Experiences Typesetting Opentype Math with Lualatex and Xelatex
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Donald Knuth Fletcher Jones Professor of Computer Science, Emeritus Curriculum Vitae Available Online
Donald Knuth Fletcher Jones Professor of Computer Science, Emeritus Curriculum Vitae available Online Bio BIO Donald Ervin Knuth is an American computer scientist, mathematician, and Professor Emeritus at Stanford University. He is the author of the multi-volume work The Art of Computer Programming and has been called the "father" of the analysis of algorithms. He contributed to the development of the rigorous analysis of the computational complexity of algorithms and systematized formal mathematical techniques for it. In the process he also popularized the asymptotic notation. In addition to fundamental contributions in several branches of theoretical computer science, Knuth is the creator of the TeX computer typesetting system, the related METAFONT font definition language and rendering system, and the Computer Modern family of typefaces. As a writer and scholar,[4] Knuth created the WEB and CWEB computer programming systems designed to encourage and facilitate literate programming, and designed the MIX/MMIX instruction set architectures. As a member of the academic and scientific community, Knuth is strongly opposed to the policy of granting software patents. He has expressed his disagreement directly to the patent offices of the United States and Europe. (via Wikipedia) ACADEMIC APPOINTMENTS • Professor Emeritus, Computer Science HONORS AND AWARDS • Grace Murray Hopper Award, ACM (1971) • Member, American Academy of Arts and Sciences (1973) • Turing Award, ACM (1974) • Lester R Ford Award, Mathematical Association of America (1975) • Member, National Academy of Sciences (1975) 5 OF 44 PROFESSIONAL EDUCATION • PhD, California Institute of Technology , Mathematics (1963) PATENTS • Donald Knuth, Stephen N Schiller. "United States Patent 5,305,118 Methods of controlling dot size in digital half toning with multi-cell threshold arrays", Adobe Systems, Apr 19, 1994 • Donald Knuth, LeRoy R Guck, Lawrence G Hanson. -
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. -
236 Tugboat, Volume 9 (1988), No. 3 Some Typesetting Conventions
236 TUGboat, Volume 9 (1988), No. 3 Some Typesetting Conventions suitability to contents Graeme McKinstry, Not all these factors are equal in their effect on readability University of Otago, nor are all the factors within your control but it is possible New Zealand. to use some of the above factors to make your documents more readable. One of the major advantages of T@ is that it makes it possible for authors to typeset their own work. However, Typeface and size of type this new found power has not been automatically asso- There are two broad classes of fonts: serif ("serifs" are ciated with a knowledge of typesetting and typographic the finishing strokes at the end of letters) and sans-serif design and so some very unreadable documents have en- (without serifs, e.g., fonts such as Helvetica). Of the sued. This is further exacerbated by authors believing two, serif fonts (such as Computer Modem, and Times- they do know something about typesetting ("Doesn't ev- Roman) are easier to read for large quantities of text, eryone?") and ignoring all attempts to lead them in the "because it has been shown that we read our own lan- right direction, e.g., LV@. guage not letter by letter but by recognizing the shapes Although TEX users are less prone to fall into this of words . " [31. The serifs tend to help in this "shape trap as compared to your average WYSIWYG user there are recognition". For example try to decipher the following still some fundamental typographic lessons to be learned. two lines (they don't form words): These principles are so fundamental that even a com- puting consultant, such as myself, is able to learn, and possibly even more importantly, understand why we have them. -
Zapfcoll Minikatalog.Indd
