Font HOWTO
 Donovan Rebbechi,       [email protected]
 <mailto:[email protected]>

 ____________________________________________________________

 Table of Contents



 1. Introduction

    1.1 The Location of This Document
    1.2 Rationale
    1.3 Credits and Acknowledgements

 2. Fonts 101 -- A Quick Introduction to Fonts

    2.1 Types of fonts
       2.1.1 Bitmap Fonts
       2.1.2 Type1 Fonts
       2.1.3 Type3 fonts
       2.1.4 TrueType fonts
       2.1.5 Type42 Fonts
       2.1.6 Type1 vs TrueType -- a comparison
       2.1.7 Metafont
    2.2 Families of Typefaces

 3. Fonts 102 -- Typography

    3.1 Classifications of Typefaces
       3.1.1 Fixed versus variable width
       3.1.2 To serif or not to serif ?
       3.1.3 The old and the new -- different types of Serif fonts
          3.1.3.1 Old Style
          3.1.3.2 Moderns ( or didone )
          3.1.3.3 Transitional
          3.1.3.4 Slab Serifs
       3.1.4 The Sans Serif Revolution
          3.1.4.1 Grotesque
          3.1.4.2 Geometric
          3.1.4.3 Humanist
       3.1.5 Compatible Typefaces
    3.2 Ligatures, Small caps fonts and expert fonts
       3.2.1 Ligatures
       3.2.2 Small caps fonts
       3.2.3 Expert fonts
    3.3 Font Metrics and Shapes

 4. Making Fonts Available To X

    4.1 The font path
    4.2 Installing Type1 Fonts
       4.2.1 Run Type1inst
       4.2.2 If You Have the
       4.2.3 If You Don't Have The
    4.3 True Type Fonts
       4.3.1 xfstt
    4.4 xfs
       4.4.1 The
       4.4.2 Installing a Font Into

 5. Making Fonts Available To Ghostscript

    5.1 Type1
    5.2 True Type
    5.3 Using Ghostscript To Preview Fonts

 6. True Type to Type1 Conversion

    6.1 Why ?
    6.2 How ?

 7. WYSIWYG Publishing and Fonts

    7.1 Introduction and Overview
    7.2 Applixware
       7.2.1 FontTastic
       7.2.2 Using System Wide Fonts With Applixware
          7.2.2.1 Make the fonts available to X
          7.2.2.2 Make the fonts available to ghostscript
          7.2.2.3 Edit the fontmap.dir
    7.3 Star Office
       7.3.1 Backup Your Configuration Before you Start !
       7.3.2 Adding Type1 Fonts to Star Office
       7.3.3 Adding TrueType Fonts to Star Office
       7.3.4 Under the Hood
    7.4 Word Perfect

 8. Netscape

 9. TeX / LaTeX

    9.1 A Quick Primer on LaTeX/TeX fonts
    9.2 Adding Type1 fonts
       9.2.1 Naming the fonts
       9.2.2 Creating the virtual fonts and tex font metrics
       9.2.3 Configure dvips
       9.2.4 Test the font
       9.2.5 Create a .sty file

 10. Getting Fonts For Linux

    10.1 True Type
       10.1.1 Commercial Software
       10.1.2 Microsoft's Font Download
       10.1.3 Luc's Webpage
       10.1.4 Web sites with truetype fonts
       10.1.5 Foundries
    10.2 Type 1 Fonts and Metafont
       10.2.1 Dealing With Mac and Windows Formats
       10.2.2 Free Stuff
       10.2.3 Commercial Fonts
          10.2.3.1 Value vs Premium: Why Should I buy Premium Fonts ?
          10.2.3.2 Value
          10.2.3.3 Premium
          10.2.3.4 More Links

 11. Useful Font Software for Linux

 12. Ethics and Licensing Issues Related to Type

 13. References

    13.1 Font Information
    13.2 Postscript and Printing Information

 14. Glossary



 ______________________________________________________________________

 1.  Introduction

 1.1.  The Location of This Document

 This document is located at my webpage
 <http://pegasus.rutgers.edu/~elflord/font_howto>



 1.2.  Rationale

 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.

 1.3.  Credits and Acknowledgements

 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.

 2.  Fonts 101 -- A Quick Introduction to Fonts

 2.1.  Types of fonts

 2.1.1.  Bitmap Fonts

 A bitmap is a matrix of dots. Bitmap fonts are represented in
 precisely this way -- as matrices of dots. Because of this, they are
 device dependent -- they are only useful at a particular resolution. A
 75 DPI screen bitmap font is still 75 DPI on your 1200 DPI printer.

 There are two types of bitmap fonts -- bitmap printer fonts, such as
 the pk fonts generated by dvips, and bitmap screen fonts, used by X
 and the console. The bitmap screen fonts typically have a bdf or pcf
 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.

 2.1.2.  Type1 Fonts

 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.

 Typically, a UNIX Type1 font is distributed as an afm ( adobe font
 metric ) file, and an outline file, which is usually a pfb ( printer
 font binary ) or pfa ( printer font ascii ) file. The outline file
 contains all the glyphs, while the metric file contains the metrics.

