Frequently Asked Questions About Fonts

Archive-name: fonts-faq/part1 Version: 2.0.4

  Frequently Asked Questions About Fonts
  ---------------------------------------------------------------------
  - The comp.fonts FAQ Version 2.0.4. May 09, 1994 Compiled by Norman
  Walsh

  Copyright (C) 1992, 93 by Norman Walsh <walsh@cs.umass.edu>.

  Portions of the OS/2 section are Copyright (C) 1993 by David J.
  Birnbaum.  All rights reserved.  Reproduced here by permission.

  Permission is granted to make and distribute verbatim copies of this
  document provided the copyright notice and this permission notice
  are preserved on all copies.

Subject: Table of Contents

  1. General Information 1.1. Font Houses 1.2. What's the difference
    between all these font formats? 1.3. What about "Multiple Master"
    fonts? 1.4. Is there a methodology to describe and classify
    typefaces? 1.5. What is the "f" shaped "s" called? 1.6. What about
    "Colonial" Typefaces? 1.7. Where can I get ... fonts. 1.8. Where
    can I get fonts for non-Roman alphabets? 1.9. What about fonts
    with the International Phonetic Alphabet (IPA) sy... 1.10. How can
    I convert my ... font to ... format? 1.11. Are fonts
    copyrightable? 1.12. Typeface Protection 1.13. File Formats 1.14.
    Ligatures 1.15. Built-in Fonts 1.16. Glossary 1.17. Bibliography
    1.18. Font Encoding Standards 1.19. TrueType 1.20. Unicode
    Information 1.21. Can I Print Checks with the MICR Font? 1.22.
    Rules of Thumb 1.23. Acknowledgements 1.24. A Brief Introduction
    to Typography 1.25. Pronounciation of Font Names 1.26. What does
    `lorem ipsum dolor' mean? 2. Macintosh Information 2.1. Macintosh
    Font formats 2.2. Frequently Requested Mac Fonts 2.3. Commercial
    Font Sources 2.4. Mac Font Installation 2.5. Mac Font Utilities
    2.6. Making Outline Fonts 2.7. Problems and Possible Solutions
    2.8. Creating Mac screen fonts 3. MS-DOS Information 3.1.
    Frequently Requested MS-DOS fonts 3.2. MS-DOS Font Installation
    3.3. What exactly are the encodings of the DOS code pages? 3.4.
    MS-DOS Font Utilities 3.5. Converting fonts under MS-DOS 3.5.1.
    Converting Mac Type 1 fonts to MS-DOS format 3.5.2. Converting PC
    Type 1 and TrueType fonts to Mac format 3.5.3. Converting PC Type
    1 fonts into TeX PK bitmap fonts 3.5.4. Converting TeX PK bitmaps
    into HP LaserJet softfonts (and vice... 3.5.5. TrueType to HP
    LaserJet bitmap softfonts (HACK!) 3.6. MS-DOS Screen Fonts
    (EGA/VGA text-mode fonts) 4. OS/2 Information 4.1. Preliminaries
    4.2. Fonts under DOS 4.3. Windows 4.4. Differences between Windows
    and OS/2 4.5. Installation under Windows and Win-OS/2 4.6.
    FontSpecific PostScript Encoding 4.7. AdobeStandardEncoding 4.8.
    AdobeStandardEncoding under Windows (and Win-OS/2) 4.9.
    AdobeStandardEncoding under OS/2 4.10. Consequences for OS/2 users
    4.11. Advice to the user 4.12. OS/2 2.1 and beyond 5. Unix
    Information 6. Sun Information 6.1. Fonts Under Open Windows
    6.1.1. Does OpenWindows support Type 1 PostScript fonts? 6.1.2.
    Improving font rendering time 6.1.3. Making bitmap fonts for
    faster startup 6.1.4. Converting between font formats
    (convertfont, etc.) 6.1.5. Xview/OLIT fonts at 100 dpi 6.2. Where
    can I order F3 fonts for NeWSprint and OpenWindows? 7. NeXT
    Information 7.1. Tell me about NeXTstep fonts 7.2. Tell me more
    about NeXTstep fonts 7.3. Porting fonts to the NeXT 7.4. Font
    availability 7.5. Why can I only install 256 fonts on my NeXT? 8.
    Amiga Information 9. X11 Information 9.1. Getting X11 9.2.
    Historical Notes about X11 9.3. X11 Font Formats 9.4. X11 Font
    Server Information 9.5. Fonts and utilities for X11 10. Utilities
    10.1. PS2PK 10.2. TeX Utilities 10.3. MFPic 10.4. fig2MF 10.5. GNU
    Font Utilities 10.6. Font Editors 10.7. The T1 Utilities 10.8.
    Where to get bitmap versions of the fonts 10.9. Converting between
    font formats 10.10. Getting fonts by FTP and Mail 10.11. MetaFont
    to PostScript Conversion 10.12. How to use Metafont fonts with
    Troff 10.13. PKtoBDF / MFtoBDF 10.14. PKtoPS 10.15. PKtoSFP /
    SFPtoPK 10.16. PostScript to MetaFont 10.17. Mac Bitmaps to BDF
    Format 11. Vendor Information

Subject: 1. General Information

  Many FAQs, including this one, are available by anonymous ftp from
  rtfm.mit.edu in the directory pub/usenet/news.answers.  Each posted
  section of the FAQ is archived under the name that appears in the
  "Archive-name" header at the top of the article.

  This FAQ is a work in progress.  If you have any suggestions, I
would be delighted to hear them.

  This FAQ is maintained in TeXinfo format.  A Perl script constructs
the postable FAQ from the TeXinfo sources.  TeX DVI, PostScript, and
Info versions of this FAQ are available from ftp.shsu.edu in
/tex-archive/help/comp-fonts-FAQ.  A "Gopher" server is also
maintained at shsu.edu which can provide interactive access to the
FAQ. Finally, an online, hypertext version of the FAQ is maintained
(experimentally) on jasper.ora.com where an HTTP server runs.  For
example, point XMosaic (or a similar WWW browser) to
http://jasper.ora.com/.

  The posted version of the FAQ is organized in a quasi-digest format
so that it is easy to find the questions you are interested in.  All
questions that appear in the table of contents can be found by
searching for the word "Subject:" followed by the question number.

  The "TeXinfo" distribution from the Free Software Foundation
contains a program called "Info" that can be used to read the Info
version of the FAQ in a hypertext manner.  The "TeXinfo" distribution
can be obtained from prep.ai.mit.edu in the /pub/gnu directory.  At
the time of this writing, texinfo-2.16.tar.gz is the most recent
version.  Info files can also be read in hypertext form by GNU Emacs.

