home
***
CD-ROM
|
disk
|
FTP
|
other
***
search
/
Guidemac 2
/
Guidemac 2.iso
/
Fontes
/
com.fonts FAQ List 1.3.3
next >
Wrap
Text File
|
1993-04-26
|
230KB
|
5,656 lines
The
comp.fonts
Frequently Asked Questions
List
| Version: 1.3.3
| Date: May 6, 1993
Compiled by Norman Walsh <walsh@cs.umass.edu>
Subject: Table of Contents
1. General Information
1.1. Notes about the FAQ
1.2. Font Houses
1.3. What's the difference between type 1 fonts, type 3 fonts,
1.4. What about "Multiple Master" fonts?
1.5. Is there a methodology to describe and classify typefaces?
1.6. What is the "f" shaped "s" called?
1.7. What about "Colonial" Typefaces?
1.8. Where can I get _____ fonts.
1.9. Where can I get fonts for non-Roman alphabets?
1.10. What about fonts with the International Phonetic Alphabet
1.10.1. Shareware or free (PostScript Type 1 and/or TrueType):
1.10.2. Shareware or free (TeX):
1.10.3. Commercial:
1.11. How can I convert my _____ font to _____ format?
1.12. Are fonts copyrightable?
1.13. Typeface Protection
1.14. File Formats
1.14.1. File Format Extensions
1.14.2. Font Formats
1.14.3. Font Format Extensions
1.15. Ligatures
1.16. Standard Laser Printer Fonts
1.17. Glossary
1.18. Bibliography
1.19. (En)Coding Standards
1.20. TrueType
1.21. Rules of Thumb
1.22. Acknowledgements
1.23. A Brief Introduction to Typography
1.23.1. Comments by Laurence Penney:
1.23.2. Comments by Don Hosek:
1.24. Pronounciation of Font Names
1.25. What does 'lorem ipsum dolor' mean?
2. Macintosh Information
2.1. Font formats
2.2. Frequently requested fonts
2.3. Commercial font sources
2.4. Font Installation
2.5. Font utilities
2.6. Making outline fonts
2.7. Problems and possible solutions
2.8. Creating Mac screen fonts from Type 1 outlines
3. MS-Dos Information
3.1. MS-DOS font notes
3.2. Frequently requested fonts
3.3. Font Installation
3.4. Font utilities
3.5. Converting Macintosh Type1 fonts to MS-DOS format
3.5.1. The tools you need
3.5.2. How to do it
3.5.3. Other comments
3.6. Converting PC Type1 and TrueType fonts to Macintosh format
3.7. Converting PC Type1 fonts into TeX PK bitmap fonts
3.8. Converting TeX PK bitmaps into HP LaserJet softfonts (and
3.9. TrueType to HP LaserJet bitmap softfonts (HACK!)
3.10. MS-DOS Screen Fonts (EGA/VGA text-mode fonts)
4. Unix Information
4.1. Please help!
5. Sun Information
5.1. Please help!
5.2. Fonts Under Open Windows
5.3. Does OpenWindows support Type 1 PostScript fonts?
5.4. Improving font rendering time
5.5. Making bitmap fonts for faster startup
5.6. Converting between font formats (convertfont, etc.)
5.7. Xview/OLIT fonts at 100 dpi
5.8. Where can I order F3 fonts for NeWSprint and OpenWindows?
6. NeXT Information
6.1. Please help!
6.2. Tell me about NeXT fonts
6.3. Tell me more about NeXT fonts
6.4. Porting fonts to the NeXT
6.4.1. Porting PC/Unix Type 1 Fonts
6.4.2. Porting Mac Type 1 Fonts
6.5. Font availability
6.6. Why can I only install 256 fonts on my NeXT?
7. X11 Information
7.1. Please help!
7.2. Where do I get X11?
7.3. X fonts and font utilities
8. Utilities
8.1. Notes about the utilities
8.2. PS2PK
8.2.1. When do you need ps2pk?
8.3. TeX Utilities
8.4. MFpic
8.5. fig2MF
8.6. GNU Font Utilities
8.7. Font editors
8.8. t1utils
8.9. Where to get bitmap versions of the fonts
8.10. Converting between font formats
8.11. Getting fonts by FTP and Mail
8.12. Metafont to PostScript conversion
8.13. How to use Metafont fonts with Troff
8.14. PKtoBDF / MFtoBDF
8.15. PKtoPS
8.16. PKtoSFP/SFPtoPK
8.17. PostScript to Metafont
8.17.1. pfb2pfa
8.17.2. pfa2chr
8.17.3. chr2ps
8.17.4. ps2mf
8.18. Converting Mac Bitmaps to BDF Format
9. Vendor Information
9.1. Vendor List
Subject: Chapter 1
General Information
Subject: 1.1. Notes about the FAQ
Many FAQs, including this one, are available on the anonymous ftp
archive site rtfm.mit.edu in the directory pub/usenet/news.answers.
The name under which a FAQ is archived appears in the Archive-name
header at the top of each article.
This FAQ is a work in progress. If you have any suggestions, I
would be delighted to hear them.
This FAQ was constructed by LameTeX. PostScript and DVI versions of
this FAQ are available on ibis.cs.umass.edu in
/pub/norm/comp.fonts.
The FAQ is formatted for easy searching. Most news readers can skip
from one question to the next by pressing control-G. (or by
searching for "Subject:" in column 1)
The Gopher server on port 70 at ibis.cs.umass.edu provides a
WAIS-indexed version of this FAQ.
All trademarks used in this document are the trademarks of their
respective owners.
Standard disclaimers apply.
The FAQ is maintained by Norm Walsh <walsh@cs.umass.edu>
Copyright (C) 1992, 93 by Norman Walsh.
Subject: 1.2. Font Houses
This section will be expanded on in the future. It contains notes
about various commercial font houses.
1.2.1 Compugraphic
See "Miles, Agfa Division"
1.2.2 Miles, Agfa Division
Compugraphic which was for a while the Compugraphic division of
Agfa, is now calling itself "Miles, Agfa Division" (yes, the Miles
drug company), since CG's off-shore parent Agfa has been absorbed
by Miles. So typographically speaking, Compugraphic, CG, Agfa, A-G
ag, and Miles all refer to the same company and font library. Their
proprietary fonts are still CG Xyz, but the name is Miles Agfa.
Subject: 1.3. What's the difference between type 1 fonts, type 3 fonts,
type 5 fonts, Macintosh fonts, Windows fonts, LaserJet fonts, etc.
This question is not trivial to answer. It's analogous to asking
what the difference is between various graphics image file formats.
The short, somewhat pragmatic answer, is simply that they are
different ways of representing the same "information" and some of
them will work with your software/printer and others won't.
At one level, there are two major sorts of fonts: bitmapped and
outline (scalable). Bitmapped fonts are falling out of fashion as
various outline technologies grow in popularity and support.
Bitmapped fonts represent each character as a rectangular grid of
pixels. The bitmap for each character indicates precisely what
pixels should be on and off. Printing a bitmapped character is
simply a matter of blasting the right bits out to the printer.
There are a number of disadvantages to this approach. The bitmap
represents a particular instance of the character at a particular
size and resolution. It is very difficult to change the size,
shape, or resolution of a bitmapped character without significant
loss of quality in the image. On the other hand, it's easy to do
things like shading and filling with bitmapped characters.
Outline fonts represent each character mathematically as a series
of lines, curves, and 'hints'. When a character from an outline
font is to be printed, it must be 'rasterized' into a bitmap "on
the fly". PostScript printers, for example, do this in the print
engine. If the "engine" in the output device cannot do the
rasterizing, some front end has to do it first. Many of the
disadvantages that are inherent in the bitmapped format are not
present in outline fonts at all. Because an outline font is
represented mathematically, it can be drawn at any reasonable size.
At small sizes, the font renderer is guided by the 'hints' in the
font; at very small sizes, particularly on low-resolution output
devices such as screens, automatically scaled fonts become
unredable, and hand-tuned bitmaps are a better choice (if they are
available). Additionally, because it is rasterized "on demand,"
the font can be adjusted for different resolutions and 'aspect
ratios'.
| Werenfried Spit adds the following remark:
|
| Well designed fonts are not scalable. I.e. a well designed 5pt font
| is not simply its 10pt counterpart 50 scaled down. (One can verify
| this by blowing up some small print in a copier and compare it with
| large print; or see the example for computer modern in D.E. Knuth's
| TeXbook.) Although this fact has no direct implications for any of
| the two methods of font representation it has an indirect one:
| users and word processor designers tend to blow up their 10pt fonts
| to 20pt or scale them down to 5pt given this possibility. Subtle
| details, but well...
LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh
Screen Fonts, and GEM .GFX files are all examples of bitmapped font
formats.
PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts,
TrueType fonts, Sun F3, MetaFont .mf files, and LaserJet .SFS files
are all examples of outline font formats.
Neither of these lists is even close to being exhaustive.
To complicate the issue further, identical formats on different
platforms are not necessarily the same. For example Type 1 fonts on
the Macintosh are not directly usable under MS-DOS or Unix, and
vice-versa.
It has been pointed out that the following description shows signs
of its age (for example, the eexec encryption has been thoroughly
hacked). I don't dispute the observation and I encourage anyone
with the knowledge and time to submit a more up to date
description.
It has further been suggested that this commentary is biased toward
Kingsley/ATF. The omission of details about Bitstream (and possibly
Bauer) may be considered serious since their software lies inside
many 3rd-party PostScript interpreters.
The moderators of this FAQ would gladly accept other descriptions/
explanations/viewpoints on the issues discussed in this (and every
other) section.
[ Ed Note: Liam R. E. Quim supplied many changes to the following
section in an attempt to bring it up to date. Hopefully it is a
better reflection of the state of the world today (12/07/92) than
it was in earlier FAQs ]
Henry Schneiker <reachable electronically?> wrote the following
description of the differences between several scalable font
technologies:
There has been a lot of confusion about font technologies in recent
times, especially when it comes to Type 1 versus Type 3 fonts,
"hints," PostScript compatibility, encryption, character
regularizing, kerning, and the like.
* Encryption (eexec)
All fonts produced with Adobe's font technology are protected
through data encryption. The decryption is provided by the
'eexec' (encrypted execute) PostScript operator and, until
recently, was only present in Adobe's licensed PostScript.
Adobe has published the details of the Type 1 font format in the
'Black Book', Adobe Type 1 Font Format (version 1.1), Adobe
Systems Inc., 1990. The encryption was mainly used because of
font copyright problems; unencrypted fonts can also be used, but
these tend to use an efficient binary encoding, also in
documented the Type 1 book, and so are still not readable
PostScript.
* Type 1, Type 3, and Type 5 font formats
There are generally three font formats used in Adobe PostScript
printers: Type 1, Type 3, and Type 5. Type 1 fonts are Adobe's
downloadable format. Type 3 fonts are third-party downloadable
format. Type 5 fonts are the ROM-based fonts that are part of
your printer.
There is no functional difference between a Type 1, Type 3, or
Type 5 font. A Type 3 font can do anything a Type 1 or Type 5
font can do. The only real difference between them is where the
'BuildChar' routine comes from. For Type 1 and Type 5 fonts it's
built into the printer. For Type 3 fonts it's built into the
font. In other words, anything a Type 1 font can do a Type 3 font
can also do.
[ Ed note: the reverse is not true. Type3 fonts can do things
that Type1 fonts cannot. But they aren't hinted... ]
When PostScript is asked to generate a character, PostScript
looks in the font's dictionary for FontType. If FontType is 1 or
5 PostScript executes an internal routine that knows how to
interpret the font data stored in CharStrings. If FontType is 3
PostScript executes the routine BuildChar from the font's
dictionary to interpret the font data (often stored in
CharStrings).
However, each BuildChar routine is written to read data formatted
in a method convenient to the vendor. Adobe, Altsys, Bitstream,
and Kingsley/ATF all format their font data differently and,
hence, have different BuildChar routines.
[ Ed note: relative hard disk efficiency of Kingsley vs. Adobe
fonts deleted on 12/07/92 ]
Type 5 fonts are special in that they often include hand-tuned
bitmaps for the commonly used sizes, such as 10- and 12-point.
Other sizes are generated from the outlines in normal fashion.
Don't confuse Type 1, Type 3, and Type 5 fonts with Bitstream's
Type A, Type B, Type C, and Type F. They are not the same and
serve only to confuse the issue.
* Resolution 'hints'
When a character is described in outline format the outline has
unlimited resolution. If you make it ten times as big, it is just
as accurate as if it were ten times as small.
However, to be of use, we must transfer the character outline to
a sheet of paper through a device called a raster image processor
(RIP). The RIP builds the image of the character out of lots of
little squares called picture elements (pixels).
The problem is, a pixel has physical size and can be printed only
as either black or white. Look at a sheet of graph paper. Rows
and columns of little squares (think: pixels). Draw a large 'O'
in the middle of the graph paper. Darken in all the squares
touched by the O. Do the darkened squares form a letter that
looks like the O you drew? This is the problem with low
resolution (300 dpi). Which pixels do you turn on and which do
you leave off to most accurately reproduce the character?
All methods of hinting strive to fit (map) the outline of a
character onto the pixel grid and produce the most
pleasing/recognizable character no matter how coarse the grid is.
[ Ed note: deleted some paragraphs that are no longer true. Times
change... ]
* Optical Scaling
Optical Scaling modifies the relative shape of a character to
compensate for the visual effects of changing a character's size.
As a character gets smaller, the relative thickness of strokes,
the size of serifs, the width of the character, the
intercharacter spacing, and interline spacing should increase.
Conversely, as a character gets larger, the relative thickness,
widths, and spacing should decrease.
Contrast this with linear scaling, in which all parts of a
character get larger or smaller at the same rate, making large
characters look wide and heavy (strokes are too thick, serifs are
too big) while small characters look thin and weak.
* Kerning
As applied to PostScript fonts, kerning refers to kern pairs. A
kern pair specifies two characters (e.g., A and V) and the
distance to move the second character relative to the first. The
typical use of a kern pair is to remove excessive space between a
pair of characters. However, it may also be used to add space.
* PostScript clones
There are currently several printer manufacturers on the market
with PostScript clones. To be viable, a PostScript clone must
comply with the 'red book' (PS Language Reference Manual).
In order to avoid paying royalties to Adobe, and because Adobe's
Type 1 font format was originally preprietary, many PostScript
interpreters use some other font format. Sun uses F3, and some
other vendors use Bitstream's Speedo format, for example. The
only real problem this causes is that the widths of characters
(the 'font matrics') may vary from Adobe's, so that programs that
assume the Adobe character widths will produce poor quality
output. Bitstream fonts used to be particularly bad in the early
days, but they and most or all of the other vendors have solved
those problems.
* Apple TrueType [ Ed note: formerly "Royal ('sfnt')" ] format
and System 7
Apple's new System 7.0 supports a new format of outline font that
will allow high-quality characters of any size to be displayed on
the screen. TrueType stores font outlines as B-spline curves
along with programmed resolution hints. B-spline curves are
faster to compute and easier to manipulate than the Bezier curves
used in PostScript.
Adobe is not going to support Apple's new format by converting
the Adobe/Linotype library to B-spline format. There are two
reasons for this: First, there is no support for font encryption
(yes, the hooks are there, but nothing is implemented). Second,
Adobe does not want to dilute PostScript and its font library.
However, the Macintosh is too big a market to simply turn away
from. Therefore, Adobe will provide its Font Manager to display
its own fonts on the Mac screen. Apple ships Adobe's ATM for this
purpose.
Subject: 1.4. What about "Multiple Master" fonts?
Multiple Master Fonts are an extension to the Adobe font format.
providing the ability to interpolate smoothly between several
"design axes" from a single font. Design axes can include weight,
size, and even some whacko notions like serif to sans serif.
Adobes' first Multiple Master Font was Myriad -- a two-axis font
with WEIGHT (light to black) on one axis, and WIDTH (condensed to
expanded) along the other axis. In the case of Myriad, there are
four "polar" designs at the "corners" of the design space. The
four designs are light condensed, black condensed, light expanded,
and black expanded.
Given polar designs, you can set up a "weight vector" which
interpolates to any point within the design space to produce a
unique font for a specific purpose. So you can get a "more or less
condensed, somewhat black face".
Multiple Master Fonts can be used on any PostScript printer.
Multiple Master Fonts need a new PostScript operator known as
makeblendedfont. The current crop of Multiple Master Fonts supply
an emulation of this operator so the printer doesn't need this
operator.
A short tutorial on Multiple Master Fonts and makeblendedfont
appears in PostScript by Example, by Henry McGilton and Mary
Campione, published by Addison-Wesley.
Subject: 1.5. Is there a methodology to describe and classify typefaces?
There is an ISO Standard catagorization, Panose (?), but it is
mostly ignored by typographers; at least one book by a respected
authority, Alexander Lawson, Printing Types: An Introduction, had
nothing nice to say about it. He has his own, less rigorous system,
which is exposited in "An Introduction" and used without
exposition in his later "Anatomy of a Typeface". I have another
book, Rookledges International Typefinder, which has a very
complete system that uses tell-tales of individual glyphs as well
as overall style to index most known faces right in the book. J.Ben
Leiberman has another book on type face description.
The Panose system is documented, among other places, in the
Microsoft Windows 3.1 Programmer's Reference from Microsoft Press.
Subject: 1.6. What is the "f" shaped "s" called?
Both the "f" with half a crosbar (roman) and the integral sign
(italic) are called long-S.
Subject: 1.7. What about "Colonial" Typefaces?
1.7.1 Why does colonial printing have that "Colonial" feel?
Colonial type was either very roughly treated by moist salt air on
the crossing and in colonial port cities, or was copied locally by
tacky techniques (such as driving used foundry type into soft lead
to make very soft deformable matrices), and the paper was very
rough, which abrades both the serifs and the hairlines. So except
for the best work done with new, european types, the serifs were
much smaller, even broken off, than the original
founder/punchcutter intended. Thins could be abraded by rough paper
to nothingness, esp after humid salt air had leached the hardner
out of the alloy.
1.7.2 What fonts are good for mock-colonial uses?
For example, what fonts have the following features: old-style
figures (non-lining numbers), the long s character, slightly
irregular shapes (a la type produced by colonial printers), and a
decent complement of ligatures. And what about free or cheap faces
like this?
I don't know if any exist with all of 1-5. As I believe you get
what you pay for, especially in fonts, I haven't looked at free and
cheap-copy fonts.
Microsoft's expansion set for their Win3.1 optional fonts has
Garamond Expert & Expert Extensions, which has a good complement of
ligatures and I think I remember it haveing the long ess too. I
forget about OSFigs; it should tho'. Monotype's metal faces "16th
Century Roman" and "Poliphilus" may be available in digital; if
so, they imitate early presswork with early and are very close to
what one wants.
"A commercial supplier [ not yet sampled ] is Image Club Graphics
in Calgary (1-800-661-9410). It is called Caslon Antique. It is
supplied as both roman and italic, together, for 25. They advertise
in MacWorld/MacUser/MacBlah. I am unable to tell from abcDEF123 if
the numerals are old-style, but I think not. Ligatures? long-S? Not
yet known. Guillemots, though, are there. ... Letraset, circa 1977,
showing a Caslon Antique with modern numerals, no ligatures, and
only UKPounds and German ss extensions." [ Ike Stoddard ]
NB: Caslon Antique is not a Caslon per se: "The last Caslon to
mention is that ubiquitous but unrelated Caslon Antique, which
possesses no similarity whatsoever to the original. This old
reprobate was introduced by Barnhart Brothers of Chicago under the
name Fifteenth Century. Its negative reception lasted until about
1918, when, with a simple name change to Caslon Antique, it became
the most commonly selected type for reproductions of colonial
American printing. It is now seen in everything from liquor
advertisments to furniture commercials" [ Lawson, 1990,Anatomy ]
Miles Agfa (Compugraphic) has always had a Caslon Antique; I don't
know if it is available for TrueType or Type 1, but Agfa has been
doing TrueType bundles at reasonable prices. [ wdr ]
1.7.3 What fonts could a colonial printer have had?
According to D.B.Updike in the classic reference "Printing Types:
Their History, Forms & Use", he indicates that most colonial work
was with types of the Caslon Old Style fonts and cheap copies of
same in the 18th C. Before that, it would have been the older Dutch
& English faces, almost always lagging English tastes. If you can
find the Oxford Fell types, they are classic
Dutch-as-used-by-englishmen. Anything with a Dutch moniker and the
Oldstyle adjective is probably ok; Van Dijck if you find it, say
(died 1673).
Ben Franklin recommended Caslon faces. But these were not available
in England before 1720, first full broadside in 1734. Lawson
declares that the first printing of the Declaration of Independance
was in Caslon.
Wilson's Scotch Modern was the "modern" font that surfaced in
quantity in america. If the Scotch Roman your vendor has is sort-of
like-Bodoni but nicer than his Bodoni, that's it. It wasn't
available until late 1700s, though.
Subject: 1.8. Where can I get _____ fonts.
Before I go any farther, let me extol the virtues of the Archie
servers. If you need to find something on the net, and you have any
idea what it might be called, Archie is the place to go. In North
America, telnet to "archie.rutgers.edu" and login as "archie".
There are many other servers around the world, any Archie server
can give you a list of other servers. There are better documents
than this to describe Archie and you should be able to find them
from the above starting point. If you have trouble, feel free to
ask norm <walsh@cs.umass.edu> (via Email please, no need to clutter
comp.fonts with a query about Archie ;-).
In addition to the telnet option, several archie clients exist
including a very nice X11 implementation (Xarchie)
* Adobe Type 1 Fonts in MS-DOS/Unix Format:
ftp.cica.indiana.edu:/pub/pc/win3/fonts
ftp.cica.indiana.edu:/pub/pc/win3/fonts/atm
archive.umich.edu:/msdos/mswindows/fonts
* Adobe Type 1 Fonts in Mac Format:
mac.archive.umich.edu:/mac/system.extensions/font/type1
sumex-aim.stanford.edu:/info-mac/font
* Adobe Type 3 Fonts in Mac Format:
mac.archive.umich.edu:/mac/system.extensions/font/type3
* TrueType fonts in MS-DOS Format:
ftp.cica.indiana.edu:/pub/pc/win3/truetype
* TrueType fonts in Mac Format:
mac.archive.umich.edu:/mac/system.extensions/font/truetype
* TeX PK/PXL/GF fonts:
The TeX community has it's own support groups that can provide
better answers to this question. The canonical list of MetaFont
fonts is posted occasionally to comp.text.tex. The comp.text.tex
newsgroup (or the Info-TeX mailing list, if you do not have
access to news) are good places to start. Email norm
<walsh@cs.umass.edu> if you need more specific information.
* LaserJet bitmap fonts:
wuarchive.wustl.edu:/mirrors/msdos/laser
Also on other simtel20 mirrors...
If you know of other archive sites (the above list is no where near
complete) or other formats that are available on the net, please
let us know.
The sites above represent places where shareware and public domain
fonts are available. Many, many typefaces are not available in
shareware form. And many shareware faces are less than adequate for
a variety of reasons, particularly at small sizes. It seems to be
the consensus of the comp.fonts community that "you get what you
pay for." If you need a professional quality font, you should
probably buy it from a professional.
A list of font vendors (annotated with information about non-Roman
alphabets) was contributed by Masumi Abe <abe@adobe.com>. Masumi is
Adobe's Manager of Typographic Marketing for Asia. [ ed: as of 7/92
]
The list is quite long and it is posted separately. It can be
retrieved via anonymous ftp from /pub/norm/comp.fonts on
ibis.cs.umass.edu.
Subject: 1.9. Where can I get fonts for non-Roman alphabets?
As mentioned above, the list of font vendors is annotated with
information about non-Roman alphabets. Commercially, Masumi
<abe@adobe.com> suggests that Linguists' Software is the current [
ed: as of 7/92 ] leading supplier of non-Roman fonts.
Subject: 1.10. What about fonts with the International Phonetic Alphabet
(IPA) symbols?
I summarized Scott Brumage's <brumage@mailer.acns.fsu.edu> recent
post for the FAQ:
| 1.10.1. Shareware or free (PostScript Type 1 and/or TrueType):
* TechPhon
Seems to lack some characters and has no zero-offset characters
(for accents).
