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Recent additions to TEX’s font repertoire naissance — lover of Lucrezia Borgia, major influence in standardizing the Italian language, creator of the Michael Sharpe madrigal form, and later, Cardinal of the Church. Garalde family (The love letters between him and Lucrezia Borgia were considered by Lord Byron to be among the The first 150 years of the printing industry, beginning “prettiest” ever penned.) Modern revivals of the font with Gutenberg in 1450, bear a striking resemblance used for De Aetna usually involve the name , to the early years of the personal computer industry. though the basic free version is called Cardo, an Both were intensely commercial enterprises, though obvious contraction of Cardinal Bembo. The fairly with some high-toned gloss — Bibles then, scientific recent fbb package is based on Cardo, but with many computing now. However, the real money driving changes — the ancient glyphs were stripped out, a the printers of the late 15th century was to a con- kerning table was constructed for the Roman font, siderable extent indulgences — big money-makers for there being none in Cardo, and a Bold-Italic variant the Church as well as printers. As I learned from was created. Glyphs were added in all variants so the fascinating books of Andrew Pettegree [2, 3], that fbb has a full slate of textcomp characters and some monasteries were ordering from printers and figures are available in proportional lining and old- selling to sinners hundreds of thousands of generic style as well as tabular lining and oldstyle. Small indulgences as soon as the technology to do so be- Caps are provided in all variants. (Cardo had small came available. The closest modern analogue may be caps only in Roman, regular weight.) the claim that pornographic movies drove the rapid growth of VCR and, later, DVD players. Sample of fbb: The Lutheran Revolt of the early 16th century This is f bb, a free font package similar to Bembo. against the excesses of the Church did not hurt print- It has Small Caps, a fine Italic, and a choice of number ers, as they worked overtime to bring forth the vo- styles such as tabular oldstyle 0123456789. luminous tracts generated by the religious conflict. Fifty years later, in Paris, Garamont introduced (One must bear in mind that the first newspaper did and continued to refine his Roman and Italic fonts, not appear until 1605.) based initially on the De Aetna font and Griffo’s later Given the importance of printed media in that italic. Among the notable changes was the taming of period, it is not surprising that much talent coalesced De Aetna, reducing its ascenders and its over-arching around the technology, and the fonts developed dur- ‘f’, planing off some of its more prickly features and ing that brilliant advance are, in my opinion, some of creating more elegant capital letters. The remarkable the most appealing ever created. They are referred account of Garamont’s fonts, their origins and influ- to now as “old-style” or Garalde in honor of Aldus ences, by Beatrice Warde [1] is highly recommended. Manutius and Claude Garamont []. It contains, among other things, reproductions of Gutenberg worked with fonts that we now call much of the famous Egenolff-Berner specimen from Blackletter, which remained the dominant 1592. The short version is that most Garamond in the German countries through the first part of the fonts created in the early twentieth century were in 20th century. Caxton, the first English printer to fact based on later fonts by Jannon (c. 1620), not use Gutenberg’s technology, apprenticed in Belgium Garamont. Stempel Garamond (1925) is an excep- and set up the first printing house in England in tion, being based on a copy of the Egenolff-Berner 1476, and also used Blackletter exclusively. The specimen (see [1]) owned by the Stempel foundry. first Roman font was developed by Nicolas Jenson By the late sixteenth century, fine printing was of Venice, then the dominant commercial center of well established in parts of Europe, though not in Europe, in the 1470s. Twenty years later, there ap- England, judging by the mediocre quality of printing peared one of the great figures in publishing history — in Shakespeare’s plays published during that period. Aldus Manutius, also of Venice. Among other inno- Recent Garamonds (URW++ Garamond No. 8, vations, his company, the Aldine Press, invented the Garamond Premier Pro, EBGaramond) have followed pocket book, italic type, greatly reduced the cost of Egenolff-Berner and Garamont’s metal punches which books, standardized punctuation (introducing the appear to have been passed down to the semicolon), redefined book layout, and, through its foundry in Antwerp. “punchcutter” Francesco Griffo, whom we would now LATEX now has a choice of two Garamonds: call a type designer, made a beautiful Roman font for the short book De Aetna by the poet Pietro Bembo, • garamondx is an extension of Garamond No. 8, who became a major literary figure in the Italian Re- adding small caps and oldstyle figures in both weights and both shapes. Because of the license,