  Future versions of the FAQ will make more use of the hypertext
  capabilities provided by the Info format.  At present, the FAQ is
  organized as a simple tree.  A plain ASCII, postable version of the
  FAQ will always be maintained.

  All trademarks used in this document are the trademarks of their
  respective owners.

  Standard disclaimers apply.

Subject: 1.1. Font Houses

  This section will be expanded on in the future.  It contains notes
about various commercial font houses.

  Compugraphic ============

  See "Miles, Agfa Division"

  Miles, Agfa Division ====================

  Compugraphic which was for a while the Compugraphic division of
Agfa, is now calling itself "Miles, Agfa Division" (yes, the Miles
drug company), since CG's off-shore parent Agfa has been absorbed by
Miles. So typographically speaking, Compugraphic, CG, Agfa, A-G ag,
and Miles all refer to the same company and font library. Their
proprietary fonts are still CG Xyz, but the name is Miles Agfa.

Subject: 1.2. What's the difference between all these font formats?

  This question is not trivial to answer.  It's analogous to asking
what the difference is between various graphics image file formats.
The short, somewhat pragmatic answer, is simply that they are
different ways of representing the same "information" and some of them
will work with your software/printer and others won't.

  At one level, there are two major sorts of fonts: bitmapped and
outline (scalable).  Bitmapped fonts are falling out of fashion as
various outline technologies grow in popularity and support.

  Bitmapped fonts represent each character as a rectangular grid of
  pixels.  The bitmap for each character indicates precisely what
  pixels should be on and off.  Printing a bitmapped character is
  simply a matter of blasting the right bits out to the printer.
  There are a number of disadvantages to this approach.  The bitmap
  represents a particular instance of the character at a particular
  size and resolution.  It is very difficult to change the size,
  shape, or resolution of a bitmapped character without significant
  loss of quality in the image.  On the other hand, it's easy to do
  things like shading and filling with bitmapped characters.

  Outline fonts represent each character mathematically as a series of
  lines, curves, and 'hints'.  When a character from an outline font
  is to be printed, it must be 'rasterized' into a bitmap "on the
  fly". PostScript printers, for example, do this in the print engine.
  If the "engine" in the output device cannot do the rasterizing, some
  front end has to do it first.  Many of the disadvantages that are
  inherent in the bitmapped format are not present in outline fonts at
  all.  Because an outline font is represented mathematically, it can
  be drawn at any reasonable size.  At small sizes, the font renderer
  is guided by the 'hints' in the font; at very small sizes,
  particularly on low-resolution output devices such as screens,
  automatically scaled fonts become unreadable, and hand-tuned bitmaps
  are a better choice (if they are available).  Additionally, because
  it is rasterized "on demand," the font can be adjusted for different
  resolutions and 'aspect ratios'.

  Werenfried Spit adds the following remark:

  Well designed fonts are not scalable. I.e. a well designed 5pt font
is not simply its 10pt counterpart 50% scaled down. (One can verify
this by blowing up some small print in a copier and compare it with
large print; or see the example for computer modern in D.E. Knuth's
TeXbook.) Although this fact has no direct implications for any of the
two methods of font representation it has an indirect one: users and
word processor designers tend to blow up their 10pt fonts to 20pt or
scale them down to 5pt given this possibility.  Subtle details, but
well...

  LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh
  Screen Fonts, and GEM .GFX files are all examples of bitmapped font
  formats.

  PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts,
TrueType fonts, Sun F3, MetaFont .mf files, and LaserJet .SFS files
are all examples of outline font formats.

  Neither of these lists is even close to being exhaustive.

  To complicate the issue further, identical formats on different
  platforms are not necessarily the same.  For example Type 1 fonts on
  the Macintosh are not directly usable under MS-DOS or Unix, and
  vice-versa.

  It has been pointed out that the following description shows signs
of its age (for example, the eexec encryption has been thoroughly
hacked). I don't dispute the observation and I encourage anyone with
the knowledge and time to submit a more up to date description.

  It has further been suggested that this commentary is biased toward
  Kingsley/ATF.  The omission of details about Bitstream (and possibly
  Bauer) may be considered serious since their software lies inside
  many 3rd-party PostScript interpreters.

  The moderators of this FAQ would gladly accept other descriptions/
  explanations/viewpoints on the issues discussed in this (and every
  other) section.

  [Ed Note: Liam R. E. Quin supplied many changes to the following
  section in an attempt to bring it up to date.  Hopefully it is a
  better reflection of the state of the world today (12/07/92) than it
  was in earlier FAQs]

  Henry Schneiker <reachable electronically?> wrote the following
  description of the differences between several scalable font
  technologies:

  ((( semi-quote )))

  There has been a lot of confusion about font technologies in recent
  times, especially when it comes to Type 1 versus Type 3 fonts,
  "hints," PostScript compatibility, encryption, character
  regularizing, kerning, and the like.

     * Encryption (eexec)

       All fonts produced with Adobe's font technology are protected
       through data encryption. The decryption is provided by the
       `eexec' (encrypted execute) PostScript operator and, until
       recently, was only present in Adobe's licensed PostScript.

       Adobe has published the details of the Type 1 font format in
the `Black Book', Adobe Type 1 Font Format (version 1.1), Adobe
Systems Inc., 1990.  The encryption was mainly used because of font
copyright problems; unencrypted fonts can also be used, but these tend
to use an efficient binary encoding, also in documented the Type 1
book, and so are still not readable PostScript.

     * Type 1, Type 3, and Type 5 font formats

       There are generally three font formats used in Adobe PostScript
       printers: Type 1, Type 3, and Type 5. Type 1 fonts are Adobe's
       downloadable format. Type 3 fonts are third-party downloadable
       format. Type 5 fonts are the ROM-based fonts that are part of
       your printer.

       There is no functional difference between a Type 1, Type 3, or
       Type 5 font. A Type 3 font can do anything a Type 1 or Type 5
       font can do.  The only real difference between them is where
       the `BuildChar' routine comes from. For Type 1 and Type 5 fonts
       it's built into the printer. For Type 3 fonts it's built into
       the font. In other words, anything a Type 1 font can do a Type
       3 font can also do.

       [Ed note: the reverse is not true.  Type3 fonts can do things
that Type1 fonts cannot.  But they aren't hinted...]

       When PostScript is asked to generate a character, PostScript
looks in the font's dictionary for FontType. If FontType is 1 or 5
PostScript executes an internal routine that knows how to interpret
the font data stored in CharStrings. If FontType is 3 PostScript
executes the routine BuildChar from the font's dictionary to interpret
the font data (often stored in CharStrings).

