Fontname

version 2.0, August 1995 Filenames for TEX fonts

K. Berry

1 Introduction

This is Fontname 2.0, a naming scheme for (the base part of) external TEX font filenames. We make at most eight-character names from (almost) arbitrarily complex font names, thus helping portability of TEX documents. We point out some shortcomings of the scheme, and ways of dealing with them.

Please send additions, corrections, or other comments to me at kb@cs.umb.edu, or to the mailing

list ‘tex-fonts@math.utah.edu’. Email ‘tex-fonts-request@math.utah.edu’ to join the list.

Besides this document, the Fontname distribution includes various encoding files, mapping files, and utilities. See the file ‘README’ for details. You can retrieve the most up-to-date version of these lists by anonymous ftp from the host ‘ftp.cs.umb.edu’, in the directory ‘pub/tex/fontname’. This directory is mirrored on ‘ftp.cdrom.com’, and on all CTAN hosts (‘ftp.shsu.edu’, ‘ftp.dante.de’, ‘ftp.tex.ac.uk’, and their mirrors) in the directory

‘tex-archive/doc/fontname’. For a list of CTAN mirrors, finger ‘ctan@ftp.shsu.edu’.

This document is uncopyrighted and may be used freely.

1.1 History

The original inspiration for Fontname was Frank Mittelbach and Rainer Schoepf’s article in TUGboat 11(2) (June 1990), which led to my article in TUGboat 11(4) (November 1990), pages 512–519. Mittelbach wrote another article criticizing the scheme below in TUGboat 13(1) (April 1992), pages 51–53; most of his points are well-taken, but I saw no alternative then, and see no alternative now. Others of his points are addressed in the appropriate sections below.

In August 1995, Fontname version 2 was released, concomitantly with a new release of the PostScript fonts for use with LaTEX and Dvips. After several years of experience, several modifications of the original distribution seemed desirable: more precise specification of encodings (see Section 2.4 [Variants], page 14), machine-readable mapping files (the ‘*.map’ files in the distribution), and standardizing directory names as well as font filenames (included in ‘supplier.map’ and

‘typeface.map’).

In Fontname version 1, some encoding variant characters (‘0’, ‘2’, etc.) have been reassigned to a ‘7’ or ‘8’ sequence (see Section 2.4 [Variants], page 14). Although this is an incompatible change, the advantages of (1) consistency in naming encoding variants, and (2) having some free variants makes it worthwhile. Also, not so coincidentally, new metrics for PostScript fonts in the Cork encoding were issued—same encoding, different metrics. So a new name served a practical purpose as well.

Many people have contributed to this work. In particular, I gratefully acknowledge Nelson Beebe, Barbara Beeton, Rocky Bernstein, Damian Cugley, Berthold K.P. Horn, Alan Jeffrey, Russell Lang, Pierre MacKay, Sebastian Rahtz, Tom Rokicki, and Jean Rivlin.

1.2 References

Related files and distributions:

• The TEX Directory Structure (TDS) standard, (‘jasper.ora.com:pub/twg-tds’, mirrored on CTAN sites) specifies a directory tree for all TEX library files. The directory names given in Section 2.1 [Suppliers], page 3 and Section 2.2 [Typefaces], page 4 are intended to mesh with that standard.

• The ‘modes.mf’ file (‘ftp.cs.umb.edu:pub/tex/modes.mf’) contains recommended directory names to segregate fonts by Metafont mode.

• The PSfonts distribution (‘fonts/psfonts’ on CTAN hosts) contains TEX support for many fonts, both commercially available and free.

• The Fontinst distribution (‘fonts/utilities/psfonts’ on CTAN hosts) supports quite general creation of virtual fonts, named according to the scheme given here.

• The Dvips translator (original from ‘labrea.stanford.edu:pub/dvips*.tar.gz’ and variation from ‘ftp.cs.umb.edu:pub/tex/dvipsk.tar.gz’) contains TEX support for the 35 standard PostScript fonts, plus additional freely available fonts. Dvips was the first real application of Fontname 1.

• The Dviljk processor (‘ftp.cs.umb.edu:pub/tex/dviljk.tar.gz’) contains TEX support for the fonts built into the LaserJet 4.

• ‘Designing New Typefaces with Metafont’, by Richard Southall, Stanford Computer Science Department Technical Report STAN-CS-85-1074, September 1985, for a comprehensive terminology of font design.

2 Filenames for fonts

We must limit ourselves to eight character names, for compatibility with DOS filesystems and the ISO 9660 standard used for CD-ROM distribution. Names may consist of only the letters (monocase), numerals, and underscore.

Here is the basic division of the eight characters (the spaces here are merely for readability):

S TT W [V…] [N] [E] [DD] where

S represents the supplier of the font.

TT represents the typeface name.

W represents the weight.

V… represents the variant(s), and is omitted if both it and the width are normal. Many fonts have more than one variant.

N represents the encoding, and is omitted if the encoding is nonstandard. Encodings are subsumed in the section on variants (see Section 2.4 [Variants], page 14).

E represents the width (“expansion”), and is omitted if it is normal.

DD represents the design size (in decimal), and is omitted if the font is linearly scaled. Mittelbach in TUGboat 13(1) proposes using hexadecimal or base-36 notation. I don’t think the increased range makes up for the unreadability of the common sizes (e.g., 10 pt fonts would have a suffix ‘a’ (in hex), or ‘j’ (in base 36)).

The weight, variants, and width are probably all best taken from the original name of the font, instead of trying to relate them to some external standard.

2.1 Suppliers

The supplier is the source of a font, typically a (digital) type foundry.

You should use the supplier letter which matches the supplier you obtained the font from, not the original source; for example, Avant Garde was designed by Herb Lubalin for ITC, but Adobe also sells it. The name of the font that you get from Adobe should start with ‘p’. This is because font resellers typically make modifications to the original design.

