Subject: comp.fonts FAQ: Diffs from last posting
Supersedes: <font-faq-diffs_794593348@ora.com>
Date: 15 Jun 1995 06:27:57 -0400
Expires: 29 Jul 1995 10:27:25 GMT
References: <font-faq-1_803212045@ora.com>
Summary: This posting answers frequently asked questions about fonts.
         It addresses both general font questions and questions that
         are specific to a particular platform.
X-Web-Homepage: http://jasper.ora.com:8080/comp.fonts

Archive-name: fonts-faq/diffs
Version: 2.1.3
Diffs-from: comp.fonts FAQ v2.1.2
Diff-tool: diff -c2

diff -c2 v2.1.2/font-faq.1 v2.1.3/font-faq.1
*** v2.1.2/font-faq.1.Tue Mar  7 10:23:19 1995
--- v2.1.3/font-faq.1.Wed Jun 14 18:17:52 1995
***************
*** 2,11 ****
    ----------------------------------------------------------------------
                                                        The comp.fonts FAQ
!                                                           Version 2.1.2.
!                                                           March 06, 1995
    Compiled by Norman Walsh
    
    Copyright (C) 1992-95 by Norman Walsh <norm@ora.com>.  The previous
!   version was 2.1.1.
    
    Portions of the OS/2 section are Copyright (C) 1993 by David J.
--- 2,11 ----
    ----------------------------------------------------------------------
                                                        The comp.fonts FAQ
!                                                           Version 2.1.3.
!                                                            June 14, 1995
    Compiled by Norman Walsh
    
    Copyright (C) 1992-95 by Norman Walsh <norm@ora.com>.  The previous
!   version was 2.1.2.
    
    Portions of the OS/2 section are Copyright (C) 1993 by David J.
diff -c2 v2.1.2/font-faq.11 v2.1.3/font-faq.11
*** v2.1.2/font-faq.11.Tue Mar  7 10:23:35 1995
--- v2.1.3/font-faq.11.Wed Jun 14 18:17:53 1995
***************
*** 6,9 ****
--- 6,14 ----
    suggestions to norm.
    
+   [ Note: much of this information is obsolete, based on the
+   SunOS4/Solaris2.1 server.  The Solaris 2.3 and later servers are based
+   on the standard X11R5 server but with Display PostScript added, so you
+   can do Type 1 in the "normal" way (fontdir+mkpsres) ]
+   
  Subject: 6.1. Fonts Under Open Windows
    
diff -c2 v2.1.2/font-faq.14 v2.1.3/font-faq.14
*** v2.1.2/font-faq.14.Tue Mar  7 10:23:37 1995
--- v2.1.3/font-faq.14.Wed Jun 14 18:17:53 1995
***************
*** 45,55 ****
    same time.
    
!   After FontGDOS came FSM-GDOS. The FSM stands for Font Scaling Manager
!   and allowed vector fonts to be used. The font-format for FSM-GDOS is
!   not known (*.QFM and *.OTL files), and the only fonts available for it
!   were a set of 15 Lucida fonts, including a symbol, a Hebrew, and
!   Italic, Roman and Bold versions. FSM-GDOS was only included with
!   Wordflair II and G-Man. FSM-GDOS also still supported GEM bitmap fonts.
!   The font format is the QMS/Imagen format.
    
    After FSM-GDOS, Atari introduced SpeedoGDOS 4.0, using Speedo font
--- 45,53 ----
    same time.
    
!   FontGDOS and FSM-GDOS were develloped in parallel and are both
!   successors of Atari-GDOS (1.x).  The FSM stands for Font Scaling
!   Manager and allowed vector fonts to be used.  FSM-GDOS was only
!   included with Wordflair II and G-Man. FSM-GDOS also still supported GEM
!   bitmap fonts.  The font format is the QMS/Imagen format.
    
    After FSM-GDOS, Atari introduced SpeedoGDOS 4.0, using Speedo font
diff -c2 v2.1.2/font-faq.16 v2.1.3/font-faq.16
*** v2.1.2/font-faq.16.Tue Mar  7 10:23:39 1995
--- v2.1.3/font-faq.16.Wed Jun 14 18:17:53 1995
***************
*** 270,276 ****
    Some other sites are:
    
!          ctrsci.math.utah.edu (128.110.198.1)
!          science.utah.edu (128.110.192.2)
!          ymir.claremont.edu (134.173.4.23)
    
    The occasional posting of ftp sites to comp.misc and comp.archives
--- 270,278 ----
    Some other sites are:
    
!          ftp.cica.indiana.edu
!          mac.archive.umich.edu
!          ftp.shsu.edu
!          ftp.tex.ac.uk
!          ftp.dante.de
    
    The occasional posting of ftp sites to comp.misc and comp.archives
***************
*** 302,313 ****
    
    If you are using ftp, you will need either the name of the host or the
!   Internet number.  For example, to connect to ymir, listed as ftp:
!   ymir.claremont.edu [134.173.4.23] you will need to type something like
    
!                           ftp ymir.claremont.edu
    
    If that doesn't work, try using the number:
    
!                              ftp 134.173.4.23
    
    If that doesn't work, on Unix systems you can use nslookup (it's
--- 304,315 ----
    
    If you are using ftp, you will need either the name of the host or the
!   Internet number.  For example, to connect to jasper, listed as ftp:
!   jasper.ora.com [198.112.208.14] you will need to type something like
    
!                             ftp jasper.ora.com
    
    If that doesn't work, try using the number:
    
!                             ftp 198.112.208.14
    
    If that doesn't work, on Unix systems you can use nslookup (it's
***************
*** 321,326 ****
    
    Most of the machines listed here run Unix, and you use "ls" and "cd" to
!   list files and to change directories.  Ymir runs VMS, and you will have
!   to put square brackets around directory names, like [this].
    
    Remember that although Metafont sources are text files, pk fonts are
--- 323,328 ----
    
    Most of the machines listed here run Unix, and you use "ls" and "cd" to
!   list files and to change directories.  On machines that run VMS, you
!   will have to put square brackets around directory names, like [this].
    
