Luatex Is the Newest TEX Engine That Supports Unicode and Opentype Fonts
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Dynamic Optical Scaling and Variable-Sized Characters
ELECTRONIC PUBLISHING, VOL. 7(4), 231±250 (DECEMBER 1994) Dynamic optical scaling and variable-sized characters JACQUES ANDREIRÂ ENEÁ VATTON Irisa/Inria±Rennes Cnrs/Inria±RhÃones-Alpes Campus Universitaire de Beaulieu 2 rue de Vignate F±35042 Rennes cedex, France F±38610 GiÁeres, France SUMMARY First, a survey on optical scaling is carried out, both from the traditional point of view and from that of today's digital typography. Then the special case of large characters, such as braces or integral signs, is considered. It is shown that such variable-sized symbols should be computed at print time in order to approach the quality of metal typesetting. Finally, an implementation of such dynamic fonts, still in progress in the Grif editor, is described. KEY WORDS Optical scaling Variable sized characters Large symbols Dynamic font Parametrized font Grif 1 INTRODUCTION The expression `optical scaling' refers to a concept known by type designers for centuries, even if this expression is relatively new and not very suitable:1 metal characters differ from one body to another one not only in size, but in shape too. Figure 1 (bottom) shows various Garamond `e' at different point size but photographically magni®ed to the same size. It is obvious that the `e' is, relatively, fatter at 8 point size than at 36 point size. On the other hand, the counter (the white inner part) is, relatively, larger at 8 point size than at 36 point size. The main reasons are : with small characters, thinner strokes would be unreadable, and smaller counters would result in inkspreading (the white part would be ®lled in with ink and would get black); on the other hand, if the strokes of large characters were as fat as small ones, characters would look bolder. -
Introducing Opentype Ab
UBS AG ab Postfach CH-8098 Zürich Tel. +41-44-234 11 11 Brand Management Visual Identity Stephanie Teige FG09 G5R4-Z8S Tel. +41-1-234 59 09 Introducing OpenType Fax +41-1-234 36 41 [email protected] July 2005 www.ubs.com OpenType is a new font format developed collaboratively by Adobe and Microsoft. OpenType enhances the TrueType and PostScript technologies and extends their capabilities. Most fonts today are released in the OpenType format, now considered the industry standard. The resulting new generation of UBSHeadline and Frutiger fonts offers improved typographic and layout features. 1. What is OpenType? Frutiger is not always Frutiger Due to the wide variety of Frutiger styles available world- A single font format wide, be sure to install and use only the client-specific UBS OpenType provides a single universally acceptable font licensed version of this font. Do not use any other versions format that can be used on any major operating system of Frutiger to create UBS media. and in any application. Using the client-specific UBS Frutiger guarantees access to Macintosh Windows UBS-relevant cuts. It also prevents changes to kerning and line-break in comparison to random Frutiger styles. UBSHeadline, Frutiger UBSHeadline, Frutiger (PostScript) (TrueType) Linotype Frutiger UBS Frutiger Frutiger LT 45 Light Frutiger 45 Light Macintosh and Frutiger LT 46 Light Italic Frutiger 45 Light Italic Windows Frutiger LT 55 Roman Frutiger 55 Roman Frutiger LT 56 Italic Frutiger 55 Roman Italic UBSHeadline, Frutiger Frutiger LT 65 Bold Frutiger 45 Light Bold (OpenType) Frutiger LT 75 Black Frutiger 55 Roman Bold Frutiger LT 47 Light Condensed Frutiger 47 Light CN Unicode OpenType supports Unicode, which allows much larger Comparison of common Linotype Frutiger versus UBS client- character sets – more than 65,000 glyphs per font in many specific Frutiger. -
Opentype Installation Basics for Context
The PracTEX Journal TPJ 2005 No 02, 2005-04-15 Rev. 2005-04-16 OpenType installation basics for ConTEXt Adam T. Lindsay To make a sweeping generalization, ConTEXt tends to attract people who are in- terested in customizing their own documents. While LATEX’s use is dominated by pre-cooked document layouts, using templates for academic publishing, ConTEXt seems to attract those people looking for just a little bit more flexibility. It is not surprising, then, that many ConTEXt users – both professional and personal users – tire of dealing with the default Computer Modern font family, and look to install their own fonts in order to imbue their documents with their own personality. Font purchasing has been a tricky business. Fonts have traditionally been avail- able in two different formats (PostScript and TrueType) for each of two different platforms (different encapsulating file formats for PC and