Subject: comp.fonts FAQ: General Info (1/3)

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:43:36 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part1
Version: 2.0.1

  Frequently Asked Questions About Fonts
  ----------------------------------------------------------------------
                                                      The comp.fonts FAQ
                                                          Version 2.0.1.
                                                         August 12, 1993
  Compiled by Norman Walsh
  
  Copyright (C) 1992, 93 by Norman Walsh <[email-masked]>.
  
  Portions of the OS/2 section are Copyright (C) 1993 by David J.
  Birnbaum.  All rights reserved.  Reproduced here by permission.
  
  Permission is granted to make and distribute verbatim copies of this
  document provided the copyright notice and this permission notice are
  preserved on all copies.
  
Subject: Table of Contents

  1. General Information
    1.1. Font Houses
    1.2. What's the difference between all these font formats?
    1.3. What about "Multiple Master" fonts?
    1.4. Is there a methodology to describe and classify typefaces?
    1.5. What is the "f" shaped "s" called?
    1.6. What about "Colonial" Typefaces?
    1.7. Where can I get ... fonts.
    1.8. Where can I get fonts for non-Roman alphabets?
    1.9. What about fonts with the International Phonetic Alphabet (IPA) sy...
    1.10. How can I convert my ... font to ... format?
    1.11. Are fonts copyrightable?
    1.12. Typeface Protection
    1.13. File Formats
    1.14. Ligatures
    1.15. Built-in Fonts
    1.16. Glossary
    1.17. Bibliography
    1.18. Font Encoding Standards
    1.19. TrueType
    1.20. Unicode Information
    1.21. Can I Print Checks with the MICR Font?
    1.22. Rules of Thumb
    1.23. Acknowledgements
    1.24. A Brief Introduction to Typography
    1.25. Pronounciation of Font Names
    1.26. What does `lorem ipsum dolor' mean?
  2. Macintosh Information
    2.1. Macintosh Font formats
    2.2. Frequently Requested Mac Fonts
    2.3. Commercial Font Sources
    2.4. Mac Font Installation
    2.5. Mac Font Utilities
    2.6. Making Outline Fonts
    2.7. Problems and Possible Solutions
    2.8. Creating Mac screen fonts
  3. MS-DOS Information
    3.1. Frequently Requested MS-DOS fonts
    3.2. MS-DOS Font Installation
    3.3. What exactly are the encodings of the DOS code pages?
    3.4. MS-DOS Font Utilities
    3.5. Converting fonts under MS-DOS
      3.5.1. Converting Mac Type 1 fonts to MS-DOS format
      3.5.2. Converting PC Type 1 and TrueType fonts to Mac format
      3.5.3. Converting PC Type 1 fonts into TeX PK bitmap fonts
      3.5.4. Converting TeX PK bitmaps into HP LaserJet softfonts (and vice...
      3.5.5. TrueType to HP LaserJet bitmap softfonts (HACK!)
    3.6. MS-DOS Screen Fonts (EGA/VGA text-mode fonts)
  4. OS/2 Information
    4.1. Preliminaries
    4.2. Fonts under DOS
    4.3. Windows
    4.4. Differences between Windows and OS/2
    4.5. Installation under Windows and Win-OS/2
    4.6. FontSpecific PostScript Encoding
    4.7. AdobeStandardEncoding
    4.8. AdobeStandardEncoding under Windows (and Win-OS/2)
    4.9. AdobeStandardEncoding under OS/2
    4.10. Consequences for OS/2 users
    4.11. Advice to the user
    4.12. OS/2 2.1 and beyond
  5. Unix Information
  6. Sun Information
    6.1. Fonts Under Open Windows
      6.1.1. Does OpenWindows support Type 1 PostScript fonts?
      6.1.2. Improving font rendering time
      6.1.3. Making bitmap fonts for faster startup
      6.1.4. Converting between font formats (convertfont, etc.)
      6.1.5. Xview/OLIT fonts at 100 dpi
    6.2. Where can I order F3 fonts for NeWSprint and OpenWindows?
  7. NeXT Information
    7.1. Tell me about NeXTstep fonts
    7.2. Tell me more about NeXTstep fonts
    7.3. Porting fonts to the NeXT
    7.4. Font availability
    7.5. Why can I only install 256 fonts on my NeXT?
  8. Amiga Information
  9. X11 Information
    9.1. Getting X11
    9.2. Historical Notes about X11
    9.3. X11 Font Formats
    9.4. X11 Font Server Information
    9.5. Fonts and utilities for X11
  10. Utilities
    10.1. PS2PK
    10.2. TeX Utilities
    10.3. MFPic
    10.4. fig2MF
    10.5. GNU Font Utilities
    10.6. Font Editors
    10.7. The T1 Utilities
    10.8. Where to get bitmap versions of the fonts
    10.9. Converting between font formats
    10.10. Getting fonts by FTP and Mail
    10.11. MetaFont to PostScript Conversion
    10.12. How to use Metafont fonts with Troff
    10.13. PKtoBDF / MFtoBDF
    10.14. PKtoPS
    10.15. PKtoSFP / SFPtoPK
    10.16. PostScript to MetaFont
    10.17. Mac Bitmaps to BDF Format
  11. Vendor Information

Subject: 1. General Information
  
  Many FAQs, including this one, are available by anonymous ftp from
  rtfm.mit.edu in the directory pub/usenet/news.answers.  Each posted
  section of the FAQ is archived under the name that appears in the
  "Archive-name" header at the top of the article.
  
  This FAQ is a work in progress.  If you have any suggestions, I would be
  delighted to hear them.
  
  This FAQ is maintained in TeXinfo format.  A Perl script constructs the
  postable FAQ from the TeXinfo sources.  TeX DVI, PostScript, and Info
  versions of this FAQ are available from ftp.shsu.edu in
  /tex-archive/help/comp-fonts-FAQ.  A "Gopher" server is also maintained
  at shsu.edu which can provide interactive access to the FAQ.
  
  The posted version of the FAQ is organized in a quasi-digest format so
  that it is easy to find the questions you are interested in.  All
  questions that appear in the table of contents can be found by searching
  for the word "Subject:" followed by the question number.
  
  The "TeXinfo" distribution from the Free Software Foundation contains a
  program called "Info" that can be used to read the Info version of the
  FAQ in a hypertext manner.  The "TeXinfo" distribution can be obtained
  from prep.ai.mit.edu in the /pub/gnu directory.  At the time of this
  writing, texinfo-2.16.tar.gz is the most recent version.  Info files
  can also be read in hypertext form by GNU Emacs.
  
  Future versions of the FAQ will make more use of the hypertext
  capabilities provided by the Info format.  At present, the FAQ is
  organized as a simple tree.  A plain ASCII, postable version of the FAQ
  will always be maintained.
  
  All trademarks used in this document are the trademarks of their
  respective owners.
  
  Standard disclaimers apply.
  
Subject: 1.1. Font Houses
  
  This section will be expanded on in the future.  It contains notes about
  various commercial font houses.
  
  Compugraphic
  ============
  
  See "Miles, Agfa Division"
  
  Miles, Agfa Division
  ====================
  
  Compugraphic which was for a while the Compugraphic division of Agfa,
  is now calling itself "Miles, Agfa Division" (yes, the Miles drug
  company), since CG's off-shore parent Agfa has been absorbed by Miles.
  So typographically speaking, Compugraphic, CG, Agfa, A-G ag, and Miles
  all refer to the same company and font library. Their proprietary fonts
  are still CG Xyz, but the name is Miles Agfa.
  
Subject: 1.2. What's the difference between all these font formats?
  
  This question is not trivial to answer.  It's analogous to asking what
  the difference is between various graphics image file formats.  The
  short, somewhat pragmatic answer, is simply that they are different
  ways of representing the same "information" and some of them will work
  with your software/printer and others won't.
  
  At one level, there are two major sorts of fonts: bitmapped and outline
  (scalable).  Bitmapped fonts are falling out of fashion as various
  outline technologies grow in popularity and support.
  
  Bitmapped fonts represent each character as a rectangular grid of
  pixels.  The bitmap for each character indicates precisely what pixels
  should be on and off.  Printing a bitmapped character is simply a
  matter of blasting the right bits out to the printer.  There are a
  number of disadvantages to this approach.  The bitmap represents a
  particular instance of the character at a particular size and
  resolution.  It is very difficult to change the size, shape, or
  resolution of a bitmapped character without significant loss of quality
  in the image.  On the other hand, it's easy to do things like shading
  and filling with bitmapped characters.
  
  Outline fonts represent each character mathematically as a series of
  lines, curves, and 'hints'.  When a character from an outline font is
  to be printed, it must be 'rasterized' into a bitmap "on the fly".
  PostScript printers, for example, do this in the print engine.  If the
  "engine" in the output device cannot do the rasterizing, some front end
  has to do it first.  Many of the disadvantages that are inherent in the
  bitmapped format are not present in outline fonts at all.  Because an
  outline font is represented mathematically, it can be drawn at any
  reasonable size.  At small sizes, the font renderer is guided by the
  'hints' in the font; at very small sizes, particularly on
  low-resolution output devices such as screens, automatically scaled
  fonts become unreadable, and hand-tuned bitmaps are a better choice (if
  they are available).  Additionally, because it is rasterized "on
  demand," the font can be adjusted for different resolutions and 'aspect
  ratios'.
  
  Werenfried Spit adds the following remark:
  
  Well designed fonts are not scalable. I.e. a well designed 5pt font is
  not simply its 10pt counterpart 50% scaled down. (One can verify this
  by blowing up some small print in a copier and compare it with large
  print; or see the example for computer modern in D.E. Knuth's TeXbook.)
  Although this fact has no direct implications for any of the two
  methods of font representation it has an indirect one: users and word
  processor designers tend to blow up their 10pt fonts to 20pt or scale
  them down to 5pt given this possibility.  Subtle details, but well...
  
  LaserJet .SFP and .SFL files, TeX PK, PXL, and GF files, Macintosh
  Screen Fonts, and GEM .GFX files are all examples of bitmapped font
  formats.
  
  PostScript Type 1, Type 3, and Type 5 fonts, Nimbus Q fonts, TrueType
  fonts, Sun F3, MetaFont .mf files, and LaserJet .SFS files are all
  examples of outline font formats.
  
  Neither of these lists is even close to being exhaustive.
  
  To complicate the issue further, identical formats on different
  platforms are not necessarily the same.  For example Type 1 fonts on
  the Macintosh are not directly usable under MS-DOS or Unix, and
  vice-versa.
  
  It has been pointed out that the following description shows signs of
  its age (for example, the eexec encryption has been thoroughly hacked).
  I don't dispute the observation and I encourage anyone with the
  knowledge and time to submit a more up to date description.
  
  It has further been suggested that this commentary is biased toward
  Kingsley/ATF.  The omission of details about Bitstream (and possibly
  Bauer) may be considered serious since their software lies inside many
  3rd-party PostScript interpreters.
  
  The moderators of this FAQ would gladly accept other descriptions/
  explanations/viewpoints on the issues discussed in this (and every
  other) section.
  
  [Ed Note: Liam R. E. Quin supplied many changes to the following
  section in an attempt to bring it up to date.  Hopefully it is a better
  reflection of the state of the world today (12/07/92) than it was in
  earlier FAQs]
  
  Henry Schneiker <reachable electronically?> wrote the following
  description of the differences between several scalable font
  technologies:
  
  ((( semi-quote )))
  
  There has been a lot of confusion about font technologies in recent
  times, especially when it comes to Type 1 versus Type 3 fonts, "hints,"
  PostScript compatibility, encryption, character regularizing, kerning,
  and the like.
  
     * Encryption (eexec)
  
       All fonts produced with Adobe's font technology are protected
       through data encryption. The decryption is provided by the `eexec'
       (encrypted execute) PostScript operator and, until recently, was
       only present in Adobe's licensed PostScript.
  
       Adobe has published the details of the Type 1 font format in the
       `Black Book', Adobe Type 1 Font Format (version 1.1), Adobe
       Systems Inc., 1990.  The encryption was mainly used because of
       font copyright problems; unencrypted fonts can also be used, but
       these tend to use an efficient binary encoding, also in documented
       the Type 1 book, and so are still not readable PostScript.
  
     * Type 1, Type 3, and Type 5 font formats
  
       There are generally three font formats used in Adobe PostScript
       printers: Type 1, Type 3, and Type 5. Type 1 fonts are Adobe's
       downloadable format. Type 3 fonts are third-party downloadable
       format. Type 5 fonts are the ROM-based fonts that are part of your
       printer.
  
       There is no functional difference between a Type 1, Type 3, or
       Type 5 font. A Type 3 font can do anything a Type 1 or Type 5 font
       can do.  The only real difference between them is where the
       `BuildChar' routine comes from. For Type 1 and Type 5 fonts it's
       built into the printer. For Type 3 fonts it's built into the font.
       In other words, anything a Type 1 font can do a Type 3 font can
       also do.
  
       [Ed note: the reverse is not true.  Type3 fonts can do things that
       Type1 fonts cannot.  But they aren't hinted...]
  
       When PostScript is asked to generate a character, PostScript looks
       in the font's dictionary for FontType. If FontType is 1 or 5
       PostScript executes an internal routine that knows how to
       interpret the font data stored in CharStrings. If FontType is 3
       PostScript executes the routine BuildChar from the font's
       dictionary to interpret the font data (often stored in
       CharStrings).
  
       However, each BuildChar routine is written to read data formatted
       in a method convenient to the vendor. Adobe, Altsys, Bitstream, and
       Kingsley/ATF all format their font data differently and, hence,
       have different BuildChar routines.
  
       [Ed note: relative hard disk efficiency of Kingsley vs. Adobe fonts
       deleted on 12/07/92]
  
       Type 5 fonts are special in that they often include hand-tuned
       bitmaps for the commonly used sizes, such as 10- and 12-point.
       Other sizes are generated from the outlines in normal fashion.
  
       Don't confuse Type 1, Type 3, and Type 5 fonts with Bitstream's
       Type A, Type B, Type C, and Type F. They are not the same and
       serve only to confuse the issue.
  
     * Resolution `hints'
  
       When a character is described in outline format the outline has
       unlimited resolution. If you make it ten times as big, it is just
       as accurate as if it were ten times as small.
  
       However, to be of use, we must transfer the character outline to a
       sheet of paper through a device called a raster image processor
       (RIP). The RIP builds the image of the character out of lots of
       little squares called picture elements (pixels).
  
       The problem is, a pixel has physical size and can be printed only
       as either black or white. Look at a sheet of graph paper. Rows and
       columns of little squares (think: pixels). Draw a large `O' in the
       middle of the graph paper. Darken in all the squares touched by the
       O. Do the darkened squares form a letter that looks like the O you
       drew? This is the problem with low resolution (300 dpi). Which
       pixels do you turn on and which do you leave off to most accurately
       reproduce the character?
  
       All methods of hinting strive to fit (map) the outline of a
       character onto the pixel grid and produce the most
       pleasing/recognizable character no matter how coarse the grid is.
  
       [Ed note: deleted some paragraphs that are no longer true.  Times
       change...]
  
     * Optical Scaling
  
       Optical Scaling modifies the relative shape of a character to
       compensate for the visual effects of changing a character's size.
       As a character gets smaller, the relative thickness of strokes,
       the size of serifs, the width of the character, the
       inter-character spacing, and inter-line spacing should increase.
       Conversely, as a character gets larger, the relative thickness,
       widths, and spacing should decrease.
  
       Contrast this with linear scaling, in which all parts of a
       character get larger or smaller at the same rate, making large
       characters look wide and heavy (strokes are too thick, serifs are
       too big) while small characters look thin and weak.
  
     * Kerning
  
       As applied to PostScript fonts, kerning refers to kern pairs. A
       kern pair specifies two characters (e.g., A and V) and the
       distance to move the second character relative to the first. The
       typical use of a kern pair is to remove excessive space between a
       pair of characters.  However, it may also be used to add space.
  
     * PostScript clones
  
       There are currently several printer manufacturers on the market
       with PostScript clones. To be viable, a PostScript clone must
       comply with the `red book' (PS Language Reference Manual).
  
       In order to avoid paying royalties to Adobe, and because Adobe's
       Type 1 font format was originally proprietary, many PostScript
       interpreters use some other font format.  Sun uses F3, and some
       other vendors use Bitstream's Speedo format, for example.  The
       only real problem this causes is that the widths of characters
       (the `font metrics') may vary from Adobe's, so that programs that
       assume the Adobe character widths will produce poor quality
       output.  Bitstream fonts used to be particularly bad in the early
       days, but they and most or all of the other vendors have solved
       those problems.
  
     * Apple TrueType [Ed note: formerly "Royal (`sfnt')"] format and
       System 7
  
       Apple's new System 7.0 supports a new format of outline font that
       will allow high-quality characters of any size to be displayed on
       the screen.  TrueType stores font outlines as B-spline curves
       along with programmed resolution hints. B-spline curves are faster
       to compute and easier to manipulate than the Bezier curves used in
       PostScript.
  
       Adobe is not going to support Apple's new format by converting the
       Adobe/Linotype library to B-spline format. There are two reasons
       for this: First, there is no support for font encryption (yes, the
       hooks are there, but nothing is implemented). Second, Adobe does
       not want to dilute PostScript and its font library. However, the
       Macintosh is too big a market to simply turn away from. Therefore,
       Adobe will provide its Font Manager to display its own fonts on
       the Mac screen.  Apple ships Adobe's ATM for this purpose.
  
  ((( unquote )))
  
Subject: 1.3. What about "Multiple Master" fonts?
  
  Multiple Master Fonts are an extension to the Adobe font format.
  providing the ability to interpolate smoothly between several "design
  axes" from a single font. Design axes can include weight, size, and
  even some whacko notions like serif to sans serif.  Adobes' first
  Multiple Master Font was Myriad - a two-axis font with WEIGHT (light to
  black) on one axis, and WIDTH (condensed to expanded) along the other
  axis. In the case of Myriad, there are four "polar" designs at the
  "corners" of the design space. The four designs are light condensed,
  black condensed, light expanded, and black expanded.
  
  Given polar designs, you can set up a "weight vector" which
  interpolates to any point within the design space to produce a unique
  font for a specific purpose. So you can get a "more or less condensed,
  somewhat black face".
  
  Multiple Master Fonts can be used on any PostScript printer.  Multiple
  Master Fonts need a new PostScript operator known as makeblendedfont.
  The current crop of Multiple Master Fonts supply an emulation of this
  operator so the printer doesn't need this operator.
  
  A short tutorial on Multiple Master Fonts and makeblendedfont appears
  in PostScript by Example, by Henry McGilton and Mary Campione,
  published by Addison-Wesley.
  
  Danny Thomas contributes that there are a few PostScript interpreter
  (version)s which have bugs that appear with the emulation of the
  makeblendedfont operator used to support Multiple Master fonts. There
  weren't many exhibiting this problem, though it may have happened even
  with one Adobe interpreter.
  
Subject: 1.4. Is there a methodology to describe and classify typefaces?
  
  There is a standard, Panose, but it is mostly ignored by typographers
  (not because it's bad, just because they don't need it).  The Panose
  system is documented, among other places, in the Microsoft Windows 3.1
  Programmer's Reference from Microsoft Press.
  
  The ISO also has a scheme, but it is not Panose.
  
  At least one book by a respected authority, Alexander Lawson, Printing
  Types: An Introduction, describes another, less rigorous system [ed: of
  his own], which is exposited in "An Introduction" and used without
  exposition in his later "Anatomy of a Typeface".
  
  There is another book, Rookledges International Typefinder, which has a
  very complete system that uses tell-tales of individual glyphs as well
  as overall style to index most known faces right in the book.
  
  J. Ben Leiberman has another book on type face description.
  
  Terry O'Donnell adds the following comments:
  
  The current ISO system was initiated (I believe) by Archie Provan of
  RIT--a successor to Mr. Lawson. Whereas in typographic practice or
  teaching--only a high level classification is necessary - times have
  changed and the current ISO system aims to accomplish something beyond
  the high level. A major goal is to aid software to help users make
  selections. For example, a naive user might ask for all fonts on a font
  server which have a Roman old style appearance. Another goal would be
  to help users with multi-lingual text: a user creating a document in
  English using e.g. Baskerville wants to know what Arabic or Japanese
  language font on his system/file server would harmonize well with the
  Baskerville. It is not all in place yet--but the more detailed ISO
  classes--and the current addition of non-latin typefaces--are an
  attempt to address this issue.
  
  A second goal is to help with the font substitution problem. Neither
  ISO or Panose address the metrics issues in font substitution--but both
  might aid software in picking the nearest style of available available
  fonts.
  
Subject: 1.5. What is the "f" shaped "s" called?
  
  Both the "f" with half a crosbar (roman) and the integral sign (italic)
  are called long-S.
  
Subject: 1.6. What about "Colonial" Typefaces?
  
  Why does colonial printing have that "Colonial" feel?
  =====================================================
  
  Colonial type was either very roughly treated by moist salt air on the
  crossing and in colonial port cities, or was copied locally by tacky
  techniques (such as driving used foundry type into soft lead to make
  very soft deformable matrices), and the paper was very rough, which
  abrades both the serifs and the hairlines.  So except for the best work
  done with new, european types, the serifs were much smaller, even
  broken off, than the original founder/punchcutter intended.  Thins
  could be abraded by rough paper to nothingness, esp after humid salt
  air had leached the hardener out of the alloy.
  
  What fonts are good for mock-colonial uses?
  ===========================================
  
  For example, what fonts have the following features: old-style figures
  (non-lining numbers), the long s character, slightly irregular shapes
  (a la type produced by colonial printers), and a decent complement of
  ligatures.  And what about free or cheap faces like this?
  
  I don't know if any exist with all of 1-5. As I believe you get what
  you pay for, especially in fonts, I haven't looked at free and
  cheap-copy fonts.
  
  Microsoft's expansion set for their Win3.1 optional fonts has Garamond
  Expert & Expert Extensions, which has a good complement of ligatures
  and I think I remember it having the long ess too.  I forget about
  OSFigs; it should tho'.  Monotype's metal faces "16th Century Roman"
  and "Poliphilus" may be available in digital; if so, they imitate early
  presswork with early and are very close to what one wants.
  