 Type 1 fonts for other platforms may be distributed in different
 formats. For example, postscript fonts for windows often use a
 different format ( pfm ) for the metric file.

 2.1.3.  Type3 fonts

 These fonts are distributed in a similar manner to Type1 files -- in
 groups of afm font metrics, and pfa files.  While they are supported
 by the postscript standard, they are not supported by X, and hence
 have limited use.



 2.1.4.  TrueType fonts

 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 ttf 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.

 2.1.5.  Type42 Fonts

 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.

 2.1.6.  Type1 vs TrueType -- a comparison

 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.

 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.

 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 ).

 2.1.7.  Metafont

 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 ).

 Metafonts typically have a mf 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.

 2.2.  Families of Typefaces

 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 family 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.

 3.  Fonts 102 -- Typography

 Here, we discuss some typography basics. While this information is not
 essential, many font lovers will find it interesting.

 3.1.  Classifications of Typefaces

 3.1.1.  Fixed versus variable width

 There are several classifications of typefaces. Firstly, there are
 fixed width 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.

 3.1.2.  To serif or not to serif ?

 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 usually
 considered more readable than fonts without serifs. There are many
 different types of serif fonts.

 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.

 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.

 3.1.3.  The old and the new -- different types of Serif fonts

 3.1.3.1.  Old Style

 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:

 o  Well defined, shapely serifs.

 o  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.

 o  Readability. Old style fonts are almost always very readable.

 o  Subtlety and lack of contrast. The old style fonts have heavy lines
    and light lines but the contrast in weight is subtle, not stark.

    Notable Old Style fonts include Garamond, Goudy Old Style, Jenson,
    and Caslon ( the latter is contentious -- some consider it
    transitional )

 3.1.3.2.  Moderns ( or didone )

 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:

 o  Lighter serifs, often just thin horizontal lines.

 o  Vertical emphasis. Vertical lines are heavy, horizontal lines are
    light.

 o  Many moderns have a stark contrast between light and heavy strokes.

 o  Modern typefaces with high contrast between light and heavy strokes
    are not as readable as the old style fonts.

    Bodoni is the most notable modern. Other moderns include computer
    modern, and Monotype modern ( on which computer modern is based ).

 3.1.3.3.  Transitional

 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.


 3.1.3.4.  Slab Serifs

 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.

 3.1.4.  The Sans Serif Revolution

 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.

 3.1.4.1.  Grotesque

 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.

 Notable grotesques include the overused Helvetica,  Grotesque, Arial,
 Franklin Gothic, and Univers.

 3.1.4.2.  Geometric

 The Futura font came with the manifesto: form follows function.  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.

 3.1.4.3.  Humanist

 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.

 3.1.5.  Compatible Typefaces

 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.  Monotype's Typography 101 page
 <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.

 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.

 3.2.  Ligatures, Small caps fonts and expert fonts

 3.2.1.  Ligatures

 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.

 3.2.2.  Small caps fonts

 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 ).

 3.2.3.  Expert fonts

 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 ).

 3.3.  Font Metrics and Shapes

 Font metrics define the spacing between variable width fonts.  The
 metrics include information about the size of the font, and kerning
 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.
 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''.

 4.  Making Fonts Available To X

 There are a number of ways fonts can be added to X. Firstly, XFree86
 has a font path which is just a list of several directories or font
 servers 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.

 Recently, xfs ( 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 ) xfs 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 xfsft ) is probably the nicest
 font management solution currently available. Its advantages include:

 o  Support for different types of fonts, including Type1, TrueType and
    bitmap.

 o  Makes fonts available to remote displays.

 o  Greatly simplifies editing the fontpath -- you can do it via the
    command line utility chkfontpath, 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.

 Because different distributions ship with different configurations, it
 is not true that one size fits all. We can split users up into three
 groups:

 o  Your distribution ships with a standalone xfs 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 xfs

 o  Some distributions ship with a stand alone xfs 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 xfs to install Type1
    fonts, and install TrueType fonts via xfstt. Debian users can seek
    out the TrueType Fonts in Debian mini-HOWTO
    <http://www.dimensional.com/~bgiles/debian-tt.html> for information
    about installing TrueType fonts in Debian.

 o  If you don't have xfs then you will need to install Type1 fonts by
    adding to their XFree86 font path and using xset. You should
    install TrueType via xfstt.

 4.1.  The font path

 XFree86 finds your fonts by searching a font path, 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
         xset fp+ directory



 Once you have done this, you need to ask the X server to re-scan for
 available fonts with the command

         xset fp rehash



 Since you will want these commands to run automatically, you should
 put them in your .xinitrc file ( or possibly your .Xclients or .xses-
 sion 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 XF86Con-
 fig.  For example, to add /usr/share/fonts/myfonts to the fontpath
 when X is started, edit XF86Config like this:

                 ...
                 Section "Files"
                 ...