Mac). Periodically, mod- ern updates to those font formats have appeared, promising new features with that new technology (e.g., Multiple Masters, GX), only to have withered and died in the marketplace. So designers and others who buy fonts may tire of the frac- tured market of multiple font formats, but they should understandably be a little leery of new font formats. It is within this environment that the OpenType font format was conceived. It attempts to unify TrueType and PostScript imaging models, and unifies the file formats so that there is one file designed to work on any platform. It unifies across many encodings by utilizing Unicode as the native font encoding. It unifies across expert encodings, small caps fonts, and other fonts with alternative glyphs by in- troducing OpenType features, which allow fairly sophisticated glyph replacement procedures. -
Opentype Postscript Fonts with Unusual Units-Per-Em Values
Luigi Scarso VOORJAAR 2010 73 OpenType PostScript fonts with unusual units-per-em values Abstract Symbola is an example of OpenType font with TrueType OpenType fonts with Postscript outline are usually defined outlines which has been designed to match the style of in a dimensionless workspace of 1000×1000 units per em Computer Modern font. (upm). Adobe Reader exhibits a strange behaviour with pdf documents that embed an OpenType PostScript font with A brief note about bitmap fonts: among others, Adobe unusual upm: this paper describes a solution implemented has published a “Glyph Bitmap Distribution Format by LuaTEX that resolves this problem. (BDF)” [2] and with fontforge it’s easy to convert a bdf font into an opentype one without outlines. A fairly Keywords complete bdf font is http://unifoundry.com/unifont-5.1 LuaTeX, ConTeXt Mark IV, OpenType, FontMatrix. .20080820.bdf.gz: this Vle can be converted to an Open- type format unifontmedium.otf with fontforge and it Introduction can inspected with showttf, a C program from [3]. Here is an example of glyph U+26A5 MALE AND FEMALE Opentype is a font format that encompasses three kinds SIGN: of widely used fonts: 1. outline fonts with cubic Bézier curves, sometimes Glyph 9887 ( uni26A5) starts at 492 length=17 referred to CFF fonts or PostScript fonts; height=12 width=8 sbX=4 sbY=10 advance=16 2. outline fonts with quadratic Bézier curve, sometimes Bit aligned referred to TrueType fonts; .....*** 3. bitmap fonts. ......** .....*.* Nowadays in digital typography an outline font is almost ..***... the only choice and no longer there is a relevant diUer- .*...*. -
A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics
A Sociolinguistics of Typography Why Graphic Design Matters to Linguistics Univ.-Prof. Dr. Jürgen Spitzmüller Universität Wien ¨ Institut für Sprachwissenschaft Charles University Prague ¨ ó/ww/ö.wR Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Outline of the Lecture A Sociolinguistics of Typography Jürgen Spitzmüller Outline Concepts & Terms ‚ Terminological basics/deínitions: typography, design, Functions of Text Design multimodality (Typo)graphic ‚ Functions of text design/typography Variation as Social Practice ‚ (Typo-)graphic variation as social practice – examples of sociolinguistic functions ö¨éé Typography: Deínition A Sociolinguistics of Typography Jürgen Spitzmüller Etymology: Greek τύπος (týpos = ‘letter, sign’) Outline ˆ γράφειν (gráphein = ‘to scratch, to write’) Concepts & Terms Original (strict) meaning: Production of a printed work by Functions -
Web Typography │ 2 Table of Content
Imprint Published in January 2011 Smashing Media GmbH, Freiburg, Germany Cover Design: Ricardo Gimenes Editing: Manuela Müller Proofreading: Brian Goessling Concept: Sven Lennartz, Vitaly Friedman Founded in September 2006, Smashing Magazine delivers useful and innovative information to Web designers and developers. Smashing Magazine is a well-respected international online publication for professional Web designers and developers. Our main goal is to support the Web design community with useful and valuable articles and resources, written and created by experienced designers and developers. ISBN: 978-3-943075-07-6 Version: March 29, 2011 Smashing eBook #6│Getting the Hang of Web Typography │ 2 Table of Content Preface The Ails Of Typographic Anti-Aliasing 10 Principles For Readable Web Typography 5 Principles and Ideas of Setting Type on the Web Lessons From Swiss Style Graphic Design 8 Simple Ways to Improve Typography in Your Designs Typographic Design Patterns and Best Practices The Typography Dress Code: Principles of Choosing and Using Typefaces Best Practices of Combining Typefaces Guide to CSS Font Stacks: Techniques and Resources New Typographic Possibilities with CSS 3 Good Old @Font-Face Rule Revisted The Current Web Font Formats Review of Popular Web Font Embedding Services How to Embed Web Fonts from your Server Web Typography – Work-arounds, Tips and Tricks 10 Useful Typography Tools Glossary The Authors Smashing eBook #6│Getting the Hang of Web Typography │ 3 Preface Script is one of the oldest cultural assets. The first attempts at written expressions date back more than 5,000 years ago. From the Sumerians cuneiform writing to the invention of the Gutenberg printing press in Medieval Germany up to today՚s modern desktop publishing it՚s been a long way that has left its impact on the current use and practice of typography. -