       However, each BuildChar routine is written to read data
formatted in a method convenient to the vendor. Adobe, Altsys,
Bitstream, and Kingsley/ATF all format their font data differently
and, hence, have different BuildChar routines.

       [Ed note: relative hard disk efficiency of Kingsley vs. Adobe
fonts deleted on 12/07/92]

       Type 5 fonts are special in that they often include hand-tuned
       bitmaps for the commonly used sizes, such as 10- and 12-point.
       Other sizes are generated from the outlines in normal fashion.

       Don't confuse Type 1, Type 3, and Type 5 fonts with Bitstream's
       Type A, Type B, Type C, and Type F. They are not the same and
       serve only to confuse the issue.

     * Resolution `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.

       [Ed note: deleted some paragraphs that are no longer true.
Times change...]

     * Optical Scaling

       Optical Scaling modifies the relative shape of a character to
       compensate for the visual effects of changing a character's
       size. As a character gets smaller, the relative thickness of
       strokes, the size of serifs, the width of the character, the
       inter-character spacing, and inter-line spacing should
       increase. Conversely, as a character gets larger, the relative
       thickness, widths, and spacing should decrease.

       Contrast this with linear scaling, in which all parts of a
       character get larger or smaller at the same rate, making large
       characters look wide and heavy (strokes are too thick, serifs
       are too big) while small characters look thin and weak.

     * Kerning

       As applied to PostScript fonts, kerning refers to kern pairs. A
       kern pair specifies two characters (e.g., A and V) and the
       distance to move the second character relative to the first.
       The typical use of a kern pair is to remove excessive space
       between a pair of characters.  However, it may also be used to
       add space.

     * PostScript clones

       There are currently several printer manufacturers on the market
       with PostScript clones. To be viable, a PostScript clone must
       comply with the `red book' (PS Language Reference Manual).

       In order to avoid paying royalties to Adobe, and because
Adobe's Type 1 font format was originally proprietary, many PostScript
interpreters use some other font format.  Sun uses F3, and some other
vendors use Bitstream's Speedo format, for example.  The

úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: General Info (1/3)
ÿ@PACKOUT:11-11-94 úÿ(Continued from last message) only real problem
this causes is that the widths of characters (the `font metrics') may
vary from Adobe's, so that programs that assume the Adobe character
widths will produce poor quality output.  Bitstream fonts used to be
particularly bad in the early days, but they and most or all of the
other vendors have solved those problems.

     * Apple TrueType [Ed note: formerly "Royal (`sfnt')"] format and
       System 7

       Apple's new System 7.0 supports a new format of outline font
that will allow high-quality characters of any size to be displayed on
the screen.  TrueType stores font outlines as B-spline curves along
with programmed resolution hints. B-spline curves are faster to
compute and easier to manipulate than the Bezier curves used in
PostScript.

       Adobe is not going to support Apple's new format by converting
the Adobe/Linotype library to B-spline format. There are two reasons
for this: First, there is no support for font encryption (yes, the
hooks are there, but nothing is implemented). Second, Adobe does not
want to dilute PostScript and its font library. However, the Macintosh
is too big a market to simply turn away from. Therefore, Adobe will
provide its Font Manager to display its own fonts on the Mac screen.
Apple ships Adobe's ATM for this purpose.

  ((( unquote )))

Subject: 1.3. What about "Multiple Master" fonts?

  Multiple Master Fonts are an extension to the Adobe font format.
  providing the ability to interpolate smoothly between several
  "design axes" from a single font. Design axes can include weight,
  size, and even some whacko notions like serif to sans serif.
  Adobes' first Multiple Master Font was Myriad - a two-axis font with
  WEIGHT (light to black) on one axis, and WIDTH (condensed to
  expanded) along the other axis. In the case of Myriad, there are
  four "polar" designs at the "corners" of the design space. The four
  designs are light condensed, black condensed, light expanded, and
  black expanded.

  Given polar designs, you can set up a "weight vector" which
  interpolates to any point within the design space to produce a
  unique font for a specific purpose. So you can get a "more or less
  condensed, somewhat black face".

  Multiple Master Fonts can be used on any PostScript printer.
Multiple Master Fonts need a new PostScript operator known as
makeblendedfont. The current crop of Multiple Master Fonts supply an
emulation of this operator so the printer doesn't need this operator.

  A short tutorial on Multiple Master Fonts and makeblendedfont
appears in PostScript by Example, by Henry McGilton and Mary Campione,
published by Addison-Wesley.

  Danny Thomas contributes that there are a few PostScript interpreter
  (version)s which have bugs that appear with the emulation of the
  makeblendedfont operator used to support Multiple Master fonts.
  There weren't many exhibiting this problem, though it may have
  happened even with one Adobe interpreter.

Subject: 1.4. Is there a methodology to describe and classify
typefaces?

  There is a standard, Panose, but it is mostly ignored by
typographers (not because it's bad, just because they don't need it).
The Panose system is documented, among other places, in the Microsoft
Windows 3.1 Programmer's Reference from Microsoft Press.

  The ISO also has a scheme, but it is not Panose.

  At least one book by a respected authority, Alexander Lawson,
Printing Types: An Introduction, describes another, less rigorous
system [ed: of his own], which is exposited in "An Introduction" and
used without exposition in his later "Anatomy of a Typeface".

  There is another book, Rookledges International Typefinder, which
has a very complete system that uses tell-tales of individual glyphs
as well as overall style to index most known faces right in the book.

  J. Ben Leiberman has another book on type face description.

  Terry O'Donnell adds the following comments:

  The current ISO system was initiated (I believe) by Archie Provan of
  RIT--a successor to Mr. Lawson. Whereas in typographic practice or
  teaching--only a high level classification is necessary - times have
  changed and the current ISO system aims to accomplish something
  beyond the high level. A major goal is to aid software to help users
  make selections. For example, a naive user might ask for all fonts
  on a font server which have a Roman old style appearance. Another
  goal would be to help users with multi-lingual text: a user creating
  a document in English using e.g. Baskerville wants to know what
  Arabic or Japanese language font on his system/file server would
  harmonize well with the Baskerville. It is not all in place yet--but
  the more detailed ISO classes--and the current addition of non-latin
  typefaces--are an attempt to address this issue.

  A second goal is to help with the font substitution problem. Neither
  ISO or Panose address the metrics issues in font substitution--but
  both might aid software in picking the nearest style of available
  available fonts.

Subject: 1.5. What is the "f" shaped "s" called?

  Both the "f" with half a crosbar (roman) and the integral sign
(italic) are called long-S.

Subject: 1.6. What about "Colonial" Typefaces?

