LDP/LDP/howto/linuxdoc/Font-HOWTO.sgml

<!doctype linuxdoc system>
<article>
<title>Font HOWTO</title>
<author>
	Donovan Rebbechi, 
	<url name="elflord@panix.com" 
	url="mailto:elflord@panix.com">
</author>
<toc>
<sect>Introduction
<sect1>The Location of This Document
<p>
	This document is located at 
		<url name="my webpage"
			url="http://pegasus.rutgers.edu/~elflord/font_howto">
			
</p>
<sect1>Rationale
<p>
	I'm going to make this brief (-; The purpose of this document is to address
	what was a gaping hole in font documentation. While previously, there
	were several documents about fonts for Linux, I felt that none of them
	were comprehensive, all of them had a relatively narrow focus. Hence
	the goal of this document is not to provide radical new insight into 
	the issue of font handling ( though I have included material previously 
	unavailable ), the main aim is to provide a comprehensive source to act 
	as a starting point for any and all font questions about Linux.
</p>
<sect1>Credits and Acknowledgements
<p>
	Special thanks are due to Rod Smith, who made several helpful suggestions,
	and fixed pfm2afm.
	Also thanks to Doug Holland, whose Font Deuglification HOWTO proved
	to be a good reference,	John McLaughlin, author of the document that
	helped me come to grips with Star Office, 
	and the Linux community for their suggestions
	and construtive comments.
</p>

<sect>Fonts 101 -- A Quick Introduction to Fonts
<sect1>Types of fonts

<sect2>Bitmap Fonts
<p>
	A bitmap is a matrix of dots. Bitmap fonts are represented in precisely
	this way -- as matrices of dots. Because of this, they are
	<em>device dependent</em> -- they are only useful at a particular 
	resolution. A 75 DPI screen bitmap font is still 75 DPI on your 1200 DPI 
	printer.
</p>
<p>
	There are two types of bitmap fonts -- bitmap printer fonts, such as
	the <tt>pk</tt> fonts generated by dvips, and bitmap screen fonts,
	used by X and the console. The bitmap screen fonts typically have 
	a <tt>bdf</tt> or <tt>pcf</tt> extension. Bitmap screen 
	fonts are most useful
	for terminal windows, consoles and text editors, where the lack of
	scalability and the fact that they are unprintable is not an issue.
</p>

<sect2>Type1 Fonts
<p>
	The Type1 font standard was devised by Adobe, and Type1 fonts are
	supported by Adobe's postscript standard. Because of this, they are
	also well supported under linux. They are supported by X and 
	ghostscript. Postscript fonts have traditionally been the choice 
	of font for anything on UNIX that involves printing.
</p>
<p>
	Typically, a UNIX Type1 font is distributed as an <tt>afm </tt>
	( adobe font metric ) file, and an outline file, which 
	is usually a <tt>pfb</tt> ( printer font binary ) or 
	<tt>pfa</tt> ( printer font ascii ) 
	file. The outline file
    contains all the glyphs, while the metric file 
	contains the metrics. 
</p>
<p>
	Type 1 fonts for other platforms may be distributed in different
	formats. For example, postscript fonts for windows often use a different
	format ( <tt>pfm</tt> ) for the metric file.
</p>
<sect2>Type3 fonts
<p>
	These fonts are distributed in a similar manner to Type1 files --
	in groups of <tt>afm</tt> font metrics, and <tt>pfa</tt> files.
	While they are supported by the postscript standard, they are not 
	supported by X, and hence have limited use.
</p>
<sect2>TrueType fonts
<p>
	True type fonts were developed by Apple. They made the format available
	to Microsoft, and succesfully challenged Adobe's grip on the font 
	market. 
	True type fonts store the metric and shape information in a single
	file ( usually one with a <tt>ttf</tt> extension ). Recently,
	font servers have been developed that make TrueType available 
	to X. And postscript and ghostscript have supported TrueType fonts
	for some time. Because of this, TrueType fonts are becoming more 
	popular on linux.
</p>
<sect2>Type42 Fonts 
<p>
	Type42 fonts are actually just TrueType fonts with headers that enable
	them to be rendered by a postscript interpreter. Most applications,
	such as ghostscript and SAMBA handle these fonts transparently. However,
	if you have a postscript printer, it may be necessary to explicitly 
	create Type42 font files.
</p>
<sect2>Type1 vs TrueType -- a comparison
<p>
	Despite the historical feuding between the proponents to Type1 and TrueType
	fonts, both have a lot in common. Both are scalable outline fonts.
	Type1 fonts use cubic as opposed to quadratic curves for the glyphs.
	This is in theory at least a slight advantage since they include 
	all the curves available to TrueType fonts. In practice, it makes 
	very little difference. 
</p>
<p>
	TrueType fonts have the apparent advantage that their support for 
	hinting is better ( Type1 fonts do have hinting functionality, but it 
	is not as extensive as that of TrueType fonts ). 
	However, this is only an issue on low resolution
	devices, such as screens ( the improved hinting makes no discernable
	difference on a 600dpi printer, even at small point sizes. )
	The other point that makes this apparent advantage somewhat 
	questionable is the fact that well hinted TrueType fonts are rare. 
	This is because software packages that support hinting functionality
	are out of the budget of most small time designers.
	Only a few major foundries, such as Monotype make well hinted 
	fonts available.
</p>
<p>
	In conclusion, the main differences between TrueType and Type1 fonts 
	are in availability and application support. The widespread availability
	of TrueType fonts for Windows has resolted in webpages designed 
	with the assumption that 
	certain TrueType fonts are available. Also, many users have large 
	numbers of TrueType fonts because they ship with the users Windows
	applications. However, on Linux, most applications support Type1 fonts
	but do not have the same level of support for TrueType. Moreover, most
	major font foundries still ship most of their fonts in Type1 format.
	For example, Adobe ship very few TrueType fonts.
	My recommendation to users is to use whatever works for your 
	application, and try to avoid converting from one format to another
	where possible ( because the format conversion is not without loss ).
</p>
<sect2>Metafont
<p>
	Metafont was developed by Donald E Knuth as part of the TeX typesetting
	system. Metafont is a graphics programming language ( like postscript )
	that has applications wider than just fonts.
	Metafonts exhibit some very desirable qualities. One of the important
	features is that metafonts can scale very gracefully.  The metafont
	Computer Modern has different shape at 20 point and 10 point. The 
	shape changes with size, because it is desirable for a smaller font
	to be proportionately wider than a larger font ( this makes the larger
	fonts more elegant and the smaller font more readable ).
</p>
<p>
	Metafonts typically have a <tt>mf</tt> extension. They are rendered
	to device dependent bitmap fonts. The rendering is slow, so they
	are of excellent quality, but are not well suited to WYSIWYG 
	publishing.
</p>

<sect1>Families of Typefaces
<p>
	Typically typically come in groups of a few variants. For example,
	most fonts come with a bold, italic, and bold-italic variant.
	Some fonts may also have small caps, and demibold variants.
	A group of fonts consisting of a font and its variants is 
	called a <em>family</em> of typefaces.
	For example, the Garamond family consists of Garamond,
	Garamond-italic, Garamond-bold, Garamond bold-italic,
	Garamond demi-bold, and Garamond demi-bold-italic. The Adobe 
	expert Garamond font also makes available Garamond small caps,
	and Garamond titling capitals.
</p>


<sect>Fonts 102 -- Typography
<p>
	Here, we discuss some typography basics. While this information
	is not essential, many font lovers will find it interesting.
</p>
<sect1>Classifications of Typefaces

<sect2>Fixed versus variable width
<p>
	There are several classifications of typefaces. Firstly, there
	are <tt>fixed width</tt> fonts, and variable width fonts.
	The fixed width fonts look like typewriter text, because 
	each character is the same width. This quality is desirable for
	something like a text editor or a computer console, but not
	desirable for the body text of 
	a long document. The other class is variable
	width. Most of the fonts you will use are variable width, though
	fixed with can be useful also ( for example, all the example 
	shell commands in this document are illustrated with a 
	fixed with font ). The most well known fixed width font
	is courier.
</p>
<sect2>To serif or not to serif ?
<p>
	Serifs are little hooks on the ends of characters. For example, the
	letter i in a font such as Times Roman has serifs protruding from 
	the base of the i and the head of the i.
	Serif fonts are <em>usually</em> considered more readable than 
	fonts without serifs. There are many different types of serif fonts.
</p>
<p>
	Sans serif fonts do not have these little hooks, so they have
	a starker appearance. One usually does not write a long book 
	using a sans serif font for the body text. There are sans serif
	fonts that are readable enough to be well suited to documents 
	that are supposed to be browsed / skimmed ( web pages, catalogues,
	marketting brochures ). Another application that sans serif fonts
	have is as display fonts on computer screens, especially at 
	small sizes. The lack of detail in the font can provide it with
	more clarity. For example, Microsoft touts Verdana as being 
	readable at very small sizes on screen.
</p><p>
	Notable sans serif fonts include Lucida sans, MS Comic Sans,
	Verdana, Myriad, Avant Garde, Arial, Century Gothic and Helvetica.
	By the way, Helvetica is considered harmful by typographers.
	It is somewhat overused, and many books by typographers plead 
	users to stay away from it.
</p>
<sect2>The old and the new -- different types of Serif fonts
<sect3>Old Style
<p>
	Old style fonts are based on very traditional styles dating as 
	far back as the late 15th century. Old style fonts tend 
	to be conservative in design, and very readable. They are well 
	suited to writing long documents. The name ``old style'' refers 
	to the style of the font, as opposed to the date of its design.
	There are classic old style fonts, such as Goudy Old Style,
	which wre designed in the 20th century.
	The old style class of fonts has the following distinguishing features:
	<itemize>
	<item>Well defined, shapely serifs.
	<item>Diagonal emphasis. Imagine drawing a font with a fountain pen, 
		where lines 45 degrees anticlockwise from vertical are heavy
		and lines 45 degrees clockwise from verticle are light. Old style
		fonts often have this appearance.
	<item>Readability. Old style fonts are almost always very readable.
	<item>Subtlety and lack of contrast. The old style fonts have heavy 
		lines  and light lines but the contrast in weight is subtle, 
		not stark.
	</itemize>
	Notable Old Style fonts include Garamond, Goudy Old Style, Jenson,
	and Caslon ( the latter is contentious -- some consider it transitional )
</p>
<sect3>Moderns ( or didone )
<p>
	The moderns are the opposite of old style fonts. These fonts 
	typically have more character, and more attitude than their old style
	counterparts, and can be used to add character to a document rather
	than to typeset a long piece. However, nothing is black and white --
	and there are some modern fonts such as computer modern and
	Monotype modern, and New Century Schoolbook are very readable
	( the contrast between heavy and light is softened to 
	add readability ).
	They are based on the designs popular in the 19th century and 
	later. Their distinguishing features include:
	<itemize>
	<item>Lighter serifs, often just thin horizontal lines.
	<item>Vertical emphasis. Vertical lines are heavy, horizontal 
		lines are light.
	<item>Many moderns have a stark contrast between light and heavy strokes.
	<item>Modern typefaces with high contrast between light and heavy 
		strokes are not as readable as the old style fonts.
	</itemize>
	Bodoni is the most notable modern. Other moderns include computer 
	modern, and Monotype modern ( on which computer modern is based ).
</p>
<sect3>Transitional
<p>
	Transitional fonts fit somewhere in between moderns and old style fonts.
	Many of the transitionals have the same kind of readability as the old 
	styles. However, they are based on slightly later design. While
	a move in the direction of the moderns may be visible in these 
	fonts, they are still much more subtle than the the moderns. 
	Examples of transitionals include Times Roman, Utopia, Bulmer,
	and Baskerville. Of these, Times leans towards old style, while
	Bulmer looks very modern.