* PalPhon
A phonetic font which you can get by anonymous ftp from
mac.archive.umich.edu. It is called PalPhon. There are actually
two fonts: the basic PalPhon and one with additional accents and
symbols called PalPi. The package includes some documents on
using the fonts as well.
* SIL-IPA
SIL-IPA is a set of scalable IPA fonts containing the full
International Phonetic Alphabet with 1990 Kiel revisions. Three
typefaces are included:
* SIL Doulos (similar to Times)
* SIL Sophia (similar to Helvetica)
* SIL Manuscript (monowidth)
Each font contains all the standard IPA discrete characters and
non-spacing diacritics as well as some suprasegmental and
puncuation marks. Each font comes in both PostScript Type 1 and
TrueType formats. The fonts are also available for Microsoft
Windows.
These fonts were designed by the Printing Arts Department of the
Summer Institute of Linguistics, Dallas, Texas.
| 1.10.2. Shareware or free (TeX):
METAFONT sources of the phonetic symbols developed by
Tokyo-Shoseki-Printing and Sanseido are available. The font
contains all of IPA (Internatioanl Phonetic Alphabet) symbols.
You can get phonetic symbols METAFONT (named TSIPA) from
ftp.foretune.co.jp:/pub/tools/TeX/Fonts
The IP address for ftp.foretune.co.jp is 133.123.1.2.
| 1.10.3. Commercial:
Linguist's Software Adobe (ITC Stone Phonetic [ 255 ] , Times
Phonetic [ 278 ] )
Subject: 1.11. How can I convert my _____ font to _____ format?
Conversion from one bitmapped format to another is not generally
too difficult. Conversion from one scalable format to another is
very difficult. Several commercial software packages claim to
perform these tasks, but none has been favorably reviewed by the
comp.fonts community. ATech's AllType program, in particular, has
had poor reviews [ ed: as of 7/92 ] .
For specific conversions, check the platform specific parts of the
FAQ. Most of the conversions discussed require platform specific
tools.
Here is a summary of the conversions discussed (and the section in
which they appear):
From To Notes
------------------------- ------------------------- -------------
Mac Type1 PostScript PC Type1 PostScript MS-DOS
PC Type1 PostScript Mac Type1 PostScript Mac, commercial
TrueType Type1 PostScript > No answer as
Type1 PostScript TrueType > of 7/92
PC Type1 PostScript TeX PK MS-DOS
TeX PK HP LaserJet bitmaps MS-DOS
HP LaserJet bitmaps TeX PK MS-DOS
TrueType HP LaserJet bitmaps MS-DOS, hack!!
In addition, Adobe ships a copy of Adobe Font Foundry with all of
its fonts which can convert Type 1 fonts into HP LaserJet
softfonts.
Subject: 1.12. Are fonts copyrightable?
This topic is hotly debated at regular intervals on comp.fonts.
Terry Carroll <tjc50@juts.ccc.amdahl.COM> provides the following
analysis of current [ ed: as of 6/92 ] legislation and regulation
| regarding fonts and copyrights in the United States. Terry is
| "Editor in Chief" of Volume 10 of the Santa Clara Computer and
High Technology Law Journal. Members of the comp.fonts community
are encouraged to submit other materials that add clarity to the
issue.
It has been pointed out that this section deals primarily font
copyright issues relevant to the United States and that this
situation is not universal. For example, in many parts of Europe
typeface designs are protectable.
"First, the short answer in the USA: Typefaces are not
copyrightable; bitmapped fonts are not copyrightable, but scalable
fonts are copyrightable. Authorities for these conclusions follow.
Before we get started, let's get some terminology down:
A typeface is a set of letters, numbers, or other symbolic
characters, whose forms are related by repeating design elements
consistently applied in a notational system and are intended to be
embodied in articles whose intrinsic utilitarian function is for
use in composing text or other cognizable combinations of
characters.
A font is the computer file or program that is used to represent or
create the typeface.
Now, on to the legal authorities:
Volume 37 of the Code of Federal Regulations specifies this about
the copyrightability of typefaces:
"The following are examples of works not subject to copyright and
applications for registration of such works cannot be entertained:
. . . typeface as typeface" 37 CFR 202.1(e).
By the way, you won't find that in the most recent (7/1/91) edition
of the CFR; the addition was enacted 2/21/92. It'll be in the next
edition, though. It's described in the 2/21/92 edition of the
Federal Register, page 6201 (57 FR 6201). The change didn't
actually change the law, it just clarified it, and codified
existing Copyright Office policy.
The regulation is in accordance with the House of Representatives
report that accompanied the new copyright law, when it was passed
in 1976:
"The Committee has considered, but chosen to defer, the
possibility of protecting the design of typefaces. A 'typeface' can
be defined as a set of letters, numbers, or other symbolic
characters, whose forms are related by repeating design elements
consistently applied in a notational system and are intended to be
embodied in articles whose intrinsic utilitarian function is for
use in composing text or other cognizable combinations of
characters. The Committee does not regard the design of typeface,
as thus defined, to be a copyrightable 'pictorial, graphic, or
sculptural work' within the meaning of this bill and the
application of the dividing line in section 101." H. R. Rep. No.
94-1476, 94th Congress, 2d Session at 55 (1976), reprinted in 1978
U.S. Cong. and Admin. News 5659, 5668.
It's also in accordance with the one court case I know of that has
considered the matter: Eltra Corp. V. Ringer, 579 F.2d 294, 208
USPQ 1 (1978, C.A. 4, Va.).
The U.S. Copyright Office holds that a bitmapped font is nothing
more than a computerized representation of a typeface, and as such
is not copyrightable:
"The [ September 29, 1988 ] Policy Decision [ published at 53 FR
38110 ] based on the [ October 10, ] 1986 Notice of Inquiry [
published at 51 FR 36410 ] reiterated a number of previous
registration decisions made by the [ Copyright ] Office. First,
under existing law, typeface as such is not registerable. The
Policy Decision then went on to state the Office's position that
'data that merely represents an electronic depiction of a
particular typeface or individual letterform' [ that is, a
bitmapped font ] is also not registerable." 57 FR 6201.
However, scalable fonts are, in the opinion of the Copyright
Office, computer programs, and as such are copyrightable:
"... the Copyright Office is persuaded that creating scalable
typefonts using already-digitized typeface represents a significant
change in the industry since our previous [ September 29, 1988 ]
Policy Decision. We are also persuaded that computer programs
designed for generating typeface in conjunction with low resolution
and other printing devices may involve original computer
instructions entitled protection under the Copyright Act. For
example, the creation of scalable font output programs to produce
harmonious fonts consisting of hundreds of characters typically
involves many decisions in drafting the instructions that drive the
printer. The expression of these decisions is neither limited by
the unprotectable shape of the letters nor functionally mandated.
This expression, assuming it meets the usual standard of
authorship, is thus registerable as a computer program." 57 FR
6202."
Subject: 1.13. Typeface Protection
[ Ed: The following article was written by Charles Bigelow several
years ago. In the past, I have resisted including this in the FAQ
because I do not know the status of any copyrights that may exist
on it. However, I've decided to assume that Mr. Bigelow would like
to see it distributed as widely as possible so it's more-or-less
acceptable to include it here. If anyone knows of a reason why I
shouldn't include it, please let me know. norm 2/93 ]
1.13.1 Preamble
The main question of typeface protection is: Is there anything
there worth protecting? To that the answer must certainly be: Yes.
Typeface designs are a form of artistic and intellectual property.
To understand this better, it is helpful to look at who designs
type, and what the task requires.
1.13.2 Who Makes Type Designs?
Like other artistic forms, type is created by skilled artisans.
They may be called type designers, lettering artists,
punch-cutters, calligraphers, or related terms, depending on the
milieu in which the designer works and the technology used for
making the designs or for producing the type.
Type designer and lettering artist are self-explanatory terms.
Punch- cutter refers to the traditional craft of cutting the master
image of a typographic letter at the actual size on a blank of
steel that is then used to make the matrix from which metal type is
cast. Punch-cutting is an obsolete though not quite extinct craft.
Seeking a link to the tradition, modern makers of digital type
sometimes use the anachronistic term digital punch- cutter.
Calligrapher means literally one who makes beautiful marks. The
particular marks are usually hand-written letters, though
calligraphers may design type, and type designers may do
calligraphy.
It usually takes about seven years of study and practice to become
a competent type designer. This seems to be true whether one has a
Phd. in computer science, an art-school diploma, or no academic
degree. The skill is acquired through study of the visual forms and
practice in making them. As with geometry, there is no royal road.
| The designing of a typeface can require several months to several
years. A family of typefaces of four different styles, say roman,
italic, bold roman, and bold italic, is a major investment of time
and effort. Most type designers work as individuals. A few work in
partnership (Times Roman(R), Helvetica(R), and Lucida(R) were all,
in different ways, the result of design collaboration.) In Japan,
the large character sets required for a typeface containing Kanji,
Katakana, and Hirakana induce designers to work in teams of several
people.
Although comparisons with other media can only be approximate, a
typeface family is an accomplishment on the order of a novel, a
feature film screenplay, a computer language design and
implementation, a major musical composition, a monumental
sculpture, or other artistic or technical endeavors that consume a
year or more of intensive creative effort. These other creative
activities can be protected by copyright or other forms of
intellectual property protection. It is reasonable to protect
typefaces in the same way.
1.13.3 The Problem of Plagiarism
A lack of protection for typeface designs leads to plagiarism,
piracy, and related deplorable activities. They are deplorable
because they harm a broad range of people beyond the original
designers of the type. First, most type plagiarisms are badly done.
The plagiarists do not understand the nature of the designs they
are imitating, are unwiling to spend the necessary time and effort
to do good work, and consequently botch the job. They then try to
fob off their junk on unsuspecting users (authors, editors, and
readers). Without copyright, the original designer cannot require
the reproducer of a type to do a good job of reproduction. Hence,
type quality is degraded by unauthorized copying.
Secondly, without protection, designs may be freely imitated; the
plagiarist robs the original designer of financial compensation for
the work. This discourages creative designers from entering and
working in the field. As the needs of typography change (on-line
documents and laser printing are examples of technical and
conceptual changes) new kinds of typefaces are required. Creative
design in response to such needs cannot flourish without some kind
of encouragement for the creators. In a capitalist society, the
common method is property rights and profit. In a socialist (or, in
the past, royalist) society, the state itself might employ type
artists. France, as a monarchy and as a republic has had occasional
state sponsorship of typeface design over the past 400 years. The
Soviet Union has sponsored the design of new typefaces, not only in
the Cyrillic alphabet, but also in the other exotic scripts used by
various national groups in the Soviet Union.
Those who would justify plagiarism often claim that the type
artists do not usually receive a fair share of royalties anyway,
since they have usually sold their designs to some large,
exploitive corporation. It is true that type designers, like many
artists, are often exploited by their publishers, but plagiarism
exacerbates the problem. Plagiarism deprives the designer of decent
revenues because it diverts profits to those who merely copied the
designs. Plagiarism gives the manufacturer yet another excuse to
reduce the basic royalty or other fee paid for typeface designs;
the theme song is that the market determines the value of the
design and cheap rip-offs debase the market value of a face. For
those interested in the economic effects of piracy, it is clear
that plagiarism of type designs ultimately hurts individual artists
far more than it hurts impersonal corporations.
1.13.4 Kinds of Protection for Type
There are five main forms of protection for typefaces:
* Trademark
* Copyright
* Patent
* Trade Secret
* Ethics
Trademark
A trademark protects the name of a typeface. In the U.S., most
trademarks are registered with the U.S. Patent and Trademark
Office. The R in a circle (R) after a trademark or tradename
indicates U.S. registration. The similarly placed TM indicates that
a trademark is claimed, even if not yet officially registered.
without registration. Owners of trademarks maintain ownership by
use of the trademark and by litigation to prevent infringement or
unauthorized use of the trademark by others.
As a few examples of registered typeface trademarks, there are
Times Roman (U.S. registration 417,439, October 30, 1945 to Eltra
Corporation, now part of Allied); Helvetica (U.S. Registration
825,989, March 21, 1967, also to Eltra-Allied), and Lucida (U.S.
reg. 1,314,574 to Bigelow & Holmes). Most countries offer trademark
registration and protection, and it is common for a typeface name
to be registered in many countries. In some cases the registrant
may be different than the originator. For example, The Times New
Roman (Times Roman) was originally produced by the English Monotype
Corporation. In England and Europe, most typographers consider the
design to belong to Monotype but the trademark was registered by
Linotype (Eltra-Allied) in the U.S., as noted above.
Trademark protection does not protect the design, only the name.
Therefore, a plagiarism of a design is usually christened with a
pseudonym that in some way resembles or suggests the original
trademark, without actually infringing on it. Resemblance without
infringement can be a fine distinction.
Some pseudonyms for Times Roman are: English Times, London, Press
Roman, Tms Rmn. Some for Helvetica are Helios, Geneva, Megaron,
Triumvirate. So far, there seem to be none for Lucida. There are
generic typeface classifications used by typographers and type
historians to discuss styles, trends, and categories of design.
Occasionally these apparently innocuous classification systems are
employed by plagiarists to devise generic pseudonyms, such as Swiss
721 for Helvetica, and Dutch 801 for Times Roman. It is not certain
whether this usage of a generic classification is more for
clarification or for obfuscation. In general, the proper tradename
is a better indicator of identity, quality, and provenience in
typefaces than a generic name. Some people believe that the same is
true for other commodities such as wine, where taste is important.
A trademark usually consists of both a proprietary and a generic
part. For example, in the name Lucida Bold Italic, Lucida is the
proprietary trademark part and Bold Italic is the generic part. The
generic word type is usually understood to be a part of the name,
e.g. Lucida Bold Italic type. Sometimes a firm will append its name
or a trademarked abbreviation of it to the typeface name, to
achieve a greater degree of proprietary content, e.g. B & H Lucida
Bold Italic.
A related matter is the use of the name of a type's designer. A
firm that ethically licenses a typeface will often cite the name of
the designer -- e.g. Stanley Morison (with Victor Lardent) for
Times Roman, Max Miedinger (with Edouard Hoffmann) for Helvetica,
Charles Bigelow and Kris Holmes for Lucida. Although a person's
name is not usually a registered trademark, there are common law
restrictions on its use. The marketing of plagiarized type designs
generally omits the names of the designers.
Although Trademark is an incomplete kind of protection, it is used
effectively (within its limitations) to prevent the theft of type
names. Certain traditional typeface names, usually the surnames of
illustrious designers like Garamond, Caslon, Baskerville, Bodoni,
and others have become generic names in the public domain.
Trademark protection of such names requires the addition of some
proprietary word(s), as with these hypothetical creations, Acme New
Garamond, or Typoluxe Meta-Baskerville.
Copyright
Copyright of typefaces can be divided into two parts: copyright of
the design itself; and copyright of the font in which the design is
implemented. In the U.S., typeface designs are currently not
covered by copyright. This is a result of reluctance by the
copyright office to deal with a complex field; by lobbying against
copyright by certain manufacturers whose profits were based on
typeface plagiarism; and by a reluctance of congress to deal with
the complex issue in the recent revision of the copyright law.
The reluctance of Americans to press for typeface copyright may
have been influenced by a feeling that typeface plagiarism was good
for U.S. high-tech businesses who were inventing new technologies
for printing, and plagiarizing types of foreign origin (Europe and
England). If the situation becomes reversed, and foreign
competition (from Japan, Taiwan, and Korea) threatens to overcome
American technological superiority in the laser printer industry,
then American firms may do an about-face and seek the protection of
typeface copyright to help protect the domestic printer industry.
Such a trend may already be seen in the licensing of typeface
trademarks by Adobe, Hewlett Packard, IBM, Imagen, and Xerox in the
U.S. laser printer industry.
In Germany, where typeface design has always been a significant
part of the cultural heritage, and where typefounding has remained
an important business, there are more than one kind of
copyright-like protections for typefaces. Certain long-standing
industrial design protection laws have been used to protect
typeface designs in litigation over royalties and plagiarisms.
Further, there is a recent law, the so-called Schriftzeichengesetz
enacted in 1981, that specifically protects typeface designs. New
designs are registered, as is done with copyright in most
countries. This law only protects new, original designs. It is
available to non-German designers and firms. Therefore, some type
firms and designers routinely copyright new designs in West
Germany. This gives a degree of protection for products marketed in
Germany. Since multinational corporations may find it cheaper to
license a design for world-wide use rather than deal with a special
case in one country, the German law does encourage licensing on a
broader scale than would initially seem to be the case.
France, like Germany, has ratified an international treaty for
protection of typefaces. This 1973 Vienna treaty will become
international law when four nations ratify it. So far, only France
and West Germany have done so, and thus a design must be protected
separately in each country. Even when the treaty becomes law, it
will take effect only in those countries that have ratified it. The
treaty was principally the work of the late Charles Peignot, a
French typefounder, and John Dreyfus, an English typographer and
typographic scholar. Presently, typefaces may be registered for
protection in France under a 19th century industrial design
protection law.
In the U.S., there continues to be some movement for typeface
design protection. A proposed bill that would protect the designs
of useful articles, like type, has been in committee for several
years. It seems to be going nowhere.
Digital (as opposed to analog) fonts may be protected by copyright
of digital data and of computer programs. It has been established
that computer software is copyrightable. Therefore, software that
embodies a typeface, e.g. a digital font, is presumably also
protected. There is some objection to this kind of copyright, on
the grounds that the ultimate output of the program or the result
of the data (i.e. a typeface design) is not copyrightable. However,
the current belief expressed by the National Commission on New
Technological Use of Copyrighted Works is that software is
copyrightable even if its function is to produce ultimately a
non-copyrightable work. Hence, typefaces produced by Metafont or
PostScript(R), two computer languages which represent fonts as
programs, are presumably copyrightable. Typefaces represented as
bit-map data, run-length codes, spline outlines, and other digital
data formats, may also be copyrightable. Some firms do copyright
digital fonts as digital data.
Note that the designs themselves are still not protected in the
U.S. A plagiarist could print out large sized letters (say, one per
page) on an Apple LaserWriter, using a copyrighted PostScript
digital font, and then redigitize those letters by using a scanner
or a font digitizing program and thus produce a new digital font
without having copied the program or digital data, and thus without
infringing the copyright on the font. The quality of the imitation
font would probably be awful, but it wouldn't violate copyright. Of
course, the plagiarist would need to rename the font to evade
trademark infringement. (As I write these words, I have the guilty
feeling that I have just provided a recipe for type rip-off, but
others have obviously thought of just such a scheme -- John Dvorak
has even proposed something like it in one of his columns.)
Design Patent
The designs of typefaces may be patented in the U.S. under existing
design patent law. Many designs are patented, but type designers
generally don't like the patent process because it is slow,
expensive, and uncertain. Nevertheless, some type do get patented,
and it is a form of potential protection. Note that this is Design
Patent -- the typeface doesn't have to be a gizmo that does
something, it merely has to be unlike any previous typeface. The
drawback here is that most attorneys and judges are not aware that
there are more than two or three typefaces: say, handwriting,
printing, and maybe blackletter. Therefore, litigating against
infringement is an educational as well as a legal process. It is
easy to see that typeface theft is more subtle than knocking over a
liquor store; it may not be illegal and the returns may be greater.
Protections like design patent are available in many other
countries, but there is not an international standard (to my
knowledge) so the situation must be examined on a country by
country basis.
Invention Patent
Methods of rendering typefaces can be patented as mechanical or
electronic inventions. For example, the old hot-metal Linotype
machinery was protected by various patents, as was the IBM
Selectric typewriter and type ball. IBM neglected to trademark the
typeface names like Courier and Prestige, so once the patents had
elapsed, the names gradually fell into the public domain without
IBM doing anything about it (at the time, and for a dozen years or
so, IBM was distracted by a major U.S. anti-trust suit). Most
students of the type protection field believe that those names are
probably unprotectable by now, though IBM could still presumably
make a try for it if sufficiently motivated.
There is currently a noteworthy development regarding a patent for
outline representation of digital type as arcs and vectors, with
special hardware for decoding into rasters. This patent (U.S.
4,029,947, June 14, 1977; reissue 30,679, July 14, 1981) is usually
called the Evans & Caswell patent, after its inventors. It was
originally assigned to Rockwell, and in 1982, Rockwell sued Allied
Linotype for infringement. Allied settled out of court, having paid
an amount rumored to be in the millions. Rockwell sold the patent,
along with other typographic technology, to Information
Internation, Inc. (III) which then sued Compugraphic for
infringement. According to the Seybold Report, a respected
typographic industry journal, Compugraphic recently settled out of
court for 5 million. Although many experts believe the patent to be
invalid because of several prior inventions similar in concept, it
nevertheless seems to be a money-maker in corporate litigation. The
Seybold Report has speculated on which firms III would litigate
against next. Among the candidates suggested by the Seybolds was
Apple for its LaserWriter, which uses outline fonts. Since the
entire laser printer industry and the typesetting industry is
moving toward outline font representation, Apple is certainly not
alone. The Seybolds further speculate on whether the difference
between character-by-character CRT typesetting and raster-scan
laser typesetting and printing would be legally significant in such
as case. Ultimately, some firm will hold out for a court judgement,
and the matter will be decided.
Trade Secret
Given that typeface designs have relatively little copyright
protection in the U.S., they are often handled as trade secrets.
The secret must apply to the digital data or programs only, because
the images themselves are ultimately revealed to the public as
printed forms. It is much more difficult to reconstruct the formula
of Coca-Cola from its taste than it is to reconstruct the design of
Helvetica from its look on the page. The exact bitmap or spline
outline of a digital font is usually not reconstructable from the
printed image, although CRT screen fonts at usual resolutions
(60--120 dots per inch) may be reconstructed by patient counting
and mapping of bits off a screen display. Typeface licenses often
contain stipulations that the digital data will be encrypted and
confidential. Just as a firm will protect the secret of a soft
drink recipe, so a type firm will protect the exact nature of its
digital data.
Ethics
Some typographers are motivated by higher principles than greed,
profit, expediency, and personal interest. Idealists enthused with
concepts of ethical behavior and a vision of typography as a noble
art may find it distasteful to use plagiarized types. Some graphic
designers insist on using typefaces with bona-fide trademarks, both
to ensure that the type will be of high quality, and to encourage
creativity and ethics in the profession. A consequence of
plagiarism that is sometimes overlooked is a general erosion of
ethics in an industry. If it is okay to steal typeface designs,
then it may be okay to purloin other kinds of data, to falsify
one's resume, to misrepresent a product, and so forth. Most
professional design organizations attempt to promote ethical
standards of professional behavior, and personal standards may
extend to avoidance of plagiarisms.
ATypI
The Association Typographique Internationale (ATypI) is an
international organization of type designers, type manufacturers,
and letterform educators. Its purpose is to promote ethical
behavior in the industry, advancement of typographic education,
communication among designers, and other lofty aims. Members of
ATypI agree to abide by a moral code that restricts plagiarism and
other forms of depraved behavior (pertaining to typography). These
are noble goals, but some members (especially corporate members) of
ATypI, confronted with the pressures and opportunities of
commercial reality, nevertheless plagiarize typefaces of fellow
members, the moral code notwithstanding. Since ATypI is a voluntary
organization, there is very little that can be done about most such
plagiarism. Some years back, a world-famous type designer resigned
from the ATypI Board of Directors in protest over the
organization's flaccid attitude toward the plagiarists among its
ranks. He has since agreed to sit on the board again, but criticism
of the organization's inability to prevent type rip-offs by its own
members, not to mention by non-members, continues to be heard.
Moderates in ATypI believe that a few morals are better than none.
It is not clear whether their philosophical stance derives from
Plato, Hobbes, or Rousseau.
Given the general attitude of the public toward copyrighted video
and software, it is doubtful that ethical considerations will
hinder most end- users' attitude to plagiarized type fonts. A
desire to have the fashionable label or trademark may be a greater
motivation toward the use of bona-fide fonts than an ethical
consideration.
Further Reading
The State of the Art in Typeface Design Protection, Edward
Gottschall, Visible Language, Vol. XIX, No. 1, 1985. (A special
issue on The Computer and the Hand in Type Design -- proceedings of
a conference held at Stanford University in August, 1983).