Notes on specific suppliers:

‘f’ For fonts that are distributed without any specific attribution to the creator, or by individuals.

‘r’ obsolete; specifies raw fonts, in the old distribution of Dvips. New fonts should never use ‘r’. (The right thing to do is specify the correct encoding, variant, or whatever the font’s characteristics actually are.)

‘z’ for fonts that just don’t fit well into the naming scheme. The ‘z’ should be followed by the real supplier letter.

Here is the table from the file ‘supplier.map’. It is organized alphabetically by abbreviation. Each line consists of an abbreviation, directory name, and comment.

9 unknown
a autologi  Autologic
b bitstrea  Bitstream

c cg Compugraphic d dtc Digital Typeface Corporation

e apple  Apple

f public freely distributable (e.g., public domain) g gnu Free Software Foundation h bh Bigelow & Holmes i itc International Typeface Corporation

k softkey  SoftKey
l linotype  Linotype
m monotype  Monotype
n ibm  IBM
o corel  Corel

p adobe Adobe (‘p’ for PostScript) r - raw (for [obsolete] use with virtual fonts)

s sun  Sun
u urw  URW

z - bizarre (fontname is nonstandard)

2.2 Typefaces

For our purposes, a typeface is a collection of related fonts. We sometimes use the same typeface abbreviation for fonts with different supplier names, where

we know (usually by inspection) that the fonts truly are the same. This helps conserve abbreviations.

Notes on specific typefaces:

‘ad’

‘gm’ To explain a common confusion: ‘ad’ is Adobe Garamond (with a ‘FontName’ of ‘AGaramond’). This is quite different from the ‘Garamond’ typeface distributed by Adobe, which is actually ITC Garamond. (Garamond No. 3 (‘f3’), Simoncini Garamond (‘ig’), and Stempel Garamond (‘eg’) are still other variations on the Garamond theme.)

‘lh’
‘ls’
‘lx’

‘r1’ These abbreviations for Lucida typeface subfamilies, et al., solve a problem with names getting too long, or help conserve variant abbreviations. See Section 2.4 [Variants], page 14. Ideally, they would not exist.

‘ns’
‘nt’

‘tm’ Suppliers like to offer as many variations on the Times New Roman design as they do Garamond. Adobe has ‘Times’, ‘TimesNewRoman’, and ‘TimesNewRomanPS’. Although this last has been used by other foundries (e.g., Monotype) for a Times variation exactly compatible with Adobe’s ‘Times’, Adobe itself also offers it, so we must have abbreviations for all three.

‘pi’ For all pi fonts. Since names of pi fonts are rather arbitrary, it is not useful to try to assign typeface abbreviations to all of them. Instead, we use the supplier letter, ‘pi’, an arbitarily-assigned three-digit number, a weight and (if necessary) a variant. For example, ‘mpi001r’. Pi font ‘001’ for one supplier has nothing to do with pi font ‘001’ for another.

Here is the table, from the file ‘typeface.map’. It is organized alphabetically by abbreviation. Each line consists of an abbreviation and directory name, possibly followed by PostScript ‘FontName’s and/or a comment in roman. The ‘FontName’ may be preceded by a letter s and a ‘:’, as in ‘b:Dutch’. In that case, the s is a supplier abbreviation, and we’ve used that abbreviation for the given ‘FontName’ from that supplier.

a1 arial        Arial
a2 amasis       Amasis
a3 adlib        AdLib
a4 altgoth2     AlternateGothicNo2
a5 allegro      Allegro
a6 amelia       Amelia
a7 amertext     AmericanText
a8 aurora       Aurora
a9 adsans       Adsans b:Humanist970BT
aa aachen       Aachen
ab aboeckli     ArnoldBoecklin
ac acaslon      ACaslon  Adobe Caslon
ad agaramon     AGaramond  Adobe Garamond
ag avantgar     AvantGarde m:MAvantGardeGothicPS
ah ashleysc     AshleyScript
ai abadi        Abadi
al albertus     Albertus b:Flareserif821BT
am amercana     Americana b:Americana
ao atqolive     AntiqueOlive b:Incised901BT
ap apollo       Apollo
aq antiqua      Antiqua u:URWAntiqua
ar arcadia      Arcadia
as aldus        Aldus
at atypewri     AmericanTypewriter
au auriol       Auriol b:Freeform721
av avenir       Avenir
az azdzgrot     AkzidenzGrotesk b:Gothic725BT
b0 blackoak     Blackoak
b1 blado        Blado
b2 binnyos      BinnyOldStyle
b3 braggado     Braggadocio
b4 bison        Bison b:Brush738BT
b5 binghams     BinghamScript b:Freehand591BT

b6 block        Block b:Gothic821
b7 bernhard     Bernhard BernhardModern
b8 blippo       Blippo
b9 bremen       Bremen
bb bembo        Bembo b:Aldine401BT
bc banco        Banco
bd bodoni       Bodoni
be bell         Bell
bf biffo        Biffo
bg benguiat     Benguiat
bh bauhaus      Bauhaus
bi birch        Birch
bk bookman      Bookman m:MBookmanPS
bl belwe        Belwe
bn bernard      Bernard
bo balloon      Balloon
bp bodocamp     BodoniCampanile b:Modern735
br berling      Berling b:Revival565BT
bs bakersig     BakerSignet
bu brush        Brush
bv baskervi     Baskerville
bw broadway     Broadway
by berkeley     Berkeley
c0 carolina     Carolina
c1 calisto      Calisto
c2 casln224     CaslonTwoTwentyFour
c3 caslon3      CaslonThree
c4 chicago      Chicago
c5 casln540     CaslonFiveForty
c6 clarion      Clarion
c7 compacta     Compacta
c8 calvert      Calvert
c9 codex        Codex b:Calligraphic421BT
ca caslon       Caslon
cb cooper       Cooper
cc cascade      Cascade b:Freehand471BT
cd clarendo     Clarendon
ce centenni     Centennial
cf clearfac     Clearface
cg charlema     Charlemagne
ch charter      Charter
ci candida      Candida
cl cloister     Cloister

