Subject: follow up to FONTMEMO
Message-Id: <20 OCT 1988 14:46:29 UCGADKW@UK.AC.UCL.EUCLID>

For your sins, you are on my mailing list to receive news about
TeX fonts.  Let me know if you want to be taken off!  The 
following article will, I hope, appear in the next TUGboat.


Character code reference:
Upper case letters: ABCDEFGHIJKLMNOPQRSTUVWXYZ
Lower case letters: abcdefghijklmnopqrstuvwxyz
Digits: 0123456789
Square, curly, angle braces, parentheses: [] {} <> ()
Backslash, slash, vertical bar: \ / |
Punctuation: . ? ! , : ;
Underscore, hyphen, equals sign: _ - =
Quotes--right left double: ' ` "
"at", "number" "dollar", "percent", "and": @ # $ % &
"hat", "star", "plus", "tilde": ^ * + ~
 
%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%% cut here %%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% File FOLLOW1.TEX, in LaTeX format. October 20, 1988.
\documentstyle[ltugbot,tb21wuja]{article}
\title{Further Faces}
\author{Dominik Wujastyk}
\date{October 20, 1988}
\begin{document}
\maketitle
\tableofcontents
 
Since `The Many Faces of \TeX' appeared in issue {\bf 9.2} of
{\it TUGboat\/},\footnote{`The Many Faces of \TeX: a Survey of Digital
\METAfont s', {\it TUGboat\/} {\bf 9.2} (1988), 131--151.} information about
\METAfont s has continued to flow in, thankfully in somewhat
diminished quantities.  Since I wrote the last article I have
moved from the USA to England, and although all the network
services are available here too (at a price), in practice Janet
is not as open a medium as the Internet, and I feel it is more
likely now that I might miss news about fonts, especially if it
appears in UseNet, to which I currently have no access.  I
particularly miss the astonishing power of the American brand of
FTP.  However, the vast \TeX\ archive at Aston, maintained by
Peter Abbott, is more comprehensive than any other I know of, and
NIFTP and mail server access to this archive greatly compensates
for the sense of network isolation.  All the same, if you know of
any \METAfont s that I have not mentioned, I would be glad of the
news.
 
For new subscribers to {\it TUGboat\/}, issue {\bf 9.2} contained a survey of
the existing fonts known to be available for use with \TeX,
including non-roman scripts, other styles, and much besides.
That issue also included \MF\ code and examples for a new punk
\METAfont\ called just {\tt PUNK}, by Don Knuth.\footnote{`A Punk
Meta-font', {\it TUGboat\/} {\bf 9.2} (1988), 152--168.}  Perhaps the most
extraordinary part of that article is Don's description of how he
coded the font, extremely rapidly, and with no reference at all
to drawings for the letters from V to Z, producing the \MF\ code
as fast as he could type!  This demonstrates a completely new
paradigm of typeface design and creation, which many graphic
designers will find alien, but which evidently works for some
people, at least for smallish projects such as the punk typeface.
 
People interested in \MF\ should be aware that in addition to
past issues of {\it TUGboat\/}, \TeX hax and UK\TeX, Don Hosek's network
magazine \TeX MaG has regularly included information about fonts,
and is required reading for \MF ers.  Volume 2, issue 5, in
particular, was dedicated to non-English \TeX, and discussed
Icelandic, German, French, ancient Irish, and the problems of
foreign language hyphenation.  Earlier issue of \TeX Mag have
also contained technical descriptions of \TeX\ font file formats,
etc. For information on subscriptions or back issues, contact Don
Hosek, network address: {\tt DHosek@HMCVAX.Bitnet}.
 
Once again, I am beholden to those who provided the information I
have merely marshalled below.
 
 
\section{Music}
UK\TeX\ 1988, issues 28 and 29, carried an exchange of
information recently, concerning the use of \TeX\ to typeset
music.  This very challenging application has been receiving some
attention, and the work to date was announced in the Music
Research Digest.  Thence it found its way to UK\TeX.  Phillip
T.~Conrad provided summaries of the work of Dunne and
J\"{u}rgensen, that of Schofer and Steinbach, and of his own.
 
