environment called thm Then each use of this environment produces something whose heading is The orem It is true that these theorems are numbered 1 2 3 etc To obtain something numbered A B C etc use the numbering commands given on page 92 of The Manual Thus newtheorem main Theorem renewcommand themain Alph main creates an environment called main whose heading is also Theorem but whose instances are numbered A B Cross references work correctly too if you label the third main with label mmm and refer to it with Theorem ref mmm then it will be called Theorem C Question 2 Journal editors are so fussy They all want me to number my corollaries in different ways The first wants corollaries numbered in the same sequence as theorems the second wants them numbered in a separate sequence of their own the third wants the corollaries after Theorem 7 to be numbered Corollary 7 1 Corollary 7 2 etc while the fourth also wants the corollaries to start renumbering after each theorem but wants the corollaries after Theorem 7 to be numbered Corollary 1 Corollary 2 etc How do I do all of this Answer It is not hard to do these things because IATEX is provided with the newt heorem command I shall assume that you have defined an environ
24. cters will aid legibility TEX cannot scale characters anamorphically so a small amount of PostScript and virtual font work will be necessary All of the matching steps I will describe can be done in PostScript alone but virtual fonts make the process of using TEX with the altered fonts much easier The examples given are for use with Rokicki s dvips driver but the techniques can be adapted to most DVI to PostScript converters 2 1 Matching heights The first step in the process of scaling fonts to match is to sort out the height differences There are two parts to consider to match the ex height so that running text looks good and to match the capital height so that headers look good Figure 1 shows the wide variation in width weight and height of the LaserWriter fonts Widths Times Helvetica Courier HLGYXM 43 88pt HLGYXM 42 23pt HLGYXM 36 0pt hlgyxm 30 56pt higyxm 31 67pt hlgyxm 36 0pt Cap heights HHH LLL GGG YYY XXx MM Ex heights hhh Ill ggg yyy xxx mmm Figure 1 Width height and weight variation in the LaserWriter fonts TEX can be used to match the ex heights of fonts automatically The following relatively obscure piece of BIEX code uses the ex fontdimen to construct and use a JATRX2e font definition for a font scaled to match the ex height of the current font This piece of code relies on a macro which does long division of one integer by another returning a fractional result For clarity s sake this macro is not inc
25. d commands 5 and a token in T X s stomach Ey Colour slides with BTFX and seminar On the fifth day of Christmas my true love gave to me 1 Five overfull hboxes 2 Four fontdimens missing align 3 Three nested endgroups 4 Two undefined commands 5 and a token in T X s stomach Both slide frames and page styles can be customized for instance the examples in this paper e g Figure I are suitable for use at CERN 4 Interleaving notes and selecting subsets It is easy to intersperse your slides with notes to yourself these can be simply placed between the s 1 ide environments or enclosed in a specific note environment You can use any LATEX commands in these notes and include your whole article here if desired When you want to print the slides a variety of package options can be used slidesonly Only the slides are printed notesonly Only the slides are printed notes The slides are interleaved with the notes article The document notes are typeset like a normal IATRX paper and the slides are placed as figures reduced to half size The slideplacement command can be used to affect how slides are placed in the article format the possible parameters are float default Slides are floated float Slides are floated but if two column format is chosen they will span both columns here Slides are placed where they occur in the notes Further detailed control of the interaction between sl
26. e thing It feels as if Sassoon asked some of her friends to contribute something to a book on typography and computers without specifying the aim too tightly and lo we have the results in our hands The central concern of the book still worries me Sassoon says that she hopes people will never again be satisfied with second best Elsewhere in the book are appeals to fine typography I would have preferred to see an appeal to fitness for purpose This review is based on one which appears in the Information design journal vol 7 no 2 1993 p161 6 0 2 Information design journal One of the curses of the LA TEX world is that many proponents become infected with a thirst for matters typographic It s an odd affliction since many of the victims have a scientific technical background and the way education seems to be set up in many countries is based on the belief that science and technology are antithetical to anything aesthetic And typography is largely an aesthetic medium or is presented as such How do we acquire knowledge and satisfy the hunger of our desire There are a few books around in my view one of the best is Ruari McLean s Typography but precious few journals A few designerly magazines exist I like XYZ but they do tend to be a little elitist and introspective What is there for those of us accustomed to reading academic journals I ve yet to see a copy of Visible Language although Knuth has published t
27. e which has been available for some time now seminar if used in conjunction with a PostScript printer and a set of useful macros called PSTricks this offers almost every imaginable facility including r Fancy frames headers and footers c Landscape and portrait slides in the same document t Coloured text and tables t Interleaving of annotations and slides t Slide chapters and list of slides c Overlays seminar is a normal IATRX package which can be used with almost all other IAT X packages such as those to change font include graphics etc Its main job is to produce transparencies but it can also make accompanying notes from the same file It is compatible with AM S IATpX and IATEX 2 2 Using the seminar style Usage is simple begin your document in the normal ways with documentclass seminar The slide environments are begin slide end slide begin slide end slide Where slide is for landscape slides and slide is for portrait slides By default the document is typeset in landscape mode but if you include the portrait package option the document is typeset in portrait mode Type setting the document in landscape mode is different from printing it in landscape mode you have to worry about The seminar package and PSTricks are the work of Timothy van Zandt tvz princeton edu We are assuming IATEX 2 here just to remind you to upgrade reprinted from Baskerville Volume 4 Number 1 C
28. e x and to a lesser extent capital height make the text less legible Given these problems with documents composed with the original LaserWriter fonts why not use other fonts The answer to this question depends on the purpose of the document If a document is being created for personal reading or for a number of people at one place then purchasing a set of typefaces which complement each other is an admirable solution Similarly if the document is being prepared for publication purchasing and using the fonts suggested by the designer or printer is advised If the PostScript source of the document is being distributed to a wider audience with no knowledge of the facilities on which it will be printed then the story is different The original thirteen LaserWriter fonts are the only fonts that can be guaranteed to be available on any PostScript laser printer or previewer anywhere in the world There is also the major consideration that giving away the fonts used in a document even if they are embedded in the document LaserWriter is a trademark of Apple Computer Inc PostScript is a trademark of Adobe Systems Incorporated gt There is a larger set of 35 fonts which was distributed with the LaserWriter Plus which are available on most PostScript printers now There are still original LaserWriters in use so I still consider the original 13 fonts as the only guaranteed fonts reprinted from Baskerville Volume 4 Number 1 Mixing and matching