cm cm Computer Modern

cn century      Century
co cochin       Cochin
cp copperpl     Copperplate
cq cheq         Cheq

cr courier      Courier m:MCourierPS m:CourierTwelveMT
cs cntursbk     CenturySchoolbook
ct cheltenh     Cheltenham
cu centuros     CenturyOldStyle
cv clairvx      Clairvaux
cw cottonwd     Cottonwood
cx caxton       Caxton
cy city         City b:SquareSlabserif711BT
cz choc         Choc b:Staccato555BT
d0 davida       DavidaBold
dc domcasl      Dom DomCasual DomDiagonal
dd ducberry     DucDeBerry
de dellarob     DellaRobia
di diotima      Diotima b:Calligraphic810BT
dl dolores      Dolores
dr doric        Doric
ds dorchesc     DorchesterScript
e0 embassy      Embassy
e1 empire       Empire
ea lectra       Electra b:Transitional521BT
ec applecha     e:AppleChancery
ee egyptian     Egyptian EgyptianExtended
ef egyptien     EgyptienneF
eg stgaramo     StempelGaramond b:OriginalGaramondBT
eh engsft       Engschrift
ei esprit       Esprit
ek eckmann      Eckmann b:Freeform710
el ellingtn     Ellington
en engraver     Engravers
eo amerigo      Amerigo b:AmerigoBT
er eras         Eras
es eurostil     Eurostile b:Square721BT
et ehrhardt     Ehrhardt
eu euler        Euler
ex exclsior     Excelsior
f0 flemishs     FlemishScript
fa formata      Formata
fe forte        Forte
ff fairfld      Fairfield b:Transitional551BT
fg frankgth     FranklinGothic
fi figaro       Figaro
fl flora        Flora
fn fenice       Fenice
fo folio        Folio
fq frizquad     FrizQuadrata
fr frutiger     Frutiger b:Humanist777BT
fs falstaff     Falstaff
ft fettefrk     FetteFraktur Fraktur

fu futura       Futura
fx felixttl     FelixTitling
fy flyer        Flyer
g0 gando        Gando
g1 gothic13     GothicThirteen
g3 garamon3     GaramondThree b:AmercianGaramondBT  Garamond No. 3
g4 gymodern     GoudyModern
g5 gycatalg     GoudyCatalogue
g6 gorilla      GorillaITC
g9 ugaramon     GaramondRetrospective
gb gothicbb     GothicBBB
ge geneva       e:Geneva
gg garthgra     GarthGraphic
gj granjon      Granjon b:ElegantGaramondBT
gl galliard     Galliard
gm garamond     Garamond
go gyoldsty     GoudyOldStyle
gp glypha       Glypha
gq grotesq      Grotesque u:URWGrotesk
gr gloucest     Gloucester
gs gillsans     GillSans m:GillAltOneMT b:Humanist521BT
gt goudytxt     GoudyText
gu guardi       Guardi
gv giovanni     Giovanni
gy goudy        Goudy
h0 handelgo     HandelGothic
hb hobo         Hobo Tramp
hc herculnm     Herculanum
hd headline     Headline
hg hiroshig     Hiroshige
hi hvinsera     HelveticaInserat b:Swiss921BT
hm charme       Charme
hn hvneue       HelveticaNeue
ho horleyos     HorleyOldStyle
hr hvround      HelveticaRounded
hs hnseati      Hanseatic B:Swiss924BT
ht hoeflert     e:HoeflerText
hv helvetic     Helvetica u:NimbusSans b:Swiss721BT b:Monospace821BT b:Swiss911BT d:Sans Newton n:SonoranSansSerif
hw schadow      Schadow
hx huxleyvr     HuxleyVertical
i0 commscr      CommercialScript
i1 impress      Impress
i2 impuls       Impuls
ia insignia     Insignia
ic impact       Impact
if inflex       Inflex
ig scgaramo     SimonciniGaramond b:ItalianGaramond
ii imprint      Imprint

il caecilia     Caecilia
im imago        Imago
in industri     Industria
io ionic        Ionic b:News701BT
ip impressm     Impressum
is italnos      ItalianOldStyle
it italia       Italia
iw ironwood     Ironwood
iy iowanold     IowanOldStyle
jf jeffersn     Jefferson b:Freehand575BT
jn janson       Janson
jo joanna       Joanna
jp juniper      Juniper
kb kabel        Kabel
kg bankgoth     BankGothic
kl klang        Klang
kr korinna      Korinna
ks kuenstsc     KuenstlerScript
ku kaufmann     Kaufmann
l0 latin        Latin
l1 liberty      Liberty
l2 libra        Libra
l3 lucia        Lucia
l4 lucian       Lucian
lb lubaling     LubalinGraph
lc lucida       Lucida
lf life         Life
lg lettrgth     LetterGothic ISILGothic
lh lubright     LucidaBright
li latin        Latin
ln lino         Lino
lo lithos       Lithos
ls lucsans      LucidaSans
lt lutetia      Lutetia
lw leawood      Leawood
lx lucidfax     LucidaFax
ly lydian       Lydian
m0 monospac     Monospace
m1 monolisc     MonolineScript
m2 metro        Metro b:Geometric415BT
m3 mirarae      Mirareae
m4 mrearl       MisterEarl
m5 murrayhl     MurrayHill
m6 mittlsft     Mittelschrift
ma mandate      Mandate b:Freehand521BT
mc monaco       e:Monaco
md meridien     Meridien
me mercursc     MercuriusScript

