DOCSLIB.ORG

Towards Lucida Opentype Afm2tfm

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Towards Lucida Opentype Afm2tfm TUGboat, Volume 32 (2011), No. 2 169 Another incarnation of Lucida: now be set up for use with TEX using fontinst or Towards Lucida OpenType afm2tfm. This development continued when PDFTEX was Ulrik Vieth and Mojca Miklavec developed and on-screen viewing of PDF files came Abstract into common use in the late 1990s. While the use of METAFONT-generated bitmap TEX has been in existence for more than 30 years. fonts packaged into Type 3 fonts was still acceptable During this time, TEX engines and device drivers for printing, such bitmap fonts turned out to be in- have gone through multiple generations of font tech- adequate for screen rendering in PDF viewers. As a nology: METAFONT, PostScript Type 1, and Open- result, the use of METAFONT fonts became unpop- Type. While choices for text fonts have greatly in- ular, and efforts were undertaken to provide Type 1 creased, there have always been few choices for math replacements for METAFONT fonts. fonts and even fewer for complete font families. In this era, choices of text fonts were increased The Lucida family of typefaces by Bigelow & significantly, but choices of math fonts remained lim- Holmes is a notable exception, as it provides not ited. Besides CM and AMS Euler, converted from only a math font, but also a complete font family, METAFONT, there were only the commercial offer- consisting of a large repertoire of serif, sans-serif, ings of MathTime and Lucida New Math at first. monospace, and fancy variants. Unfortunately, the It was only much later in this era that more current distribution of Lucida fonts dates back to choices of math fonts eventually became available, 1993 and is limited by the use of PostScript Type 1 such as txfonts, pxfonts, mathpazo, fourier, and fonts, which support only 8-bit character sets. mathdesign, providing companion math fonts for In this article, we report the current status of an use with popular text typefaces, such as Times, Pala- ongoing joint project of Bigelow & Holmes and TUG tino, Utopia, Charter, and Garamond. to develop a new distribution of Lucida OpenType Nevertheless, as we are nearing the end of this with better Unicode language and math support. era, these choices of math fonts are still very few 1 Historical perspective of font technology compared to the vast number of available text fonts, and it took more than a decade to get there. TEX has been in existence for more than 30 years. During this time, TEX engines and device drivers have evolved through multiple generations of font The era of OpenType fonts In recent years, technology (METAFONT, Type 1, OpenType) and TEX has entered yet another era of font technology, multiple generations of output formats (DVI, Post- as OpenType fonts are now becoming the preferred Script, PDF). font format to support the needs of Unicode. Many font vendors have switched their commer- The era of METAFONT fonts When T X was E cial offerings from Type 1 to OpenType format, and first developed in the late 1970s and early 1980s, Type 1 fonts are becoming obsolete due to their lim- there were no established standards of font technol- itations to 8-bit character sets. ogy which could be used, so METAFONT was devel- With the development of X TE EX and LuaTEX in oped as a companion to TEX, and all related file recent years, new TEX engines have become available formats for font metrics (TFM) and bitmap fonts which support Unicode input and OpenType output (PK) were invented as well. directly, without the need for a complicated setup of As it turned out, METAFONT never caught on TFM font metrics or font map files. with font designers, so there were very few choices At the same time, support for virtual fonts is for fonts available for use with T X in this era, both E being phased out in packages such as ConT Xt MkIV, for text and math typesetting. Besides the earliest E making it difficult to continue to use Type 1 fonts instances of METAFONT fonts, Computer Modern with virtual fonts in those packages. and AMS Euler, there were only a few more, most As we are entering this era of font technology, of them variants of the above, such as Concrete and there is once again a need to develop replacements CM Bright. for existing fonts, this time providing OpenType re- The era of PostScript Type 1 fonts When Post- placements for Type 1 fonts. Script printers came into use in the early 1990s, With the development of the Latin Modern and TEX entered another era of font technology, as scal- TEX Gyre fonts in recent years, replacements for the able Type 1 fonts became the preferred format. It Computer Modern text fonts and several common became possible to use the commercial offerings