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Fonts & Encodings
by Yannis Haralambous
Copyright © 2007 O’Reilly Media, Inc. All rights reserved.
Printed in the United States of America.
Published by O’Reilly Media, Inc., 1005 Gravenstein Highway North, Sebastopol, CA 95472.
O’Reilly books may be purchased for educational, business, or sales promotional use. Online editions
are also available for most titles (safari.oreilly.com). For more information, contact our
corporate/institutional sales department: (800) 998-9938 or corporate@oreilly.com.
Printing History:
September 2007: First Edition.
Nutshell Handbook, the Nutshell Handbook logo, and the O’Reilly logo are registered trademarks of
O’Reilly Media, Inc. Fonts & Encodings, the image of an axis deer, and related trade dress are
trademarks of O’Reilly Media, Inc.
Many of the designations used by manufacturers and sellers to distinguish their products are claimed as
trademarks. Where those designations appear in this book, and O’Reilly Media, Inc. was aware of a
trademark claim, the designations have been printed in caps or initial caps.
While every precaution has been taken in the preparation of this book, the publisher and author assume
no responsibility for errors or omissions, or for damages resulting from the use of the information
contained herein.
ISBN-10: 0-596-10242-9
ISBN-13: 978-0-596-10242-5
[M]
,copyright.24847 Page iv Friday, September 7, 2007 10:32 AM
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Ubi

