With Numerous Explicit Illustrations

Total Page:16

File Type:pdf, Size:1020Kb

With Numerous Explicit Illustrations Stanford University Libraries Dept. o. Special Collections g _ Col) DOg^ Title — box _^_ fT^x n** O.A v tiro Gourmet Guide to Typesetting Technical Text by Computer WITH NUMEROUS EXPLICIT ILLUSTRATIONS MICHAEL SPIVAK, Ph.D. THE JOY OF Tj^C by Michael Spivak c c c c Copyright. (C) I'JSO by tlic American Society M;U!irm..tU\.l This is version —3 of the _A_4__r-T£X manual. _X_^ls_f-T[s( is meant to be used by some one who knows nothing about computers, except how to use a text editor, but this version is net meant for such technical typists. It is a very incomplete preliminary version, for l£X hackers, from whom suggestions for improvements arc being solicited. Please excuse the appearance of this version—it's not a very good advertise- ment for TVJ-, which is supposed to produce beautiful books! There arc lots of reasons and excuses for this (mainly lack or time), but things will look better later on; at the moment only the bare-bones output routine from Appendix B of the T]^< manual has been used, so there aren't even running heads to tell you what Chapter and section you are in. Some of the nifty macros mentioned here don't actually exist yet, but they should be operating soon (at certain points it will be clear that some are still oug;/y). Also, some of the fonts and symbols mentioned here aren't available yet, so some things were actually written in by hand. In particular, the symbols for "sidetrips" and "cautions" that are mentioned in the Introduction haven't been designed (on metafont) yet, so SIDETRIP and CAUTION appear instead; also the sidclrip:; haven't been set in smaller type, although they eventually will be. The ellipses . appear at several places. Sometimes this material hasn't been written because some design considerations still have to be made; sometimes I .was just too lazy. Anyone familiar with the T£X manual will know what to do about th.se points. Chapter 4 is quite incomplete—we just wanted to assure people thai if will be real easy to set matrices (none of this \vcenter{\halign{ stuff!. Eventually, we will be able to set partitioned matrices of all sorts and many kinds of commutative diagrams. There will also be a way of setting simple tables, the kinds that might actually appear in a math paper. A macro package to handle ___■ 1 1 the various sorts of tables, like ibl in troff, is clearly possible—it's just a question of getting some one to do it (it's not clear whether such a macro package should be part of this manual). Finally, only a few Exercises have been included. Basically, there just wasn't time to make the others. But we'd also be interested in suggestions for Exercises (interesting or tricky typesetting problems which you've come across). All suggestions and corrections, major and minor (misprints, complaints about the exposition, bugs, suggestions for nicer syntax in the macros, new macros that arc needed, etc.) will be gratefully received (but probably not acknowledged). They can he sent to the author by ordinary mail, the only kind he reads, c/o Publish or Perish, Inc., 2000 Center Street, Suite 1404, Berkeley, CA 94704. Or they can be sent via computer to palais mit-mc. Q Introduction. WHAT 1&X CAN DO (and _.mnot do) The title of this book is a little deceptive. It might give you wrong ideas about the pronunciation or T£.X, which actually stands for TAU EP3ILON CHI; according to its creator, Donald E. Knuth, insiders pronounce T^X so that it rhymes with blecchhh. Ts_ is thus an upper-case, or capital letter, form of rex, the beginning of the Creek word that means art, and that is also the root of English words like technology. This name emphasizes two basic features of '_£X:' il is a romputcr system for typesetting technical text, especially text containing n lot uf mathematics; and il is a system for producing beautiful text, comparable to the w-.. k of the finest printers. One other feature of the system needs to be emphasized: TfJ< allows you to do all of this easily . In fact, this is a manual for someone who knows nothing about computers (written by someone who knows nothing about computers). Actually, that last statement isn't quite true: the one thing we assume is that ycu ah .;..dy know how to use a computer terminal to create a file (in prac- tice, this knowing how to use an "editor", so lha* you can easily correct or change