Heirloom Troff Demonstration Page

Total Page:16

File Type:pdf, Size:1020Kb

Heirloom Troff Demonstration Page ÷ííííííííòòòòòòòòø Heirloom Documentation Tools Tro Demonstration Page Ñ GibbUf R]hhYf / / The tro text processor from the Heirloom Documentation Tools project is a variant of the Unix application written by JcgYd\ F. OggUbbU and Bf]Ub W. KYfb][\Ub. It has been derived from source code provided by the OpenSolaris project. Amongst many enhancements, Heirloom tro provides extended font handling capabilities: ü PostScript Type , TrueType, and OpenType fonts can be used as supplied by their vendor without any need for conversion; tro can access font metrics directly in the AFM, TTF, and OTF files, and the dpost post-processor can embed glyph data into the PostScript output it generates. ü With Type ‘‘expert,’’ TrueType, and OpenType fonts, tro can be configured to transparently replace base characters with extra characters to produce ligatures, as in the words ‘‘eective,’’ ‘‘oce,’’ ‘‘oine,’’ SaU`` CUd]hU`g, or old-style numerals without the need to type escape sequences for individual characters in the document text. The replacement characters need not reside in the same font. ü Pairwise kerning and letter space tracking are supported; the page title provides an example of the former, and the latter is used for the SaU`` CUd]hU`g, and, at a minor rate, to adjust the regular font of this document. Kern pairs can be defined between dierent fonts, and tracking can vary automatically with size. ü Hanging characters can be used to achieve better visual alignment of the margins and to implement hanging punctuation for commas, hyphens, &c. Heirloom tro is free software; its C source code can be obtained at no charge from <http://n-t-ro.github.io/heirloom/doctools.html>. It runs on a wide variety of Unix and Unix-like systems. / / .
Recommended publications
  • The Hanging Package∗
    The hanging package∗ Author: Peter Wilson, Herries Press Maintainer: Will Robertson will dot robertson at latex-project dot org 2009/09/02 Abstract The hanging package provides facilities for defining hanging paragraphs and hanging punctuation. Contents 1 Introduction 1 2 The hanging package 2 2.1 Hanging paragraphs . 2 2.2 Hanging punctuation . 2 3 The package code 3 3.1 Hanging paragraphs . 4 3.2 Hanging punctuation . 4 1 Introduction Some authors may wish to use hanging paragraphs in their documents. Normally only the first line of a paragraph is indented. A hanging paragraph is a paragraph like this one where lines other than the first have indentation. Other au- thors might wish to use hanging punctuation. In this style of typesetting punctuation marks that come at either the start or end of a line are typeset outside the normal text block. The hanging package provides facilities for both hanging paragraphs and hang- ing punctuation. This manual is typeset according to the conventions of the LATEX doc- strip utility which enables the automatic extraction of the LATEX macro source files [GMS94]. ∗This file (hanging.dtx) has version number v1.2b, last revised 2009/09/02. 1 Section 2 describes the usage of the package. Commented source code for the package is in Section 3. 2 The hanging package 2.1 Hanging paragraphs The hanging package provides a command for producing a single hanging para- graph and an environment for typesetting a series of hanging paragraphs. \hangpara The command \hangpara{hindenti}{hafternumi} placed at the start of a para- graph will cause it to be typeset as a hanging paragraph.
    [Show full text]
  • The Eye Has It: Optical Alignment and Hanging Punctuation Sometimes Little Things Can Make a Big Difference
    InType: Alignment By Nigel French The Eye Has It: Optical Alignment and Hanging Punctuation Sometimes little things can make a big difference. When it comes to typography this is especially true. One of the simplest enhancements you can make to your type— especially if you’re working with justified type—is to use Optical Margin Alignment. What is Optical Margin Alignment? But today, with InDesign’s Optical Have you ever noticed how punctuation Margin Alignment, we can easily ensure at the margin of a text frame can make the that punctuation, as well as the edges of left or right sides of a column appear mis- letters, hangs outside the text frame or aligned? When a line begins with punctua- column margins so that the column edge T tion, like an opening quotation mark, or remains flush (Figure 1). ends with a comma, period, or hyphen, you This makes Optical Margin Alignment get a visual hole. Once, this was regarded as especially beneficial when working with the price of progress. We could do so much justified text, but even with left-aligned more with our page layout programs—did text, the first character of the line will “hang” Figure 1: The text is the same; the margin alignment is not. it matter that we had to forgo a few niceties? outside the text frame. INDESIGN MAGAZINE 43 August | September 2011 CONTENTS PREVIOUS NEXT FULL SCREEN 30 InType: Alignment T Optical margin alignment isn’t to eve- tool, choose Story from the ryone’s taste. Some consider the look of Type menu, check the box optically aligned text too fussy, preferring and you’re good to go.
