Knuth DE. The Metafont book. Addison-Wesley, 1986.  Home/Search   Document Not in Database   Summary   Related Articles   Check

....better than popular WYSIWYG programs (precision, possibility of complex constructions, etc. and, no doubt, there are thousands of fonts used all over the world, only a negligible fraction of them being designed using METAFONT. Computer Modern inheritance The final exhortation of The book ([1]) GOFORTHnow and create masterpieces of digital typography suggests that Donald E. Knuth, when he designed presumed that his idea of parameterized fonts would find many followers. Unfortunately, his expectations failed. Why The reasons are manifold. One of the most important aspects is ....

Donald E. Knuth, The METAFONT book, Addison-Wesley, seventh printing, 1992.

.... of coordinate values are done according to various systems: special rounding rules, such as the round before use rule; special types of numbers for the non vanishing measures of [Sta92,Sta93] the intricate rounding machinery of TrueType [Mic92] or, the various rounding capabilities of Metafont [Knu86]. Explicit gridtting has a xed execution model, with the advantages that implementation is straightforward and that the nal raster patterns are identical on all rasterisers, given the same set of parameters. In the case of TrueType, the term instruction is therefore preferred to the term hint. ....

....bows, and serifs [Kar92, p. 116] are identied, and this information is used in addition to global specications for the font (such as stem thickness) Examples include the PostScript hints with stem zones and blue values [Ado90b] or the grid constraints developed by Hersch [Her87] Metafont [Knu86] also includes automatic adjustments for rasterisation in certain cases, even without additional information explicitly specied, but these adjustments are not applicable at low to middle resolutions. In the case of implicit grid tting, there is no xed execution model for the rasteriser. This ....

Donald E. Knuth, The METAFONT Book, Addison-Wesley, Reading, MA, 1986.

....of the art of computer programming. Knuth s answer to my question shed some light on the What vs. How dichotomy in requirements specifications. A little background is in order. Both Knuth and I have worked in electronic publishing. He is well known for having developed T E X and METAFONT [16, 20, 17, 18]. I have participated in the development of additions to the ditroff [14] family for indexing and for formatting multilingual and multidirectional text [1, 8, 27, 6, 3] Knuth also participated in the development of a bidirectional version of T E X [19] Therefore, I was curious as to what he ....

Knuth, D.E., The Metafont Book, Addison Wesley, Reading, MA, 1986.

....measured with UNIX time(1) command (in Personal IRIS4D 35TG, 36MHz, 33MIPS, 6MFLOPS) 6 Examples and Applications 6.1 Sweeping as a Design Tool A direct application of the algorithm is to a font design system which designs each character as a 2D brush sweep. Note that Knuth s METAFONT system [24], models each Roman character as a 2D sweep of pen, whose shape change is somewhat limited. To illustrate simple examples of its usage, we consider elliptic brushes which could change its orientation as well as the lengths along its major and minor axes. Ghosh [10] also demonstrated the usage of ....

Knuth, D., Computers & Typesetting / Volume C : The METAFONT Book , Addison-Wesley, 1986.

....properties change in response to direct manipulation by a mouse, rather than by manipulation of pre defined widgets. Thus, for example, they do not provide a drawing editor that would allow a designer to create arbitrary graphics. Nor do they provide mechanisms such as constraints or TeX like glue [15] for specifying arbitrary layout arrangements for the graphics. Finally, they do not provide pre defined behaviors, such as a move behavior or a selection behavior, that can be used with arbitrary graphics (e.g. these tools might associate a selection behavior with a collection of buttons, but ....

D.E. Knuth. The Metafont Book. Addison-Wesley, Reading, MA, 1985.

....Designing such fonts is a completely novel task for typographers, and the form of design tools for this kind of design process is yet to be developed. In this work we present a new approach for parametric feature based design of fonts. In contrast to previous programmable parametric models [13, 22], our system is visual in nature and gives the designer direct manipulation capabilities. In contrast to previous feature based models [7, 1, 14] our notion of a feature is extended by the usage of constraints. Our approach creates a more natural and effective design environment for classic font ....

....fill serifedge(2) reverse serifedge(1) cycle; penlables(1,2) endchar; Fig. 2. A program describing a glyph (META FONT) 2. 2 Programmable Design Tools To facilitate high level parametric control over glyph shapes, programmable font design tools and models have been proposed in [13, 22, 7]. Programmable models define a glyph using some programming language for describing points, lines and splines. The shape of the glyph is constructed by executing the instructions of the program in one of two ways: either the contours of the shape s outline are constructed and filled, or a skeleton ....

Knuth, D. E.: The METAFONT book, Adison wesley, 1986.

....changed, and as computerized typesetting was introduced, further modifications ensued. Font representations have included bitmaps and contours. Both require that the original shapes be modified, and neither is fully satisfactory. METAFONT offers another alternative font representation [1], however it appears best suited to mathematicians and programmers, as it is more a constraint specification language than a convenient way to describe shapes as understood by a typical font designer. It is also a relatively slow format for rasterization, compared to outlines. The expressiveness ....