of PostScript fonts already exist, but the correspond- Type 1 fonts from many font vendors, which could ing math fonts are still under development. Another incarnation of Lucida: Towards Lucida OpenType 170 TUGboat, Volume 32 (2011), No. 2 At the time of writing, choices of full-featured fonts on MS Windows [6, 7], the Lucida Grande fonts OpenType math fonts remain limited to Cambria on Apple Mac OS X [8], and a set of Lucida fonts dis- Math (developed by Microsoft), Asana Math (de- tributed with Sun’s Java Development Kits (JDK). rived from pxfonts) and XITS Math (derived from All of these fonts are in TrueType format and STIX fonts). Additional choices of OpenType math provide some level of Unicode coverage, some of fonts are still unfinished, such as Neo Euler (derived them even including support for non-Latin scripts from AMS Euler) and Latin Modern Math (derived such as Greek, Cyrillic, Arabic, Hebrew, etc. from Computer Modern Math). Unfortunately, most of these Lucida Unicode With the addition of Lucida Math as another system fonts provide only single font instances or choice of OpenType math fonts under development, incomplete font families, so they are not really well we are about to reach the same level of font support suited for sophisticated typesetting. in the OpenType era that was available in the early As a result, users who want to use Lucida for years of the PostScript era in the mid-1990s. typesetting with TEX are essentially stuck with the Nevertheless, the general trend continues also Type 1 distribution of the early 1990s, providing in the OpenType era in that there are few choices for only a limited 8-bit character set and requiring the math fonts and even fewer for complete font families. use of virtual fonts to support accented languages, which is no longer up to the requirements of mod- 2 History of Lucida font distributions ern TEX engines geared toward Unicode typesetting The Lucida family of fonts was developed by the with OpenType font technology. Bigelow & Holmes foundry of Charles Bigelow and Kris Holmes in the mid-1980s [1]. At this time, 3 Scope of the Lucida Type 1 distribution Chuck Bigelow was on the faculty at Stanford, so The current distribution of Lucida Type 1 fonts for he was well aware of the development of TEX and use with TEX was originally developed in the early the Computer Modern fonts by Don Knuth. A pri- 1990s by Bigelow & Holmes and Y&Y Inc. It is mary goal of Lucida was to create a typeface design now being supported and sold directly by TUG. The which would digitize well, even at relatively low res- TUG distribution consists of two font packages: Lu- olutions. cida Basic and Lucida Complete [9, 10]. Another goal of Lucida was to provide a com- The basic distribution provides three complete plete font family of matching designs for serif, sans- font families: Lucida Bright, Lucida Sans Type- serif, and monospace fonts, which were later aug- writer, and Lucida New Math (Fig. 1). mented by a number of fancy variants [2]. The complete distribution adds the following Yet another goal of Lucida was to provide an ex- font families: Lucida Sans, Lucida (Serif) Type- tensive character set, including Latin, Greek, sym- writer, Lucida Fax, Lucida Casual, as well as several bols, and even dingbats, so that the fonts could be fancy variants: Lucida Blackletter, Lucida Calligra- used for math typesetting as well. (The dingbats phy, and Lucida Handwriting (Fig. 2). fonts were later distributed independently [3].) Given the limitations of Type 1 technology, the The original versions of Lucida fonts from the fonts are based on an 8-bit character set. mid-1980s are still being sold by some font vendors The recommended setup suggested by Y&Y Inc. under the names of Lucida Serif and Lucida Math, was to use the so-called TeXnANSI encoding (LY1), but these versions were never really supported with which combines parts of the 7-bit old TEX encoding a setup for use with TEX. (OT1) in the lower half with the Windows ANSI 1252 The current versions of Lucida fonts were ex- encoding in the upper half [11, 12]. tended and revised for use with TEX in the early An alternative setup suggested by the (LA)TEX 1990s in cooperation with Y&Y Inc., in particular community was to use the so-called TeXBase1 (8r) its principal Berthold Horn for TEX-specific adjust- encoding as a base font encoding for virtual fonts, ments. Y&Y sold the fonts under the names of Lu- implementing the 8-bit Cork text and text compan- cida Bright and Lucida New Math for many years, ion encodings (T1 and TS1). until the company was dissolved. The same font Since the Cork encoding extends considerably packages are now being supported and sold directly beyond the scope of Windows ANSI 1252 (Latin 1), by TUG [4] and by PCTEX Inc.
