## Random dynamic fonts Random dynamic fonts (1996)

### BibTeX

@MISC{Desruisseaux96randomdynamic,

author = {Bernard Desruisseaux},

title = {Random dynamic fonts Random dynamic fonts},

year = {1996}

}

### OpenURL

### Abstract

Copyright © 1996 by Bernard Desruisseaux À ma mère, qui aurait sûrement trouvé cela amusant À mon père, sur qui je peux toujours compter Contents Abstract vi Résumé vii

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903 | Curves and Surfaces for Computer Aided Geometric Design: A Practical Guide - Farin - 1990 |

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Citation Context ... after Bézier, whose work was published first. Bézier curves are now widely used in computer aided design (CAD) systems. A comprehensive treatment of the basic methods in curve design can be found in =-=[19, 16, 37]-=-. The de Casteljau Algorithm Paul de Casteljau developed an algorithm to construct curves of arbitrary degreenfrom a sequence of pointsb0,...,bn, the control points, that form a polygon, called the ch... |

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Citation Context ...• It begins at (x0,y0), heading in the direction from (x0,y0) to (x1,y1); • It ends at (x3,y3), heading in the direction from (x2,y2) to (x3,y3); • It lies entirely within the convex hull (see, e.g., =-=[40]-=-) defined by the characteristic polygon; • It is invariant under affine maps, i.e., affine maps applied to the control points of the curve or to the computed points of the curve yield the same result;... |

69 |
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Citation Context ...ng mathematics, high-quality hyphenation, and multilingual capabilities—not to mention its portability across a wide range of computer platforms. The definitive guide to the use of TEX is The TEXbook =-=[29]-=-. L ATEX is document preparation system [35] developed by Leslie Lamport. Roughly speaking, L ATEX is a collection of TEX commands designed to simplify the typesetting of a document by allowing the us... |

49 |
Automatic Recognition of Hand printed Characters – The State of The Art
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Citation Context ... in many languages)—and wherever a touch of humor and warmth is desired. Other fields might also benefit from such fonts: computer graphics, test samples for handwriting character recognition systems =-=[46]-=-, and graphic design. Indeed, through experimentation with random dynamic fonts, interesting new letterforms may be discovered [25]. Random dynamic fonts could also be put to profit with the whole new... |

23 |
Digital typography: an introduction to type and composition for computer system design
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- 1988
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Citation Context ...lished material was then produced by hand. Johann Gutenberg (1398–1468), a pioneer ∗ in movable type, worked 10 years to create a product that would reproduce nicely the Gothic handwriting of his day =-=[43]-=-. To reinforce the impression of original hand lettering as well as to blur the characteristics of the new technology, Gutenberg made several slightly different versions of the same letter. Scribes, n... |

20 |
Computer modern typefaces, volume E of Computers and typesetting
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Citation Context ... -dy, +dx and +dy.s4. Method Proposed 33 character origin bounding box next character origin ց ւ baseline →← left side bearing ←character width AVATAR AVATAR → Figure 4.14. Character metrics. (a) (b) =-=[31]-=-.fffiflffiffl Figure 4.15. Comparaison between (a) kerned text and (b) unkerned text, using the Computer Modern Roman typeface designed by Donald E. Knuth (a) (b) Figure 4.16. Comparaison between (a) ... |

20 |
The Future of TEX and METAFONT
- Knuth
- 1990
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Citation Context ... 21], Donald E. Knuth explains how to useMETAFONTto produce random fonts by carefully adding noise to the characters’ control points. Knuth basically used this approach to implement his Punk typeface =-=[32]-=-, illustrated below. (a) (b) (c) Figure 3.1. The Punk family: (a) roman, (b) slanted, and (c) bold. Dynamic Fonts and PostScript Being a batch font design system,METAFONTdoes not allow the creation of... |

19 |
Virtual Fonts: More Fun for Grand Wizards
- Knuth
- 1988
(Show Context)
Citation Context ...an change the encoding vector, gather glyphs missing in the base font from so-called expert sets, as well as construct composite characters. A discussion on the virtual font mechanism can be found in =-=[33]-=-. 6.5 Adobe File Metrics to TEX File Metrics While some.afm to.tfm conversion programs only perform a crude translation of the original .afm file, others can specify different encodings, or carry out ... |

16 |
L ATEX—A Document Preparation System—User’s Guide and Reference Manual, 2nd edition
- Lamport
- 1994
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Citation Context ...he interaction between PostScript random dynamic fonts, TEX and L ATEX, is considered. Complementary technical information can be found in the appendices. This thesis has been formatted with LATEX 2ε =-=[35]-=- using fonts from the Lucida family [13].s2 Digital Fonts This chapter gives a quick overview of the different representations of digital fonts, and introduces the mathematical foundations of Bézier c... |