\subsection{Dunne and J\"{u}rgensen}
Dunne and J\"{u}rgensen conducted research at the University of
Western Ontario; they defined the concept of i-marks and p-marks.
I-marks are invariant marks, the kind of marks that can be put
into a font and typeset easily with \TeX. P-marks are
parameterized marks whose shape and size varies according to
certain parameters.  The only p-marks \TeX\ is capable of
typesetting are the horizontal and vertical rules.  Dunne and
J\"{u}rgensen use Postscript to augment the capability of \TeX\
with a special version of {\tt dvi2ps}.
 
Shane Dunne wrote to Sebastian Rahtz in August 1988, about his
work on music typesetting, and Sebastian reproduced his letter in
UK\TeX, issue 28.  Shane said the following:
\begin{quotation}
  I was working on music printing per se about a year ago, and
  developed a rudimentary music-setting prototype based on \TeX\
  and PostScript.  This system knows nothing of the rules of
  music formatting; the user describes the desired graphic result
  directly to \TeX, using its glue-setting capabilities to handle
  various problems of spacing.  These days I have broadened my
  research focus to encompass all types of ``specialized
  notations''---those which use a fixed repertoire of symbolic
  marks---including music and music--like notations, logic
  diagrams, schematic representations of all kinds (e.g., of
  automata), flow diagrams, etc.  I think the existing
  ``typesetting'' paradigm can be extended to ``marksetting'',
  where a ``mark'' is any kind of symbol, not necessarily of
  fixed form like a text character, but possibly dependent on one
  or more parameters (e.g., 2 endpoints for a line segment).  I
  am trying to develop a design for a general-purpose marksetting
  system, which can be used as a software basis for any number of
  specialized formatting programs, i.e., a different front-end
  program for each class of notation.
 
  I am doing this research towards a Master's thesis in Computer
  Science, which I hope to complete before the end of December.
  In the meantime there is one technical report which discusses
  my earlier work on music-setting, including the prototype, and
  contains some early ideas about general mark-
  setting.\footnote{University of Western Ontario Technical
  Report 171.}  \ldots\
 
  My approach was simpler [than that of Schofer and Steinbach]; I
  used PostScript's powerful graphic primitives to define
  parametrized procedures to create things like beams and slurs.
  Schofer and Steinbach's fonts simply include huge numbers of
  different beam and slur characters, at different slants, etc.,
  to handle a reasonable set of cases.  The results look very
  good.
\end{quotation}
Dunne has been somewhat overwhelmed by responses to this report
on his work, which was in fact not really intended for general
distribution.  He followed up with a note which appeared in
UK\TeX\ 1988, issue 29, to the effect that he had received a
number of e-mail requests for more information from around the
world.  While pleased at the level of interest in his research,
he explained that, just at the moment, he is not in a good
position to reply to these queries:
\begin{quotation}
My problem is that right now, I am at a critical stage of writing
my Master's thesis on this topic, and I simply cannot afford the
time to reply to all the letters I am receiving.  Also, while I
would love to send everyone a copy of my recent report, that will
take time and money I don't have.  I'm going to try and convince
my University to take care of it.
 
On a more positive note, my plans for the near future include
finishing my thesis by this December, preparing a paper based on
it for one of the computing journals (I'll announce which one
when I know), and preparing a distribution version of my
mark-setting prototype.  (The prototype cannot be distributed as
is, because it's written for an experimental programming system
that only existed here, and is now obsolete.  It won't take much
effort to turn it into straight C code, though.)
 
So while I appreciate the interest in my work, I just wanted to
let the \ldots\ readers know that I'll be a bit of a hermit for
the next few months, and that right now, I don't really have
anything in the way of software to distribute.
\end{quotation}
 
\subsubsection{Contact (or not!)}
Shane Dunne, \\
Dept.~of Computer Science, \\
University of Western Ontario, \\
London, Ontario, N6A 5B7\\
CANADA\\
Net: {\tt shane@uwocsd.UWO.CA,\\
shane@UWOVAX.Bitnet}\\
UseNet from US: {\tt ...!\{ihnp4!decvax|seismo\}!\\
\{watmath|utzoo\}!julian!uwocsd!shane}\\
UseNet from Europe: {\tt ...!mcvax!seismo\\
!watmath!julian!uwocsd!shane}
 
\subsection{Schofer and Steinbach}
There is a thesis written by Angelika Schofer and Andrea
Steinbach at the Institut f\"{u}r Angewandte Mathematik at the
Rheinische Friedrich-Wilhelms-Universit\"{a}t at Bonn, entitled
{\em  Automatisierter Notensatz mit \TeX}.
 
