The TEX Font Panel
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B.Casselman,Mathematical Illustrations,A Manual Of
1 0 0 setrgbcolor newpath 0 0 1 0 360 arc stroke newpath Preface 1 0 1 0 360 arc stroke This book will show how to use PostScript for producing mathematical graphics, at several levels of sophistication. It includes also some discussion of the mathematics involved in computer graphics as well as a few remarks about good style in mathematical illustration. To explain mathematics well often requires good illustrations, and computers in our age have changed drastically the potential of graphical output for this purpose. There are many aspects to this change. The most apparent is that computers allow one to produce graphics output of sheer volume never before imagined. A less obvious one is that they have made it possible for amateurs to produce their own illustrations of professional quality. Possible, but not easy, and certainly not as easy as it is to produce their own mathematical writing with Donald Knuth’s program TEX. In spite of the advances in technology over the past 50 years, it is still not a trivial matter to come up routinely with figures that show exactly what you want them to show, exactly where you want them to show it. This is to some extent inevitable—pictures at their best contain a lot of information, and almost by definition this means that they are capable of wide variety. It is surely not possible to come up with a really simple tool that will let you create easily all the graphics you want to create—the range of possibilities is just too large. -
Font HOWTO Font HOWTO
Font HOWTO Font HOWTO Table of Contents Font HOWTO......................................................................................................................................................1 Donovan Rebbechi, elflord@panix.com..................................................................................................1 1.Introduction...........................................................................................................................................1 2.Fonts 101 −− A Quick Introduction to Fonts........................................................................................1 3.Fonts 102 −− Typography.....................................................................................................................1 4.Making Fonts Available To X..............................................................................................................1 5.Making Fonts Available To Ghostscript...............................................................................................1 6.True Type to Type1 Conversion...........................................................................................................2 7.WYSIWYG Publishing and Fonts........................................................................................................2 8.TeX / LaTeX.........................................................................................................................................2 9.Getting Fonts For Linux.......................................................................................................................2 -
Ghostscript and Mupdf Status Openprinting Summit April 2016
Ghostscript and MuPDF Status OpenPrinting Summit April 2016 Michael Vrhel, Ph.D. Artifex Software Inc. San Rafael CA Outline Ghostscript overview What is new with Ghostscript MuPDF overview What is new with MuPDF MuPDF vs Ghostscript MuJS, GSView The Basics Ghostscript is a document conversion and rendering engine. Written in C ANSI 1989 standard (ANS X3.159-1989) Essential component of the Linux printing pipeline. Dual AGPL/Proprietary licensed. Artifex owns the copyright. Source and documentation available at www.ghostscript.com Graphical Overview PostScript PCL5e/c with PDF 1.7 XPS Level 3 GL/2 and RTL PCLXL Ghostscript Graphics Library High level Printer drivers: Raster output API: Output drivers: Inkjet TIFF PSwrite PDFwrite Laser JPEG XPSwrite Custom etc. CUPS Devices Understanding devices is a major key to understanding Ghostscript. Devices can have high-level functionality. e.g. pdfwrite can handle text, images, patterns, shading, fills, strokes and transparency directly. Graphics library has “default” operations. e.g. text turns into bitmaps, images decomposed into rectangles. In embedded environments, calls into hardware can be made. Raster devices require the graphics library to do all the rendering. Relevant Changes to GS since last meeting…. A substantial revision of the build system and GhostPDL directory structure (9.18) GhostPCL and GhostXPS "products" are now built by the Ghostscript build system "proper" rather than having their own builds (9.18) New method of internally inserting devices into the device chain developed. Allows easier implementation of “filter” devices (9.18) Implementation of "-dFirstPage"/"-dLastPage" with all input languages (9.18) Relevant Changes to GS since last meeting…. -
The New Font Project: TEX Gyre
