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Newsgroups: comp.fonts,comp.answers,news.answers Path: bloom-beacon.mit.edu!nic.hookup.net!nntp.cs.ubc.ca!cyber2.cyberstore.ca!math.ohio-state.edu!magnus.acs.ohio-state.edu!usenet.ins.cwru.edu!eff!news.kei.com!world!ora.com!norm From: norm@ora.com (Norman Walsh) Subject: comp.fonts FAQ: General Info (2/3) Message-ID: <font-faq-2_759515252@ora.com> Followup-To: poster Summary: This posting answers frequently asked questions about fonts. It addresses both general font questions and questions that are specific to a particular platform. Sender: norm@ora.com (Norman Walsh) Supersedes: <font-faq-2_757281740@ora.com> Reply-To: norm@ora.com (Norman Walsh) Organization: O'Reilly and Associates, Inc. References: <font-faq-1_759515252@ora.com> Date: Tue, 25 Jan 1994 16:27:38 GMT Approved: news-answers-request@MIT.Edu Expires: Thu, 10 Mar 1994 16:27:32 GMT Lines: 1072 Xref: bloom-beacon.mit.edu comp.fonts:6512 comp.answers:3558 news.answers:14498 Archive-name: fonts-faq/part2 Version: 2.0.3 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. 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 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."