a" file). Nothing about typesetting itself is assumed, although a few printers' terms will be introduced along the way. You can remain blissfully ig- norant of the complicated rules that typesetters have developed for the proper setting of mathematics formulas —TfcX knows them all. Nor is any knowledge cf mathematics required. But you will still need to have a general idea of what printed mathematics ought to look like. Mathematicians and experienced tech- nical typists -who already know this—will find that 7&X allows them to specify mathematics formulas with less effort than before, yet with greater control over the finished product. Novice technical typists have a dual task: learning what mathematicians want, and learning how to get Tp/C to produce it. This manual will tell you all about the second, and give you as much help as possible with the first. In order to get some idea just how TjJ< works, we will examine a recent paper from a w.ll-known journal that was typeset by IfcX. 0-1 .nc.'n:, (. « BULLETIN (New Series) OF THE ASININE MATHEMATICAL SOCIETY Volume 23, Number 6, November 2001 co 2001 Asinine Mathematical Society 0002-990 1/01/0000-0503/502.00 WHAT EVERY YOUNG MATHEMATICIAN SHOULD KNOW K. ELVIN ( ABSTRACT. We evaluate an interesting definite integral. The purpose of this paper is to call attention to a result of which many math ematicians seem to be ignorant. THEOREM. The value off^^e -^dx is < c~x dx = >/*. /oo-oo PROOF: We have {I>'^-{IX'-'^lXy-^) /"°° f°° _ 2 _ 2 = / cx c v dxdy by Fubini J—oo J—oo *-&+*) dydx /oo-oo J/ oo 2 — * _ 2 r' r r = / / c rdrdO using polar coordinates r rlit\ _r - =°o" -f[_]" = 7T . Remark.t. A mathematician is one to whom that is as obvious as that twicetwi two makes four is to you. INSTITUTE FOll HAUGHTY ATTITUDES ( flcrrivrd by the editors April 2001 Hc-.r_irch supported in pari by ihr* National Foundation Mathematical Mubjrct cttts#ifirut ion(IU.)0). Primary '20A 00 Keywords: ( /-oo I, Snobbishnrss Obvious. The author first wrote this paper by hand, and then, being a lazy fellow himself, gave it to a to c technical typist produce a computer file. Parts of this file are shown below, in a style of type which will always be used to indicate input typed on a terminal, as opposed to the output I^X will produce, or the contents of this manual itself; don't worry if your keyboard lacks some of these symbols— T£X has a way of getting around this. C Xbeginpaper Xtitle What Every Young Mathematician Should Know\endtitle Xauthor K. Elvin Xendauthor Xbegintext The purpose of this paper is to call attention to a result of wiiich many mathematicians seem to be ignorant. Xtheorem Theorem\\The value of $\int4.<-\infty>T\infty -.T-C-xT2>\, dxs is ?s\inti-C-\infLy>T\infty eT<-xT2>\, dx= c XsqrtXpi . ss\endtheorem Xproof ProofXX We have $$\al ign XleftC \intJ.{-\infty>T\infty eT<-xT2}\ , dx \right)T2 __=\left( \ir.t4-<-\infty>T\infty eT{-xT2>\, dx \right) c MeftC \int-K-\infty>?\infty eT-C-yT2>\, dy \right) \\ _.=\intJ.-C-\infty>T\infty \intJ-C-\infty>T\infty eT-OxT2>eT-C-yT2>\ , dx\, dy Even a cursory examination of this file gives some idea how T^X is used. C For example, all of the English words that appear in the article are embedded somewhere in the file, while specifications for formulas are set off either by $ signs (when the formula is set within text), or by $$ signs (when it is displayed). In addition to the English words and the letters in formulas, there are lots of cryptic combinations,' called control sequences , which begin with \. Some con- trol sequences, like Xtitle, Xtheorem and \al ign, tell TgX how to process the input which follows. Other control sequences are the names of special symbols; for example, Xpi stands for tt, and \int stands for the "integral sign" /in /^° . Once this file was produced, a few simple instructions told T^X to set the paper in a style suitable for preprints, on a printer that quickly and cheaply produces output suitable for proofreading, though a little blurry: C 5 C c What Every Young Mathematician Should Know K. ELVIN Institute for Haughty Attitudes April 1, 2001 The purpose of this paper is to call attention to a result of which many mathematicians seem to be ignorant. e~'i THEOREM. The value of f^a) dx is c~ lS dx = \fz. /oo-oo PROOF: We have (/->SX/_>S(E -^) ,oo = / / c xc y dxdy by Fubini J— cc J—00 /«oo / e-^A-v^dydx /oo-oo J—oo 2 c r rdrdO using polar coordinates '0 /"oo c~r\dr dO Jo/ —y- dO Remark.
