Fonts inConTEXt

Examples Of Using Typescripts

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name: Chancery author: Hermann Zapf foundry: URW

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge and informationabout the rules of typography from books, from computer magazines or the instruction manuals which they get with the purchase of aPC or software. There is not so much basic instruction, as of now, as there was in the old days, showing the differences between goodand bad typographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praised program, called upon the screen, will make everything automatic from now on.

\definetypeface [zapf] [cg] [calligraphy] [chancery]

\switchtotypeface [zapf] [12pt,cg]

name: Palatino foundry: URW

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer magazinesor the instruction manuals which they get with the purchase of a PC or software. There is not so muchbasic instruction, as of now, as there was in the old days, showing the differences between good and badtypographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praisedprogram, called up on the screen, will make everything automatic from now on.

\definetypeface [palatino] [rm] [serif] [palatino] [default] [encoding=ec]

\switchtotypeface [palatino] [12pt,rm]

name: Times foundry: URW

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledgeand information about the rules of typography from books, from computer magazines or the instruction manualswhich they get with the purchase of a PC or software. There is not so much basic instruction, as of now, as there wasin the old days, showing the differences between good and bad typographic design. Many people are just fascinatedby their PC’s tricks, and think that a widely-praised program, called up on the screen, will make everything automaticfrom now on.

\definetypeface [times] [rm] [serif] [times] [default] [encoding=ec]

\switchtotypeface [times] [12pt,rm]

name: Helvetica foundry: URW

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer magazinesor the instruction manuals which they get with the purchase of a PC or software. There is not so muchbasic instruction, as of now, as there was in the old days, showing the differences between good and badtypographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praisedprogram, called up on the screen, will make everything automatic from now on.

\definetypeface [helvetica] [ss] [sans] [helvetica] [default] [encoding=ec]

\switchtotypeface [helvetica] [12pt,ss]

name: Bookman foundry: URW

Coming back to the use of typefaces in electronic publishing: many of the new typographers re-ceive their knowledge and information about the rules of typography from books, from computermagazines or the instruction manuals which they get with the purchase of a PC or software.There is not so much basic instruction, as of now, as there was in the old days, showing thedifferences between good and bad typographic design. Many people are just fascinated bytheir PC’s tricks, and think that a widely-praised program, called up on the screen, will makeeverything automatic from now on.

\definetypeface [bookman] [rm] [serif] [bookman] [default] [encoding=ec]

\switchtotypeface [bookman] [12pt,rm]

name: Utopia foundry: Adobe

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer magazinesor the instruction manuals which they get with the purchase of a PC or software. There is not so muchbasic instruction, as of now, as there was in the old days, showing the differences between good andbad typographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praised program, called up on the screen, will make everything automatic from now on.

\definetypeface [utopia] [rm] [serif] [utopia] [default] [encoding=ec]

\switchtotypeface [utopia] [12pt,rm]

name: Charter foundry: Bitstream

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer magazinesor the instruction manuals which they get with the purchase of a PC or software. There is not so muchbasic instruction, as of now, as there was in the old days, showing the differences between good and badtypographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praisedprogram, called up on the screen, will make everything automatic from now on.

\definetypeface [charter] [rm] [serif] [charter] [default] [encoding=ec]

\switchtotypeface [charter] [12pt,rm]

name: Informal author: Mike Vulis foundry: VTEX

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer magazinesor the instruction manuals which they get with the purchase of a PC or software. There is not so muchbasic instruction, as of now, as there was in the old days, showing the differences between good and badtypographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praisedprogram, called up on the screen, will make everything automatic from now on.

∫1

cos (ax) 1± sin (ax)dx = ∓ 1

2a 1± sin (ax)+ 1

2alog tan

(π

4+ ax

2

)

\definetypeface [informal] [rm] [casual] [informal] [default] [encoding=default]\definetypeface [informal] [mm] [math] [informal] [default] [encoding=default]

\switchtotypeface [informal] [12pt,rm]

Weighted combination (available as typescript ‘postscript’)

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge andinformation about the rules of typography from books, from computer magazines or the instruction manuals which they getwith the purchase of a PC or software. There is not so much basic instruction, as of now, as there was in the old days, showingthe differences between good and bad typographic design. Many people are just fascinated by their PC’s tricks, and think thata widely-praised program, called up on the screen, will make everything automatic from now on.