  Why does colonial printing have that "Colonial" feel?
  =====================================================

  Colonial type was either very roughly treated by moist salt air on
the crossing and in colonial port cities, or was copied locally by
tacky techniques (such as driving used foundry type into soft lead to
make very soft deformable matrices), and the paper was very rough,
which abrades both the serifs and the hairlines.  So except for the
best work done with new, european types, the serifs were much smaller,
even broken off, than the original founder/punchcutter intended.
Thins could be abraded by rough paper to nothingness, esp after humid
salt air had leached the hardener out of the alloy.

  What fonts are good for mock-colonial uses?
  ===========================================

  For example, what fonts have the following features: old-style
figures (non-lining numbers), the long s character, slightly irregular
shapes (a la type produced by colonial printers), and a decent
complement of ligatures.  And what about free or cheap faces like
this?

  I don't know if any exist with all of 1-5. As I believe you get what
  you pay for, especially in fonts, I haven't looked at free and
  cheap-copy fonts.

  Microsoft's expansion set for their Win3.1 optional fonts has
Garamond Expert & Expert Extensions, which has a good complement of
ligatures and I think I remember it having the long ess too.  I forget
about OSFigs; it should tho'.  Monotype's metal faces "16th Century
Roman" and "Poliphilus" may be available in digital; if so, they
imitate early presswork with early and are very close to what one
wants.

  "A commercial supplier [not yet sampled] is Image Club Graphics in
  Calgary (1-800-661-9410).  It is called Caslon Antique.  It is
  supplied as both roman and italic, together, for $25. They advertise
  in MacWorld/MacUser/MacBlah.   I am unable to tell from abcDEF123 if
  the numerals are old-style, but I think not.  Ligatures?  long-S?
  Not yet known.  Guillemots, though, are there. ... Letraset, circa
  1977, showing a Caslon Antique with modern numerals, no ligatures,
  and only UKPounds and German ss extensions." [Ike Stoddard]

  NB: Caslon Antique is not a Caslon per se: "The last Caslon to
mention is that ubiquitous but unrelated Caslon Antique, which
possesses no similarity whatsoever to the original. This old reprobate
was introduced by Barnhart Brothers of Chicago under the name
Fifteenth Century. Its negative reception lasted until about 1918,
when, with a simple name change to Caslon Antique, it became the most
commonly selected type for reproductions of colonial American
printing. It is now seen in everything from liquor advertisments to
furniture commercials" [Lawson, 1990,Anatomy]

  Miles Agfa (Compugraphic) has always had a Caslon Antique; I don't
know if it is available for TrueType or Type 1, but Agfa has been
doing TrueType bundles at reasonable prices. [wdr]

  What fonts could a colonial printer have had?
  =============================================

  According to D.B.Updike in the classic reference "Printing Types:
Their History, Forms & Use", he indicates that most colonial work was
with types of the Caslon Old Style fonts and cheap copies of same in
the 18th C.  Before that, it would have been the older Dutch & English
faces, almost always lagging English tastes.  If you can find the
Oxford Fell types, they are classic Dutch-as-used-by-englishmen.
Anything with a Dutch moniker and the Oldstyle adjective is probably
ok; Van Dijck if you find it, say (died 1673).

  Ben Franklin recommended Caslon faces.  But these were not available
in England before 1720, first full broadside in 1734. Lawson declares
that the first printing of the Declaration of Independance was in
Caslon.

  Wilson's Scotch Modern was the "modern" font that surfaced in
quantity in america.  If the Scotch Roman your vendor has is sort-of
like- Bodoni but nicer than his Bodoni, that's it.  It wasn't
available until late 1700s, though.

Subject: 1.7. Where can I get ... fonts.

  Before I go any farther, let me extol the virtues of the Archie
servers. If you need to find something on the net, and you have any
idea what it might be called, Archie is the place to go.  In North
America, telnet to "archie.rutgers.edu" and login as "archie".  There
are many other servers around the world, any Archie server can give
you a list of other servers.  There are better documents than this to
describe Archie and you should be able to find them from the above
starting point.  If you have trouble, feel free to ask norm (via Email
please, no need to clutter comp.fonts with a query about Archie ;-).

  In addition to the telnet option, several archie clients exist
including a very nice X11 implementation (Xarchie)

     * Adobe Type 1 Fonts in MS-DOS/Unix Format:

       ftp.cica.indiana.edu:/pub/pc/win3/fonts

       ftp.cica.indiana.edu:/pub/pc/win3/fonts/atm

       archive.umich.edu:/msdos/mswindows/fonts

     * Adobe Type 1 Fonts in Mac Format:

       mac.archive.umich.edu:/mac/system.extensions/font/type1

       sumex-aim.stanford.edu:/info-mac/font

     * Adobe Type 3 Fonts in Mac Format:

       mac.archive.umich.edu:/mac/system.extensions/font/type3

     * TrueType fonts in MS-DOS Format:

       ftp.cica.indiana.edu:/pub/pc/win3/fonts/truetype

     * TrueType fonts in Mac Format:

       mac.archive.umich.edu:/mac/system.extensions/font/truetype

     * TeX PK/PXL/GF fonts:

       The TeX community has it's own support groups that can provide
       better answers to this question.  The canonical list of
       MetaFont fonts is posted occasionally to comp.text.tex.  The
       comp.text.tex newsgroup (or the Info-TeX mailing list, if you
       do not have access to news) are good places to start.  Email
       norm if you need more specific information.

     * LaserJet bitmap fonts:

       wuarchive.wustl.edu:/mirrors/msdos/laser

       Also on other simtel20 mirrors...

  If you know of other archive sites (the above list is no where near
  complete) or other formats that are available on the net, please let
  us know.

  The sites above represent places where shareware and public domain
fonts are available.  Many, many typefaces are not available in
shareware form.  And many shareware faces are less than adequate for a
variety of reasons, particularly at small sizes.  It seems to be the
consensus of the comp.fonts community that "you get what you pay for."
If you need a professional quality font, you should probably buy it
from a professional.

  A list of font vendors (annotated with information about non-Roman
  alphabets) was contributed by Masumi Abe.  Masumi was Adobe's
  Manager of Typographic Marketing for Asia, he has since left Adobe.

  The list is quite long and it is posted separately.  It can be
retrieved via anonymous ftp from /pub/norm/comp.fonts on
ibis.cs.umass.edu.

Subject: 1.8. Where can I get fonts for non-Roman alphabets?

  As mentioned above, the list of font vendors is annotated with
  information about non-Roman alphabets.  Commercially, Masumi
  suggests that Linguists' Software is the current [ed: as of 7/92]
  leading supplier of non-Roman fonts.

Subject: 1.9. What about fonts with the International Phonetic
Alphabet (IPA) symbols?

