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59-515: Computer Modern is a " Didone ", or modern serif font, a genre that emerged in the late 18th century as a contrast to the more organic designs that preceded them. Didone fonts have high contrast between thick and thin elements, and their axis of "stress" or thickening is perfectly vertical. Computer Modern was specifically based on the 10 point size of the American Lanston Monotype Company's Modern Extended 8A, part of

118-480: A macro package for typesetting chemical structure diagrams with TeX called PPCHTeX , as well as many other modules. This package can also be used with plain TeX and LaTeX. Originally entitled pragmatex, ConTeXt was given its name around 1996 by Hans Hagen from PRAGMA Advanced Document Engineering (Pragma ADE), a Netherlands-based company. ConTeXt is free software : the program code (i.e. anything not under

177-481: A complementary, more balanced reading experience on paper. An eccentric method of reworking and parodying Didone typefaces has long been to invert the contrast, making the thin strokes thick and the thick strokes thin. First seen around 1821 in Britain and occasionally revived since, these are often called reverse-contrast fonts. They effectively become slab serif designs because of the serifs becoming thick. In

236-524: A family Monotype originally released in 1896. This was one of many modern faces issued by typefounders and Monotype around this period, and the standard style for body text printing in the late nineteenth century. In creating the TeX publishing system, Knuth was influenced by the history of mathematics and a desire to achieve the "classic style" of books printed in metal type. Modern faces were used extensively for printing mathematics, especially before Times New Roman became popular for mathematics printing from

295-418: A mathematician to understand how to write a font with 60 parameters is too much" while digital-period font designer Jonathan Hoefler commented in 2015 that "Knuth's idea that letters start with skeletal forms is flawed". Knuth produced his original Computer Modern fonts using Metafont , a program that reads stroke-based definitions of glyphs and outputs ready-to-use fonts as bitmap image files. He mostly left

354-723: A natural requirement of printing technology at the time of Didone typefaces' first creation in metal type, since each size of metal type would be custom-cut, but declined as the pantograph , phototypesetting and digital fonts made printing the same font at any size simpler; a revival has taken place in recent years. French designer Loïc Sander has suggested that the dazzle effect may be particularly common in designs produced in countries where designers are unfamiliar with how to use them effectively and may choose Didone fonts designed for headings. Many modern Didone digital revivals intended for professional printing, such as Parmagiano, ITC Bodoni and Hoefler & Frere-Jones ' Didot and Surveyor, have

413-706: A range of optical sizes, but this is less common on default computer fonts. Among default Didone fonts on computer systems, Century Schoolbook on Windows is oriented towards body text use, while the Didot revival on OS X was specifically intended for display use and not for body text. The shape of nineteenth-century Didone designs, with their narrow apertures , has been suggested as a major influence on many early sans-serif fonts such as Akzidenz-Grotesk and its derivatives such as Helvetica , developed in Europe some years after their introduction. An example of this influence

472-403: A recurrence to sound taste. Positive retrogession is against nature and any tendency in this direction will most assuredly correct itself. The adherents of the old irregular alphabets, which were made so because scarcely anyone was capable of making them better, might just as reasonably advocate a return to the rough and unplaned machinery of the first locomotive steam engines, taking as their model

531-530: A thing of the past. Herod is out-heroded every week in some new fancy which calls itself a letter ... I do not deny that may of our modern fancy letters are graceful ... nor am I bold enough to suggest that at this time of day they can be dispensed with. But I admit to some misgivings at the lengths to which the craze is carrying us, and the almost total abandonment of traditional models which it involves." Frederic Goudy , an Arts and Crafts movement-inspired printer turned type designer, had similar reservations about

590-566: A white line in the centre of the thick strokes. He hoped this design, Goudy Open , would leave a lighter colour (density of ink) on the paper. Nonetheless, Didone designs have remained in use, and the genre is recognised on the VOX-ATypI classification system of typefaces and by the Association Typographique Internationale (AtypI). The genre remains particularly popular for general-purpose use in

649-531: Is 'dazzle', where the thick verticals draw the reader's attention and cause them to struggle to concentrate on the other, much thinner strokes that define which letter is which. For this reason, using the right optical size of digital font has been described as particularly essential with Didone designs. Fonts to be used at text sizes will be sturdier designs with thicker 'thin' strokes and serifs (less stroke contrast) and more space between letters than on display designs, to increase legibility. Optical sizes were

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708-528: Is a Latin preposition meaning "together with"). Before 1996 ConTeXt was used only within Pragma ADE, but in 1996 it began to be adopted by a wider audience. The first users outside Pragma were Taco Hoekwater , Berend de Boer and Gilbert van den Dobbelsteen, and the first user outside the Netherlands was Tobias Burnus. In July 2004, contextgarden.net wiki page was created. ConTeXt low-level code