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge andinformation about the rules of typography from books, from computer magazines or the instruction manuals which they get withthe purchase of a PC or software. There is not so much basic instruction, as of now, as there was in the old days, showing thedifferences between good and bad typographic design. Many people are just fascinated by their PC’s tricks, and think that awidely-praised program, called up on the screen, will make everything automatic from now on.

Coming back to the use of typefaces in electronic publishing: many of the newtypographers receive their knowledge and information about the rules of typographyfrom books, from computer magazines or the instruction manuals which they getwith the purchase of a PC or software. There is not so much basic instruction,as of now, as there was in the old days, showing the differences between good andbad typographic design. Many people are just fascinated by their PC’s tricks,and think that a widely-praised program, called up on the screen, will makeeverything automatic from now on.

\definetypeface [postscript] [rm] [serif] [times] [default]\definetypeface [postscript] [ss] [sans] [helvetica] [default] [rscale=.9]\definetypeface [postscript] [tt] [mono] [courier] [default] [rscale=1.1]

\switchtotypeface [postscript] [11pt]

name: Computer & Latin Modern author: D.E. Knuth & B. Jackowski foundry: AMS/Blue Sky & GUST

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge andinformation about the rules of typography from books, from computer magazines or the instruction manuals which they getwith the purchase of a PC or software. There is not so much basic instruction, as of now, as there was in the old days, showingthe differences between good and bad typographic design. Many people are just fascinated by their PC’s tricks, and think thata widely-praised program, called up on the screen, will make everything automatic from now on.

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge and informationabout the rules of typography from books, from computer magazines or the instruction manuals which they get with the purchase ofa PC or software. There is not so much basic instruction, as of now, as there was in the old days, showing the differences betweengood and bad typographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praised program,called up on the screen, will make everything automatic from now on.

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive theirknowledge and information about the rules of typography from books, from computer magazines or the instructionmanuals which they get with the purchase of a PC or software. There is not so much basic instruction, as ofnow, as there was in the old days, showing the differences between good and bad typographic design. Manypeople are just fascinated by their PC’s tricks, and think that a widely-praised program, called up on thescreen, will make everything automatic from now on.

∫1

cos (ax) 1± sin (ax)dx = ∓ 1

2a 1± sin (ax)+ 1

2alog tan

(π

4+ ax

2

)

\usetypescript [modern] [ec]

\switchtotypeface [modern] [10pt]

name: Lucida Bright author: B&H

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge and information aboutthe rules of typography from books, from computer magazines or the instruction manuals which they get with the purchase of a PC orsoftware. There is not so much basic instruction, as of now, as there was in the old days, showing the differences between good and badtypographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praised program, called up on the screen,will make everything automatic from now on.

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge and information about therules of typography from books, from computer magazines or the instruction manuals which they get with the purchase of a PC or software. Thereis not so much basic instruction, as of now, as there was in the old days, showing the differences between good and bad typographic design. Manypeople are just fascinated by their PC’s tricks, and think that a widely-praised program, called up on the screen, will make everything automaticfrom now on.

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge andinformation about the rules of typography from books, from computer magazines or the instruction manuals which theyget with the purchase of a PC or software. There is not so much basic instruction, as of now, as there was in the olddays, showing the differences between good and bad typographic design. Many people are just fascinated by their PC’stricks, and think that a widely-praised program, called up on the screen, will make everything automatic from now on.

∫1

cos(ax

)1± sin

(ax

) dx ∓ 12a 1± sin

(ax

) 12a

log tan(π

4ax

2

)

\usetypescript [lucida] [texnansi]

\switchtotypeface [lucida] [9pt]

Palatino (serif) combined with computer modern (mono)

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledge andinformation about the rules of typography from books, from computer magazines or the instruction manuals which they getwith the purchase of a PC or software. There is not so much basic instruction, as of now, as there was in the old days, showingthe differences between good and bad typographic design. Many people are just fascinated by their PC’s tricks, and think thata widely-praised program, called up on the screen, will make everything automatic from now on.

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer magazinesor the instruction manuals which they get with the purchase of a PC or software. There is not somuch basic instruction, as of now, as there was in the old days, showing the differences betweengood and bad typographic design. Many people are just fascinated by their PC’s tricks, and thinkthat a widely-praised program, called up on the screen, will make everything automatic from now on.