Schofer and Steinbach operated from the assumption that a font of
beams and slurs is in fact feasible; they appear to have
generated just such a font, and they use plain \TeX\ alone.
Their system appears to `understand' some form of
music-description language, and to apply music-setting rules
automatically.  The music is printed with \TeX\ by means of the
special fonts.
 
\subsubsection{Availability}
A copy of their work (in German) may be obtained for 25DM by
writing to the Institut at:\\
Wegler Stra\ss e 6, \\
5300 Bonn, \\
Federal Republic of Germany.
 
\subsection{Conrad}
Phillip T. Conrad  noted that he is currently (August 1988)
finishing a Master's thesis, at West Virginia University in
Morgantown WV, which presents a prototype system for typesetting
music notation with \TeX.  He noted that:
\begin{quotation}
  It would seem that the central obstacle to musical typesetting
  with \TeX\ is the production of slurs (ties, phrase marks) and
  slanted beams.  In John Gourlay's cover story in the May 1986
  cover story of {\em Communications of the ACM}, he submits that
  it is a fair assumption that no two beams or slurs are
  precisely identical, so it would not be feasible to produce a
  font of all the possible slurs or beams.  I have operated from
  this premise, as have Dunne and J\"{u}rgensen. \ldots\
 
  My own approach builds on the previous work at the Ohio State
  University of Gourlay et al.\ announced in the the {\em CACM}
  article mentioned above.  I use the \TeX tyl program of John
  Renner (OSU Tech Report OSU-CISRC-4/87-TR9) rather than
  Postscript to draw the beams and slurs.  In theory this
  provides device independence; in practice, the following
  restrictions apply:
 
  1) The target system must support \MF\ for generation of the
  vector fonts necessary to \TeX tyl,
 
  2) Three Pascal programs and one C program must be ported to
  the target system; at this time, the programs are written for
  only BSD Unix 4.3.
\end{quotation}
 
\subsubsection{Availability}
 
For copies of Conrad's thesis please contact him at the following
address:\\
Phillip T. Conrad,\\
401--K E. 3rd Street,\\
Wilmington DE 19801-3964,\\
U. S. A.\\
Phone: (302)-652-3938\\
Internet: {\tt conrad@a.cs.wvu.wvnet.edu}\\
(This  electronic  mail  address  will  be  valid only through
the end of September 1988.)
 
%---------------------------------------------------------------
 
\section{Hershey Fonts}
Just as I had begun wondering about the Hershey fonts, Jim
Seidman asked about them in \TeX hax 1988, issue 70.
 
\subsection{Guthery}
Dean Guenther ({\tt Guenther\%WSUVM1.Bitnet}) answered in issue
73 that Scott Guthery, (Phone: 512-258-0785) has the Hershey
fonts with {\tt TFM}s for a nominal fee in the region of \$20 or
\$30.
 
\subsection{Kesner}
A few weeks later, \TeX hax 1988, issue 90, carried a letter from
Oliver Kesner (9 October 1988), also in answer to Seidman's
query, describing his own work converting Hershey fonts for use
with \TeX.  I reproduce what he said:
\begin{quotation}
Hershey fonts for the IBM PC are available from SoftCraft, Inc.,
and from Austin Code Works. The SoftCraft set consists of four
separate databases:
\begin{itemize}
\item {\tt HERSHEY.CHR}:  1594 characters,
\item {\tt ORIENT.CHR}:    758 characters,
\item {\tt PERSIAN.CHR}:   135 characters,
\item {\tt HEBREW.CHR}:     49 characters.
\end{itemize}
The {\tt HERSHEY.CHR} database includes, besides several Roman
typefaces, Greek, Russian, German Fraktur, and a variety of
graphic symbols; the {\tt ORIENT.CHR} database has Hiragana,
Katakana, and 623 Kanji characters.
 