767-701: Is a general-purpose document processor . Like LaTeX , it is derived from TeX . It is especially suited for structured documents, automated document production, very fine typography, and multilingual typesetting. It is based in part on the TeX typesetting system, and uses a document markup language for manuscript preparation. The typographical and automated capabilities of ConTeXt are extensive, including interfaces for handling microtypography , multiple footnotes and footnote classes, and manipulating OpenType fonts and features. Moreover, it offers extensive support for colors, backgrounds, hyperlinks, presentations, figure-text integration, and conditional compilation. It gives

826-456: Is an up-to-date version of the fonts and typography chapters. The current version of ConTeXt is LMTX, introduced in April 2019 as the successor to Mark IV (MkIV). Previous versions — Mark II (MkII) and Mark I — are no longer maintained. According to the developers, the principal difference between LMTX and its predecessors is that the newest version "uses a compilation and scripting engine that

885-690: Is crucial for general-purpose typesetting. LaTeX's original vision, on the other hand, was to insulate the user from typographical decisions—an approach particularly useful for tasks such as submitting articles to a scientific journal. Although LaTeX has evolved from this original vision, ConTeXt's unified design prevents the package clashes often experienced with LaTeX. ConTeXt provides a multilingual user interface with support for markup in English, Dutch, German, French, and Italian and support for output in many scripts including western European, eastern European, Arabic, Chinese, Japanese, and Korean. It also allows

944-622: Is now standard in the TeX community and was made through a Metafont / MetaPost derivative called METATYPE1 . It was derived from the BlueSky Type 1 fonts, which were converted back into outline-based METATYPE1 programs, from which then the extended Type 1 and OpenType Latin Modern fonts were developed. ConTeXt uses Latin Modern as default font, instead of Computer Modern. The Type 1 to METATYPE1 to Type 1 round-trip conversion process involved in

1003-487: Is shown here. [REDACTED] [REDACTED] [REDACTED] [REDACTED] Didone (typography) Didone ( / d i ˈ d oʊ n i / ) is a genre of serif typeface that emerged in the late 18th century and was the standard style of general-purpose printing during the 19th century. It is characterized by: The term "Didone" is a 1954 coinage, part of the Vox-ATypI classification system. It amalgamates

1062-415: Is specifically developed with ConTeXt in mind: LuaMetaTeX ... [which] has been optimised heavily for ConTeXt use." Previously, MkIV used LuaTeX and MkII used pdfTeX . ConTeXt was created by Hans Hagen and Ton Otten of Pragma ADE in the Netherlands around 1991 due to the need for educational typesetting material. Around 1996, Hans Hagen coined the name ConTeXt meaning "text with tex" (con-tex-t; "con"

1121-582: Is supposed to look slightly heavier compared to the "Regular". Both the weights include support for typesetting mathematics; complete coverage of unicode math blocks is provided, along with some more glyphs needed for mathematics. MLModern is based on the Latin Modern font. It avoids the spindliness of most other Type 1 versions of Computer Modern and hence looks thicker in comparison to Latin Modern or Computer Modern. A visual comparison of Computer Modern, Latin Modern, New Computer Modern Book and MLModern

1180-409: Is the narrow apertures of these designs, in which strokes on letters such as a and c fold up to become vertical, similar to what is seen on Didone serif fonts. Matthew Carter 's Scotch Roman -inspired computer font Georgia is notable as an extremely distant descendant of Didone typefaces. In Georgia, the stroke contrast is greatly reduced and the bold made much bolder than normal in order for

1239-546: The /doc subtree) is distributed under the GNU GPL ; the documentation is provided under Creative Commons Attribution NonCommercial ShareAlike license. The ConTeXt official manual (2001) and ConTeXt official mini tutorial (1999) are documents copyrighted by Pragma, but there is a repository of the future new manual released under the GNU Free Documentation License . As of April 2009 there

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1298-683: The Arts and Crafts movement and antiquarian-minded printers such as William Morris , rejected austere, classical designs of type, ultimately in favour of gentler designs. Some of these were revivals of typefaces from between the Renaissance and the late eighteenth century such as revivals (with varying levels of faithfulness to the originals) of the work of Nicolas Jenson , William Caslon 's " Caslon " typefaces and others such as Bembo and Garamond . Others such as "Old Styles" from Miller and Richard , Goudy Old Style and Imprint were new designs on

