KP-Fonts in Plain TEX Petr Olšák
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Wiley APA Style Manual: a Usage Guide
Version 2.2 Wiley Documentation Wiley APA Style Manual: A Usage Guide File name: Wiley APA Style Manual Version date: 01 June 2018 Version Date Distribution History Status and summary of changes Version 2.2 01 June 2018 Journal copyedit levels Updating supporting information; using stakeholder group semicolon for back-to-back parentheses; numbered abstracts are allowed for some society journals; display and block quotes to be set in roman. Table of Contents Preface .......................................................................................................................................................... 3 Part I: Structuring and XML Tagging ........................................................................................................... 4 Part II: Mechanical Editing ........................................................................................................................... 4 2. Manuscript Elements ................................................................................................................................ 4 2.1 Running Head ..................................................................................................................................... 4 2.2 Article Title ......................................................................................................................................... 4 2.3 Article Category .................................................................................................................................. 5 2.4 Author’s Name -
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. -
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. -
JAF Herb Specimen © Just Another Foundry, 2010 Page 1 of 9
JAF Herb specimen © Just Another Foundry, 2010 Page 1 of 9 Designer: Tim Ahrens Format: Cross platform OpenType Styles & weights: Regular, Bold, Condensed & Bold Condensed Purchase options : OpenType complete family €79 Single font €29 JAF Herb Webfont subscription €19 per year Tradition ist die Weitergabe des Feuers und nicht die Anbetung der Asche. Gustav Mahler www.justanotherfoundry.com JAF Herb specimen © Just Another Foundry, 2010 Page 2 of 9 Making of Herb Herb is based on 16th century cursive broken Introducing qualities of blackletter into scripts and printing types. Originally designed roman typefaces has become popular in by Tim Ahrens in the MA Typeface Design recent years. The sources of inspiration range course at the University of Reading, it was from rotunda to textura and fraktur. In order further refined and extended in 2010. to achieve a unique style, other kinds of The idea for Herb was to develop a typeface blackletter were used as a source for Herb. that has the positive properties of blackletter One class of broken script that has never but does not evoke the same negative been implemented as printing fonts is the connotations – a type that has the complex, gothic cursive. Since fraktur type hardly ever humane character of fraktur without looking has an ‘italic’ companion like roman types few conservative, aggressive or intolerant. people even know that cursive blackletter As Rudolf Koch illustrated, roman type exists. The only type of cursive broken script appears as timeless, noble and sophisticated. that has gained a certain awareness level is Fraktur, on the other hand, has different civilité, which was a popular printing type in qualities: it is displayed as unpretentious, the 16th century, especially in the Netherlands. -
A Collection of Mildly Interesting Facts About the Little Symbols We Communicate With
Ty p o g raph i c Factettes A collection of mildly interesting facts about the little symbols we communicate with. Helvetica The horizontal bars of a letter are almost always thinner than the vertical bars. Minion The font size is approximately the measurement from the lowest appearance of any letter to the highest. Most of the time. Seventy-two points equals one inch. Fridge256 point Cochin most of 50the point Zaphino time Letters with rounded bottoms don’t sit on the baseline, but slightly below it. Visually, they would appear too high if they rested on the same base as the squared letters. liceAdobe Caslon Bold UNITED KINGDOM UNITED STATES LOLITA LOLITA In Ancient Rome, scribes would abbreviate et (the latin word for and) into one letter. We still use that abbreviation, called the ampersand. The et is still very visible in some italic ampersands. The word ampersand comes from and-per-se-and. Strange. Adobe Garamond Regular Adobe Garamond Italic Trump Mediaval Italic Helvetica Light hat two letters ss w it cam gue e f can rom u . I Yo t h d. as n b ha e rt en ho a s ro n u e n t d it r fo w r s h a u n w ) d r e e m d a s n o r f e y t e t a e r b s , a b s u d t e d e e n m t i a ( n l d o b s o m a y r S e - d t w A i e t h h t t , h d e n a a s d r v e e p n t m a o f e e h m t e a k i i l . -
P Font-Change Q UV 3
