The Poetica Family: Fancy Fonts with TEXandLATEX Alan Hoenig 17 Bay Avenue Huntington NY 11743 USA Email: [email protected] Abstract The Adobe Poetica family comprises fonts which have widely varying degrees of ornamentation, but which are designed to be used together. A document that employs them must change fonts regularly to provide appropriate ornamentation in different parts of words. Techniques for using Poetica fonts in (LA)TEX are presented, using a macro package written by the author, and metrics for the fonts derived using the fontinst package. In the beginning of the ‘desktop publishing era’, S A N digital foundries concentrated on making all old fa- onat umBeR 29 vorite fonts available in digital form. When that IN B F T M task was well along, they then began to turn their La ajor, attention to enhancements to these fonts, the first group of which were expert fonts which contained oPus 106, things like small capitals and all double-f ligatures. HammerKLaVieR Now that an impressive array of expert fonts has be- come available, a third wave may be under way — the development of beautiful fonts which break out How can we use TEXandLATEX to typeset with these of common font schemes altogether. A prime ex- fonts, using convenient input conventions? ample is the Poetica family of fonts from Adobe. Yannis Haralambous and John Plaice (1994) (Another is the Mantinia faces from the Carter and have already demonstrated that the best way is to Cone foundry.) The purpose of this presentation is use a TEX that handles 16-bit input. In that way, to suggest ways of typesetting with these beautiful all the raw Adobe fonts can become part of a single, fonts without walking around with numerous font huge font associated with which would be a complex tables in hand. system of ligature rules to automatically select var- ious glyphs in appropriate situations. Their Omega The Poetica Package system is one such 16-bit system, currently freely As delivered from Adobe Systems, the Poetica fonts available, which will handle such fonts, and which comprise 21 fonts in two families. The main font will handle a Poetica super-font. However, the fonts is plainly modeled after the Chancery scripts of the are so attractive that many people will not want to Renaissance: wait to implement Omega, and so I present the fol- lowing discussion. Alternatively, the clumsiness of X the arrangements I suggest may convince authors of Sonata Number 29 in B at major, the need to upgrade to Omega right away! opus 106, Hammerklavier The Raw Package: A Closer Look. The main package consists of four main chancery fonts. Each Why so many fonts? There is a wide variety of plain has similar lowercase alphabets, but the uppercase and fancy variants for many glyphs, odd ligatures, characters are increasingly fancy. An expert font and special forms word endings or beginnings. One contains some ligatures, superior and inferior fig- font contains ornaments, and another contains noth- ures, and miscellaneous glyphs. A small caps font ing but different ampersands. Using some of these andanalternatesc font contains upright capitals fancy characters, the above phrase might appear that match the Chancery fonts. 244 TUGboat, Volume 16 (1995), No. 3 — Proceedings of the 1995 Annual Meeting The Poetica Family: Fancy Fonts with TEXandLATEX Chancery I Abc Def GHI Jklmn GHhiJLkm Chancery II Abc Def GHI Jklmn cEnpQq Chancery III Abc Def GHI Jklmn Chancery IV Abc Def GHI Jklmn sVwWx Expert VYZWX Finally, separate fonts contain batches of ornaments Smap Caps abcdefghijklmn and bunches of ampersands. KLN ABCDEabcde SC Alternates ABCDEFGHIJ ABCDEabcde The second Poetica family is more interesting. There are four swash caps fonts, each of which con- It’s clear that there are many ways to repre- tains two increasingly fancy uppercase alphabets. sent a single character, depending on its location in a word, whether it’s upper- or lowercase, and the abcdeABCDE degree of swash that an author desires. The first example also makes clear that a little swash goes abcdeABCDE a long way, and a convenient font selection scheme would make it convenient to typeset in some single abcdeABCDE ‘background’ font from which it would be easy to abcdeABCDE ascend or descend to fancier or plainer fonts for iso- An initial swash font contains one very fancy upper- lated characters. We’d also like to be able to do this case font, appropriate only for word beginnings. without having to lug around sheaves of font tables with us. ABCDEFGHIJ The next section details the font scheme that I propose for these fonts. I will then show how to use There are two lowercase alternate fonts, and each of TEX’s virtual font mechanism to