1357-737: The SIL Open Font License . Computer Modern was first transformed to a PostScript Type 3 font format by BlueSky, Inc. in 1988, and then to Type 1 in 1992 to include font hinting . The Type 1 version has since then been donated to the American Mathematical Society (AMS) which distributes them freely under the Open Font License. It is found in most standard TeX distributions. The Latin Modern implementation, maintained by Bogusław Jackowski and Janusz M. Nowacki of TeX User Group Poland (GUST),

1416-414: The sans-serif , slab-serif and new styles of bold blackletter, but also Didone-style letters that emboldened or decorated the roman type form. Known as ' fat faces ', these showed magnified contrast, keeping the thin parts of the letter slender while magnifying the vertical strokes massively. Other "effect" typefaces were sold such as patterned letterforms which added a pattern to the bold parts of

1475-719: The "classic style" of nineteenth-century scientific printing with a family based on an American Monotype Company Modern face. Many newspapers were founded in the nineteenth century, and many newspaper typefaces have remained rooted in nineteenth-century models of type. Linotype's popular Legibility Group of the 1930s, for many years the model for most newspaper printing worldwide, remained based on this model but toughened-up to increase clarity. American Type Founders ' Bodoni typeface, introduced around 1907-1911, became hugely popular for news headlines. Writing in 2017, digital font designer Tobias Frere-Jones wrote that he had kept his font design for The Wall Street Journal based on

1534-408: The 1950s. The most unusual characteristic of Computer Modern, however, is the fact that it is a complete type family designed with Knuth's Metafont system, one of the few typefaces developed in this way. The Computer Modern source files are governed by 62 distinct parameters, controlling the widths and heights of various elements, the presence of serifs or old-style numerals , whether dots such as

1593-515: The 19th century, these designs were called Italian because of their exotic appearance, but this name is problematic since the designs have no clear connection with Italy; they do slightly resemble capitalis rustica Roman writing, although this may be a coincidence. They were also called Egyptian , an equally inauthentic term applied to slab serifs of the period. Intended as attention-grabbing novelty display designs more than as serious choices for body text, within four years of their introduction

1652-568: The Computer Modern fonts into such formats. Some of these projects have also complemented Computer Modern with Several such derivatives are now also widely used and included in TeX Live , a modern TeX distribution. A current extended release of the Computer Modern family in the general-purpose OpenType format is the CMU distribution (for Computer Modern Unicode ): CMU is released under

1711-432: The art: It is ... marvellous to think that, after the much desiderated correction [to letters] had been applied, an attempt should recently have been made to introduce these old irregular letters again to the public notice, for the vagaries of fashion have of late brought into use in the printing trade several kinds of old-faced types ... and the infection has in some degree been caught by the sign-writer ... we have thus, on

1770-462: The design to render well on a low-resolution computer monitor, but the general letter shape and ball terminals of Scotch Roman designs are preserved. He also developed the Scotch Roman revival Miller for print use. Given these unusual design decisions, Matthew Butterick , an expert on document design, recommended that organizations using Georgia for onscreen display license Miller to achieve

1829-484: The dot on the "i" are square or rounded, and the degree of " superness " in the bowls of lowercase letters such as "g" and "o". This allows Metafont designs to be processed in unusual ways; Knuth has shown effects such as morphing in demonstrations, where one font slowly transitions into another over the course of a text. While it attracted attention for the concept, Metafont has been used by few other font designers; by 1996 Knuth commented "asking an artist to become enough of

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1888-451: The eighteen-fifties being a time of "batteries of bold, bad faces" and said that "the types cut between 1810 and 1850 represent the worst that have ever been." Driven by the increasing popularity of advertising, whether printed or custom lettering , the beginning of the nineteenth century saw the development of bold lettering and the arrival of types of letterform that were not simply larger versions of body text faces. These included

1947-505: The fat face letter, and the pre-existing inline types with a line inside the type. Didone fonts began to decline in popularity for general use, especially in the English-speaking world, around the end of the nineteenth century . The rise of the slab serif and sans-serif genres displaced fat faces from much display use, while the revival of interest in "old-style" designs reduced its use in body text. This trend, influenced by

2006-591: The font, as with other components of TeX (with the exception of the TeX and Metafont names themselves, a stipulation Knuth made to maintain quality control ), in the public domain . The advance of publishing technology (PostScript, PDF, laser printers) has reduced the need for bitmap fonts. The preferred formats are now outline fonts such as Type 1 , TrueType , or OpenType , which can be rendered efficiently at arbitrary resolution and using sophisticated anti-aliasing techniques by printer firmware or on-screen document viewers. Therefore, several other projects have ported

