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Times and Helvetica Fonts Under Development

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Times and Helvetica Fonts Under Development ΩTimes and ΩHelvetica Fonts Under Development: Step One Yannis Haralambous, John Plaice To cite this version: Yannis Haralambous, John Plaice. ΩTimes and ΩHelvetica Fonts Under Development: Step One. Tugboat, TeX Users Group, 1996, Proceedings of the 1996 Annual Meeting, 17 (2), pp.126-146. hal- 02101600 HAL Id: hal-02101600 https://hal.archives-ouvertes.fr/hal-02101600 Submitted on 25 Apr 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ΩTimes and ΩHelvetica Fonts Under Development: Step One Yannis Haralambous Atelier Fluxus Virus, 187, rue Nationale, F-59800 Lille, France [email protected] John Plaice D´epartement d’informatique, Universit´e Laval, Ste-Foy (Qu´ebec) Canada G1K 7P4 [email protected] TheTruthIsOutThere and publishers request that their texts be typeset —ChrisCARTER, The X-Files (1993) in Times; Helvetica (especially the bold series) is often used as a titling font. Like Computer Modern, Times is a very neutral font that can be used in a Introduction wide range of documents, ranging from poetry to ΩTimes and ΩHelvetica will be public domain technical documentation.. virtual Times- and Helvetica-like fonts based upon It would surely be more fun to prepare a real PostScript fonts, which we call “Glyph Con- Bembo- or Stempel Garamond-like font for the serifs tainers”. They will contain all necessary characters part and a Gill Sans- or Univers-like one for the sans-serifs part; but these can hardly be used in the for typesetting efficiently (that is, with TEX quality) in all languages and systems using the Latin, Greek, scientific/technical area, and that’s perhaps where Cyrillic, Arabic, Hebrew and Tifinagh alphabets and TEX (and hence potentially Ω) is used the most. their derivatives. All Unicode characters will be When will the Ω fonts be finished? The covered, although the set of glyphs of our Ω fonts development of ΩTimes and ΩHelvetica fonts is will not be limited to these; after all, our goal is high- divided into four steps: quality typography, which requires more glyphs than 1. Drawing of PostScript outlines and packaging would be required for mere information interchange. of Glyph Container fonts. Other alphabets will follow (the obvious first candidates are Coptic, Armenian and Georgian) as 2. Development of virtual code, based on the real well as mathematical symbols, dingbats, etc. fonts of step one. 3. Kerning of virtual fonts. META Why PostScript instead of METAFONT ? - 4. Development of LATEX code and Ω Translation FONT is the ultimate tool for font development. Extending Computer Modern fonts to the Unicode Processes necessary for the use of these fonts. encoding is still one of our goals. We have started For the time being (June 1996) we have done developing a set of fonts we call “Unicode Com- the biggest part of step one, and this is what we puter Modern” fonts, using techniques such as Vir- present in this paper. We hope to have finished with tual METAFONT (virtual fonts are created directly steps two, three and four before the next teTEXCD- by METAFONT using the gftotxt utility for text ROM in December 1996. output). Nevertheless, we realized that the task We want your support! Please keep in mind: of writing METAFONT code for some thousands of characters (including code for typewriter style) is a The choice and shapes of glyphs presented in tremendous task, which will take several years. this paper are only a first attempt. We need So we have decided to take a small break your feedback to improve them, so that you from METAFONT ing, and to develop in a limited can use them efficiently. time period PostScript fonts that will cover a In the tables we present only Times family and maximum number of languages and will give the medium series fonts (except in the case of Tifinagh, TEX community a good reason to switch to Ω. which is also presented in the Helvetica family). Why Times and Helvetica? First of all because, Up-to-date tables of the remaining fonts can be after Computer Modern, they are the most widely consulted on our Ω WWW server used fonts in the TEX community. Many journals http://www.ens.fr/omega 126 TUGboat, 17, Number 2 — Proceedings of the 1996 Annual Meeting ΩTimes and ΩHelvetica Fonts Under Development: Step One Container “Common”; theoretically, to produce an acute-accented Latin letter and an acute-accented Cyrillic letter, one would use three Glyph Contain- ers: one for the accent, and one for each alphabet. To avoid this, we store all accents relevant to a given alphabet, in the alphabet’s Glyph Container. The same method is