\centerline{\bf Fonts} \medskip \noindent The following article first appeared in \TUGboat\ 9(2) in August of 1988. A version had previously appeared through \hax, and at that time I asked \DW, its author, if I could reprint it in \TeXline. Despite the fact that it has appeared in \TUGboat, it still seems worthwhile printing it here. Firstly, Dominik has added an appreciable amount of material to it, and secondly, not all \TeXline\ readers are \TUGboat\ readers. Perhaps this article may encourage them to join TUG and receive the journal. In its original form, the article ran to about 15--16 pages. It has been ruthlessly cut. I have omitted some `frivolous' sections, and some where the work was really `work in progress'. Perhaps more damaging, I have omitted all the contacts and details of availability. {\bf Do not contact Dominik to find out how to get these fonts.} Please. First, consult \TUGboat; or failing that, if you have email access, try accessing the complete source file, as listed at the end of the article; and then, when all else fails, ring me. Do not be upset when my ansaphone takes the message. \smallskip \rightline{\sl Malcolm Clark} \bigskip \newcount\num \newcount\subnum \def\METAfont{meta-font} \def\section#1{\medskip\global\advance\num by1 \global\subnum0\noindent{\sl\the\num. #1} \par\noindent\ignorespaces} \def\subsection#1{\global\advance\subnum by 1\smallskip\leftline{$\bullet$\sl \enspace\the\num.\the\subnum\enspace#1}\par\noindent\ignorespaces} \def\subsubsection#1{\par\leftline{\quad$\circ$\sl #1}\par\noindent\ignorespaces} \def\verb{} \centerline{\bf The Many Faces of \TeX} \medskip \leftline{\sl Introduction} \noindent This article seeks to give a survey of the fonts currently available for use with \TeX. Although I have been primarily interested in cataloguing fonts designed with \MF, I also wanted to include information about any other fonts that have been successfully used with \TeX, i.e., fonts with \TeX\ Font Metric files, and a mechanism for the creation of the appropriate ligatures and kerning pairs, be it within the {\tfm} file, or by means of a preprocessor. I first started compiling this article late in 1987, as a note to myself and my immediate Indological colleagues. But it seemed little extra work to include more information in it about other fonts that I had heard of, and doing this greatly widened its usefulness to \TeX\ users in general. But you may still detect a slight Indic leaning. People interested in \MF\ should be aware that in addition to past issues of {\TUGboat\/}, \hax\ and UK\TeX, Don Hosek's network magazine \TeX MaG has regularly included information about fonts, and is required reading for \MF ers. Volume 2, issue 5, in particular, was dedicated to non-English \TeX, and discussed Icelandic, German, French, ancient Irish, and the problems of foreign language hyphenation. Earlier issue of \TeX Mag have also contained technical descriptions of \TeX\ font file formats, etc. This article is made up of information given to me by others, both in person and through general publication in \TUGboat\/, \hax\ and the various electronic networks. My sincere thanks to all the contributors. \section{\sl Computer Modern} \noindent It may seem odd to start with Computer Modern (CM), the typeface family that most \TeX\ users use most of the time, since it was created side by side with \TeX, and is included in all distributions of \TeX. Nevertheless, I feel that there is an important point to be made about CM. When Knuth developed \MF, one of the central ideas of the whole project was that of producing {\it parametrized\/} typefaces. Later on, Knuth explained that the whole inspiration for \MF\ had arisen from the three ideas of {\it pens, parameters\/} and {\it programs\/}. Knuth made it clear that he had never meant to imply that all typefaces could usefully be combined into one single \METAfont\ (although he did not actually deny the feasibility of such an endeavor), and again emphasized the desirability of trying to incorporate variability into a design. In view of the vigour with which Knuth has maintained the idea of parametrization, both in discussion and in the actual implementation of Computer Modern, it is surprising that there seems to be no example of a new typeface created from CM by changing its parameters. (Since this article was written, Knuth's `Concrete Modern', derived from CM, has been used in his new, jointly-authored book, `Concrete Mathematics' --- this is designed to blend in with the Euler maths font developed at the AMS: it is not immediately clear whether this is yet another CM realisation, or a new typeface.) In Knuth's own hands, CM is utterly plastic, as was demonstrated so startlingly in his article `The Concept of a Meta-Font' referred to above, and by the inclusion of such fonts as Computer Modern Funny Roman ({\tt CMFF}), Unslanted Text Italic ({\tt CMU}), and the delightful CM Fibonacci {\tt CMFIB} in the standard distributions. But none of us has taken up the challenge, implicit in the 62 parameters of CM, to produce a new face for general distribution. It would be very nice, for example, to produce a full set of {\tt CMFIB}, with bold, slanted, italic, typewriter and other versions. Knuth has said that we should not blindly copy the old masters, without trying to understand why they produced what they did. How interesting it might be, then, to try to manipulate the parameters of CM to produce a different, but recognizable family of faces. And if the experiment failed, the reasons why it did so would themselves be of great interest. The first sentences of the Introduction to {\it Computer Modern Typefaces\/} are: {\it ``Infinitely many alphabets can be