2065-484: The lasting influence of Baskerville led to the creation of types such as the Bell , Bulmer and Scotch Roman designs, in the same spirit as Didone fonts from the continent but less geometric; these like Baskerville's type are often called transitional serif designs. Later developments of the latter class have been called Scotch Modern and show increasing Didone influence. Didone typefaces came to dominate printing by

2124-536: The latest binaries and intended to have a small memory footprint, thus demanding less bandwidth for updates. In August 2008, this distribution was registered as a project in launchpad web site. In June 2008, Patrick Gundlach wrote the first post in ConTeXt blog . In July 2009, ConTeXt started git repository . In November 2010, the ConTeXt Group was created. In April 2019, LMTX (ConTeXt LuaMetaTeX)

2183-437: The lettering style. While he mentioned Bodoni in his book Elements of Lettering , he wrote that it was a style "for which the writer cannot develop any enthusiasm", adding: "his pages [had] the brilliance of a fine engraving. The writer dislikes Bodoni's types, because none of them seem free from a feeling of artificiality" As an experiment in this period, Goudy attempted to 'redeem' Didone capitals for titling purposes by leaving

2242-432: The letters crowd together; the normal mid nineteenth-century book is typographically dreary. The Victorians lost the idea of good type to read." Historian G. Willem Ovink has described late nineteenth-century Didone types as "the most lifeless, regular types ever seen". Stanley Morison of the printing equipment company Monotype , a leading supporter of the revival of "old-style" and transitional typefaces, wrote in 1937 of

2301-406: The middle of the nineteenth century, although some "old style" faces continued to be sold and new ones developed by typefounders. From around the 1840s onwards, interest began to develop among artisanal printers in the typefaces of the past. Many historians of printing have been critical of the later Didone faces popular in general-purpose printing of the nineteenth century, especially following

2360-508: The nineteenth-century model because it "had to feel like the news." Among popular faces in modern use, the typeface family Century is inspired by later American Didone designs, although compared to many in the Didone genre it has quite a low level of stroke contrast, suitably for its purpose of high legibility in body text. Typefaces of the period have often been revived since for cold type and digital composition, while modern typefaces along

2419-462: The old "Puffing Billy" , now so carefully preserved in the Patent Museum at South Kensington . One influential example in the late nineteenth century was William Morris 's Kelmscott Press, which commissioned new custom fonts such as his Golden Type on medieval and early Renaissance models. Many fine press printers imitated his model, and while some printers such as Stanley Morison in

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2478-422: The one hand, a hard, an irregular and unfinished letter; and on the other, a graceful, symmetrical and highly finished letter ... there is some indication that this absurdity, like all fashions that have their birth in bad taste, is happily passing away, and the modern letter is again asserting its superiority. It has always been the case in the arts that, after periods of extravaganza and bizzarerie , there has been

2537-424: The paper retains the detail of their high contrast well, and for whose image a crisp, 'European' design of type may be considered appropriate. They are used more often for general-purpose body text, such as book printing, in Europe. The effective use of digital Didone typefaces poses unique challenges. While they can look very elegant due to their regular, rational design and fine strokes, a known effect on readers

2596-533: The printer Thomas Curson Hansard had described them as 'typographic monstrosities'. Nonetheless, somewhat toned-down derivatives of this style persisted in popular use throughout the nineteenth century, and are commonly associated with 'wild west' printing on posters. They ultimately became part of the Clarendon genre of slab-serif typefaces, and these later designs are often called French Clarendon designs. Period specimen books: ConTeXt ConTeXt

2655-478: The printing of Greek (the Didot family were among the first to set up a printing press in the newly independent country ). It also is often seen in mathematics, as the open-source standard mathematical typesetting programmes TeX and LaTeX use the Computer Modern family as default. The system's creator, Donald Knuth , deliberately created the system with the intention of producing an effect inspired by

2714-492: The production of the Latin Modern fonts tried to preserve the hinting information of the BlueSky fonts; however, it introduced rounding errors that affect the quality of the hinting at low pixel sizes. As a result, on-screen display of the Latin Modern fonts can result in a less even display of kerning and character heights than with the BlueSky fonts. The same process was later extended to some free PostScript font clones under

2773-420: The reaction of the twentieth century against Victorian styles of art and design. Nicolete Gray has described later Didone typefaces as depressing and unpleasant to read: "the first modern faces designed around 1800 and 1810 are charming; neat, rational and witty. But from that time onwards nineteenth-century book types grow more and more depressing; the serifs grow longer, the ascenders and descenders grow longer,