11 |
Dynamic fonts
- AndrB, Borghi
- 1989
(Show Context)
Citation Context ...eface has to be paid for only once, and it can be used as much and as long as the buyer wants, and at any time of the day! Random dynamic fonts have already been explored by other computer scientists =-=[11, 9, 18]-=- and graphic designers [47, 48, 25]. This thesis presents another vision, while going much deeper at the programming and conceptual levels. The method presented here goes further than simply adding ra... |

11 | The non-designer’s design book - Williams - 1994 |

10 |
The elements of typographic style
- Bringhurst
- 2001
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Citation Context ...es to type design. The use of computers and digital devices led to new methods and tools ∗ Bí Sheng, a Chinese engineer, should be credited as the inventor of movable type, in preference to Gutenberg =-=[15]-=-. 1s1. Introduction 2 for the creation of typefaces. Generation of letterforms by mathematical means has become easier as computers carry out all computations. Donald E. Knuth’s font-design system,MET... |

10 |
easy to compute interpolating splines
- Smooth
- 1986
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Citation Context ...rforms described by spline characteristic polygons. complex shapes. Spline curves are described by polygons, referred to as spline characteristic polygons. METAFONTprovides an algorithm, due to Hobby =-=[23]-=-, for smooth interpolating splines, i.e., splines that smoothly pass through the data points. On the other hand, PostScript does not support splines directly, thus, a spline interpolation or approxima... |

8 |
PostScript by Example
- McGilton, Campione
- 1992
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Citation Context ...om Dynamic Fonts 13 Outline Texture Texture is an aspect of fonts that can be experimented with. Nowadays, most software applications can use fonts to define clipping paths (see McGilton and Campione =-=[36]-=-) that can be filled with special pattern defining textures, thus leaving texture handling separated from font design. However, the texture of the outlines used to define these clipping paths should b... |

6 |
The Design of Lucida: an Integrated Family of Types for Electronic Literacy
- Bigelow, Holmes
- 1986
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Citation Context ... dynamic fonts, TEX and L ATEX, is considered. Complementary technical information can be found in the appendices. This thesis has been formatted with LATEX 2ε [35] using fonts from the Lucida family =-=[13]-=-.s2 Digital Fonts This chapter gives a quick overview of the different representations of digital fonts, and introduces the mathematical foundations of Bézier curves, commonly used in such fonts. The ... |

6 |
Making TEX Work. O'Reilly & Associates
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- 1994
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Citation Context ...ns deal with the set up and use of PostScript parametric fonts, as well as the interfacing with these systems. More details on the interaction between PostScript fonts, TEX and L ATEX can be found in =-=[49, 20]-=-. 6.1 TEX and L A TEX TEX is a powerful text-processing system for creating professional quality typeset text—and especially text containing mathematics. Developed in the late 1970s and early 1980s by... |

5 |
fontinst—font installation software for TEX
- Jeffrey, McDonnell
- 1998
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Citation Context ...s6. PostScript Fonts with TEX and L ATEX 51 to construct synthetic fonts—faked small caps, obliqued, expanded, and condensed variants—through the use of virtual fonts. Alan Jeffrey’s fontinst package =-=[24]-=-—a font installation software for TEX—provides a better support for L ATEX2ε users. While providing all the facilities supported by afm2tfm, it also allows the generation of the files required by the ... |

5 |
Different approaches to lively outlines
- Blokland, Rossum
- 1991
(Show Context)
Citation Context ..., and it can be used as much and as long as the buyer wants, and at any time of the day! Random dynamic fonts have already been explored by other computer scientists [11, 9, 18] and graphic designers =-=[47, 48, 25]-=-. This thesis presents another vision, while going much deeper at the programming and conceptual levels. The method presented here goes further than simply adding random perturbations to character out... |

4 |
Random fonts for the simulation of handwriting
- Devroye, McDougall
- 1996
(Show Context)
Citation Context ...eface has to be paid for only once, and it can be used as much and as long as the buyer wants, and at any time of the day! Random dynamic fonts have already been explored by other computer scientists =-=[11, 9, 18]-=- and graphic designers [47, 48, 25]. This thesis presents another vision, while going much deeper at the programming and conceptual levels. The method presented here goes further than simply adding ra... |

4 | Typologia; Studies in type design and type making, with comments on the invention of typography, the first types, legibility and fine printing - Goudy - 1940 |