                 FontPath /usr/share/fonts/myfonts
                 ...
                 EndSection
                 ...


 The advantage of editing XF86Config is that the resulting changes are
 system wide.

 4.2.  Installing Type1 Fonts

 4.2.1.  Run Type1inst

 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.

         cd directory
         type1inst



 4.2.2.  If You Have the xfs  Package

 Now you need to add the fonts to your fontpath. If you already have
 the standalone ``xfs'' running, you do this by editing your xfs
 configuration file.

 Redhat users can just use ``chkfontpath''.  the format is chkfontpath
 --add directory

 Your fonts should now be available to X. Now you just run

         xset fp rehash



 and X will be able to find the new fonts.



 4.2.3.  If You Don't Have The xfs  Package

 In this case, you need to add the directory containing your new fonts
 to the font path, as described previously.

 4.3.  True Type Fonts

 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.

 xfstt is a TrueType font server. While it's easy to configure, and
 quite useful, it appear that xfs is becoming more popular.  The main
 advantage of xfs over xfstt is that it supports both Type1 and
 TrueType fonts.

 4.3.1.  xfstt

 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:

 1.  install fonts into the appropriate directory ( read the
    documentation that comes with the package ).

 2. cd to that directory and run xfstt --sync. This causes it to look
    for the fonts and create the fonts.dir file.

 3. Now add unix/:7100 to your font path.

    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
    rpm -ql xfstt |grep init and look for the file with a name
    something like this: /etc/rc.d/init.d/xfstt ) If you don't have an
    init script, just put two  lines in /etc/rc.local like this:

            /usr/X11R6/bin/xfstt --sync
            /usr/X11R6/bin/xfstt &



 4.4.  xfs

 Some of the newer Linux distributions ship with the X font server xfs
 configured to run as a stand alone program.  Notably, Redhat and all
 the redhat based distributions use this modularised xfs with TrueType
 compiled in.  Debian also ship xfs, but the version they ship doesn't
 have built in true type support.

 Running xfs 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.

 4.4.1.  The xfs  Path

 As a font server, xfs has it's own font path.  One might wonder where
 this fits into the picture. It works like this: you can place the xfs
 font server in XFree86's font path, by adding unix/:port to the
 XFree86 font path.  Once you do this, any font in the xfs font path
 automatically becomes available to XFree86.
 The xfs font path is determined by the xfs configuration file, which
 is /etc/X11/fs/config on Redhat, and /etc/X11/xfs/config on Debian.
 Redhat users do not need to explicitly edit this file, they can use
 the chkfontpath utility.  The syntax is simple:


         chkfontpath --add directory



 Users of other distributions can edit the configuration file as fol-
 lows:

         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
         ...



 The above would add /usr/share/fonts/my_new_fonts/ to the xfs font
 path. Note that the last line of the list of directories doesn't have
 a comma at the end.  For these modifications to the font path to
 become effective, xfs must be restarted. It's also a good idea to
 restart your X session after restarting xfs.

 4.4.2.  Installing a Font Into xfs

 To prepare a font for xfs, you need to follow the following steps:

 o  If you don't have xfs installed, you need to install it.

 o  Put the new fonts in a directory.

 o  If you are installing Type1 fonts, prepare the new directory for
    the server by running type1inst in the directory.

 o  If you are installing TrueType fonts, ( remember, not all
    distributions can do TrueType via xfs !  ), prepare the new
    directory for the server by running

            ttmkfdir -o fonts.scale
            mkfontdir



 in the directory containing your new fonts.  ttmkfdir is part of the
 freetype package.

 o  Now you can add the new directory to your xfs search path.  Users
    of Redhat-like distributions can do this with the chkfontpath
    utility: Other users can do this by editing their xfs configuration
    file.

 o  if xfs is already installed on your system, you should see which
    port it is running on. You can do this as follows:

            ps ax|grep xfs



 o  Then check your XFree86 font path.

                    xset -q



 o  If your font path includes something like unix:/port_number were
    port_number 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.

                    xset fp+ unix/:port_number
                    xset fp rehash



 You can add it permanently by editing your .xinitrc as explained pre-
 viously.  To add it system wide, edit your XF86Config file ( probably
 either /etc/X11/XF86Config, /etc/XF86Config or
 /usr/X11R6/lib/X11/XF86Config ), by adding a line FontPath
 "unix:/port_number" in the Files section.  Here's an example:

                 ...
                 Section "Files"
                 ...

                 FontPath "unix/:-1"
                 ...
                 EndSection
                 ...



 o  If xfs is already properly installed, then you can restart it like
    this:

                    /etc/rc.d/init.d/xfs restart



 o  After restarting xfs, it's a good idea to restart your X-session.

 5.  Making Fonts Available To Ghostscript

 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
 /usr/share/ghostscript/version/Fontmap.  The format is very simple,
 almost immediately self evident on perusing it.

 5.1.


 Type1

 Adding Type1 fonts is straightforward. Run type1inst on the directory
 containing the font. type1inst will output a file called Fontmap.
 Append this file to the ghostscript Fontmap file.