    Remember that although Metafont sources are text files, pk fonts are
***************
*** 330,344 ****
    will need to use binary mode, and then uncompress the files when you
    get them.
-   
-   You can get files from ymir by sending mail messages to
-   
-                         mailserv@ymir.claremont.edu
-   
-   For example,
-   
-                        send [tex.mf.misc]cmapl10.mf
-   
-   will get the file cmapl10.mf from the directory "tex.mf.misc".  You
-   can't get binary files in this way.
    
    There is an ftp-by-mail BITNET service, BITFTP, for BITNET users.
--- 332,335 ----
diff -c2 v2.1.2/font-faq.17 v2.1.3/font-faq.17
*** v2.1.2/font-faq.17.Tue Mar  7 10:23:40 1995
--- v2.1.3/font-faq.17.Wed Jun 14 18:17:53 1995
***************
*** 297,305 ****
         (800) 735-7321
    
!        FontHaus Inc                    (United States)
!        15 Perry Avenue, A7
!        Norwalk CT 06850
!        203 846 3087
!        203 849 8527 Fax
         
         FontHaus is a manufacturer of typefaces and a licensed reseller for
--- 297,305 ----
         (800) 735-7321
    
!        FontHaus                       (United States)
!        1375 Kings Hwy East
!        Fairfield, CT 06430
!        (800) 942-9111 or (203) 367-1993
!        (203) 367-1860 Fax
         
         FontHaus is a manufacturer of typefaces and a licensed reseller for
***************
*** 546,549 ****
--- 546,555 ----
         (800) 223-2479
    
+        Ragnarok                        Font Line: Scriptorium Font Library
+        POB 140333                      120+ original calligraphic, display
+        Austin, TX  78714               and art font designs.  SASE for catalog.
+        (512) 472-6535                  $15 for 12 font sampler disk.  Specify
+                                        Macintosh or PC preference when ordering.
+   
         R.M.C.                          : PrintR fonts (HP/IBM)
         12046 Willowood Dr.
***************
*** 567,570 ****
--- 573,579 ----
         FAX: (404) 727-2348
         Verified: 9 Feb 1994
+   
+        Scriptorium Font Library
+        (See Ragnarok)
    
         SoftCraft, Inc.
diff -c2 v2.1.2/font-faq.2 v2.1.3/font-faq.2
*** v2.1.2/font-faq.2.Tue Mar  7 10:23:23 1995
--- v2.1.3/font-faq.2.Wed Jun 14 18:17:52 1995
***************
*** 705,709 ****
       * .fot
    
!        MS-Windows TrueType format fonts
    
       * .gf
--- 705,710 ----
       * .fot
    
!        An MS-Windows kludge for TrueType fonts.  The fot file points to
!        the actual TrueType font (in a ttf file).
    
       * .gf
***************
*** 776,779 ****
--- 777,784 ----
    
         TeX font metric file.  Also an HP Tagged Font Metric file.
+   
+      * .ttf
+   
+        An MS-Windows TrueType font.
    
       * .vf
diff -c2 v2.1.2/font-faq.3 v2.1.3/font-faq.3
*** v2.1.2/font-faq.3.Tue Mar  7 10:23:25 1995
--- v2.1.3/font-faq.3.Wed Jun 14 18:17:52 1995
***************
*** 970,973 ****
--- 970,975 ----
                  Terry O'Donnell <odonnell@mv.us.adobe.COM>
    
+                Rick Pali <Rick_Pali@f328.n163.z1.jammys.net>
+   
                      Jon Pastor <pastor@VFL.Paramax.COM>
    
diff -c2 v2.1.2/font-faq.4 v2.1.3/font-faq.4
*** v2.1.2/font-faq.4.Tue Mar  7 10:23:28 1995
--- v2.1.3/font-faq.4.Wed Jun 14 18:17:52 1995
***************
*** 211,218 ****
    --------------------------------------------------
    
!   Before the printing press, books were produced by scribes. The process
!   of writing out an entire book by hand was as labor-intensive as it
!   sounds (try it some time): so much so that a few volumes constituted a
!   library, and a hundred books was an awe-inspiring collection.
    
    This remained true until the invention of movable type, the perfection
--- 211,220 ----
    --------------------------------------------------
    
!   Before the printing press, books were produced by scribes (at first,
!   primarily based in monasteries, although by the 12th century there were
!   many lay copiers serving the university market). The process of writing
!   out an entire book by hand was as labor-intensive as it sounds (try it
!   some time): so much so that a dozen volumes constituted a library, and a
!   hundred books was an awe- inspiring collection.
    
    This remained true until the invention of movable type, the perfection
***************
*** 220,240 ****
    it several centuries earlier, and a Dutch fellow named Coster may have
    had some crude form a decade earlier). Gutenberg, although a man of
!   vision, did not personally profit from his invention. He worked for
!   over a decade with borrowed capital, and his business was repossessed
!   by his investors before the first mass-produced book was successfully
!   printed - the Gutenberg Bible of 1454.
    
!   Gutenberg's basic process remained unchanged for centuries. A punch with
!   a mirror image of the letter is struck into a piece of softer metal.
!   Molten metal is poured into this, and you get type. Type is put into a
!   matrix to form the page of text, inked, then pressed into paper.
    
!   Within several decades typesetting technology spread across Europe. Some
!   of these first printers were artisans, while others were just people
!   who saw an opportunity for a quick lira/franc/pound. The modern view of
!   a classical era in which craftsmanship predominated appears unjustified
!   to scholars: there has always been fine craft, crass commercialism, and
!   work that combines both.
    
    To those who have grown up with television, radio, magazines, books,
    movies, faxes and networked computer communications it is difficult to
--- 222,249 ----
    it several centuries earlier, and a Dutch fellow named Coster may have
    had some crude form a decade earlier). Gutenberg, although a man of
!   vision, did not personally profit from his invention. He worked for over
!   a decade with borrowed capital, and his business was repossessed by his
!   investors before the first mass-produced book was successfully
!   printed--the Gutenberg Bible of 1454, printed in Mainz by Fust and
!   Schoeffer.
    
!   Gutenberg's basic process remained unchanged for centuries. A punch made
!   of steel, with a mirror image of the letter is struck into a piece of
!   softer metal. Molten metal is poured into this, and you get type. The
!   type is put into a matrix to form the page of text, inked, then pressed
!   into paper.
    