Der Schutz Typographischer Schriftzeichen, by Guenter Kelbel. Carl
Heymans Verlag KG, Cologne, 1984. (A learned account in juridical
German prose, of the significance of the Vienna Treaty of 1973 and
the West German Schriftzeichengesetz of 1981).
Disclaimer
These notes were originally prepared at the request of Brian Reid
for informal distribution. They are based on the author's review of
available literature on the subject of typeface protection, and on
personal experience in registering types for trademark, copyright,
and patent. However, they are not legal advice. If one is
contemplating protecting or plagiarizing a typeface, and seeks
legal opinion, it is advisable to consult an attorney. The term
plagiarize and words derived from it are used here in its
dictionary sense of to take and use as one's own the ideas of
another and does not mean that the practice of typeface plagiarism
is illegal; that is determined by the laws of a particular country.
Charles Bigelow is a professor of digital typography at Stanford
University and a professional designer of original digital
typefaces for electronic printers and computer workstations. Mr.
Bigelow and his partner Kris Holmes designed the Lucida typeface
family which is now widely used on various laser printers.
Subject: 1.14. File Formats
Many different kinds of files are available on the net. These files
contain many different kinds of data for many different
architectures. Frequently, the extension (trailing end) of a
filename gives a good clue as to the format of its contents and the
architecture that it was created on.
In order to save space, most files on the net are compressed in one
way or another. Many compression/decompression programs exist on
multiple architectures.
Multiple files and directories are often combined into a single
'archive' file. Many archive formats perform compression
automatically.
| 1.14.1. File Format Extensions
* .tar
Unix 'tape archive' format. Tar files can contain multiple files
and directories. Unlike most archiving programs, tar files are
held together in a wrapper but are not automatically compressed
by tar.
* .Z
Unix 'compress' format. Compression doesn't form a wrapper around
multiple files, it simply compresses a single file. As a result,
you will frequently see files with the extension .tar.Z. This
implies that the files are compressed tar archives.
* .hqx
Macintosh 'BinHex' format. In order to reliably transfer Mac
files from one architecture to another, they are BinHex encoded.
This is actually an ascii file containing mostly hexadecimal
digits. It is neither a compression program nor an archive
wrapper.
* .sit
Macintosh 'Stuffit' archive.
* .cpt
Macintosh 'Compactor' archive.
Like the .tar.Z format that is common among Unix archives,
Macintosh archives frequently have the extensions .sit.hqx or
.cpt.hqx indicating a BinHex'ed archive.
* .arc
PC 'arc' archive. This is an older standard (in PC terms, at
least) and has gone out of fashion.
* .zip
PC 'zip' archive. This is the most common PC archive format
today.
* .arj
PC 'arj' archive.
* .zoo
PC 'zoo' archive
* .lzh
PC 'lha/lharc' archive.
| 1.14.2. Font Formats
Just as the are many, many archive formats, there are many
different font formats. The characteristics of some of these
formats are discussed below. Once again, the file extension may
help you to determine the font type. (On the Mac, the resource TYPE
field is (probably) a better indicator).
* PostScript Type 1 Fonts:
Postscript Type 1 fonts (Also called ATM (Adobe Type Manager)
fonts, Type 1, and outline fonts) contains information, in
outline form, that allows a postscript printer, or ATM to
generate fonts of any size. Most also contain hinting information
which allows fonts to be rendered more readable at lower
resolutions and small type sizes.
* PostScript Type 3 Fonts:
Postscript type 3 fonts are an old outline font format that is
not compatible with ATM. Most developers have stopped using this
format except in a few special cases, where special type 3
characteristics (pattern fills inside outlines, for example) have
been used.
* TrueType Fonts:
Truetype fonts are a new font format developed by Microsoft with
Apple. The rendering engine for this font is built into system 7
and an init, the Truetype init, is available for system 6
(freeware from Apple). It is also built into MS Windows v3.1.
Like PostScript Type 1 and Type 3 fonts, it is also an outline
font format that allows both the screen, and printers, to scale
fonts to display them in any size.
* Bitmap Fonts:
Bitmap fonts contain bitmaps of fonts in them. This a picture of
the font at a specific size that has been optimized to look good
at that size. It cannot be scaled bigger without making it look
horrendously ugly. On the Macintosh, bitmap fonts also contain
the kerning information for a font and must be installed with
both type 1 and type 3 fonts. Their presence also speeds the
display of commonly used font sizes.
| 1.14.3. Font Format Extensions
* .afm
Adobe Type 1 metric information in 'ascii' format (human
parsable)
* .bco
Bitstream compressed outline
* .bdf
Adobe's Bitmap Distribution Format. This format can be converted
to the platform specific binary files required by the local X
Windows server. This is a bitmap font format distributed in
ASCII.
* .bez
Bezier outline information
* .chr
Borland stroked font file
* .ff, .f3b, .fb
Sun formats. More info when I know more...
* .fot
MS-Windows TrueType format fonts
* .gf
Generic font (the output of TeX's MetaFont program (possibly
others?))
* .fli
Font libraries produced by emTeX fontlib program. Used by emTeX
drivers and newer versions of dvips.
* .mf
TeX MetaFont font file (text file of MetaFont commands)
* .pfa
Adobe Type 1 Postscript font in ASCII format (PC/Unix) I believe
that this format is suitable for directly downloading to your
PostScript printer (someone correct me if I'm wrong ;-)
* .pfb
Adobe Type 1 PostScript font in "binary" format (PC/Unix) Note:
this format is not suitable for downloading directly to your
PostScript printer. There are utilities for conversion between
PFB and PFA (see the utilities section of the FAQ).
* .pfm
Printer font metric information in Windows format
* .pk
TeX packed bitmap font file (also seen as . pk where is a number)
* .pl
TeX 'property list' file (a human readable version of .tfm)
* .ps
Frequently, any PostScript file. With respect to fonts, probably
a Type3 font. This designation is much less 'standard' than the
others. Other non-standard extensions are .pso, .fon, and .psf
(they are a mixture of type 1 and type 3 fonts).
* .pxl
TeX pixel bitmap font file (obsolete, replaced by .pk)
* .sfl
LaserJet bitmapped softfont, landscape orientation
* .sfp
LaserJet bitmapped softfont, portrait orientation
* .sfs
LaserJet scalable softfont
* .tfm
TeX font metric file
* .vf
TeX virtual font which allows building of composite fonts (a
character can be composed of any sequence of movements,
characters (possibly from multiple fonts) rules and TeX specials)
* .vpl
TeX 'property list' (human readable) format of a .vf
Subject: 1.15. Ligatures
A ligature occurs where two or more letterforms are written or
printed as a unit. Generally, ligatures replace characters that
occur next to each other when they share common components.
Ligatures are a subset of a more general class of figures called
"contextual forms." Contextual forms describe the case where the
particular shape of a letter depends on its context (surrounding
letters, whether or not it's at the end of a line, etc.).
One of the most common ligatures is "fi". Since the dot above a
lowercase 'I' interferes with the loop on the lowercase 'F', when
'f' and 'i' are printed next to each other, they are combined into
a single figure with the dot absorbed into the 'f'.
An example of a more general contextual form is the greek lowercase
sigma. When typesetting greek, the selection of which 'sigma' to
use is determined by whether or not the letter occurs at the end of
the word (i.e., the final position in the word).
* Amanda Walker <amanda@visix.com> provides the following
discussion of ligatures:
Ligatures were originally used by medieval scribes to conserve
space and increase writing speed. A 14th century manuscript, for
example, will include hundreds of ligatures (this is also where
"accents" came from). Early typefaces used ligatures in order
to emulate the appearance of hand-lettered manuscripts. As
typesetting became more automated, most of these ligatures fell
out of common use. It is only recently that computer based
typesetting has encouraged people to start using them again
(although 'fine art' printers have used them all along).
Generally, ligatures work best in typefaces which are derived
from calligraphic letterforms. Also useful are contextual forms,
such as swash capitals, terminal characters, and so on.
A good example of a computer typeface with a rich set of
ligatures is Adobe Caslon (including Adobe Caslon Expert). It
includes:
Upper case, lower case, small caps, lining numerals, oldstyle
numerals, vulgar fractions, superior and inferior numerals, swash
italic caps, ornaments, long s, and the following ligatures:
ff fi fl ffi ffl Rp ct st Sh Si Sl SS St (where S=long s)
[ Ed: Another common example is the Computer Modern Roman
typeface that is provided with TeX. this family of fonts include
the ff, fi, fl, ffi, and ffl ligatures which TeX automatically
uses when it finds these letters juxtaposed in the text. ]
While there are a large number number of possible ligatures,
generally only the most common ones are actually provided. In
part, this is because the presence of too many alternate forms
starts reducing legibility. A case in point is Luxeuil Miniscule,
a highly-ligatured medieval document hand which is completely
illegible to the untrained eye (and none too legible to the
trained eye, either :)).
* Don Hosek offers the following insight into ligatures:
Ligatures were used in lead type, originally in imitation of
calligraphic actions (particularly in Greek which retained an
excessive number of ligatures in printed material as late as the
19th century), but as typefaces developed, ligatures were
retained to improve the appearance of certain letter
combinations. In some cases, it was used to allow certain letter
combinations to be more closely spaced (e.g., "To" or "Vo")
and were referred to as "logotypes". In other cases, the
designs of two letters were merged to keep the overall spacing of
words uniform. Ligatures are provided in most contemporary fonts
for exactly this reason.
* Liam Quim makes the following observations:
The term ligature should only be used to describe joined letters
in printing, not letters that overlap in manuscripts.
Many (not all) accents came from the practice of using a tilde or
other mark to represent an omitted letter, so that for example
the Latin word 'Dominus' would be written dns, with a tilde or
bar over the n. This is an abbreviation, not a ligature.
Most ligatures vanished during the 15th and 16th Centuries. It
was simply too much work to use them, and it increased the price
of book production too much.
[ Ed: there is no "complete" set of ligatures. ]
Subject: 1.16. Standard Laser Printer Fonts
* Postscript printers with 17 fonts have:
Courier, Courier-Bold, Courier-BoldOblique, Courier-Oblique,
Helvetica, Helvetica-Bold, Helvetica-BoldOblique,
Helvetica-Narrow, Helvetica-Narrow-Bold,
Helvetica-Narrow-BoldOblique, Helvetica-Narrow-Oblique,
Helvetica-Oblique, Symbol, Times-Bold, Times-BoldItalic,
Times-Italic, Times-Roman
* Postscript printers with 35 fonts have:
All of the above, plus the following:
ZapfChancery-MediumItalic, ZapfDingbats, AvantGarde-Book,
AvantGarde-BookOblique, AvantGarde-Demi, AvantGarde-DemiOblique,
Bookman-Demi, Bookman-DemiItalic, Bookman-Light,
Bookman-LightItalic, NewCenturySchlbk-Bold,
NewCenturySchlbk-BoldItalic, NewCenturySchlbk-Italic,
NewCenturySchlbk-Roman, Palatino-Bold, Palatino-BoldItalic,
Palatino-Italic, Palatino-Roman
* HP LaserJet printers (II, IIP)
Courier 10, Courier 12, LinePrinter 16.66, ...
* HP LaserJet printers (III, IIIP)
All of the above, plus the following:
Scalable Times Roman and Scalable Univers using Compugraphic's
Intellifont hinted font format.
* SPARCPrinters
The basic 35 fonts plus four scaled faces of each of Bembo, Gill
Sans, Rockwell, Lucida, Lucida Bright, Sans and Typewriter,
giving a total of 57 fonts, all in the F3 format.
Subject: 1.17. Glossary
[ I ripped this right out of the manual I wrote for Sfware. If you
have comments, improvements, suggestions, please tell me... ]
baseline
The baseline is an imaginary line upon which each character
rests. Characters that appear next to each other are (usually)
lined up so that their baselines are on the same level. Some
characters extend below the baseline ("g" and "j", for
example) but most rest on it.
bitmap
A bitmap is an array of dots. If you imagine a sheet of graph
paper with some squares colored in, a bitmap is a compact way of
representing to the computer which squares are colored and which
are not.
In a bitmapped font, every character is represented as a pattern
of dots in a bitmap. The dots are so small (300 or more
dots-per-inch, usually) that they are indistinguishable on the
printed page.
character
(1) The smallest component of written language that has semantic
value. Character refers to the abstract idea, rather than a
specific shape (see also glyph), though in code tables some form
of visual representation is essential for the reader's
understanding. (2) The basic unit of encoding for the Unicode
character encoding, 16 bits of information. (3) Synonym for
"code element". (4) The English name for the ideographic
written elements of Chinese origin.
download
Downloading is the process of transferring information from one
device to another. This transferral is called downloading when
the transfer flows from a device of (relatively) more power to
one of (relatively) less power. Sending new fonts to your printer
so that it "learns" how to print characters in that font is
called downloading.
font
A particular collection of characters of a typeface with unique
parameters in the 'Variation vector', a particular instance of
values for orientation, size, posture, weight, etc., values. The
word font or fount is derived from the word foundry, where,
originally, type was cast. It has come to mean the vehicle which
holds the typeface character collection. A font can be metal,
photographic film, or electronic media (cartridge, tape, disk).
glyph
(1) The actual shape (bit pattern, outline) of a character image.
For example, an italic 'a' and a roman 'a' are two different
glyphs representing the same underlying character. In this strict
sense, any two images which differ in shape constitute different
glyphs. In this usage, "glyph" is a synonym for "character
image", or simply "image". (2) A kind of idealized surface
form derived from some combination of underlying characters in
some specific context, rather than an actual character image. In
this broad usage, two images would constitute the same glyph
whenever they have essentially the same topology (as in oblique
'a' and roman 'a'), but different glyphs when one is written with
a hooked top and the other without (the way one prints an 'a' by
hand). In this usage, "glyph" is a synonym for "glyph type,"
where glyph is defined as in sense 1.
hints
When a character is described in outline format the outline has
unlimited resolution. If you make it ten times as big, it is just
as accurate as if it were ten times as small.
However, to be of use, we must transfer the character outline to
a sheet of paper through a device called a raster image processor
(RIP). The RIP builds the image of the character out of lots of
little squares called picture elements (pixels).
The problem is, a pixel has physical size and can be printed only
as either black or white. Look at a sheet of graph paper. Rows
and columns of little squares (think: pixels). Draw a large 'O'
in the middle of the graph paper. Darken in all the squares
touched by the O. Do the darkened squares form a letter that
looks like the O you drew? This is the problem with low
resolution (300 dpi). Which pixels do you turn on and which do
you leave off to most accurately reproduce the character?
All methods of hinting strive to fit (map) the outline of a
character onto the pixel grid and produce the most
pleasing/recognizable character no matter how coarse the grid is.
kerning
(noun): That portion of a letter which extends beyond its width,
that is, the letter shapes that overhang - the projection of a
character beyond its sidebearings.
(verb): To adjust the intercharacter spacing in character groups
(words) to improve their appearance. Some letter combinations
("AV" and "To", for example) appear farther apart than others
because of the shapes of the individual letters.
Many sophisticated word processors move these letter combinations
closer together automatically.
outline font/format
See 'scalable font'
scalable font
A scalable font, unlike a bitmapped font, is defined
mathematically and can be rendered at any requested size (within
reason).
softfont
A softfont is a bitmapped or scalable description of a typeface
or font. They can be downloaded to your printer and used just
like any other printer font. Unlike built-in and cartridge fonts,
softfonts use memory inside your printer. Downloading a lot of
softfonts may reduce the printers ability to construct complex
pages.
symbol set
The symbol set of a font describes the relative positions of
individual characters within the font. Since there can only be
256 characters in most fonts, and there are well over 256
different characters used in professional document preparation,
there needs to be some way to map characters into positions
within the font. The symbol set serves this purpose. It
identifies the "map" used to position characters within the
font.
typeface
The features by which a character's design is recognized, hence
the word face. Within the Latin language group of graphic shapes
are the following forms: Uncial, Blackletter, Serif, Sans Serif,
Scripts, and Decorative. Each form characterizes one or more
designs. Example: Serif form contains four designs called Old
Style, Transitional, Modern, and Slab Serif designs. The typeface
called Bodoni is a Modern design, while Times Roman is a
Transitional design.
Subject: 1.18. Bibliography
Editors note: the following books have been suggested by readers of
comp.fonts. They are listed in no particular order. I have lost the
citations for some of the submissions. If you wrote a review that
appears below and you aren't credited, please let norm know.
I have decided that this is the best section for pointers to other
font resources (specs and other documents, for example). These
appear after the traditional bibliographic entries. As usual I will
happily accept entries for this section. As of 9/92, the only files
listed are the TrueType font information files available from
Microsoft
Bill Ricker contributed the following general notes:
The Watson-Guptill, Godine, and Dover publishers all have many
typography titles. Godine and Dover tend to be excellent; W-G tends
toward 'how-to' books which are good for basics and juried Annuals
of job work.
Hermann Zapf and his Design Philosophy, Society of Typographic
Arts, Chicago, 1987.
On Stone --- The Art and Use of Tyography on the Personal Computer
, Sumner Stone, Bedford Arts, 1991.
Of the Just Shaping of Letters, Albrecht Durer, isbn
0-486-21306-4.
First published in 1525 as part of his theoretical treatise on
applied geomentry, "The Art of Measurment".
Champ Flevry, Geofroy Troy.
First published in 1529 Troy attempts, in this book, to design an
ideal Roman alphabet upon geometrical and aesthetic principles.
The Alphabet & Elements of Lettering, Frederic W. Goudy, isbn
0-486-20792-7. Revised 1942 edition.
This very intresting book looks at the history of letter shapes as
well font design.
The Mac is Not a Typewriter, Robin Williams, Peachpit Press.
A good, clear explanation of what typography is, and how to get it
from your computer. Mac-specific, but full of excellent general
advice. I think there's also a PC version. Available at most
computer bookstores
Rhyme and Reason: A Typographic Novel, Erik Spiekermann, H.
Berthold AG, ISBN 3-9800722-5-8.
Printing Types (2 vols), Daniel Berkely Updike, Dover Press.
Affordable edition of the most readable history of type, lots of
illustrations.
Notes: it has been suggested that the Dover edition was 3 volumes,
paperback, and the Harvard U. P. editions were 2 volumes hardback.
It appears that the Dover edition is out of print. Collectible HUP
editions are not cheap although later HUP editions may be had. Most
libraries have later HUP and Dover editions. If someone knows of a
source, please pass it along.
The Art of Hand Lettering, Helm Wotzkow, Dover Press, reprint from
1952.
Looking Good In Print, Roger C. Parker, Ventana Press, ISBN:
0-940087-32-4.
Well, as a beginner's book, [ it ] isn't bad. I can't say that I
agree with the author's tastes all the time, but he at least gives
some good examples. Also there are some nice _Publish_-style
makeovers. Don Hosek <dhosek@ymir.claremont.edu>
Book Design: A Practical Introduction, Douglas Martin, Van
Nostrand Reinhold, New York: 1989. 206pp.
Along with Jan White's book (see below), this provides a fairly
complete guide to book design. Martin's book is somewhat more
conservative in outlook and also reflects his UK background. Don
Hosek <dhosek@ymir.claremont.edu>
Digital Typography: An Introduction to Type and Composition for
Computer System Design, Richard Rubinstein, Addison-Wesley,
Reading, Massachusetts: 1988. 340pp.
An interesting, technological approach to typography which is worth
reading although not necessarily always worth believing. A not
insubstantial portion of the text is dedicated to representing type
on a CRT display and Rubinstein devotes some time to expressing
characteristics of typography numerically. Don Hosek
<dhosek@ymir.claremont.edu>
Graphic Design for the Electronic Age, Jan V. White,
Watson-Guptill Publications, New York: 1988. 212pp.
A good handbook for document design. In a well-organized approach,
White covers the principles for laying out most of the typographics
features of a technical document. White is a bit overeager to
embrace sans-serif types and in places his layout ideas seem a bit
garish, but it's still a quite worthwhile book. Don Hosek
<dhosek@ymir.claremont.edu>
Xerox Publishing Standards: A Manual of Style and Design,
Watson-Guptill Publications, New York: 1988. 400pp.
Overall, a disappointing book. It is divided into four sections of
widely varying intent: "Publishing Process," "Document
Organization," "Writing and Style" and "Visual Design." None
of them is really adequate for the task and all are highly centered
on the Xerox method for publishing. As a guide to Xerox' process,
it succeeds, but as a manual for general use, it falls far short.
In print. Don Hosek <dhosek@ymir.claremont.edu>
Methods of Book Design (3rd edition), Hugh Williamson, Yale
University Press, New Haven: 1983. 408pp.
It is a bit out-of-date as regards technology, but on issues
relating purely to design it is comprehensive and definitive. Well,
I suppose it could be argued that printing technology influences
design -- e.g. some types look fine in metal but lousy in digital
imagesetting -- and therefore a book that is out-of-date in
technology can't really be "definitive" in matters of design
either. In any event, _Methods_ is more than adequate for a
beginner's needs. My paper-bound copy (ISBN 0-300-03035-5) was $
13.95; cheap at twice the price! Cameron Smith
<cameron@symcom.math.uiuc.edu>
The Thames & Hudson Manual of typography, Rauri McLean, Thames &
Hudson
An excellent book if you start getting more interested in type.
Look for Rauri McLean's other books after this one... Liam R.E.
Quin <lee@sq.com>
Typography and Why it matters, Fernand Baudin.
There is no better introduction than [ it ] . It's not a primer on
subjects such as "what does Avant Garde look like," or "This is
a good font for books." It is a good primer on the things you need
to know before the rest should be considered. He's a lovely writer,
to boot.
[ My copy is at work, so I may have munged the title--look up
Baudin in "Books in Print" and improvise :-) ]
Ari Davidow <ari@netcom.com>
Better Type, Betty Binns
It's definitely not a lightweight beginner's introduction, but I've
found [ it ] to be indispensable. It's a large-format hardcover,
but you can find it remaindered for cheap if you look around. The
book goes into great detail about how factors like line spacing,
line length, point size, and design of typeface (evenness of stroke
weight, x-height, etc.) affect readability. When you've gotten the
basics out of the way and want to learn more about the fine nuances
of type color, this book is an absolute must. David Mandl
<dmandl@bilbo.shearson.com>
Printing Types: An Introduction..., S. Lawson, (revised) 1990
I'd also recommend Alexander S. Lawson's books especially /Printing
Types: An Intro.../ (revised), 1990, which includes electronic
types now. Bill Ricker <wdr@world.std.com>
Twentieth Century Type Designers, Sebastian Carter, 1987.
Discusses adaptaters of old faces to machine caster and film/laser,
as well as new works. Bill Ricker <wdr@world.std.com>
Tally of Types, Stanley Morrison, Cambridge University Press.
A keepsake for CUP on the Monotype fonts he'd acquired for them
when he was Type Advisor to both Brit.Monotype & CUP (Cambridge
University Press, Cambs.UK), which discusses his hindsight on some
of the great revival fonts and some of the better new fonts. Bill
Ricker <wdr@world.std.com>
Chicago Manual of Style, University of Chicago Press, 1982; ISBN
0-226-10390-0.
The chapter on Design and Typography is most directly relevant, but
there are a lot of hints scattered all through the Chicago Manual
on making your words more readable and your pages more attractive.
Stan Brown <brown@ncoast.org>
X Window System Administrator's Guide (O'Reilly X Window System
Guides, volume 8), O'Reilly
It gives advice about setting up fonts, etc. Liam Quin <lee@sq.com>
How Bodoni intended his types to look Bodoni, Giambattista. Fregi e
Majuscole Incise e Fuse de ... Bodoni, Harvard University Library
(repr).
Inexpensive collectible, reproduced as a keepsake by the Houghton
Library at Harvard. [ wdr ]
The Elements of Typographic Style, Robert Bringhurst, Hartley &
Marks 0-88179-033-8 pbk $ 15, Z246.B74 1992 0-88179-110-5 cloth, $
25.
A typography for desktop publishers who want to absorb some style.
Informed by the historical european tradition and the desktop
advertising, tempered by oriental yin-yang and examples. A
page-turner with repeat-read depth.