</p>
<sect3>Slab Serifs
<p>
	The slab serif fonts are so named because they have thick, block 
	like serifs, as opposed to the smooth hooks of the old styles
	or the thin lines of some of the moderns.
	Slab serif fonts tend to be sturdy looking and are generally quite
	readable. Many of the slab serifs have Egyptian names -- such
	as Nile, and Egyptienne ( though they are not really in any way Egyptian ).
	These fonts are great for producing readable text that may suffer
	some dilution in quality ( such as photocpied documents, and documents
	printed on newspaper ). These fonts tend to look fairly sturdy.
	The most notable slab serif fonts are Clarendon, Memphis and
	Egyptienne, as well as several typewriter fonts.
	Many of the slab serif fonts are fixed width. Conversely, most 
	( almost all ) fixed width fonts are slab serif.
</p>
<sect2>The Sans Serif Revolution
<p>
	Surprisingly, the rise of sans serif fonts is a fairly recent
	phenomenon. The first well known sans serif fonts were designed in the
	19th early 20th century. The earlier designs include Futura, 
	Grotesque and Gill Sans. These fonts represent respectively 
	the ``geometric'', ``grotesque'' and ``humanist'' classes 
	of sans serif fonts.
</p>
<sect3>Grotesque
<p>
	The grotesques where so named because the public were initially 
	somewhat shocked by their relatively stark design. Groteques are 
	very bare in appearance due to the absence of serifs, and the simpler,
	cleaner designs. Because of their ``in your face'' appearance,
	grotesques are good for headlines. The more readable variations also
	work quite well for comic books, and marketting brochures,
	where the body text comes in small doses. Grotesques don't look 
	as artsy as their geometric counterparts. 
	Compared to the geometrics, they have more variation in weight, more
	strokes, they are squarer ( because they don't use such 
	circular arcs ). They use a different upper case G and lower case 
	a to the geometrics.
	While they are minimalistic
	but don't go to the same extreme as the brutally avant-garde 
	geometrics.
</p>
<p>
	Notable grotesques include the overused Helvetica,  Grotesque,
	Arial, Franklin Gothic, and Univers.
</p>
<sect3>Geometric
<p>
	The Futura font came with the manifesto: <em>form follows function</em>.
	The geometric class of fonts has a stark minimalistic appearance. 
	Distinguishing features include a constant line thickness ( no weight ).
	This is particularly conspicuous in the bold variants of a font. 
	Bold groteques and humanist fonts often show some notable 
	variation in weight while this rarely happens with the geometric
	fonts. Also notable is the precise minimalism of these designs.
	The characters almost always are made up from straight horizontal and
	vertical lines, and arcs that are very circular ( to the point 
	where they often look as though they were drawn with a compass ).
	The characters have a minimal number
	of strokes. This gives them a contemporary look in that they 
	embrace the minimalistic philosophy that would later take the
	world of modern art by storm.
	A tell tale sign that a font is a geometric type is the upper case
	``G'', which consists of a minimalistic combination of two
	strokes -- a long circular arc and a horizontal line.
	The other character that stands out is the lower case ``a'' --
	which is again two simple strokes, a straight vertical line and
	a circle ( the other ``a'' character is more complex which is why
	it is not used ).
	Notable geometrics include Avant Garde, Futura, and Century
	Gothic.
</p>
<sect3>Humanist
<p>
	As the name might suggest, humanist fonts were designed with a goal 
	of being less mechanical in appearance. In many ways, they are
	more similar to the serif fonts than the geometrics and the 
	grotesques. They are said to have a ``pen drawn'' look about them.
	They tend to have subtle variation in weight, especially observable 
	in bold variants. The curve shapes are considerably less rigid than
	those of the geometrics. Many of them are distinguishable by the
	``double story'' lower case g, which is the same shape as the g
	used in the old style serif fonts.
	The humanist typefaces are the easiest to use without producing an 
	ugly document as they are relatively compatible with the old style 
	fonts.
</p>
<sect2>Compatible Typefaces
<p>
	Grouping typefaces is not easy, so it pays to avoid using too many on
	the one page. A logical choice of two typefaces consists of a serif
	and a sans serif.
	<url name="Monotype's Typography 101 page"
		url="http://www.monotype.com/newmedia/type101_ex.htm">
		provides a category-matchup. They conclude that 
		the moderns and geometrics form good pairs, while 
		the old styles and humanists also go together well.
		The transitionals are also paired with the humanists.
		The slab serifs are paired with the grotesques, and 
		some variants of the slab serifs are also said to match 
		the geometrics or humanists.
</p><p>
	From reading this, one gets the impression that their 
	philosophy is essentially to match the more conservative
	serifs with the more moderate sans serifs, and pair the 
	wilder modern serifs with the avant garde looking ( pun unavoidable )
	geometrics.
</p>
<sect1>Ligatures, Small caps fonts and expert fonts
<sect2>Ligatures
<p>
	Properly spacing fonts brings with it all sorts of issues.
	For example, to properly typeset the letters ``fi'', the i should
	be very close to the f. The problem is that this causes the dot 
	on the i to collide with the f, and the serif on the head of the i
	to collide with the horizontal stroke of the f.
	To deal with this problem, font collections include ligatures. 
	For example, the ``fi'' ligature character is a single character that 
	one can substitute for the the two character string ``fi''.
	Most fonts contain fi and fl ligatures. Expert fonts discussed 
	later often include extra ligatures, such as ffl, ffi, and a dotless
	i character.
</p>
<sect2>Small caps fonts
<p>
	Small caps fonts are fonts that have reduced size upper case letters
	in place of the lower case letters. These are useful for writing
	headings that require emphasis ( and they are often used in LaTeX ).
	Typically, when one writes a heading in small caps, they use a large
	cap for the beginning of each word, and small capitals for the rest
	of the word ( ``title case'' ). The advantage of this over using
	all caps is that you get something that is much more readable
	( using all caps is a big typographic sin ).
</p>
<sect2>Expert fonts
<p>
	Expert fonts consist of several extras designed to supplement a typeface.
	These include things like ligatures, ornaments ( much like a 
	mini-dingbats collection designed to go with the typeface ), 
	small caps fonts, and swash capitals ( fancy, calligraphic letters ).
</p>
<sect1>Font Metrics and Shapes
<p>
	Font metrics define the spacing between variable width fonts.
	The metrics include information about the size of the font,
	and <em>kerning</em> information, which assigns kerning 
	pairs -- pairs of characters that should be given different 
	spacing. For example, the letters ``To'' would usually belong in 
	a kerning pair, because correctly spaced ( or kerned ), the o 
	should partly sit under the T. Typesetting programs such as LaTeX
	need to know information about kerning so that they can make decisions
	about where to break lines and pages. The same applies to WYWIWYG
	publishing programs.
</p>
<p>
	In addition to the metrics, is the font outline, or shape.
	The components of the fonts shape ( a stroke, an accent, etc )
	are called ``glyphs''.
</p>

<sect>Making Fonts Available To X<label id="xfonts">
<p>
	There are a number of ways fonts can be added to X. Firstly, XFree86
	has a <em>font path</em> which is just a list of several directories
	or <em>font servers</em> where it searches for fonts. A font server
	is just a background process that makes fonts available to XFree86. 
	An advantage of font servers is that they can send fonts to remote displays.
</p>
<p>
	Recently, <tt>xfs</tt> ( the ``X font server'' ) has been patched 
	to support TrueType fonts, and run as a stand-alone program.  
	The patched version ships with Redhat and Redhat-based distributions,
	and is included in XFree86 3.9.17 ( the latest version at the time of 
	writing. It will also be a part of XFree86 4.0 )
	<tt>xfs</tt> is actually just the standard font server that comes
	with XFree86. It's source code is part of the XFree86 source tree.
	However, distributions have recently been shipping a version that runs
	in stand alone mode.
	The standalone X font server, with the TrueType support 
	patch ( the TrueType support takes place via a font server 
	called <tt>xfsft</tt> ) is probably the nicest font management 
	solution currently available. Its advantages include:
	<itemize>
	<item>Support for different types of fonts, including Type1, TrueType
		and bitmap.
	<item>Makes fonts available to remote displays.
	<item>Greatly simplifies editing the fontpath -- you can do it via
		the command line utility <tt>chkfontpath</tt>, as opposed to
		having to edit configuration files. This not only makes life
		easier for users, it makes packaging more safer and more scriptable 
		for packagers.
	</itemize>
</p>
<p>
	Because different distributions ship with different configurations,
	it is not true that one size fits all. We can split users up into
	three groups:
	<itemize>
	<item>Your distribution ships with a standalone <tt>xfs</tt>
		and it has been patched to support TrueType. This group 
		includes Redhat users and users of derivatives of Redhat 
		such as Mandrake, TurboLinux, and Independence.
		For this group, the wisest strategy is to install both TrueType
		and Type1 fonts through <tt>xfs</tt>
	<item>Some distributions ship with a stand alone <tt>xfs</tt>
		package, but no TrueType support (at the time of writing.
		Note that XFree86 supports TrueType as of version 3.9.17 ). 
		This includes Debian. For these users, the best thing to do is use 
		<tt>xfs</tt> to install Type1 fonts, and install TrueType
		fonts via <tt>xfstt</tt>. Debian users can seek out 
		the 
	<url name="TrueType Fonts in Debian mini-HOWTO"
		url="http://www.dimensional.com/~bgiles/debian-tt.html">
		for information about installing TrueType fonts in Debian.
	<item>If you don't have <tt>xfs</tt> then you will need to install
		Type1 fonts by adding to their XFree86 font path and
		using xset. You should install TrueType 
		via <tt>xfstt</tt>.
	</itemize>
</p>
<sect1>The font path <label id="fontpath">
<p>
	XFree86 finds your fonts by searching a <em>font path</em>,
	a list of directories ( or servers -- we'll explain this 
	further later. ) containing fonts.
	When an application requests a font, it searches through 
	the directories in your font path one at a time until the font
	is found.
	To make fonts available requires you to set your font path.
	You can add a directory to your font path with the command
	<label id="xset">
	<verb>
	xset fp+ directory
	</verb>
	Once you have done this, you need to ask the X server to re-scan 
	for available fonts with the command 
	<verb>
	xset fp rehash
	</verb>
	Since you will want these commands to run automatically, you should
	put them in your <tt>.xinitrc</tt> file ( or possibly your 
	<tt>.Xclients</tt> or <tt>.xsession</tt> file -- this depends on 
	how you start X. It's convenient to make two of these files symlinks
	to the other to avoid confusion ).
	Another way to have the commands  set automatically is edit XF86Config.
	For example, to add <tt>/usr/share/fonts/myfonts</tt> to the fontpath
	when X is started, edit <tt>XF86Config</tt> like this:
<verb>
		...
		Section "Files"
		...
		