The Luacode Package
The luacode package Manuel Pégourié-Gonnard <[email protected]> v1.2a 2012/01/23 Abstract Executing Lua code from within TEX with \directlua can sometimes be tricky: there is no easy way to use the percent character, counting backslashes may be hard, and Lua comments don’t work the way you expect. This package provides the \luaexec command and the luacode(*) environments to help with these problems, as well as helper macros and a debugging mode. Contents 1 Documentation1 1.1 Lua code in LATEX...................................1 1.2 Helper macros......................................3 1.3 Debugging........................................3 2 Implementation3 2.1 Preliminaries......................................4 2.2 Internal code......................................5 2.3 Public macros and environments...........................7 3 Test file 8 1 Documentation 1.1 Lua code in LATEX For an introduction to the most important gotchas of \directlua, see lualatex-doc.pdf. Before presenting the tools in this package, let me insist that the best way to manage a non- trivial piece of Lua code is probably to use an external file and source it from Lua, as explained in the cited document. \luadirect First, the exact syntax of \directlua has changed along version of LuaTEX, so this package provides a \luadirect command which is an exact synonym of \directlua except that it doesn’t have the funny, changing parts of its syntax, and benefits from the debugging facilities described below (1.3).1 The problems with \directlua (or \luadirect) are mainly with TEX special characters. Actually, things are not that bad, since most special characters do work, namely: _, ^, &, $, {, }. Three are a bit tricky but they can be managed with \string: \, # and ~. -
The Selnolig Package: Selective Suppression of Typographic Ligatures*
The selnolig package: Selective suppression of typographic ligatures* Mico Loretan† 2015/10/26 Abstract The selnolig package suppresses typographic ligatures selectively, i.e., based on predefined search patterns. The search patterns focus on ligatures deemed inappropriate because they span morpheme boundaries. For example, the word shelfful, which is mentioned in the TEXbook as a word for which the ff ligature might be inappropriate, is automatically typeset as shelfful rather than as shelfful. For English and German language documents, the selnolig package provides extensive rules for the selective suppression of so-called “common” ligatures. These comprise the ff, fi, fl, ffi, and ffl ligatures as well as the ft and fft ligatures. Other f-ligatures, such as fb, fh, fj and fk, are suppressed globally, while making exceptions for names and words of non-English/German origin, such as Kafka and fjord. For English language documents, the package further provides ligature suppression rules for a number of so-called “discretionary” or “rare” ligatures, such as ct, st, and sp. The selnolig package requires use of the LuaLATEX format provided by a recent TEX distribution, e.g., TEXLive 2013 and MiKTEX 2.9. Contents 1 Introduction ........................................... 1 2 I’m in a hurry! How do I start using this package? . 3 2.1 How do I load the selnolig package? . 3 2.2 Any hints on how to get started with LuaLATEX?...................... 4 2.3 Anything else I need to do or know? . 5 3 The selnolig package’s approach to breaking up ligatures . 6 3.1 Free, derivational, and inflectional morphemes . -
Luatex Reference Manual