!   Within several decades typesetting technology spread across Europe.
!   The speed with which it did so is impressive: within the first fifty
!   years, there were over a thousand printers who set up shops in over two
!   hundred European cities. Typical print runs for early books were in the
!   neighborhood of two hundred to a thousand books.
    
+   Some of these first printers were artisans, while others were just
+   people who saw an opportunity for a quick lira/franc/pound. The modern
+   view of a classical era in which craftsmanship predominated appears
+   unjustified to scholars: there has always been fine craft, crass
+   commercialism, and work that combines both.
+   
    To those who have grown up with television, radio, magazines, books,
    movies, faxes and networked computer communications it is difficult to
***************
*** 277,291 ****
    While typesetting and printing speeds increased phenomenally, so did the
    speed of punchcutting. In 1885, Linn Boyd Benton (then of Benton, Waldo
!   & Company, Milwaukee) invented a device that automated the previously
!   painstaking process of creating punches. His machine could scale a
!   drawing to the required size, as well as compressing or expanding the
!   characters, and varying the weight slightly to compensate for the
!   larger or smaller size - this last being a crude form of the "optical
!   scaling" done by skilled typographers making versions of the same font
!   for different sizes. In optical scaling, the thickest strokes retain
!   the same relative thickness at any size, but the thinnest strokes are
!   not simply scaled up or down with the rest of the type, but made
!   thicker at small sizes and thinner at large display sizes, so as to
!   provide the best compromise between art and readability.
    
    The economic impact of all these advances on the type industry cannot be
--- 286,300 ----
    While typesetting and printing speeds increased phenomenally, so did the
    speed of punchcutting. In 1885, Linn Boyd Benton (then of Benton, Waldo
!   & Company, Milwaukee) invented a pantographic device that automated the
!   previously painstaking process of creating punches. His machine could
!   scale a drawing to the required size, as well as compressing or
!   expanding the characters, and varying the weight slightly to compensate
!   for the larger or smaller size-- this last being a crude form of the
!   "optical scaling" done by skilled typographers making versions of the
!   same font for different sizes. In optical scaling, the thickest strokes
!   retain the same relative thickness at any size, but the thinnest
!   strokes are not simply scaled up or down with the rest of the type, but
!   made thicker at small sizes and thinner at large display sizes, so as
!   to provide the best compromise between art and readability.
    
    The economic impact of all these advances on the type industry cannot be
***************
*** 308,312 ****
    Pierre Simon Fournier had first proposed a comprehensive point system in
    1737, with later refinements, but what was ultimately adopted was the
!   later version developed by Francois Ambroise Didot.  This put
    approximately 72 points to the inch (and now exactly 72 points to the
    inch on most computer- based typesetting systems).
--- 317,321 ----
    Pierre Simon Fournier had first proposed a comprehensive point system in
    1737, with later refinements, but what was ultimately adopted was the
!   later version developed by Francois Ambroise Didot. This put
    approximately 72 points to the inch (and now exactly 72 points to the
    inch on most computer- based typesetting systems).
***************
*** 315,319 ****
    ----------------------------------------------------------------
    
!   The first photocomposition devices (the French "Photon" and Intertype.s
    Fotosetter) made their debuts as early as 1944, but didn't really catch
    on until the early 1950s.  Typeface masters for photocomposition are on
--- 324,328 ----
    ----------------------------------------------------------------
    
!   The first photocomposition devices (the French "Photon" and Intertype's
    Fotosetter) made their debuts as early as 1944, but didn't really catch
    on until the early 1950s.  Typeface masters for photocomposition are on
***************
*** 336,341 ****
    and they all had their own formats for fonts.  However, some of these
    devices are still in service as of 1995, for use in production
!   environments which require more speed and less flexibility (phone books,
!   newspapers, flight schedules, etc.).
    
    In the late 1980s PostScript gradually emerged as the de facto standard
--- 345,350 ----
    and they all had their own formats for fonts.  However, some of these
    devices are still in service as of 1995, for use in production
!   environments which require more speed and less flexibility (phone
!   books, newspapers, flight schedules, etc.).
    
    In the late 1980s PostScript gradually emerged as the de facto standard
***************
*** 342,350 ****
    for digital typesetting.  This was due to a variety of reasons,
    including its inclusion in the Apple Laserwriter printer and its
!   powerful graphics handling.  When combined with the Macintosh (the first
!   widely used computer with a what-you-see-is-what-you-get display) and
!   PageMaker (the first desktop publishing program), the seeds were all
!   sown for the current dominance of completely computer-based typesetting.
    
    Today, although PostScript predominates, there are a variety of
    competing page description languages (PostScript, HP PCL, etc.), font
--- 351,367 ----
    for digital typesetting.  This was due to a variety of reasons,
    including its inclusion in the Apple Laserwriter printer and its
!   powerful graphics handling.  When combined with the Macintosh (the
!   first widely used computer with a what-you-see-is-what-you-get display)
!   and PageMaker (the first desktop publishing program), the seeds were
!   all sown for the current dominance of computer-based typesetting.
    
+   Most high-end typesetting still involves printing to film, and then
+   making printing plates from the film. However, the increasing use of
+   high- resolution printers (600-1200 dots per inch) makes the use of
+   actual printing presses unnecessary for some jobs. And the next step
+   for press printing is the elimination of film altogether, as is done by
+   a few special systems today, in which the computer can directly create
+   printing plates.
+   
    Today, although PostScript predominates, there are a variety of
    competing page description languages (PostScript, HP PCL, etc.), font
***************
*** 361,376 ****
    price range of the "average" user, many are in the same price range as
    the mid- to high-end graphics and desktop publishing programs.  This,
!   combined with the introduction of CD-ROM typeface collections, has moved
!   digital type away from being an expensive, specialized tool, towards
!   becoming a commodity.  As a result of both this and the brief
    photocomposition interregnum, the previously established companies have
    undergone major shakeups, and even some major vendors, such as American
    Type Founders, have failed to successfully make the digital transition,
!   and gone bankrupt instead.
    
!   Although there is a new accessibility of type design tools, the
!   decreasing value of individual typefaces has resulted in a decrease in
!   the number of working type designers (both independents and
!   company-employed).
    