  "A commercial supplier [not yet sampled] is Image Club Graphics in
  Calgary (1-800-661-9410).  It is called Caslon Antique.  It is supplied
  as both roman and italic, together, for $25. They advertise in
  MacWorld/MacUser/MacBlah.   I am unable to tell from abcDEF123 if the
  numerals are old-style, but I think not.  Ligatures?  long-S?  Not yet
  known.  Guillemots, though, are there. ... Letraset, circa 1977,
  showing a Caslon Antique with modern numerals, no ligatures, and only
  UKPounds and German ss extensions." [Ike Stoddard]
  
  NB: Caslon Antique is not a Caslon per se: "The last Caslon to mention
  is that ubiquitous but unrelated Caslon Antique, which possesses no
  similarity whatsoever to the original. This old reprobate was
  introduced by Barnhart Brothers of Chicago under the name Fifteenth
  Century. Its negative reception lasted until about 1918, when, with a
  simple name change to Caslon Antique, it became the most commonly
  selected type for reproductions of colonial American printing. It is
  now seen in everything from liquor advertisments to furniture
  commercials" [Lawson, 1990,Anatomy]
  
  Miles Agfa (Compugraphic) has always had a Caslon Antique; I don't know
  if it is available for TrueType or Type 1, but Agfa has been doing
  TrueType bundles at reasonable prices. [wdr]
  
  What fonts could a colonial printer have had?
  =============================================
  
  According to D.B.Updike in the classic reference "Printing Types: Their
  History, Forms & Use", he indicates that most colonial work was with
  types of the Caslon Old Style fonts and cheap copies of same in the
  18th C.  Before that, it would have been the older Dutch & English
  faces, almost always lagging English tastes.  If you can find the
  Oxford Fell types, they are classic Dutch-as-used-by-englishmen.
  Anything with a Dutch moniker and the Oldstyle adjective is probably
  ok; Van Dijck if you find it, say (died 1673).
  
  Ben Franklin recommended Caslon faces.  But these were not available in
  England before 1720, first full broadside in 1734. Lawson declares that
  the first printing of the Declaration of Independance was in Caslon.
  
  Wilson's Scotch Modern was the "modern" font that surfaced in quantity
  in america.  If the Scotch Roman your vendor has is sort-of  like-Bodoni
  but nicer than his Bodoni, that's it.  It wasn't available until late
  1700s, though.
  
Subject: 1.7. Where can I get ... fonts.
  
  Before I go any farther, let me extol the virtues of the Archie servers.
  If you need to find something on the net, and you have any idea what it
  might be called, Archie is the place to go.  In North America, telnet to
  "archie.rutgers.edu" and login as "archie".  There are many other
  servers around the world, any Archie server can give you a list of other
  servers.  There are better documents than this to describe Archie and
  you should be able to find them from the above starting point.  If you
  have trouble, feel free to ask norm (via Email please, no need to
  clutter comp.fonts with a query about Archie ;-).
  
  In addition to the telnet option, several archie clients exist including
  a very nice X11 implementation (Xarchie)
  
     * Adobe Type 1 Fonts in MS-DOS/Unix Format:
  
       ftp.cica.indiana.edu:/pub/pc/win3/fonts
  
       ftp.cica.indiana.edu:/pub/pc/win3/fonts/atm
  
       archive.umich.edu:/msdos/mswindows/fonts
  
     * Adobe Type 1 Fonts in Mac Format:
  
       mac.archive.umich.edu:/mac/system.extensions/font/type1
  
       sumex-aim.stanford.edu:/info-mac/font
  
     * Adobe Type 3 Fonts in Mac Format:
  
       mac.archive.umich.edu:/mac/system.extensions/font/type3
  
     * TrueType fonts in MS-DOS Format:
  
       ftp.cica.indiana.edu:/pub/pc/win3/fonts/truetype
  
     * TrueType fonts in Mac Format:
  
       mac.archive.umich.edu:/mac/system.extensions/font/truetype
  
     * TeX PK/PXL/GF fonts:
  
       The TeX community has it's own support groups that can provide
       better answers to this question.  The canonical list of MetaFont
       fonts is posted occasionally to comp.text.tex.  The comp.text.tex
       newsgroup (or the Info-TeX mailing list, if you do not have access
       to news) are good places to start.  Email norm if you need more
       specific information.
  
     * LaserJet bitmap fonts:
  
       wuarchive.wustl.edu:/mirrors/msdos/laser
  
       Also on other simtel20 mirrors...
  
  If you know of other archive sites (the above list is no where near
  complete) or other formats that are available on the net, please let us
  know.
  
  The sites above represent places where shareware and public domain fonts
  are available.  Many, many typefaces are not available in shareware
  form.  And many shareware faces are less than adequate for a variety of
  reasons, particularly at small sizes.  It seems to be the consensus of
  the comp.fonts community that "you get what you pay for."  If you need a
  professional quality font, you should probably buy it from a
  professional.
  
  A list of font vendors (annotated with information about non-Roman
  alphabets) was contributed by Masumi Abe.  Masumi was Adobe's Manager of
  Typographic Marketing for Asia, he has since left Adobe.
  
  The list is quite long and it is posted separately.  It can be retrieved
  via anonymous ftp from /pub/norm/comp.fonts on ibis.cs.umass.edu.
  
Subject: 1.8. Where can I get fonts for non-Roman alphabets?
  
  As mentioned above, the list of font vendors is annotated with
  information about non-Roman alphabets.  Commercially, Masumi suggests
  that Linguists' Software is the current [ed: as of 7/92] leading
  supplier of non-Roman fonts.
  
Subject: 1.9. What about fonts with the International Phonetic Alphabet (IPA) symbols?
  
  I summarized Scott Brumage's recent post for the FAQ:
  
  Shareware or free (PostScript Type 1 and/or TrueType):
  ======================================================
  
     * TechPhon
  
       Seems to lack some characters and has no zero-offset characters
       (for accents).
  
     * PalPhon
  
       A phonetic font which you can get by anonymous ftp from
       mac.archive.umich.edu.  It is called PalPhon. There are actually
       two fonts: the basic PalPhon and one with additional accents and
       symbols called PalPi. The package includes some documents on using
       the fonts as well.
  
     * SIL-IPA
  
       SIL-IPA is a set of scalable IPA fonts containing the full
       International Phonetic Alphabet with 1990 Kiel revisions. Three
       typefaces are included:
  
          * SIL Doulos (similar to Times)
  
          * SIL Sophia (similar to Helvetica)
  
          * SIL Manuscript (monowidth)
  
       Each font contains all the standard IPA discrete characters and
       non-spacing diacritics as well as some suprasegmental and
       puncuation marks. Each font comes in both PostScript Type 1 and
       TrueType formats.  The fonts are also available for Microsoft
       Windows.
  
       These fonts were designed by the Printing Arts Department of the
       Summer Institute of Linguistics, Dallas, Texas.
  
  Shareware or free (TeX):
  ========================
  
  METAFONT sources of the phonetic symbols developed by
  Tokyo-Shoseki-Printing and Sanseido are available.  The font contains
  all of IPA (Internatioanl Phonetic Alphabet) symbols.
  
  You can get phonetic symbols METAFONT (named TSIPA) from
  
  ftp.foretune.co.jp:/pub/tools/TeX/Fonts
  
  The IP address for ftp.foretune.co.jp is 133.123.1.2.
  
  Commercial:
  ===========
  
  Linguist's Software Adobe (ITC Stone Phonetic [#255], Times Phonetic
  [#278])
  
Subject: 1.10. How can I convert my ... font to ... format?
  
  Conversion from one bitmapped format to another is not generally too
  difficult.  Conversion from one scalable format to another is very
  difficult.  Several commercial software packages claim to perform these
  tasks, but none has been favorably reviewed by the comp.fonts
  community.  ATech's AllType program, in particular, has had poor
  reviews [ed: as of 7/92].
  
  In an effort to settle a long-running and oft-asked question, I'll be
  blunt: as of today [6/93], THERE ARE NO NON-COMMERCIAL PROGRAMS WHICH
  WILL CONVERT FROM ONE SCALABLE FORMAT TO ANOTHER.  Not from TrueType to
  PostScript Type 1, Type 3, Type 5, or any other scalable PostScript
  format.  Not from PostScript Type 1 to TrueType.  Not to or from
  Intellifont.  Not to or from Sun F3 format.
  
  There are some commercial programs: AllType, Metamorphosis, Font
  Monger, and even MoreFonts (to/from some proprietary format, I
  believe).  And there are probably other commercial programs as well.
  However, as several people have noted, conversion from one scalable
  format to another is a bad idea.  If the original font was well hinted,
  the converted font will not be.  Of course, if the original was poorly
  hinted, maybe it won't matter much.
  
  For specific conversions, check the platform specific parts of the FAQ.
  Most of the conversions discussed require platform specific tools.
  
  Here is a summary of the conversions discussed (and the section in
  which they appear):
  
  Mac Type 1 PostScript
       To PC Type 1 PostScript (MS-DOS).  To TrueType (commercial).
  
  PC Type 1 PostScript
       To Mac Type 1 PostScript (Mac, commercial).  To TrueType
       (commercial).  To TeX PK (MS-DOS).
  
  TrueType
       To Type 1 PostScript (Mac and MS-DOS, commercial).  To HP LaserJet
          bitmaps (MS-DOS, hack!).
  
  TeX PK
       To HP LaserJet bitmap softfonts (MS-DOS).
  
  HP LaserJet bitmap softfonts
       To TeX PK (MS-DOS).
  
  In addition, Adobe ships a copy of Adobe Font Foundry with all of its
  fonts which can convert Type 1 fonts into HP LaserJet softfonts.
  
Subject: 1.11. Are fonts copyrightable?
  
  This topic is hotly debated at regular intervals on comp.fonts.  Terry
  Carroll.  provides the following analysis of current [ed: as of 6/92]
  legislation and regulation regarding fonts and copyrights in the United
  States.  Terry is "Editor in Chief" of Volume 10 of the Santa Clara
  Computer and High Technology Law Journal.  Members of the comp.fonts
  community are encouraged to submit other materials that add clarity to
  the issue.
  
  It has been pointed out that this section deals primarily font copyright
  issues relevant to the United States and that this situation is not
  universal.  For example, in many parts of Europe typeface designs are
  protectable.
  
  "First, the short answer in the USA: Typefaces are not copyrightable;
  bitmapped fonts are not copyrightable, but scalable fonts are
  copyrightable.  Authorities for these conclusions follow.
  
  Before we get started, let's get some terminology down:
  
  A typeface is a set of letters, numbers, or other symbolic characters,
  whose forms are related by repeating design elements consistently
  applied in a notational system and are intended to be embodied in
  articles whose intrinsic utilitarian function is for use in composing
  text or other cognizable combinations of characters.
  
  A font is the computer file or program that is used to represent or
  create the typeface.
  
  Now, on to the legal authorities:
  
  Volume 37 of the Code of Federal Regulations specifies this about the
  copyrightability of typefaces:
  
  "The following are examples of works not subject to copyright and
  applications for registration of such works cannot be entertained: . . .
  typeface as typeface" 37 CFR 202.1(e).
  
  The regulation is in accordance with the House of Representatives report
  that accompanied the new copyright law, when it was passed in 1976:
  
  "The Committee has considered, but chosen to defer, the possibility of
  protecting the design of typefaces.  A 'typeface' can be defined as a
  set of letters, numbers, or other symbolic characters, whose forms are
  related by repeating design elements consistently applied in a
  notational system and are intended to be embodied in articles whose
  intrinsic utilitarian function is for use in composing text or other
  cognizable combinations of characters.  The Committee does not regard
  the design of typeface, as thus defined, to be a copyrightable
  'pictorial, graphic, or sculptural work' within the meaning of this bill
  and the application of the dividing line in section 101."  H. R. Rep.
  No.  94-1476, 94th Congress, 2d Session at 55 (1976), reprinted in 1978
  U.S. Cong. and Admin. News 5659, 5668.
  
  It's also in accordance with the one court case I know of that has
  considered the matter: Eltra Corp. V. Ringer, 579 F.2d 294, 208 USPQ 1
  (1978, C.A. 4, Va.).
  
  The U.S. Copyright Office holds that a bitmapped font is nothing more
  than a computerized representation of a typeface, and as such is not
  copyrightable:
  
  "The [September 29, 1988] Policy Decision [published at 53 FR 38110]
  based on the [October 10,] 1986 Notice of Inquiry [published at 51 FR
  36410] reiterated a number of previous registration decisions made by
  the [Copyright] Office.  First, under existing law, typeface as such is
  not registerable.  The Policy Decision then went on to state the
  Office's position that 'data that merely represents an electronic
  depiction of a particular typeface or individual letterform' [that is, a
  bitmapped font] is also not registerable."  57 FR 6201.
  
  However, scalable fonts are, in the opinion of the Copyright Office,
  computer programs, and as such are copyrightable:
  
  "... the Copyright Office is persuaded that creating scalable typefonts
  using already-digitized typeface represents a significant change in the
  industry since our previous [September 29, 1988] Policy Decision.  We
  are also persuaded that computer programs designed for generating
  typeface in conjunction with low resolution and other printing devices
  may involve original computer instructions entitled protection under the
  Copyright Act.  For example, the creation of scalable font output
  programs to produce harmonious fonts consisting of hundreds of
  characters typically involves many decisions in drafting the
  instructions that drive the printer.  The expression of these decisions
  is neither limited by the unprotectable shape of the letters nor
  functionally mandated.  This expression, assuming it meets the usual
  standard of authorship, is thus registerable as a computer program."  57
  FR 6202."
  
  This is Info file comp.fonts.faq.info, produced by Makeinfo-1.55 from
  the input file FAQ.texinfo.
  
Subject: 1.12. Typeface Protection
  
  [Ed: The following article was written by Charles Bigelow several years
  ago.  In the past, I have resisted including this in the FAQ because I
  do not know the status of any copyrights that may exist on it.
  However, I've decided to assume that Mr. Bigelow would like to see it
  distributed as widely as possible so it's more-or-less acceptable to
  include it here.  If anyone knows of a reason why I shouldn't include
  it, please let me know.  norm 2/93]
  
  Preamble
  ========
  
  The main question of typeface protection is:  Is there anything there
  worth protecting?  To that the answer must certainly be:  Yes.
  Typeface designs are a form of artistic and intellectual property.  To
  understand this better, it is helpful to look at who designs type, and
  what the task requires.
  
  Who Makes Type Designs?
  =======================
  
  Like other artistic forms, type is created by skilled artisans.  They
  may be called type designers, lettering artists, punch-cutters,
  calligraphers, or related terms, depending on the milieu in which the
  designer works and the technology used for making the designs or for
  producing the type.
  
  Type designer and lettering artist are self-explanatory terms. Punch-
  cutter refers to the traditional craft of cutting the master image of a
  typographic letter at the actual size on a blank of steel that is then
  used to make the matrix from which metal type is cast.  Punch-cutting
  is an obsolete though not quite extinct craft.  Seeking a link to the
  tradition, modern makers of digital type sometimes use the
  anachronistic term digital punch- cutter. Calligrapher means literally
  one who makes beautiful marks.  The particular marks are usually
  hand-written letters, though calligraphers may design type, and type
  designers may do calligraphy.
  
  It usually takes about seven years of study and practice to become a
  competent type designer.  This seems to be true whether one has a Phd.
  in computer science, an art-school diploma, or no academic degree.  The
  skill is acquired through study of the visual forms and practice in
  making them.  As with geometry, there is no royal road.
  
  The designing of a typeface can require several months to several years.
  A family of typefaces of four different styles, say roman, italic, bold
  roman, and bold italic, is a major investment of time and effort.  Most
  type designers work as individuals.  A few work in partnership (Times
  Roman(R), Helvetica(R), and Lucida(R) were all, in different ways, the
  result of design collaboration.)  In Japan, the large character sets
  required for a typeface containing Kanji, Katakana, and Hirakana induce
  designers to work in teams of several people.
  
  Although comparisons with other media can only be approximate, a
  typeface family is an accomplishment on the order of a novel, a feature
  film screenplay, a computer language design and implementation, a major
  musical composition, a monumental sculpture, or other artistic or
  technical endeavors that consume a year or more of intensive creative
  effort.  These other creative activities can be protected by copyright
  or other forms of intellectual property protection.  It is reasonable
  to protect typefaces in the same way.
  
  The Problem of Plagiarism
  =========================
  
  A lack of protection for typeface designs leads to plagiarism, piracy,
  and related deplorable activities.  They are deplorable because they
  harm a broad range of people beyond the original designers of the type.
  First, most type plagiarisms are badly done.  The plagiarists do not
  understand the nature of the designs they are imitating, are unwiling
  to spend the necessary time and effort to do good work, and
  consequently botch the job.  They then try to fob off their junk on
  unsuspecting users (authors, editors, and readers).  Without copyright,
  the original designer cannot require the reproducer of a type to do a
  good job of reproduction.  Hence, type quality is degraded by
  unauthorized copying.
  
  Secondly, without protection, designs may be freely imitated; the
  plagiarist robs the original designer of financial compensation for the
  work.  This discourages creative designers from entering and working in
  the field. As the needs of typography change (on-line documents and
  laser printing are examples of technical and conceptual changes) new
  kinds of typefaces are required.  Creative design in response to such
  needs cannot flourish without some kind of encouragement for the
  creators.  In a capitalist society, the common method is property
  rights and profit. In a socialist (or, in the past, royalist) society,
  the state itself might employ type artists.  France, as a monarchy and
  as a republic has had occasional state sponsorship of typeface design
  over the past 400 years.  The Soviet Union has sponsored the design of
  new typefaces, not only in the Cyrillic alphabet, but also in the other
  exotic scripts used by various national groups in the Soviet Union.
  
  Those who would justify plagiarism often claim that the type artists do
  not usually receive a fair share of royalties anyway, since they have
  usually sold their designs to some large, exploitive corporation.  It
  is true that type designers, like many artists, are often exploited by
  their publishers, but plagiarism exacerbates the problem.  Plagiarism
  deprives the designer of decent revenues because it diverts profits to
  those who merely copied the designs.  Plagiarism gives the manufacturer
  yet another excuse to reduce the basic royalty or other fee paid for
  typeface designs; the theme song is that the market determines the
  value of the design and cheap rip-offs debase the market value of a
  face.  For those interested in the economic effects of piracy, it is
  clear that plagiarism of type designs ultimately hurts individual
  artists far more than it hurts impersonal corporations.
  
  Kinds of Protection for Type
  ============================
  
  There are five main forms of protection for typefaces:
  
     * Trademark
  
     * Copyright
  
     * Patent
  
     * Trade Secret
  
     * Ethics
  
  Trademark
  ---------
  
  A trademark protects the name of a typeface.  In the U.S., most
  trademarks are registered with the U.S.  Patent and Trademark Office.
  The R in a circle (R) after a trademark or tradename indicates U.S.
  registration.  The similarly placed TM indicates that a trademark is
  claimed, even if not yet officially registered.  However, a trademark
  may be achieved through use and practice, even without registration.
  Owners of trademarks maintain ownership by use of the trademark and by
  litigation to prevent infringement or unauthorized use of the trademark
  by others.
  
  As a few examples of registered typeface trademarks, there are Times
  Roman (U.S. registration 417,439, October 30, 1945 to Eltra
  Corporation, now part of Allied); Helvetica (U.S.  Registration
  825,989, March 21, 1967, also to Eltra-Allied), and Lucida (U.S. reg.
  1,314,574 to Bigelow & Holmes).  Most countries offer trademark
  registration and protection, and it is common for a typeface name to be
  registered in many countries.  In some cases the registrant may be
  different than the originator.  For example, The Times New Roman (Times
  Roman) was originally produced by the English Monotype Corporation.  In
  England and Europe, most typographers consider the design to belong to
  Monotype but the trademark was registered by Linotype (Eltra-Allied) in
  the U.S., as noted above.
  
  Trademark protection does not protect the design, only the name.
  Therefore, a plagiarism of a design is usually christened with a
  pseudonym that in some way resembles or suggests the original
  trademark, without actually infringing on it.  Resemblance without
  infringement can be a fine distinction.
  
  Some pseudonyms for Times Roman are:  English Times, London, Press
  Roman, Tms Rmn.  Some for Helvetica are Helios, Geneva, Megaron,
  Triumvirate.  So far, there seem to be none for Lucida.  There are
  generic typeface classifications used by typographers and type
  historians to discuss styles, trends, and categories of design.
  Occasionally these apparently innocuous classification systems are
  employed by plagiarists to devise generic pseudonyms, such as Swiss 721
  for Helvetica, and Dutch 801 for Times Roman. It is not certain whether
  this usage of a generic classification is more for clarification or for
  obfuscation.  In general, the proper tradename is a better indicator of
  identity, quality, and provenience in typefaces than a generic name.
  Some people believe that the same is true for other commodities such as
  wine, where taste is important.
  
  A trademark usually consists of both a proprietary and a generic part.
  For example, in the name Lucida Bold Italic, Lucida is the proprietary
  trademark part and Bold Italic is the generic part.  The generic word
  type is usually understood to be a part of the name, e.g. Lucida Bold
  Italic type.  Sometimes a firm will append its name or a trademarked
  abbreviation of it to the typeface name, to achieve a greater degree of
  proprietary content, e.g.  B&H Lucida Bold Italic.
  
  A related matter is the use of the name of a type's designer.  A firm
  that ethically licenses a typeface will often cite the name of the
  designer -  e.g. Stanley Morison (with Victor Lardent) for Times Roman,
  Max Miedinger (with Edouard Hoffmann) for Helvetica, Charles Bigelow
  and Kris Holmes for Lucida.  Although a person's name is not usually a
  registered trademark, there are common law restrictions on its use.
  The marketing of plagiarized type designs generally omits the names of
  the designers.
  
