[XeTeX] help with combining text/math

Bruno Voisin bvoisin at mac.com
Thu Feb 10 09:24:07 CET 2005

Le 10 févr. 05, à 04:17, Scott Murman a écrit :

> i notice some (many) are using the lucida math fonts.  how much are 
> these?  are there any sample results around?

These are commercial fonts, for which a complete set of accompanying 
math fonts (called Lucida New Math), covering all characters of the 
Computer Modern and AMS fonts, has been developed to go with the text 
fonts (called Lucida Bright) that can be purchased from various font 

Y&Y used to be the developers and sellers of these fonts. It has been 
out of business for some time. It seems it will be back tomorrow 

Regarding the typographical characteristics of the fonts, here's a file 
that was on the Lucida floppies I once got:

> LucidaBright + LucidaNewMath
> ============================
> Copyright (c) 1991	Charles Bigelow  and  Kris Holmes
> Lucida is a family of harmonized typefaces that includes a variety of
> styles: seriffed and sans-serif, roman and italic, normal and bold 
> weights,
> scripts, blackletter, and symbols.  Such an extra-large family of type
> styles may be called a `super-family' or `extended-family' because it
> extends beyond the usual font family that contains only roman and 
> italic,
> normal and bold.  Because of the richness and variety of its different
> styles, Lucida allows new forms of typography for electronic 
> communication,
> printing and publishing.
> Between all the different Lucida styles, the capital heights, x-heights
> (height of a lower-case x), and main stem weights are coordinated.  
> Lucida
> makes it easy for users to achieve variety and harmony by mixing and
> matching different fonts in the same text and page.  The designed
> coordination of so many different styles means that when different 
> Lucida
> fonts are used together, the effect is lively and interesting but 
> without
> the confusion of randomly mingled and uncoordinated fonts.
> The standard way of combining different type styles is to use one style
> (usually roman) for main text, another (usually italic or bold) for
> differentiation or emphasis, another for headlines, and so on.  The 
> Lucida
> family is especially well suited to such traditional uses, but the
> coordinated design of the Lucida fonts also allows more adventurous 
> users
> to experiment with new ways of mixing and matching fonts.  Styles can 
> be
> changed inside words or between capitals and lowercase.  Operators and
> symbols can be more freely integrated with alphabetic characters.  
> Script
> and blackletter designs can be reintroduced into normal typography.  
> These
> kinds of experiments are especially effective in display typography, 
> as in
> headlines, posters, and the like, but they can also be effective in 
> memos,
> faxes, and other documents, where they are like exotic spices in the 
> plain
> printed page.
> Lucida Bright has a brilliant look that comes from high contrast 
> between
> strong stems and fine hairlines, sharply cut details of serifs and 
> joins,
> and tight letter fitting.  Lucida Bright Regular has a formal,
> authoritative, and elegant appearance, to which Lucida Bright Italic 
> adds
> dynamic action for a distinctive, lively pattern.  Lucida Bright 
> Demibold
> and Demibold Italic are strong enough for emphasis and headings, but 
> light
> enough for full paragraphs of text.  The crisply defined forms of all 
> the
> Lucida Bright faces are effective at larger sizes in titles, headlines 
> and
> display.
> Lucida Bright's large x-height helps text look big at small point 
> sizes, and
> its tight fitting and slightly narrow letterforms help fit more words 
> on a
> line.  The Lucida Bright family of typefaces is especially effective 
> where
> legibility and economy are important, as in the text columns of 
> newsletters,
> manuals, magazines, and newspapers.  For wider text columns, as in 
> books,
> Lucida Bright is most effective with additional `leading' or line 
> spacing to
> separate the text column into clearly defined rows that the reader's 
> eye can
> follow easily.
> Lucida Bright is a modern design of the computer age, but its inner 
> forms
> are based on writing styles of the Italian Renaissance, and its
> sophisticated detailing is reminiscent of printing types of the French