Load more

Recommended publications
  • Cloud Fonts in Microsoft Office
    APRIL 2019 Guide to Cloud Fonts in Microsoft® Office 365® Cloud fonts are available to Office 365 subscribers on all platforms and devices. Documents that use cloud fonts will render correctly in Office 2019. Embed cloud fonts for use with older versions of Office. Reference article from Microsoft: Cloud fonts in Office DESIGN TO PRESENT Terberg Design, LLC Index MICROSOFT OFFICE CLOUD FONTS A B C D E Legend: Good choice for theme body fonts F G H I J Okay choice for theme body fonts Includes serif typefaces, K L M N O non-lining figures, and those missing italic and/or bold styles P R S T U Present with most older versions of Office, embedding not required V W Symbol fonts Language-specific fonts MICROSOFT OFFICE CLOUD FONTS Abadi NEW ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Abadi Extra Light ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic or bold styles provided. Agency FB MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Agency FB Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Note: No italic style provided Algerian MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ 01234567890 Note: Uppercase only. No other styles provided. Arial MICROSOFT OFFICE CLOUD FONTS ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz 01234567890 Arial Bold Italic ABCDEFGHIJKLMNOPQRSTUVWXYZ
    [Show full text]
  • Recognising Cursive Arabic Text Using a Speech Recognition System M S Khorsheed
    Proceedings of the 7th WSEAS International Conference on Automation & Information, Cavtat, Croatia, June 13-15, 2006 (pp122-125) Recognising Cursive Arabic Text using a Speech Recognition System M S Khorsheed Abstract| This paper presents a system to recognise cursive Arabic typewritten text. The system is built using the Hidden Markov Model Toolkit (HTK) which is a portable toolkit for speech recognition system. The proposed system decomposes the page into its text lines and then extracts a set of simple statistical features from small overlapped windows running through each text line. The feature vector sequence is injected to the global model for training and recognition purposes. A data corpus which includes Arabic text from two computer- generated fonts is used to assess the performance of the proposed system. Keywords| Document Analysis, Pattern Analysis and Fig. 1 A block diagram of the HTK-based Arabic recognition Recognition, Machine Vision, Arabic OCR, HTK system. I. INTRODUCTION The HMM provides an explicit representation for time- MONG the branches of pattern recognition is the varying patterns and probabilistic interpretations that can automatic reading of a text, namely, text recognition. A tolerate variations in these patterns. The objective is to imitate the human ability to read In o®-line recognition systems, the general idea is to printed text with human accuracy, but at a higher speed. transform the word image into a sequence of observations. Most optical character recognition methods assume that The observations produced by the training samples are individual characters can be isolated, and such techniques, used to tune the model parameters whereas those pro- although successful when presented with Latin typewrit- duced by the testing samples are used to investigate the ten or typeset text, cannot be applied reliably to cursive system performance.
    [Show full text]
  • CSS Font Stacks by Classification
    CSS font stacks by classification Written by Frode Helland When Johann Gutenberg printed his famous Bible more than 600 years ago, the only typeface available was his own. Since the invention of moveable lead type, throughout most of the 20th century graphic designers and printers have been limited to one – or perhaps only a handful of typefaces – due to costs and availability. Since the birth of desktop publishing and the introduction of the worlds firstWYSIWYG layout program, MacPublisher (1985), the number of typefaces available – literary at our fingertips – has grown exponen- tially. Still, well into the 21st century, web designers find them selves limited to only a handful. Web browsers depend on the users own font files to display text, and since most people don’t have any reason to purchase a typeface, we’re stuck with a selected few. This issue force web designers to rethink their approach: letting go of control, letting the end user resize, restyle, and as the dynamic web evolves, rewrite and perhaps also one day rearrange text and data. As a graphic designer usually working with static printed items, CSS font stacks is very unfamiliar: A list of typefaces were one take over were the previous failed, in- stead of that single specified Stempel Garamond 9/12 pt. that reads so well on matte stock. Am I fighting the evolution? I don’t think so. Some design principles are universal, independent of me- dium. I believe good typography is one of them. The technology that will let us use typefaces online the same way we use them in print is on it’s way, although moving at slow speed.
    [Show full text]
  • Advanced Printer Driver Ver.4.13
    Advanced Printer Driver for South Asia Ver.4 TM Printer Manual APD Overview Descriptions of the APD features. Using the APD Descriptions of simple printings and useful functions. Reference Descriptions of property seings of the printer driver. TM Flash Logo Setup Utility Ver.3 Descriptions of how to set and use the TM Flash Logo Setup Utility Ver3. Restrictions Descriptions of restrictions on use of the APD. Printer Specification Descriptions of the specifications of TM-T81. M00024103-2 Rev. D Cautions • No part of this document may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Seiko Epson Corporation. • The contents of this document are subject to change without notice. Please contact us for the latest information. • While every precaution has taken in the preparation of this document, Seiko Epson Corporation assumes no responsibility for errors or omissions. • Neither is any liability assumed for damages resulting from the use of the information contained herein. • Neither Seiko Epson Corporation nor its affiliates shall be liable to the purchaser of this product or third parties for damages, losses, costs, or expenses incurred by the purchaser or third parties as a result of: accident, misuse, or abuse of this product or unauthorized modifications, repairs, or alterations to this product, or (excluding the U.S.) failure to strictly comply with Seiko Epson Corporation’s operating and maintenance instructions. • Seiko Epson Corporation shall not be liable against any damages or problems arising from the use of any options or any consumable products other than those designated as Original EPSON Products or EPSON Approved Products by Seiko Epson Corporation.