3 |
Digital Typefaces: Description and Formats
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- 1994
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Citation Context ...w of the different representations of digital fonts, and introduces the mathematical foundations of Bézier curves, commonly used in such fonts. The whole area of digital fonts is covered at length in =-=[26, 27, 43]-=-, and a comprehensive introduction can be found in [7]. 2.1 Font Formats Digital fonts are complex data structures used to store, represent, and reproduce sets of characters in a form suitable for dig... |

3 | Variable Width Splines: a Possible Font Representation
- Klassen
- 1993
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Citation Context ... glyph. Variation of these parameters within a glyph, as can be done inMETAFONT, would certainly allow the generation of more interesting 53s7. Conclusion 54 shapes. The use of variable width splines =-=[28]-=- might also be considered. Connected random dynamic fonts, i.e., fonts in which all characters are smoothly linked might be a good direction to pursue research. Although context handling could be done... |

3 | Automatic generation of script font ligatures based on curve smoothness optimization, Electronic Publishing 7 (4
- Kokula
- 1994
(Show Context)
Citation Context ...called, are simple dynamic fonts where the context is used as a parameter. Randomness is not always involved in such fonts. Kokula developed a method to smoothly link script font characters onthe-fly =-=[34]-=-. Great attention has been paid to the natural appearance of the curves joining characters. Details are given on how the proposed algorithm can be integrated into PostScript Type 3 font programs. Sign... |

3 |
Dvips: A DVI-to-PostScript translator
- Rokicki
- 2007
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Citation Context ... any dependency on printing technologies. Only DVI drivers will require updates as the technology evolves. 6.7 Interfacing PostScript Parametric Fonts Tomas Rokicki’s DVI driver for PostScript, dvips =-=[42]-=-, allows for the inclusion of native PostScript code within a TEX document via the \special primitive. TEX’s \special command is provided to transmit special instructions directly to the DVI driver, u... |

2 |
Adobe Font Metrics File Format Specification
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Citation Context ... (.tfm) files. Adobe Systems adopted a similar solution to specify the font metrics information of their PostScript font programs. To each PostScript font corresponds an Adobe Font Metric (.afm) file =-=[4]-=- that describes both global metrics for the font and the metrics for each character. The .afm files are practically equivalent to TEX’s .tfm. To use PostScript fonts with TEX, .tfm files containing th... |

2 |
The Scrabble font
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- 1990
(Show Context)
Citation Context ... whole characters to achieve interesting effects. Vertical translations produce a variable baseline [48], as observed in some handwriting. Rotation can be used, as shown by André in his Scrabble font =-=[5]-=-, to move each tile by a randomly defined angle. Lastly, variations in the character size can also be achieved with scaling, provided a uniform character thickness is ensured.s3. Random Dynamic Fonts ... |

2 |
Création de fontes en typographie numérique. Documents d’habilitation
- André
- 1993
(Show Context)
Citation Context ...uces the mathematical foundations of Bézier curves, commonly used in such fonts. The whole area of digital fonts is covered at length in [26, 27, 43], and a comprehensive introduction can be found in =-=[7]-=-. 2.1 Font Formats Digital fonts are complex data structures used to store, represent, and reproduce sets of characters in a form suitable for digital output devices. Several coding methods are applie... |

2 |
The TrueType Font Format Specification
- Computer, Inc
- 1990
(Show Context)
Citation Context ...expressed by splines, and more precisely as collection of smoothly joined Bézier curves. All the curves drawn byMETAFONT[30] and PostScript [3] are based on cubic Bézier curves, and those by TrueType =-=[12]-=- on quadratic Bézier curves. 2.2 Bézier Curves Bézier curves were independently developed by two French automobile engineers, Paul de Casteljau of Citroën, in 1959, and Pierre Bézier of Renault, aroun... |

2 |
Computational GeometryCurve and Surface Modeling
- Bu-qing, Dingyuan
- 1989
(Show Context)
Citation Context ... after Bézier, whose work was published first. Bézier curves are now widely used in computer aided design (CAD) systems. A comprehensive treatment of the basic methods in curve design can be found in =-=[19, 16, 37]-=-. The de Casteljau Algorithm Paul de Casteljau developed an algorithm to construct curves of arbitrary degreenfrom a sequence of pointsb0,...,bn, the control points, that form a polygon, called the ch... |

2 |
Font Technology: Methods and Tools
- KAROW
- 1994
(Show Context)
Citation Context ...w of the different representations of digital fonts, and introduces the mathematical foundations of Bézier curves, commonly used in such fonts. The whole area of digital fonts is covered at length in =-=[26, 27, 43]-=-, and a comprehensive introduction can be found in [7]. 2.1 Font Formats Digital fonts are complex data structures used to store, represent, and reproduce sets of characters in a form suitable for dig... |