		FontPath /usr/share/fonts/myfonts
		...
		EndSection
		...
</verb>
	The advantage of editing XF86Config is that the resulting changes 
	are system wide.
</p>
<sect1>Installing Type1 Fonts
<sect2>Run Type1inst
<p>
	The easiest way to make Type1 fonts available to X is with the
	help of the Type1inst utility. This is a perlscript that automatically
	creates the fonts.dir and fonts.scale files that you need for X
	to use the fonts. Simply CD to the directory, and run type1inst.
	<verb>
	cd directory
	type1inst
	</verb>
</p>
<sect2>If You Have the <tt>xfs</tt> Package
<p>
	Now you need to add the fonts to your fontpath. If you already 
	have the standalone <ref name="xfs" id="xfs"> running, you do this 
	by editing your <tt>xfs</tt> configuration file.
	<em> 
	Redhat users can just use <ref name="chkfontpath" id="chkfontpath">.
	the format is 
	</em>
	<tt>chkfontpath --add directory</tt>
</p><p>
	Your fonts should now be available to X. Now you 
	just run
	<verb>
	xset fp rehash
	</verb>
	and X will be able to find the new fonts.
	
</p>
<sect2>If You Don't Have The <tt>xfs</tt> Package
<p>
	In this case, you need to add the directory containing 
	your new fonts to the font path, as described previously.
</p>
<Sect1>True Type Fonts
<p>
	Adding TrueType fonts is a little more difficult, because you need 
	to have a font server that is capable of serving TrueType fonts.
	Two font servers that do this are xfstt and xfs.
</p>
<p>
	<tt>xfstt</tt> is a TrueType font server. While it's easy to configure,
	and quite useful, it appear that <tt>xfs</tt> is becoming more popular.
	The main advantage of <tt>xfs</tt> over <tt>xfstt</tt> is that it supports
	both Type1 and TrueType fonts.
</p>

<sect2>xfstt
<p>
	To set up xfstt, just download it and install it. If you have an rpm
	based distribution, there is a well packaged version of xfstt at
	http://independence.seul.org/. 
	Once you install it, you need to do the following:
	<enum>
	<item>	
	install fonts into the appropriate
	directory ( read the documentation that comes with the package ).
	<item>
	cd to that directory and run <tt>xfstt --sync</tt>. This causes it
	to look for the fonts and create the <tt>fonts.dir</tt> file. 
	<item>
	Now add <tt>unix/:7100</tt> to your font path.
	</enum>
	Your TrueType fonts should now display and be available to applications
	such as GIMP and Netscape.
	You may want to configure it to start every time your system starts up.
	Check to see if there's a startup file included ( if you are using 
	RPM, you can use <tt>rpm -ql xfstt |grep init</tt> and look for the 
	file with a name something like this: <tt>/etc/rc.d/init.d/xfstt</tt>
	) 
	If you don't have an init script, just
	put two  lines in <tt>/etc/rc.local</tt> like this:
	<verb>
	/usr/X11R6/bin/xfstt --sync
	/usr/X11R6/bin/xfstt &
	</verb>
</p>
<sect1>xfs<label id="xfs">
<p>
Some of the newer Linux distributions ship with the X font server 
<tt>xfs</tt> configured to run as a stand alone program. 
Notably, Redhat and all the redhat based distributions use this 
modularised <tt>xfs</tt> with TrueType compiled in.
Debian also ship <tt>xfs</tt>, but the version 
they ship doesn't have built in true 
type support.
</p><p>
Running <tt>xfs</tt> 
as a stand alone server has several benefits, especially 
if it is compiled with TrueType support. The main advantage is that since
the font server is no longer attached to the X server, it is possible
to serve fonts to remote displays. Also, it makes it much easier
to modify the font path.
</p>
<sect2>The <tt>xfs</tt> Path
<p>
	As a font server, <tt>xfs</tt> has it's own font path. 
	One might wonder where this fits into the picture. It
	works like this: you can place the <tt>xfs</tt> font server
	in XFree86's font path, by adding <tt>unix/:port</tt> to
	the XFree86 font path.
	Once you do this, any font in the <tt>xfs</tt> font path
	automatically becomes available to XFree86.
</p>
<p>
	The <tt>xfs</tt> font path 
	is determined by the <tt>xfs</tt> configuration file,
	which is <tt>/etc/X11/fs/config</tt> on Redhat, and 
	<tt>/etc/X11/xfs/config</tt> on Debian.
	Redhat users do not need to explicitly edit this file, they 
	can use the <tt>chkfontpath</tt> utility.
	The syntax is simple:
	<label id="chkfontpath"> 
	<verb>
	chkfontpath --add directory
	</verb>
	Users of other distributions can edit the configuration file as 
	follows:
	<verb>
	catalogue = /usr/X11R6/lib/X11/fonts/misc:unscaled,
	...
	/usr/share/fonts/my_new_fonts/,
	...
	/usr/share/fonts/some_other_directory
	# in 12 points, decipoints
	default-point-size = 120
	...
	</verb>
	The above would add <tt>/usr/share/fonts/my_new_fonts/</tt> to the
	<tt>xfs</tt> font path. <em>Note that the last line of the list of 
	directories doesn't have a comma at the end.</em>
	For these modifications to the font path to become effective, <tt>xfs</tt>
	must be restarted. It's also a good idea to restart your 
	X session after restarting
	<tt>xfs</tt>.
</p>
<sect2>Installing a Font Into <tt>xfs</tt>
<p>
To prepare a font for <tt>xfs</tt>, you need to follow the following 
steps:
<itemize>
	<item>If you don't have xfs installed, you need to install it.
	<item>Put the new fonts in a directory.
	<item>If you are installing Type1 fonts,
		prepare the new directory for the server 
		by running <tt>type1inst</tt> in the directory.
	<item>If you are installing
	TrueType fonts, ( <em>remember, not all distributions can do TrueType via
	xfs ! </em> ), prepare the new directory for the server by running 
	<verb>
	ttmkfdir -o fonts.scale
	mkfontdir
	</verb>
	in the directory containing your new fonts.
	<tt>ttmkfdir</tt> is part of the <em>freetype</em> package.
	<item>Now you can add the new directory to your <tt>xfs</tt> search path. 
		Users of Redhat-like distributions 
		can do this with the <tt>chkfontpath</tt> utility:
	Other users can do this by editing their <tt>xfs</tt> configuration
	file.
	<item>if <tt>xfs</tt> is already installed on your system,
		you should see which port it is running on. You can do this
		as follows:
	<verb>
	ps ax|grep xfs
	</verb>
	<item>
		Then check your XFree86 font path. 
	<verb>
		xset -q
	</verb>
	<item>If your font path includes something like <tt>unix:/<em>port_number</em></tt>
		were <em>port_number</em> is the port which the server is running on, then
		you already have xfs set up properly. Otherwise, you should add it to
		your XFree86 font path.
	<verb>
		xset fp+ unix/:port_number
		xset fp rehash
	</verb>
		You can add it permanently by editing your <tt>.xinitrc</tt> as explained 
		previously.
		To add it system wide, edit your XF86Config file ( probably either 
		<tt>/etc/X11/XF86Config</tt>, <tt>/etc/XF86Config</tt> or
		<tt>/usr/X11R6/lib/X11/XF86Config</tt> ), by adding a 
		line <tt>FontPath "unix:/port_number"</tt> in the Files section.
		Here's an example:
		<verb>
		...
		Section "Files"
		...
		
		FontPath "unix/:-1" 
		...
		EndSection
		...
		</verb>
	<item>If <tt>xfs</tt> is already properly installed, then you can restart 
		it like this:
		<verb>
		/etc/rc.d/init.d/xfs restart
		</verb>
	<item>After restarting <tt>xfs</tt>, it's a good idea to restart your
	X-session.
</itemize>
</p>

<sect>Making Fonts Available To Ghostscript
<p>
	To make fonts available to ghostscript, it suffices to tell ghostscript
	where the files corresponding to a given font are located. The
	file that needs to be edited is 
	<tt>/usr/share/ghostscript/version/Fontmap</tt>.
	The format is very simple, almost immediately self evident on 
	perusing it.
</p>

<sect1>Type1
<label id="ghostscript">
	<p>
	Adding Type1 fonts is straightforward. Run <tt>type1inst</tt> on the directory
	containing the font. <tt>type1inst</tt> will output a file called 
	<tt>Fontmap</tt>. Append this file to the ghostscript
	<tt>Fontmap</tt> file.
	</p>
<sect1>True Type
	<p>
	Adding truetype fonts is a little trickier, because we have to get the
	name of the TrueType font. One way (brute force, alas) to do this is using 
	the <tt>ttf2pt1</tt> TrueType to Type1 converter, and grabbing the font
	name from the <tt>afm</tt> ( there's got to be a more efficient way ! 
	but this works, ugly as it is ). You do it like this:
	<verb>
		ttf2pt1 -A fontname - 2 &gt; /dev/null  |grep FontName
	</verb>
	Then you add an entry to the ghostscript <tt>Fontmap</tt> file
	in the correct format, eg
	<verb>
	some-font	(/usr/share/fonts/subdirectory/somefont.pbf);
	</verb>
	Well, that works fine, but try doing it with 500 or so fonts.
	This is the kind of thing that calls for a short perlscript:
	<verb>
#!/usr/bin/perl
# ttfontmap -- generate fontmap file for TrueType fonts
my $directory=shift || print STDERR "Usage: ttfontmap {directory}\n";

$directory=~s/\/$//;

for my $fontname ( glob ( "$directory/*.ttf" ) )
{
    open ( R, "sh -c \"ttf2pt1 -A $fontname - 2&gt;/dev/null\" |" );
    while ( <R> )
    {
        if ( $_ =~ /^FontName/ )
        {
            s/^FontName\s*//;
            chomp;
            print "/" .  $_ . "    ($fontname);\n" ;
        }
    }
    close R;
}           
	</verb>
	<em>You can 
	<url name="download this script"
		url="http://pegasus.rutgers.edu/~elflord/font_howto/ttfontmap">
	</em>	
	</p><p>
	To set this script up, all you need to do is cut and paste it into
	a file called <tt>ttfontmap</tt>, and place the file somewhere
	in your <tt>PATH</tt> ( such as <tt>/usr/bin</tt> ).
	You run this script like this: 
	<verb>
	ttfontmap directory &gt; output_file
	</verb>
	where <tt>directory</tt> is the directory containing the 
	fonts. You are left with the file <tt>output_file</tt> which you can append
	to your ghostscript fontmap. Note: some will observe that you could 
	just use 
	<verb>
	ttfontmap directory &gt;&gt; /usr/share/ghostscript/version/Fontmap
	</verb>
	However, I advise against this ( what would happen if you typed ``&gt;'' instead of 
	``&gt;&gt;''
	? )
	</p>
<sect1>Using Ghostscript To Preview Fonts
<p>
	Once you've made fonts available to ghostscript, you can preview them.
	Do this by running the ghostscript interpreter on the file <tt>prfont.ps</tt>
	in your ghostscript installation, and after you start it, type:
	<verb>
	/Fontname DoFont
	</verb>
	at the ghostscript font ( where <tt>FontName</tt> is the ghostscript
	name of the font you wish to preview ).
	There are several other ways you can invoke <tt>gs</tt>. For example,
	if you want to create a postscript file that you can look at in 
	a nicer postscript viewer such as <tt>gv</tt>, you can use
	<verb>
	gs -sDEVICE=pswrite -sOutputFile=somefile.ps  prfont.ps
	</verb>
	Having done this, you can also print your output file.