p font•change q UV Version 2015.2 Macros to Change Text & Math fonts in TEX 45 Beautiful Variants 3 Amit Raj Dhawan [email protected] September 2, 2015 This work had been released under Creative Commons Attribution-Share Alike 3.0 Unported License on July 19, 2010. You are free to Share (to copy, distribute and transmit the work) and to Remix (to adapt the work) provided you follow the Attribution and Share Alike guidelines of the licence. For the full licence text, please visit: http://creativecommons.org/licenses/by-sa/3.0/legalcode. 4 When I reach the destination, more than I realize that I have realized the goal, I am occupied with the reminiscences of the journey. It strikes to me again and again, ‘‘Isn’t the journey to the goal the real attainment of the goal?’’ In this way even if I miss goal, I still have attained goal. Contents Introduction .................................................................................. 1 Usage .................................................................................. 1 Example ............................................................................... 3 AMS Symbols .......................................................................... 3 Available Weights ...................................................................... 5 Warning ............................................................................... 5 Charter ....................................................................................... 6 Utopia ....................................................................................... -
Typographic Terms Alphabet the Characters of a Given Language, Arranged in a Traditional Order; 26 Characters in English
Typographic Terms alphabet The characters of a given language, arranged in a traditional order; 26 characters in English. ascender The part of a lowercase letter that rises above the main body of the letter (as in b, d, h). The part that extends above the x-height of a font. bad break Refers to widows or orphans in text copy, or a break that does not make sense of the phrasing of a line of copy, causing awkward reading. baseline The imaginary line upon which text rests. Descenders extend below the baseline. Also known as the "reading line." The line along which the bases of all capital letters (and most lowercase letters) are positioned. bleed An area of text or graphics that extends beyond the edge of the page. Commercial printers usually trim the paper after printing to create bleeds. body type The specific typeface that is used in the main text break The place where type is divided; may be the end of a line or paragraph, or as it reads best in display type. bullet A typeset character (a large dot or symbol) used to itemize lists or direct attention to the beginning of a line. (See dingbat.) cap height The height of the uppercase letters within a font. (See also cap line.) caps and small caps The typesetting option in which the lowercase letters are set as small capital letters; usually 75% the height of the size of the innercase. Typographic Terms character A symbol in writing. A letter, punctuation mark or figure. character count An estimation of the number of characters in a selection of type. -
Word 2010 Basics I
Microsoft Word Fonts [email protected] Microsoft Word Fonts 1.0 hours Format Font ............................................................................................. 3 Font Dialog Box ........................................................................................ 4 Effects ................................................................................................ 4 Set as Default… .................................................................................. 4 Text Effects .............................................................................................. 5 Format Text Effects Pane ................................................................... 6 Typography .............................................................................................. 7 Advanced Font Features .......................................................................... 8 Drop Cap ................................................................................................. 8 Symbols .................................................................................................... 9 Class Exercise ......................................................................................... 10 Exercise 1: Simple Font Formatting ................................................. 10 Exercise 2: Advanced Options .......................................................... 12 Exercise 3: Text Effects, Symbols, Superscript, Subscript ................ 13 Exercise 4: More Formats ............................................................... -
Using Opentype Features in Libreofiie
Using OpenType Features in LibreOfiie David J. Perry Ver. 1.2 updated August 4, 2017 Note: Part I provides background for those who have litle or no experience using OpenType. If you are already familiar with OpenType features and just want to learn how to access the in Libre# O$ce% you can go directly to Part II. tou might also need to read Part Ii if you have worked with OT features through a graphical interface rather than by using four-character codes. N.B.: names o keys on the key#oard are s"o$n in smal% capitals (enter, tab, etc.(. I. About OpenType A. Introduction )penType (ab#reviated O* herea+er( is a font te&"no%ogy t"at enab%es t"e appearance o &"aracters to be c"anged without altering the under%ying te,t. W"y wou%d one want su&" a thing? /n some languages, c"aracters may need to be res"aped depending on conte,t. In Arabi&, for instance, le0ers have diferent s"apes depending on w"ether t"ey come at the beginning o a $ord, in t"e midd%e, or at the end. Te user types a le0er and t"e appropriate s"ape is dis3 p%ayed. In languages li!e Arabi&, the operating system automati&al%y app%ies the needed O* eatures wit"out intervention by the user. Windo$s and Linu, use O* to support su&" com3 p%e, s&ripts (5ac O6 X uses a diferent te&"no%ogy for this(. /n languages t"at do not re8uire res"aping, O* provides ac&ess to many re9nements tradition3 al%y used in hig"38ua%ity typograp"y. -