sunt

qui

ante

nos
in

mundo

fuere

?
To the memory of my beloved father,
Athanassios-Diomidis Haralambous
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This book would never have seen the light of day without the help of a number of people, to whom
the author would like to express his thanks:
• His wife, Tereza, and his elder daughter, Ernestine (“Daddy, when are you going to finish your
book?”), who lived through hell for a whole year.
• The management of ENST Bretagne, Annie Gravey (chair of his department), and his col-
leagues, for encouraging him in this undertaking and tolerating the inconveniences caused
by his prolonged absence.
• His editor, Xavier Cazin, for his professionalism, his enthusiasm, and his friendship.
• Jacques André, for supplying tons of books, articles, leads, addresses, ideas, advice, suggestions,
memories, crazy thoughts, etc.
• His proofreaders: Jacques André once again, but also Patrick Andries, Oscarine Bosquet,
Michel Cacouros, Luc Devroye, Pierre Dumesnil, Tereza Haralambous, John Plaice, Pascal Ru-
bini, and François Yergeau, for reviewing and correcting all or part of the book in record time.
• The indefatigable George Williams, for never failing to add new features to his FontForge soft-
ware at the author’s request.
• All those who supported him by providing information or resources: Ben Bauermeister, Gá-
bor Bella, Tom Bishop, Thierry Bouche, John Collins, Richard Cook, Simon Daniels, Mark
Davis, Lisa Devlin, Bon Hallissy, Ken’ichi Handa, Alan Hoenig, Bogusław Jackowski, Michael
Jansson, Ronan Keryell, Alain LaBonté, David Lemon, Ken Lunde, Jim Lyles, Sergey Malkin,
Sabine Millecamps (Harrie Potter), Lisa Moore, Tomohiko Morioka, Éric Muller, Paul Nel-
son, David Opstad, Christian Paput, Thomas Phinney, Just van Rossum, Emmanuël Souchier,
Naoto Takahashi, Bob Thomas, Adam Twardoch, Jürgen Willrodt, and Candy Lee Yiu.
• The foundries that supplied fonts or specimens for use in his examples: Justin Howes, P22,
Thierry Gouttenègre, Klemens Burkhardt, Hoefler Type Foundry, Typofonderie Porchez, and
Fountain Type.
• Emma Colby and Hanna Dyer of O’Reilly, for selecting that magnificent buck as the animal
on the cover, doubtless because its coat is reminiscent of encoding tables and its antlers suggest
the Bézier curves of fonts.
• Last but not least, Scott Horne, the heroic translator of this book of more than a thousand
pages, who mustered all his energy and know-how to translate the technical terms correctly,
adapt the book’s style to the culture of the English-speaking countries, correct countless errors
(even in the Chinese passages)—in short, he prepared this translation with the utmost care.
Just to cite one example, he translated the third stanza of Gaudeamus Igitur from Latin to ar-
chaic English—in verse, no less—for use in the dedication. The author will be forever grateful
to him for all these contributions.
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Contents
Introduction 1
Explorations 3
TheLetterandItsParts 3
LetterpressTypesetting 7
DigitalTypesetting 11
FontFormats 14
Between Characters and Glyphs: the Problems
oftheElectronicDocument 15
TheStructureoftheBookandWaystoUseIt 17
HowtoReadThisBook 23
HowtoContactUs 25
1BeforeUnicode 27
FIELDATA 29
ASCII 29
EBCDIC 31
ISO 2022 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33
ISO 8859 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
ISO 8859-1 (Latin-1) and ISO 8859-15 (Latin-9) . . . . . . . . . . . . . . 36
ISO 8859-2 (Latin-2) and ISO 8859-16 (Latin-10) . . . . . . . . . . . . . 38
ISO 8859-3 (Latin-3) and ISO 8859-9 (Latin-5) . . . . . . . 39
ISO 8859-4 (Latin-4), ISO 8859-10 (Latin-6),
and ISO 8859-13 (Latin-7) . . . . . . . . . . . . . . . . . . . . . . 40
ISO 8859-5, 6, 7, 8, 11 . . . . . . . . . . . . . . . . . . . . 41
ISO 8859-14 (Latin-8) . . . . . . . . . . . . . . . . . . . . 42
vii
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viii Contents
TheFarEast 42
Microsoft’scodepages 45
Apple’sencodings 47
Electronicmail 48
TheWeb 51
2 Characters, glyphs, bytes: An introduction to Unicode 53
Philosophicalissues:charactersandglyphs 54
Firstprinciples 58
Technicalissues:charactersandbytes 62
Characterencodingforms 64
GeneralorganizationofUnicode:planesandblocks 70
The BMP (Basic Multilingual Plane) . . . . . . . . . . . . 70
Higherplanes 83
Scriptsproposedforaddition 89
3 Properties of Unicode characters 95
Basicproperties 96
Name 96
Blockandscript 96
Age 97
Generalcategory 98
Othergeneralproperties 105
Spaces 106
Alphabeticcharacters 106
Noncharacters 106
Ignorablecharacters 107
Deprecatedcharacters 107
Logical-orderexceptions 107
Soft-dottedletters 108
Mathematicalcharacters 108
Quotationmarks 109
Dashes 109
Hyphens 109
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Contents ix
Terminalpunctuation 109
Diacritics 109
Extenders 110
Joincontrol 110
TheUnicode1nameandISO’scomments 110
Propertiesthatpertaintocase 111
Uppercaseletters 111
Lowercaseletters 112
Simplelowercase/uppercase/titlecasemappings 112