Largest compilation of typefaces from the designers Gudrun and Hermann Zapf. Most of the fonts include the Euro symbol. Licensed for 5 CPUs. 143 high quality typefaces in PS and/or TT format for Mac and PC. Colombine™ a Alcuin™ a Optima™ a Marconi™ a Zapf Chancery® a Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf International® a AMS Euler™ a Marcon™ a Medici Script™ a Shakespeare™ a Zapf International® a Melior™ a Aldus™ a Melior™ a a Melior™ Noris™ a Optima™ a Vario™ a Aldus™ a Aurelia™ a Zapf International® a Carmina™ a Shakespeare™ a Palatino™ a Aurelia™ a Melior™ a Zapf book® a Kompakt™ a Alcuin™ a Carmina™ a Sistina™ a Vario™ a Zapf Renaissance Antiqua® a Optima™ a AMS Euler™ a Colombine™ a Alcuin™ a Optima™ a Marconi™ a Shakespeare™ a Zapf Chancery® Aldus™ a Carmina™ a Palatino™ a Edison™ a Zapf international® a AMS Euler™ a Marconi™ a Medici Script™ a Shakespeare™ a Zapf international® a Aldus™ a Melior™ a Zapf Chancery® a Kompakt™ a Noris™ a Zapf International® a Car na™ a Zapf book® a Palatino™ a Optima™ Alcuin™ a Carmina™ a Sistina™ a Melior™ a Zapf Renaissance Antiqua® a Medici Script™ a Aldus™ a AMS Euler™ a Colombine™ a Vario™ a Alcuin™ a Marconi™ a Marconi™ a Carmina™ a Melior™ a Edison™ a Shakespeare™ a Zapf book® aZapf international® a Optima™ a Zapf International® a Carmina™ a Zapf Chancery® Noris™ a Optima™ a Zapf international® a Carmina™ a Sistina™ a Shakespeare™ a Palatino™ a a Kompakt™ a Aurelia™ a Melior™ a Zapf Renaissance Antiqua® Antiqua® a Optima™ a AMS Euler™ a Introduction Gudrun & Hermann Zapf Collection The Gudrun and Hermann Zapf Collection is a special edition for Macintosh and PC and the largest compilation of typefaces from the designers Gudrun and Hermann Zapf. -
Development of Computer Typesetting
Early steps in computer typesetting in the 1960s Jonathan Seybold, September 2018 1961–1964 Michael Barnett’s “Experiments in Typesetting” In 1961, Michael Barnett, an associate professor at MIT wrote a computer program that could produce punched paper tape output to drive a phototypesetting machine. He used this to produce the “Tail” from Alice in Wonderland, and a phototypeset press release. These were the first documents that were phototypeset from output generated by a computer. In 1962 Barnett received a research grant to continue this experiments. This lead to development of the PC6 system, which was used to produce a variety of reports, pamphlets and other publications in late 1963 and early 1964.1 Hardware: IBM 709/90 computer and a Photon 560 phototypesetter. Software: Written in Fortran, with a few routines written in FAP (Fortran Assembler). Written for a specific Photon 560 set-up. Typefonts were identified by disk position and row number. The TYPRINT program for text output composed text to fit a predefined page width and depth. Lines were broken after the last complete word that would fit on that line. There was no attempt at hyphenation. Pages were arbitrarily broken after the last line that would fit on the page. Special commands could be embedded in the text to tie text elements together. When it encountered these, the program would simply make the page as long as necessary to accommodate all of the text in the “no break” area. Given the scientific academic setting, the most notable feature of TYPRINT was a program written by J.M. -
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. -
Book Design for Tex Users, Part 1
TUGboat, Volume 19 (1998), No. 1 65 Tutorial Book Design for TEXUsers Part 1: Theory∗ Philip Taylor Motto: There can never be too little space below headings, only too much! Abstract Book design cannot be taught; it can only be learned, preferably by critical study of as many books as possible. Of all the elements which make up a book, white space is frequently the least considered and the most important. Avant garde designs are compared and contrasted with more conservative and traditional approaches. Three key elements: uniformity, information and structure are identified, and ‘good design practice’ discussed in terms of each of these. −−∗−− 1 Introduction The widespread use of TEX and other typesetting or DTP packages by tens of thousands of scientists, researchers and other academics has resulted in two rather disturbing phenomena: (1) more and more people are spending ever longer trying to get their publications to look right, rather than worry ing about whether such publications are factually correct or are well written, and (2) fewer and fewer people, on opening a book for the first time, think first about the content, but instead commence by judging the book on its form, or to be more precise, on the appearance of the design and typesetting. We are, in fact, becoming a generation of self-taught designers and typographers, but in so doing we are tacitly avoiding the many years of training, appren ticeship and indenture which previous generations have deemed necessary. This is, in itself, no bad thing — there are far too many self-appointed ‘experts’ ever ready to initiate neophytes into the arcane mysteries of their craft, in exchange for not inconsiderable sums of money — but in order for learning by osmosis to be effective, the beginner has to be exposed both to good and to bad examples of the art, and to think critically about what it is that differentiates ∗ This is the first part of a talk delivered to a sofsem meeting in Hrdonov (Czech Rep.). -