mg marigold     Marigold
mh machine      Machine
mi medici       Medici
ml melior       Melior b:ZapfElliptical711BT
mn minion       Minion
mo modern       Modern b:Modern20BT
mp memphis      Memphis b:GeometricSlab703BT
mq mesquite     Mesquite
mr madrone      Madrone
ms mistral      Mistral b:Staccato222BT
mt minister     Minister
mv malvern      Malvern
mx maximus      Maximus
mz amazone      Amazone
n0 normande     Normande
na newaster     NewAster
nb nbaskerv     NewBaskerville
nc ncntrsbk     NewCenturySchlbk
nd ncaledon     NewCaledonia
nf nofret       Nofret
ng newsgth      NewsGothic
ni nimrod       Nimrod
nk neograph     Neographik
nl neuland      Neuland b:Informal011BT
nm nimbus       Nimbus
nn nclarend     NewClarendon
np nsplanti     NewsPlantin
nr nberolin     NewBerolina
ns timesnps     TimesNewRomanPS
nt timesnew     TimesNewRoman m:TimesNR n:SonoranSerif
nu nuptial      Nuptial
nv novarese     Novarese
nz neuzeits     NeuzeitS b:Geometric706BT
o0 oldreadf     OldDreadfulNo7
o1 oranda       Oranda
o2 orbitb       OrbitB
o7 oldsty7      OldStyleSeven
oa ocra         OCR-A
ob ocrb         OCR-B
oc concorde     Concorde
oe oldengli     OldEnglish b:English157
oi ondine       Ondine Mermaid b:FormalScript421BT
om omnia        Omnia
on corona       Corona
op optima       Optima d:Optimum b:ZapfHumanist601BT Omega
or orator       Orator
os oldstyle     OldStyle
ot coronet      Coronet b:Ribbon131BT

ov octavian     Octavian
ox onyx         Onyx
oy olympian     Olympian l:OlympicLH
oz ozhandcr     OzHandicraft
p0 poplar       Poplar
p1 palacesc     PalaceScript
p2 pepita       Pepita
p3 palette      Palette b:Brush445BT
p4 pioneer      PioneerITC
p5 piranesi     Piranesi
pa parkave      ParkAvenue
pb ptbarnum     PtBarnum
pd placard      Placard
pe prestige     PrestigeElite
pf profile      Profile Profil b:Decorated035BT
pg peignot      Peignot b:Exotic350BT
ph photina      Photina

pi pi pi fonts—see text and ‘*.map’ files

pl palatino     Palatino d:Palton b:ZapfCalligraphic801BT Palmspring
pn plantin      Plantin b:Aldine721BT
po ponderos     Ponderosa
pp perpetua     Perpetua b:Lapidary333BT
pq postatqa     PostAntiqua
ps parisian     Parisian
pt present      Present
px popplpfx     PopplPontifex
py playbill     Playbill
pz poliphil     Poliphilus
qr quorum       Quorum
r0 romana       Romana
r1 rotis        RotisSemi
ra raleigh      Raleigh
ro rotis        Rotis
rm carmina      Carmina
rp reporter     Reporter
rq russelsq     RussellSquare
rs arrus        Arrus
rt carta        Carta
ru runic        Runic
rv revue        Revue
rw rockwell     Rockwell Slate b:GeometricSlab712BT
ry ryumin       Ryumin
s0 sanmarco     SanMarco
s1 scotchro     ScotchRoman
s2 script       Script
s3 seagull      Seagull
s4 shotgun      Shotgun ShotgunBlanks
s5 snell        Snell

s6 stuyvesa     Stuyvesant
s9 scriptor     Scriptoria
sb sabon        Sabon b:ClassicalGaramondBT
sc slimbach     Slimbach
sf serifa       Serifa
sg serifgth     SerifGothic
sh shannon      Shannon
sk skia         e:Skia
sl stencil      Stencil
sm spectrum     Spectrum
sn spartan      Spartan
so sonata       Sonata
sp serpenti     Serpentine
sr snellrnd     SnellRoundhand
ss stschnei     StempelSchneidler
st stone        Stone
sv souvenir     Souvenir
sw swing        Swing
sx syntax       Syntax
sy symbol       Symbol m:MSymbolPS
t0 tango        Tango
t1 thunderb     Thunderbird
t2 typo         TypoUpright
tb bebodoni     BBodoni  Berthold Bodoni
te timeseur     TimesEuropa
tf tiffany      Tiffany
tg tradegth     TradeGothic
ti techphon     TechPhonetic
tj trajan       Trajan
tk tekton       Tekton
tl castella     Castellar
tm times        Times u:NimbusRoman b:Dutch801BT
to torino       Torino b:Industrial736BT
tp tempo        Tempo
tv trumpmed     TrumpMediaeval b:Kuenstler480BT
tw twentyc      TwentiethCentury
ty typewrit     Typewriter
ub babodoni     BauerBodoni
ug bengugth     BenguiatGothic
uh cushing      Cushing
ul universa     Universal
um umbra        Umbra
un univers      Univers b:ZurichBT
ur centaur      Centaur b:Venetian301BT
ut utopia       Utopia
uw usherwoo     Usherwood
uy universi     University
v0 vineta       Vineta

va activa       Activa
vc vectora      Vectora
vd vandijck     VanDijck
vj veljovic     Veljovic
vl versaill     Versailles
vr vagrnd       VAGRounded
w0 weddingt     WeddingT
wb walbaum      Walbaum
wd weideman     Weidemann
wg wlklgth      WilhelmKlingsporGotisch
wi wingding     Wingdings
wk wilke        Wilke
wn windsor      Windsor
ws weiss        Weiss
ww willow       Willow
ym stymie       Stymie
za zantiqua     ZAntiqua
zc zapfchan     ZapfChancery m:ZapfChanceryPS
zd zapfding     ZapfDingbats m:ZapfDingbatsPS
zg neuzeitg     NeuzeitGrotesk
zt zeitgeis     Zeitgeist

2.3 Weights

The weight of a font specifies its boldness. Arranged from lightest to heaviest (more or less):

hairline, extra light, light book, regular, medium demibold, semibold, bold, extra bold, heavy black, ultra, poster

Here is the table, from the file ‘weight.map’. It is organized alphabetically by abbreviation. Each line consists of an abbreviation and any parts of a PostScript ‘FontName’ which use that abbreviation.

a Thin Hairline
b Bold
c Black
d Demi
h Heavy Heavyface
j ExtraLight
k Book
l Light
m Medium
p Poster
r Regular Roman
s Semibold
u Ultra UltraBlack
x ExtraBold ExtraBlack

2.4 Variants

Variants include typeface variations (e.g., italic, sans serif), and font encodings (e.g., Adobe standard, TEX text).