> Enlightenment.  It can be classified as a `Transitional' or `Reale' 
> style
> of typeface, like the 18th century designs of Baskerville or Fournier.
> Professional tips:  Like many typefaces, Lucida Bright can be 
> `fine-tuned'
> for small sizes (8 point and below) by adding a few units of 
> letterspacing
> (positive `tracking').  At all text sizes, words or lines in 
> all-capitals
> can be given a more rhythmic pattern by careful amounts of additional
> letterspacing, though many graphic designers prefer to space capitals 
> more
> tightly at larger sizes.
> Complementary Lucida fonts:  Lucida Sans is the perfect sans-serif
> companion to Lucida Bright, because both families are based on the same
> basic inner forms, thus guaranteeing harmony on the page.
> Lucida Sans brings a human look to the sans-serif style.  As in Lucida
> Bright, the inner forms of Lucida Sans are based on writing styles of 
> the
> Italian Renaissance and have a more relaxed, hand-made rhythm than the
> rigid shapes of `grotesque' sans-serifs based on 19th century 
> industrial
> type styles.  The large x-height, clear forms and open spacing of 
> Lucida
> Sans create a rhythmic, readable text at all sizes throughout a wide 
> range
> of office and professional documents.
> Lucida Sans is legible at small sizes in directories, tables, and 
> forms, is
> strong and clear at text sizes in correspondence, memos, telefaxes,
> instruction sheets, and manuals, is emphatic and attention-getting at 
> large
> sizes in headlines and titles, and, especially in the Demibold weights,
> arresting at very large sizes in posters and displays.  In all-capital
> settings, Lucida Sans capitals make a strong, readable, and harmonious
> pattern that is ultimately derived from the ancient Roman inscriptions 
> that
> were admired and copied by Renaissance scribes.
> Lucida Sans Italic is a dynamic and distinctive design that appears 
> formal
> yet handwritten.  It is a true cursive or `running' style because its 
> inner
> movement is based on formal chancery handwriting of the Renaissance. 
> Unlike
> most sans-serif italics, it is not merely a slanted version of the 
> roman.
> Used by itself, Lucida Sans Italic gives a personal, active, but 
> disciplined
> look to any text.  This blend of action, rhythm, and precision is even 
> more
> emphatic in Lucida Sans Demibold Italic.
> Professional tips:  For larger sizes (above 14 point), Lucida Sans can 
> be
> `fine-tuned' by subtracting a few units of letterspacing (negative
> `tracking') for a tighter, more active look.  At text sizes, 
> all-capital
> settings can be given a more rhythmic pattern by careful amounts of
> additional letterspacing (positive `tracking'), though many graphic
> designers prefer to space capitals more tightly at larger sizes.
> Complementary Lucida fonts:  Lucida Bright is the ideal serif 
> companion to
> Lucida Sans because both families are based on the same basic inner 
> forms,
> thus ensuring harmony on the page while maintaining a distinctive
> difference in style and brightness.
> Lucida Sans Typewriter adapts the humanized look of Lucida Sans to the
> fixed pitch of typewriter fonts, in which all letters have the same set
> width.  The vertical proportions, strong stem weights, and crisp 
> details of
> Lucida Sans are continued in Lucida Sans Typewriter.  The result is a
> strong, clear, fixed-pitch design that can be used wherever a 
> functional,
> legible monospaced font is needed, in `typewritten' correspondence, 
> memos,
> and telefaxes, in commercial forms, invoices, and packing lists, in
> programming and data processing applications, and in line printer
> emulations and terminal emulations.
> Lucida Sans Typewriter Bold has the same set width as the Regular 
> weight,
> and can be combined with it for emphasis, headings, titles, etc.
> Professional tips:  Lucida Sans Typewriter is economical in setting: 
> at a 10
> point size, it is equivalent to a 12 pitch typewriter font.  For 
> improved
> legibility in long lines of 80 characters or more, users can add extra 
> line
> spacing, equivalent to 20% or more of the font size.  For example, add 
> 2
> points of line spacing to 10 point text, to make a total of 12 points 
> from