Hans Hagen, Jerzy Ludwichowski, Volker Schaa NAJAAR 2006 47 The New Font Project: TEX Gyre Abstract metric and encoding files for each font. We look for- In this short presentation, we will introduce a new ward to an extended TFM format which will lift this re- project: the “lm-ization” of the free fonts that come striction and, in conjunction with OpenType, simplify with T X distributions. We will discuss the project E delivery and usage of fonts in TEX. objectives, timeline and cross-lug funding aspects. We especially look forward to assistance from pdfTEX users, because the pdfTEX team is working on the implementation on the support for OpenType Introduction fonts. An important consideration from Hans Hagen: “In The New Font Project is a brainchild of Hans Ha- the end, even Ghostscript will benefit, so I can even gen, triggered mainly by the very good reception imagine those fonts ending up in the Ghostscript dis- of the Latin Modern (LM) font project by the TEX tribution.” community. After consulting other LUG leaders, The idea of preparing such font families was sug- Bogusław Jackowski and Janusz M. Nowacki, aka gested by the pdfTEX development team. Their pro- “GUST type.foundry”, were asked to formulate the pro- posal triggered a lively discussion by an informal ject. group of representatives of several TEX user groups — The next section contains its outline, as prepared notably Karl Berry (TUG), Hans Hagen (NTG), Jerzy by Bogusław Jackowski and Janusz M. Nowacki. The Ludwichowski (GUST), Volker RW Schaa (DANTE)— remaining sections were written by us. who suggested that we should approach this project as a research, technical and implementation team, and Project outline promised their help in taking care of promotion, integ- ration, supervising and financing. -
Chapter 13, Using Fonts with X
13 Using Fonts With X Most X clients let you specify the font used to display text in the window, in menus and labels, or in other text fields. For example, you can choose the font used for the text in fvwm menus or in xterm windows. This chapter gives you the information you need to be able to do that. It describes what you need to know to select display fonts for use with X client applications. Some of the topics the chapter covers are: The basic characteristics of a font. The font-naming conventions and the logical font description. The use of wildcards and aliases for simplifying font specification The font search path. The use of a font server for accessing fonts resident on other systems on the network. The utilities available for managing fonts. The use of international fonts and character sets. The use of TrueType fonts. Font technology suffers from a tension between what printers want and what display monitors want. For example, printers have enough intelligence built in these days to know how best to handle outline fonts. Sending a printer a bitmap font bypasses this intelligence and generally produces a lower quality printed page. With a monitor, on the other hand, anything more than bitmapped information is wasted. Also, printers produce more attractive print with variable-width fonts. While this is true for monitors as well, the utility of monospaced fonts usually overrides the aesthetic of variable width for most contexts in which we’re looking at text on a monitor. This chapter is primarily concerned with the use of fonts on the screen. -
Ghostscript 5
Ghostscript 5 Was kann Ghostscript? Installation von Ghostscript Erzeugen von Ghostscript aus den C-Quellen Schnellkurs zur Ghostscript-Benutzung Ghostscript-Referenz Weitere Anwendungsmöglichkeiten Ghostscript-Manual © Thomas Merz 1996-97 ([email protected]) Dieses Manual ist ein modifizierter Auszug aus dem Buch »Die PostScript- & Acrobat-Bibel. Was Sie schon immer über PostScript und Acrobat/PDF wissen wollten« von Thomas Merz; Thomas Merz Verlag München 1996, ISBN 3-9804943-0-6, 440 Seiten plus CD- ROM. Das Buch und dieses Manual sind auch auf Englisch erhältlich (Springer Verlag Berlin Heidelberg New York 1997, ISBN 3-540-60854-0). Das Ghostscript-Manual darf in digitaler oder gedruckter Form kopiert und weitergegeben werden, falls keine Zahlung damit verbunden ist. Kommerzielle Reproduktion ist verboten. Das Manual darf jeoch beliebig zusammen mit der Ghostscript- Software weitergegeben werden, sofern die Lizenzbedingungen von Ghostscript beachtet werden. Das Ghostscript-Manual ist unter folgendem URL erhältlich: http://www.muc.de/~tm. 1 Was kann Ghostscript? L. Peter Deutsch, Inhaber der Firma Aladdin Enterprises im ka- lifornischen Palo Alto, schrieb den PostScript-Interpreter Ghostscript in der Programmiersprache C . Das Programm läuft auf MS-DOS, Windows 3.x, Windows 95, Windows NT, OS/2, Macintosh, Unix und VAX/VMS. Die Ursprünge von Ghost- script reichen bis 1988 zurück. Seither steht das Programmpa- ket kostenlos zur Verfügung und mauserte sich unter tatkräfti- ger Mitwirkung vieler Anwender und Entwickler aus dem In- ternet zu einem wesentlichen Bestandteil vieler Computerinstallationen. Peter Deutsch vertreibt auch eine kommerzielle Version von Ghostscript mit kundenspezifischen Anpassungen und entsprechendem Support. Die wichtigsten Einsatzmöglichkeiten von Ghostscript sind: Bildschirmausgabe. Ghostscript stellt PostScript- und PDF- Dateien am Bildschirm dar. -