Speciallowercase/uppercase/titlecasemappings 112
Casefolding 113
Renderingproperties 114
TheArabicandSyriacscripts 114
Managinggraphemeclusters 116
Numericproperties 118
Identifiers 119
ReadingaUnicodeblock 120
4 Normalization, bidirectionality, and East Asian characters 127
DecompositionsandNormalizations 127
CombiningCharacters 127
CompositionandDecomposition 130
NormalizationForms 131
TheBidirectionalAlgorithm 133
Typographyinbothdirections 134
UnicodeandBidirectionality 138
TheAlgorithm,StepbyStep 142
EastAsianScripts 146
IdeographsofChineseOrigin 147
TheSyllabicKoreanHangulScript 155
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x Contents
5UsingUnicode 159
InteractiveToolsforEnteringUnicodeCharacters 160
UnderMacOSX 160
UnderWindowsXP 161
UnderXWindow 163
VirtualKeyboards 164
UsefulConceptsRelatedtoVirtualKeyboards 167
UnderMacOSX 168
UnderWindows 175
UnderXWindow 181
ConversionofTextfromOneEncodingtoAnother 183
The recode Utility . . . . . . . . . . . . . . . . . . . . . . . 184
6 Font Management on the Macintosh 187
TheSituationunderMacOS9 188
ThesituationunderMacOSX 191
Font-ManagementTools 194
ToolsforVerificationandMaintenance 194
ATM:the“Smoother”ofFonts 196
ATR:classificationoffontsbyfamily 199
FontManagers 200
FontServers 204
ToolsforFontConversion 205
TransType Pro 205
dfontifier 206
FontFlasher,the“KobayashiMaru”ofFonts 207
7 Font Management under Windows 209
ToolsforManagingFonts 212
TheExtensionofFontProperties 212
ToolsforVerificationandMaintenance 213
ATM:the“Smoother”ofFonts 215
FontManagers 216
FontServers 218
ToolsforFontConversion 219
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Contents xi
8 Font Management under X Window 221
SpecialCharacteristicsofXWindow 221
LogicalDescriptionofaFontunderX 222
Installing fonts under X . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226
Installing Bitmap Fonts . . . . . . . . . . . . . . . . . . . . . . . . . . . 228
Installing PostScript Type 1 or TrueType Fonts . . . . . . 229
ToolsforManagingFontsunderX 231
ToolsforConvertingFontsunderX 232
TheGNUFontTools 232
George Williams’s Tools . . . . . . . . . . . . . . . . . . . 233
Variousothertools 233
ConvertingBitmapFontsunderUnix 233
9FontsinT
E
XandΩ, their installation and use 235
Using Fonts in T
E
X 235
Introduction to T
E
X 236
The High Level: Basic L
A
T
E
XCommandsandNFSS 240
The Low Level: T
E
XandDVI 259
“Après-T
E
X”:ConfrontingtheRealWorld 263
Installing Fonts for T
E
X 274
The Tool afm2tfm 275
Basic Use of the Tool fontinst 277
MultipleMasterfonts 283
Customizing T
E
XFontsfortheUser’sNeeds 285
HowtoConfigureaVirtualFont 285
ConclusionsandGlimpsesattheFuture 312
10 Fonts and Web Pages 315
(X)HTML,CSS,andFonts 318
TheStandardHTMLTags 318
CSS(version3) 319
ToolsforDownloadingFontsfromtheWeb 332
TrueDoc,byBitstream 333
Font Embedding,byMicrosoft 336
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xii Contents
GlyphGate,byem2Solutions 340
TheSVGFormat 345
FundamentalConceptsofXML 345
AndwhataboutSVG? 350
FontSelectionunderSVG 351
AlternateGlyphs 353
SVGFonts 355
Conclusion 365
11 The History and Classifications of Latin Typefaces 367
The Typographical Big Bang of the Fifteenth Century,
and the Fabulous Destiny of the Carolingian Script . . . . . . . 367
FromVenicetoParis,byWayofRome 371
NewScriptsEmergeinGermany 381
TheWildAdventureofTexturainEngland 382
TheSunKingMakesWaves 384
EnglandTakestheLeadinTypographicInnovation 386
DidotandBodoniRevolutionizeTypefaces 390
TheGerman“SturmundDrang” 393
TheNineteenthCentury,EraofIndustrialization 394
The Pre-war Period: Experimentation and a Return to Roots . . . . . . 397
ThePost-warPeriod 403
SuggestedReading 407
TheVox/ATypIClassificationofTypefaces 408
La classification Alessandrini des caractères: le Codex 80 . . . . . . . . . . . . 411
IBM’sClassificationofFonts 416
Class0:NoClassification 416
Class1:Old-StyleSerifs 416
Class2:TransitionalSerifs 418
Class3:ModernSerifs 418
Class4:ClarendonSerifs 419
Class5:SlabSerifs 420
Class7:Free-FormSerifs 420
Class8:SansSerif 421
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Contents xiii
Class9:Ornamentals 422
Class10:Scripts 422
Class12:Symbolic 423
ThePanose-1Classification 424
Parameter1:FamilyKind 425
Parameter2:SerifStyle 425
Parameter3:Weight 427
Parameter4:Proportion 428
Parameter5:Contrast 430
Parameter6:StrokeVariation 431
Parameter 7: Arm Style and Termination
ofOpenCurves 433
Parameter8:SlantandShapeoftheLetter 435
Parameter9:MidlinesandApexes 436
Parameter 10: X-height and Behavior of Uppercase Letters
RelativetoAccents 438
12 Editing and Creating Fonts 441
SoftwareforEditing/CreatingFonts 442
GeneralPrinciples 444
FontLab 446
TheFontWindow 446
OpeningandSavingaFont 452
TheGeneral-InformationWindow 454
TheGlyphWindow 459
TheMetricsWindow 465
MultipleMasterFonts 468
DrivingFontLabwithPythonScripts 472
FontForge 488
TheFont-TableWindow 489
Opening/SavingaFont 490
TheGeneral-InformationWindow 491
TheGlyphWindow 492
TheMetricsWindow 495
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