 5.2.

 True Type

 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 ttf2pt1 TrueType to Type1 converter, and grabbing the font
 name from the afm ( there's got to be a more efficient way !  but this
 works, ugly as it is ). You do it like this:

                 ttf2pt1 -A fontname - 2 > /dev/null  |grep FontName



 Then you add an entry to the ghostscript Fontmap file in the correct
 format, eg

         some-font       (/usr/share/fonts/subdirectory/somefont.pbf);



 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:

 #!/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>/dev/null\" |" );
     while ( <R> )
     {
         if ( $_ =~ /^FontName/ )
         {
             s/^FontName\s*//;
             chomp;
             print "/" .  $_ . "    ($fontname);\n" ;
         }
     }
     close R;
 }



 You can download this script <http://pegasus.rut-
 gers.edu/~elflord/font_howto/ttfontmap>

 To set this script up, all you need to do is cut and paste it into a
 file called ttfontmap, and place the file somewhere in your PATH (
 such as /usr/bin ).  You run this script like this:

         ttfontmap directory > output_file



 where directory is the directory containing the fonts. You are left
 with the file output_file which you can append to your ghostscript
 fontmap. Note: some will observe that you could just use

         ttfontmap directory >> /usr/share/ghostscript/version/Fontmap



 However, I advise against this ( what would happen if you typed ``>''
 instead of ``>>'' ? )


 5.3.  Using Ghostscript To Preview Fonts

 Once you've made fonts available to ghostscript, you can preview them.
 Do this by running the ghostscript interpreter on the file prfont.ps
 in your ghostscript installation, and after you start it, type:

         /Fontname DoFont



 at the ghostscript font ( where FontName is the ghostscript name of
 the font you wish to preview ).  There are several other ways you can
 invoke gs. For example, if you want to create a postscript file that
 you can look at in a nicer postscript viewer such as gv, you can use

         gs -sDEVICE=pswrite -sOutputFile=somefile.ps  prfont.ps



 Having done this, you can also print your output file.


 6.  True Type to Type1 Conversion

 6.1.  Why ?

 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.
 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.  This is a pity, because with ghostscript support for
 TrueType, and TrueType font servers, Linux has the infrastructure it
 needs to handle TrueType.

 6.2.  How ?

 To convert your TrueType fonts into Type1 fonts, go to
 http://quadrant.netspace.net.au/ttf2pt1/
 <http://quadrant.netspace.net.au/ttf2pt1/> and get ttf2pt1.  To
 convert a TrueType to a Type1 font, use the following syntax:

         ttf2pt1 -b file.ttf name



 Where name 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 ttf2pt1 -b foo.ttf foo.

 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:

         for X in *.ttf; do ttf2pt1 -b $X ${X%%.ttf}; done



 Alternatively, you can download the ttfutils <http://pegasus.rut-
 gers.edu/~elflord/font_howto/ttfutils-0.2.tar.gz> package and use
 ttf2type1 for the conversions.



         ttf2type1 *.ttf



 7.  WYSIWYG Publishing and Fonts

 7.1.  Introduction and Overview

 Installing fonts for WYSIWYG publishing on Linux is a relatively
 complex task. It typically involves three steps:

 o  Make the font available to the X server

 o  Make the font available to ghostscript

 o  Make the font available to the application

    The main reason for the complexity is that the font printing system
    ( ghostscript ) is unrelated to the screen font system. 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.

 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.

 7.2.  Applixware

 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.

 7.2.1.  FontTastic

 Using FontTastic is the easy way to do it. To install new fonts like
 this, simply do the following:

 1. Run Applixware as root

 2. Click on the tools menu.

 3. Choose ``Font Installer''

 4. Check ``OK'' in the popup dialog

 5. Click the ``Catalogs'' menu and choose ``create''

 6. Fill in the catalog name box. It doesn't matter what you put there.
    For the rest of this example, we'll assume it's called ``foobar''

 7. Select your foobar catalog from the catalog manipulations list.

 8. From the ``Services'' menu, select ``install fonts into ->
    FontTastic font server''

 9. Make sure catalog foobar is selected in the catalogs list, then
    press the ``select files'' button.

 10.
    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 /usr/share/fonts/ttfonts
    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.

 11.
    You can edit your list by checking on the different fonts in the
    list box and possibly removing or renaming them.

 12.
    When you're ready, click the ``install fonts'' button. Then click
    ``OK''.

 13.
    Go to the ``services'' menu and choose ``update''. Check ``OK'' on
    the annoying modal dialog, then choose exit from the services menu.
    Exit applix.

 14.
    Congrats, you're done ! The new fonts will be available when you
    restart Applix.

 7.2.2.  Using System Wide Fonts With Applixware

 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:

 7.2.2.1.  Make the fonts available to X

 This is explained ``in the previous section''

 7.2.2.2.  Make the fonts available to ghostscript

 This is explained in ``in the previous section''

 7.2.2.3.  Edit the fontmap.dir

 This is the final step in making your fonts available to Applix, and
 also the most time consuming step. The file fontmap.dir is in under
 the axdata/fontmetrics 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.

