\centerline{\bf Fonts}
\medskip
\noindent
The following article first appeared in \TUGboat\ 9(2) in
August of 1988. A version had previously appeared through
\hax, and at that time I asked \DW, its author, if I could
reprint it in \TeXline. Despite the fact that it has appeared
in \TUGboat, it still seems worthwhile printing it here.
Firstly, Dominik has added an appreciable amount of
material to it, and secondly, not all \TeXline\ readers are
\TUGboat\ readers. Perhaps this article may encourage them
to join TUG and receive the journal. In its original form,
the article ran to about 15--16 pages. It has been ruthlessly
cut. I have omitted some `frivolous' sections, and some where
the work was really `work in progress'. Perhaps more
damaging, I have omitted all the contacts and details of availability.
{\bf Do not contact Dominik to find out how to get these fonts.}
Please. First, consult \TUGboat; or failing that, if you have email access, try
accessing the complete source file, as listed at the end of the article;
and then, when all else fails, ring me. Do not be upset
when my ansaphone takes the message.
\smallskip
\rightline{\sl Malcolm Clark}
\bigskip
\newcount\num
\newcount\subnum
\def\METAfont{meta-font}
\def\section#1{\medskip\global\advance\num by1
\global\subnum0\noindent{\sl\the\num.  #1} \par\noindent\ignorespaces}
\def\subsection#1{\global\advance\subnum by 1\smallskip\leftline{$\bullet$\sl
\enspace\the\num.\the\subnum\enspace#1}\par\noindent\ignorespaces} 
\def\subsubsection#1{\par\leftline{\quad$\circ$\sl
#1}\par\noindent\ignorespaces}
\def\verb{}
\centerline{\bf The Many Faces of \TeX}
\medskip
\leftline{\sl Introduction}
\noindent
This article seeks to give a  survey of the fonts
currently available for use with \TeX.
Although I have been primarily interested in cataloguing fonts
designed with \MF, I also wanted to include information about any
other fonts that have been successfully used with \TeX, i.e., fonts
with \TeX\ Font Metric files, and a mechanism for the creation of the
appropriate ligatures and kerning pairs, be it within the {\tfm}
file, or by means of a preprocessor.

I first started compiling this article late in 1987, as a note to
myself and my immediate Indological colleagues.  But it seemed little
extra work to include more information in it about other fonts that I
had heard of, and doing this greatly widened its usefulness to \TeX\
users in general.  But you may still detect a slight Indic leaning.


People interested in \MF\ should be aware that in addition to
past issues of {\TUGboat\/}, \hax\ and UK\TeX, Don Hosek's network
magazine \TeX MaG has regularly included information about fonts,
and is required reading for \MF ers.  Volume 2, issue 5, in
particular, was dedicated to non-English \TeX, and discussed
Icelandic, German, French, ancient Irish, and the problems of
foreign language hyphenation.  Earlier issue of \TeX Mag have
also contained technical descriptions of \TeX\ font file formats,
etc.

This article is made up of information given to me by others, both in
person and through general publication in \TUGboat\/, \hax\ and the
various electronic networks.  My sincere thanks to all the contributors.


\section{\sl Computer Modern}
\noindent
It may seem odd to start with Computer Modern (CM), the typeface
family that most \TeX\ users use most of the time, since it was
created side by side with \TeX, and is included in all distributions
of \TeX.  Nevertheless, I feel that there is an important point to be
made about CM.

When Knuth developed \MF, one of the central ideas of the whole
project was that of producing {\it  parametrized\/} typefaces.  
Later on, Knuth explained that the whole inspiration for \MF\ had
arisen from the three ideas of {\it  pens, parameters\/} and
{\it  programs\/}.    Knuth made it clear that he had never
meant to imply that all typefaces could usefully be combined into one
single \METAfont\ (although he did not actually deny the feasibility of
such an endeavor), and again emphasized the desirability of trying to
incorporate variability into a design.

In view of the vigour with which Knuth has maintained the idea of
parametrization, both in discussion and in the actual implementation
of Computer Modern,  it is surprising that there seems to be no example of a new
typeface created from CM by changing its parameters.  (Since this article was
written, Knuth's `Concrete Modern', derived from CM,  has been used in his new,
jointly-authored book, `Concrete Mathematics' --- this is designed to blend in
with the Euler maths font developed at the AMS: it is not immediately clear
whether this is yet another CM realisation, or a new typeface.) In Knuth's own
hands, CM is utterly plastic, as was demonstrated so startlingly in his article
`The Concept of a Meta-Font' referred to above, and by the inclusion of such
fonts as Computer Modern Funny Roman ({\tt CMFF}), Unslanted Text Italic ({\tt
CMU}), and the delightful CM Fibonacci {\tt CMFIB} in the  standard
distributions.  But none of us has taken up the challenge, implicit in the 62
parameters of CM, to produce a new face for general distribution.  It would be
very nice, for example, to produce a full set of {\tt CMFIB}, with bold,
slanted, italic, typewriter and other versions.  Knuth has said that we should
not blindly copy the old masters, without trying to understand why they produced
what they did.   How interesting it might be, then, to try to manipulate the
parameters of CM to produce a different, but recognizable family of faces.  And
if the experiment failed, the reasons why it did so would themselves be of great
interest.  The first sentences of the Introduction to {\it  Computer
 Modern  Typefaces\/} are:
{\it
``Infinitely many alphabets can be generated by the programs in this
book.  All you have to do is assign values to 62 parameters and fire
up the \MFsl\ system; then presto --- out comes a new font of type.''
}