29. emphatically virtual fonts themselves are inadequate for reencoding since they cannot make unencoded characters accessible And once your dvi processor has its own mechanism for doing reencoding there is no longer a need for VF to attempt to do this Let me show how easy this encoding business really can be Imagine an ASCH file with a list of numbers and character name pairs This file contains up to 256 lines such as the following er space eie exclam 34 quotedbl oD numbersign This is an encoding vector file It fully defines the encoding to be used in a totally clear and explicit way Now such an encoding vector file can be used by the dvi processor the user specifies for a font that needs reencoding which of these encoding vectors to use as well as by the utility used to create the TFM metric file Compare this to DVIPS s complex mechanism of input encoding output encoding plus virtual font remapping permuting 0 255 Three mappings where just one is perfectly adequate If we don t need VF for reencoding then what are virtual fonts good for 1 Making a fake smallcaps font Add new composite accented characters Making new fonts that contain characters from two existing fonts Changing the side bearings and advance widths of chacacters in a font Achieving weird and wonderful effects by packaging TEX dvi commands for drawing rules and specials as characters os a What are the drawbacks of using
30. ere typeset using a seminar con Set up for CERN the contents of this are given below with explanation of what is being done It also shows how higher level functions can be added which the average user would not want to program for themselves First we set up landscape macros for the dvips driver a Volume 4 Number 1 reprinted from Baskerville 1 Slides and BIFX 3 ENI ENI E A Slides and BIFX j Many I4TRX users want to take advantage of TEX s high quality typesetting when they produce overhead slides for a presentation This facility was originally provided by a separate package SLITEX ap but that had a number of disadvantages SWZ aiii i S NM ZB e it was limited to a set of specially scaled Computer Modern fonts I 222 and it was not easy to adapt to other fonts A G IANS e the user was required to have two separate files one for control g AUN N Cm information and the other for the actual slides e the control of colour and overlays was crude and limited e There was only one style for slides and writing a different layout to say put a logo on each slide was not documented Introduction 3 January 16 1994 SlideColours Black White 5 Normal slide with coloured background and text Introduction 1 January 28 1994 SlideColours Red Yellow Introducing seminar 4 ZA Introducing seminar There is a much better TEX style file available now seminar sty if used in co
31. es all communication problems suppose I have created a document using a PostScript font which itself is encoded in some standard encoding For this I have used a virtual font which my correspondant might not necessarily have By devirtualizing my DVI file I obtain a new DVI file which uses precisely and exclusively the real font on which my virtual font was based In the case of PostScript fonts this means that if my virtual fonts were constructed upon Adobe Standard encoded PostScript fonts that s the usual encoding for PostScript fonts a de virtualized DVI file will contain references to these original PostScript fonts only which makes it as portable as a DVI file can be I would like to close this paper by some general remarks on the TEX world as I see it I don t believe TEX users are myopic or isolated from the rest of the world On the contrary they see problems that commercial programs can barely handle and solve them through T X without even making much noise about it In the last few years it has happened that there has been much more development in public domain T Xware than in commercial software around T X Important innovations have always appeared first in public domain softward Many times commercial software has adopted those innovations but there are also many TeX features yet undiscovered by the commercial world and many commercial products still at the stone age of TEX This is a sad consequence of the fact that
32. es theslideheading hfil bfseries thepage small color Black today hfil thechapterheading inchap For the slide frames we define a frame with the word CERN set in a coloured box on the lower left this is done 25 reprinted from Baskerville Volume 4 Number 1l using the PSTricks macros which are automatically included by the semcolor option above The colour commands are those predefined in dvips s color pro header file newslideframe cern SlideFront boxput 0 7 L 11 estrameboxs linecolor black fillcolor ForestGreen fillstyle solid hbox normalsize sftfamily color Black CERN 1 color Black Finally we make sure that each slide starts with the current foreground colour def everyslide SlideFront def theslideheading The user uses the command S1ideColours with two parameters which are colour names for foreground and background A synonym is defined for black on white We have to be a bit careful defining the frame border because by default it is coloured using the POSTSCRIPT setgray operator and that might not work with the colour separation so we define an explicit blue frame for variety newslideframe blueframe 3 psset linecolor NavyBlue linewidth slideframewidth framesep slideframesep cornersize absolute linearc 5cm 1 psframebox 1 Vader Slidecolours 1lFZ2is gdef SlideFront color 1 slideframe Framedefau
33. f a proof may have been in the realm of good intentions rather than solid achievement Part 3 More technical issues involved in type design contains two papers The first is Some aspects of the effects of reprinted from Baskerville Volume 4 Number 1 Malcolm s Gleanings technology on type design by Mike Daines which concentrates on the advantages which Peter Karow s Ikarus system has had on digital type He also brings in many of the other potential tools available especially those for the Macintosh Another useful and considered paper by Richard Southall Character description techniques in type manufacture looks at two traditional i e non electronic methods of the production of type and two digital techniques The objective here is to identify the strengths and weaknesses of the changing technologies and the areas in which they are most or least appropriate From his description of the processes involved Southall develops a systematic view of the manufacture of type This has the merit of providing a plausible model which we can use and may give the basis for some qualitative comparisons Actually by the end of this paper I am left surprised that any acceptable typefaces were ever produced in any technology given the inherent problems at each stage The penultimate section Lessons to be learned from the history of typography includes what I found to be one of the most demanding papers balanced by one which I found agreeabl
34. g virtual fonts with fontinst Alan Jeffrey alanje cogs susx ac uk 1 Introduction This document gives a brief overview of the fontinst package The fontinst package is used to build virtual fonts VFs which allow PostScript fonts to be used as drop in replacements for the Computer Modern fonts in TEX Below I ll describe VFs briefly and describe how they can be built using the font inst package 2 A problem with fonts One of the biggest problems about using fonts in T X is encodings that is the order the characters come in the font For example the default encoding for Adobe s Times Roman font is the Adobe Standard encoding 17 HSHe FL Lf 0123456789 j i ABCDEFGHI JKLMNO PQRS TUVWXYZ abcdefghijklmno pqarstuvwxyz The default encoding for TEX however is the TEX text encoding The Adobe Times Roman font in the TEX text encoding is PTAGAENLY OVO ff LJ m amp 4 01253436 789 7 ABCDEFGHI JKLMNO PQRS TUVWXYZ abcdefghijklm pqrstuvwxyz l no There are many other competing encodings ISO Latin 1 TEX extended text or Cork Macintosh the list is seemingly endless In addition different encodings contain different glyphs The TEX text encoding is supposed to contain a dotless J character and a slash for building Y and but very few fonts contain these characters and their places are taken by
35. here from time to time I ve at last found something interesting appropriate and local Information design journal It s not really just typography but there is much in it which is typographical The call for papers describes the readership as multidisciplinary and that contributions are welcomed on a range of topics related to the communication of information of social technical and educational significance Looking over the last four issues I note an interest in forms design both questionnaires and bills this is also one of my interests it fascinates me that it is so difficult to design satisfactory forms in information signing like directions maps in information symbols like those ISO symbols for almost anything most of which I find odd and misleading this is quite distressing for icon based computer systems There also seems to be a wish to test comparisons in other words to test hypotheses rather than make hand waving generalisations But there are other articles which aim to convince by qualitative argument The range of papers in each issue is broad too not just in content but also in style In a sense each issue becomes more informal as you read through it The key articles are refereed as one would hope but there are reviews of one sort or another Somehow it achieves a pleasant balance between rigour and informality I therefore commend it to you as a useful journal to read and browse through For more informati
