laser-lovers@uw-beaver (06/10/85)
From: Les Earnest <LES@SU-AI.ARPA>
The Metafont for Lunch Bunch would like to collect print samples of Times
Roman fonts, or fonts that are intended to look like Times Roman, from
various laser printers and formatting programs. If you can produce
samples from more than one configuration, we would appreciate having them.
These samples will be used in a series of "blind tastings" by our group.
Our goal will be to evaluate the overal print quality of various fonts as
produced by various systems. Results will be reported via Laser-Lovers.
For the first series, we wish to have three print sizes: 8, 10, and 12 point.
For your convenience, we provide sample sources in four forms: plain text
with explanatory notes, troff, TeX, and Scribe. Whichever ones you use, it
will be necessary to add or modify one or more font declarations to conform
to your local naming conventions. Feel free to modify the sources as needed
to overcome any local problems.
If you are supplying more that one set of samples, please provide a
separate data sheet (below) for each set and group them so that it is
clear which data sheet goes with which samples, for example using paper
clips. Please put no identifying marks on the print samples themselves,
on either side. Stick-on notes are OK.
In order to be used in the first tasting, samples must get here by June 19.
It is likely that we will request additional print samples in the future.
To those who are willing and able to provide samples now, we express our
thanks. We hope that the results will be of interest.
Cheers,
Les Earnest
-------------------------------------------------------------------------
PRINT SAMPLE DATA SHEET
(If you don't know something, please leave it blank rather than guessing.)
DATE:
TYPEFACE Name:
Source:
Host or internal (inside raster image processor?):
Approx. date received:
PRINTER Make, Model:
Serial #:
Location:
Approx. date received:
PAPER: Brand, Name:
FORMATTER Source:
Name, Version if any:
Host computer make, model:
COMMENTS (Any unusual elements, such as beta test):
SUBMITTER Name:
Mail address:
Phone:
Network address:
SIGNATURE:
Please return one data sheet for each set of samples and mail to:
Lynn Ruggles
Dept. of Computer Science
Stanford University
Stanford, CA 94305
Lynn's Arpanet address is Ruggles@SU-Coyote; her phone is 415 497-0748.
-------------------------------------------------------------------------
% The objective of this test is to compare the performance of
% different laser-printer fonts in setting a given passage of
% text. It is not intended as a comparison of the character
% content of different fonts.
% The specimen text starts here. Typesetting instructions follow
% percent signs. The whole text should be set three times, in
% nominal sizes of 8, 10 and 12 pt. Each setting should start a
% fresh page.
<nominal size> point
% blank line
% Set the following passage line for line as it is given here,
% ragged right, with the distance between baselines the same
% as the nominal size (e.g. 8 pt. on 8 pt.).
Of the raw materials which go to the making of a fine book, most
important is the form of its letter, because the primary purpose of
the book is to be read. The design of a satisfactory typeface is far
from being the simple problem it looks. If we all know our letters
when we see them, few of us are capable of making a tolerable
alphabet even of capitals, and scarcely anyone amongst us can be
trusted to make a lower-case `a' or `g'. Clearly even the simple
A,B,C is a thing of mystery. Like all codes, it should not be trifled
with, but it is to be feared that in modern times it has not always
been respected.
% blank line
Stanley Morison: `On type designs'.
% two blank lines
% Set the same passage again, with the same distance between
% baselines, this time justified left and right on the following
% measures:
% 8 pt: 20 picas (84.35035 mm or 3.32088 inches)
% 10 pt: 24 picas (101.22042 mm or 3.985056 inches)
% 12 pt: 28 picas (118.09049 mm or 4.649232 inches)
% Hyphenation is permitted.
% The remainder of the text should be set line for line as it is
% given here (including blank lines), ragged right, with the distance
% between baselines the same as the nominal size
Acute Air Bowl Bid Cook Clam Dog Dire Eons Elk Font Fit Got Give Horn
Hire Ion Inner Job Jive Keep Kink Lime Loon Moron Mind Noon Nine Ode
Old Pool Pile Quire Reel Rib Scan Slam Tour Tire Use Ultra Veto Vile
Word Wire Xenon Xmas You Yule Zone Zip
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrstuvwxyz
1234567890.,:;`'?!()-
nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn
oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo
HAHBHCHDHEHFHGHHHIHJHKHLHMHNH
HOHPHQHRHSHTHUHVHWHXHYHZH&H
OAOBOCODOEOFOGOHOIOJOKOLOMONO
OOOPOQOROSOTOUOVOWOXOYOZO&O
010203040506070809000
111213141516171819101
O0OoO00OoO00OoO00OoO0O
-------------------------------------------------------------------------
\" troff version. A font selection command should be added at the front.