  Although Trademark is an incomplete kind of protection, it is used
  effectively (within its limitations) to prevent the theft of type names.
  Certain traditional typeface names, usually the surnames of illustrious
  designers like Garamond, Caslon, Baskerville, Bodoni, and others have
  become generic names in the public domain.  Trademark protection of
  such names requires the addition of some proprietary word(s), as with
  these hypothetical creations, Acme New Garamond, or Typoluxe
  Meta-Baskerville.
  
  Copyright
  ---------
  
  Copyright of typefaces can be divided into two parts: copyright of the
  design itself; and copyright of the font in which the design is
  implemented.  In the U.S., typeface designs are currently not covered
  by copyright.  This is a result of reluctance by the copyright office
  to deal with a complex field; by lobbying against copyright by certain
  manufacturers whose profits were based on typeface plagiarism; and by a
  reluctance of congress to deal with the complex issue in the recent
  revision of the copyright law.
  
  The reluctance of Americans to press for typeface copyright may have
  been influenced by a feeling that typeface plagiarism was good for U.S.
  high-tech businesses who were inventing new technologies for printing,
  and plagiarizing types of foreign origin (Europe and England).  If the
  situation becomes reversed, and foreign competition (from Japan,
  Taiwan, and Korea) threatens to overcome American technological
  superiority in the laser printer industry, then American firms may do
  an about-face and seek the protection of typeface copyright to help
  protect the domestic printer industry.  Such a trend may already be
  seen in the licensing of typeface trademarks by Adobe, Hewlett Packard,
  IBM, Imagen, and Xerox in the U.S. laser printer industry.
  
  In Germany, where typeface design has always been a significant part of
  the cultural heritage, and where typefounding has remained an important
  business, there are more than one kind of copyright-like protections for
  typefaces.  Certain long-standing industrial design protection laws
  have been used to protect typeface designs in litigation over royalties
  and plagiarisms.  Further, there is a recent law, the so-called
  Schriftzeichengesetz enacted in 1981, that specifically protects
  typeface designs.  New designs are registered, as is done with
  copyright in most countries.  This law only protects new, original
  designs.  It is available to non-German designers and firms.
  Therefore, some type firms and designers routinely copyright new
  designs in West Germany.  This gives a degree of protection for products
  marketed in Germany.  Since multinational corporations may find it
  cheaper to license a design for world-wide use rather than deal with a
  special case in one country, the German law does encourage licensing on
  a broader scale than would initially seem to be the case.
  
  France, like Germany, has ratified an international treaty for
  protection of typefaces.  This 1973 Vienna treaty will become
  international law when four nations ratify it.  So far, only France and
  West Germany have done so, and thus a design must be protected
  separately in each country.  Even when the treaty becomes law, it will
  take effect only in those countries that have ratified it.  The treaty
  was principally the work of the late Charles Peignot, a French
  typefounder, and John Dreyfus, an English typographer and typographic
  scholar.  Presently, typefaces may be registered for protection in
  France under a 19th century industrial design protection law.
  
  In the U.S., there continues to be some movement for typeface design
  protection.  A proposed bill that would protect the designs of useful
  articles, like type, has been in committee for several years.  It seems
  to be going nowhere.
  
  Digital (as opposed to analog) fonts may be protected by copyright of
  digital data and of computer programs.  It has been established that
  computer software is copyrightable.  Therefore, software that embodies
  a typeface, e.g.  a digital font, is presumably also protected.  There
  is some objection to this kind of copyright, on the grounds that the
  ultimate output of the program or the result of the data (i.e. a
  typeface design) is not copyrightable.  However, the current belief
  expressed by the National Commission on New Technological Use of
  Copyrighted Works is that software is copyrightable even if its
  function is to produce ultimately a non-copyrightable work.  Hence,
  typefaces produced by Metafont or PostScript(R), two computer languages
  which represent fonts as programs, are presumably copyrightable.
  Typefaces represented as bit-map data, run-length codes, spline
  outlines, and other digital data formats, may also be copyrightable.
  Some firms do copyright digital fonts as digital data.
  
  Note that the designs themselves are still not protected in the U.S.  A
  plagiarist could print out large sized letters (say, one per page) on
  an Apple LaserWriter, using a copyrighted PostScript digital font, and
  then redigitize those letters by using a scanner or a font digitizing
  program and thus produce a new digital font without having copied the
  program or digital data, and thus without infringing the copyright on
  the font.  The quality of the imitation font would probably be awful,
  but it wouldn't violate copyright.  Of course, the plagiarist would
  need to rename the font to evade trademark infringement.  (As I write
  these words, I have the guilty feeling that I have just provided a
  recipe for type rip-off, but others have obviously thought of just such
  a scheme - John Dvorak has even proposed something like it in one of his
  columns.)
  
  Design Patent
  -------------
  
  The designs of typefaces may be patented in the U.S. under existing
  design patent law.  Many designs are patented, but type designers
  generally don't like the patent process because it is slow, expensive,
  and uncertain.  Nevertheless, some type do get patented, and it is a
  form of potential protection.  Note that this is Design Patent - the
  typeface doesn't have to be a gizmo that does something, it merely has
  to be unlike any previous typeface.  The drawback here is that most
  attorneys and judges are not aware that there are more than two or
  three typefaces:  say, handwriting, printing, and maybe blackletter.
  Therefore, litigating against infringement is an educational as well as
  a legal process. It is easy to see that typeface theft is more subtle
  than knocking over a liquor store; it may not be illegal and the
  returns may be greater.
  
  Protections like design patent are available in many other countries,
  but there is not an international standard (to my knowledge) so the
  situation must be examined on a country by country basis.
  
  Invention Patent
  ----------------
  
  Methods of rendering typefaces can be patented as mechanical or
  electronic inventions.  For example, the old hot-metal Linotype
  machinery was protected by various patents, as was the IBM Selectric
  typewriter and type ball.  IBM neglected to trademark the typeface
  names like Courier and Prestige, so once the patents had elapsed, the
  names gradually fell into the public domain without IBM doing anything
  about it (at the time, and for a dozen years or so, IBM was distracted
  by a major U.S. anti-trust suit).  Most students of the type protection
  field believe that those names are probably unprotectable by now,
  though IBM could still presumably make a try for it if sufficiently
  motivated.
  
  There is currently a noteworthy development regarding a patent for
  outline representation of digital type as arcs and vectors, with special
  hardware for decoding into rasters.  This patent (U.S. 4,029,947, June
  14, 1977; reissue 30,679, July 14, 1981) is usually called the Evans &
  Caswell patent, after its inventors.  It was originally assigned to
  Rockwell, and in 1982, Rockwell sued Allied Linotype for infringement.
  Allied settled out of court, having paid an amount rumored to be in the
  millions.  Rockwell sold the patent, along with other typographic
  technology, to Information Internation, Inc. (III) which then sued
  Compugraphic for infringement.  According to the Seybold Report, a
  respected typographic industry journal, Compugraphic recently settled
  out of court for $5 million.  Although many experts believe the patent
  to be invalid because of several prior inventions similar in concept,
  it nevertheless seems to be a money-maker in corporate litigation.  The
  Seybold Report has speculated on which firms III would litigate against
  next.  Among the candidates suggested by the Seybolds was Apple for its
  LaserWriter, which uses outline fonts.  Since the entire laser printer
  industry and the typesetting industry is moving toward outline font
  representation, Apple is certainly not alone.  The Seybolds further
  speculate on whether the difference between character-by-character CRT
  typesetting and raster-scan laser typesetting and printing would be
  legally significant in such as case.  Ultimately, some firm will hold
  out for a court judgement, and the matter will be decided.
  
  Trade Secret
  ------------
  
  Given that typeface designs have relatively little copyright protection
  in the U.S., they are often handled as trade secrets. The secret must
  apply to the digital data or programs only, because the images
  themselves are ultimately revealed to the public as printed forms.  It
  is much more difficult to reconstruct the formula of Coca-Cola from its
  taste than it is to reconstruct the design of Helvetica from its look
  on the page.  The exact bitmap or spline outline of a digital font is
  usually not reconstructable from the printed image, although CRT screen
  fonts at usual resolutions (60-120 dots per inch) may be reconstructed
  by patient counting and mapping of bits off a screen display.  Typeface
  licenses often contain stipulations that the digital data will be
  encrypted and confidential. Just as a firm will protect the secret of a
  soft drink recipe, so a type firm will protect the exact nature of its
  digital data.
  
  Ethics
  ------
  
  Some typographers are motivated by higher principles than greed, profit,
  expediency, and personal interest.  Idealists enthused with concepts of
  ethical behavior and a vision of typography as a noble art may find it
  distasteful to use plagiarized types.  Some graphic designers insist on
  using typefaces with bona-fide trademarks, both to ensure that the type
  will be of high quality, and to encourage creativity and ethics in the
  profession.  A consequence of plagiarism that is sometimes overlooked
  is a general erosion of ethics in an industry.  If it is okay to steal
  typeface designs, then it may be okay to purloin other kinds of data,
  to falsify one's resume, to misrepresent a product, and so forth. Most
  professional design organizations attempt to promote ethical standards
  of professional behavior, and personal standards may extend to
  avoidance of plagiarisms.
  
  ATypI
  -----
  
  The Association Typographique Internationale (ATypI) is an international
  organization of type designers, type manufacturers, and letterform
  educators.  Its purpose is to promote ethical behavior in the industry,
  advancement of typographic education, communication among designers,
  and other lofty aims.  Members of ATypI agree to abide by a moral code
  that restricts plagiarism and other forms of depraved behavior
  (pertaining to typography).  These are noble goals, but some members
  (especially corporate members) of ATypI, confronted with the pressures
  and opportunities of commercial reality, nevertheless plagiarize
  typefaces of fellow members, the moral code notwithstanding.  Since
  ATypI is a voluntary organization, there is very little that can be
  done about most such plagiarism.  Some years back, a world-famous type
  designer resigned from the ATypI Board of Directors in protest over the
  organization's flaccid attitude toward the plagiarists among its ranks.
  He has since agreed to sit on the board again, but criticism of the
  organization's inability to prevent type rip-offs by its own members,
  not to mention by non-members, continues to be heard.  Moderates in
  ATypI believe that a few morals are better than none.  It is not clear
  whether their philosophical stance derives from Plato, Hobbes, or
  Rousseau.
  
  Given the general attitude of the public toward copyrighted video and
  software, it is doubtful that ethical considerations will hinder most
  end- users' attitude to plagiarized type fonts.  A desire to have the
  fashionable label or trademark may be a greater motivation toward the
  use of bona-fide fonts than an ethical consideration.
  
  Further Reading
  ---------------
  
  The State of the Art in Typeface Design Protection, Edward Gottschall,
  Visible Language, Vol. XIX, No. 1, 1985.  (A special issue on The
  Computer and the Hand in Type Design - proceedings of a conference held
  at Stanford University in August, 1983).
  
  Der Schutz Typographischer Schriftzeichen, by Guenter Kelbel.  Carl
  Heymans Verlag KG, Cologne, 1984.  (A learned account in juridical
  German prose, of the significance of the Vienna Treaty of 1973 and the
  West German Schriftzeichengesetz of 1981).
  
  Disclaimer
  ----------
  
  These notes were originally prepared at the request of Brian Reid for
  informal distribution.  They are based on the author's review of
  available literature on the subject of typeface protection, and on
  personal experience in registering types for trademark, copyright, and
  patent.  However, they are not legal advice.  If one is contemplating
  protecting or plagiarizing a typeface, and seeks legal opinion, it is
  advisable to consult an attorney. The term plagiarize and words derived
  from it are used here in its dictionary sense of to take and use as
  one's own the ideas of another and does not mean that the practice of
  typeface plagiarism is illegal; that is determined by the laws of a
  particular country.
  
  Charles Bigelow is a professor of digital typography at Stanford
  University and a professional designer of original digital typefaces
  for electronic printers and computer workstations.  Mr. Bigelow and his
  partner Kris Holmes designed the Lucida typeface family which is now
  widely used on various laser printers.

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:43:39 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part2
Version: 2.0.1

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 Quim makes the following observations:
  
       The term ligature should only be used to describe joined letters in
       printing, not letters that overlap in manuscripts.
  
       Many (not all) accents came from the practice of using a tilde or
       other mark to represent an omitted letter, so that for example the
       Latin word `Dominus' would be written dns, with a tilde or bar over
       the n.  This is an abbreviation, not a ligature.
  
       Most ligatures vanished during the 15th and 16th Centuries.  It was
       simply too much work to use them, and it increased the price of
       book production too much.
  
  [Ed: there is no "complete" set of ligatures.]
  
Subject: 1.15. 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

  
  
  kerning
       (noun): That portion of a letter which extends beyond its width,
       that is, the letter shapes that overhang - the projection of a
       character beyond its sidebearings.
  
       (verb): To adjust the intercharacter spacing in character groups
       (words) to improve their appearance.  Some letter combinations
       ("AV" and "To", for example) appear farther apart than others
       because of the shapes of the individual letters.
  
       Many sophisticated word processors move these letter combinations
       closer together automatically.
  
  outline font/format
       See 'scalable font'
  
  point
       The (more or less) original point system (Didot) did have exactly
       72 points to the inch. The catch is that it was the French
       imperial inch, somewhat longer than the English inch, and it went
       away in the French revolution. What most people now think of as
       points were established by the United States Typefounders
       Association in 1886. This measure was a matter of convenience for
       the members of the Association, who didn't want to retool any more
       than they had to, so it had no relationship to the inch. By that
       date, people realized that the inch was an archaic measure anyway;
       the point was set to be 1/12 of a pica, and an 83-pica distance
       was made equal to 35 centimeters. (Talk about arbitrary!)
  
       Thus the measure of 72.27/in. is just an approximation. Of course,
       when PostScript was being written, it was necessary to fit into an
       inch-measured world. For the sake of simplicity PostScript defined
       a point as exactly 1/72". With the prevalance of DTP, the
       simplified point has replaced the older American point in many
       uses. Personally, I don't see that it matters one way or the
       other; all that counts is that there's a commonly-understood unit
       of measurement that allows you to get the size you think you want.
       That is, after all, the point ;)
  
  scalable font
       A scalable font, unlike a bitmapped font, is defined mathematically
       and can be rendered at any requested size (within reason).
  
  softfont
       A softfont is a bitmapped or scalable description of a typeface or
       font.  They can be downloaded to your printer and used just like
       any other printer font.  Unlike built-in and cartridge fonts,
       softfonts use memory inside your printer.  Downloading a lot of
       softfonts may reduce the printers ability to construct complex
       pages.
  
  symbol set
       The symbol set of a font describes the relative positions of
       individual characters within the font.  Since there can only be 256
       characters in most fonts, and there are well over 256 different
       characters used in professional document preparation, there needs
       to be some way to map characters into positions within the font.
       The symbol set serves this purpose.  It identifies the "map" used
       to position characters within the font.
  
  typeface
       The features by which a character's design is recognized, hence
       the word face.  Within the Latin language group of graphic shapes
       are the following forms: Uncial, Blackletter, Serif, Sans Serif,
       Scripts, and Decorative.  Each form characterizes one or more
       designs.  Example: Serif form contains four designs called Old
       Style, Transitional, Modern, and Slab Serif designs.  The typeface
       called Bodoni is a Modern design, while Times Roman is a
       Transitional design.

Subject: 1.17. 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 <[email-masked]>
  
  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
  <[email-masked]>
  
  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
  <[email-masked]>
  
  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
  <[email-masked]>
  
  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
  <[email-masked]>
  
  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
  <[email-masked]>
  
  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
  <[email-masked]>
  
  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 <[email-masked]>
  
  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 <[email-masked]>
  
  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 <[email-masked]>
  
  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 <[email-masked]>
  
  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
  <[email-masked]>
  
  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 <[email-masked]>
  
  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 <[email-masked]>
  
  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 <[email-masked]>
  
  [ed: additional bibliographic information appears in the file
  "Additional-bibliography" on ibis.cs.umass.edu:/pub/norm/comp.fonts.  I
  have not yet had time to integrate this bibliographic information into
  the FAQ]
  
Subject: 1.18. 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: <[email-masked]>
  
  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."

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:43:41 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part3
Version: 2.0.1

Subject: 1.20. Unicode Information
  
  [ed: This is a summary of the Unicode info I've gleaned from the net
  recently, the whole Unicode issue needs to be addressed better by the
  FAQ...someday...  someday...I'll get to reorganize the whole thing]
  
  Unicode Editing
  ===============
  
  James Matthew Farrow contributes:
  
  I use `sam' for all by text editing.  It is X editor based on an editor
  for the blit called jim.  Papers describing sam as well as a
  distribution of sam itself are available for ftp from research.att.com.
  The sam there is a Unix port of the Plan 9 version.  Plan 9 is a full
  unicode operating system, even around before NT!  The libraries sam is
  built upon therefore support 16 bit wide characters.  The graphics
  library, supplied with it at present does not.  However they may be
  planning to distribute a new version which does soon.  The library just
  plugs in replacing the library that comes with sam.  No modification is
  necessary.  Character are stored using the utf-2 encoding.
  
  All of the files I had before I started working with sam were 7 bit
  ascii so no conversion was needed.  Now I have ditched xterm in favour
  of 9term: a terminal emulator in the style of 81/2 (the Plan 9
  interface).  This lets me type Unicode characters on the command line,
  as part of filenames, in mail, wherever and most Unix utilities cope
  without modification.  This is about to be released.  I'm looking for
  beta testers.  ;-)
  
  Is a special keyboard required?
  -------------------------------
  
  No.  ASCII Characters are typed as normal.  Common characters above
  0x7f are typed using two letter abbreviations.  The table is similar to
  the troff special character codes, e.g, Alt-12 gives you a 1/2, Alt-'e
  gives you e acute, Alt-bu a bullet and so on.  This table is hardwired
  into the library at present but is trivial to change.  Other codes are
  accessed by typing their hex value, for instance the smiley is
  Alt-X263a (0x263a being a smiley character in the Unicode character
  set).
  
  Is roman-to-Unicode conversion available?
  -----------------------------------------
  
  All normal 7 bit ascii characters are encoded as themselves so no
  translation is needed.  There are conversion routines in the library
  (runetochar and chartorune) which will do the conversion and it should
  be pretty simple to convert files already in another format.  You would
  have to write something to do the transliteration yourself.  A small
  patch to the system would let you enter different language `modes' for
  text entry.
  
  Are there PostScript or TrueType fonts available?
  =================================================
  
  Apparently there is a version of the Lucida fonts by Bigelow and Holmes
  which support Unicode.  This is the information I have on them.
  
  [ed: quoting another source]
  
  [Windows NT] will ship with a Unicode TrueType font containing
  approximately 1,500 characters.  The font is called "Lucida Sans
  Unicode" and was specifically designed by Bigelow and Holmes for
  Microsoft to contain the following Unicode sets:
  
       ASCII
       Latin 1
       European Latin
       Extended Latin
       Standard Phonetic
       Modifier Letters
       Generic Diacritical
       Greek
       Cyrillic
       Extended Cyrillic
       Hebrew
       Currency Symbols
       Letterlike Symbols
       Arrows
       Mathematical Operators
       Super & Subscript
       Form & Chart Components
       Blocks
       Geometric Shapes
       Miscellaneous Technical
       Miscellaneous Dingbats
  
  The bitmap fonts which comes with the utf version of the libXg graphics
  library (the library upon which sam is built) support a sparse subset
  of the full character set.  That is, only a few of them have glyphs at
  present.  A font editor such as xfedor would let you add more.  The list
  of those currently available is pretty much as the above list.
  
  I use 9term and sam as a matter of course now and have for several
  months.  I enjoy the convenience of putting special characters and
  accented characters in my mail as well as being able to do some
  phonetic work all in the one terminal/editor suite.
  
Subject: 1.21. Can I Print Checks with the MICR Font?
  
  This comes up all the time: standard ordinary laser toner is magnetic
  and will be read by the banks.  The gotcha is that standard laser toner
  rubs off in the *very* high-speed sorting equipment that are used, and
  this makes read rates drop low and the banks will hate you.
  
  I researched check printers for a customer, and was surprised to find
  this.  The Troy(tm) printers he bought are basically stock Ricoh
  engines that have slightly tighter paper handling (for registration),
  plus they add a proprietary Teflon-type power coating on the output
  path to coat the checks.
  
  I saw some examples of checks printed with and without this special
  coating after running through something like 40 passes through check
  processing equipment, and the one without the coating was a mess. These
  require special handling that the banks do *not* like.  Apparently,
  they go after companies that issue these kinds of checks with special
  processing fees.
  
Subject: 1.22. Rules of Thumb
  
  It is difficult to set out guidelines for font usage, because almost
  any rule can be brilliantly broken under the right circumstances.
  
     * General guidelines:
  
          * Never lose track of the kind of work you're doing. An effect
            that would ruin a newsletter might be just the thing for a
            record cover.  Know when you can safely sacrifice legibility
            for artistic effect.
  
          * Keep in mind the final reproduction process you'll be using.
            Some effects (like reversed type, white on black) can be hard
            to read off an ordinary 300-dpi laser, but will work if
            finals are done on a high-resolution printer, such as a
            Linotronic. Will the pages be photocopied? Offset? Onto rough
            paper, shiny paper?  All these factors can and should
            influence your choice of fonts and how you use them.
  
          * Running some comparative tests is a good idea. Better to blow
            off a few sheets of laser paper now than to see a problem
            after thousands of copies are made.
  
          * No one can teach you font aesthetics; it must be learned by
            example.  Look at beautiful magazines, posters, books with
            wide eyes, so that you can see how it's done. Examine ugly
            printed matter critically and consider why it's hard to read.
  
     * Good rules of thumb:
  
          * If you need a condensed font, find one that was designed that
            way, rather than scaling an existing font down to a
            percentage.  Any scaling distorts a font's design; excessive
            scaling interferes with legibility - this goes for widening
            as well as narrowing. Extended faces do exist, although they
            aren't as common as condensed ones.
  
          * Many people feel that bold or italic type, or type in ALL
            CAPS, is more legible: "This is the most important part of
            the newsletter, let's put it in bold." In fact, legibility
            studies show that such type is actually harder to read in
            bulk. Keep the text in a normal style and weight, and find
            another way to emphasize it - box it, illustrate it, run it
            in color, position it focally.
  
