[OS X TeX] Adding a font

[William F. Adams]

On Mar 24, 2005, at 9:25 PM, Jeff Genung wrote:

> I have now spend almost 20 hours attempting to add Adobe Garamond to my
> teTeX files. I have created the AFM, the BDF (whatever that is), the  
> FD, the
> PFB, The TFM, and The VF files for my Adobe garamond. I have named them
> following the Berry method, and I believe I have placed them in the  
> correct
> locations.

Where did you put these?

> To get this far I have used 430 sheets of paper printing "manuals" and
> "instructions" NONE of which I was able to follow step by step to get  
> to
> this point. Each set of instructions seemed to leave off a step, add in
> extraneous and or useless information, or include steps that I was  
> unable to
> understand or be able to follow.

?!?

Adobe Garamond is the prototypical example in the Fontinst  
documentation.

> My question is thus. Is there a place that I can download the files  
> that I
> need to either do this or complete this? I have found the website of  
> Walter
> Schmidt and he had some of the Adobe fonts but not all of them. I am  
> going
> to give up on the garamond installation because I am frankly sick of  
> it. I
> would however like to try with a font that includes a single face like  
> the
> wood type or copperplate.

As Bruno Voisin noted, you're probably better off using XeTeX if it  
meets your needs in that case and you have the OpenType versions of the  
Adobe fonts.

I'm pasting in a sample file (UTF-8 encoded) I converted to XeTeX  
making use of Will Robertson's wonderful Fontspec package at the end of  
this e-mail. Not a great exemplar, but it shows how to get down and  
dirty and access pretty much all of the features. One of these days I'm  
going to clean it up for the TeX Showcase on www.tug.org

> I own a copy of the Adobe font folio 8.0, so I have the fonts, and I
> downloaded from Adobe the AFM files and I learned how to use Fondu to  
> create
> the PFB and other files, but honestly, I am a historian, and want to  
> be able
> to use my tools rather than fighting with them.

The Adobe Font Folio CD also includes all of the fonts in PC .pfb /  
.pfm pairs, so you didn't need to do any conversions, and it's quite  
likely that's the source of your difficulty.

> I found a file called Adobe.map in my tetex installation. Do I need to  
> do
> another .map file for each font I install or will that file take care  
> of any
> Adobe font if I put all the bits of it in the right place? Are there  
> any
> instructions that are "correct" for making a .sty file? I have 3  
> different
> instructions and each are different. Then I have one that says to look  
> at
> other .sty files for "inspiration"---(yeah right).

The .sty file can be as simple or as complex as you wish for it to be.

Simple instructions:

rename all of your PC format font files
run tex fontinst on a basic file which calls the \latinfamily macro for  
``pad'' (add padx for Expert font support, padj if you want old-style  
figures by default.
move the files to the correct places

Then you can call \renewcommand{\rmdefault}{pad}
before you start messing w/ any relative measurements in your document  
preamble.

> Some of the instructions point to either CTAN or to YandY for the Adobe
> files I need but neither seem to have them anymore. Is there a reason  
> for
> this? doe someone have them hidden somewhere?

You only need the files from Y&Y if you're going to use the LY1 font  
encoding.

William

Here's a longer example (I'm probably going to switch the font to  
Hoefler Text --- see the original version in the TeX Showcase at  
http://www.tug.org/texshowcase or in my portfolio at  
http://members.aol.com/willadams ). To make the graphics set the  
various ornaments and the alternate ampersand in TextEdit.app at  
500pts. and print them to .pdf files:

%&program=xelatex
%&encoding=UTF-8 Unicode

\documentclass[9pt,oneside,article]{memoir}

\usepackage{fontspec}

%% Memoir customize
%First, set up margins, text block and page size:
\setstocksize{306bp}{198bp}%{*}
\settrimmedsize{306bp}{198bp}{*}
%
%set up text block
\settypeblocksize{3in}{2in}{*}
%
%set up margins to match
\setlrmargins{*}{*}{1.5}
\setulmargins{*}{*}{2}
\checkandfixthelayout

%%% HEADERS & FOOTERS
\pagestyle{plain} % try also: empty , plain , headings , ruled , Ruled  
, companion