generated by the programs in this book. All you have to do is assign values to 62 parameters and fire up the \MFsl\ system; then presto --- out comes a new font of type.'' } \subsection{Non-standard sizes of CM} John Sauter (1986), reported that he has re-parameterized CM so that any of the existing Computer Modern family may be created with any design size. For example, most of us, when requiring an 11\,pt CM Roman will use {\tt CMR10} at |\magstephalf|. Apparently this is not satisfactory to the most discerning, and Sauter's algorithms permit one to generate a true {\tt CMR11} face. They go further, of course, and permit the generation of any of the CM faces in any (reasonable) point size. This is done by algorithms which interpolate or extrapolate from the values used by Knuth in the \MF\ parameter files for CM. If a standard value, such as 10\,pt, is chosen, then Sauter's algorithms will produce CM fonts identical to the standard ones. The {\tfm}\ files for all sizes match exactly. Don Hosek notes that some of the fonts may start looking bad at larger sizes, lacking inter-character space, and so on. \subsection{Hosek Pica} Don Hosek has created a CM Pica, using the \MF\ code of the typewriter style font, {\tt CMTT}, of Computer Modern as his point of departure. CM Pica is more or less a 10\,cpi version of {\tt CMTT} with heightened ascenders and x-height, similar to the Xerox 1200 {\sc pica} font in appearance. CM Pica is designed as a sop to University authorities, some publishers' editors and those who insist on having a typescript manuscript marked up in the traditional manner, i.e., with a squiggly line under bold characters, and underlining under characters which would be italicized in print. To achieve this, Don created `bold' and `italic' fonts ({\tt CMPICAB.MF, CMPICATI.MF}) in which each character includes an under-squiggle, or underline respectively. He also modified the {\tt ligtable} commands controlling begin- and end-quotes and also hyphens, so that {\tt ``} and {\tt ''} both become \verb|"|, while {\tt `} and {\tt '} both become {\tt \char'15} (the single straight quote symbol at code '015 in {\tt CMTT}). Similarly, on output, `\verb|--|' becomes `\verb|-|' and `\verb|---|' becomes `\verb|--|'. One can code up a document in normal \TeX\ fashion and then, by setting the fonts to be Hosek's Pica, it will print out looking as though it had been typed, with `italic' text underlined and `bold' text under-squiggled, etc. Merely reset the fonts to {\tt CMR} (or whatever) and it will be properly typeset with all the variety of fonts and refinement of punctuation of which \TeX\ is capable. \section{\tt PUNK} Don Knuth (1988) presented `A Punk Meta-font'. Perhaps the most extraordinary part of that article is Don's description of how he coded the font, extremely rapidly, and with no reference at all to drawings for the letters from V to Z, producing the \MF\ code as fast as he could type! This demonstrates a completely new paradigm of typeface design and creation, which many graphic designers will find alien, but which evidently works for some people, at least for smallish projects such as the punk typeface. \section{\sl Devan\={a}gar\={\i}} \noindent Devan\={a}gar\={\i} is the alphabet used for writing and printing Sanskrit, Hindi and several other languages of South Asia, both ancient and modern. \subsection{Knuth} As far as I know, Donald Knuth coded the first Devan\={a}gar\={\i} character to be created with \MF. This was the single syllable {\it la\/}, which Matthew Carter gave to Knuth in 1980 as a challenge to test the capabilities of the then nascent \MF. The smoke proof of the character, and several interesting remarks about the experience, were published as Knuth (1984). \subsection{Velthuis} The only fully worked out version of Devan\={a}gar\={\i} presently available is that of Frans Velthuis. Recently Velthuis completed version 1.2 of a Devan\={a}gar\={\i} \METAfont\ for \TeX. He has written \MF\ code for all the {\it ak\d{s}aras\/} (syllabic characters) necessary for Hindi, and most of those for Sanskrit too, although in the latter case some {\it vir\={a}mas\/} are used. Frans intends to produce a special Sanskrit version of his font in the future. Also included are the Devan\={a}gar\={\i} numerals, {\it anusv\={a}ra, vir\={a}ma, da\d{n}\d{d}a,\/} {\it candrabindu, visarga, avagraha\/}, full stop, and the superscript abbreviation circle. A preprocessor, \hbox{\tt DEVNAG}, available compiled for several systems, or in Pascal or C, reads your file and converts the Hindi transliteration into the appropriate codes for Frans's font. The converted file is then processed by \TeX\ or \LaTeX\ in the normal way, and the resulting \dvi\ file can be printed using a standard \dvi\ outputprogram. The portions of Hindi text originally in Roman transliteration will be printed in Devan\={a}gar\={\i}.\looseness=1 \subsection{Ridgeway and Schiffman} Dr.~Thomas Ridgeway, director of the Center, in consultation with Prof.~Harold Schiffman of the Department of Asian Languages, has almost completed a fully vowelled \MF\ for Tamil. It will be tested during the summer, and should be ready for release in early autumn 1988, together with some sort of macro package to make it usable from a Latin-letter keyboard. Characters are arranged in the font in rough alphabetical order, starting from position zero. \section{\sl Perso-Arabic} %\paragraph{Date of information} June 7, 1988. \subsection{MacKay} Pierre A.~MacKay (TUG Site Coordinator for \unix-flavoured \TeX) and the Washington team have been working on an Arabic implementation of \TeX\ for some years. Their plans are ambitious, and include building a customized version of \TeX, called \XeT, which has a built-in capability for handling bidirectional text. \subsection{Goldberg} %\paragraph{Date of information} February 3, 1988, February 11, 1988. Early in 1988, Jacques J.