          * Too much reverse type - white on black - is hard on the eyes.
            It can be a nice effect if used sparingly. Don't reverse a
            serif font, though - its details will tend to fill in. Stick
            to reversing bold sans-serifs, and remember to space them out
            a bit more than usual.
  
          * It is always safest to use a plain serif font for large
            amounts of text. Because Times is widely used, it doesn't
            mean it should be avoided. Fonts like Palatino, Times,
            Century Old Style are deservedly popular because people can
            read a lot of text set in such faces without strain.
  
            Don't expect anyone to read extensive text set in a condensed
            font.
  
          * As point size gets bigger, track tighter, and (if the
            software allows) reduce the spacebands as well. A spaceband
            in a headline size (anything over 14 point) should be about
            as wide as a letter "i".
  
          * If you only have a few large headlines, hand-kerning the
            type, pair by pair, can make the end result much more
            pleasing.  Besides, working with fonts this closely makes
            them familiar.
  
          * Column width and justification are major elements in design.
            The narrower the column, the smaller the type can be; wide
            rows of small type are very hard to read. Often it's a better
            idea to set narrow columns flush left rather than justified,
            otherwise large gaps can fall where hyphenation isn't
            possible.
  
          * Use curly quotes.
  
          * Don't put two spaces at the end of a line (.  ) instead of (.
            ) when using a proportionally spaced font.
  
Subject: 1.23. Acknowledgements
  
  The moderators would like to express their gratitude to the whole
  community for providing insightful answers to innumerable questions.  In
  particular, the following people (listed alphabetically) have
  contributed directly to this FAQ (apologies, in advance if anyone has
  been forgotten):
  
                       Masumi Abe <[email-masked]>
  
                       Glenn Adams <[email-masked]>
  
                 Borris Balzer <[email-masked]>
  
               Charles A. Bigelow <[email-masked]>
  
                   David J. Birnbaum <[email-masked]>
  
                Tim Bradshaw <[email-masked]>
  
                      Arlen Britton <[email-masked]>
  
                       Stan Brown <[email-masked]>
  
                Scott Brumage <[email-masked]>
  
                     Lee Cambell <[email-masked]>
  
                 Terry Carroll <[email-masked]>

                     Pat Farrell <[email-masked]>
  
                 James Matthew Farrow <[email-masked]>
  
                Stephen Friedl <[email-masked]>
  
              Peter J. Gentry <[email-masked]>
  
                 Yossi Gil <[email-masked]>
  
               Timothy Golobic <[email-masked]>
  
                   Kesh Govinder <[email-masked]>
  
                     Rick Heli <[email-masked]>
  
                 Jeremy Henderson <[email-masked]>
  
                      Henry ??? <[email-masked]>
  
                      Gary <[email-masked]>
  
                   Berthold K.P. Horn <[email-masked]>
  
                   Don Hosek <[email-masked]>
  
                     Bharathi Jagadeesh <[email-masked]>
  
               Chang Jin-woong <[email-masked]>
  
                     Darrell Leland <[email-masked]>
  
                       David Lemon <[email-masked]>
  
                          Jon <[email-masked]>
  
                      ??? <[email-masked]>
  
                      ??? <[email-masked]>
  
                  David Mandl <[email-masked]>
  
                Kate McDonnell <[email-masked]>
  
                   George Moore <[email-masked]>
  
                   Robert Morris <[email-masked]>
  
                  Stephen Moye <[email-masked]>
  
                Terry O'Donnell <[email-masked]>
  
                  Stephen Peters <[email-masked]>
  
                     Bill Phillips <[email-masked]>
  
                      Jim Reese <[email-masked]>
  
                      Bill Ricker <[email-masked]>
  
                          Liam Quin <[email-masked]>
  
                            Henry Schneiker <?>
  
                 Bill Shirley <[email-masked]>
  
               Cameron Smith <[email-masked]>
  
                    Werenfried Spit <[email-masked]>
  
                      Anthony Starks <[email-masked]>
  
                    Ike Stoddard <[email-masked]>
  
                   Danny Thomas <[email-masked]>
  
                   Anders Thulin <[email-masked]>
  
                   Erik-Jan Vens <[email-masked]>
  
                     Amanda Walker <[email-masked]>
  
Subject: 1.24. A Brief Introduction to Typography
  
  Space, time, and bandwidth are too limiting to provide a complete
  introduction to typography in this space.  I'd be very willing to make
  one available for anonymous ftp, if you want to write one, but I'm not
  going to write it-I have neither the time nor the expertise.  However,
  the following description of Times, Helvetica, and Courier will suffice
  for a start.  For more information, several books on typography are
  listed in the bibliography.
  
  Comments by Laurence Penney:
  ============================
  
  Laurence Penney offers the following description of Times, Helvetica,
  and Courier:
  
  Times is a typeface designed in the 1930s for the Times newspaper in
  London and is now used widely in books, magazines and DTP. Its design
  is based on the typographical principles evolved since Roman times
  (upper case) and the 16th century (lower case). It is called a
  TRANSITIONAL typeface, after the typefaces of the 17th century which it
  resembles.  Like all typefaces designed for typesetting large
  quantities of text, it is proportionally spaced: the i takes about a
  third the width of an M.  Personally I don't like Times too much and
  prefer the more elegant Garamond and Baskerville, but these will
  probably cost you money...  Note: The Transitionals came after the Old
  Styles (like Garamond) and before the Moderns (like Bodoni).
  
  Helvetica is an example of a SANS-SERIF typeface. These first appeared
  in the late 19th century in Germany and flourished in the 1920s and
  30s, when they were regarded as the future of typography.  It's more a
  geometric design than the humanist design of Gill Sans, but less
  geometric than Avant Garde and Futura. To my mind it lacks elegance,
  and Adrian Frutiger's Univers shows how this kind of typeface should be
  done. (Just compare the B, R, Q, a, g of Univers and Helvetica to see
  what I mean - and don't you just love Univers's superbly interpreted
  ampersand ?!) Helvetica is one of the few fonts that is improved by its
  BOLD version.
  
  Another interesting approach to sans-serif is Optima, by Hermann Zapf,
  which keeps the stroke-weight variations which sans-serifs usually
  reject. Use sans-serif fonts for the same applications as Times, above,
  but where you're less concerned with elegance, and more with a
  functional appearance - they're generally reckoned to be slightly less
  legible than good serifed fonts. They're also very suitable for display
  work.
  
  Courier is a typeface derived from typewriter styles. It should ONLY be
  used when you want to simulate this effect (e.g. when writing letters
  Courier usually appears "friendlier" than Times). Like all typewriter
  fonts, it is MONOSPACED (characters all have the same width) and is
  thus suitable for typesetting computer programs. However there are
  nicer looking monospace fonts than Courier (which has oversize serifs),
  that still remain distinct from the text fonts like Times and
  Helvetica. A good one is OCR-B, designed by Frutiger. Note that
  monospaced fonts are less economical on space than proportional fonts.
  
  [ed: Following the original posting of this message, Laurence Penny and
  Jason Kim discussed the issue privately.  The following summary of
  their discussion may serve to clarify some of the more subtle points.
  My thanks to Laurence and Jason for allowing me to include this in the
  FAQ.]
  
                       -----------------------------
  
  LP-1> The Transitionals came after the Old Styles (like Garamond) and
  before the Moderns (like Bodoni).
  
  JK> Not necessarily true!  Ideologically, yes, but not chronologically.
  I believe, for example, that Bodoni predates New Century Schoolbook or
  some such typeface.
  
  LP-2> What I meant by "X came after Y" was "the first examples of X
  appeared after the first examples of Y" - it's called precis. Some
  people still make steam trains, but you can still say "Steam engines
  came before diesels." This is chronological, not ideological in my book.
  
                       -----------------------------
  
  LP-1> Another interesting approach to sans-serif is Optima, by Hermann
  Zapf, which keeps the stroke-weight variations which sans-serifs
  usually reject. Use sans-serif fonts for the same applications as
  Times, above, but where you're less concerned with elegance, and more
  with a functional appearance - they're generally reckoned to be
  slightly less legible than good seriffed fonts. They're also very
  suitable for display work.
  
  JK> Slightly? I have several textbooks typeset by utter fools and they
  are a pain in the ass (and eyes) to read! Please don't encourage anyone
  to use Optima (or any sans serif fonts for that matter) "for the same
  applications as Times," which, need I remind you, was designed for
  *newspaper* work!!
  
  LP-2> OK, maybe I was a little over-generous to Univers, Helvetica,
  etc., but I think variation is extremely important in typography. Have
  you ever read the British magazine "CAR" ? That uses Helvetica light (I
  think) in a very legible and attractive way, IMO.  I agree, though,
  Optima is crappy for text, but it's a very valuable experiment and
  looks beautiful when printed in high quality for titling, etc. And yes,
  *books* in Helvetica are generally awful.
  
                       -----------------------------
  
  JK> Serifs have been scientifically shown to be a *lot* easier on the
  reader, as they guide the eyes along the lines.
  
  LP-2> In all tests I've seen the serifs have always won the day, but
  only with certain seriffed fonts, and fonts like Univers aren't far
  behind. The "tracking" advantage for serif fonts is reduced when you're
  talking about narrow newspaper/magazine columns.
  
                       -----------------------------
  
  JK> You wrote a pretty short and partial history of type. Why ignore
  the roots of type (blackletter) as well as the climax (moderns-give an
  explanation) and subsequent 'post-modern' revivals?
  
  LP-2> I was just talking about the place the 3 most common DTP types
  hold in the history of typography, and a few associated pitfalls. It
  wasn't meant as a "history of typography" at all. Please feel free to
  provide such a history yourself.
  
  JK> I think any short list of specific faces is incomplete without
  mention of Palatino, the most popular Old Style revival in existence.
  
  LP-2> Do you? To my mind Palatino is grossly over used. You must agree
  it looks bad for dense text. It isn't a proper "oldstyle revival" at
  all, more of a "calligraphic interpretation" of it. Zapf designed it as
  a display face, and wasn't too concerned about lining up the serifs
  (check out the "t"). And it just *has* to be printed on 1200dpi devices
  (at least) to look good in small sizes. OK then, maybe a short list is
  incomplete without a caution NOT to use Palatino...
  
  JK> Also, if this is meant to be a "quick history/user guide for those
  fairly new to using fonts on desktop publishing systems," then I would
  recommend more directions about the proper uses of certain faces (e.g.,
  Goudy for shaped text, Peignot for display *only*) and styles (e.g.,
  italics for editorial comments, all-caps for basically nothing).
  
  LP-2> Okay, okay. I was only sharing a few ideas, not trying to write a
  book. Surely you agree that the 3 typefaces I chose are by far the most
  commonly used and abused these days? I don't think a discussion of
  Goudy or Peignot fits in very well here, unless we're hoping to make a
  very wide-ranging FAQL. Regarding styles: first, italics are used
  principally for *emphasis* (rather than bold in running text); second,
  all good books have a few small caps here and there, don't they? - all
  mine do...
  
  JK> Sorry if I come across as critical. I think the idea of making a
  FAQL is a good one, as is your effort. We just have to make sure it
  doesn't give any newbies the wrong impressions and further perpetuate
  the typographical morass we're facing today.
  
  LP-2> Sorry if I come across as defensive, but I stand by what I said
  and object to the suggestion that I am "perpetuating the typographical
  morass". (I don't know if you really intended this - apologies if you
  didn't.)
  
  Comments by Don Hosek:
  ======================
  
  Don Hosek offers the following additional notes:
  
  The "Times" in most printers is actually a newer version of the font
  than Monotype's "Times New Roman" which it is originally based on.
  Walter Tracy's _Letters of Credit_ gives an excellent history of the
  face which was based on Plantin and in the original cutting has metrics
  matching the original face almost exactly. Another interesting note
  about the face is that it is almost a completely different design in
  the bold: this is due to the fact that old-styles are difficult to
  design as a bold. Incidentally, the classification of Times as a
  transitional is not firm. It likely is placed there by some type
  taxonomists (most notably Alexander Lawson) because of the bold and a
  few minor features. Others, myself included, think of it as a old
  style. The typeface listed in the Adobe catalog as Times Europa was a
  new face commissioned in 1974 to replace the old Times (whose 50th
  birthday was this past October 3rd).
  
  Hermann Zapf is not particularly pleased with any of the
  phototypesetting versions of Optima. As a lead face, Optima is very
  beautiful. His typeface "World", used in the World Book Encyclopedia is
  one recutting for photocomp which improves the font somewhat. He is on
  record as saying that if he had been asked, he would have designed a
  new font for the technology.
  
Subject: 1.25. Pronounciation of Font Names
  
  Below each of the following font names, a suggested English
  pronounciation is given.  This information was collected from a
  (relatively) long discussion on comp.fonts.  If you disagree, or have
  other suggestions, please let me know.
  
  Arnold Boecklin
  ===============
  
  "Ar" as in car, "nold" as in "old" with an "n" on the front.  "Boeck"
  is tricker.  The "oe" is actually an umlaut "o" in German, and the
  closest sound to most English speakers is an "er".  So try "Berklin" if
  you want to come close to the original.  Otherwise, just say "Boklin",
  with a long o, like in "boat".
  
  Benguiat
  ========
  
  Ben-Gat.  This according to an ITC brochure.
  
  Courier
  =======
  
  I would pronounce Courier not like Jim Courier, but the French way:
  Ku-rie, where "Ku" is pronounced like "coo", only short, and "rie" is
  pronounced "ree-eh".
  
  Didot
  =====
  
  Stressed at the last syllable. "Dee-DOOH" (not nasal).
  
  Fette Fraktur
  =============
  
  "Fet" as in "get" with a "te" that rhymes with "way".  "Frak" rhymes
  with "mock", and "tur" with "tour".
  
  Fenice
  ======
  
  Feh-nee'-chey
  
  Garamond
  ========
  
  "Gara-": Use a french "r" instead of an english one. Both "a"s are
  pronounced like the "u" in the word "up". "-mond": the last syllable is
  stressed, and you don't pronounce the "n" and "d", but the whole "ond"
  is a nasal "o". Hold your nose closed and say "Ooh", then you get the
  right sound.  The "ant" in "Avant-Garde" is very similar to this sound,
  it is a nasal situated between "a" and "o".
  
  Helvetica
  =========
  
  Hell-veh'-ti-ka
  
  Koch Roman
  ==========
  
  Pronounced like scottish `Loch', but with K instead of L.
  
  LaTeX
  =====
  
  Lamport lists lah'-tech, lah-tech', lay'-tech and lay'-tecks as valid
  on p.4.  Last I talked to him he'd settled into lay'-tech which has
  always been my pronunciation as well. Somewhere, I heard that LL does
  explicitly rule out L.A.-tech, but he's from northern California which
  explains a lot.
  
  Mos Eisley
  ==========
  
  moss eyes-lee
  
  Novarese
  ========
  
  No-vahr-ay'-zay
  
  Palatino
  ========
  
  pa-la-TEEN-oh
  
  Peignot
  =======
  
  There's some contention here, suggested pronouncations:
  
  pay-nyoh'
  
  "P" like "P" in `Post", "ei" like "a" in "fan", "gn" like "n" in "noon"
  plus "y" in "yes", "ot" - long, closed "o" (I don't know English
  examples), stressed.
  
  "P" like "P" in `Post", "ei" like "a" in "many", "gn" like "n" in
  "noon" plus "y" in "yes", "ot" - long, closed "o" (I don't know English
  examples), stressed.
  
  Sabon
  =====
  
  Sah-bon'
  
  TeX
  ===
  
  Rhymes with Blech, (as in "Blech, that tasted awfull!")
  
  Veljovic
  ========
  
  Vel'-yo-vitch
  
  Zapf
  ====
  
  Like "tsapf".  The "a" is pronounced like a short version of the well
  known tongue-depresser vowel "aaahhh".  Perhaps a better English analogy
  would be the "o" in "hop" or "hops".

Subject: 1.26. What does `lorem ipsum dolor' mean?
  
  `Lorem ipsum dolor' is the first part of a nonsense paragraph sometimes
  used to demonstrate a font.  It has been well established that if you
  write anything as a sample, people will spend more time reading the
  copy than looking at the font.  The "gibberish" below is sufficiently
  like ordinary text to demonstrate a font but doesn't distract the
  reader.  Hopefully.
  
  Lorem ipsum dolor sit amet, consectetaur adipisicing elit, sed do
  eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad
  minim veniam, quis nostrud exercitation ullamco laboris nisi ut aliquip
  ex ea commodo consequat. Duis aute irure dolor in reprehenderit in
  voluptate velit esse cillum dolore eu fugiat nulla pariatur.  Excepteur
  sint occaecat cupidatat non proident, sunt in culpa qui officia
  deserunt mollit anim id est laborum Et harumd und lookum like Greek to
  me, dereud facilis est er expedit distinct. Nam liber te conscient to
  factor tum poen legum odioque civiuda. Et tam neque pecun modut est
  neque nonor et imper ned libidig met, consectetur adipiscing elit, sed
  ut labore et dolore magna aliquam makes one wonder who would ever read
  this stuff? Bis nostrud exercitation ullam mmodo consequet. Duis aute
  in voluptate velit esse cillum dolore eu fugiat nulla pariatur. At vver
  eos et accusam dignissum qui blandit est praesent luptatum delenit
  aigue excepteur sint occae.  Et harumd dereud facilis est er expedit
  distinct. Nam libe soluta nobis eligent optio est congue nihil impedit
  doming id Lorem ipsum dolor sit amet, consectetur adipiscing elit, set
  eiusmod tempor incidunt et labore et dolore magna aliquam. Ut enim ad
  minim veniam, quis nostrud exerc.  Irure dolor in reprehend incididunt
  ut labore et dolore magna aliqua. Ut enim ad minim veniam, quis nostrud
  exercitation ullamco laboris nisi ut aliquip ex ea commodo consequat.
  Duis aute irure dolor in reprehenderit in voluptate velit esse
  molestaie cillum.  Tia non ob ea soluad incommod quae egen ium improb
  fugiend.  Officia deserunt mollit anim id est laborum Et harumd dereud
  facilis est er expedit distinct. Nam liber te conscient to factor tum
  poen legum odioque civiuda et tam.  Neque pecun modut est neque nonor
  et imper ned libidig met, consectetur adipiscing elit, sed ut labore et
  dolore magna aliquam is nostrud exercitation ullam mmodo consequet.
  Duis aute in voluptate velit esse cillum dolore eu fugiat nulla
  pariatur. At vver eos et accusam dignissum qui blandit est praesent.
  Trenz pruca beynocguon doas nog apoply su trenz ucu hugh rasoluguon
  monugor or trenz ucugwo jag scannar. Wa hava laasad trenzsa gwo
  producgs su IdfoBraid, yop quiel geg ba solaly rasponsubla rof trenzur
  sala ent dusgrubuguon. Offoctivo immoriatoly, hawrgasi pwicos asi
  sirucor.Thas sirutciun applios tyu thuso itoms ghuso pwicos gosi
  sirucor in mixent gosi sirucor ic mixent ples cak ontisi sowios uf Zerm
  hawr rwivos. Unte af phen neige pheings atoot Prexs eis phat eit sakem
  eit vory gast te Plok peish ba useing phen roxas.  Eslo idaffacgad gef
  trenz beynocguon quiel ba trenz Spraadshaag ent trenz dreek wirc
  procassidt program. Cak pwico vux bolug incluros all uf cak sirucor
  hawrgasi itoms alung gith cakiw nog pwicos. Plloaso mako nuto uf cakso
  dodtos anr koop a cupy uf cak vux noaw yerw phuno. Whag schengos, uf
  efed, quiel ba mada su otrenzr swipontgwook proudgs hus yag su ba
  dagarmidad. Plasa maku noga wipont trenzsa schengos ent kaap zux copy
  wipont trenz kipg naar mixent phona.  Cak pwico siructiun ruos nust
  apoply tyu cak UCU sisulutiun munityuw uw cak UCU-TGU jot scannow.
  Trens roxas eis ti Plokeing quert loppe eis yop prexs. Piy opher
  hawers, eit yaggles orn ti sumbloat alohe plok. Su havo loasor cakso
  tgu pwuructs tyu InfuBwain, ghu gill nug bo suloly sispunsiblo fuw
  cakiw salo anr ristwibutiun. Hei muk neme eis loppe. Treas em wankeing
  ont sime ploked peish rof phen sumbloat syug si phat phey gavet peish
  ta paat ein pheeir sumbloats. Aslu unaffoctor gef cak siructiun gill bo
  cak spiarshoot anet cak GurGanglo gur pwucossing pwutwam. Ghat dodtos,
  ig pany, gill bo maro tyu ucakw suftgasi pwuructs hod yot tyubo
  rotowminor.  Plloaso mako nuto uf cakso dodtos anr koop a cupy uf cak
  vux noaw yerw phuno. Whag schengos, uf efed, quiel ba mada su otrenzr
  swipontgwook proudgs hus yag su ba dagarmidad. Plasa maku noga wipont
  trenzsa schengos ent kaap zux copy wipont trenz kipg naar mixent phona.
  Cak pwico siructiun ruos nust apoply tyu cak UCU sisulutiun munityuw
  uw cak UCU-TGU jot scannow.  Trens roxas eis ti Plokeing quert loppe
  eis yop prexs. Piy opher hawers, eit yaggles orn ti sumbloat alohe
  plok. Su havo loasor cakso tgu pwuructs tyu.
  
  [This version was found on CompuServe.  It differs from other versions I
  have seen in print, increasingly so as you go along.  It almost looks
  computer-generated, doesn't it?]

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:43:49 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part5
Version: 2.0.1

Subject: 3. MS-DOS Information
  
  The easiest way to get outline fonts under MS-DOS is with Microsoft
  Windows 3.x or OS/2 2.x.
  
  Microsoft Windows 3.0 with Adobe Type Manager (ATM) and OS/2 2.0
  support PostScript Type1 fonts.
  