Typesetting Music with PMX
Typesetting music with PMX by Cornelius C. Noack — Version 2.7 / January 2012 (PMX features up to version 2.617 included) II Acknowledgement This tutorial owes its very existence to the work by Luigi Cataldi, who a few years ago produced a wonderful manual for PMX in Italian. Luigi’s manual features many examples which help greatly in understanding some of the arguably arcane PMX notation. Even though the Cataldi manual is, as Don Simons has aptly remarked, “written in the language of music”, it nevertheless seemed useful to have access to it for non-Italian speakers, so Don asked around for help on a ‘retranslation’. In fact, that is what the present tutorial started out with: essentially a retranslation of the PMX part of Luigis manual back into English, us- ing, where that seemed feasible, Don’s original PMX manual. I had been thinking for some time of producing some examples (and an index) for the updated (PMX 2.40) version of that manual, and now, taking Luigis italian version as a basis, it seemed an easy thing to do. Of course, as such projects go: soon after the first version had appeared in 2002, it tended to get out of hand — Don Simons actively produced one new beta version of PMX after the other, and I simply could not keep up with his pace. So alas: 5 long years went by before the first update of the tutorial – re- flecting all PMX changes from Version 2.40 to Version 2.514 , in one giant step! – had become possible. -
The TEX Font Panel
The TEX Font Panel Nelson H. F. Beebe (chair) Center for Scientific Computing University of Utah Department of Mathematics, 322 INSCC 155 S 1400 E RM 233 Salt Lake City, UT 84112-0090 USA Email: [email protected], [email protected], [email protected], [email protected] (Internet) WWW URL: http://www.math.utah.edu/~beebe Telephone: +1 801 581 5254 FAX: +1 801 585 1640, +1 801 581 4148 Internet: [email protected] Introduction Since most programming languages, operating systems, file systems, and even computer I/O and The TUG’2001 Font Panel convened on Thursday, CPU chips, have character knowledge designed into August 16, 2001, with members William Adams, them, changing the character set has huge ramifica- Nelson H. F. Beebe (chair), Barbara Beeton, Hans tions for the computing industry and for worldwide Hagen, Alan Hoenig, and Ross Moore, with active business data processing, data exchange, and record participation by several attendees in the audience. keeping. The list of topics that was projected on the screen Fortunately, a particular encoding scheme makes up the sectional headings in what follows, and called UTF-8 makes it possible for files encoded in the topics are largely independent. pure ASCII to also be Unicode in UTF-8 encoding, Any errors or omissions in this article are solely easing the transition to the new character set. the fault of the panel chair. Up to version 2.0 in 1996, the Unicode character repertoire could be fit into a table of 216 = 65 536 en- Unicode tries. Version 3.0 in 2000 increased the count to over The work of the Unicode Consortium, begun in a million, although just under 50 000 are assigned 1988, and first reported on for the TEX community and tabulated in the book. -
Present and Future of the TG Math Project:The Report and Some Questions the “Then” Situation
Present and future of the TG Math Project: the report and some questions Jerzy B. Ludwichowski [email protected] The Polish TEX User Group – GUST EuroTEX 2012, Breskens, The Netherlands EuroTEX 2012, 8 October – 12 October Present and future of the TG Math Project:the report and some questions The “then” situation Jackowocky ’Twas brillig and the slithy Poles Did gyre and gimble in the wabe All mimsy were the borogoves And the mome raths outgrabe With apologies to Lewis Carroll (and Poland!) — Chris Rowley Hans Hagen, Jerzy B. Ludwichowski, Volker Schaa, ”The New Font Project: TEX Gyre”, TUGboat, Volume 27 (2006), No. 2 http://tug.org/TUGboat/Articles/tb27-2/tb87hagen-gyre.pdf EuroTEX 2012, 8 October – 12 October Present and future of the TG Math Project:the report and some questions The “then” situation Introduction In early 2008 a proposal for TG Math fonts Main instigators – Hans Hagen & Volker RW Schaa The team initially: GUST e-foundry (http://www.gust.org.pl/projects/e-foundry): Bogusław Jackowski Janusz M. Nowacki Piotr Strzelczyk Hans rounded up funding promisses from: NTG, TUG, Dante e.V., CSTUG, Gutenberg, TUG India, UK TUG and GUST. EuroTEX 2012, 8 October – 12 October Present and future of the TG Math Project:the report and some questions The “then” situation From the proposal – situation Both the Latin Modern and the TEX Gyre fonts as the result of the efforts of the TEX community are available in the Open Type Format and thus allow for typesetting texts in almost all Latin based scripts, but do not allow for typesetting advanced mathematics within the Open Type Format because of the missing metric information. -
Digital Typography and Artificial Intelligence