</p>
<sect>True Type to Type1 Conversion
<sect1>Why ?
<p>
	or perhaps the right question to ask is ``why not ?'' The typical
	Linux user has experienced a migration from Windows, and probably 
	has an enormous collection of TrueType fonts. Many of these
	fonts ( eg those that ship with MS Word and Corel's products ) 
	are of fairly good quality. However, some Linux applications, such
	as Star Office and LaTeX do not support TrueType fonts, but do support
	Type1 fonts.  <em>update: it looks like Star Office can handle TrueType 
	fonts, but I'm still trying to work out the details. At best, it involves
	some fairly gruesome hacks.</em>
	This is a pity, because
	with ghostscript support for TrueType, and TrueType font servers,
	Linux has the infrastructure it needs to handle TrueType.
</p>
<sect1>How ?
<p>
	To convert your TrueType fonts into Type1 fonts, go to
	<url url="http://quadrant.netspace.net.au/ttf2pt1/" 
		name="http://quadrant.netspace.net.au/ttf2pt1/"> 
		and get ttf2pt1. 
				To convert a TrueType to a Type1 font,
	use the following syntax:
	<verb>
	ttf2pt1 -b file.ttf name
	</verb>
	Where <tt>name</tt> is the name of the file corresponding to the new Type1
	font ( ie it's arbitrary. It's a good idea to make it the same as the ttf file. 
	eg <tt>ttf2pt1 -b foo.ttf foo</tt>.
</p>
<p>
	Well, that worked fine for one font. If we have a lot, we 
	need a smarter way to do it. One can just 
	just use a loop:
	<verb>
	for X in *.ttf; do ttf2pt1 -b $X ${X%%.ttf}; done
	</verb>
	Alternatively, you can download the
		<url url="http://pegasus.rutgers.edu/~elflord/font_howto/ttfutils-0.2.tar.gz"
			name="ttfutils">
	package and use <tt>ttf2type1</tt> for the conversions.
	<verb>
	ttf2type1 *.ttf
	</verb>
</p>

<sect>WYSIWYG Publishing and Fonts
<sect1>Introduction and Overview
<p>
	Installing fonts for WYSIWYG publishing on Linux is a relatively
	complex task. It typically involves three steps:
	<itemize>
	<item>Make the font available to the X server
	<item>Make the font available to ghostscript
	<item>Make the font available to the application
	</itemize>
	The main reason for the complexity is that 
	the <em>font printing system</em> ( ghostscript ) is unrelated 
	to the <em>screen font system</em>. In a way, Linux's left hand
	does not know what it's right hand is doing.
	This problem is nontrivial to solve, because it is possible that 
	printer fonts and display fonts reside on different machines, so there
	is no guarantee that all fonts the XClient uses are printable.
</p>
<p>
	The good news is that most WYSIWYG applications use what is a reasonable solution
	to this problem. The solution involves constructing some kind of
	mechanism that maps screen fonts to printer fonts ( this is the main issue.
	There are also other issues, such as grouping bold, italic and roman variants
	into ``families'' of fonts ).
	Unfortunately, there is no standard way to do this. It seems that font management
	standards which address this issue would greatly simplify the installation
	of fonts into WYSIWYG publishing systems, because all applications could 
	use a system-wide ( as opposed to application-specific ) configuration.
</p>
<sect1>Applixware
<p>
	There are two ways to install fonts into Applixware. One method 
	involves using FontTastic, which is Applixware's ``private'' font
	server. The other method involves editing Applixware's fontmap,
	to use a font already installed on the system. Installing into the
	font server is more convenient, but fonts installed in this manner may 
	only be printed at 300 dpi.
</p>
<sect2>FontTastic
<p>
	Using FontTastic is the easy way to do it. To install new fonts
	like this, simply do the following:
	<enum>
	<item>Run Applixware as root
	<item>Click on the <em>tools</em> menu.
	<item>Choose ``Font Installer''
	<item>Check ``OK'' in the popup dialog
	<item>Click the ``Catalogs'' menu and choose ``create''
	<item>Fill in the <em>catalog name</em> box. It 
		doesn't matter what you put there. For the rest of this example,
		we'll assume it's called ``foobar''
	<item>Select your foobar catalog from the catalog manipulations 
		list.
	<item>From the ``Services'' menu, select
		``install fonts into -&gt; FontTastic font server''
	<item>Make sure catalog foobar is selected in the catalogs list,
		then press the ``select files'' button.
	<item>Use the select files dialog to select the fonts you want to
		install. Press ``OK'' when you've selected the files.
		For example, if you want to select arial.ttf in 
		the directory /usr/share/fonts/ttfonts/, you would type 
		<em>/usr/share/fonts/ttfonts</em> in the ``Current Directory''
		dialog, then select arial.ttf from the files dialog box, then click
		``OK''. Note that you can select multiple files, but they all must
		come from the same directory.
	<item>You can edit your list by checking on the different fonts in the
		list box and possibly removing or renaming them.
	<item>When you're ready, click the ``install fonts'' button. Then click
		``OK''.
	<item>Go to the ``services'' menu and choose ``update''. Check ``OK''
		on the annoying modal dialog, then choose exit from the services menu.
		Exit applix. 
	<item>Congrats, you're done ! The new fonts will be available when you
		restart Applix.
	</enum>
</p>

<sect2>Using System Wide Fonts With Applixware
<p>
	This method is more involved,  but produces better results. I recommend
	that this method is used for fonts that are really important, and that 
	you use a lot. There are a few steps to this:
</p>
<sect3>Make the fonts available to X
<p>
	This is explained <ref id="xfonts" name="in the previous section">
</p>
<sect3>Make the fonts available to ghostscript
<p>
	This is explained in <ref id="ghostscript" name="in the previous section">
</p>
<sect3>Edit the fontmap.dir
<p>
	This is the final step in making your fonts available to Applix, and 
	also the most time consuming step. The file <em>fontmap.dir</em>
	is in under the <em>axdata/fontmetrics</em> of your applix installation.
	The purpose of this step is basically to tell applix which screen fonts
	go with which outline fonts. This is in general a very nontrivial problem,
	because the screen fonts are not always on the same computer that the 
	application is installed.
</p>
<p>
	We describe how to add  fonts to fontmap.dir. In this example, we
	add the font Baskerville Italic.

	<enum>
	<item>First, we add a line that says 
		FontRecord = Baskerville-Normal-Italic
		In fact, the name we use in FontRecord is completely arbitrary.
		However, the font record must be unique to the font. Because of
		this, it's good practice to use the name that ghostscript
		uses for the font. 
	<item>Next, we a line that says
		Family = Baskerville
		The family name for a font is the name that appears 
		in Applix's font selection menu. Typically, it is <em>non-unique</em>,
		since bold, italic, roman and bold-italic variants of a font will
		typically go under the same family.
	<item>
		If the font is either a bold, or italic variant, or both, we need to add the
		following lines:
	<verb>
	Slant = 1 
	</verb>
			if the font is italic, and
	<verb>
	Weight = 1 
	</verb>
			if the font is bold.
			If the font is bold <em>and</em> italic, we add both lines.
			In this example, we need only add the line
	<verb>
	Slant = 1 
	</verb>
	<item>We add a line that looks like this:
	<verb>
	ScreenName = "-paradise-baskerville-medium-i-normal--0-0-0-0-p-0-iso8859-1"
	</verb>
		The screen name is the name that the X-server uses for the font. 
		We can list font names containing the string ``bask'' by typing
	<verb>
	xlsfonts|grep -i bask
	</verb>
	<item>Now we add a line that gives the name of the printer font:
		PostScriptPrinterName = Baskerville-Normal-Italic
	<item>Next, we need to specify the location of the font metric file 
		and the outline file
	<verb>
	MetricsFile = /usr/share/fonts/misc/baskvli.afm
	Type1FontFileName = /usr/share/fonts/misc/baskvli.pfb
	</verb>

		If you are adding a TrueType file, you can use <tt>ttf2pt1 </tt>
		to generate an <tt>afm</tt> file :
		<verb>
		ttf2pt1 -A foo.ttf - &gt; foo.afm
		</verb>
		( or get the ttfutils package and use <tt>ttf2afm</tt> )
		Then you use something like this:
	<verb>
	MetricsFile = /usr/share/fonts/misc/foo.afm
	</verb>
		Do <em>not</em> include a <tt>Type1FontFileName</tt> directive --
		let ghostscript take care of this.
	</enum>

		That's it. Now after adding the whole family of fonts, you should 
		have something like this:
<verb>
	FontRecord = Baskerville-Normal
	Family = Baskerville
	ScreenName = "-paradise-baskerville-medium-r-normal--0-0-0-0-p-0-iso8859-1"
	PostScriptPrintName = Baskerville-Normal
	MetricsFile = /usr/share/fonts/misc/baskvl.afm
	Type1FontFileName = /usr/share/fonts/misc/baskvl.pfb

	FontRecord = Baskerville-Normal-Italic
	Family = Baskerville
	Slant = 1
	ScreenName = "-paradise-baskerville-medium-i-normal--0-0-0-0-p-0-iso8859-1"
	PostScriptPrintName = Baskerville-Normal-Italic
	MetricsFile = /usr/share/fonts/misc/baskvli.afm
	Type1FontFileName = /usr/share/fonts/misc/baskvli.pfb

	FontRecord = Baskerville-Bold
	Family = Baskerville
	Weight = 1
	ScreenName = "-paradise-baskerville-bold-r-normal--0-0-0-0-p-0-iso8859-1"
	PostScriptPrintName = Baskerville-Bold
	MetricsFile = /usr/share/fonts/misc/baskvlb.afm
	Type1FontFileName = /usr/share/fonts/misc/baskvlb.pfb     

	FontRecord = Baskerville-Bold-Italic
	Family = Baskerville
	Weight = 1
	Slant = 1
	ScreenName = "-paradise-baskerville-bold-i-normal--0-0-0-0-p-0-iso8859-1"
	PostScriptPrintName = Baskerville-Bold-Italic
	MetricsFile = /usr/share/fonts/misc/baskvlbi.afm
	Type1FontFileName = /usr/share/fonts/misc/baskvlbi.pfb     
</verb>