The format of the SoftCraft Hershey databases is given in their
{\em Font Editing: EFONT/CFONT User's Manual} on p.\,A5--2. Using
this description, I wrote \ldots\ [a] Turbo Pascal 4.0 program to
generate \MF\ source code from the Hershey plotter
directives. \ldots
 
The characters in the Austin Code Works Hershey database are 
numbered 1--4326, with gaps, for a total of 1,377 different 
alphabetic and graphic characters. The format is described in 
Norman M. Wolcott and Joseph Hilsenrath, {\em A Contribution to 
Computer Typesetting Techniques: Tables of Coordinates for Hershey's 
Repertory of Occidental Type Fonts and Graphic Symbols}, U.S. 
Department of Commerce, National Bureau of Standards, April 1976. 
\end{quotation}
Oliver has provided the Turbo Pascal 4.0 source code of
\begin{description}
\item[{\tt HERSHEY.PAS:}] a program that generates \MF\ source code 
from a Hershey character database in SoftCraft format, and 
\item[{\tt ACWtoSC.PAS:}] a program that converts the Hershey font 
tables distributed by The Austin Code Works to the format expected 
by the Cfont 
program of SoftCraft, Inc.  I.e., it converts the ACW Hershey database 
to SoftCraft format, from which {\tt HERSHEY.PAS} can generate \MF.
\end{description}
He also provides an example files, {\tt ORIENT.LOG} (the output of 
{\tt HERSHEY.PAS}) and {\tt ORIENT.MF}, which contain a couple of 
Japanese Hershey characters, and a set of font parameters respectively.  
I ran these through \MF, and 
was able to print the characters without a hitch.
 
\subsubsection{Terms of Availability}
The above information was forwarded to \TeX hax by Oliver's son,
Jeff Kesner, who has an e-mail address and is happy to act as
postman.  Contact him at:\\
{\tt jok\%gpu.utcs.toronto.edu@RELAY.CS.NET} .
 
The Pascal source code (about 14k) is available by anonymous FTP
from {\tt Score.Stanford.edu} (and from the Aston archive) as file 
{\tt Kesner.txh} in thedirectory \verb|<tex.texhax>|.
 
%---------------------------------------------------------------
 
\section{Armenian}
\subsection{Karagueuzian}
Emma Pease also informed me that there is a family of Armenian
fonts (created with old \MF) ``wandering around CSLI''.  Dikran
Karagueuzian designed and created these fonts in 1983, modelling
them on Knuth's old CMR fonts.  This means that they look good in
bilingual typesetting with CMR.  In fact, there is also an
Armenian \TeX\ to go with these fonts.  Its hyphenating
algorithm, designed by John Hobby and Dikran Karagueuzian, is
functional but, according to Dikran, not perfect, so that the
user may have to fiddle with the typeset material at the end.
 
\subsubsection{Contact}
The Armenian family of fonts, as well as the Armenian \TeX, is
available to anyone who wishes to use them.  Contact Dikran
Karagueuzian ({\tt dikran@csli.stanford.edu}).
 
\section{Logic Diagrams}
UK\TeX\ 1988, issue 30, included a letter from David Osborne
({\tt cczdao@uk.ac.nott.clan}) mentioning a font called {\tt
milstd.mf} created by Rick Simpson for drawing electrical
symbols.  He included the \MF\ source code for the font, and in
the following issue of UK\TeX, a small set of \TeX\ macros were
published, for making the logical symbols easier to use within
plain \TeX\ or \LaTeX.  The font consists of the following 25
symbols: slanting line at 45-degree angle for marking busses in
logic diagrams; AND, NAND, OR, NOR gates, facing to the right,
down, left and up; buffer and inverter, each facing to the right,
down, left and up.
 
%---------------------------------------------------------------
 
\section{Tamil}
\subsection{Arthanari}
There has been no communication from Mr.~Arthanari, and it looks
very much as though the Ridgeway--Schiffman font holds the
greatest promise of a usable Tamil font in the near future.
 