Formal Aspects of Computing: Latex2ε Guide for Authors
Under consideration for publication in Formal Aspects of Computing Formal Aspects of Computing: LATEX 2ε Guide for Authors Mark Reed1 and Christiane Notarmarco2 1Electronic Products and Composition Group, Cambridge University Press, Cambridge, 2Springer-Verlag London Limited, Godalming, Surrey, UK Abstract. This guide is for authors who are preparing papers for the Formal Aspects of Computing journal using the LATEX 2ε document-preparation system and the Formal Aspects of Computing class file (fac.cls). Keywords: LATEX 2ε; Class file; fac.cls; User guide 1. Introduction In addition to the standard submission of hardcopy from authors, Formal Aspects of Computing now accepts machine-readable forms of papers in LATEX 2ε. The layout design for the Formal Aspects of Computing journal has been implemented as a LATEX 2ε class file, based on the article class as discussed in the LATEX manual (2nd edition) [Lam94]. Commands which differ from the standard LATEX interface, or which are provided in addition to the standard interface, are explained in this guide (which is not a substitute for the LATEX manual itself). Note that the final printed version of papers will use the Monotype Times typeface rather than the Computer Modern available to authors. For this reason line and page breaks will change and authors should not insert hard breaks in their text. Authors planning to submit their papers in LATEX 2ε are advised to use fac.cls as early as possible in the creation of their files. 1.1. Introduction to LATEX LATEX is constructed as a series of macros on top of the TEX typesetting program. -
Libertine's Xetex-Documentation
Manual for L L with XƎTEX Advantages of XeTex over classic LaTex, examples of configuration Deutse Version ebenfalls erhältli. P H P Libertine Open Fonts Projekt http://linuxlibertine.sf.net Berlin, den 21. MÄarz 2009 Inhaltsverzeichnis 1 Advantages of XeTex 3 2 Commands 3 3 Choosing OpenType-features 4 3.1 Leers: ..................................... 4 3.2 Numbers/Figures: ............................... 4 3.3 Ligatures: .................................... 4 4 Links 4 5 Appendix 5 2 1 Advantages of XeTex ² Full Unicode-support. You can enter all Unicode-Glyphs directly into the source code. ² Simple usability of TrueType- and OTF-Fonts ² Full OpenType-support: { automatic substitution of standard activated OpenType-features, i.e. ligatures su as ff, fi, , , fl,ffi, ffl,, , … { shiing from Stylistic Sets, i.e. old style figures, proportional figures, ÄÖÜ as trema-leers, substitution of german ß with ss { true GPOS-kerning 2 Commands e XeTex-interpreter is being invocated via xelatex instead of latex or pdflatex, example: xelatex Document.tex e output is a PDF-file, ergo analog to our example as Dokument.pdf Because the interpreter needs to know wi fonts to use and because XeTex needs some special paages, the document heading looks a lile bit different from usual. Following commands should be entered into the heading: \usepackage{xunicode} \usepackage{fontspec} \usepackage{xltxtra} In contrast, the definition of the input encoding (inputenc) is obsolete, because XeTex consi- ders UTF-8. Some examples found in the internet begin with following META-information: %!TEX TS-program = xetex %!TEX encoding = UTF-8 Unicode though this doesn’t seem to be obligatory. ere are different possibilities to tell XeTex, whi fonts to use locally or globally. -
Classification of Digital Typefaces Using Spectral Signatures
Pattern Recognition, Vol. 25, No. 8, pp. 869 876, 1992 0031 3203/92 $5.00+.00 Printed in Great Britain Pergamon Press Ltd © 1992 Pattern Recognition Society CLASSIFICATION OF DIGITAL TYPEFACES USING SPECTRAL SIGNATURES ROBERT A. MORRIS Department of Mathematics and Computer Science, University of Massachusetts at Boston, Boston, MA 02125-3393, U.S.A. (Received 18 April 1991; in revisedform 20 November 199 l; receivedfor publication 11 December 1991) Abstract--Mean Fourier amplitudes through a bank of bandpass filters provide a feature vector with which typefaces can be identified using a piecewise quadratic classifier. Fourier amplitudes Typefaceclassification Quadratic classifier Digital type Digital fonts I. INTRODUCTION grapher. These professionals have various informal classification schemes for their choices--some tradi- In this paper we describe the results of classification tional and widely used, others personal and unarticu- experiments we have performed on text images in lated. Attempts at such classifications and character- various digital fonts. The feature vectors in the study izations by these professionals and those who design are derived from data in the Fourier amplitude spectra the letterforms are the subject of substantial critical of the images. These experiments have several purposes: writing, especially of individual typeface designs, ~4'5) (a) to establish statistical verification of certain predic- but there have been only the simplest statistical studies tions made by image processing theory; (b) to provide of