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1 | daniel-mar | 1 | Frequently Asked Questions About Fonts |
2 | ---------------------------------------------------------------------- |
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3 | Compiled by Norman Walsh |
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4 | Copyright (C) 1992, 93 by Norman Walsh . |
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5 | |||
6 | Subject: Table of Contents |
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7 | |||
8 | 1. General Information |
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9 | 1.1. Font Houses |
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10 | 1.2. What's the difference between all these font formats? |
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11 | 1.3. What about "Multiple Master" fonts? |
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12 | 1.4. Is there a methodology to describe and classify typefaces? |
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13 | 1.5. What is the "f" shaped "s" called? |
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14 | 1.6. What about "Colonial" Typefaces? |
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15 | 1.7. Where can I get ... fonts. |
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16 | 1.8. Where can I get fonts for non-Roman alphabets? |
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17 | 1.10. How can I convert my ... font to ... format? |
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18 | |||
19 | Subject: 1. General Information |
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20 | |||
21 | Many FAQs, including this one, are available by anonymous ftp from |
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22 | rtfm.mit.edu in the directory pub/usenet/news.answers. Each posted |
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23 | section of the FAQ is archived under the name that appears in the |
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24 | "Archive-name" header at the top of the article. |
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25 | |||
26 | This FAQ is a work in progress. If you have any suggestions, I would be |
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27 | delighted to hear them. |
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28 | |||
29 | This FAQ is maintained in TeXinfo format. A Perl script constructs the |
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30 | postable FAQ from the TeXinfo sources. TeX DVI, PostScript, and Info |
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31 | versions of this FAQ are available from ftp.shsu.edu in |
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32 | /tex-archive/help/comp-fonts-FAQ. A "Gopher" server is also maintained |
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33 | at shsu.edu which can provide interactive access to the FAQ. Finally, |
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34 | an online, hypertext version of the FAQ is maintained (experimentally) |
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35 | on jasper.ora.com where an HTTP server runs. For example, point |
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36 | XMosaic (or a similar WWW browser) to http://jasper.ora.com/. |
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37 | |||
38 | The posted version of the FAQ is organized in a quasi-digest format so |
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39 | that it is easy to find the questions you are interested in. All |
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40 | questions that appear in the table of contents can be found by searching |
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41 | for the word "Subject:" followed by the question number. |
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42 | |||
43 | The "TeXinfo" distribution from the Free Software Foundation contains a |
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44 | program called "Info" that can be used to read the Info version of the |
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45 | FAQ in a hypertext manner. The "TeXinfo" distribution can be obtained |
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46 | from prep.ai.mit.edu in the /pub/gnu directory. At the time of this |
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47 | writing, texinfo-2.16.tar.gz is the most recent version. Info files |
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48 | can also be read in hypertext form by GNU Emacs. |
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49 | |||
50 | Future versions of the FAQ will make more use of the hypertext |
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51 | capabilities provided by the Info format. At present, the FAQ is |
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52 | organized as a simple tree. A plain ASCII, postable version of the FAQ |
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53 | will always be maintained. |
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54 | |||
55 | All trademarks used in this document are the trademarks of their |
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56 | respective owners. |
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57 | |||
58 | Standard disclaimers apply. |
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59 | |||
60 | Subject: 1.1. Font Houses |
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61 | |||
62 | This section will be expanded on in the future. It contains notes about |
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63 | various commercial font houses. |
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64 | |||
65 | Compugraphic |
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66 | ============ |
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67 | |||
68 | See "Miles, Agfa Division" |
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69 | |||
70 | Miles, Agfa Division |
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71 | ==================== |
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72 | |||
73 | Compugraphic which was for a while the Compugraphic division of Agfa, |
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74 | is now calling itself "Miles, Agfa Division" (yes, the Miles drug |
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75 | company), since CG's off-shore parent Agfa has been absorbed by Miles. |
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76 | So typographically speaking, Compugraphic, CG, Agfa, A-G ag, and Miles |
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77 | all refer to the same company and font library. Their proprietary fonts |
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78 | are still CG Xyz, but the name is Miles Agfa. |
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79 | |||
80 | Subject: 1.2. What's the difference between all these font formats? |
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81 | |||
82 | This question is not trivial to answer. It's analogous to asking what |
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83 | the difference is between various graphics image file formats. The |
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84 | short, somewhat pragmatic answer, is simply that they are different |
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85 | ways of representing the same "information" and some of them will work |
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86 | with your software/printer and others won't. |
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87 | |||