Recommended publications
  • Bluebook Citation in Scholarly Legal Writing
    BLUEBOOK CITATION IN SCHOLARLY LEGAL WRITING © 2016 The Writing Center at GULC. All Rights Reserved. The writing assignments you receive in 1L Legal Research and Writing or Legal Practice are primarily practice-based documents such as memoranda and briefs, so your experience using the Bluebook as a first year student has likely been limited to the practitioner style of legal writing. When writing scholarly papers and for your law journal, however, you will need to use the Bluebook’s typeface conventions for law review articles. Although answers to all your citation questions can be found in the Bluebook itself, there are some key, but subtle differences between practitioner writing and scholarly writing you should be careful not to overlook. Your first encounter with law review-style citations will probably be the journal Write-On competition at the end of your first year. This guide may help you in the transition from providing Bluebook citations in court documents to doing the same for law review articles, with a focus on the sources that you are likely to encounter in the Write-On competition. 1. Typeface (Rule 2) Most law reviews use the same typeface style, which includes Ordinary Times New Roman, Italics, and SMALL CAPITALS. In court documents, use Ordinary Roman, Italics, and Underlining. Scholarly Writing In scholarly writing footnotes, use Ordinary Roman type for case names in full citations, including in citation sentences contained in footnotes. This typeface is also used in the main text of a document. Use Italics for the short form of case citations. Use Italics for article titles, introductory signals, procedural phrases in case names, and explanatory signals in citations.
    [Show full text]
  • Resources Ton 'QX Repository (For Details, Contact Peter Ab- Bott, E-Mail Address Above)
    TUGboat, Volume 10 (1989), No. 2 Janet users may obtain back issues from the As- Resources ton 'QX repository (for details, contact Peter Ab- bott, e-mail address above). DECnetISPAN users may obtain back issues from the European (con- Announcing (belatedly) -MAG tact Massimo Calvani, fisicaQastrpd.infn. it) or American (contact Ed Bell, 7388 : :bell) DECnet Don Hosek T)?J repositories. University of Illinois at Chicago Others with network access should send a mes- After being chided for not publicizing my electronic sage to archive-serverQsun.soe.clarkson.edu "magazine" enough, I have decided to make a formal with the first line being path followed by an address announcement of its availability to the 'J&X cornmu- from Clarkson to you, and then a line nity at large. get texmag texmag.v.nn What is =MAG? for each back issue desired where v is the volume number and nn the issue number. The line index WMAG is available free of charge to anyone reach- texmag will give a list of back issues available. able by electronic mail and is published approxi- A typical mail request may resemble: mately every two months. The subject material index t exmag generally falls somewhere between the somewhat get texmag texmag.l.08 chaotic (but still useful) correspondence of 'QXHAX and UKW, and the printed matter in TUGboat How do I submit articles to TEXMAG? and QXline. Some previous articles have included I was hoping you would ask. Articles are accepted an early version of Dominik Wujastyk's article on on all aspects of T)?J, M'QX, and METAFONT from fonts from TUB 9#2; an overview of the differ- specific information on interfacing graphics packages ent font files used by 'QX, METAFONT, and device with particular DVI drivers to general information drivers; macros for commutative diagrams and sim- on macro writing to product reviews to whatever ple chemical equations and many other topics.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • Using Fonts Installed in Local Texlive - Tex - Latex Stack Exchange
    27-04-2015 Using fonts installed in local texlive - TeX - LaTeX Stack Exchange sign up log in tour help TeX ­ LaTeX Stack Exchange is a question and answer site for users of TeX, LaTeX, ConTeXt, and related Take the 2­minute tour × typesetting systems. It's 100% free, no registration required. Using fonts installed in local texlive I have installed texlive at ~/texlive . I have installed collection­fontsrecommended using tlmgr . Now, ~/texlive/2014/texmf­dist/fonts/ has several folders: afm , cmap , enc , ... , vf . Here is the output of tlmgr info helvetic package: helvetic category: Package shortdesc: URW "Base 35" font pack for LaTeX. longdesc: A set of fonts for use as "drop­in" replacements for Adobe's basic set, comprising: ­ Century Schoolbook (substituting for Adobe's New Century Schoolbook); ­ Dingbats (substituting for Adobe's Zapf Dingbats); ­ Nimbus Mono L (substituting for Abobe's Courier); ­ Nimbus Roman No9 L (substituting for Adobe's Times); ­ Nimbus Sans L (substituting for Adobe's Helvetica); ­ Standard Symbols L (substituting for Adobe's Symbol); ­ URW Bookman; ­ URW Chancery L Medium Italic (substituting for Adobe's Zapf Chancery); ­ URW Gothic L Book (substituting for Adobe's Avant Garde); and ­ URW Palladio L (substituting for Adobe's Palatino). installed: Yes revision: 31835 sizes: run: 2377k relocatable: No cat­date: 2012­06­06 22:57:48 +0200 cat­license: gpl collection: collection­fontsrecommended But when I try to compile: \documentclass{article} \usepackage{helvetic} \begin{document} Hello World! \end{document} It gives an error: ! LaTeX Error: File `helvetic.sty' not found. Type X to quit or <RETURN> to proceed, or enter new name.