  I summarized Scott Brumage's recent post for the FAQ:

  Shareware or free (PostScript Type 1 and/or TrueType):
  ======================================================

     * TechPhon

       Seems to lack some characters and has no zero-offset characters
       (for accents).

     * PalPhon

       A phonetic font which you can get by anonymous ftp from
       mac.archive.umich.edu.  It is called PalPhon. There are
       actually two fonts: the basic PalPhon and one with additional
       accents and symbols called PalPi. The package includes some
       documents on using the fonts as well.

     * SIL-IPA

       SIL-IPA is a set of scalable IPA fonts containing the full
       International Phonetic Alphabet with 1990 Kiel revisions. Three
       typefaces are included:

          * SIL Doulos (similar to Times)

          * SIL Sophia (similar to Helvetica)

          * SIL Manuscript (monowidth)

       Each font contains all the standard IPA discrete characters and
       non-spacing diacritics as well as some suprasegmental and
       puncuation marks. Each font comes in both PostScript Type 1 and
       TrueType formats.  The fonts are also available for Microsoft
       Windows.

       These fonts were designed by the Printing Arts Department of
the Summer Institute of Linguistics, Dallas, Texas.

  Shareware or free (TeX): ========================

  METAFONT sources of the phonetic symbols developed by
  Tokyo-Shoseki-Printing and Sanseido are available.  The font
  contains all of IPA (Internatioanl Phonetic Alphabet) symbols.

  You can get phonetic symbols METAFONT (named TSIPA) from

  ftp.foretune.co.jp:/pub/tools/TeX/Fonts

  The IP address for ftp.foretune.co.jp is 133.123.1.2.

  Commercial: ===========

  Linguist's Software Adobe (ITC Stone Phonetic [#255], Times Phonetic
  [#278])

Subject: 1.10. How can I convert my ... font to ... format?

  Conversion from one bitmapped format to another is not generally too
  difficult.  Conversion from one scalable format to another is very
  difficult.  Several commercial software packages claim to perform
  these tasks, but none has been favorably reviewed by the comp.fonts
  community.  ATech's AllType program, in particular, has had poor
  reviews [ed: as of 7/92].

  In an effort to settle a long-running and oft-asked question, I'll
be blunt: as of today [6/93], THERE ARE NO NON-COMMERCIAL PROGRAMS
WHICH WILL CONVERT FROM ONE SCALABLE FORMAT TO ANOTHER.  Not from
TrueType to PostScript Type 1, Type 3, Type 5, or any other scalable
PostScript format.  Not from PostScript Type 1 to TrueType.  Not to or
from Intellifont.  Not to or from Sun F3 format.

  There are some commercial programs: AllType, Metamorphosis, Font
  Monger, and even MoreFonts (to/from some proprietary format, I
  believe).  And there are probably other commercial programs as well.
  However, as several people have noted, conversion from one scalable
  format to another is a bad idea.  If the original font was well
  hinted, the converted font will not be.  Of course, if the original
  was poorly hinted, maybe it won't matter much.

  For specific conversions, check the platform specific parts of the
FAQ. Most of the conversions discussed require platform specific
tools.

  Here is a summary of the conversions discussed (and the section in
  which they appear):

  Mac Type 1 PostScript To PC Type 1 PostScript (MS-DOS).  To TrueType
       (commercial).

  PC Type 1 PostScript To Mac Type 1 PostScript (Mac, commercial).  To
       TrueType (commercial).  To TeX PK (MS-DOS).

  TrueType To Type 1 PostScript (Mac and MS-DOS, commercial).  To HP
       LaserJet bitmaps (MS-DOS, hack!).

  TeX PK To HP LaserJet bitmap softfonts (MS-DOS).

  HP LaserJet bitmap softfonts To TeX PK (MS-DOS).

  In addition, Adobe ships a copy of Adobe Font Foundry with all of
its fonts which can convert Type 1 fonts into HP LaserJet softfonts.

Subject: 1.11. Are fonts copyrightable?

  This topic is hotly debated at regular intervals on comp.fonts.
Terry Carroll.  provides the following analysis of current [ed: as of
6/92] legislation and regulation regarding fonts and copyrights in the
United States.  Terry is "Editor in Chief" of Volume 10 of the Santa
Clara Computer and High Technology Law Journal.  Members of the
comp.fonts community are encouraged to submit other materials that add
clarity to the issue.

  It has been pointed out that this section deals primarily font
copyright issues relevant to the United States and that this situation
is not universal.  For example, in many parts of Europe typeface
designs are protectable.

  "First, the short answer in the USA: Typefaces are not
copyrightable; bitmapped fonts are not copyrightable, but scalable
fonts are copyrightable.  Authorities for these conclusions follow.

  Before we get started, let's get some terminology down:

  A typeface is a set of letters, numbers, or other symbolic
characters, whose forms are related by repeating design elements
consistently applied in a notational system and are intended to be
embodied in

úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: General Info (1/3)
ÿ@PACKOUT:11-11-94 úÿ(Continued from last message) articles whose
intrinsic utilitarian function is for use in composing text or other
cognizable combinations of characters.

  A font is the computer file or program that is used to represent or
  create the typeface.

  Now, on to the legal authorities:

  Volume 37 of the Code of Federal Regulations specifies this about
the copyrightability of typefaces:

  "The following are examples of works not subject to copyright and
  applications for registration of such works cannot be entertained: .
  . . typeface as typeface" 37 CFR 202.1(e).

  The regulation is in accordance with the House of Representatives
report that accompanied the new copyright law, when it was passed in
1976:

  "The Committee has considered, but chosen to defer, the possibility
of protecting the design of typefaces.  A 'typeface' can be defined as
a set of letters, numbers, or other symbolic characters, whose forms
are related by repeating design elements consistently applied in a
notational system and are intended to be embodied in articles whose
intrinsic utilitarian function is for use in composing text or other
cognizable combinations of characters.  The Committee does not regard
the design of typeface, as thus defined, to be a copyrightable
'pictorial, graphic, or sculptural work' within the meaning of this
bill and the application of the dividing line in section 101."  H. R.
Rep. No.  94-1476, 94th Congress, 2d Session at 55 (1976), reprinted
in 1978 U.S. Cong. and Admin. News 5659, 5668.

  It's also in accordance with the one court case I know of that has
  considered the matter: Eltra Corp. V. Ringer, 579 F.2d 294, 208 USPQ
  1 (1978, C.A. 4, Va.).