 We describe how to add  fonts to fontmap.dir. In this example, we add
 the font Baskerville Italic.


 1. 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.

 2. 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 non-unique, since bold, italic, roman and bold-
    italic variants of a font will typically go under the same family.

 3. If the font is either a bold, or italic variant, or both, we need
    to add the following lines:

            Slant = 1



 if the font is italic, and

         Weight = 1



 if the font is bold.  If the font is bold and italic, we add both
 lines.  In this example, we need only add the line

         Slant = 1



 4. We add a line that looks like this:

            ScreenName = "-paradise-baskerville-medium-i-normal--0-0-0-0-p-0-iso8859-1"



 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

         xlsfonts|grep -i bask



 5. Now we add a line that gives the name of the printer font:
    PostScriptPrinterName = Baskerville-Normal-Italic

 6. Next, we need to specify the location of the font metric file and
    the outline file

            MetricsFile = /usr/share/fonts/misc/baskvli.afm
            Type1FontFileName = /usr/share/fonts/misc/baskvli.pfb



 If you are adding a TrueType file, you can use ttf2pt1 to generate an
 afm file :

                 ttf2pt1 -A foo.ttf - > foo.afm



 ( or get the ttfutils package and use ttf2afm ) Then you use something
 like this:

         MetricsFile = /usr/share/fonts/misc/foo.afm



 Do not include a Type1FontFileName directive -- let ghostscript take
 care of this.

 That's it. Now after adding the whole family of fonts, you should have
 something like this:

         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



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

 7.3.  Star Office

 Here, we cover Star Office 5.0. The procedure with Star Office 5.1 is
 similar, but the utility is called spadmin, not psetup.  It's worth
 mentioning up front that John McLaughlin's page
 <http://www.mindspring.com/~john_mcl/adding_fonts.html> is an
 excellent source on this issue, and it inspired most of what follows.

 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.

 7.3.1.  Backup Your Configuration Before you Start !

 It's good to make a backup in case you inadvertantly hose your
 configuration. Modifying fonts will impact several files in the xp3.
 You should definitely backup the file xp3/psstd.fonts.  I recommend
 going further and backing up the whole xp3 directory. You can do this
 by cd-ing to your Star Office directory, then using

         tar cvzf xp3.tgz xp3



 to create a backup. To restore a backup, delete the xp3 directory and
 unpack the archive

         rm -rf xp3
         tar xvzf xp3.tgz



 7.3.2.  Adding Type1 Fonts to Star Office

 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 psetup tool. The procedure
 is as follows:

 1. As root, run psetup ( or spadmin if you have Star Office 5.1 )

 2. Press the ``add fonts'' button.

 3. 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.

 4. Choose the directory containing the font you wish to install ( it
    should be in the box ), and then press ``OK''.

 5. Click the ``convert all font metrics button''.

    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.

 7.3.3.  Adding TrueType Fonts to Star Office

 Adding TrueType fonts to Star Office is nontrivial, but possible.
 After some hard work, and long hours stareing at John McLaughlin's
 page <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:

 o  Make the fonts available to X.

 o  Make the fonts available to ghostscript.

 o  You need to have afm files for the fonts you wish to add. Use

            ttf2pt1 -A foo.ttf - > foo.afm



 to create the afm files.  Alternatively, you can get the

 o  ttfutils
    <http://pegasus.rutgers.edu/~elflord/font_howto/ttfutils-0.2.tar.gz>
    package and use ttf2afm The advantage of this is you can handle
    several at a time, eg

            ttf2afm *.ttf



 o  Star Office needs pfb files corresponding to each ttf file. You can
    create them with the command

            touch foo.pfb



 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 pfb file
 exists to install the font.


 o  Now you can run spadmin and install the font(s).

 o   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, not the ghostscript font name. For
    example, if the font is foobar.ttf and the corresponding afm file
    is foobar.afm, you use the name ``foobar'' for the font in the PPD
    file. The entry should look something like this:

    *Font cloistrk: Standard "(001.002)" Standard ROM



 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 not have the fonts in the ROM, so while gv 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:

 o  Do not edit the PPD file.

 o  Instead of using touch foo.pfb to create empty pfb files, you need
    the pfb 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 ttfps
    <ftp://ftp.dcs.ed.ac.uk/pub/jek/programs/ttfps.tar.gz> to create
    the files.

            ttfps foo.ttf foo.pfb



 There are some gotchas. Sometimes, Star Office might not choose the
 screen font you like. It is sometimes worth checking xp3/psstd.fonts
 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 xp3
 directory.

 7.3.4.  Under the Hood

 If you wish to install TrueType fonts in Star Office, you may need to
 learn how Star Office handles things. When you run spadmin or psetup,
 the following happens:

 o  Star Office makes symbolic links to the pfb outline files in your
    xp3/pssoftfonts directory.

 o  The afm file is copied into the directory xp3/fontmetrics/afm/

 o  An entry is added to the xp3/psstd.fonts 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 ).