\subsection{Non-standard sizes of CM}
John Sauter  (1986), reported that he has
re-parameterized CM so that any of the existing Computer Modern
family may be created with any design size.  For example, most of
us, when requiring an 11\,pt CM Roman will use {\tt CMR10} at
|\magstephalf|.  Apparently this is not satisfactory to the
most discerning, and Sauter's algorithms permit one to generate a
true {\tt CMR11} face.  They go further, of course, and permit
the generation of any of the CM faces in any (reasonable) point
size.  This is done by algorithms which interpolate or extrapolate
from the values used by Knuth in the \MF\ parameter files for CM.
If a standard value, such as 10\,pt, is chosen, then Sauter's
algorithms will produce CM fonts identical to the standard ones.
The {\tfm}\ files for all sizes match exactly. 
Don Hosek  notes that some of the fonts may start looking
bad at larger sizes, lacking inter-character space, and so on.

\subsection{Hosek Pica}
Don Hosek has created a
CM Pica, using the \MF\ code of the typewriter style font, {\tt
CMTT}, of Computer Modern as his point of departure.  CM Pica is
more or less a 10\,cpi version of {\tt CMTT} with heightened
ascenders and x-height, similar to the Xerox 1200 {\sc pica} font in
appearance.
 
CM Pica is  designed as a sop to University authorities,
some publishers' editors and those who insist on having a
typescript manuscript marked up in the traditional manner, i.e.,
with a squiggly line under bold characters, and underlining under
characters which would be italicized in print.
 
To achieve this, Don created `bold' and `italic' fonts ({\tt
CMPICAB.MF, CMPICATI.MF}) in which each character includes an
under-squiggle, or underline respectively.  He also modified the
{\tt ligtable} commands controlling begin- and end-quotes and also
hyphens, so that {\tt ``} and {\tt ''} both become \verb|"|,
while {\tt `} and {\tt '} both become {\tt \char'15} (the single
straight quote symbol at code '015 in {\tt CMTT}).  Similarly, on
output, `\verb|--|' becomes `\verb|-|' and `\verb|---|' becomes
`\verb|--|'.
 
One can code up a document in normal \TeX\
fashion and then, by setting the fonts to be Hosek's Pica, it
will print out looking as though it had been typed, with `italic'
text underlined and `bold' text under-squiggled, etc.  Merely
reset the fonts to {\tt CMR} (or whatever) and it will be
properly typeset with all the variety of fonts and refinement of
punctuation of which \TeX\ is capable.

\section{\tt PUNK}
Don Knuth (1988) presented `A Punk
Meta-font'.  Perhaps the most
extraordinary part of that article is Don's description of how he
coded the font, extremely rapidly, and with no reference at all
to drawings for the letters from V to Z, producing the \MF\ code
as fast as he could type!  This demonstrates a completely new
paradigm of typeface design and creation, which many graphic
designers will find alien, but which evidently works for some
people, at least for smallish projects such as the punk typeface.

\section{\sl Devan\={a}gar\={\i}}
\noindent
Devan\={a}gar\={\i} is the alphabet used for writing and printing
Sanskrit, Hindi and several other languages of South Asia, both
ancient and modern.

\subsection{Knuth}
As far as I know, Donald Knuth coded the first Devan\={a}gar\={\i}
character to be created with \MF.  This was the single syllable {\it  la\/},
which Matthew Carter gave to Knuth in 1980 as a challenge to test the
capabilities of the then nascent \MF.  The smoke proof of the
character, and several interesting remarks about the experience, were
published as Knuth (1984).


\subsection{Velthuis}
The only fully worked out version of Devan\={a}gar\={\i} presently
available is that of Frans Velthuis.
Recently Velthuis completed version 1.2 of a
Devan\={a}gar\={\i} \METAfont\ for \TeX.  He has written \MF\ code for
all the {\it  ak\d{s}aras\/} (syllabic characters) necessary for Hindi, and
most of those for Sanskrit too, although in the latter case some
{\it  vir\={a}mas\/} are used.  Frans intends to produce a special Sanskrit
version of his font in the future.  Also included are the
Devan\={a}gar\={\i} numerals, {\it  anusv\={a}ra, vir\={a}ma, da\d{n}\d{d}a,\/}
{\it  candrabindu, visarga, avagraha\/}, full stop, and the superscript
abbreviation circle.
A preprocessor,
\hbox{\tt DEVNAG}, available compiled for several systems, or in Pascal or
C,  reads your file and converts the Hindi transliteration into
the appropriate codes for Frans's font.  The converted file is then
processed by \TeX\ or \LaTeX\ in the normal way, and the resulting
\dvi\ file can be printed using a standard \dvi\  outputprogram.  
The portions of Hindi text originally in Roman
transliteration will be printed in Devan\={a}gar\={\i}.\looseness=1


\subsection{Ridgeway and Schiffman}
Dr.~Thomas Ridgeway,
director of the Center, in  consultation with Prof.~Harold Schiffman
of the Department of Asian Languages,  has almost completed a fully
vowelled \MF\ for Tamil. It will be tested during  the summer, and
should be ready for release in early autumn 1988, together with some
sort of macro package to make it usable from a Latin-letter keyboard.
Characters are arranged in the font in rough alphabetical order,
starting from position zero.  



\section{\sl Perso-Arabic}
%\paragraph{Date of information}  June 7, 1988.
\subsection{MacKay}
Pierre A.~MacKay (TUG Site Coordinator for \unix-flavoured \TeX) and the
Washington team have been working on an Arabic implementation of \TeX\
for some years.  Their plans are ambitious, and include building a
customized version of \TeX, called \XeT, which has a built-in
capability for handling bidirectional text.  