36. hysiological appreciation of how type is understood rather than the typographers often hand waving generalisations but this is not a straightforward paper It is not clear how far the conclusions may be generalised either to english texts in general or to texts in other languages where word length and the distribution of ascenders and descenders may be quite different How it would generalise to non Latin texts is another mystery or as academics say more work needs to be done There is the feeling that some contributors view the changes as a shock to the system whilst others know it has all happened before and that while some things will deteriorate new possibilities will arise and things will become possible about which we have not yet dreamed The curious appeals to handwriting as the basis of success have a very luddite ring to my ears One of the factors which worried me about the book was the extent to which it achieved its aim as a model of good typographic practices Frankly it lacks consistency and there are far too many typos Perhaps the erratic application of a house style is one thing but mistakes are something more serious These blemishes and inconsistencies highlight a notable omission from the book discussion on the real difference between markup systems and those which demand that the text be dealt with interactively t e a wysiwyg system Many of the small problems of style can be more easily resolved through
37. ides and notes is given in the User s Manual Selected slides can be included or excluded with the onlyslides or noteslides commands which a pa rameter of a comma separated list of slides this can be numbers ranges e g 5 10 or ATEX ref commands referring to label commands in the slides 5 Control over slide size fonts and magnification There are a great number of parameters by which the user can change any of the following either on a slide by slide basis or for the whole document Slide height and width Top bottom left and right margins Text justification it is ragged right by default Page breaking by varying tolerance of over running material Inter line spacing Point size and choice of fonts How to change the default settings is explained in detail in the User s Guide Because seminar works by magnifying pages sophisticated users should read the manual to see how to deal with setting and changing TEX dimensions Most users need not worry about this in commands like epsfig you should always express your width and height requests in fractions of the line size anyway 6 Advanced use customing the seminar control file The seminar package always starts by trying to find a file called seminar con on the TEXINPUTS path this gives the user or site an opportunity to conveniently customize the defaults The seminar con file can contain any LATEX commands including inputting style files Our figures w
38. in and other alphabets Ari Davidow examines some of the problems facing the typesetting of Hebrew Digital hebrew in a monolingual world This is an anecdotal discussion with a few interesting points Its description of computer software almost all Macintosh based is a snapshot already out of date He is concerned solely with wysiwyg type input The observation that italic or slanted letter forms in Hebrew are seldom satisfactory is worth hearing although perhaps diminished slightly by the illustration which was inserted upside down Elwyn and Michael Blacker Spoiled for choice have little to say about other alphabets but something to say about computer typography and more important about some of the typographic choices that were made in creating this book At least they believe that fine typography is attainable with computer technology albeit in the hands of a skilled designer with mastery of the optical considerations faint encouragement for the IATEX enthusiast And then they mention some of the design considerations and problems they faced with the book They also comment on their use of Bembo with additional characters chosen from the expert font The use of the expert Bembo font is perplexing Although chosen in part because it has small capitals these seem very thin and weedy to me as if they have been simply optically scaled from the normal capital Examination of the book suggests that this and their detailed checking o
39. in the TFM file ajd Do you really need virtual fonts 3 Combining parts of two fonts seems like a legitimate use for virtual fonts It comes in handy for example when an expert font contains the small caps letters but not the upper case letters But see below So what are the drawbacks of using virtual fonts for these purposes And how can one achieve the same results some other way The main problem is Only TEX knows anything about virtual fonts Now if TX is all you ever use and if you don t use text in your illustrations then that may be just fine with you But in a lot of professional work TEX does not live in isolation Illustrations are created using graphics applications of all sorts These can be inserted into the text in EPSF or TIFF or other form Where we come to meet the nightmare of non standardization of special but that is another diatribe Now if the illustration has any text in it it is usually desirable to have the font used in the nomenclature match the text font So the graphic application has to be able to use the same fonts as TEX Hence PK bitmapped fonts are not useful one needs to use fonts in some established industry standard form such as Type 1 or TrueType note that virtually all fonts commonly used with T X are now available in T1 format including CM AMS BIEX SUTgXetc And this won t work if the font is a virtual font What to do Font manipulation tools Well in the T
40. it is often known was designed by the typographer Stanley Morison for The Times The design was based on Monotype Plantin 113 Morison did not draw the designs himself he was not a designer but got an artist working for The Times to draw it and revise the drawings until he was satisfied Helvetica was originally produced by the Swiss Haas sche foundry in 1957 under the name Neue Haas Grotesk to a design by Max Meidinger It was recut by the German Linotype firm who renamed it Helvetica Courier was designed in 1952 for IBM by Howard Kettler merging the geometric egyp tians Stymie Memphis Beton and Rockwell The names ptmr phvr and pcrr are used for the normal shapes and weights of Times Helvetica and Courier in Karl Berry s font naming scheme used by dvips 3 Conclusion Anamorphic scaling by its very nature distorts the shapes of the characters In general distorting a pleasing typeface will not give another pleasing typeface The techniques described in this note make minor distortions to a set of typefaces in order to make their use together more pleasing These techniques are only useful in limited circumstances i e when the only fonts you can rely on using are the base LaserWriter fonts As noted in the introduction there are circumstances where this is the case and in these cases almost anything 1s better than the ugly sight of Times Helvetica and Courier mixed together in their natural state 20 HI Buildin
41. lision when used with 001 007 Conversely a subscript on z will look too far away when used with version 001 002 because the fonts were actually tuned for 001 007 15 reprinted from Baskerville Volume 4 Number 1 We won t even talk about clones of Times such as the one by BitStream which are used in some low cost laser printers These have entirely different color for a start and different side bearings and shapes And what about that Linotronic to which you have entrusted generation of the final copy of your book at 3 8 per page What version of Times Italic is it using Are you willing to risk it So what is the solution Don t use virtual fonts The IBM PC version of MathTime version 1 1 from Y amp Y comes with true Adobe Times 001 007 and an installation procedure that creates a real MTMI that 1 can be used with any application not just TeX and 11 has wired in the version of Times Italic for which RMTMI was designed No surprises are possible By the way service bureaus are in the habit of asking for the fonts separately from the PostScript file this is a hang over from a bygone era but that is another story And they want a real font their image setter doesn t know anything about virtual fonts Unfortunately the tools for combining RMTMI and Times Italic adjusting side bearings and advance widths etc are quite sophisticated and not available on other platforms particularly if yo