  The U.S. Copyright Office holds that a bitmapped font is nothing
more than a computerized representation of a typeface, and as such is
not copyrightable:

  "The [September 29, 1988] Policy Decision [published at 53 FR 38110]
  based on the [October 10,] 1986 Notice of Inquiry [published at 51
  FR 36410] reiterated a number of previous registration decisions
  made by the [Copyright] Office.  First, under existing law, typeface
  as such is not registerable.  The Policy Decision then went on to
  state the Office's position that 'data that merely represents an
  electronic depiction of a particular typeface or individual
  letterform' [that is, a bitmapped font] is also not registerable."
  57 FR 6201.

  However, scalable fonts are, in the opinion of the Copyright Office,
  computer programs, and as such are copyrightable:

  "... the Copyright Office is persuaded that creating scalable
typefonts using already-digitized typeface represents a significant
change in the industry since our previous [September 29, 1988] Policy
Decision. We are also persuaded that computer programs designed for
generating typeface in conjunction with low resolution and other
printing devices may involve original computer instructions entitled
protection under the Copyright Act.  For example, the creation of
scalable font output programs to produce harmonious fonts consisting
of hundreds of characters typically involves many decisions in
drafting the instructions that drive the printer.  The expression of
these decisions is neither limited by the unprotectable shape of the
letters nor functionally mandated.  This expression, assuming it meets
the usual standard of authorship, is thus registerable as a computer
program." 57 FR 6202."

  This is Info file comp.fonts.faq.info, produced by Makeinfo-1.55
from the input file FAQ.texinfo.

Subject: 1.12. Typeface Protection

  [This article first appeared in TUGboat 7:3 (October 1986), pp. 146-
151. Reproduced with permission.]

  Preamble ========

  The main question of typeface protection is: "Is there anything
there worth protecting?" To that the answer must certainly be: "Yes."
Typeface designs are a form of artistic and intellectual property."
To understand this better, it is helpful to look at who designs type,
and what the task requires.

  Who makes type designs? -----------------------

  Like other artistic forms, type is created by skilled artisans. They
may be called type designers, lettering artists, punch-cutters,
calligraphers, or related terms, depending on the milieu in which the
designer works and the technology used for making the designs or for
producing the type.

  ("Type designer" and "lettering artist" are self-explanatory terms.
  "Punch-cutter" refers to the traditional craft of cutting the master
  image of a typographic letter at the actual size on a blank of steel
  that is then used to make the matrix from which metal type is cast.
  Punch-cutting is an obsolete though not quite extinct craft. Seeking
  a link to the tradition, modern makers of digital type sometimes use
  the anachronistic term "digital punch-cutter". "Calligrapher" means
  literally "one who makes beautiful marks".  The particular marks are
  usually hand-written letters, though calligraphers may design type,
  and type designers may do calligraphy.)

  It usually takes about seven years of study and practice to become a
  competent type designer. This seems to be true whether one has a
  Ph.D. in computer science, a high-school diploma, or no academic
  degree. The skill is acquired through study of the visual forms and
  practice in making them.  As with geometry, there is no royal road.

  The designing of a typeface can require several months to several
years. A family of typefaces of four different styles, say roman,
italic, bold roman, and bold italic, is a major investment of time and
effort. Most type designers work as individuals. A few work in
partnership (Times Roman(R), Helvetica(R), and Lucida(R) were all, in
different ways, the result of design collaboration).  In Japan, the
large character sets required for a typeface containing Kanji,
Katakana, and Hiragana induce designers to work in teams of several
people.

  Although comparisons with other media can only be approximate, a
  typeface family is an accomplishment on the order of a novel, a
  feature film screenplay, a computer language design and
  implementation, a major musical composition, a monumental sculpture,
  or other artistic or technical endeavors that consume a year or more
  of intensive creative effort.  These other creative activities can
  be protected by copyright or other forms of intellectual property
  protection.  It is reasonable to protect typefaces in the same way.

  The problem of plagiarism -------------------------

  A lack of protection for typeface designs leads to plagiarism,
piracy, and related deplorable activities. They are deplorable because
they harm a broad range of people beyond the original designers of the
type. First, most type plagiarisms are badly done. The plagiarists do
not understand the nature of the designs they are imitating, are
unwilling to spend the necessary time and effort to do good work, and
consequently botch the job. They then try to fob off their junk on
unsuspecting users (authors, editors, and readers). Without copyright,
the original designer cannot require the reproducer of a type to do a
good job of reproduction. Hence, type quality is degraded by
unauthorized copying.

  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 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.

  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 which 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 provenance 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; by a
reluctance of Congress to deal with the complex issues 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 a few 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.
% The copyright office is currently reviewing %this practice to
determine if it is acceptable.

  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 usually
be awful, but it wouldn't violate copyright. Of course, the plagiarist
would usually 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 types 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,

úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: General Info (1/3)
ÿ@PACKOUT:11-11-94 úÿ(Continued from last message) 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 lapsed, 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
  International, 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 dollars.  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 a
  case. Ultimately, some firm will hold out for a court judgement, and
  the matter will be decided.  %Although the Evans & Caswell patent
  doesn't have much to do with %typeface copyright per se, it does
  make many font vendors nervous.

  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 afflicted 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 plagiarism.

  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 %the noted type designer
Hermann Zapf from the ATypI Board of Directors in protest over the
organization's flaccid attitude toward 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 users 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 %While they result from careful research, no
claim is made for accuracy; 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) is 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, as that is determined by
the laws of a particular country.

  The author is a professor of digital typography as well as a
  professional designer of original digital typefaces for electronic
  printers and computer workstations. He therefore has an obvious bias
  toward the inculcation of ethical standards and the legal protection
  of artistic property.  Other commentators might have a different
  perspective.




ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: General Info (2/3)
ÿ@PACKOUT:11-11-94 Message-ID: <font-faq-2_784384536@ora.com>
Newsgroups: comp.fonts,comp.answers,news.answers Organization:
O'Reilly and Associates, Inc.

Archive-name: fonts-faq/part2 Version: 2.0.4

Subject: 1.13. 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.

  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.

     * .z .gz

       GNU zip format.  GNU zip 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 or .tar.gz.
       This implies that the files are compressed tar archives.  Do
       not confuse GNU Zip and PKZip or GNU Zip and Unix compress,
       those are three different programs!

     * .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.

  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.

  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: 1.14. 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 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 Quin 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: 1.15. Built-in Fonts

     * PostScript printers (and Adobe Type Manager) with 13 fonts
have:

       ???

     * 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: 1.16. 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.


úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: General Info (2/3)
ÿ@PACKOUT:11-11-94 úÿ(Continued from last message) 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.

  This is Info file comp.fonts.faq.info, produced by Makeinfo-1.55
from the input file FAQ.texinfo.

Subject: 1.17. 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.

  The Alphabet & Elements of Lettering, Frederic W. Goudy, isbn
  0-486-20792-7. Revised 1942 edition.