88 | At one level, there are two major sorts of fonts: bitmapped and outline |
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89 | (scalable). Bitmapped fonts are falling out of fashion as various |
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90 | outline technologies grow in popularity and support. |
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91 | |||
92 | Bitmapped fonts represent each character as a rectangular grid of |
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93 | pixels. The bitmap for each character indicates precisely what pixels |
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94 | should be on and off. Printing a bitmapped character is simply a |
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95 | matter of blasting the right bits out to the printer. There are a |
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96 | number of disadvantages to this approach. The bitmap represents a |
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97 | particular instance of the character at a particular size and |
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98 | resolution. It is very difficult to change the size, shape, or |
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99 | resolution of a bitmapped character without significant loss of quality |
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100 | in the image. On the other hand, it's easy to do things like shading |
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101 | and filling with bitmapped characters. |
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102 | |||
103 | Outline fonts represent each character mathematically as a series of |
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104 | lines, curves, and 'hints'. When a character from an outline font is |
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105 | to be printed, it must be 'rasterized' into a bitmap "on the fly". |
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106 | PostScript printers, for example, do this in the print engine. If the |
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107 | "engine" in the output device cannot do the rasterizing, some front end |
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108 | has to do it first. Many of the disadvantages that are inherent in the |
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109 | bitmapped format are not present in outline fonts at all. Because an |
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110 | outline font is represented mathematically, it can be drawn at any |
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111 | reasonable size. At small sizes, the font renderer is guided by the |
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112 | 'hints' in the font; at very small sizes, particularly on |
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113 | low-resolution output devices such as screens, automatically scaled |
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114 | fonts become unreadable, and hand-tuned bitmaps are a better choice (if |
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115 | they are available). Additionally, because it is rasterized "on |
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116 | demand," the font can be adjusted for different resolutions and 'aspect |
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117 | ratios'. |
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118 | |||
119 | Werenfried Spit adds the following remark: |
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120 | |||
121 | Well designed fonts are not scalable. I.e. a well designed 5pt font is |
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122 | not simply its 10pt counterpart 50% scaled down. (One can verify this |
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123 | by blowing up some small print in a copier and compare it with large |
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124 | print; or see the example for computer modern in D.E. Knuth's TeXbook.) |
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125 | Although this fact has no direct implications for any of the two |
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126 | methods of font representation it has an indirect one: users and word |
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127 | processor designers tend to blow up their 10pt fonts to 20pt or scale |
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128 | them down to 5pt given this possibility. Subtle details, but well... |
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129 | |||
130 | LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh |
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131 | Screen Fonts, and GEM .GFX files are all examples of bitmapped font |
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132 | formats. |
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133 | |||
134 | PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts, TrueType |
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135 | fonts, Sun F3, MetaFont .mf files, and LaserJet .SFS files are all |
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136 | examples of outline font formats. |
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137 | |||
138 | Neither of these lists is even close to being exhaustive. |
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139 | |||
140 | To complicate the issue further, identical formats on different |
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141 | platforms are not necessarily the same. For example Type 1 fonts on |
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142 | the Macintosh are not directly usable under MS-DOS or Unix, and |
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143 | vice-versa. |
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144 | |||
145 | It has been pointed out that the following description shows signs of |
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146 | its age (for example, the eexec encryption has been thoroughly hacked). |
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147 | I don't dispute the observation and I encourage anyone with the |
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148 | knowledge and time to submit a more up to date description. |
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149 | |||
150 | It has further been suggested that this commentary is biased toward |
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151 | Kingsley/ATF. The omission of details about Bitstream (and possibly |
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152 | Bauer) may be considered serious since their software lies inside many |
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153 | 3rd-party PostScript interpreters. |
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154 | |||
155 | The moderators of this FAQ would gladly accept other descriptions/ |
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156 | explanations/viewpoints on the issues discussed in this (and every |
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157 | other) section. |
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158 | |||
159 | [Ed Note: Liam R. E. Quin supplied many changes to the following |
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160 | section in an attempt to bring it up to date. Hopefully it is a better |
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161 | reflection of the state of the world today (12/07/92) than it was in |
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162 | earlier FAQs] |
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163 |