> base-line to base-line.  This is equivalent to pica line spacing
> (escapement) on a typewriter.
> Complementary Lucida fonts:  When proportional fonts are needed for
> text to accompany Lucida Sans Typewriter, then Lucida Bright can be 
> used.
> Lucida Blackletter is a modern interpretation of an internationally 
> popular
> style of printing types used for vernacular literature in northern 
> Europe in
> the fifteenth and sixteenth centuries.  Lucida Blackletter connects 
> today's
> computer typography to the earliest printing in the English language.
> William Caxton, England's first printer, used a font in this style for 
> the
> first book printed in England with place and date of printing 
> (Westminster,
> 1477).  This cursive blackletter style was also very popular in France 
> where
> it was known as `Batarde' and was extensively used by printers in the 
> Low
> Countries (Belgium and Holland).  A related style became popular in 
> Germany,
> where it is known as `Fraktur'.
> Lucida Blackletter is not an imitation of any historical font, but a 
> new
> interpretation of the cursive blackletter style.  Lucida Blackletter 
> has the
> dark texture, fractured curves, and tight fitting typical of the 
> gothic type
> styles, but it is much more relaxed, playful, and exuberant than the 
> stiff,
> conservative `textura' style of blackletter formerly used for 
> religious and
> legal documents and publications in Latin.  To modern eyes accustomed 
> to
> disciplined roman types, the sharp, broken shapes and sinuous swashes 
> of
> Lucida Blackletter seem unfamiliar at first, but the forms have their 
> own
> logic and soon become surprisingly legible to modern readers, while 
> still
> expressing the typical gothic spirit of the scribes and printers who 
> founded
> the art of typography and began the modern age.
> Lucida Blackletter is not a national style, neither English, French, 
> Dutch,
> or German, but appeals to the international spirit that inspired early
> typography.  Lucida Blackletter can be used wherever a popular 
> blackletter
> is desired for `allusive' typography - to evoke an historical era like
> England at the time of Henry VIII or France in the early Renaissance, 
> or
> the American colonies before the Revolution.  And Lucida Blackletter 
> will
> also look properly quaint on the sign of an antique shop and dazzlingly
> delicious in a menu for strudels and Black Forest cakes.  But it can be
> used for more than allusion; it is a strong, enthusiastic, and 
> decorative
> script with vigor and charm that stem from the very roots of 
> typography.
> Thomas Jefferson, a calligrapher as well as a statesman, wrote a fine
> blackletter cursive and used it in the Declaration of Independence for
> words that needed special emphasis.  Modern typographers will likewise 
> find
> new uses for the expressive qualities of Lucida Blackletter.
> Complementary Lucida Fonts:  Lucida Blackletter aligns in the heights 
> of
> lower-case and capitals with other Lucida text fonts, so it can be 
> used in
> text together with other members of the family.  Its swash ascenders 
> are
> longer than most other Lucida ascenders, so when setting it in 
> combination
> with other Lucida fonts, be sure to allow enough line spacing so that
> ascenders and descenders do not collide.  In technical publishing, 
> Lucida
> Blackletter has the proper proportions and weight to be used with the
> Lucida Math fonts, so for something a little different, it can be used 
> as a
> substitute for the generic fraktur styles.
> Professional tips: Blackletter capitals were traditionally not 
> designed to
> be combined into all-capital settings; traditionally, the capitals were
> intended to be used with lower-case only.  Therefore be sparing in the 
> use
> of all-capital settings in Lucida Blackletter because all-capital
> blackletter word-patterns are unfamiliar to most readers.  The effect 
> is
> striking, but takes some getting used to, because the all-capital
> Blackletter word-patterns unfamiliar to most readers.  Lucida 
> Blackletter
> has been tightly fitted by its designers, so letterspacing should not 
> be
> tightened at text sizes, though the spacing can be made tighter for 
> large,
> display sizes.  Lucida Blackletter has longer ascenders and descenders