    Type Forms Through the Centuries
--- 378,397 ----
    price range of the "average" user, many are in the same price range as
    the mid- to high-end graphics and desktop publishing programs.  This,
!   combined with the introduction of CD-ROM typeface collections, has
!   moved digital type away from being an expensive, specialized tool,
!   towards becoming a commodity.  As a result of both this and the brief
    photocomposition interregnum, the previously established companies have
    undergone major shakeups, and even some major vendors, such as American
    Type Founders, have failed to successfully make the digital transition,
!   and gone bankrupt instead (although at this time ATF appears to be
!   undergoing a resurrection). More recently, even major digital type
!   foundries have-dare one say foundered?-on the shoals of ubiquitous
!   cheap typefaces (even a licensing deal with Corel Corp seems to have
!   been insufficient to save URW).
    
!   Although there is a new accessibility of type design tools for hobbyists
!   and professional graphic artists, the decreasing value of individual
!   typefaces has resulted in a decrease in the number of working type
!   designers per se (both independents and company-employed).
    
    Type Forms Through the Centuries
***************
*** 381,385 ****
    beyond that time. Even after the rise of old style typefaces in the
    late 1500s, the blackletter type was commonly used for setting text for
!   several centuries (well into the 1800s in Germany). With later
    interpretations of earlier forms being relatively common, the *style*
    of a given typeface may belong to a quite different period from that of
--- 402,406 ----
    beyond that time. Even after the rise of old style typefaces in the
    late 1500s, the blackletter type was commonly used for setting text for
!   several centuries (well into the 1900s in Germany). With later
    interpretations of earlier forms being relatively common, the *style*
    of a given typeface may belong to a quite different period from that of
***************
*** 388,392 ****
    time, reworked by someone else later, made into a phototypesetting face
    by another person, and then later created in digital form by yet
!   another designer - who might have been working off of any of the above
    as the basis of their work.
    
--- 409,413 ----
    time, reworked by someone else later, made into a phototypesetting face
    by another person, and then later created in digital form by yet
!   another designer--who might have been working off of any of the above
    as the basis of their work.
    
***************
*** 400,413 ****
    In discussing the differences between type, one must refer to a number
    of technical terms. For illustrations of these terms, see also the
!   downloadable graphics file PGTEXT.GIF. For an illustration of display
!   fonts, see PGDPLA.GIF. With any luck, both should be available for FTP
!   or download from the same site as this file. If so, you would be well
!   advised to refer to these pictures for illustrations of both these
!   terms and the differences between different categories of typefaces. If
!   you are a newcomer to typography, some sort of visual reference is
!   essential to understand the differences between fonts explained here.
!   Your options include: the aforementioned graphics files; type samples
!   from a book, manual or font vendor's catalog; or simply viewing or
!   printing out the fonts you have available on your computer system.
    
    Definitions
--- 421,437 ----
    In discussing the differences between type, one must refer to a number
    of technical terms. For illustrations of these terms, see also the
!   downloadable graphics file TYPHS_72.GIF or TYPHS300.GIF. The numbers
!   refer to the dots per inch of the graphic when scaled to a full page:
!   72 dpi is a low resolution suitable for screen viewing, while 300 dpi
!   is better-suited to laser printing. With any luck, both should be
!   available for FTP or download from the same site as this file. If so,
!   you would be well advised to refer to these pictures for illustrations
!   of both these terms and the differences between different categories of
!   typefaces. If you are a newcomer to typography, some sort of visual
!   reference is essential to understand the differences between fonts
!   explained here. Your options include: the aforementioned graphics
!   files; type samples from a book, manual or font vendor's catalog; or
!   simply viewing or printing out the fonts you have available on your
!   computer system, if you have a reasonable variety.
    
    Definitions
***************
*** 414,419 ****
    -----------
    
!   Contrast: The degree of difference between the thick and thin strokes
!   in a font (if any).
    
    Stress (axis): The angle at which contrast occurs, usually ranging from
--- 438,443 ----
    -----------
    
!   Contrast: The degree of difference between the thick and thin strokes in
!   a font (if any).
    
    Stress (axis): The angle at which contrast occurs, usually ranging from
***************
*** 433,438 ****
    it is said to be "bracketed."
    
!   Letters Before Gutenberg
!   ------------------------
    
    Although writing itself can be traced back to several millennia B.C., to
--- 457,462 ----
    it is said to be "bracketed."
    
!   Early Letterforms
!   -----------------
    
    Although writing itself can be traced back to several millennia B.C., to
***************
*** 451,457 ****
    Type forms similar to what we now think of as "normal" letter shapes
    evolved from the Carolingian (or Caroline) minuscule. The Carolingian
!   letters are so-called because of their adoption by Charlemagne (late
!   10th century) as a standard for education. Digital revivals of these
!   exist, such as Carol Twombly's Charlemagne (1989).
    
    By the fifteenth century, italics also existed, in the form of a cursive
--- 475,481 ----
    Type forms similar to what we now think of as "normal" letter shapes
    evolved from the Carolingian (or Caroline) minuscule. The Carolingian
!   letters are so-called because of their adoption by the Emperor
!   Charlemagne (late 10th century) as a standard for education. Digital
!   revivals of these exist, such as Carol Twombly's Charlemagne (1989).
    
    By the fifteenth century, italics also existed, in the form of a cursive
***************
*** 478,485 ****
    It is worth noting that although these typefaces seem very hard to read
    to us today, this is due as much to familiarity as to any objective
!   lesser clarity.  R. Hemenway writes: "Fraktur was in use in Germany well
!   into the 1900s, though it was gradually being superseded by Roman
!   typefaces. The Nazis at first fostered a return to Fraktur, then
!   outlawed it as a "Jewish typeface" in 1940.
    
    Studies from mid-century found that people can read blackletter with a
--- 502,509 ----
    It is worth noting that although these typefaces seem very hard to read
    to us today, this is due as much to familiarity as to any objective
!   lesser clarity.  Fraktur was in use in Germany well into the 1900s,
!   though it was gradually being superseded by Roman typefaces. The Nazis
!   at first fostered a return to Fraktur, then outlawed it as a "Jewish
!   typeface" in 1940.
    