~Goldberg wrote to \hax, giving details of a package giving the capability of printing Hebrew. He said that an article was currently being written about the package, for submission to \TUGboat\ (see also under {Hebrew}). At the same time he referred to a nearly completed Arabic font. In early September Goldberg noted that there has been a lot of progress with the Arabic font. The font consists of: \item{$\star$} a complete font of 29 characters each at 2 or 4 glyphs (position dependent, isolated, first, middle, last in word). \item{$\star$} a preprocessor with customizable mapping of the basic 29 chars to a--z, A--Z areas of an {\sc ascii} keyboard, that will generate an intermediary file with which unmodified \TeX\ plus a few macros correctly composes bidirectional texts. The preprocessor reassigns the correct glyph from the isolated form glyph depending on the position in word. \smallskip\noindent All this will continue to be made available free to the academic community. \section{\sl Hebrew} %\paragraph{Date of information} February 3, 1988. \subsection{Goldberg} Jacques J.~Goldberg also gave details of a package giving the capability of printing Hebrew. He said that an article was currently being written about the package, for submission to \TUGboat. The package comprises: \item{$\star$} a set of fonts at 8, 9, 10, 12, 17 points in regular type, 10 points slanted and bold, and any magnification on request (1000 off the shelf). \item{$\star$} a 100\% portable preprocessor written in C (MSDOS users who do not have a compiler can get the {\tt .COM} file). \item{$\star$} a small set of \TeX\ macros. \item{$\star$} a sample file. \noindent Hebrew words in Roman transliteration are inserted either by typing first-typed-last-read with the font invoked, which `displays' in \hbox{natural} reading order, or by typing first-typed-% first-read as argument of the |\reflect| macro given by Knuth \& MacKay, 1987. Long Hebrew sequences are typed in first-typed-first-read order, within delimiters. The preprocessor copies non Hebrew sequences to an auxiliary file. Hebrew sequences are parsed into words, and written to the auxiliary file one word at a time after each word has been reflected. \TeX\ is then invoked on the file containing the macro package, which itself |\inputs| the auxiliary files, feeding \TeX\ with either normal English input or \hbox{|\lines{ }|} adjusted by the macro to the optimal number of Hebrew words. \subsection{Other Developments} See also the experimental Hebrew font described under the heading {Georgia Tobin}, and the bitmaps distributed by the {Austin Code Works}. \section{\sl Greek} %\paragraph{Date of information} January 21, 1988. \subsection{Levy} Regular, bold, and typewriter versions of the Greek alphabet have been coded in \MF\ by Silvio Levy of Princeton, starting from the Greek character set created by Don Knuth as part of the CM family, but with all accents, breathings, correct spacing, ligatures, and macros to implement a convenient Roman transliteration for input. The font is suitable for both classical and modern Greek. Full details and illustrations of the use of the fonts have been given by Silvio Levy in his two publications (1988a, 1988b). \subsection{Hamilton Kelly} Brian Hamilton Kelly created Greek fonts using \MF. Brian completed this work before hearing of Silvio Levy's work at Princeton, but continues to use his own Greek since it does not require a \dvi\ driver which can read fonts of 256 characters. He has now written a small macro package which eases considerably the selection of the Greek fonts; this is for use under \LaTeX. He has also written a short paper, describing what he has generated, and his future directions. He has recently been refining the character programs, to make some of the letters more textual in appearance (for example, the alpha was very wide; fine for maths, but not in text). \section{\sl Cyrillic} \subsection{MacKay} %\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre %MacKay). Pierre MacKay reports that the Washington team is working on Old Russian (more or less Old Church Slavonic, but specifically designed for the Slovo). \subsection{MF Slavic Family} This family of Cyrillic fonts is described under Georgia Tobin. \subsection{AMS} The American Mathematical Society (Beeton, 1985) has developed a post revolution Cyrillic font, in old \MF79, and a set of macros to implement it comfortably. Details of the font, with examples of its use, and grids of the character set were published in \TUGboat. \section{\sl Turkish} %\paragraph{Date of information} June 7, 1988. (P. A. MacKay) Pierre MacKay informs me that work on properly accented Roman-letter Turkish fonts in \MF\ has been undertaken at the University of Washington by himself and Walter Andrews. The accented characters are developed from CM descriptions, so as to maintain the maximum possible compatibility with the CM faces. Andrews and MacKay have published a description of their work (Andrews and MacKay, 1988). Pierre also wrote on Turkish hyphenations (MacKay, 1988). \section{\sl Japanese} %\paragraph{Date of information} March 11, 1988 In order to typeset Japanese text it is insufficient merely to have a Japanese font. There are several problems, including the very large size of the Japanese character set, which mean that a modified implementation of the \TeX\ system as a whole is necessary. Some of the issues concerned in using \TeX\ for typesetting Japanese were surveyed by Nobuo Saito and Kazuhiro Kitagawa of