\subsection{Goldberg}
%\paragraph{Date of information} February 3, 1988, February 11, 1988.
Early in 1988, Jacques J.~Goldberg
wrote to \hax,  giving details of a
package giving the capability of printing Hebrew.   He said that an
article was currently being written about the package, for submission
to \TUGboat\ (see also under {Hebrew}).  
At the same time he  referred to a nearly completed Arabic font.
In early September Goldberg noted that there has been a
lot of progress with the Arabic font.    The font consists of:
\item{$\star$} a complete font of 29 characters each at 2 or 4 glyphs
(position dependent, isolated, first, middle, last in word). 
\item{$\star$} a preprocessor with customizable mapping of the basic 29
chars to a--z, A--Z areas of an {\sc ascii} keyboard, that will generate an
intermediary file  with which  unmodified \TeX\ plus a few macros correctly
composes bidirectional texts. The preprocessor reassigns the correct glyph from
the isolated form glyph depending on the position in word. 
\smallskip\noindent
All this will continue to be made available free to the academic
community.
 


\section{\sl Hebrew}
%\paragraph{Date of information} February 3, 1988.
\subsection{Goldberg}
Jacques J.~Goldberg also gave details of a package giving the
capability of printing Hebrew.   He said that an article was currently
being written about the package, for submission to \TUGboat.
The package comprises:
\item{$\star$} a set of fonts at 8, 9, 10, 12, 17 points in regular type, 10
      points slanted and bold, and any magnification on request (1000
      off the shelf).
\item{$\star$} a 100\% portable preprocessor written in C (MSDOS users who do
      not have a compiler can get the {\tt .COM} file).
\item{$\star$} a small set of \TeX\ macros.
\item{$\star$} a sample file.

\noindent
Hebrew words in Roman transliteration are inserted either by typing
first-typed-last-read with the font invoked, which 
`displays' in \hbox{natural} reading order, or by typing first-typed-%
first-read as argument of the |\reflect| macro given by Knuth \&
MacKay, 1987.  Long Hebrew sequences are typed
in first-typed-first-read order, within delimiters.  The preprocessor
copies non Hebrew sequences to an auxiliary file. Hebrew sequences are
parsed into words, and written to the auxiliary file one word at a
time after each word has been reflected.  \TeX\ is then invoked on the
file containing the macro package, which itself |\inputs| the
auxiliary files, feeding \TeX\ with either normal English input or
\hbox{|\lines{ }|} adjusted by the macro to the optimal number of Hebrew
words.

\subsection{Other Developments}
See also the experimental Hebrew font described under the heading
{Georgia Tobin}, and the bitmaps distributed by the {Austin Code Works}.


\section{\sl Greek}
%\paragraph{Date of information} January 21, 1988.
\subsection{Levy}
Regular, bold, and typewriter versions of the Greek alphabet have been
coded in \MF\ by Silvio Levy of Princeton, starting from the Greek
character set created by Don Knuth as part of the CM family, but with
all accents, breathings, correct spacing, ligatures, and macros to
implement a convenient Roman transliteration for input.  The font is
suitable for both classical and modern Greek.

Full details and illustrations of the use of the fonts have been given
by Silvio Levy in his two publications (1988a, 1988b).



\subsection{Hamilton Kelly}
Brian Hamilton Kelly  created  Greek fonts
using \MF.   
Brian completed this work before hearing of Silvio Levy's work at
Princeton, but continues to use his own Greek since it does not
require a \dvi\  driver which can read fonts of 256
characters. 
He has now written a small macro package which eases
considerably the selection of the Greek fonts; this is for use
under \LaTeX.  He has also
written a short paper, describing what he has generated, and his
future directions.  He has recently been refining the character
programs, to make some of the letters more textual in appearance
(for example, the alpha was very wide; fine for maths, but not in
text).

\section{\sl Cyrillic}
\subsection{MacKay}
%\paragraph{Date of information} Fri Jan 22 1988 (mail from Pierre
%MacKay).
Pierre MacKay reports that the Washington team is working on Old
Russian (more or less Old Church Slavonic, but specifically designed
for the Slovo).

\subsection{MF Slavic Family}
This family of Cyrillic fonts is described under  Georgia Tobin.

\subsection{AMS}
The American Mathematical Society (Beeton, 1985) has developed a post revolution
Cyrillic font, in old \MF79, and a set of macros to implement it
comfortably.  Details of the font, with examples of its use, and grids
of the character set were published in \TUGboat.

\section{\sl Turkish}
%\paragraph{Date of information}  June 7, 1988. (P. A. MacKay)
Pierre MacKay informs me  that work on properly accented
Roman-letter Turkish fonts in \MF\ has been undertaken at the
University of Washington by  himself and Walter Andrews.  The accented
characters are developed from CM descriptions, so as to
maintain the maximum possible compatibility with the CM
faces. Andrews and MacKay have published a description of their work
(Andrews and MacKay, 1988).
Pierre also wrote on Turkish hyphenations (MacKay, 1988).



\section{\sl Japanese}
%\paragraph{Date of information} March 11, 1988
In order to typeset Japanese text it is insufficient merely to have a
Japanese font.  There are several problems, including the very large
size of the Japanese character set, which mean that a modified
implementation of the \TeX\ system as a whole is necessary.
Some of the issues concerned in using \TeX\ for typesetting Japanese
were surveyed by Nobuo Saito and Kazuhiro Kitagawa of Keio University,
Yokohama: (Saito \& Kitagawa, 1988).