    [Show full text]
  • Book Typography 101 at the End of This Session, Participants Should Be Able To: 1
    3/21/2016 Objectives Book Typography 101 At the end of this session, participants should be able to: 1. Evaluate typeset pages for adherence Dick Margulis to traditional standards of good composition 2. Make sensible design recommendations to clients based on readability of text and clarity of communication © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? Typography encompasses • The design and layout of the printed or virtual page • The selection of fonts • The specification of typesetting variables • The actual composition of text © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services What is typography? What is typography? The goal of good typography is to allow Typography that intrudes its own cleverness the unencumbered communication and interferes with the dialogue of the author’s meaning to the reader. between author and reader is almost always inappropriate. Assigned reading: “The Crystal Goblet,” by Beatrice Ward http://www.arts.ucsb.edu/faculty/reese/classes/artistsbooks/Beatrice%20Warde,%20The%20Crystal%20Goblet.pdf (or just google it) © 2013–2016 Dick Margulis Creative Services © 2013–2016 Dick Margulis Creative Services 1 3/21/2016 How we read The basics • Saccades • Page size and margins The quick brown fox jumps over the lazy dog. Mary had a little lamb, a little bread, a little jam. • Line length and leading • Boules • Justification My very educated mother just served us nine. • Typeface My very educated mother just served us nine.
    [Show full text]
  • Adobe Garamond Pro
    Adobe Garamond Pro a® a An Adobe® Original Adobe Garamond® Pro A contemporary typeface family based on the roman types of Claude Garamond and the italic types of Robert Granjon © Adobe Systems Incorporated. All rights reserved. For more information about OpenType®, please refer to Adobe’s web site at www.adobe.com/type/opentype is document was designed to be viewed on-screen or printed duplex and assembled as a booklet Adobe® Originals Adobe Systems Incorporated introduces Adobe Garamond Pro, a new font software package in the growing library of Adobe Originals typefaces, designed specifically for today’s digital technology. Since the inception of the Adobe Originals program in , the Adobe Originals typefaces have been consistently recognized throughout the world for their quality, originality, and practicality. ey combine the power of PostScript® language software technology and the most 23 sophisticated electronic design tools with the spirit of craftsmanship that has inspired type designers since Gutenberg. Comprising both new designs and revivals of classic typefaces, Adobe Originals font software has set a standard for typographic excellence. What is OpenType? Developed jointly by Adobe and Microsoft, OpenType® is a highly versatile new font file format that represents a signifi cant advance in type functionality on Macintosh and Windows® computers. Perhaps most exciting for designers and typographers is that OpenType fonts off er extended layout features that bring an unprecedented level of sophistication and control to contemporary typography. Because an OpenType typeface can incorporate all glyphs for a specifi c style and weight into a single font, the need for separate expert, alternate, swash, non-Latin, and other related sets is elimi- nated.