A fontname may require multiple variants. To resolve the worst ambiguities, we specify that any encoding variant (‘7’, ‘8’, or ‘9’, see below) come last and any other numeral variant come first (to avoid confusion with a design size). We recommend but do not require that the other variants be given in alphabetical order. (It’s not required because it’s too painful to implement the sorting in TEX, and many existing names already have non-alphabetized variants.)

The letterspacing possibilities introduced by fontinst and virtual fonts have not yet become sufficiently widespread to make standardization beneficial. Likewise for the many possible ways to generate small caps fonts.

Notes on specific variants, both old and new:

‘1’ ‘4’ ‘6’ ‘b’ These variants (‘semisans’, ‘bright’, ‘semiserif’, and ‘fax’) were used only for single

typefaces, so to conserve variant abbreviations, they now have typeface abbreviations instead. Also, for ‘b’, to avoid too-long names; and for the others, to avoid variant vs. design-size ambiguities.

‘g’ ‘h’ ‘j’ Since these variants were not actually used in any font names, they are now obsolete

and may be reassigned in the future.

‘5’ ‘7’ ‘8’ ‘9’ These characters begin a two-character encoding variant. Generally, ‘7’ is for 7-bit

encodings, ‘8’ is for 8-bit encodings, and ‘9’ is for expertised encodings (see the ‘x’ item below), but this is not an absolute rule. For a font to be named with a certain encoding variant, it’s not necessary that all the characters appear in precisely the same positions as in the encoding definition. It’s enough that the usual TEX macros work. In practice, this means that it’s ok for a font to be labelled ‘7t’ if the only difference from Computer Modern is that the ligatures and the ‘lslash’ and ‘Lslash’ characters are different, since it’s impossible to access or change the ligature table from TEX. Standard PostScript fonts don’t have an ‘lslash’ character the way Computer Modern does, but they do have the ‘Lslash’ and ‘lslash’ characters themselves, so the usual TEX \lslash and \Lslash macros can be made to work via ligatures. See the file ‘T1.etx’ file in the fontinst distribution for details. If a name does not contain a specific encoding variant, its encoding is unspecified. For example, some of the fonts distributed with Dvips(k) have names like ‘ptmr’ for ‘Times-Roman’; they are in the default Afm2tfm encoding, which is close to (but not the same as) the TEX text encoding. Similarly, the TFM files distributed with Dvilj(k) for the builtin LaserJet 4 fonts have names like ‘cunm’, since these fonts, while compatible with TEX text, contain many additional characters.

‘9’ This is needed only because ‘x’ followed by a two-character regular variant makes some names too long. That is, ‘9t’ is equivalent in meaning to ‘x7t’.

‘k’ ‘z’ These variants (indicating Greek and Cyrillic fonts, respectively) are obsolete; future

fonts in different scripts should be assigned an appropriate encoding abbreviation. These are not currently standardized, due to ignorance of the appropriate encodings. Please send suggestions for abbreviations to the address in Chapter 1 [Introduction], page 1.

‘m’ ‘v’ ‘y’ These math-related variants remain for the sake of typeface-specific math encodings,

e.g., Lucida. Fonts that specifically use the Computer Modern math encodings should use ‘7m’, ‘7v’, and ‘7y’.

‘r’ Included only if no other variants, including encodings, apply, and either the width (see Section 2.5 [Widths], page 16) is not ‘r’ or a design size is present. I.e., ‘r’ is only used as a placeholder. When the normal version of the typeface is sans serif (e.g., Helvetica), ‘r’ should be used when necessary, not ‘s’. Use ‘s’ only when the typeface family has both serif and sans serif variants.

‘s’ ‘t’ Mittelbach in TUGboat 13(1) suggests that these variants (for ‘sans’ and ‘typewriter’)

should be identified as part of the typeface name, because there are few typeface families with these variants. I feel that since they are logically variants, it’s best to name them that way. But ‘LucidaSans’ (see Section 2.2 [Typefaces], page 4) is an exception, to avoid too-long names.

‘x’ ‘8x’ ‘8x’ indicates a font in the ‘Expert’ encoding itself. ‘x’ indicates an expertised font,

i.e., a composite (i.e., virtual) font that includes characters from an ‘8x’ font.

Fontname 1 assignments are shown in brackets in the following table, from the file ‘variant.map’. It is organized alphabetically by abbreviation. Each line consists of an abbreviation and either any parts of a PostScript ‘FontName’ which use that abbreviation or the PostScript ‘Encoding’ name.

[0=>8a] Adobe standard encoding obsolete [1 SemiSans] [2=>7c] encoding with changed characters only; Adobe’s ‘Dfr’ [3=>7f] Fraction [4 fax; now typeface ‘lx’, Lucida Fax] 5 escape for (presently) phonetic encodings obsolete [6 SemiSerif] 7 escape for (mostly) 7-bit encodings 8 escape for (mostly) 8-bit encodings 9 escape for (presently) expert encodings [9=>7d] oldstyle digits; Adobe’s ‘OsF’ a Alt Arrows Alternative [was alternate encoding] [b bright; now typeface lh, Lucida Bright] c small caps, small text

d Display Titling Caption Headline

e Engraved Copperplate Elite
f Fraktur Gothic OldEnglish Handtooled (‘gothic’ can also be sans)

obsolete [g grooved (as in the IBM logo)] obsolete [h shadow]

i Italic Kursiv Ital  text italic

obsolete [j invisible] k Greek obsolete

l Outline OpenFace Blanks
m MathItalic  math italic
n Informal Fashion
o Oblique Obl  slanted
p Ornament