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which is rather permissive but does not allow – TeX Gyre Termes + newtxmath/STIX; charging a fee, it cannot be distributed as part – STIX (text and math). of TEX Live. Navigate to the url http://tug. • STIX math has an unparalleled collection of org/fonts/getnonfreefonts for a script you mathematical symbols and alphabets matched can download that will install garamondx on to Times; Unix-like systems. • STIX text fonts, as of version 1.1, lack some • ebgaramond (regular and italic only, no bold of the features of packages such as TeX Gyre yet) is a very fine realization of Garamond that Termes and newtxtext, but more is promised A was recently added with LTEX support. for 2.0.0 (http://stixfonts.org); Sample of garamondx: • the main difference between TeX Gyre Termes This is garamondx, an extension of URW++Gara- and newtxtext is that the latter has an option to mond No 8. It has Small Caps in all four styles, Italics use oldstyle figures as the default in text mode; and Bold Italics, and a choice of figures in all four styles, • MathTime (commercial but reasonably priced) such as tabular oldstyle 0123456789. is still a worthwhile Times-based math package Sample of ebgaramond: with symbols generally lighter than STIX and This is ebgaramond, a new realization of Garamond having a number of features distinct from STIX; based on the Ebenolf-Berner specimen. It has very nice • older choices such as mathptmx have now out- Small Caps, a very ne Italic, and a choice of gures in lived their usefulness. all four styles, such as tabular oldstyle 0123456789. Libertine: Other serifed roman families LinuxLibertine is no longer new, but has undergone many fairly recent changes. It works well with the : math package [libertine]newtxmath. In my opin- Named for the Italian writing master Giambattista ion, this is an excellent choice for both screen and Palatino, and inspired by Italian Renaissance fonts, print. A number of recent math e-publications have Palatino has a larger x-height than typical old-style used this combination. fonts and is more readable on-screen. It was one of the earliest fonts outside the Computer Modern Sample of libertine: Italic family to gain TEX support, and remains one of the This is LinuxLibertine. It has Small Caps, , best-represented fonts for TEX. and a choice of number styles such as tabular oldstyle 0123456789. • OpenType: – TeX Gyre Pagella + Asana Math; : A “transitional” font (c. 1760), as was Plantin, the – TeX Gyre Pagella + Pagella Math. Times precursor. Baskerville (“the English Manu- • PostScript: tius”), was a master of fine detail, having been in the – newpxtext + newpxmath; furniture finishing business (japanning) for a number – TeX Gyre Pagella + newpxmath; of years. He set out to improve on , the then- – mathpazo (text and math), fewer features dominant font throughout England and its colonies. than the preceding; Baskerville’s fonts, which bear the unmistakable her- – eulervm as math can be used for a more itage of oldstyle fonts, were favorites of Benjamin informal appearance. Franklin. Many commercial versions are available, • Kpfonts (complete text and math) is based on most notably Storm Baskerville Pro. Free versions URW++ Palatino clones, but has its own distinc- include: tive, light appearance. • Baskervald (BaskervaldADF) was not designed Times: with TEX in mind, and requires modifications Many choices are now available. to its ligature side bearings, its basic math char- acter heights, and its kerning tables. • OpenType: • (OpenType): – STIX (text + math), and its unofficial ex- Baskervaldx.otf, derived from BaskervaldADF, tension XITS; works OK with TEX. – TeX Gyre Termes + STIX math; • (PostScript): – TeX Gyre Termes + Termes Math. Baskervaldx + [baskervaldx]newtxmath works • PostScript: OK. Baskervald[x] lacks the high contrast that – newtxtext + newtxmath/STIX; gives Baskerville its distinction as a print font,

Michael Sharpe TUGboat, Volume 35 (2014), No. 2 137