</p>
<p>
	It is possible to do more with this configuration file. The file itself 
	has a <em>glossary</em> which explains the format of the configuration
	file.
</p>

<sect1>Star Office
<p>
	Here, we cover Star Office 5.0. The procedure with Star Office 5.1 
	is similar,
		but the utility is called <tt>spadmin</tt>, not <tt>psetup</tt>.
		It's worth mentioning up front that 
	<url name="John McLaughlin's page"
		url="http://www.mindspring.com/~john_mcl/adding_fonts.html">
	is an excellent source on this issue, and it inspired most
	of what follows.
</p>
<p>
	Having tried both Star Office 5.0, and 5.1, I have found that Star Office
	5.1 seems to give me less grief when adding new fonts. I was not succesful
	adding true type fonts to Star Office 5.0, but it proved somewhat easier
	with Star Office 5.1.
</p>
<sect2>Backup Your Configuration Before you Start !
<p>
	It's good to make a backup in case you inadvertantly hose your 
	configuration. Modifying fonts will impact several files in the
	<tt>xp3</tt>.
	You should definitely backup the file <tt>xp3/psstd.fonts</tt>. 
	I recommend going further and backing up the whole <tt>xp3</tt>
	directory. You can do this by cd-ing to your Star Office
	directory, then using
	<verb>
	tar cvzf xp3.tgz xp3
	</verb>
	to create a backup. To restore a backup,
	delete the <tt>xp3</tt> directory and unpack the archive
	<verb>
	rm -rf xp3
	tar xvzf xp3.tgz
	</verb>
</p>
<sect2>Adding Type1 Fonts to Star Office
<p>
	Adding Type1 fonts to Star Office is relatively simple.
	If you want to use your TrueType fonts with Star Office 5.0,
	the best thing to do is convert them to Type1 fonts, and then follow
	the procedure outlined here. If you have Star Office 5.1, you 
	might wish to use the proceedure for installing TrueType fonts
	instead ( though it is somewhat more difficult ).
	Firstly, do the usual thing -- make the font available to both X and 
	ghostscript. Once this is done, the font can be installed into Star Office
	using the <tt>psetup</tt> tool. The procedure is as follows:
	<enum>
	<item>As root, run psetup ( or spadmin if you have Star Office 5.1 )
	<item>Press the ``add fonts'' button. 
	<item>The easiest thing to do after 
		this is press the ``initialize font paths'' button. This puts a
		list of all fonts in your X font path in the list box. 
	<item>Choose 
		the directory containing the font you wish to install ( it should
		be in the box ), and then press ``OK''. 
	<item>Click the ``convert all font metrics button''.
	</enum>
	That's it. You're done. You can exit ( or click ``OK'' until it exits ). 
	When you restart Star Office, you will have the new fonts.
</p>
<sect2>Adding TrueType Fonts to Star Office
<p>
	Adding TrueType fonts to Star Office is 
	nontrivial, but possible.
	After some hard work, and long hours stareing at 
	<url name="John McLaughlin's page"
		url="http://www.mindspring.com/~john_mcl/adding_fonts.html">
	page, I finally got them working in Star Office 5.1.
	Note that this does not work with version 5.0.
	The following steps are appropriate it you are printing 
	through ghostscript:
	<itemize>
	<item>Make the fonts available to X.
	<item>Make the fonts available to ghostscript.
	<item>
		You need to have <tt>afm</tt> files for the fonts you wish to
		add. Use 
		<verb>
	ttf2pt1 -A foo.ttf - &gt; foo.afm
		</verb>
		to create the <tt>afm</tt> files.
		Alternatively, you can get the 
		<item><url url="http://pegasus.rutgers.edu/~elflord/font_howto/ttfutils-0.2.tar.gz"
			name="ttfutils">
		package 
		and use <tt>ttf2afm</tt> The advantage of this 
		is you can handle several at a time, eg 
	<verb>
	ttf2afm *.ttf
	</verb>
	<item>
		Star Office needs <tt>pfb</tt> files corresponding 
		to each <tt>ttf</tt> file. You can create them 
		with the command
	<verb>
	touch foo.pfb
	</verb>
		Actually, Star Office only uses these files for printing purposes.
		And by enterring the font in the PPD, thus duping Star Office into
		thinking the fonts are inside your printer ( when they're actually
		inside ghostscript's rendering system ), you get around needing to
		use these files. Star Office just seems to require that the 
		<tt>pfb</tt> file exists to install the font.
	
	<item>	Now you can run <tt>spadmin</tt> and install the font(s).
	<item>	
		Now add the fonts to the PPD file corresponding to your 
		printer configuration. The name you use for the font should
		be the same name Star Office uses for it, <em>not</em> the 
		ghostscript font name. For example, if the font is 
		<tt>foobar.ttf</tt> and the corresponding <tt>afm</tt> 
		file is <tt>foobar.afm</tt>, you use the name
		``foobar'' for the font in the PPD file. The entry 
		should look something like this:
		<verb>
*Font cloistrk: Standard "(001.002)" Standard ROM
		</verb>
			
	</itemize>
</p>
<p>
	On the other hand, if you are not printing from ghostscript,
	you have different issues to deal with. In this case, 
	tricking Star Office into thinking that your printer has the fonts
	is a bad idea, because your printer does <em>not</em> have the
	fonts in the ROM, so while <tt>gv</tt> will display the postscript
	files nicely, your printer will not be able to print them.
	If you have a postscript printer, the main differences are as follows:
	<itemize>
	<item>Do not edit the PPD file.
	<item>Instead of using <tt>touch foo.pfb</tt> to create empty <tt>pfb</tt>
		files, you need the <tt>pfb</tt> files to be Type42 postscript
		fonts. A Type42 font is really a ``printer TrueType font''.
		You don't really notice Type42 fonts even when you use them, because
		most applications handle them transparently.
		To create Type42 fonts, you use 
		<url url="ftp://ftp.dcs.ed.ac.uk/pub/jek/programs/ttfps.tar.gz"
			name="ttfps"> to create the files. 
			<verb>
	ttfps foo.ttf foo.pfb
			</verb>
	</itemize>

</p>
<p>
	There are some gotchas. Sometimes, Star Office might not choose the
	screen font you like. It is sometimes worth checking 
	<tt>xp3/psstd.fonts</tt> and possibly editing it to make sure
	that Star Office is really using the font you had in mind for screen 
	display.
	Also, Star Office doesn't handle configuration problems gracefully.
	If there's something wrong with your configuration, it's
	possible that the word processor will not even start. This is why 
	you should back up your <tt>xp3</tt> directory.
</p>
<sect2>Under the Hood
<p>
	If you wish to install TrueType fonts in Star Office, you may need
	to learn how Star Office handles things. When you run <tt>spadmin</tt>
	or <tt>psetup</tt>, the following happens:
	<itemize>
	<item>Star Office makes symbolic links to the <tt>pfb</tt> outline 
		files in your <tt>xp3/pssoftfonts</tt> directory.
	<item>The <tt>afm</tt> file is copied into the directory
		<tt>xp3/fontmetrics/afm/</tt>
	<item>An entry is added to the <tt>xp3/psstd.fonts</tt> file.
		This file stores the names of all the screen fonts used by 
		Star Office ( in particular, it maps the screen fonts to the outline
		filenames ).
	</itemize>
</p><p>
	This is why it's good to simply backup the whole <tt>xp3</tt> directory --
	it is the only convenient way to restore Star Office to a 
	clean configuration.
</p>

<sect1>Word Perfect
<p>
	Nothing yet. 
	<url name="Rod Smith's webpage" 
		url="http://www.rodsbooks.com/wpfonts/">
	is the definitive resource regarding installing fonts on Word Perfect.
</p>

<sect>Netscape
<p>
	Perhaps the most notorious application as far as fonts are concerned is the
	dreaded Netscape. However, there is a fairly simple procedure to attack 
	Netscape font ugliness. The main problem is that Netscape wants to use  
	75dpi fonts which is typically too small. You can fix this by specifying 
	the appropriate X resources in your <tt>.Xdefaults</tt> file:
<verb>
	Netscape*documentFonts.sizeIncrement: 20
	Netscape*documentFonts.xResolution*iso-8859-1: 100
	Netscape*documentFonts.yResolution*iso-8859-1: 100
</verb>
	The number 100 can be chosen arbitrarily. For example, if you like your 
	fonts really large, like I do, then you may want to use 150 instead.
</p>
<p>
	The other essential tip with regard to addressing Netscape font ugliness is this --
	get the Microsoft font pack. These fonts are widely used and it makes an enormous
	difference if you have ( or don't have ) those fonts.
</p>

<sect>TeX / LaTeX
<sect1>A Quick Primer on LaTeX/TeX fonts
<p>
	Adding fonts to TeX and LaTeX is a somewhat complex procedure. However, like
	a lot of things, it's easy if you know how to do it.
	Some fonts are distributed in metafont format, and some in Type1 format. 
	Usually, the Type1 formats are more easily available. However, metafont fonts have 
	the distinct advantage that they can adjust their shape at different sizes,
	while Type1 and TrueType fonts at different point sizes are simply magnified
	or reduced versions of precisely the same shape. The main reason why this feature
	is desirable is that ideally, fonts should be ( relatively ) wider at smaller
	sizes and narrower at larger sizes.
</p><p>
	For this discussion, we focus on Type1 fonts, since they are more widely
	available, and more problematic to install.
</p>
<p>
	Here's a quick primer on LaTeX fonts.	 LaTeX uses the following 
	types of font files for handling Type1 fonts:
	<itemize>
	<item> <tt>.pl</tt> -- property list. This is a human readable version of a 
		tex font metric file.
	<item> <tt>.vpl</tt> -- virtual property list. Human readable version of a 
		virtual font file.
	<item> <tt>.fd</tt> -- font definition. Used to define a <em>family</em> of
		fonts.
	<item> <tt>.tfm</tt>  -- tex font metric. This is a metric file, as explained
		in the glossary. It is completely analogous to the <tt>.afm</tt> files used
		by Type1 fonts. TeX needs the font metrics to properly layout the page.
	<item> <tt>.vf</tt> -- virtual font. These files contain encoding details, and
		act as interpreters. TeX treats them as fonts. For example, 
		Imagine that there's some wacky font foobar-exp.pfb which consists 
		of a few ( say 20 ) alternate characters, and there's a virtual font 
		which uses a few of these alternate characters ( and it gets the
		rest of the characters from font foobar.pfb ).
		Dvips might say
		``I want character 65 of virtual font foo.vf''. Dvips knows that 65 is always
		an ``a'' in TeX's scheme. Then the virtual font maps TeX's request to 
		a request for character 14 of the Type1 font foobar.pfb ( which might 
		be the alternate ``a'' in the Type1 font foobar.pfb ). The virtual font 
		mechanism is very flexible and allows fonts to be constructed from many 
		different font files. This is useful when using fonts such as adobe's
		``expert'' fonts.
	<item> <tt>.pk</tt> -- a device dependent bitmap font. These are usually constructed
		on an as-needed basis ( they are renderings of Type1 and metafont fonts ). 
		They are typically high resolution ( about 300-1200dpi ),
		and are intended to be rendered on a printer. Because of their high resolution,
		and the fact that each point size of each font requires a <tt>.pk</tt> file,
		they require a lot of disk space, so they are cached, but not stored.
	<item><tt>.mf</tt> -- metafont files. Metafont is a graphics programming language
		widely used for font design ( though it can also be used for graphics ). 
		It has many advantages over TrueType and Type1 schemes. However, it's main
		weakness is that it is not as ubiquitous as TrueType or Type1 ( and it is also
		not terribly well suited to WYSIWYG publishing. Of course, this isn't a 
		major disadvantage when TeX is your typesetting system. )