The only book I've seen that discusses page proportions that admits
there are more than three ways that describes how to find one that
feels good for your page. [ wdr ]
Hermann Zapf on the cover-blurb: "All desktop typographers should
study this book. ... I wish to see this book become the
Typographers' Bible."
Printing It, Clifford Burke, Ballantine, 0-345-02694-2.
Manual for the hobby letterpress printer. [ wdr ]
Twentieth Century Type Designers, Sebastian Carter, Taplinger,
1987.
Discusses the talented adaptators of old faces to machine caster
and film/laser, as well as the designers of new works. Indexed? [
wdr ]
Design with Type, Carl Dair, University of Toronto Press,
0-8020-1426-7.
In print again (or still?); the ISBN above may be stale.
A great introduction to the issues of practicality and taste that
confront the users of type. A prized possession. I only regret that
the book does not include among the excerpts from his Westvaco
pamphlets the Seven Don'ts of Typography. [ wdr ]
Typography 6: The Annual of the Type Directors Club, Susan Davis,
ed., Watson-Guptill, 0-8230-5540-x.
Specimens of Type Faces in the U.S. G.P.O., John J. Deviny,
director., US G.P.O.
Practice of Typography: Plain Printing Types, Theodore Low De
Vinne, Century Co./DeVinne Press.
One of the earlier critical studies, in four volumes of which this
is my personal favorite, and still a classic reference. If one
wants to understand 18th and 19th century typography in context,
this writer lived the transition from eclectic to standard sizes,
and comments with taste. [ wdr ]
An Essay on Typography, Eric Gill, Godine, 0-87923-762-7.
The Alphabet and Elements of Lettering, Frederic W. Goudy, Dorset
Press (Marboro Books), 0-88029-330-6
Lovely. A wonderful way to learn Goudy's taste.
Stanley Morison Displayed, Herbert Jones, Frederick Muller Ltd /
W, 0-584-10352-2.
Lovely. A wonderful way to learn Morrison's taste.
Printing Types: An Introduction..., Alexander S. Lawson et. al.,
Beacon 1971,?Godine? 1990; (2nd Ed includes electronic types now)
"Good introduction to comparisons of typefaces, with a detailed
history and a key family or face of each general category.
Denounces rigid indexes of type faces." [ wdr ]
Anatomy of a Typeface, Alexander Lawson, Godine, 0-87923-333-8,
Z250.L34 1990
Deep description of the authors' favorite exemplar and its
influences and relatives in each type category. It follows, without
explicating, the category system developed in the prior book. [ wdr
]
Types of Typefacs and how to recognize them, J. Ben Lieberman,
Sterling, 1968
"This isn't very good really, but it does give lots of examples of
the main categories." [ Liam ] [ Old bibliographies praised this
one, but I haven't seen it so I can't comment.-- wdr ]
Tally of Types ( & other titles), Stanley Morrison, Cambridge U.
Press.
A keepsake for CUP on the Monotype fonts he'd acquired for them
when he was Type Advisor to both Brit. Monotype & CUP (Cambridge
University Press, Cambs.UK), which discusses his hindsight on some
of the great revival fonts and some of the better new fonts. [ wdr
]
Rookledge's International Type Finder 2nd, Perfect, Christopher
and Gordon Rookledge, Ed Moyer Bell Ltd / Rizzoli, 1-55921-052-4,
Z250.P42 [ 1st Ed was NY: Beil 1983 ]
"Lg. trade pb. Indexed by stylistic & characteristic features.
Shows A-Z, a-z, 0-9 in primary figures, whether lining or ranging.
Particularly distinctive sorts are marked for ease of comparison.
Separate tables collect the distinctive characters for assistance
in identifying a sample." [ wdr ]
English Printers' Ornaments, Henry R. Plomer, Burt Franklin
Paragraphs on Printing, Bruce Rogers, [ Rudge ] Dover,
0-486-23817-2
Digital Typography: An Introduction to Type and Composition for
Computer System Design, Richard Rubinstein, Addison-Wesley,
Reading, Massachusetts: 1988. 340pp.
For people who are disappointed with how the type looks on the
laser, this book explains the subleties of that medium and of the
screen that others miss. This is a study of the Human Factors of
computer typographic systems. [ wdr ]
The Case for Legibility, John Ryder, The Bodley Head,
0-370-30158-7, Z250.A4
The Solotype Catalog of 4,147 Display typefaces, Dan X. Solo,
Dover, 0-486-27169-2, Z250.5.D57S654 19
"Working catalog of a specialty Graphics Arts shop. They use
proprietary optical special effects techniques to get Desktop
Publishing effects, and more, without the laser-printer grain.
Great listing of 19th Century Decorated Types -- probably the
largest collection in the world. Prices to order headlines from
them are NOT cheap however. Their services are for professional or
serious hobby use only. Solo's previous Dover books show some
number of complete alphabets of a general peculiar style; this one
shows small fragments of his entire usable collection, important as
an index. (According to private correspondence, they have more
faces that have not yet been restored to usable condition.) Not
well indexed, but indexed." [ wdr ]
Stop Stealing Sheep & find out how type works, Erik Spiekermann &
E.M. Ginger., Adobe Press, 1993
Introductory, motivational. If you wonder why there are so many
type faces in the world, this is the book for you! [ Liam ] [ The
title refers to the old joke: "A man who would letterspace
lowercase would also steal sheep." [ wdr ] ]
The Art & Craft of Handmade Paper, Vance Studley, Dover,
0-486-26421-1, TS1109.S83 1990
Letters of Credit, Walter Tracey, Godine Press
"I can't recommend this too highly. It's not as introductory as
the Sheep Book, but conveys a feeling of love and respect for the
letter forms, and covers a lot of ground very, very well." [ Liam
]
Printing Types: Their History, Forms & Use, Daniel Berkely Updike,
Harvard University Press, reprint by Dover.
The standard reference. Tour-de-force history of type and
type-styles. A trifle conservative in its biases, but typography is
conservative for good reason: readibility. Check the addenda for
his final words on newer faces. [ wdr ]
1. I believe the Dover edition to be 3 vols Pbk; both the
collectable and later Harvard U.P. editions were two vols hbk.
2. I am informed by my bookseller & Books In Print that the Dover
edition is out of print. *sigh* If a source be known, let me know.
Collectible HUP eds are not cheap, although later HUP eds may be
had. Most libararies have later HUP or Dover eds. [ wdr ]
Modern Encyclopedia of Typefaces, 1960-90, Lawrence W. Wallis, Van
Nostrand Reinhold, 0-442-30809-4, Z250.W238 1990
"Gives examples of most typefaces, almost all digital, designed &
distributed in the last 30 years. Cross indexed by foundry and
designer, and sources and looks-likes. Some historical bits. Shows
full a-z,A-Z,0-9, a few points (punctuation); and 0-9 again if both
lining and oldstyle supplied. Only complaint is that it omits small
caps even from what few fonts have 'em and the accented characters,
of which most have some but too few. List $ 25." [ wdr ]
About Alphabets: Some Marginal Notes on Type Design, Hermann Zapf,
MIT Press, 0-262-74003-6
Hermann Zapf & His Design Philosophy, Hermann Zapf, Society of
Typographic Arts, Chicago
"Anything about, by, or vaguely connected with Hermann Zapf is
probably worth reading several times :-)" [ Liam ]
Manuale Typographicum, Hermann Zapf, MIT Press, 0-262-74004-4
There are two books of this title (portrait and landscape); this is
the only mass-market edition of either. Both are Zapf's selections
of interesting typographical quotations in his inimitable display
typography. [ wdr ]
Microsoft Windows 3.1 Programmer's Reference, Microsoft Press.
Documents the Panose system of typeface classification. Probably
contains a general discussion of TrueType under MS Windows 3.1.
Introduction to Typography, 3rd ed, Faber, London, 1962.
A very good introduction for any beginner. Also discusses things
like illustrations and cover design, although not in great detail.
Simon was a purist, as the editor of the 3rd edition remarks. He
did not mention phototypesetting in his original edition, but some
observations on its uses and abuses have since been added. Anders
Thulin <ath@linkoping.trab.se>
Subject: 1.19. (En)Coding Standards
Unicode Consortium; The Unicode Standard, volumes 1 and 2,
Worldwide Character Encoding, Addison-Wesley Publishing Co.
Unicode consortium e-mail address is: <
unicode-inc@hq.m4.metaphor.com>
To obtain more information on Unicode or to order their printed
material and/or diskettes
Steven A. Greenfield
Unicode Office Manager
1965 Charleston Road
Mountain View, CA 94043
Tel. 415-966-4189
Fax. 415-966-1637
Xerox Character Code Standard, Xerox Corp., Xerox Systems
Institute, 475 Oakmead Parkway, Sunnyvale, CA 94086
Subject: 1.20. TrueType
George Moore <georgem@microsoft.com> announces the following
information regarding TrueType fonts:
"I am pleased to announce that there is now one central location
for all official Microsoft TrueType information available on the
Internet. The 9 files listed below are available for anonymous ftp
access on ftp.uu.net (137.39.1.9) in the
/vendor/microsoft/TrueType-Info directory. The most important of
those files is the TrueType Font Files Specifications, a 400 page
book which describes in excruciating detail how to build a TrueType
font. Other information is also available in the same directory and
other files will be added from time to time.
For those people who do not have ftp access to the Internet can
find the same information available for downloading on Compuserve
in the Microsoft developer relations forum (GO MSDR) in the
TrueType library.
Please be aware that the TrueType specifications is a copyrighted
work of Microsoft and Apple and can not be resold for profit.
TrueType developer information files on ftp.uu.net:
1. ttspec1.zip, ttspec2.zip, and ttspec3.zip
The TrueType Specification:
These three compressed files contain the "TrueType Font Files
Specifications", a 400 page book complete with illustrations
which details how to construct a TrueType font from scratch (or
build a tool to do so), the TrueType programming language, and
the complete format of each sub-table contained in the .TTF file.
These documents are stored in Word for Windows 2.0 format and
require Windows 3.1 for printing. See the "readme.doc" (in
ttspec1.zip) for printing instructions. Requires 2.5MB of disk
space after uncompression.
This manual is a superset of the similar specifications from
Apple and has added information specific to Windows that is not
present in the Apple version.
2. ttfdump.zip
An MS-DOS executable which will dump the contents of a TrueType
font out in a human-readable fashion. It allows you to dump the
entire font, or just specific sub-tables. This tool, combined
with the specifications above, allows very effective debugging or
exploration of any TrueType font. For example, to dump the
contents of the 'cmap' (character code to glyph index mapping)
table, enter:
ttfdump fontname.ttf -tcmap -nx
Entering "ttfdump" with no options will give you a help
message.
3. ttfname.zip
Example C source code on how to parse the contents of a TrueType
font. Although this particular example will open up the file and
locate the font name contained within the 'name' table, it could
be readily adapted to parse any other structure in the file. This
compressed zip file also contains many useful include files which
have pre-defined structures set up for the internal tables of a
TrueType font file. This code may be useful for developers who
wish to parse the TrueType data stream returned by the
GetFontData() API in Windows 3.1.
4. tt-win.zip
A 31 page Word for Windows 2.0 document which is targeted for the
Windows developer who is interested in learning about some of the
capabilities TrueType adds to Windows 3.1. Contains many
illustrations.
5. embeddin.zip
A text file which describes all of the information necessary for
a Windows developer to add TrueType font embedding capabilities
to their application. Font embedding allows the application to
bundle the TrueType fonts that were used in that document and
transport it to another platform where the document can be viewed
or printed correctly.
6. tt-talk.zip
The TrueType Technical Talks 1 and 2. These text files describe
some of the things that are happening with TrueType behind the
scenes in Windows 3.1. The first document walks the reader
through all of the steps that occur from when the user first
presses the key on the keyboard until that character appears on
the screen (scaling, hinting, drop out control, caching and
blitting). The second talk describes one of the unique features
of TrueType called non-linear scaling which allows the font
vendor to overcome some of the physical limitations of low
resolution output devices.
7. lucida.zip
This text file contains useful typographic information on the 22
Lucida fonts which are contained in the Microsoft TrueType Font
Pack for Windows. It gives pointers on line-layout, mixing and
matching fonts in the family and a little history on each
typeface. This information was written by the font's designers,
Chuck Bigelow & Kris Holmes."
Subject: 1.21. Rules of Thumb
It is difficult to set out guidelines for font usage, because
almost any rule can be brilliantly broken under the right
circumstances.
* General guidelines:
* Never lose track of the kind of work you're doing. An effect
that would ruin a newsletter might be just the thing for a
record cover. Know when you can safely sacrifice legibility
for artistic effect.
* Keep in mind the final reproduction process you'll be using.
Some effects (like reversed type, white on black) can be hard
to read off an ordinary 300-dpi laser, but will work if finals
are done on a high-resolution printer, such as a Linotronic.
Will the pages be photocopied? Offset? Onto rough paper, shiny
paper? All these factors can and should influence your choice
of fonts and how you use them.
* Running some comparative tests is a good idea. Better to blow
off a few sheets of laser paper now than to see a problem
after thousands of copies are made.
* No one can teach you font aesthetics; it must be learned by
example. Look at beautiful magazines, posters, books with wide
eyes, so that you can see how it's done. Examine ugly printed
matter critically and consider why it's hard to read.
* Good rules of thumb:
* If you need a condensed font, find one that was designed that
way, rather than scaling an existing font down to a
percentage. Any scaling distorts a font's design; excessive
scaling interferes with legibility - this goes for widening as
well as narrowing. Extended faces do exist, although they
aren't as common as condensed ones.
* Many people feel that bold or italic type, or type in ALL
CAPS, is more legible: "This is the most important part of
the newsletter, let's put it in bold." In fact, legibility
studies show that such type is actually harder to read in
bulk. Keep the text in a normal style and weight, and find
another way to emphasize it - box it, illustrate it, run it in
color, position it focally.
* Too much reverse type - white on black - is hard on the eyes.
It can be a nice effect if used sparingly. Don't reverse a
serif font, though - its details will tend to fill in. Stick
to reversing bold sans-serifs, and remember to space them out
a bit more than usual.
* It is always safest to use a plain serif font for large
amounts of text. Because Times is widely used, it doesn't mean
it should be avoided. Fonts like Palatino, Times, Century Old
Style are deservedly popular because people can read a lot of
text set in such faces without strain.
Don't expect anyone to read extensive text set in a condensed
font.
* As point size gets bigger, track tighter, and (if the software
allows) reduce the spacebands as well. A spaceband in a
headline size (anything over 14 point) should be about as wide
as a letter "i".
* If you only have a few large headlines, hand-kerning the type,
pair by pair, can make the end result much more pleasing.
Besides, working with fonts this closely makes them familiar.
* Column width and justification are major elements in design.
The narrower the column, the smaller the type can be; wide
rows of small type are very hard to read. Often it's a better
idea to set narrow columns flush left rather than justified,
otherwise large gaps can fall where hyphenation isn't
possible.
* Use curly quotes.
* Don't put two spaces at the end of a line (. ) instead of (. )
when using a proportionally spaced font.
Subject: 1.22. Acknowledgements
The moderators would like to express their gratitude to the whole
community for providing insightful answers to innumerable
questions. In particular, the following people (listed
alphabetically) have contributed directly to this FAQ (apologies,
in advance if anyone has been forgotten):
Masumi Abe <abe@adobe.com>
Glenn Adams <glenn@metis.COM>
Borris Balzer <borris@boba.rhein-main.DE>
Charles A. Bigelow <bigelow@cs.stanford.edu>
Tim Bradshaw <tim.bradshaw@edinburgh.ac.UK>
Arlen Britton <arlenb@mcad.edu>
Stan Brown <brown@ncoast.org>
Scott Brumage <brumage@mailer.acns.fsu.edu>
| Lee Cambell <elwin@media.mit.edu>
Terry Carroll <tjc50@juts.ccc.amdahl.com>
Ari Davidow <ari@netcom.com>
Pat Farrell <pfarrell@cs.gmu.edu>
| Yossi Gil <yogi@techunix.technion.ac.IL>
Timothy Golobic <an314@cleveland.Freenet.EDU>
Kesh Govinder <govinder@ph.und.ac.za>
Rick Heli <Rick.Heli@Eng.Sun.COM>
Gary <Gocek.Henr801C@Xerox.COM>
Berthold K.P. Horn <bkph@ai.mit.edu>
Don Hosek <dhosek@ymir.claremont.edu>
Bharathi Jagadeesh <bjag@nwu.edu>
Chang Jin-woong <jwjang@krissol.kriss.re.kr>
Jon <jgm@cs.brown.EDU>
??? <vkautto@snakemail.hut.FI>
??? <robertk@lotatg.lotus.COM>
David Mandl <dmandl@bilbo.shearson.com>
Kate McDonnell <C_MCDON@pavo.concordia.ca>
George Moore <georgem@microsoft.com>
Robert Morris <ram@claude.cs.umb.EDU>
Stephen Peters <speters@us.oracle.COM>
Bill Phillips <wfp@world.std.com>
Jim Reese <Jim.Rees@umich.edu>
Bill Ricker <wdr@world.std.com>
Liam Quin <lee@sq.com>
Henry Schneiker <?>
Bill Shirley <bshirley@gleap.jpunix.COM>
Cameron Smith <cameron@symcom.math.uiuc.edu>
| Werenfried Spit <SPIT@vm.ci.uv.ES>
Anthony Starks <ajs@merck.com>
Ike Stoddard <stoddard@draper.com>
Anders Thulin <ath@linkoping.trab.se>
Erik-Jan Vens <E.J.Vens@icce.rug.nl>
Amanda Walker <amanda@visix.com>
Subject: 1.23. A Brief Introduction to Typography
Space, time, and bandwidth are too limiting to provide a complete
introduction to typography in this space. I'd be very willing to
make one available for anonymous ftp, if you want to write one, but
I'm not going to write it--I have neither the time nor the
expertise. However, the following description of Times, Helvetica,
and Courier will suffice for a start. For more information, several
books on typography are listed in the bibliography.
| 1.23.1. Comments by Laurence Penney:
Laurence Penney <L.O.R.Penney@cm.cf.ac.uk> offers the following
description of Times, Helvetica, and Courier:
Times is a typeface designed in the 1930s for the Times newspaper
in London and is now used widely in books, magazines and DTP. Its
design is based on the typographical principles evolved since Roman
times (upper case) and the 16th century (lower case). It is called
a TRANSITIONAL typeface, after the typefaces of the 17th century
which it resembles. Like all typefaces designed for typesetting
large quantities of text, it is proportionally spaced: the i takes
about a third the width of an M. Personally I don't like Times too
much and prefer the more elegant Garamond and Baskerville, but
these will probably cost you money... Note: The Transitionals came
after the Old Styles (like Garamond) and before the Moderns (like
Bodoni).
Helvetica is an example of a SANS-SERIF typeface. These first
appeared in the late 19th century in Germany and flourished in the
1920s and 30s, when they were regarded as the future of typography.
It's more a geometric design than the humanist design of Gill Sans,
but less geometric than Avant Garde and Futura. To my mind it lacks
elegance, and Adrian Frutiger's Univers shows how this kind of
typeface should be done. (Just compare the B, R, Q, a, g of Univers
and Helvetica to see what I mean -- and don't you just love
Univers's superbly interpreted ampersand ?!) Helvetica is one of
the few fonts that is improved by its BOLD version.
Another interesting approach to sans-serif is Optima, by Hermann
Zapf, which keeps the stroke-weight variations which sans-serifs
usually reject. Use sans-serif fonts for the same applications as
Times, above, but where you're less concerned with elegance, and
more with a functional appearance - they're generally reckoned to
be slightly less legible than good serifed fonts. They're also very
suitable for display work.
Courier is a typeface derived from typewriter styles. It should
ONLY be used when you want to simulate this effect (e.g. when
writing letters Courier usually appears "friendlier" than Times).
Like all typewriter fonts, it is MONOSPACED (characters all have
the same width) and is thus suitable for typesetting computer
programs. However there are nicer looking monospace fonts than
Courier (which has oversize serifs), that still remain distinct
from the text fonts like Times and Helvetica. A good one is OCR-B,
designed by Frutiger. Note that monospaced fonts are less
economical on space than proportional fonts.
[ ed: Following the original posting of this message, Laurence
Penny and Jason Kim <kim3@husc.harvard.edu> discussed the issue
privately. The following summary of their discussion may serve to
clarify some of the more subtle points. My thanks to Laurence and
Jason for allowing me to include this in the FAQ.
------------------------------
LP-1> The Transitionals came after the Old Styles (like Garamond)
and before the Moderns (like Bodoni).
JK> Not necessarily true! Ideologically, yes, but not
chronologically. I believe, for example, that Bodoni predates New
Century Schoolbook or some such typeface.
LP-2> What I meant by "X came after Y" was "the first examples
of X appeared after the first examples of Y" -- it's called
precis. Some people still make steam trains, but you can still say
"Steam engines came before diesels." This is chronological, not
ideological in my
------------------------------
LP-1> Another interesting approach to sans-serif is Optima, by
Hermann Zapf, which keeps the stroke-weight variations which
sans-serifs usually reject. Use sans-serif fonts for the same
applications as Times, above, but where you're less concerned with
elegance, and more with a functional appearance - they're generally
reckoned to be slightly less legible than good seriffed fonts.
They're also very suitable for display work.
JK> Slightly? I have several textbooks typeset by utter fools and
they are a pain in the ass (and eyes) to read! Please don't
encourage anyone to use Optima (or any sans serif fonts for that
matter) "for the same applications as Times," which, need I
remind you, was designed for *newspaper* work!!
LP-2> OK, maybe I was a little over-generous to Univers, Helvetica,
etc., but I think variation is extremely important in typography.
Have you ever read the British magazine "CAR" ? That uses
Helvetica light (I think) in a very legible and attractive way,
IMO. I agree, though, Optima is crappy for text, but it's a very
valuable experiment and looks beautiful when printed in high
quality for titling, etc. And yes, *books* in Helvtica are
generally
------------------------------
JK> Serifs have been scientifically shown to be a *lot* easier on
the reader, as they guide the eyes along the lines.
LP-2> In all tests I've seen the serifs have always won the day,
but only with certain seriffed fonts, and fonts like Univers aren't
far behind. The "tracking" advantage for serif fonts is reduced
when you're talking about narrow newspaper/magazine
------------------------------
JK> You wrote a pretty short and partial history of type. Why
ignore the roots of type (blackletter) as well as the climax
(moderns--give an explanation) and subsequent 'post-modern'
revivals?
LP-2> I was just talking about the place the 3 most common DTP
types hold in the history of typography, and a few associated
pitfalls. It wasn't meant as a "history of typography" at all.
Please feel free to provide such a history yourself.
JK> I think any short list of specific faces is incomplete without
mention of Palatino, the most popular Old Style revival in
existence.
LP-2> Do you? To my mind Palatino is grossly overused. You must
agree it looks bad for dense text. It isn't a proper "oldstyle
revival" at all, more of a "calligraphic interpretation" of it.
Zapf designed it as a display face, and wasn't too concerned about
lining up the serifs (check out the "t"). And it just *has* to be
printed on 1200dpi devices (at least) to look good in small sizes.
OK then, maybe a short list is incomplete without a caution NOT to
use Palatino...
JK> Also, if this is meant to be a "quick history/user guide for
those fairly new to using fonts on desktop publishing systems,"
then I would recommend more directions about the proper uses of
certain faces (e.g., Goudy for shaped text, Peignot for display
*only*) and styles (e.g., italics for editorial comments, all-caps
for basically nothing).
LP-2> Okay, okay. I was only sharing a few ideas, not trying to
write a book. Surely you agree that the 3 typefaces I chose are by
far the most commonly used and abused these days? I don't think a
discussion of Goudy or Peignot fits in very well here, unless we're
hoping to make a very wide-ranging FAQL. Regarding styles: first,
italics are used principally for *emphasis* (rather than bold in
running text); second, all good books have a few small caps here
and there, don't they? - all mine do...
JK> Sorry if I come across as critical. I think the idea of making
a FAQL is a good one, as is your effort. We just have to make sure
it doesn't give any newbies the wrong impressions and further
perpetuate the typographical morass we're facing today.