[q=>8t Cork (TEX extended) encoding] r roman or sans; often omitted, see text s Gothic sans serif t Monospace fixed-width typewriter u unslanted italic

v MathExtension
w Script Handwritten Swash Calligraphy Cursive Tango

x built with Adobe expert encoding [was expert-encoded]

y MathSymbol
z Cyrillic  obsolete
5a PhoneticAlternate
5i PhoneticIPA

5s sil-IPA 7a A alternate characters only 7c Dfr changed characters only 7d oldstyle digits; Adobe’s ‘OsF’

7f Fraction
7m TeXMathItalicEncoding  see ‘texmital.enc’

7t TEX text encoding (as in Computer Modern Roman)

7v TeXMathExtensionEncoding  see ‘texmext.enc’
7y TeXMathSymbolEncoding  see ‘texmsym.enc’

8a StandardEncoding Adobe standard encoding 8m Macintosh standard encoding

8r TeXBase1Encoding  see ‘8r.enc’
8t CorkEncoding  see ‘cork.enc’
8u XT2Encoding  cmtt + Latin 2, see ‘xl2.enc’

8w Windows 3.1 ANSI encoding 8x Expert expert encoding

8z XL2Encoding  cmr + Latin 2, see ‘xl2.enc’

9e expert + Cork 9t expert + TEX text

2.5 Widths

The width of a font specifies the compression or expansion of the font. Arranged from narrowest to widest (more or less): ultra compressed, extra condensed, compressed, condensed, narrow regular extended, expanded, wide

Expansion or compression of fonts is sometimes done automatically (as by the PostScript scale operator), and sometimes done by humans. In the latter case, the human will also presumably choose a font name including ‘Extended’ or ‘Expanded’ or ‘Condensed’ or ‘Narrow’ or whatever, according to their own preferences, and the abbreviation can follow along. When creating a new synthetically expanded or compressed font for use with TEX, e.g., with Afm2tfm or fontinst, use ‘n’ and ‘e’.

Here is the table, from the file ‘width.map’. It is organized alphabetically by abbreviation. Each line consists of an abbreviation and any parts of a PostScript ‘FontName’ which use that abbreviation.

c Condensed Cond
e Expanded
n Narrow
o UltraCondensed
p Compressed Compact
q ExtraCompressed ExtraCondensed
r Regular Normal Medium (usually omitted)
t Thin
u UltraCompressed
w Wide
x Extended Elongated

3 Long names

Eight characters is not enough to unambiguously represent all fonts. To do that, we have to allow ourselves arbitrarily long names. Although we certainly cannot use such names for the files themselves, we could still use them in TEX documents given a simple mapping file, as discussed below.

3.1 A fontname mapping file

At the moment, most implementations of TEX look up a TFM file (as part of the \font command), by searching for a file with the name given by the user (possibly in any of series of directories). But if we looked TFM names up first in another file (or set of files), which specifies the actual filename, the fontname given in the TEX source file could be almost anything at all, of any length.

In version 5.851d of Web2c, I implemented this mapping file. Each file ‘texfonts.map’ in a search path is read for abbreviations. The file has a straightforward format: each line specifies the filename and the TEX name for one font, separated by whitespace. Extra information on the line is ignored; then more information could be specified for the benefit of DVI-reading programs in the same file. Comments start with % and continue to the end of the line.

Besides allowing long names, this sort of mapping file has other benefits. TEX source or DVI files can be more easily transported, because the font names in a particular file can be made work on every system. Also, when combined with a consistent naming scheme, macros could be written to access any of a number of fonts. Right now, each font family has to have specialized macros written to deal with it.

Incidentally, Professor Knuth has approved this as a legitimate “system-dependent” extension; a TEX with such a feature can still be called “TEX”.

3.2 A naming scheme for long names

Once we allow ourselves long names, we can construct a naming scheme to handle arbitrary fonts without much difficulty. Here is one proposal, based on the X Window System font naming conventions.

supplier-family-weight-variants-width-encoding--size The supplier is the usual Adobe, Autologic, etc., as well as unknown, public, or bizarre—this

last meaning the rest of the name is nonstandard. If the supplier is missing, i.e., the name starts with a -, “public domain” is assumed. For fonts made by individuals, the initials of the designer would probably make a good supplier.

The family is ComputerModern or Times or whatever.

Everything else is optional. The -- before the size lets one specify a name with, say, a weight and variants, but then skip the width and encoding, but still be able to give a size.

The weight and width are as described earlier.

If there is more than one variant, they are separated with some character other than ‘-’, say ‘=’:

     B+H-Lucida-Bold-Sans=Typewriter--10

The encoding is what Metafont calls the font_coding_scheme—the layout of the characters in the font. For example, ‘Cork’ or ‘ISOLatin1’ or ‘AdobeAlternate’.

Names are case-sensitive, for consistency with the rest of TEX and with PostScript, etc. Spaces cannot be used in the name, to make it easier for TEX to parse. Likewise, characters with default category codes other than 11 (letter) or 12 (other) should not be used.

Another possibility is to forget all the above, and simply use the vendor’s name (perhaps prefixed by the vendor): ‘Adobe-Times-Roman’, say.

Appendix A Examples

The examples you probably are most interested in are the files ‘adobe.map’, ‘bitstrea.map’, and ‘monotype.map’ in the distribution. They contain a comprehensive list of fonts from those suppliers together with the corresponding names. They’re omitted here because the files are so large. The vastly shorter ‘.map’ files for Apple, DTC, and Linotype are included, however, for the sake of example. The larger files follow the same pattern.

A.1 Standard PostScript fonts

Abbreviated names for the 35 standard PostScript fonts. An encoding variant, such as ‘8a’ for the Adobe ‘StandardEncoding’, is omitted.