    Studies from mid-century found that people can read blackletter with a
***************
*** 489,494 ****
    era.
    
!   Old Style Typefaces: Aldus, Jenson, Garamond, Caslon
!   ----------------------------------------------------
    
    E.P. Goldschmidt, as explained by Stanley Morison, claimed that "the
--- 513,518 ----
    era.
    
!   Old Style Typefaces: Centaur, Bembo, Jenson, Garamond, Caslon
!   -------------------------------------------------------------
    
    E.P. Goldschmidt, as explained by Stanley Morison, claimed that "the
***************
*** 501,513 ****
    blackletter.
    
!   Old style type is generally considered "warm" or friendly, thanks to its
!   origins in Renaissance humanism. The main characteristics of old style
!   typefaces are low contrast with diagonal stress, and cove or "bracketed"
!   serifs (serifs with a rounded join to the stem of the letter). The
!   earliest, or Venetian, old style typefaces (originally 15th-16th
!   Century) have very minimal contrast, and a sloped cross-bar on the
!   lower-case "e." One such is Bruce Rogers' Centaur (1916), a "Venetian"
!   old style based on Jenson. Similarly, Monotype's Bembo (1929) is based
!   on the work of Francesco Griffo, circa 1499.
    
    Italics at this point were still independent designs, and were generally
--- 525,537 ----
    blackletter.
    
!   Old style type is generally considered "warm" or friendly, thanks to
!   its origins in Renaissance humanism. The main characteristics of old
!   style typefaces are low contrast with diagonal stress, and cove or
!   "bracketed" serifs (serifs with a rounded join to the stem of the
!   letter). The earliest (Venetian or Renaissance) old style typefaces
!   (originally 15th-16th Century) have very minimal contrast, and a sloped
!   cross-bar on the lower-case "e." One such is Bruce Rogers' Centaur
!   (1916), based on Jenson. Similarly, Monotype's Bembo (1929) is based on
!   the work of Francesco Griffo, circa 1499.
    
    Italics at this point were still independent designs, and were generally
***************
*** 517,524 ****
    italic form of Bembo is based on the italic of Tagliente (also 1524).
    
!   Later old style type (17th Century) generally has more contrast, with a
!   somewhat variable axis, and more slope of italic. The most common
!   examples are the types of Garamond and Caslon, many revivals of which
!   exist in digital form.
    
    Transitional Type: Baskerville, Fournier
--- 541,548 ----
    italic form of Bembo is based on the italic of Tagliente (also 1524).
    
!   Later or baroque old style type (17th Century) generally has more
!   contrast, with a somewhat variable axis, and more slope of italic. The
!   most common examples are the types of Garamond and Caslon, many variant
!   revivals of which exist in digital form.
    
    Transitional Type: Baskerville, Fournier
***************
*** 565,571 ****
    and ultimately the most influential, was Giambattista Bodoni, of Parma,
    Italy.  Ironically, historians of type often relate the development of
!   the "modern" letterforms to a then-current obsession with things Roman
!   - in this case the strong contrast and sharp serifs of classical Roman
!   inscriptions. Although similar interests
    
    Today, the most common "modern" typefaces are the dozens of
--- 589,595 ----
    and ultimately the most influential, was Giambattista Bodoni, of Parma,
    Italy.  Ironically, historians of type often relate the development of
!   the "modern" letterforms to a then-current obsession with things
!   Roman--in this case the strong contrast and sharp serifs of classical
!   Roman inscriptions. Although similar interests
    
    Today, the most common "modern" typefaces are the dozens of
***************
*** 594,599 ****
    Sans serif letters have no serifs, as the name suggests. The low
    contrast and absence of serifs makes most sans typefaces harder to
!   follow for general reading. They are fine for a sentence, passable for a
!   paragraph, but are difficult to use well in, say, the text of a book.
    The terminology of sans serif types can be confusing: essentially,
    gothic or grotesque are both generic names for sans serif (although
--- 618,623 ----
    Sans serif letters have no serifs, as the name suggests. The low
    contrast and absence of serifs makes most sans typefaces harder to
!   follow for general reading. They are fine for a sentence, passable for
!   a paragraph, but are difficult to use well in, say, the text of a book.
    The terminology of sans serif types can be confusing: essentially,
    gothic or grotesque are both generic names for sans serif (although
***************
*** 665,675 ****
    
    Wood type answered some of the needs of display advertising during the
!   industrial revolution. It is distinguished by strong contrasts, an
!   overall dark color, and a lack of fine lines. It may be unusually
!   compressed or extended. Many wood types have an "Old West" feel, because
!   they are most strongly associated with America in the 1870-1900 period.
!   Some of the wood types most widely available today are those in an
!   Adobe pantheon released in 1990, which includes Cottonwood, Ironwood
!   and Juniper (Buker, Lind & Redick).
    
    Script, Brush, Italic & Freehand
--- 689,701 ----
    
    Wood type answered some of the needs of display advertising during the
!   industrial revolution. It derives its name from the fact that instead of
!   being made of metal, the type is carved from wood, cut perpendicular to
!   the grain. It is distinguished by strong contrasts, an overall dark
!   color, and a lack of fine lines. It may be unusually compressed or
!   extended. Many wood types have an "Old West" feel, because they are most
!   strongly associated with America in the 1870-1900 period. Some of the
!   wood types most widely available today are those in an Adobe pantheon
!   released in 1990, which includes Cottonwood, Ironwood and Juniper
!   (Buker, Lind & Redick).
    
    Script, Brush, Italic & Freehand
***************
*** 703,707 ****
    typefaces designed as such in their own right. The best known is
    doubtless Zapf Chancery (Zapf, 1979). Others include Medici Script
!   (Zapf 1974) and Poetica (Slimbach, 1992).
    
    Art Nouveau
--- 729,733 ----
    typefaces designed as such in their own right. The best known is
    doubtless Zapf Chancery (Zapf, 1979). Others include Medici Script
!   (Zapf, 1974) and Poetica (Slimbach, 1992).
    
    Art Nouveau
***************
*** 716,720 ****
    There are a fair number of digital revivals of art nouveau faces,
    although few are widely used. Some of the more common digital art
!   nouveau typefaces are Arnold Bocklin (Weisert, 1904), Artistik,
    Desdemona, Galadriel and Victorian.
    