    [Show full text]
  • The File Cmfonts.Fdd for Use with Latex2ε
    The file cmfonts.fdd for use with LATEX 2".∗ Frank Mittelbach Rainer Sch¨opf 2019/12/16 This file is maintained byA theLTEX Project team. Bug reports can be opened (category latex) at https://latex-project.org/bugs.html. 1 Introduction This file contains the external font information needed to load the Computer Modern fonts designed by Don Knuth and distributed with TEX. From this file all .fd files (font definition files) for the Computer Modern fonts, both with old encoding (OT1) and Cork encoding (T1) are generated. The Cork encoded fonts are known under the name ec fonts. 2 Customization If you plan to install the AMS font package or if you have it already installed, please note that within this package there are additional sizes of the Computer Modern symbol and math italic fonts. With the release of LATEX 2", these AMS `extracm' fonts have been included in the LATEX font set. Therefore, the math .fd files produced here assume the presence of these AMS extensions. For text fonts in T1 encoding, the directive new selects the new (version 1.2) DC fonts. For the text fonts in OT1 and U encoding, the optional docstrip directive ori selects a conservatively generated set of font definition files, which means that only the basic font sizes coming with an old LATEX 2.09 installation are included into the \DeclareFontShape commands. However, on many installations, people have added missing sizes by scaling up or down available Metafont sources. For example, the Computer Modern Roman italic font cmti is only available in the sizes 7, 8, 9, and 10pt.
    [Show full text]
  • Basic Sans Serif 7 Font Family Free Download Basic Sans Serif 7 Font
    basic sans serif 7 font family free download Basic Sans Serif 7 Font. Use the text generator tool below to preview Basic Sans Serif 7 font, and create appealing text graphics with different colors and hundreds of text effects. Font Tags. Search. :: You Might Like. About. Font Meme is a fonts & typography resource. The "Fonts in Use" section features posts about fonts used in logos, films, TV shows, video games, books and more; The "Text Generator" section features simple tools that let you create graphics with fonts of different styles as well as various text effects; The "Font Collection" section is the place where you can browse, filter, custom preview and download free fonts. Microsoft Sans Serif font family. Microsoft Sans Serif font is a very legible User Interface (UI) font. It was designed to be metrically compatible with the MS Sans bitmap font that shipped in early versions of Microsoft Windows. File name Micross.ttf Styles & Weights Microsoft Sans Serif Designers N/A Copyright © 2012 Microsoft Corporation. All Rights Reserved. Font vendor Microsoft Corp. Script Tags dlng:'Armn', 'Cyrl', 'Geor', 'Grek', 'Latn' slng:'Arab', 'Armn', 'Cyrl', 'Geor', 'Grek', 'Hebr', 'Latn', 'Thai' Code pages 1252 Latin 1 1250 Latin 2: Eastern Europe 1251 Cyrillic 1253 Greek 1254 Turkish 1255 Hebrew 1256 Arabic 1257 Windows Baltic 1258 Vietnamese 874 Thai Mac Roman Macintosh Character Set (US Roman) 862 Hebrew 860 MS-DOS Portuguese 437 US Fixed pitch False. Licensing and redistribution info. Font redistribution FAQ for Windows License Microsoft fonts for enterprises, web developers, for hardware & software redistribution or server installations.