LP-2> Sorry if I come across as defensive, but I stand by what I
said and object to the suggestion that I am "perpetuating the
typographical morass". (I don't know if you really intended this -
apologies if you didn't.)
| 1.23.2. Comments by Don Hosek:
Don Hosek offers the following additional notes:
The "Times" in most printers is actually a newer version of the
font than Monotype's "Times New Roman" which it is originally
based on. Walter Tracy's _Letters of Credit_ gives an excellent
history of the face which was based on Plantin and in the original
cutting has metrics matching the original face almost exactly.
Another interesting note about the face is that it is almost a
completely different design in the bold: this is due to the fact
that old-styles are difficult to design as a bold. Incidentally,
the classification of Times as a transitional is not firm. It
likely is placed there by some type taxonomists (most notably
Alexander Lawson) because of the bold and a few minor features.
Others, myself included, think of it as a old style. The typeface
listed in the Adobe catalog as Times Europa was a new face
commissioned in 1974 to replace the old Times (whose 50th birthday
was this past October 3rd).
Hermann Zapf is not particularly pleased with any of the
phototypesetting versions of Optima. As a lead face, Optima is very
beautiful. His typeface "World", used in the World Book
Encyclopedia is one recutting for photocomp which improves the font
somewhat. He is on record as saying that if he had been asked, he
would have designed a new font for the technology.
Subject: 1.24. Pronounciation of Font Names
Below each of the following font names, a suggested English
pronounciation is given. This information was collected from a
(relatively) long discussion on comp.fonts. If you disagree, or
have other suggestions, please let me know.
1.24.1 Arnold Boecklin
"Ar" as in car, "nold" as in "old" with an "n" on the
front. "Boeck" is tricker. The "oe" is actually an umlaut "o"
in German, and the closest sound to most English speakers is an
"er". So try "Berklin" if you want to come close to the
original. Otherwise, just say "Boklin", with a long o, like in
"boat".
1.24.2 Benguiat
Ben-Gat. This according to an ITC brochure.
1.24.3 Courier
I would pronounce Courier not like Jim Courier, but the French way:
Ku-rie, where "Ku" is pronounced like "coo", only short, and
"rie" is pronounced "ree-eh".
1.24.4 Didot
Stressed at the last syllable. "Dee-DOOH" (not nasal).
1.24.5 Fette Fraktur
"Fet" as in "get" with a "te" that rhymes with "way".
"Frak" rhymes with "mock", and "tur" with "tour".
1.24.6 Fenice
Feh-nee'-chey
1.24.7 Garamond
"Gara-": Use a french "r" instead of an english one. Both
"a"s are pronounced like the "u" in the word "up". "-mond":
the last syllable is stressed, and you don't pronounce the "n"
and "d", but the whole "ond" is a nasal "o". Hold your nose
closed and say "Ooh", then you get the right sound. The "ant"
in "Avant-Garde" is very similar to this sound, it is a nasal
situated between "a" and "o".
1.24.8 Helvetica
Hell-veh'-ti-ka
1.24.9 Koch Roman
Pronounced like scottish 'Loch', but with K instead of L.
1.24.10 LaTeX
Lamport lists lah'-tech, lah-tech', lay'-tech and lay'-tecks as
valid on p.4. Last I talked to him he'd settled into lay'-tech
which has always been my pronunciation as well. Somewhere, I heard
that LL does explicitly rule out L.A.-tech, but he's from northern
California which explains a lot.
1.24.11 Mos Eisley
moss eyes-lee
1.24.12 Novarese
No-vahr-ay'-zay
1.24.13 Palatino
pa-la-TEEN-oh
1.24.14 Peignot
There's some contention here, suggested pronouncations:
pay-nyoh'
"P" like "P" in 'Post", "ei" like "a" in "fan", "gn"
like "n" in "noon" plus "y" in "yes", "ot" -- long,
closed "o" (I don't know English examples), stressed.
"P" like "P" in 'Post", "ei" like "a" in "many", "gn"
like "n" in "noon" plus "y" in "yes", "ot" -- long,
closed "o" (I don't know English examples), stressed.
1.24.15 Sabon
Sah-bon'
1.24.16 TeX
Rhymes with Blech, (as in "Blech, that tasted awfull!")
1.24.17 Veljovic
Vel'-yo-vitch
1.24.18 Zapf
Like "tsapf". The "a" is pronounced like a short version of the
well known tongue-depresser vowel "aaahhh". Perhaps a better
English analogy would be the "o" in "hop" or "hops".
Subject: 1.25. What does 'lorem ipsum dolor' mean?
'Lorem ipsum dolor' is the first part of a nonsense paragraph
sometimes used to demonstrate a font. It has been well established
that if you write anything as a sample, people will spend more time
reading the copy than looking at the font. The "gibberish" below
is sufficiently like ordinary text to demonstrate a font but
doesn't distract the reader. Hopefully.
Lorem ipsum dolor sit amet, consectetaur adipisicing elit, sed do
eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim
ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut
aliquip ex ea commodo consequat. Duis aute irure dolor in
reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla
pariatur. Excepteur sint occaecat cupidatat non proident, sunt in
culpa qui officia deserunt mollit anim id est laborum Et harumd und
lookum like Greek to me, dereud facilis est er expedit distinct.
Nam liber te conscient to factor tum poen legum odioque civiuda. Et
tam neque pecun modut est neque nonor et imper ned libidig met,
consectetur adipiscing elit, sed ut labore et dolore magna aliquam
makes one wonder who would ever read this stuff? Bis nostrud
exercitation ullam mmodo consequet. Duis aute in voluptate velit
esse cillum dolore eu fugiat nulla pariatur. At vver eos et accusam
dignissum qui blandit est praesent luptatum delenit aigue excepteur
sint occae. Et harumd dereud facilis est er expedit distinct. Nam
libe soluta nobis eligent optio est congue nihil impedit doming id
Lorem ipsum dolor sit amet, consectetur adipiscing elit, set
eiusmod tempor incidunt et labore et dolore magna aliquam. Ut enim
ad minim veniam, quis nostrud exerc. Irure dolor in reprehend
incididunt ut labore et dolore magna aliqua. Ut enim ad minim
veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip
ex ea commodo consequat. Duis aute irure dolor in reprehenderit in
voluptate velit esse molestaie cillum. Tia non ob ea soluad
incommod quae egen ium improb fugiend. Officia deserunt mollit anim
id est laborum Et harumd dereud facilis est er expedit distinct.
Nam liber te conscient to factor tum poen legum odioque civiuda et
tam. Neque pecun modut est neque nonor et imper ned libidig met,
consectetur adipiscing elit, sed ut labore et dolore magna aliquam
is nostrud exercitation ullam mmodo consequet. Duis aute in
voluptate velit esse cillum dolore eu fugiat nulla pariatur. At
vver eos et accusam dignissum qui blandit est praesent. Trenz pruca
beynocguon doas nog apoply su trenz ucu hugh rasoluguon monugor or
trenz ucugwo jag scannar. Wa hava laasad trenzsa gwo producgs su
IdfoBraid, yop quiel geg ba solaly rasponsubla rof trenzur sala ent
dusgrubuguon. Offoctivo immoriatoly, hawrgasi pwicos asi
sirucor.Thas sirutciun applios tyu thuso itoms ghuso pwicos gosi
sirucor in mixent gosi sirucor ic mixent ples cak ontisi sowios uf
Zerm hawr rwivos. Unte af phen neige pheings atoot Prexs eis phat
eit sakem eit vory gast te Plok peish ba useing phen roxas. Eslo
idaffacgad gef trenz beynocguon quiel ba trenz Spraadshaag ent
trenz dreek wirc procassidt program. Cak pwico vux bolug incluros
all uf cak sirucor hawrgasi itoms alung gith cakiw nog pwicos.
Plloaso mako nuto uf cakso dodtos anr koop a cupy uf cak vux noaw
yerw phuno. Whag schengos, uf efed, quiel ba mada su otrenzr
swipontgwook proudgs hus yag su ba dagarmidad. Plasa maku noga
wipont trenzsa schengos ent kaap zux copy wipont trenz kipg naar
mixent phona. Cak pwico siructiun ruos nust apoply tyu cak UCU
sisulutiun munityuw uw cak UCU-TGU jot scannow. Trens roxas eis ti
Plokeing quert loppe eis yop prexs. Piy opher hawers, eit yaggles
orn ti sumbloat alohe plok. Su havo loasor cakso tgu pwuructs tyu
InfuBwain, ghu gill nug bo suloly sispunsiblo fuw cakiw salo anr
ristwibutiun. Hei muk neme eis loppe. Treas em wankeing ont sime
ploked peish rof phen sumbloat syug si phat phey gavet peish ta
paat ein pheeir sumbloats. Aslu unaffoctor gef cak siructiun gill
bo cak spiarshoot anet cak GurGanglo gur pwucossing pwutwam. Ghat
dodtos, ig pany, gill bo maro tyu ucakw suftgasi pwuructs hod yot
tyubo rotowminor. Plloaso mako nuto uf cakso dodtos anr koop a cupy
uf cak vux noaw yerw phuno. Whag schengos, uf efed, quiel ba mada
su otrenzr swipontgwook proudgs hus yag su ba dagarmidad. Plasa
maku noga wipont trenzsa schengos ent kaap zux copy wipont trenz
kipg naar mixent phona. Cak pwico siructiun ruos nust apoply tyu
cak UCU sisulutiun munityuw uw cak UCU-TGU jot scannow. Trens roxas
eis ti Plokeing quert loppe eis yop prexs. Piy opher hawers, eit
yaggles orn ti sumbloat alohe plok. Su havo loasor cakso tgu
pwuructs tyu.
[ This version was found on CompuServe. It differs from other
versions I have seen in print, increasingly so as you go along. It
almost looks computer-generated, doesn't it? ]
Subject: Chapter 2
Macintosh Information
Subject: 2.1. Font formats
Postscript Type 1 fonts can be installed on the Macintosh only by
using accompanying bitmapped fonts.
Postscript Type 3 fonts are installed on the Macintosh in the same
way that Type 1 fonts are.
Truetype fonts: no bitmapped font is necessary with this type,
though commonly used sizes are often supplied.
Bitmap fonts: on the Macintosh, bitmap fonts also contain the
kerning information for a font and must be installed with both type
1 and type 3 fonts. Their presence also speeds the display of
commonly used font sizes.
Subject: 2.2. Frequently requested fonts
Many fonts are available at various archives. The king of Macintosh
font archives is mac.archive.umich.edu. On mac.archive.umich.edu,
the fonts are located in the following folders:
/mac/system.extensions/font/type1
/mac/system.extensions/font/type3
/mac/system.extensions/font/truetype
The following fonts are in Type 1 format for the Macintosh. Some
are also available in TrueType format.
* Tamil
Paladam, T. Govindram
* Hebrew
ShalomScript, ShalomOldStyle, ShalomStick, Jonathan Brecher
* Japanese
Shorai (Hirigana, with application)
* Star Trek
StarTrekClassic, Star TrekClassicMovies, StarTrekTNGCrille,
StarTrekTNG Titles, TNG monitors, StarFleet, Klinzai (Klingon
font)
* Command-key symbol
Chicago (TrueType or bitmap, key: Ctrl-Q), Chicago Symbols
(Type3, key: 1), EncycloFont (Type3, key: d)
* Astrologic/Astronomic symbols
Hermetica (Type1), InternationalSymbols (Type 3, Mars and Venus
only), MortBats (Type3), Zodiac (bitmap)
* IBM OEM Line Drawing Characters
Try Adobe PrestigeElite or Adobe LetterGothic. They have all the
characters you want, but the 'line draw' characters are unencoded
--- you will need tools to reencode the outline font itself and
make a new PFM metric files.
Or try IBMExtended from Impramatur Systems in Cambridge, Mass. It
already is encoded using IBM OEM encoding (some DOS code page).
The IBM version of Courier distributed freely under the X11
Consortium also contains the appropriate characters. It is
distributed in PC format, however. Again, the font will have to
be reencoded for Windows. Appropriate AFM files for this font can
be obtained from: ibis.cs.umass.edu:/pub/norm/comp.fonts. The
file is called IBM-Courier-PC8-SymbolSet-AFMs.zip.
Many of these mac fonts are available in files that are either
entitled xxxx.sit or xxxx.cpt. xxxx.sit files are Stuffit
archives. xxxx.cpt files are Compact Pro archives. StuffitLite
(shareware 25) and Compact Pro (shareware 25) are available at the
standard ftp sites. Uncompressors for these programs (free) are
also available at the archive sites. Check the
utilities/compression utilities folders.
Subject: 2.3. Commercial font sources
Commercial fonts can be obtained from a number of different
companies, including the large font houses: Adobe, Font Haus, Font
Company, Bitstream, and Monotype. At these companies, fonts cost
about $ 40 for a single face, and must be purchased in packages.
Adobe, Bitstream, and Monotype also sell pre-designated type
collections for slightly lower prices.
Image Club sells a wide selection of fonts for about $ 50 for a 4
font family.
Other, cheaper companies sell fonts of lesser quality, including
KeyFonts, which sells a set of 100 fonts for $ 50 and Cassady &
Green's Fluent Laser Fonts, a set of 79 fonts for $ 99. Cassady &
Greene also sells Cyrillic language fonts in Times, Bodoni, and
Helvetica sell for about $ 40 for each 4 font family.
Underground Phont Archive (Jason Osborne, <
V065HJKU@ubvms.cc.buffalo.edu>): is a distributor of
shareware/freeware truetype fonts. Many of these fonts can also be
obtained at the mac.archive.umich.edu archive site. Currently [ ed:
as of 7/92 ] 170 fonts, which are distributed for $ 35, +3 shipping
for overseas orders. (Some fonts may have additional shareware
fees).
Foreign language fonts, ranging from Egyptian hieroglyphics to
Cyrillic can be obtained from Ecological Linguistics.
Please consult the vendor list for a more complete list of vendors.
Subject: 2.4. Font Installation
* System 7
Install the fonts by opening the suitcase containing the bitmap
file and dropping the fonts into your system suitcase, located
inside your system folder. You will need to quit all other
applications before doing this. For a TrueType font, the icon for
the font will have several letters in it, instead of just one.
Dropping it into your system suitcase will make all sizes of the
font available. For Postscript type 1 fonts, you also need to
place the printer font in the extensions folder in your system
folder. If you are using ATM you need to place these fonts in the
root level of your system folder (not inside another folder).
Using Suitcase, a font management utility, you can avoid
cluttering your system folder with printer fonts.
You can make new suitcases of fonts (generally not needed, but
used by those who use Suitcase) by using Font DA mover. It
operates the same as in system 6, except that the most recent
version must be used.
* System 6
Bitmap fonts can be installed using Font DA mover to move the
fonts, located inside suitcases, into your system. You will need
to restart your computer to make these fonts available. Printer
fonts must be placed in the system folder, not inside any other
folder.
Truetype fonts can be used with system 6 if you get the Truetype
init. Then the fonts can be installed in your system with Font DA
mover. Suitcase can also be used under system 6.
Subject: 2.5. Font utilities
* SUITCASE
Suitcase is a nifty little system extension that lets you avoid
having to install fonts into your system. In system 6, it means
that you can avoid restarting your system every time you want to
install a new font.
In system 7, Suitcase lets you avoid quitting all applications
before making fonts available. Some programs, like Quark Xpress
will automatically update their font list when you open a new
suitcase, allowing much more flexibility in opening and closing
font suitcases and making different sets of fonts available.
Suitcase appears in your Apple menu in both system 7 and 6 and
allows you to open suitcases, as though they were files, thus
making the fonts contained in them accessible to programs.
In addition, when suitcase is installed, printer fonts can be
stored with the bitmap suitcases they correspond to, instead of
having to drop them into your system folder.
The most recent version of Suitcase is compatible with TrueType.
Suitcase is about $ 54 form the mail order places.
* MASTER JUGGLER
Claims to do similar things
* ATM
Adobe Type Manager is an Init and Control panel allows accurate
screen display, at any size of Postscript type 1 fonts. It's
function is replicated with Truetype (but for different outline
font format). With it installed, you can print fonts of any size
to non-postscript printers. When using ATM, printer fonts must
either be stored with the bitmap files opened with suitcase (when
using Suitcase), or they must be stored in the root level of the
| system folder (with System 7.0, printer fonts must be stored in
| the Extension folder if you are not using Suitcase). ATM is now
| available, with the System 7.0 upgrade, as well as directly from
| adobe with 4 Garamond fonts.
|
| ATM is not built into System 7.1 as previously expected. With
| System 7.1, printer fonts must be stored in the Fonts folder if
| you are not using Suitcase.
|
| If you are using version 7.x prior to 7.1, the following hack
| allows you to have a Font folder (if you don't use Suitcase):
|
| Open the second 'DCOD' resource from the ATM 68020/030 file. Do
| an ASCII search for the string "extn" and change it to "font"
(it's case sensitive). Save, close, and Reboot.
| This process should work for 68000 machines using the proper ATM
| file instead.
* Super ATM
This is a utility that will create fonts, on the fly, that match
the metrics of any Adobe-brand fonts you don't have. It does a
remarkably good job of mimicry because it uses two "generic"
Multiple Master typefaces, serif and sans serif to simulate the
appearance of the missing typefaces. (There is a 1.4 megabyte
database file that allows Super ATM to simulate the fonts that
aren't there.) You also get Type On Call (a CD-ROM), which has
locked outline fonts, and unlocked screen font for all but the
most recent faces in the Adobe Type library.
* TTconverter
A shareware accessory available at the usual archives will
convert Truetype fonts for the IBM into Macintosh format.
* Microsoft Font Pack
If you work with a mixture of Macs and PCs running Windows 3.1,
this is a good deal; 100 TrueType fonts compromising the Windows
3.1 standard set and the two Font Packs for Windows. This
includes various display fonts, the Windows Wingdings font, and
the Lucida family.
A variety of programs, for example, Font Harmony, etc. will allow
you to change the names and ID numbers of your fonts.
Fontmonger and Metamorphosis will let you convert fonts among
several formats (type 1 and 3 and Truetype for the Mac and PC), as
well as letting you extract the font outlines from the printer
fonts.
Subject: 2.6. Making outline fonts
This is very, very difficult. Many people imagine that there are
programs that will simply convert pictures into fonts for them.
This is not the case; most fonts are painstakingly created by
drawing curves that closely approximate the letterforms. In
addition, special rules (which improve hinting, etc.) mandate that
these curves be drawn in specific ways. Even designing, or merely
digitizing, a simple font can take hundreds of hours.
Given that, there are two major programs used for font design on
the Macintosh, Fontographer ( 280) and FontStudio ( 400). These
programs will allow you to import scanned images, and then trace
them with drawing tools. The programs will then generate type 1, 3,
TrueType and Bitmap fonts for either the Macintosh or the IBM PC.
They will also generate automatic hinting. They also open
previously constructed outline fonts, allowing them to be modified,
or converted into another format.
As far as I know, there are no shareware programs that allow you to
generate outline fonts.
Subject: 2.7. Problems and possible solutions
1. Another font mysteriously appears when you select a certain font
for display.
This is often the result of a font id conflict. All fonts on the
Macintosh are assigned a font id, an integer value. When two
fonts have the same id, some programs can become confused about
the appropriate font to use. Microsoft word 4.0 used font id's to
assign fonts, not their names. Since id's can be different on
different computers, a word document's font could change when it
was moved from one computer to another. Other signs of font id
problems are inappropriate kerning or leading (the space between
lines of text). Some font ID problems can be resolved by using
Suitcase, which will reassign font ID's for you, as well as
saving a font ID file that can be moved from computer to computer
to keep the id's consistent. Font ID problems can also be solved
with several type utilities, which will allow you to reassign
font id's. Most newer programs refer to fonts correctly by name
instead of id number, which should reduce the frequency of this
problem.
2. When using a document written in MSWord 5.0, the font
mysteriously changes when you switch from your computer at home
to work, or vice versa.
This is the result of a bug in MSWord 5.0. The MSWord 5.0
updater, which can be found at the info-mac archives at sumex (in
the demo folder), will fix this bug.
Subject: 2.8. Creating Mac screen fonts from Type 1 outlines
|
| Peter DiCamillo contributes the following public domain solution:
|
| BitFont is a program which will create a bitmapped font from any
| font which can be drawn on your Macintosh. In addition to standard
| bitmapped fonts, it works with Adobe outline fonts when the Adobe
| Type Manager is installed, and works with TrueType? fonts. BitFont
| will also tell you how QuickDraw will draw a given font (bitmapped,
| ATM, or TrueType) and can create a text file describing a font and
| all its characters.
|
| BitFont was written using MPW C version 3.2. It is in the public
| domain and may be freely distributed. The distribution files
include the source code for BitFont.
Berthold K.P. Horn <bkph@ai.mit.edu> contributes the following
solution.
This is a commercial solution. A font manipulation package from Y &
Y includes:
AFMtoPFM, PFMtoAFM, AFMtoTFM, TFMtoAFM, AFMtoSCR, SCRtoAFM,
TFMtoMET, PFBtoPFA, PFAtoPFB, MACtoPFA, PFBtoMAC, REENCODE, MODEX,
DOWNLOAD, SERIAL, and some other stuff I forget.
To convert PC Type 1 fonts to MacIntosh use PFBtoMAC on the outline
font itself; then use AFMtoSCR to make the Mac 'screen font'
(repository of metric info). You may need to use PFMtoAFM to first
make AFM file.
To convert MacIntosh font to PC Type 1, use MACtoPFA, followed by
PFAtoPFB. Then run SCRtoAFM on screen font to make AFM file.
Finally, run AFMtoPFM to make Windows font metric file.
Y & Y are the 'TeX without BitMaps' people (see ad in TUGboat):
Y & Y makes DVPSONE, DVIWindo, and fonts, for use with TeX mostly,
in fully hinted Adobe Type 1
Y & Y, 106 Indian Hill, Carlisle MA 01741 USA
(800) 742-4059
(508) 371-3286 (voice)
(508) 371-2004 (fax)
Mac Screen fonts can be constructed from outline fonts using
Fontographer, as well.
Subject: Chapter 3
MS-Dos Information
Subject: 3.1. MS-DOS font notes
The easiest way to get outline fonts under MS-DOS is with MicroSoft
Windows 3.x or OS/2 2.x.
MicroSoft Windows 3.0 with Adobe Type Manager (ATM) and OS/2 2.0
support PostScript Type1 fonts.
MicroSoft Windows 3.1 supports TrueType fonts natively.
Bitmap fonts are available in a variety of formats: most formats
are designed with the printer in mind and not the display since
(prior to graphical environments like Windows, GEM, and OS/2) the
majority of work under MS-DOS was done with a character-based
interface.
Subject: 3.2. Frequently requested fonts
Many fonts are available at various archives. The biggest font
archive for MS-DOS format fonts is ftp.cica.indiana.edu. Note: you
can use any Mac format Type1 font on your PC by converting it to PC
format with the free/shareware as described below.
The following fonts are in Type 1 format for MS-DOS. Some are also
available in TrueType format.
* Hebrew
ShalomScript, ShalomOldStyle, ShalomStick
* Japanese
Shorai
* Star Trek
Crillee, TNG monitors
* IBM OEM Line Drawing Characters
Try Adobe PrestigeElite or Adobe LetterGothic. They have all the
characters you want, but the 'line draw' characters are unencoded
--- you will need tools to reencode the outline font itself and
make a new PFM metric files.
Or try IBMExtended from Impramatur Systems in Cambridge, Mass. It
already is encoded using IBM OEM encoding (some DOS code page).
The IBM version of Courier distributed freely under the X11
Consortium also contains the appropriate characters. Again, the
font will have to be reencoded for Windows. Appropriate AFM files
for this font can be obtained from:
ibis.cs.umass.edu:/pub/norm/comp.fonts. The file is called
IBM-Courier-PC8-SymbolSet-AFMs.zip.
| Lee Cambell suggests the following alternative:
|
| Line Drawing characters are also available on ftp sites as
| gc0651.exe which is a self-expanding archive. It is on cica (and
| mirrors thereof). From the text file that comes with it, it
| looked like it was distributed by Microsoft. I printed some text
| in the normal A-z range and it looked identical to the truetype
| Courier font distributed with Windows. Perhaps it is an upgrade
| to that font. I didn't try the linedraw glyphs, so I can't say
| how they look.