\section{Telugu}
The latest news from Mukkavilli Lakshmankumar and his wife
Lakshmi about Telugu\TeX\ is as follows:
\begin{quotation}
  We have decided on the grid framework for the font.  We also
  have thought about about different global variables that could
  be used to control various features of the font.  We have
  decided on a set of primitive curves.  These are like
  subroutines that can be used by different letters.  Some of
  these are coded in \MF.  Only control points are determined.
  We are yet to determine the stroke thickness and pen angles at
  the control points.  Since we are not imitating any font, it
  takes a lot of time trying to ensure that various curves are
  correct.  Our approach is to make a rough sketch and then
  determine the control points.  Then we iterate by changing
  control points until the curve is satisfactory.  But the most
  important thing to keep in mind is that all the curves must be
  consistent and be able to blend harmoniously.  We essentially
  have the framework for Telugu font ready.  But a lot of coding
  remains. In our spare time we will work on it.  Some issues
  still remain unresolved.  We are not sure what we should do to
  support transliteration of Sanskrit in Telugu.  That means
  adding a lot of subscripts, superscripts. \ldots\
 
  Our file structure is basically like that in CMR.  We have
  parameter, base driver, codes and program (right now empty)
  files.
\end{quotation}
 
%---------------------------------------------------------------
 
\section{J\TeX}
Emma Pease ({\tt emma@csli.stanford.edu}) mailed me on July 5
1988 with a correction about the availability of J\TeX: a
Tops-20 version of J\TeX\ no longer exists on Turing since the
old Turing machine itself no longer exists.
 
%---------------------------------------------------------------
 
\section{Greek}
 
\subsection{Hamilton Kelly}
First of all, I apologize heartily for getting Brian's name
wrong.  The correct surname is `Hamilton Kelly', not just `Kelly'
(it's been that way since 1638!).  I, of all people, should
understand about unusual names!
 
My report about Brian's work on Greek \MF\ characters was written
at second hand, and he was astonished (and I hope pleased) when
he came across a description of his Greek \MF\ work in {\it TUGboat\/}.
This has spurred him into polishing up what he has done, and
resubmitting it to the \TeX\ archive at Aston.  Explaining the
genesis of his work, Brian says:
\begin{quotation}
I wanted access to a Greek font to type my homework, since I am
currently learning Modern Greek at an evening class (for general
interest, and for holidays).  What I did was to take the
character definitions already used in the maths italic for the
lower-case Greek letters, along with the upper-case ones, and the
normal {\tt ROMANU} which make up the Greek upper-case and put
them into a new driver file; I then \MF ed this with various
parameter files such that they now had spacing defined, etc., for
use as a normal textual font.
\end{quotation}
Brian completed this work before hearing of Silvio Levy's work at
Princeton, but continues to use his own Greek since it does not
require a {\tt DVI} output program which can read fonts of 256
characters.\footnote{Bill Kaster of Personal \TeX\ Inc., has
recently produced a version (1.00t) of their Hewlett Packard
LaserJet driver, {\tt PTI LASER/HP}, which copes beautifully with
Silvio's large font. I understand from Bill that their Apple
LaserWriter driver, {\tt PTI LASER/PS}, already has this
capability.}
 
Brian has now written a small macro package which eases
considerably the selection of the Greek fonts; this is for use
under \LaTeX, and makes use of the \verb|\@addfontinfo| macro to
define the font changing commands such that they scale
automatically with \LaTeX's size-changing commands.  He has also
written a short paper, describing what he has generated, and his
future directions.  He has recently been refining the character
programs, to make some of the letters more textual in appearance
(for example, the alpha was very wide; fine for maths, but not in
text).
 
\subsubsection{Terms of Availability}
Brian has sent both the above mentioned files to the Aston
archive, together with the revised font files, where all the
material will be freely available.  An announcement giving
details will have appeared in UK\TeX\ by the time you read this.
 
%---------------------------------------------------------------
 
\section{Perso-Arabic}
\subsection{Goldberg}
 
In early September Jacques Goldberg noted that there has been a
lot of progress with the Arabic font.  He hoped to have it out by
the end of September, all being well.  The font consists of:
\begin{enumerate}
\item A complete font of 29 characters each at 2 or 4 glyphs
(position dependent, isolated, first, middle, last in word).
 
