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Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part2
Version: 1.4.1


    Secondly, without protection, designs may be freely imitated; the
    plagiarist robs the original designer of financial compensation for
    the work. This discourages creative designers from entering and
    working in the field. As the needs of typography change (on-line
    documents and laser printing are examples of technical and
    conceptual changes) new kinds of typefaces are required. Creative
    design in response to such needs cannot flourish without some kind
    of encouragement for the creators. In a capitalist society, the
    common method is property rights and profit. In a socialist (or, in
    the past, royalist) society, the state itself might employ type
    artists. France, as a monarchy and as a republic has had occasional
    state sponsorship of typeface design over the past 400 years. The
    Soviet Union has sponsored the design of new typefaces, not only in
    the Cyrillic alphabet, but also in the other exotic scripts used by
    various national groups in the Soviet Union.

    Those who would justify plagiarism often claim that the type
    artists do not usually receive a fair share of royalties anyway,
    since they have usually sold their designs to some large,
    exploitive corporation. It is true that type designers, like many
    artists, are often exploited by their publishers, but plagiarism
    exacerbates the problem. Plagiarism deprives the designer of decent
    revenues because it diverts profits to those who merely copied the
    designs. Plagiarism gives the manufacturer yet another excuse to
    reduce the basic royalty or other fee paid for typeface designs;
    the theme song is that the market determines the value of the
    design and cheap rip-offs debase the market value of a face. For
    those interested in the economic effects of piracy, it is clear
    that plagiarism of type designs ultimately hurts individual artists
    far more than it hurts impersonal corporations.

    1.13.4 Kinds of Protection for Type

    There are five main forms of protection for typefaces:

    * Trademark

    * Copyright

    * Patent

    * Trade Secret

    * Ethics

    Trademark

    A trademark protects the name of a typeface. In the U.S., most
    trademarks are registered with the U.S. Patent and Trademark
    Office. The R in a circle (R) after a trademark or tradename
    indicates U.S. registration. The similarly placed TM indicates that
    a trademark is claimed, even if not yet officially registered.
    However, a trademark may be achieved through use and practice, even
    without registration. Owners of trademarks maintain ownership by
    use of the trademark and by litigation to prevent infringement or
    unauthorized use of the trademark by others.

    As a few examples of registered typeface trademarks, there are
    Times Roman (U.S. registration 417,439, October 30, 1945 to Eltra
    Corporation, now part of Allied); Helvetica (U.S. Registration
    825,989, March 21, 1967, also to Eltra-Allied), and Lucida (U.S.
    reg. 1,314,574 to Bigelow & Holmes). Most countries offer trademark
    registration and protection, and it is common for a typeface name
    to be registered in many countries. In some cases the registrant
    may be different than the originator. For example, The Times New
    Roman (Times Roman) was originally produced by the English Monotype
    Corporation. In England and Europe, most typographers consider the
    design to belong to Monotype but the trademark was registered by
    Linotype (Eltra-Allied) in the U.S., as noted above.

    Trademark protection does not protect the design, only the name.
    Therefore, a plagiarism of a design is usually christened with a
    pseudonym that in some way resembles or suggests the original
    trademark, without actually infringing on it. Resemblance without
    infringement can be a fine distinction.

    Some pseudonyms for Times Roman are: English Times, London, Press
    Roman, Tms Rmn. Some for Helvetica are Helios, Geneva, Megaron,
    Triumvirate. So far, there seem to be none for Lucida. There are
    generic typeface classifications used by typographers and type
    historians to discuss styles, trends, and categories of design.
    Occasionally these apparently innocuous classification systems are
    employed by plagiarists to devise generic pseudonyms, such as Swiss
    721 for Helvetica, and Dutch 801 for Times Roman. It is not certain
    whether this usage of a generic classification is more for
    clarification or for obfuscation. In general, the proper tradename
    is a better indicator of identity, quality, and provenience in
    typefaces than a generic name. Some people believe that the same is
    true for other commodities such as wine, where taste is important.

    A trademark usually consists of both a proprietary and a generic
    part. For example, in the name Lucida Bold Italic, Lucida is the
    proprietary trademark part and Bold Italic is the generic part. The
    generic word type is usually understood to be a part of the name,
    e.g. Lucida Bold Italic type. Sometimes a firm will append its name
    or a trademarked abbreviation of it to the typeface name, to
    achieve a greater degree of proprietary content, e.g. B & H Lucida
    Bold Italic.

    A related matter is the use of the name of a type's designer. A
    firm that ethically licenses a typeface will often cite the name of
    the designer -- e.g. Stanley Morison (with Victor Lardent) for
    Times Roman, Max Miedinger (with Edouard Hoffmann) for Helvetica,
    Charles Bigelow and Kris Holmes for Lucida. Although a person's
    name is not usually a registered trademark, there are common law
    restrictions on its use. The marketing of plagiarized type designs
    generally omits the names of the designers.

    Although Trademark is an incomplete kind of protection, it is used
    effectively (within its limitations) to prevent the theft of type
    names. Certain traditional typeface names, usually the surnames of
    illustrious designers like Garamond, Caslon, Baskerville, Bodoni,
    and others have become generic names in the public domain.
    Trademark protection of such names requires the addition of some
    proprietary word(s), as with these hypothetical creations, Acme New
    Garamond, or Typoluxe Meta-Baskerville.

    Copyright

    Copyright of typefaces can be divided into two parts: copyright of
    the design itself; and copyright of the font in which the design is
    implemented. In the U.S., typeface designs are currently not
    covered by copyright. This is a result of reluctance by the
    copyright office to deal with a complex field; by lobbying against
    copyright by certain manufacturers whose profits were based on
    typeface plagiarism; and by a reluctance of congress to deal with
    the complex issue in the recent revision of the copyright law.

    The reluctance of Americans to press for typeface copyright may
    have been influenced by a feeling that typeface plagiarism was good
    for U.S. high-tech businesses who were inventing new technologies
    for printing, and plagiarizing types of foreign origin (Europe and
    England). If the situation becomes reversed, and foreign
    competition (from Japan, Taiwan, and Korea) threatens to overcome
    American technological superiority in the laser printer industry,
    then American firms may do an about-face and seek the protection of
    typeface copyright to help protect the domestic printer industry.
    Such a trend may already be seen in the licensing of typeface
    trademarks by Adobe, Hewlett Packard, IBM, Imagen, and Xerox in the
    U.S. laser printer industry.

    In Germany, where typeface design has always been a significant
    part of the cultural heritage, and where typefounding has remained
    an important business, there are more than one kind of
    copyright-like protections for typefaces. Certain long-standing
    industrial design protection laws have been used to protect
    typeface designs in litigation over royalties and plagiarisms.
    Further, there is a recent law, the so-called Schriftzeichengesetz
    enacted in 1981, that specifically protects typeface designs. New
    designs are registered, as is done with copyright in most
    countries. This law only protects new, original designs. It is
    available to non-German designers and firms. Therefore, some type
    firms and designers routinely copyright new designs in West
    Germany. This gives a degree of protection for products marketed in
    Germany. Since multinational corporations may find it cheaper to
    license a design for world-wide use rather than deal with a special
    case in one country, the German law does encourage licensing on a
    broader scale than would initially seem to be the case.

    France, like Germany, has ratified an international treaty for
    protection of typefaces. This 1973 Vienna treaty will become
    international law when four nations ratify it. So far, only France
    and West Germany have done so, and thus a design must be protected
    separately in each country. Even when the treaty becomes law, it
    will take effect only in those countries that have ratified it. The
    treaty was principally the work of the late Charles Peignot, a
    French typefounder, and John Dreyfus, an English typographer and
    typographic scholar. Presently, typefaces may be registered for
    protection in France under a 19th century industrial design
    protection law.

    In the U.S., there continues to be some movement for typeface
    design protection. A proposed bill that would protect the designs
    of useful articles, like type, has been in committee for several
    years. It seems to be going nowhere.

    Digital (as opposed to analog) fonts may be protected by copyright
    of digital data and of computer programs. It has been established
    that computer software is copyrightable. Therefore, software that
    embodies a typeface, e.g. a digital font, is presumably also
    protected. There is some objection to this kind of copyright, on
    the grounds that the ultimate output of the program or the result
    of the data (i.e. a typeface design) is not copyrightable. However,
    the current belief expressed by the National Commission on New
    Technological Use of Copyrighted Works is that software is
    copyrightable even if its function is to produce ultimately a
    non-copyrightable work. Hence, typefaces produced by Metafont or
    PostScript(R), two computer languages which represent fonts as
    programs, are presumably copyrightable. Typefaces represented as
    bit-map data, run-length codes, spline outlines, and other digital
    data formats, may also be copyrightable. Some firms do copyright
    digital fonts as digital data.

    Note that the designs themselves are still not protected in the
    U.S. A plagiarist could print out large sized letters (say, one per
    page) on an Apple LaserWriter, using a copyrighted PostScript
    digital font, and then redigitize those letters by using a scanner
    or a font digitizing program and thus produce a new digital font
    without having copied the program or digital data, and thus without
    infringing the copyright on the font. The quality of the imitation
    font would probably be awful, but it wouldn't violate copyright. Of
    course, the plagiarist would need to rename the font to evade
    trademark infringement. (As I write these words, I have the guilty
    feeling that I have just provided a recipe for type rip-off, but
    others have obviously thought of just such a scheme -- John Dvorak
    has even proposed something like it in one of his columns.)

    Design Patent

    The designs of typefaces may be patented in the U.S. under existing
    design patent law. Many designs are patented, but type designers
    generally don't like the patent process because it is slow,
    expensive, and uncertain. Nevertheless, some type do get patented,
    and it is a form of potential protection. Note that this is Design
    Patent -- the typeface doesn't have to be a gizmo that does
    something, it merely has to be unlike any previous typeface. The
    drawback here is that most attorneys and judges are not aware that
    there are more than two or three typefaces: say, handwriting,
    printing, and maybe blackletter. Therefore, litigating against
    infringement is an educational as well as a legal process. It is
    easy to see that typeface theft is more subtle than knocking over a
    liquor store; it may not be illegal and the returns may be greater.

    Protections like design patent are available in many other
    countries, but there is not an international standard (to my
    knowledge) so the situation must be examined on a country by
    country basis.

    Invention Patent

    Methods of rendering typefaces can be patented as mechanical or
    electronic inventions. For example, the old hot-metal Linotype
    machinery was protected by various patents, as was the IBM
    Selectric typewriter and type ball. IBM neglected to trademark the
    typeface names like Courier and Prestige, so once the patents had
    elapsed, the names gradually fell into the public domain without
    IBM doing anything about it (at the time, and for a dozen years or
    so, IBM was distracted by a major U.S. anti-trust suit). Most
    students of the type protection field believe that those names are
    probably unprotectable by now, though IBM could still presumably
    make a try for it if sufficiently motivated.

    There is currently a noteworthy development regarding a patent for
    outline representation of digital type as arcs and vectors, with
    special hardware for decoding into rasters. This patent (U.S.
    4,029,947, June 14, 1977; reissue 30,679, July 14, 1981) is usually
    called the Evans & Caswell patent, after its inventors. It was
    originally assigned to Rockwell, and in 1982, Rockwell sued Allied
    Linotype for infringement. Allied settled out of court, having paid
    an amount rumored to be in the millions. Rockwell sold the patent,
    along with other typographic technology, to Information
    Internation, Inc. (III) which then sued Compugraphic for
    infringement. According to the Seybold Report, a respected
    typographic industry journal, Compugraphic recently settled out of
    court for 5 million. Although many experts believe the patent to be
    invalid because of several prior inventions similar in concept, it
    nevertheless seems to be a money-maker in corporate litigation. The
    Seybold Report has speculated on which firms III would litigate
    against next. Among the candidates suggested by the Seybolds was
    Apple for its LaserWriter, which uses outline fonts. Since the
    entire laser printer industry and the typesetting industry is
    moving toward outline font representation, Apple is certainly not
    alone. The Seybolds further speculate on whether the difference
    between character-by-character CRT typesetting and raster-scan
    laser typesetting and printing would be legally significant in such
    as case. Ultimately, some firm will hold out for a court judgement,
    and the matter will be decided.

    Trade Secret

    Given that typeface designs have relatively little copyright
    protection in the U.S., they are often handled as trade secrets.
    The secret must apply to the digital data or programs only, because
    the images themselves are ultimately revealed to the public as
    printed forms. It is much more difficult to reconstruct the formula
    of Coca-Cola from its taste than it is to reconstruct the design of
    Helvetica from its look on the page. The exact bitmap or spline
    outline of a digital font is usually not reconstructable from the
    printed image, although CRT screen fonts at usual resolutions
    (60--120 dots per inch) may be reconstructed by patient counting
    and mapping of bits off a screen display. Typeface licenses often
    contain stipulations that the digital data will be encrypted and
    confidential. Just as a firm will protect the secret of a soft
    drink recipe, so a type firm will protect the exact nature of its
    digital data.

    Ethics

    Some typographers are motivated by higher principles than greed,
    profit, expediency, and personal interest. Idealists enthused with
    concepts of ethical behavior and a vision of typography as a noble
    art may find it distasteful to use plagiarized types. Some graphic
    designers insist on using typefaces with bona-fide trademarks, both
    to ensure that the type will be of high quality, and to encourage
    creativity and ethics in the profession. A consequence of
    plagiarism that is sometimes overlooked is a general erosion of
    ethics in an industry. If it is okay to steal typeface designs,
    then it may be okay to purloin other kinds of data, to falsify
    one's resume, to misrepresent a product, and so forth. Most
    professional design organizations attempt to promote ethical
    standards of professional behavior, and personal standards may
    extend to avoidance of plagiarisms.

    ATypI

    The Association Typographique Internationale (ATypI) is an
    international organization of type designers, type manufacturers,
    and letterform educators. Its purpose is to promote ethical
    behavior in the industry, advancement of typographic education,
    communication among designers, and other lofty aims. Members of
    ATypI agree to abide by a moral code that restricts plagiarism and
    other forms of depraved behavior (pertaining to typography). These
    are noble goals, but some members (especially corporate members) of
    ATypI, confronted with the pressures and opportunities of
    commercial reality, nevertheless plagiarize typefaces of fellow
    members, the moral code notwithstanding. Since ATypI is a voluntary
    organization, there is very little that can be done about most such
    plagiarism. Some years back, a world-famous type designer resigned
    from the ATypI Board of Directors in protest over the
    organization's flaccid attitude toward the plagiarists among its
    ranks. He has since agreed to sit on the board again, but criticism
    of the organization's inability to prevent type rip-offs by its own
    members, not to mention by non-members, continues to be heard.
    Moderates in ATypI believe that a few morals are better than none.
    It is not clear whether their philosophical stance derives from
    Plato, Hobbes, or Rousseau.

    Given the general attitude of the public toward copyrighted video
    and software, it is doubtful that ethical considerations will
    hinder most end- users' attitude to plagiarized type fonts. A
    desire to have the fashionable label or trademark may be a greater
    motivation toward the use of bona-fide fonts than an ethical
    consideration.

    Further Reading

    The State of the Art in Typeface Design Protection, Edward
    Gottschall, Visible Language, Vol. XIX, No. 1, 1985. (A special
    issue on The Computer and the Hand in Type Design -- proceedings of
    a conference held at Stanford University in August, 1983).

    Der Schutz Typographischer Schriftzeichen, by Guenter Kelbel. Carl
    Heymans Verlag KG, Cologne, 1984. (A learned account in juridical
    German prose, of the significance of the Vienna Treaty of 1973 and
    the West German Schriftzeichengesetz of 1981).

    Disclaimer

    These notes were originally prepared at the request of Brian Reid
    for informal distribution. They are based on the author's review of
    available literature on the subject of typeface protection, and on
    personal experience in registering types for trademark, copyright,
    and patent. However, they are not legal advice. If one is
    contemplating protecting or plagiarizing a typeface, and seeks
    legal opinion, it is advisable to consult an attorney. The term
    plagiarize and words derived from it are used here in its
    dictionary sense of to take and use as one's own the ideas of
    another and does not mean that the practice of typeface plagiarism
    is illegal; that is determined by the laws of a particular country.

    Charles Bigelow is a professor of digital typography at Stanford
    University and a professional designer of original digital
    typefaces for electronic printers and computer workstations. Mr.
    Bigelow and his partner Kris Holmes designed the Lucida typeface
    family which is now widely used on various laser printers.

Subject: 1.14. File Formats 

    Many different kinds of files are available on the net. These files
    contain many different kinds of data for many different
    architectures. Frequently, the extension (trailing end) of a
    filename gives a good clue as to the format of its contents and the
    architecture that it was created on.

    In order to save space, most files on the net are compressed in one
    way or another. Many compression/decompression programs exist on
    multiple architectures.

    Multiple files and directories are often combined into a single
    `archive' file. Many archive formats perform compression
    automatically.

1.14.1. File Format Extensions 

    * .tar

      Unix `tape archive' format. Tar files can contain multiple files
      and directories. Unlike most archiving programs, tar files are
      held together in a wrapper but are not automatically compressed
      by tar.

    * .Z

      Unix `compress' format. Compression doesn't form a wrapper around
      multiple files, it simply compresses a single file. As a result,
      you will frequently see files with the extension .tar.Z. This
      implies that the files are compressed tar archives.

    * .hqx

      Macintosh `BinHex' format. In order to reliably transfer Mac
      files from one architecture to another, they are BinHex encoded.
      This is actually an ascii file containing mostly hexadecimal
      digits. It is neither a compression program nor an archive
      wrapper.

    * .sit

      Macintosh `Stuffit' archive.

    * .cpt

      Macintosh `Compactor' archive.

      Like the .tar.Z format that is common among Unix archives,
      Macintosh archives frequently have the extensions .sit.hqx or
      .cpt.hqx indicating a BinHex'ed archive.

    * .arc

      PC `arc' archive. This is an older standard (in PC terms, at
      least) and has gone out of fashion.

    * .zip

      PC `zip' archive. This is the most common PC archive format
      today.

    * .arj

      PC `arj' archive.

    * .zoo

      PC `zoo' archive

    * .lzh

      PC `lha/lharc' archive.

1.14.2. Font Formats 

    Just as the are many, many archive formats, there are many
    different font formats. The characteristics of some of these
    formats are discussed below. Once again, the file extension may
    help you to determine the font type. (On the Mac, the resource TYPE
    field is (probably) a better indicator).

    * PostScript Type 1 Fonts:

      Postscript Type 1 fonts (Also called ATM (Adobe Type Manager)
      fonts, Type 1, and outline fonts) contains information, in
      outline form, that allows a postscript printer, or ATM to
      generate fonts of any size. Most also contain hinting information
      which allows fonts to be rendered more readable at lower
      resolutions and small type sizes.

    * PostScript Type 3 Fonts:

      Postscript type 3 fonts are an old outline font format that is
      not compatible with ATM. Most developers have stopped using this
      format except in a few special cases, where special type 3
      characteristics (pattern fills inside outlines, for example) have
      been used.

    * TrueType Fonts:

      Truetype fonts are a new font format developed by Microsoft with
      Apple. The rendering engine for this font is built into system 7
      and an init, the Truetype init, is available for system 6
      (freeware from Apple). It is also built into MS Windows v3.1.
      Like PostScript Type 1 and Type 3 fonts, it is also an outline
      font format that allows both the screen, and printers, to scale
      fonts to display them in any size.

    * Bitmap Fonts:

      Bitmap fonts contain bitmaps of fonts in them. This a picture of
      the font at a specific size that has been optimized to look good
      at that size. It cannot be scaled bigger without making it look
      horrendously ugly. On the Macintosh, bitmap fonts also contain
      the kerning information for a font and must be installed with
      both type 1 and type 3 fonts. Their presence also speeds the
      display of commonly used font sizes.

1.14.3. Font Format Extensions 

    * .afm

      Adobe Type 1 metric information in `ascii' format (human
      parsable)

    * .bco

      Bitstream compressed outline

    * .bdf

      Adobe's Bitmap Distribution Format. This format can be converted
      to the platform specific binary files required by the local X
      Windows server. This is a bitmap font format distributed in
      ASCII.

    * .bez

      Bezier outline information

    * .chr

      Borland stroked font file

    * .ff, .f3b, .fb

      Sun formats. More info when I know more...

    * .fot

      MS-Windows TrueType format fonts

    * .gf

      Generic font (the output of TeX's MetaFont program (possibly
      others?))

    * .fli

      Font libraries produced by emTeX fontlib program. Used by emTeX
      drivers and newer versions of dvips.

    * .mf

      TeX MetaFont font file (text file of MetaFont commands)

    * .pfa

      Adobe Type 1 Postscript font in ASCII format (PC/Unix) I believe
      that this format is suitable for directly downloading to your
      PostScript printer (someone correct me if I'm wrong ;-)

    * .pfb

      Adobe Type 1 PostScript font in ``binary`' format (PC/Unix) Note:
      this format is not suitable for downloading directly to your
      PostScript printer. There are utilities for conversion between
      PFB and PFA (see the utilities section of the FAQ).

    * .pfm

      Printer font metric information in Windows format

    * .pk

      TeX packed bitmap font file (also seen as . pk where is a number)

    * .pl

      TeX `property list' file (a human readable version of .tfm)

    * .ps

      Frequently, any PostScript file. With respect to fonts, probably
      a Type3 font. This designation is much less `standard' than the
      others. Other non-standard extensions are .pso, .fon, and .psf
      (they are a mixture of type 1 and type 3 fonts).

    * .pxl

      TeX pixel bitmap font file (obsolete, replaced by .pk)

    * .sfl

      LaserJet bitmapped softfont, landscape orientation

    * .sfp

      LaserJet bitmapped softfont, portrait orientation

    * .sfs

      LaserJet scalable softfont

    * .tfm

      TeX font metric file

    * .vf

      TeX virtual font which allows building of composite fonts (a
      character can be composed of any sequence of movements,
      characters (possibly from multiple fonts) rules and TeX specials)

    * .vpl

      TeX `property list' (human readable) format of a .vf

Subject: 1.15. Ligatures 

    A ligature occurs where two or more letterforms are written or
    printed as a unit. Generally, ligatures replace characters that
    occur next to each other when they share common components.
    Ligatures are a subset of a more general class of figures called
    ``contextual forms.'' Contextual forms describe the case where the
    particular shape of a letter depends on its context (surrounding
    letters, whether or not it's at the end of a line, etc.).

    One of the most common ligatures is ``fi''. Since the dot above a
    lowercase 'I' interferes with the loop on the lowercase 'F', when
    'f' and 'i' are printed next to each other, they are combined into
    a single figure with the dot absorbed into the 'f'.

    An example of a more general contextual form is the greek lowercase
    sigma. When typesetting greek, the selection of which 'sigma' to
    use is determined by whether or not the letter occurs at the end of
    the word (i.e., the final position in the word).

    * Amanda Walker <amanda@visix.com> provides the following
      discussion of ligatures:

      Ligatures were originally used by medieval scribes to conserve
      space and increase writing speed. A 14th century manuscript, for
      example, will include hundreds of ligatures (this is also where
      ``accents'' came from). Early typefaces used ligatures in order
      to emulate the appearance of hand-lettered manuscripts. As
      typesetting became more automated, most of these ligatures fell
      out of common use. It is only recently that computer based
      typesetting has encouraged people to start using them again
      (although 'fine art' printers have used them all along).
      Generally, ligatures work best in typefaces which are derived
      from calligraphic letterforms. Also useful are contextual forms,
      such as swash capitals, terminal characters, and so on.

      A good example of a computer typeface with a rich set of
      ligatures is Adobe Caslon (including Adobe Caslon Expert). It
      includes:

      Upper case, lower case, small caps, lining numerals, oldstyle
      numerals, vulgar fractions, superior and inferior numerals, swash
      italic caps, ornaments, long s, and the following ligatures:

     ff fi fl ffi ffl Rp ct st Sh Si Sl SS St (where S=long s)

      [ Ed: Another common example is the Computer Modern Roman
      typeface that is provided with TeX. this family of fonts include
      the ff, fi, fl, ffi, and ffl ligatures which TeX automatically
      uses when it finds these letters juxtaposed in the text. ]

      While there are a large number number of possible ligatures,
      generally only the most common ones are actually provided. In
      part, this is because the presence of too many alternate forms
      starts reducing legibility. A case in point is Luxeuil Miniscule,
      a highly-ligatured medieval document hand which is completely
      illegible to the untrained eye (and none too legible to the
      trained eye, either :)).