 This is why it's good to simply backup the whole xp3 directory -- it
 is the only convenient way to restore Star Office to a clean
 configuration.

 7.4.  Word Perfect

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

 8.  Netscape

 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 .Xdefaults
 file:

         Netscape*documentFonts.sizeIncrement: 20
         Netscape*documentFonts.xResolution*iso-8859-1: 100
         Netscape*documentFonts.yResolution*iso-8859-1: 100


 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.

 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.

 9.  TeX / LaTeX

 9.1.  A Quick Primer on LaTeX/TeX fonts

 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.

 For this discussion, we focus on Type1 fonts, since they are more
 widely available, and more problematic to install.

 Here's a quick primer on LaTeX fonts.    LaTeX uses the following
 types of font files for handling Type1 fonts:

 o  .pl -- property list. This is a human readable version of a tex
    font metric file.

 o  .vpl -- virtual property list. Human readable version of a virtual
    font file.

 o  .fd -- font definition. Used to define a family of fonts.

 o  .tfm  -- tex font metric. This is a metric file, as explained in
    the glossary. It is completely analogous to the .afm files used by
    Type1 fonts. TeX needs the font metrics to properly layout the
    page.

 o  .vf -- 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.

 o  .pk -- 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 .pk file, they require a lot of disk space,
    so they are cached, but not stored.

 o  .mf -- 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. )


 It's good to know your way around the TeX directory structure. Here
 are the main directories you'll need to know about:

 o  $TEXMF/fonts     -- the main font directory

 o  $TEXMF/fonts/type1 -- the type1 font directory

 o  $TEXMF/fonts/type1/foundry -- the directory for the shape files in
    a given foundry

 o  $TEXMF/fonts/type1/foundry/fontname -- contains the font called
    name.  The name is usually plain English, and needn't follow TeX's
    cryptic naming scheme for fonts.

 o  $TEXMF/fonts/afm/foundry/fontname -- the directory containing the
    afm files corresponding to the font name belonging to foundry
    foundry.

 o  $TEXMF/fonts/tfm/foundry/fontname -- analogous to the afm
    directory, but contains tfm files instead.

 o  $TEXMF/fonts/vf/foundry/fontname -- similar to the above, but
    contains the virtual fonts.

 o  $TEXMF/fonts/source/foundry/fontname -- similar to the above, but
    contains metafont files.

 o  $TEXMF/dvips/config/psfonts.map -- fontmap file for dvips. This
    file is similar in both function and format to ghostscript's
    Fontmap file.

 o  $TEXMF/tex/latex/psnfss -- this is where all the font definition
    files go.


 9.2.  Adding Type1 fonts

 9.2.1.  Naming the fonts

 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 FNW{V}E{n} where:

 o  F is a one-letter abbreviation for the foundry ( m = monotype, p =
    adobe, b = bitstream, f = free )

 o  N is a two letter abbreviation for the font name ( for example, ag
    = ``avant garde'' )

 o  W is the font weight ( r = regular, b = bold, l = light d =
    demibold )

 o  V is an optional slope variant ( i = italic , o = oblique )

 o  E is an abbreviation for the encoding ( almost always 8a which is
    adobe standard encoding ).

 o  N is an optional width variant ( n = narrow )

    For example, the font Adobe Garamond demibold is pgad8a.

 9.2.2.  Creating the virtual fonts and tex font metrics

 Now you can run fontinst as follows:

         latex `kpsewhich fontinst.sty`



 then you type at the prompt:

         \latinfamily{font_name}{}\bye



 where font_name is the first three letters of your font file name (
 for example, pad for adobe garamond ).  Now fontinst will generate a
 number of files -- font description files, property list files and
 virtual property list files. It also generates a lot of .mtx files.
 These are created by fontinst, but you don't need to use them.  You
 need to convert the property lists and virtual property lists to met-
 rics and virtual fonts. This is done using the utilities vptovf and
 pltotf.

         for X in *.pl; do pltotf $X; done
         for X in *.vpl; do vptovf $X; done



 Then remove the old vpl, pl and mtx files.

 9.2.3.  Configure dvips

 You will need to edit your dvips config file, psfonts.map.  The best
 way to explain the format of the file is to give an example.


      marr8r          ArialMT <8r.enc <farr8a.pfa
      marbi8r         Arial_BoldItalicMT <8r.enc <farbi8a.pfa
      marb8r          Arial_BoldMT <8r.enc <farb8a.pfa
      marri8r         Arial_ItalicMT <8r.enc <farri8a.pfa
      marr8rn         Arial_Narrow <8r.enc <farr8an.pfa



 The 8r.enc is simply there to inform dvips of the encoding scheme used
 ( in all our examples, it's 8r, because of the way fontinst 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 afm file
 in a text editor, and looking for the FontName 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.

 9.2.4.  Test the font

 Try running latex on a document like this:

 \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}



 where you replace pga 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

          texconfig rehash



 so that tex can update the directory lists.

