1  % !TEX TS-program = pdflatexmk
  2  \documentclass[11pt]{article}
  3  \usepackage[margin=1in]{geometry} 
  4  \usepackage[parfill]{parskip}% Begin paragraphs with an empty line, no indent
  5  \pdfmapfile{=ETbb.map}
  6  \usepackage{multicol}
  7  \usepackage{enumitem}
  8  \setlist[description]{style=sameline,font=\mdseries\scshape}
  9  \setlength\unitlength{1pt}% for picture
 10  \usepackage{booktabs}
 11  \usepackage{graphicx}
 12  \usepackage{xcolor}
 13  \usepackage{upquote}
 14  \usepackage{fancyvrb}
 15  \usepackage{trace}
 16  \def\yellow#1{\setlength{\fboxrule}{0pt}%
 17  \setlength{\fboxsep}{0pt}%
 18  \colorbox{yellow}{#1}}
 19  %SetFonts
 20  %ETbb plus newtxmath
 21  \usepackage[lining]{ETbb}
 22  \usepackage[T1]{fontenc}
 23  \usepackage[scaled=.95,type1]{cabin}
 24  \usepackage[varqu,varl]{zi4}% typewriter
 25  \usepackage[libertine,vvarbb]{newtxmath}
 26  %\usepackage[bb=boondox,frak=boondox]{mathalfa}
 27  %SetFonts
 28  \font\altr=ETbb1-Regular-tlf-t1 at 11pt
 29  \font\altrsc=ETbb1-Regular-tlf-sc-t1 at 11pt
 30  \usepackage{pgffor}
 31  \usepackage{etoolbox}
 32  %\usepackage{lipsum}
 33  \makeatletter
 34  \long\def\thegrid#1#2{\edef\scanp@gcmd{\noexpand\put(0,0){\noexpand\line(1,0){#1}}
 35  \noexpand\put(0,0){\noexpand\line(0,1){#2}}
 36  \noexpand\put(#1,0){\noexpand\line(0,1){#2}}
 37  \noexpand\put(0,#2){\noexpand\line(1,0){#1}}}
 38  \foreach\y in{-500,-400,...,1000}{%
 39    \put(0,\y){\color{red!20}\line(1,0){4000}}%
 40    }
 41  \foreach\x in {0,100,...,4000}{%
 42    \put(\x,-500){\color{red!20}\line(0,1){1500}}%
 43  }
 44  \foreach\y in{-500,0,...,1000}{%
 45    \put(-100,\y){\color{red!50}\line(1,0){4100}}%
 46    \put(-200,\y){\y}  
 47    }
 48  \foreach\x in {0,500,...,4000}{% 
 49    \put(\x,-500){\color{red!50}\line(0,1){1500}}%
 50    \put(\x,-150){\x}}
 51  }
 52  \setlength\unitlength{.1088bp}
 53  \usepackage{scalefnt}
 54  \usepackage{fonttable}
 55  \usepackage{url,hyperref}
 56  \title{The \textbf{ETbb} package---Edward Tufte's version of Bembo}
 57  \author{Michael Sharpe}
 58  \date{}
 59  %\pagestyle{empty}
 60  \begin{document}
 61  %\SS \ss \textsc{\ss} \MakeUppercase{\ss}
 62  \maketitle
 63  \section*{Background}
 64  
 65  
 66  The fonts in this package were derived ultimately from the collection of fonts commissioned by Edward Tufte for his own books, and released in 2015 as {\tt ET-Bembo} under the MIT license. (The sources for that collection were fonts using the family name ET-book.) That collection was enhanced in 2019 under the name {\tt XETBook} by  Daniel Benjamin Miller, and it is his package which was the starting point for {\tt ETbb}, where the {\tt bb} denotes the Berry abbreviation for Bembo. The final section of this document makes a detailed comparison with the earlier {\tt fbb} package, which is also  Bembo-like, derived from {\tt Cardo.} The most significant differences are that {\tt ETbb} has a regular upright that is about 20\% darker than the corresponding {\tt fbb}, and its ascender height is noticeably less. These differences make {\tt ETbb} have a less spindly appearance that is closer in spirit to the print produced by traditional metal versions of Bembo.
 67  
 68  
 69  \section*{Package properties}
 70  
 71  The package makes a number of changes to the {\tt XETBook} fonts:
 72  \begin{itemize}
 73  \item  The  released version of ET-Bembo lacks kerning tables---a serious omission---rectified in {\tt ETbb}.  
 74  \item
 75  The scale has been increased by 3.36\% so that the x-height of the upright regular face is 431, very close to Computer Modern and Libertine.
 76  \item The lining figures in some faces were reduced so as to be a bit less than the cap-heights.
 77  \item The lining figures in {\tt XETBook} were proportional rather than tabular. I've added new tabular lining and old-style figures.