42. look at each line ending to check hyphenation lift the baseline to adjust parentheses sometimes fiddle with the leading and so on Should we not be looking for better models of line and page make up which recognise the potential problems and solve them for us Did every jobbing printer take this much care James Hartley The layout of computer based text examines some aspects of layout starting with a questionnaire and going on to more general matters of the distribution of space and how it can be used to enhance content It is indeed true that the use of white space is poorly appreciated by many that increased use of white space might make something more useful and less wasteful is not a concept readily grasped until some useful and pertinent examples like these are thrust under people s noses Richard Southall s Presentation rules and rules of composition in the formatting of complex text is a highly literate explanation which draws together the views of traditional typographers from Moxon Fournier Brun De Vinne and Tschichold in order to show how their rules may or may not be applied in computer based composition systems Southall s in depth knowledge of the working of TEX and I4TRX gives him a unique position and he develops some rather telling criticisms His remarks are more generally applicable and help to provide a useful set of criteria for the assessment of computer based systems In Part 2 Typographic choices Lat
43. lt slideframe psset fillcolor 2 fillstyle solid blueframe def SlideColours 1 2 gdef SlideFront color 1 slideframe Framedefault slideframe psset linecolor Black fillcolor 2 fillstyle solid scplain def blackandwhite SlideColours Black White The slide defaults will be for a detailed layout and CERN logo with yellow writing on a blue background pagestyle cernsections slideframe cern def Framedefault cern SlideColours Yellow RoyalBlue Di VII Back s lash Jonathan Fine J Fine uk ac cam pmms Welcome to the first of a series of columns devoted to the subtleties of programming TX The focus will be on the primitive commands and low level features of TEX This column is devoted to csname and to avoiding its side effects The reader might do well to begin by turning to 40 This means page 40 of The TfXbook Exercise 7 7 on that page and its solution describe a i fundefined macro This macro has three shortcomings The first is that ifundefined relax will come out to be true The second is that ifundefined xyz will define xyz to be relax if xyz is not defined This is often not what is wanted The third problem is that the process of defining xyz will if done within a group add an item to the save stack 301 This can cause problems in processing TEX documents which have a lot of cross references To see this we will use introduce a macro def type
44. luded oo need long division routine Q input longdiv sty omitted for clarity def psexfont 1l Z2 3 4 5 tempdima lex ex height of current font font tmp 5 space at f size pt tmp tempdimb lex ex height of loaded font tempcenta tempdima tempcntb tempdimb long division result in ex scale macro long divide ex scale tempcnta tempcnthb edef psex sizes lt gt ex scale 5 DeclareFontShape 1 2 3 4 psex sizes Times Roman at same ex height as current font DeclareFontFamily 0T1 times xm psexfont OT1 times xm m n ptmr ma reprinted from Baskerville Volume 4 Number 1 There are disadvantages to this method it wastes one of TRX s precious font slots for every font loaded and some times the fontdimen is not accurate either because of rounding errors in the conversion or because of incorrect infor mation in the original AFM file Adobe Font Metric the standard files containing metric information for PostScript fonts A method which avoids the loss of the font slot is to create a virtual font containing the scaled font The amount to scale the font by can be determined either by comparing the ex height parameters in the original AFM files or printing out large character samples and measuring the ex heights if the first method does not give good results If the second method is used be sure to print a character with a flat top to it as characters with rou
45. markup systems If the goal is to produce something which is even markup can ensure that the rules are carried out remorselessly each time while the use of more flexible systems actually requires much more thought and discipline right through the book production Unless this volume had been presented as some model for the typographically unkempt it would not be appropriate to pick up on the small faults but sadly it does seem to fall into the same pit in which it sees others On the other hand 2312 reprinted from Baskerville Volume 4 Number 1 the overall design of the book is pleasing Even the very ragged right works quite well especially when hyphenation is all but suppressed and the wide central margins are used quite intelligently as a location for captions to figures It is obvious that the book was designed spread by spread allowing for what the reader actually sees The interplay of white space is attractive It is not a book for novices nor is it a book for power users It falls awkwardly between a number of stools Taken individually the papers are interesting stimulating and often provocative But taken as a whole I just cannot discern the linking thread or the theme which binds it into more than a book of loosely connected essays It veers from the general or at least broad to the very specific from which something more can be inferred Placing these side by side gives a very uneven intellectual feel to the whol
46. ment thm as in the answer to Question J The instructions on pages 58 59 of The Manual show us how to satisfy the first three editors For the first put newtheorem cor thm Corollary and you will get an environment called cor whose instances are called Corollary numbered in the same sequence as the theorems For the second put newtheorem cor Corollary and for the third put newtheorem cor Corollary thm For the fourth editor we need the extra information from page 92 The third command above makes the cor counter start again after each t hm but it causes the Corollary number to be printed as say 7 1 rather than 1 We can cure this by putting newtheorem cor Corollary thm renewoommand thecer arabie cor In each of the four cases you get an environment called cor whose instances are called Corollary Only the system of numbering is different You should now be able to work out how to make the corollaries after Theorem 5 come out as Corollary 5a Corollary 5b and so on reprinted from Baskerville Volume 4 Number 1 IX Malcolm s Gleanings Malcolm Clark cudax uk ac warwick csv 0 1 Book review Computers and Typography compiled by Rosemary Sassoon Intellect Oxford 1993 208pp ISBN 1 871516 23 4 On the title page of this book the compiler notes that the customary words edited by were omitted at her request She goes on to say that the book is an example of what this is all in aid of ty
47. nded tops usually overshoot the x height deliberately A virtual font file for the scaled font can be created by using afm2t fm to create a virtual property list of the encoded file and using a utility such as my own makevpl available by anonymous ftp from ftp dcs ed ac uk pub ajcd vplutils tar Z to re scale the virtual property list file For example the following command would scale the Times Roman font up by 15 makevpl at 11 5 ptmr extex gt stimes vpl This virtual property list file can then be compiled into a virtual font file with vpt ovf The capital heights can be matched in a similar way Rather than arbitrarily matching all of the PostScript fonts to the height of one of them it is a good idea to match them to the height of the default TEX font i e Computer Modern Roman If any symbols are required which are not provided by the PostScript fonts the symbols can be slipped in without the result looking too ugly The proportions of ex height to capital height are different for each of the LaserWriter fonts so a single scaling factor will in general not be sufficient to match both of the ex height and capital height The easiest way to get different scaling factors for the capitals and lowercase is to make two virtual fonts with the desired scalings as described above and merge them using a utility such as makevp1 or Alan Jeffrey s fontinst It is not desirable to match both the ex heights and cap heights of Courier unless the widths
