TUGBOAT Volume 36, Number 3 / 2015

Total Page:16

File Type:pdf, Size:1020Kb

TUGBOAT Volume 36, Number 3 / 2015 TUGBOAT Volume 36, Number 3 / 2015 General Delivery 179 From the Board of Directors / TEX Users Group Board 180 Editorial comments / Barbara Beeton Help wanted — The UK TEX FAQ; B&H and the Wingdings font; Choice of font does make a difference; Safe TEX; More help wanted: Unicode symbol names in languages other than English; What is a template?; Still more help wanted: The LATEX Wikibook 182 Adrian Frutiger, 1928–2015 / Norbert Preining 184 Thomas Koch, 1964–2014 / Joachim Schrod 185 DANTE e.V. 2015 meeting reports / Stefan Kottwitz Education 188 TEX in schools: Just Say Yes! / Simon Laube Fonts 190 Smoky letters / Linus Romer 191 About the DK versions of Lucida / Charles Bigelow Publishing 200 History of cookbooks / Taco Hoekwater Typography 208 Typographers’ Inn / Peter Flynn A L TEX 210 LATEX news, issue 22, January 2015 / LATEX Project Team 212 LATEX news, issue 23, October 2015 / LATEX Project Team 214 Introduction to list structures in LATEX / Thomas Thurnherr 217 gradstudentresume: A document class for graduate student CVs / Anagha Kumar 220 Glisterings: Longest string; Marching along; A blank argument; A centered table of contents / Peter Wilson 227 Chemistry in LATEX2ε — an overview of existing packages and possibilities / Clemens Niederberger Software & Tools 234 Automating LATEX(3) testing / Joseph Wright 237 Two applications of SWIGLIB: GraphicsMagick and Ghostscript / Luigi Scarso Macros 243 Typesetting the “Begriffsschrift” by Gottlob Frege in plain TEX / Udo Wermuth 257 GMOA, the ‘General Manipulation Of Arguments’: An extension to the l3expan package of the expl3 bundle and language / Grzegorz Murzynowski Hints & Tricks 268 Production notes / Karl Berry 269 The treasure chest / Karl Berry Reviews 271 An online glossary of typographic terms by Janie Kliever / Boris Veytsman Abstracts 272 GUST: EuroBachoTEX 2015 proceedings 273 Die TEXnische Kom¨odie: Contents of issue 4/2015 Cartoon 274 Jim Benton / A summons TUG Business 274 TUG institutional members Advertisements 275 TEX consulting and production services News 276 Calendar TEX Users Group Board of Directors † TUGboat (ISSN 0896-3207) is published by the Donald Knuth, Grand Wizard of TEX-arcana ∗ TEX Users Group. Web: http://tug.org/TUGboat. Kaveh Bazargan, President (suspended) Jim Hefferon∗, Vice President Memberships and subscriptions Karl Berry∗, Treasurer 2015 dues for individual members are as follows: Susan DeMeritt∗, Secretary Regular members: $105. Pavneet Arora Special rate: $75. Barbara Beeton The special rate is available to students, seniors, and Kaja Christiansen citizens of countries with modest economies, as de- Michael Doob tailed on our web site. Steve Grathwohl Membership in the TEX Users Group is for the Klaus H¨oppner TUGboat calendar year, and includes all issues of for Steve Peter the year in which membership begins or is renewed, Cheryl Ponchin as well as software distributions and other benefits. Norbert Preining Individual membership is open only to named indi- Arthur Reutenauer viduals, and carries with it such rights and responsi- Boris Veytsman bilities as voting in TUG elections. For membership Raymond Goucher, Founding Executive Director † information, visit the TUG web site. Hermann Zapf (1918–2015), Wizard of Fonts † Rates will be the same in 2016. Anyone joining ∗ member of executive committee or renewing before March 31 receives a $20 “early †honorary bird” discount: See http://tug.org/board.html for a roster of all past Regular members (early bird): $85. and present board members, and other official positions. Special rate (early bird): $55. TUGboat Also, (non-voting) subscriptions are Addresses Electronic Mail available to organizations and others wishing to re- (Internet) TUGboat TEX Users Group ceive in a name other than that of an indi- P.O. Box 2311 General correspondence, vidual. The subscription rate for 2016 will be $110. Portland, OR 97208-2311 membership, subscriptions: U.S.A. [email protected] Institutional membership Telephone TUGboat Institutional membership is primarily a means of Submissions to , +1 503 223-9994 letters to the Editor: showing continuing interest in and support for T X E [email protected] and the TEX Users Group. It also provides a dis- counted membership rate, site-wide electronic ac- Fax Technical support for cess, and other benefits. For further information, +1 815 301-3568 TEX users: see http://tug.org/instmem.html or contact the [email protected] TUG office. Web Contact the http://tug.org/ Board of Directors: Trademarks http://tug.org/TUGboat/ [email protected] Many trademarked names appear in the pages of TUGboat. If there is any question about whether a name is or is not a trademark, prudence dictates Copyright c 2015 TEX Users Group. that it should be treated as if it is. The following list Copyright to individual articles within this publication of trademarks which commonly appear in TUGboat remains with their authors, so the articles may not be reproduced, distributed or