Internet Surfer 2.0/Internet Surfer 2.0 (Wayzata Technology) (1996).iso/pc/text/mac/faqs.277

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Frequently Asked Questions (FAQS);faqs.277



   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 intercharacter spacing,
   and interline 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 preprietary, 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 matrics') 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]---------------------------------------------------------*

2. 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 <[e-mail]> (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 XArchie implementation.

   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/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 <[e-mail]> 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 <[e-mail]>.   Masumi is
   Adobe's Manager of Typographic Marketing for Asia. [ed: as of 7/92]

   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.

3. 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
   <[e-mail]> suggests that Linguists' Software is the current [ed: as
   of 7/92] leading supplier of non-Roman fonts.

4. 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].

   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):

   From                       To                         Notes
   -------------------------  -------------------------  -------------
   Mac Type1 PostScript       PC Type1 PostScript        MS-DOS
   PC Type1 PostScript        Mac Type1 PostScript       Mac, commercial
   TrueType                   Type1 PostScript        }  No answer as
   Type1 PostScript           TrueType                }  of 7/92
   PC Type1 PostScript        TeX PK                     MS-DOS
   TeX PK                     HP LaserJet bitmaps        MS-DOS
   HP LaserJet bitmaps        TeX PK                     MS-DOS
   TrueType                   HP LaserJet bitmaps        MS-DOS, hack!!

   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.

5. Are fonts copyrightable?

   This topic is hotly debated at regular intervals on comp.fonts.
   Terry Carroll <[e-mail]> provides the following
   analysis of current [ed: as of 6/92] legislation and regulation
   regarding fonts and copyrights.  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.

   *-[Quote]-----------------------------------------------------------*

   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).

   By the way, you won't find that in the most recent (7/1/91) edition of
   the CFR; the addition was enacted 2/21/92.  It'll be in the next
   edition, though.  It's described in the 2/21/92 edition of the Federal
   Register, page 6201 (57 FR 6201).  The change didn't actually change the
   law, it just clarified it, and codified existing Copyright Office
   policy.

   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.

   *-[Unquote]---------------------------------------------------------*

6. File Formats / Font Formats / Ligatures / Standard Fonts / Glossary

6.1. 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.

6.1.1. 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.

  .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.

6.2. 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.

6.2.1. 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
  .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

Xref: bloom-picayune.mit.edu comp.fonts:6621 news.answers:4473
Path: bloom-picayune.mit.edu!enterpoop.mit.edu!news.media.mit.edu!micro-heart-of-gold.mit.edu!wupost!uwm.edu!caen!nic.umass.edu!dime!dime.cs.umass.edu!walsh
From: [e-mail] (Norman Walsh)
Newsgroups: comp.fonts,news.answers
Subject: comp.fonts FAQ.1b.General-Info
Summary: This posting answers frequently asked questions about fonts.
         It addresses both general font questions and questions that
     are specific to a particular platform.
Message-ID: <[e-mail]>
Date: 7 Dec 92 19:13:33 GMT
Expires: 8 Jan 93 00:00:00 GMT
References: <[e-mail]>
Sender: [e-mail]
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Archive-name: fonts-faq/part02
Version: 1.1.1.

6.3. 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 <[e-mail]> 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 & 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.]

6.4. Standard Laser Printer Fonts

  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 have the basic 35 font 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.

6.5. Glossary

   [ I ripped this right out of the manual I wrote for Sfware.  If you have
     comments, improvements, suggestions, please tell me... ]

   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