\subsection{ASCII Corporation}
The ASCII Corporation is a microcomputer oriented publishing and
software house that has taken a strong interest in \TeX\ for their own
publishing work, and whose \unix\ support section has produced and
distributes the Japanized version of \TeX.


\subsection{J\TeX}
Two articles on J\TeX\ and its fonts have
appeared (Saito, 1987, 1988).
J\TeX\ was developed by Yasuki Saito of Nippon Telephone \& Telegraph
(NTT). His policy has been to attempt to avoid radical changes to
standard \TeX\ as much as possible, but this increased compatibility
has led to problems: since a font can have only 256 characters, the
number of fonts one needs even to support a single real Japanese font
set (33) tends to be quite large, even if one only declares the fonts
corresponding to the various sections of the original font that
include characters that have actually been input into the document.


Yasuki Saito has also collaborated with Dai Nippon Printing Co.~to
make their industry standard fonts available. ASCII and SONY are also
negotiating with Dai Nippon to allow similar font sets to become available for
different resolutions of printers, and, if we are lucky, a vector stroke
typeface of high quality that is applicable to various sizes and
resolutions may become available next year.

Saito's 1988 article includes a section describing the
JIS and DNP Japanese fonts, with illustrations.
J\TeX\ has 240, 300, 400, and 480 dpi fonts available currently.
Please note that 6000+ characters makes for a largish distribution
tape --- the rudimentary set of JIS fonts in an adapted {\tt gf} format
with {\tt tfm}s takes up about 10\,Mbyte of disk space, while the {\tt
pxl}, {\tt gf}, and {\tt tfm} files for the DNP Mincho and Gothic
fonts very nearly fill an entire 2400\,ft magtape at 6250\,bpi!


\subsection{Other Developments}
There is a version of Japanese \TeX\ that is likely to become
available from Canon which resembles J\TeX, but it may take a {\it
long} time for the management at Canon to make anything available to
the public domain, so it may not be available until some time next
year.

Similarly, IBM Japan has a Japanese version based on the Canon
algorithm (which was also the stimulus for the Saito's J\TeX).

The Bitstream Kanji fonts could almost certainly be integrated into
the above Japanese \TeX\ implementations (see {Bitstream}).



\section{\sl International Phonetic Alphabet}
\subsection{Washington State University}
Dean Guenther informs me  that Washington State
University has an IPA font available. It contains 128 popular IPA
characters and diacritics as specified in Pullum \& Ladusaw (1986).
 Janene Winter did the \MF\ work on this font.  The character
positions were coordinated with help from Helmut Feldweg,
Christina Thiele and some ideas from Brian
MacWhinney  and Karen Mullen.

The font also comes with a set of macros to access the characters
easily.  For
example,   |\schwa| prints what you would expect.


\subsection{Other Developments}
Georgia Tobin (q.\,v.) has an IPA font, created in old \MF79.

A bitmap IPA font, {\tt ph10}, was created by Jean Pierre Paillet for
use with \TeX\ for typesetting the {\it  Canadian Journal of Linguistics\/}.
This font is described, with a printout of the character grid, by
Christina Thiele (1988).
{\tt ph10} is now superseded by the Washington font.


Kris Holmes and Chuck Bigelow also report that they have a bitmap IPA
font. See {Lucida}.

%\paragraph{Date of information}  June 7, 1988.

\subsection{Ridgeway}
A phonetic alphabet has been developed by Thomas Ridgeway for a large
subrange  of American Indian languages.  The first active projects
using this are in  Salish and Navajo.  


\section{\sl Georgia Tobin}
Georgia Tobin is well known to readers of \TUGboat\ as the editor of,
and chief contributor to, the `Font Forum' section of the journal.
She has been working with \MF\ since 1982, and between 1982 and 1987
she created several complete families of fonts for use with \TeX.
(Georgia's husband Rick works with her on the fonts.)  Much of
her earlier work was done using \MF79, which is now superseded. Only
the bitmaps of these early fonts are available, not the \MF\ sources.

An important point to notice is that the Roman, Chel and Schoolbook
families described below include math symbol and extensible fonts,
like Knuth's CM, so that these fonts can be used for the full range of
mathematical and technical typesetting as defined in the {\tt plain}
format and \LaTeX.

Georgia's newer work on Schoolbook, Hebrew, ALA and Special Effects
typefaces, described below, is all done in  the current and
stabilized version of \MF, and is therefore much more flexible.  Fonts
of these faces can be generated at any reasonable resolution, and for
any marking engine with a defined {\tt mode}.  One hopes that Georgia
will find some way of making her \MF\ source code available to bona
fide users of her newer typefaces, without of course jeopardizing her
livelihood.

\subsection{MF Chel Family}
The Chel (`Computer Helvetica') family of sans-serif fonts was
initially
created by Thom Hickey in  \MF79.    Chel was
later completed and extensively reworked by Georgia Tobin.  In its
finished form, Chel has been described as `lighter and more compact'
than the Computer Modern sans-serif ({\tt CMSS}) which was designed by
Richard Southall and is included in all CM distributions.  Chel
comprises fifteen fonts including Chel Book, Slant, Medium Bold,
Slanted Medium Bold, Bold, Slanted Bold, Extra Bold, Slanted Extra
Bold, Math Symbols, Bold Math Symbols, Math Italic, Bold Math Italic,
Math Extensible, Elite, Bold Elite, Pica and Bold Pica.

