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Donald Knuth Fletcher Jones Professor of Computer Science, Emeritus Curriculum Vitae Available Online
Donald Knuth Fletcher Jones Professor of Computer Science, Emeritus Curriculum Vitae available Online Bio BIO Donald Ervin Knuth is an American computer scientist, mathematician, and Professor Emeritus at Stanford University. He is the author of the multi-volume work The Art of Computer Programming and has been called the "father" of the analysis of algorithms. He contributed to the development of the rigorous analysis of the computational complexity of algorithms and systematized formal mathematical techniques for it. In the process he also popularized the asymptotic notation. In addition to fundamental contributions in several branches of theoretical computer science, Knuth is the creator of the TeX computer typesetting system, the related METAFONT font definition language and rendering system, and the Computer Modern family of typefaces. As a writer and scholar,[4] Knuth created the WEB and CWEB computer programming systems designed to encourage and facilitate literate programming, and designed the MIX/MMIX instruction set architectures. As a member of the academic and scientific community, Knuth is strongly opposed to the policy of granting software patents. He has expressed his disagreement directly to the patent offices of the United States and Europe. (via Wikipedia) ACADEMIC APPOINTMENTS • Professor Emeritus, Computer Science HONORS AND AWARDS • Grace Murray Hopper Award, ACM (1971) • Member, American Academy of Arts and Sciences (1973) • Turing Award, ACM (1974) • Lester R Ford Award, Mathematical Association of America (1975) • Member, National Academy of Sciences (1975) 5 OF 44 PROFESSIONAL EDUCATION • PhD, California Institute of Technology , Mathematics (1963) PATENTS • Donald Knuth, Stephen N Schiller. "United States Patent 5,305,118 Methods of controlling dot size in digital half toning with multi-cell threshold arrays", Adobe Systems, Apr 19, 1994 • Donald Knuth, LeRoy R Guck, Lawrence G Hanson. -
Surviving the TEX Font Encoding Mess Understanding The
Surviving the TEX font encoding mess Understanding the world of TEX fonts and mastering the basics of fontinst Ulrik Vieth Taco Hoekwater · EuroT X ’99 Heidelberg E · FAMOUS QUOTE: English is useful because it is a mess. Since English is a mess, it maps well onto the problem space, which is also a mess, which we call reality. Similary, Perl was designed to be a mess, though in the nicests of all possible ways. | LARRY WALL COROLLARY: TEX fonts are mess, as they are a product of reality. Similary, fontinst is a mess, not necessarily by design, but because it has to cope with the mess we call reality. Contents I Overview of TEX font technology II Installation TEX fonts with fontinst III Overview of math fonts EuroT X ’99 Heidelberg 24. September 1999 3 E · · I Overview of TEX font technology What is a font? What is a virtual font? • Font file formats and conversion utilities • Font attributes and classifications • Font selection schemes • Font naming schemes • Font encodings • What’s in a standard font? What’s in an expert font? • Font installation considerations • Why the need for reencoding? • Which raw font encoding to use? • What’s needed to set up fonts for use with T X? • E EuroT X ’99 Heidelberg 24. September 1999 4 E · · What is a font? in technical terms: • – fonts have many different representations depending on the point of view – TEX typesetter: fonts metrics (TFM) and nothing else – DVI driver: virtual fonts (VF), bitmaps fonts(PK), outline fonts (PFA/PFB or TTF) – PostScript: Type 1 (outlines), Type 3 (anything), Type 42 fonts (embedded TTF) in general terms: • – fonts are collections of glyphs (characters, symbols) of a particular design – fonts are organized into families, series and individual shapes – glyphs may be accessed either by character code or by symbolic names – encoding of glyphs may be fixed or controllable by encoding vectors font information consists of: • – metric information (glyph metrics and global parameters) – some representation of glyph shapes (bitmaps or outlines) EuroT X ’99 Heidelberg 24. -
Zapfcoll Minikatalog.Indd
Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf. -
November 2015 6 Page Play.Indd