translated without the should not be considered complete. authors’ permission. TEX is a trademark of American Mathematical Society. METAFONT For the editorial and other material not ascribed to a is a trademark of Addison-Wesley Inc. particular author, permission is granted to make and PostScript is a trademark of Adobe Systems, Inc. distribute verbatim copies without royalty, in any medium, provided the copyright notice and this permission notice [printing date: November 2015] are preserved. Printed in U.S.A. Permission is also granted to make, copy and distribute translations of such editorial material into another language, except that the TEX Users Group must approve translations of this permission notice itself. Lacking such approval, the original English permission notice must be included. [The Belgian typographer Fernand Baudin] claims that literacy involves not only a knowledge of how to form letters and assemble them into strings, but also an understanding of how to organize the elements of the text into a coherent visual structure. Charles Bigelow, in the Foreword to How Typography Works (and why it is important), by Fernand Baudin (1989) COMMUNICATIONS OF THE TEX USERS GROUP EDITOR BARBARA BEETON VOLUME 36, NUMBER 3 • 2015 PORTLAND • OREGON • U.S.A. 178 TUGboat, Volume 36 (2015), No. 3 TUGboat editorial information TUGboat editorial board This regular issue (Vol. 36, No. 3) is the last issue Barbara Beeton, Editor-in-Chief of the 2015 volume year. Karl Berry, Production Manager TUGboat is distributed as a benefit of member- Boris Veytsman, Associate Editor, Book Reviews TUG ship to all current members. It is also available Production team TUG to non-members in printed form through the William Adams, Barbara Beeton, Karl Berry, store (http://tug.org/store), and online at the Kaja Christiansen, Robin Fairbairns, TUGboat web site, http://tug.org/TUGboat. On- Robin Laakso, Steve Peter, Michael Sofka, line publication to non-members is delayed up to Christina Thiele one year after print publication, to give members the benefit of early access. Other TUG publications Submissions to TUGboat are reviewed by vol- unteers and checked by the Editor before publica- TUG is interested in considering additional manu- tion. However, the authors are assumed to be the scripts for publication, such as manuals, instruc- experts. Questions regarding content or accuracy tional materials, documentation, or works on any should therefore be directed to the authors, with an other topic that might be useful to the TEX commu- information copy to the Editor. nity in general. If you have such items or know of any that you Submitting items for publication would like considered for publication, send the in- TUGboat Proposals and requests for articles are formation to the attention of the Publications Com- gratefully received. Please submit contributions by mittee at [email protected]. electronic mail to [email protected]. The first issue for 2016 will be a regular issue, TUGboat advertising with a deadline of March 11, 2016. The second 2016 For advertising rates and information, including con- issue will be the proceedings of the TUG’16 confer- sultant listings, contact the TUG office, or see: ence (http://tug.org/tug2016); the deadline for http://tug.org/TUGboat/advertising.html receipt of final papers is August 8. The third issue http://tug.org/consultants.html deadline is September 29. The TUGboat style files, for use with plain Trademarks A CTAN TEX and L TEX, are available from and the Many trademarked names appear in the pages of TUGboat web site, and are included in common TUGboat. If there is any question about whether TEX distributions. We also accept submissions us- a name is or is not a trademark, prudence dictates ing ConTEXt. Deadlines, templates, tips for authors, that it should be treated as if it is. The following list and other information is available at: of trademarks which commonly appear in TUGboat http://tug.org/TUGboat/location.html should not be considered complete. Effective with the 2005 volume year, submission METAFONT of a new manuscript implies permission to publish is a trademark of Addison-Wesley Inc. the article, if accepted, on the TUGboat web site, as PostScript is a trademark of Adobe Systems, Inc. A S well as in print. Thus, the physical address you pro- TEX and M -TEX are trademarks of the American vide in the manuscript will also be available online. Mathematical Society. If you have any reservations about posting online, please notify the editors at the time of submission and we will be happy to make special arrangements. TUG 2016 [ Toronto, Canada July 25–27, 2016, excursions before and after http://tug.org/tug2016 TUGboat, Volume 36 (2015), No. 3 179 From the Board of Directors he did not reveal the existence of the lawsuit at the time of the election, nor made any offer to mitigate TUG Board of Directors its effects now. (This letter was sent to all TUG members on October Therefore, we concluded that the actions of the 13, 2015, and posted at http://tug.org/election President were not in the interests of TUG.