 78  \item Added superior letters and figures to all faces. E.g., \verb|\textsu{ABCabc123}| renders as \textsu{ABCabc123}.
 79  \item Added inferior figures to all faces with baseline at -112{\tt em}.
 80  \item Added denominator figures to all faces with baseline at 0{\tt em}.
 81  \item The originals comprised glyphs in the Adobe Standard Encoding, forming a rather sparse subset of the T1 encoding. I've added accented and composite glyphs that provide complete coverage of the T1 encoding as well as many glyphs required in the orthography of a number Eastern European countries.
 82  \item Prior to version 1.02, coverage of TS$1$ encoding was meager. The coverage is now close to full. (See the table at the end of this document.)
 83  \item Small caps have been added to all faces.
 84  \item There is a new glyph for the German capital sharp S ({\altr\char223}, \textit{gro\ss es  eszett}, {\tt U+1E9E}), approved in 2017 for optional use in German orthography. Small cap versions are also provided.
 85  \item The glyph capital P has been changed from its default closed shape, as used in almost all modern digital renderings of Bembo, to the more historically accurate open shape. See, for example, the reproduction of Pietro Bembo's \textit{De Aetna} at \\
 86  \url{https://ia601405.us.archive.org/34/items/ita-bnc-ald-00000673-001/ita-bnc-ald-00000673-001.pdf}.\\ 
 87  (A higher resolution rendering of  a two-page sample is available from \url{https://upload.wikimedia.org/wikipedia/commons/8/89/De_Aetna_1495.jpg.})
 88  \end{itemize}
 89  
 90  \section*{Package options and macros}
 91  
 92  
 93  This package has most of the same features and options as the {\tt fbb} package and even includes the {\tt altP} option, though that has no effect because the  alternate P shapes in {\tt fbb} are the default in {\tt ETbb}. 
 94  
 95  In the original {\tt XETBook}, the dollar and cent currency symbols were oldstyle. I've added the new style symbols and made them the default, but option {\tt osdollar} to {\tt ETbb} changes back to the oldstyle symbols.
 96  
 97  
 98  \textbf{New in version $1.05$:} A swash version of Q has been added to all faces. You may enable it globally using option {\tt swashQ} to {\tt ETbb}, or specify it locally with the macro \verb|\Qswash|, which renders as \Qswash. This document did not specify option {\tt swashQ}. If you had enabled it globally, you have access to the ordinary Q with the macro \verb|\Qnoswash|. You may find it simpler to use the macro \verb|\altQ| which renders Q as ordinary Q if you had specified option {\tt swashQ} and as \altQ\ if not.
 99  
100  Text figures may be selected from four types:
101  \begin{itemize}
102  \item
103  Proportional lining (LF), selected by options {\tt lining, proportional [or p]}; ({\tt lining}, or {\tt lf}, is the default figure style;)
104  \item
105  Tabular lining (TLF), selected by options {\tt lining [or lf], tabular [or t]}; ({\tt tabular} is the default figure alignment;)
106  \item
107  Proportional oldstyle (OsF), selected by option {\tt oldstyle [or osf], proportional [or p]};
108  \item
109  Tabular oldstyle (TOsF), selected by options {\tt oldstyle [or osf], tabular [or t]}.
110  \end{itemize}
111  The package also defines macros that allow you use alternate figure styles locally:
112  
113  \begin{center}
114    \begin{tabular}{@{} lll @{}}
115      \toprule
116      Macro & result & comment \\ 
117      \midrule
118  \verb|\textlf{0123456789}| &\textlf{0123456789} & print 0123456789 in proportional lining figures\\
119  \verb|\texttlf{0123456789}|&\texttlf{0123456789}&  print 0123456789 in tabular lining figures\\
120  \verb|\textosf{0123456789}| &\textosf{0123456789}& print 0123456789 in proportional oldstyle figures\\
121  \verb|\texttosf{0123456789}| &\texttosf{0123456789}& print 0123456789 in tabular oldstyle figures\\
122  \verb|\textsu{0123456789}| &\textsu{0123456789}& print 0123456789 in superior figures\\
123  \verb|\textinf{0123456789}| &\textinf{0123456789}& print 0123456789 in inferior figures\\
124  \verb|\textde{0123456789}| &\textde{0123456789}& print 0123456789 in denominator figures\\
125      \bottomrule
126    \end{tabular}
127  \end{center}
128  The macro \verb|\textlf{123}| is identical in effect to \verb|{\lfstyle 123}|, and similarly for the other lining and oldstyle macros, while \verb|\textsu{123}| has the same effect as \verb|{\sufigures 123}|
129  and \verb|\textinf{123}| has the same effect as \verb|{\infigures 123}|.