Phototypesetting and Desk-Top Publishing Systems in Archaeology
30 Phototypesetting and desk-top publishing systems in archaeology Alison Girdwood University of Edinburgh 30.1 Introduction It is the aim of this paper to give a general indication of the current situation in origination and typesetting and to discuss the impMcations of these both for archaeologists, and for anyone considering the costs of getting work published. With the ever-increasing pTessu^ to pubhsh research results, combined with limited financial resources, typesetting costs a e a major consideration and the., ar. now many typesetting systems to choose fix," each o fenng different facihties and different quality output. For this i.ason, I will give a Cl typewntertypetZri to the modem-daymiS' d T'"' laser setter, °' ^"^""^^ driven by ^^'^^"^"^y-a desk-top package.'^"^ ' ^^^^^-'-^ It should also ^^-^-^ be said at uns stage that the quality of any typesetting system can never substLe for the qulty of"e woTk"l f " ;f, 'T'"'^^- ""^ ^""""^ °' ^^'^'-°^°^ ^- ^^« badly-writt'n or pllld 30.2 History Photocomposition is generally acknowledged to have started in France in the 1940s and large expensive systems entered the maricet-place with the micro-chip revolution of tiie 1%0 sAi Ae AMW^ivrl '"'f "'*°' '' ^"^"^ ^^^ ^" '"P^^^^ ^"^ ^^""^ establishments was fni^^l9lZT\Z" ^HT"'' "•''"'" ^ ^^""^^^' "^'^ "°- ^^""^y «»'-l-te. Early LH i ? ^""^^ ^°'"P°'''' ^^ introduced, and this is stiU in use today although adval" r """",' ''''• '"'^^ """'"^^ ^"^ ^^^ ^ P"-h-^d -datively cheapirThe advantage of an internal memory and magnetic card storage facilities were rapidly accepted andthe Composer captured a large proportion of the inplant market at the time The demand for rapid production of high-quality typeset material has meant that it is computer-based phototypesetting Which dominates today's maricet. -
Typesetting: Finer Points As You Work with a Text, Your Choices of the Elements Listed Below Affect the Legibility and Expressiveness
Typesetting: Finer Points As you work with a text, your choices of the elements listed below affect the legibility and expressiveness. You should know how to work with these elements in InDesign: (in the Character Palette) font size leading letterspacing or tracking (in the Paragraph Palette) word spacing (go under Paragraph menu to “Justification”) column width Typesetting checklist Once the fundamental type decisions are made, you’re ready to address the “finer points” that make for truly expert typesetting. The “how-to”s below are for InDesign, but the same affect can be obtained in Quark and Illustrator. These guidelines for fine typesetting apply no matter what application you’re using to set type. 1. Extra Spaces Go under Edit to “Find/Change” (shortcut APPLE + F) to search for extra word spaces in your document. Type two spaces in the “Find what” box, and type one space in the “Change to” box; select “Change, then Find” to change the double spaces one at a time. Note that you can also search for specific type formats (ie: typesetting specifications) here. 2. Typographer’s Quotes Always use real quotation marks, called “typographer's” or “smart” or “curly” quotation marks. This applies for both single and double quotation marks. Properly set they will look like this: “ instead of " The easiest way to handle this is to go under InDesign Prefences/Text and check Use Typographer’s Quotes; from that moment on, within any text you type or import will have proper quote marks. You can also insert them manually. Go under Type/Insert Glyphs, and you will see a palette of glyphs, or characters. -
Opentype Math Illuminated