Recommended publications
  • Image Carrier Poster
    55899-11_MOP_nwsltr_poster_Winter11_v2_Layout 1 2/11/11 2:25 PM Page 1 The Museum of Printing, North Andover, MA and the Image Carrier www.museumofprinting.org Relief printing Wood cuts and wood engravings pre-dated moveable type. Called “xylographic printing,” it was used before Gutenberg for illustrations, playing cards, and small documents. Moveable type allowed corrections and editing. A wood engraving uses the end grain, where a wood cut uses the plank grain. Polymer plates are made from digital files which drive special engraving machines to produce relief plates. These plates are popular with many of today’s letterpress printers who produce invitations, and collectible prints. Metal relief cylinders were used to print repetitive designs, such as those on wrap - ping paper and wall paper. In the 1930s, the invention of cellophane led to the development of the anilox roller and flexographic printing. Today, flexography prints most of the flexible packaging film which accounts for about half of all packaged products. Hobbyists, artists, and printmakers cut away non-printing areas on sheets of linoleum to create relief surfaces. Wood cut Wood engraving and Metal plate Relief cylinder Flexographic plate Linoleum cut Foundry type began with Gutenberg and evolved through Jenson, Garamond, Moveable type Caslon and many others. Garamond was the first printer to cast type that was sold to other printers. By the 1880s there were almost 80 foundries in the U.S. One newspaper could keep one foundry in business. Machine typesetting changed the status quo and the Linotype had an almost immediate effect on type foundries. Twenty-three foundries formed American Type Founders in 1890.
    [Show full text]
  • Kemble Z3 Ephemera Collection
    http://oac.cdlib.org/findaid/ark:/13030/c818377r No online items Kemble Ephemera Collection Z3 Finding aid prepared by Jaime Henderson California Historical Society 678 Mission Street San Francisco, CA, 94105-4014 (415) 357-1848 [email protected] 2013 Kemble Ephemera Collection Z3 Kemble Z3 1 Title: Kemble Z3 Ephemera Collection Date (inclusive): 1802-2013 Date (bulk): 1900-1970 Collection Identifier: Kemble Z3 Extent: 185 boxes, 19 oversize boxes, 4 oversize folder (137 linear feet) Repository: California Historical Society 678 Mission Street San Francisco, CA 94105 415-357-1848 [email protected] URL: http://www.californiahistoricalsociety.org Location of Materials: Collection is stored onsite. Language of Materials: Collection materials are primarily in English. Abstract: The collection comprises a wide variety of ephemera pertaining to printing practice, culture, and history in the Western Hemisphere. Dating from 1802 to 2013, the collection includes ephemera created by or relating to booksellers, printers, lithographers, stationers, engravers, publishers, type designers, book designers, bookbinders, artists, illustrators, typographers, librarians, newspaper editors, and book collectors; bookselling and bookstores, including new, used, rare and antiquarian books; printing, printing presses, printing history, and printing equipment and supplies; lithography; type and type-founding; bookbinding; newspaper publishing; and graphic design. Types of ephemera include advertisements, announcements, annual reports, brochures, clippings, invitations, trade catalogs, newspapers, programs, promotional materials, prospectuses, broadsides, greeting cards, bookmarks, fliers, business cards, pamphlets, newsletters, price lists, bookplates, periodicals, posters, receipts, obituaries, direct mail advertising, book catalogs, and type specimens. Materials printed by members of Moxon Chappel, a San Francisco-area group of private press printers, are extensive. Access Collection is open for research.