 9.2.5.  Create a .sty file

 You may want to create a .sty file so that you can more easily use
 fonts. Use the files in $TEXMF/tex/latex/psnfss as a template.



 10.  Getting Fonts For Linux

 10.1.  True Type

 10.1.1.

 Commercial Software

 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. )

 10.1.2.

 Microsoft's Font Download

 Microsoft have also made several TrueType fonts available. The .exe
 file is simply an archive, you can extract it using unzip.  You can
 get them from the download site
 <http://www.microsoft.com/truetype/fontpack/win.htm>

 10.1.3.

 Luc's Webpage

 Luc Devroye's webpage
 <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''.

 10.1.4.

 Web sites with truetype fonts

 There are several web sites offering freely available downloadable
 fonts. For example, the freeware connection
 <http://www.freewareconnection.com/fonts.html> has links to a number
 of archives.

 10.1.5.

 Foundries

 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 buyfonts
 <http://www.buyfonts.com>.  Please read the section on ethics before
 you buy cheap fonts.

 10.2.  Type 1 Fonts and Metafont

 10.2.1.  Dealing With Mac and Windows Formats

 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 zip file. The only
 work to be done is converting the pfm file to and afm file ( using
 pfm2afm ).

 Macintosh fonts are more problematic, because they are typically made
 available in .sit.bin 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 sit.bin file is unpacked, the Macintosh files can be
 converted using t1unmac which comes with the t1utils package.

 Unfortunately, some vendors only ship Type1 fonts in Macintosh format
 ( stuffit archives ). However, according to font expert Luc Devroye
 <http://cgm.cs.mcgill.ca/~luc/>, all major foundries make Type1 fonts
 available for Mac and Windows.

 10.2.2.

 Free Stuff

 ctan <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 Bluesky <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. )

 Luc Devroye's webpage
 <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''.

 URW have released the standard postscript fonts resident in most
 printers to the public domain. These fonts are quite good.

 The Walnut Creek Archive <ftp://ftp.cdrom.com/pub/os2/fonts/> 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
 Winsite <http://www.winsite.com/win3/fonts/atm/> 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. )

 Luc Devroye's webpage <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.

 10.2.3.  Commercial Fonts

 10.2.3.1.  Value vs Premium: Why Should I buy Premium Fonts ?

 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.

 The advantage of the cheaper fonts is self evident -- they are
 cheaper.  The quality fonts also have their advantages though.

 o  Ethical issues: 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.

 o  Completeness: 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.

 o  Quality: 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.

 o  Authenticity: 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.

 10.2.3.2.  Value


 o  An excellent place to go for a CD packed with several Type1 fonts
    of reasonable quality is Bitstream <http://www.bitstream.com>.
    Bitstreams more noted products include their 250 font CD
    <http://www.bitstream.com/products/world/font_cd/bits_collection.html>
    and their 500 font CD
    <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.

 o   Matchfonts <http://www.matchfonts.com/> 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.

 o   EFF <http://www.buyfonts.com> sell TrueType fonts for $2- per hit.
    They also have ``professional range'' postscript and TrueType fonts
    for $16- per typeface.

 10.2.3.3.

 Premium


 o  Adobe have several high quality,  fonts available at Adobe's type
    website <http://www.adobe.com/type/>.  Some of these are expensive,
    but they have several more affordable bundles -- see Adobe Type
    Collections <http://www.adobe.com/type/collections.html>.  Adobe
    have some of the most complete font families on the market, for
    example, Garamond <http://www.adobe.com/type/browser/P/P_912.html>,
    Caslon <http://www.adobe.com/type/browser/P/P_180.html>, and their
    multiple masters <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. )
 o  Berthold Types Limited <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.

 o  ITC develop several quality fonts ( including some of the ones
    Corel ships with their products ) at http://www.itcfonts.com
    <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.

 o  Linotype <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. )

 o  Monotype <http://www.monotype.com> develop most of the fonts
    shipped with Microsoft products. One of the older and well
    respected foundries.

 o   Tiro Typeworks <http://www.portal.ca/~tiro/> 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..

 10.2.3.4.

 More Links

 For links to a bunch of other foundries, see Luc Devroye's page
 <http://cgm.cs.mcgill.ca/~luc/>


 11.  Useful Font Software for Linux

 There are several font packages for Linux. Many of them are essential.

 o  chkfontpath is a utility for manipulating the xfs configuration
    file.

 o  DTM -- the Definitive Type Manager
    <http://www.debian.org/~fog/dtm/> is a global font management tool.
    This is a developer's release.

 o  fontinst <http://www.tug.org/applications/fontinst/index.html> is a
    LaTeX package designed to simplify the installation of Type1 fonts
    into LaTeX.

 o  Freetype <http://www.freetype.org> is a TrueType library that comes
    with most Linux distributions

 o  Ghostscript <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 )

 o  pfm2afm
    <http://pegasus.rutgers.edu/~elflord/font_howto/pfm2afm.tgz> is a
    utility for converting windows pfm font metric files into afm
    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.
 o  mminstance and t1utils <http://www.lcdf.org/~eddietwo/type/> are
    two packages for handling Type1 fonts.  mminstance is for handling
    Adobe's multiple master
    <http://www.adobe.com/type/browser/C/C_4e.html> Type1 fonts.
    t1utils is a suite of utilities for converting between the
    different Type1 formats.

 o  ttf2pt1 <http://quadrant.netspace.net.au/ttf2pt1/> is a TrueType to
    Type1 font converter. It is useful if you have applications that
    require Type1 fonts.

 o  ttfps <ftp://ftp.dcs.ed.ac.uk/pub/jek/programs/ttfps.tar.gz>
    converts .ttf TrueType font files into Type42 files.