.de Tx
Of the raw materials which go to the making of a fine book, most
important is the form of its letter, because the primary purpose of
the book is to be read. The design of a satisfactory typeface is far
from being the simple problem it looks. If we all know our letters
when we see them, few of us are capable of making a tolerable
alphabet even of capitals, and scarcely anyone amongst us can be
trusted to make a lower-case `a' or `g'. Clearly even the simple
A,B,C is a thing of mystery. Like all codes, it should not be trifled
with, but it is to be feared that in modern times it has not always
been respected.
.sp
Stanley Morison: `On type designs'.
.sp 2
..
.de Sa \" Print one page sample at specified size and column width
.ps \\$1
.vs \\$1
.sp |1i
\\$1 point
.nf
.sp
.Tx
.fi
.ll \\$2i
.Tx
.ll 6.5i
.nf
Acute Air Bowl Bid Cook Clam Dog Dire Eons Elk Font Fit Got Give Horn
Hire Ion Inner Job Jive Keep Kink Lime Loon Moron Mind Noon Nine Ode
Old Pool Pile Quire Reel Rib Scan Slam Tour Tire Use Ultra Veto Vile
Word Wire Xenon Xmas You Yule Zone Zip
ABCDEFGHIJKLMNOPQRSTUVWXYZ&
abcdefghijklmnopqrstuvwxyz
1234567890.,:;`'?!()-
nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn
oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo
HAHBHCHDHEHFHGHHHIHJHKHLHMHNH
HOHPHQHRHSHTHUHVHWHXHYHZH&H
OAOBOCODOEOFOGOHOIOJOKOLOMONO
OOOPOQOROSOTOUOVOWOXOYOZO&O
010203040506070809000
111213141516171819101
O0OoO00OoO00OoO00OoO0O
.sp 200
..
.Sa 8 3.321
.Sa 10 3.985
.Sa 12 4.649
-------------------------------------------------------------------------
% TeX version. Replace font names at the bottom with those to be print-sampled.
\nopagenumbers
\parindent=0pt
\def\blankline{\vskip\baselineskip}
\obeylines
\def\text{%
Of the raw materials which go to the making of a fine book, most
important is the form of its letter, because the primary purpose of
the book is to be read. The design of a satisfactory typeface is far
from being the simple problem it looks. If we all know our letters
when we see them, few of us are capable of making a tolerable
alphabet even of capitals, and scarcely anyone amongst us can be
trusted to make a lower-case `a' or `g'. Clearly even the simple
A,B,C is a thing of mystery. Like all codes, it should not be trifled
with, but it is to be feared that in modern times it has not always
been respected.
\blankline
Stanley Morison: `On type designs'.
\blankline\blankline
}
\def\test #1 \nominalsize=#2pt \justifiedwidth=#3
{\font\f=#1 \f
\baselineskip=#2pt
\hsize=\maxdimen
#2 point
\blankline
\text
{\def^^M{ } \hsize=#3 \text}
Acute Air Bowl Bid Cook Clam Dog Dire Eons Elk Font Fit Got Give Horn
Hire Ion Inner Job Jive Keep Kink Lime Loon Moron Mind Noon Nine Ode
Old Pool Pile Quire Reel Rib Scan Slam Tour Tire Use Ultra Veto Vile
Word Wire Xenon Xmas You Yule Zone Zip
\blankline
ABCDEFGHIJKLMNOPQRSTUVWXYZ\&
abcdefghijklmnopqrstuvwxyz
1234567890.,:;`'?!()-
\blankline
nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn
oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo
HAHBHCHDHEHFHGHHHIHJHKHLHMHNH
HOHPHQHRHSHTHUHVHWHXHYHZH\&H
OAOBOCODOEOFOGOHOIOJOKOLOMONO
OOOPOQOROSOTOUOVOWOXOYOZO\&O
\blankline
010203040506070809000
111213141516171819101
O0OoO00OoO00OoO00OoO0O
\vfill\eject}
\test amr8 \nominalsize=8pt \justifiedwidth=20pc
\test amr10 \nominalsize=10pt \justifiedwidth=24pc
\test amr10 scaled 1200 \nominalsize=12pt \justifiedwidth=28pc
\bye
-------------------------------------------------------------------------
@comment[
Scribe Version
To produce the Scribe samples, you must make 3 Scribe files, one
for each size. This file is set up to produce the 8 point sample.