used for shapes that are similar in the different alphabets: Latin, Greek and Cyrillic al- phabets share the letter ‘A’, Latin, IPA and Cyrillic Figure 1: Italic-style letters with ogonek (Polish alphabets share the letter ‘a’.2 and Lithuanian) The “Common” Glyph Container The “Common” Glyph Container, shown in Table 1, You can also retrieve the PostScript code from the contains glyphs that will be used potentially in same address, or from conjunction with all alphabets. These are described ftp://ftp.ens.fr/pub/tex/yannis/omega in the following subsections. General remarks on the fonts Punctuation, digits, editorial marks Special care has been taken to distinguish between “typo- To prevent confusion, the word “font” in this section graphical” punctuation and “typewriter/computer is meant in the sense of the PostScript Type 1 font terminal-derived” one: compare the typographical structure; and not of T X text or math fonts: the E double quotes lm and the straight ‘ASCII’ones". fonts we describe in this paper will never be used This table covers all Unicode punctuation directly for typesetting. Their raison d’ˆetre is to marks from the ASCII and ISO 8859-1 tables as provide glyphs for the virtual Unicode+Typography well as from the general punctuation table Ω fonts which we will develop in steps two–four. (0x2010–0x2046). We have not included a few Hence, there is no need to look in the tables for punctuation marks specific to a single alphabet: a‘´e’: this character will be assembled by the virtual Arabic asterisk, inverted comma and semicolon, font, using the glyphs of letter ‘e’ and of the acute Hebrew colon, Greek upper dot. These will be found accent. in the corresponding Glyph Containers. The same stands for the letter ‘c’ with cedilla: In Fig. 3 the reader can see how regular it can be assembled out of the two corresponding curly braces have been transformed into square glyphs; however, this is not true for letters with brackets with quill, by simply reflecting the ogonek: the shape of the ogonek changes while it central part of the brace. gets attached to the letter; that is why you find letters with ogonek in the Glyph Containers and Commonly adopted Latin alphabet derived not letters with cedilla. In Fig. 1 the reader can symbols Symbols like A use Latin alphabet letters see examples of letters in italic style, carrying an but are used in many non-Latin-alphabet based ogonek accent. languages. Symbol z is an even stranger example: In Fig. 2 the reader can find the general although the glyph ‘N’ does not exist in Cyrillic, structure of the fonts:1 On the left, the 16-bit this symbol is used mainly in Cyrillic-alphabet Unicode+Typography virtual font, on the right a languages. certain number of Glyph Containers, that is 8-bit 2 PostScript fonts. We will use a totally different approach when dvips and Adobe Acrobat are able to use 16-bit PostScript fonts. The reader will notice that a certain number of Instead of having many ‘small’ PostScript fonts and one glyphs are repeated in the different Glyph Contain- ‘big’ virtual font, we will use a single ‘big’ PostScript font, ers. This is because we want to minimize the number in Unicode+Typography encoding. In that font, accented of Glyph Containers used for a single-alphabet text. letters and repeated identical shapes will be obtained by the PostScript font technique of composite characters. This will For example, accents for all fonts are stored in Glyph allow Acrobat users to select and copy Unicode-encoded text directly from the document window. 1 In the figure, the reader will notice real font “Adobe Since the two techniques (16-bit + 8-bit real, vs. 16- Zapf Dingbats”. In fact, the glyphs of this font have become bit composite real) will share the same .tfm metrics for Unicode characters (0x2701–0x27be) and we see no reason to characters, it will be possible to convert .dvi files from one redraw them since this font is widely available. Hence the format to the other, so that files obtained today by the virtual 16-bit font will also point to the standard Adobe Zapf first method will be “Acrobat-ready” later, whenever Acrobat Dingbats font. switches to Unicode (hopefully soon!). TUGboat, 17, Number 2 — Proceedings of the 1996 Annual Meeting 127 Yannis Haralambous and John Plaice PostScript fonts OmegaTimesCommon 8-bit OmegaTimesLatin 8-bit Ω OmegaTimesIPA Times 8-bit virtual font (Unicode OmegaTimesGreek encoding + 8-bit characters needed for OmegaTimesCyrillic typography) 8-bit OmegaTimesArabicOne, … 8-bit 16-bit OmegaTimesHebrew 8-bit OmegaTimesTifinagh 8-bit … Adobe™ ZapfDingbats 8-bit Figure 2: General structure of the ΩTimes fonts (idem for ΩHelvetica) In Fig.
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