and when scaled up to an x-height that matches Sample of Heuristica: the italic, it becomes a rather heavy Roman This is Heuristica, an extension of Utopia. It has font. Small Caps, Italic, and a choice of number styles such • GFSBaskerville — for Greek, not Roman use. as tabular oldstyle 0123456789. • LibreBaskerville — lacks Bold Italic, and is de- Charter: signed as a web font, with larger x-height, larger Bitstream contributed their four basic Charter fonts counters and wider spacing than fonts intended to the X Consortium under a very liberal license, for print output. and they have been available in TEX for many years. Sample of Baskervaldx: Their low contrasts, high x-heights and use of piece- This is Baskervaldx, a font similar to Baskerville. wise linear outlines where possible may make them It has Small Caps, Italic, and a choice of number interesting again as fonts that will render well on styles such as tabular oldstyle 0123456789. small devices and perhaps projected slides. (It’s worth noting that their designer, Matthew Carter, Utopia: created Georgia for Microsoft. It is widely considered The design goals for Utopia seem to have been to to be one of the clearest serifed fonts for viewing on avoid any trace of old-style ornamentation, and in screen, and bears a number of similarities to Charter, this Adobe has been very successful. The font looks though the latter is heavier.) quite austere, with tightly packed letters and, in my The XCharter fonts add superior figures and opinion, overly small inter-word spacing. small caps in all styles, plus oldstyle figures (propor- Adobe donated the four basic PostScript fonts tionally spaced only) with options to select the form to the X Consortium in 1992, though the terms of of ‘one’ — oldstyle gives you 1 (the default if no the license were not clear. In 2006, it was rereleased option is specified) and oldstyleI gives you 1. The to the T X Users Group under clarified terms which E original Charter fonts had some idiosyncratic kerning, allow modification and redistribution provided no especially with P-comma, P-period and P-hyphen. name trademarked by Adobe is used. These have now been corrected in all styles. • Fourier (Utopia text, fourier math) will make Sample of XCharter: use of full (expert, Adobe) Utopia, if available. This is XCharter, an extension of Charter. It has • MathDesign [utopia] (Utopia text, MathDe- Small Caps, Italic, and a choice of number styles such sign math) can also use expert fonts from Adobe. as proportional oldstyle 0123456789. • The ADF Venturis fonts are based on Utopia. • An extension of the (free, basic part of) Utopia Typewriter fonts by Andrey Panov, dubbed Heuristica (Evris- The courier font that has long been available on tika), is available now from CTAN,TEX Live CTAN is too light and too spread out for any use and MiKT X along with LAT X support files. E E I can imagine in TEX, except to generate examples (The OpenType Heuristica fonts there have been of what not to use. There are now several choices modified, adding a number of lookup tables, so that are more attractive than you might expect for a that they are parsed better by otftotfm and monospaced font. Most are not new, but have been should work much better with fontspec.) It renovated recently so may appear new to you. has added ligatures, oldstyle and superior fig- ures and Roman small caps, and can be used Serifed Typewriter Fonts: with matching math via [utopia]newtxmath. • The zlmtt package provides access to all fea- (Fourier and MathDesign cannot currently use tures of TeX Gyre Latin Modern Typewriter, a the Heuristica extensions, being tied to Adobe’s very substantial extension of cmtt. Best suited organization of Utopia Expert.) to lighter Roman fonts, though it can be scaled • The LATEX support files for Heuristica now con- to be a better match up for some heavier Roman tain an option to set the factor by which to faces. The fonts themselves have been described multiply the inter-word spacing, \fontdimen2. thoroughly by Will Robertson in [4]. Small The default value is 1, and the value 1.2 is sug- Caps are available in regular, upright only. The gested as a starting point. font does have a bold variant, but the boldness • As of version 1.04, a sinf lookup has been added is almost imperceptible due to the design goal of for subscript figures, superior letters have been keeping the widths of bold glyphs the same as added to each font and the sups lookups have those in regular weight. The individual pieces been extended to cover letters so that French are regrettably inconvenient to access through abbreviations like Mme are available. the lmodern package.