The lines that need to be changed for the 10 and 12 point samples
have been noted. There are 3 replacements that need to be done. ]
@comment[
These two lines produce the 8 point sample]
@style(LeftMargin 6picas,RightMargin 24picas,Indent 0,Font Times Roman 8,
Spacing 8points, Spread 1)
@comment[
Replace these 2 lines with the following ones for 10 point sample:
@style(LeftMargin 6picas,RightMargin 20picas,Indent 0,Font Times Roman 10,
Spacing 10points, Spread 1)
]
@comment[
Replace these 2 lines with the following ones for 12 point sample:
@style(LeftMargin 6picas,RightMargin 16picas,Indent 0,Font Times Roman 12,
Spacing 12points, Spread 1)
]
@make(Text)
@begin(FlushLeft,Spacing 8points)
@comment[
Replace this line with the following one for 10 point sample:
@begin(FlushLeft,Spacing 10points)
]
@comment[
Replace this line with the following one for 12 point sample:
@begin(FlushLeft,Spacing 12points)
]
Of the raw materials which go to the making of a fine book, most
important is the form of its letter, because the primary purpose
of the book is to be read. The design of a satisfactory typeface
is far from being the simple problem it looks. If we all know our
letters when we see them, few of us are capable of making a
tolerable alphabet even of capitals, and scarcely anyone amongst
us can be trusted to make a lower-case `a' or `g'. Clearly even
the simple A,B,C is a thing of mystery. Like all codes, it should
not be trifled with, but it is to be feared that in modern times
it has not always been respected.
Stanley Morison: `On type designs'
@end(FlushLeft)
Of the raw materials which go to the making of a fine book, most
important is the form of its letter, because the primary purpose
of the book is to be read. The design of a satisfactory typeface
is far from being the simple problem it looks. If we all know our
letters when we see them, few of us are capable of making a
tolerable alphabet even of capitals, and scarcely anyone amongst
us can be trusted to make a lower-case `a' or `g'. Clearly even
the simple A,B,C is a thing of mystery. Like all codes, it should
not be trifled with, but it is to be feared that in modern times
it has not always been respected.
Stanley Morison: `On type designs'
@begin(FlushLeft,Spacing 8points)
@comment[
Replace this line with the following one for 10 point sample:
@begin(FlushLeft,Spacing 10points)
]
@comment[
Replace this line with the following one for 12 point sample:
@begin(FlushLeft,Spacing 12points)
]
Acute Air Bowl Bid Cook Clam Dog Dire Eons Elk Font Fit
Got Give Horn Hire Ion Inner Job Jive Keep Kink Lime Loon
Moron Mind Noon Nine Ode Old Pool Pile Quire Reel Rib Scan
Slam Tour Tire Use Ultra Veto Vile Word Wire Xenon Xmas
You Yule Zone Zip
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnopqrstuvwxyz
1234567890.,:;`'?!()-
nanbncndnenfngnhninjnknlnmnnnonpnqnrnsntnunvnwnxnynzn
oaobocodoeofogohoiojokolomonooopoqorosotouovowoxoyozo
HAHBHCHDHEHFHGHHHIHJHKHLHMHNH
OHPHQHRHSHTHUHVHWHXHYHZH&H
OAOBOCODOEOFOGOHOIOJOKOLOMONO
OOOPOQOROSOTOUOVOWOXOYOZO&O
010203040506070809000
101213141516171819101
O0OoO00OoO00OoO00OoO0O
0o0o0o0o0o0o0o0o0o0o0
@end(FlushLeft)