AMATTERS PUBLICATION OF JOHNSON PRESS OF AMERICA Volume 9 | Issue 6 | November 2015 Long live the long article! Try Googling the phrase “reader attention span.” You’ll see that, according to the search results, few of us have much of one these days. Thanks to the Internet and today’s fast-paced, multi-tasking world, we’re finding it increasingly difficult to stay focused. This tendency has grown so bad that most of us now fall somewhere behind goldfish in the attention department. This comparison comes from a recent study by Microsoft Corp., which found that most people’s concentration begins to falter after only eight seconds. Welcome to the first issue of Print Matters in our new design template. Our last redesign was in March of 2010, and we were ready for a bit of a refresh. Thanks for being loyal readers and we hope you like the new look. opposite: A silk-screen print of Zapf variant forms and add swash characters to mimic calligraphy published by Edition ZET. the characteristics of handwriting or calligraphy. top: Hermann Zapf in his house in Zapf was game and worked on a design while Frankfurt am Main, before he moved Siegel worked on the computer program. The tal- to Darmstadt, probably taken in the ented designer Gino Lee was assigned the task of mid-1960s. middle: Zapfino was an digitizing Zapf’s beautiful drawings. Thousands early digital typeface that is specifically of characters were drawn for this purpose. I have inspired by graceful, handwritten forms. heard various accounts from Zapf and Siegel, and bottom: Three more Zapf typefaces. -
Donald E. Knuth Papers SC0097
http://oac.cdlib.org/findaid/ark:/13030/kt2k4035s1 Online items available Guide to the Donald E. Knuth Papers SC0097 Daniel Hartwig & Jenny Johnson Department of Special Collections and University Archives August 2018 Green Library 557 Escondido Mall Stanford 94305-6064 [email protected] URL: http://library.stanford.edu/spc Note This encoded finding aid is compliant with Stanford EAD Best Practice Guidelines, Version 1.0. Guide to the Donald E. Knuth SC00973411 1 Papers SC0097 Language of Material: English Contributing Institution: Department of Special Collections and University Archives Title: Donald E. Knuth papers Creator: Knuth, Donald Ervin, 1938- source: Knuth, Donald Ervin, 1938- Identifier/Call Number: SC0097 Identifier/Call Number: 3411 Physical Description: 39.25 Linear Feet Physical Description: 4.3 gigabyte(s)email files Date (inclusive): 1962-2018 Abstract: Papers reflect his work in the study and teaching of computer programming, computer systems for publishing, and mathematics. Included are correspondence, notes, manuscripts, computer printouts, logbooks, proofs, and galleys pertaining to the computer systems TeX, METAFONT, and Computer Modern; and to his books THE ART OF COMPUTER PROGRAMMING, COMPUTERS & TYPESETTING, CONCRETE MATHEMATICS, THE STANFORD GRAPHBASE, DIGITAL TYPOGRAPHY, SELECTED PAPERS ON ANALYSIS OF ALGORITHMS, MMIXWARE : A RISC COMPUTER FOR THE THIRD MILLENNIUM, and THINGS A COMPUTER SCIENTIST RARELY TALKS ABOUT. Special Collections and University Archives materials are stored offsite and must be paged 36-48 hours in advance. For more information on paging collections, see the department's website: http://library.stanford.edu/depts/spc/spc.html. Immediate Source of Acquisition note Gift of Donald Knuth, 1972, 1980, 1983, 1989, 1996, 1998, 2001, 2014, 2015, 2019. -
Fun and Software
Fun and Software Fun and Software Exploring Pleasure, Paradox and Pain in Computing Edited by Olga Goriunova Bloomsbury Academic An imprint of Bloomsbury Publishing Inc 1385 Broadway 50 Bedford Square New York London NY 10018 WC1B 3DP USA UK www.bloomsbury.com Bloomsbury is a registered trade mark of Bloomsbury Publishing Plc First published 2014 © Olga Goriunova and contributors, 2014 All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or any information storage or retrieval system, without prior permission in writing from the publishers. No responsibility for loss caused to any individual or organization acting on or refraining from action as a result of the material in this publication can be accepted by Bloomsbury or the author. Library of Congress Cataloging-in-Publication Data A catalog record for this book is available from the Library of Congress ISBN: HB: 978-1-6235-6094-2 ePub: 978-1-6235-6756-9 ePDF: 978-1-6235-6887-0 Typeset by Fakenham Prepress Solutions, Fakenham, Norfolk NR21 8NN Printed and bound in the United States of America Contents Acknowledgements vi Introduction Olga Goriunova 1 1 Technology, Logistics and Logic: Rethinking the Problem of Fun in Software Andrew Goffey 21 2 Bend Sinister: Monstrosity and Normative Effect in Computational Practice Simon Yuill 41 3 Always One Bit More, Computing and the Experience of Ambiguity Matthew Fuller 91 4 Do Algorithms Have Fun? On Completion, Indeterminacy -
Communications of the Users Group Editor Barbara