    [Show full text]
  • Latex2ε Font Selection
    LATEX 2" font selection © Copyright 1995{2021, LATEX Project Team.∗ All rights reserved. March 2021 Contents 1 Introduction2 1.1 LATEX 2" fonts.............................2 1.2 Overview...............................2 1.3 Further information.........................3 2 Text fonts4 2.1 Text font attributes.........................4 2.2 Selection commands.........................7 2.3 Internals................................8 2.4 Parameters for author commands..................9 2.5 Special font declaration commands................. 10 3 Math fonts 11 3.1 Math font attributes......................... 11 3.2 Selection commands......................... 12 3.3 Declaring math versions....................... 13 3.4 Declaring math alphabets...................... 13 3.5 Declaring symbol fonts........................ 14 3.6 Declaring math symbols....................... 15 3.7 Declaring math sizes......................... 17 4 Font installation 17 4.1 Font definition files.......................... 17 4.2 Font definition file commands.................... 18 4.3 Font file loading information..................... 19 4.4 Size functions............................. 20 5 Encodings 21 5.1 The fontenc package......................... 21 5.2 Encoding definition file commands................. 22 5.3 Default definitions.......................... 25 5.4 Encoding defaults........................... 26 5.5 Case changing............................. 27 ∗Thanks to Arash Esbati for documenting the newer NFSS features of 2020 1 6 Miscellanea 27 6.1 Font substitution..........................
    [Show full text]
  • Free Download Arial Unicode Ms.Ttf
    Free download arial unicode ms.ttf click here to download www.doorway.ru Arial Unicode MS font preview. www.doorway.ru Arial Unicode MS font preview. Download font - MB. At www.doorway.ru, find an amazing collection of thousands of FREE fonts for Windows and Mac. Arial Unicode MS ( downloads) Free For Personal Use. Download arial unicode ms font free at www.doorway.ru, database with web fonts, truetype and opentype fonts for Windows, Linux and. Typographic info for the Arial Unicode MS font family. Purchase & Download Microsoft fonts for personal, professional or business use on. Download the Arial Unicode MS free font. Mac, Linux; ✓ for programs: Microsoft Word, Photoshop, etc; ✓ free download. Arial Unicode www.doorway.ru, MB. Download Unavailable. Arial Create a Logo Using Arial Unicode MS You may need to extract www.doorway.ru files from www.doorway.ru archive file before installing the font. Description: Where can you get the Arial Unicode MS font? Resolution: www.doorway.ru file (the Arial Unicode MS font) needs to be in the PC's. Download Arial Unicode MS Regular For Free, View Sample Text, Rating And More On www.doorway.ru View and Download Arial Unicode MS Version CartoCSS port of Toner. Contribute to stamen/toner-carto development by creating an account on GitHub. toner-carto/fonts/www.doorway.ru Fetching contributors Cannot retrieve contributors at this time. Download History. executable file MB. View Raw. Arial Unicode MS Regular truetype font page. Coolest truetype fonts. Best free fonts download. View font details, character map, custom preview, downloads, file contents Arial Unicode by Agfa Monotype Corporation TTF, 22 MB, Font File, download .
    [Show full text]
  • 1 Warum Hassen Alle Comic Sans?
    Preprint von: Meletis, Dimitrios. 2020. Warum hassen alle Comic Sans? Metapragmatische Onlinediskurse zu einer typographischen Hassliebe. In Jannis Androutsopoulos/Florian Busch (eds.), Register des Graphischen: Variation, Praktiken, Reflexion, 253-284. Boston, Berlin: De Gruyter. DOI: 10.1515/9783110673241-010. Warum hassen alle Comic Sans? Metapragmatische Onlinediskurse zu einer typographischen Hassliebe Dimitrios Meletis Karl-Franzens-Universität Graz 1. Einleitung If you love it, you don’t know much about typography, and if you hate Com- ic Sans you don’t know very much about typography either, and you should probably get another hobby. Vincent Connare, Designer von Comic Sans1 Spätestens ab dem Zeitpunkt, als mit dem Aufkommen des PCs einer breiten Masse die Möglichkeit geboten wurde, Schriftprodukte mithilfe von vorinstallierten Schriftbear- beitungsprogrammen und darin angebotenen Schriftarten nach Belieben selbst zu gestal- ten, wurde – oftmals unbewusst – mit vielen (vor allem impliziten) Konventionen ge- brochen. Comic Sans kann in diesem Kontext als Paradebeispiel gelten: Die 1994 ent- worfene Type (in Folge simplifiziert: Schriftart, Schrift) wird im Internet vor allem auf- grund von Verwendungen in dafür als unpassend empfundenen Situationen von vielen leidenschaftlich ‚gehasst‘. So existiert(e) unter anderem ein Manifest, das ein Verbot der Schrift fordert(e) (bancomicsans.com).2 Personen, die die „Schauder-Schrift“ (Lischka 2008) „falsch“ verwenden, werden als Comic Sans Criminals bezeichnet und ihnen wird Hilfe angeboten,
    [Show full text]
  • Baskerville Volume 9 Number 2