\item A preprocessor with customizable mapping of the basic 29
chars to a--z, A--Z areas of an ASCII keyboard, that will work
out an intermediary file such that unmodified \TeX\ plus a few
macros does indeed correctly compose bidirectional texts. The
preprocessor reassigns the correct glyph from the isolated form
glyph depending on the position in word.
\end{enumerate}
 
All this will continue to be made available free to the academic
community.
 
No vowel marking scheduled at this time, but Jacques says he
could do it if requested.  It would be implemented just like the
accents in normal \TeX.
 
\section{Georgia Tobin}
\subsection{Century Schoolbook: Liber}
In {\it TUGboat\/} {\bf 9.2}, Georgia gave more information about the process
of designing the Century Schoolbook typeface she has been working
on.\footnote{`Designing for Low-Res Devices', {\it TUGboat\/} {\bf 9.2} (1988),
126--128.}  The face is now christened Liber, and the article was
printed in the new face, at a resolution of 300dpi.
 
\section{Icelandic}
\subsection{Pind}
In the `Many Faces' article, I failed to mention that Jorgen Pind
had written a full account of his work on Icelandic \TeX\ which
appeared in Don Hosek's \TeX Mag, volume 2, issue 5.
 
%---------------------------------------------------------------
 
\section{Miscellaneous}
%---------------------------------------------------------------
 
\subsection{Hosek Pica}
Don Hosek (of ``Output Devices'' and \TeX mag fame) has created a
CM Pica, using the \MF\ code of the typewriter style font, {\tt
CMTT}, of Computer Modern as his point of departure.  CM Pica is
more or less a 10cpi version of {\tt CMTT} with heightened
ascenders and x-height, similar to the Xerox1200 PICA font in
appearance.
 
CM Pica is specially designed as a sop to University authorities,
some publishers' editors and the like, who insist on having a
typescript manuscript marked up in the traditional manner, i.e.,
with a squiggly line under bold characters, and underlining under
characters which would be italicized in print.
 
To achieve this, Don created `bold' and `italic' fonts ({\tt
CMPICAB.MF, CMPICATI.MF}) in which each character includes an
under-squiggle, or underline respectively.  Don also modified the
{\tt ligtable} commands controlling begin and end quotes and also
hyphens, so that {\tt ``} and {\tt ''} both become \verb|"|,
while {\tt `} and {\tt '} both become {\tt \char'15} (the single
straight quote symbol at code '015 in {\tt CMTT}).  Similarly, on
output, `\verb|--|' becomes `\verb|-|' and `\verb|---|' becomes
`\verb|--|'.
 
The upshot is that one can code up a document in normal \TeX\
fashion and then, by setting the fonts to be Hosek's Pica, it
will print out looking as though it had been typed, with `italic'
text underlined and `bold' text under-squiggled, etc.  Merely
reset the fonts to {\tt CMR} (or whatever) and it will be
properly typeset with all the variety of fonts and refinement of
punctuation of which \TeX\ is capable.
 
\subsection{Non-standard sizes of CM}
John Sauter reported in {\it TUGboat\/} 7.3 (1986), 151--152, that he has
re-parameterized CM so that any of the existing Computer Modern
family may be created with any design size.  For example, most of
us, when requiring an 11pt CMR will use {\tt CMR10} at
\verb|\magstep| half.  Apparently this is not satisfactory to the
most discerning, and Sauter's algorithms permit one to generate a
true {\tt CMR11} face.  They go further, of course, and permit
the generation of any of the CM faces in any (reasonable) point
size.  This is done by algorithms that interpolate or extrapolate
from the values used by Knuth in the \MF\ parameter files for CM.
If a standard value, such as 10pt, is chosen, then Sauter's
algorithms will produce CM fonts identical to the standard ones.
The {\tt TFM} files for all sizes match exactly.
 
Don Hosek's \TeX MaG, volume 2, number 4 gives further details of
Sauter's work, and notes that some of the fonts may start looking
bad at larger sizes, lacking inter-character space, and so on.
Don has prepared a version of Sauter's work tailored for use on a
PC, which is available from him.  See the \TeX MaG article for
details.
 
\end{document}