COMMENT ⊗   VALID 00004 PAGES
C REC  PAGE   DESCRIPTION
C00001 00001
C00002 00002	% not yet used
C00008 00003	% already used
C00012 00004	% for the book on Computer Modern
C00025 ENDMK
C⊗;
% not yet used

try Woody Allen books for things e.g. about grouping

try to find a quote about complexity being made up of simple things

The understanding that can be gained from computer drawings
is more valuable than mere production.
---IVAN E. SUTHERLAND, Sketchpad (1963) % chapter 9, section E

Answers:
We that have good wits, have much to answer for.
	[As You Like It, V.i.13]

Randomness:
% En musiker, som jag k\"ande, roade sig med
A musician whom I knew amused himself
% att st\"amma sitt piano hur som helst utan rim och reson.
by tuning his piano arbitrarily, without any rhyme or reason.
% D\"arefter spelade han Beethovens Sonate path\'etique utantill.
Afterwards he played ↑{Beethoven}'s\/ {\rm Sonate Path\'etique} by heart.
% Det var en otrolig fr\"ojd att h\"ora ett gammlt stycke leva upp igen.
It was an unbelievable delight to hear an old piece come back to life.
% Jag hade h\"ort denna sonat spelas under tjugo \aa r, st\"andigt
I had heard this sonata for twenty years,
% utan hopp att se den utvecklas; fixerad, of\"orm\"ogen att n\aa\ l\"angre.
never dreaming that it was capable of being developed further.
\author AUGUST ↑{STRINDBERG}, {\sl Chance in Artistic Creation} (1894)
% The original was in French, but I was unable to locate anything
% but the above Swedish translation, from Modern Museet catalog 28 (1962)
% Nye Konstriktningar! eller Slumpen i det konstn\"arliga skapandet
% [New Directions in Art! or, Chance in Artistic Creation]

Summary:
This is of you verye well remembred and well and sommarily rehersed.
	MORE, Dyaloge II, Wks 178/1 (1528)
Allen's Axiom. When all else fails, read the instructions.

The awesome memory of thy ever attentive computer
accepts all words as truth.
Think, therefore, in analytical, modular steps,
for the truth or untruth spoken through thy fingertips
will be acted upon unerringly.
--HERMANN ZAPF, {\sl The Ten Commandments of Photo-Typesetting\/}
	(1982) % 2nd Commandment

	PAUL DICKSON, The Official Rules (c1978)

Equations:
Let ``X'' equal my father's signature.
\author FRED ↑{ALLEN}, {\sl Vogues\/} (1924) % NYT review of show, Mar 28'24
	% quoted in Much Ado About Me, p288

Errors:
The road to wisdom? Well, it's plain
and simple to express:
	Err
	and err
	and err again
	but less
	and less
	and less.
--PIET HEIN, {\sl Grooks} (1966) % p34

% Advierto tambien que en quanto \↑a los rumbos del camino
% puedo haver tenido alguna equivocacion.
With respect to the directions of the route
I may have made some errors.
\author FRAY PEDRO ↑{FONT}, {\sl Diary\/} (1776)
 % opening remarks

Hardcopy proofs:
% se se\~nala con puntos el camino,
% se expressan por numeros las jornadas,
% y se distinguen por abecedario los lugares \↑o parages particulares.
The route is indicated by dots,
the days' journeys are expressed by numbers,
and letters are used to locate notable places and sites.
\author FRAY PEDRO ↑{FONT}, {\sl Diary\/} (1776)
 % second paragraph

The figure itself appears here
as a very necessary adjunct to the verbalization.
In Euclid's presentation we cannot wholly follow the argumentation
without the figure, and unless we are strong enough
to imagine the figure in our mind's eye, we would also be reduced
to supplying our own figure if the author had not done it for us.
Notice also that the language of the proof has a
formal and severely resticted quality about it.
This is not the language of history, nor of drama,
nor of day to day life;
this is language that has been sharpened and refined so as to serve
the precise needs of a precise but limited inellectual goal.
\author P. J. ↑{DAVIS} and R. ↑{HERSH}, {\sl Proof\/} (1981)
	% The Mathematical Experience (Birkh\"auser), near p150
% already used