> than Lucida Bright, so more inter-line spacing must be provided when
> Lucida Blackletter is set in text.
> Lucida Calligraphy is a modern version of chancery cursive, a style of
> handwriting that was developed and popularized by Humanist scribes and
> calligraphers in 15th and 16th century Italy.  Because of its 
> readability,
> grace, and elegance, the chancery cursive was revived by 20th century
> calligraphers for a wide range of applications, from handwriting to 
> posters.
> Lucida Calligraphy is derived from the chancery handwriting that Lloyd
> Reynolds, late Calligrapher Laureate of Oregon, taught to Charles 
> Bigelow
> and Kris Holmes.
> Calligraphy means beautiful writing, and Lucida Calligraphy gives a
> sophisticated look to invitations, announcements, and greetings, as 
> well as
> personality and flair to personal notes and memos.  It is clear and 
> legible
> in form, yet elegant and graceful in effect.  In texts, it can be used 
> for
> display of headings and titles, as well as for paragraphs of 
> distinctive
> text.
> Complementary Fonts.  Lucida Calligraphy capitals can be used to spice 
> up
> Lucida Bright Italic.  By substituting the capitals of Lucida 
> Calligraphy,
> an Italic text can be made more playful and lively.  For an even more
> striking and elegant companion to Lucida Roman, users can choose Lucida
> Calligraphy.  For a sophisticated look when setting text in 
> all-capitals in
> either Lucida Bright Italic or Lucida Calligraphy, users can choose 
> Lucida
> Calligraphy swash capitals for the beginnings and ends of words, and 
> Lucida
> Bright Italic plain capitals in-between.
> Professional tips:  Lucida Calligraphy has longer ascenders and 
> descenders
> than Lucida Bright, so more inter-line spacing must be provided when
> Lucida Calligraphy is set in text.
> The Lucida New Math fonts (Lucida New Math-Italic, Lucida New 
> Math-Symbol,
> Lucida New Math-Extension and Lucida New Math-Arrows) include the
> mathematical signs and symbols most used in mathematical and technical
> composition, including italic Greek capitals and lower-case.  In
> particular, the Lucida New Math fonts contain the math characters that 
> are
> standard in the TeX math composition software, which, in its various
> forms, is one of the most popular mathematical composition  package 
> used
> worldwide.  In addition to the standard Computer Modern math font
> character sets, Lucida New Math fonts also include the characters in 
> the
> American Mathematical Society (AMS)  symbol fonts.  The character sets 
> are
> compatible with those specified in the ISO  and Unicode math character
> standards.
> Complementary Fonts.  Lucida Calligraphy can be used for mathematical
> script characters, and Lucida Blackletter for mathematical
> blackletter/fraktur characters.  Lucida New Math fonts can be used
> harmoniously with many popular text fonts besides Lucida, and, of 
> course,
> work well with Lucida Bright and other Lucida styles.
> (R) Lucida is a registered trademark of Bigelow & Holmes Inc.

and here's the copyright:

> These Lucida(R)Bright + LucidaNewMath outline fonts are:
> =======================================================
> Copyright (c) 1991, 1992  Bigelow & Holmes Inc.  All rights reserved.
> Copyright (c) 1991, 1992  Y&Y, Inc.  All rights reserved.
> Covered by Design Patents 289420, 289421, 289422, and 289773.
> Bigelow & Holmes Inc. All Rights Reserved.
> The outline font programs are not to be copied or distributed.
> The utility programs are not to be copied or distributed.
> The metric files may be copied as long as they are not changed.
> These fonts are licensed for use on one printer and one display screen.
> WARNING: These outline font programs and utility programs are
> 	protected by copyright law and international treaties. Unauthorized
> 	reproduction  or distribution of these outline font programs or the
> 	utility programs, or any portion of them, may result in severe civil
> 	and criminal penalties, and will be prosecuted to the maximum extent
> 	possible under the law.
> For more information contact:
> 	Y&Y, Inc.
> 	45 Walden Street
> 	Concord, MA 01742 USA
> 	(508) 371-3286		Fax: (508) 371-2004
> (R) Lucida is registered trademark of Bigelow & Holmes Inc.

Bruno Voisin

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