    [Show full text]
  • A Dictionary of Typography and Its Accessory Arts. Presented to the Subscribers of the "Printers' Register," 1870
    : Supplement to tin- "^rtnters 1 Register," September vt, mdccclxxi. "*>. > % V V .. X > X V X V * X X V s X X X V S X S X V X X S X X V X .X X X\x X X .X X X N .N .X X S A t. y littimrarg uprjrajjlur i f / / 4 / / / AND / I '/ ITS ACCESSORY ARTS /• - I / / i 7 ': BY / / I /; r JOHN SOUTHWARD. / /. / / / i ^rescntcb to the Subscribers of the "^printers' T^cgistcr. 1870-1871. / n V / gonfcon JOSEPH M. POWELL, "PRINTERS' REGISTER" OFFICE, 3, BOUVERIE STREET, E.( . / PRINTED 9Y DANIEL & CO., ST. LEONARDS-ON-SEA j — 2? 113 %\%\ of JutjiOUtlCS. Among the various works on the Art of Printing, consulted in the compilation ol this Dictionary, may be named the following : Abridgments of Specifications relating to Printing. Johnson's Typographia. Andrews's History of British Journalism. Knight's Caxton. Annales de la Typographic Francaise et etrangere. Knight's Knowledge is Powei Annales de ITmprimerie. knight's Old Printer and the Modern Pres> xviii. Annals of Our Time. London Encyclopedia. Printing— vol. p , Annuaire de la Librairie et de ITmprimerie. Mi' {Cellar's American Printer. Cabbage's Economy of Machinery and Manufactures. Marahren's Handbuch der Typographic Bullhorn's Grammatography. Maverick's Henry J. Raymund and the New York IV---. Beadnell's Guide to Typography. McCreery's Press, a Poem. Biographical Memoirs of William (Jed. Morgan's Dictionary of Terms u.sed in Printing. Buckingham's Personal Memoirs and Recollections of Editorial Life. Moxon's Mechanick Exercis Buckingham's Specimens of Newspaper Literature.
    [Show full text]
  • FONT GUIDE Workbook to Help You Find the Right One for Your Brand
    FONT GUIDE Workbook to help you find the right one for your brand. www.ottocreative.com.au Choosing the right font for your brand YOUR BRAND VALUES: How different font styles can be used to make up your brand: Logo Typeface: Is usually a bit more special and packed with your brands personality. This font should be used sparingly and kept for special occasions. Headings font: Logo Font This font will reflect the same brand values as your logo font - eg in this example both fonts are feminine and elegant. Headings Unlike your logo typeface, this font should be easier to read and look good a number of different sizes and thicknesses. Body copy Body font: The main rule here is that this font MUST be easy to read, both digitally and for print. If there is already alot going on in your logo and heading font, keep this style simple. Typefaces, common associations & popular font styles San Serif: Clean, Modern, Neutral Try these: Roboto, Open Sans, Lato, Montserrat, Raleway Serif: Classic, Traditional, reliable Try these: Playfair Display, Lora, Source Serif Pro, Prata, Gentium Basic Slab Serif: Youthful, modern, approachable Try these: Roboto Slab, Merriweather, Slabo 27px, Bitter, Arvo Script: Feminine, Romantic, Elegant Try these: Dancing Script, Pacifico, Satisfy, Courgette, Great Vibes Monotype:Simple, Technical, Futuristic Try these: Source Code Pro, Nanum Gothic Coding, Fira Mono, Cutive Mono Handwritten: Authentic, casual, creative Try these: Indie Flower, Shadows into light, Amatic SC, Caveat, Kalam Display: Playful, fun, personality galore Try these: Lobster, Abril Fatface, Luckiest Guy, Bangers, Monoton NOTE: Be careful when using handwritten and display fonts, as they can be hard to read.