    * Don Hosek offers the following insight into ligatures:

      Ligatures were used in lead type, originally in imitation of
      calligraphic actions (particularly in Greek which retained an
      excessive number of ligatures in printed material as late as the
      19th century), but as typefaces developed, ligatures were
      retained to improve the appearance of certain letter
      combinations. In some cases, it was used to allow certain letter
      combinations to be more closely spaced (e.g., ``To'' or ``Vo'')
      and were referred to as ``logotypes''. In other cases, the
      designs of two letters were merged to keep the overall spacing of
      words uniform. Ligatures are provided in most contemporary fonts
      for exactly this reason.

    * Liam Quim makes the following observations:

      The term ligature should only be used to describe joined letters
      in printing, not letters that overlap in manuscripts.

      Many (not all) accents came from the practice of using a tilde or
      other mark to represent an omitted letter, so that for example
      the Latin word `Dominus' would be written dns, with a tilde or
      bar over the n. This is an abbreviation, not a ligature.

      Most ligatures vanished during the 15th and 16th Centuries. It
      was simply too much work to use them, and it increased the price
      of book production too much.

    [ Ed: there is no ``complete'' set of ligatures. ]

Subject: 1.16. Standard Laser Printer Fonts 

    * Postscript printers with 17 fonts have:

      Courier, Courier-Bold, Courier-BoldOblique, Courier-Oblique,
      Helvetica, Helvetica-Bold, Helvetica-BoldOblique,
      Helvetica-Narrow, Helvetica-Narrow-Bold,
      Helvetica-Narrow-BoldOblique, Helvetica-Narrow-Oblique,
      Helvetica-Oblique, Symbol, Times-Bold, Times-BoldItalic,
      Times-Italic, Times-Roman

    * Postscript printers with 35 fonts have:

      All of the above, plus the following:

      ZapfChancery-MediumItalic, ZapfDingbats, AvantGarde-Book,
      AvantGarde-BookOblique, AvantGarde-Demi, AvantGarde-DemiOblique,
      Bookman-Demi, Bookman-DemiItalic, Bookman-Light,
      Bookman-LightItalic, NewCenturySchlbk-Bold,
      NewCenturySchlbk-BoldItalic, NewCenturySchlbk-Italic,
      NewCenturySchlbk-Roman, Palatino-Bold, Palatino-BoldItalic,
      Palatino-Italic, Palatino-Roman

    * HP LaserJet printers (II, IIP)

      Courier 10, Courier 12, LinePrinter 16.66, ...

    * HP LaserJet printers (III, IIIP)

      All of the above, plus the following:

      Scalable Times Roman and Scalable Univers using Compugraphic's
      Intellifont hinted font format.

    * SPARCPrinters

      The basic 35 fonts plus four scaled faces of each of Bembo, Gill
      Sans, Rockwell, Lucida, Lucida Bright, Sans and Typewriter,
      giving a total of 57 fonts, all in the F3 format.

Subject: 1.17. Glossary 

    [ I ripped this right out of the manual I wrote for Sfware. If you
    have comments, improvements, suggestions, please tell me... ]

    anti-aliasing

      [ ed: this is an 'off-the-cuff' definition, feel free to clarify
      it for me ;-) ]

      On low-resolution bitmap devices (where ragged, ugly characters
      are the norm) which support more than two colors, it is possible
      to provide the appearance of higher resolution with
      anti-aliasing. Anti-aliasing uses shaded pixels around the edges
      of the bitmap to give the appearance of partial-pixels which
      improves the apparent resolution.

    baseline

      The baseline is an imaginary line upon which each character
      rests. Characters that appear next to each other are (usually)
      lined up so that their baselines are on the same level. Some
      characters extend below the baseline (``g'' and ``j'', for
      example) but most rest on it.

    bitmap

      A bitmap is an array of dots. If you imagine a sheet of graph
      paper with some squares colored in, a bitmap is a compact way of
      representing to the computer which squares are colored and which
      are not.

      In a bitmapped font, every character is represented as a pattern
      of dots in a bitmap. The dots are so small (300 or more
      dots-per-inch, usually) that they are indistinguishable on the
      printed page.

    character

      (1) The smallest component of written language that has semantic
      value. Character refers to the abstract idea, rather than a
      specific shape (see also glyph), though in code tables some form
      of visual representation is essential for the reader's
      understanding. (2) The basic unit of encoding for the Unicode
      character encoding, 16 bits of information. (3) Synonym for
      ``code element''. (4) The English name for the ideographic
      written elements of Chinese origin.

    download

      Downloading is the process of transferring information from one
      device to another. This transferral is called downloading when
      the transfer flows from a device of (relatively) more power to
      one of (relatively) less power. Sending new fonts to your printer
      so that it ``learns'' how to print characters in that font is
      called downloading.

    font

      A particular collection of characters of a typeface with unique
      parameters in the 'Variation vector', a particular instance of
      values for orientation, size, posture, weight, etc., values. The
      word font or fount is derived from the word foundry, where,
      originally, type was cast. It has come to mean the vehicle which
      holds the typeface character collection. A font can be metal,
      photographic film, or electronic media (cartridge, tape, disk).

    glyph

      (1) The actual shape (bit pattern, outline) of a character image.
      For example, an italic 'a' and a roman 'a' are two different
      glyphs representing the same underlying character. In this strict
      sense, any two images which differ in shape constitute different
      glyphs. In this usage, ``glyph'' is a synonym for ``character
      image'', or simply ``image''. (2) A kind of idealized surface
      form derived from some combination of underlying characters in
      some specific context, rather than an actual character image. In
      this broad usage, two images would constitute the same glyph
      whenever they have essentially the same topology (as in oblique
      'a' and roman 'a'), but different glyphs when one is written with
      a hooked top and the other without (the way one prints an 'a' by
      hand). In this usage, ``glyph'' is a synonym for ``glyph type,''
      where glyph is defined as in sense 1.

    hints

      When a character is described in outline format the outline has
      unlimited resolution. If you make it ten times as big, it is just
      as accurate as if it were ten times as small.

      However, to be of use, we must transfer the character outline to
      a sheet of paper through a device called a raster image processor
      (RIP). The RIP builds the image of the character out of lots of
      little squares called picture elements (pixels).

      The problem is, a pixel has physical size and can be printed only
      as either black or white. Look at a sheet of graph paper. Rows
      and columns of little squares (think: pixels). Draw a large `O'
      in the middle of the graph paper. Darken in all the squares
      touched by the O. Do the darkened squares form a letter that
      looks like the O you drew? This is the problem with low
      resolution (300 dpi). Which pixels do you turn on and which do
      you leave off to most accurately reproduce the character?

      All methods of hinting strive to fit (map) the outline of a
      character onto the pixel grid and produce the most
      pleasing/recognizable character no matter how coarse the grid is.

    kerning

      (noun): That portion of a letter which extends beyond its width,
      that is, the letter shapes that overhang - the projection of a
      character beyond its sidebearings.

      (verb): To adjust the intercharacter spacing in character groups
      (words) to improve their appearance. Some letter combinations
      (``AV'' and ``To'', for example) appear farther apart than others
      because of the shapes of the individual letters.

      Many sophisticated word processors move these letter combinations
      closer together automatically.

    outline font/format

      See 'scalable font'

    point

      The (more or less) original point system (Didot) did have exactly
      72 points to the inch. The catch is that it was the French
      imperial inch, somewhat longer than the English inch, and it went
      away in the French revolution. What most people now think of as
      points were established by the United States Typefounders
      Association in 1886. This measure was a matter of convenience for
      the members of the Association, who didn't want to retool any
      more than they had to, so it had no relationship to the inch. By
      that date, people realized that the inch was an archaic measure
      anyway; the point was set to be 1/12 of a pica, and an 83-pica
      distance was made equal to 35 centimeters. (Talk about
      arbitrary!)

      Thus the measure of 72.27/in. is just an approximation. Of
      course, when PostScript was being written, it was necessary to
      fit into an inch-measured world. For the sake of simplicity
      PostScript defined a point as exactly 1/72". With the prevalance
      of DTP, the simplified point has replaced the older American
      point in many uses. Personally, I don't see that it matters one
      way or the other; all that counts is that there's a
      commonly-understood unit of measurement that allows you to get
      the size you think you want. That is, after all, the point ;)

    scalable font

      A scalable font, unlike a bitmapped font, is defined
      mathematically and can be rendered at any requested size (within
      reason).

    softfont

      A softfont is a bitmapped or scalable description of a typeface
      or font. They can be downloaded to your printer and used just
      like any other printer font. Unlike built-in and cartridge fonts,
      softfonts use memory inside your printer. Downloading a lot of
      softfonts may reduce the printers ability to construct complex
      pages.

    symbol set

      The symbol set of a font describes the relative positions of
      individual characters within the font. Since there can only be
      256 characters in most fonts, and there are well over 256
      different characters used in professional document preparation,
      there needs to be some way to map characters into positions
      within the font. The symbol set serves this purpose. It
      identifies the ``map'' used to position characters within the
      font.

    typeface

      The features by which a character's design is recognized, hence
      the word face. Within the Latin language group of graphic shapes
      are the following forms: Uncial, Blackletter, Serif, Sans Serif,
      Scripts, and Decorative. Each form characterizes one or more
      designs. Example: Serif form contains four designs called Old
      Style, Transitional, Modern, and Slab Serif designs. The typeface
      called Bodoni is a Modern design, while Times Roman is a
      Transitional design.

Subject: 1.18. Bibliography 

    Editors note: the following books have been suggested by readers of
    comp.fonts. They are listed in no particular order. I have lost the
    citations for some of the submissions. If you wrote a review that
    appears below and you aren't credited, please let norm know.

    I have decided that this is the best section for pointers to other
    font resources (specs and other documents, for example). These
    appear after the traditional bibliographic entries. As usual I will
    happily accept entries for this section. As of 9/92, the only files
    listed are the TrueType font information files available from
    Microsoft

    Bill Ricker contributed the following general notes:

    The Watson-Guptill, Godine, and Dover publishers all have many
    typography titles. Godine and Dover tend to be excellent; W-G tends
    toward 'how-to' books which are good for basics and juried Annuals
    of job work.

    Hermann Zapf and his Design Philosophy, Society of Typographic
    Arts, Chicago, 1987.

    On Stone --- The Art and Use of Tyography on the Personal Computer
    , Sumner Stone, Bedford Arts, 1991.

    Of the Just Shaping of Letters, Albrecht Durer, isbn
    0-486-21306-4.

    First published in 1525 as part of his theoretical treatise on
    applied geomentry, ``The Art of Measurment''.

    Champ Flevry, Geofroy Troy.

    First published in 1529 Troy attempts, in this book, to design an
    ideal Roman alphabet upon geometrical and aesthetic principles.

    0-486-20792-7. Revised 1942 edition.

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part3
Version: 1.4.1


    This very intresting book looks at the history of letter shapes as
    well font design.

    The Mac is Not a Typewriter, Robin Williams, Peachpit Press.

    A good, clear explanation of what typography is, and how to get it
    from your computer. Mac-specific, but full of excellent general
    advice. I think there's also a PC version. Available at most
    computer bookstores

    Rhyme and Reason: A Typographic Novel, Erik Spiekermann, H.
    Berthold AG, ISBN 3-9800722-5-8.

    Printing Types (2 vols), Daniel Berkely Updike, Dover Press.

    Affordable edition of the most readable history of type, lots of
    illustrations.

    Notes: Both the Dover and Harvard U. P. editions where 2 volumes.
    The Dover editions were paperback and the Harvard hardback. It
    appears that the Dover edition is out of print. Collectible HUP
    editions are not cheap although later HUP editions may be had. Most
    libraries have later HUP and Dover editions. If someone knows of a
    source, please pass it along.

    The Art of Hand Lettering, Helm Wotzkow, Dover Press, reprint from
    1952.

    Looking Good In Print, Roger C. Parker, Ventana Press, ISBN:
    0-940087-32-4.

    Well, as a beginner's book, [ it ] isn't bad. I can't say that I
    agree with the author's tastes all the time, but he at least gives
    some good examples. Also there are some nice _Publish_-style
    makeovers. Don Hosek <dhosek@ymir.claremont.edu>

    Book Design: A Practical Introduction, Douglas Martin, Van
    Nostrand Reinhold, New York: 1989. 206pp.

    Along with Jan White's book (see below), this provides a fairly
    complete guide to book design. Martin's book is somewhat more
    conservative in outlook and also reflects his UK background. Don
    Hosek <dhosek@ymir.claremont.edu>

    Digital Typography: An Introduction to Type and Composition for
    Computer System Design, Richard Rubinstein, Addison-Wesley,
    Reading, Massachusetts: 1988. 340pp.

    An interesting, technological approach to typography which is worth
    reading although not necessarily always worth believing. A not
    insubstantial portion of the text is dedicated to representing type
    on a CRT display and Rubinstein devotes some time to expressing
    characteristics of typography numerically. Don Hosek
    <dhosek@ymir.claremont.edu>

    Graphic Design for the Electronic Age, Jan V. White,
    Watson-Guptill Publications, New York: 1988. 212pp.

    A good handbook for document design. In a well-organized approach,
    White covers the principles for laying out most of the typographics
    features of a technical document. White is a bit overeager to
    embrace sans-serif types and in places his layout ideas seem a bit
    garish, but it's still a quite worthwhile book. Don Hosek
    <dhosek@ymir.claremont.edu>

    Xerox Publishing Standards: A Manual of Style and Design,
    Watson-Guptill Publications, New York: 1988. 400pp.

    Overall, a disappointing book. It is divided into four sections of
    widely varying intent: ``Publishing Process,'' ``Document
    Organization,'' ``Writing and Style'' and ``Visual Design.'' None
    of them is really adequate for the task and all are highly centered
    on the Xerox method for publishing. As a guide to Xerox' process,
    it succeeds, but as a manual for general use, it falls far short.
    In print. Don Hosek <dhosek@ymir.claremont.edu>

    Methods of Book Design (3rd edition), Hugh Williamson, Yale
    University Press, New Haven: 1983. 408pp.

    It is a bit out-of-date as regards technology, but on issues
    relating purely to design it is comprehensive and definitive. Well,
    I suppose it could be argued that printing technology influences
    design -- e.g. some types look fine in metal but lousy in digital
    imagesetting -- and therefore a book that is out-of-date in
    technology can't really be ``definitive'' in matters of design
    either. In any event, _Methods_ is more than adequate for a
    beginner's needs. My paper-bound copy (ISBN 0-300-03035-5) was $
    13.95; cheap at twice the price! Cameron Smith
    <cameron@symcom.math.uiuc.edu>

    The Thames & Hudson Manual of typography, Rauri McLean, Thames &
    Hudson

    An excellent book if you start getting more interested in type.
    Look for Rauri McLean's other books after this one... Liam R.E.
    Quin <lee@sq.com>

    Typography and Why it matters, Fernand Baudin.

    There is no better introduction than [ it ] . It's not a primer on
    subjects such as ``what does Avant Garde look like,'' or ``This is
    a good font for books.'' It is a good primer on the things you need
    to know before the rest should be considered. He's a lovely writer,
    to boot.

    [ My copy is at work, so I may have munged the title--look up
    Baudin in ``Books in Print'' and improvise :-) ]

    Ari Davidow <ari@netcom.com>

    Better Type, Betty Binns

    It's definitely not a lightweight beginner's introduction, but I've
    found [ it ] to be indispensable. It's a large-format hardcover,
    but you can find it remaindered for cheap if you look around. The
    book goes into great detail about how factors like line spacing,
    line length, point size, and design of typeface (evenness of stroke
    weight, x-height, etc.) affect readability. When you've gotten the
    basics out of the way and want to learn more about the fine nuances
    of type color, this book is an absolute must. David Mandl
    <dmandl@bilbo.shearson.com>

    Printing Types: An Introduction..., S. Lawson, (revised) 1990

    I'd also recommend Alexander S. Lawson's books especially /Printing
    Types: An Intro.../ (revised), 1990, which includes electronic
    types now. Bill Ricker <wdr@world.std.com>

    Twentieth Century Type Designers, Sebastian Carter, 1987.

    Discusses adaptaters of old faces to machine caster and film/laser,
    as well as new works. Bill Ricker <wdr@world.std.com>

    Tally of Types, Stanley Morrison, Cambridge University Press.

    A keepsake for CUP on the Monotype fonts he'd acquired for them
    when he was Type Advisor to both Brit.Monotype & CUP (Cambridge
    University Press, Cambs.UK), which discusses his hindsight on some
    of the great revival fonts and some of the better new fonts. Bill
    Ricker <wdr@world.std.com>

    Chicago Manual of Style, University of Chicago Press, 1982; ISBN
    0-226-10390-0.

    The chapter on Design and Typography is most directly relevant, but
    there are a lot of hints scattered all through the Chicago Manual
    on making your words more readable and your pages more attractive.
    Stan Brown <brown@ncoast.org>

    X Window System Administrator's Guide (O'Reilly X Window System
    Guides, volume 8), O'Reilly

    It gives advice about setting up fonts, etc. Liam Quin <lee@sq.com>

    How Bodoni intended his types to look Bodoni, Giambattista. Fregi e
    Majuscole Incise e Fuse de ... Bodoni, Harvard University Library
    (repr).

    Inexpensive collectible, reproduced as a keepsake by the Houghton
    Library at Harvard. [ wdr ]

    The Elements of Typographic Style, Robert Bringhurst, Hartley &
    Marks 0-88179-033-8 pbk $ 15, Z246.B74 1992 0-88179-110-5 cloth, $
    25.

    A typography for desktop publishers who want to absorb some style.
    Informed by the historical european tradition and the desktop
    advertising, tempered by oriental yin-yang and examples. A
    page-turner with repeat-read depth.

    The only book I've seen that discusses page proportions that admits
    there are more than three ways that describes how to find one that
    feels good for your page. [ wdr ]

    Hermann Zapf on the cover-blurb: ``All desktop typographers should
    study this book. ... I wish to see this book become the
    Typographers' Bible.''

    Printing It, Clifford Burke, Ballantine, 0-345-02694-2.

    Manual for the hobby letterpress printer. [ wdr ]

    Twentieth Century Type Designers, Sebastian Carter, Taplinger,
    1987.

    Discusses the talented adaptators of old faces to machine caster
    and film/laser, as well as the designers of new works. Indexed? [
    wdr ]

    Design with Type, Carl Dair, University of Toronto Press,
    0-8020-1426-7.

    In print again (or still?); the ISBN above may be stale.

    A great introduction to the issues of practicality and taste that
    confront the users of type. A prized possession. I only regret that
    the book does not include among the excerpts from his Westvaco
    pamphlets the Seven Don'ts of Typography. [ wdr ]

    Typography 6: The Annual of the Type Directors Club, Susan Davis,
    ed., Watson-Guptill, 0-8230-5540-x.

    Specimens of Type Faces in the U.S. G.P.O., John J. Deviny,
    director., US G.P.O.

    Practice of Typography: Plain Printing Types, Theodore Low De
    Vinne, Century Co./DeVinne Press.

    One of the earlier critical studies, in four volumes of which this
    is my personal favorite, and still a classic reference. If one
    wants to understand 18th and 19th century typography in context,
    this writer lived the transition from eclectic to standard sizes,
    and comments with taste. [ wdr ]

    An Essay on Typography, Eric Gill, Godine, 0-87923-762-7.

    The Alphabet and Elements of Lettering, Frederic W. Goudy, Dorset
    Press (Marboro Books), 0-88029-330-6

    Lovely. A wonderful way to learn Goudy's taste.

    Stanley Morison Displayed, Herbert Jones, Frederick Muller Ltd /
    W, 0-584-10352-2.

    Lovely. A wonderful way to learn Morrison's taste.

    Printing Types: An Introduction..., Alexander S. Lawson et. al.,
    Beacon 1971,?Godine? 1990; (2nd Ed includes electronic types now)

    ``Good introduction to comparisons of typefaces, with a detailed
    history and a key family or face of each general category.
    Denounces rigid indexes of type faces.'' [ wdr ]

    Anatomy of a Typeface, Alexander Lawson, Godine, 0-87923-333-8,
    Z250.L34 1990

    Deep description of the authors' favorite exemplar and its
    influences and relatives in each type category. It follows, without
    explicating, the category system developed in the prior book. [ wdr
    ]

    Types of Typefacs and how to recognize them, J. Ben Lieberman,
    Sterling, 1968

    ``This isn't very good really, but it does give lots of examples of
    the main categories.'' [ Liam ] [ Old bibliographies praised this
    one, but I haven't seen it so I can't comment.-- wdr ]

    Tally of Types ( & other titles), Stanley Morrison, Cambridge U.
    Press.

    A keepsake for CUP on the Monotype fonts he'd acquired for them
    when he was Type Advisor to both Brit. Monotype & CUP (Cambridge
    University Press, Cambs.UK), which discusses his hindsight on some
    of the great revival fonts and some of the better new fonts. [ wdr
    ]

    Rookledge's International Type Finder 2nd, Perfect, Christopher
    and Gordon Rookledge, Ed Moyer Bell Ltd / Rizzoli, 1-55921-052-4,
    Z250.P42 [ 1st Ed was NY: Beil 1983 ]

    ``Lg. trade pb. Indexed by stylistic & characteristic features.
    Shows A-Z, a-z, 0-9 in primary figures, whether lining or ranging.
    Particularly distinctive sorts are marked for ease of comparison.
    Separate tables collect the distinctive characters for assistance
    in identifying a sample.'' [ wdr ]

    English Printers' Ornaments, Henry R. Plomer, Burt Franklin

    Paragraphs on Printing, Bruce Rogers, [ Rudge ] Dover,
    0-486-23817-2

    Digital Typography: An Introduction to Type and Composition for
    Computer System Design, Richard Rubinstein, Addison-Wesley,
    Reading, Massachusetts: 1988. 340pp.

    For people who are disappointed with how the type looks on the
    laser, this book explains the subleties of that medium and of the
    screen that others miss. This is a study of the Human Factors of
    computer typographic systems. [ wdr ]

    The Case for Legibility, John Ryder, The Bodley Head,
    0-370-30158-7, Z250.A4

    The Solotype Catalog of 4,147 Display typefaces, Dan X. Solo,
    Dover, 0-486-27169-2, Z250.5.D57S654 19

    ``Working catalog of a specialty Graphics Arts shop. They use
    proprietary optical special effects techniques to get Desktop
    Publishing effects, and more, without the laser-printer grain.
    Great listing of 19th Century Decorated Types -- probably the
    largest collection in the world. Prices to order headlines from
    them are NOT cheap however. Their services are for professional or
    serious hobby use only. Solo's previous Dover books show some
    number of complete alphabets of a general peculiar style; this one
    shows small fragments of his entire usable collection, important as
    an index. (According to private correspondence, they have more
    faces that have not yet been restored to usable condition.) Not
    well indexed, but indexed.'' [ wdr ]

    Stop Stealing Sheep & find out how type works, Erik Spiekermann &
    E.M. Ginger., Adobe Press, 1993

    Introductory, motivational. If you wonder why there are so many
    type faces in the world, this is the book for you! [ Liam ] [ The
    title refers to the old joke: ``A man who would letterspace
    lowercase would also steal sheep.'' [ wdr ] ]

    The Art & Craft of Handmade Paper, Vance Studley, Dover,
    0-486-26421-1, TS1109.S83 1990

    Letters of Credit, Walter Tracey, Godine Press

    ``I can't recommend this too highly. It's not as introductory as
    the Sheep Book, but conveys a feeling of love and respect for the
    letter forms, and covers a lot of ground very, very well.'' [ Liam
    ]

    Printing Types: Their History, Forms & Use, Daniel Berkely Updike,
    Harvard University Press, reprint by Dover.

    The standard reference. Tour-de-force history of type and
    type-styles. A trifle conservative in its biases, but typography is
    conservative for good reason: readibility. Check the addenda for
    his final words on newer faces. [ wdr ]

    1. I believe the Dover edition to be 3 vols Pbk; both the
    collectable and later Harvard U.P. editions were two vols hbk.