Keio University, Yokohama: (Saito \& Kitagawa, 1988). \subsection{ASCII Corporation} The ASCII Corporation is a microcomputer oriented publishing and software house that has taken a strong interest in \TeX\ for their own publishing work, and whose \unix\ support section has produced and distributes the Japanized version of \TeX. \subsection{J\TeX} Two articles on J\TeX\ and its fonts have appeared (Saito, 1987, 1988). J\TeX\ was developed by Yasuki Saito of Nippon Telephone \& Telegraph (NTT). His policy has been to attempt to avoid radical changes to standard \TeX\ as much as possible, but this increased compatibility has led to problems: since a font can have only 256 characters, the number of fonts one needs even to support a single real Japanese font set (33) tends to be quite large, even if one only declares the fonts corresponding to the various sections of the original font that include characters that have actually been input into the document. Yasuki Saito has also collaborated with Dai Nippon Printing Co.~to make their industry standard fonts available. ASCII and SONY are also negotiating with Dai Nippon to allow similar font sets to become available for different resolutions of printers, and, if we are lucky, a vector stroke typeface of high quality that is applicable to various sizes and resolutions may become available next year. Saito's 1988 article includes a section describing the JIS and DNP Japanese fonts, with illustrations. J\TeX\ has 240, 300, 400, and 480 dpi fonts available currently. Please note that 6000+ characters makes for a largish distribution tape --- the rudimentary set of JIS fonts in an adapted {\tt gf} format with {\tt tfm}s takes up about 10\,Mbyte of disk space, while the {\tt pxl}, {\tt gf}, and {\tt tfm} files for the DNP Mincho and Gothic fonts very nearly fill an entire 2400\,ft magtape at 6250\,bpi! \subsection{Other Developments} There is a version of Japanese \TeX\ that is likely to become available from Canon which resembles J\TeX, but it may take a {\it long} time for the management at Canon to make anything available to the public domain, so it may not be available until some time next year. Similarly, IBM Japan has a Japanese version based on the Canon algorithm (which was also the stimulus for the Saito's J\TeX). The Bitstream Kanji fonts could almost certainly be integrated into the above Japanese \TeX\ implementations (see {Bitstream}). \section{\sl International Phonetic Alphabet} \subsection{Washington State University} Dean Guenther informs me that Washington State University has an IPA font available. It contains 128 popular IPA characters and diacritics as specified in Pullum \& Ladusaw (1986). Janene Winter did the \MF\ work on this font. The character positions were coordinated with help from Helmut Feldweg, Christina Thiele and some ideas from Brian MacWhinney and Karen Mullen. The font also comes with a set of macros to access the characters easily. For example, |\schwa| prints what you would expect. \subsection{Other Developments} Georgia Tobin (q.\,v.) has an IPA font, created in old \MF79. A bitmap IPA font, {\tt ph10}, was created by Jean Pierre Paillet for use with \TeX\ for typesetting the {\it Canadian Journal of Linguistics\/}. This font is described, with a printout of the character grid, by Christina Thiele (1988). {\tt ph10} is now superseded by the Washington font. Kris Holmes and Chuck Bigelow also report that they have a bitmap IPA font. See {Lucida}. %\paragraph{Date of information} June 7, 1988. \subsection{Ridgeway} A phonetic alphabet has been developed by Thomas Ridgeway for a large subrange of American Indian languages. The first active projects using this are in Salish and Navajo. \section{\sl Georgia Tobin} Georgia Tobin is well known to readers of \TUGboat\ as the editor of, and chief contributor to, the `Font Forum' section of the journal. She has been working with \MF\ since 1982, and between 1982 and 1987 she created several complete families of fonts for use with \TeX. (Georgia's husband Rick works with her on the fonts.) Much of her earlier work was done using \MF79, which is now superseded. Only the bitmaps of these early fonts are available, not the \MF\ sources. An important point to notice is that the Roman, Chel and Schoolbook families described below include math symbol and extensible fonts, like Knuth's CM, so that these fonts can be used for the full range of mathematical and technical typesetting as defined in the {\tt plain} format and \LaTeX. Georgia's newer work on Schoolbook, Hebrew, ALA and Special Effects typefaces, described below, is all done in the current and stabilized version of \MF, and is therefore much more flexible. Fonts of these faces can be generated at any reasonable resolution, and for any marking engine with a defined {\tt mode}. One hopes that Georgia will find some way of making her \MF\ source code available to bona fide users of her newer typefaces, without of course jeopardizing her livelihood. \subsection{MF Chel Family} The Chel (`Computer Helvetica') family of sans-serif fonts was initially created by Thom Hickey in \MF79. Chel was later completed and extensively reworked by Georgia Tobin. In its finished form, Chel has been described as `lighter and more compact' than the Computer Modern sans-serif ({\tt CMSS}) which was designed by Richard Southall and is included in all CM distributions. Chel comprises fifteen fonts including Chel Book, Slant, Medium Bold, Slanted Medium Bold, Bold, Slanted Bold, Extra Bold, Slanted Extra Bold, Math Symbols, Bold Math Symbols, Math Italic, Bold Math Italic, Math Extensible, Elite, Bold Elite, Pica and Bold Pica. \subsection{MF Roman Family} This family comprises