\subsection{MF Roman Family}
This family comprises more than nineteen Times Roman style seriffed
fonts, including Roman Text, Slanted Text, Italic, Unslanted Italic,
Medium Bold, Medium Bold Italic, Bold, Bold Italic, Extra Bold, Extra
Bold Italic, Titling (Small Caps), Slanted Titling, Math Symbol, Bold
Math Symbols, Math Italic, Bold Math Italic, Math Extensible, Elite
and Pica.  The last two fonts are 12\,cpi and 10\,cpi typewriter style
fonts respectively, and include slanted and emboldened versions.

\subsection{MF Slavic Family}
The Slavic Family of fonts includes all the fonts necessary for
sophisticated typesetting in Russian.  The family includes
Chel-compatible and Roman-compatible versions of Cyrillic in Book,
Slant, Bold and Bold Slant versions, and also an Italic version of the
Roman-compatible face.  There are further `additional' fonts
corresponding to each of these categories which contain extra accents
and characters used in typesetting other Slavic languages.

\subsection{MF Decorative Family}
Also offered is a decorative package of fonts which includes six
typefaces, including Black Letter, a Copperplate Script, Hodge Podge
(including assorted dingbats, pharmacy and planetary symbols, a turtle
and a frog), an Outline Helvetica (upper case), and a Slanted Outline
Helvetica (also upper case), and an Uncial Majuscule which emulates a
medieval manuscript script.

\subsection{Century Schoolbook: Liber}
Georgia is close to finalizing a first release version of a Century
Schoolbook typeface.  This is the first fruits of her work with the
new \MF84.  Her goal has been to create a complete Century Schoolbook
style typeface that is clean and legible from very low resolutions
(about 72\,dpi is the lowest so far) to very high, and in point sizes
from 5 to 96 or so. 
In \TUGboat\ {\bf 9.2}, Georgia gave more information about the process
of designing the Century Schoolbook typeface she has been working
on.  The face is now christened Liber, and the article was
printed in the new face, at a resolution of 300\,dpi.


\subsection{MF ALA}
Another project has been the creation of \MF\ fonts which include the
special character set defined as a standard by the American Library
Association (ALA) and used by the Library of Congress and other bodies
influential in the library automation world, such as OCLC.  This set
of characters and accents was designed to make possible the
representation, if necessary in a standard Roman transliteration, of
virtually all the world's languages.  The characters include items
like upper and lower case thorn, Polish dark {\it  el\/} (with a cross bar),
eth, and several other unusual signs and accents.  There is even a
{\it  candrabindu\/} for Sanskritists!  Georgia did this work for the Library
of Congress.  The font is available in Text, Bold, Italic, and Bold
Italic.

\subsection{Hebrew}
Georgia is developing a Hebrew typeface, which is still at an
experimental stage.  At the present time it consists of 27 characters,
with more calligraphic molding of the strokes than is shown in
Goldberg's font.  However, Georgia has not developed any macros or
preprocessors for inputting Hebrew text in quantities, as Goldberg
has.  

\subsection{Special Effects}
Georgia published `The ABC's of Special Effects' (1988),  in which are
demonstrated several fascinating typographical effects that are relatively
simple to produce with clever use of \MF\ macros.  The article includes the
\MF\ code illustrating how the effects were produced.



\section{\sl Blackboard Bold}
\subsection{Robert Messer}
Robert Messer published an article (Messner, 1988), in which he generalized a
method used by Knuth in the {\TeXbook\/} to produce such
characters.  This is a series of |plain| \TeX\ macros which jiggle the characters
of CM around, using small kerns and the capital I and small rules, to produce a
`poor person's blackboard bold'.

\subsection{Other Developments}
See also {Custom fonts \& Pandora}, and the {AMSfonts Package} package.


\section{\sl APL}
The APL programming language requires many unusual symbol characters,
which often baffle normal typesetting and word processing systems.
Aarno Hohti and Okko Kanerva (1987) have
developed an APL font for use with \TeX.  They have `raided' the CM
character set to this end, so the characters should be similar in
weight and style with CM.


\section{\sl AMSfonts Package}
The American Mathematical Society  has developed several fonts of
symbols and alphabets intended for use in mathematical notation.
Three alphabets, collectively known as Euler, were designed by Hermann
Zapf and implemented in \MF\ at Stanford as part of the \TeX\ project.
They come in both medium and bold weights, and include Fraktur, script
and an upright cursive alphabet, which was intended to minimize
problems with the placement of accents and indices.  The Euler fonts
are considered proprietary, and sources
are available only under lease.

Two fonts of symbols, including a Blackboard Bold alphabet, are also
available. Details of these fonts, including character grids, were
published in Beeton (1985).  These fonts are still rendered in
\MF79, which is totally incompatible with the current \MF, so
distribution of the sources is pointless; arrangements are being made
for their re-implementation in new \MF, but the schedule is uncertain.


\section{\sl Custom Fonts \& Pandora}
\subsection{Custom Fonts}
If you are desperate for a \TeX\ font that does not yet exist, why not
commission a \MF\ programmer to create it?
Neenie N.~Billawala advertises her services as a \MF\ consultant in
{\TUGboat\/}. She is responsible for creating the fine calligraphic
capitals that are part of the Computer Modern typeface family (in the
{\tt CMSY} fonts).

\subsection{Pandora}
Neenie, a designer, has also created a new typeface called Pandora,
which is part of a larger research project concerning the possibility
of breaking the elements of typeface design down into general reusable
components such as serifs (and terminal endings), bowls, circular
shapes, arms and so on.  Pandora is the result of setting the
parameters for these components to one particular set of values, but
many others could be chosen.  In this sense, Pandora explores further
the `parametrization' which is at the heart of Knuth's endeavor with
\MF.  Neenie is writing a Stanford Computer Science
Report about this, called  {\it  Meta-Marks: Preliminary Studies for a
Pandora's Box of shapes\/} (to appear). 