130  If you prefer typing longer names, you may use \verb|\textinferior| as a synonym for \verb|\textinf|, and similarly for \verb|\textsu|. Likewise, 
131  \verb|\textde{123}| has the same effect as \verb|{\defigures 123}| or \verb|{\denomfigures 123}|, and you may use \verb|\textdenom| as a synonym for \verb|\textde|. Note the difference in baseline between \verb|\textinf| and \verb|\textde|: \textinf{123} versus \textde{123}.
132  
133  The \verb|\textfrac| macro constructs fractions using \verb|\textsu| and \verb|\textde| with baseline aligned with the text baseline. The behavior is somewhat configurable, there being two parameters available to control the kerns before and after the fraction solidus. The two parameters are passed as options to {\tt ETbb}, named
134  \begin{verbatim}
135  foresolidus % default value -.05em
136  aftsolidus  % default value -.05em
137  \end{verbatim}
138  %raisefrac   % default value 0em
139  (The values should always be {\tt em} or {\tt ex} units in order to behave correctly with respect to scaling.)
140  %If you were to change the default behavior with the option
141  %\begin{verbatim}
142  %raisefrac=-112em
143  %\end{verbatim}
144  %you would get a fraction with the denominator's baseline  at the baseline of the \verb|\textin| figures, namely {\tt -.112em}. 
145  %%Those who wish the fractional part to be vertically centered with respect to lining figures should specify
146  %%\begin{verbatim}
147  %%raisefrac=-.056em
148  %%\end{verbatim}
149  %All the above have to do with globally defined settings for \verb|\textfrac|, but that macro allows one optional argument that can override the effect of {\tt raisefrac}, with, e.g., \verb|\textfrac[.1em][6}{11}| raising the fraction 6/11 by {\tt .1em} instead of the default specified in the original options.
150  
151  \textsc{Example:}\\
152  $\bullet$ \verb|\textfrac[2]{17}{32}| renders as \textfrac[2]{17}{32} with default settings. (The optional argument 2 will always print in lining figures, no matter the choice of the text figure style.)\\
153  
154  If you load the {\tt ETbb} package by means of option {\tt etbb} to the {\tt newtx} package, version 1.71 or higher, there is a stacked fraction construction available using the macro \verb|\textsfrac| which behaves like \verb|\textfrac| except with the fractional part stacked vertically rather than diagonally. See the {\tt newtx} documentation for details and examples.
155  
156  %$\bullet$ \verb|2\textfrac[.053em]{17}{32}| produces a fraction centered on the mid-height of lining figures: 2\textfrac[.053em]{17}{32}.\\
157  %$\bullet$ \verb|2\textfrac[0em]{17}{32}| produces a fraction with numerator and denominator at the normal heights of superior and inferior figures: 2\textfrac[0em]{17}{32}.\\
158  
159  %The \verb|\textfrac| macro uses spacing control for each individual digit, one for the numerator and one for the denominator. It is optimized for regular weight, upright shape, but works satisfactorily in bold weight, upright shape. Italic shapes are not handled with any precision. Currently, the spacing settings are specified by two macros in {\tt ETbb.sty}: \verb|\tx@addNkern| and \verb|\tx@addDkern| for numerator and denominator respectively. These may be redefined in your preamble after loading the {\tt ETbb} package with a block like
160  %\begin{verbatim}
161  %\makeatletter
162  %\renewcommand*{\tx@addNkern}[1]{%
163  %.
164  %.
165  %.
166  %}
167  %\renewcommand*{\tx@addDkern}[1]{%
168  %.
169  %.
170  %.
171  %}
172  %\end{verbatim}
173  %following the pattern of the definitions in {|tt ETbb.sty}. You should be careful to follow those patterns precisely, as it is very easy to introduce inadvertent space characters in the output.
174  
175  
176  Option {\tt sups} changes the form of footnote markers to use {\tt ETbb}'s superior figures, unless you have redefined the meaning of \verb|\thefootnote| prior to loading {\tt ETbb}. For more control over size, spacing and position of footnote markers, use the \textsf{superiors} package: E.g.,
177  \begin{verbatim}
178  \usepackage[supstfm=ETbb-Regular-sup-t1]{superiors}
179  \end{verbatim}
180  
181  Option {\tt sharpS} replaces {\tt SS} in the {\tt T1} encoding by the new {\tt U+1E9E} glyph and replaces the small cap \textsc{ss} by the small cap version of\hspace{.5em}{\tt U+1E9E}. Only figure-styles {\tt TLF}, {\tt LF}, {\tt OsF} and {\tt TOsF} are handled, and only in the {\tt T1} encoding.
182  %\SS \ss \textsc{\ss}. {\usefont{T1}{ETbb-TLF}{m}{n}\SS\ss}
183  
184  Option {\tt scosf} forces the use of {\tt OsF} figures in a small caps block, no matter what the default figure settings.