‘pagk’  ‘AvantGarde-Book’
‘pagko’  ‘AvantGarde-BookOblique’
‘pagd’  ‘AvantGarde-Demi’
‘pagdo’  ‘AvantGarde-DemiOblique’
‘pbkd’  ‘Bookman-Demi’
‘pbkdi’  ‘Bookman-DemiItalic’
‘pbkl’  ‘Bookman-Light’
‘pbkli’  ‘Bookman-LightItalic’
‘pcrb’  ‘Courier-Bold’
‘pcrbo’  ‘Courier-BoldOblique’
‘pcrr’  ‘Courier’
‘pcrro’  ‘Courier-Oblique’
‘phvb’  ‘Helvetica-Bold’
‘phvbo’  ‘Helvetica-BoldOblique’
‘phvbrn’ ‘Helvetica-NarrowBold’
‘phvbon’ ‘Helvetica-NarrowBoldOblique’
‘phvr’  ‘Helvetica’
‘phvro’  ‘Helvetica-Oblique’
‘phvrrn’ ‘Helvetica-Narrow’
‘phvron’ ‘Helvetica-NarrowOblique’
‘pncb’  ‘NewCenturySchlbk-Bold’
‘pncbi’  ‘NewCenturySchlbk-BoldItalic’
‘pncri’  ‘NewCenturySchlbk-Italic’
‘pncr’  ‘NewCenturySchlbk-Roman’

‘pplb’  ‘Palatino-Bold’
‘pplbi’  ‘Palatino-BoldItalic’
‘pplri’  ‘Palatino-Italic’
‘pplr’  ‘Palatino-Roman’
‘psyr’  ‘Symbol’
‘ptmb’  ‘Times-Bold’
‘ptmbi’  ‘Times-BoldItalic’
‘ptmri’  ‘Times-Italic’
‘ptmr’  ‘Times-Roman’
‘pzcmi’  ‘ZapfChancery-MediumItalic’
‘pzdr’  ‘ZapfDingbats’

A.2 Apple fonts

The ‘apple.map’ file has abbreviations for Apple fonts.

eecr     AppleChancery
eger     Geneva
ehtr     HoeflerText
emcr     Monaco
epi001   Zeal
eskr     Skia

A.3 DTC fonts

The ‘dtc.map’ file has abbreviations for DTC (Digital Typeface Corporation) fonts.

dhvcrc  SansBlackCondensed-DTC
dhvcoc  SansBlackCondensed-Oblique-DTC
dhvmrx  SansExtended-Medium-DTC
dhvrrx  SansExtended-Regular-DTC
dhvroc  SansExtended-RegularOblique-DTC
dhvxrc  SansExtraBlackCondensed-DTC
dhvlrx  SansLightExtended-DTC
dhvhrc  SansThinCondensed-DTC
dhvhoc  SansThinCondensed-Oblique-DTC
dnbb    NewBaskerville-Bold-DTC
dnbbi   NewBaskerville-BoldItalic-DTC
dnbri   NewBaskerville-RomanItalic-DTC
dnbr    NewBaskerville-Roman-DTC
dopr    Optimum-Roman-DTC
dopb    Optimum-Bold-DTC
dopbo   Optimum-BoldItalic-DTC
doro    Optimum-RomanItalic-DTC
dpll    Palton-Light-DTC

A.4 Linotype fonts

The ‘linotype.map’ file has abbreviations for Linotype fonts.

lenb     EngraversLH-BoldFace
lpi001   OlympicLH-Pi
ltgbrx   TradeGothicLH-BoldExtended
ltgrrx   TradeGothicLH-Extended
lvcc     VectoraLH-Black
lvcci    VectoraLH-BlackItalic
lvcb     VectoraLH-Bold
lvcbi    VectoraLH-BoldItalic
lvcri    VectoraLH-Italic
lvcl     VectoraLH-Light
lvcli    VectoraLH-LightItalic
lvcr     VectoraLH-Roman
lpi002   WarningLH-Pi
lpi003   AudioLH-Pi
lcfcs    ClearfaceGothicLH-Black
lcfbs    ClearfaceGothicLH-Bold
lcfls    ClearfaceGothicLH-Light
lcfms    ClearfaceGothicLH-Medium
lcfrs    ClearfaceGothicLH-Roman
lpi004   EECLH-Pi
lffb     FairfieldLH-Bold
lffbi    FairfieldLH-BoldItalic
lffbc    FairfieldLH-BoldSC
lffbd    FairfieldLH-CaptionBold
lffhd    FairfieldLH-CaptionHeavy
lffld    FairfieldLH-CaptionLight
lffmd    FairfieldLH-CaptionMedium
lffh     FairfieldLH-Heavy
lffhi    FairfieldLH-HeavyItalic
lffhc    FairfieldLH-HeavySC
lffl     FairfieldLH-Light
lffli    FairfieldLH-LightItalic
lfflc    FairfieldLH-LightSC
lffm     FairfieldLH-Medium
lffmi    FairfieldLH-MediumItalic
lffmc    FairfieldLH-MediumSC
lffbiw7d FairfieldLH-SwBoldItalicOsF
lffhiw7d FairfieldLH-SwHeavyItalicOsF
lffliw7d FairfieldLH-SwLightItalicOsF
lffmiw7d FairfieldLH-SwMediumItalicOsF

Appendix B Legal issues

This section owes a great deal to Charles Bigelow (co-designer with Kris Holmes of the Lucida typeface family, among others), who has generously answered our many queries about fonts and the law around the world with remarkable patience and understanding. (But he is naturally not responsible for any errors here, much less our opinions.)

Fonts have always been treated rather strangely under the law, as befits their rather strange nature: letterforms are indivisibly both useful and artistic. In most countries—in all countries until recently—utility has taken precedence; i.e., it has been legal to copy fonts without permission or fee.