And so I think I have omitted nothing
% Et ainsi ie pense n'auoir rien omis des elemens,
that is necessary to an understanding of curved lines.
% qui sont necessaires pour la connoissance des lignes courbes.
--REN\'E DESCARTES {\sl La G\'eom\'etrie\/} (1637) % p369

I might compare the high-speed computing machine
to a remarkably large and awkward pencil
which takes a long time to sharpen and
cannot be held in the fingers in the usual manner so that it
gives the illusion of responding to my thoughts,
but is fitted with a rather delicate engine
and will write like a mad thing
provided I am willing to let it dictate pretty much
the subjects on which it writes.
--R. H. BRUCK {\sl Computational Aspects of Certain
  Combinatorial Problems\/} (1956) % AMS Symp Appl Math 6, p31

Plot It Yourself [title of novel by Rex Stout]

Can the new process yield a result that, say,
a Club of Bibliophiles would recognise
as a work of art comparable to
the choice books they have in their cabinets?
--STANLEY ↑{MORISON}, {\sl Typographic Design in Relation to
	Photographic Composition\/} (1958) % pp 4--5

[Tinguely] made some large, brightly coloured open reliefs,
juxtaposing stationary and mobile shapes.
He later gave them names like
{\rm Meta-↑{Kandinsky}}\kern-1pt and\/ {\rm Meta-↑{Herbin}},
to clarify the ideas and attitudes
that lay at the root of their conception.
--K. G. PONTUS ↑{HULT\'EN}, {\sl Jean ↑{Tinguely}: M\'eta\/} (1972)
 % translated from German by Mary Whittall, 1975, p46

Here, where we reach the sphere of mathematics,
we are among processes which seem to some
the most inhuman of all human activities
and the most remote from poetry.
Yet it is here that the artist
has the fullest scope for his imagination.
\author HAVELOCK ↑{ELLIS} {\sl The Dance of Life\/} (1923) % pp 138--139

It is very important that the nib be cut ``sharp,''
and as often as its edge wears blunt it must be resharpened.
It is impossible to make ``clean cut'' strokes with a blunt pen.
\author EDWARD ↑{JOHNSTON}, {\sl Writing \& Illuminating, %
 \& Lettering\/} (1906)

Let us learn how Io's frenzy came---
She telling her disasters manifold.
\author \AE SCHYLUS, ↑↑{Aeschylus}
 {\sl Prometheus Bound\/} (c.\thinspace470 B.C.) % verse 801
 % This is the translation by Morshead

Calle these foule Offendors to their Answeres.
	[2 Hen VI, II.i.203]
% for the book on Computer Modern

On the breast of her gown,
in elaborate embroidery and
fantastic flourishes of gold-thread,
appeared the letter A.
--Hawthorne, Scarlet Letter % chapter 2

Midnight wags are diligently studying the alphabet
to see how many of the letters are susceptible
to mutation into something new and strange. .\thinspace.\thinspace.
There are two schools of M-sters;
when their warfare is accomplished we shall know
whether that letter is to figure henceforth as
two sides of a triangle or three sides of a square.
--AMBROSE BIERCE {\sl The Opinionator. Alphab\↑etes\/}
  (1911) % vol 10 of his collected works, pp69--70
  % probably written originally in 1898 or 1899

Note from Moxon's Mechanick exercises:
   Roman "Fat stroaks" were 5/42 em u.c., 3.5/42 em l.c.;
		h-height 30/42 em, x-height 18/42 em.
   Italic "Fat stroaks" were 4/42 em u.c, 3/42 em l.c.; 20 degree slope.

No one compositor will have all the signs and symbols available.
The number of special signs and symbols is almost limitless,
with new ones being introduced all the time.
	U CHICAGO Manual of Style (when?)