The Pandora typeface is intended to be a `bread and butter' text face
and has been generated in seriffed, sans-serif and fixed width
versions.  The character set of Pandora coincides with {\tt CMR} and
{\tt CMTT}, etc., and thus it does not include the math symbol
characters and extensibles.


\subsection{Blackboard Bold \& Outline}
Neenie is also working on a Blackboard Bold, to be compatible with
Times Roman, for the AMS, and an outline font.



\section{\sl Bitstream Font Family}
%\paragraph{Date of information} March 10, 1988
One of the most exciting developments in the area of Roman
alphabet typeface availability for \TeX\ has been the recent
announcement by Personal \TeX\ Inc., of the PTI Font Interface Package
(FIP).  This is an MS DOS program which converts the outline typefaces
of the Bitstream typeface library into {\tt pxl} (and then {\tt pk})
fonts, with associated {\tt tfm} files, for use with \TeX\ in a manner
analogous to the use of the use of the Computer Modern fonts.

Since the Bitstream typeface outline files for any given font contain
more than the 128 characters usual in a \TeX\ font, the extra
Bitstream characters can be
generated in a second, complement font.  The Bitstream fonts generated
by the FIP contain the same characters as {\tt CMR10}.  However,
equivalents of the math italic, math symbol and extensible fonts of
the CM family are not provided, so the Bitstream fonts are for use in
typesetting predominantly textual matter.  (One could, of course, mix
the fonts, using Bitstream for the text and CM for the mathematics.)


The Bitstream typeface library advertised by Personal \TeX\ at present
includes the following typefaces, each consisting of a regular, an
italic, a bold and a bold italic face:
Baskerville,
Bitstream Charter,
Bitstream Cooper Light,
Century Schoolbook,
Courier,
Dutch (i.e., Times Roman),
Futura Book,
Futura Light,
Futura Medium,
Goudy Old Style,
ITC Avant Garde Gothic,
ITC Bookman Light,
ITC Galliard,
ITC Garamond Condensed,
ITC Garamond,
ITC Korinna,
ITC Souvenir Light,
Letter Gothic,
News Gothic,
Prestige,
Serifa,
Swiss (i.e., Helvetica),
Swiss Condensed,
Swiss Light,
Zapf Calligraphic (i.e., Palatino),
Zapf Humanist (i.e., Optima),
and a selection of Headline faces including
Bitstream Cloister Black,
Broadway,
Cooper Black, and
University Roman.



The creation of the font bitmaps is done using what
Bitstream calls `smart outlines'.  Typographic rules are stored with
the typeface outlines and are applied at the time of bitmap
generation, using artificial intelligence algorithms (originally
implemented on Symbolics 3600 Lisp workstations) to tailor significant
features of the font to its point size, and the resolution and marking
characteristics of the printing device.  Some typographically
significant features that are so treated are the stem weight,
x-height, cap height, side bearings, and baseline alignment.  So a 6
point Bitstream font is not a mere linear reduction of some larger
design size, just as {\tt CMR6} is not simply a small {\tt CMR10}.
This is very significant for the high quality of the fonts at small or
large sizes, and goes some of the way towards meeting the argument
made by Knuth in the \TeXbook\ (p.16), against scaling fonts much
beyond their design size.




\section{\sl Lucida}
Lucida is the name of one of the typefaces designed by Kris Holmes and
Chuck Bigelow.  Its main design aim is that it be legible and
beautiful at low as well as high resolutions, and it is probably the
first original typeface family produced for digital printers and
displays. (Another font with some similar design goals is
Matthew Carter's Bitstream Charter.)  By low resolution, Holmes and
Bigelow mean laser printers and computer screens.  The font has been
discussed in Epstein (1986), Bigelow and Holmes (1986) and Anon (1988).
The second of these articles is itself printed in the Lucida typeface.
It goes into detail about the design concepts of Lucida, with
illustrations.

The Lucida family includes the following eight fonts: Roman, Italic,
Bold, and Bold Italic, in both seriffed and sans-serif styles.  Lucida
has been called a `super family' because of the wide range of
characters and fonts it provides, including compatibility with the
full CM character set.  Unusual features of Lucida fonts include the
fact that the italic sans-serif is a true cursive style, rather than a
slanted \hbox{Roman}, and that there are alternate sets of capitals,
one heavier in weight, for English and French typographers, and one
lighter, for Germanic texts which use extensive capitalization, and
therefore need de-emphasized capitals.

The screen `versions' of Lucida are at such low resolution
(75--100\,dpi) that they cannot be regarded as straight reproductions of
their higher resolution counterparts.  They are therefore called
Pellucida, to suggest that the designs are related to Lucida, but
optimized for `pel' based screen displays.

\subsection{Adobe}
Chuck Bigelow informed me in April 1988 that Adobe Systems is dealing
with the release of several Lucida typefaces for use with \TeX.  

The following faces have already been released by Adobe as
downloadable PostScript fonts on both Mac and PC disks:
Lucida Roman (seriffed),
 Italic,
 Bold,
 Bold Italic,
 Sans Roman (sans-serif),
Sans Italic,
 Sans Bold, and
 Sans Bold Italic.


The following will be released soon:
 \TeX\ Math Italic,
 \TeX\ Math Symbol,
 \TeX\ Math Extension, and
 Sans Typewriter.