    Baskerville The Annals of the UK TEX Users Group Guest Editor: Dominik Wujastyk Vol. 9 No. 2 ISSN 1354–5930 August 1999 Baskerville is set in Monotype Baskerville, with Computer Modern Typewriter for literal text. Editing, production and distribution are undertaken by members of the Committee. Contributions and correspondence should be sent to [email protected]. Editorial The Guest Editor of the last issue of Baskerville, James Foster, maintainer of this FAQ, many people have contributed to it, explained in that issue how members of the UK-TUG Com- as is explained in the introduction below. mittee have assumed editorial responsibility for the prepara- The TEX FAQ has been published in Baskerville twice be- tion and formatting of individual numbers of the newsletter. fore, in 1994 and 1995. These are the issues of Baskerville Like James, I am deeply grateful for, and awed by, the amount which I have most often lent or recommended to other TEX of work and expertise which Sebastian Rahtz has put into users. In fact, I currently do not have the 1995 FAQ issue past issues of Baskerville. Thanks, Sebastian! because I gave it away to someone who needed it as a mat- James also mentioned the hard work which Robin ter of urgency! I am confident that this newly updated TEX Fairbairns has done over the years in producing and distrib- FAQ, now expanded to cover 126 questions, will be every bit uting Baskerville. Although Robin is now liberated from these as popular and useful as its predecessors, and will save TEX particular tasks, he is still heavily involved in supporting the users many hours of valuable time.
    [Show full text]
  • Cork' Math Font Encoding?
    Introduction Text font encodings Math font encodings OpenType math Summary Do we need a ‘Cork’ math font encoding? Dr. Ulrik Vieth Stuttgart, Germany TUG 2008, Cork, Ireland Introduction Text font encodings Math font encodings OpenType math Summary What’s in this talk? • Some history of font encodings • Some review of recent developments • Some discussion of future plans • Font encodings (Unicode) • Font technology (OpenType) • New math fonts for new TEX engines Introduction Text font encodings Math font encodings OpenType math Summary Situation at Cork 1990 • TEX was undergoing major transition phase in 1989–90 • TEX version 3.0 just released in early 1990 • Support for multiple languages added • Support for 8-bit font encodings added • European TEX users groups founded in 1989–90 • European users strongly interested in new features • Better hyphenation of accented languages • Better font support of accented languages • European users started to work on fonts and encodings • European users agreed font encoding for 8-bit fonts ⇒ ‘Cork’ encoding, named after conference site Introduction Text font encodings Math font encodings OpenType math Summary Benefits of the ‘Cork’ encoding • Success of the ‘Cork’ encoding • provided model for further 8-bit text font encoding • provided support for many/most European languages • started further developments in font encodings • Some design decisions done right • provided complete 7-bit ASCII subset (no exceptions) • consistent encoding for all font shapes (no variations) • consistent organization of uppercase/lowercase codes • no inter-dependencies between text and math fonts Introduction Text font encodings Math font encodings OpenType math Summary Shortcomings of the ‘Cork’ encoding • Some design shortcomings and their consequences • did not follow any standards (e.g.
    [Show full text]
  • Tutorial: Changing Languages (Localization)
    L O Tutorial C A L I Z A T Changing Languages I O N (Localization) in the TNT Products Changing Languages (Localization) Before Getting Started This booklet surveys the steps necessary to localize the TNT products. Micro- Images has worked hard to internationalize the TNT products so that they may be localized for any country, culture, and language. MicroImages does not cre- ate translated versions of the TNT products, but it does supply the means so that those who have enrolled as Official Translators can create a localization. A local- ization can use any font, so that none of the original English words or Latin characters remain. Alternatively, an Official Translator may choose a less ambi- tious level of localization and translate only selected interface elements, leaving the rest in English. As an Official Translator, your localization efforts can put you into a unique leadership position in your country. Contact MicroImages for de- tails of the Official Translator agreement. Prerequisites To implement a TNT Products localization, you must • enroll with MicroImages, Inc. as the Official Translator for your language, • be a skilled computer user who is comfortable with both the English version of TNT and the target language for your locale, and • be familiar with the TNT processes, since your localization task includes finding linguistic and conceptual equivalents for all interface text, messages, and documentation. MicroImages encourages you in your localization efforts. Already the growing list of completed localized versions has made the TNT products ever more widely accepted around the world. The Locale A Locale is defined by the textres file that contains all the informa- tion needed for a specific translation so that all the text in the TNT interface appears in another language.
    [Show full text]