  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

úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: General Info (2/3)
ÿ@PACKOUT:11-11-94 úÿ(Continued from last message) 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 jasper.ora.com:/comp.fonts.  I have not
  yet had time to integrate this bibliographic information into the
  FAQ]

Subject: 1.18. Font Encoding 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 contact:

                           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: 1.19. TrueType

  George Moore 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."




ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: General Info (3/3)
ÿ@PACKOUT:11-11-94 Message-ID: <font-faq-3_784384536@ora.com>
Newsgroups: comp.fonts,comp.answers,news.answers Organization:
O'Reilly and Associates, Inc.

Archive-name: fonts-faq/part3 Version: 2.0.4

Subject: 1.20. 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]

  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.

  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: 1.21. 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 tighter 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: 1.22. 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: 1.23. 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>

              Peter J. Gentry <peter@utas.artsci.utoronto.ca>

                 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>

                      Henry ??? <henry@trilithon.COM>

                      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>

                     Darrell Leland <dleland@nmsu.edu>

                       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>

                   Danny Thomas <vthrc@mailbox.uq.oz.au>

                   Anders Thulin <ath@linkoping.trab.se>

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

                     Amanda Walker <amanda@visix.com>

Subject: 1.24. 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.

  Comments by Laurence Penney: ============================

  Laurence Penney 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 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
  book.

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

úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: General Info (3/3)
ÿ@PACKOUT:11-11-94 úÿ(Continued from last message)

  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 Helvetica are generally awful.

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

  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 columns.

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

  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 over used. 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.)

  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: 1.25. 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.

  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".

  Benguiat ========

  Ben-Gat.  This according to an ITC brochure.

  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".

  Didot =====

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

  Fette Fraktur =============

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

  Fenice ======

  Feh-nee'-chey

  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".

  Helvetica =========

  Hell-veh'-ti-ka

  Koch Roman ==========

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

  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.

  Mos Eisley ==========

  moss eyes-lee

  Novarese ========

  No-vahr-ay'-zay

  Palatino ========

  pa-la-TEEN-oh

  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.

  Sabon =====

  Sah-bon'

  TeX ===

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

  Veljovic ========

  Vel'-yo-vitch

  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".

  This is Info file comp.fonts.faq.info, produced by Makeinfo-1.55
from the input file FAQ.texinfo.

Subject: 1.26. 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?]




ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: MS-DOS Info
ÿ@PACKOUT:11-11-94 Message-ID: <font-faq-5_784384536@ora.com>
Newsgroups: comp.fonts,comp.answers,news.answers Organization:
O'Reilly and Associates, Inc.

Archive-name: fonts-faq/part5 Version: 2.0.4

Subject: 3. MS-DOS Information

  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: 3.1. Frequently Requested MS-DOS 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: 3.2. MS-DOS 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.

          * 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.

          * 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.

          * 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 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: 3.3. 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: 3.4. MS-DOS 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: 3.5. Converting fonts under MS-DOS

Subject: 3.5.1. Converting Mac Type 1 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.

  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

  UNSITI unsiti.exe in /pub/onset/util on ftp.std.com

       Peter Gentry indicates that this program can extract SIT
       archives that use the newer compression techniques that unsit
       doesn't recognize.

  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 bm2af02.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.

  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...

  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: 3.5.2. Converting PC Type 1 and TrueType fonts to Mac 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: 3.5.3. Converting PC Type 1 fonts into TeX PK bitmap fonts

  The release of PS2PK by Piet Tutelaers 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: 3.5.4. Converting TeX PK bitmaps into HP LaserJet softfonts
(and vice-versa)

úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: MS-DOS Info
ÿ@PACKOUT:11-11-94 úÿ(Continued from last message)

  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: 3.5.5. 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.  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.

  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, are literal 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

       UI = unsigned integer, SI = signed integer, UB = unsigned byte,
SB = signed byte, B = boolean, and 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: 3.6. 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




ÿ@FROM   :norm@ora.com ÿ@PACKOUT:11-11-94 Message-ID:
<font-faq-12_784384536@ora.com> Newsgroups:
comp.fonts,comp.answers,news.answers Organization: O'Reilly and
Associates, Inc.

Archive-name: fonts-faq/part12 Version: 2.0.4

Subject: 10. 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.

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

Subject: 10.1. 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.

  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: 10.2. 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 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 to MetaFont to GF Convert a MetaFont program into a bitmapped
       font.  Also produces a TFM file.

  MF to MetaFont to TFM Covnert a MetaFont program into a TFM file.
       Also produces a GF bitmapped font.

  GF to GFtoPK to PK Convert a GF bitmapped font into a compressed PK
       font.

  TEX + TFM to TeX to DVI Produce a device independent output file.

  DVI + PK to dvi driver to output format Produce a device-specific
       output file (or preview).

  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 to PKtoSFP to SFP Convert a TeX PK file into an HP LaserJet
       softfont.

  SFP to SFP2Auto to TFM Make HP AutoFont Tagged Font Metric file.

  SFP + HP AutoFont TFM to PTR to Installed in WP Install the new font
       in WordPerfect.

  Use WordPerfect as you normally would.

Subject: 10.3. 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: 10.4. 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: 10.5. 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 [ed: Karl Berry]
(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 any GNU archive site.

  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: 10.6. 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 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: 10.7. The T1 Utilities

  This is a snippet from the README file for I. Lee Hetherington's
  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: 10.8. 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: 10.9. 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.  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 Computer 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: 10.10. 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.  Of course, if you have nslookup
  installed, the first form will probably work...

  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: 10.11. 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: 10.12. 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


úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@PACKOUT:11-11-94 úÿ(Continued from last
message) 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: 10.13. PKtoBDF / MFtoBDF

  From the SeeTeX distribution, programs to help previewers under X11.
  They convert TeX PK files into X11 BDF fonts (which can be further
  converted into one or more server native formats).

Subject: 10.14. 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: 10.15. PKtoSFP / SFPtoPK

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

Subject: 10.16. 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

  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

  pfa2chr =======

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

  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

  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 Bezier controlpoints. It can also
generate a curl   specification. For this last option specifify -C.

Subject: 10.17. Mac Bitmaps to BDF Format

  I [ed: who?] 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).

  This is Info file comp.fonts.faq.info, produced by Makeinfo-1.55
from the input file FAQ.texinfo.




ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: Vendor List
ÿ@PACKOUT:11-11-94 Message-ID: <font-faq-13_784384536@ora.com>
Newsgroups: comp.fonts,comp.answers,news.answers Organization:
O'Reilly and Associates, Inc.