48. ndi Arabic and Latin text on the same page with PostScript fonts Horn says that scaled small caps are fake small caps I say scaled fonts are always faked all PostScript fonts are faked when used in a size different that their design size and most of the time we don t even know what that design size is these are things the customer had better not find out Erik Jan Vens has developed a tool to convert PostScript fonts to METAFONT This opens new horizons to digital typography since we can manipulate these fonts using METAFONT tools DVI drivers which do not read PK files will never take advantage of these methods cf 6 note that virtually all fonts commonly used with TX are now available in Typel format including CM AMS etc But I would add the word obsolete after CM IMHO CM fonts are just good enough to write English It is quite an irony that the text you are reading this very moment is written in Englisth but here in Europe hundreds of millions of people communicate through other languages which cannot be hyphenated with CM fonts cf 4 Of course nobody will ever force the only English writing TgX user to use DC fonts but can progress be stopped Finally Horn omits a very important issue there is a tool called DVICopy written by Peter Breitenlohner Using DVICopy one can de virtualize a document that is replace characters from a virtual font by the real character s they represent This eliminat
49. ng the fontinst package The fontinst package comes with full documentation in the file fontinst tex The simplest way to start to use fontinst is to edit the file fonttime tex shown in Table 1 This tells TEX to create the Adobe Times Roman fonts in the TEX extended text T1 encoding using the files e ptmrO afm ptmridO afm ptmb0 afmand ptmbi0 afm the Times Roman AFM files e latin mtx the TEX metric file containing the default Latin characters e Tl etx and Tlc etx the TEX encoding files containing the TEX extended text and TEX extended tex caps amp small caps encodings This produces a number of PL and VPL fonts which can be converted into TEX fonts using pltot f and vptovef For example by replacing every occurrence of ptm by ppl you can install the Adobe Palatino fonts If you generate any fonts with fontinst which you think other people might want to use please send them to me and if I like them I ll include them in the font inst contributors directory input fontinst sty eeds fontinstversi oni 1 3037 installfonts installfamily T1l ptm installfont ptmrg ptmrd0 latin Ti Tl ptm 4m n t installfont ptmrcg petmr0 latin T1eH TI ptm my sc 4 Vinstallronti etmriq ptmri0 arin 471 Tli i oem im ii installfont ptmbgq ptmb0 latin T1 T1 ptm bx n installfont ptmoca ptmb0 Latin Tle HTI H ptm bx ise installront otmbiq ptmbi0 latin Tl TL i
50. njunction with a PostScript printer and a set of useful macros called PStricks this offers almost every imaginable facility Normal slide with coloured bz The Urban Origins in Eastern including Fancy frames headers and footers Coloured text and tables Interleaving of annotations and slides Slide chapters and list of slides Introduction 5 January 16 1994 Red on gradient White JungleGreen Introduction 4 January 16 1994 SlideColours White Blue Figure 1 Colour in slide background and foreground simulated with grey levels newcommand printlandscape special papersize 297mm 210mm We will assume PostScript printers and gain nice PostScript effects like rounded box corners these will need some extra style files input semcolor sty input fancybox sty For slide sections list of contents we use another style file input slidesec sty This allows us to use various commands some of which are used below We can also produce list of slides in two layouts JA Colour slides with BTFX and seminar Vili SEOrslides Slidecontencs D 2 D Frame styles 7 List of Slides Introduction y Slides and BIEX Introduction Je Introducing seminar 3 Slides and IA Ee y Normal slide with coloured 4 Introducing inar E background and text 5 Normal slide with coloured background and text Frame styles Frame styles y
51. ns and these are available as technical notes to UKTUG members 1 1 BIFX 2 Shortly after Baskerville 3 1 was sent out the first release of IATEX 2 appeared in the electronic networks fol lowed after Christmas by the launch of the BIEX Companion to tell us how to use it all 1994 is going to be a good year Those with access to the Internet can fetch the JIATEX2 code from ftp tex ac uk tex archive macros latex2e core First get the file called features tex and discover what it is all about UK TUG members without network access can send an SAE to the Baskerville editor or the UKTUG treasurer to receive a copy of the macros on Mac or PC disk do not send us disks please And there is the conference Not just the package not just a book but two whole days of information about IATRX 2 given by the people who wrote it Grab the application form with this Baskerville and fill it in now We want to see as many UKTUG members there as possible 1 2 TUG 94 Earthquakes and all who can resist the chance to visit Southern California and do T X at the same time From Point Lobos to Hollywood from Knuth to Clint from colour to csname all the world will be at the 1994 T X Users Group Meeting to be held in Santa Barbara from the 31st July to the 4th August The theme this year is just Innovation find out whats new Not just papers but tutorials debates bowling matches Leslie Lamport Tom Rokicki and Joachim Schr
52. nt issue of Baskerville Vol 3 No 2 that there appears to be some zeitgeist within which the long established traditional and highly logical method of using T X and its adjuncts is brought into question I refer of course to the articles by R Allan Reese p 3 col 1 para 2 and by your esteemed self p 4 col 1 para 5 In particular I wish to take issue with your assertion that Every TeX user knows that the traditional command line way of working the edit compile preview print cycle is far from ideal This assertion Sir is blatantly and demonstrably flawed There exists at least one TX user and I suggest Sir many many more who is completely satisfied with this way of working and who regards any and every attempt to protect the intellectually challenged from the realities of real computing by encapsulating trivial tasks in a so called development environment as a fruitless and totally misguided activity I remain Sir your most humble and obedient servant Philip Taylor P S I see that our esteemed sometime Chairman Malcolm Clark now has a doppleganger who is also contributing to the columns of Baskerville who is this pretender to the throne who dares assert We ve been nice guys for too long reprinted from Baskerville Volume 4 Number 1 UKTUG Business Reports 3 Jove DTFX nods I see from the current issue of Baskerville Vol 3 No 2 that the dotfill leaders for the table of
53. od are keynote speakers at the conference and you too can still submit a paper by contacting the TUG office or via the Baskerville editor But paper or not plan to be there The Baskerville editor will buy a beer for anyone who comes with a copy of this issue 1 3 Colophon This issue of Baskerville deals especially with issues of PostScript to go with the group s January meeting on the subject of using PostScript fonts In the next issue we will include a transcription of the question and answer session and the full gory details of telling IATEX 2 about a new PostScript font This issue of the journal was created entirely with the test distribution of ATEX 2 and printed on a Hewlett Packard LaserJet 4 It was set in ITC New Baskerville Roman with Computer Modern Typewriter for literal text Production and distribution was undertaken in Cambridge by Robin Fairbairns and Jonathan Fine reprinted from Baskerville Volume 4 Number 1 II Mixing and matching PostScript fonts Angus Duggan Harlequin Ltd Barrington Hall Barrington Cambridge CB2 5RG angus harlegquin co uk 1 Introduction The Apple LaserWritef was the product that introduced PostScript to the world bringing in its wake a major change in the publishing and printing industry PostScript is now used everywhere from the home to high quality printing presses PostScript also made scalable font technology popular instead of using bitmaps for one particular resolution