    [Show full text]
  • Proposal to Represent the Slashed Zero Variant of Empty
    L2/15-268 Title: Proposal to Represent the Slashed Zero Variant of Empty Set Source: Barbara Beeton (American Mathematical Society), Asmus Freytag (ASMUS, Inc.), Laurențiu Iancu and Murray Sargent III (Microsoft Corporation) Status: Individual contribution Action: For consideration by the Unicode Technical Committee Date: 2015-10-30 Abstract As of Unicode Version 8.0, the symbol for empty set is encoded as the character U+2205 EMPTY SET, with no standardized variation sequences. In scientific publications, the symbol is typeset in one of three var- iant forms, chosen by notational style: a slashed circle, ∅, a slashed wide oval in the shape a letter, ∅, or a slashed narrow oval in the shape of a digit zero, . The slashed circle and the slashed zero forms are the most widely used, and correspond to the LaTeX commands \varnothing and \emptyset, respectively. Having one Unicode representation to map to, fonts that provide glyphs for more than one form of the symbol typically implement a stylistic variant or a mapping to a PUA code point. However, the wide- spread use of the slashed zero variant and its mapping to the main LaTeX command for the symbol, \emptyset, make it a candidate for a dedicated means to distinctly represent it in Unicode. This document evaluates three approaches for representing in Unicode the slashed zero variant of the empty set symbol and proposes a solution based on a variation sequence. Additional related characters resulting from the investigation and needed to complete the solution are also proposed for encoding. 1. The empty set symbol 1.1. Historical references The introduction of the modern symbol for the empty set is attributed to André Weil of the Nicholas Bourbaki group.
    [Show full text]
  • Adobe Type 1 Font Format Adobe Systems Incorporated
    Type 1 Specifications 6/21/90 final front.legal.doc Adobe Type 1 Font Format Adobe Systems Incorporated Addison-Wesley Publishing Company, Inc. Reading, Massachusetts • Menlo Park, California • New York Don Mills, Ontario • Wokingham, England • Amsterdam Bonn • Sydney • Singapore • Tokyo • Madrid • San Juan Library of Congress Cataloging-in-Publication Data Adobe type 1 font format / Adobe Systems Incorporated. p. cm Includes index ISBN 0-201-57044-0 1. PostScript (Computer program language) 2. Adobe Type 1 font (Computer program) I. Adobe Systems. QA76.73.P67A36 1990 686.2’2544536—dc20 90-42516 Copyright © 1990 Adobe Systems Incorporated. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of Adobe Systems Incorporated and Addison-Wesley, Inc. Printed in the United States of America. Published simultaneously in Canada. The information in this book is furnished for informational use only, is subject to change without notice, and should not be construed as a commitment by Adobe Systems Incorporated. Adobe Systems Incorporated assumes no responsibility or liability for any errors or inaccuracies that may appear in this book. The software described in this book is furnished under license and may only be used or copied in accordance with the terms of such license. Please remember that existing font software programs that you may desire to access as a result of information described in this book may be protected under copyright law. The unauthorized use or modification of any existing font software program could be a violation of the rights of the author.