∫1

cos (ax) 1 ± sin (ax)dx = ∓

12a 1 ± sin (ax)

+12a

log tan(π4+

ax2

)

\usetypescript [palatino] [ec]

\switchtotypeface [palatino] [10pt]

name: Palatino author: Young Ryu foundry: URW/PX

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer magazinesor the instruction manuals which they get with the purchase of a PC or software. There is not so muchbasic instruction, as of now, as there was in the old days, showing the differences between good and badtypographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praisedprogram, called up on the screen, will make everything automatic from now on.

∫1

cos (ax) 1 ± sin (ax)dx = ∓

12a 1 ± sin (ax)

+12a

log tan(π4+

ax2

)

\definetypeface [palatino] [rm] [serif] [palatino] [default] [encoding=ec]\definetypeface [palatino] [mm] [math] [palatino] [default] [encoding=ec]

\switchtotypeface [palatino] [12pt,rm]

name: Times author: Young Ryu foundry: URW/TX

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive their knowledgeand information about the rules of typography from books, from computer magazines or the instruction manualswhich they get with the purchase of a PC or software. There is not so much basic instruction, as of now, as there wasin the old days, showing the differences between good and bad typographic design. Many people are just fascinatedby their PC’s tricks, and think that a widely-praised program, called up on the screen, will make everything automaticfrom now on.

∫1

cos (ax) 1 ± sin (ax)dx = ∓

12a 1 ± sin (ax)

+12a

log tan(π

4+

ax2

)

\definetypeface [times] [rm] [serif] [times] [default] [encoding=ec]\definetypeface [times] [mm] [math] [times] [default] [encoding=ec]

\switchtotypeface [times] [12pt,rm]

name: Iwona author: Janusz Nowacki foundry: GUST

Coming back to the use of typefaces in electronic publishing: many of the new typographers receive theirknowledge and information about the rules of typography from books, from computer magazines or the instruc-tion manuals which they get with the purchase of a PC or software. There is not so much basic instruction,as of now, as there was in the old days, showing the differences between good and bad typographic design.Many people are just fascinated by their PC’s tricks, and think that a widely-praised program, called up onthe screen, will make everything automatic from now on.

∫ 1cos (ax ) 1 ± sin (ax ) dx = ∓

12a 1 ± sin (ax ) + 1

2a log tan(π

4 + ax2

)

\definetypeface [iwona] [ss] [sans] [iwona] [default] [encoding=ec]\definetypeface [iwona] [mm] [math] [iwona] [default] [encoding=ec]

\switchtotypeface [iwona] [12pt,ss]

name: Kurier author: Janusz Nowacki foundry: GUST

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer magazines orthe instruction manuals which they get with the purchase of a PC or software. There is not so muchbasic instruction, as of now, as there was in the old days, showing the differences between good andbad typographic design. Many people are just fascinated by their PC’s tricks, and think that a widely-praised program, called up on the screen, will make everything automatic from now on.

∫ 1cos (ax ) 1 ± sin (ax ) dx = ∓

12a 1 ± sin (ax ) + 1

2a log tan(π

4 + ax2

)

\definetypeface [kurier] [ss] [sans] [kurier] [default] [encoding=ec]\definetypeface [kurier] [mm] [math] [kurier] [default] [encoding=ec]

\switchtotypeface [kurier] [12pt,ss]

name: Antykwa Torunska author: Janusz Nowacki foundry: GUST

Coming back to the use of typefaces in electronic publishing: many of the new typographers receivetheir knowledge and information about the rules of typography from books, from computer maga-zines or the instruction manuals which they get with the purchase of a PC or software. There is notso much basic instruction, as of now, as there was in the old days, showing the differences betweengood and bad typographic design. Many people are just fascinated by their PC’s tricks, and think thata widely-praised program, called up on the screen, will make everything automatic from now on.

∫1

cos (ax) 1 ± sin (ax)dx = ∓

12a 1 ± sin (ax)

+12a

log tan(π

4+

ax2

)

\definetypeface [antykwa] [rm] [serif] [antykwa-torunska] [default] [encoding=ec]\definetypeface [antykwa] [mm] [math] [antykwa-torunska] [default] [encoding=ec]

\switchtotypeface [antykwa] [12pt,rm]

a couple of remarks

Lectori Salutem,

This file shows a couple of fonts and their invocation in ConTEXt. More information on typescripts can be found in themanual Fonts in ConTEXt. Fonts can be installed using the texfont.pl Perl script which can generate the font metricsneeded. This script is part of the ConTEXt distribution.

Hans HagenPRAGMA-ADEHasselt NLNovember 21, 2005