more than nineteen Times Roman style seriffed fonts, including Roman Text, Slanted Text, Italic, Unslanted Italic, Medium Bold, Medium Bold Italic, Bold, Bold Italic, Extra Bold, Extra Bold Italic, Titling (Small Caps), Slanted Titling, Math Symbol, Bold Math Symbols, Math Italic, Bold Math Italic, Math Extensible, Elite and Pica. The last two fonts are 12\,cpi and 10\,cpi typewriter style fonts respectively, and include slanted and emboldened versions. \subsection{MF Slavic Family} The Slavic Family of fonts includes all the fonts necessary for sophisticated typesetting in Russian. The family includes Chel-compatible and Roman-compatible versions of Cyrillic in Book, Slant, Bold and Bold Slant versions, and also an Italic version of the Roman-compatible face. There are further `additional' fonts corresponding to each of these categories which contain extra accents and characters used in typesetting other Slavic languages. \subsection{MF Decorative Family} Also offered is a decorative package of fonts which includes six typefaces, including Black Letter, a Copperplate Script, Hodge Podge (including assorted dingbats, pharmacy and planetary symbols, a turtle and a frog), an Outline Helvetica (upper case), and a Slanted Outline Helvetica (also upper case), and an Uncial Majuscule which emulates a medieval manuscript script. \subsection{Century Schoolbook: Liber} Georgia is close to finalizing a first release version of a Century Schoolbook typeface. This is the first fruits of her work with the new \MF84. Her goal has been to create a complete Century Schoolbook style typeface that is clean and legible from very low resolutions (about 72\,dpi is the lowest so far) to very high, and in point sizes from 5 to 96 or so. In \TUGboat\ {\bf 9.2}, Georgia gave more information about the process of designing the Century Schoolbook typeface she has been working on. The face is now christened Liber, and the article was printed in the new face, at a resolution of 300\,dpi. \subsection{MF ALA} Another project has been the creation of \MF\ fonts which include the special character set defined as a standard by the American Library Association (ALA) and used by the Library of Congress and other bodies influential in the library automation world, such as OCLC. This set of characters and accents was designed to make possible the representation, if necessary in a standard Roman transliteration, of virtually all the world's languages. The characters include items like upper and lower case thorn, Polish dark {\it el\/} (with a cross bar), eth, and several other unusual signs and accents. There is even a {\it candrabindu\/} for Sanskritists! Georgia did this work for the Library of Congress. The font is available in Text, Bold, Italic, and Bold Italic. \subsection{Hebrew} Georgia is developing a Hebrew typeface, which is still at an experimental stage. At the present time it consists of 27 characters, with more calligraphic molding of the strokes than is shown in Goldberg's font. However, Georgia has not developed any macros or preprocessors for inputting Hebrew text in quantities, as Goldberg has. \subsection{Special Effects} Georgia published `The ABC's of Special Effects' (1988), in which are demonstrated several fascinating typographical effects that are relatively simple to produce with clever use of \MF\ macros. The article includes the \MF\ code illustrating how the effects were produced. \section{\sl Blackboard Bold} \subsection{Robert Messer} Robert Messer published an article (Messner, 1988), in which he generalized a method used by Knuth in the {\TeXbook\/} to produce such characters. This is a series of |plain| \TeX\ macros which jiggle the characters of CM around, using small kerns and the capital I and small rules, to produce a `poor person's blackboard bold'. \subsection{Other Developments} See also {Custom fonts \& Pandora}, and the {AMSfonts Package} package. \section{\sl APL} The APL programming language requires many unusual symbol characters, which often baffle normal typesetting and word processing systems. Aarno Hohti and Okko Kanerva (1987) have developed an APL font for use with \TeX. They have `raided' the CM character set to this end, so the characters should be similar in weight and style with CM. \section{\sl AMSfonts Package} The American Mathematical Society has developed several fonts of symbols and alphabets intended for use in mathematical notation. Three alphabets, collectively known as Euler, were designed by Hermann Zapf and implemented in \MF\ at Stanford as part of the \TeX\ project. They come in both medium and bold weights, and include Fraktur, script and an upright cursive alphabet, which was intended to minimize problems with the placement of accents and indices. The Euler fonts are considered proprietary, and sources are available only under lease. Two fonts of symbols, including a Blackboard Bold alphabet, are also available. Details of these fonts, including character grids, were published in Beeton (1985). These fonts are still rendered in \MF79, which is totally incompatible with the current \MF, so distribution of the sources is pointless; arrangements are being made for their re-implementation in new \MF, but the schedule is uncertain. \section{\sl Custom Fonts \& Pandora} \subsection{Custom Fonts} If you are desperate for a \TeX\ font that does not yet exist, why not commission a \MF\ programmer to create it? Neenie N.