185  
186  There is a {\tt scaled [or scale]} option (\emph{e.g.}, {\tt scaled=.97}) that allow you to adjust the text size against, say, a math package. 
187  
188  
189  \section*{A suggested math companion}
190  
191  This text package works well with {\tt newtxmath} with the {\tt libertine} option, because the latter has italics of the same italic angle as {\tt ETbb} and of very similar xheight and weight. If you have the MinionPro fonts (version 2.0 or higher) and have set them up with \textsf{FontPro} and the {\tt minion2newtx} \textsc{ctan} package, then the {\tt minion} option to {\tt newtxmath} provides a very good math companion with better Greek letters than {\tt libertine}. The suggested invocation for {\tt libertine} math is:
192  \begin{verbatim}
193  % load babel package and options here
194  \usepackage[p,osf]{ETbb} % osf in text, tabular lining figures in math
195  \usepackage[scaled=.95,type1]{cabin} % sans serif in style of Gill Sans
196  \usepackage[varqu,varl]{zi4}% inconsolata typewriter
197  \usepackage[T1]{fontenc} % LY1 also works
198  \usepackage[libertine,vvarbb]{newtxmath}
199  %\usepackage[cal=boondoxo,bb=boondox,frak=boondox]{mathalfa}
200  \end{verbatim}
201  Here is a short sample based on this preamble:\\[4pt]
202  \def\Pr{\ensuremath{\mathbb{P}}}
203  \def\rmd{\mathrm{d}}
204  The typeset math below follows the ISO recommendations that only variables
205  be set in italic. Note the use of upright shapes for $\rmd$, $\mathrm{e}$
206  and $\uppi$. (The first two are entered as \verb|\mathrm{d}| and
207  \verb|\mathrm{e}|, and in fonts derived from {\tt newtxmath} or {\tt mtpro2},
208   the latter is entered as \verb|\uppi|.)
209  
210  \textbf{Simplest form of the \textit{Central Limit Theorem}:} \textit{Let
211  $X_1$, $X_2,\cdots$ be a sequence of iid random variables with mean $0$ 
212  and variance $1$ on a probability space $(\Omega,\mathcal{F},\Pr)$. Then}
213  \[\Pr\left(\frac{X_1+\cdots+X_n}{\sqrt{n}}\le y\right)\to\mathfrak{N}(y)\coloneq
214  \int_{-\infty}^y \frac{\mathrm{e}^{-t^2/2}}{\sqrt{2\uppi}}\,
215  \mathrm{d}t\quad\mbox{as $n\to\infty$,}\]
216  \textit{or, equivalently, letting} $S_n\coloneq\sum_1^n X_k$,
217  \[\mathbb{E} f(S_n/\sqrt{n})\to \int_{-\infty}^\infty f(t)
218  \frac{\mathrm{e}^{-t^2/2}}{\sqrt{2\uppi}}\,\mathrm{d}t
219  \quad\mbox{as $n\to\infty$, for every $f\in\mathrm{b}
220  \mathcal{C}(\mathbb{R})$.}\]
221  
222  %\section{Text effects under \texttt{fontaxes}}
223  %This package loads the {\tt fontaxes} package in order to access italic small caps. You should pay attention to the fact that {\tt fontaxes} modifies the behavior of some basic \LaTeX\ text macros such as \verb|\textsc| and \verb|\textup|. Under normal \LaTeX, some text effects are combined, so that, for example, \verb|\textbf{\textit{a}}| produces bold italic {\tt a}, while other effects are not, eg, \verb|\textsc{\textup{a}}| has the same effect as \verb|\textup{a}|, producing the letter {\tt a} in upright, not small cap, style. With {\tt fontaxes}, \verb|\textsc{\textup{a}}| produces instead upright small cap {\tt a}. It offers a macro \verb|\textulc| that undoes small caps, so that, eg, \verb|\textsc{\textulc{a}}| produces {\tt a} in non-small cap mode, with whatever other style choices were in force, such as bold or italics.
224  
225  %\section{Superior figures}
226  %The TrueType versions of GaramondNo8 have a full set of superior figures, unlike their PostScript counterparts. The superior figure glyphs in regular weight only have been copied to \texttt{NewG8-sups.pfb} and \texttt{NewG8-sups.afm} and provided with a tfm named \texttt{NewG8-sups.tfm} that can be used by the \textsf{superiors} package to provide adjustable footnote markers. See \textsf{superiors-doc.pdf} (you can find it in \TeX Live by typing \texttt{texdoc superiors} in a Terminal window.) The simplest invocation is
227  %\begin{verbatim}
228  %\usepackage[supstfm=NewG8-sups]{superiors}
229  %\end{verbatim}
230  \section*{Glyphs in TS1 encoding}
231  The layout of the TS1 encoded Text Companion font, which is rendered \emph{in regular style only}, is as follows. 
232  
233  \fonttable{ETbb-Regular-tosf-ts1}
234  
235  
236  \textbf{List of macros to access the TS1 symbols in text mode:}\\
237  %(Note that slots 0--12 and 26--29 are accents, used like \verb|\t{a}| for a tie accent over the letter a. Slots 23 and 31 do not contain visible glyphs, but have heights indicated by their names.)