54. olour slides with BTFX and seminar the orientation of the page when printing but with dvips this is simple and taken care of in the local control file described below So the default output from this input documentclass seminar usepackage times begin document begin slide My talk is about begin description item Cats Nice furry creatures which belong in every good home item Dogs Nasty barking things which bite you item Snakes They come slithering through the grass and emph have no feet this is most disturbing item Rhinoceroses bfseries Never be rude to a rhino they are bigger than you and meaner end description end slide end document My talk is about Cats Nice furry creatures which should have a place in every good home Dogs Nasty barking things which bite you will look like Snakes They come slithering through the grass and have no feet this is most disturbing Rhinoceroses Never be rude to a rhino they are bigger than you and meaner Most slides will be no more complicated than this using standard IATRX environments like itemize enumerate and tabular 3 Frame styles A variety of slide framing styles are available set with the framestyle command the following are some of the predefined ones some assume you have a PostScript printer using the s1ideframe command On the fifth day of Christmas my true love gave to me 1 Five overfull hboxes 2 Four fon
55. on contact Fred Eade Idj subscriptions PO Box 1978 Gerrards Cross Bucks SL9 9BT 1 Nonsense The major event in the TEX world over the last few weeks nay months must be the test release of IEX 2 To the surprise of many this arrived in December just in time to disrupt family Christmases throughout the world Good timing Since it was truly a test release it did not have all the bits that we have been led to expect in the Companion In passing printed and bound copies of the ATEX Companion are stated to exist Frank Mittelbach says he has one but then he would I wouldn t have thought he needed one unlike the rest of us It seems to have been relatively painless to install from the messages which flitted around although running it gives you even more file name extensions to contend with yjust when you thought you had come to grips with the profligacy of TEX in creating extra files for itself It s a relief to see something substantive like this out for use If there are worries though it must be whether this will distract attention from the serious matter in hand I4TRX3 On the other hand it will soften us up a little first by accustoming us to regular upgrades updates just like Word for Windows but more importantly ensuring that the communications channels work consistently To a large extent this is going to be software distributed and supported electronically One of the features I like is that queries will not be en
56. on CM fonts can be used without virtual fonts It is possible to use non CM and CM fonts TrueType PostScript Type 1 BitStream Speedo etc without resorting to virtual fonts provided you have a driver that can do this e g DVIPSONE and dvi Windo and a companion utility AFMtoTFM that can make proper TFM files complete with ligatures and kerning without needing VF By the way the encoding issue is a very important and often misunderstood item Since TEX thinks of characters only in terms of numbers and since the CM fonts have hard wired encoding many TEX users are unaware of what this is all about Someone always working with the same programs and on the same platform may not be aware that there is an issue But that is another story Just keep in mind that a file contains numeric codes not characters There must be conventions for what glyph each numeric code corresponds to and there is no single right encoding It is not necessary to use virtual fonts to reencode a font Users of Y amp Y software use scalable outline fonts without VF Y amp Y doesn t sell or support PK bitmapped fonts except in some half baked way So it should be obvious that it works for otherwise they would have been out of business long ago reprinted from Baskerville Volume 4 Number 1 reprinted from Baskerville Volume 4 Number 1 One can use non CM fonts with full support for ligatures kerning and reencoding without resorting
57. otm bx ICHI endinstallfonts bye Table 1 The file fonttime tex EE oe IV Do you really need virtual fonts Berthold Horn Y amp Y 71172 524 compuserve com Introduction Since many people feel very strongly about these issues I ll need to go into some detail to try and sway their opinion PI first discuss why virtual fonts are not needed for use of non CM fonts or for reencoding Then I Il explain what virtual fonts may actually be useful for and why even for those purposes there are better ways of going about things Part of the confusion may result from lumping together of virtual font support with support for re encoding of fonts One most definitely needs re encoding but it is not part of VF and in fact virtual fonts per se are inadequate for this task see below This is a deeply religious issue so I don t expect to make too many instant converts We all fall in love with the software tools we use and often assume that the way they do things in the only way they can be done or perhaps even that they implement the best way Unfortunately to make my points I Il be stepping on some toes lightly I hope By the way many of the points I wish to make cannot be made without referring to specific programs I hope what I say will not sound too much like advertising Naturally there will be many that disagree with what I say here I ll be happy or maybe not to read their comments and respond From InterNet
58. pographic excellence in the computer age A bold claim and an interesting inference that typographic excellence is not the customary bedfellow of com puter mediated books As if to underline the typographic excellence the title page faces a reproduction of a page from Aldus Manutius Hypnerotomachia Poliphili of 1499 Before looking at whether these claims are justified what of the content For whom is the book intended The cover suggests that it is invaluable for all concerned with teaching design or who produce documents of all kinds In the preface Sassoon suggests that the purpose is to bridge the gap between the computer people and the typography people but mainly to raise the awareness of letterforms and layout rather than to educate those in the typographic world to the appropriate use of computers It seeks therefore to educate the computer user to a higher level of understanding of typography however widely defined The book is organised into five parts each part contains two or three contributions Part 1 covers Spacing and layout the contribution by Gunnlaugur Se Briem Introduction to text massage illustrates one recurrent difficulty in the book typographers and designers tend to be aware only of the desk top publishing end of computer assisted typography His recommendation to search and replace the ligatured letters is a shade risible though on the whole his advice is sound But how practical is it to
59. rsal but is still not Cork Some extra work must be done to make a Cork like font out of it and this is best handled by a virtual font I agree that reencoding is the only way to make characters such as the Thorn or Eth appear but it should be only one step of the printing progress between others Making a fake smallcaps font A smallcaps font should have properly designed small caps letters Horn is absolutely right when he says that one should rather adopt an Expert font than faking small caps by scaling regular caps Now suppose you buy that Expert font What s the next step You will discover that Expert fonts do not contain uppercase letters cf 1 page 602 Is there a possibility of merging the regular and expert fonts into what we expect to be small caps font using plain reencoding I m afraid not since reencoding means assigning glyphs to positions inside a font and not between fonts you will have to use virtual fonts Alan Jeffrey s utility automatically finds out if there is an expert font and what characters it contains It then either creates fake small caps or takes just reprinted from Baskerville Volume 4 Number 1 reprinted from Baskerville Volume 4 Number 1 the real small caps from the expert font Furthermore there cannot possibly be any kerning pairs between small caps and uppercase letters in the PostScript fonts since these are not contained in the same 256 characters table But the
60. s are faked by putting an f next to an f fi or fl The missing dotless j and i slash are rules together with a Warning missing glyph special The Greek upper case come from the Symbol Type 1 font The other characters come from the Times Roman Type 1 font Any dvi driver which understands VFs and can use Type 1 fonts can use the TEX text Times Roman VF as a drop in replacement for Computer Modern 4 A problem with virtual fonts One stumbling block about using VFs is that they are not very easy to generate Despite having been in existence for four years there are very few tools for creating VFs The most important tool is Knuth s vpt ov f which converts Virtual Property Lists VPLs into VFs Unfortunately the VPL language is rather opaque for example the VPL code for the Adobe Times character ff is CHARACTER D 11 CHARWD R 6 47998 CHARHT R 6 31995 CHARDP R 0 0 MAP SELECTFONT D 1 SETCHAR D 102 MOVERIGHT R 0 17993 SETCHAR D 102 Editing VPL files by hand is something of a black art and there are few tools for manipulating them The main tool for generating VPLs is Rokicki s afm2t fm which converts the Adobe Font Metric AFM files which come with every PostScript font into VPLs Unfortunately afm2t fm cannot produce fonts with more than one raw font for example the TEX text encoded Times Roman uses Symbol for the upper case Greek and had problems with math