--- 742,746 ----
    There are a fair number of digital revivals of art nouveau faces,
    although few are widely used. Some of the more common digital art
!   nouveau typefaces are Arnold Boecklin (Weisert, 1904), Artistik,
    Desdemona, Galadriel and Victorian.
    
***************
*** 772,778 ****
    lettering for a modern sans serif alphabet: most popularly Carol
    Twombly's Lithos (1989), and most recently Matthew Carter's Skia GX
!   (1994). Hans Eduard Meier's Syntax (1969) is one of the earliest sans
!   typefaces which clearly echo renaissance roman letterforms. More recent
!   sans faces often draw on a humanistic background, from Meta to
    Vereschagin's Clear Prairie Dawn.
    
--- 798,805 ----
    lettering for a modern sans serif alphabet: most popularly Carol
    Twombly's Lithos (1989), and most recently Matthew Carter's Skia GX
!   (1994). Koch's Neuland (1930?) has a rough-hewn strength. Hans Eduard
!   Meier's Syntax (1969) is one of the earliest sans typefaces which
!   clearly echo renaissance roman letterforms. More recent sans faces
!   often draw on a humanistic background, from Spiekerman's Meta to
    Vereschagin's Clear Prairie Dawn.
    
***************
*** 781,786 ****
    
    The most recent typographic wave is one which has sometimes been called
!   Grunge typography, after the musical movement originating in Seattle.
!   Although it is far too early to judge the ultimate impact of Grunge, I
    see the form as the merger of the industrial functionalist movement
    called Bauhaus (contemporary with Art Deco, named after the
--- 808,813 ----
    
    The most recent typographic wave is one which has sometimes been called
!   grunge typography, after the musical movement originating in Seattle.
!   Although it is far too early to judge the ultimate impact of grunge, I
    see the form as the merger of the industrial functionalist movement
    called Bauhaus (contemporary with Art Deco, named after the
***************
*** 788,803 ****
    Grunge, like many typographic/artistic movements before it, is a
    rebellion; but this rebellion denies not only the relevance of anything
!   previous, but sometimes even legibility itself, in the belief that the
!   medium *is* the message. Grunge typefaces and typography may be seen in
!   magazines such as RayGun.
    
    Sources
    =======
    
!   Published Sources
!   -----------------
    
!   Although much of this information is simply based on previous reading,
!   I also actively consulted the following publications:
    
    Bauermeister, Benjamin.  A Manual of Comparative Typography.  Van
--- 815,840 ----
    Grunge, like many typographic/artistic movements before it, is a
    rebellion; but this rebellion denies not only the relevance of anything
!   previous, but sometimes even the relevance of legibility itself, in the
!   belief that the medium *is* the message.
    
+   As grunge type designer Carlos Segura of T-26 says, "Typography is
+   beyond letters. Some fonts are so decorative, they almost become
+   'visuals' and when put in text form, they tell a story beyond the
+   words-a canvas is created by the personality of the collection of words
+   on the page."
+   
+   Grunge typefaces and typography are seen in magazines such as RayGun.
+   Some examples of grunge typography are the work of Barry Deck (Template
+   Gothic, Cyberotica, Truth), Nguyen's Droplet, Goren's Morire and Lin's
+   Tema Cantante.
+   
    Sources
    =======
    
!   Published Sources:
!   ------------------
    
!   Although much of this information is based on prior knowledge, I also
!   actively consulted the following publications:
    
    Bauermeister, Benjamin.  A Manual of Comparative Typography.  Van
***************
*** 805,809 ****
    
    Bringhurst, Robert.  The Elements of Typographic Style.  Hartley &
!   Marks, Vancouver, BC: 1992.  ISBN 0-88179-033-8.
    
    Byers, Steve.  The Electronic Type Catalog.  Bantam Books, New York:
--- 842,847 ----
    
    Bringhurst, Robert.  The Elements of Typographic Style.  Hartley &
!   Marks, Vancouver, BC: 1992.  ISBN 0-88179-033-8.  The modern classic in
!   the field.
    
    Byers, Steve.  The Electronic Type Catalog.  Bantam Books, New York:
***************
*** 810,813 ****
--- 848,859 ----
    1991.  ISBN 0-553-35446-9.
    
+   Eisenstein, Elizabeth L.  The Printing Press as an Agent of Change.
+   Cambridge University Press, New York: 1979.  ISBN 0-521-29955-1.
+   
+   Harper, Laurel.  "Thirstype: Quenching a Type Craving" in How: the
+   Bottomline Design Magazine, vol. 10, #1, Jan-Feb 1995.  Although not
+   usually a thrilling magazine, had several pieces on typography in this
+   issue (see Segura, below).
+   
    Letraset Canada Limited.  Letraset Product Manual. Letraset, Markham,
    Ontario, Canada: 1985.
***************
*** 814,841 ****
    
    Meggs, Philip B. "American Type Founders Specimen Book & Catalog 1923"
!   in Print Magazine, vol. 48 #1, Jan-Feb. 1994. Contains some interesting
    info on the effects of industrialization on the type industry.
    
!   Sutton, James & Bartram, Alan.  An Atlas of Typeforms.  Percy, Lund,
    Humphries & Co., Hertfordshire, UK: 1968. ISBN 1-85326-911-5.
    
    Morison, Stanley & Day, Kenneth.  The Typographic Book: 1450-1935.
!   University of Chicago Press: 1963.
    
    Updike, Daniel Berkeley.  Printing Types: Their History, Forms & Use.
    Harvard Press: 1962.
    
!   Personal Contributions
!   ----------------------
    
!   In addition to written sources, which are identified elsewhere in the
!   Internet FAQ file(s), I would like to thank the following for their
!   helpful comments, corrections and additions (any errors are, of course,
!   my responsibility): Robert Hemenway, Mary Jo Kostya, and Dan Margulis.
    
    ---------- Footnotes ----------
    
!   (1)  Version 1.0, 23 Jan 95
    
  Subject: 1.28. The Role of National Orthography in Font Design
    
--- 860,901 ----
    
    Meggs, Philip B. "American Type Founders Specimen Book & Catalog 1923"
!   in Print Magazine, vol. 48 #1, Jan-Feb 1994.  Contains some interesting
    info on the effects of industrialization on the type industry.
    