238  (The commented lines are in {\tt fbb} but not {\tt ETbb}.)
239  \begin{verbatim}
240    0 \capitalgrave
241    1 \capitalacute
242    2 \capitalcircumflex
243    3 \capitaltilde
244    4 \capitaldieresis
245    5 \capitalhungarumlaut
246    6 \capitalring
247    7 \capitalcaron
248    8 \capitalbreve
249    9 \capitalmacron
250   10 \capitaldotaccent
251   11 \capitalcedilla
252   12 \capitalogonek
253   13 \textquotestraightbase
254   18 \textquotestraightdblbase
255   21 \texttwelveudash
256   22 \textthreequartersemdash
257   23 \textcapitalcompwordmark
258   24 \textleftarrow
259   25 \textrightarrow
260   26 \t % tie accent, skewed right
261   27 \capitaltie % skewed right
262   28 \newtie % tie accent centered
263   29 \capitalnewtie % ditto
264   31 \textascendercompwordmark
265   32 \textblank
266   36 \textdollar
267   39 \textquotesingle
268   42 \textasteriskcentered
269   45 \textdblhyphen
270   47 \textfractionsolidus
271   48 \textzerooldstyle
272   49 \textoneoldstyle
273   50 \texttwooldstyle
274   49 \textthreeoldstyle
275   50 \textfouroldstyle
276   51 \textfiveoldstyle
277   52 \textsixoldstyle
278   53 \textsevenoldstyle
279   54 \texteightoldstyle
280   55 \textnineoldstyle
281   60 \textlangle
282   61 \textminus
283   62 \textrangle
284   77 \textmho
285   79 \textbigcircle
286   87 \textohm
287   91 \textlbrackdbl
288   93 \textrbrackdbl
289   94 \textuparrow
290   95 \textdownarrow
291   96 \textasciigrave
292   98 \textborn
293   99 \textdivorced
294  100 \textdied
295  108 \textleaf
296  109 \textmarried
297  %110 \textmusicalnote
298  126 \texttildelow
299  127 \textdblhyphenchar
300  128 \textasciibreve
301  129 \textasciicaron
302  %130 \textacutedbl
303  %131 \textgravedbl
304  132 \textdagger
305  133 \textdaggerdbl
306  134 \textbardbl
307  135 \textperthousand
308  136 \textbullet
309  137 \textcelsius
310  138 \textdollaroldstyle
311  139 \textcentoldstyle
312  140 \textflorin
313  141 \textcolonmonetary
314  142 \textwon
315  143 \textnaira
316  144 \textguarani
317  145 \textpeso
318  146 \textlira
319  147 \textrecipe
320  148 \textinterrobang
321  149 \textinterrobangdown
322  150 \textdong
323  151 \texttrademark
324  152 \textpertenthousand
325  153 \textpilcrow
326  154 \textbaht
327  155 \textnumero
328  156 \textdiscount
329  157 \textestimated
330  158 \textopenbullet
331  159 \textservicemark
332  160 \textlquill
333  161 \textrquill
334  162 \textcent
335  163 \textsterling
336  164 \textcurrency
337  165 \textyen
338  166 \textbrokenbar
339  167 \textsection
340  168 \textasciidieresis
341  169 \textcopyright
342  170 \textordfeminine
343  171 \textcopyleft
344  172 \textlnot
345  173 \textcircledP
346  174 \textregistered
347  175 \textasciimacron
348  176 \textdegree
349  177 \textpm
350  178 \texttwosuperior
351  179 \textthreesuperior
352  180 \textasciiacute
353  181 \textmu
354  182 \textparagraph
355  183 \textperiodcentered
356  184 \textreferencemark
357  185 \textonesuperior
358  186 \textordmasculine
359  187 \textsurd
360  188 \textonequarter
361  189 \textonehalf
362  190 \textthreequarters
363  191 \texteuro
364  214 \texttimes
365  246 \textdiv
366  %\end{verbatim}
367  There is a macro \verb|\textcircled| that may be used to construct a circled version of a single letter using \verb|\textbigcircle|. The letter is always constructed from the small cap version, so, in effect, you can only construct circled uppercase letters: \verb|\textcircled{M}| and \verb|\textcircled{m}| have the same effect, namely~\textcircled{M}.