61. s now being processed It looks for the next token endgroup here it is and then expands the one after which is expandafter expandafter which will again cause for a token to be read typeshow here it is and the one after is csname xyz endcsname csname which is now executed It will form a control sequence xyz Execution now passes to the token after the first expandafter which is endgroup restoring xyz undefined and this has the desired effect of restoring the original value The rest proceeds as before typeshow 1 gt immediate write 16 gt string 1 meaning 1 1 lt xyz gt xyz undefined which is what we want Exercise 1 Obtain the same effect but by using afttergroup to export the token xyz out of the group Discuss the relative merits of the two methods Exercise 2 Write a macro which tests as to whether the meaning of a token is expandable Consult 212 215 28 VIII Topical tip Numbering theorems and corollaries in bTR X R A Bailey Goldsmiths College University of London Question 1 We Mathematicians can t use IATRX We need to be able to choose how to label our theorems For example I like to have my important theorems numbered in a sequence Theorem A Theorem B and so on and the less important theorems numbered Theorem 1 Theorem 2 and so on You can t do that in BIEX Answer Oh yes you can and using nothing more than you can find in BIEX A Document Prepar
62. send email to 71172 524 compuserve com People say to me But you know that we T X people need these virtual fonts to cope with non T X fonts The key point is that this statement is just plain wrong The fact is that one particular implementation of a printer driver DVIPS does force the user to use virtual fonts to do just about anything This is a valid approach but one that requires the user to deal with more complexity than is really needed It is not reasonable to generalize from this example to all dvi processors based on the limitations of a particular implementation Why does DVIPS need virtual fonts The need for VF in DVIPS is mostly a result of the fact that a companion utility AFM2TFM is unable to make proper TEM files complete with ligatures and kerning without using virtual fonts AFM2TFM also is unable to make TFM files for math fonts In fact you can use DVIPS without VF if you use a utility other than AFM2TFM to make TFM files For example some people buying Y amp Y fonts for use with DVIPS use ready made TFM files supplied with the fonts that do not require VF or they run AFMtoTFM on a PC to make new TFM files for whatever encoding they desire A second reason for the forced use of VF in DVIPS is the use of a somewhat contorted way of dealing with the font encoding issue three mappings instead of just one see later We won t even talk about the odd way this was handled in old versions of DVIPS CM and n
63. show 1 immediate write 16 gt string 1 meaning 1 which will log the meaning of a token for us Here are two extracts from a 1og file which record its interactive use expandafter typeshow csname xyz endcsname gt xyz relax Notice the braces to confine the redefinition of xyz to a group This next example shows that xyz really is typeshow xyz gt xyz undefined undefined When csname is performed within a group any local assignment it might perform will be restored when the group ends If we can end the group before the t ypeshow 1s called then we will get the orginal undefined meaning Here is how to do it begingroup expandafter endgroup expandafter typeshow csname xyz endcsname The group will begin The expandafters will have csname brought into operation When the endcsname is reached execution passes to the token after the first expandafter which is the endgroup This restores the value of xyz Now t ypeshow gets the token xyz with the meaning of undefined Here is a lightly edited version of the log file for the above code entered interactively with elaborations on the previous comments interspersed begingroup begingroup Here the first line is entered and acted upon x expandafter expandafter reprinted from Baskerville Volume 4 Number 1 reprinted from Baskerville Volume 4 Number 1 The primitive and expandable command expandafter i
64. simple existence of a piece of software does not mean that it has all the same attributes when run on different platforms Iam minded of Makeindex which exists in some different incarnations with differing capabilities in terms of size of index it can handle Since the aim of the canon is to ease the transfer of documents from site to site the support software must be capable of handling the same sizes of problems too Will the project be taking on this role of guardian of compatibility I suspect that underlying this is another agenda altogether Identify the project to implementors and developers as the self selected body in the TEX world which somehow authorises the suitability of TEX related applications In this way it makes itself the legitimate heir to Knuth as far as this sort of software development is concerned It s a strategy that might work You may wonder how it leaves the user groups who are already starting to produce this sort of TEX kit I do TUGboat readers will have noted that the journal is pretty well on schedule My December issue arrived at the beginning of the year For many people this is a welcome sign There was a time when we felt lucky to get TUGboat within about 6 months of its hypothetical publication date even then better than EP odd There has been a price to pay Frequency is still a little problematic two issues this year came out very close together but you could just say that one was late and its succes
65. sor on time but more significant one issue the conference proceedings is virtually half of the total mass in other words three normal issues constitute about the same amount of verbal as the conference Last year ran to about 450 pages in 1989 it was over 750 Even arguing that TTN is removing some mass then the volume is still slimmer We could also argue that the multiplicity of competing journals has taken some articles away but a cursory glance of the Dutch group s MAPS will demonstrate that much is just recycled between journals Is there a worrying trend in motion thin and timely 33 X Letters to the editor 1 A TRX front end in NextStep Like most readers of Baskerville I greatly enjoyed S Rahtz s survey of TEX front ends in the December 1993 number I noticed that he had not mentioned one very interesting and useful such system Tom Rokicki s implementations of TEX for the NextStep operating system and I am writing to briefly discuss its most interesting features NextStep is a superior graphical user interface that sits on top of BSD4 3 Unix Now that NeXT has ceased the manufacture of their trademark black Motorola hardware the Intel 486 implementation of NextStep is their flagship product Although you can invoke NeXTTX via the usual command line the value of this TEX lies in the integrated environment called TX View to which it belongs Begin by preparing a usual source file with a
66. t could be simpler This is not to say that it is easy to implement this In fact the operating systems PostScript printer drivers Adobe Type Manager and clone printers conspire to actually make it very hard But the user need not suffer MathTime version 1 1 Lets talk about the MathTime fonts for a second It certainly saved some work to not have to make up the glyphs for the letters in the math italic font MTMI but instead to borrow them from Times Italic with major changed in side bearings and advance widths And virtual fonts make it possible to splice together RMTMI and Times Italic to make a MTMI font However this has been the source of very many headaches Virtual font fanatics please pay close attention First of all there are eight 8 versions of true Adobe Times Italic alone And different printers have built in different versions For example many TI printers use the old 001 002 version while most QMS printers use the almost latest version 001 007 So what you say Well while the advance widths of the characters have not changed since 001 002 thank god the glyph shapes and side bearings have Just for example the lower case z in 001 002 has a short flat bottom right on the baseline while the z in 001 007 has a distinctive swash bottom which descends way below the baseline and comes much further over to the right where it ends in a bulb Subscript position designed to work with 001 002 will cause col