What designer in the development of his drawing
does not know those spooky, stubborn antipathetic shapes
that maverick-like will not join the type family?
	ZAPF, About Alphabets

The type face ... that American founders
used to call ``gothic'' ... ``sans-serif'' ... has been
reproduced lately in almost innumerable versions,
none of them fit for the printing of books.
	BRUCE ROGERS, Pi (1953)

There are lots of quotes in Luckombe (cited in TeXbook)
	neat one on ligatures, p460; braces p284; history(?) p270

This was the noblest Roman of them all.
	[Julius Caesar V.v.68]

Font design is different from musical composition
because alphabets are not symphonies;
an alphabet is a `medium' while a symphony is a `message'.
We get a much better analogy between fonts and music
when we consider background music rather than symphonies,
since fonts serve as the background for an author's printed ideas.
Many people resent background music because they feel that
music should either be the main focus of a person's attention
or it should be absent entirely,
while it is generally agreed that the reader of a book
should not be conscious of the g's and the k's in that book.
A font should be sublime in its appearance
but subliminal in its effect.
\author DONALD E. ↑{KNUTH}, {\sl The Concept of a Meta-Font\/} (1982)
 % Visible Language 16, p19

The good type designer knows that,
for a new fount to be successful,
it has to be so good
that only very few recognize its novelty.
\dots\ If my friends think that the tail of my lower-case r
or the lip of my lower-case e is rather jolly,
you may know that the fount would have been better
had neither been made.
\author STANLEY ↑{MORISON}, {\sl First Principles of Typography\/} (1930)
 % The Fleuron 7, p63

%Hasta llegar al arroyo de S$\rm↑n$ Francisco,
%en cuya orilla esta el pinabete que dixe ayer,
%cuya altura medi con el Grafometro
%y lo halle a poco mas o menos segun el calculo que hize,
%de unas cincuenta varas de alto.
We arrived at the Arroyo de San Francisco,
beside which stream is the redwood tree I spoke of yesterday;
I measured its height with the Graphometer
and, according to my reckoning, found it to
be fifty yards high, more or less.
\author FRAY PEDRO ↑{FONT}, {\sl Diary\/} (1776)
 % entry for March 30; this tree was El Palo Alto

American Typewriter type definitely retards speed of reading
and therefore should not be used
unless a novelty effect is desired.
\author D. G. ↑{PATERSON} and M. A. ↑{TINKER}, {\sl How to Make %
 Type Readable\/} (1940) % p146
% note, they were profs at Minnesota; Tinker still alive in 60s

↑{Grandjean}, ↑{Baskerville}, ↑{Bodoni} and the ↑{Didot}s had
a mischievous influence on type-forms;
for the\/ {\rm derivations} \kern-1pt from types %
	that their work made popular
culminated in a kind of letter which was capable of
greater vulgarity and degradation than was ever the case with older fonts.
\author D. B. ↑{UPDIKE}, {\sl Printing Types} (1927) % v2 p197
 % I'm not absolutely certain of the date, which I forgot to note down!

Sans serif, although it is no longer new,
is so simple and clear that it is by far
the best all-purpose type for today
and will remain so for a long time to come.
[Footnote: This being the author's opinion in 1935.]
% Die {\it Grotesk} ist, obwohl sie also eigentlich nicht neu ist,
% dank ihrer gro\ss en Einfachheit und Klarheit
% heute und auf lange hinaus die gegebene Schrift
%  f\"ur die meisten Drucksachen.
\author JAN ↑{TSCHICHOLD}, {\sl Asymmetric Typography\/} (1967) % p28

For some strange reason the letter I is
one of the more difficult letters to cut.
Perhaps, there being so little of it, its symmetry is over-exposed.
Kindersley used to make us come to terms with this letter
before tackling anything else.
\author WILL ↑{CARTER}, {\sl Carter's Caps\/} (1982)
 % Rampant Lions Press, Cambridge, comment facing the letter I

An O without a figure ... Shakespeare

Since in the Teletypesetter and Linofilm systems
the single letters must be provided for by calculable units,
the establishment of the letter widths was a fresh limitation
and aggravation in the working out of Optima.
In the cutting of their types, Claude Garamond and Bodoni
never had to agonize over such prodigies of calculation.
\author HERMANN ZAPF, About Alphabets % p48 % suggested by Craig Platt