368  
369  \section*{Usage with fontspec}
370  Because the package supplies a file named {\tt ETbb.fontspec} whose contents list the {\tt otf} files that correspond to each of Regular, Bold, Italic and BoldItalic, you may load {\tt ETbb} with just
371  \begin{verbatim}
372  \usepackage{fontspec}
373  \setmainfont{ETbb}
374  \end{verbatim}
375  Other than the usual choices of figure style, the only remaining choice available is through {\tt StylisticSet=2}, which substitutes the new Sharp S glyphs in place of the familiar \ss, \SS\ and \textsc{\ss}. See the table in the next section for details.
376  
377  \section*{Selection of the new Sharp S in LaTeX}
378  There is now an {\tt ETbb} option {\tt sharpS} whose effect in legacy LaTeX is summarized below.
379  
380  Behavior of the text macros \verb|\SS|, \verb|\ss| and the macro \verb|\MakeUppercase|.
381  
382  \begin{center}
383    \begin{tabular}{@{} ccccc @{}}
384      \hline
385      sharpS option & \verb|\ss| & \verb|\SS| & \verb|\MakeUppercase{\ss}| & \verb|\textsc{\ss}| \\ 
386      \hline
387      Not set & \ss & \SS & \MakeUppercase{\ss} & \textsc{\ss}\\ 
388      sharpS & {\altr\char255} & {\altr\char223} & {\altr\char223} & {\altrsc \char255}\\ 
389      \hline
390    \end{tabular}
391  \end{center}
392  In unicode TeX,  the behavior laid out in the table above is achieved using {\tt StylisticSet=2}. 
393  
394  %\begin{center}
395  %  \begin{tabular}{@{} lcl @{}}
396  %    \hline
397  %    Glyph name & glyph & macro\\ 
398  %    \hline
399  %    {\tt uni1E9E} & \symbol{"1E9E} &\verb|\symbol{"1E9E}|\\ 
400  %    {\tt uni1E9E.ss01} & {\addfontfeature{StylisticSet=1}\symbol{"1E9E}} & \verb|{\addfontfeature{StylisticSet=1}\symbol{"1E9E}}| \\ 
401  %    {\tt germandbls.sc} & \textsc{\ss} & \verb|{\textsc{\ss}}| \\ 
402  %    {\tt germandbls.sc.ss01} & {\addfontfeature{StylisticSet=1}\textsc{\ss}} & \verb|{\addfontfeature{StylisticSet=1}\textsc{\ss}}| \\ 
403  %    \hline
404  %  \end{tabular}
405  %\end{center}  
406   
407  %\noindent \textbf{Effect of choice of {\tt StylisticSet}:}
408  % 
409  %\begin{center}
410  %  \begin{tabular}{@{} ccccc @{}}
411  %    \hline
412  %    StylisticSet & \verb|\ss| & \verb|\SS| & \verb|\MakeUppercase{\ss}| & \verb|\textsc{\ss}| \\ 
413  %    \hline
414  %    None & \ss & \SS & \MakeUppercase{\ss} & \textsc{\ss}\\ 
415  %    
416  %    =1 & {\addfontfeature{StylisticSet=1}\ss} & {\addfontfeature{StylisticSet=1}\SS} & {\addfontfeature{StylisticSet=1}\MakeUppercase{\ss}} & {\addfontfeature{StylisticSet=1}\textsc{\ss}}\\ 
417  %    \hline
418  %  \end{tabular}
419  %\end{center}
420  
421  
422  %\section{Historical Background}
423  %Humanist scholar Pietro Bembo, a seminal figure in literature and music of the Italian Renaissance, who later became Cardinal Bembo, wrote an essay in the last decade of the 15th century about his travels to Mt.\ Aetna, which work was published by the Venetian printer Aldus Manutius (whose name gave us \emph{Aldine}) using a new Roman font designed by his punch-cutter, Francesco Griffo that improved on the earlier efforts of Jenson, another printer in Venice. That font seems to have played a similarly seminal r\^ole in  typography. It was the direct progenitor of the many Garamond fonts, and has seen numerous modern revivals whose names make use of every known historical connection to the figures named above, such as Lucrezia Borgia who was for several years Bembo's  lover.
424  %
425  %The metal form of the Bembo font developed by Stanley Morison for English Monotype in the 1920's was widely used in book printing due to its handsome appearance and readability. Commercial digital versions have not had much love from critics until recently.  Adobe's MinionPro and WarnockPro arguably deserve the prizes for the best modern revivals of oldstyle fonts not too distant from Bembo. (Both lack Bembo's tall ascenders and its characteristic overarching f.)
426  %twoone free source for a Bembo--like font family, one being David Perry's \emph{Cardo} (a contraction of \emph{Cardinal Bembo}), which is not readily accessible to 
427  %\LaTeX\ users and which lacks Bold Italic as well as a full range of Small Caps and figure styles. The other is Edward Tufte 
428  
429   
430   
431  % On screen and paper, {\tt ETbb} appears close in weight to Libertine, though of greater  ascender height and slightly less plain.  The following two sentences are written in {\tt ETbb} and Libertine respectively. The third example sentence is written using {\tt garamondx}, whose natural xheight is comparable to Libertine, but which should normally be scaled down to resemble more familiar Garamonds. Perhaps {\tt ETbb} will be prove to be more suitable for older eyes.