The Math fonts have the same character sets as shown in
appendix F of   the \TeXbook.  The Lucida Sans Typewriter has another
union of Adobe's standard set, this time with the \TeX\ text
typewriter set, shown in figure 3 in the same appendix.


\subsection{Imagen}
Chuck Bigelow also noted that the Imagen Corporation currently offers
various Lucida typefaces, and an upgrade to the full \TeX\ character
set will be released in July 1988.  These will include the
Lucida seriffed family, the
Lucida Sans family, and the
Lucida Sans Typewriter family. Imagen will produce the \TeX\ Math
fonts if there is demand from their users. Imagen Lucida will be
available in outline format for their {\sc UltraScript} (\PS\ clone)
and {\sc ddl} language printers, and for their im{\sc press} printers. The Imagen
fonts should be metrically compatible with the Adobe fonts.  They are
made from exactly the same outline data.

\subsection{Compugraphic}
Bigelow informs me  that Compugraphic Corporation has
licensed the Lucida seriffed family (roman, italic, bold, bold italic)
and the three basic \TeX\ math fonts (math italic, math symbol, math
extension) for their 8600 and 9600 typesetters, and perhaps the 8400
as well. 


\subsection{Some others}
Atari is to bundle the Lucida donts with its \PS\ clone upgrade for
its laser printer, the {\sc slm} 804. Imagen will
also be supplying the Lucida math fonts for Atari systems later
this year. The Lucida fonts will also be bundled with UltraScript
(a \PS\ clone) from {\sc qms}.

 Bigelow \& Holmes
are also working on outline versions of several of the additional
fonts shown in Knuth's Volume E of {\it  Computers and
 Typesetting\/}, and fonts analogous to the Euler family, including
Bold Greek,
Bold Script,
Bold Symbol font,
Small Capitals, as well as a
Chancery,
lower-case Script,
Fraktur,
Hebrew, and others.
Light and Demibold versions of both seriffed and sans-serif families
are also in progress, as well as the `Bright' versions used in
Scientific American.  However, these must await a distributor like
Adobe or Imagen to reach the market.




\section{\sl Icelandic}
%\paragraph{Date of information} March 10, 1988, from \hax\ 1988,
%issue 22.
Jorgen Pind reported in \hax\
that he is running an unmodified \TeX\ with new fonts and formats
(including hyphenation) which cater for Icelandic.
 Pind
had written a full account of his work on Icelandic \TeX\ which
appeared in Don Hosek's \TeX Mag, 2(5).





\section{Hershey Fonts}
Just as I had begun wondering about the Hershey fonts, Jim
Seidman asked about them in \hax\ 1988, issue 70.
 
\subsection{Guthery}
Dean Guenther answered in issue
73 that Scott Guthery,  has the Hershey
fonts with {\tfm}s for a nominal fee.
 
\subsection{Kesner}
A few weeks later, \hax\ 1988, issue 90, carried a letter from
Oliver Kesner, also in answer to Seidman's
query, describing his own work converting Hershey fonts for use
with \TeX.  
The  character set includes, besides several Roman
typefaces, Greek, Russian, German Fraktur, and a variety of
graphic symbols, Hiragana,
Katakana, and 623 Kanji characters.
 
 
\section{Logic Diagrams}
Rick Simpson created a font called {\tt
milstd.mf}   for drawing electrical
symbols.  He included the \MF\ source code for the font, and in
the following issue of UK\TeX, a small set of \TeX\ macros were
published, for making the logical symbols easier to use within
plain \TeX\ or \LaTeX.  The font consists of the following 25
symbols: slanting line at 45-degree angle for marking busses in
logic diagrams; |and|, |nand|, |or|, |nor| gates, facing to the right,
down, left and up; buffer and inverter, each facing to the right,
down, left and up.

\section{Music}
UK\TeX\ 1988, issues 28 and 29, carried an exchange of
information recently, concerning the use of \TeX\ to typeset
music.  This very challenging application has been receiving some
attention, and the work to date was announced in the Music
Research Digest.  Thence it found its way to UK\TeX.  Phillip
T.~Conrad provided summaries of the work of Dunne and
J\"{u}rgensen, that of Schofer and Steinbach, and of his own.
 
\subsection{Dunne and J\"{u}rgensen}
Dunne and J\"{u}rgensen conducted research at the University of
Western Ontario; they defined the concept of i-marks and p-marks.
I-marks are invariant marks, the kind of marks that can be put
into a font and typeset easily with \TeX. P-marks are
parameterized marks whose shape and size varies according to
certain parameters.  The only p-marks \TeX\ is capable of
typesetting are the horizontal and vertical rules.  Dunne and
J\"{u}rgensen use \PS\ to augment the capability of \TeX\
with a special version of {\tt dvi2ps}.
 
 
\subsection{Schofer and Steinbach}
There is a thesis written by Angelika Schofer and Andrea
Steinbach at the Institut f\"{u}r Angewandte Mathematik at the
Rheinische Friedrich-Wilhelms-Universit\"{a}t at Bonn, entitled
{\it  Automatisierter Notensatz mit \TeX}.
 
Schofer and Steinbach operated from the assumption that a font of
beams and slurs is in fact feasible; they appear to have
generated just such a font, and they use plain \TeX\ alone.
Their system appears to `understand' some form of
music-description language, and to apply music-setting rules
automatically.  The music is printed with \TeX\ by means of the
special fonts.
 
 
\subsection{Conrad}
Phillip T. Conrad  noted that he is currently (August 1988)
finishing a Master's thesis, which presents a prototype system for typesetting
music notation with \TeX,  building on the previous work at the Ohio State
  University of Gourlay et al.