    2. I am informed by my bookseller & Books In Print that the Dover
    edition is out of print. *sigh* If a source be known, let me know.
    Collectible HUP eds are not cheap, although later HUP eds may be
    had. Most libararies have later HUP or Dover eds. [ wdr ]

    Modern Encyclopedia of Typefaces, 1960-90, Lawrence W. Wallis, Van
    Nostrand Reinhold, 0-442-30809-4, Z250.W238 1990

    ``Gives examples of most typefaces, almost all digital, designed &
    distributed in the last 30 years. Cross indexed by foundry and
    designer, and sources and looks-likes. Some historical bits. Shows
    full a-z,A-Z,0-9, a few points (punctuation); and 0-9 again if both
    lining and oldstyle supplied. Only complaint is that it omits small
    caps even from what few fonts have 'em and the accented characters,
    of which most have some but too few. List $ 25.'' [ wdr ]

    About Alphabets: Some Marginal Notes on Type Design, Hermann Zapf,
    MIT Press, 0-262-74003-6

    Hermann Zapf & His Design Philosophy, Hermann Zapf, Society of
    Typographic Arts, Chicago

    ``Anything about, by, or vaguely connected with Hermann Zapf is
    probably worth reading several times :-)'' [ Liam ]

    Manuale Typographicum, Hermann Zapf, MIT Press, 0-262-74004-4

    There are two books of this title (portrait and landscape); this is
    the only mass-market edition of either. Both are Zapf's selections
    of interesting typographical quotations in his inimitable display
    typography. [ wdr ]

    Microsoft Windows 3.1 Programmer's Reference, Microsoft Press.

    Documents the Panose system of typeface classification. Probably
    contains a general discussion of TrueType under MS Windows 3.1.

    Introduction to Typography, 3rd ed, Faber, London, 1962.

    A very good introduction for any beginner. Also discusses things
    like illustrations and cover design, although not in great detail.

    Simon was a purist, as the editor of the 3rd edition remarks. He
    did not mention phototypesetting in his original edition, but some
    observations on its uses and abuses have since been added. Anders
    Thulin <ath@linkoping.trab.se>

    [ ed: additional bibliographic information appears in the file
    ``Additional-bibliography'' on
    ibis.cs.umass.edu:/pub/norm/comp.fonts. I have not yet had time to
    integrate this bibliographic information into the FAQ ]

Subject: 1.19. (En)Coding Standards 

    Unicode Consortium; The Unicode Standard, volumes 1 and 2,
    Worldwide Character Encoding, Addison-Wesley Publishing Co.

    Unicode consortium e-mail address is: <
    unicode-inc@hq.m4.metaphor.com>

    To obtain more information on Unicode or to order their printed
    material and/or diskettes

    Steven A. Greenfield

    Unicode Office Manager

    1965 Charleston Road

    Mountain View, CA 94043

    Tel. 415-966-4189

    Fax. 415-966-1637

    Xerox Character Code Standard, Xerox Corp., Xerox Systems
    Institute, 475 Oakmead Parkway, Sunnyvale, CA 94086

Subject: 1.20. TrueType 

    George Moore <georgem@microsoft.com> announces the following
    information regarding TrueType fonts:

    ``I am pleased to announce that there is now one central location
    for all official Microsoft TrueType information available on the
    Internet. The 9 files listed below are available for anonymous ftp
    access on ftp.uu.net (137.39.1.9) in the
    /vendor/microsoft/TrueType-Info directory. The most important of
    those files is the TrueType Font Files Specifications, a 400 page
    book which describes in excruciating detail how to build a TrueType
    font. Other information is also available in the same directory and
    other files will be added from time to time.

    For those people who do not have ftp access to the Internet can
    find the same information available for downloading on Compuserve
    in the Microsoft developer relations forum (GO MSDR) in the
    TrueType library.

    Please be aware that the TrueType specifications is a copyrighted
    work of Microsoft and Apple and can not be resold for profit.

    TrueType developer information files on ftp.uu.net:

   1. ttspec1.zip, ttspec2.zip, and ttspec3.zip

      The TrueType Specification:

      These three compressed files contain the ``TrueType Font Files
      Specifications'', a 400 page book complete with illustrations
      which details how to construct a TrueType font from scratch (or
      build a tool to do so), the TrueType programming language, and
      the complete format of each sub-table contained in the .TTF file.
      These documents are stored in Word for Windows 2.0 format and
      require Windows 3.1 for printing. See the ``readme.doc'' (in
      ttspec1.zip) for printing instructions. Requires 2.5MB of disk
      space after uncompression.

      This manual is a superset of the similar specifications from
      Apple and has added information specific to Windows that is not
      present in the Apple version.

   2. ttfdump.zip

      An MS-DOS executable which will dump the contents of a TrueType
      font out in a human-readable fashion. It allows you to dump the
      entire font, or just specific sub-tables. This tool, combined
      with the specifications above, allows very effective debugging or
      exploration of any TrueType font. For example, to dump the
      contents of the 'cmap' (character code to glyph index mapping)
      table, enter:

      ttfdump fontname.ttf -tcmap -nx

      Entering ``ttfdump'' with no options will give you a help
      message.

   3. ttfname.zip

      Example C source code on how to parse the contents of a TrueType
      font. Although this particular example will open up the file and
      locate the font name contained within the 'name' table, it could
      be readily adapted to parse any other structure in the file. This
      compressed zip file also contains many useful include files which
      have pre-defined structures set up for the internal tables of a
      TrueType font file. This code may be useful for developers who
      wish to parse the TrueType data stream returned by the
      GetFontData() API in Windows 3.1.

   4. tt-win.zip

      A 31 page Word for Windows 2.0 document which is targeted for the
      Windows developer who is interested in learning about some of the
      capabilities TrueType adds to Windows 3.1. Contains many
      illustrations.

   5. embeddin.zip

      A text file which describes all of the information necessary for
      a Windows developer to add TrueType font embedding capabilities
      to their application. Font embedding allows the application to
      bundle the TrueType fonts that were used in that document and
      transport it to another platform where the document can be viewed
      or printed correctly.

   6. tt-talk.zip

      The TrueType Technical Talks 1 and 2. These text files describe
      some of the things that are happening with TrueType behind the
      scenes in Windows 3.1. The first document walks the reader
      through all of the steps that occur from when the user first
      presses the key on the keyboard until that character appears on
      the screen (scaling, hinting, drop out control, caching and
      blitting). The second talk describes one of the unique features
      of TrueType called non-linear scaling which allows the font
      vendor to overcome some of the physical limitations of low
      resolution output devices.

   7. lucida.zip

      This text file contains useful typographic information on the 22
      Lucida fonts which are contained in the Microsoft TrueType Font
      Pack for Windows. It gives pointers on line-layout, mixing and
      matching fonts in the family and a little history on each
      typeface. This information was written by the font's designers,
      Chuck Bigelow & Kris Holmes.''

Subject: 1.21. Unicode Information 

    [ ed: This is a summary of the Unicode info I've gleaned from the
    net recently, the whole Unicode issue needs to be addressed better
    by the FAQ...someday... someday...I'll get to reorganize the whole
    thing ]

1.21.1. Unicode Editing 

    James Matthew Farrow contributes:

    I use `sam' for all by text editing. It is X editor based on an
    editor for the blit called jim. Papers describing sam as well as a
    distribution of sam itself are available for ftp from
    research.att.com. The sam there is a Unix port of the Plan 9
    version. Plan 9 is a full unicode operating system, even around
    before NT! The libraries sam is built upon therefore support 16 bit
    wide characters. The graphics library, supplied with it at present
    does not. However they may be planning to distribute a new version
    which does soon. The library just plugs in replacing the library
    that comes with sam. No modification is necessary. Character are
    stored using the utf-2 encoding.

    All of the files I had before I started working with sam were 7 bit
    ascii so no conversion was needed. Now I have ditched xterm in
    favour of 9term: a terminal emulator in the style of 81/2 (the Plan
    9 interface). This lets me type Unicode characters on the command
    line, as part of filenames, in mail, wherever and most Unix
    utilities cope without modification. This is about to be released.
    I'm looking for beta testers. ;-)

    Is a special keyboard required?

    No. ASCII Characters are typed as normal. Common characters above
    0x7f are typed using two letter abbreviations. The table is similar
    to the troff special character codes, e.g, Alt-12 gives you a 1/2,
    Alt-'e gives you e acute, Alt-bu a bullet and so on. This table is
    hardwired into the library at present but is trivial to change.
    Other codes are accessed by typing their hex value, for instance
    the smiley is Alt-X263a (0x263a being a smiley character in the
    Unicode character set).

    Is roman-to-Unicode conversion available?

    All normal 7 bit ascii characters are encoded as themselves so no
    translation is needed. There are conversion routines in the library
    (runetochar and chartorune) which will do the conversion and it
    should be pretty simple to convert files already in another format.
    You would have to write something to do the transliteration
    yourself. A small patch to the system would let you enter different
    language `modes' for text entry.

Subject: 1.22. Are there PostScript or TrueType fonts available? 

    Apparently there is a version of the Lucida fonts by Bigelow and
    Holmes which support Unicode. This is the information I have on
    them.

    [ ed: quoting another source ]

    [ Windows NT ] will ship with a Unicode TrueType font containing
    approximately 1,500 characters. The font is called "Lucida Sans
    Unicode" and was specifically designed by Bigelow and Holmes for
    Microsoft to contain the following Unicode sets:

  ASCII
  Latin 1
  European Latin
  Extended Latin
  Standard Phonetic
  Modifier Letters
  Generic Diacritical
  Greek
  Cyrillic
  Extended Cyrillic
  Hebrew
  Currency Symbols
  Letterlike Symbols
  Arrows
  Mathematical Operators
  Super & Subscript
  Form & Chart Components
  Blocks
  Geometric Shapes
  Miscellaneous Technical
  Miscellaneous Dingbats

    The bitmap fonts which comes with the utf version of the libXg
    graphics library (the library upon which sam is built) support a
    sparse subset of the full character set. That is, only a few of
    them have glyphs at present. A font editor such as xfedor would let
    you add more. The list of those currently available is pretty much
    as the above list.

    I use 9term and sam as a matter of course now and have for several
    months. I enjoy the convenience of putting special characters and
    accented characters in my mail as well as being able to do some
    phonetic work all in the one terminal/editor suite.

Subject: 1.23. Can I Print Checks with the MICR Font? 

    This comes up all the time: standard ordinary laser toner is
    magnetic and will be read by the banks. The gotcha is that standard
    laser toner rubs off in the *very* high-speed sorting equipment
    that are used, and this makes read rates drop low and the banks
    will hate you.

    I researched check printers for a customer, and was surprised to
    find this. The Troy(tm) printers he bought are basically stock
    Ricoh engines that have slightly tighther paper handling (for
    registration), plus they add a proprietary Teflon-type power
    coating on the output path to coat the checks.

    I saw some examples of checks printed with and without this special
    coating after running through something like 40 passes through
    check processing equipment, and the one without the coating was a
    mess. These require special handling that the banks do *not* like.
    Apparently, they go after companies that issue these kinds of
    checks with special processing fees.

Subject: 1.24. Rules of Thumb 

    It is difficult to set out guidelines for font usage, because
    almost any rule can be brilliantly broken under the right
    circumstances.

    * General guidelines:

       * Never lose track of the kind of work you're doing. An effect
         that would ruin a newsletter might be just the thing for a
         record cover. Know when you can safely sacrifice legibility
         for artistic effect.

       * Keep in mind the final reproduction process you'll be using.
         Some effects (like reversed type, white on black) can be hard
         to read off an ordinary 300-dpi laser, but will work if finals
         are done on a high-resolution printer, such as a Linotronic.
         Will the pages be photocopied? Offset? Onto rough paper, shiny
         paper? All these factors can and should influence your choice
         of fonts and how you use them.

       * Running some comparative tests is a good idea. Better to blow
         off a few sheets of laser paper now than to see a problem
         after thousands of copies are made.

       * No one can teach you font aesthetics; it must be learned by
         example. Look at beautiful magazines, posters, books with wide
         eyes, so that you can see how it's done. Examine ugly printed
         matter critically and consider why it's hard to read.

    * Good rules of thumb:

       * If you need a condensed font, find one that was designed that
         way, rather than scaling an existing font down to a
         percentage. Any scaling distorts a font's design; excessive
         scaling interferes with legibility - this goes for widening as
         well as narrowing. Extended faces do exist, although they
         aren't as common as condensed ones.

       * Many people feel that bold or italic type, or type in ALL
         CAPS, is more legible: ``This is the most important part of
         the newsletter, let's put it in bold.'' In fact, legibility
         studies show that such type is actually harder to read in
         bulk. Keep the text in a normal style and weight, and find
         another way to emphasize it - box it, illustrate it, run it in
         color, position it focally.

       * Too much reverse type - white on black - is hard on the eyes.
         It can be a nice effect if used sparingly. Don't reverse a
         serif font, though - its details will tend to fill in. Stick
         to reversing bold sans-serifs, and remember to space them out
         a bit more than usual.

       * It is always safest to use a plain serif font for large
         amounts of text. Because Times is widely used, it doesn't mean
         it should be avoided. Fonts like Palatino, Times, Century Old
         Style are deservedly popular because people can read a lot of
         text set in such faces without strain.

         Don't expect anyone to read extensive text set in a condensed
         font.

       * As point size gets bigger, track tighter, and (if the software
         allows) reduce the spacebands as well. A spaceband in a
         headline size (anything over 14 point) should be about as wide
         as a letter ``i''.

       * If you only have a few large headlines, hand-kerning the type,
         pair by pair, can make the end result much more pleasing.
         Besides, working with fonts this closely makes them familiar.

       * Column width and justification are major elements in design.
         The narrower the column, the smaller the type can be; wide
         rows of small type are very hard to read. Often it's a better
         idea to set narrow columns flush left rather than justified,
         otherwise large gaps can fall where hyphenation isn't
         possible.

       * Use curly quotes.

       * Don't put two spaces at the end of a line (. ) instead of (. )
         when using a proportionally spaced font.

Subject: 1.25. Acknowledgements 

    The moderators would like to express their gratitude to the whole
    community for providing insightful answers to innumerable
    questions. In particular, the following people (listed
    alphabetically) have contributed directly to this FAQ (apologies,
    in advance if anyone has been forgotten):
                        Masumi Abe <abe@keleida.com>

                       Glenn Adams <glenn@metis.COM>

                 Borris Balzer <borris@boba.rhein-main.DE>

                Charles A. Bigelow <bigelow@cs.stanford.edu>

                    David J. Birnbaum <djbpitt@pitt.edu>

                Tim Bradshaw <tim.bradshaw@edinburgh.ac.UK>

                      Arlen Britton <arlenb@mcad.edu>

                       Stan Brown <brown@ncoast.org>

                Scott Brumage <brumage@mailer.acns.fsu.edu>

                     Lee Cambell <elwin@media.mit.edu>

                 Terry Carroll <tjc50@juts.ccc.amdahl.com>

                        Ari Davidow <ari@netcom.com>

                     Pat Farrell <pfarrell@cs.gmu.edu>

                  James Matthew Farrow <matty@cs.su.oz.au>

                Stephen Friedl <friedl@mtndew.Tustin.CA.US>

                  Yossi Gil <yogi@techunix.technion.ac.IL>

               Timothy Golobic <an314@cleveland.Freenet.EDU>

                   Kesh Govinder <govinder@ph.und.ac.za>

                     Rick Heli <Rick.Heli@Eng.Sun.COM>

                 Jeremy Henderson <jeremy@castle.ed.ac.uk>

                      Gary <Gocek.Henr801C@Xerox.COM>

                    Berthold K.P. Horn <bkph@ai.mit.edu>

                   Don Hosek <dhosek@ymir.claremont.edu>

                     Bharathi Jagadeesh <bjag@nwu.edu>

                Chang Jin-woong <jwjang@krissol.kriss.re.kr>

                       David Lemon <lemon@adobe.com>

                           Jon <jgm@cs.brown.EDU>

                       ??? <vkautto@snakemail.hut.FI>

                       ??? <robertk@lotatg.lotus.COM>

                  David Mandl <dmandl@bilbo.shearson.com>

                 Kate McDonnell <C_MCDON@pavo.concordia.ca>

                    George Moore <georgem@microsoft.com>

                   Robert Morris <ram@claude.cs.umb.EDU>

                   Stephen Moye <SMOYE@BROWNVM.brown.edu>

                 Terry O'Donnell <odonnell@mv.us.adobe.COM>

                   Stephen Peters <speters@us.oracle.COM>

                     Bill Phillips <wfp@world.std.com>

                       Jim Reese <Jim.Rees@umich.edu>

                      Bill Ricker <wdr@world.std.com>

                           Liam Quin <lee@sq.com>

                            Henry Schneiker <?>

                  Bill Shirley <bshirley@gleap.jpunix.COM>

                Cameron Smith <cameron@symcom.math.uiuc.edu>

                     Werenfried Spit <SPIT@vm.ci.uv.ES>

                       Anthony Starks <ajs@merck.com>

                     Ike Stoddard <stoddard@draper.com>

                   Anders Thulin <ath@linkoping.trab.se>

                    Erik-Jan Vens <E.J.Vens@icce.rug.nl>

                      Amanda Walker <amanda@visix.com>

Subject: 1.26. A Brief Introduction to Typography 

    Space, time, and bandwidth are too limiting to provide a complete
    introduction to typography in this space. I'd be very willing to
    make one available for anonymous ftp, if you want to write one, but
    I'm not going to write it--I have neither the time nor the
    expertise. However, the following description of Times, Helvetica,
    and Courier will suffice for a start. For more information, several
    books on typography are listed in the bibliography.

1.26.1. Comments by Laurence Penney: 

    Laurence Penney <L.O.R.Penney@cm.cf.ac.uk> offers the following
    description of Times, Helvetica, and Courier:

    Times is a typeface designed in the 1930s for the Times newspaper
    in London and is now used widely in books, magazines and DTP. Its
    design is based on the typographical principles evolved since Roman
    times (upper case) and the 16th century (lower case). It is called
    a TRANSITIONAL typeface, after the typefaces of the 17th century
    which it resembles. Like all typefaces designed for typesetting
    large quantities of text, it is proportionally spaced: the i takes
    about a third the width of an M. Personally I don't like Times too
    much and prefer the more elegant Garamond and Baskerville, but
    these will probably cost you money... Note: The Transitionals came
    after the Old Styles (like Garamond) and before the Moderns (like
    Bodoni).

    Helvetica is an example of a SANS-SERIF typeface. These first
    appeared in the late 19th century in Germany and flourished in the
    1920s and 30s, when they were regarded as the future of typography.
    It's more a geometric design than the humanist design of Gill Sans,
    but less geometric than Avant Garde and Futura. To my mind it lacks
    elegance, and Adrian Frutiger's Univers shows how this kind of
    typeface should be done. (Just compare the B, R, Q, a, g of Univers
    and Helvetica to see what I mean -- and don't you just love
    Univers's superbly interpreted ampersand ?!) Helvetica is one of
    the few fonts that is improved by its BOLD version.

    Another interesting approach to sans-serif is Optima, by Hermann
    Zapf, which keeps the stroke-weight variations which sans-serifs
    usually reject. Use sans-serif fonts for the same applications as
    Times, above, but where you're less concerned with elegance, and
    more with a functional appearance - they're generally reckoned to
    be slightly less legible than good serifed fonts. They're also very
    suitable for display work.

    Courier is a typeface derived from typewriter styles. It should
    ONLY be used when you want to simulate this effect (e.g. when
    writing letters Courier usually appears ``friendlier'' than Times).
    Like all typewriter fonts, it is MONOSPACED (characters all have
    the same width) and is thus suitable for typesetting computer
    programs. However there are nicer looking monospace fonts than
    Courier (which has oversize serifs), that still remain distinct
    from the text fonts like Times and Helvetica. A good one is OCR-B,
    designed by Frutiger. Note that monospaced fonts are less
    economical on space than proportional fonts.

    [ ed: Following the original posting of this message, Laurence
    Penny and Jason Kim <kim3@husc.harvard.edu> discussed the issue
    privately. The following summary of their discussion may serve to
    clarify some of the more subtle points. My thanks to Laurence and
    Jason for allowing me to include this in the FAQ.

    ------------------------------

    LP-1> The Transitionals came after the Old Styles (like Garamond)
    and before the Moderns (like Bodoni).

    JK> Not necessarily true! Ideologically, yes, but not
    chronologically. I believe, for example, that Bodoni predates New
    Century Schoolbook or some such typeface.

    LP-2> What I meant by ``X came after Y'' was ``the first examples
    of X appeared after the first examples of Y'' -- it's called
    precis. Some people still make steam trains, but you can still say
    ``Steam engines came before diesels.'' This is chronological, not
    ideological in my

    ------------------------------

    LP-1> Another interesting approach to sans-serif is Optima, by
    Hermann Zapf, which keeps the stroke-weight variations which
    sans-serifs usually reject. Use sans-serif fonts for the same
    applications as Times, above, but where you're less concerned with
    elegance, and more with a functional appearance - they're generally
    reckoned to be slightly less legible than good seriffed fonts.
    They're also very suitable for display work.

    JK> Slightly? I have several textbooks typeset by utter fools and
    they are a pain in the ass (and eyes) to read! Please don't
    encourage anyone to use Optima (or any sans serif fonts for that
    matter) ``for the same applications as Times,'' which, need I
    remind you, was designed for *newspaper* work!!

    LP-2> OK, maybe I was a little over-generous to Univers, Helvetica,
    etc., but I think variation is extremely important in typography.
    Have you ever read the British magazine ``CAR'' ? That uses
    Helvetica light (I think) in a very legible and attractive way,
    IMO. I agree, though, Optima is crappy for text, but it's a very
    valuable experiment and looks beautiful when printed in high
    quality for titling, etc. And yes, *books* in Helvtica are
    generally

    ------------------------------

    JK> Serifs have been scientifically shown to be a *lot* easier on
    the reader, as they guide the eyes along the lines.

    LP-2> In all tests I've seen the serifs have always won the day,
    but only with certain seriffed fonts, and fonts like Univers aren't
    far behind. The ``tracking'' advantage for serif fonts is reduced
    when you're talking about narrow newspaper/magazine

    ------------------------------

    JK> You wrote a pretty short and partial history of type. Why
    ignore the roots of type (blackletter) as well as the climax
    (moderns--give an explanation) and subsequent 'post-modern'
    revivals?

    LP-2> I was just talking about the place the 3 most common DTP
    types hold in the history of typography, and a few associated
    pitfalls. It wasn't meant as a ``history of typography'' at all.
    Please feel free to provide such a history yourself.

    JK> I think any short list of specific faces is incomplete without
    mention of Palatino, the most popular Old Style revival in
    existence.

    LP-2> Do you? To my mind Palatino is grossly overused. You must
    agree it looks bad for dense text. It isn't a proper ``oldstyle
    revival'' at all, more of a ``calligraphic interpretation'' of it.
    Zapf designed it as a display face, and wasn't too concerned about
    lining up the serifs (check out the ``t''). And it just *has* to be
    printed on 1200dpi devices (at least) to look good in small sizes.
    OK then, maybe a short list is incomplete without a caution NOT to
    use Palatino...

    JK> Also, if this is meant to be a ``quick history/user guide for
    those fairly new to using fonts on desktop publishing systems,''
    then I would recommend more directions about the proper uses of
    certain faces (e.g., Goudy for shaped text, Peignot for display
    *only*) and styles (e.g., italics for editorial comments, all-caps
    for basically nothing).

    LP-2> Okay, okay. I was only sharing a few ideas, not trying to
    write a book. Surely you agree that the 3 typefaces I chose are by
    far the most commonly used and abused these days? I don't think a
    discussion of Goudy or Peignot fits in very well here, unless we're
    hoping to make a very wide-ranging FAQL. Regarding styles: first,
    italics are used principally for *emphasis* (rather than bold in
    running text); second, all good books have a few small caps here
    and there, don't they? - all mine do...

    JK> Sorry if I come across as critical. I think the idea of making
    a FAQL is a good one, as is your effort. We just have to make sure
    it doesn't give any newbies the wrong impressions and further
    perpetuate the typographical morass we're facing today.

    LP-2> Sorry if I come across as defensive, but I stand by what I
    said and object to the suggestion that I am ``perpetuating the
    typographical morass''. (I don't know if you really intended this -
    apologies if you didn't.)

1.26.2. Comments by Don Hosek: 

    Don Hosek offers the following additional notes:

    The ``Times'' in most printers is actually a newer version of the
    font than Monotype's ``Times New Roman'' which it is originally
    based on. Walter Tracy's _Letters of Credit_ gives an excellent
    history of the face which was based on Plantin and in the original
    cutting has metrics matching the original face almost exactly.
    Another interesting note about the face is that it is almost a
    completely different design in the bold: this is due to the fact
    that old-styles are difficult to design as a bold. Incidentally,
    the classification of Times as a transitional is not firm. It
    likely is placed there by some type taxonomists (most notably
    Alexander Lawson) because of the bold and a few minor features.
    Others, myself included, think of it as a old style. The typeface
    listed in the Adobe catalog as Times Europa was a new face
    commissioned in 1974 to replace the old Times (whose 50th birthday
    was this past October 3rd).