  Microsoft Windows 3.1 supports TrueType fonts natively.
  
  Bitmap fonts are available in a variety of formats: most formats are
  designed with the printer in mind and not the display since (prior to
  graphical environments like Windows, GEM, and OS/2) the majority of
  work under MS-DOS was done with a character-based interface.
  
Subject: 3.1. Frequently Requested MS-DOS fonts
  
  Many fonts are available at various archives.  The biggest font archive
  for MS-DOS format fonts is ftp.cica.indiana.edu.  Note: you can use any
  Mac format Type1 font on your PC by converting it to PC format with the
  free/shareware as described below.
  
  The following fonts are in Type 1 format for MS-DOS. Some are also
  available in TrueType format.
  
     * Hebrew
  
       ShalomScript, ShalomOldStyle, ShalomStick
  
     * Japanese
  
       Shorai
  
     * Star Trek
  
       Crillee, TNG monitors
  
     * IBM OEM Line Drawing Characters
  
       Try Adobe PrestigeElite or Adobe LetterGothic. They have all the
       characters you want, but the `line draw' characters are unencoded
       -- you will need tools to reencode the outline font itself and
       make a new PFM metric files.
  
       Or try IBMExtended from Impramatur Systems in Cambridge, Mass.  It
       already is encoded using IBM OEM encoding (some DOS code page).
  
       The IBM version of Courier distributed freely under the X11
       Consortium also contains the appropriate characters.  Again, the
       font will have to be reencoded for Windows.  Appropriate AFM files
       for this font can be obtained from:
       ibis.cs.umass.edu:/pub/norm/comp.fonts.  The file is called
       IBM-Courier-PC8-SymbolSet-AFMs.zip.
  
       Lee Cambell suggests the following alternative:
  
       Line Drawing characters are also available on ftp sites as
       gc0651.exe which is a self-expanding archive. It is on cica (and
       mirrors thereof). From the text file that comes with it, it looked
       like it was distributed by Microsoft.  I printed some text in the
       normal A-z range and it looked identical to the truetype Courier
       font distributed with Windows. Perhaps it is an upgrade to that
       font. I didn't try the linedraw glyphs, so I can't say how they
       look.
  
Subject: 3.2. MS-DOS Font Installation
  
  If you have any information that you feel belongs in this section, it
  would be greatly appreciated.
  
     * Windows
  
          * Pat Farrell contributes the following description of font
            installation       under Windows.
  
            Installing Fonts into Windows:
  
            This only covers Windows 3.1 with ATM. Font is a four-letter
            word in Windows versions prior to 3.1 due to the distinctions
            between screen fonts and printer fonts. The upgrade price of
            Windows 3.1 is justified by the integration of TrueType into
            the package and the inclusion of useful fonts for all
            printers.
  
            Commercial fonts usually have installation instructions with
            their manuals. The approach may differ from the method used
            for PD and shareware fonts.
  
            To install PD and shareware fonts in Windows 3.1:
  
              1. Copy the fonts onto a suitable scratch area (i.e. a
                 floppy, or any       temporary area of your hard disk.
  
              2. Execute "Control Panel" by double-clicking on the icon
                 in the       Windows Program Manager's "main" group.
  
              3. Double-click on the Fonts icon.
  
              4. Double-click on the "Add" button.
  
              5. Select the scratch directory holding the new fonts.
  
              6. A list of the fonts will be displayed. You can manually
                 select the       fonts you like, or you can use the
                 "Select All" button.
  
              7. Make sure the "Copy Fonts to Windows Directory"
                 check-box is       checked. This will copy the fonts
                 from the scratch area to your       Windows directory.
  
              8. Click on the "Ok" button.
  
          * Special notes for Windows applications:
  
            Word for Windows (W4W) stores font/printer information in its
            own initialization files. After you add new fonts, you have
            to tell W4W that the printer can use the new fonts. Do this
            by selecting "Printer Setup" from the W4W main "File" menu
            item, click on the "Setup" button, and then click on two "Ok"
            buttons to back out of the setup mode.
  
          * Note concerning Windows 3.1 upgrade:
  
            There are two upgrade packages available from Microsoft for
            Win3.1.  There is the standard version which contains
            TrueType support, and about six font families (Times New
            Roman, Arial, Courier, Symbols, Wingdings, etc.). It costs
            something like $50 (US). The second version contains a number
            of TrueType fonts that includes equivalents for the 35
            standard Postscript fonts. This adds an additional $50, which
            is a pretty good value.  However, if you plan on buying
            Microsoft's PowerPoint, it includes the same additional
            fonts/typefaces. So you can save money by not buying the
            fonts twice.
  
          * More about Windows
  
               * [Q:] Why are don't the TrueType fonts that come with
                 Microsoft products    (Word-for-Windows, PowerPoint,
                 Windows 3.1 TrueType Font Pack, etc.)    display and
                 print properly on my system?
  
               * [A:] The font matching algorithm in Win3.1 is fairly
                 simplistic.  If you    install lots of TrueType fonts,
                 the algorithm can get confused. In    this case, "lots"
                 is more than 50 or so.
  
          * According to Luann Vodder who supports Microsoft Word on
            CompuServ:
  
            "There is a procedure which Windows must go through when an
            application requests a font.  Each font contains a list of
            attributes such as Family, FaceName, Height, Width,
            Orientation, Weight, Pitch, etc.  When an application
            requests a font, it fills out a logical font for Windows
            containing the necessary attributes, then starts going
            through a font mapping algorithm to determine which of the
            installed fonts most closely matches the requested (logical)
            font.  Penalties are applied against fonts whose attributes
            do not match the logical font, until the fonts with the
            fewest penalties are determined.  If there is a "tie",
            Windows may need to rely on the order of the fonts in the
            WIN.INI file to determine the "winner".
  
            If the fonts you want are in your WIN.INI file, and show up in
            Windows' Control Panel, then try moving them higher in your
            WIN.INI file with a file edittor such as SYSEDIT."
  
          * Kesh Govinder suggested the following warning:
  
            CAUTION: While many Windows 3.1 users would like to have many
            TrueType fonts at their disposal (and they are many available
            in the PD) a word of caution.  A large number (>50) TT fonts
            will slow down your windows startup time.  This occurs as
            every installed font is listed in the win.ini file, and
            Windows has to go through the entire file before starting up.
            While this may not affect most users, it will especially
            affect users of CorelDraw!, so be warned.
  
     * Other Programs
  
       It is an unfortunate fact that almost all MS-DOS programs do things
       differently.  Your best bet is to read the manual that comes with
       the program you want to use.
  
Subject: 3.3. What exactly are the encodings of the DOS code pages?
  
  DOS uses `code pages' for `IBM OEM' encoding of fonts.  There are six
  code pages supplied with DOS 5.0:
  
         437 (English)
         850 (Multilingual - Latin I)
         852 (Slavic - Latin II)
         860 (Portugal)
         863 (Canadian French)
         865 (Nordic)
  
  (The character code range 0 - 127 is the same in all code pages).
  
  The problem is that MS idea of how to define what a code page is, is to
  show a low resolution print out of the glyphs!   Which is fine for the
  letters of the alphabet, numerals and the obvious punctuation marks,
  but worthless for accents (is it `cedilla' or `ogonek'? is it `caron'
  or `breve'?) and many other characters.  For example, 249 is a small
  dot, while 250 is a slightly larger dot.  Is one of these supposed to
  be `bullet' (which already occurs at 7)?  Or is one of them maybe
  supposed to be `middot' or `dotcentered'?  Is 228 supposed to be
  `Sigma' or `summation'. Is 225 supposed to be `beta' or `germandbls'?
  Etc etc
  
  And what is the character that looks like `Pt' in code position 158?
  
  Anyway, surely there is a table somewhere that defines precisely what
  these encodings are supposed to be.  That is, a table that gives for
  each code number the name and/or a description of the character.
  
Subject: 3.4. MS-DOS Font Utilities
  
     * PS2PK
  
       PS2PK allows you to convert PostScript Type1 fonts into bitmap
       fonts.  The bitmap files produced are in TeX PK format.
  
     * PKtoSFP
  
       PKtoSFP allows you to convert TeX PK fonts into HP LaserJet
       softfonts.
  
     * PFBDir/PFBInfo
  
       PFBDir and PFBInfo format and display the "headers" in a binary
       Type1 font.
  
Subject: 3.5. Converting fonts under MS-DOS
  
Subject: 3.5.1. Converting Mac Type 1 fonts to MS-DOS format
  
  Converting Macintosh Type1 fonts into PC Type1 fonts can be done using
  purely free/shareware tools.  I've outlined the procedure below.  Make
  sure you read the "readme" files that accompany many fonts.  Some font
  authors specifically deny permission to do cross-platform conversions.
  
  The tools you need
  ==================
  
  XBIN
       xbin23.zip in /pub/msdos/mac on oak.oakland.edu     (or other
       mirrors)
  
  UNSIT
       unsit30.zip in /pub/msdos/mac on oak.oakland.edu
  
  UNSITI
       unsiti.exe in /pub/onset/util on ftp.std.com
  
       Peter Gentry indicates that this program can extract SIT
       archives that use the newer compression techniques that     unsit
       doesn't recognize.
  
  UNCPT
       ext-pc.zip in /pub/pc/win3/util on ftp.cica.indiana.edu
  
  REFONT
       refont14.zip in /pub/norm/mac-font-tools on ibis.cs.umass.edu
  
  BMAP2AFM
       bm2af02.zip in /pub/norm/mac-font-tools on ibis.cs.umass.edu
  
  XBIN converts Mac "BinHex"ed files back into binary format.  BinHex is
  the Mac equivalent of UUencoding, it translates files into ascii
  characters so that mailers can send them around without difficulty.  It
  also aids in cross platform copying too, I'm sure.  BinHexed files
  generally have filenames of the form "xxx.yyy.HQX".
  
  UNSIT explodes "Stuffit" archives.  Stuffit archives generally have
  filenames of the form "xxx.SIT".  UNSIT will ask if you want to
  seperate resource and data forks.  Yes, you do.  There has been some
  confusion about whether or not you want headers.  I'm inclined to
  conclude that it can be made to work either way.  Personally, I say no.
  
  UNCPT explodes "Compactor" archives.  The ext-pc implementation is
  called "extract" and does not require windows (even thought it's in the
  windows section on cica).  Compactor archives generally have filenames
  of the form "xxx.CPT".
  
  REFONT converts Mac type1 fonts into PC type1 fonts.  It also converts
  Mac TrueType fonts to PC TrueType format.  And vice-versa.
  
  BMAP2AFM constructs AFM files from the metric information contained in
  Mac screen fonts (.bmap files).  The screen font files do not have any
  standard name (although they frequently have the extension .bmap).  The
  screen fonts have file type "FFIL" which, in combination with some
  common sense, is usually sufficient to identify them.
  
  I've listed the tools that I've used and the sites that are reasonable
  for me to retrieve them from.  It's probably a good idea to check with
  archie for closer sites if you're not in North America.  These tools
  run under MS-DOS.  XBIN and UNSIT can also be run under Unix.
  
  How to do it?
  =============
  
  Collect the Mac fonts from the archive or BBS of your choice.  Most of
  these files will be in BinHexed format.  As a running example, I'm
  going to use the imaginary font "Plugh.cpt.hqx".  When I download this
  font to my PC, I would use the name "PLUGH.CPX".  The actual name you
  use is immaterial.
  
  Run XBIN on PLUGH.CPX.  This will produce PLUGH.DAT, PLUGH.INF, and
  PLUGH.RSR.  The data fork of the Mac file (the .DAT file) is the only
  one of interest to us, you can delete the others.
  
  If the original file had been "Plugh.sit.hqx", we would be using the
  UNSIT program.  Since I chose a .cpt file for this example, I'm going
  to run UNCPT.
  
  Run UNCPT on PLUGH.DAT.  You want to extract the AFM file (if present),
  the documentation or readme file (if present), and the Type1 outline
  file.  The AFM and README files will be in the data fork of the archive
  file.  The Type1 outline will be in the resource fork.  The AFM and
  README files have Mac "TEXT" type.  The Type1 outline file has "LWFN"
  type.  I'm not trying to describe this part in a step-by-step fashion.
  Use the docs for UNCPT and UNSIT as a guide.  If you got this far you
  probably won't have much difficulty.  If you do, drop me a line and
  I'll try to help.
  
  If the font does not contain an AFM file, extract the screen font.
  Screen fonts frequently have the extension .bmap and are "FFIL" type
  files.  Use Bmap2AFM to construct an AFM from the screen font.  If the
  archive _does_ contain an AFM file, it's safe to bet that the author's
  AFM will be better than the one created by Bmap2AFM.
  
  Finally, run REFONT on the Type1 outline that you extracted above.  The
  result should be an appropriate PC type1 outline.  REFONT will create a
  PFM file for you from the AFM file, if you desire.
  
  Remember to register your shareware...
  
  Other comments
  ==============
  
  [email-masked] makes the following observations:
  
     * UNCPT is easier to use than UNSIT
  
     * UNCPT has to be run twice. I usually do it like this
  
       extract *.cpt -f
  
       extract *.cpt -f -r
  
     * When using "unsit30" you probably want the outline file with the
          MacHeader and the others without it. I think that REFONT
       requires it       but I am not sure.
  
     * REFONT works usually ok. You want a PFA (ASCII) file which is
       directly usable on NeXT (you may need to convert carriage-returns
       to       newlines but I am not sure if it is necessary).
  
       The biggest problem is with the .afm files that are completely
       missing       or generated by the tools that don't do their job
       properly.
  
     * BMAP2AFM requires some extra files (ie. other than bmap2afm.exe) to
            work properly.
  
Subject: 3.5.2. Converting PC Type 1 and TrueType fonts to Mac format
  
  Refont (version 1.4) can convert (in both directions) between PC and Mac
  formats of Type1 and TrueType fonts.  Note: it _cannot_ convert
  _between_ formats, only architectures.  The procedure described above
  outlines how to convert a Mac archive into PC format so that you can
  get at the data.  Presumably, the process can be reversed so that you
  can get at the data on the Mac side as well.  Unfortunately, I don't
  have a Mac so I can't describe the process in detail.
  
Subject: 3.5.3. Converting PC Type 1 fonts into TeX PK bitmap fonts
  
  The release of PS2PK by Piet Tutelaers is a godsend to those of us
  without PostScript printers.  PS2PK converts PC/Unix format Type 1 fonts
  into TeX PK files.  Used in conjunction with the AFM2TFM utility for
  creating TeX metric files, this allows almost anyone to use Type 1
  PostScript fonts.  PS2PK is distributed under the GNU License and has
  been made to run under MS-DOS with DJGPP's free GNU C compiler.  The PC
  version requires a 386 or more powerful processor.  Check with Archie
  for a source near you.
  
  Note: if TeX PK files are not directly usable for you, there seems to
  be a fair possibility that LaserJet softfonts would be useful.  If so,
  check below for instructions on converting TeX PK files to LaserJet
  softfonts.
  
Subject: 3.5.4. Converting TeX PK bitmaps into HP LaserJet softfonts (and vice-versa)
  
  There is some possibility that someone will yell 'conflict of interest'
  here, but I don't think so.  I wrote the following utilities:
  
  PKtoSFP: convert TeX PK files to LaserJet (bitmapped) softfonts
  
  SFPtoPK: convert LaserJet (bitmapped) softfonts to TeX PK files
  
  But they are completely free, so I don't gain anything by "advertising"
  them here.  These are MS-DOS platform solutions only.  If you know of
  other solutions, I would be happy to list them.
  
Subject: 3.5.5. TrueType to HP LaserJet bitmap softfonts (HACK!)
  
  If you have the tools, the following suggestion does work, but it isn't
  easy and it hasn't been automated.  To be honest, I haven't really
  tested it.
  
  If you are using Windows 3.1, get a LaserJet printer driver (you don't
  need the printer, just the driver).  Using the LaserJet driver, direct
  output to a file and print a simple file containing all the letters you
  want in the softfont in the font that you are converting.  When the
  print job has completed, the output file will contain, among other
  things, a LaserJet softfont of the TrueType font you selected.  If you
  know the LaserJet format, you can grab it out of there.
  
  I didn't say it was easy ;-)
  
  This method will not work with ATM [ed: as of 7/92] because ATM does
  not construct a softfont; it downloads the whole page as graphics.
  
  Here is an overview of the LaserJet bitmap softfont format.  It should
  help you get started.  If you have any questions, ask norm.  If anyone
  wants to write better instructions... ;-)
  
  Many details are omitted from this description.  They are thoroughly
  discussed in the HP Technical Reference for each model of laser printer.
  I recommend purchasing the Tech Ref.  If you have additional questions
  and do not plan to purchase the Tech Ref (or do not wish to wait for its
  arrival), you can ask norm.
  
  An HP LaserJet softfont can occur almost anywhere in the output stream
  destined for the printer.  In particular, it does _not_ have to be
  wholly contiguous within the output file.  In fact, fonts can be
  "intermixed" at will.  The following "pieces" make up a font:
  
  A begin font descriptor command (followed by the descriptor) and a
  series of begin character descriptor commands (followed by their
  associated data).  When a new character descriptor is encountered, it
  is added to the current font (which may change between descriptors).
  
  In the discussion that follows, the following notational conventions
  are followed:
  
  Key elements are surrounded by quotation marks.  The quotation marks
  are not part of the element.  Spaces within the element are for clarity
  only, they are not part of the element.  All characters (except ESC and
  #, described below, are literal and must be entered in the precise case
  shown).
  
  ESC means the escape character, ASCII character number 27 decimal.
  
  # means any decimal number.  The meaning of the number is described in
  the commentary for that element.
  
     * What is a font descriptor?
  
       A font descriptor begins with a font descriptor command and is
       followed immediately by the data for the descriptor.  Font
       descriptors define data global to the font.  In general, more
       recent printers are less strict about these parameters than older
       printers.
  
     * What is the font descriptor command?
  
       "ESC ) s # W"
  
       In this command, # is the number of bytes in the descriptor.  The
       first element of the descriptor indicates how many of these bytes
       should be interpreted as the font descriptor (the remaining bytes
       are commentary only-to the printer, at least).  This area is
       frequently used for copyright information, for example, although
       some systems insert kerning data into this area.
  
     * What is the font descriptor data?
  
       The data is:
  
            UI  Font descriptor size
            UB  Descriptor format
            UB  Font type
            UI  Reserved (should be 0)
            UI  Baseline distance
            UI  Cell width
            UI  Cell height
            UB  Orientation
             B  Spacing
            UI  Symbol set
            UI  Pitch
            UI  Height
            UI  xHeight
            SB  Width Type
            UB  Style
            SB  Stroke Weight
            UB  Typeface LSB
            UB  Typeface MSB
            UB  Serif Style
            SB  Underline distance
            UB  Underline height
            UI  Text Height
            UI  Text Width
            UB  Pitch Extended
            UB  Height Extended
            UI  Cap Height
            UI  Reserved (0)
            UI  Reserved (0)
            A16 Font name
            ??  Copyright, or any other information
  
       UI = unsigned integer, SI = signed integer, UB = unsigned byte, SB
       = signed byte, B = boolean, and A16 =sixteen bytes of ASCII.
  
       After the font name, ?? bytes of extra data may be inserted.  These
       bytes pad the descriptor out to the length specified in the begin
       font descriptor command.
  
       Note: integers are always in big-endian order (MSB first).
  
     * What is a character descriptor?
  
       A character descriptor describes the character specific info and
       the layout of the bitmap.  Newer printers can accept compressed
       character bitmaps.
  
     * What is a character descriptor command?
  
       "ESC * c # E"
  
       The # is the length of the descriptor, in bytes.
  
     * What is the character descriptor data?
  
            UB  Format
             B  Continuation
            UB  Descriptor size
            UB  Class
            UB  Orientation
            SI  Left offset
            SI  Top offset
            UI  Character width
            UI  Character height
            SI  Delta X
            ??  Character (bitmap) data.
  
       Although older printers cannot accept characters that include
       continuations, newer printers can.  If the "continuation" field is
       1, the character bitmap data begins immediately after that byte and
       the remaining fields _are not_ present.
  
     * Ok, now I understand the data, what do I look for in the output
       stream?
  
      ESC * c # D
            defines the font number (remember the number).
  
      ESC ) s # W
            defines the font descriptor (as described above).
  
      ESC * c # E
            specifies the character code (the #, in this case).
                 The next character descriptor maps to this position in
                         the font.  Characters do not have to appear in
            any                particular order.
  
      ESC ( s # W
            defines the character descriptor (as described above).
  
       Remember, these can occur in any order.  Experimentation with the
       particular driver you are using may help you restrict the number of
       different cases that you have to be prepared for.
  
  Please report your experiences using this method to norm (both to
  satisfy his own curiosity and to help improve the FAQ).
  
Subject: 3.6. MS-DOS Screen Fonts (EGA/VGA text-mode fonts)
  
  Editors note: the following description was mercilessly stolen from
          comp.archives on 02SEP92.  It was originally Yossi Gil's
        posting.
  
  FNTCOL14.ZIP contains more than 200 text mode fonts for EGA/VGA
  displays.  It includes fonts in different sizes for Hebrew, Greek,
  Cyrillic, math symbols and various type styles including smallcaps and
  script.
  
  It is available at borg.poly.edu:/pub/reader/dos/fntcol14.zip

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:43:44 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part4
Version: 2.0.1

Subject: 2. Macintosh Information
  
Subject: 2.1. Macintosh Font formats
  
  Postscript Type 1 fonts can be installed on the Macintosh only by using
  accompanying bitmapped fonts.
  
  Postscript Type 3 fonts are installed on the Macintosh in the same way
  that Type 1 fonts are.
  
  Truetype fonts: no bitmapped font is necessary with this type, though
  commonly used sizes are often supplied.
  
  Bitmap fonts: on the Macintosh, bitmap fonts also contain the kerning
  information for a font and must be installed with both type 1 and type
  3 fonts. Their presence also speeds the display of commonly used font
  sizes.
  