Introduction Font parameters Variants and Constructions Summary and Conclusions OpenType Math Illuminated Dr. Ulrik Vieth Stuttgart, Germany BachoTEX 2009 Introduction Font parameters Variants and Constructions Summary and Conclusions Developments in text typesetting • Major trends in publishing • support for Unicode character sets • support for OpenType font technology • Major developments in the TEX community • new TEX engines: X TE EX, LuaTEX • new TEX fonts: Latin Modern, TEX Gyre • Outside developments • OpenType supported by operating systems or libraries • OpenType supported by typesetting software • OpenType supported by commercial font suppliers • OpenType as a replacement for TrueType and Type 1 Introduction Font parameters Variants and Constructions Summary and Conclusions Developments in math typesetting • Unicode math • encoding for math symbols and alphabets • developed by working group (input from STIX, AMS) • standard since 2001 (UTR#25 for Unicode 3.2) • OpenType math • extension of OpenType font format • developed by Microsoft as a vendor-controlled format • officially experimental, but already de facto standard • first implemented in MS Office 2007 • supported by reference fonts: Cambria Math • supported by font editors and tools: FontForge • supported by new TEX engines: X TE EX, LuaTEX Introduction Font parameters Variants and Constructions Summary and Conclusions Overview of OpenType math • OpenType font format • extensible table structure (as in TrueType) • different flavors of font outlines (TrueType vs. CFF) • some tables -
A System for Typesetting Mathematics
-- -- A System for Typesetting Mathematics Brian W. Kernighan and Lorinda L. Cherry Bell Laboratories Murray Hill, New Jersey 07974 ABSTRACT This paper describes the design and implementation of a system for typesetting mathemat- ics. The language has been designed to be easy to learn and to use by people (for example, secretaries and mathematical typists) who know neither mathematics nor typesetting. Experience indicates that the language can be learned in an hour or so, for it has few rules and fewer excep- tions. For typical expressions, the size and font changes, positioning, line drawing, and the like necessary to print according to mathematical conventions are all done automatically. For exam- ple, the input sum from i=0 to in®nity x sub i = pi over 2 produces ∞ π __ Σxi = i =0 2 The syntax of the language is speci®ed by a small context-free grammar; a compiler- compiler is used to make a compiler that translates this language into typesetting commands. Output may be produced on either a phototypesetter or on a terminal with forward and reverse half-line motions. The system interfaces directly with text formatting programs, so mixtures of text and mathematics may be handled simply. This paper is a revision of a paper originally published in CACM, March, 1975. 1. Introduction limits in the preceding example showed in its simplest ``Mathematics is known in the trade as form. This is carried further by dif®cult, or penalty, copy because it is slower, more b +________________ 1 dif®cult, and more expensive to set in type than any a 0 b 2 a +____________ other kind of copy normally occurring in books and 1 b +________ 3 journals.'' [1] a 2 . -
The Euler Package
The euler package Frank Jensen∗ 1995/03/05 1 Introduction The euler package provides a setup for using the AMS Euler family of fonts for math in LATEX documents. The AMS Euler family was designed by Hermann Zapf, commissioned by the American Mathematical Society. \The underlying philosophy of Zapf's Euler design was to capture the flavor of mathematics as it might be written by a mathematician with excellent handwriting." [2] The euler package is based on Knuth's macros for the book \Concrete Math- ematics" [1]. Knuth's macros can be found through anonymous ftp to labrea. stanford.edu: look for the file gkpmac.tex in directory pub/tex/local/lib. The Euler fonts can be found through anonymous ftp to e-math.ams.org: look in directory pub/tex/amsfonts. The purpose of the euler package is to provide the math part of the look of [1]. The other part (text fonts) is provided by the beton package. The reason for creating two packages is to make it easy to use the Euler math fonts together with other text fonts (in particular, it appears that the Euler fonts match many of the popular PostScript fonts pretty well). Basically, the euler package provides the same setup (the same definitions, math codes, etc.) as gkpmac.tex with respect to the Euler fonts. However, Knuth [2] admits that the macros were written for one specific project, namely to typeset the \Concrete Mathematics" book [1]. So, the euler package actually does a little more than gkpmac.tex: for example, some `exotic' symbols, present in CM math italic, are missing from the Euler fonts; the euler package takes care of this (whereas gkpmac.tex does not).