    Hermann Zapf is not particularly pleased with any of the
    phototypesetting versions of Optima. As a lead face, Optima is very
    beautiful. His typeface ``World'', used in the World Book
    Encyclopedia is one recutting for photocomp which improves the font
    somewhat. He is on record as saying that if he had been asked, he
    would have designed a new font for the technology.

Subject: 1.27. Pronounciation of Font Names 

    Below each of the following font names, a suggested English
    pronounciation is given. This information was collected from a
    (relatively) long discussion on comp.fonts. If you disagree, or
    have other suggestions, please let me know.

    1.27.1 Arnold Boecklin

    ``Ar'' as in car, ``nold'' as in ``old'' with an ``n'' on the
    front. ``Boeck'' is tricker. The ``oe'' is actually an umlaut ``o''
    in German, and the closest sound to most English speakers is an
    ``er''. So try ``Berklin'' if you want to come close to the
    original. Otherwise, just say ``Boklin'', with a long o, like in
    ``boat''.

    1.27.2 Benguiat

    Ben-Gat. This according to an ITC brochure.

    1.27.3 Courier

    I would pronounce Courier not like Jim Courier, but the French way:
    Ku-rie, where ``Ku'' is pronounced like ``coo'', only short, and
    ``rie'' is pronounced ``ree-eh''.

    1.27.4 Didot

    Stressed at the last syllable. ``Dee-DOOH'' (not nasal).

    1.27.5 Fette Fraktur

    ``Fet'' as in ``get'' with a ``te'' that rhymes with ``way''.
    ``Frak'' rhymes with ``mock'', and ``tur'' with ``tour''.

    1.27.6 Fenice

    Feh-nee'-chey

    1.27.7 Garamond

    ``Gara-'': Use a french ``r'' instead of an english one. Both
    ``a''s are pronounced like the ``u'' in the word ``up''. ``-mond'':
    the last syllable is stressed, and you don't pronounce the ``n''
    and ``d'', but the whole ``ond'' is a nasal ``o''. Hold your nose
    closed and say ``Ooh'', then you get the right sound. The ``ant''
    in ``Avant-Garde'' is very similar to this sound, it is a nasal
    situated between ``a'' and ``o''.

    1.27.8 Helvetica

    Hell-veh'-ti-ka

    1.27.9 Koch Roman

    Pronounced like scottish `Loch', but with K instead of L.

    1.27.10 LaTeX

    Lamport lists lah'-tech, lah-tech', lay'-tech and lay'-tecks as
    valid on p.4. Last I talked to him he'd settled into lay'-tech
    which has always been my pronunciation as well. Somewhere, I heard
    that LL does explicitly rule out L.A.-tech, but he's from northern
    California which explains a lot.

    1.27.11 Mos Eisley

    moss eyes-lee

    1.27.12 Novarese

    No-vahr-ay'-zay

    1.27.13 Palatino

    pa-la-TEEN-oh

    1.27.14 Peignot

    There's some contention here, suggested pronouncations:

    pay-nyoh'

    ``P'' like ``P'' in `Post'', ``ei'' like ``a'' in ``fan'', ``gn''
    like ``n'' in ``noon'' plus ``y'' in ``yes'', ``ot'' -- long,
    closed ``o'' (I don't know English examples), stressed.

    ``P'' like ``P'' in `Post'', ``ei'' like ``a'' in ``many'', ``gn''
    like ``n'' in ``noon'' plus ``y'' in ``yes'', ``ot'' -- long,
    closed ``o'' (I don't know English examples), stressed.

    1.27.15 Sabon

    Sah-bon'

    1.27.16 TeX

    Rhymes with Blech, (as in ``Blech, that tasted awfull!'')

    1.27.17 Veljovic

    Vel'-yo-vitch

    1.27.18 Zapf

    Like ``tsapf''. The ``a'' is pronounced like a short version of the
    well known tongue-depresser vowel ``aaahhh''. Perhaps a better
    English analogy would be the ``o'' in ``hop'' or ``hops''.

Subject: 1.28. What does `lorem ipsum dolor' mean? 

    `Lorem ipsum dolor' is the first part of a nonsense paragraph
    sometimes used to demonstrate a font. It has been well established
    that if you write anything as a sample, people will spend more time
    reading the copy than looking at the font. The ``gibberish'' below
    is sufficiently like ordinary text to demonstrate a font but
    doesn't distract the reader. Hopefully.

    Lorem ipsum dolor sit amet, consectetaur adipisicing elit, sed do
    eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim
    ad minim veniam, quis nostrud exercitation ullamco laboris nisi ut
    aliquip ex ea commodo consequat. Duis aute irure dolor in
    reprehenderit in voluptate velit esse cillum dolore eu fugiat nulla
    pariatur. Excepteur sint occaecat cupidatat non proident, sunt in
    culpa qui officia deserunt mollit anim id est laborum Et harumd und
    lookum like Greek to me, dereud facilis est er expedit distinct.
    Nam liber te conscient to factor tum poen legum odioque civiuda. Et
    tam neque pecun modut est neque nonor et imper ned libidig met,
    consectetur adipiscing elit, sed ut labore et dolore magna aliquam
    makes one wonder who would ever read this stuff? Bis nostrud
    exercitation ullam mmodo consequet. Duis aute in voluptate velit
    esse cillum dolore eu fugiat nulla pariatur. At vver eos et accusam
    dignissum qui blandit est praesent luptatum delenit aigue excepteur
    sint occae. Et harumd dereud facilis est er expedit distinct. Nam
    libe soluta nobis eligent optio est congue nihil impedit doming id
    Lorem ipsum dolor sit amet, consectetur adipiscing elit, set
    eiusmod tempor incidunt et labore et dolore magna aliquam. Ut enim
    ad minim veniam, quis nostrud exerc. Irure dolor in reprehend
    incididunt ut labore et dolore magna aliqua. Ut enim ad minim
    veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip
    ex ea commodo consequat. Duis aute irure dolor in reprehenderit in
    voluptate velit esse molestaie cillum. Tia non ob ea soluad
    incommod quae egen ium improb fugiend. Officia deserunt mollit anim
    id est laborum Et harumd dereud facilis est er expedit distinct.
    Nam liber te conscient to factor tum poen legum odioque civiuda et
    tam. Neque pecun modut est neque nonor et imper ned libidig met,
    consectetur adipiscing elit, sed ut labore et dolore magna aliquam
    is nostrud exercitation ullam mmodo consequet. Duis aute in
    voluptate velit esse cillum dolore eu fugiat nulla pariatur. At
    vver eos et accusam dignissum qui blandit est praesent. Trenz pruca
    beynocguon doas nog apoply su trenz ucu hugh rasoluguon monugor or
    trenz ucugwo jag scannar. Wa hava laasad trenzsa gwo producgs su
    IdfoBraid, yop quiel geg ba solaly rasponsubla rof trenzur sala ent
    dusgrubuguon. Offoctivo immoriatoly, hawrgasi pwicos asi
    sirucor.Thas sirutciun applios tyu thuso itoms ghuso pwicos gosi
    sirucor in mixent gosi sirucor ic mixent ples cak ontisi sowios uf
    Zerm hawr rwivos. Unte af phen neige pheings atoot Prexs eis phat
    eit sakem eit vory gast te Plok peish ba useing phen roxas. Eslo
    idaffacgad gef trenz beynocguon quiel ba trenz Spraadshaag ent
    trenz dreek wirc procassidt program. Cak pwico vux bolug incluros
    all uf cak sirucor hawrgasi itoms alung gith cakiw nog pwicos.
    Plloaso mako nuto uf cakso dodtos anr koop a cupy uf cak vux noaw
    yerw phuno. Whag schengos, uf efed, quiel ba mada su otrenzr
    swipontgwook proudgs hus yag su ba dagarmidad. Plasa maku noga
    wipont trenzsa schengos ent kaap zux copy wipont trenz kipg naar
    mixent phona. Cak pwico siructiun ruos nust apoply tyu cak UCU
    sisulutiun munityuw uw cak UCU-TGU jot scannow. Trens roxas eis ti
    Plokeing quert loppe eis yop prexs. Piy opher hawers, eit yaggles
    orn ti sumbloat alohe plok. Su havo loasor cakso tgu pwuructs tyu
    InfuBwain, ghu gill nug bo suloly sispunsiblo fuw cakiw salo anr
    ristwibutiun. Hei muk neme eis loppe. Treas em wankeing ont sime
    ploked peish rof phen sumbloat syug si phat phey gavet peish ta
    paat ein pheeir sumbloats. Aslu unaffoctor gef cak siructiun gill
    bo cak spiarshoot anet cak GurGanglo gur pwucossing pwutwam. Ghat
    dodtos, ig pany, gill bo maro tyu ucakw suftgasi pwuructs hod yot
    tyubo rotowminor. Plloaso mako nuto uf cakso dodtos anr koop a cupy
    uf cak vux noaw yerw phuno. Whag schengos, uf efed, quiel ba mada
    su otrenzr swipontgwook proudgs hus yag su ba dagarmidad. Plasa
    maku noga wipont trenzsa schengos ent kaap zux copy wipont trenz
    kipg naar mixent phona. Cak pwico siructiun ruos nust apoply tyu
    cak UCU sisulutiun munityuw uw cak UCU-TGU jot scannow. Trens roxas
    eis ti Plokeing quert loppe eis yop prexs. Piy opher hawers, eit
    yaggles orn ti sumbloat alohe plok. Su havo loasor cakso tgu
    pwuructs tyu.

    [ This version was found on CompuServe. It differs from other
    versions I have seen in print, increasingly so as you go along. It
    almost looks computer-generated, doesn't it? ]



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part4
Version: 1.4.1

Subject: Chapter 2 

    Macintosh Information

Subject: 2.1. Font formats 

    Postscript Type 1 fonts can be installed on the Macintosh only by
    using accompanying bitmapped fonts.

    Postscript Type 3 fonts are installed on the Macintosh in the same
    way that Type 1 fonts are.

    Truetype fonts: no bitmapped font is necessary with this type,
    though commonly used sizes are often supplied.

    Bitmap fonts: on the Macintosh, bitmap fonts also contain the
    kerning information for a font and must be installed with both type
    1 and type 3 fonts. Their presence also speeds the display of
    commonly used font sizes.

Subject: 2.2. Frequently requested fonts 

    Many fonts are available at various archives. The king of Macintosh
    font archives is mac.archive.umich.edu. On mac.archive.umich.edu,
    the fonts are located in the following folders:

       /mac/system.extensions/font/type1
       /mac/system.extensions/font/type3
       /mac/system.extensions/font/truetype

    The following fonts are in Type 1 format for the Macintosh. Some
    are also available in TrueType format.

    * Tamil

      Paladam, T. Govindram

    * Hebrew

      ShalomScript, ShalomOldStyle, ShalomStick, Jonathan Brecher

    * Japanese

      Shorai (Hirigana, with application)

    * Star Trek

      StarTrekClassic, Star TrekClassicMovies, StarTrekTNGCrille,
      StarTrekTNG Titles, TNG monitors, StarFleet, Klinzai (Klingon
      font)

    * Command-key symbol

      Chicago (TrueType or bitmap, key: Ctrl-Q), Chicago Symbols
      (Type3, key: 1), EncycloFont (Type3, key: d)

    * Astrologic/Astronomic symbols

      Hermetica (Type1), InternationalSymbols (Type 3, Mars and Venus
      only), MortBats (Type3), Zodiac (bitmap)

    * IBM OEM Line Drawing Characters

      Try Adobe PrestigeElite or Adobe LetterGothic. They have all the
      characters you want, but the `line draw' characters are unencoded
      --- you will need tools to reencode the outline font itself and
      make a new PFM metric files.

      Or try IBMExtended from Impramatur Systems in Cambridge, Mass. It
      already is encoded using IBM OEM encoding (some DOS code page).

      The IBM version of Courier distributed freely under the X11
      Consortium also contains the appropriate characters. It is
      distributed in PC format, however. Again, the font will have to
      be reencoded for Windows. Appropriate AFM files for this font can
      be obtained from: ibis.cs.umass.edu:/pub/norm/comp.fonts. The
      file is called IBM-Courier-PC8-SymbolSet-AFMs.zip.

    Many of these mac fonts are available in files that are either
    entitled xxxx.sit or xxxx.cpt. xxxx.sit files are Stuffit
    archives. xxxx.cpt files are Compact Pro archives. StuffitLite
    (shareware 25) and Compact Pro (shareware 25) are available at the
    standard ftp sites. Uncompressors for these programs (free) are
    also available at the archive sites. Check the
    utilities/compression utilities folders.

Subject: 2.3. Commercial font sources 

    Commercial fonts can be obtained from a number of different
    companies, including the large font houses: Adobe, Font Haus, Font
    Company, Bitstream, and Monotype. At these companies, fonts cost
    about $ 40 for a single face, and must be purchased in packages.
    Adobe, Bitstream, and Monotype also sell pre-designated type
    collections for slightly lower prices.

    Image Club sells a wide selection of fonts for about $ 50 for a 4
    font family.

    Other, cheaper companies sell fonts of lesser quality, including
    KeyFonts, which sells a set of 100 fonts for $ 50 and Cassady &
    Green's Fluent Laser Fonts, a set of 79 fonts for $ 99. Cassady &
    Greene also sells Cyrillic language fonts in Times, Bodoni, and
    Helvetica sell for about $ 40 for each 4 font family.

    Underground Phont Archive (Jason Osborne, <
    V065HJKU@ubvms.cc.buffalo.edu>): is a distributor of
    shareware/freeware truetype fonts. Many of these fonts can also be
    obtained at the mac.archive.umich.edu archive site. Currently [ ed:
    as of 7/92 ] 170 fonts, which are distributed for $ 35, +3 shipping
    for overseas orders. (Some fonts may have additional shareware
    fees).

    Foreign language fonts, ranging from Egyptian hieroglyphics to
    Cyrillic can be obtained from Ecological Linguistics.

    Please consult the vendor list for a more complete list of vendors.

Subject: 2.4. Font Installation 

    * System 7

      Install the fonts by opening the suitcase containing the bitmap
      file and dropping the fonts into your system suitcase, located
      inside your system folder. You will need to quit all other
      applications before doing this. For a TrueType font, the icon for
      the font will have several letters in it, instead of just one.
      Dropping it into your system suitcase will make all sizes of the
      font available. For Postscript type 1 fonts, you also need to
      place the printer font in the extensions folder in your system
      folder. If you are using ATM you need to place these fonts in the
      root level of your system folder (not inside another folder).
      Using Suitcase, a font management utility, you can avoid
      cluttering your system folder with printer fonts.

      You can make new suitcases of fonts (generally not needed, but
      used by those who use Suitcase) by using Font DA mover. It
      operates the same as in system 6, except that the most recent
      version must be used.

    * System 6

      Bitmap fonts can be installed using Font DA mover to move the
      fonts, located inside suitcases, into your system. You will need
      to restart your computer to make these fonts available. Printer
      fonts must be placed in the system folder, not inside any other
      folder.

      Truetype fonts can be used with system 6 if you get the Truetype
      init. Then the fonts can be installed in your system with Font DA
      mover. Suitcase can also be used under system 6.

Subject: 2.5. Font utilities 

    * SUITCASE

      Suitcase is a nifty little system extension that lets you avoid
      having to install fonts into your system. In system 6, it means
      that you can avoid restarting your system every time you want to
      install a new font.

      In system 7, Suitcase lets you avoid quitting all applications
      before making fonts available. Some programs, like Quark Xpress
      will automatically update their font list when you open a new
      suitcase, allowing much more flexibility in opening and closing
      font suitcases and making different sets of fonts available.

      Suitcase appears in your Apple menu in both system 7 and 6 and
      allows you to open suitcases, as though they were files, thus
      making the fonts contained in them accessible to programs.

      In addition, when suitcase is installed, printer fonts can be
      stored with the bitmap suitcases they correspond to, instead of
      having to drop them into your system folder.

      The most recent version of Suitcase is compatible with TrueType.
      Suitcase is about $ 54 form the mail order places.

    * MASTER JUGGLER

      Claims to do similar things

    * ATM

      Adobe Type Manager is an Init and Control panel allows accurate
      screen display, at any size of Postscript type 1 fonts. It's
      function is replicated with Truetype (but for different outline
      font format). With it installed, you can print fonts of any size
      to non-postscript printers. When using ATM, printer fonts must
      either be stored with the bitmap files opened with suitcase (when
      using Suitcase), or they must be stored in the root level of the
      system folder (with System 7.0, printer fonts must be stored in
      the Extension folder if you are not using Suitcase). ATM is now
      available, with the System 7.0 upgrade, as well as directly from
      adobe with 4 Garamond fonts.

      ATM is not built into System 7.1 as previously expected. With
      System 7.1, printer fonts must be stored in the Fonts folder if
      you are not using Suitcase.

      If you are using version 7.x prior to 7.1, the following hack
      allows you to have a Font folder (if you don't use Suitcase):

      Open the second 'DCOD' resource from the ATM 68020/030 file. Do
      an ASCII search for the string "extn" and change it to "font"
      (it's case sensitive). Save, close, and Reboot.

      This process should work for 68000 machines using the proper ATM
      file instead.

    * Super ATM

      This is a utility that will create fonts, on the fly, that match
      the metrics of any Adobe-brand fonts you don't have. It does a
      remarkably good job of mimicry because it uses two "generic"
      Multiple Master typefaces, serif and sans serif to simulate the
      appearance of the missing typefaces. (There is a 1.4 megabyte
      database file that allows Super ATM to simulate the fonts that
      aren't there.) You also get Type On Call (a CD-ROM), which has
      locked outline fonts, and unlocked screen font for all but the
      most recent faces in the Adobe Type library.

    * TTconverter

      A shareware accessory available at the usual archives will
      convert Truetype fonts for the IBM into Macintosh format.

    * Microsoft Font Pack

      If you work with a mixture of Macs and PCs running Windows 3.1,
      this is a good deal; 100 TrueType fonts compromising the Windows
      3.1 standard set and the two Font Packs for Windows. This
      includes various display fonts, the Windows Wingdings font, and
      the Lucida family.

    A variety of programs, for example, Font Harmony, etc. will allow
    you to change the names and ID numbers of your fonts.

    Fontmonger and Metamorphosis will let you convert fonts among
    several formats (type 1 and 3 and Truetype for the Mac and PC), as
    well as letting you extract the font outlines from the printer
    fonts.

Subject: 2.6. Making outline fonts 

    This is very, very difficult. Many people imagine that there are
    programs that will simply convert pictures into fonts for them.
    This is not the case; most fonts are painstakingly created by
    drawing curves that closely approximate the letterforms. In
    addition, special rules (which improve hinting, etc.) mandate that
    these curves be drawn in specific ways. Even designing, or merely
    digitizing, a simple font can take hundreds of hours.

    Given that, there are two major programs used for font design on
    the Macintosh, Fontographer ( 280) and FontStudio ( 400). These
    programs will allow you to import scanned images, and then trace
    them with drawing tools. The programs will then generate type 1, 3,
    TrueType and Bitmap fonts for either the Macintosh or the IBM PC.
    They will also generate automatic hinting. They also open
    previously constructed outline fonts, allowing them to be modified,
    or converted into another format.

    As far as I know, there are no shareware programs that allow you to
    generate outline fonts.

Subject: 2.7. Problems and possible solutions 

   1. Another font mysteriously appears when you select a certain font
      for display.

      This is often the result of a font id conflict. All fonts on the
      Macintosh are assigned a font id, an integer value. When two
      fonts have the same id, some programs can become confused about
      the appropriate font to use. Microsoft word 4.0 used font id's to
      assign fonts, not their names. Since id's can be different on
      different computers, a word document's font could change when it
      was moved from one computer to another. Other signs of font id
      problems are inappropriate kerning or leading (the space between
      lines of text). Some font ID problems can be resolved by using
      Suitcase, which will reassign font ID's for you, as well as
      saving a font ID file that can be moved from computer to computer
      to keep the id's consistent. Font ID problems can also be solved
      with several type utilities, which will allow you to reassign
      font id's. Most newer programs refer to fonts correctly by name
      instead of id number, which should reduce the frequency of this
      problem.

   2. When using a document written in MSWord 5.0, the font
      mysteriously changes when you switch from your computer at home
      to work, or vice versa.

      This is the result of a bug in MSWord 5.0. The MSWord 5.0
      updater, which can be found at the info-mac archives at sumex (in
      the demo folder), will fix this bug.

Subject: 2.8. Creating Mac screen fonts from Type 1 outlines 

    Peter DiCamillo contributes the following public domain solution:

    BitFont is a program which will create a bitmapped font from any
    font which can be drawn on your Macintosh. In addition to standard
    bitmapped fonts, it works with Adobe outline fonts when the Adobe
    Type Manager is installed, and works with TrueType? fonts. BitFont
    will also tell you how QuickDraw will draw a given font (bitmapped,
    ATM, or TrueType) and can create a text file describing a font and
    all its characters.

    BitFont was written using MPW C version 3.2. It is in the public
    domain and may be freely distributed. The distribution files
    include the source code for BitFont.

    Berthold K.P. Horn <bkph@ai.mit.edu> contributes the following
    solution.

    This is a commercial solution. A font manipulation package from Y &
    Y includes:

    AFMtoPFM, PFMtoAFM, AFMtoTFM, TFMtoAFM, AFMtoSCR, SCRtoAFM,
    TFMtoMET, PFBtoPFA, PFAtoPFB, MACtoPFA, PFBtoMAC, REENCODE, MODEX,
    DOWNLOAD, SERIAL, and some other stuff I forget.

    To convert PC Type 1 fonts to MacIntosh use PFBtoMAC on the outline
    font itself; then use AFMtoSCR to make the Mac `screen font'
    (repository of metric info). You may need to use PFMtoAFM to first
    make AFM file.

    To convert MacIntosh font to PC Type 1, use MACtoPFA, followed by
    PFAtoPFB. Then run SCRtoAFM on screen font to make AFM file.
    Finally, run AFMtoPFM to make Windows font metric file.

    Y & Y are the `TeX without BitMaps' people (see ad in TUGboat):

    Y & Y makes DVPSONE, DVIWindo, and fonts, for use with TeX mostly,
    in fully hinted Adobe Type 1

    Y & Y, 106 Indian Hill, Carlisle MA 01741 USA

    (800) 742-4059

    (508) 371-3286 (voice)

    (508) 371-2004 (fax)

    Mac Screen fonts can be constructed from outline fonts using
    Fontographer, as well.



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part5
Version: 1.4.1

Subject: Chapter 3 

    MS-Dos Information

Subject: 3.1. MS-DOS font notes 

    The easiest way to get outline fonts under MS-DOS is with Microsoft
    Windows 3.x or OS/2 2.x.

    Microsoft Windows 3.0 with Adobe Type Manager (ATM) and OS/2 2.0
    support PostScript Type1 fonts.

    Microsoft Windows 3.1 supports TrueType fonts natively.

    Bitmap fonts are available in a variety of formats: most formats
    are designed with the printer in mind and not the display since
    (prior to graphical environments like Windows, GEM, and OS/2) the
    majority of work under MS-DOS was done with a character-based
    interface.

Subject: 3.2. Frequently requested fonts 

    Many fonts are available at various archives. The biggest font
    archive for MS-DOS format fonts is ftp.cica.indiana.edu. Note: you
    can use any Mac format Type1 font on your PC by converting it to PC
    format with the free/shareware as described below.

    The following fonts are in Type 1 format for MS-DOS. Some are also
    available in TrueType format.

    * Hebrew

      ShalomScript, ShalomOldStyle, ShalomStick

    * Japanese

      Shorai

    * Star Trek

      Crillee, TNG monitors

    * IBM OEM Line Drawing Characters

      Try Adobe PrestigeElite or Adobe LetterGothic. They have all the
      characters you want, but the `line draw' characters are unencoded
      --- you will need tools to reencode the outline font itself and
      make a new PFM metric files.

      Or try IBMExtended from Impramatur Systems in Cambridge, Mass. It
      already is encoded using IBM OEM encoding (some DOS code page).

      The IBM version of Courier distributed freely under the X11
      Consortium also contains the appropriate characters. Again, the
      font will have to be reencoded for Windows. Appropriate AFM files
      for this font can be obtained from:
      ibis.cs.umass.edu:/pub/norm/comp.fonts. The file is called
      IBM-Courier-PC8-SymbolSet-AFMs.zip.