In any case, to the best of my knowledge, the situation in those countries which have adopted any sort of typeface protection is as follows:

United States Typeface designs can be patented, but not copyrighted. Only a few designs have been patented. (Lucida and Stone are the only ones I know of. I don’t know what the grounds were for patenting Stone, but Lucida had some novel features in its design which make it reasonable to patent, given the acceptance of the patent system in the first place.) Particular programs which instantiate a font can be copyrighted just as any other computer program can. This is arguably wrong, since font programs are nothing but a description of the shapes, possibly with some simple hints, and there’s only one basic way to describe the shapes in any given language. Thus, the creativity lies in making the shape right, not in making the computer program right, so it would seem that to be consistent, the copyright laws should protect the design, not the program—the opposite of the current situation.

Germany Typeface designs have been copyrightable as original works of art since 1981. As a result, many (perhaps most) designs have been copyrighted there. The law is not retroactive, but German courts have upheld the intellectual property rights of designers of earlier fonts as well: In one case the heirs of Paul Bauer (designer of Futura) won a suit against the Bauer foundry for arbitrarily discontinuing a portion of their royalties.

England A copyright law passed in 1989 covers typeface designs first published in England (or published in Britain within 30 days of its publication elsewhere), and it is retroactive. It’s unclear how far back the law extends, but Times Roman, designed in the late 1920’s and 1930’s by Stanley Morison and cut by Victor Lardent for Monotype is probably covered. This does not mean GNU (for example) cannot have a Times Roman; it just means we cannot start with an English version, as the law does not forbid importing foreign versions of English typefaces.

France The Romain du Roi typeface designed by Philippe Grandjean in 1702 for the French royal family is protected, and perhaps other such “royal” designs. There is no protection for designs in general.

In 1973 the international Vienna treaty on typeface design protection was proposed. France ratified it in 1974 or 1975, and Germany in 1981. The English law might constitute ratification, but this has not been settled. In any case, since at least four countries have to ratify it before it takes effect (and even then it takes effect only in those countries which ratify it), it is still of no consequence for now.

Index 24

Index

3

35 standard fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

7

7-bit encodings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

8

8-bit encodings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

A

adobe.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Afm2tfm encoding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 apple.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 automatic expansion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 Avant Garde. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

B

Bauer, Paul. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Beebe, Nelson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Beeton, Barbara . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Bernstein, Rocky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Bigelow, Charles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 bitstrea.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 bizarre font names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 bright variant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 bugs, reporting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

C

category codes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 CD-ROM distribution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 character scaling, automatic. . . . . . . . . . . . . . . . . . . . . . . . 17 compression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 contributors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 copyright on fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Cugley, Damian. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Cyrillic fonts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

D

design size specification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 distribution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 DOS filesystems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 dtc.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 Dviljk translator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Dvips translator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

E

eight-character limitation . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 encoding files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 encodings, unspecified . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 England, font design protection law . . . . . . . . . . . . . . . . 23 expansion. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 expert encoding. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 expertised encodings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 expertised font. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

F

fax variant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 filenames, basics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 font copyrighting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 font scaling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 font coding scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19 Fontinst distribution . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 FontName . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 fontname mapping file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Fontname version 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 foundries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 France, font design protection law . . . . . . . . . . . . . . . . . . 23 ftp.cs.umb.edu . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Futura. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

G

Garamond, versions of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Germany, font design protection law . . . . . . . . . . . . . . . 23 Grandjean, Philippe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Greek fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

H

hexadecimal design size . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 history. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Holmes, Kris. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Horn, Berthol . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

I

individual font designers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 ISO 9660 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

J

Jeffrey, Alan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Index 25

K

Knuth, Donald E.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

L

Lang, Russell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Lardent, Victor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 LaserJet 4 fonts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 legalisms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 letterspacing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 ligatures and encodings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 limitations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 linotype.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22 long names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 long naming scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 lslash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Lslash . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Lubalin, Herb. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 Lucida, protection of. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

M

MacKay, Pierre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 mapping file . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 mapping files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 math variants. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Mittelbach, Frank. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 modes.mf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Monotype . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 monotype.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Morison, Stanley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 multiple variants. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

P

patenting of fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 pi fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 PostScript fonts, standard . . . . . . . . . . . . . . . . . . . . . . . . . 20 PSfonts distribution. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

R

Rahtz, Sebastian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 raw fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 related files . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 reporting bugs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Rivlin, Jean. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Rokicki, Tom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 romain du roi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

S

sans variant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 Schoepf, Rainer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 scripts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 semisans variant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 semiserif variant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 small caps fonts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 standard PostScript fonts . . . . . . . . . . . . . . . . . . . . . . . . . . 20 Stone, protection of . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 supplier.map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 suppliers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

T

T1.etx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 terminology. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 tex-fonts@math.utah.edu . . . . . . . . . . . . . . . . . . . . . . . . . . 1 TEX Directory Structure (TDS) standard. . . . . . . . . . . . 1 texfonts.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Times Roman, protection of. . . . . . . . . . . . . . . . . . . . . . . . 23 type foundries . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 typeface design protection . . . . . . . . . . . . . . . . . . . . . . . . . 23 typeface.map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 typefaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 typewriter variant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

U

United States, font design protection law . . . . . . . . . . . 23 utilities . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

V

variant.map. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15 variants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 Vienna treaty. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

W

weight . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 weight.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 width.map . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 widths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

X

X Window System font names . . . . . . . . . . . . . . . . . . . . . 18

Table of Contents

1 Introduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

1.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 1.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

2 Filenames for fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

2.1 Suppliers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 2.2 Typefaces. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 2.3 Weights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 2.4 Variants . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14 2.5 Widths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

3 Long names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

3.1 A fontname mapping file. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 3.2 A naming scheme for long names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Appendix A Examples . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

A.1 Standard PostScript fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 A.2 Apple fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 A.3 DTC fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21 A.4 Linotype fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 22

Appendix B Legal issues . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Index . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24