    [Show full text]
  • INTERNATIONAL TYPEFACE CORPORATION, to an Insightful 866 SECOND AVENUE, 18 Editorial Mix
    INTERNATIONAL CORPORATION TYPEFACE UPPER AND LOWER CASE , THE INTERNATIONAL JOURNAL OF T YPE AND GRAPHI C DESIGN , PUBLI SHED BY I NTE RN ATIONAL TYPEFAC E CORPORATION . VO LUME 2 0 , NUMBER 4 , SPRING 1994 . $5 .00 U .S . $9 .90 AUD Adobe, Bitstream &AutologicTogether On One CD-ROM. C5tta 15000L Juniper, Wm Utopia, A d a, :Viabe Fort Collection. Birc , Btarkaok, On, Pcetita Nadel-ma, Poplar. Telma, Willow are tradmarks of Adobe System 1 *animated oh. • be oglitered nt certain Mrisdictions. Agfa, Boris and Cali Graphic ate registered te a Ten fonts non is a trademark of AGFA Elaision Miles in Womb* is a ma alkali of Alpha lanida is a registered trademark of Bigelow and Holmes. Charm. Ea ha Fowl Is. sent With the purchase of the Autologic APS- Stempel Schnei Ilk and Weiss are registimi trademarks afF mdi riot 11 atea hmthille TypeScriber CD from FontHaus, you can - Berthold Easkertille Rook, Berthold Bodoni. Berthold Coy, Bertha', d i i Book, Chottiana. Colas Larger. Fermata, Berthold Garauannt, Berthold Imago a nd Noire! end tradematts of Bern select 10 FREE FONTS from the over 130 outs Berthold Bodoni Old Face. AG Book Rounded, Imaleaa rd, forma* a. Comas. AG Old Face, Poppl Autologic typefaces available. Below is Post liedimiti, AG Sitoploal, Berthold Sr tapt sad Berthold IS albami Book art tr just a sampling of this range. Itt, .11, Armed is a trademark of Haas. ITC American T}pewmer ITi A, 31n. Garde at. Bantam, ITC Reogutat. Bmigmat Buick Cad Malt, HY Bis.5155a5, ITC Caslot '2114, (11 imam.
    [Show full text]
  • 2.1 Typography
    Working With Type FUN ROB MELTON BENSON POLYTECHNIC HIGH SCHOOL WITH PORTLAND, OREGON TYPE Points and picas If you are trying to measure something very short or very thin, then inches are not precise enough. Originally English printers devised picas to precisely measure the width of type and points to precise- ly measure the height of type. Now those terms are used interchangeably. There are 12 points in one pica, 6 picas in one inch — or 72 points in one inch. This is a 1-point line (or rule). 72 of these would be one inch thick. This is a 12-point rule. It is 1 pica thick. Six of these would be one inch thick. POINTS PICAS INCHES Thickness of rules I Lengths of rules Lengths of stories I Sizes of type (headlines, text, IWidths of text, photos, cutlines, IDepths of photos and ads cutlines, etc.) gutters, etc. (though some publications use IAll measurements smaller than picas for photo depths) a pica. Type sizes Type is measured in points. Body type is 7–12 point type, while display type starts at 14 point and goes to 127 point type. Traditionally, standard point sizes are 14, 18, 24, 30, 36, 42, 48, 54, 60 and 72. Using a personal computer, you can create headlines in one-point increments beginning at 4 point and going up to 650 point. Most page designers still begin with these standard sizes. The biggest headline you are likely to see is a 72 pt. head and it is generally reserved for big stories on broadsheet newspapers.