Subject: 2.2. Frequently Requested Mac Fonts
  
  Many fonts are available at various archives.  The king of Macintosh
  font archives is mac.archive.umich.edu.  On mac.archive.umich.edu, the
  fonts are located in the following folders:
  
         /mac/system.extensions/font/type1
         /mac/system.extensions/font/type3
         /mac/system.extensions/font/truetype
  
  The following fonts are in Type 1 format for the Macintosh. Some are
  also available in TrueType format.
  
     * Tamil
  
       Paladam, T. Govindram
  
     * Hebrew
  
       ShalomScript, ShalomOldStyle, ShalomStick, Jonathan Brecher
  
     * Japanese
  
       Shorai (Hirigana, with application)
  
     * Star Trek
  
       StarTrekClassic, Star TrekClassicMovies, StarTrekTNGCrille,
       StarTrekTNG Titles, TNG monitors, StarFleet, Klinzai (Klingon font)
  
     * Command-key symbol
  
       Chicago (TrueType or bitmap, key: Ctrl-Q),  Chicago Symbols
       (Type3, key: 1), EncycloFont (Type3, key: d)
  
     * Astrologic/Astronomic symbols
  
       Hermetica (Type1), InternationalSymbols (Type 3, Mars and Venus
       only), MortBats (Type3), Zodiac (bitmap)

  
  
       The IBM version of Courier distributed freely under the X11
       Consortium also contains the appropriate characters.  It is
       distributed in PC format, however.  Again, the font will have to
       be reencoded for Windows.  Appropriate AFM files for this font can
       be obtained from: ibis.cs.umass.edu:/pub/norm/comp.fonts.  The
       file is called IBM-Courier-PC8-SymbolSet-AFMs.zip.
  
  Many of these mac fonts are available in files that are either entitled
  xxxx.sit or xxxx.cpt.  xxxx.sit files are Stuffit archives.  xxxx.cpt
  files are Compact Pro archives. StuffitLite (shareware $25) and Compact
  Pro (shareware $25) are available at the standard ftp sites.
  Uncompressors for these programs (free) are also available at the
  archive sites. Check the utilities/compression utilities folders.
  
Subject: 2.3. Commercial Font Sources
  
  Commercial fonts can be obtained from a number of different companies,
  including the large font houses: Adobe, Font Haus, Font Company,
  Bitstream, and Monotype. At these companies, fonts cost about $40 for a
  single face, and must be purchased in packages. Adobe, Bitstream, and
  Monotype also sell pre-designated type collections for slightly lower
  prices.
  
  Image Club sells a wide selection of fonts for about $50 for a 4 font
  family.
  
  Other, cheaper companies sell fonts of lesser quality, including
  KeyFonts, which sells a set of 100 fonts for $50 and Casady & Green's
  Fluent Laser Fonts, a set of 79 fonts for $99. Casady & Greene also
  sells Cyrillic language fonts in Times, Bodoni, and Helvetica sell for
  about $40 for each 4 font family.
  
  Foreign language fonts, ranging from Egyptian hieroglyphics to Cyrillic
  can be obtained from Ecological Linguistics.
  
  Please consult the vendor list for a more complete list of vendors.
  
Subject: 2.4. Mac Font Installation
  
     * System 7
  
       Install the fonts by opening the suitcase containing the bitmap
       file and dropping the fonts into your system suitcase, located
       inside your system folder. You will need to quit all other
       applications before doing this.  For a TrueType font, the icon for
       the font will have several letters in it, instead of just one.
       Dropping it into your system suitcase will make all sizes of the
       font available. For Postscript type 1 fonts, you also need to
       place the printer font in the extensions folder in your system
       folder. If you are using ATM you need to place these fonts in the
       root level of your system folder (not inside another folder).
       Using Suitcase, a font management utility, you can avoid
       cluttering your system folder with printer fonts.
  
       You can make new suitcases of fonts (generally not needed, but
       used by those who use Suitcase) by using Font DA mover.  It
       operates the same as in system 6, except that the most recent
       version must be used.
  
     * System 6
  
       Bitmap fonts can be installed using Font DA mover to move the
       fonts, located inside suitcases, into your system. You will need
       to restart your computer to make these fonts available. Printer
       fonts must be placed in the system folder, not inside any other
       folder.
  
       Truetype fonts can be used with system 6 if you get the Truetype
       init.  Then the fonts can be installed in your system with Font DA
       mover.  Suitcase can also be used under system 6.
  
Subject: 2.5. Mac Font Utilities
  
     * SUITCASE
  
       Suitcase is a nifty little system extension that lets you avoid
       having to install fonts into your system. In system 6, it means
       that you can avoid restarting your system every time you want to
       install a new font.
  
       In system 7, Suitcase lets you avoid quitting all applications
       before making fonts available. Some programs, like Quark Xpress
       will automatically update their font list when you open a new
       suitcase, allowing much more flexibility in opening and closing
       font suitcases and making different sets of fonts available.
  
       Suitcase appears in your Apple menu in both system 7 and 6 and
       allows you to open suitcases, as though they were files, thus
       making the fonts contained in them accessible to programs.
  
       In addition, when suitcase is installed, printer fonts can be
       stored with the bitmap suitcases they correspond to, instead of
       having to drop them into your system folder.
  
       The most recent version of Suitcase is compatible with TrueType.
       Suitcase is about $54 from the mail order places.
  
     * Carpetbag
  
       A shareware program with functionality equivalent to Suitcase.
  
     * MASTER JUGGLER
  
       Claims to do similar things
  
     * ATM
  
       Adobe Type Manager is an Init and Control panel allows accurate
       screen display, at any size of PostScript type 1 fonts. It's
       function is replicated with Truetype (but for different outline
       font format). With it installed, you can print fonts of any size
       to non-PostScript printers. When using ATM, printer fonts must
       either be stored with the bitmap files opened with suitcase (when
       using Suitcase), or they must be stored in the root level of the
       system folder (with System 7.0, printer fonts must be stored in
       the Extension folder if you are not using Suitcase). ATM is now
       available, with the System 7.0 upgrade, as well as directly from
       adobe with 4 Garamond fonts.
  
       ATM is not built into System 7.1 as previously expected.  With
       System 7.1, printer fonts must be stored in the Fonts folder if
       you are not using Suitcase.
  
       If you are using version 7.x prior to 7.1, the following hack
       allows you to have a Font folder (if you don't use Suitcase):
  
       Open the second 'DCOD' resource from the ATM 68020/030 file. Do an
       ASCII search for the string "extn" and change it to "font" (it's
       case sensitive). Save, close, and Reboot.
  
       This process should work for 68000 machines using the proper ATM
       file instead.
  
     * Super ATM
  
       This is a utility that will create fonts, on the fly, that match
       the metrics of any Adobe-brand fonts you don't have.  It does a
       remarkably good job of mimicry because it uses two "generic"
       Multiple Master typefaces, serif and sans serif to simulate the
       appearance of the missing typefaces. (There is a 1.4 megabyte
       database file that allows Super ATM to simulate the fonts that
       aren't there.)  You also get Type On Call (a CD-ROM), which has
       locked outline fonts, and unlocked screen font for all but the
       most recent faces in the Adobe Type library.
  
     * TTconverter
  
       A shareware accessory available at the usual archives will convert
       Truetype fonts for the IBM into Macintosh format.
  
     * Microsoft Font Pack
  
       If you work with a mixture of Macs and PCs running Windows 3.1,
       this is a good deal; 100 TrueType fonts compromising the Windows
       3.1 standard set and the two Font Packs for Windows. This includes
       various display fonts, the Windows Wingdings font, and the Lucida
       family.
  
  A variety of programs, for example, Font Harmony, etc. will allow you
  to change the names and ID numbers of your fonts.
  
  Fontmonger and Metamorphosis will let you convert fonts among several
  formats (type 1 and 3 and Truetype for the Mac and PC), as well as
  letting you extract the font outlines from the printer fonts.
  
Subject: 2.6. Making Outline Fonts
  
  This is very, very difficult. Many people imagine that there are
  programs that will simply convert pictures into fonts for them. This is
  not the case; most fonts are painstakingly created by drawing curves
  that closely approximate the letterforms. In addition, special rules
  (which improve hinting, etc.) mandate that these curves be drawn in
  specific ways. Even designing, or merely digitizing, a simple font can
  take hundreds of hours.
  
  Given that, there are two major programs used for font design on the
  Macintosh, Fontographer ($280) and FontStudio ($400). These programs
  will allow you to import scanned images, and then trace them with
  drawing tools.  The programs will then generate type 1, 3, TrueType and
  Bitmap fonts for either the Macintosh or the IBM PC. They will also
  generate automatic hinting. They also open previously constructed
  outline fonts, allowing them to be modified, or converted into another
  format.
  
  As far as I know, there are no shareware programs that allow you to
  generate outline fonts.
  
Subject: 2.7. Problems and Possible Solutions
  
    1. Another font mysteriously appears when you select a certain font
       for display.
  
       This is often the result of a font id conflict. All fonts on the
       Macintosh are assigned a font id, an integer value. When two fonts
       have the same id, some programs can become confused about the
       appropriate font to use. Microsoft word 4.0 used font id's to
       assign fonts, not their names.  Since id's can be different on
       different computers, a word document's font could change when it
       was moved from one computer to another. Other signs of font id
       problems are inappropriate kerning or leading (the space between
       lines of text).  Some font ID problems can be resolved by using
       Suitcase, which will reassign font ID's for you, as well as saving
       a font ID file that can be moved from computer to computer to keep
       the id's consistent.  Font ID problems can also be solved with
       several type utilities, which will allow you to reassign font
       id's.  Most newer programs refer to fonts correctly by name
       instead of id number, which should reduce the frequency of this
       problem.
  
    2. When using a document written in MSWord 5.0, the font mysteriously
       changes when you switch from your computer at home to work, or
       vice versa.
  
       This is the result of a bug in MSWord 5.0. The MSWord 5.0 updater,
       which can be found at the info-mac archives at sumex (in the demo
       folder), will fix this bug.
  
Subject: 2.8. Creating Mac screen fonts
  
  Creating Mac screen fonts from Type 1 outlines
  ==============================================
  
  Peter DiCamillo contributes the following public domain solution:
  
  BitFont is a program which will create a bitmapped font from any font
  which can be drawn on your Macintosh.  In addition to standard
  bitmapped fonts, it works with Adobe outline fonts when the Adobe Type
  Manager is installed, and works with TrueType?  fonts.  BitFont will
  also tell you how QuickDraw will draw a given font (bitmapped, ATM, or
  TrueType) and can create a text file describing a font and all its
  characters.
  
  BitFont was written using MPW C version 3.2.  It is in the public
  domain and may be freely distributed.  The distribution files include
  the source code for BitFont.
  
  Berthold K.P. Horn contributes the following solution.
  
  This is a commercial solution.  A font manipulation package from Y&Y
  includes:
  
  AFMtoPFM, PFMtoAFM, AFMtoTFM, TFMtoAFM, AFMtoSCR, SCRtoAFM, TFMtoMET,
  PFBtoPFA, PFAtoPFB, MACtoPFA, PFBtoMAC, REENCODE, MODEX, DOWNLOAD,
  SERIAL, and some other stuff I forget.
  
  To convert PC Type 1 fonts to Macintosh use PFBtoMAC on the outline
  font itself; then use AFMtoSCR to make the Mac `screen font'
  (repository of metric info). You may need to use PFMtoAFM to first make
  AFM file.
  
  To convert Macintosh font to PC Type 1, use MACtoPFA, followed by
  PFAtoPFB.  Then run SCRtoAFM on screen font to make AFM file.  Finally,
  run AFMtoPFM to make Windows font metric file.
  
  Y&Y are the `TeX without BitMaps' people (see ad in TUGboat):
  
  Y&Y makes DVPSONE, DVIWindo, and fonts, for use with TeX mostly, in
  fully hinted Adobe Type 1 format.
  
               Y&Y, 106 Indian Hill, Carlisle MA 01741  USA
  
                              (800) 742-4059
  
                          (508) 371-3286 (voice)
  
                           (508) 371-2004 (fax)
  
  Mac Screen fonts can be constructed from outline fonts using
  Fontographer, as well.

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:43:52 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part7
Version: 2.0.1

Subject: 5. Unix Information
  
  This section needs a lot of work.  At the time of this release, I'm not
  in a position to write it so I'm leaving it basically blank.  Even if
  you don't have time to write it, if you know what _should_ be in this
  section, please forward it to norm.
  
  Please consult the 'utilities' section for more information.  Most of
  the utilities described in that section run under Unix.

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:43:54 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part8
Version: 2.0.1

Subject: 6. Sun Information
  
  Someone mailed a file of Sun-related font tips.  Unfortunately, I cannot
  find the file.  If you have any suggestion for this section (or if you
  are the person that mailed me the other list), please forward your
  suggestions to norm.
  
Subject: 6.1. Fonts Under Open Windows
  
  The following information regarding fonts under Open Windows was stolen
  from Liam R.E. Quin's Open Windows FAQ.  The original author was Rick
  Heli.
  
Subject: 6.1.1. Does OpenWindows support Type 1 PostScript fonts?
  
  Type 1 fonts are supported starting with the NeWSprint 2.0 and Solaris
  2.0 (OpenWindows 3.0.1) releases.
  
  There are also 57 F3 format fonts supplied with OpenWindows which are
  fully hinted.  Documentation on the F3 font format and the F3 font
  interpreter, TypeScaler, is available from Sun.
  
  The TypeScaler product is separately licensable from SunPics (the
  printing arm of Sun Microsystems).  If you're interested in licensing
  this product, Rick Heli can put you in touch with Marketing to work out
  the arrangements.  TypeScaler does not appear as a standalone portion
  of OpenWindows, though it is resident within the X11/NeWS server.
  
Subject: 6.1.2. Improving font rendering time
  
  Although the Sun type renderer (TypeScaler) is pretty fast, it's not as
  fast as loading a bitmap.  You can pre-generate bitmap fonts for sizes
  that you use a lot, and you can also alter and access the font cache
  parameters.	 If you have a lot of memory you might want to
  increase the font cache size.
  
           $ psh -i
           Welcome to X11/NeWS Version3      <--- psh will say this at you
           currentfontmem =	              % type this line ...
           300	                              % ... my server was using 300 Kbytes
           1024 setfontmem
                                             % Just to check:
           currentfontmem =
           1024
  
  See pp. 328ff of the NeWS 3.0 Programmer's Guide.  You need to say psh
  -i so that the PostScript packages are loaded - see the psh man page.
  
Subject: 6.1.3. Making bitmap fonts for faster startup
  
  Sun supports the F3 scalable outline format.  These descriptions are
  stored in .f3b files.  The makeafb program is used to create a bitmap
  font at a particular size which is stored in a .afb file, which is an
  Adobe ASCII format for font bitmaps.  X11/NeWS really prefers a binary
  format though for speed and other reasons, so convertfont is used to
  "compile" the font into a font binary or .fb file.
  
  Once this is done, X11/NeWS needs to understand the relationship between
  the .f3b file and all the bitmaps which are based on it.  Thus, the
  bldfamily program makes these correlations and stores the data in the
  font family or .ff file.
  
  bldfamily also builds a global list of all fonts stored in the working
  directory, writing the results out to the file Families.list.  If one
  wishes to create font aliases, these can be added to the Synonyms.list
  file by hand and bldfamily will then add them to Families.list for you.
  X11/NeWS uses Families.list to construct the font list it advertises
  to applications.
  
  To go from F3 to BDF, use makeafb to generate a bitmap font in .afb
  format.  Then use one of convertfont's many options to change to this
  to .bdf format and from there it should be clear.
  
         $ mkdir $HOME/myfonts
         $ cd $HOME/myfonts
         $ makeafb -20 -M $OPENWINHOME/lib/fonts/Bembo.f3b
         Creating Bembo20.afb
         $ convertfont -b Bembo20.afb
         Bembo20.afb->./Bembo20.fb
         Chars parameter greater than number of characters supplied.
         $ ls
         Bembo20.afb   Bembo20.fb      Synonyms.list
         $ bldfamily
         * Bembo                      ./Bembo.ff (Encoding: latin)
         cat: ./Compat.list: No such file or directory
         $ xset +fp `pwd`
         $ xset fp rehash
  
  If you want the server to see your new font directory every time, add
  this directory to your FONTPATH environment variable in one of your
  start-up files, e.g. .login or .profile.
  
Subject: 6.1.4. Converting between font formats (convertfont, etc.)
  
  You can also use F3 fonts with an X11 server, by converting them to a
  bitmap (X11 bdf format) first.  Your license restricts use of these
  fonts on another machine, and unless you have NeWSPrint you shouldn't
  use them for printing.  Having said all that...  you can use makeafb
  and convertfont to generate bdf files that you can compile with
  bdftosnf or bdftopcf.
  
  Use mftobdf (from the SeeTeX distribution) to convert TeX PK fonts to
  X11 BDF format, which you can then use with either X11 or OpenWindows.
  
Subject: 6.1.5. Xview/OLIT fonts at 100 dpi
  
  There aren't any.  More precisely, the various text fonts, such as
  Lucida Typewriter Sans, are available at 100 dpi, and in fact are
  scalable under OpenWindows.  The glyph fonts are bitmaps, and don't
  scale very well.
  
Subject: 6.2. Where can I order F3 fonts for NeWSprint and OpenWindows?
  
  600 F3 fonts are available for unlocking from Printer's Palette, a CD
  available with NeWSprint 2.0.
  
  In addition, F3 fonts are available from the following sources:
  
         Linotype AG                     Linotype Company
         Mergenthaler Allee 55-75        425 Oser Avenue
         6236 Eschborn Germany           Hauppague, NY  11788
         49/(61 96) 4031	                (800) 336-0045
         FAX 011/49/6196-982185          FAX 516-434-2055
         attn: F3 Font Production        attn: F3 Font Production
       
         Monotype Plc.                   Monotype Typography
         Salfords Redhill RH1 5JP        53 W. Jackson Boulevard Suite 504
         England                         Chicago, IL  60604
         44/(737) 765959                 (800) 666-6893
         FAX 011/44/737-769243           FAX (312) 939-0378
         attn: F3 Font Production        attn: F3 Font Production
       
         U R W                           U R W
         Harksheider Strasse 102         One Tara Boulevard Suite 210
         D2000 Hamburg Germany           Nashua, NH  03062
         49/(40) 606050                  (603) 882-7445
         49/(40) 60605148                (603) 882-7210
         attn: F3 Font Production        attn: F3 Font Production
       
         Bigelow & Holmes                Autologic
         P. O. Box 1299                  1050 Rancho Conejo Boulevard
         Menlo Park, CA  94026           Newbury Park, CA  91320
         415/326-8973                    (800)235-1843, or (805)498-9611 in CA
         FAX (415) 326-8065              FAX (805) 499-1167
         attn: F3 Font Production        attn: F3 Font Production

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:43:59 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part11
Version: 2.0.1

Subject: 9. X11 Information
  
  This section needs a lot of work.  At the time of this release, I'm not
  in a position to write it so I'm leaving it basically blank.  Even if
  you don't have time to write it, if you know what should be in this
  section, please forward it to norm.
  
Subject: 9.1. Getting X11
  
  The standard location for X software is export.lcs.mit.edu.
  
Subject: 9.2. Historical Notes about X11
  
  The X Window System has been in widespread use through releases 3, 4,
  and now 5 of X Version 11.
  
  Fonts weren't really treated by the X Consortium very well until X11
  release 5 (X11R5).  In X11R3 and X11R4, the default format used by the X
  servers was called SNF (server normal format). Basically the font was
  formatted on disk in such a way that the X server could quickly read and
  use it (it was basically a memory-dump).  The important element of the
  SNF format is that it was not a portable format: it depended on the
  architecture of the machine running the server (little endian vs. big
  endian, for example) and as a consequence you needed different directory
  structures for different systems on your network.  On top of that,
  several systems vendors implemented their own font format, making font
  portability even more difficult.
  
  With X11R5, two things changed: the font service protocol was defined as
  a standard and interoperable way for an X server to obtain fonts
  (independent of their format, origin, or current location on disk) and
  the default format for storing fonts was changed from SNF to PCF
  (Portable Compiled Font).  PCF is a format originally developed by DEC.
  Its primary advantage is that it is not architecture dependent.  That
  is, if you compile a font to PCF format on different systems, then you
  may end up having two different PCF files, but each system will be able
  to read the other's file correctly.
  
Subject: 9.3. X11 Font Formats
  
  There are many different font formats that can play a role in an X11
  system configuration.  The following table summarizes some of the
  common formats:
  
     * BDF
  
       The Bitmap Distribution Format (BDF) is the standard format for
       distribution of fonts. It is an ASCII format so it can easily be
       edited it with your favourite editor or E-mailed to other users.
       As the name suggests, it stores bitmap fonts only.
  
       Another virtue of the BDF format is that most font format
       converters convert to or from this format. Means if you want to go
       from format A to format B, neither of which is BDF, then you are
       likely to convert A to BDF, then BDF to B.
  
       The BDF format is defined by Adobe.  A document describing the
       format is available by ftp from Adobe's file server at
       "[email-masked]".  It is also available in the standard X
       distribution.  Look under ../X11R4(5)/mit/hardcopy/BDF.  This
       document is also reproduced in any text describing the X standard.
  
     * SNF
  
       The Server Normal Format (SNF) is an older format for bitmap
       fonts. The format is X Server and host dependent.  This means that
       if you have two SNF files, their actual format may be different.
       Also, if you have an "snftobdf" utility, it may not be able to
       read font files from other systems.  Convert to BDF format before
       you move it off the host system.
  
       Snftobdf is one utility that can generate a BDF file from a SNF
       file.  It was part of the X11R4 contrib release.  To compile under
       X11R5, you need some of the X11R4 snf include files.
  
     * PCF
  
       The Portable Compiled Font (PCF) format is a binary format for
       bitmap fonts.  The binary contains sufficient information to be
       readable by other systems.
  
     * PHIGS
  
       These fonts are only applicable in PEX environments.  PHIGS fonts
       don't really have any relationship to the normal X font mechanism.
  