\frenchspacing
%
%set up fonts
\setromanfont[Ligatures={Common, Rare}, Numbers={OldStyle}]{Adobe  
Garamond Pro}
\newcommand{\definition}[2]{\selectfont\textsc{#1}—{#2}}
\newcommand{\alt}[1]{\fontspec[Swashes={WordInitial, WordFinal,  
LineFinal, Contextual}, Ligatures={Common, Rare}]{Adobe Garamond  
Pro}#1}
\newcommand{\altfinial}[1]{\fontspec[Alternate =0,  
Swashes={WordInitial, WordFinal, LineFinal, Contextual},  
Ligatures={Common, Rare}]{Adobe Garamond Pro}#1}
\newcommand{\tc}[1]{\fontspec[StyleOptions={TitlingCaps}]{Adobe  
Garamond Pro}\fontsize{29pt}{30pt}\selectfont #1}%
\newcommand{\lf}[1]{\fontspec[Numbers={Lining}]{Adobe Garamond Pro} #1}
\newcommand{\osf}[1]{\fontspec[Numbers={OldStyle}]{Adobe Garamond Pro}  
#1}

\newcommand{\xetexsort}[1]{\vbox to 12pt{\hbox{\lower17pt\hbox to  
12pt{\XeTeXpdffile "#1" width 12pt}}}}

\begin{document}
%Cover
\thispagestyle{empty}

\vspace*{4\baselineskip}

\begin{flushright}
\fontsize{10.5pt}{13pt}\selectfont%
\emph{One Typeface,}

\textsc{many fonts\thinspace}

\fontsize{9pt}{11pt}\selectfont%
\vspace*{2\baselineskip}

A Guide to Roman\thinspace

\emph{\& Italic Designs\thinspace}

\vspace*{6\baselineskip plus 1fill}


\fontsize{8pt}{10pt}\selectfont%
{\fontspec[Swashes={Contextual}]{Adobe Garamond Pro Italic}William  
Adams}
\end{flushright}

\clearpage

\parindent=0pt
\fontsize{8pt}{10.5pt}\selectfont%
First, a few corrections and additions:

\definition{colophon}{(1) The trade emblem or device
of a printer or publisher. (2) A page sometimes found at the
end of a book, listing details pertaining
to production of the book and/or the
printer’s imprint.}

\definition{cross stroke}{horizontal stroke.}

\definition{etaoin shrdlu}{A typographer’s sign to
indicate a mistake. Originally the first
line of a Linotype keyboard (which was
arranged by letter frequency) these keys
would be struck in the event of an error
in setting the line to fill it out so that it
might be cast and discarded.}

\definition{gutter}{in binding, the blank space where
two pages meet. Also, the blank space
between columns of type.}
\vfill

{©} 1997 William F. Adams\hfill

\break
\definition{margin}{the unprinted area around the
edges of a page. The margins as
designated in book specifications refer
to the remaining margins after the book
has been trimmed.}

\definition{small capitals}{capitals redrawn and sized
to match the proportions of lower-case
letters.  Usually the same height as
the x-height, or only slightly taller. A full-size
capital shrunk to this size is too thin
and light. Used for abbreviations within
text, sub-titles \textsc{\&}\,c.}

\definition{typography}{the art or craft of setting type
to improve understanding of the text.}

\quad ref. Rauri McLean,

\quad\quad\emph{Thames \& Hudson Manual of Typography},

\quad Robert Bringhurst,

\quad\quad\emph{The Elements of Typographic Style}.

\vfill

{Corrections courtesy Mac McGrew}

\quad \& Dr.~Richard McClintock

\break
\parskip=0pt
Originally, a typeface design was a thing
unto itself, with texts being set in
roman, or italic (or Fraktur, Rotunda
or Schwabacher), but never mixing either.
Italics originally used upright capitals however,
which provided a useful contrast at
need. In the 16{\fontspec[VerticalPosition={Superior}]{Adobe Garamond  
Pro}th} century, typographers
began using italics in roman texts for
emphasis, or to pick out foreign words, a
practice which continues to this day,
despite certain efforts to the contrary.

\parindent=1em

Other languages, naturally, have other
conventions, German being notable for
having two separate fonts as well, Fraktur,
literally \emph{broken script}, and Schwabacher,
\emph{rounded script}, which were used to good effect in older
texts to differentiate language usage.
A single typeface family (as opposed to
superfamily, such as Lucida or Stone)
may contain the following:

\break

{\leftskip = 6pt
\centerline {\tc TITLING}
\centerline {\tc \kern3pt CAPITALS}
{\fontsize{8pt}{12pt}\selectfont\obeylines
ROMAN CAPITALS
\quad \& LINING FIGURES {\lf 0123456789}
\textsc{roman small capitals}
roman lowercase letters
\quad \textsc{\&} old-style figures {\osf 0123456789}
{alternat{\altfinial e} roma{\altfinial n} characters}
\emph{SLOPED/ITALIC CAPITALS}
\quad  \smash{\vbox to 8.5pt{\hbox{\lower18pt\hbox to  
13pt{\XeTeXpdffile "AdobeGaramondAlternateAmpersand.pdf" width  
14pt}}}}\emph{Lining Figures} \emph{\lf 0123456789}
\emph{\alt Alternate Swash Characters}
\emph{italic lowercase letters}\enlargethispage{36pt}
\quad \emph{\&} \emph{italic old-style figures {\osf 0123456789}}
\quad \quad \textsc{\&} ornaments \vbox to  
9pt{\hbox{\xetexsort{AdobeGaramondOrnament1.pdf}\xetexsort{AdobeGaramond 
Ornament2.pdf}\xetexsort{AdobeGaramondOrnament3.pdf}}}
\vskip 
-12pt\hbox{\hspace*{13pt}\xetexsort{AdobeGaramondOrnament2.pdf}\xetexsor 
t{AdobeGaramondOrnament2.pdf}\xetexsort{AdobeGaramondOrnament2.pdf}\xete 
xsort{AdobeGaramondOrnament2.pdf}\xetexsort{AdobeGaramondOrnament2.pdf}\ 
xetexsort{AdobeGaramondOrnament2.pdf}\xetexsort{AdobeGaramondOrnament2.p 
df}\xetexsort{AdobeGaramondOrnament2.pdf}\xetexsort{AdobeGaramondOrnamen 
t2.pdf}\xetexsort{AdobeGaramondOrnament2.pdf}}}}

\break

Some typefaces will also have italic
small capitals, and in certain instances, an
obliqued or slanted roman as well as a true italic.
This latter convention is most
appropriate to fonts intended for setting
mathematics, but is all-too often
done in ignorance of the true nature of italic.
It bears noting that
an italic is not such simply because of its
slant, but because of its structure, which is
derived from handwriting.

Shown above, but not specifically
referenced, were ligatures. Most roman type
designs have \emph{f}~s which kern, or hang over
into the boundaries of the following character.
Normally, this is not a difficulty, but
some collisions do occur, hence, the
ligatures ff , fi , fl , ffi and ffl. Non-kerning
\emph{f}~s do exist, with Linotype being noted (or
notorious) for making them, their rationale
being that it facilitates letterspacing
lowercase text.

%\clearpage

Other ligatures include the ampersand, {\alt \&}
a ligature of the Latin word for and, \emph{et}), the
German double-s, \emph{eszett}, or sharp-s, ß,
which grew out of the long-s which was
used in the middle of words, and the purely
decorative ct and \emph{st} ligatures,
hold\-overs from Chancery calligraphy.

A typeface will also include a number of
characters which are not intuitively available
from a typewriter keyboard. As any good
style manual will indicate
%(e. g. \emph{The Chicago Manual of Style} prior to the 13{\alt th}  
edition)
these must be used. Two
hyphens do not make an em-dash—nor is
a single hyphen suitable to stand in for an
en-dash. Most applications will automatically
place apostrophes and quotation
marks (but be certain to use an apostrophe
to indicate omission \emph{’struth}) but few will
correctly use prime marks (i.e. ´\,˝\/)
to indicate
units of measure.

Similarly, the
sign,
×%
, not an
\emph{x} should be used,
when indicating dimensions, or
multiplication. Typically, fractions in text should be set using the  
appropriate Unicode character or built
using a solidus and superscript and subscript
numbers from an expert font
(e.g.
¼, ½ and ¾),
the use of lining figures
separated by a slash (“shilling” fractions) is better reserved for use  
in mathematics, or special text settings where legibility is more  
needed than \mbox{readability.}

\begin{sloppypar}%
Two recent font technologies have attempted to address the issues of a  
more appropriate, less-limited font format:
Apple’s QuickDraw/\textsc{gx} and Adobe/Micro\-soft’s
OpenType. Apple’s effort is to be revived
in their nascent Mac~OS~X as \textsc{aat} (Apple Advanced Typography)  
in its Latin-alphabet oriented incarnation (\textsc{atsui} (Apple  
Typographic System for
Unicode Information) in the more global version), while Microsoft’s  
attempt
seems typical of work produced by committee. OpenType is notable
however, for having enlisted the aid of
Prof.~Hermann Zapf in creating a new
version of Palatino to be distributed as the
first OpenType font.
\end{sloppypar}


\end{document}

-- 
William Adams, publishing specialist
voice - 717-731-6707 | Fax - 717-731-6708
www.atlis.com

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