2832-540: The same lines include Filosofia and the open-source Computer Modern . Some later Didone families have focused on subgenres of the period, such as Surveyor , inspired by labels on maps. Fat face typefaces remained popular for display use in the mid-twentieth century with new designs such as Monotype's Falstaff and Morris Fuller Benton 's Ultra Bodoni; Matthew Carter 's Elephant is a more recent version. In print, Didone fonts are often used on high-gloss magazine paper for magazines such as Harper's Bazaar , on which

2891-486: The same pattern. An early example of the distaste some printers had for the modern type style was French printer Louis Perrin, who would eventually commission some new typeface designs on a traditional model. He wrote in 1855 (tr. James Mosley ): You ask me what kind of whim leads me to revive types of the sixteen century today.... I often have to reprint old poetry [from the sixteenth century] and this task invariably makes me oddly uneasy. I cannot recognise in my proofs

2950-466: The sixteenth century or relatively similar, conservative designs. ) These trends were also accompanied by changes to page layout conventions and the abolition of the long s . Typefounder Talbot Baines Reed , speaking in 1890 called the new style of the early nineteenth century "trim, sleek, gentlemanly, somewhat dazzling". Their designs were popular, aided by the striking quality of Bodoni's printing, and were widely imitated. In Britain and America,

3009-625: The surnames of the famous typefounders Firmin Didot and Giambattista Bodoni , whose efforts defined the style around the beginning of the nineteenth century. The category was known in the period of its greatest popularity as modern or modern face , in contrast to "old-style" or "old-face" designs, which date to the Renaissance period. Didone types were developed by printers including Firmin Didot , Giambattista Bodoni and Justus Erich Walbaum , whose eponymous typefaces, Bodoni , Didot , and Walbaum , remain in use today. Their goals were to create more elegant designs of printed text, developing

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3068-425: The twentieth century found his work excessive, it was heavily imitated. Talbot Baines Reed in 1890, shortly before his company cast type for Morris, commented on a desire among typefounders to move back to earlier models: "types appeared leaning this way and that, flowery and stringy, skeleton and fat, round and square ... until it became almost a merit that the original shape was barely recognisable. I am not describing

3127-648: The umbrella project TeX Gyre . The Latin Modern font has also gained an OpenType math table. Unlike Computer Modern Math, Latin Modern Math has no pairwise kerning information: OpenType math rendering does not make use of this type of kerning, making such information useless. The New Computer Modern font family is a large extension in terms of the number of additional glyphs of the Latin Modern fonts which adds support for several more languages such as Greek, Cyrillic, Hebrew, Cherokee and Coptic. This font family comes in two weights, "Regular" and "Book". The book weight

3186-435: The user extensive control over formatting while making it easy to create new layouts and styles without learning the low-level TeX macro language. While comparisons can be made between ConTeXt and LaTeX , the primary objectives of the two systems are distinct. From the onset, ConTeXt has been a typography and typesetting system designed to give users straightforward and consistent access to advanced typographical control, which

3245-477: The user to use different TeX engines like LuaTeX (MkIV) and LuaMetaTeX (LMTX). Older versions (MkII) worked with pdfTeX or XeTeX . As its native drawing engine, ConTeXt integrates a superset of MetaPost called MetaFun , which allows users to draw page backgrounds and ornaments with MetaPost. MetaFun can also be used directly with MetaPost. ConTeXt also supports the use of other external drawing engines, like PGF/TikZ and PSTricks. ConTeXt also provides

3304-402: The verses … our present day punches, which are so precise, so correct, so regularly aligned, so mathematically symmetrical ... no doubt have their merits, but I should prefer to see them kept for printing reports on the railway. A revival of interest in the old styles of letter in Britain around 1870 was, however, criticised by master signpainter James Callingham in his contemporary textbook on

3363-557: The work of John Baskerville in Birmingham and Fournier in France towards a more extreme, precise design with intense precision and contrast, that could show off the increasingly refined printing and paper-making technologies of the period. (Lettering along these lines was already popular with calligraphers and copperplate engravers, but much printing in western Europe up to the end of the eighteenth century used typefaces designed in

3422-421: Was announced. Making ConTeXt documents is simple: one makes a plain text file, and compiles it with the context script. The result of this process is a PDF file (ConTeXt also can generate a DVI file). An example is shown below. ConTeXt documents come with the file extension .tex or an extension demarking the version required: .mkii , .mkiv , or .mkxl for regular TeX, .mkvi or .mklx for

3481-645: Was originally written in Dutch. Around 2005, the ConTeXt developers began translating this to English, resulting in the version known as MKII, which is now stable and frozen . In August 2007, Hans Hagen presented the MKIV version, and the first public beta was released later that year. During the ConTeXt User Meeting 2008, Mojca Miklavec presented ConTeXt Minimals , a distribution of ConTeXt containing

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