    [Show full text]
  • Chapter 3 Adding and Formatting Text Copyright This Document Is Copyright © 2005–2009 by Its Contributors As Listed in the Section Titled Authors
    Impress Guide Chapter 3 Adding and Formatting Text Copyright This document is Copyright © 2005–2009 by its contributors as listed in the section titled Authors. You may distribute it and/or modify it under the terms of either the GNU General Public License, version 3 or later, or the Creative Commons Attribution License, version 3.0 or later. All trademarks within this guide belong to their legitimate owners. Authors Martin J Fox Peter Hillier-Brook Jean Hollis Weber Michele Zarri Feedback Please direct any comments or suggestions about this document to: [email protected] Publication date and software version Published 17 March 2009. Based on OpenOffice.org 3.0.1. You can download an editable version of this document from http://oooauthors.org/en/authors/userguide3/published/ Contents Copyright...............................................................................................2 Introduction...........................................................................................5 Working with text boxes.........................................................................5 Using text boxes created from the Layout pane.................................5 Using text boxes created from the text box tool.................................5 Moving a text box...............................................................................6 Resizing a text box..............................................................................7 Deleting a text box..............................................................................7
    [Show full text]
  • TYPOGRAPHY 1 Text Mechanics
    TYPOGRAPHY 1 text mechanics text MECHANICS TYPOGRAPHY 1 text mechanics The Optics of Spacing Every typeface has a distinct rhythm of strokes and spaces. This relationship between form and counterform defines the optimal spacing of that particular typeface and, therefore, of the overall spacing between words and lines of type, and among paragraphs. Space Space S p a c e TYPOGRAPHY 1 text mechanics Kerning Kerning is an adjustment of the space between two letters. As the characters of the Latin alphabet emerged over time; they were not designed with mechanical or automated spacing in mind. Thus some letter combinations look awkward without special spacing considerations. Gaps occur around letters whose forms angle outward or frame an open space (W, Y, V, T). Spacing Matters TYPOGRAPHY 1 text mechanics Kerning (continued) With metric kerning, a program such as Adobe Illustrator or Adobe InDesign uses values found in a particular fonts kerning table. These values were defined by the type designer when the font was created. The metric kerning setting represents the designers intent for spacing between certain letters within a given font. With optical kerning, a program such as Adobe Illustrator or Adobe InDesign uses an algorithm to calculate the optimal spacing for each pair of consecutive characters. Generally speaking, this setting can produce varied results but can sometimes work well in certain situations. TYPOGRAPHY 1 text mechanics Kerning (continued) Warm Type default / no kerning applied Warm Ty pe optical kerning applied Warm Type metric kerning applied TYPOGRAPHY 1 text mechanics Manual Kerning A third form of kerning is called manual, a designer ignores the automatic settings of metric and optical.
    [Show full text]
  • Sample of the Better Web Type Book
    Praise for Better Web Typography for a Better Web Seriously detailed and, more importantly, fodder for any discussion with clients to convince them why the fonts you chose were the right ones for the project. —paul jarvis Designer & author of Company of One Beautiful typography should never be underestimated, it tells a story, it evokes excitement, and seems so simple to create. It isn’t, but it will be once you have studied this must-read edition. —steve jenkins Editor, Web Designer Magazine Matej has written a book about typography that addresses designers and developers equally. But not only has he written an informative book with useful content, it also is written in a very nice and lovely-to-read way. —marc thiele Founder/organiser of beyond tellerrand Co-founder of Smashing Conference Better Web Typography for a Better Web second edition — Matej Latin Copyright © 2019 Matej Latin All rights reserved. The text in this book is set in Tisa Pro and Acumin Pro. Editor: Nick Jones Designer: Matej Latin First released: July 2017 Second edition: January 2019 ISBN: 978-1-9998095-3-9 betterwebtype.com matejlatin.co.uk contents Preface ix 1. Introduction to Web Typography 13 2. Anatomy of a typeface 19 3. Choosing Typefaces 35 4. Equilateral Triangle of a Perfect Paragraph 65 5. Combining Typefaces 85 6. Rhythm in Web Typography 105 7. Modular Scale and Meaningful Typography 129 8. Page Composition 145 9. Responsive Typography 161 10. Ligatures 175 11. Small Caps and Figures 187 12. Punctuation 205 13. Dropcaps 217 Conclusion 225 Appendix A: What’s next? 227 Appendix B: About the Author 229 Notes 231 In typography, paying attention to detail is a fact of life.