Archive-name: fonts-faq/part13 Version: 2.0.4

Subject: 11. Vendor Information

  The following list is based on information from Masumi Abe, Norm
Walsh and many others. I (Don Hosek) have been calling vendors and
attempting to make sure information is up to date. I have removed a
number of vendors who do not sell fonts. Fonts bundled with
applications (e.g., the bitmap fonts which are part of Quicken) are
not considered enough to merit inclusion in the list. Also, a number
of the vendors on the list actually were selling various printing
software but no fonts per se and were likewise removed.  Finally, some
companies seem to have disappeared, most likely gone out of business.
I've indicated the verification date of any information which appears
on the list. I would appreciate aid in contacting those companies
which are listed as unverified (particularly companies outside the
US). Please send updates and corrections to me at dhosek@pitzer.edu

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

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

       Adobe Systems Incorporated      : Type 1 (Mac, PC) 1585
       Charleston Rd.             : Originals, designs licensed from
       P.O. Box 7900                   : Linotype, Monotype, Berthold,
       and Mountain View, CA 94039-7900    : others (415) 961-4400
       (800) 344-8335 Verified: 16 Feb 1994

       Agfa Division, Miles Inc.       : Type 1 Truetype, (PC, Mac),
       90 Industrial Way               : Intellifont (PC),
       Compugraphic Wilmington, MA 01887            : typesetter
       fonts. Originals, (800) 424-TYPE                  : fonts
       licensed from Adobe. (508) 657-0232 FAX: (508) 657-8568
       Verified: 17 Feb 1994

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

       Alphabets, Inc.                 : Type 1, TrueType (PC, Mac)
       P.O. Box 5448                   : New and licensed designs
       Evanston, IL 60204-5448 (800) 326-8973 (708) 328-2733 Verified:
       9 Feb 1994

       Alphatype Corp. 220 Campus Dr., Suite 103 Arlington Heights, IL
       60004 (708) 259-6800

       Altsys Corporation,         : FONTastic Fonts, 269 West Renner
       Road,       : Fontographer Fonts (Mac) 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

       Bear Rock Technologies, 4140 Mother Lode, Shingle Springs,
       California 95682-8038. (916) 672-0244

       Berthold of North America 7711 N. Merrimac Avenue Niles, IL
       60648 (708) 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.

                 ** Bitstream 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               : Type 1 (Mac) 534 SW
            Third Avenue, #816       : Computer Modern in PostScript
            Portland, OR  97204 (800) 622-8398

            Carter & Cone

            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

            Castle Systems                  : (Truetype, Type1) (Mac,
IBM) 1306 Lincoln Avenue             : Revivals of art deco faces, San
Ragael, CA 94901-2165       : calligraphy, variations of (415)
459-6495                  : existing designs

            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

            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

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

            The Electric Typographer        : Type 1 and TrueType (Mac
& PC) 2216 Cliff Dr.                  : Original designs Santa
Barbara, CA 93109 (805) 966-7563 Verified: 9 Feb 1994

            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 Inc                    (United States) 15 Perry
            Avenue, A7 Norwalk CT 06850 203 846 3087 203 849 8527 Fax

            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.

                    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

úÿ (continued next message)


ÿ@FROM   :norm@ora.com ÿ@SUBJECT:comp.fonts FAQ: Vendor List
ÿ@PACKOUT:11-11-94 úÿ(Continued from last message) 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.       (Bitmap, Type 1, Truetype)
(Mac, IBM) P.O.Box 580                     Fonts for numerous
alphabets. Not all Edmonds, WA 98020-0580          fonts available in
all languages. (206) 775-1130                  They support ~50
languages. Fax: (206) 771-5911 Verified: 16 Feb 1994

            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 (310) 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          : Type 1 and TrueType (PC,
Mac) 2312 Laurel Park Highway        : 45 fonts decorative elements
Hendersonville, NC 28739        : 270 alphabets, 50 original (704)
696-8316                  : rest translated from lead and Verified: 9
Feb 1994            : phototype. Goudy a specialty

            S. Anthony Studios              : Fonts Vol. 1 889 DeHaro
            Street San Francisco, CA  94107

            Scholar's Press                 : (Mac) P.O. Box 15399
            : 2 Greek fonts Atlanta, GA 30333-0399 (404) 727-2320 FAX:
            (404) 727-2348 Verified: 9 Feb 1994

            SoftCraft, Inc. 16 North Carrol St., Suite 220 Madison, WI
            53703 (608) 257-3300 FAX: (608) 257-6733 Verified: 9 Feb
            1994

            Software Complement             : (TrueType, Type 1) (Mac,
IBM, Next) 8 Penn Ave.                     : Designer of fonts for
Cassidy & Greene Metamoras, PA 18336             : Custom logos and
signatures. (717) 491-2492 FAX: (717) 491-2443 Applelink: SOFTCOMP
CompuServe: 70244,3214 Verified: 16 Feb 1994

            Straightforward                 : ZFont (HP/IBM) 15000
            Halldale Ave. Gardena, CA 90249 (310) 324-8827

            SWFTE International             (HP/IBM) Box 5773
            Wilmington, DE 19808 (800) 237-9383

            SystemSoft America, Inc.         : Kanji P.O. Box 4260
            Vero Beach, FL 32964

            Trilithon Software,              : (Type 1) NeXT Two
            Ohlone,                      : Resells Adobe fonts in NeXT
            Portola Valley, CA 94028 (415) 325 0767.
            info@trilithon.com Verified: 9 Feb 1994

            Typographics Ltd.               : Typo 46, Hehalutz St.
            Jerusalem 96222 Israel

            U-Design, Inc.                  : TrueType, Type1 (Mac &
PC) 270 Farmington Avenue           : Originals, licensed designs
clones Hartford, CT 06105 (203) 278-3648 BBS: (203) 525-5117 FAX:
(203) 278-3003 Verified: 9 Feb 1994

            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 Bitmaps (PC) P.O. Box
            6158                   : CG, ITC and original fonts Little
            Rock, AR 72216 (501) 376-2083 Verified: 9 Feb 1994

            Weaver Graphics                 : HP Bitmaps (PC only),
            5165 S. Hwy A1A                 : Adobe Type 1, Truetype
            (PC and Mac) Melbourne Beach, FL 32951       : Mostly
            clone fonts, some originals (407) 728-4000 Fax: (407)
            728-5978 Verified: 9 Feb 1994

            Wu Corp.                        : FeiMa (Mac) Chinese
wordprocessor 46 West Avon Rd. Avon, CT 06001 (203) 673-4796

            Y&Y, Inc.                       : Type 1 format, Mac, PC
            106 Indian Hill                 : Computer Modern, Lucida
            Bright 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