create these fonts. these contains several groups of alternate forms for Fonts, Fonts, Fonts many lowercase characters. Poetica contains a total of sixteen — 16! — upper- gkpyz case alphabets. These include: gkpyz • four alphabets which match the four original chancery fonts; GKPYZ • eight increasingly fancy swash alphabets (these appear in four fonts so that each font contains gkpyz a pair of uppercase alphabets, one of which is GKPYZ in the lowercase position); • a super-fancy swash alphabet suitable only for There are two each of lowercase beginnings and end- initial letters (if then); ings fonts. Each of these fonts contains at least two • two small caps alphabets; and forms (of certain letters only) appropriate for word • a small caps alternate alphabet (although this boundaries. is a sparse set — only 15 letters are represented. baa end hah ip ton I felt able to organize these in twelve fonts: aA nD aH p oN • four Chancery fonts; B E H I T • four swash fonts, each incorporating two upper- baa end hah iQ ton case alphabets; • one super-swash font; BaA EnD HaH Iq ToN • two small caps fonts; and • two titling fonts. A special ligature font contains fancy forms of the This is still a formidable array of fonts, and I’ll familiar f-ligatures, as well as many more ligatures say more later on about ways of dealing with them not normally used. all. But at this point, I’ll indicate that I shoehorned TUGboat, Volume 16 (1995), No. 3 — Proceedings of the 1995 Annual Meeting 245 Alan Hoenig two swash uppercase alphabets into each font by unlikely that I’d be doing math in conjunction with virtue of TEX’s ligature mechanism. Most of the Poetica. (However, some of the Chancery capitals time, uppercase glyphs appear only at the beginning do make a good candidate as a math calligraphic of a word, so I created the fonts so that * followed alphabet. That is a different and easier problem.) by a capital letter generates the alternate capital. Typesetting is done within the Poetica environ- For example, if I type ment: ABCDE \begin{Poetica} Imightget ... \end{Poetica} abcde (I am assuming the conventions of LATEX2ε,soI but if I type have access to the New Font Selection Scheme) which *A *B *C *D *E automatically switches to the Poetica family. All in the same font, I get the fonts are in the medium series m, selected auto- matically, and the fonts themselves are divided into ABCDE three groups of shapes. (Adobe provides no bold face fonts in this family.) ‘Normal’ fonts comprise instead. four fonts, with font shapes of n0, n1, n2,andn3. The uppercase alphabets dictate the nature of Two groups of five swash fonts apiece, with shape their fonts. They quite clearly become increasingly designations f0 through f4 and F0 through F4 (f or fancy, so it makes sense to apportion some of the F=fancy) encompass the ornate fonts I set up. The other special characters to these fonts in order of F-shapes incorporate word boundary glyphs, while increasing fanciness. It’s straightforward via Alan f-shapes do not. The higher the number, the fancier Jeffrey’s fontinst package to add these characters the font. There is also a small caps font (shapes to the fonts. c and c1) and two titling fonts (shapes t and t1). Word Boundaries. Many of the characters pro- The default font has the shape n3 at an eighteen- vided by Adobe belong specially to the beginnings on-twenty-two point size: or endings of words, and the boundarychar mech- anism of TEX3 makes this easy to implement, but Alpha-Betic ConVants not as easy as I expected for the following interest- ing reason. Demand Emphasis. Human readers are quite specific in what con- 12345 67890 stitutes a word boundary. Most often it would be Although these fonts can be accessed by the a space or punctuation, but T X3 is more restric- E usual NFSS commands, the usual \fontshape and tive: essentially any consecutive string of characters \selectfont commands are discouraged in favor is a word. This means that is two words te\it st of a single \Fontshape command which combines from T X’s point of view — that is, a font change E \fontshape and \selectfont together with some in the middle of a word creates two word bound- bookkeeping, the reason for which will shortly be- aries. Typesetting with fonts containing fancy word come clear. It will be necessary to do any font siz- boundary glyphs requires dealing with this fact. ing with \fontsize (in the usual way) before calling Here is an example of automatic boundary glyph \Fontshape. selection. Notice here how the forms of the ‘m’ But even \Fontshape is too verbose. Most of and ‘t’ change depending on their positions within the time, we are content to typeset virtually every- a word.