      Lee Cambell suggests the following alternative:

      Line Drawing characters are also available on ftp sites as
      gc0651.exe which is a self-expanding archive. It is on cica (and
      mirrors thereof). From the text file that comes with it, it
      looked like it was distributed by Microsoft. I printed some text
      in the normal A-z range and it looked identical to the truetype
      Courier font distributed with Windows. Perhaps it is an upgrade
      to that font. I didn't try the linedraw glyphs, so I can't say
      how they look.

Subject: 3.3. Font Installation 

    If you have any information that you feel belongs in this section,
    it would be greatly appreciated.

    * Windows

       * Pat Farrell contributes the following description of font
         installation under Windows.

         Installing Fonts into Windows:

         This only covers Windows 3.1 with ATM. Font is a four-letter
         word in Windows versions prior to 3.1 due to the distinctions
         between screen fonts and printer fonts. The upgrade price of
         Windows 3.1 is justified by the integration of TrueType into
         the package and the inclusion of useful fonts for all
         printers.

         Commercial fonts usually have installation instructions with
         their manuals. The approach may differ from the method used
         for PD and shareware fonts.

         To install PD and shareware fonts in Windows 3.1:

        1. Copy the fonts onto a suitable scratch area (i.e. a floppy,
           or any temporary area of your hard disk.

        2. Execute ``Control Panel'' by double-clicking on the icon in
           the Windows Program Manager's ``main'' group.

        3. Double-click on the Fonts icon.

        4. Double-click on the ``Add'' button.

        5. Select the scratch directory holding the new fonts.

        6. A list of the fonts will be displayed. You can manually
           select the fonts you like, or you can use the ``Select All''
           button.

        7. Make sure the ``Copy Fonts to Windows Directory'' check-box
           is checked. This will copy the fonts from the scratch area
           to your Windows directory.

        8. Click on the ``Ok'' button.

    \_9@ Special notes for Windows applications:

         Word for Windows (W4W) stores font/printer information in its
         own initialization files. After you add new fonts, you have to
         tell W4W that the printer can use the new fonts. Do this by
         selecting "Printer Setup`` from the W4W main "File" menu item,
         click on the "Setup'' button, and then click on two ``Ok''
         buttons to back out of the setup mode.

    \_9@ Note concerning Windows 3.1 upgrade:

         There are two upgrade packages available from Microsoft for
         Win3.1. There is the standard version which contains TrueType
         support, and about six font families (Times New Roman, Arial,
         Courier, Symbols, Wingdings, etc.). It costs something like $
         50 (US). The second version contains a number of TrueType
         fonts that includes equivalents for the 35 standard Postscript
         fonts. This adds an additional $ 50, which is a pretty good
         value. However, if you plan on buying Microsoft's PowerPoint,
         it includes the same additional fonts/typefaces. So you can
         save money by not buying the fonts twice.

    \_9@ More about Windows

         * [ Q: ] Why are don't the TrueType fonts that come with
           Microsoft products (Word-for-Windows, PowerPoint, Windows
           3.1 TrueType Font Pack, etc.) display and print properly on
           my system?

         * [ A: ] The font matching algorithm in Win3.1 is fairly
           simplistic. If you install lots of TrueType fonts, the
           algorithm can get confused. In this case, ``lots'' is more
           than 50 or so.

       * According to Luann Vodder who supports Microsoft Word on
         CompuServ:

         ``There is a procedure which Windows must go through when an
         application requests a font. Each font contains a list of
         attributes such as Family, FaceName, Height, Width,
         Orientation, Weight, Pitch, etc. When an application requests
         a font, it fills out a logical font for Windows containing the
         necessary attributes, then starts going through a font mapping
         algorithm to determine which of the installed fonts most
         closely matches the requested (logical) font. Penalties are
         applied against fonts whose attributes do not match the
         logical font, until the fonts with the fewest penalties are
         determined. If there is a ``tie'', Windows may need to rely on
         the order of the fonts in the WIN.INI file to determine the
         ``winner''.

         If the fonts you want are in your WIN.INI file, and show up in
         Windows' Control Panel, then try moving them higher in your
         WIN.INI file with a file edittor such as SYSEDIT.''

       * Kesh Govinder <govinder@ph.und.ac.za> suggested the following
         warning:

         CAUTION: While many Windows 3.1 users would like to have many
         TrueType fonts at their disposal (and they are many available
         in the PD) a word of caution. A large number (>50) TT fonts
         will slow down your windows startup time. This occurs as every
         installed font is listed in the win.ini file, and Windows has
         to go through the entire file before starting up. While this
         may not affect most users, it will especially affect users of
         CorelDraw!, so be warned.

    * Other Programs

      It is an unfortunate fact that almost all MS-DOS programs do
      things differently. Your best bet is to read the manual that
      comes with the program you want to use.

Subject: 3.4. What exactly are the encodings of the DOS `code pages'? 

    DOS uses `code pages' for `IBM OEM' encoding of fonts. There are
    six code pages supplied with DOS 5.0:

           437 (English)
           850 (Multilingual - Latin I)
           852 (Slavic - Latin II)
           860 (Portugal)
           863 (Canadian French)
           865 (Nordic)

    (The character code range 0 - 127 is the same in all code pages).

    The problem is that MS idea of how to define what a code page is,
    is to show a low resolution print out of the glyphs! Which is fine
    for the letters of the alphabet, numerals and the obvious
    punctuation marks, but worthless for accents (is it `cedilla' or
    `ogonek'? is it `caron' or `breve'?) and many other characters. For
    example, 249 is a small dot, while 250 is a slightly larger dot. Is
    one of these supposed to be `bullet' (which already occurs at 7)?
    Or is one of them maybe supposed to be `middot' or `dotcentered'?
    Is 228 supposed to be `Sigma' or `summation'. Is 225 supposed to be
    `beta' or `germandbls'? Etc etc

    And what is the character that looks like `Pt' in code position
    158?

    Anyway, surely there is a table somewhere that defines precisely
    what these encodings are supposed to be. That is, a table that
    gives for each code number the name and/or a description of the
    character.

Subject: 3.5. Font utilities 

    * PS2PK

      PS2PK allows you to convert PostScript Type1 fonts into bitmap
      fonts. The bitmap files produced are in TeX PK format.

    * PKtoSFP

      PKtoSFP allows you to convert TeX PK fonts into HP LaserJet
      softfonts.

    * PFBDir/PFBInfo

      PFBDir and PFBInfo format and display the ``headers'' in a binary
      Type1 font.

Subject: 3.6. Converting Macintosh Type1 fonts to MS-DOS format 

    Converting Macintosh Type1 fonts into PC Type1 fonts can be done
    using purely free/shareware tools. I've outlined the procedure
    below. Make sure you read the ``readme'' files that accompany many
    fonts. Some font authors specifically deny permission to do
    cross-platform conversions.

3.6.1. The tools you need 

    XBIN: xbin23.zip in /pub/msdos/mac on oak.oakland.edu (or other
    mirrors)

    UNSIT: unsit30.zip in /pub/msdos/mac on oak.oakland.edu

    UNCPT: ext-pc.zip in /pub/pc/win3/util on ftp.cica.indiana.edu

    REFONT: refont14.zip in /pub/norm/mac-font-tools on
    ibis.cs.umass.edu

    BMAP2AFM: bm2af01.zip in /pub/norm/mac-font-tools on
    ibis.cs.umass.edu

    XBIN converts Mac ``BinHex''ed files back into binary format.
    BinHex is the Mac equivalent of UUencoding, it translates files
    into ascii characters so that mailers can send them around without
    difficulty. It also aids in cross platform copying too, I'm sure.
    BinHexed files generally have filenames of the form
    ``xxx.yyy.HQX''.

    UNSIT explodes ``Stuffit'' archives. Stuffit archives generally
    have filenames of the form ``xxx.SIT''. UNSIT will ask if you want
    to seperate resource and data forks. Yes, you do. There has been
    some confusion about whether or not you want headers. I'm inclined
    to conclude that it can be made to work either way. Personally, I
    say no.

    UNCPT explodes ``Compactor'' archives. The ext-pc implementation is
    called ``extract'' and does not require windows (even thought it's
    in the windows section on cica). Compactor archives generally have
    filenames of the form ``xxx.CPT''.

    REFONT converts Mac type1 fonts into PC type1 fonts. It also
    converts Mac TrueType fonts to PC TrueType format. And vice-versa.

    BMAP2AFM constructs AFM files from the metric information contained
    in Mac screen fonts (.bmap files). The screen font files do not
    have any standard name (although they frequently have the extension
    .bmap). The screen fonts have file type ``FFIL'' which, in
    combination with some common sense, is usually sufficient to
    identify them.

    I've listed the tools that I've used and the sites that are
    reasonable for me to retrieve them from. It's probably a good idea
    to check with archie for closer sites if you're not in North
    America. These tools run under MS-DOS. XBIN and UNSIT can also be
    run under Unix.

3.6.2. How to do it 

    Collect the Mac fonts from the archive or BBS of your choice. Most
    of these files will be in BinHexed format. As a running example,
    I'm going to use the imaginary font ``Plugh.cpt.hqx''. When I
    download this font to my PC, I would use the name ``PLUGH.CPX''.
    The actual name you use is immaterial.

    Run XBIN on PLUGH.CPX. This will produce PLUGH.DAT, PLUGH.INF, and
    PLUGH.RSR. The data fork of the Mac file (the .DAT file) is the
    only one of interest to us, you can delete the others.

    If the original file had been ``Plugh.sit.hqx'', we would be using
    the UNSIT program. Since I chose a .cpt file for this example, I'm
    going to run UNCPT.

    Run UNCPT on PLUGH.DAT. You want to extract the AFM file (if
    present), the documentation or readme file (if present), and the
    Type1 outline file. The AFM and README files will be in the data
    fork of the archive file. The Type1 outline will be in the resource
    fork. The AFM and README files have Mac ``TEXT" type. The Type1
    outline file has "LWFN'' type. I'm not trying to describe this part
    in a step-by-step fashion. Use the docs for UNCPT and UNSIT as a
    guide. If you got this far you probably won't have much difficulty.
    If you do, drop me a line and I'll try to help.

    If the font does not contain an AFM file, extract the screen font.
    Screen fonts frequently have the extension .bmap and are ``FFIL''
    type files. Use Bmap2AFM to construct an AFM from the screen font.
    If the archive _does_ contain an AFM file, it's safe to bet that
    the author's AFM will be better than the one created by Bmap2AFM.

    Finally, run REFONT on the Type1 outline that you extracted above.
    The result should be an appropriate PC type1 outline. REFONT will
    create a PFM file for you from the AFM file, if you desire.

    Remember to register your shareware...

3.6.3. Other comments 

    vkautto@snakemail.hut.FI makes the following observations:

    * UNCPT is easier to use than UNSIT

    * UNCPT has to be run twice. I usually do it like this

      extract *.cpt -f

      extract *.cpt -f -r

    * When using ``unsit30'' you probably want the outline file with
      the MacHeader and the others without it. I think that REFONT
      requires it but I am not sure.

    * REFONT works usually ok. You want a PFA (ASCII) file which is
      directly usable on NeXT (you may need to convert carriage-returns
      to newlines but I am not sure if it is necessary).

      The biggest problem is with the .afm files that are completely
      missing or generated by the tools that don't do their job
      properly.

    * BMAP2AFM requires some extra files (ie. other than bmap2afm.exe)
      to work properly.

Subject: 3.7. Converting PC Type1 and TrueType fonts to Macintosh format 

    Refont (version 1.4) can convert (in both directions) between PC
    and Mac formats of Type1 and TrueType fonts. Note: it _cannot_
    convert _between_ formats, only architectures. The procedure
    described above outlines how to convert a Mac archive into PC
    format so that you can get at the data. Presumably, the process can
    be reversed so that you can get at the data on the Mac side as
    well. Unfortunately, I don't have a Mac so I can't describe the
    process in detail.

Subject: 3.8. Converting PC Type1 fonts into TeX PK bitmap fonts 

    The release of PS2PK by Piet Tutelaers <rcpt@urc.tue.nl> is a
    godsend to those of us without PostScript printers. PS2PK converts
    PC/Unix format Type 1 fonts into TeX PK files. Used in conjunction
    with the AFM2TFM utility for creating TeX metric files, this allows
    almost anyone to use Type 1 PostScript fonts. PS2PK is distributed
    under the GNU License and has been made to run under MS-DOS with
    DJGPP's free GNU C compiler. The PC version requires a 386 or more
    powerful processor. Check with Archie for a source near you.

    Note: if TeX PK files are not directly usable for you, there seems
    to be a fair possibility that LaserJet softfonts would be useful.
    If so, check below for instructions on converting TeX PK files to
    LaserJet softfonts.

Subject: 3.9. Converting TeX PK bitmaps into HP LaserJet softfonts (and 
    vice-versa)

    There is some possibility that someone will yell 'conflict of
    interest' here, but I don't think so. I wrote the following
    utilities:

    PKtoSFP: convert TeX PK files to LaserJet (bitmapped) softfonts

    SFPtoPK: convert LaserJet (bitmapped) softfonts to TeX PK files

    But they are completely free, so I don't gain anything by
    ``advertising'' them here. These are MS-DOS platform solutions
    only. If you know of other solutions, I would be happy to list
    them.

Subject: 3.10. TrueType to HP LaserJet bitmap softfonts (HACK!) 

    If you have the tools, the following suggestion does work, but it
    isn't easy and it hasn't been automated. To be honest, I haven't
    really tested it.

    If you are using Windows 3.1, get a LaserJet printer driver (you
    don't need the printer, just the driver). Using the LaserJet
    driver, direct output to a file and print a simple file containing
    all the letters you want in the softfont in the font that you are
    converting. When the print job has completed, the output file will
    contain, among other things, a LaserJet softfont of the TrueType
    font you selected. If you know the LaserJet format, you can grab it
    out of there.

    I didn't say it was easy ;-)

    This method will not work with ATM [ ed: as of 7/92 ] because ATM
    does not construct a softfont; it downloads the whole page as
    graphics.

    Here is an overview of the LaserJet bitmap softfont format. It
    should help you get started. If you have any questions, ask norm
    <walsh@cs.umass.edu>. If anyone wants to write better
    instructions... ;-)

    Many details are omitted from this description. They are thoroughly
    discussed in the HP Technical Reference for each model of laser
    printer. I recommend purchasing the Tech Ref. If you have
    additional questions and do not plan to purchase the Tech Ref (or
    do not wish to wait for its arrival), you can ask norm
    <walsh@cs.umass.edu>.

    An HP LaserJet softfont can occur almost anywhere in the output
    stream destined for the printer. In particular, it does _not_ have
    to be wholly contiguous within the output file. In fact, fonts can
    be ``intermixed" at will. The following "pieces'' make up a font:

    A begin font descriptor command (followed by the descriptor) and a
    series of begin character descriptor commands (followed by their
    associated data). When a new character descriptor is encountered,
    it is added to the current font (which may change between
    descriptors).

    In the discussion that follows, the following notational
    conventions are followed:

    Key elements are surrounded by quotation marks. The quotation marks
    are not part of the element. Spaces within the element are for
    clarity only, they are not part of the element. All characters
    (except ESC and # , described below, areliteral and must be
    entered in the precise case shown).

    ESC means the escape character, ASCII character number 27 decimal.

    # means any decimal number. The meaning of the number is described
    in the commentary for that element.

    * What is a font descriptor?

      A font descriptor begins with a font descriptor command and is
      followed immediately by the data for the descriptor. Font
      descriptors define data global to the font. In general, more
      recent printers are less strict about these parameters than older
      printers.

    * What is the font descriptor command?

      ``ESC ) s # W''

      In this command, # is the number of bytes in the descriptor. The
      first element of the descriptor indicates how many of these bytes
      should be interpreted as the font descriptor (the remaining bytes
      are commentary only--to the printer, at least). This area is
      frequently used for copyright information, for example, although
      some systems insert kerning data into this area.

    * What is the font descriptor data?

      The data is:

    UI  Font descriptor size
    UB  Descriptor format
    UB  Font type
    UI  Reserved (should be 0)
    UI  Baseline distance
    UI  Cell width
    UI  Cell height
    UB  Orientation
     B  Spacing
    UI  Symbol set
    UI  Pitch
    UI  Height
    UI  xHeight
    SB  Width Type
    UB  Style
    SB  Stroke Weight
    UB  Typeface LSB
    UB  Typeface MSB
    UB  Serif Style
    SB  Underline distance
    UB  Underline height
    UI  Text Height
    UI  Text Width
    UB  Pitch Extended
    UB  Height Extended
    UI  Cap Height
    UI  Reserved (0)
    UI  Reserved (0)
    A16 Font name
    ??  Copyright, or any other information

    Where, UI=unsigned integer, SI=signed integer,
           UB=unsigned byte,    SB=signed byte,
           B=boolean,          A16=sixteen bytes of ASCII

      After the font name, ?? bytes of extra data may be inserted.
      These bytes pad the descriptor out to the length specified in the
      begin font descriptor command.

      Note: integers are always in big-endian order (MSB first).

    * What is a character descriptor?

      A character descriptor describes the character specific info and
      the layout of the bitmap. Newer printers can accept compressed
      character bitmaps.

    * What is a character descriptor command?

      ``ESC * c # E''

      The # is the length of the descriptor, in bytes.

    * What is the character descriptor data?

    UB  Format
     B  Continuation
    UB  Descriptor size
    UB  Class
    UB  Orientation
    SI  Left offset
    SI  Top offset
    UI  Character width
    UI  Character height
    SI  Delta X
    ??  Character (bitmap) data.

      Although older printers cannot accept characters that include
      continuations, newer printers can. If the ``continuation'' field
      is 1, the character bitmap data begins immediately after that
      byte and the remaining fields _are not_ present.

    * Ok, now I understand the data, what do I look for in the output
      stream?

      ESC * c # D
         defines the font number (remember the number).

      ESC ) s # W
         defines the font descriptor (as described above).

      ESC * c # E
         specifies the character code (the # , in this case). The next
         character descriptor maps to this position in the font.
         Characters do not have to appear in any particular order.

      ESC ( s # W
         defines the character descriptor (as described above).

      Remember, these can occur in any order. Experimentation with the
      particular driver you are using may help you restrict the number
      of different cases that you have to be prepared for.

    Please report your experiences using this method to norm (both to
    satisfy his own curiosity and to help improve the FAQ).

Subject: 3.11. MS-DOS Screen Fonts (EGA/VGA text-mode fonts) 

    Editors note: the following description was mercilessly stolen from
    comp.archives on 02SEP92. It was originally Yossi Gil's posting.

    FNTCOL14.ZIP contains more than 200 text mode fonts for EGA/VGA
    displays. It includes fonts in different sizes for Hebrew, Greek,
    Cyrillic, math symbols and various type styles including smallcaps
    and script.

    It is available at borg.poly.edu:/pub/reader/dos/fntcol14.zip



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part6
Version: 1.4.1

Subject: Chapter 4 

    OS/2 Information

Subject: 4.1. OS/2 FAQ Copyright Information 

    [ ed: Except as otherwise noted, the entire OS/2 section of the
    comp.fonts FAQ List is derived from the ``Draft OS/2 Font FAQ''
    posted by David J. Birnbaum. ]

    This section if the FAQ is Copyright (C) 1993 by David J. Birnbaum.
    All Rights Reserved. Reproduced here by permission.

    [ ed: Since this section of the FAQ is wholly derived from David's
    document, some sections contain information repeated elsewhere in
    the comp.fonts FAQ. ]

    4.1.1 David Birnbaum's Introduction

    4 June 1993

    A couple of weeks ago I posted an inquiry to comp.fonts,
    comp.os.os2.misc, and the OS2-L ListServ concerning some apparent
    peculiarities in the way OS/2 handles font files. These
    "peculiarities" actually reflect regular, systematic differences in
    OS/2, Windows, and DOS font handling, which are not conveniently
    described in end-user documentation. This posting is intended to
    spare others some of the confusion I encountered as a result of
    this paradigm shift.

    This is the first (draft) distribution of this document and
    corrections and suggestions are welcome. I am grateful to Henry
    Churchyard, Marc L. Cohen, Bur Davis and Kamal Mansour for helpful
    discussions; they are not, of course, responsible for any
    misinterpretation I may have inflicted on their comments.

Subject: 4.2. Preliminaries 

    Character: an informational unit consisting of a value (usually a
    byte) and roughly corresponding to what we think of as letters,
    numbers, punctuation, etc.

    Glyph: a presentational unit corresponding roughly to what we think
    of as letters, numbers, punctuation, etc.

    Character vs glyph: Glyph and character are not necessarily the
    same; the character <a> may be mapped to a Times Roman Lower Case
    <a> glyph in one font and to a Helvetica Lower Case <a> glyph in
    another font. Change of glyphs normally means a change in style of
    presentation, while change in characters normally means a change in
    information. There are gray areas and the definitions provided
    above are general, approximate, and imprecise.

    Character set: an inventory of characters with certain assigned
    values. ASCII is a 7-bit character set that specifies which
    "character cell" (byte value) corresponds to which informational
    unit.

    Code Page: essentially synonymous with character set.

    Font: A collection of glyphs. A specific font may be isomorphic
    with a specific character set, containing only glyphs corresponding
    to characters in that set, with these glyphs mapped to the same
    byte values as the characters they are intended to represent.
    PostScript fonts often contain additional (unmapped) characters.
    Most importantly, PostScript fonts may sometimes be remapped by an
    operating environment, which is what leads to the disorienting
    cross-environment mismatch that spurred my original posting.

    Fonts may be bitmapped or outline in format; a bitmapped format
    corresponds to a particular size and weight for a particular device
    or device resolution, while a single outline font is used to
    generate multiple sizes as needed. Within an outline font system,
    different weights (bold, semibold, italic, etc.) may be encoded as
    separate font resources (separate outline files used to generate
    the glyphs) or may all be generated from a single outline (slanting
    characters to make "italics," fattening them for "bold," etc.).

Subject: 4.3. Fonts Under Dos 

    I used a large assortment of fonts under DOS for intricate
    multilingual work. My setup at that time consisted of a library of
    bitmapped fonts that could be sent to my HP LaserJet II printer, as
    well as a set of fixed-size, fixed-width screen fonts that were
    supported by my Hercules Graphics Card Plus (not the same as
    Hercules Graphics; the "Plus" included an ability to store 3072
    screen glyphs and display any of these together, while standard
    character-mode displays were normally limited to 256 or 512 such
    entities).

    Using XyWrite as a word processor, I would enter a "Mode" command
    to change fonts and character sets simultaneously; this would make
    different sets of screen glyphs available at the keyboard and would
    insert a font-change command for my printer into the text stream.
    The "Mode" and font-change commands were not displayed on the
    screen. The result was not WYSIWYG, since I was limited to
    fixed-width screen display and since I had far more printer glyphs
    available than the 3072 limit imposed by my video card; I used a
    brightness attribute to indicate bold, I used the same screen font
    for different sizes of printer fonts, etc. This worked and worked
    well, in that I could see (for example) Russian, Greek, English,
    Polish, and other characters simultaneously on the screen and I
    could print documents combining them.

    Architecturally, what was going on was that the character sets
    (code pages) and fonts were entirely isomorphic and were hard-
    coded. If I put a particular Russian letter into cell 246 of my
    screen and printer fonts, that character was always there, and any
    strategy that would let me access this cell (remapped keyboards,
    numeric keypad) was guaranteed always to find the same character.

Subject: 4.4. Windows 

    I recently began using PostScript fonts in Windows with AmiPro as
    my word processor. These fonts came with printed cards indicating
    the glyph mappings; I could look at the card and it would tell me
    that a specific character lived in cell 246, and if I entered
    Alt-0246 at the numeric keypad that glyph would appear on the
    screen. If I loaded the font into Fontographer for Windows, these
    glyphs would be arrayed in cells according to the map provided by
    Adobe with the fonts. Fontographer also revealed that these fonts
    had other, "unmapped" glyphs assigned to cells above 255.

    Given what appeared to be a hard correspondence among what I saw in
    Fontographer, what was printed in Adobe's maps, and what was
    displayed when I entered something at the keyboard, I naively
    assumed that PostScript fonts were operating much like my bitmapped
    fonts under DOS. There were some obvious differences, the primary
    one being that glyphs of different sizes were all drawn from the
    same font resource files under PostScript, but it appeared as if a
    glyph lived in a certain cell.