Subject: 3.3. Font Installation
If you have any information that you feel belongs in this section,
it would be greatly appreciated.
* Windows
| * Pat Farrell contributes the following description of font
installation under Windows.
Installing Fonts into Windows:
| This only covers Windows 3.1 with ATM. Font is a four-letter
| word in Windows versions prior to 3.1 due to the distinctions
| between screen fonts and printer fonts. The upgrade price of
| Windows 3.1 is justified by the integration of TrueType into
| the package and the inclusion of useful fonts for all
printers.
Commercial fonts usually have installation instructions with
their manuals. The approach may differ from the method used
for PD and shareware fonts.
To install PD and shareware fonts in Windows 3.1:
1. Copy the fonts onto a suitable scratch area (i.e. a floppy,
or any temporary area of your hard disk.
2. Execute "Control Panel" by double-clicking on the icon in
the Windows Program Manager's "main" group.
3. Double-click on the Fonts icon.
4. Double-click on the "Add" button.
5. Select the scratch directory holding the new fonts.
6. A list of the fonts will be displayed. You can manually
select the fonts you like, or you can use the "Select All"
button.
7. Make sure the "Copy Fonts to Windows Directory" check-box
is checked. This will copy the fonts from the scratch area
to your Windows directory.
8. Click on the "Ok" button.
\_9@ Special notes for Windows applications:
Word for Windows (W4W) stores font/printer information in its
own initialization files. After you add new fonts, you have to
tell W4W that the printer can use the new fonts. Do this by
selecting "Printer Setup" from the W4W main "File" menu item,
click on the "Setup" button, and then click on two "Ok"
buttons to back out of the setup mode.
\_9@ Note concerning Windows 3.1 upgrade:
There are two upgrade packages available from Microsoft for
| Win3.1. There is the standard version which contains TrueType
support, and about six font families (Times New Roman, Arial,
Courier, Symbols, Wingdings, etc.). It costs something like $
50 (US). The second version contains a number of TrueType
fonts that includes equivalents for the 35 standard Postscript
fonts. This adds an additional $ 50, which is a pretty good
value. However, if you plan on buying Microsoft's PowerPoint,
it includes the same additional fonts/typefaces. So you can
save money by not buying the fonts twice.
\_9@ More about Windows
* [ Q: ] Why are don't the TrueType fonts that come with
Microsoft products (Word-for-Windows, PowerPoint, Windows
3.1 TrueType Font Pack, etc.) display and print properly on
my system?
* [ A: ] The font matching algorithm in Win3.1 is fairly
simplistic. If you install lots of TrueType fonts, the
algorithm can get confused. In this case, "lots" is more
than 50 or so.
* According to Luann Vodder who supports Microsoft Word on
CompuServ:
"There is a procedure which Windows must go through when an
application requests a font. Each font contains a list of
attributes such as Family, FaceName, Height, Width,
Orientation, Weight, Pitch, etc. When an application requests
a font, it fills out a logical font for Windows containing the
necessary attributes, then starts going through a font mapping
algorithm to determine which of the installed fonts most
closely matches the requested (logical) font. Penalties are
applied against fonts whose attributes do not match the
logical font, until the fonts with the fewest penalties are
determined. If there is a "tie", Windows may need to rely on
the order of the fonts in the WIN.INI file to determine the
"winner".
If the fonts you want are in your WIN.INI file, and show up in
Windows' Control Panel, then try moving them higher in your
WIN.INI file with a file edittor such as SYSEDIT."
* Kesh Govinder <govinder@ph.und.ac.za> suggested the following
warning:
CAUTION: While many Windows 3.1 users would like to have many
TrueType fonts at their disposal (and they are many available
in the PD) a word of caution. A large number (>50) TT fonts
will slow down your windows startup time. This occurs as every
installed font is listed in the win.ini file, and Windows has
to go through the entire file before starting up. While this
may not affect most users, it will especially affect users of
CorelDraw!, so be warned.
* Other Programs
It is an unfortunate fact that almost all MS-DOS programs do
things differently. Your best bet is to read the manual that
comes with the program you want to use.
Subject: 3.4. Font utilities
* PS2PK
PS2PK allows you to convert PostScript Type1 fonts into bitmap
fonts. The bitmap files produced are in TeX PK format.
* PKtoSFP
PKtoSFP allows you to convert TeX PK fonts into HP LaserJet
softfonts.
* PFBDir/PFBInfo
PFBDir and PFBInfo format and display the "headers" in a binary
Type1 font.
Subject: 3.5. Converting Macintosh Type1 fonts to MS-DOS format
Converting Macintosh Type1 fonts into PC Type1 fonts can be done
using purely free/shareware tools. I've outlined the procedure
below. Make sure you read the "readme" files that accompany many
fonts. Some font authors specifically deny permission to do
cross-platform conversions.
| 3.5.1. The tools you need
XBIN: xbin23.zip in /pub/msdos/mac on oak.oakland.edu (or other
mirrors)
UNSIT: unsit30.zip in /pub/msdos/mac on oak.oakland.edu
UNCPT: ext-pc.zip in /pub/pc/win3/util on ftp.cica.indiana.edu
REFONT: refont14.zip in /pub/norm/mac-font-tools on
ibis.cs.umass.edu
BMAP2AFM: bm2af01.zip in /pub/norm/mac-font-tools on
ibis.cs.umass.edu
XBIN converts Mac "BinHex"ed files back into binary format.
BinHex is the Mac equivalent of UUencoding, it translates files
into ascii characters so that mailers can send them around without
difficulty. It also aids in cross platform copying too, I'm sure.
BinHexed files generally have filenames of the form
"xxx.yyy.HQX".
UNSIT explodes "Stuffit" archives. Stuffit archives generally
| have filenames of the form "xxx.SIT". UNSIT will ask if you want
| to seperate resource and data forks. Yes, you do. It will also ask
if you want headers. Yes, you do.
UNCPT explodes "Compactor" archives. The ext-pc implementation is
called "extract" and does not require windows (even thought it's
in the windows section on cica). Compactor archives generally have
filenames of the form "xxx.CPT".
REFONT converts Mac type1 fonts into PC type1 fonts. It also
converts Mac TrueType fonts to PC TrueType format. And vice-versa.
BMAP2AFM constructs AFM files from the metric information contained
in Mac screen fonts (.bmap files). The screen font files do not
have any standard name (although they frequently have the extension
.bmap). The screen fonts have file type "FFIL" which, in
combination with some common sense, is usually sufficient to
identify them.
I've listed the tools that I've used and the sites that are
reasonable for me to retrieve them from. It's probably a good idea
to check with archie for closer sites if you're not in North
America. These tools run under MS-DOS. XBIN and UNSIT can also be
run under Unix.
| 3.5.2. How to do it
Collect the Mac fonts from the archive or BBS of your choice. Most
of these files will be in BinHexed format. As a running example,
I'm going to use the imaginary font "Plugh.cpt.hqx". When I
download this font to my PC, I would use the name "PLUGH.CPX".
The actual name you use is immaterial.
Run XBIN on PLUGH.CPX. This will produce PLUGH.DAT, PLUGH.INF, and
PLUGH.RSR. The data fork of the Mac file (the .DAT file) is the
only one of interest to us, you can delete the others.
If the original file had been "Plugh.sit.hqx", we would be using
the UNSIT program. Since I chose a .cpt file for this example, I'm
going to run UNCPT.
Run UNCPT on PLUGH.DAT. You want to extract the AFM file (if
present), the documentation or readme file (if present), and the
Type1 outline file. The AFM and README files will be in the data
fork of the archive file. The Type1 outline will be in the resource
fork. The AFM and README files have Mac "TEXT" type. The Type1
outline file has "LWFN" type. I'm not trying to describe this part
in a step-by-step fashion. Use the docs for UNCPT and UNSIT as a
guide. If you got this far you probably won't have much difficulty.
If you do, drop me a line and I'll try to help.
If the font does not contain an AFM file, extract the screen font.
Screen fonts frequently have the extension .bmap and are "FFIL"
type files. Use Bmap2AFM to construct an AFM from the screen font.
If the archive _does_ contain an AFM file, it's safe to bet that
the author's AFM will be better than the one created by Bmap2AFM.
Finally, run REFONT on the Type1 outline that you extracted above.
The result should be an appropriate PC type1 outline. REFONT will
create a PFM file for you from the AFM file, if you desire.
Remember to register your shareware...
| 3.5.3. Other comments
vkautto@snakemail.hut.FI makes the following observations:
* UNCPT is easier to use than UNSIT
* UNCPT has to be run twice. I usually do it like this
extract *.cpt -f
extract *.cpt -f -r
* When using "unsit30" you probably want the outline file with
the MacHeader and the others without it. I think that REFONT
requires it but I am not sure.
* REFONT works usually ok. You want a PFA (ASCII) file which is
directly usable on NeXT (you may need to convert carriage-returns
to newlines but I am not sure if it is necessary).
The biggest problem is with the .afm files that are completely
missing or generated by the tools that don't do their job
properly.
* BMAP2AFM requires some extra files (ie. other than bmap2afm.exe)
to work properly.
Subject: 3.6. Converting PC Type1 and TrueType fonts to Macintosh format
Refont (version 1.4) can convert (in both directions) between PC
and Mac formats of Type1 and TrueType fonts. Note: it _cannot_
convert _between_ formats, only architectures. The procedure
described above outlines how to convert a Mac archive into PC
format so that you can get at the data. Presumably, the process can
be reversed so that you can get at the data on the Mac side as
well. Unfortunately, I don't have a Mac so I can't describe the
process in detail.
Subject: 3.7. Converting PC Type1 fonts into TeX PK bitmap fonts
The release of PS2PK by Piet Tutelaers <rcpt@urc.tue.nl> is a
godsend to those of us without PostScript printers. PS2PK converts
PC/Unix format Type 1 fonts into TeX PK files. Used in conjunction
with the AFM2TFM utility for creating TeX metric files, this allows
almost anyone to use Type 1 PostScript fonts. PS2PK is distributed
under the GNU License and has been made to run under MS-DOS with
DJGPP's free GNU C compiler. The PC version requires a 386 or more
powerful processor. Check with Archie for a source near you.
Note: if TeX PK files are not directly usable for you, there seems
to be a fair possibility that LaserJet softfonts would be useful.
If so, check below for instructions on converting TeX PK files to
LaserJet softfonts.
Subject: 3.8. Converting TeX PK bitmaps into HP LaserJet softfonts (and
vice-versa)
There is some possibility that someone will yell 'conflict of
interest' here, but I don't think so. I wrote the following
utilities:
PKtoSFP: convert TeX PK files to LaserJet (bitmapped) softfonts
SFPtoPK: convert LaserJet (bitmapped) softfonts to TeX PK files
But they are completely free, so I don't gain anything by
"advertising" them here. These are MS-DOS platform solutions
only. If you know of other solutions, I would be happy to list
them.
Subject: 3.9. TrueType to HP LaserJet bitmap softfonts (HACK!)
If you have the tools, the following suggestion does work, but it
isn't easy and it hasn't been automated. To be honest, I haven't
really tested it.
If you are using Windows 3.1, get a LaserJet printer driver (you
don't need the printer, just the driver). Using the LaserJet
driver, direct output to a file and print a simple file containing
all the letters you want in the softfont in the font that you are
converting. When the print job has completed, the output file will
contain, among other things, a LaserJet softfont of the TrueType
font you selected. If you know the LaserJet format, you can grab it
out of there.
I didn't say it was easy ;-)
This method will not work with ATM [ ed: as of 7/92 ] because ATM
does not construct a softfont; it downloads the whole page as
graphics.
Here is an overview of the LaserJet bitmap softfont format. It
should help you get started. If you have any questions, ask norm
<walsh@cs.umass.edu>. If anyone wants to write better
instructions... ;-)
Many details are omitted from this description. They are thoroughly
discussed in the HP Technical Reference for each model of laser
printer. I recommend purchasing the Tech Ref. If you have
additional questions and do not plan to purchase the Tech Ref (or
do not wish to wait for its arrival), you can ask norm
<walsh@cs.umass.edu>.
An HP LaserJet softfont can occur almost anywhere in the output
stream destined for the printer. In particular, it does _not_ have
to be wholly contiguous within the output file. In fact, fonts can
be "intermixed" at will. The following "pieces" make up a font:
A begin font descriptor command (followed by the descriptor) and a
series of begin character descriptor commands (followed by their
associated data). When a new character descriptor is encountered,
it is added to the current font (which may change between
descriptors).
In the discussion that follows, the following notational
conventions are followed:
Key elements are surrounded by quotation marks. The quotation marks
are not part of the element. Spaces within the element are for
clarity only, they are not part of the element. All characters
(except ESC and # , described below, areliteral and must be
entered in the precise case shown).
ESC means the escape character, ASCII character number 27 decimal.
# means any decimal number. The meaning of the number is described
in the commentary for that element.
* What is a font descriptor?
A font descriptor begins with a font descriptor command and is
followed immediately by the data for the descriptor. Font
descriptors define data global to the font. In general, more
recent printers are less strict about these parameters than older
printers.
* What is the font descriptor command?
"ESC ) s # W"
In this command, # is the number of bytes in the descriptor. The
first element of the descriptor indicates how many of these bytes
should be interpreted as the font descriptor (the remaining bytes
are commentary only--to the printer, at least). This area is
frequently used for copyright information, for example, although
some systems insert kerning data into this area.
* What is the font descriptor data?
The data is:
UI Font descriptor size
UB Descriptor format
UB Font type
UI Reserved (should be 0)
UI Baseline distance
UI Cell width
UI Cell height
UB Orientation
B Spacing
UI Symbol set
UI Pitch
UI Height
UI xHeight
SB Width Type
UB Style
SB Stroke Weight
UB Typeface LSB
UB Typeface MSB
UB Serif Style
SB Underline distance
UB Underline height
UI Text Height
UI Text Width
UB Pitch Extended
UB Height Extended
UI Cap Height
UI Reserved (0)
UI Reserved (0)
A16 Font name
?? Copyright, or any other information
Where, UI=unsigned integer, SI=signed integer,
UB=unsigned byte, SB=signed byte,
B=boolean, A16=sixteen bytes of ASCII
After the font name, ?? bytes of extra data may be inserted.
These bytes pad the descriptor out to the length specified in the
begin font descriptor command.
Note: integers are always in big-endian order (MSB first).
* What is a character descriptor?
A character descriptor describes the character specific info and
the layout of the bitmap. Newer printers can accept compressed
character bitmaps.
* What is a character descriptor command?
"ESC * c # E"
The # is the length of the descriptor, in bytes.
* What is the character descriptor data?
UB Format
B Continuation
UB Descriptor size
UB Class
UB Orientation
SI Left offset
SI Top offset
UI Character width
UI Character height
SI Delta X
?? Character (bitmap) data.
Although older printers cannot accept characters that include
continuations, newer printers can. If the "continuation" field
is 1, the character bitmap data begins immediately after that
byte and the remaining fields _are not_ present.
* Ok, now I understand the data, what do I look for in the output
stream?
ESC * c # D
defines the font number (remember the number).
ESC ) s # W
defines the font descriptor (as described above).
ESC * c # E
specifies the character code (the # , in this case). The next
character descriptor maps to this position in the font.
Characters do not have to appear in any particular order.
ESC ( s # W
defines the character descriptor (as described above).
Remember, these can occur in any order. Experimentation with the
particular driver you are using may help you restrict the number
of different cases that you have to be prepared for.
Please report your experiences using this method to norm (both to
satisfy his own curiosity and to help improve the FAQ).
Subject: 3.10. MS-DOS Screen Fonts (EGA/VGA text-mode fonts)
Editors note: the following description was mercilessly stolen from
| comp.archives on 02SEP92. It was originally Yossi Gil's posting.
| FNTCOL14.ZIP contains more than 200 text mode fonts for EGA/VGA
displays. It includes fonts in different sizes for Hebrew, Greek,
Cyrillic, math symbols and various type styles including smallcaps
and script.
| It is available at borg.poly.edu:/pub/reader/dos/fntcol14.zip
Subject: Chapter 4
Unix Information
Subject: 4.1. Please help!
This section needs a lot of work. At the time of this release, I'm
not in a position to write it so I'm leaving it basically blank.
Even if you don't have time to write it, if you know what _should_
be in this section, please forward it to norm.
Please consult the 'utilities' section for more information. Most
of the utilities described in that section run under Unix.
Subject: Chapter 5
Sun Information
Subject: 5.1. Please help!
Someone mailed a file of Sun-related font tips. Unfortunately, I
cannot find the file. If you have any suggestion for this section
(or if you are the person that mailed me the other list), please
forward your suggestions to norm.
Subject: 5.2. Fonts Under Open Windows
The following information regarding fonts under Open Windows was
stolen from Liam R.E. Quim's <lee@sq.com> Open Windows FAQ. The
original author was Rick Heli <Rick.Heli@Eng.Sun.COM>.
Subject: 5.3. Does OpenWindows support Type 1 PostScript fonts?
Type 1 fonts are supported starting with the NeWSprint 2.0 and
Solaris 2.0 (OpenWindows 3.0.1) releases.
There are also 57 F3 format fonts supplied with OpenWindows which
are fully hinted. Documentation on the F3 font format and the F3
font interpreter, TypeScaler, is available from Sun.
| The TypeScaler product is separately licensable from SunPics (the
| printing arm of Sun Microsystems). If you're interested in
| licensing this product, Rick Heli can put you in touch with
| Marketing to work out the arrangements. TypeScaler does not appear
| as a standalone portion of OpenWindows, though it is resident
| within the X11/NeWS server.
Subject: 5.4. Improving font rendering time
Although the Sun type renderer (TypeScaler) is pretty fast, it's
not as fast as loading a bitmap. You can pre-generate bitmap fonts
for sizes that you use a lot, and you can also alter and access the
font cache parameters. If you have a lot of memory you might want
to increase the font cache size.
$ psh -i
Welcome to X11/NeWS Version3 <--- psh will say this at you
currentfontmem = % type this line ...
300 % and here's what my server was using -- 300 Kbytes
1024 setfontmem
% Just to check:
currentfontmem =
1024
See pp. 328ff of the NeWS 3.0 Programmer's Guide. You need to say
psh -i so that the PostScript packages are loaded - see the psh man
page.
Subject: 5.5. Making bitmap fonts for faster startup
|
| Sun supports the F3 scalable outline format. These descriptions are
| stored in .f3b files. The makeafb program is used to create a
| bitmap font at a particular size which is stored in a .afb file,
| which is an Adobe ASCII format for font bitmaps. X11/NeWS really
| prefers a binary format though for speed and other reasons, so
| convertfont is used to "compile" the font into a font binary or .fb
| file.
|
| Once this is done, X11/NeWS needs to understand the relationship
| between the .f3b file and all the bitmaps which are based on it.
| Thus, the bldfamily program makes these correlations and stores the
| data in the font family or .ff file.
|
| bldfamily also builds a global list of all fonts stored in the
| working directory, writing the results out to the file
| Families.list. If one wishes to create font aliases, these can be
| added to the Synonyms.list file by hand and bldfamily will then add
| them to Families.list for you. X11/NeWS uses Families.list to
| construct the font list it advertises to applications.
|
| To go from F3 to BDF, use makeafb to generate a bitmap font in .afb
| format. Then use one of convertfont's many options to change to
this to .bdf format and from there it should be clear.
$ mkdir $HOME/myfonts
$ cd $HOME/myfonts
$ makeafb -20 -M $OPENWINHOME/lib/fonts/Bembo.f3b
Creating Bembo20.afb
$ convertfont -b Bembo20.afb
Bembo20.afb->./Bembo20.fb
Chars parameter greater than number of characters supplied.
$ ls
Bembo20.afb Bembo20.fb Synonyms.list
$ bldfamily
* Bembo ./Bembo.ff (Encoding: latin)
cat: ./Compat.list: No such file or directory
$ xset +fp 'pwd'
$ xset fp rehash
If you want the server to see your new font directory every time,
add this directory to your FONTPATH environment variable in one of
your start-up files, e.g. .login or .profile.
Subject: 5.6. Converting between font formats (convertfont, etc.)
You can also use F3 fonts with an X11 server, by converting them to
a bitmap (X11 bdf format) first. Your license restricts use of
these fonts on another machine, and unless you have NeWSPrint you
shouldn't use them for printing. Having said all that... you can
use makeafb and convertfont to generate bdf files that you can
compile with bdftosnf or bdftopcf.
Use mftobdf (from the SeeTeX distribution) to convert TeX pk fonts
to X11 bdf format, which you can then use with either X11 or
OenWindows.
Subject: 5.7. Xview/OLIT fonts at 100 dpi
There aren't any. More precisely, the various text fonts, such as
Lucida Typewriter Sans, are available at 100 dpi, and in fact are
scalable under OpenWindows. The glyph fonts are bitmaps, and don't
scale very well.
Subject: 5.8. Where can I order F3 fonts for NeWSprint and OpenWindows?
600 F3 fonts are available for unlocking from Printer's Palette, a
CD available with NeWSprint 2.0.
In addition, F3 fonts are available from the following sources:
Linotype AG Linotype Company
Mergenthaler Allee 55-75 425 Oser Avenue
6236 Eschborn Germany Hauppague, NY 11788
49/(61 96) 4031 (800) 336-0045
FAX 011/49/6196-982185 FAX 516-434-2055
attn: F3 Font Production attn: F3 Font Production
Monotype Plc. Monotype Typography
Salfords Redhill RH1 5JP 53 W. Jackson Boulevard Suite 504
England Chicago, IL 60604
44/(737) 765959 (800) 666-6893
FAX 011/44/737-769243 FAX (312) 939-0378
attn: F3 Font Production attn: F3 Font Production
U R W U R W
Harksheider Strasse 102 One Tara Boulevard Suite 210
D2000 Hamburg Germany Nashua, NH 03062
49/(40) 606050 (603) 882-7445
49/(40) 60605148 (603) 882-7210
attn: F3 Font Production attn: F3 Font Production
Bigelow & Holmes Autologic
P. O. Box 1299 1050 Rancho Conejo Boulevard
Menlo Park, CA 94026 Newbury Park, CA 91320
415/326-8973 (800)235-1843, or (805)498-9611 in CA
FAX (415) 326-8065 FAX (805) 499-1167
attn: F3 Font Production attn: F3 Font Production
Subject: Chapter 6
NeXT Information
Subject: 6.1. Please help!
If you have any suggestions for this section, please forward your
suggestions to norm.
Subject: 6.2. Tell me about NeXT fonts
NeXT fonts are Adobe Type 1 fonts stored in ASCII (PFA) format.
There are several rules about how fonts must be installed before
they work.
* Basic format
The font itself should be a directory under /Library/Fonts (or
/LocalLibrary/Fonts or /NextLibrary/Fonts), which should contain
the various components of the font. The possible components are
the outline file, the font metrics (.afm) file, and one or more
screen font (bitmap) files.
At the very least, the font directory must contain the outline
file and the .afm file. Screen font (bitmap) files are optional.
* Filename requirement
The filename of the font can NOT be any name you choose. For a
font to work correctly, the base filename MUST BE THE SAME as the
name in the FontName field of the afm file (and outline file, for
that matter).
Therefore, the font directory should be named <filename>.font,
inside of which there should be at least two files:
<filename>.afm, the font metrics file, and <filename> (no
extension), the outline file. The bitmap file(s) have the
extension .bepf.
Variations such as bold, italic, etc., should be their own font
in their own directory. The <filename> in the examples above
should be replaced by <filename>-Bold, or <filename>-Italic, etc.
(Make sure the entries in the .afm and outline files reflect
this.)
For NeXTStep 1.0, you also need to take the following steps:
* If they do not already exist, create the following
directories:
~/Library/Fonts/outline
~/Library/Fonts/afm
~/Library/Fonts/bitmap
* In each of these directories, create a symbolic link to the
corresponding component file in each font.
In NeXTStep 2.0 and up, the font description is taken from the
font directory itself, so you don't need to do this. It may be
beneficial to simply create these directories and put nothing in
them, but I'm not sure it matters.