!   Sutton, James & Bartram,  Alan. An Atlas of Typeforms.  Percy, Lund,
    Humphries & Co., Hertfordshire, UK: 1968. ISBN 1-85326-911-5.
    
    Morison, Stanley & Day, Kenneth.  The Typographic Book: 1450-1935.
!   University of Chicago Press, Chicago: 1963.
    
+   Segura, Carlos & Nelson, Lycette.  "Typography in Context: Never Take a
+   Font at Face Value" in How: the Bottomline Design Magazine, vol. 10,
+   #1, Jan-Feb 1995.
+   
+   Tracy, Walter.  Letters of Credit: a View of Type Design.  David R.
+   Godine Co.: 1986.
+   
    Updike, Daniel Berkeley.  Printing Types: Their History, Forms & Use.
    Harvard Press: 1962.
    
!   Zapf, Hermann.  "The Expression of Our Time in Typography" in Heritage
!   of the Graphic Arts. R.R. Bowker Company, New York: 1972.   ISBN
!   0-8352-0213-5.
    
!   Personal Contributions:
!   -----------------------
    
+   In addition to written sources, which are identified above, I would like
+   to thank the following for their helpful comments and corrections (any
+   errors are, of course, my responsibility): Robert Hemenway, Mary Jo
+   Kostya, and Dan Margulis
+   
    ---------- Footnotes ----------
    
!   (1)  Version 1.02 14 Apr 1995
    
+   This is Info file comp.fonts.faq.info, produced by Makeinfo-1.55 from
+   the input file FAQ.texinfo.
+   
  Subject: 1.28. The Role of National Orthography in Font Design
    
***************
*** 858,864 ****
    unlikely to make?
    
-   This is Info file comp.fonts.faq.info, produced by Makeinfo-1.55 from
-   the input file FAQ.texinfo.
-   
  Subject: 1.29. Interesting Fonts
    
--- 918,921 ----
***************
*** 942,1069 ****
    Function advertises an Adobe "Initial Caps" collection of decorative
    initial caps designed by Marwan Aridi.
-   
- Subject: 1.30. Pronounciation of Font Names
-   
-   Below each of the following font names, a suggested English
-   pronounciation is given.  This information was collected from a
-   (relatively) long discussion on comp.fonts.  If you disagree, or have
-   other suggestions, please let me know.
-   
-   Arnold Boecklin
-   ===============
-   
-   "Ar" as in car, "nold" as in "old" with an "n" on the front.  "Boeck"
-   is tricker.  The "oe" is actually an umlaut "o" in German, and the
-   closest sound to most English speakers is an "er".  So try "Berklin" if
-   you want to come close to the original.  Otherwise, just say "Boklin",
-   with a long o, like in "boat".
-   
-   Benguiat
-   ========
-   
-   Ben-Gat.  This according to an ITC brochure.
-   
-   Courier
-   =======
-   
-   I would pronounce Courier not like Jim Courier, but the French way:
-   Ku-rie, where "Ku" is pronounced like "coo", only short, and "rie" is
-   pronounced "ree-eh".
-   
-   Didot
-   =====
-   
-   Stressed at the last syllable. "Dee-DOOH" (not nasal).
-   
-   Fette Fraktur
-   =============
-   
-   "Fet" as in "get" with a "te" that rhymes with "way".  "Frak" rhymes
-   with "mock", and "tur" with "tour".
-   
-   Fenice
-   ======
-   
-   Feh-nee'-chey
-   
-   Garamond
-   ========
-   
-   "Gara-": Use a french "r" instead of an english one. Both "a"s are
-   pronounced like the "u" in the word "up". "-mond": the last syllable is
-   stressed, and you don't pronounce the "n" and "d", but the whole "ond"
-   is a nasal "o". Hold your nose closed and say "Ooh", then you get the
-   right sound.  The "ant" in "Avant-Garde" is very similar to this sound,
-   it is a nasal situated between "a" and "o".
-   
-   Helvetica
-   =========
-   
-   Hell-veh'-ti-ka
-   
-   Koch Roman
-   ==========
-   
-   Pronounced like scottish `Loch', but with K instead of L.
-   
-   LaTeX
-   =====
-   
-   Lamport lists lah'-tech, lah-tech', lay'-tech and lay'-tecks as valid
-   on p.4.  Last I talked to him he'd settled into lay'-tech which has
-   always been my pronunciation as well. Somewhere, I heard that LL does
-   explicitly rule out L.A.-tech, but he's from northern California which
-   explains a lot.
-   
-   Mos Eisley
-   ==========
-   
-   moss eyes-lee
-   
-   Novarese
-   ========
-   
-   No-vahr-ay'-zay
-   
-   Palatino
-   ========
-   
-   pa-la-TEEN-oh
-   
-   Peignot
-   =======
-   
-   There's some contention here, suggested pronouncations:
-   
-   pay-nyoh'
-   
-   "P" like "P" in `Post", "ei" like "a" in "fan", "gn" like "n" in "noon"
-   plus "y" in "yes", "ot" - long, closed "o" (I don't know English
-   examples), stressed.
-   
-   "P" like "P" in `Post", "ei" like "a" in "many", "gn" like "n" in
-   "noon" plus "y" in "yes", "ot" - long, closed "o" (I don't know English
-   examples), stressed.
-   
-   Sabon
-   =====
-   
-   Sah-bon'
-   
-   TeX
-   ===
-   
-   Rhymes with Blech, (as in "Blech, that tasted awfull!")
-   
-   Veljovic
-   ========
-   
-   Vel'-yo-vitch
-   
-   Zapf
-   ====
-   
-   Like "tsapf".  The "a" is pronounced like a short version of the well
-   known tongue-depresser vowel "aaahhh".  Perhaps a better English analogy
-   would be the "o" in "hop" or "hops".
    