Subject: 4.5. Differences between Windows and OS/2 

    This assumption was incorrect; PostScript fonts can be subdivided
    into two types, one of which observes hard and invariant encodings
    similar to those that apply to my bitmapped fonts, while the other
    represents a completely different font mapping strategy. This
    difference became apparent only when I attempted to share
    PostScript fonts between Windows and OS/2 and got some unexpected
    results.

    A PostScript font under Windows involves two files, a PFB
    (PostScript Font Binary) file, which contains the PostScript
    instructions needed to draw each glyph and some mapping
    information, and a PFM (Printer Font Metrics) file, which encodes
    width and kerning information. A PostScript font under OS/2 also
    uses the same PFB file, but instead of the PFM file it uses an AFM
    (Adobe Font Metrics) file. The AFM and PFM files contain much of
    the same basic information (although the AFM file is somewhat more
    complete); the most important differences are in format (AFM is
    plain text, PFM is binary) and use (OS/2 uses AFM, Windows uses
    PFM).

Subject: 4.6. Installation under Windows and Win-OS/2 

    The OS/2 2.0 Font Palette tool (see below for changes to be
    introduced with 2.1) by default installs fonts (both PFB and AFM
    files) into the "\os2\dll" directory. Win-OS/2 by default
    installs PFB files into "\psfonts" and PFM files into "\psfonts
    \pfm". These defaults can be changed; since OS/2 and Win-OS/2 use
    the same PFB files, the user can save disk space by allowing these
    to be shared (through installing into the same directory, e.g.,
    install OS/2 fonts into the "\psfonts" directory instead of "\
    os2\dll".) Note that fonts must be intalled and removed through
    the Font Palette; if you copy, move, or delete a font file without
    using the Font Palette, the system configuration files are not
    updated and all hell breaks loose.

    Deleting fonts from Win-OS/2 causes the system to update the
    win.ini file to remove references to the font, but does not delete
    any files physically. Deleting fonts from the OS/2 Font Palette
    updates the os2.ini configuration file _and_ physically deletes the
    AFM and PFB files from the disk. This means that if you are sharing
    PFB files between OS/2 and Win-OS/2, you can delete a Win-OS/2 font
    without hurting native OS/2 operations, since the PFB reamins
    installed where OS/2 thinks it is. But if you delete an OS/2 font
    using the Font Palette, the PFB file is erased from the disk even
    though the win.ini file is not updated, so that Win-OS/2 thinks it
    is still there.

Subject: 4.7. FontSpecific PostScript Encoding 

    Every PFB file contains an "encoding vector"; this is a plain text
    line embedded near the head of the PFB file. Encoding vectors are
    of two types: AdobeStandardEncoding and everything else. Adobe
    usually uses the label "FontSpecific" for fonts that are not
    encoded according to AdobeStandardEncoding, and I use it as a cover
    term here for any such font.

    If you look at the readable plain text information at the head of a
    FontSpecific type font, it includes a range of text that begins:

          /Encoding 256 array

    followed by a bunch of lines, each of which includes a number
    (which corresponds to a cell in the font layout) and the name of
    the glyph that lives in that cell. The unreadable binary data below
    this array specification lists the name of each glyph and the
    PostScript instructions for how the glyph is to be drawn. There may
    be PostScript code for drawing glyphs that are not included in the
    mapping array, but only glyphs mentioned in the array specification
    are available to applications.

    FontSpecific type fonts _are_ comparable to the bitmapped fonts I
    used under DOS. Each character physically is assigned to a specific
    cell within the font file and operating environments are not
    allowed to remap these. The glyph in cell 246 will be the same in
    both Windows and OS/2.

Subject: 4.8. AdobeStandardEncoding 

    AdobeStandardEncoding is a specific mapping of certain glyphs to
    certain cells; in this respect it resembles FontSpecific encoding.
    Because it is standardized, the array is not spelled out in the PFB
    file; the line

          /Encoding StandardEncoding def

    tells Adobe Type Manager (ATM, either the Windows and Win-OS/2
    version or the native OS/2 version) that the encoding is
    "standard," and the environments are expected to know what this
    standard is without having the array spelled out in each font file.

    Although AdobeStandardEncoding is a real mapping, there is an
    importance difference between it and various FontSpecific mappings:
    operating environments are expected to remap AdobeStandardEncoding
    fonts according to their own requirements. That is, although
    AdobeStandardEncoding does assign glyphs to cells, no operating
    environment actually uses these assignments and any environment
    remaps the glyphs before rendering them. Confusion arises because
    Windows and OS/2 remap such fonts in different ways.

Subject: 4.9. AdobeStandardEncoding under Windows (and Win-OS/2) 

    An AdobeStandardEncoding font under Windows is remapped according
    to a character map (code page) that MicroSoft calls Windows ANSI
    (can other code pages be installed in Windows?). This determines
    which character resides in which cell and the font is remapped so
    that glyphs and characters will correspond. Since Fontographer for
    Windows is a Windows application, it displays glyphs not in the
    cells in which they live according to AdobeStandardEncoding, but in
    the cells to which they get reassigned under the remapping to
    Windows ANSI. There is nothing explicit in the PFB file that
    associates these characters with the specific cells in which they
    appear under Windows.

Subject: 4.10. AdobeStandardEncoding under OS/2 

    OS/2 operates within a set of supported code pages; two system-
    wide code pages are specified in the config.sys file and an
    application is allowed to switch the active code page to any
    supported code page (not just these two). DeScribe, for example,
    currently operates in code page (CP) 850, which includes most
    letters needed for western European Latin alphabet writing. CP 850
    does not contain typographic quotes, en- and em-dashes, and other
    useful characters. It does contain the IBM "pseudographics," which
    are useful for drawing boxes and lines with monospaced fonts.

    When the user inputs a value (through the regular keyboard or the
    numeric keypad), the application checks the active CP, looks up in
    an internal table the name of the character that lives in that cell
    within that CP, and translates it into a unique number that
    corresponds to one of the 383 glyphs supported by OS/2 (the union
    of all supported code pages). This number is passed to PM-ATM (the
    OS/2 ATM implementation), which translate the glyph number into the
    glyph name that PostScript fonts expect and searches the font for
    that name. The system never looks at where a glyph is assigned
    under the AdobeStandardEncoding array; rather, it scans the font
    looking for the character by name and gives it an assignment
    derived from the active code page. This is the remapping that OS/2
    performs on AdobeStandardEncoding type fonts.

    As a result, a situation arises where, for example, <o+diaeresis>
    is mapped to cell 246 under Windows ANSI but to cell 148 under CP
    850. Using the identical PFB file, this glyph is accessed
    differently in the two operating environments.

Subject: 4.11. Consequences for OS/2 users 

    If your font has a FontSpecific encoding, there are no unexpected
    consequences; the same glyphs will show up at the same locations in
    both Windows (Win-OS/2) and native OS/2. Regardless of what the
    active code page is, if the font has a FontSpecific encoding OS/2
    goes by cell value; a specific glyph is hard-coded to a specific
    cell and OS/2 will give you whatever it finds there, even if what
    it finds disagrees with what the active code page would normally
    predict. In other words, FontSpecific encoding means "ignore the
    mapping of the active code page and rely on the mapping hard-coded
    into the font instead."

    If your font has an AdobeStandardEncoding encoding, the following
    details obtain:

    1) The same PFB file may have glyphs that are accessible in one
    environment but not another. For example, if DeScribe thinks it is
    operating in CP 850, there is no access to typographic quotes, even
    if those do occur in the PFB file and even if Windows can find them
    in the same exact font file. DeScribe could switch code pages, but
    if the application isn't set up to do so (and DeScribe currently
    isn't), those characters are absolutely inaccessible to the user.

    2) If the active code page includes a character that isn't present
    in the font, OS/2 has to improvise. For example,
    AdobeStandardEncoding fonts do not normally include the IBM
    pseudographics, yet the user who inputs the character value for one
    of these sends the system off to look for it. As described above,
    OS/2 first checks the active font for the glyph name that
    corresponds to that character and, if it finds it, displays it. If
    the glyph isn't found, OS/2 looks to the system Symbol font. This
    is not reported back to the user in DeScribe; if I have Adobe
    Minion active (AdobeStandardEncoding, no information anywhere in
    the font files for pseudographics) and input a pseudographic
    character, DeScribe tells me it is still using Adobe Minion, even
    though it has fetched the character it displays and prints from the
    Symbol font, a different font resource file.

Subject: 4.12. Advice to the User 

    OS/2's code page orientation provides some advantages, in that it
    separates the character set (code page) mapping from the encoded
    font mapping. The main inconvenience isn't a loss of function, but
    a disorientation as users become accustomed to the new paradigm.

    If you need a glyph that you know is in your PFB file but that
    isn't in the active code page (and if you can't change code pages
    within your application), you can't get at it in OS/2 without
    tampering with the font files. To tamper, you can use font
    manipulation tools to redesignate the PFB file as FontSpecific
    ("Symbol" character set to Fontographer). If you then map the
    glyphs you need into one of the lower 256 cells (with some
    limitations), they will be accessible in all environments. The
    Fontographer manual does not explain what the "Symbol" character
    encoding label really does, it just tells you not to use it except
    for real symbol fonts. In fact you should use it for any font that
    will not correspond in inventory to the code page supported by your
    application, which means any non-Latin fonts.

    You do not have to recode all your fonts, and you wouldn't normally
    want to do so, since Fontographer hinting is not nearly as good as
    Adobe's own hand-tuning and regenerating a font regenerates the
    hints. All you have to do is make sure you have one FontSpecific
    type font installed that includes your typographic quotes, etc. for
    each typeface you need. Within DeScribe, you can then write a macro
    that will let you switch fonts, fetch a character, and switch back,
    thereby allowing you to augment any group of fonts with a single,
    shared set of typographic quotes (or whatever) that you put in a
    single FontSpecific font. Alternatively, OS/2 also supports CP
    1004, which does contain typographic quotes and other characters
    used for high-quality typography, but the user may not be able to
    convince an application to invoke this code page if it was not
    designed to do so.

    You can have any number of FontSpecific fonts installed, which
    means that there is a mechanism for dealing with unsupported
    character sets (code pages).

    You can also tinker with the font files to try to trick the
    operating system. For example, using Fontographer or other
    utilities, you can change the name assigned to a glyph description
    within the PFB file. If you want to use AdobeStandardEncoding and
    you want to see a specific glyph at a specific cell when DeScribe
    thinks it's using CP 850, you have to make sure that the name
    assigned to the description of that glyph is what DeScribe expects
    to find. OS/2 doesn't care whether, say, <o+diaeresis> really looks
    like <o> with two dots over it, as long as it bears the right name.

    This second approach is obviously far more complex and provides
    much more opportunity for error. Its advantage is that OS/2 does
    not support case conversion and sorting (other than in machine
    order) for unsupported code pages, since these operations depend on
    character names. Keeping supported names from supported code pages
    while changing the artwork is one way to maintain order and case
    correspondences while increasing the range of glyphs actually
    supported. I have not experimented with this approach, since the
    use I would get out of the adding functionality (over the
    FontSpecific encoding approach) is not worth the amount of effort
    required.

Subject: 4.13. OS/2 2.1 and beyond 

    OS/2 2.1 will change some aspects of font handling. First, OS/2 2.0
    GA+SP has a bug that can cause OS/2 to crash when an AFM file with
    more than 512 kern pairs is read. This is fixed in 2.1. (This bug
    is separate from a design limitation in MicroSoft Windows that
    causes large kern tables to be read incorrectly. This problem is
    still under investigation; watch this space for a report.)

    Fonts in 2.1 will be installed by default into the "\psfonts"
    directory, so that they will normally be shared with Win-OS/2
    fonts. (The user will still be able to specify a directory; all
    that will change is the default). The user will also be able to
    instruct the Font Palette not to delete font files when fonts are
    uninstalled, so as to avoid clobbering a Win-OS/2 font by removing
    it from native OS/2 use through the Font Palette (although the
    default will still be to delete the physical font files).

    OS/2 will stop using AFM files and will replace these with OFM
    files, a binary metrics file (different from PFM) that OS/2 will
    compile from the AFM file during font installation. This will speed
    font loading, since the system will not have to parse a plain text
    metrics file. Additionally, the OS/2 PostScript printer driver used
    to install its own, large font files, but will now use the OFM and
    PFB files, thereby saving 50k-200k of disk space per installed font
    outline.

    IBM's long-term goal is to replace the 383-entity inventory of
    supported glyphs with Unicode. This is very much a long-term goal
    and there is not even a hint of when it might become available. It
    has its own problems, stemming from the fact that Unicode is
    essentially a character standard and glyph and character
    inventories may differ is assorted ways, but it will be a
    significant step in the proverbial right direction.



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part7
Version: 1.4.1

Subject: Chapter 5 

    Unix Information

Subject: 5.1. Please help! 

    This section needs a lot of work. At the time of this release, I'm
    not in a position to write it so I'm leaving it basically blank.
    Even if you don't have time to write it, if you know what _should_
    be in this section, please forward it to norm.

    Please consult the 'utilities' section for more information. Most
    of the utilities described in that section run under Unix.



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part8
Version: 1.4.1

Subject: Chapter 6 

    Sun Information

Subject: 6.1. Please help! 

    Someone mailed a file of Sun-related font tips. Unfortunately, I
    cannot find the file. If you have any suggestion for this section
    (or if you are the person that mailed me the other list), please
    forward your suggestions to norm.

Subject: 6.2. Fonts Under Open Windows 

    The following information regarding fonts under Open Windows was
    stolen from Liam R.E. Quim's <lee@sq.com> Open Windows FAQ. The
    original author was Rick Heli <Rick.Heli@Eng.Sun.COM>.

Subject: 6.3. Does OpenWindows support Type 1 PostScript fonts? 

    Type 1 fonts are supported starting with the NeWSprint 2.0 and
    Solaris 2.0 (OpenWindows 3.0.1) releases.

    There are also 57 F3 format fonts supplied with OpenWindows which
    are fully hinted. Documentation on the F3 font format and the F3
    font interpreter, TypeScaler, is available from Sun.

    The TypeScaler product is separately licensable from SunPics (the
    printing arm of Sun Microsystems). If you're interested in
    licensing this product, Rick Heli can put you in touch with
    Marketing to work out the arrangements. TypeScaler does not appear
    as a standalone portion of OpenWindows, though it is resident
    within the X11/NeWS server.

Subject: 6.4. Improving font rendering time 

    Although the Sun type renderer (TypeScaler) is pretty fast, it's
    not as fast as loading a bitmap. You can pre-generate bitmap fonts
    for sizes that you use a lot, and you can also alter and access the
    font cache parameters. If you have a lot of memory you might want
    to increase the font cache size.

      $ psh -i
      Welcome to X11/NeWS Version3 <--- psh will say this at you
      currentfontmem =    % type this line ...
      300 % and here's what my server was using -- 300 Kbytes
      1024 setfontmem
      % Just to check:
      currentfontmem =
      1024

    See pp. 328ff of the NeWS 3.0 Programmer's Guide. You need to say
    psh -i so that the PostScript packages are loaded - see the psh man
    page.

Subject: 6.5. Making bitmap fonts for faster startup 

    Sun supports the F3 scalable outline format. These descriptions are
    stored in .f3b files. The makeafb program is used to create a
    bitmap font at a particular size which is stored in a .afb file,
    which is an Adobe ASCII format for font bitmaps. X11/NeWS really
    prefers a binary format though for speed and other reasons, so
    convertfont is used to "compile" the font into a font binary or .fb
    file.

    Once this is done, X11/NeWS needs to understand the relationship
    between the .f3b file and all the bitmaps which are based on it.
    Thus, the bldfamily program makes these correlations and stores the
    data in the font family or .ff file.

    bldfamily also builds a global list of all fonts stored in the
    working directory, writing the results out to the file
    Families.list. If one wishes to create font aliases, these can be
    added to the Synonyms.list file by hand and bldfamily will then add
    them to Families.list for you. X11/NeWS uses Families.list to
    construct the font list it advertises to applications.

    To go from F3 to BDF, use makeafb to generate a bitmap font in .afb
    format. Then use one of convertfont's many options to change to
    this to .bdf format and from there it should be clear.

    $ mkdir $HOME/myfonts
    $ cd $HOME/myfonts
    $ makeafb -20 -M $OPENWINHOME/lib/fonts/Bembo.f3b
    Creating Bembo20.afb
    $ convertfont -b Bembo20.afb
    Bembo20.afb->./Bembo20.fb
    Chars parameter greater than number of characters supplied.
    $ ls
    Bembo20.afb   Bembo20.fb      Synonyms.list
    $ bldfamily
    * Bembo                      ./Bembo.ff (Encoding: latin)
    cat: ./Compat.list: No such file or directory
    $ xset +fp `pwd`
    $ xset fp rehash

    If you want the server to see your new font directory every time,
    add this directory to your FONTPATH environment variable in one of
    your start-up files, e.g. .login or .profile.

Subject: 6.6. Converting between font formats (convertfont, etc.) 

    You can also use F3 fonts with an X11 server, by converting them to
    a bitmap (X11 bdf format) first. Your license restricts use of
    these fonts on another machine, and unless you have NeWSPrint you
    shouldn't use them for printing. Having said all that... you can
    use makeafb and convertfont to generate bdf files that you can
    compile with bdftosnf or bdftopcf.

    Use mftobdf (from the SeeTeX distribution) to convert TeX pk fonts
    to X11 bdf format, which you can then use with either X11 or
    OenWindows.

Subject: 6.7. Xview/OLIT fonts at 100 dpi 

    There aren't any. More precisely, the various text fonts, such as
    Lucida Typewriter Sans, are available at 100 dpi, and in fact are
    scalable under OpenWindows. The glyph fonts are bitmaps, and don't
    scale very well.

Subject: 6.8. Where can I order F3 fonts for NeWSprint and OpenWindows? 

    600 F3 fonts are available for unlocking from Printer's Palette, a
    CD available with NeWSprint 2.0.

    In addition, F3 fonts are available from the following sources:

    Linotype AG                     Linotype Company
    Mergenthaler Allee 55-75        425 Oser Avenue
    6236 Eschborn Germany           Hauppague, NY  11788
    49/(61 96) 4031                      (800) 336-0045
    FAX 011/49/6196-982185          FAX 516-434-2055
    attn: F3 Font Production        attn: F3 Font Production

    Monotype Plc.                   Monotype Typography
    Salfords Redhill RH1 5JP        53 W. Jackson Boulevard Suite 504
    England                         Chicago, IL  60604
    44/(737) 765959                 (800) 666-6893
    FAX 011/44/737-769243           FAX (312) 939-0378
    attn: F3 Font Production        attn: F3 Font Production

    U R W                           U R W
    Harksheider Strasse 102         One Tara Boulevard Suite 210
    D2000 Hamburg Germany           Nashua, NH  03062
    49/(40) 606050                  (603) 882-7445
    49/(40) 60605148                (603) 882-7210
    attn: F3 Font Production        attn: F3 Font Production

    Bigelow & Holmes                Autologic
    P. O. Box 1299                  1050 Rancho Conejo Boulevard
    Menlo Park, CA  94026           Newbury Park, CA  91320
    415/326-8973                    (800)235-1843, or (805)498-9611 in CA
    FAX (415) 326-8065              FAX (805) 499-1167
    attn: F3 Font Production        attn: F3 Font Production



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part9
Version: 1.4.1

Subject: Chapter 7 

    NeXT Information

Subject: 7.1. Please help! 

    If you have any suggestions for this section, please forward your
    suggestions to norm.

Subject: 7.2. Tell me about NeXT fonts 

    NeXT fonts are Adobe Type 1 fonts stored in ASCII (PFA) format.
    There are several rules about how fonts must be installed before
    they work.

    * Basic format

      The font itself should be a directory under /Library/Fonts (or
      /LocalLibrary/Fonts or /NextLibrary/Fonts), which should contain
      the various components of the font. The possible components are
      the outline file, the font metrics (.afm) file, and one or more
      screen font (bitmap) files.

      At the very least, the font directory must contain the outline
      file and the .afm file. Screen font (bitmap) files are optional.

    * Filename requirement

      The filename of the font can NOT be any name you choose. For a
      font to work correctly, the base filename MUST BE THE SAME as the
      name in the FontName field of the afm file (and outline file, for
      that matter).

      Therefore, the font directory should be named <filename>.font,
      inside of which there should be at least two files:
      <filename>.afm, the font metrics file, and <filename> (no
      extension), the outline file. The bitmap file(s) have the
      extension .bepf.

      Variations such as bold, italic, etc., should be their own font
      in their own directory. The <filename> in the examples above
      should be replaced by <filename>-Bold, or <filename>-Italic, etc.
      (Make sure the entries in the .afm and outline files reflect
      this.)

      For NeXTStep 1.0, you also need to take the following steps:

       * If they do not already exist, create the following
         directories:

            ~/Library/Fonts/outline
            ~/Library/Fonts/afm
            ~/Library/Fonts/bitmap

       * In each of these directories, create a symbolic link to the
         corresponding component file in each font.

      In NeXTStep 2.0 and up, the font description is taken from the
      font directory itself, so you don't need to do this. It may be
      beneficial to simply create these directories and put nothing in
      them, but I'm not sure it matters.

      The last step is to get the system to recognize the new font(s).
      You may have noticed the existence of three files in the Fonts
      directory - .fontdirectory, .fontlist, and .afmcache. These are
      the files the system looks at to see which fonts exist.

      The easiest way to update them is to simply start up an
      application and open the font panel. It should recognize that the
      update time stamp on the Fonts directory has changed, and update
      the files accordingly. It is probably a good idea to simply
      delete the three above files beforehand.

      You should get a message window saying "incorporating information
      on new fonts. Please wait (this may take xx seconds)". Your new
      fonts should be available now.

      If this does not work, you can update them manually. Open up a
      Terminal shell and go to your Fonts directory. At the prompt,
      type two commands:

         buildafmdir
         cacheAFMData afm   (the parameter is the <afm dir>)

      (The new fonts will not work if the cacheAFMData command is not
      run, and since it is an undocumented command, it is a common
      culprit.) [ ed: the cacheAFMData step may not be required in 3.0
      OS ]

      You should now be able to see and preview your fonts in the font
      panel.

      If you are still having problems with your font, such as the <<
      Unusable font >> message, consult the NeXTAnswers. There are some
      useful suggestions for debugging faulty fonts there. It is also
      always helpful to look at existing fonts to see how they are
      installed.

      (One note on the NeXTAnswers. Supposedly there are only a few
      discrete values which are allowed to appear in the weight field
      of the font: ``Ultra Light'', ``Thin'', ``Light'', ``Extra
      Light'', ``Book'', ``Regular'', ``Plain'', ``Roman'', ``Medium'',
      ``Demi'', ``Demi-Bold'', ``Semi-Bold'', ``Bold'', ``Extra Bold'',
      ``Heavy'', ``Heavyface'', ``Black'', ``Ultra'', ``UltraBlack'',
      ``Fat'', ``ExtraBlack'', and ``Obese''. However, I have a few
      fonts where this is not the case (``standard'' is a common entry)
      and have had no problems as of yet. But it would probably be
      wiser to be on the safe side.)

Subject: 7.3. Tell me more about NeXT fonts 

    * About NeXT fonts

      Every NeXT font is placed in its own .font folder which should
      contain at least two files. An outline file which should be named
      the same as folder but without any extension. Also a
      well-formated .afm is required. E.g

         ~/Library/Fonts/Headhunter.font/Headhunter
         ~/Library/Fonts/Headhunter.font/Headhunter.afm

      is the minimal setup for Headhunter font.

      The outline files should be in the PFA or hexadecimal ASCII
      format. The fontname is should be taken either from outline file
      or the AFM file. In both case the name is given after the word
      ``FontName'' at the beginning of the file)

    * Converted fonts after the conversion

      After conversion they are just like any other freeware or
      shareware font that you can get in the NeXT-format from the
      archives. That's just outline and afm files but no bitmapped
      screen fonts. So small point size means poor resolution on screen
      but they most of should print ok if they are any good ( = usually
      made with Fontographer).

    * About conversion utilities

      I usually first convert the Mac Type 1 (or 3) fonts to PC format
      which is a lot closer to NeXT format and then convert the
      PC(Windows PFB) fonts to NeXT-format. Instructions for converting
      from Mac to PC format appear elsewhere in the comp.fonts FAQ.

    * NeXT utilities

       * unfont

         You can find a package, named something like
         pcATMfont2NeXT.tar.Z, from NeXT archives (cs.orst.edu) that
         converts PC fonts to NeXT format (PFB -> PFA).