	</itemize>
	
</p>
<p>
	It's good to know your way around the TeX directory structure. Here are
	the main directories you'll need to know about:
	<itemize>
	<item> <tt>$TEXMF/fonts</tt>	-- the main font directory
	<item> <tt>$TEXMF/fonts/type1</tt> -- the type1 font directory
	<item> <tt>$TEXMF/fonts/type1/foundry</tt> -- the directory for the shape files in a given foundry
	<item> <tt>$TEXMF/fonts/type1/foundry/fontname</tt> -- contains the font called <em>name</em>. 
		The <em>name</em> is usually plain English, and needn't follow TeX's cryptic
		naming scheme for fonts.
	<item> <tt>$TEXMF/fonts/afm/foundry/fontname</tt> -- the directory containing the <tt>afm</tt>
		files corresponding to the font <tt>name</tt> belonging to foundry <tt>foundry</tt>.
	<item>  <tt>$TEXMF/fonts/tfm/foundry/fontname</tt> -- analogous to the <tt>afm</tt> directory,
		but contains <tt>tfm</tt> files instead.
	<item><tt>$TEXMF/fonts/vf/foundry/fontname</tt> -- similar to the above, but contains the virtual fonts.
	<item><tt>$TEXMF/fonts/source/foundry/fontname</tt> -- similar to the above, but contains metafont files.
	<item><tt>$TEXMF/dvips/config/psfonts.map</tt> -- fontmap file for dvips. This file is similar
		in both function and format to ghostscript's Fontmap file.
	<item><tt>$TEXMF/tex/latex/psnfss</tt> -- this is where all the font definition files go.
	</itemize>

</p>

<sect1>Adding Type1 fonts
<sect2>Naming the fonts
<p>
	First, you need to appropriately name your fonts.
	See the fontinst documentation on your system for instructions 
	on how to name fonts ( it should be fontinst subdirectory of the
	directory containing your tetex documentation ).
	To make a long story very short, the naming scheme is 
	<tt>FNW{V}E{n}</tt> where:
	<itemize>
		<item>F is a one-letter abbreviation for the foundry ( m = monotype, p = adobe, 
			b = bitstream, f = free )
		<item>N is a two letter abbreviation for the font name 
			( for example, ag = ``avant garde'' )
		<item>W is the font weight ( r = regular, b = bold, l = light d = demibold )
		<item>V is an optional slope variant ( i = italic , o = oblique )
		<item>E is an abbreviation for the encoding ( almost always <tt>8a</tt> which is 
			adobe standard encoding ).
		<item>N is an optional width variant ( n = narrow )
	</itemize>
	For example, the font Adobe Garamond demibold is <tt>pgad8a</tt>.
</p>
<sect2>Creating the virtual fonts and tex font metrics
<p>
	Now you can run <tt>fontinst</tt> as follows:
	<verb>
	latex `kpsewhich fontinst.sty`
	</verb>
	then you type at the prompt:
	<verb>
	\latinfamily{font_name}{}\bye
	</verb>
	where <tt>font_name</tt> is the first three letters of your 
	font file name ( for example, <tt>pad</tt> for adobe garamond ).
	Now <tt>fontinst</tt> will generate a number of files -- 
	font description files, property list files and virtual property
	list files. It also generates a lot of <tt>.mtx</tt> files. These
	are created by <tt>fontinst</tt>, but you don't need to use them.
	You need to convert the property lists and virtual property lists
	to metrics and virtual fonts. This is done using the utilities 
	<tt>vptovf</tt> and <tt>pltotf</tt>.
	<verb>
	for X in *.pl; do pltotf $X; done
	for X in *.vpl; do vptovf $X; done
	</verb>
	Then remove the old <tt>vpl</tt>, <tt>pl</tt> and <tt>mtx</tt> files.
</p>
<sect2>Configure dvips
<p>
	You will need to edit your dvips config file, <tt>psfonts.map</tt>.
	The best way to explain the format of the file is to give an example.
	<verb>
	
     marr8r          ArialMT &lt;8r.enc &lt;farr8a.pfa
     marbi8r         Arial_BoldItalicMT &lt;8r.enc &lt;farbi8a.pfa
     marb8r          Arial_BoldMT &lt;8r.enc &lt;farb8a.pfa
     marri8r         Arial_ItalicMT &lt;8r.enc &lt;farri8a.pfa
     marr8rn         Arial_Narrow &lt;8r.enc &lt;farr8an.pfa
	</verb>
	The <tt>8r.enc</tt> is simply there to inform dvips of the encoding scheme 
	used ( in all our examples, it's 8r, because of the way <tt>fontinst</tt> 
	constructs the virtual fonts ). The leftmost column is the font name TeX
	uses. The second column is the real name of the font, which is hardcoded
	into the font file ( this name can be 
	deduced by opening the <tt>afm</tt> file in a text editor, and looking 
	for the <tt>FontName</tt> directive ). The last column is the filename 
	of the shape file corresponding with the font. It is not necessary to
	provide a directory path -- tex knows where to look.
</p>
<sect2>Test the font
<p>
	Try running latex on a document like this:
	<verb>
\documentclass{article}
\begin{document}
	\usefont{T1}{pga}{m}{n}\selectfont
	\huge
	Testing a new font \dots the quick red fox jumped over the lazy brown dogs
\end{document} 
	 </verb>
	 where you replace <tt>pga</tt> with the outline of your font.
	 If this works, you are almost done. All you have to do now is put all the 
	 files in the right directories ( as explained in the primer ), then 
	 run 
	 <verb>
	 texconfig rehash
	 </verb>
	 so that tex can update the directory lists.
</p>
<sect2>Create a .sty file
<p>
	You may want to create a .sty file so that you can more easily use 
	fonts. Use the files in <tt>$TEXMF/tex/latex/psnfss</tt> as a template.
</p>
<sect>Getting Fonts For Linux
<sect1>True Type
<sect2>Commercial Software
	<p>
		True type fonts are very
		easy to come by, and large amounts of them are typically included
		in packages like Microsoft Word and Word Perfect. Getting Word 
		Perfect is an easy way to get an enormous amount of fonts ( and 
		if you're really cheap, you could buy a legacy version of Word Perfect for 
		windows. The fonts on the CD are readable. ) 
	</p>
<sect2>Microsoft's Font Download
	<p>
		Microsoft have also made several TrueType fonts available. The
		<tt>.exe</tt> file is simply an archive, you can extract it 
		using <tt>unzip</tt>.
		You can get them from
		<url url="http://www.microsoft.com/truetype/fontpack/win.htm"
		name="the download site">
	</p>
<sect2>Luc's Webpage
	<p>
		<url name="Luc Devroye's webpage" url="http://cgm.cs.mcgill.ca/~luc/originalfonts.html">
		has links to several sites with free fonts available.
		What's unique about these fonts is that a lot of them are really free, they 
		are not ``warez fonts''.
	</p>
<sect2>Web sites with truetype fonts
	<p>
		There are several web sites offering freely available downloadable
		fonts. For example, 
		<url url="http://www.freewareconnection.com/fonts.html"
			name="the freeware connection"> has links to a number of archives.
	</p>
<sect2>Foundries
	<p>
		Several foundries sell TrueType fonts. However, most of them
		are quite expensive, and for the same money, you'd be better 
		of with Type1 fonts. I'll discuss these more in the Type1 fonts
		section. The one place that does do sell true type fonts 
		at low prices is 
		<url url="http://www.buyfonts.com" name="buyfonts">.
		Please read the section on ethics before you buy cheap fonts.
	</p>

<sect1>Type 1 Fonts and Metafont
<sect2>Dealing With Mac and Windows Formats
<p>
	Many foundries ship fonts with Windows and Mac users in mind.
	This can sometimes pose a problem. Typically, the ``Windows fonts''
	are fairly easy to handle, because they are packed in a <tt>zip</tt>
	file. The only work to be done is converting the <tt>pfm</tt> file
	to and <tt>afm</tt> file ( using <tt>pfm2afm</tt> ).
</p>
<p>
	Macintosh fonts are more problematic, because they are typically 
	made available in <tt>.sit.bin</tt> format -- stuffit archives. 
	Unfortunately, there is no tool for Linux that can unpack stuffit archives
	created with the newer version of stuffit.
	The only way to do it is run Executor ( Mac emulator ), or try running 
	stuffit in dosemu or Wine.
	Once the <tt>sit.bin</tt> file is unpacked, the Macintosh files can 
	be converted using <tt>t1unmac</tt> which comes with the 
	<tt>t1utils</tt> package.
</p>
<p>
	Unfortunately, some vendors only ship Type1 fonts in Macintosh format 
	( stuffit archives ). However, according to font expert 
	<url name="Luc Devroye" url="http://cgm.cs.mcgill.ca/~luc/">, all major 
	foundries make Type1 fonts available for Mac and Windows.
</p>
<sect2>Free Stuff
	<p>
		<url name="ctan" url="http://www.ctan.org">
		have a number of good fonts, many of which are free. 
		Most of these are in Metafont format, though some are also
		Type1 fonts.
		Also, see <url name="Bluesky" url="http://www.bluesky.com">
		who have made available Type1 versions of the computer modern
		fonts. ( The computer modern fonts are of excellent quality --
		to purchase anything of comparable quality and completeness 
		will cost you around $500-. They are comparable to the premium
		fonts. )
	</p>

	<p>
		<url name="Luc Devroye's webpage" url="http://cgm.cs.mcgill.ca/~luc/originalfonts.html">
		has links to several sites with free fonts available.
		What's unique about these fonts is that a lot of them are really free, they 
		are not ``warez fonts''.
	</p>