The last step is to get the system to recognize the new font(s).
You may have noticed the existence of three files in the Fonts
directory - .fontdirectory, .fontlist, and .afmcache. These are
the files the system looks at to see which fonts exist.
The easiest way to update them is to simply start up an
application and open the font panel. It should recognize that the
update time stamp on the Fonts directory has changed, and update
the files accordingly. It is probably a good idea to simply
delete the three above files beforehand.
You should get a message window saying "incorporating information
on new fonts. Please wait (this may take xx seconds)". Your new
fonts should be available now.
If this does not work, you can update them manually. Open up a
Terminal shell and go to your Fonts directory. At the prompt,
type two commands:
buildafmdir
cacheAFMData afm (the parameter is the <afm dir>)
(The new fonts will not work if the cacheAFMData command is not
run, and since it is an undocumented command, it is a common
culprit.) [ ed: the cacheAFMData step may not be required in 3.0
OS ]
You should now be able to see and preview your fonts in the font
panel.
If you are still having problems with your font, such as the <<
Unusable font >> message, consult the NeXTAnswers. There are some
useful suggestions for debugging faulty fonts there. It is also
always helpful to look at existing fonts to see how they are
installed.
(One note on the NeXTAnswers. Supposedly there are only a few
discrete values which are allowed to appear in the weight field
of the font: "Ultra Light", "Thin", "Light", "Extra
Light", "Book", "Regular", "Plain", "Roman", "Medium",
"Demi", "Demi-Bold", "Semi-Bold", "Bold", "Extra Bold",
"Heavy", "Heavyface", "Black", "Ultra", "UltraBlack",
"Fat", "ExtraBlack", and "Obese". However, I have a few
fonts where this is not the case ("standard" is a common entry)
and have had no problems as of yet. But it would probably be
wiser to be on the safe side.)
Subject: 6.3. Tell me more about NeXT fonts
* About NeXT fonts
Every NeXT font is placed in its own .font folder which should
contain at least two files. An outline file which should be named
the same as folder but without any extension. Also a
well-formated .afm is required. E.g
~/Library/Fonts/Headhunter.font/Headhunter
~/Library/Fonts/Headhunter.font/Headhunter.afm
is the minimal setup for Headhunter font.
The outline files should be in the PFA or hexadecimal ASCII
format. The fontname is should be taken either from outline file
or the AFM file. In both case the name is given after the word
"FontName" at the beginning of the file)
* Converted fonts after the conversion
After conversion they are just like any other freeware or
shareware font that you can get in the NeXT-format from the
archives. That's just outline and afm files but no bitmapped
screen fonts. So small point size means poor resolution on screen
but they most of should print ok if they are any good ( = usually
made with Fontographer).
* About conversion utilities
I usually first convert the Mac Type 1 (or 3) fonts to PC format
which is a lot closer to NeXT format and then convert the
PC(Windows PFB) fonts to NeXT-format. Instructions for converting
from Mac to PC format appear elsewhere in the comp.fonts FAQ.
* NeXT utilities
* unfont
You can find a package, named something like
pcATMfont2NeXT.tar.Z, from NeXT archives (cs.orst.edu) that
converts PC fonts to NeXT format (PFB -> PFA).
The most useful tool for me has been "unfont" which converts
the .pfb (binary outline) font to ASCII outline font.
I usually use it like this
$ unfont new_font.pfb >NewFont
If the conversion was successful all I have to after that is
maybe to rename the font correctly and move the outline file
in the correct .font folder.
* Opener.app
Opener seems to be a very useful application since it can open
several kinds file packages on NeXT that are common on other
platforms. E.g. ".sit", ".hqx", ".zoo", ".zip", ".z", etc.
I haven't used it a lot but looks very promising.
* T1utils-1.1
This is collection of command-line programs that manipulate PS
Type 1 fonts and one of them can also do the PFB->PFA
conversion (t1ascii?).
* SUMMARY
Basic unarchiving of Mac and PC files
On any (?) Unix including NeXT
------------------------------
Tool Conversion Follow-up action
xbin .hqx -> .data rename and transfer to a PC (or use opener.app on NeXT?)
.info discard
.rcrc discard
unzip .zip -> .inf discard
.wfn discard
.pfm discard (unless it can generate a better .afm)
<rest> Transfer to NeXT
On a PC
-------
Tool Conversion Follow-up action
xbin .hqx -> .data rename the file to .sit or .cpt accordingly if necessary
.info discard
.rcrc discard
extract -f ... .cpt -> (outline files usually don't have extensions),
refont and transfer to NeXT
.afm transfer to NeXT
.pfm discard (unless it can generate a better .afm)
.bma discard if you have .afm
unsit30 -eb .sit -> (outline files usually don't have extensions),
refont and transfer to NeXT
.afm transfer to NeXT
.pfm discard (unless it can generate a better .afm)
.bma discard if you have .afm
refont (Mac outline) -> (PC or NeXT outline) Transfer to NeXT
pkunzip .zip -> .inf discard
.wfn discard
.pfm discard (unless it can generate a better .afm)
<rest> Transfer to NeXT
On a NeXT
---------
Tool Conversion
Opener.app *.sit, *.hqx, *.zip... Creates a fo|der in the /tmp from where
the resulting files can be moved elsewhere.
unfont .pfb -> (outline font without an extension)
afm .afm -> .afm converts the the carriage-returns to newlines,
(afm = "tr '\015' '\012' <$1 >$2")
* Installation
There are scripts (installfont) available that can handle the
installation process but here is how you do it manually.
* .font
After all that you have to create the .font folder, move the
outline and .afm files there and start fighting with the
strangely formated .afm file. The most common problems are font
name mismatch between outline and afm files (family name is
incorrect or too long, etc) and missing fields (ex. no
ItalicAngle entry) in the afm file.
* buildafmdir AND cacheAFMData
buildafmdir puts its complains to Console but cacheAFMData put
them on stdout or stderr (ie. Terminal Window).
PARSE ERRORS ------------ "Parse error 10000011 ..." comes from
mismatch between of CharMetrics declared in the .afm and actually
found. I haven't been able to figure out the other strange parse
errors.
buildafmdir in the 3.0 release has the limitation of not being
able to install more that 255 fonts (in one folder ?).
Subject: 6.4. Porting fonts to the NeXT
| 6.4.1. Porting PC/Unix Type 1 Fonts
You must have the .pfb and .afm files
A PC Adobe font is stored in binary format, so the first step is to
convert it to ascii.
There are a couple of utilities out there which can do this. I
think t1utils can do it, and there is a nice utility called
pcATMfont2Next which has a couple of tools to do this (unfont and
pfb2ps). Look for the file pcATMfont2Next.tar.Z; it is available on
many ftp sites.
Also, since NeXTs run on Unix, there is the customary problem of
converting the CRs (carriage returns) that PCs use to the LFs
(Linefeeds) that Unix uses. The easiest way to do this is to use tr
to delete the octal for the CR character from both the .afm and
outline file. The command to do this is:
tr -d '\015' < inputfile > outputfile
The unfont program will do this automatically when it converts the
.pfb file, but pfb2ps does not. I'm not sure if t1utils' utility
does or not.
Once you have the outline file, you can go ahead and install it by
the process outlined above.
Otto J. Makela (otto@jyu.fi) posted a terrific cshell script to
comp.fonts, which automates just about everything for you. It
converts the .pfb to ASCII format, extracts the name from the
FontName field, creates the font directory, copies in the component
files with the correct name, and runs buildafmdir and cacheAFMData
when done.
Note that it uses the unfont utility from the pcATMfont2Next
package, so to use this you will need that too.
Just take everything between the CUT HERE lines, save it into a
text file, and make it executable with the chmod command or the
Inspector.
--------------CUT HERE---------------
#!/bin/csh -f
# Font install program -- 1992 by Otto J. Makela <otto@jyu.fi>
set progname="$0" todir=~/Library/Fonts
set progname="$progname:t"
if ( $#argv>0 && -d "$1" ) then
set todir="$1"
shift
endif
if ( $#argv == 0 ) then
echo "usage: $progname [installdir] afmfile..."
exit
endif
foreach afmfile ( $* )
echo "${afmfile}:"
set fontname='tr -d '\015' < $afmfile | awk '$1=="FontName" {
print $2 } "
if ( -d $todir/${fontname}.font ) then
echo "${progname}: font $fontname already installed"
continue
endif
# If there already is a pfa, no need to translate, otherwise convert
to ascii
if ( -f ${afmfile:r}.pfa ) then
mkdir ${todir}/${fontname}.font
cp ${afmfile:r}.pfa
${todir}/${fontname}.font/${fontname}
else if ( -f ${afmfile:r}.pfb ) then
mkdir ${todir}/${fontname}.font
unfont ${afmfile:r}.pfb >
${todir}/${fontname}.font/${fontname}
else
echo "${progname}: no pfa/pfb file for $fontname afm"
continue
endif
# Strip CR's from afm file
tr -d '\015' < $afmfile >
${todir}/${fontname}.font/${fontname}.afm
echo "installed as $fontname"
end
buildafmdir $todir
cacheAFMData $todir
---------------CUT HERE-----------
The original installfont script is available as a shar file from
ibis.cs.umas.edu in /pub/norm/comp.fonts/installfont-for-NeXT.
| 6.4.2. Porting Mac Type 1 Fonts
Regarding this section: Henry McGilton of Trilithon Systems has
built a 'MACtoPFA' utility that runs on the NeXT and converts Mac
to NeXT format. Trilithon Software, Two Ohlone, Portola Valeey, CA
94028 (415) 851 7233.
Subject: 6.5. Font availability
Public Domain fonts for the NeXT are available via anonymous FTP
from sonata.purdue.edu, in the directory next/graphics/fonts. The
README for this file states that the directory is currently being
restructured by the archive moderator, although fonts are still
available in that directory.
Subject: 6.6. Why can I only install 256 fonts on my NeXT?
Included to NS3.0 there's a new 'buildafm'-routine (for
non-NeXTers: 'buildafm' is a shell script which announces a new
font to the computer) at /usr/bin/buildafmdir. The new one only
allows to install about 256 fonts. Running the new 'buildafmdir' to
install a new font surpresses every font above this number.
Workaround: Re-install the 'old buildafmdir' from NS2.1 at
/usr/bin/buildafmdir and everything should be fine!
(thanks to: Rob Parkhill <rob@hobbes.cuc.ab.ca> and d'Art
Computers/Germany d'art <post@dart.de>)
[ Ed: and my thanks to Borris Balzer <borris@boba.rhein-main.DE>
for sending this to me ]
Subject: Chapter 7
X11 Information
Subject: 7.1. Please help!
This section needs a lot of work. At the time of this release, I'm
not in a position to write it so I'm leaving it basically blank.
Even if you don't have time to write it, if you know what _should_
be in this section, please forward it to norm <walsh@cs.umass.edu>.
Subject: 7.2. Where do I get X11?
The standard location for X software is export.lcs.mit.edu.
Subject: 7.3. X fonts and font utilities
The following programs will allow you to create fonts for display
under X. IBM has contributed Type1 font support for X11R5 but, at
present, I have no experience with it.
On any given platform, X requires specially 'compiled' fonts. The
standard method of interchange between platforms is BDF format. The
BDF format is defined by Adobe. A document describing the format is
| available by ftp from Adobe's file server at "ftp.adobe.com". It
is also available in the standard X distribution. Look under
../X11R4(5)/mit/hardcopy/BDF. This document is also reproduced in
any text describing the X standard.
Once you have a file in BDF format, your X platform should have the
tools required to convert it into your local binary format.
Depending on your platform this may be 'snf', 'pcf', or X11/News
format ('ff' and 'fb').
Here's a quick list of possible steps to get from "what you got"
to X:
* Mac format bitmaps:
No idea. If _you_ know how to read a Mac format bitmap file on
some other platform, please tell norm <walsh@cs.umass.edu>.
* PC format bitmaps:
Conversion to BDF is possible from TeX PK format and LaserJet
softfont format. Other conversions are also within the realm of
possibility. Feel free to ask norm <walsh@cs.umass.edu> for more
information if you have a specific conversion in mind.
* TeX PK format bitmaps:
PKtoBDF gets us directly to BDF format from here.
* Mac format postscript:
Under MS-DOS, conversion to PC format postscript allows the font
to be accessed with PS2PK (under *nix or MS-DOS). See above for
TeX PK to X conversions.
* PC/Unix format PostScript
Conversion to TeX PK with PS2PK allows you to get to BDF
(indirectly).
Subject: Chapter 8
Utilities
Subject: 8.1. Notes about the utilities
I have just started collecting information about font utilities. I
will gladly add any information that you can pass my way. Please
send your submissions to norm <walsh@cs.umass.edu>.
I would appreciate it if you could include a paragraph or so of
description and the appropriate site/filename for retrieval.
Subject: 8.2. PS2PK
PS2PK is a utility for converting Type1 postscript fonts into TeX
PK files. The source code is distributed and it has been compiled
for both *nix boxes and MS-DOS based machines.
Here is the original announcement:
Ps2pk-1.2 available
-------------------
(June 1992)
Version 1.2 of ps2pk is now available on:
ftp.urc.tue.nl (address: 131.155.2.79)
directory: /pub/tex
files: ps2pk12.README ( 1k) This file
ps2pk12.tar.Z (391k) Sources
ps2pk386.zip (232k) MSDOS executables
utopia.tar.Z (342k) Adobe Utopia font family
courier.tar.Z (207k) IBM Courier font family
For people having difficulties in handling UNIX '.tar.Z' format I
have made some UNIX tools (only executables) available in:
directories: /pub/unixtools/dos
/pub/unixtools/vms
See the system specific TARZ file for some help.
Ftp.urc.tue.nl can not handle E-mail requests. But sites are free
to put the ps2pk12 stuff on any server that can.
| 8.2.1. When do you need ps2pk?
Ps2pk is a tool that converts a PostScript type1 font into a
corres- ponding TeX PK font. The tool is especially interesting if
you want to use fully hinted type1 fonts in your DVI previewer
(instead of the unhinted type1 fonts currently used in GhostScript)
or on a printer that has no PostScript interpreter.
In order to use the ps2pk generated fonts your driver and previewer
need to support virtual fonts. The reason is that PostScript fonts
and TeX fonts do have a different font encoding and handle
ligatures in a different way. With virtual fonts the PostScript
world (encoding + ligatures) can be mapped to the old style TeX
world on which the current plain macro packages still are based
(despite the fact that TeX3.0 can handle 8bits).
It is also possible to use the ps2pk generated PK fonts directly
In addition, a modified version of PS2PK exists on
ibis.cs.umass.edu. I have added some hacks to better support
really large renderings and a primitive "range" facility.
Subject: 8.3. TeX Utilities
There are many TeX font utilities. For TeX related questions, I
direct you to comp.text.tex or the Info-TeX mailing list. I will
happily list any utilities here that the comp.fonts public feels
should be present. I am listing MetaFont because it is the obvious
font-specific component of TeX and PKtoSFP because it allows anyone
to use PS2PK to create LaserJet softfonts.
Liam R. E. Quin <lee@sq.com> is the original author of the MetaFont
section. It has been hacked at a bit by norm to make it fit the
tone of the comp.fonts FAQ. Assume that norm is responsible for any
errors, not Liam.
* MetaFont
* About MetaFont:
Metafont is a programming language for describing fonts. It
was written by Donald Knuth and is documented in
Computers & Typesetting/C: The METAFONTbook
Knuth, Donald E.
Addison Wesley, 1986
ISBN 0-201-13445-4, or 0-201-13444-6 (soft cover)
Library access: Z250.8.M46K58, or 686.2'24, or 85-28675.
A font written in MetaFont is actually a computer program
which, when run, will generate a bitmap ('raster') for a given
typeface at a given size, for some particular device.
* What do you need in order to use the fonts:
You cannot print the MetaFont fonts directly (unless you want
a listing of the program, that is). Instead, you must generate
a bitmap font and use that to print something.
If you are using TeX, the sequence of steps is something like
this:
MF -> metafont -> GF [ convert MetaFont program into bitmap font ]
TFM [ and metric information ]
GF -> gftopk -> PK [ represent the bitmapped font efficiently ]
TEX -> tex -> DVI [ TeX -> device independent output ]
TFM
DVI -> dvi2xxx -> XXX [ DVI -> output device format ]
PK
XXX -> printer -> hardcopy [ print the output ]
The above steps are idealized. In reality, you have to make
sure that the fonts get installed in the correct places and
you may have to adjust description files, etc. The friendly
folks on comp.text.tex can probably get it staightened out for
you if you can't find a local guru.
If you are not using TeX, it's almost impossible to predict.
At some point in the above sequence, you'll insert some other
conversion program and proceed differently. Here, for example,
is how you might use TeX fonts with WordPerfect and a LaserJet
printer.
PK -> PKtoSFP -> SFP [ PK to LaserJet softfont ]
SFP -> SFP2Auto -> TFM [ Make HP AutoFont TFM file ]
SFP -> PTR -> installation [ Install the fonts into WP ]
TFM
Use WordPerfect as you normally would.
Subject: 8.4. MFpic
MFpic is a macro package for including pictures in TeX documents.
The idea behind this package is to have Metafont do the actual
drawing, and store the pictures in a font that TeX can include in
the document. The macros have been designed so that the user should
never have to learn Metafont to use these macros -- the TeX macros
actually write the Metafont file for you.
Subject: 8.5. fig2MF
Briefly, fig2MF uses the mfpic macros to create formatted,
commented MF code from the fig graphics language. This means that
programs like xfig can be used as interactive font creation tools.
I wrote fig2MF so that I could portably illustrate TeX documents,
but I suppose one could use it to design letterforms as well.
The package consists of a single C source code file, modified mfpic
macros, documentation, and sample fig files. It is available at the
shsu archives.
Subject: 8.6. GNU Font Utilities
Here is a brief description of the programs included:
* imageto extracts a bitmap font from an image in PBM or IMG
format, or converts the image to Encapsulated PostScript.
* xbfe is a hand-editor for bitmap fonts which runs under X11.
* charspace adds side bearings to a bitmap font.
* limn fits outlines to bitmap characters.
* bzrto converts a generic outline font to Metafont or PostScript.
* gsrenderfont renders a PostScript outline font at a particular
point size and resolution, yielding a bitmap font.
* fontconvert can rearrange or delete characters in a bitmap font,
filter them, split them into pieces, combine them, etc., etc.
* imgrotate rotates or flips an IMG file.
We need volunteers to help create fonts for the GNU project. You do
not need to be an expert type designer to help, but you do need to
know enough about TeX and/or PostScript to be able to install and
test new fonts. Example: if you know neither (1) the purpose of TeX
utility program 'gftopk' nor (2) what the PostScript 'scalefont'
command does, you probably need more experience before you can
help.
If you can volunteer, the first step is to compile the font
utilities. After that, contact me (karl@gnu.ai.mit.edu). I will get
you a scanned type specimen image. The manual explains how to use
these utilities to turn that into a font you can use in TeX or
PostScript.
You can get the source by ftp from prep.ai.mit.edu [ 18.71.0.38 ] :
pub/gnu/fontutils-0.5.tar.Z.
And also from these other sites around the world; please check them
before prep.
United States: wuarchive.wustl.edu gatekeeper.dec.com:pub/GNU
uxc.cso.uiuc.edu ftp.uu.net:packages/gnu
Europe: archive.eu.net src.doc.ic.ac.uk:gnu ftp.funet.fi
nic.funet.fi:pub/gnu ugle.unit.no isy.liu.se
ftp.diku.dk
elsewhere: ftp.cs.titech.ac.jp utsun.s.u-tokyo.ac.jp:ftpsync/prep
archie.au:gnu
You can also order tapes with GNU software from the Free Software
Foundation (thereby supporting the GNU project); send mail to
gnu@prep.ai.mit.edu for the latest prices and ordering information,
or retrieve the file DISTRIB from a GNU archive.
Subject: 8.7. Font editors
* Editors for BDF fonts
There is a bdf font editor that comes with HP/Apollo
workstations. It's called 'edfont'. It's not the best but it
works.
Gary <Gocek.Henr801C@Xerox.COM> reports:
The standard X distribution for X11R5 contains "xfed", which
allows you to play with BDF fonts. "xfedor" has a more
elaborate user interface, and is available on most contrib
directories.
The last time I tried:
"xfedor" couldn't handle BDF files with more than 256
characters.
"xfed" aborts if the BDF file contains a COMMENT line with no
other text. The workaround is to edit the BDF file, to put text
after the word COMMENT. A single blank space is sufficient. For
some reason, the standard BDF files included in the X release
contain blank spaces on the otherwise empty COMMENT lines. It was
probably easier to add the space to the COMMENT lines of every
BDF file than it was to fix the lex code for xfed. :-)
* Editors for PK fonts
The GNU font utilities include an X-based editor called Xbfe
which edits bitmapped fonts under X.
Eberhard Mattes' emTeX includes PKedit.
Subject: 8.8. t1utils
This is a snippet from the README file for I. Lee Hetherington's
<ilh@lcs.mit.edu> t1utils package:
t1utils is a collection of simple type-1 font manipulation
programs. Together, they allow you to convert between PFA (ASCII)
and PFB (binary) formats, disassemble PFA or PFB files into
human-readable form, reassemble them into PFA or PFB format.
Additionally you can extract font resources from a Macintosh font
file (ATM/Laserwriter).
Subject: 8.9. Where to get bitmap versions of the fonts
There are archives containing the bitmaps of many of these fonts at
various sizes and resolutions. The fonts must have been generated
for the correct print engine: e.g. write-white or write-black. The
archives generally hold only the sizes used by TeX. These are
'magstep' sizes, and are not exact point sizes. It is probably
better to generate them from the Metafont sources yourself if you
can.
The best place to look for raster fonts was almost certainly:
mims-iris.waterloo.edu
but it isn't any more, the fonts have all gone. Let me know if you
find them elsewhere. Most people seem to have moved to using
PostScript fonts or Bitstream ones instead now.
Some other sites are:
ctrsci.math.utah.edu (128.110.198.1)
science.utah.edu (128.110.192.2)
ymir.claremont.edu (134.173.4.23)
The occasional posting of ftp sites to comp.misc and comp.archives
lists these and several other sites.
Subject: 8.10. Converting between font formats
Conversions to and from pbm and pk format were posted to
comp.text.tex and to alt.sources on the 9th of August, 1990 by
Angus Duggan (ajcd@cs.ed.ac.uk). The program is pbmtopk, and there
are also at least two patches.
Chris Lewis' psroff package includes a program to go from pk both
to the HP LaserJet and to PostScript.
John McClain (ophelp@tamvenus.bitnet) has some conversion programs
for various graphics formats to/and from pk files.
A PC program, CAPTURE, turns HPGL files into PK format, US $ 130
from Micro Programs Inc., 251 Jackson Ave., Syosset, NY 11791
U.S.A.
Metaplot can take pen-plotter files and prouce metafont files;
contact wilcox@cis.ohio-state.edu
Kinch Cmputer Company sell .pk fonts derived from PostScript fonts.
Kinch Computer Co., 501 S. Meadow St.Ithaca, NY 14850 U.S.A.
telephone: +1 607 273 0222; fax: +1 607 273 0484
Subject: 8.11. Getting fonts by FTP and Mail
If you are using ftp, you will need either the name of the host or
the Internet number. For example, to connect to ymir, listed as
ftp: ymir.claremont.edu [ 134.173.4.23 ] you will need to type
something like
ftp ymir.claremont.edu
If that doesn't work, try using the number:
ftp 134.173.4.23
If that doesn't work, on Unix systems you can use nslookup (it's
usually /usr/etc/nslookup) to find the host number -- it might have
changed. Type the entire host name, and after a few seconds
nslookup will give you the address.
Once you have connected, you will need to go to the appropriate
directory, lists its contents, and retrieve the files.
Most of the machines listed here run Unix, and you use "ls" and
"cd" to list files and to change directories. Ymir runs VMS, and
you will have to put square brackets around directory names, like [
this ] .