When problem solving is reduced to hacking, there's usually a problem in documentation somewhere. Bruce Ormsby Adam Software Corner, EP@P (December 1988) COMMUNICATIONS OF THE USERS GROUP EDITORBARBARA BEETON VOLUME10, NUMBER1 . APRIL1989 PROVIDENCE RHODEISLAND U.S.A. TUGboat, Volume 10 (1989), No. 1 TUGboat TUGboat Editorial Committee During 1989, the communications of the w Users Barbara Beeton, Editor Group will be published in four issues. One issue Ron Whitney, Production Assistant will consist primarily of the Proceedings of the Helmut Jiirgensen, Associate Editor for Software Annual Meeting. Laurie Mann, Associate Editor on Training Issues TUGboat is distributed as a benefit of mem- Georgia K.M. Tobin, Associate Editor, Font Forum bership to all members. Don Hosek, Associate Editor for Output Devices Submissions to TUGboat are for the most part Jackie Damrau, Associate Editor for .VTjjX reproduced with minimal editing, and any questions Alan Hoenig and Mitch Pfeffer, Associate Editors regarding content or accuracy should be directed for Typesetting on Personal Computers to the authors, with an information copy to the See page 5' for addresses. Editor. Other TUG Publications Submitting Items for Publication TUG publishes the series wniques, in which have The deadline for submitting items for Vol. 10, appeared user manuals for macro packages and 2, No. is May 1, 1989; the issue will be mailed in m-related software, as well as the Proceedings July. (Deadlines for future issues are listed in the of the 1987 and 1988 Annual Meetings. Other Calendar, page 117.) publications on wnical subjects also appear from Manuscripts should be submitted to a member time to time. -
Typesetting Concrete Mathematics Testfont Routine [5, Appendix HI; These Tests Put Donald E
TUGboat, Volume 10 (1989), No. 1 3 1 Typesetting Concrete Mathematics testfont routine [5, Appendix HI; these tests put Donald E. Knuth the characters through their basic paces by type- Stanford University setting formulas such as /A+ ,B1+ C + ... + Z1, a2tb2+c2t..+z2, az+br+c2+...+p,and During 1987 and 1988 I prepared a textbook entitled 3 + 5 + + + . + 2. I noticed among other things Concrete Mathematics [I],written with co-authors that the Fraktur characters had all been placed too Ron Graham and Oren Patashnik. I tried my best high above the baseline, and that more blank space to make the book mathematically interesting, but was needed at the left and right of the characters in I also knew that it would be typographically in- subscript/superscript sizes. After fixing such prob- teresting-because it would be the first major use lems I also needed to set the italic corrections so of a new typeface by Hermann Zapf, commissioned that subscripts and superscripts would have proper by the American Mathematical Society. This type- offsets; and I needed to define suitable kerns with face, called AMS Euler, had been carefully digitized a \skewchar so that accents would appear visually and put into METAFONT form by Stanford's digital centered. AMS Euler contains more than 400 char- typography students [a]; but it had not yet been acters, and Hermann had made them beautiful; my "tuned up" for real applications. My new book job was to find the right adjustments to the spacing served as an ideal test case, because (1) it involved so that they would fit properly into mathematics. -
The Concmath Package
The concmath package Ulrik Vieth 1999-03-10 v2.0 1 About this package The concmath package for LATEX 2" provides access to the Concrete Math fonts that were derived from the Concrete Roman fonts designed by Don Knuth [1, 2]. While the Concrete Roman fonts were originally developed as a text fonts to be used in combination with the AMS Euler fonts in math mode, the Concrete Math fonts provides a complementary set of math fonts, so that the Concrete typefaces may be used as a complete replacement for Computer Modern [3]. Loading the concmath package without any options has the effect of switching the default text font family to Concrete Roman and redeclaring the default math symbol fonts and math alphabets to use Concrete Math. In addition, the concmath package also provides the following package options that may be used to activate some extra features: The `exscale' option: This option provides the functionality of the `exscale' package from the LATEX base distribution, but using scaled sizes of the Concrete version of the math extension font instead of Computer Modern. The `amsfonts' and `amssymb' options: These options provide the function- ality of the standard `amsfonts' and `amssymb' packages, but using the Concrete versions of the AMS symbol fonts and math alphabets. The `sansbold' option: This option redefines the default bold series to use semibold condensed, thereby replacing the bold extended version of Computer Modern Roman by the semibold condensed version of Computer Modern Sans Serif in bold material such as titles and section headings. Since there are different opinions among package writers as to which of these choices is better suited for use in combination with Concrete Roman, both have been used in various LATEX packages [4, 5, 6] and both are supported in this package as well. -
Tugboat, Volume 21 (2000), No. 2 121 Exploiting Rich Fonts Sivan