	<p>
		URW have released the standard postscript fonts resident in most 
		printers to the public domain. These fonts are quite good.
	</p>
	<p>
		The 
		<url url="ftp://ftp.cdrom.com/pub/os2/fonts/" 
			name="Walnut Creek Archive">
		has several freely available fonts, and shareware fonts. 
		Some of these are obvious ripoffs ( and not very good ones ).
		If a font doesn't come with some kind of license, chances are 
		it's a ripoff.
		Also 
		<url url="http://www.winsite.com/win3/fonts/atm/" name="Winsite">
		have several Type1 fonts ( in the fonts/atm subsection of their 
		windows 3.x software ).  Unfortunately, several of
		these have afm files which have mistakes and are missing 
		all kerning pairs ( you can fix the afms by editing 
		the "FontName" section of the afm files. It should match 
		the fontname given in the font shape file. Of course, adding
		kerning pairs is a topic beyond the scope of this document. )
	</p>
	<p>
	<url name="Luc Devroye's webpage"
		url="http://cgm.cs.mcgill.ca/~luc/">
		includes several free fonts he designed, as well as a lot of 
		links, and fascinating discussion on the topic of typography.
		This site is a ``must-visit''.
		There are also several links to many foundries.
	</p>
<sect2>Commercial Fonts
<sect3>Value vs Premium: Why Should I buy Premium Fonts ?
<p>
	So you're wondering -- why do some fonts cost a lot and others 
	are cheap ?
	These fonts are the ``standard postscript
	fonts'' resident in most postscript printers. Also the famous 
	Why should I buy the more expensive ones ?
	My take on it is that for a casual user, the value fonts 
	( such as those on the Bitstream CD ) are just
	fine. However, if you're using the fonts for ``real work'', or 
	you're just a hard core font junkie, then the better quality 
	fonts are a must-have -- and most of the quality fonts are either
	free ( for example, Computer Modern ), or they are upmarket commercial
	fonts.
</p><p>
	The advantage of the cheaper fonts is self evident -- they are cheaper.
	The quality fonts also have their advantages though.	
	<itemize>
	<item><em>Ethical issues:</em> The cheaper fonts
		are almost always ripoffs. Type design takes a long time and 
		and experienced designer. Fonts that are sold for less than $1-
		per font were almost certainly not designed by the vendor.
		CDs with insane quantities of fonts on the are almost always 
		ripoffs  ( the possible exceptions being collections from major
		foundries that cost thousands of dollars ).
		Usually, the ripoffs lack the quality of fonts from respectable
		founries.
	<item><em>Completeness:</em> The higher quality fonts ( notably 
	from Adobe ) come in several variants, with some nice supplements to
	provide the user with a more complete font family. 
	There are often bold, italic,
	and demibold variants, swash capitals, small caps,
	old style figures, and extra
	ligatures to supplement the font. More recently, Adobe have a multiple
	master technology which gives the user ( almost ) infinite variation 
	within one font family.
	<item><em>Quality:</em> A lot of the freely available fonts or the cheap
		ripoffs lack fairly essential features such as kerning pairs and
		decent ligatures. They are basically cheap copies. In contrast,
		reputable designers take a lot of trouble to study the original
		design, and rework it to the best of their ability.
	<item><em>Authenticity:</em> The person who designed Adobe Garamond
		( Robert Slimbach ) actually studied the original designs of
		Claude Garamond. In fact reputable foundries always 
		carefully research their designs, rather than just swiping something
		off the net, and modifying it with Fontographer.
	</itemize>
</p>
<sect3>Value
<p>
	<itemize>
	<item>
		An excellent place to go for a CD packed with several Type1 
		fonts of reasonable quality is <url url="http://www.bitstream.com"
			name="Bitstream">. 
		Bitstreams more noted products include their 
		<url name="250 font CD"
	url="http://www.bitstream.com/products/world/font_cd/bits_collection.html">
			and their
		<url name="500 font CD"
			url="http://www.bitstream.com/products/world/font_cd/500_cd.html">
			( the latter goes for $50- at the time of writing ).
		These are fairly good quality fonts, and are a fairly good starting
		point for the casual user.
		The fonts used in Corel's products are (mostly) licensed from bitstream.
	<item>

		<url url="http://www.matchfonts.com/"
			name="Matchfonts"> offer more modestly priced fonts -- 
			they are distributed in ``packs'' of about 8 fonts
			for $30. This includes some nice calligraphic fonts.
			All fonts seem to be offered in a usable format
			( the windows ATM fonts come in a .exe file. 
			Don't let the extension fool you -- it's just a zip archive ).
			These are not ripoffs as far as I can tell.
	<item>	
		<url name="EFF" url="http://www.buyfonts.com">
		sell TrueType fonts for $2- per hit. 
		They also have ``professional range'' postscript and TrueType
		fonts for $16- per typeface.
</itemize>
</p>

<sect3>Premium
	<p>
	<itemize>
	<item>
		Adobe have several
		high quality,  fonts available at 
		<url url="http://www.adobe.com/type/" 
			name="Adobe's type website">.
			Some of these are expensive, but they have several
			more affordable bundles -- see 
			<url name="Adobe Type Collections"
				url="http://www.adobe.com/type/collections.html">.
		Adobe have some of the most complete font families on the market,
		for example, 
		<url name="Garamond"
			url="http://www.adobe.com/type/browser/P/P_912.html">, 
		<url name="Caslon"
			url="http://www.adobe.com/type/browser/P/P_180.html">, 
			and their
			<url name="multiple masters"
			url="http://www.adobe.com/type/browser/C/C_4e.htm">
		( Myriad and Minion, used on their website are among the nicer 
		of their multiple masters. )
	<item>
		<url name="Berthold Types Limited" url="http://www.bertholdtypes.com">
		is a major foundry, who offer several quality fonts. Some of
		them are resold through Adobe, all are directly available 
		from Berthold. Same price ballpark as Adobe.
	<item>
		ITC develop several
		quality fonts ( including some of the ones Corel ships with 
		their products ) at
		<url url="http://www.itcfonts.com"
			name="http://www.itcfonts.com">
			They offer family packages for about $100-180 US. 
			Their fonts, come in both Type1
			and TrueType format. It's better to choose the
			``Windows'' package, because Mac formats are difficult
			to handle on Linux.
	<item>
		<url name="Linotype" url="http://www.linotypelibrary.com">
		are a well known foundry who offer fonts by legendary designers
		including Herman Zapf. ( yep, the guy ``Zapf Chancery'' is named after. 
		He also designed Palatino. )
	<item>
		<url url="http://www.monotype.com"
			name="Monotype">
  		develop most of the fonts shipped with Microsoft
		products. One of the older and well respected foundries.
	<item>	
		<url url="http://www.portal.ca/~tiro/"
			name="Tiro Typeworks">
			sell good quality, if somewhat expensive typefaces.
			Their typefaces are very complete, for example, they
			include complete sets of ligatures, and smallcaps, titling
			fonts, etc.
			UNIX is listed as one of the OS options -- which is a welcome 
			surprise after seeing the words ``Windows or Mac'' too many times..
	</itemize>
</p>
<sect3>More Links
	<p>
		For links to a bunch of other foundries, 
		see <url name="Luc Devroye's page"
			url="http://cgm.cs.mcgill.ca/~luc/">

	</p>


<sect>Useful Font Software for Linux
<p>
	There are several font packages for Linux. Many of them are essential.
	<itemize>
		<item>chkfontpath is a utility for manipulating the <tt>xfs</tt> configuration
			file.
		<item><url name="DTM -- the Definitive Type Manager"
			url="http://www.debian.org/~fog/dtm/">
			is a global font management tool. This is a developer's release.
		<item><url url="http://www.tug.org/applications/fontinst/index.html"
			name="fontinst"> is a LaTeX package designed to simplify the installation
				of Type1 fonts into LaTeX.

		<item><url name="Freetype" 
			url="http://www.freetype.org">
			is a TrueType library that comes with most Linux distributions
		<item><url name="Ghostscript" 
			url="http://www.cs.wisc.edu/~ghost/">
			is the software that is used for printing on Linux. The version
			of ghostscript that ships with Linux is GNU ghostscript. This is one version behind
			the latest release of Aladdin ghostscript ( who release their old versions 
			under the GPL )
		<item><url name="pfm2afm" 
			url="http://pegasus.rutgers.edu/~elflord/font_howto/pfm2afm.tgz">
			is a utility for converting windows <tt>pfm</tt> font 
			metric files into <tt>afm</tt> metrics that can be used 
			for Linux. This is based on the original version available
			at CTAN, and includes modifications from Rod Smith to make
			it compile under Linux.
		<item><url url="http://www.lcdf.org/~eddietwo/type/"
			name="mminstance and t1utils"> are two packages for handling Type1 fonts.
			mminstance is for handling Adobe's 
			<url url="http://www.adobe.com/type/browser/C/C_4e.html" 
				name="multiple master"> Type1 fonts.
			t1utils is a suite of utilities for converting between the different 
			Type1 formats.

		<item><url url="http://quadrant.netspace.net.au/ttf2pt1/" name="ttf2pt1">
			is a TrueType to Type1 font converter. It is useful if you 
			have applications that require Type1 fonts.
		<item>
		<url url="ftp://ftp.dcs.ed.ac.uk/pub/jek/programs/ttfps.tar.gz"
			name="ttfps"> converts <tt>.ttf</tt> TrueType font files 
			into Type42 files.

		<item><url url="http://pegasus.rutgers.edu/~elflord/font_howto/ttfutils-0.2.tar.gz"
			name="ttfutils">
			A package of utilities for handling TrueType fonts. This
			package requires <tt>ttf2pt1</tt>. Useful if not essential.

		<item><url name="type1inst"
			url="ftp://ftp.metalab.unc.edu/pub/Linux/X11/xutils/">
			is an essential package for installing Type1 fonts. It greatly 
			simplifies the installation.
		<item><url name="xfstt" 
			url="ftp://ftp.metalab.unc.edu/pub/Linux/X11/fonts/">
			is a TrueType font server for Linux. It's useful, but <tt>xfs</tt>
		 	is probably a better choice.
		<item><url url="http://www.dcs.ed.ac.uk/home/jec/programs/xfsft/" 
			name="xfsft"> The xfsft font server. Note that this is included 
			in <tt>xfs</tt>.
		<item><url url="http://hawk.ise.chuo-u.ac.jp/student/person/tshiozak/x-tt/"
			name="x-tt"> is a font server designed to handle Korean and Japanese
			fonts.
	</itemize>

<sect>Ethics and Licensing Issues Related to Type
<p>
	Font licensing is a very contentious issue. While it is true 
	that there is a wealth of <em>freely available</em> fonts, the chances 
	are that the fonts are ``ripoffs'' in some sense, unless they come 
	with a license indicating otherwise. 
	The issue is made more confusing by intellectual property laws regarding
	typefaces. Basically, in the USA, font <em>files </em> are protected 
	by copyright, but <em>font renderings</em> are not. In other words,
	it's illegal to redistribute fonts, but it's perfectly legal to 
	``reverse-engineer'' them by printing them out on graph paper and 
	designing the curves to match the printout. Reverse engineered fonts
	are typically cheap and freely available, but of poor quality.
	These fonts, as well as pirated fonts are often distributed on 
	very cheap CDs containing huge amounts of fonts.
	So it's not always easy to tell if a font is reverse engineered, or 
	simply pirated. This situation creates an enormous headache for 
	anyone hoping to package free fonts for Linux.
</p><p>
	Perhaps one of the most offensive things about the nature of 
	font piracy is that it artificially debases the value of the
	work that type designers do. Pirated fonts invariably are bundled
	en masse onto these one zillion font CDs, with no due credit given
	to the original designers. In contrast, what is commendable 
	about several 
	legitimate font foundries is that they credit their designers.
</p>
<p>
	There are many differing opinions on this issue. See 
	<url url="http://www.typeright.org" name="typeright"> for 
	an explanation of the case in favour of intellectual property rights.
	Also, see <url url="http://www.ssifonts.com/" name="Southern Software, Inc">
	for another opinion -- but don't buy any of their fonts! Their Type1 fonts
	( poorly reverse-engineered Adobe fonts ) 
	do not have AFMs, and are thus unusable. 