432  %
433  %\textit{\textsc{Comparison between ETbb and Libertine}}: 
434  %
435  %Both ETbb and Libertine are highly readable fonts in their standard Roman forms, each has a wide range of figures and small caps, but Libertine has the advantage in the number of supported scripts and the variety of weights.
436  %
437  %{\fontfamily{LinuxLibertineT-LF}\selectfont Both ETbb and Libertine are highly readable fonts in their standard Roman forms, each has a wide range of figures and small caps, but Libertine has the advantage in the number of supported scripts and the variety of weights.}
438  
439  \section*{Detailed comparison with {\tt fbb}}
440  The following picture, in which the units are approximately in {\tt bp}, 
441  shows some of the differences between {\tt ETbb-Regular} and {\tt fbb-Regular}, the first scaled up by 10 and the second by 9.8 so that their x-heights (and Cap-heights) are the same. From the picture below you can note the following.
442  \begin{itemize}
443  \item
444  The serifs are much more substantial in {\tt ETbb}.
445  \item The ascenders a considerably higher in {\tt fbb}---in fact, by 50 em units. Those very tall ascenders make for poor positioning of quotes, superscripts and the like.
446  \item Stems are a little thicker (by about 10\%) in {\tt ETbb}.
447  \item There is a slight bowing out in the letter h and similar letters like n of {\tt ETbb} that is not present in {\tt fbb}, making for more visual interest, IMO. This would not be of any importance at small print sizes.
448  \item Overall, {\tt ETbb} has lower contrast (ratio of thickest to thinnest strokes) than {\tt fbb}, making for a more uniform gray appearance on the printed page.
449  \end{itemize}
450  \picture(4500,1300)
451  \thegrid{5000}{1500}
452  \put(0,0){{\usefont{T1}{ETbb-TLF}{m}{n}\scalefont{10}xXh{\color{red}:}} {\usefont{T1}{fbb-TLF}{m}{n}\scalefont{9.8}xXh}}
453  \put(0,1100){\hbox to 2000\unitlength{\hfil ETbb scaled 1000\%\hfil}}
454  \put(2000,1100){\hbox to 2000\unitlength{\hfil fbb scaled 980\%\hfil}}
455  \endpicture
456  \vspace*{1in}
457  The following page presents a comparison of a {\tt ETbb} and {\tt fbb} with identical text rendered in two columns. For me, there is no question that {\tt ETbb} is the preferable font for document text.
458  \newpage
459  \begin{multicols}{2}[\textbf{ETbb on left, fbb on right, normalized to same x-height}]
460  Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ac tortor dignissim convallis aenean. Adipiscing elit duis tristique sollicitudin nibh. At imperdiet dui accumsan sit. Posuere sollicitudin aliquam ultrices sagittis. In hac habitasse platea dictumst quisque sagittis purus sit. Vulputate mi sit amet mauris commodo quis imperdiet. Vel risus commodo viverra maecenas accumsan lacus vel facilisis volutpat. Tortor vitae purus faucibus ornare suspendisse. Non consectetur a erat nam at lectus. Curabitur gravida arcu ac tortor. Tempus urna et pharetra pharetra massa massa ultricies mi quis. Nisl nisi scelerisque eu ultrices vitae auctor eu. A lacus vestibulum sed arcu non odio euismod lacinia at. Ut venenatis tellus in metus vulputate eu. Ornare massa eget egestas purus viverra accumsan in nisl. Mauris augue neque gravida in fermentum et sollicitudin ac orci. Turpis egestas sed tempus urna et pharetra pharetra. Nunc lobortis mattis aliquam faucibus.
461  
462  Nulla facilisi morbi tempus iaculis urna id volutpat lacus. Est ultricies integer quis auctor elit. Risus quis varius quam quisque id. Mus mauris vitae ultricies leo integer malesuada nunc vel risus. Sit amet purus gravida quis blandit turpis cursus in hac. Nam at lectus urna duis convallis convallis tellus. Amet dictum sit amet justo. Tortor consequat id porta nibh venenatis cras. Ante metus dictum at tempor. Senectus et netus et malesuada fames ac turpis.