         The most useful tool for me has been ``unfont'' which converts
         the .pfb (binary outline) font to ASCII outline font.

         I usually use it like this

         $ unfont new_font.pfb >NewFont

         If the conversion was successful all I have to after that is
         maybe to rename the font correctly and move the outline file
         in the correct .font folder.

       * Opener.app

         Opener seems to be a very useful application since it can open
         several kinds file packages on NeXT that are common on other
         platforms. E.g. ``.sit", ".hqx", ".zoo", ".zip", ".z'', etc.

         I haven't used it a lot but looks very promising.

       * T1utils-1.1

         This is collection of command-line programs that manipulate PS
         Type 1 fonts and one of them can also do the PFB->PFA
         conversion (t1ascii?).

    * SUMMARY

      Basic unarchiving of Mac and PC files

    On any (?) Unix including NeXT
    ------------------------------

    Tool             Conversion      Follow-up action

    xbin             .hqx -> .data   rename and transfer to a PC (or use opener.app on NeXT?)
                             .info   discard
                             .rcrc   discard

    unzip            .zip ->  .inf   discard
                              .wfn   discard
                              .pfm   discard (unless it can generate a better .afm)
                            <rest>   Transfer to NeXT

    On a PC
    -------

    Tool             Conversion      Follow-up action

    xbin             .hqx -> .data   rename the file to .sit or .cpt accordingly if necessary
                             .info   discard
                             .rcrc   discard

    extract -f ...   .cpt ->         (outline files usually don't have extensions),
                                     refont and transfer to NeXT
                              .afm   transfer to NeXT
                              .pfm   discard (unless it can generate a better .afm)
                              .bma   discard if you have .afm

    unsit30 -eb      .sit ->         (outline files usually don't have extensions),
                                     refont and transfer to NeXT
                              .afm   transfer to NeXT
                              .pfm   discard (unless it can generate a better .afm)
                              .bma   discard if you have .afm

    refont       (Mac outline) -> (PC or NeXT outline)    Transfer to NeXT

    pkunzip          .zip -> .inf    discard
                             .wfn    discard
                             .pfm    discard (unless it can generate a better .afm)
                           <rest>    Transfer to NeXT

    On a NeXT
    ---------
    Tool                 Conversion

    Opener.app      *.sit, *.hqx, *.zip...    Creates a fo|der in the /tmp from where
                                              the resulting files can be moved elsewhere.

    unfont          .pfb -> (outline font without an extension)

    afm             .afm -> .afm    converts the the carriage-returns to newlines,
                                    (afm = "tr '\015' '\012' <$1 >$2")

    * Installation

      There are scripts (installfont) available that can handle the
      installation process but here is how you do it manually.

    * .font

      After all that you have to create the .font folder, move the
      outline and .afm files there and start fighting with the
      strangely formated .afm file. The most common problems are font
      name mismatch between outline and afm files (family name is
      incorrect or too long, etc) and missing fields (ex. no
      ItalicAngle entry) in the afm file.

    * buildafmdir AND cacheAFMData

      buildafmdir puts its complains to Console but cacheAFMData put
      them on stdout or stderr (ie. Terminal Window).

      PARSE ERRORS ------------ ``Parse error 10000011 ...'' comes from
      mismatch between of CharMetrics declared in the .afm and actually
      found. I haven't been able to figure out the other strange parse
      errors.

      buildafmdir in the 3.0 release has the limitation of not being
      able to install more that 255 fonts (in one folder ?).

Subject: 7.4. Porting fonts to the NeXT 

7.4.1. Porting PC/Unix Type 1 Fonts 

    You must have the .pfb and .afm files

    A PC Adobe font is stored in binary format, so the first step is to
    convert it to ascii.

    There are a couple of utilities out there which can do this. I
    think t1utils can do it, and there is a nice utility called
    pcATMfont2Next which has a couple of tools to do this (unfont and
    pfb2ps). Look for the file pcATMfont2Next.tar.Z; it is available on
    many ftp sites.

    Also, since NeXTs run on Unix, there is the customary problem of
    converting the CRs (carriage returns) that PCs use to the LFs
    (Linefeeds) that Unix uses. The easiest way to do this is to use tr
    to delete the octal for the CR character from both the .afm and
    outline file. The command to do this is:

       tr -d '\015' < inputfile  > outputfile

    The unfont program will do this automatically when it converts the
    .pfb file, but pfb2ps does not. I'm not sure if t1utils' utility
    does or not.

    Once you have the outline file, you can go ahead and install it by
    the process outlined above.

    Otto J. Makela (otto@jyu.fi) posted a terrific cshell script to
    comp.fonts, which automates just about everything for you. It
    converts the .pfb to ASCII format, extracts the name from the
    FontName field, creates the font directory, copies in the component
    files with the correct name, and runs buildafmdir and cacheAFMData
    when done.

    Note that it uses the unfont utility from the pcATMfont2Next
    package, so to use this you will need that too.

    Just take everything between the CUT HERE lines, save it into a
    text file, and make it executable with the chmod command or the
    Inspector.

  --------------CUT HERE---------------
  #!/bin/csh -f
  # Font install program -- 1992 by Otto J. Makela <otto@jyu.fi>

  set progname="$0" todir=~/Library/Fonts
  set progname="$progname:t"

  if ( $#argv>0 && -d "$1" ) then

         set todir="$1"
         shift
  endif

  if ( $#argv == 0 ) then
         echo "usage: $progname [installdir] afmfile..."
         exit
  endif

  foreach afmfile ( $* )

      echo "${afmfile}:"
      set fontname=`tr -d '\015' < $afmfile | awk '$1=="FontName" {
  print $2 } '`

      if ( -d $todir/${fontname}.font ) then
              echo "${progname}: font $fontname already installed"
              continue
      endif

  # If there already is a pfa, no need to translate, otherwise convert
  to ascii
         if ( -f ${afmfile:r}.pfa ) then
                 mkdir ${todir}/${fontname}.font

                 cp ${afmfile:r}.pfa
  ${todir}/${fontname}.font/${fontname}
         else if ( -f ${afmfile:r}.pfb ) then
                 mkdir ${todir}/${fontname}.font
                 unfont ${afmfile:r}.pfb >
  ${todir}/${fontname}.font/${fontname}
         else
                 echo "${progname}: no pfa/pfb file for $fontname afm"
                 continue
         endif
  # Strip CR's from afm file
         tr -d '\015' < $afmfile >
  ${todir}/${fontname}.font/${fontname}.afm

         echo "installed as $fontname"
  end

  buildafmdir $todir
  cacheAFMData $todir

  ---------------CUT HERE-----------

    The original installfont script is available as a shar file from
    ibis.cs.umas.edu in /pub/norm/comp.fonts/installfont-for-NeXT.

7.4.2. Porting Mac Type 1 Fonts 

    Regarding this section: Henry McGilton of Trilithon Systems has
    built a `MACtoPFA' utility that runs on the NeXT and converts Mac
    to NeXT format. Trilithon Software, Two Ohlone, Portola Valeey, CA
    94028 (415) 851 7233.

Subject: 7.5. Font availability 

    Public Domain fonts for the NeXT are available via anonymous FTP
    from sonata.purdue.edu, in the directory next/graphics/fonts. The
    README for this file states that the directory is currently being
    restructured by the archive moderator, although fonts are still
    available in that directory.

Subject: 7.6. Why can I only install 256 fonts on my NeXT? 

    Included to NS3.0 there's a new 'buildafm'-routine (for
    non-NeXTers: 'buildafm' is a shell script which announces a new
    font to the computer) at /usr/bin/buildafmdir. The new one only
    allows to install about 256 fonts. Running the new 'buildafmdir' to
    install a new font surpresses every font above this number.
    Workaround: Re-install the 'old buildafmdir' from NS2.1 at
    /usr/bin/buildafmdir and everything should be fine!

    (thanks to: Rob Parkhill <rob@hobbes.cuc.ab.ca> and d'Art
    Computers/Germany d'art <post@dart.de>)

    [ Ed: and my thanks to Borris Balzer <borris@boba.rhein-main.DE>
    for sending this to me ]



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part10
Version: 1.4.1

Subject: Chapter 8 

    X11 Information

Subject: 8.1. Please help! 

    This section needs a lot of work. At the time of this release, I'm
    not in a position to write it so I'm leaving it basically blank.
    Even if you don't have time to write it, if you know what _should_
    be in this section, please forward it to norm <walsh@cs.umass.edu>.

Subject: 8.2. Where do I get X11? 

    The standard location for X software is export.lcs.mit.edu.

Subject: 8.3. X fonts and font utilities 

    The following programs will allow you to create fonts for display
    under X. IBM has contributed Type1 font support for X11R5 but, at
    present, I have no experience with it.

    On any given platform, X requires specially `compiled' fonts. The
    standard method of interchange between platforms is BDF format. The
    BDF format is defined by Adobe. A document describing the format is
    available by ftp from Adobe's file server at ``ftp.adobe.com''. It
    is also available in the standard X distribution. Look under
    ../X11R4(5)/mit/hardcopy/BDF. This document is also reproduced in
    any text describing the X standard.

    Once you have a file in BDF format, your X platform should have the
    tools required to convert it into your local binary format.
    Depending on your platform this may be `snf', `pcf', or X11/News
    format ('ff' and `fb').

    Here's a quick list of possible steps to get from ``what you got''
    to X:

    * Mac format bitmaps:

      No idea. If _you_ know how to read a Mac format bitmap file on
      some other platform, please tell norm <walsh@cs.umass.edu>.

    * PC format bitmaps:

      Conversion to BDF is possible from TeX PK format and LaserJet
      softfont format. Other conversions are also within the realm of
      possibility. Feel free to ask norm <walsh@cs.umass.edu> for more
      information if you have a specific conversion in mind.

    * TeX PK format bitmaps:

      PKtoBDF gets us directly to BDF format from here.

    * Mac format postscript:

      Under MS-DOS, conversion to PC format postscript allows the font
      to be accessed with PS2PK (under *nix or MS-DOS). See above for
      TeX PK to X conversions.

    * PC/Unix format PostScript

      Conversion to TeX PK with PS2PK allows you to get to BDF
      (indirectly).



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part11
Version: 1.4.1

Subject: Chapter 9 

    Utilities

Subject: 9.1. Notes about the utilities 

    I have just started collecting information about font utilities. I
    will gladly add any information that you can pass my way. Please
    send your submissions to norm <walsh@cs.umass.edu>.

    I would appreciate it if you could include a paragraph or so of
    description and the appropriate site/filename for retrieval.

Subject: 9.2. PS2PK 

    PS2PK is a utility for converting Type1 postscript fonts into TeX
    PK files. The source code is distributed and it has been compiled
    for both *nix boxes and MS-DOS based machines.

    Here is the original announcement:

                            Ps2pk-1.2 available
                            -------------------
                                 (June 1992)

    Version 1.2 of ps2pk is now available on:
       ftp.urc.tue.nl (address: 131.155.2.79)
       directory:    /pub/tex
       files:        ps2pk12.README         (  1k)    This file
                     ps2pk12.tar.Z          (391k)    Sources
                     ps2pk386.zip           (232k)    MSDOS executables
                     utopia.tar.Z           (342k)    Adobe Utopia font family
                     courier.tar.Z          (207k)    IBM Courier font family

       For people having difficulties in handling UNIX `.tar.Z' format I
       have made some UNIX tools (only executables) available in:
       directories:  /pub/unixtools/dos
                     /pub/unixtools/vms

       See the system specific TARZ file for some help.

       Ftp.urc.tue.nl can not handle E-mail requests. But sites are free
       to put the ps2pk12 stuff on any server that can.

9.2.1. When do you need ps2pk? 

    Ps2pk is a tool that converts a PostScript type1 font into a
    corres- ponding TeX PK font. The tool is especially interesting if
    you want to use fully hinted type1 fonts in your DVI previewer
    (instead of the unhinted type1 fonts currently used in GhostScript)
    or on a printer that has no PostScript interpreter.

    In order to use the ps2pk generated fonts your driver and previewer
    need to support virtual fonts. The reason is that PostScript fonts
    and TeX fonts do have a different font encoding and handle
    ligatures in a different way. With virtual fonts the PostScript
    world (encoding + ligatures) can be mapped to the old style TeX
    world on which the current plain macro packages still are based
    (despite the fact that TeX3.0 can handle 8bits).

    It is also possible to use the ps2pk generated PK fonts directly

    In addition, a modified version of PS2PK exists on
    ibis.cs.umass.edu. I have added some hacks to better support
    really large renderings and a primitive ``range'' facility.

Subject: 9.3. TeX Utilities 

    There are many TeX font utilities. For TeX related questions, I
    direct you to comp.text.tex or the Info-TeX mailing list. I will
    happily list any utilities here that the comp.fonts public feels
    should be present. I am listing MetaFont because it is the obvious
    font-specific component of TeX and PKtoSFP because it allows anyone
    to use PS2PK to create LaserJet softfonts.

    Liam R. E. Quin <lee@sq.com> is the original author of the MetaFont
    section. It has been hacked at a bit by norm to make it fit the
    tone of the comp.fonts FAQ. Assume that norm is responsible for any
    errors, not Liam.

    * MetaFont

       * About MetaFont:

         Metafont is a programming language for describing fonts. It
         was written by Donald Knuth and is documented in

         Computers & Typesetting/C: The METAFONTbook

         Knuth, Donald E.

         Addison Wesley, 1986

         ISBN 0-201-13445-4, or 0-201-13444-6 (soft cover)

         Library access: Z250.8.M46K58, or 686.2'24, or 85-28675.

         A font written in MetaFont is actually a computer program
         which, when run, will generate a bitmap (`raster') for a given
         typeface at a given size, for some particular device.

       * What do you need in order to use the fonts:

         You cannot print the MetaFont fonts directly (unless you want
         a listing of the program, that is). Instead, you must generate
         a bitmap font and use that to print something.

         If you are using TeX, the sequence of steps is something like
         this:

         MF -> metafont -> GF        [ convert MetaFont program into bitmap font ]
                           TFM              [ and metric information ]

         GF -> gftopk -> PK          [ represent the bitmapped font efficiently ]

         TEX -> tex -> DVI           [ TeX -> device independent output ]
         TFM

         DVI -> dvi2xxx -> XXX       [ DVI -> output device format ]
         PK

         XXX -> printer -> hardcopy  [ print the output ]

         The above steps are idealized. In reality, you have to make
         sure that the fonts get installed in the correct places and
         you may have to adjust description files, etc. The friendly
         folks on comp.text.tex can probably get it staightened out for
         you if you can't find a local guru.

         If you are not using TeX, it's almost impossible to predict.
         At some point in the above sequence, you'll insert some other
         conversion program and proceed differently. Here, for example,
         is how you might use TeX fonts with WordPerfect and a LaserJet
         printer.

         PK -> PKtoSFP -> SFP           [ PK to LaserJet softfont ]

         SFP -> SFP2Auto -> TFM         [ Make HP AutoFont TFM file ]

         SFP -> PTR -> installation     [ Install the fonts into WP ]
         TFM

         Use WordPerfect as you normally would.

Subject: 9.4. MFpic 

    MFpic is a macro package for including pictures in TeX documents.
    The idea behind this package is to have Metafont do the actual
    drawing, and store the pictures in a font that TeX can include in
    the document. The macros have been designed so that the user should
    never have to learn Metafont to use these macros -- the TeX macros
    actually write the Metafont file for you.

Subject: 9.5. fig2MF 

    Briefly, fig2MF uses the mfpic macros to create formatted,
    commented MF code from the fig graphics language. This means that
    programs like xfig can be used as interactive font creation tools.
    I wrote fig2MF so that I could portably illustrate TeX documents,
    but I suppose one could use it to design letterforms as well.

    The package consists of a single C source code file, modified mfpic
    macros, documentation, and sample fig files. It is available at the
    shsu archives.

Subject: 9.6. GNU Font Utilities 

    Here is a brief description of the programs included:

    * imageto extracts a bitmap font from an image in PBM or IMG
      format, or converts the image to Encapsulated PostScript.

    * xbfe is a hand-editor for bitmap fonts which runs under X11.

    * charspace adds side bearings to a bitmap font.

    * limn fits outlines to bitmap characters.

    * bzrto converts a generic outline font to Metafont or PostScript.

    * gsrenderfont renders a PostScript outline font at a particular
      point size and resolution, yielding a bitmap font.

    * fontconvert can rearrange or delete characters in a bitmap font,
      filter them, split them into pieces, combine them, etc., etc.

    * imgrotate rotates or flips an IMG file.

    We need volunteers to help create fonts for the GNU project. You do
    not need to be an expert type designer to help, but you do need to
    know enough about TeX and/or PostScript to be able to install and
    test new fonts. Example: if you know neither (1) the purpose of TeX
    utility program `gftopk' nor (2) what the PostScript `scalefont'
    command does, you probably need more experience before you can
    help.

    If you can volunteer, the first step is to compile the font
    utilities. After that, contact me (karl@gnu.ai.mit.edu). I will get
    you a scanned type specimen image. The manual explains how to use
    these utilities to turn that into a font you can use in TeX or
    PostScript.

    You can get the source by ftp from prep.ai.mit.edu [ 18.71.0.38 ] :
    pub/gnu/fontutils-0.5.tar.Z.

    And also from these other sites around the world; please check them
    before prep.

  United States: wuarchive.wustl.edu   gatekeeper.dec.com:pub/GNU
                 uxc.cso.uiuc.edu      ftp.uu.net:packages/gnu

  Europe:        archive.eu.net        src.doc.ic.ac.uk:gnu    ftp.funet.fi
                 nic.funet.fi:pub/gnu  ugle.unit.no            isy.liu.se
                 ftp.diku.dk

  elsewhere:     ftp.cs.titech.ac.jp   utsun.s.u-tokyo.ac.jp:ftpsync/prep
                 archie.au:gnu

    You can also order tapes with GNU software from the Free Software
    Foundation (thereby supporting the GNU project); send mail to
    gnu@prep.ai.mit.edu for the latest prices and ordering information,
    or retrieve the file DISTRIB from a GNU archive.

Subject: 9.7. Font editors 

    * Editors for BDF fonts

      There is a bdf font editor that comes with HP/Apollo
      workstations. It's called 'edfont'. It's not the best but it
      works.

      Gary <Gocek.Henr801C@Xerox.COM> reports:

      The standard X distribution for X11R5 contains ``xfed'', which
      allows you to play with BDF fonts. ``xfedor'' has a more
      elaborate user interface, and is available on most contrib
      directories.

      The last time I tried:

      ``xfedor'' couldn't handle BDF files with more than 256
      characters.

      ``xfed'' aborts if the BDF file contains a COMMENT line with no
      other text. The workaround is to edit the BDF file, to put text
      after the word COMMENT. A single blank space is sufficient. For
      some reason, the standard BDF files included in the X release
      contain blank spaces on the otherwise empty COMMENT lines. It was
      probably easier to add the space to the COMMENT lines of every
      BDF file than it was to fix the lex code for xfed. :-)

    * Editors for PK fonts

      The GNU font utilities include an X-based editor called Xbfe
      which edits bitmapped fonts under X.

      Eberhard Mattes' emTeX includes PKedit.

Subject: 9.8. t1utils 

    This is a snippet from the README file for I. Lee Hetherington's
    <ilh@lcs.mit.edu> t1utils package:

    t1utils is a collection of simple type-1 font manipulation
    programs. Together, they allow you to convert between PFA (ASCII)
    and PFB (binary) formats, disassemble PFA or PFB files into
    human-readable form, reassemble them into PFA or PFB format.
    Additionally you can extract font resources from a Macintosh font
    file (ATM/Laserwriter).

Subject: 9.9. Where to get bitmap versions of the fonts 

    There are archives containing the bitmaps of many of these fonts at
    various sizes and resolutions. The fonts must have been generated
    for the correct print engine: e.g. write-white or write-black. The
    archives generally hold only the sizes used by TeX. These are
    `magstep' sizes, and are not exact point sizes. It is probably
    better to generate them from the Metafont sources yourself if you
    can.

    The best place to look for raster fonts was almost certainly:
    mims-iris.waterloo.edu

    but it isn't any more, the fonts have all gone. Let me know if you
    find them elsewhere. Most people seem to have moved to using
    PostScript fonts or Bitstream ones instead now.

    Some other sites are:

       ctrsci.math.utah.edu (128.110.198.1)
       science.utah.edu (128.110.192.2)
       ymir.claremont.edu (134.173.4.23)

    The occasional posting of ftp sites to comp.misc and comp.archives
    lists these and several other sites.

Subject: 9.10. Converting between font formats 

    Conversions to and from pbm and pk format were posted to
    comp.text.tex and to alt.sources on the 9th of August, 1990 by
    Angus Duggan (ajcd@cs.ed.ac.uk). The program is pbmtopk, and there
    are also at least two patches.

    Chris Lewis' psroff package includes a program to go from pk both
    to the HP LaserJet and to PostScript.

    John McClain (ophelp@tamvenus.bitnet) has some conversion programs
    for various graphics formats to/and from pk files.

    A PC program, CAPTURE, turns HPGL files into PK format, US $ 130
    from Micro Programs Inc., 251 Jackson Ave., Syosset, NY 11791
    U.S.A.

    Metaplot can take pen-plotter files and prouce metafont files.
    Note: Pat Wilcox is no longer at Ohio State.

    Kinch Cmputer Company sell .pk fonts derived from PostScript fonts.
    Kinch Computer Co., 501 S. Meadow St.Ithaca, NY 14850 U.S.A.
    telephone: +1 607 273 0222; fax: +1 607 273 0484

Subject: 9.11. Getting fonts by FTP and Mail 

    If you are using ftp, you will need either the name of the host or
    the Internet number. For example, to connect to ymir, listed as
    ftp: ymir.claremont.edu [ 134.173.4.23 ] you will need to type
    something like

    ftp ymir.claremont.edu

    If that doesn't work, try using the number:

    ftp 134.173.4.23

    If that doesn't work, on Unix systems you can use nslookup (it's
    usually /usr/etc/nslookup) to find the host number -- it might have
    changed. Type the entire host name, and after a few seconds
    nslookup will give you the address.

    Once you have connected, you will need to go to the appropriate
    directory, lists its contents, and retrieve the files.

    Most of the machines listed here run Unix, and you use ``ls'' and
    ``cd'' to list files and to change directories. Ymir runs VMS, and
    you will have to put square brackets around directory names, like [
    this ] .

    Remember that although Metafont sources are text files, pk fonts
    are not ASCII, and you will have to use binary mode for them. In
    general, use text mode for README files and *.mf files, and binary
    mode for other font files. Files ending in .Z are compressed binary
    files -- you will need to use binary mode, and then uncompress the
    files when you get them.

    You can get files from ymir by sending mail messages to

    mailserv@ymir.claremont.edu

    For example,

    send [ tex.mf.misc ] cmapl10.mf

    will get the file cmapl10.mf from the directory ``tex.mf.misc''.
    You can't get binary files in this way.

    There is an ftp-by-mail BITNET service, BITFTP, for BITNET users.

    Before getting large files by mail, please remember to get
    permission from all intervening sites. Ask your site administrator,
    who can send mail to Postmaster at each site on the way if
    necessary.

Subject: 9.12. Metafont to PostScript conversion 

    There are (I believe) two programs that perform this task. At least
    one of them is called ``mf2ps''. If you have any more information
    about these tools, please let me know.

    Chang Jin-woong reports that he found the ``mf2ps'' package with
    Archie. It is written by Shimon Yanai <yanai@israearn.bitnet> and
    Daniel M. Berry <dberry@cs.technion.ac.il>. The source programs are
    written in Pascal.

Subject: 9.13. How to use Metafont fonts with Troff 

    If, when you run troff, you get the message `typesetter busy', you
    have the original Ossanna-troff, also called otroff. Chris Lewis
    has a package which will let you use TeX fonts with troff -- it's
    called psroff, and comes with documentation.

       ftp: gatekeeper.dec.com (16.1.0.2) pub/misc/psroff-3.0
       ftp: ftp.cs.toronto.edu [128.100.1.105] pub/psroff-3.0/*

    If, when you run troff, you get something like this:

       x T 300
       x res 300 1 1

    you have ditroff. This is sometimes called titroff or psroff. In
    this case, you will probably need to do the following:

   1. convert the font to your printer's format

   2. generate a width table for the font

   3. add the font to the DESC file for the appropriate device

   4. arrange for troff to download the font

   5. tell troff about the font by running `makedev DESC' in the right
      place.