~Billawala advertises her services as a \MF\ consultant in {\TUGboat\/}. She is responsible for creating the fine calligraphic capitals that are part of the Computer Modern typeface family (in the {\tt CMSY} fonts). \subsection{Pandora} Neenie, a designer, has also created a new typeface called Pandora, which is part of a larger research project concerning the possibility of breaking the elements of typeface design down into general reusable components such as serifs (and terminal endings), bowls, circular shapes, arms and so on. Pandora is the result of setting the parameters for these components to one particular set of values, but many others could be chosen. In this sense, Pandora explores further the `parametrization' which is at the heart of Knuth's endeavor with \MF. Neenie is writing a Stanford Computer Science Report about this, called {\it Meta-Marks: Preliminary Studies for a Pandora's Box of shapes\/} (to appear). The Pandora typeface is intended to be a `bread and butter' text face and has been generated in seriffed, sans-serif and fixed width versions. The character set of Pandora coincides with {\tt CMR} and {\tt CMTT}, etc., and thus it does not include the math symbol characters and extensibles. \subsection{Blackboard Bold \& Outline} Neenie is also working on a Blackboard Bold, to be compatible with Times Roman, for the AMS, and an outline font. \section{\sl Bitstream Font Family} %\paragraph{Date of information} March 10, 1988 One of the most exciting developments in the area of Roman alphabet typeface availability for \TeX\ has been the recent announcement by Personal \TeX\ Inc., of the PTI Font Interface Package (FIP). This is an MS DOS program which converts the outline typefaces of the Bitstream typeface library into {\tt pxl} (and then {\tt pk}) fonts, with associated {\tt tfm} files, for use with \TeX\ in a manner analogous to the use of the use of the Computer Modern fonts. Since the Bitstream typeface outline files for any given font contain more than the 128 characters usual in a \TeX\ font, the extra Bitstream characters can be generated in a second, complement font. The Bitstream fonts generated by the FIP contain the same characters as {\tt CMR10}. However, equivalents of the math italic, math symbol and extensible fonts of the CM family are not provided, so the Bitstream fonts are for use in typesetting predominantly textual matter. (One could, of course, mix the fonts, using Bitstream for the text and CM for the mathematics.) The Bitstream typeface library advertised by Personal \TeX\ at present includes the following typefaces, each consisting of a regular, an italic, a bold and a bold italic face: Baskerville, Bitstream Charter, Bitstream Cooper Light, Century Schoolbook, Courier, Dutch (i.e., Times Roman), Futura Book, Futura Light, Futura Medium, Goudy Old Style, ITC Avant Garde Gothic, ITC Bookman Light, ITC Galliard, ITC Garamond Condensed, ITC Garamond, ITC Korinna, ITC Souvenir Light, Letter Gothic, News Gothic, Prestige, Serifa, Swiss (i.e., Helvetica), Swiss Condensed, Swiss Light, Zapf Calligraphic (i.e., Palatino), Zapf Humanist (i.e., Optima), and a selection of Headline faces including Bitstream Cloister Black, Broadway, Cooper Black, and University Roman. The creation of the font bitmaps is done using what Bitstream calls `smart outlines'. Typographic rules are stored with the typeface outlines and are applied at the time of bitmap generation, using artificial intelligence algorithms (originally implemented on Symbolics 3600 Lisp workstations) to tailor significant features of the font to its point size, and the resolution and marking characteristics of the printing device. Some typographically significant features that are so treated are the stem weight, x-height, cap height, side bearings, and baseline alignment. So a 6 point Bitstream font is not a mere linear reduction of some larger design size, just as {\tt CMR6} is not simply a small {\tt CMR10}. This is very significant for the high quality of the fonts at small or large sizes, and goes some of the way towards meeting the argument made by Knuth in the \TeXbook\ (p.16), against scaling fonts much beyond their design size. \section{\sl Lucida} Lucida is the name of one of the typefaces designed by Kris Holmes and Chuck Bigelow. Its main design aim is that it be legible and beautiful at low as well as high resolutions, and it is probably the first original typeface family produced for digital printers and displays. (Another font with some similar design goals is Matthew Carter's Bitstream Charter.) By low resolution, Holmes and Bigelow mean laser printers and computer screens. The font has been discussed in Epstein (1986), Bigelow and Holmes (1986) and Anon (1988). The second of these articles is itself printed in the Lucida typeface. It goes into detail about the design concepts of Lucida, with illustrations. The Lucida family includes the following eight fonts: Roman, Italic, Bold, and Bold Italic, in both seriffed and sans-serif styles. Lucida has been called a `super family' because of the wide range of characters and fonts it provides, including compatibility with the full CM character set. Unusual features of Lucida fonts include the fact that the italic sans-serif is a true cursive style, rather than a slanted \hbox{Roman}, and that there are alternate sets of capitals, one heavier in weight, for English and French typographers, and one lighter, for Germanic texts which use extensive capitalization, and therefore need de-emphasized capitals. The screen `versions' of Lucida are at such low resolution (75--100\,dpi) that they cannot be regarded as straight reproductions of their higher resolution counterparts. They are therefore called Pellucida, to suggest that the designs are related to Lucida, but optimized for `pel' based screen displays. \subsection{Adobe} Chuck Bigelow informed me in April 1988 that Adobe Systems is dealing with the release of several Lucida typefaces for use with \TeX. The