....of the centreline curve is in one to one correspondence with a spline segment approximating each of its offset curves. The approximation is done at definition time, and does not improve with subdivision. Chua uses paired outlines, along the same lines as METAFONT79 s ddraw and METAFONT s fill [1]. Both Pham and Chua show a number of special effects such as variation in colour with relative distance from the centreline that are possible with a stroke based representation. METAFONT s draw allows for strokes of variable width, but uses pens of fixed shape and orientation. With these ....

Donald E. Knuth, The METAFONT book, Addison Wesley, 1986.

....on the stroke, the orientation and the pressure on the pen) and ffl the texture (depending on the pen pressure, the consistency of the paint, the paint retention property of the pen, the variation of moisture content of the pen, the medium, say paper or silk, characteristics etc. Metafont[2] is a pen stroke based system. It models the shape of the strokes. Metafont provides excellent mathematical tools for shape descriptions and specifying relationships between shapes. A Metafont user writes a program for each glyph design; hence the user community has to be composed of reasonably ....

Donald E Knuth, The Metafont Book, Addison Wesley Publishing Company (1986).

....8, 17] and Korean characters in [15, 16] Many fonts for oriental characters (especially for Chinese, Korean, and Japanese characters) can be best described in terms of brush sweeps along curve trajectories while the brush shapes changing dynamically. The METAFONT design system developed by Knuth [12, 13] allows alphabets to be designed by the sweeps of pens moving along curve trajectories. Designing characters in terms of pen and or brush sweeps is quite natural since it simulates the way of human writing characters. The sweep computations have various other applications in graphic arts, science, ....

....and the interior filling. In the structural fonts, there are two common approaches of structural coding, i.e. the coding with contours and the coding with skeletons. A typical system for the former is the CSD system of Ph. Coueignoux [4] and that of the later is the METAFONT system of Knuth [12, 13]. These representation schemes consider the characteristics of all the characters in a font set together, rather than considering each character separately. In these methods, the space requirement is much smaller. Further, one can design fonts very efficiently and the font variations are quite ....

Knuth, D.E., (1986), Computers & Typesetting / Volume C : The METAFONT Book, AddisonWesley, Readings, Mass.

....was generated by Basil K. Malyshev. They are freely available from the CTAN (Comprehensive TeX Archive Network) ftp sites and are known as bakoma fonts. This collection includes versions of the standard computer modern fonts for TeX (converted from the traditional MetaFont source invented by Knuth [3] to the Type 1 format) and also includes versions of the extended sets of mathematical symbols (which originated from the American Mathematical Society) and the new dc fonts which include accented letters fro Latin 1 and Latin 2. Unfortunately there is no Cyrillic font in this collection. The ....

D. E. Knuth, The MetaFont Book, Addison-Wesley, (1986).

....and documentation. For this purpose we will use literate programs T E X and METAFONT and a C class library, i.e. ET , as input. T E X is a book quality formatting system [Knuth86a, Knuth86b] METAFONT is a system that enables a programmer artist to create a family of fonts for T E X s use [Knuth86c, Knuth86d]. Both systems were implemented by Donald Knuth as literate programs. ET is an extensive application framework for C [Weinand89] For the literate programs we measure reuse in the WEB sources containing source code and documentation. The WEB source is input to the literate programming system, ....

Donald E. Knuth: "The METAFONT Book," Volume C of Computer & Typesetting, Addison-Wesley, 1986.

....codes: T E X 3.141, METAFONT 2.71, METAPOST 0.63, DVItype 3.4, CWEB 2.99 , and FWEB 1.30a. 4. 1 The TEX System We studied four WEBs from the T E X system: T E X, a book quality formatting system [11, 12] METAFONT, a system that enables a programmer artist to create a family of fonts for T E X [13, 14]; DVItype, a prototypical reader of dvi files that are the output of T E X [10] and METAPOST, a close relative of METAFONT that enables the creation of high quality graphics as encapsulated PostScript files [7, 8] An outstanding feature of the T E X system is the complete and careful ....

....of T E X are in today s word processors. The hyphenation algorithm from T E X is widely (re)used. This was obviously done in a white box fashion. We note that emphasizing reuse makes it difficult to produce software systems as self contained books (such as Knuth s Computers and Typesetting series [11, 12, 13, 14]. Significant effort was made to keep these volumes in harmony. The lion with Hercule Poirot (in T E X) and the lioness with Miss Marple (in METAFONT) are probably the most obvious example. When software systems are written like this and with so much care, it can really be a pleasure to read them. ....

Knuth DE (1986) The METAFONT Book. Volume C of Computers & Typesetting, AW

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Knuth DE. The Metafont book. Addison-Wesley, 1986.

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Donald E. Knuth. The Metafont book. Addison-Wesley, Reading, Massachusetts, 1986.

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Knuth86 Knuth, Donald E., The metafont Book, Addison-Wesley, 1986.

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Knuth, D. (1986). The METAFONT Book. Addison-Wesley, Reading, MA.

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