    [Show full text]
  • Metatype Project: Creating Truetype Fonts Based on M
    Metatype project: creating TrueType fonts based on Metafont Serge Vakulenko Cronyx Engineering, Moscow Russia [email protected] http://www.vak.ru/proj/metatype Abstract The purpose of Metatype project is the development of freeware TrueType fonts for generic user community. Metafont language is chosen for creating character glyphs. Currently, glyph im- ages are converted to cubic outlines using bitmap tracing algorithm, and then to conic outlines. Two font families are currently been under development as a part of Metatype project: 1. TeX font family, based on Computer Modern fonts by Donald E. Knuth, retaining their “look and feel”. A rich set of typefaces is available, including Roman, Sans Serif, Monotype and Math faces with Normal, Bold, Italic, Bold Italic, Narrow and Wide variations. 2. Maestro font family is designed, as a Times-lookalike. It also uses Computer Mod- ern sources, with a lot of modifications. Why TrueType? representation of text strings. Far-seeing operational sys- tems, such as Windows NT, provide support Unicode at The world becomes closer. Now we observe, how the a kernel level. Word-processors use Unicode for stor- Internet and globalization of economics cause increase age of documents (XML, RTF and other formats). The of intensity of contacts between representatives of dif- amount of Internet sites with Unicode encoding grows ferent peoples, cultures, races. The world becomes more every day. Cellular telephones use Unicode for Inter- and more multilingual. The computer branch for a long net browsing (WAP). The world is slowly moving toward time has realized this fact: the draft variant of standard Unicode. And TrueType seems to be a natural result of Unicode is dated 1989 [1].
    [Show full text]
  • THE MATHALPHA, AKA MATHALFA PACKAGE the Math Alphabets
    THE MATHALPHA, AKA MATHALFA PACKAGE MICHAEL SHARPE The math alphabets normally addressed via the macros \mathcal, \mathbb, \mathfrak and \mathscr are in a number of cases not well-adapted to the LATEX math font structure. Some suffer from one or more of the following defects: • font sizes are locked into a sequence that was appropriate for metafont{generated rather than scalable fonts; • there is no option in the loading package to enable scaling; • the font metrics are designed for text rather than math mode, leading to awkward spacing, subscript placement and accent placement when used for the latter; • the means of selecting a set of math alphabets varies from package to package. The goal of this package is to provide remedies for the above, where possible. This means, in effect, providing virtual fonts with my personal effort at correcting the metric issues, rewriting the font-loading macros usually found in a .sty and/or .fd files to admit a scale factor in all cases, and providing a .sty file which is extensible and from which any such math alphabet may be specified using a standard recipe. For example, the following fonts are potentially suitable as targets for \mathcal or \mathscr and are either included as part of TEXLive 2011, as free downloads from CTAN or other free sources, or from commercial sites. cm % Computer Modern Math Italic (cmsy) euler % euscript rsfs % Ralph Smith Formal Script---heavily sloped rsfso % based on rsfs, much less sloped lucida % From Lucida New Math (commercial) mathpi % Adobe Mathematical Pi or clones thereof
    [Show full text]
  • Optimal Use of Fonts on Linux
    Optimal Use of Fonts on Linux Avi Alkalay Donovan Rebbechi Hal Burgiss Copyright © 2006 Avi Alkalay, Donovan Rebbechi, Hal Burgiss 2007−04−15 Revision History Revision 2007−04−15 15 Apr 2007 Revised by: avi Included support to SUSE installation for the RPM scriptlets on template spec file, listed SUSE as a BCI−enabled distro. Revision 2007−02−08 08 Feb 2007 Revised by: avi Fixed some typos, updated Luc's page URL, added DejaVu sections, added link to FC6 Freetype RPMs, added link to Debian MS Core fonts, and added reference to the gnome−font−properties command. Revision 2006−07−02 02 Jul 2006 Revised by: avi Included link to Debian FreeType BCI package, improved the glossary with Latin1 descriptions, more clear links on the webcore fonts section, instructions on how to rebuild source RPM packages in the BCI appendix, updated the freetype recompilation appendix to cover new versions of the lib, authorship section reorganized. Revision 2006−04−02 02 Apr 2006 Revised by: avi Included link to FC5 Freetype.bci contribution by Cody DeHaan. Revision 2006−03−25 25 Mar 2006 Revised by: avi Updated link to BCI Freetype RPMs to be more distro version specific. Revision 2005−07−19 19 May 2005 Revised by: avi Renamed Microsoft Fonts to Webcore Fonts, and links updated.Added X.org Subsystems section. Revision 2005−05−25 25 May 2005 Revised by: avi Comment related to web pages in the Microsoft Fonts section Revision 2005−05−10 10 May 2005 Revised by: avi Old section−based glossary converted to real DocBook glossary.Modernized terms and explanations on the glossary.Included concepts as charsets, Unicode and UTF−8 in the glossary.
    [Show full text]