2 |
Time Fitting of Pressure Brushstrokes
- Pudet, Real
- 1993
(Show Context)
Citation Context ...g tools such ass1. Introduction 3 smudged typewriter machines, rubber stamps and hand-held label makers. Other effects, such as overprinting, inkspreading [6], and hand-sketched pressure brushstrokes =-=[41]-=- can also be achieved. Finally, the economic advantage of random dynamic fonts over the services of lettering artists is obvious. The typeface has to be paid for only once, and it can be used as much ... |

2 |
Random code—the Beowolf random font
- Blokland, Rossum
- 1990
(Show Context)
Citation Context ..., and it can be used as much and as long as the buyer wants, and at any time of the day! Random dynamic fonts have already been explored by other computer scientists [11, 9, 18] and graphic designers =-=[47, 48, 25]-=-. This thesis presents another vision, while going much deeper at the programming and conceptual levels. The method presented here goes further than simply adding random perturbations to character out... |

1 |
Random fonts and inkspreading simulation. Research note, INRIA, projet Opéra
- André
- 1992
(Show Context)
Citation Context ...ces that render the irregularities of printing tools such ass1. Introduction 3 smudged typewriter machines, rubber stamps and hand-held label makers. Other effects, such as overprinting, inkspreading =-=[6]-=-, and hand-sketched pressure brushstrokes [41] can also be achieved. Finally, the economic advantage of random dynamic fonts over the services of lettering artists is obvious. The typeface has to be p... |

1 |
Cahiers GUTenberg, Codage des caractères d’ASCII à UNICODE
- André
- 1995
(Show Context)
Citation Context ... using the Latin alphabet. Among other things, this new encoding enables the use of true accented characters instead of relying on TEX’s accenting mechanism. Font encodings are discussed at length in =-=[8]-=- 6.4 Virtual Fonts The virtual font mechanism provides a general interface to change the encoding vector of a font. Virtual fonts are defined in terms of characters from one or more fonts, and possibl... |

1 |
Le Delorme : un caractère modulaire et dépendant du contexte. Communication et langage
- André, Delorme
- 1990
(Show Context)
Citation Context ...igWilson. Other interesting contextual fonts have also been developed. André and Borghi [9, Fig. 7] present a simple contextual font that adapts itself to its graphical environment. André and Delorme =-=[10]-=- and [7, pp. 87–95] developed the Delorme typeface, which offers interesting features for logo design.s3. Random Dynamic Fonts 18 3.3 PostScript and Random Dynamic Fonts PostScript is a powerful graph... |

1 |
Punk : deMETAFONTàPostScript
- André, Ostromoukhov
- 1989
(Show Context)
Citation Context ...eface has to be paid for only once, and it can be used as much and as long as the buyer wants, and at any time of the day! Random dynamic fonts have already been explored by other computer scientists =-=[11, 9, 18]-=- and graphic designers [47, 48, 25]. This thesis presents another vision, while going much deeper at the programming and conceptual levels. The method presented here goes further than simply adding ra... |

1 |
Cubic B-Spline Curves and
- Böhm
- 1977
(Show Context)
Citation Context ...0 d, ∆0 + ∆1 d + ∆0 bn+2. ∆0 + ∆1s4. Method Proposed 27 b n-2 ∆0 b n-1 ∆1 ∆ 0 d b n ∆ 0 b n+1 ∆1 Figure 4.8. Geometric conditions required forC 2 continuity. Böhm Construction Algorithm Wolfgang Böhm =-=[14]-=- derived a simple algorithm, based on the continuity conditions stated above, to determine the location of the Bézier control points of a spline curve such that the C 2 constraints are satisfied. Thus... |

1 |
Hybrid Digital Typefaces
- Johnson
- 1996
(Show Context)
Citation Context ...graphics, test samples for handwriting character recognition systems [46], and graphic design. Indeed, through experimentation with random dynamic fonts, interesting new letterforms may be discovered =-=[25]-=-. Random dynamic fonts could also be put to profit with the whole new class of typefaces that render the irregularities of printing tools such ass1. Introduction 3 smudged typewriter machines, rubber ... |

1 | Taking Advantage of PostScript - Sherman - 1992 |

1 |
A Blip in the Continuum
- Williams
- 1995
(Show Context)
Citation Context ...I mean, used sparingly.” The versatility of the method described allows the design of conventional fonts as well as fonts that can be grouped in what has been called radical or grunge typography (see =-=[51]-=-) or part of the Broken Art movement, fonts mainly targeted at Generation X, or so-called experimental. It should be noted that the method is not limited to the creation of fonts but could also be app... |