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A sample of text using lmtt and its cases poor at distinguishing homoglyphs such as bold variant. upper case ‘i’, lower case ‘el’ and the lining figure • The newtxtt package is built on an enhanced ‘one’ [5]. This makes their use for file names prob- version of the typewriter fonts from the txfonts lematic. In much the same way, it can be difficult package, with the addition of several choices of to distinguish a sans serif proportional glyph from forms for ‘zero’. The fonts are of the same width a sans serif typewriter glyph, and if both are used as cmtt, but are heavier and taller, matching to indicate distinct objects (e.g., sans serif for menu Times weight and size. Small Caps are avail- items and display items in a computer program, tt able in upright shape only. The newest version for file names), then confusion is quite possible. (If of the package has an option to reduce the inter- you use sans serif for headings, as in German typog- word space, so that, while it is no longer mono- raphy, and only for headings, this is not an issue.) spaced, it looks better for blocks of text that do If you make serious use of sans serif for other than not need to be aligned letter by letter. headings, it may be wise to choose a serifed type- A sample of text using newtxtt and its writer font even though your eye may wander to sans bold variant. serif typewriter. Note one peculiarity of cabin if you use it for Sans Serif Typewriter Fonts: email addresses, as in [email protected] — that Two good packages are now available. white-on-black @ is unfortunate and the font would • Inconsolata--zi4 is an extension of the origi- benefit from an alternate, black-on-white, symbol. nal Inconsolata package by Karl Berry, offering Further regular and bold weights, a choice of styles for ‘zero’, ‘l’ and quotes. It is based on an extension For an expanded collection of descriptions and sam- of Raph Levien’s fine Inconsolata fonts, which ples of many of the fonts mentioned above, see are not dissimilar to Microsoft’s Consolas. http://math.ucsd.edu/~msharpe/RcntFnts.pdf. A sample of text using inconsolata and its References bold variant. • The beramono package is based on Bitstream’s [1] Beatrice Warde, writing as “Paul Beaujon”. Vera Sans Mono. All glyphs are unmistakable. The “Garamond” types, sixteenth and It is available only in T1 and TS1 encodings. seventeenth century sources reconsidered. The more recent DejaVu Sans Mono package is The Fleuron, pp. 131–179, 1926. http: a further extension with many more encodings //www.garamond.culture.fr/kcfinder/ and accented glyphs. files/3_3_4_article_beatrice_warde.pdf A sample of text using beramono and its [2] Andrew Pettegree. The Invention of News: How bold variant. the World Came to Know About Itself. Yale University Press, New Haven, 2011. Sans serif fonts [3] Andrew Pettegree. The Book in the Renaissance. There are now several choices of (proportionally Yale University Press, New Haven, 2014. spaced) sans serif fonts available to T X users, among E [4] Will Robertson. An exploration of the Latin the more recent being cabin (similar to ), Modern fonts. The PracTEX Journal, 2006-1, and SourceSansPro. As fonts of this type raleway 2006. http://tug.org/pracjourn/2006-1/ are frequently made available in a multiplicity of robertson/robertson.pdf weights, their support files can profit from use of the mweights package that allows you to choose [5] Charles Bigelow. Oh, oh, zero! TUGboat 34:2, which weight will be called “regular” and which will pp. 168–181, 2013. http://tug.org/TUGboat/ be called “bold”, independent of the corresponding tb34-2/tb107bigelow-zero.pdf choices for roman and typewriter. Sans serif fonts are often used to render slides,  Michael Sharpe as their simpler geometry is usually less corrupted http://math.ucsd.edu/~msharpe by rasterization than serifed fonts. They are in many

Michael Sharpe