LuaTEX Reference Manual stable July 2021 Version 1.10 LuaTEX Reference Manual copyright : LuaTEX development team more info : www.luatex.org version : July 23, 2021 Contents Introduction 13 1 Preamble 17 2 Basic TEX enhancements 19 2.1 Introduction 19 2.1.1 Primitive behaviour 19 2.1.2 Version information 19 2.2 UNICODE text support 20 2.2.1 Extended ranges 20 2.2.2 \Uchar 21 2.2.3 Extended tables 21 2.3 Attributes 21 2.3.1 Nodes 21 2.3.2 Attribute registers 22 2.3.3 Box attributes 22 2.4 LUA related primitives 23 2.4.1 \directlua 23 2.4.2 \latelua and \lateluafunction 25 2.4.3 \luaescapestring 25 2.4.4 \luafunction, \luafunctioncall and \luadef 25 2.4.5 \luabytecode and \luabytecodecall 26 2.5 Catcode tables 27 2.5.1 Catcodes 27 2.5.2 \catcodetable 27 2.5.3 \initcatcodetable 27 2.5.4 \savecatcodetable 27 2.6 Suppressing errors 28 2.6.1 \suppressfontnotfounderror 28 2.6.2 \suppresslongerror 28 2.6.3 \suppressifcsnameerror 28 2.6.4 \suppressoutererror 28 2.6.5 \suppressmathparerror 28 2.6.6 \suppressprimitiveerror 29 2.7 Fonts 29 2.7.1 Font syntax 29 2.7.2 \fontid and \setfontid 29 2.7.3 \noligs and \nokerns 29 2.7.4 \nospaces 30 2.8 Tokens, commands and strings 30 2.8.1 \scantextokens 30 2.8.2 \toksapp, \tokspre, \etoksapp, \etokspre, \gtoksapp, \gtokspre, \xtoksapp, \xtokspre 30 2.8.3 \csstring, \begincsname and \lastnamedcs 31 1 2.8.4 \clearmarks 31 2.8.5 \alignmark and \aligntab 31 2.8.6 \letcharcode 31 2.8.7 \glet 32 2.8.8 \expanded, \immediateassignment and \immediateassigned 32 2.8.9 \ifcondition 33 2.9 Boxes, rules and leaders -
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. -
IBM Printers and Print Software Now Support Truetype/Opentype Fonts and Unicode Print Data
Software Announcement October 28, 2003 IBM printers and print software now support TrueType/OpenType Fonts and Unicode print data Overview IBM now offers support for TrueType/OpenType fonts in printer hardware, print server software on various platforms, and new font offerings. The TrueType font technology, developed by Apple and Microsoft , is the most prevalent font technology in the industry today. It is an open font standard that is widely published. The OpenType font format is an extension of the TrueType format that allows better support for international character sets, and broader multi-platform support. OpenType includes information needed to fully support Unicode data for multilingual print and presentation using a single font. It also provides the flexibility of allowing either TrueType outlines or the other standard font technology, Adobe Type 1, to be packaged as an OpenType font. These new offerings provide significant benefits: • You will have more choices in selecting typefaces, especially for non-Latin languages • They provide a truly multilingual environment through support of Unicode, enabling the globalization of applications • You can print from Windows applications with the same fonts that appear on the screen Planned availability dates • Already available − IBM Infoprint 4000 High-Speed Printer Models IS1, IS2, ID2, ID4, ID6, IR2, and IR4 − IBM Infoprint 4100 High-Speed Printer Models HS1, PS1, HD2, PD4, HD4, and HS2. • December 12, 2003 − IBM Print Services Facility for z/OS V3R4 − IBM Infoprint Fonts for Multiplatforms − IBM Page Printer Formatting Aid/370 This announcement is provided for your information only. For additional information, contact your IBM representative, call 800-IBM-4YOU, or visit the IBM home page at: http://www.ibm.com. -
A Guide to Lualatex
A guide to LuaLATEX Manuel Pégourié-Gonnard <[email protected]> May 5, 2013 1 吀his document is a map, or touristic guide, for the new worldAT ofLuaL EX. 吀he intended audience ranges from complete newcomers (with a working knowledge of conventional LATEX) to package developers. 吀his guide is intended to be compre- hensive in the following sense: it contains pointers to all relevant sources, gathers information that is otherwise sca琀tered, and adds introductory material. Feedback and suggestions for improvement are most welcome. 吀his document is work in progress; thanks for your comprehension and patience. 1 Introduction 2 1.1 Just what is LuaLATEX? ................................ 2 1.2 Switching from LATEX to LuaLATEX ......................... 3 1.3 A Lua-in-TEX primer ................................ 4 1.4 Other things you should know ........................... 6 2 Essential packages and practices 7 2.1 User-level ...................................... 7 2.2 Developer-level ................................... 7 3 Other packages 10 3.1 User-level ...................................... 10 3.2 Developer-level ................................... 10 4 吀he luatex and lualatex formats 11 5 吀hings that just work, partially work, or don't work (yet) 13 5.1 Just working ..................................... 13 5.2 Partially working .................................. 13 5.3 Not working (yet) .................................. 14 1 吀hough focusing on LuaLATEX, it includes relevant information about LuaTEX with the Plain format, too. 1 1 Introduction 1.1 Just what is LuaLATEX? To answer this question, we need to mention a few details about the TEX world that you may usually ignore: the difference between an engine and a format. An engine is an actual computer program, while a format is a set of macros executed by an engine, usually preloaded when the engine is invoked with a particular name.