    [Show full text]
  • Museum Printing
    MOPSummer:Layout 1 5/3/11 4:42 PM Page 1 Museum OF the Printing GalleyVolume 32 • Issue 2 • Summer 2011 DEDICATED TO PRESERVING THE PAST OF PRINTING AND ALL OF ITS RELATED CRAFTS Message From The President In This Issue or the last two years we have been fortunate to have a Colonial print shop on We Get Questions—Members and loan, complete with an English Common Press. Gary Gregory, founder of others ask about presses and other F“Lessons on Liberty” and a member of the Museum’s Board, supported this print paraphernalia. Pages 3 and 3 exhibit in many ways. Gary has now found an appropriate home for this historically- accurate print ship at the Clough House, adjacent to Old North Church. The Printing Museum Type Sale—A great oppor- Office of Edes & Gill is Boston’s colonial-era printing experience and visitors will have tunity to find type, presses, and the opportunity to engage living historians working the printers’ trade in pre-revolu- other printing material. Saturday, tionary Boston. If you are in Boston, visit Gary and also make a trip to North Andover June 11th. Page 4. and visit the Museum. Over the winter, our gang painted and tiled the second floor conference room. Gutenberg was an Idiot—It took a They also kept the 20-year old boiler operating. while to get the type right for the The Museum’s Library Advisor, Brian Frykenberg arranged with OPALS (OPen- Bible. Page 5 source Automated Library System) to allow web-based public access to electronic records of the Museum’s books and ephemera.
    [Show full text]
  • Micro-Typographic Extensions to the TEX Typesetting System
    Micro-typographic extensions to the TEX typesetting system Han` Theˆ´ Thanh` Dissertation Masaryk University Brno Faculty of Informatics October 2000 This thesis is dedicated to my parents and my sister who have been always hoping in me. Acknowledgments META In the first place, my work could have never been done without TEX and - FONT. I am thankful to professor Donald Knuth for the wonderful work he has done on digital typography, as well as for his comments and suggestions for my work. I would like to thank my supervisor, professor Jirˇ´ı Zlatuska,ˇ for his original idea of extending TEX to pdfTEX, for his guidance during the development and for his support not only related to scientific research. I am also thankful to professor Hermann Zapf for his interest and remarks on my work. His encouragement was extremely important for me to get my work up to this point. My special thank belongs to Hans Hagen, who did an enormous amount of work for the pdfTEX project. His experiments, comments and and suggestions for further de- velopment as well as his assistance during writing the thesis are invaluable to me. Many people have helped me to improve the thesis by proof-reading and giving comments. My very appreciations belong to: Barbara Beeton, Nelson H. F. Beebe, Michal Konecnˇ y´ and his wife Sylvia Wong, Karel Pala, Petr Mejzl´ık, Damien Wyart. I also would like to thank people who have contributed to the development of pdfTEX and/or supported me during writing the thesis in too various ways to detail: Sebastian Rahtz, Bernd Raichle, Thierry Bouche, Fabrice Popineau, Jirˇ´ı Osoba, Pavel Jan´ık, Petr Sojka, Karel Skoupy,´ Chris Rowley, Eddie Kohler, Edward Cashin.