following faces have already been released by Adobe as downloadable PostScript fonts on both Mac and PC disks: Lucida Roman (seriffed), Italic, Bold, Bold Italic, Sans Roman (sans-serif), Sans Italic, Sans Bold, and Sans Bold Italic. The following will be released soon: \TeX\ Math Italic, \TeX\ Math Symbol, \TeX\ Math Extension, and Sans Typewriter. The Math fonts have the same character sets as shown in appendix F of the \TeXbook. The Lucida Sans Typewriter has another union of Adobe's standard set, this time with the \TeX\ text typewriter set, shown in figure 3 in the same appendix. \subsection{Imagen} Chuck Bigelow also noted that the Imagen Corporation currently offers various Lucida typefaces, and an upgrade to the full \TeX\ character set will be released in July 1988. These will include the Lucida seriffed family, the Lucida Sans family, and the Lucida Sans Typewriter family. Imagen will produce the \TeX\ Math fonts if there is demand from their users. Imagen Lucida will be available in outline format for their {\sc UltraScript} (\PS\ clone) and {\sc ddl} language printers, and for their im{\sc press} printers. The Imagen fonts should be metrically compatible with the Adobe fonts. They are made from exactly the same outline data. \subsection{Compugraphic} Bigelow informs me that Compugraphic Corporation has licensed the Lucida seriffed family (roman, italic, bold, bold italic) and the three basic \TeX\ math fonts (math italic, math symbol, math extension) for their 8600 and 9600 typesetters, and perhaps the 8400 as well. \subsection{Some others} Atari is to bundle the Lucida donts with its \PS\ clone upgrade for its laser printer, the {\sc slm} 804. Imagen will also be supplying the Lucida math fonts for Atari systems later this year. The Lucida fonts will also be bundled with UltraScript (a \PS\ clone) from {\sc qms}. Bigelow \& Holmes are also working on outline versions of several of the additional fonts shown in Knuth's Volume E of {\it Computers and Typesetting\/}, and fonts analogous to the Euler family, including Bold Greek, Bold Script, Bold Symbol font, Small Capitals, as well as a Chancery, lower-case Script, Fraktur, Hebrew, and others. Light and Demibold versions of both seriffed and sans-serif families are also in progress, as well as the `Bright' versions used in Scientific American. However, these must await a distributor like Adobe or Imagen to reach the market. \section{\sl Icelandic} %\paragraph{Date of information} March 10, 1988, from \hax\ 1988, %issue 22. Jorgen Pind reported in \hax\ that he is running an unmodified \TeX\ with new fonts and formats (including hyphenation) which cater for Icelandic. Pind had written a full account of his work on Icelandic \TeX\ which appeared in Don Hosek's \TeX Mag, 2(5). \section{Hershey Fonts} Just as I had begun wondering about the Hershey fonts, Jim Seidman asked about them in \hax\ 1988, issue 70. \subsection{Guthery} Dean Guenther answered in issue 73 that Scott Guthery, has the Hershey fonts with {\tfm}s for a nominal fee. \subsection{Kesner} A few weeks later, \hax\ 1988, issue 90, carried a letter from Oliver Kesner, also in answer to Seidman's query, describing his own work converting Hershey fonts for use with \TeX. The character set includes, besides several Roman typefaces, Greek, Russian, German Fraktur, and a variety of graphic symbols, Hiragana, Katakana, and 623 Kanji characters. \section{Logic Diagrams} Rick Simpson created a font called {\tt milstd.mf} for drawing electrical symbols. He included the \MF\ source code for the font, and in the following issue of UK\TeX, a small set of \TeX\ macros were published, for making the logical symbols easier to use within plain \TeX\ or \LaTeX. The font consists of the following 25 symbols: slanting line at 45-degree angle for marking busses in logic diagrams; |and|, |nand|, |or|, |nor| gates, facing to the right, down, left and up; buffer and inverter, each facing to the right, down, left and up. \section{Music} UK\TeX\ 1988, issues 28 and 29, carried an exchange of information recently, concerning the use of \TeX\ to typeset music. This very challenging application has been receiving some attention, and the work to date was announced in the Music Research Digest. Thence it found its way to UK\TeX. Phillip T.~Conrad provided summaries of the work of Dunne and J\"{u}rgensen, that of Schofer and Steinbach, and of his own. \subsection{Dunne and J\"{u}rgensen} Dunne and J\"{u}rgensen conducted research at the University of Western Ontario; they defined the concept of i-marks and p-marks. I-marks are invariant marks, the kind of marks that can be put into a font and typeset easily with \TeX. P-marks are parameterized marks whose shape and size varies according to certain parameters. The only p-marks \TeX\ is capable of typesetting are the horizontal and vertical rules. Dunne and J\"{u}rgensen use \PS\ to augment the capability of \TeX\ with a special version of {\tt dvi2ps}. \subsection{Schofer and Steinbach} There is a thesis written by Angelika Schofer and Andrea Steinbach at the Institut f\"{u}r Angewandte Mathematik at the Rheinische Friedrich-Wilhelms-Universit\"{a}t at Bonn, entitled {\it Automatisierter Notensatz mit \TeX}. Schofer and Steinbach operated from the assumption that a font of beams and slurs is in fact feasible; they appear to have generated just such a font, and they use plain \TeX\ alone. Their system appears to `understand' some form of music-description language, and to apply music-setting rules automatically. The music is printed with \TeX\ by means of the special fonts. \subsection{Conrad} Phillip T. Conrad noted that he is currently (August 1988) finishing a Master's thesis, which presents