--- 999,1001 ----
diff -c2 v2.1.2/font-faq.5 v2.1.3/font-faq.5
*** v2.1.2/font-faq.5.Tue Mar  7 10:23:29 1995
--- v2.1.3/font-faq.5.Wed Jun 14 18:17:52 1995
***************
*** 1,2 ****
--- 1,127 ----
+ Subject: 1.30. Pronounciation of Font Names
+   
+   Below each of the following font names, a suggested English
+   pronounciation is given.  This information was collected from a
+   (relatively) long discussion on comp.fonts.  If you disagree, or have
+   other suggestions, please let me know.
+   
+   Arnold Boecklin
+   ===============
+   
+   "Ar" as in car, "nold" as in "old" with an "n" on the front.  "Boeck"
+   is tricker.  The "oe" is actually an umlaut "o" in German, and the
+   closest sound to most English speakers is an "er".  So try "Berklin" if
+   you want to come close to the original.  Otherwise, just say "Boklin",
+   with a long o, like in "boat".
+   
+   Benguiat
+   ========
+   
+   Ben-Gat.  This according to an ITC brochure.
+   
+   Courier
+   =======
+   
+   I would pronounce Courier not like Jim Courier, but the French way:
+   Ku-rie, where "Ku" is pronounced like "coo", only short, and "rie" is
+   pronounced "ree-eh".
+   
+   Didot
+   =====
+   
+   Stressed at the last syllable. "Dee-DOOH" (not nasal).
+   
+   Fette Fraktur
+   =============
+   
+   "Fet" as in "get" with a "te" that rhymes with "way".  "Frak" rhymes
+   with "mock", and "tur" with "tour".
+   
+   Fenice
+   ======
+   
+   Feh-nee'-chey
+   
+   Garamond
+   ========
+   
+   "Gara-": Use a french "r" instead of an english one. Both "a"s are
+   pronounced like the "u" in the word "up". "-mond": the last syllable is
+   stressed, and you don't pronounce the "n" and "d", but the whole "ond"
+   is a nasal "o". Hold your nose closed and say "Ooh", then you get the
+   right sound.  The "ant" in "Avant-Garde" is very similar to this sound,
+   it is a nasal situated between "a" and "o".
+   
+   Helvetica
+   =========
+   
+   Hell-veh'-ti-ka
+   
+   Koch Roman
+   ==========
+   
+   Pronounced like scottish `Loch', but with K instead of L.
+   
+   LaTeX
+   =====
+   
+   Lamport lists lah'-tech, lah-tech', lay'-tech and lay'-tecks as valid
+   on p.4.  Last I talked to him he'd settled into lay'-tech which has
+   always been my pronunciation as well. Somewhere, I heard that LL does
+   explicitly rule out L.A.-tech, but he's from northern California which
+   explains a lot.
+   
+   Mos Eisley
+   ==========
+   
+   moss eyes-lee
+   
+   Novarese
+   ========
+   
+   No-vahr-ay'-zay
+   
+   Palatino
+   ========
+   
+   pa-la-TEEN-oh
+   
+   Peignot
+   =======
+   
+   There's some contention here, suggested pronouncations:
+   
+   pay-nyoh'
+   
+   "P" like "P" in `Post", "ei" like "a" in "fan", "gn" like "n" in "noon"
+   plus "y" in "yes", "ot" - long, closed "o" (I don't know English
+   examples), stressed.
+   
+   "P" like "P" in `Post", "ei" like "a" in "many", "gn" like "n" in
+   "noon" plus "y" in "yes", "ot" - long, closed "o" (I don't know English
+   examples), stressed.
+   
+   Sabon
+   =====
+   
+   Sah-bon'
+   
+   TeX
+   ===
+   
+   Rhymes with Blech, (as in "Blech, that tasted awfull!")
+   
+   Veljovic
+   ========
+   
+   Vel'-yo-vitch
+   
+   Zapf
+   ====
+   
+   Like "tsapf".  The "a" is pronounced like a short version of the well
+   known tongue-depresser vowel "aaahhh".  Perhaps a better English analogy
+   would be the "o" in "hop" or "hops".
+   
  Subject: 1.31. What is it?
    
diff -c2 v2.1.2/font-faq.6 v2.1.3/font-faq.6
*** v2.1.2/font-faq.6.Tue Mar  7 10:23:30 1995
--- v2.1.3/font-faq.6.Wed Jun 14 18:17:52 1995
***************
*** 312,315 ****
--- 312,348 ----
    reader.  Hopefully.
    
+   Rick Pali submits the following from Before and After Magazine, Volume
+   4 Number 2.:
+   
+   [quote]
+   
+   After telling everyone that Lorem ipsum, the nonsensical text that
+   comes with PageMaker, only looks like Latin but actually says nothing, I
+   heard from Richard McClintock, publication director at the
+   Hampden-Sydney College in Virginia, who had enlightening news:
+   
+   "Lorem ipsum is latin, slightly jumbled, the remnants of a passage from
+   Cicero's _de Finibus_ 1.10.32, which begins 'Neque porro quisquam est
+   qui dolorem ipsum quia dolor sit amet, consectetur, adipisci velit...'
+   [There is no one who loves pain itself, who seeks after it and wants to
+   have it, simply because it is pain.]. [de Finibus Bonorum et Malorum,
+   written in 45 BC, is a treatise on the theory of ethics very popular in
+   the Renaisance.]
+   
+   "What I find remarkable is that this text has been the industry's
+   standard dummy text ever since some printed in the 1500s took a galley
+   of type and scambled it to make a type specemin book; it has survived
+   not only four centuries of letter-by-letter resetting but even the leap
+   into electronic typesetting, essentially unchanged except for an
+   occational 'ing' or 'y' thrown in. It's ironic that when the
+   then-understood Latin was scrambled, it became as incomprehensible as
+   Greek; the phrase 'it's Greek to me' and 'greeking' have common semantic
+   roots!"
+   
+   [unquote]
+   
+   One Example of Lorem Ipsum Dolor
+   ================================
+   
    Lorem ipsum dolor sit amet, consectetaur adipisicing elit, sed do
    eiusmod tempor incididunt ut labore et dolore magna aliqua. Ut enim ad
***************
*** 378,380 ****
--- 411,416 ----
    have seen in print, increasingly so as you go along.  It almost looks
    computer-generated, doesn't it?]
+   
+   This is Info file comp.fonts.faq.info, produced by Makeinfo-1.55 from
+   the input file FAQ.texinfo.
    