     * DWF
  
       The DECWindows Fonts (DWF) are bitmap fonts.
  
     * Intellifont
  
       These are HP scalable fonts.
  
     * PFA/PFB
  
       These are Adobe Type 1 PostScript fonts.
  
       They can be used in X11R5 based X servers and font servers because
       IBM has donated a renderer for this format to the X Consortium.
       The renderer can be found on the X11R5 contrib, and on
       export.lcs.mit.edu.
  
     * Speedo
  
       This is a format from Bitstream, Inc. Bitstream has also donated a
       font renderer to the X Consortium, and a couple of fonts.
  
       I have been told that in order to use commercial fonts from
       BitStream, you must patch the renderer somewhat to make it use the
       right decryption code for the font.
  
     * FB
  
       These are Sun X11/NeWS format bitmap fonts used by the Sun
       OpenWindows system.
  
       You can use "convertfont" which comes with OpenWindows to convert
       to/from BDF.
  
     * F3/F3B
  
       This is the scalable Sun Folio format, also used by OpenWindows.
  
       You can use "convertfont" to convert to (not from) BDF.
  
Subject: 9.4. X11 Font Server Information
  
  With X11 Release 5, the X Consortium has created a network-based
  standard font protocol. As a user of the X Window System, you have an X
  server on your desktop, which does the interface between the hardware
  (screen, mouse, keyboard), and the X network protocol. This X server
  needs fonts.  Before X11r5, the only way it could get to those fonts
  was to make font directories readable for the X server on that host,
  either by NFS-mounting or by copying.
  
  With the X Font Service protocol, you just tell your X server that it
  must use the services of a font server, which is a daemon process
  sitting on a host on your network. The font server is a program which
  talks a standardized protocol on the network, and which is capable of
  reading several font formats.
  
  The font server sources are modular, such that it is easy to add a
  renderer for an additional font format to the existing code. This is
  obviously also the intention: the X Consortium provides the core
  technology, and supposes that all systems vendors will add font
  renderers for their proprietary formats to the code, and then ship that
  to their customers.
  
  If you have a multi-vendor environment, then you are supposed to run a
  font server on every host that carries the font files. Then all of the
  X servers on your network can put all the fonts they need in their font
  path. Automatically, IBM fonts will be requested from the font server
  on an IBM host, DEC fonts from a DEC host, etc.
  
  Other benefits of using font server technology include the ability of
  the font server to implement caching, provide for fault-tolerant setup,
  etc.
  
  A final example of the good use of the font server is the combination
  of a font server with a Type 1 font renderer. As mentioned above, IBM
  donated a Type 1 font renderer which can easily be built into the X
  font server. As the Type 1 font format, and the ATM format are the same,
  it is perfectly possible to use commercial ATM fonts with the X Window
  System.
  
Subject: 9.5. Fonts and utilities for X11
  
  Here's a quick list of possible steps to get from "what you got" to X:
  
     * Mac format bitmaps:
  
       No idea.  If you know how to read a Mac format bitmap file on some
       other platform, please tell norm.
  
     * PC format bitmaps:
  
       Conversion to BDF is possible from TeX PK format and LaserJet
       softfont format.  Other conversions are also within the realm of
       possibility.  Feel free to ask norm for more information if you
       have a specific conversion in mind.
  
     * TeX PK format bitmaps:
  
       PKtoBDF gets us directly to BDF format from here.
  
     * Mac format postscript:
  
       Under MS-DOS, conversion to PC format postscript allows the font to
       be accessed with PS2PK (under *nix or MS-DOS).  See above for TeX
       PK to X conversions.
  
     * PC/Unix format PostScript
  
       Conversion to TeX PK with PS2PK allows you to get to BDF
       (indirectly).
  
     * XtoBDF, getbdf, FStoBDF
  
       XtoBDF and getbdf are two public-domain applications which are
       capable of asking an X server to give them all it knows about a
       given font. They then print the BDF representation of that font on
       stdout.
  
       You can use these if you have an X server that can read some font
       file, but nothing else can.
  
       FStoBDF is distributed with X11R5.
  
       If you use one of these programs, you may actually be converting a
       scalable font into a bitmap font, but converting a bitmap font to a
       scalable one is not currently possible.

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:44:01 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part12
Version: 2.0.1

Subject: 10. Utilities
  
  I have just started collecting information about font utilities.  I
  will gladly add any information that you can pass my way.  Please send
  your submissions to norm.
  
  I would appreciate it if you could include a paragraph or so of
  description and the appropriate site/filename for retrieval.
  
Subject: 10.1. PS2PK
  
  PS2PK is a utility for converting Type1 postscript fonts into TeX PK
  files.  The source code is distributed and it has been compiled for
  both *nix boxes and MS-DOS based machines.
  
  Here is the original announcement:
  
                            Ps2pk-1.2 available
                            -------------------
                                 (June 1992)
       
       Version 1.2 of ps2pk is now available on:
       ftp.urc.tue.nl (address: 131.155.2.79)
       directory:    /pub/tex
       files:        ps2pk12.README         (  1k)    This file
                     ps2pk12.tar.Z          (391k)    Sources
                     ps2pk386.zip           (232k)    MSDOS executables
                     utopia.tar.Z           (342k)    Adobe Utopia font family
                     courier.tar.Z          (207k)    IBM Courier font family
       
       For people having difficulties in handling UNIX `.tar.Z' format I
       have made some UNIX tools (only executables) available in:
       directories:  /pub/unixtools/dos
                     /pub/unixtools/vms
       
       See the system specific TARZ file for some help.
       
       Ftp.urc.tue.nl can not handle E-mail requests. But sites are free
       to put the ps2pk12 stuff on any server that can.
  
  When do you need ps2pk?
  =======================
  
  Ps2pk is a tool that converts a PostScript type1 font into a corres-
  ponding TeX PK font.  The tool is especially interesting if you want to
  use fully hinted type1 fonts in your DVI previewer (instead of the
  unhinted type1 fonts currently used in GhostScript) or on a printer
  that has no PostScript interpreter.
  
  In order to use the ps2pk generated fonts your driver and previewer need
  to support virtual fonts.  The reason is that PostScript fonts and TeX
  fonts do have a different font encoding and handle ligatures in a
  different way.  With virtual fonts the PostScript world (encoding +
  ligatures) can be mapped to the old style TeX world on which the current
  plain macro packages still are based (despite the fact that TeX3.0 can
  handle 8bits).
  
  It is also possible to use the ps2pk generated PK fonts directly
  
  In addition, a modified version of PS2PK exists on ibis.cs.umass.edu.  I
  have added some hacks to better support really large renderings and a
  primitive "range" facility.
  
Subject: 10.2. TeX Utilities
  
  There are many TeX font utilities.  For TeX related questions, I direct
  you to comp.text.tex or the Info-TeX mailing list.  I will happily list
  any utilities here that the comp.fonts public feels should be present.
  I am listing MetaFont because it is the obvious font-specific component
  of TeX and PKtoSFP because it allows anyone to use PS2PK to create
  LaserJet softfonts.
  
  Liam R. E. Quin is the original author of the MetaFont section.  It has
  been hacked at a bit by norm to make it fit the tone of the comp.fonts
  FAQ.  Assume that norm is responsible for any errors, not Liam.
  
  MetaFont
  ========
  
  About MetaFont:
  ---------------
  
  Metafont is a programming language for describing fonts.  It was
  written by Donald Knuth and is documented in
  
         Computers & Typesetting/C: The METAFONTbook
         Knuth, Donald E.
         Addison Wesley, 1986
         ISBN 0-201-13445-4, or 0-201-13444-6 (soft cover)
         Library access: Z250.8.M46K58, or 686.2'24, or 85-28675.
  
  A font written in MetaFont is actually a computer program which, when
  run, will generate a bitmap (`raster') for a given typeface at a given
  size, for some particular device.
  
  What do you need in order to use the fonts:
  -------------------------------------------
  
  You cannot print the MetaFont fonts directly (unless you want a listing
  of the program, that is).  Instead, you must generate a bitmap font and
  use that to print something.
  
  If you are using TeX, the sequence of steps is something like this:
  
  MF to MetaFont to GF
       Convert a MetaFont program into a bitmapped font.  Also produces a
          TFM file.
  
  MF to MetaFont to TFM
       Covnert a MetaFont program into a TFM file.  Also produces     a
       GF bitmapped font.
  
  GF to GFtoPK to PK
       Convert a GF bitmapped font into a compressed PK font.
  
  TEX + TFM to TeX to DVI
       Produce a device independent output file.
  
  DVI + PK to dvi driver to output format
       Produce a device-specific output file (or preview).
  
  The above steps are idealized.  In reality, you have to make sure that
  the fonts get installed in the correct places and you may have to
  adjust description files, etc.  The friendly folks on comp.text.tex can
  probably get it staightened out for you if you can't find a local guru.
  
  If you are not using TeX, it's almost impossible to predict.  At some
  point in the above sequence, you'll insert some other conversion
  program and proceed differently.  Here, for example, is how you might
  use TeX fonts with WordPerfect and a LaserJet printer.
  
  PK to PKtoSFP to SFP
       Convert a TeX PK file into an HP LaserJet softfont.
  
  SFP to SFP2Auto to TFM
       Make HP AutoFont Tagged Font Metric file.
  
  SFP + HP AutoFont TFM to PTR to Installed in WP
       Install the new font in WordPerfect.
  
  Use WordPerfect as you normally would.
  
Subject: 10.3. MFPic
  
  MFpic is a macro package for including pictures in TeX documents.  The
  idea behind this package is to have Metafont do the actual drawing, and
  store the pictures in a font that TeX can include in the document.  The
  macros have been designed so that the user should never have to learn
  Metafont to use these macros--the TeX macros actually write the
  Metafont file for you.
  
Subject: 10.4. fig2MF
  
  Briefly, fig2MF uses the mfpic macros to create formatted, commented MF
  code from the fig graphics language. This means that programs like xfig
  can be used as interactive font creation tools. I wrote fig2MF so that
  I could portably illustrate TeX documents, but I suppose one could use
  it to design letterforms as well.
  
  The package consists of a single C source code file, modified mfpic
  macros, documentation, and sample fig files.  It is available at the
  shsu archives.
  
Subject: 10.5. GNU Font Utilities
  
  Here is a brief description of the programs included:
  
     * imageto extracts a bitmap font from an image in PBM or IMG format,
       or   converts the image to Encapsulated PostScript.
  
     * xbfe is a hand-editor for bitmap fonts which runs under X11.
  
     * charspace adds side bearings to a bitmap font.
  
     * limn fits outlines to bitmap characters.
  
     * bzrto converts a generic outline font to Metafont or PostScript.
  
     * gsrenderfont renders a PostScript outline font at a particular
       point   size and resolution, yielding a bitmap font.
  
     * fontconvert can rearrange or delete characters in a bitmap font,
       filter them, split them into pieces, combine them, etc., etc.
  
     * imgrotate rotates or flips an IMG file.
  
  We need volunteers to help create fonts for the GNU project.  You do not
  need to be an expert type designer to help, but you do need to know
  enough about TeX and/or PostScript to be able to install and test new
  fonts.  Example: if you know neither (1) the purpose of TeX utility
  program `gftopk' nor (2) what the PostScript `scalefont' command does,
  you probably need more experience before you can help.
  
  If you can volunteer, the first step is to compile the font utilities.
  After that, contact me [ed: Karl Berry] ([email-masked]).  I will
  get you a scanned type specimen image.  The manual explains how to use
  these utilities to turn that into a font you can use in TeX or
  PostScript.
  
  You can get the source by ftp from any GNU archive site.
  
  You can also order tapes with GNU software from the Free Software
  Foundation (thereby supporting the GNU project); send mail to
  [email-masked] for the latest prices and ordering information, or
  retrieve the file DISTRIB from a GNU archive.
  
Subject: 10.6. Font Editors
  
     * Editors for BDF fonts
  
       There is a bdf font editor that comes with HP/Apollo workstations.
       It's called 'edfont'.  It's not the best but it works.
  
       Gary reports:
  
       The standard X distribution for X11R5 contains "xfed", which
       allows you to play with BDF fonts.  "xfedor" has a more elaborate
       user interface, and is available on most contrib directories.
  
       The last time I tried:
  
       "xfedor" couldn't handle BDF files with more than 256 characters.
  
       "xfed" aborts if the BDF file contains a COMMENT line with no other
       text.  The workaround is to edit the BDF file, to put text after
       the word COMMENT.  A single blank space is sufficient.  For some
       reason, the standard BDF files included in the X release contain
       blank spaces on the otherwise empty COMMENT lines.  It was
       probably easier to add the space to the COMMENT lines of every BDF
       file than it was to fix the lex code for xfed.  :-)
  
     * Editors for PK fonts
  
       The GNU font utilities include an X-based editor called Xbfe which
       edits bitmapped fonts under X.
  
       Eberhard Mattes' emTeX includes PKedit.
  
Subject: 10.7. The T1 Utilities
  
  This is a snippet from the README file for I. Lee Hetherington's
  t1utils package:
  
  t1utils is a collection of simple type-1 font manipulation programs.
  Together, they allow you to convert between PFA (ASCII) and PFB
  (binary) formats, disassemble PFA or PFB files into human-readable
  form, reassemble them into PFA or PFB format.  Additionally you can
  extract font resources from a Macintosh font file (ATM/Laserwriter).
  
Subject: 10.8. Where to get bitmap versions of the fonts
  
  There are archives containing the bitmaps of many of these fonts at
  various sizes and resolutions.  The fonts must have been generated for
  the correct print engine: e.g. write-white or write-black.  The
  archives generally hold only the sizes used by TeX.  These are
  `magstep' sizes, and are not exact point sizes.  It is probably better
  to generate them from the Metafont sources yourself if you can.
  
  The best place to look for raster fonts was almost certainly:
  mims-iris.waterloo.edu
  
  but it isn't any more, the fonts have all gone.  Let me know if you
  find them elsewhere.  Most people seem to have moved to using
  PostScript fonts or Bitstream ones instead now.
  
  Some other sites are:
  
         ctrsci.math.utah.edu (128.110.198.1)
         science.utah.edu (128.110.192.2)
         ymir.claremont.edu (134.173.4.23)
  
  The occasional posting of ftp sites to comp.misc and comp.archives
  lists these and several other sites.
  
Subject: 10.9. Converting between font formats
  
  Conversions to and from pbm and pk format were posted to comp.text.tex
  and to alt.sources on the 9th of August, 1990 by Angus Duggan.  The
  program is pbmtopk, and there are also at least two patches.
  
  Chris Lewis' psroff package includes a program to go from pk both to
  the HP LaserJet and to PostScript.
  
  John McClain <[email-masked]> has some conversion programs for
  various graphics formats to/and from pk files.
  
  A PC program, CAPTURE, turns HPGL files into PK format, US$130 from
  Micro Programs Inc., 251 Jackson Ave., Syosset, NY 11791 U.S.A.
  
  Metaplot can take pen-plotter files and prouce metafont files.  Note:
  Pat Wilcox is no longer at Ohio State.
  
  Kinch Computer Company sell .pk fonts derived from PostScript fonts.
  Kinch Computer Co., 501 S. Meadow St.Ithaca, NY 14850 U.S.A.
  telephone: +1 607 273 0222; fax: +1 607 273 0484
  
Subject: 10.10. Getting fonts by FTP and Mail
  
  If you are using ftp, you will need either the name of the host or the
  Internet number.  For example, to connect to ymir, listed as ftp:
  ymir.claremont.edu [134.173.4.23] you will need to type something like
  
                          ftp ymir.claremont.edu
  
  If that doesn't work, try using the number:
  
                             ftp 134.173.4.23
  
  If that doesn't work, on Unix systems you can use nslookup (it's
  usually /usr/etc/nslookup) to find the host number - it might have
  changed.  Type the entire host name, and after a few seconds nslookup
  will give you the address.  Of course, if you have nslookup installed,
  the first form will probably work...
  
  Once you have connected, you will need to go to the appropriate
  directory, lists its contents, and retrieve the files.
  
  Most of the machines listed here run Unix, and you use "ls" and "cd" to
  list files and to change directories.  Ymir runs VMS, and you will have
  to put square brackets around directory names, like [this].
  
  Remember that although Metafont sources are text files, pk fonts are
  not ASCII, and you will have to use binary mode for them.  In general,
  use text mode for README files and *.mf files, and binary mode for
  other font files.  Files ending in .Z are compressed binary files - you
  will need to use binary mode, and then uncompress the files when you
  get them.
  
  You can get files from ymir by sending mail messages to
  
                        [email-masked]
  
  For example,
  
                       send [tex.mf.misc]cmapl10.mf
  
  will get the file cmapl10.mf from the directory "tex.mf.misc".  You
  can't get binary files in this way.
  
  There is an ftp-by-mail BITNET service, BITFTP, for BITNET users.
  
  Before getting large files by mail, please remember to get permission
  from all intervening sites.  Ask your site administrator, who can send
  mail to Postmaster at each site on the way if necessary.
  
Subject: 10.11. MetaFont to PostScript Conversion
  
  There are (I believe) two programs that perform this task.  At least
  one of them is called "mf2ps".  If you have any more information about
  these tools, please let me know.
  
  Chang Jin-woong reports that he found the "mf2ps" package with Archie.
  It is written by Shimon Yanai <[email-masked]> and Daniel M.
  Berry <[email-masked]>. The source programs are written in
  Pascal.
  
Subject: 10.12. How to use Metafont fonts with Troff
  
  If, when you run troff, you get the message `typesetter busy', you have
  the original Ossanna-troff, also called otroff.  Chris Lewis has a
  package which will let you use TeX fonts with troff - it's called
  psroff, and comes with documentation.
  
         ftp: gatekeeper.dec.com (16.1.0.2) pub/misc/psroff-3.0
         ftp: ftp.cs.toronto.edu [128.100.1.105] pub/psroff-3.0/*
  
  If, when you run troff, you get something like this:
  
         x T 300
         x res 300 1 1
  
  you have ditroff.  This is sometimes called titroff or psroff.  In this
  case, you will probably need to do the following:
  
    1. convert the font to your printer's format
  
    2. generate a width table for the font
  
    3. add the font to the DESC file for the appropriate device
  
    4. arrange for troff to download the font
  
    5. tell troff about the font by running `makedev DESC' in the
       right place.
  
  If, when you run troff, you get something like this:
  
         X hp(SCM)(CM)(AF)(AD) 300 1 1
         Y P default letter 2550 3300 0 0 90 90 2460 3210
  
  you have sqtroff:
  
    1. convert the font to your printer's format
  
    2. generate a width table for the font
  
    3. add the font to the DESC file for the appropriate device
  
    4. put the font in the appropriate raster directory
  
    5. tell sqtroff about the font by running `sqmakedev DESC' or
       `sqinstall'.
  
  In each case, you should be able to get help from your vendor.
  
  Note that Chris Lewis' psroff package has software to make width tables
  for troff from pk files.
  
Subject: 10.13. PKtoBDF / MFtoBDF
  
  From the SeeTeX distribution, programs to help previewers under X11.
  They convert TeX PK files into X11 BDF fonts (which can be further
  converted into one or more server native formats).
  
Subject: 10.14. PKtoPS
  
  Included in the psroff distribution, this utility converts PK fonts
  into PostScript fonts (bitmaps, I presume).  If you have any more
  information about these tools, please let me know.
  
Subject: 10.15. PKtoSFP / SFPtoPK
  
  Convert fonts from TeX PK format to HP LaserJet softfont (bitmap)
  format.
  
Subject: 10.16. PostScript to MetaFont
  
  ps2mf started out as a way of creating bitmaps via MF for TeX. Only,
  when I had just finished it, Piet Tutelaers came with ps2pk. This was a
  far superior way runtime-wise. He uses the IBM X11-R5 fontutilities
  library, which is extremely ugly code. But, it works. So, to generate
  bitmaps, I suggest everyone use ps2pk.
  
  To generate a MF outline description, ps2mf is *the* tool. Yannis
  Haralambous has just started a project where he wants to create
  meta-ized fonts for MF from Postscript descriptions. ps2mf does the
  basic conversion. This project wants to revive the use of MF for it is
  a truly beautiful program with enormous possiblities.
  
  The following information comes from the README file for ps2mf:
  
  This is pfb2mf. It is a copyleft program. See the file COPYING for more
  details. I suggest that for the translation of Type-One to readable
  PostScript you use I. Lee Hetherington's Type-1-Utils. You can find
  these somewhere on obelix.icce.rug.nl in pub/erikjan.
  
  If you find any bugs, please do report.
  
  If you have any complaints, please do report.
  
  Now for some info about the different stages. This package contains
  four programs:
  
     * pfb2pfa
  
     * pfa2chr
  
     * chr2ps
  
     * ps2mf
  
  pfb2pfa
  =======
  
  pfb2pfa will decompress an IBM (!) Postscript type 1 fontfile into
  readable           and downloadable hexadecimal data.
  
  The resulting file still contains two layers of encryption:
  
     * eexec encryption
  
     * charstring encryption
  
  pfa2chr
  =======
  
  pfa2chr will do an eexec-decryption of a readable hexadecimal font file
  to a   fontfile with encrypted charstrings.
  
  chr2ps
  ======
  
  chr2ps will perform a charstring-decryption of a font file with
  encrypted   charstrings to fontfile with postscript commands for type 1
  fonts.
  
  With a "-" as filename, these programs will read from <stdin> and write
  to <stdout>. This way you can pipe the results, as in:
  
         pfb2pfa garmnd - | pfa2chr - - | chr2ps - garmnd
  
  This will create a garmnd.ps from garmnd.pfb without explicitely
  creating the intermediate files.
  
  These previous stages can be replaced by (when using Lee Hetherington's
  type-1-utils):
  
  t1disasm garmnd.pfb garmnd.ps
  
  ps2mf
  =====
  
  This last stage will convert to a MetaFont program with the use of the
  corresponding .afm file and a mapping configuration file. It can
  convert   to an ordinary form with Bezier controlpoints. It can also
  generate a curl   specification. For this last option specifify -C.
  