463  
464  Non tellus orci ac auctor augue mauris augue neque gravida. Bibendum at varius vel pharetra vel turpis nunc. Pellentesque adipiscing commodo elit at imperdiet dui accumsan sit. Quis enim lobortis scelerisque fermentum dui faucibus in. Scelerisque eu ultrices vitae auctor. Blandit volutpat maecenas volutpat blandit. Morbi leo urna molestie at elementum eu. Tristique magna sit amet purus gravida quis blandit. Felis eget nunc lobortis mattis aliquam faucibus purus in. Pharetra diam sit amet nisl suscipit. Odio pellentesque diam volutpat commodo sed egestas egestas fringilla phasellus. Vitae nunc sed velit dignissim. Nulla pellentesque dignissim enim sit. Sem viverra aliquet eget sit amet tellus.
465  
466  \columnbreak
467  {\usefont{T1}{fbb-TLF}{m}{n}\scalefont{.98}Lorem ipsum dolor sit amet, consectetur adipiscing elit, sed do eiusmod tempor incididunt ut labore et dolore magna aliqua. Ac tortor dignissim convallis aenean. Adipiscing elit duis tristique sollicitudin nibh. At imperdiet dui accumsan sit. Posuere sollicitudin aliquam ultrices sagittis. In hac habitasse platea dictumst quisque sagittis purus sit. Vulputate mi sit amet mauris commodo quis imperdiet. Vel risus commodo viverra maecenas accumsan lacus vel facilisis volutpat. Tortor vitae purus faucibus ornare suspendisse. Non consectetur a erat nam at lectus. Curabitur gravida arcu ac tortor. Tempus urna et pharetra pharetra massa massa ultricies mi quis. Nisl nisi scelerisque eu ultrices vitae auctor eu. A lacus vestibulum sed arcu non odio euismod lacinia at. Ut venenatis tellus in metus vulputate eu. Ornare massa eget egestas purus viverra accumsan in nisl. Mauris augue neque gravida in fermentum et sollicitudin ac orci. Turpis egestas sed tempus urna et pharetra pharetra. Nunc lobortis mattis aliquam faucibus.
468  
469  Nulla facilisi morbi tempus iaculis urna id volutpat lacus. Est ultricies integer quis auctor elit. Risus quis varius quam quisque id. Mus mauris vitae ultricies leo integer malesuada nunc vel risus. Sit amet purus gravida quis blandit turpis cursus in hac. Nam at lectus urna duis convallis convallis tellus. Amet dictum sit amet justo. Tortor consequat id porta nibh venenatis cras. Ante metus dictum at tempor. Senectus et netus et malesuada fames ac turpis.
470  
471  Non tellus orci ac auctor augue mauris augue neque gravida. Bibendum at varius vel pharetra vel turpis nunc. Pellentesque adipiscing commodo elit at imperdiet dui accumsan sit. Quis enim lobortis scelerisque fermentum dui faucibus in. Scelerisque eu ultrices vitae auctor. Blandit volutpat maecenas volutpat blandit. Morbi leo urna molestie at elementum eu. Tristique magna sit amet purus gravida quis blandit. Felis eget nunc lobortis mattis aliquam faucibus purus in. Pharetra diam sit amet nisl suscipit. Odio pellentesque diam volutpat commodo sed egestas egestas fringilla phasellus. Vitae nunc sed velit dignissim. Nulla pellentesque dignissim enim sit. Sem viverra aliquet eget sit amet tellus.
472  }
473  \end{multicols}
474  
475  \textbf{ETbb-Regular-tlf-t1}
476  
477  \fonttable{ETbb-Regular-tlf-t1}
478  \newpage
479  \textbf{ETbb1-Regular-tlf-t1}
480  
481  \fonttable{ETbb1-Regular-tlf-t1}
482  \newpage
483  \textbf{ETbb-Regular-tlf-sc-t1}
484  
485  \fonttable{ETbb-Regular-tlf-sc-t1}
486  \newpage
487  \textbf{ETbb1-Regular-tlf-sc-t1}
488  
489  \fonttable{ETbb1-Regular-tlf-sc-t1}
490  
491  %This is a fraction \textfrac{23}{52}, \textfrac{71}{12}, \textfrac{17}{75}, \textfrac{34}{43}.
492  
493  %The {\tt ETbb} package offers a family of Bembo--like fonts in the  four basic styles. There are of course similarities to {\tt fbb}, the main distinctions being:
494  %\begin{itemize}
495  %\item
496  %The ascenders in {\tt ETbb} are considerably reduced compared with those in {\tt fbb};
497  %\item The stroke widths in {\tt ETbb} Regular are about 10\% larger than those in {\tt fbb} Regular, so the gray level is about 20\% higher.
498  %\item The serifs in {\tt ETbb} are not nearly as thin as those in {\tt fbb};
499  %\end{itemize}
500  
501  %\textit{\textsc{Same sentence in garamondx}}: 
502  %
503  %{\fontfamily{zgmx}\selectfont Both ETbb and Libertine are highly readable fonts in their standard Roman forms, each has a wide range of figures and small caps, but Libertine has the advantage in the number of supported scripts and the variety of weights.}
504  
505  \end{document}