TUGboat, Volume 21 (2000), No. 2 121 Exploiting Rich Fonts Sivan Toledo 1 Introduction Rich fonts with hundreds or thousands of glyphs are becoming widely available. Such fonts are now bun- dled with operating systems, printers, and consumer software. Rich fonts enable us to achieve better typographic results than possible with conventional fonts. This paper explores three kinds of rich fonts, their typographic features, and ways to exploit these features in TEXsystems. The three kinds of fonts that the paper explores are: 1. PostScript 3 fonts. Adobe defined a core set of fonts to be included in all PostScript 3 de- vices [1]. Two families in the core set, Hoe- fler Text and Apple Chancery, are particularly interesting, since their fonts contain hundreds of glyphs. This article focuses on one family, Hoefler Text, a general-purpose text family. Figure 1: The typographic features of the Hoefler The glyph contents of Apple Chancery is fairly Text family (most but not all). similarto that of Adobe Poetica, forwhich T EX support has already been developed [7, 5]. 2. WGL4 Fonts. WGL4 (Windows Glyph List 4) is a glyph list published by Microsoft and intended to support all European languages, including Greek and Russian. Many fonts bun- dled with Microsoft’s Office products are WGL4 fonts, and the inclusion of Greek letters in them offers new creative possibilities for mathemati- cal typesetting. 3. Palatino Linotype. Palatino Linotype is a font family bundled with Microsoft’s Windows 2000 Professional operating system. These fonts are WGL4 fonts, but they also contain many more Latin glyphs than most WGL4 fonts, and thus allow more typographic options. -
TEX: a Branch in Desktop Publishing Evolution, Part 1
IEEE ANNALS OF THE HISTORY OF COMPUTING THEME ARTICLE: HISTORY OF DESKTOP PUBLISHING, PART 1 TEX: A Branch in Desktop Publishing Evolution, Part 1 Donald Knuth began the development of TEX in 1977 and had an initial version running in 1978, with the Barbara Beeton American Mathematical Society aim of typesetting mathematical documents with the Karl Berry highest quality, and with archival reproducibility far TEX Users Group into the future. Its usage spread, and today the TEX David Walden system remains in use by a vibrant user community. However, the world of TEX has always been somewhat out of sync with the commercial desktop publishing systems that began to come out in the mid-1980s and are now ubiquitous in the worlds of publishing and printing. TEX is a typesetting system that was developed by Donald Knuth, starting in 1977, to “do beau- tiful typesetting,” particularly of mathematics. At the time, PostScript and PDF did not yet exist, people were in the early stages of mathematically defining digital fonts, and WYSIWYG user interfaces were just being conceived. What we today think of as desktop publishing systems (for example, WYSIWYG, PostScript output) were half a dozen years away, and the computers of the time were slow and small compared with today. Thus, TEX was implemented using markup of plain text files, as was typical with prior systems such as RUNOFF, to instruct TEX about docu- ment formatting. TEX also had its own way of outputting page descriptions for print as well as its own companion system, Metafont, for designing and formatting type. -
My Collaboration with Don Knuth and My Design Work
26 TUGboat, Volume 0 (2001), No. 0 which had been produced in England, with whose quality Knuth was not at all pleased. That was the beginning of METAFONT,1 a type font for scientific typesetting, on which he had been working since 1978. In a lecture on “Mathematical Typefaces” in 1979 he had reported on his ideas. This was published in the “Bulletin of the American Mathematical Society”.2 Knuth’s original intention was to base a new type shape on imitating electronically the strokes of a broad-nibbed pen. He even tried to simulate the effect of pressure on the nib in the resulting calligraphic shape. But our alphabet is not struc- tured systematically; with N, M and Z, for example, the normal pen stroke breaks down at an angle of about 30 degrees. In 1980, with Stanford Univer- sity students — among them David Siegel, whom I will mention again later — we employed METAFONT to develop Knuth’s conception of Computer Mod- ern. I stayed at Stanford for two weeks. It was extraordinary how fast Don Knuth grasped rather complicated details, as if he had previously worked on the design of letterforms. In “Der Spiegel”3 of 23 June 1980, there ap- peared an article about our research work with the My collaboration with Don Knuth and obscure headline “Lieber Butter”.4 It is still a mys- my font design work tery to me how these people learned of the project Hermann Zapf and how they acquired the nice photograph of the two of us from the Stanford photographer.