Peter Karow, Hamburg Digital Typography and Artificial Intelligence When did typefaces become digital? The target in 1972 : Automation of Photo Typesetting Our desktop in 1974 Our “PC” in 1980 50 M B m ass storage 2 .5 M B disks 2 m e t e r s h i g h First Ikarus brochure, Warsaw 1975 Digital Typefaces 1. Formats 2. Variations 3. Interpolation 4. Rasterizing 5. Hinting 6. Autotracing 7. Grayscaling 8. Element separation Subjects of digitizing Results Bitmap (left) Run length (middle) Vector (right) PostScript (left) Elements (middle) Metafont (right) Digital Typefaces 1. Formats 2. Variations 3. Interpolation 4. Rasterizing 5. Hinting 6. Autotracing 7. Grayscaling 8. Element separation Range of Variations 1. Continuous Enlarging 2. Contouring 3. Italizing (not Slanting) 4. Expanding/Condensing 5. Rounding 6. Shadowing 7. Antiquing In 1973, the first variations of typefaces were calculated as such: contouring and shadowing It was the birth of digital typefaces. Contouring The font “Ice Age” with variations Digital Typefaces 1. Formats 2. Variations 3. Interpolation 4. Rasterizing 5. Hinting 6. Autotracing 7. Grayscaling 8. Element separation Interpolation of hybrids Digital Typefaces 1. Formats 2. Variations 3. Interpolation 4. Rasterizing 5. Hinting 6. Autotracing 7. Grayscaling 8. Element separation Typical accidents from rasterizing (left) Various resolutions Digital Typefaces 1. Formats 2. Variations 3. Interpolation 4. Rasterizing 5. Hinting 6. Autotracing 7. Grayscaling 8. Element separation Basic hints in 1985 17 hints after the first refinements in 1987 Digital Typefaces 1. Formats 2. Variations 3. Interpolation 4. Rasterizing 5. Hinting 6. Autotracing 7. Gray scaling 8. Element separation Autotracing has to recognize at least the following elements: Digital Typefaces 1. -
GS9 Color Management
Ghostscript 9.21 Color Management Michael J. Vrhel, Ph.D. Artifex Software 7 Mt. Lassen Drive, A-134 San Rafael, CA 94903, USA www.artifex.com Abstract This document provides information about the color architecture in Ghostscript 9.21. The document is suitable for users who wish to obtain accurate color with their output device as well as for developers who wish to customize Ghostscript to achieve a higher level of control and/or interface with a different color management module. Revision 1.6 Artifex Software Inc. www.artifex.com 1 1 Introduction With release 9.0, the color architecture of Ghostscript was updated to primarily use the ICC[1] format for its color management needs. Prior to this release, Ghostscript's color architecture was based heavily upon PostScript[2] Color Management (PCM). This is due to the fact that Ghostscript was designed prior to the ICC format and likely even before there was much thought about digital color management. At that point in time, color management was very much an art with someone adjusting controls to achieve the proper output color. Today, almost all print color management is performed using ICC profiles as opposed to PCM. This fact along with the desire to create a faster, more flexible design was the motivation for the color architectural changes in release 9.0. Since 9.0, several new features and capabilities have been added. As of the 9.21 release, features of the color architecture include: • Easy to interface different CMMs (Color Management Modules) with Ghostscript. • ALL color spaces are defined in terms of ICC profiles. -
Making Type 1 and Opentype Fonts with Metatype1 and Fontforge
Making Type 1 and OpenType fonts with MetaType1 and FontForge Karel Píška Institute of Physics, Academy of Sciences Prague, Czech Republic 24 August 2008 2nd ConTEXt Meeting Bohinj, Slovenija Contents Type 1 v.s. OpenType OpenType fonts today TEX text OpenType fonts OpenType math fonts today Stage 1: Font creating with MetaType1 Examples with Latin Modern Stage 2: From Type 1 to OpenType Construction of OpenType Conclusion and suggestions Conclusion and suggestions TEX Gyre fonts and math OpenType tables Last comments Type 1 v.s. OpenType (probably everybody knows) Limitations in Type 1 I max.number of encoded glyphs – 256 I we need many encoding files to cover various languages and their encodings (9 or more in today’s Latin Modern and TEX Gyre) I metrics data (also ligatures, kernings, . ) in additional separated files (× the number of encodings) OpenType fonts I can cover all characters together with metrics and “advances typographic facilities” I are available for XeTEX, LuaTEX I allow to unify access to glyphs, hyphenation patterns, . OpenType fonts today TEX text OpenType fonts I Latin Modern (LMRoman10-Regular) old style digits present I TEX Gyre (TeXGyreTermes-Regular) old style digits, small caps I Antykwa Torunska I Iwona I Kurier and, maybe, other OpenType fonts today OpenType math fonts I Cambria Math [MicroSoft] I old style digits I math symbols I letters: regular, bold, (math) italic, small caps, subscript, superscript, script-script, etc. I see (MS specification) I Minion Math [Jonannes Küster] I Asana Math [Apostolos Syropoulos] (glyph list) special optical sizes for scripts and scriptscrips are absent (?) I STIX not available after beta-testing (?) I other OpenType math ? Stage 1: Font creating with MetaType1 The fonts can be generated with the MetaType1 package [authors B.