    [Show full text]
  • Libreoffice Paris 2011 Conference Presentation Template
    Towards Desktop Publishing László Németh FSF.hu Foundation, Hungary 1 LibreOffice Paris 2011 Conference – Towards Desktop Publishing In memoriam Keith Stribley (1976–2011) OpenOffice.org/LibreOffice developer 2 LibreOffice Paris 2011 Conference – Towards Desktop Publishing Why Desktop Publishing? Competitive feature MS Office 2010: a few optional OpenType features Niche in open source DTP Huge, mostly text documents Generated & structured documents (ODF) Answer for real problems i18n Unique in open source DTP (eg. Scribus is a page layout program without orphan/widow control). Attractive feature for professionals Better, than bad typography (WordArt/Fontwork) 3 LibreOffice Paris 2011 Conference – Towards Desktop Publishing Why Graphite? Smart font technology of LibreOffice (since OOo 3.2) Open standard with open source reference library (unlike Apple AAT) Answers for major and minor language related/typographical problems Graphite smart font logic in the font files, described in GDL language and compiled by the Graphite compiler (OpenType is not so general and more vendor specific) Languages (free SIL Graphite fonts): Burmese, Coptic, Ethiopic, Greek, Khmer etc. 4 LibreOffice Paris 2011 Conference – Towards Desktop Publishing Towards DTP Advanced fonts for DTP Fix Graphite integration Standardization DTP GUI PDF output for printing OpenType support Other LibreOffice developments Test examples Etc. (extended LibreOffice help) 5 LibreOffice Paris 2011 Conference – Towards Desktop Publishing Linux Libertine and Biolinum Developed by Philipp
    [Show full text]
  • The Japanese Typesetting Expressions Manual
    (c) The Electronic Book Publishers Association of Japan THE JAPANESE TYPESETTING EXPRESSIONS MANUAL (c) The Electronic Book Publishers Association of Japan CONTENTS 1.Characters …………………………………………………………… 1 1-1.Typeface …………………………………………………………………………1 1-2.Mixed Text composition …………………………………………………………1 1-3. Character Size …………………………………………………………………1 1-4. Henbai(Cho-tai, Hei-tai) ………………………………………………………1 1-5. Character Colour ………………………………………………………………1 1-6. Character Weight(Including Bold) ………………………………………………2 1-7. Italic ……………………………………………………………………………2 1-8. Character Rotation ……………………………………………………………2 1-9. All Caps ………………………………………………………………………2 1-10. Small Caps ……………………………………………………………………3 1-11.Outline Character /Shadow Text ………………………………………………3 1-12. Ornament Characters …………………………………………………………3 1-13. Encircled Character, Character In Parenthesis ………………………………3 1-14.Combining Characters …………………………………………………………4 1-15. Kanji Variants …………………………………………………………………4 1-16. Inter-Character Space …………………………………………………………4 1-17. Even Tsumegumi(Tracking) ……………………………………………………4 1-18. Kerning ………………………………………………………………………5 2. Word …………………………………………………………………… 5 2-1. Bousen (sideline) ………………………………………………………………5 2-2. Emphasis Dots …………………………………………………………………5 2-3. Rectangular Ruled Lines ………………………………………………………6 2-4. Group Ruby ……………………………………………………………………6 2-5. Compound Word Ruby(reference) ………………………………………………6 2-6. Sitatsuki Ruby …………………………………………………………………7 2-7. Nakatsuki/Katatsuki ……………………………………………………………7 2-8. Rubykake ………………………………………………………………………7 2-9. Tate-Chu-Yoko …………………………………………………………………8
    [Show full text]
  • Typografie Hanging Punctuation
    Hans Hagen typografie Ridderstraat 27, 8061GH Hasselt Hanging punctuation [email protected] a pdfTEX microtypographic extension keywords micro typography, margins, kerning, pdfTEX, ConTEXt abstract At the time of this writing, HànThê´ Thành is writing his thesis, wherein he explains in great de- tail two extensions to TEX’s typesetting engine. In this article we will explore marginal kerning, or character protruding. We will demonstrate the effects and introduce the new primitives, as well as explain how to enable this feature in ConTEXt. Introduction When breaking a paragraph into lines, only a few typographic engines consider the para- graph as unit of information and TEX is one of them. Although TEX has a pretty good reputation when it comes to breaking paragraphs, it is no secret that micro--typographic improvements are not easily achieved. After some years of experimenting, as part of his promotion, HànThê´ Thành, the author of pdfTEX, has extended TEX’s core line breaking algorithm with two micro-- typographic features: hz optimization and marginal kerning. As soon as you know that the acronym hz represents the name of a typographer, the name of Hermann Zapf will spring into mind. In the spirit of Gutenberg, he has invented a method for visually improving the grayness of a paragraph by slightly changing the shape of a glyph. A maybe less impressive, but certainly worthwhile second extension to the TEX type- setting engine is marginal kerning, also called protruding. Where hz optimization de- mands additional font resources, and thereby is more complicated to support, protruding can be supported with minimal effort from the user.
    [Show full text]