    If, when you run troff, you get something like this:

       X hp(SCM)(CM)(AF)(AD) 300 1 1
       Y P default letter 2550 3300 0 0 90 90 2460 3210

    you have sqtroff:

   1. convert the font to your printer's format

   2. generate a width table for the font

   3. add the font to the DESC file for the appropriate device

   4. put the font in the appropriate raster directory

   5. tell sqtroff about the font by running `sqmakedev DESC' or
      `sqinstall'.

    In each case, you should be able to get help from your vendor.

    Note that Chris Lewis' psroff package has software to make width
    tables for troff from pk files.

Subject: 9.14. PKtoBDF / MFtoBDF 

    From the SeeTeX distribution, programs to help previewers under
    X11.

Subject: 9.15. PKtoPS 

    Included in the psroff distribution, this utility converts PK fonts
    into PostScript fonts (bitmaps, I presume). If you have any more
    information about these tools, please let me know.

Subject: 9.16. PKtoSFP/SFPtoPK 

    Convert fonts from TeX PK format to HP LaserJet (bitmap) format.

Subject: 9.17. PostScript to Metafont 

    ps2mf started out as a way of creating bitmaps via MF for TeX.
    Only, when I had just finished it, Piet Tutelaers came with ps2pk.
    This was a far superior way runtime-wise. He uses the IBM X11-R5
    fontutilities library, which is extremely ugly code. But, it works.
    So, to generate bitmaps, I suggest everyone use ps2pk.

    To generate a MF outline description, ps2mf is *the* tool. Yannis
    Haralambous has just started a project where he wants to create
    meta-ized fonts for MF from Postscript descriptions. ps2mf does the
    basic conversion. This project wants to revive the use of MF for it
    is a truly beautiful program with enormous possiblities.

    The following information comes from the README file for ps2mf:

    This is pfb2mf. It is a copyleft program. See the file COPYING for
    more details. I suggest that for the translation of Type-One to
    readable PostScript you use I. Lee Hetherington's Type-1-Utils. You
    can find these somewhere on obelix.icce.rug.nl in pub/erikjan.

    If you find any bugs, please do report.

    If you have any complaints, please do report.

    Now for some info about the different stages. This package contains
    four programs:

    * pfb2pfa

    * pfa2chr

    * chr2ps

    * ps2mf

9.17.1. pfb2pfa 

    pfb2pfa will decompress an IBM (!) Postscript type 1 fontfile into
    readable and downloadable hexadecimal data.

    The resulting file still contains two layers of encryption:

    - eexec encryption

    - charstring encryption

9.17.2. pfa2chr 

    pfa2chr will do an eexec-decryption of a readable hexadecimal font
    file to a fontfile with encrypted charstrings.

9.17.3. chr2ps 

    chr2ps will perform a charstring-decryption of a font file with
    encrypted charstrings to fontfile with postscript commands for type
    1 fonts.

    With a ``-'' as filename, these programs will read from <stdin> and
    write to <stdout>. This way you can pipe the results, as in:

       pfb2pfa garmnd - | pfa2chr - - | chr2ps - garmnd

    This will create a <garmnd.ps> from <garmnd.pfb> without
    explicitely creating the intermediate files.

    These previous stages can be replaced by (when using Lee
    Hetherington's type-1-utils):

    t1disasm garmnd.pfb garmnd.ps

9.17.4. ps2mf 

    This last stage will convert to a MetaFont program with the use of
    the corresponding <.afm> file and a mapping configuration file. It
    can convert to an ordinary form with B'ezier controlpoints. It can
    also generate a curl specification. For this last option specifify
    -C.

Subject: 9.18. Converting Mac Bitmaps to BDF Format 

    I have posted a program which I hacked together for extracting all
    NFNT and FONT resources from a MacBinary form of a standard Mac
    file and dumping the fonts as Adobe BDF files. It has only been
    compiled and tested on a Sun system to date. It can be fetched from
    METIS.COM, /pub/mac2bdf.c.

    I wrote this tool to be able to use Mac Bitmaps under X Windows and
    OpenWindows (which take Adobe BDF format files).



Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part12
Version: 1.4.1

Subject: Chapter 10 

    Vendor Information

Subject: 10.1. Vendor List 

    Masumi Abe contributed the following list of commercial font
    vendors. Since a number of people have suggested other vendors for
    fonts (both commercial and shareware), I have taken the liberty of
    merging those suggestions into a single vendor list. If there are
    any errors in the following list, please blame norm
    <walsh@cs.umass.edu>, not Masumi.

    I've made some effort to continue Masumi's annotations regarding
    available font types, platforms, and languages. Innacuracies and
    ommisions are both present and accidental. Updates are always
    welcome.

  Acorn Plus, Inc.                (HP/IBM)
  4219 W. Olive Ave. #2011
  Burbank, CA 91505
  (213) 876-5237

  Achtung Entertainment           TrueType (shareware) for Macs, 300+ fonts.
  508 N. College Ave. #215        HyperCard demo disk $3.00 (refundable/order)
  Bloomington, IN 47404
  no phone number

  ADH Software                    (Mac)
  P.O. Box 67129
  Los Angeles, CA 90067

  Adobe Systems Incorporated      : The Adobe Typeface Library (Mac)
  1585 Charleston Rd.                     (Mac) (HP/IBM)
  P.O. Box 7900
  Mountain View, CA 94039-7900
  (415) 961-4400
  (800) 344-8335

  Advanced Vision Research        (HP/IBM)
  2201 Qume Dr.
  San Jose, CA 95131
  (408) 434-1115

  AGFA Compugraphic Corp.         : CG Type
  90 Industrial way
  Wilmington, MA 01887
  (800) 622-8973

  Allotype Typographics           : Downloadable Fonts (Mac)
  1600 Packard Rd. Suite #5         Kadmos (Greek)
  Ann Arbor, MI 48104               Czasy & Szwajcarskie
  (313) 663-1989                    Demotiki

  Alphabets, Inc.
  P.O. Box 5448
  Evanston, IL 60204-5448
  (312) 328-2733

  Alphatype Corp.
  220 Campus Dr., Suite 103
  Arlington Heights, IL 60004
  (312) 259-6800

  Altsys Corporation,         : FONTastic Fonts, Fontographer Fonts (Mac)
  269 West Renner Road,
  Richardson,
  Texas 75080.
  (214) 680-2060.

  Artworx Software Co.            (Mac)
  1844 Penfield Rd.                 Hebrew Typefaces
  Penfield, NY 14526
  (716) 385-6120
  (800) 828-6573

  Architext, Inc.                 (HP/IBM)
  121 Interpark Blvd. Suite 1101
  San Antonio, TX 78216
  (512) 490-2240

  Asiagraphics Technology Ltd.    (Mac)
  9A GreatMany Centre               Chinese, Japanese, Korean, Thai
  109 Queen's Road East
  Wanchai, Hong Kong
  (5) 8655-225
  Fax: (5) 8655-250
  Modem: (5) 865-4816

  Autologic, Inc.                 (Mac)
  1050 Rancho Conejo Blvd.
  Newbury Park, CA 91320
  (805) 498-9611

  Berthold of North America
  7711 N. Merrimac Avenue
  Niles, IL 60648
  (312) 965-8800

  Bitstream, Inc.
  Athenaeum House
  215 First St.
  Cambridge, MA 02142
  (617) 497-6222
  (800) 237-3335

    A representative of Bitstream sent the following correction to me.

    Bitstream offers:

            **1100 PostScript Type 1 fonts for the Mac & PC. (These can
            be ordered direct from Bitstream or thru several resellers.)

            ** Bitstream Type Treasury -- the Bitstream Type Library for
            the Mac (Type 1 format) on CD ROM.

            ** Bitsteram Type Essentials--a series of 4 Typeface
            Packages for PC & Mac that were selected to work well for
            different jobs (Letters, Memos & Faxes; Newsletters,
            Brochures & Announcements; Spreadsheets, Graphs &
            Presentations; Headlines).

            **Bitstream Typeface Packages for the PC -- 52 packages
            (most with 4 faces each) that include a total of over 200
            faces, with mutiple font formats in each package (Bitstream
            Speedo, Type 1, Bitstream Fontware)

            ** Bitstream TrueType Font Packs 1 & 2 for Microsoft Windows
            ** Bitstream PostScript Font Packs 1 & 2 for the PC

            ** Bitstream FaceLift for Windows
            ** Bitstream FaceLift for WordPerfect
               - both are font scaling/font management utilities.

            ** Bitstream MakeUp for Windows - a type manipulation/
            special effects program.

            ** Bitstream Li'l Bits -- a new product line of novelty
            fonts in TrueType format for Windows 3.1. The first release
            began shipping last week and includes The Star Trek Font
            Pack, The Flintstones Font Pack and The Winter Holiday Font
            Pack.

            We offer OEM customers an extensive range of non-latin type
            (as you have noted in the current listing), but these faces
            are not currently available to individual end-users.

            We also offer font-scaling and rasterizing technology to
            OEM customers.

  Blaha Software/Janus Associates : Big Foot (Mac) (HP/IBM)
  991 Massachusetts Ave.
  Cambridge, MA 02138
  (617) 354-1999

  Blue Sky Research               : Computer Modern Fonts
  534 SW Third Avenue, #816
  Portland, OR  97204
  (800) 622-8398

  Canon                             Canon Font Gothic, Canon Font Mincho

  Casady & Greene, Inc.           : Fluent Fonts, Fluent Laser Fonts (Mac)
  26080 Carmel Rancho Blvd. #202    Russian/Ukranian/Bulgarian/Serbian
  P.O. Box 223779                   Cyrillic, Greek, Hebrew, Kana, Polish
  Carmel, CA 93922                  Glasnost
  (408) 484-9228
  (800) 331-4321 -------------no longer valid
  (800) 851-1986 (California)-no longer valid

  Caseys' Page Mill               (Mac)
  6528 S. Oneida Court
  Englewood, CO 80111
  (303) 220-1463

  Century Software (MacTography)  font developer for MacTographyc
  702 Twinbrook Parkway           : LaserFonts (Mac)
  Rockville, MD 20851
  (301) 424-1357

  Coda Music Software
  1401 E. 79th St.
  Mineapolis, MN 55425-1126
  (612) 854-1288
  (800) 843-1337

  Compugraphic Corporation        (Mac) (HP/IBM)
  Type Division
  90 Industrial Way
  Wilmington, MA 01887
  (800) 622-8973 (U.S.)
  (800) 533-9795 (Canada)

  Computer EdiType Systems        (HP/IBM)
  509 Cathedral Parkway, Ste. 10A
  New York, NY 10025
  (212) 222-8148

  Computer Peripherals, Inc.      : JetWare (HP/IBM)
  2635  Lavery Ct. #5
  Newbury Park, CA 91320
  (805) 499-5751

  Computer Prod. Unlimited        (Mac)
  78 Bridge St.
  Newburgh, NY 12550
  (914) 565-6262

  Conographic Corp.               (Mac) (HP/IBM)
  17841 Fitch
  Irvine, CA 92714

  (714) 474-1188

  Corel Systems Corp.             (HP/IBM)
  1600 Carling Ave.
  Ottawa, Ontario, CANADA KIZ 7M4
  (613) 728-8200

  Data Transforms                 (HP/IBM)
  616 Washington St.
  Denver, CO 80203
  (303) 832-1501

  Davka Corp.                     (Mac)
  845 N. Michigan Ave., Ste. 843    Arabic, Hebrew
  Chicago, IL 60611
  (312) 944-4047

  Devonian International software Co.     (Mac)
  P.O. Box 2351                             Cyrillic
  Montclair, CA 91763
  (714) 621-0973

  Digi-Fonts                      (HP/IBM)
  528 Commons Drive                Greek, Cyrillic
  Golden, Colorado 80401
  (303) 526-9435
  Fax: (303) 526-9501

  Digital Type Systems (DTS)      (HP/IBM)
  38 Profile Circle
  Nashua, NH 03063
  (603) 880-7541

  Dubl-Click Software, Inc.       : World Class Fonts (Mac)
  9316 Deering Ave.
  Chatsworth, CA 91311
  (818) 700-9525

  Eastern Language Systems, Inc.  (Mac)
  39 W. 300 North                 Arabic, Hebrew
  Prove, UT 84601
  (801) 377-4558

  Ecological Linguistics          (Mac)
  P.O. Box 15156                  Cyrillic, Greek
  Washington, DC 20003
  (202) 546-5862

  The Electric Typographer
  2216 Cliff Dr.
  Santa Barbara, CA 93109
  (805) 966-7563

  EmDash                          : EmDash Fonts (Mac)
  P.O. Box 8256
  Northfield, IL 60093
  (312) 441-6699

  The Font Company
  12629 N. Tatum Boulevard
  Suite 210
  Phoenix, AZ  85032
  (602) 996-6606

  The Font Factory                (HP/IBM)
  2400 Central Parkway
  Ste. J-2
  Houston, TX 77092

  FontCenter                      (HP/IBM)
  509 Marin St., #121
  Thousand Oaks, CA 91360
  (805) 373-1919

  Font FunHouse CD-ROM            (PC/Mac)
  Wayzata
  PO Box 807
  Grand Rapids, Minnesota 55744
  (800) 735-7321

  FontHaus is a manufacturer of typefaces and a licensed reseller for
  Adobe, Monotype, Bitstream, Elsner+Flake, Giampa Textware,
  Treacyfaces, Panache Graphics, and others around the world.

  FontHaus discounts most Adobe fonts up to 40% off list price, and
  have CD-ROM discs available so you can buy individual fonts instead
  of entire families. All their fonts are available in Macintosh Type
  1; most are also available in PC format; and a growing number are in
  TrueType format. In addition, some type manufacturers support other
  platforms through thier CD-ROM font libraries (i.e. Monotype for Mac,
  PC, or NeXT). Contact them regarding availability for the fonts and
  formats you want.

  FontHaus ships internationally and also has several agents overseas,
  although these agents may not have everything available as the main
  office here in the US.

          FontHaus Inc                    (United States)
          15 Perry Avenue, A7
          Norwalk CT 06850
          203 846 3087
          203 849 8527 Fax

          Rhyscon Systems                 (Canada)
          PO Box 245 Clarkson PO
          Mississauga Ontario L51 3Y1
          416 278 2600
          416 278 3298 Fax

          TypoGabor                       (France)
          5, rue de 8 Mai 1945
          92586 Clichy (Paris)
          33 1 4739 6600
          33 1 4739 0638 Fax

          Elsner+Flake Fontinform GmbH    (German)
          Billstrasse 103
          2000 Hamburg 26
          40 789 2608
          40 789 1217 Fax

          Signus Limited                  (Britain)
          South Bank TechnoPark
          90 London Road
          London SE1 6LN
          71 922 8805
          71 261 0411 Fax

          Font Bolajet                    (Sweden, Finland, Norway)
          Kungstengaten 18
          113 57 Stockholm
          46.8.16.81.00

  Font World                      (Mac)
  2021 Scottsville Rd.            Cyrillic, Hebrew
  Rochester, NY 14623-2021
  (716) 235-6861

  Genny Software R&D              (Mac)
  P.O. Box 5909
  Beaumont, TX 77706
  (409) 860-5817

  Gradco Systems Inc.
  7 Morgan
  Irvine, CA 92718
  (714) 770-1223

  Hewlett-Packard                 (HP/IBM)
  P.O. Box 15
  Boise, ID 83707
  (208) 323-6000

  ICOM Simulations, Inc.
  648 S. Wheeling Rd.
  Wheeling, IL 60090
  (312) 520-4440
  (880) 877-4266

  Image Club Graphics, Inc.       : Laser Type (Mac)
  1902 11th Street SE, #5
  Calgary, Alberta
  T2G 3G2 Canada
  (800) 661-9410
  (403) 262-8008 (Canada)

  Image Processing Systems        :Turbofonts (HP/IBM)
  6409 Appalachian Way, Box 5016
  Madison, WI 53705
  (608) 233-5033

  Invincible Software             (Mac)
  9534 Burwick
  San Antonio, TX 78230
  (512) 344-4228

  Kabbalah Software
  8 Price Drive
  Edison, NJ 08817
  (908) 572-0891
  (908) 572-0869 Fax

  Hebrew fonts for PC and Mac. While I am part owner, so I am biased, we
  have been reviewed in the October 27 1992 issue of PC Mag as having high-
  quality fonts.

  Keller Software                 (HP/IBM)
  1825 Westcliff Dr.
  Newport Beach, CA 92600
  (714) 854-8211

  Kensington Microware Ltd.       (Mac)
  251 Park Ave. S
  New York, NY 10010
  (212) 475-5200

  Kingsley/ATF Type Corp.         (Mac)
  200 Elmora Ave.
  Elizabeth, NJ 07202
  (201) 353-1000
  (800) 289-TYPE

  Laser Technologies International        : Lenord Storch Soft Fonts
  15403 East Alondra Blvd.                        (HP/IBM)
  La Mirada, CA 90638
  (714) 739-2478

  LaserMaster Corp.               : LM Fonts (HP/IBM)
  7156 Shady Oak Rd.
  Eden Prairie, MN 55344
  (612) 944-9330
  (800) LMC-PLOT
  Fax: (612) 944-0522

  LeBaugh Software Corp           : LeFont (HP/IBM)
  2720 Greene Ave.
  Onaha, NE 68147
  (800) 532-2844

  Letraset USA                    : LetraFont (Mac)
  40 Eissenhower Dr.
  Paramus, NJ 07653
  (201) 845-6100
  (800) 634-3463

  Linguists' Software, Inc.       (Mac)
  P.O.Box 580                     Cyrillic, Greek, Hebrew, Arabic, Farsi,
  Edmonds, WA 98020-0580          Japanese, Chinese, Korean, Thai,
  Tibetan,
  (206) 775-1130                  Hindi, Sanskrit, Gujarati, Tamil,
  Punjabi
  Fax: (206) 771-5911             Burmese,

  Linotype Company                (Mac)
  425 Oser Ave.
  Hauppauge, NY 11788
  (800) 645-5764 (US)
  (800) 832-5288 (NY)
  (800) 387-9553 (Canada)

  MacTography
  326-D North Stonestreet Ave.
  Rockville, MD 20850
  (301) 424-3942

  Megatherium Enterprises         : Mac The Linguist 2 (Mac)
  P.O. Box 7000-417
  Redondo Beach, CA 90277
  (213) 545-5913

  Metro Software, Inc.            (HP/IBM)
  2509 N. Cambell Ave., Ste. 214
  Tucson, AZ 85719
  (602) 299-7313

  Modern Graphics                 :Organic Fonts (Mac)
  P.O. Box 21366
  Indianapolis, IL 46221
  (317) 253-4316

  Monotype Typography Inc.
  Suite 504-53 West Jackson Blvd.
  Chicago, IL 60604
  (312) 855-1444
  (800) MONOTYPE

  Network Technology Corp.        : LaserTEX Font Library (HP/IBM)
  6825 Lamp Post Lane
  Alexandria, VA 22306
  (703) 765-4506

  Nippon Information Science Ltd. (NIS)   (Mac)
  Sumire Bldg. 4F
  5-4-4 Koishikawa
  Bunkyo-ku, Tokyo 112
  Japan
  (03) 945-5955

  Olduvai Corporation             : Art Fonts (Mac)
  7520 Red Road, Suite A
  South Miami, FL 33143
  (305) 665-4665
  (800) 822-0772 (FL)

  Page Studio Graphics            : PIXymbols (Mac)
  3175 N. Price Rd. #1050
  Chandler, AZ 85224
  (602) 839-2763

  Paperback Software              : KeyCap Fonts
  2830 9th St.
  Berkeley, CA 94710
  (415) 644-2116

  Prosoft                         (HP/IBM)
  7248 Bellair Ave., P.O. Box 560
  North Hollywood, CA 91605
  (818) 764 3131

  Qume Corp.                      (HP/IBM)
  2350 Qume Dr.
  San Jose, CA 95131
  (800) 223-2479

  R.M.C.                          : PrintR fonts (HP/IBM)
  12046 Willowood Dr.
  Woodbridge, VA 22192
  (703) 494-2633

  Richard Beatty Designs              : He does wonderful work with otherwise
  2312 Laurel Park Highway            : unavailable Goudy typefaces, borders,
  Hendersonville, North Carolina 28739: ornaments, custom fonts, etc.
  (704) 696-8316

  S. Anthony Studios              : Fonts Vol. 1
  889 DeHaro Street
  San Francisco, CA  94107

  ScenicSoft Inc.                 : PC-Monochrome (Mac)
  250 Harbor Bldg.
  100 2nd Ave. S
  Edmonds, WA 98020
  (206) 776-7760

  SMK                             (Mac)
  5760 S. Blackstone Ave.
  Chicago, IL 60637
  (312) 947-9157

  SoftCraft, Inc.                 : Fancy Font (HP/IBM)
  16 North Carrol St., Suite 500
  Madison, WI 53703
  (608) 257-3300

  SoftDisk Publishing             : DTPublisher Fonts
  P.O. Box 30008
  Shreveport, LA 71130-0008
  (318) 221-8718 or
  (800) 831-2694

  Software Apple-cations          (Mac)
  1934 Ridge Point Way
  Boise, ID 83712
  (208) 345-0547

  Software Complement             : Complementary Type (Mac)
  8 Penn Ave.
  Metamoras, PA 18366
  (717) 491-2492

  Software Shop                   : Studio 231 (Mac)
  233 Bedford Ave.
  Bellmore, Long Island, NY 11710
  (516) 785-41447

  Software Touch                  : FontWorks
  9625 Black Mountain Rd.
  San Diego, CA 92126
  (619) 549-3091

  Specific Solutions              : FontPacks (Mac) (HP/IBM)
  1898 Anthony Ct.
  Mountain View, CA 94040
  (415) 941-3941

  Springboard Software, Inc.
  7808 Creekridge Circle
  Minneapolis, MN 55435
  (612) 944-3915
  (800) 445-4780 (US & Canada)

  Straightforward                 : ZFont (HP/IBM)
  15000 Halldale Ave.
  Gardena, CA 90249
  (213) 324-8827

  Studio 231, Inc.
  231 Bedford Ave.
  Bellmore, NY 11710
  (516) 785-4422

  SWFTE International             (HP/IBM)
  Box 5773
  Wilmington, DE 19808
  (800) 237-9383

  T/Maker Company                 : LaserLetters (Mac)
  1390 Villa St.
  MountainView, CA 94041
  (415) 962-0195

  Treacyfaces, Inc                : Treasyfaces (Mac)
  303 Conway Ave.
  Narverth, PA 19072
  (215) 668-8548

  TypeXpress
  150 Fencl Lane
  Hillside, IL 60162
  (800) 343-4424

  Typographics Ltd.               : Typo
  46, Hehalutz St.
  Jerusalem 96222
  Israel

  U-Design, Inc.                  : Type Foundry
  201 Ann St.
  Hartford, CT 06102
  (201) 278-3648

  The Underground Phont Archive   (TrueType,Shareware)
  395 Kaymar Dr.
  Amherst, NY 14228
  USA.

  Varityper, Inc.                 (Mac)
  11 Mt. Pleasant Ave.
  East Hanover, NJ 07936
  (800) 631-8134 (US except NJ)
  (201) 887-8000 ext. 999 (NJ)

  VS Software                     (HP/IBM)
  P.O. Box 6158
  Little Rock, AR 72216
  (501) 376-2083

  Weaver Graphics                 : LJ Fonts (Mac) (HP/IBM)
  5165 S. Hwy A1A
  Melbourne Beach, FL 32951
  (407) 728-4000
  Fax: (407) 728-5978

  Wikes Publishing Corp.          : Softjet (HP/IBM)
  25251 Paseo de Alicia #200
  Laguna Hills, CA 92653
  (714) 855-0730

  Wu Corp.                        : FeiMa (Mac) Chinese wordprocessor
  46 West Avon Rd.
  Avon, CT 06001
  (203) 673-4796

  Xiphias                         : Digital Type Fonts (HP/IBM)
  13464 Washington Blvd.
  Marina Del Ray, CA 90292
  (213) 821-0074

  Y&Y, Inc.                       : The ``TeX without bitmaps'' people
  106 Indian Hill                 : Technical typesetting & fonts for same
  Carlisle, MA 01741
  (508) 371-3286
  Fax: (508) 371-2004

  ZSoft Corp.                     : Soft Type
  450 Franklin Rd. Suite 100
  Marietta, GA 30067
  (404) 428-0008
  Fax: (404) 427-1150