    [Show full text]
  • 264 Tugboat, Volume 37 (2016), No. 3 Typographers' Inn Peter Flynn
    264 TUGboat, Volume 37 (2016), No. 3 A Typographers’ Inn X LE TEX Peter Flynn Back at the ranch, we have been experimenting with X LE ATEX in our workflow, spurred on by two recent Dashing it off requests to use a specific set of OpenType fonts for A I recently put up a new version of Formatting Infor- some GNU/Linux documentation. X LE TEX offers A mation (http://latex.silmaril.ie), and in the two major improvements on pdfLTEX: the use of section on punctuation I described the difference be- OpenType and TrueType fonts, and the handling of tween hyphens, en rules, em rules, and minus signs. UTF-8 multibyte characters. In particular I explained how to type a spaced Font packages. You can’t easily use the font pack- dash — like that, using ‘dash~---Ђlike’ to put a A ages you use with pdfLTEX because the default font tie before the dash and a normal space afterwards, encoding is EU1 in the fontspec package which is key so that if the dash occurred near a line-break, it to using OTF/TTF fonts, rather than the T1 or OT1 would never end up at the start of a line, only at A conventionally used in pdfLTEX. But late last year the end. I somehow managed to imply that a spaced Herbert Voß kindly posted a list of the OTF/TTF dash was preferable to an unspaced one (probably fonts distributed with TEX Live which have packages because it’s my personal preference, but certainly A of their own for use with X LE TEX [6].
    [Show full text]
  • Photo/Graphics Michel Wlassikoff
    SYMPOSIUMS 1 Michel Frizot Roxane Jubert Victor Margolin Photo/Graphics Michel Wlassikoff Collected papers from the symposium “Photo /Graphisme“, Jeu de Paume, Paris, 20 October 2007 © Éditions du Jeu de Paume, Paris, 2008. © The authors. All rights reserved. Jeu de Paume receives a subsidy from the Ministry of Culture and Communication. It gratefully acknowledges support from Neuflize Vie, its global partner. Les Amis and Jeunes Amis du Jeu de Paume contribute to its activities. This publication has been made possible by the support of Les Amis du Jeu de Paume. Contents Michel Frizot Photo/graphics in French magazines: 5 the possibilities of rotogravure, 1926–1935 Roxane Jubert Typophoto. A major shift in visual communication 13 Victor Margolin The many faces of photography in the Weimar Republic 29 Michel Wlassikoff Futura, Europe and photography 35 Michel Frizot Photo/graphics in French magazines: the possibilities of rotogravure, 1926–1935 The fact that my title refers to technique rather than aesthetics reflects what I take to be a constant: in the case of photography (and, if I might dare to say, representation), technical processes and their development are the mainsprings of innovation and creation. In other words, the technique determines possibilities which are then perceived and translated by operators or others, notably photographers. With regard to photo/graphics, my position is the same: the introduction of photography into graphics systems was to engender new possibilities and reinvigorate the question of graphic design. And this in turn raises another issue: the printing of the photograph, which is to say, its assimilation to both the print and the illustration, with the mass distribution that implies.
    [Show full text]
  • The J Ournal of Typographic Research Volume III, Number 2, April 1969
    The J ournal of T ypographic Research Volume III, Number 2, April 1969 115- 126 Letterform R esearch Needs Definition and Direction A Report from the Editor 127- 144 Type Variation and the Problem of Cartographic Type Legibility-Part One Barbara S. Bartz 145-168 Clues to a Letter's Recognition: Implications for the Design of Characters Paul A. K olers 169- 182 Visual-motor Skills: Response Characteristics and Pre-reading Behavior Katherine P. DiMeo 183- 192 A Standard Code for Special Typographic Character Identification Stanley Rice 193- 196 Excerpt: Typography That Makes the Reader Work Joel A. Roth 197-208 Book R eviews Fernand Baudin: H. D. L. Vervliet, Sixteenth-century Printing Types of the Low Countries Colin Banks: J an Tschichold, Asymmetric Typography Ruari McLean: David Diringer, The Alphabet 209-212 Correspondence 213- 215 Abstracts ofj ournal Articles in French and German 216 The Authors The Journal of Typographic Research, Volume III, Number 2, April 1969. Published quarterly (January, April, july, and October) by theJoumal, c/o The Cleveland Museum of Art, Cleveland, Ohio, USA 44106. Copyright © 1969 by The Journal of Typographic Research. Second-class postage paid at Cleveland, Ohio, and at additional mailing offices. Dr. Merald E. Wrolstad, Editor and Publisher Correspondence on editorial matters should be addressed to the editor, cfo The Cleveland Museum of Art, Cleveland, Ohio, USA, 44 106. EDITO RIAL B OARD Fernand Baudin, Bonlez par Grez-Doiceau, Belgium Pieter Brattinga, Form Mediation International, Amsterdam John Dreyfus, M ono type Corporation, et al. Dr. William T. H agestad, Saint Louis University Dr.