\section{\sl Miscellaneous}
\subsection{{\tt SPRITE.STY}}
If you use \LaTeX, and you only need one or two extra characters, an
ingenious and very easy way to generate them has been devised by
Martin Costabel.  It is a \LaTeX\ style called {\tt SPRITE}, and the
code and documentation were published  in issue 1.8
of \TeX Mag.  More recently a newer version was published in \hax.
It included a macro for use in |plain| \TeX. Essentially, {\tt SPRITE} is a macro
that allows you to define  your own symbols in a quick and dirty way. Define the
character as a dot pattern on your screen  enclosing it by
  |\sprite| and   |\endsprite| commands. If you just need
one special character or some cute little symbol  whatever is necessary for a
professional solution, this may produce acceptable results.


Using {\tt SPRITE.STY} one `draws' the character to be defined as a
pattern of characters on a grid.  The figure below shows how {\it  schwa\/} is
done.
\begintt
\def\schwa{\FormOfSchwa\kern1pt}
% Only necessary if \kern... is wanted
\sprite{\FormOfSchwa}(16,24)[0.4em,1ex]
% Resolution ca. 200x340 dpi.
:.......BBBBBBBBBB.......|char'174 
:....BBBB........BBBB....|char'174
:..BBB.............BBBB..|char'174
:.BB.................BBB.|char'174
:.B...................BBB|char'174
:.....................BBB|char'174
:.....................BBB|char'174
:.....................BBB|char'174
:BBBBBBBBBBBBBBBBBBBBBBBB|char'174
:BBB..................BBB|char'174
:BBB..................BBB|char'174
:BBB.................BBB.|char'174
:.BBB...............BBB..|char'174
:..BBBB...........BBBB...|char'174
:....BBBBB.....BBBBB.....|char'174
:.......BBBBBBBB.........|char'174
\endsprite
\endtt
To use this character in your  document, all you have to do is
use the command   |\schwa|.  This method uses a lot of \TeX's
memory, and is only suitable for characters which are used rarely, say
a few times on a page.

\subsection{Austin Code Works}
The Austin Code Works has a large collection of bitmap fonts that work
with \TeX, and which were originally created at SAIL (Stanford
Artificial Intelligence Lab).
Because these fonts are not coded in up-to-date \MF, what you get is
what you get, i.e., you cannot change the size or resolution of the
fonts.  I believe they are all (or most) 200\,dpi fonts.  Bear in mind
that although you might get, say, a Hebrew font, there are no
accompanying macros to implement it at the keyboard level.
 
The 137 KST fonts
include Hebrew, Greek, Old English, Old German, Cyrillic, hand (sign
alphabet), and Tengwar alphabets in addition to the Roman alphabet in
a large number of  styles. 
The also fonts include such essentials as single character fonts for the
Stanford and MIT logos (separate fonts for each, naturally), two views
of Snoopy, two views of Starship Enterprise, three fonts of chess
pieces, several sans-serif fonts, and what looks as if it might be a
very tiny Arabic font.

\subsection{HP2TEX (HP Font Conversion)}
%\paragraph{Date of information} March 11, 1988.
In February 1988, a file {\tt HP2TEX} appeared
on Usenet.  It included the Turbo Pascal 3.0
source code and a compiled DOS version of {\tt HP2TEX}, a program to
read a Hewlett Packard soft font and generate two files useful to
\TeX\ users, a {\tt PL} and a {\pxl} file.




\subsection{Old English}
\subsubsection{Henderson}
Doug Henderson has implemented \MF\ on the PC/AT family of personal
computers, and is also responsible for generating the high resolution
bitmaps of several of the non-standard fonts illustrated in recent
issues of \TUGboat\/, such as the APL and Greek fonts.

He has created a few characters like the Old English characters thorn
(upper/lower case) and eth (upper/lower case). These will probably be the first
in a series of ad-hoc characters  created for various folks in need.  For now,
they are compatible with {\tt CMR10}.



\subsubsection{Ridgeway and Barnett}
%\paragraph{Date of information}  June 7, 1988, Pierre MacKay
A font to supplement the basic Latin alphabet of Computer Modern with
Old  English characters will be released in Autumn of this year by the
University of  Washington Humanities and Arts Computing Center.
Macros for direct input and  translators from various Personal
Computer editor files will accompany the  release.


\section{\sl The PostScript Question}
This article does not deal with the availability of \PS\ fonts,
because it would double its length to do so, and because the author
has never used a \PS\ device, and really would not know what he was
talking about.  Suffice it to say that instead of sending a bitmap to
the printer, a \PS\ output file sends the printer instructions
on how to construct character bitmaps at the time of printing.  These
\PS\ bitmaps are created in a manner analogous to running \MF,
in that the characters are encoded in a high level language, which
gives the outline, filling or stroke routines for creating glyphs.
Like \TeX\ {\tfm} files, \PS\ fonts have their own font metric files, 
called {\tt afm} (Adobe Font Meric) files.  With a bit of
tinkering, it is perfectly feasible to use \PS\ fonts in a \TeX\
document.

\medskip
\input fontmemo.refs
\medskip
\leftline{\sl Updates}
\noindent
For those with access to the academic computer networks, I post
information about revisions of this article to \hax\ and UK\TeX\
from time to time.  This way, people will know 
whether there is enough new stuff for it to be worth downloading the
whole article afresh. To those with access to  the Aston (UK\TeX)
archive the files are stored in the directory |public.score.texhax| as
|wujastyk.txh| and |wujasty2.txh|. 
\smallskip
\rightline{\sl\DW}