Subject: 10.17. Mac Bitmaps to BDF Format
  
  I [ed: who?] have posted a program which I hacked together for
  extracting all NFNT and FONT resources from a MacBinary form of a
  standard Mac file and dumping the fonts as Adobe BDF files.  It has only
  been compiled and tested on a Sun system to date.  It can be fetched
  from METIS.COM, /pub/mac2bdf.c.
  
  I wrote this tool to be able to use Mac Bitmaps under X Windows and
  OpenWindows (which take Adobe BDF format files).

---

From: [email-masked] (Norman Walsh)
Date: 16 Aug 1993 18:44:02 GMT

Posted-By: auto-faq 2.4
Archive-name: fonts-faq/part13
Version: 2.0.1

Subject: 11. Vendor Information
  
  Masumi Abe contributed the following list of commercial font vendors.
  Since a number of people have suggested other vendors for fonts (both
  commercial and shareware), I have taken the liberty of merging those
  suggestions into a single vendor list.  If there are any errors in the
  following list, please blame norm, not Masumi.
  
  I've made some effort to continue Masumi's annotations regarding
  available font types, platforms, and languages.  Innacuracies and
  ommisions are both present and accidental.  Updates are always welcome.
  
       Acorn Plus, Inc.                (HP/IBM)
       4219 W. Olive Ave. #2011
       Burbank, CA 91505
       (213) 876-5237
  
       Achtung Entertainment           TrueType (shareware) for Macs, 300+ fonts.
       508 N. College Ave. #215        HyperCard demo disk $3.00 (refundable/order)
       Bloomington, IN 47404
       no phone number
  
       ADH Software                    (Mac)
       P.O. Box 67129
       Los Angeles, CA 90067
  
       Adobe Systems Incorporated      : The Adobe Typeface Library (Mac)
       1585 Charleston Rd.                     (Mac) (HP/IBM)
       P.O. Box 7900
       Mountain View, CA 94039-7900
       (415) 961-4400
       (800) 344-8335
  
       Advanced Vision Research        (HP/IBM)
       2201 Qume Dr.
       San Jose, CA 95131
       (408) 434-1115
  
       Agfa Division, Miles Inc.         : CG Type
       90 Industrial way
       Wilmington, MA 01887
       (800) 424-TYPE
  
       Allotype Typographics           : Downloadable Fonts (Mac)
       1600 Packard Rd. Suite #5         Kadmos (Greek)
       Ann Arbor, MI 48104               Czasy & Szwajcarskie
       (313) 663-1989                    Demotiki
  
       Alphabets, Inc.
       P.O. Box 5448
       Evanston, IL 60204-5448
       (312) 328-2733
  
       Alphatype Corp.
       220 Campus Dr., Suite 103
       Arlington Heights, IL 60004
       (312) 259-6800
  
       Altsys Corporation,         : FONTastic Fonts, Fontographer Fonts (Mac)
       269 West Renner Road,
       Richardson,
       Texas 75080.
       (214) 680-2060.
  
       Artworx Software Co.            (Mac)
       1844 Penfield Rd.                 Hebrew Typefaces
       Penfield, NY 14526
       (716) 385-6120
       (800) 828-6573
  
       Architext, Inc.                 (HP/IBM)
       121 Interpark Blvd. Suite 1101
       San Antonio, TX 78216
       (512) 490-2240
  
       Asiagraphics Technology Ltd.    (Mac)
       9A GreatMany Centre               Chinese, Japanese, Korean, Thai
       109 Queen's Road East
       Wanchai, Hong Kong
       (5) 8655-225
       Fax: (5) 8655-250
       Modem: (5) 865-4816
  
       Autologic, Inc.                 (Mac)
       1050 Rancho Conejo Blvd.
       Newbury Park, CA 91320
       (805) 498-9611
  
       Bear Rock Technologies,
       4140 Mother Lode,
       Shingle Springs,
       California 95682-8038.
       (916) 672-0244
  
       Berthold of North America
       7711 N. Merrimac Avenue
       Niles, IL 60648
       (312) 965-8800
  
       Bitstream, Inc.
       Athenaeum House
       215 First St.
       Cambridge, MA 02142
       (617) 497-6222
       (800) 237-3335
       
         A representative of Bitstream sent the following correction to me.
       
         Bitstream offers:
       
                 **1100 PostScript Type 1 fonts for the Mac & PC. (These can
                 be ordered direct from Bitstream or thru several resellers.)
                 ** Bitstream Type Treasury -- the Bitstream Type Library for
                 the Mac (Type 1 format) on CD ROM.
       
                 ** Bitstream Type Essentials--a series of 4 Typeface
                 Packages for PC & Mac that were selected to work well for
                 different jobs (Letters, Memos & Faxes; Newsletters,
                 Brochures & Announcements; Spreadsheets, Graphs &
                 Presentations; Headlines).
       
                 **Bitstream Typeface Packages for the PC -- 52 packages
                 (most with 4 faces each) that include a total of over 200
                 faces, with mutiple font formats in each package (Bitstream
                 Speedo, Type 1, Bitstream Fontware)
       
                 ** Bitstream TrueType Font Packs 1 & 2 for Microsoft Windows
                 ** Bitstream PostScript Font Packs 1 & 2 for the PC
                 ** Bitstream FaceLift for Windows
                 ** Bitstream FaceLift for WordPerfect
                    - both are font scaling/font management utilities.
       
                 ** Bitstream MakeUp for Windows - a type manipulation/
                 special effects program.
       
                 ** Bitstream Li'l Bits -- a new product line of novelty
                 fonts in TrueType format for Windows 3.1. The first release
                 began shipping last week and includes The Star Trek Font
                 Pack, The Flintstones Font Pack and The Winter Holiday Font
                 Pack.
       
                 We offer OEM customers an extensive range of non-latin type
                 (as you have noted in the current listing), but these faces
                 are not currently available to individual end-users.
       
                 We also offer font-scaling and rasterizing technology to
                 OEM customers.
  
       Blaha Software/Janus Associates : Big Foot (Mac) (HP/IBM)
       991 Massachusetts Ave.
       Cambridge, MA 02138
       (617) 354-1999
  
       Blue Sky Research               : Computer Modern Fonts
       534 SW Third Avenue, #816
       Portland, OR  97204
       (800) 622-8398
  
       Canon                             Canon Font Gothic, Canon Font Mincho
  
       Casady & Greene, Inc.           : Fluent Fonts, Fluent Laser Fonts (Mac)
       26080 Carmel Rancho Blvd. #202    Russian/Ukranian/Bulgarian/Serbian
       P.O. Box 223779                   Cyrillic, Greek, Hebrew, Kana, Polish
       Carmel, CA 93922                  Glasnost
       (408) 484-9228
       (800) 331-4321 -------------no longer valid
       (800) 851-1986 (California)-no longer valid
  
       Caseys' Page Mill               (Mac)
       6528 S. Oneida Court
       Englewood, CO 80111
       (303) 220-1463
  
       Century Software (MacTography)  font developer for MacTographyc
       702 Twinbrook Parkway           : LaserFonts (Mac)
       Rockville, MD 20851
       (301) 424-1357
  
       Coda Music Software
       1401 E. 79th St.
       Mineapolis, MN 55425-1126
       (612) 854-1288
       (800) 843-1337
  
       Compugraphic Corporation        (Mac) (HP/IBM)
       Type Division
       90 Industrial Way
       Wilmington, MA 01887
       (800) 622-8973 (U.S.)
       (800) 533-9795 (Canada)
  
       Computer EdiType Systems        (HP/IBM)
       509 Cathedral Parkway, Ste. 10A
       New York, NY 10025
       (212) 222-8148
  
       Computer Peripherals, Inc.      : JetWare (HP/IBM)
       2635  Lavery Ct. #5
       Newbury Park, CA 91320
       (805) 499-5751
  
       Computer Prod. Unlimited        (Mac)
       78 Bridge St.
       Newburgh, NY 12550
       (914) 565-6262
  
       Conographic Corp.               (Mac) (HP/IBM)
       17841 Fitch
       Irvine, CA 92714
       (714) 474-1188
  
       Corel Systems Corp.             (HP/IBM)
       1600 Carling Ave.
       Ottawa, Ontario, CANADA KIZ 7M4
       (613) 728-8200
  
       Data Transforms                 (HP/IBM)
       616 Washington St.
       Denver, CO 80203
       (303) 832-1501
  
       Davka Corp.                     (Mac)
       845 N. Michigan Ave., Ste. 843    Arabic, Hebrew
       Chicago, IL 60611
       (312) 944-4047
  
       Devonian International software Co.     (Mac)
       P.O. Box 2351                             Cyrillic
       Montclair, CA 91763
       (714) 621-0973
  
       Digi-Fonts                      (HP/IBM)
       528 Commons Drive                Greek, Cyrillic
       Golden, Colorado 80401
       (303) 526-9435
       Fax: (303) 526-9501
  
       Digital Type Systems (DTS)      (HP/IBM)
       38 Profile Circle
       Nashua, NH 03063
       (603) 880-7541
  
       Dubl-Click Software, Inc.       : World Class Fonts (Mac)
       9316 Deering Ave.
       Chatsworth, CA 91311
       (818) 700-9525
  
       Eastern Language Systems, Inc.  (Mac)
       39 W. 300 North                 Arabic, Hebrew
       Prove, UT 84601
       (801) 377-4558
  
       Ecological Linguistics          (Mac)
       P.O. Box 15156                  Cyrillic, Greek
       Washington, DC 20003
       (202) 546-5862
  
       The Electric Typographer
       2216 Cliff Dr.
       Santa Barbara, CA 93109
       (805) 966-7563
  
       EmDash                          : EmDash Fonts (Mac)
       P.O. Box 8256
       Northfield, IL 60093
       (312) 441-6699
  
       The Font Company
       12629 N. Tatum Boulevard
       Suite 210
       Phoenix, AZ  85032
       (602) 996-6606
  
       The Font Factory                (HP/IBM)
       2400 Central Parkway
       Ste. J-2
       Houston, TX 77092
  
       FontCenter                      (HP/IBM)
       509 Marin St., #121
       Thousand Oaks, CA 91360
       (805) 373-1919
  
       Font FunHouse CD-ROM            (PC/Mac)
       Wayzata
       PO Box 807
       Grand Rapids, Minnesota 55744
       (800) 735-7321
  
       FontHaus is a manufacturer of typefaces and a licensed reseller for
       Adobe, Monotype, Bitstream, Elsner+Flake, Giampa Textware,
       Treacyfaces, Panache Graphics, and others around the world.
  
       FontHaus discounts most Adobe fonts up to 40% off list price, and
       have CD-ROM discs available so you can buy individual fonts instead
       of entire families. All their fonts are available in Macintosh Type
       1; most are also available in PC format; and a growing number are in
       TrueType format. In addition, some type manufacturers support other
       platforms through thier CD-ROM font libraries (i.e. Monotype for Mac,
       PC, or NeXT). Contact them regarding availability for the fonts and
       formats you want.
  
       FontHaus ships internationally and also has several agents overseas,
       although these agents may not have everything available as the main
       office here in the US.
       
               FontHaus Inc                    (United States)
               15 Perry Avenue, A7
               Norwalk CT 06850
               203 846 3087
               203 849 8527 Fax
       
               Rhyscon Systems                 (Canada)
               PO Box 245 Clarkson PO
               Mississauga Ontario L51 3Y1
               416 278 2600
               416 278 3298 Fax
       
               TypoGabor                       (France)
               5, rue de 8 Mai 1945
               92586 Clichy (Paris)
               33 1 4739 6600
               33 1 4739 0638 Fax
       
               Elsner+Flake Fontinform GmbH    (German)
               Billstrasse 103
               2000 Hamburg 26
               40 789 2608
               40 789 1217 Fax
       
               Signus Limited                  (Britain)
               South Bank TechnoPark
               90 London Road
               London SE1 6LN
               71 922 8805
               71 261 0411 Fax
       
               Font Bolajet                    (Sweden, Finland, Norway)
               Kungstengaten 18
               113 57 Stockholm
               46.8.16.81.00
  
       Font World                      (Mac)
       2021 Scottsville Rd.            Cyrillic, Hebrew
       Rochester, NY 14623-2021
       (716) 235-6861
  
       Genny Software R&D              (Mac)
       P.O. Box 5909
       Beaumont, TX 77706
       (409) 860-5817
  
       Gradco Systems Inc.
       7 Morgan
       Irvine, CA 92718
       (714) 770-1223
  
       Hewlett-Packard                 (HP/IBM)
       P.O. Box 15
       Boise, ID 83707
       (208) 323-6000
  
       ICOM Simulations, Inc.
       648 S. Wheeling Rd.
       Wheeling, IL 60090
       (312) 520-4440
       (880) 877-4266
  
       Image Club Graphics, Inc.       : Laser Type (Mac)
       1902 11th Street SE, #5
       Calgary, Alberta
       T2G 3G2 Canada
       (800) 661-9410
       (403) 262-8008 (Canada)
  
       Image Processing Systems        :Turbofonts (HP/IBM)
       6409 Appalachian Way, Box 5016
       Madison, WI 53705
       (608) 233-5033
  
       Invincible Software             (Mac)
       9534 Burwick
       San Antonio, TX 78230
       (512) 344-4228
  
       Kabbalah Software
       8 Price Drive
       Edison, NJ 08817
       (908) 572-0891
       (908) 572-0869 Fax
  
       Hebrew fonts for PC and Mac. While I am part owner, so I am biased, we
       have been reviewed in the October 27 1992 issue of PC Mag as having high-
       quality fonts.
  
       Keller Software                 (HP/IBM)
       1825 Westcliff Dr.
       Newport Beach, CA 92600
       (714) 854-8211
  
       Kensington Microware Ltd.       (Mac)
       251 Park Ave. S
       New York, NY 10010
       (212) 475-5200
  
       Kingsley/ATF Type Corp.         (Mac)
       200 Elmora Ave.
       Elizabeth, NJ 07202
       (201) 353-1000
       (800) 289-TYPE
  
       Laser Technologies International        : Lenord Storch Soft Fonts
       15403 East Alondra Blvd.                        (HP/IBM)
       La Mirada, CA 90638
       (714) 739-2478
  
       LaserMaster Corp.               : LM Fonts (HP/IBM)
       7156 Shady Oak Rd.
       Eden Prairie, MN 55344
       (612) 944-9330
       (800) LMC-PLOT
       Fax: (612) 944-0522
  
       LeBaugh Software Corp           : LeFont (HP/IBM)
       2720 Greene Ave.
       Onaha, NE 68147
       (800) 532-2844
  
       Letraset USA                    : LetraFont (Mac)
       40 Eissenhower Dr.
       Paramus, NJ 07653
       (201) 845-6100
       (800) 634-3463
  
       Linguists' Software, Inc.       (Mac)
       P.O.Box 580                     Cyrillic, Greek, Hebrew, Arabic, Farsi,
       Edmonds, WA 98020-0580          Japanese, Chinese, Korean, Thai,
       Tibetan,
       (206) 775-1130                  Hindi, Sanskrit, Gujarati, Tamil,
       Punjabi
       Fax: (206) 771-5911             Burmese,
  
       Linotype Company                (Mac)
       425 Oser Ave.
       Hauppauge, NY 11788
       (800) 645-5764 (US)
       (800) 832-5288 (NY)
       (800) 387-9553 (Canada)
  
       MacTography
       326-D North Stonestreet Ave.
       Rockville, MD 20850
       (301) 424-3942
  
       Megatherium Enterprises         : Mac The Linguist 2 (Mac)
       P.O. Box 7000-417
       Redondo Beach, CA 90277
       (213) 545-5913
  
       Metro Software, Inc.            (HP/IBM)
       2509 N. Cambell Ave., Ste. 214
       Tucson, AZ 85719
       (602) 299-7313
  
       Modern Graphics                 :Organic Fonts (Mac)
       P.O. Box 21366
       Indianapolis, IL 46221
       (317) 253-4316
  
       Monotype Typography Inc.
       Suite 504-53 West Jackson Blvd.
       Chicago, IL 60604
       (312) 855-1444
       (800) MONOTYPE
  
       Network Technology Corp.        : LaserTEX Font Library (HP/IBM)
       6825 Lamp Post Lane
       Alexandria, VA 22306
       (703) 765-4506
  
       Nippon Information Science Ltd. (NIS)   (Mac)
       Sumire Bldg. 4F
       5-4-4 Koishikawa
       Bunkyo-ku, Tokyo 112
       Japan
       (03) 945-5955
  
       Olduvai Corporation             : Art Fonts (Mac)
       7520 Red Road, Suite A
       South Miami, FL 33143
       (305) 665-4665
       (800) 822-0772 (FL)
  
       Page Studio Graphics            : PIXymbols (Mac)
       3175 N. Price Rd. #1050
       Chandler, AZ 85224
       (602) 839-2763
  
       Paperback Software              : KeyCap Fonts
       2830 9th St.
       Berkeley, CA 94710
       (415) 644-2116
  
       Prosoft                         (HP/IBM)
       7248 Bellair Ave., P.O. Box 560
       North Hollywood, CA 91605
       (818) 764 3131
  
       Qume Corp.                      (HP/IBM)
       2350 Qume Dr.
       San Jose, CA 95131
       (800) 223-2479
  
       R.M.C.                          : PrintR fonts (HP/IBM)
       12046 Willowood Dr.
       Woodbridge, VA 22192
       (703) 494-2633
  
       Richard Beatty Designs              : He does wonderful work with otherwise
       2312 Laurel Park Highway            : unavailable Goudy typefaces, borders,
       Hendersonville, North Carolina 28739: ornaments, custom fonts, etc.
       (704) 696-8316
  
       S. Anthony Studios              : Fonts Vol. 1
       889 DeHaro Street
       San Francisco, CA  94107
  
       ScenicSoft Inc.                 : PC-Monochrome (Mac)
       250 Harbor Bldg.
       100 2nd Ave. S
       Edmonds, WA 98020
       (206) 776-7760
  
       SMK                             (Mac)
       5760 S. Blackstone Ave.
       Chicago, IL 60637
       (312) 947-9157
  
       SoftCraft, Inc.                 : Fancy Font (HP/IBM)
       16 North Carrol St., Suite 500
       Madison, WI 53703
       (608) 257-3300
  
       SoftDisk Publishing             : DTPublisher Fonts
       P.O. Box 30008
       Shreveport, LA 71130-0008
       (318) 221-8718 or
       (800) 831-2694
  
       Software Apple-cations          (Mac)
       1934 Ridge Point Way
       Boise, ID 83712
       (208) 345-0547
  
       Software Complement             : Complementary Type (Mac)
       8 Penn Ave.
       Metamoras, PA 18366
       (717) 491-2492
  
       Software Shop                   : Studio 231 (Mac)
       233 Bedford Ave.
       Bellmore, Long Island, NY 11710
       (516) 785-41447
  
       Software Touch                  : FontWorks
       9625 Black Mountain Rd.
       San Diego, CA 92126
       (619) 549-3091
  
       Specific Solutions              : FontPacks (Mac) (HP/IBM)
       1898 Anthony Ct.
       Mountain View, CA 94040
       (415) 941-3941
  
       Springboard Software, Inc.
       7808 Creekridge Circle
       Minneapolis, MN 55435
       (612) 944-3915
       (800) 445-4780 (US & Canada)
  
       Straightforward                 : ZFont (HP/IBM)
       15000 Halldale Ave.
       Gardena, CA 90249
       (213) 324-8827
  
       Studio 231, Inc.
       231 Bedford Ave.
       Bellmore, NY 11710
       (516) 785-4422
  
       SWFTE International             (HP/IBM)
       Box 5773
       Wilmington, DE 19808
       (800) 237-9383
  
       T/Maker Company                 : LaserLetters (Mac)
       1390 Villa St.
       MountainView, CA 94041
       (415) 962-0195
  
       Treacyfaces, Inc                : Treasyfaces (Mac)
       303 Conway Ave.
       Narverth, PA 19072
       (215) 668-8548
  
       Trilithon Software,
       Two Ohlone,
       Portola Valley,
       California 94028
       (415) 325 0767.
       [email-masked]
  
       TypeXpress
       150 Fencl Lane
       Hillside, IL 60162
       (800) 343-4424
  
       Typographics Ltd.               : Typo
       46, Hehalutz St.
       Jerusalem 96222
       Israel
  
       U-Design, Inc.                  : Type Foundry
       201 Ann St.
       Hartford, CT 06102
       (201) 278-3648
  
       The Underground Phont Archive   (TrueType,Shareware)
       395 Kaymar Dr.
       Amherst, NY 14228
       USA.
  
       Varityper, Inc.                 (Mac)
       11 Mt. Pleasant Ave.
       East Hanover, NJ 07936
       (800) 631-8134 (US except NJ)
       (201) 887-8000 ext. 999 (NJ)
  
       VS Software                     (HP/IBM)
       P.O. Box 6158
       Little Rock, AR 72216
       (501) 376-2083
  
       Weaver Graphics                 : LJ Fonts (Mac) (HP/IBM)
       5165 S. Hwy A1A
       Melbourne Beach, FL 32951
       (407) 728-4000
       Fax: (407) 728-5978
  
       Wikes Publishing Corp.          : Softjet (HP/IBM)
       25251 Paseo de Alicia #200
       Laguna Hills, CA 92653
       (714) 855-0730
  
       Wu Corp.                        : FeiMa (Mac) Chinese wordprocessor
       46 West Avon Rd.
       Avon, CT 06001
       (203) 673-4796
  
       Xiphias                         : Digital Type Fonts (HP/IBM)
       13464 Washington Blvd.
       Marina Del Ray, CA 90292
       (213) 821-0074
  
       Y&Y, Inc.                       : The ``TeX without bitmaps'' people
       106 Indian Hill                 : Technical typesetting & fonts for same
       Carlisle, MA 01741
       (508) 371-3286
       Fax: (508) 371-2004
  
       ZSoft Corp.                     : Soft Type
       450 Franklin Rd. Suite 100
       Marietta, GA 30067
       (404) 428-0008
       Fax: (404) 427-1150