a prototype system for typesetting music notation with \TeX, building on the previous work at the Ohio State University of Gourlay et al. \section{\sl Miscellaneous} \subsection{{\tt SPRITE.STY}} If you use \LaTeX, and you only need one or two extra characters, an ingenious and very easy way to generate them has been devised by Martin Costabel. It is a \LaTeX\ style called {\tt SPRITE}, and the code and documentation were published in issue 1.8 of \TeX Mag. More recently a newer version was published in \hax. It included a macro for use in |plain| \TeX. Essentially, {\tt SPRITE} is a macro that allows you to define your own symbols in a quick and dirty way. Define the character as a dot pattern on your screen enclosing it by |\sprite| and |\endsprite| commands. If you just need one special character or some cute little symbol whatever is necessary for a professional solution, this may produce acceptable results. Using {\tt SPRITE.STY} one `draws' the character to be defined as a pattern of characters on a grid. The figure below shows how {\it schwa\/} is done. \begintt \def\schwa{\FormOfSchwa\kern1pt} % Only necessary if \kern... is wanted \sprite{\FormOfSchwa}(16,24)[0.4em,1ex] % Resolution ca. 200x340 dpi. :.......BBBBBBBBBB.......|char'174 :....BBBB........BBBB....|char'174 :..BBB.............BBBB..|char'174 :.BB.................BBB.|char'174 :.B...................BBB|char'174 :.....................BBB|char'174 :.....................BBB|char'174 :.....................BBB|char'174 :BBBBBBBBBBBBBBBBBBBBBBBB|char'174 :BBB..................BBB|char'174 :BBB..................BBB|char'174 :BBB.................BBB.|char'174 :.BBB...............BBB..|char'174 :..BBBB...........BBBB...|char'174 :....BBBBB.....BBBBB.....|char'174 :.......BBBBBBBB.........|char'174 \endsprite \endtt To use this character in your document, all you have to do is use the command |\schwa|. This method uses a lot of \TeX's memory, and is only suitable for characters which are used rarely, say a few times on a page. \subsection{Austin Code Works} The Austin Code Works has a large collection of bitmap fonts that work with \TeX, and which were originally created at SAIL (Stanford Artificial Intelligence Lab). Because these fonts are not coded in up-to-date \MF, what you get is what you get, i.e., you cannot change the size or resolution of the fonts. I believe they are all (or most) 200\,dpi fonts. Bear in mind that although you might get, say, a Hebrew font, there are no accompanying macros to implement it at the keyboard level. The 137 KST fonts include Hebrew, Greek, Old English, Old German, Cyrillic, hand (sign alphabet), and Tengwar alphabets in addition to the Roman alphabet in a large number of styles. The also fonts include such essentials as single character fonts for the Stanford and MIT logos (separate fonts for each, naturally), two views of Snoopy, two views of Starship Enterprise, three fonts of chess pieces, several sans-serif fonts, and what looks as if it might be a very tiny Arabic font. \subsection{HP2TEX (HP Font Conversion)} %\paragraph{Date of information} March 11, 1988. In February 1988, a file {\tt HP2TEX} appeared on Usenet. It included the Turbo Pascal 3.0 source code and a compiled DOS version of {\tt HP2TEX}, a program to read a Hewlett Packard soft font and generate two files useful to \TeX\ users, a {\tt PL} and a {\pxl} file. \subsection{Old English} \subsubsection{Henderson} Doug Henderson has implemented \MF\ on the PC/AT family of personal computers, and is also responsible for generating the high resolution bitmaps of several of the non-standard fonts illustrated in recent issues of \TUGboat\/, such as the APL and Greek fonts. He has created a few characters like the Old English characters thorn (upper/lower case) and eth (upper/lower case). These will probably be the first in a series of ad-hoc characters created for various folks in need. For now, they are compatible with {\tt CMR10}. \subsubsection{Ridgeway and Barnett} %\paragraph{Date of information} June 7, 1988, Pierre MacKay A font to supplement the basic Latin alphabet of Computer Modern with Old English characters will be released in Autumn of this year by the University of Washington Humanities and Arts Computing Center. Macros for direct input and translators from various Personal Computer editor files will accompany the release. \section{\sl The PostScript Question} This article does not deal with the availability of \PS\ fonts, because it would double its length to do so, and because the author has never used a \PS\ device, and really would not know what he was talking about. Suffice it to say that instead of sending a bitmap to the printer, a \PS\ output file sends the printer instructions on how to construct character bitmaps at the time of printing. These \PS\ bitmaps are created in a manner analogous to running \MF, in that the characters are encoded in a high level language, which gives the outline, filling or stroke routines for creating glyphs. Like \TeX\ {\tfm} files, \PS\ fonts have their own font metric files, called {\tt afm} (Adobe Font Meric) files. With a bit of tinkering, it is perfectly feasible to use \PS\ fonts in a \TeX\ document. \medskip \input fontmemo.refs \medskip \leftline{\sl Updates} \noindent For those with access to the academic computer networks, I post information about revisions of this article to \hax\ and UK\TeX\ from time to time. This way, people will know whether there is enough new stuff for it to be worth downloading the whole article afresh. To those with access to the Aston (UK\TeX) archive the files are stored in the directory |public.score.texhax| as |wujastyk.txh| and |wujasty2.txh|. \smallskip \rightline{\sl\DW}