    [Show full text]
  • Gutenbergs Europe: the Book and the Invention of Western Modernity Pdf, Epub, Ebook
    GUTENBERGS EUROPE: THE BOOK AND THE INVENTION OF WESTERN MODERNITY PDF, EPUB, EBOOK Frederic Barbier | 320 pages | 19 Dec 2016 | Polity Press | 9780745672588 | English | Oxford, United Kingdom Gutenbergs Europe: The Book and the Invention of Western Modernity PDF Book And the more dangerous a book was claimed to be, the more the people wanted to read it. Effects of the Mass Production of Books The post— Gutenberg world was revolutionized by the advent of the printed book. Benjamin Franklin and associates at Franklin's printing press in Introduction to the Literature of Europe. Jonathon Green and Nicholas J. Shipped from UK. Thanks in part to the spread of dissenting ideas, the Roman Catholic Church, the dominant institution of medieval Europe, found its control slipping. Movable type printing had been invented in China during the Song dynasty. Medieval manuscripts were so highly valued that some scribes placed so-called book curses at the front of their manuscripts, warning that anyone who stole or defaced the copy would be cursed. Crick; Alexandra Walsham Gutenberg is also credited with the introduction of an oil-based ink which was more durable than the previously used water-based inks. Born in in Mainz, Germany,. These prints were produced in very large numbers from about onward. During the s, the U. Buy It Now. Tracing the developments through the sixteenth century, Barbier analyses the principal features of this first media revolution: the growth of technology, the organization of the modern literary sector, the development of surveillance and censorship and the invention of the process of 'mediatization'.
    [Show full text]
  • Progress in Printing and the Graphic Arts During the Victorian
    CORNELL UNIVERSITY LIBRARY BOUGHT WITH THE INCOME OF THE SAGE ENDOWMENT FUND GIVEN IN 1891 BY HENRY WILLIAMS SAGE Ik Cornell University Library The original of this book is in the Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924032192373 Sir G. Hayter, R./l. Bet* Majesty Queen Tictorta in Coronation Robes. : progress in printing and the 6raphic Hrts during the Victorian Gra. "i BY John Southward, Author of "Practical Printing"; "Modern Printing"; "The Principles and Progress of Printing Machinery"; the Treatise on "Modern Typography" in the " EncyclopEedia Britannica" Cgtii Edition); "Printing" and "Types" in "Chambers's Encyclopaedia" (New Edition); "Printing" in "Cassell's Storehouse of General Information"; "Lessons on Printing" in Cassell's New Technical Educator," &c. &c. LONDON SiMPKiN, Marshall, Hamilton, Kent & Co. Ltd. 1897. X^he whole of the Roman Cypc in tbta Booh has been set up by the Linotj^pe Composing Machine, and machined direct from the Linotj'pc Bars by 6eo. CH. loncs, Saint Bride Rouse, Dean Street, fetter Lane, London, e.C. ^ ^ ^ ^ ^ ^ ^ W Contents. ^^ Progress in Jobbing Printing Chapter I. Progress in Newspaper Printing Chapter II. Progress in Book Printing - Chapter III. Printing by Hand Press Chapter IV. Printing by Power Press Chapter V. The Art of the Compositor Chapter VI. Type-Founding Chapter VII. Stereotyping and Electrotyping Chapter VIII. Process Blocks Chapter IX. Ink Manufacture Chapter X. Paper-Making Chapter XI. Description of the Illustrations Chapter XII. ^pj progress in printing peculiarity about it It is not paid for by the person who is to become its possessor.