67. tdimens missing none 3 Three nested endgroups 4 Two undefined commands 5 and a token in T X s stomach We have added a package t imes so that the output will reduce properly to thumbnails for this article a reprinted from Baskerville shadow double oval On the fifth day of Christmas my true love gave to me 1 Five overfull hboxes 2 Four fontdimens missing 3 Three nested endgroups 4 Two undefined commands 5 and a token in TRX s stomach On the fifth day of Christmas my true love gave to me 1 Five overfull hboxes 2 Four fontdimens missing 3 Three nested endgroups 4 Two undefined commands 5 and a token in T X s stomach la On the fifth day of Christmas my true love gave to me 1 Five overfull hboxes 2 Four fontdimens missing 3 Three nested endgroups 4 Two undefined commands 5 and a token in T X s stomach P Volume 4 Number 1 Similarly a variety of page styles the headers and footers are available with the pagestyle command such as empty plain On the fifth day of Christmas my true love gave to me 1 Five overfull hboxes 2 Four fontdimens missing 3 Three nested endgroups 4 Two undefined commands 5 and a token in T X s stomach On the fifth day of Christmas my true love gave to me 1 Five overfull hboxes 2 Four fontdimens missing 3 Three nested endgroups 4 Two undefine
68. tention is to achieve a more even gray colour from pages with mixed fonts Courier is the main problem in this respect most versions of Courier are significantly lighter than Times Roman and Helvetica The versions of Courier from some foundries e g Bitstream are heavier than the Adobe version usually found in PostScript printers Some early versions of the Courier fonts had a painting type 1 meaning that the font was rendered by a single line down the centre of each stroke these fonts could be made lighter or darker by increasing the width of the line used More recent versions of Courier are defined as outlines with which the same trick cannot be used A similar effect can be achieved by rendering the character outline with an increased linewidth on top of filled character This can be done by the following PostScript commands which create a new type 3 user defined font which places both outlined and filled characters on top of each other 2 Courier Heavy font definition Courier Heavy 10 dict begin FontType 3 def FontMatrix 0 001 0 0 0 001 0 0 def FontName Courier Heavy def Courier dup findfont 1000 scalefont def Encoding Courier Encoding get def FontBBox adjust for outline width Courier FontBBox get aload pop 2 10 add 4 1 roll repeat 2 10 sub 4 1 roll repeat deft Courier Outline dup outlined Courier Courier dup length 1 add dict begin 1 index PaintType eq aye reprinted from Baskerville Volume
69. tertained if you are using an obselete version of LATEX 2 i a Letters to the editor I m becoming confused how I should write ATEX Just the logo mostly I can handle IATEX itself If I look through TTN and TUGboat I can find quite a few instances where the preferred form is given as LATEX or even MTEX this latter form is especially prevalent when you see it written as TEX Maybe consistency will return when the results of the A in IAT amp X competition are announced Is the NTS project poised to take over the world News from the NTS project is always to be treasured since it has all the hallmarks of an inner cabal composed of a secret elite Phil Taylor s article in TUGboat revealed that besides trying singlehandedly to resurrect the economies of eastern europe it is proposing to start to issue a canonical TEX kit you can always tell when Phil is involved canonical sprouts everywhere This has the laudable aim to identify what a standard canonical implementation should contain and to liaise with developers and implementors to ensure that this is distributed with each TEX implementation Praiseworthy and necessary as this step is I m not myself clear how this relates to the desire to develop a new typesetting system In the same issue of TUGboat Nelson Beebe encourages vendors to include his bibclean utilities with each distribution Will this be part of the NTS canon too Of course there is more The
70. u care about hinting since most tools for manipulating fonts destroy the hinting So many users find themselves in the unfortunate position of having to buy the IBM PC version and utilities for converting from PC to Mac or Unix format Some remaining minor issues There are some other less important issues Implementation of VF in the dvi processor creates a significant perfor mance hit The seriousness of this depends on the cleverness of the implementor and for printer drivers its probably not a big concern since 300 milli seconds per page is not noticably slower than 150 milli seconds per page The performance hit in dvi previewers is more serious Try Textures with a file that calls for VF fonts versus the same basic text with non VF fonts which gives up some of the advantages of the assembly language coding in Textures 1 6 _16 V Further thoughts on virtual fonts Yannis Haralambous Yannis Haralambous univ lillel fr In a paper I published in 1993 Virtual fonts great fun not for grand wizards only I have already addressed many of Berthold Horn s arguments nevertheless I would like to take the opportunity to respond a little further The basic argument of Horn is that PostScript drivers can reencode fonts so that virtual fonts are unnecessary for plain reencoding This is certainly true but unfortunately only in a very limited scope To produce accented letters many PostScript fonts contain composite char
71. urier weights This technique increases the width and the height of the character by the width of the stroke used on the outlined character so another iteration around the height and width matching steps may be needed to improve the results The extra width is added on all sides of the character so the baseline may also need adjusting by altering the coordinates of the moveto command in the PostScript header This technique can really only be used to thicken characters If characters are thinned by painting a white outline over the filled character it will not yield a satisfactory result At small sizes the inside of the character outline may not have any space in it and so the final character will have gaps in it 2 4 Results The techniques used here do not add much if anything to the final size of documents the PostScript header files downloaded are very small Table 4 shows the height and width ratios which I am currently using fine tuning these _8 Building virtual fonts with fontinst ratios for nicer looking output will take some more time The Symbol font should probably follow the treatment of the Times family since it was designed to be complementary to Times And finally a sample of the resulting output Matching both the ex height and cap height without adjusting their relative widths tends to make the capitals look wider some more experiments to reduce this effect will be necessary Times New Roman or Times Roman as
72. y optimistic Fernand Baudin s Education in the making and shaping of written words is a polemic and although it traces an argument going back to the days of Villon and emphasises the importance of handwriting along the way consigning Marshall McLuhan to one of the outer hells I was left unclear how the final conclusion was derived from the route and its many byways But one useful point which is reiterated is that the study of type must not be to the exclusion of the study of space A consensus is appearing Alan Marshall s contribution A typographer by any other name came as a welcome relief after this fundamentalism He puts many of the problems in perspective and provides a thankfully optimistic conclusion which seems both balanced and realistic He appreciates that all major technological changes have their problems that they start with a period of emulation and then innovation there are repeated examples in the printing industry His observation that Orwell had argued that the advent of Penguin s paperbacks all but signalled the end of civilization as we know it helps place in perspective similar contemporary claims of an apocalyptic nature Perhaps most telling he suggests that the pool of typographic knowledge is not limited but is expanding encouraged by the technologies becoming available The last section Research and the perception of type I found difficult to integrate with the stated objectives of the text Rosemary Sassoon

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