Remember that although Metafont sources are text files, pk fonts
are not ASCII, and you will have to use binary mode for them. In
general, use text mode for README files and *.mf files, and binary
mode for other font files. Files ending in .Z are compressed binary
files -- you will need to use binary mode, and then uncompress the
files when you get them.
You can get files from ymir by sending mail messages to
mailserv@ymir.claremont.edu
For example,
send [ tex.mf.misc ] cmapl10.mf
will get the file cmapl10.mf from the directory "tex.mf.misc".
You can't get binary files in this way.
There is an ftp-by-mail BITNET service, BITFTP, for BITNET users.
Before getting large files by mail, please remember to get
permission from all intervening sites. Ask your site administrator,
who can send mail to Postmaster at each site on the way if
necessary.
Subject: 8.12. Metafont to PostScript conversion
There are (I believe) two programs that perform this task. At least
one of them is called "mf2ps". If you have any more information
about these tools, please let me know.
Chang Jin-woong reports that he found the "mf2ps" package with
Archie. It is written by Shimon Yanai <yanai@israearn.bitnet> and
Daniel M. Berry <dberry@cs.technion.ac.il>. The source programs are
written in Pascal.
Subject: 8.13. How to use Metafont fonts with Troff
If, when you run troff, you get the message 'typesetter busy', you
have the original Ossanna-troff, also called otroff. Chris Lewis
has a package which will let you use TeX fonts with troff -- it's
called psroff, and comes with documentation.
ftp: gatekeeper.dec.com (16.1.0.2) pub/misc/psroff-3.0
ftp: ftp.cs.toronto.edu [128.100.1.105] pub/psroff-3.0/*
If, when you run troff, you get something like this:
x T 300
x res 300 1 1
you have ditroff. This is sometimes called titroff or psroff. In
this case, you will probably need to do the following:
1. convert the font to your printer's format
2. generate a width table for the font
3. add the font to the DESC file for the appropriate device
4. arrange for troff to download the font
5. tell troff about the font by running 'makedev DESC' in the right
place.
If, when you run troff, you get something like this:
X hp(SCM)(CM)(AF)(AD) 300 1 1
Y P default letter 2550 3300 0 0 90 90 2460 3210
you have sqtroff:
1. convert the font to your printer's format
2. generate a width table for the font
3. add the font to the DESC file for the appropriate device
4. put the font in the appropriate raster directory
5. tell sqtroff about the font by running 'sqmakedev DESC' or
'sqinstall'.
In each case, you should be able to get help from your vendor.
Note that Chris Lewis' psroff package has software to make width
tables for troff from pk files.
Subject: 8.14. PKtoBDF / MFtoBDF
From the SeeTeX distribution, programs to help previewers under
X11.
Subject: 8.15. PKtoPS
Included in the psroff distribution, this utility converts PK fonts
into PostScript fonts (bitmaps, I presume). If you have any more
information about these tools, please let me know.
Subject: 8.16. PKtoSFP/SFPtoPK
Convert fonts from TeX PK format to HP LaserJet (bitmap) format.
Subject: 8.17. PostScript to Metafont
ps2mf started out as a way of creating bitmaps via MF for TeX.
Only, when I had just finished it, Piet Tutelaers came with ps2pk.
This was a far superior way runtime-wise. He uses the IBM X11-R5
fontutilities library, which is extremely ugly code. But, it works.
So, to generate bitmaps, I suggest everyone use ps2pk.
To generate a MF outline description, ps2mf is *the* tool. Yannis
Haralambous has just started a project where he wants to create
meta-ized fonts for MF from Postscript descriptions. ps2mf does the
basic conversion. This project wants to revive the use of MF for it
is a truly beautiful program with enormous possiblities.
The following information comes from the README file for ps2mf:
This is pfb2mf. It is a copyleft program. See the file COPYING for
more details. I suggest that for the translation of Type-One to
readable PostScript you use I. Lee Hetherington's Type-1-Utils. You
can find these somewhere on obelix.icce.rug.nl in pub/erikjan.
If you find any bugs, please do report.
If you have any complaints, please do report.
Now for some info about the different stages. This package contains
four programs:
* pfb2pfa
* pfa2chr
* chr2ps
* ps2mf
| 8.17.1. pfb2pfa
pfb2pfa will decompress an IBM (!) Postscript type 1 fontfile into
readable and downloadable hexadecimal data.
The resulting file still contains two layers of encryption:
- eexec encryption
- charstring encryption
| 8.17.2. pfa2chr
pfa2chr will do an eexec-decryption of a readable hexadecimal font
file to a fontfile with encrypted charstrings.
| 8.17.3. chr2ps
chr2ps will perform a charstring-decryption of a font file with
encrypted charstrings to fontfile with postscript commands for type
1 fonts.
With a "-" as filename, these programs will read from <stdin> and
write to <stdout>. This way you can pipe the results, as in:
pfb2pfa garmnd - | pfa2chr - - | chr2ps - garmnd
This will create a <garmnd.ps> from <garmnd.pfb> without
explicitely creating the intermediate files.
These previous stages can be replaced by (when using Lee
Hetherington's type-1-utils):
t1disasm garmnd.pfb garmnd.ps
| 8.17.4. ps2mf
This last stage will convert to a MetaFont program with the use of
the corresponding <.afm> file and a mapping configuration file. It
can convert to an ordinary form with B'ezier controlpoints. It can
also generate a curl specification. For this last option specifify
-C.
Subject: 8.18. Converting Mac Bitmaps to BDF Format
I have posted a program which I hacked together for extracting all
NFNT and FONT resources from a MacBinary form of a standard Mac
file and dumping the fonts as Adobe BDF files. It has only been
compiled and tested on a Sun system to date. It can be fetched from
METIS.COM, /pub/mac2bdf.c.
I wrote this tool to be able to use Mac Bitmaps under X Windows and
OpenWindows (which take Adobe BDF format files).
Subject: Chapter 9
Vendor Information
Subject: 9.1. Vendor List
Masumi Abe <abe@adobe.com> contributed the following list of
commercial font vendors. Since a number of people have suggested
other vendors for fonts (both commercial and shareware), I have
taken the liberty of merging those suggestions into a single vendor
list. If there are any errors in the following list, please blame
norm <walsh@cs.umass.edu>, not Masumi.
I've made some effort to continue Masumi's annotations regarding
available font types, platforms, and languages. Innacuracies and
ommisions are both present and accidental. Updates are always
welcome.
Acorn Plus, Inc. (HP/IBM)
4219 W. Olive Ave. #2011
Burbank, CA 91505
(213) 876-5237
Achtung Entertainment TrueType (shareware) for Macs, 300+ fonts.
508 N. College Ave. #215 HyperCard demo disk $3.00 (refundable/order)
Bloomington, IN 47404
no phone number
ADH Software (Mac)
P.O. Box 67129
Los Angeles, CA 90067
Adobe Systems Incorporated : The Adobe Typeface Library (Mac)
1585 Charleston Rd. (Mac) (HP/IBM)
P.O. Box 7900
Mountain View, CA 94039-7900
(415) 961-4400
(800) 344-8335
Advanced Vision Research (HP/IBM)
2201 Qume Dr.
San Jose, CA 95131
(408) 434-1115
AGFA Compugraphic Corp. : CG Type
90 Industrial way
Wilmington, MA 01887
(800) 622-8973
Allotype Typographics : Downloadable Fonts (Mac)
1600 Packard Rd. Suite #5 Kadmos (Greek)
Ann Arbor, MI 48104 Czasy & Szwajcarskie
(313) 663-1989 Demotiki
Alphabets, Inc.
P.O. Box 5448
Evanston, IL 60204-5448
(312) 328-2733
Alphatype Corp.
220 Campus Dr., Suite 103
Arlington Heights, IL 60004
(312) 259-6800
Altsys Corporation, : FONTastic Fonts, Fontographer Fonts (Mac)
269 West Renner Road,
Richardson,
Texas 75080.
(214) 680-2060.
Artworx Software Co. (Mac)
1844 Penfield Rd. Hebrew Typefaces
Penfield, NY 14526
(716) 385-6120
(800) 828-6573
Architext, Inc. (HP/IBM)
121 Interpark Blvd. Suite 1101
San Antonio, TX 78216
(512) 490-2240
Asiagraphics Technology Ltd. (Mac)
9A GreatMany Centre Chinese, Japanese, Korean, Thai
109 Queen's Road East
Wanchai, Hong Kong
(5) 8655-225
Fax: (5) 8655-250
Modem: (5) 865-4816
Autologic, Inc. (Mac)
1050 Rancho Conejo Blvd.
Newbury Park, CA 91320
(805) 498-9611
Berthold of North America
7711 N. Merrimac Avenue
Niles, IL 60648
(312) 965-8800
Bitstream, Inc.
Athenaeum House
215 First St.
Cambridge, MA 02142
(617) 497-6222
(800) 237-3335
A representative of Bitstream sent the following correction to me.
Bitstream offers:
**1100 PostScript Type 1 fonts for the Mac & PC. (These can
be ordered direct from Bitstream or thru several resellers.)
** Bitstream Type Treasury -- the Bitstream Type Library for
the Mac (Type 1 format) on CD ROM.
** Bitsteram Type Essentials--a series of 4 Typeface
Packages for PC & Mac that were selected to work well for
different jobs (Letters, Memos & Faxes; Newsletters,
Brochures & Announcements; Spreadsheets, Graphs &
Presentations; Headlines).
**Bitstream Typeface Packages for the PC -- 52 packages
(most with 4 faces each) that include a total of over 200
faces, with mutiple font formats in each package (Bitstream
Speedo, Type 1, Bitstream Fontware)
** Bitstream TrueType Font Packs 1 & 2 for Microsoft Windows
** Bitstream PostScript Font Packs 1 & 2 for the PC
** Bitstream FaceLift for Windows
** Bitstream FaceLift for WordPerfect
- both are font scaling/font management utilities.
** Bitstream MakeUp for Windows - a type manipulation/
special effects program.
** Bitstream Li'l Bits -- a new product line of novelty
fonts in TrueType format for Windows 3.1. The first release
began shipping last week and includes The Star Trek Font
Pack, The Flintstones Font Pack and The Winter Holiday Font
Pack.
We offer OEM customers an extensive range of non-latin type
(as you have noted in the current listing), but these faces
are not currently available to individual end-users.
We also offer font-scaling and rasterizing technology to
OEM customers.
Blaha Software/Janus Associates : Big Foot (Mac) (HP/IBM)
991 Massachusetts Ave.
Cambridge, MA 02138
(617) 354-1999
Blue Sky Research : Computer Modern Fonts
534 SW Third Avenue, #816
Portland, OR 97204
(800) 622-8398
Canon Canon Font Gothic, Canon Font Mincho
Casady & Greene, Inc. : Fluent Fonts, Fluent Laser Fonts (Mac)
26080 Carmel Rancho Blvd. #202 Russian/Ukranian/Bulgarian/Serbian
P.O. Box 223779 Cyrillic, Greek, Hebrew, Kana, Polish
Carmel, CA 93922 Glasnost
(408) 484-9228
(800) 331-4321 -------------no longer valid
(800) 851-1986 (California)-no longer valid
Caseys' Page Mill (Mac)
6528 S. Oneida Court
Englewood, CO 80111
(303) 220-1463
Century Software (MacTography) font developer for MacTographyc
702 Twinbrook Parkway : LaserFonts (Mac)
Rockville, MD 20851
(301) 424-1357
Coda Music Software
1401 E. 79th St.
Mineapolis, MN 55425-1126
(612) 854-1288
(800) 843-1337
Compugraphic Corporation (Mac) (HP/IBM)
Type Division
90 Industrial Way
Wilmington, MA 01887
(800) 622-8973 (U.S.)
(800) 533-9795 (Canada)
Computer EdiType Systems (HP/IBM)
509 Cathedral Parkway, Ste. 10A
New York, NY 10025
(212) 222-8148
Computer Peripherals, Inc. : JetWare (HP/IBM)
2635 Lavery Ct. #5
Newbury Park, CA 91320
(805) 499-5751
Computer Prod. Unlimited (Mac)
78 Bridge St.
Newburgh, NY 12550
(914) 565-6262
Conographic Corp. (Mac) (HP/IBM)
17841 Fitch
Irvine, CA 92714
(714) 474-1188
Corel Systems Corp. (HP/IBM)
1600 Carling Ave.
Ottawa, Ontario, CANADA KIZ 7M4
(613) 728-8200
Data Transforms (HP/IBM)
616 Washington St.
Denver, CO 80203
(303) 832-1501
Davka Corp. (Mac)
845 N. Michigan Ave., Ste. 843 Arabic, Hebrew
Chicago, IL 60611
(312) 944-4047
Devonian International software Co. (Mac)
P.O. Box 2351 Cyrillic
Montclair, CA 91763
(714) 621-0973
Digi-Fonts (HP/IBM)
528 Commons Drive Greek, Cyrillic
Golden, Colorado 80401
(303) 526-9435
Fax: (303) 526-9501
Digital Type Systems (DTS) (HP/IBM)
38 Profile Circle
Nashua, NH 03063
(603) 880-7541
Dubl-Click Software, Inc. : World Class Fonts (Mac)
9316 Deering Ave.
Chatsworth, CA 91311
(818) 700-9525
Eastern Language Systems, Inc. (Mac)
39 W. 300 North Arabic, Hebrew
Prove, UT 84601
(801) 377-4558
Ecological Linguistics (Mac)
P.O. Box 15156 Cyrillic, Greek
Washington, DC 20003
(202) 546-5862
The Electric Typographer
2216 Cliff Dr.
Santa Barbara, CA 93109
(805) 966-7563
EmDash : EmDash Fonts (Mac)
P.O. Box 8256
Northfield, IL 60093
(312) 441-6699
The Font Company
12629 N. Tatum Boulevard
Suite 210
Phoenix, AZ 85032
(602) 996-6606
The Font Factory (HP/IBM)
2400 Central Parkway
Ste. J-2
Houston, TX 77092
FontCenter (HP/IBM)
509 Marin St., #121
Thousand Oaks, CA 91360
(805) 373-1919
Font FunHouse CD-ROM (PC/Mac)
Wayzata
PO Box 807
Grand Rapids, Minnesota 55744
(800) 735-7321
FontHaus is a manufacturer of typefaces and a licensed reseller for
Adobe, Monotype, Bitstream, Elsner+Flake, Giampa Textware,
Treacyfaces, Panache Graphics, and others around the world.
FontHaus discounts most Adobe fonts up to 40% off list price, and
have CD-ROM discs available so you can buy individual fonts instead
of entire families. All their fonts are available in Macintosh Type
1; most are also available in PC format; and a growing number are in
TrueType format. In addition, some type manufacturers support other
platforms through thier CD-ROM font libraries (i.e. Monotype for Mac,
PC, or NeXT). Contact them regarding availability for the fonts and
formats you want.
FontHaus ships internationally and also has several agents overseas,
although these agents may not have everything available as the main
office here in the US.
FontHaus Inc (United States)
15 Perry Avenue, A7
Norwalk CT 06850
203 846 3087
203 849 8527 Fax
Rhyscon Systems (Canada)
PO Box 245 Clarkson PO
Mississauga Ontario L51 3Y1
416 278 2600
416 278 3298 Fax
TypoGabor (France)
5, rue de 8 Mai 1945
92586 Clichy (Paris)
33 1 4739 6600
33 1 4739 0638 Fax
Elsner+Flake Fontinform GmbH (German)
Billstrasse 103
2000 Hamburg 26
40 789 2608
40 789 1217 Fax
Signus Limited (Britain)
South Bank TechnoPark
90 London Road
London SE1 6LN
71 922 8805
71 261 0411 Fax
Font Bolajet (Sweden, Finland, Norway)
Kungstengaten 18
113 57 Stockholm
46.8.16.81.00
Font World (Mac)
2021 Scottsville Rd. Cyrillic, Hebrew
Rochester, NY 14623-2021
(716) 235-6861
Genny Software R&D (Mac)
P.O. Box 5909
Beaumont, TX 77706
(409) 860-5817
Gradco Systems Inc.
7 Morgan
Irvine, CA 92718
(714) 770-1223
Hewlett-Packard (HP/IBM)
P.O. Box 15
Boise, ID 83707
(208) 323-6000
ICOM Simulations, Inc.
648 S. Wheeling Rd.
Wheeling, IL 60090
(312) 520-4440
(880) 877-4266
Image Club Graphics, Inc. : Laser Type (Mac)
1902 11th Street SE, #5
Calgary, Alberta
T2G 3G2 Canada
(800) 661-9410
(403) 262-8008 (Canada)
Image Processing Systems :Turbofonts (HP/IBM)
6409 Appalachian Way, Box 5016
Madison, WI 53705
(608) 233-5033
Invincible Software (Mac)
9534 Burwick
San Antonio, TX 78230
(512) 344-4228
Kabbalah Software
8 Price Drive
Edison, NJ 08817
(908) 572-0891
(908) 572-0869 Fax
Hebrew fonts for PC and Mac. While I am part owner, so I am biased, we
have been reviewed in the October 27 1992 issue of PC Mag as having high-
quality fonts.
Keller Software (HP/IBM)
1825 Westcliff Dr.
Newport Beach, CA 92600
(714) 854-8211
Kensington Microware Ltd. (Mac)
251 Park Ave. S
New York, NY 10010
(212) 475-5200
Kingsley/ATF Type Corp. (Mac)
200 Elmora Ave.
Elizabeth, NJ 07202
(201) 353-1000
(800) 289-TYPE
Laser Technologies International : Lenord Storch Soft Fonts
15403 East Alondra Blvd. (HP/IBM)
La Mirada, CA 90638
(714) 739-2478
LaserMaster Corp. : LM Fonts (HP/IBM)
7156 Shady Oak Rd.
Eden Prairie, MN 55344
(612) 944-9330
(800) LMC-PLOT
Fax: (612) 944-0522
LeBaugh Software Corp : LeFont (HP/IBM)
2720 Greene Ave.
Onaha, NE 68147
(800) 532-2844
Letraset USA : LetraFont (Mac)
40 Eissenhower Dr.
Paramus, NJ 07653
(201) 845-6100
(800) 634-3463
Linguists' Software, Inc. (Mac)
P.O.Box 580 Cyrillic, Greek, Hebrew, Arabic, Farsi,
Edmonds, WA 98020-0580 Japanese, Chinese, Korean, Thai,
Tibetan,
(206) 775-1130 Hindi, Sanskrit, Gujarati, Tamil,
Punjabi
Fax: (206) 771-5911 Burmese,
Linotype Company (Mac)
425 Oser Ave.
Hauppauge, NY 11788
(800) 645-5764 (US)
(800) 832-5288 (NY)
(800) 387-9553 (Canada)
MacTography
326-D North Stonestreet Ave.
Rockville, MD 20850
(301) 424-3942
Megatherium Enterprises : Mac The Linguist 2 (Mac)
P.O. Box 7000-417
Redondo Beach, CA 90277
(213) 545-5913
Metro Software, Inc. (HP/IBM)
2509 N. Cambell Ave., Ste. 214
Tucson, AZ 85719
(602) 299-7313
Modern Graphics :Organic Fonts (Mac)
P.O. Box 21366
Indianapolis, IL 46221
(317) 253-4316
Monotype Typography Inc.
Suite 504-53 West Jackson Blvd.
Chicago, IL 60604
(312) 855-1444
(800) MONOTYPE
Network Technology Corp. : LaserTEX Font Library (HP/IBM)
6825 Lamp Post Lane
Alexandria, VA 22306
(703) 765-4506
Nippon Information Science Ltd. (NIS) (Mac)
Sumire Bldg. 4F
5-4-4 Koishikawa
Bunkyo-ku, Tokyo 112
Japan
(03) 945-5955
Olduvai Corporation : Art Fonts (Mac)
7520 Red Road, Suite A
South Miami, FL 33143
(305) 665-4665
(800) 822-0772 (FL)
Page Studio Graphics : PIXymbols (Mac)
3175 N. Price Rd. #1050
Chandler, AZ 85224
(602) 839-2763
Paperback Software : KeyCap Fonts
2830 9th St.
Berkeley, CA 94710
(415) 644-2116
Prosoft (HP/IBM)
7248 Bellair Ave., P.O. Box 560
North Hollywood, CA 91605
(818) 764 3131
Qume Corp. (HP/IBM)
2350 Qume Dr.
San Jose, CA 95131
(800) 223-2479
R.M.C. : PrintR fonts (HP/IBM)
12046 Willowood Dr.
Woodbridge, VA 22192
(703) 494-2633
S. Anthony Studios : Fonts Vol. 1
889 DeHaro Street
San Francisco, CA 94107
ScenicSoft Inc. : PC-Monochrome (Mac)
250 Harbor Bldg.
100 2nd Ave. S
Edmonds, WA 98020
(206) 776-7760
SMK (Mac)
5760 S. Blackstone Ave.
Chicago, IL 60637
(312) 947-9157
SoftCraft, Inc. : Fancy Font (HP/IBM)
16 North Carrol St., Suite 500
Madison, WI 53703
(608) 257-3300
SoftDisk Publishing : DTPublisher Fonts
P.O. Box 30008
Shreveport, LA 71130-0008
(318) 221-8718 or
(800) 831-2694
Software Apple-cations (Mac)
1934 Ridge Point Way
Boise, ID 83712
(208) 345-0547
Software Complement : Complementary Type (Mac)
8 Penn Ave.
Metamoras, PA 18366
(717) 491-2492
Software Shop : Studio 231 (Mac)
233 Bedford Ave.
Bellmore, Long Island, NY 11710
(516) 785-41447
Software Touch : FontWorks
9625 Black Mountain Rd.
San Diego, CA 92126
(619) 549-3091
Specific Solutions : FontPacks (Mac) (HP/IBM)
1898 Anthony Ct.
Mountain View, CA 94040
(415) 941-3941
Springboard Software, Inc.
7808 Creekridge Circle
Minneapolis, MN 55435
(612) 944-3915
(800) 445-4780 (US & Canada)
Straightforward : ZFont (HP/IBM)
15000 Halldale Ave.
Gardena, CA 90249
(213) 324-8827
Studio 231, Inc.
231 Bedford Ave.
Bellmore, NY 11710
(516) 785-4422
SWFTE International (HP/IBM)
Box 5773
Wilmington, DE 19808
(800) 237-9383
T/Maker Company : LaserLetters (Mac)
1390 Villa St.
MountainView, CA 94041
(415) 962-0195
Treacyfaces, Inc : Treasyfaces (Mac)
303 Conway Ave.
Narverth, PA 19072
(215) 668-8548
TypeXpress
150 Fencl Lane
Hillside, IL 60162
(800) 343-4424
Typographics Ltd. : Typo
46, Hehalutz St.
Jerusalem 96222
Israel
U-Design, Inc. : Type Foundry
201 Ann St.
Hartford, CT 06102
(201) 278-3648
The Underground Phont Archive (TrueType,Shareware)
395 Kaymar Dr.
Amherst, NY 14228
USA.
Varityper, Inc. (Mac)
11 Mt. Pleasant Ave.
East Hanover, NJ 07936
(800) 631-8134 (US except NJ)
(201) 887-8000 ext. 999 (NJ)
VS Software (HP/IBM)
P.O. Box 6158
Little Rock, AR 72216
(501) 376-2083
Weaver Graphics : LJ Fonts (Mac) (HP/IBM)
5165 S. Hwy A1A
Melbourne Beach, FL 32951
(407) 728-4000
Fax: (407) 728-5978
Wikes Publishing Corp. : Softjet (HP/IBM)
25251 Paseo de Alicia #200
Laguna Hills, CA 92653
(714) 855-0730
Wu Corp. : FeiMa (Mac) Chinese wordprocessor
46 West Avon Rd.
Avon, CT 06001
(203) 673-4796
Xiphias : Digital Type Fonts (HP/IBM)
13464 Washington Blvd.
Marina Del Ray, CA 90292
(213) 821-0074
| Y&Y, Inc. : The "TeX without bitmaps" people
| 106 Indian Hill : Technical typesetting & fonts for same
| Carlisle, MA 01741
| (508) 371-3286
| Fax: (508) 371-2004
ZSoft Corp. : Soft Type
450 Franklin Rd. Suite 100
Marietta, GA 30067
(404) 428-0008
Fax: (404) 427-1150