</p><p>
	<url name="The comp.fonts FAQ"
		url="http://www.faqs.org/faqs/fonts-faq/part2/">
		also discusses the issues of fonts and intellectual property,
		as does 
	<url name="Luc Devroye's homepage"
		url="http://cgm.cs.mcgill.ca/~luc/">. These 
		references are somewhat less extreme in their views.


</p>

<sect>References
<sect1>Font Information
<p>
<itemize>
	<item>
	<url name="Rod Smith's homepage"
		url="http://www.rodsbooks.com/">
		contains a wealth of information about using fonts and printers 
		with Applixware and Word Perfect.
	<item>
	<url name="John McLaughlin's page"
		url="http://www.mindspring.com/~john_mcl/adding_fonts.html">
		discusses setting up fonts with Star Office
	<item>
	<url name="Jim Land's homepage"
		url="http://www.geocities.com/SiliconValley/5682/postscript.html">
		contains a lot of links to sites on postscript and fonts.
	<item>
	<url name="The comp.fonts FAQ"
		url="http://www.faqs.org/faqs/fonts-faq/">
		is the definitive font FAQ.
	<item>
	<url name="Luc Devroye's homepage"
		url="http://cgm.cs.mcgill.ca/~luc/">
		Contains enough information about fonts and other things
		to sink a ship. This guy designed a bunch of free fonts,
		and his homepage has a lot of interesting links, 
		information and commentary.
	<item>
	<url name="The Font Deuglification HOWTO"
		url="http://www.linuxdoc.org/HOWTO/mini/FDU.html">
		discusses TrueType fonts under Linux. This 
		is the clear winner of the ``TrueType'' HOWTOs.
		An excellent 
		source of information.
	<item>
	<url name="TrueType Fonts in Debian mini-HOWTO"
		url="http://www.dimensional.com/~bgiles/debian-tt.html">
		discusses installing TrueType in Debian.
		A must-read for Debian users.
		Also worth reading if you have <em>any</em> distribution
		that doesn't have the version of <tt>xfs</tt> with TrueType
		support.
	<item><url name="The (preliminary) True Type HOWTO"
		url="http://www.moisty.org/~brion/linux/TrueType-HOWTO.html">
		-- an incomplete HOWTO dated June 1998. Included in this
		list for completeness.
	<item><url name="TrueType for XFree86 Mini-HOWTO"
		url="http://www.sfu.ca/~yzhang/linux/truetype/">
		-- a slightly dated HOWTO. Only applicable to Redhat 5.x
</itemize>
</p>
<sect1>Postscript and Printing Information
<p>
<itemize>
	<item><url name="Adobe's Postscript page"
		url="http://www.adobe.com/print/postscript/main.html">
		is the definitive site on the postscript standard.
	<item><url name="Ghostscript's home page"
		url="http://www.cs.wisc.edu/~ghost/">
		has a lot of information, and all the latest printer drivers.
	<item><url name="Jim Land's homepage"
		url="http://www.geocities.com/SiliconValley/5682/postscript.html">
		contains a lot of links to sites on postscript and fonts.
	<item><url name="Christopher Browne's Printing FAQ" 
		url="http://www.hex.net/~cbbrowne/printing.html">

</itemize>	
</p>

<sect>Glossary
<p>
<itemize>

<item><bf>afm</bf> 
	Stands for <bf>Adobe Font Metric</bf>. These files store information about
	the width and spacing associated with the font, as opposed to information
	about the font shape.

<item><bf>anti-aliasing</bf>
	also referred to as font smoothing is a technique
	used to render fonts on low resolution devices ( such as a monitor ). 
	The problem with rendering fonts is that the fonts consist of outlines,
	but the device renders in dots. The obvious way to render a font is 
	to color black any pixel inside the outline, and leave all other dots. 
	The problem with this is that it doesn't adequately address the pixels that
	are on the outline. A smarter algorithm would be to color the boundary pixels
	gray. Anti-aliasing essentially involves doing this.

<item><bf>bdf</bf> fonts are a variety of bit-mapped fonts that may be 
	used with X.

<item><bf>bitmap fonts</bf>
	These fonts are simply a collection of dots. Each character of 
	the font is stored as a dot matrix. Because of this, bitmap fonts 
	are device dependent, so you can't use the same bitmap fonts on 
	a screen and a printer. Examples of bitmap screen fonts include 
	.pcf and .bdf fonts used by X. Examples of printer bitmap 
	fonts include TeX's PK fonts.

<item><bf>didone</bf> see modern.

<item><bf>DPI</bf>
	Dots Per Inch. Monitors typically display at 75-100 DPI, while 
	modern printers vary from 300-1200 DPI

<item><bf>expert fonts</bf> are collections of additional characters
	that supplement a font. They include small caps fonts, ornaments,
	extra ligatures, and variable width digits. Many of Adobe's fonts 
	have expert fonts available.

<item><bf>font server</bf>
	a background program that makes fonts available to XFree86.

<item><bf>glyph</bf> A glyph is a fancy word for a shape. It is a component
	that makes up an outline font. For example, the dot on the letter
	``i'' is a glyph, as is the vertical line, as are the serifs. Glyphs
	determine the shape of the font.

<item><bf>kerning</bf> In variable width fonts, different pairs of characters 
	are spaced differently. The font metric files store information regarding 
	spacing between pairs of characters, called <bf>kerning pairs</bf>.

<item><bf>ligature</bf> A ligature is a special character that is used
	to represent a sequence of characters. This is best explained by example 
	-- when the letter fi are rendered, the dot on the ``i'' collides
	with the ``f'', and the serif on the top left of the i can also 
	collide with the horizontal stroke of the f. The fi ligature is a 
	single character that can be used in the place of a single f followed
	by a single i. There are also ligatures for fl, ffi, and ffl. 
	Most fonts only include the fi and fl ligatures. The other ligatures
	may be made available in an <bf>expert font</bf>.


<item><bf>metafont</bf> 
	A graphics language used for creating fonts. Metafont has a lot of nice
	features, the main one being that fonts created with metafont need not
	just scale linearly. That is, a 17 point computer modern font 
	generated by metafont is not the same as a magnified 10 point 
	computer modern font. Prior to Adobe's multiple master technology,
	metafont was unique with respect to having this feature.
	Metafonts main advantage is that it produces high quality fonts. 
	The disadvantage is that generating bitmaps from the outline fonts 
	is slow, so they aren't feasible 
	for WYSIWYG publishing.

<item><bf>metric</bf> this stores information about how much space a font 
	takes up. A font metric is like a box that one can embed the font in. Font 
	metrics are essential for the purpose of laying out fonts on a page, while the 
	font shape itself is not. So typically, variable width fonts have metric 
	information as well as shape information. The metric also includes kerning 
	information.

<item><bf>modern</bf> fonts are fonts based on designs developed in the
	19th century or later. The moderns have a solid appearance due to 
	their vertical stress. They tend to have more ``character'' or 
	``attitude'' than the old styles and transitionals, but still carry
	a certain amount of dignity and formality.
	They are not suited for writing long passages, but they are useful
	for adding character to a piece of writing.
	Bodoni is a notable modern typeface.

<item><bf>old style</bf> fonts are a traditional class of typeface. 
	The old style fonts are based on designs from as far back as the late
	15th century. Old style fonts are great for writing long documents
	( such as books ). While the old style fonts are designed in the 
	tradition of the earlier designers, some of them were designed 
	quite recently. Notably, the face <bf>Goudy Old Style</bf> was
	designed by Goudy in the early 20th century. Notable old style
	faces include Goudy Old Style, Garamond, and Caslon.

<item><bf>pcf</bf> fonts are bit-mapped fonts used by X.

<item><bf>postscript</bf> is a programming language designed for page description.
	Postscript was a trademark of it's inventor, adobe. However, it is also an 
	ISO standard. Postscript needs an 
	interpreter to render it. This can be done 
	via a program on the computer, such as ghostscript, or it can be interpreted 
	by some printers.

<item><bf>serif</bf> fonts are fonts with 
	little hooks ( called serifs ) on the ends of the font.
	the serifs usually help make the font more readable. 
	However, serifs are quite
	difficult to render on low resolution devices, especially at small font 
	sizes ( because they are a fine detail ), so it is often true 
	that at small sizes on low resolution devices, sans serif fonts 
	( such as Microsoft's Verdana ) prove more readable. Another issue
	is that there are sans serif fonts ( like the moderns ) that are
	not designed for writing long documents.

<item><bf>sans serif</bf> fonts are fonts without serifs ( sans is French 
	for ``without'' ). These fonts have a stark appearance, and are well
	suited for writing headlines. While textbook typography mandates that 
	serif fonts be used just for headlines, they can have other uses. 
	There are sans serif fonts designed for readability as opposed to
	impact.
	Short punchy documents that are skimmed ( such as catalogues and 
	marketting brochures ) may use them, and recently, Microsoft have made
	available the Verdana font which is designed for readability at small
	sizes on low resolution devices.
	Well known sans serif fonts include Lucida Sans, MS Comic Sans,
	Avant Garde, Arial, Verdana, Century Gothic.

<item><bf>slab serif</bf> fonts are a certain class of font whose serifs
	look like slabs ( eg flat lines or blocks ) and not hooks.
	Slab serif fonts are <bf>often</bf>, but not always very readable.
	Because the serifs are simple and strong, they give one the feeling 
	that they have been punched into the page. 
	Well known examples of slab serifs are Clarendon, New 
	Century Schoolbook, and Memphis.

<item><bf>transitional</bf> fonts are fonts that are based on more 
	recent designs than the old style fonts. many of the transitional 
	fonts have good readability. Notable transitionals include Baskerville,
	and Times Roman.

<item><bf>Type1</bf> is a type of font designed by Adobe. These fonts are
	well supported by almost all linux applications, because they have been
	supported by the X server architecture and the postscript standard for
	a long time. Postscript fonts are distributed in many different 
	formats. Typically, a UNIX postscript font is distributed as
	an <tt>afm</tt> ( adobe font metric ) file, and an outline file, which is 
	usually a <tt>.pfb</tt> ( printer font binary ) or 
	<tt>.pfa</tt> ( printer font ascii ) file. The outline file contains 
	all the glyphs, while the metric file contains the metrics.

<item><bf>type3</bf> fonts are similar to Type1. The file extensions
	are similar to Type1 fonts ( they are distributed as <tt>pfa</tt> and
	<tt>afm</tt> files ), but they are not supported by X, and because
	of this, there are not very many linux applications which support them.

</itemize>
</p>


</article>