    [Show full text]
  • Language and Materiality Ethnographic and Theoretical Explorations
    Language and Materiality Ethnographic and Theoretical Explorations Edited by Jillian R. Cavanaugh CUNY, New York Shalini Shankar Northwestern University University Printing House, Cambridge CB2 8BS, United Kingdom One Liberty Plaza, 20th Floor, New York, NY 10006, USA 477 Williamstown Road, Port Melbourne, VIC 3207, Australia 4843/24, 2nd Floor, Ansari Road, Daryaganj, Delhi - 110002, India 79 Anson Road, #06-04/06, Singapore 079906 Cambridge University Press is part of the University of Cambridge. It furthers the University’s mission by disseminating knowledge in the pursuit of education, learning, and research at the highest international levels of excellence. www.cambridge.org Information on this title: www.cambridge.org/9781107180949 DOI: 10.1017/9781316848418 C Cambridge University Press 2017 This publication is in copyright. Subject to statutory exception and to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published 2017 Printed in <country> by <printer> A catalogue record for this publication is available from the British Library. Library of Congress Cataloging-in-Publication Data ISBN 978-1-107-18094-9 Hardback Cambridge University Press has no responsibility for the persistence or accuracy of URLs for external or third-party internet websites referred to in this publication and does not guarantee that any content on such websites is, or will remain, accurate or appropriate. 4 Fontroversy! Or, How to Care about the Shape of Language Keith M. Murphy Introduction On July 4, 2012, standing in the well of a packed lecture hall on the cam- pus of the European Organization for Nuclear Research (CERN), just outside Geneva, particle physicist Joseph Incandela looked up at the hall’s projection screen and, with only a hint of nerves in his voice, uttered the following pro- nouncement: “If we combine the ZZ and gamma-gamma, this is what we get.
    [Show full text]
  • The Evolution of the Printed Bengali Character
    The Evolution of the Printed Bengali Character from 1778 to 1978 by Fiona Georgina Elisabeth Ross School of Oriental and African Studies University of London Thesis presented for the degree of Doctor of Philosophy 1988 ProQuest Number: 10731406 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ProQuest 10731406 Published by ProQuest LLC (2017). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code Microform Edition © ProQuest LLC. ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 20618054 2 The Evolution of the Printed Bengali Character from 1778 to 1978 Abstract The thesis traces the evolution of the printed image of the Bengali script from its inception in movable metal type to its current status in digital photocomposition. It is concerned with identifying the factors that influenced the shaping of the Bengali character by examining the most significant Bengali type designs in their historical context, and by analyzing the composing techniques employed during the past two centuries for printing the script. Introduction: The thesis is divided into three parts according to the different methods of type manufacture and composition: 1. The Development of Movable Metal Types for the Bengali Script Particular emphasis is placed on the early founts which lay the foundations of Bengali typography.
    [Show full text]
  • Microsoft Core Fonts Package Post-Installation to Obtain a Proper Type Library
    AP�������F��� ��� O���S�����T������� �� �� �������� ���� �� �� ��� ������ ��� ���������� �� ���� �� the development of libre ecosystems. Typography has always been a stubborn holdout in this regard, and to this day there remain few free high-quality comprehensive text typefaces. Free type is mainly concentrated in a handful of flagship “superfonts” that contain a staggering catalog of glyphs, but lack greatly in the quality of design and typographic styles and features seen in professional type. To my knowledge, there are currently just two great open source text families—Gentium, which is still incomplete, and Linux Libertine, in addition to a few corporate gifts such as Adobe Source Serif and Bitstream Charter. To help fill the gap, I present my own original type design and ask for the Wikimedia projects’ help in finishing and releasing my font to provide a quality free font choice. What is this font? ��� ���� � �� ��������� (��� ���� ��� ��� ��������� ������� 0 1 2 3 4 5 6 7 8 9 this paragraph in) is meant to be an original serif typeface that an editor might want to set a textbook in. It does not yet have an official name. Many existing open source typefaces are clones of 0 1 2 3 4 5 6 7 8 9 popular old public domain typefaces (like Asana, S���, EB Garamond, or Free Serif, which are clones of Palatino, Times, Garamond, and Times again, respectively). Others like Liberation Serif, Déjà Vu, and Droid Serif have a distinctive “computer type” style that makes them convenient for pixel display and easy to HQWinâaba construct and adapt but poor in most other regards. I tried to create something different.
    [Show full text]