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

 o  type1inst <ftp://ftp.metalab.unc.edu/pub/Linux/X11/xutils/> is an
    essential package for installing Type1 fonts. It greatly simplifies
    the installation.

 o  xfstt <ftp://ftp.metalab.unc.edu/pub/Linux/X11/fonts/> is a
    TrueType font server for Linux. It's useful, but xfs is probably a
    better choice.

 o  xfsft <http://www.dcs.ed.ac.uk/home/jec/programs/xfsft/> The xfsft
    font server. Note that this is included in xfs.

 o  x-tt <http://hawk.ise.chuo-u.ac.jp/student/person/tshiozak/x-tt/>
    is a font server designed to handle Korean and Japanese fonts.


 12.  Ethics and Licensing Issues Related to Type

 Font licensing is a very contentious issue. While it is true that
 there is a wealth of freely available 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 files  are protected by copyright, but font renderings 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.

 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.

 There are many differing opinions on this issue. See typeright
 <http://www.typeright.org> for an explanation of the case in favour of
 intellectual property rights.  Also, see Southern Software, Inc
 <http://www.ssifonts.com/> 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.

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



 13.  References

 13.1.  Font Information


 o  Rod Smith's homepage <http://www.rodsbooks.com/> contains a wealth
    of information about using fonts and printers with Applixware and
    Word Perfect.

 o  John McLaughlin's page
    <http://www.mindspring.com/~john_mcl/adding_fonts.html> discusses
    setting up fonts with Star Office

 o  Jim Land's homepage
    <http://www.geocities.com/SiliconValley/5682/postscript.html>
    contains a lot of links to sites on postscript and fonts.

 o  The comp.fonts FAQ <http://www.faqs.org/faqs/fonts-faq/> is the
    definitive font FAQ.

 o  Luc Devroye's homepage <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.

 o  The Font Deuglification HOWTO
    <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.

 o  TrueType Fonts in Debian mini-HOWTO
    <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 any distribution that doesn't have the
    version of xfs with TrueType support.

 o  The (preliminary) True Type HOWTO
    <http://www.moisty.org/~brion/linux/TrueType-HOWTO.html> -- an
    incomplete HOWTO dated June 1998. Included in this list for
    completeness.

 o  TrueType for XFree86 Mini-HOWTO
    <http://www.sfu.ca/~yzhang/linux/truetype/> -- a slightly dated
    HOWTO. Only applicable to Redhat 5.x

 13.2.  Postscript and Printing Information


 o  Adobe's Postscript page
    <http://www.adobe.com/print/postscript/main.html> is the definitive
    site on the postscript standard.

 o  Ghostscript's home page <http://www.cs.wisc.edu/~ghost/> has a lot
    of information, and all the latest printer drivers.

 o  Jim Land's homepage
    <http://www.geocities.com/SiliconValley/5682/postscript.html>
    contains a lot of links to sites on postscript and fonts.

 o  Christopher Browne's Printing FAQ
    <http://www.hex.net/~cbbrowne/printing.html>


 14.  Glossary


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

 o  anti-aliasing 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.

 o  bdf fonts are a variety of bit-mapped fonts that may be used with
    X.

 o  bitmap fonts 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.

 o  didone see modern.

 o  DPI Dots Per Inch. Monitors typically display at 75-100 DPI, while
    modern printers vary from 300-1200 DPI

 o  expert fonts 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.

 o  font server a background program that makes fonts available to
    XFree86.

 o  glyph 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.

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

 o  ligature 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 expert font.



 o  metafont 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.

 o  metric 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.

 o  modern 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.

 o  old style 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 Goudy Old Style was designed by
    Goudy in the early 20th century. Notable old style faces include
    Goudy Old Style, Garamond, and Caslon.

 o  pcf fonts are bit-mapped fonts used by X.

 o  postscript 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.

 o  serif 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.

 o  sans serif 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.


 o  slab serif fonts are a certain class of font whose serifs look like
    slabs ( eg flat lines or blocks ) and not hooks.  Slab serif fonts
    are often, 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.

 o  transitional 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.

 o  Type1 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 afm
    ( adobe font metric ) file, and an outline file, which is usually a
    .pfb ( printer font binary ) or .pfa ( printer font ascii ) file.
    The outline file contains all the glyphs, while the metric file
    contains the metrics.

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

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