Revising, formatting.

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Werner Lemberg 2000-11-10 22:39:21 +00:00
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commit a8df54a3ec
13 changed files with 415 additions and 212 deletions

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<meta name="Author"
content="David Turner">
<title>The Design of FreeType 2 - Introduction</title>
<title>The design of FreeType 2</title>
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<h1 align=center>
The Design of FreeType&nbsp;2
The design of FreeType&nbsp;2
</h1>
<h3 align=center>
Copyright&nbsp;1998-2000 David Turner (<a
href="mailto:david@freetype.org">david@freetype.org</a>)<br>
Copyright&nbsp;2000 The FreeType Development Team (<a
href="mailto:devel@freetype.org">devel@freetype.org</a>)
</h3>
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@ -108,20 +129,32 @@
such topics as system-specific interfaces, how to write your own module
and how to tailor library initialization & compilation to your needs.</p>
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<meta name="Author"
content="David Turner">
<title>The Design of FreeType 2 - Basic Design</title>
<title>The design of FreeType 2</title>
</head>
<body text="#000000"
bgcolor="#ffffff">
bgcolor="#FFFFFF"
link="#0000EF"
vlink="#51188E"
alink="#FF0000">
<h1 align=center>
The Design of FreeType&nbsp;2
The design of FreeType&nbsp;2
</h1>
<h3 align=center>
Copyright&nbsp;1998-2000 David Turner (<a
href="mailto:david@freetype.org">david@freetype.org</a>)<br>
Copyright&nbsp;2000 The FreeType Development Team (<a
href="mailto:devel@freetype.org">devel@freetype.org</a>)
</h3>
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</li>
</ul>
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<meta name="Author"
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<title>The Design of FreeType 2 - Public Objects</title>
<title>The design of FreeType 2</title>
</head>
<body text="#000000"
bgcolor="#ffffff">
bgcolor="#FFFFFF"
link="#0000EF"
vlink="#51188E"
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<h1 align=center>
The Design of FreeType&nbsp;2
The design of FreeType&nbsp;2
</h1>
<h3 align=center>
Copyright&nbsp;1998-2000 David Turner (<a
href="mailto:david@freetype.org">david@freetype.org</a>)<br>
Copyright&nbsp;2000 The FreeType Development Team (<a
href="mailto:devel@freetype.org">devel@freetype.org</a>)
</h3>
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<p>Note that this picture will be updated at the end of the next
chapter, related to <em>internal objects</em>.</p>
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<meta name="Author"
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<title>The Design of FreeType 2 - Internal Objects</title>
<title>The design of FreeType 2</title>
</head>
<body text="#000000"
bgcolor="#ffffff">
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vlink="#51188E"
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<h1 align=center>
The Design of FreeType&nbsp;2
The design of FreeType&nbsp;2
</h1>
<h3 align=center>
Copyright&nbsp;1998-2000 David Turner (<a
href="mailto:david@freetype.org">david@freetype.org</a>)<br>
Copyright&nbsp;2000 The FreeType Development Team (<a
href="mailto:devel@freetype.org">devel@freetype.org</a>)
</h3>
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alt="Complete library model">
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<meta name="Author"
content="David Turner">
<title>FreeType 2 - Modules</title>
<title>The design of FreeType 2</title>
</head>
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bgcolor="#ffffff">
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<h1 align=center>
The design of FreeType&nbsp;2
</h1>
<h3 align=center>
Copyright&nbsp;1998-2000 David Turner (<a
href="mailto:david@freetype.org">david@freetype.org</a>)<br>
Copyright&nbsp;2000 The FreeType Development Team (<a
href="mailto:devel@freetype.org">devel@freetype.org</a>)
</h3>
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@ -405,20 +427,32 @@
<p>Helper modules use the base <tt>FT_ModuleRec</tt> type. We will
describe these classes in the next chapters.</p>
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@ -6,32 +6,53 @@
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<meta name="Author"
content="David Turner">
<title>The Design of FreeType 2 - Introduction</title>
<title>The design of FreeType 2</title>
</head>
<body text="#000000"
bgcolor="#ffffff">
bgcolor="#FFFFFF"
link="#0000EF"
vlink="#51188E"
alink="#FF0000">
<h1 align=center>
The Design of FreeType&nbsp;2
The design of FreeType&nbsp;2
</h1>
<h3 align=center>
Copyright&nbsp;1998-2000 David Turner (<a
href="mailto:david@freetype.org">david@freetype.org</a>)<br>
Copyright&nbsp;2000 The FreeType Development Team (<a
href="mailto:devel@freetype.org">devel@freetype.org</a>)
</h3>
<center>
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@ -42,20 +63,32 @@
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@ -6,72 +6,73 @@
content="text/html; charset=iso-8859-1">
<meta name="Author"
content="David Turner">
<title>The Design of FreeType 2 - Introduction</title>
<title>The design of FreeType 2</title>
</head>
<body text="#000000"
bgcolor="#ffffff">
bgcolor="#FFFFFF"
link="#0000EF"
vlink="#51188E"
alink="#FF0000">
<h1 align=center>
The Design of FreeType&nbsp;2
The design of FreeType&nbsp;2
</h1>
<h3 align=center>
Copyright&nbsp;1998-2000 David Turner (<a
href="mailto:david@freetype.org">david@freetype.org</a>)<br>
Copyright&nbsp;2000 The FreeType Development Team (<a
href="mailto:devel@freetype.org">devel@freetype.org</a>)
</h3>
<center>
<table width="650">
<table width="70%">
<tr><td>
<p>This document describes the details of FreeType&nbsp;2's internals.
Read this carefully if you need to understand the innards of the library
in order to hack or extend it.</p>
<table width="100%">
<tr bgcolor="#ccccee"><td>
<h1>
Abstract
</h1>
</td></tr>
<tr valign=center
bgcolor="#CCCCFF">
<td align=center>
<h2>
Table of Contents
</h2>
</td>
</tr>
</table>
<p>This document describes the details of FreeType 2's internals.
It's a good read if you need to understand the innards of the
library in order to hack or extend it.</p>
<center>
<table width="80%">
<tr><td>
<h2>
<a href="design-1.html">Introduction</a>
</h2>
<h2>
<a href="design-2.html">I. Components and APIs</a>
</h2>
<h2>
<a href="design-3.html">II. Public Objects and Classes</a>
</h2>
<h2>
<a href="design-4.html">III. Internal Objects and Classes</a>
</h2>
<h2>
<a href="design-5.html">IV. Module Classes</a>
</h2>
<table width="100%">
<tr bgcolor="#ccccee"><td>
<h1>
Table of Contents
</h1>
</td></tr>
</table>
<center><table width="60%"><tr><td>
<a href="design-1.html">
<h2>Introduction</h2>
</a>
<a href="design-2.html">
<h2>I. Components and APIs:</h2>
</a>
<a href="design-3.html">
<h2>II. Public Objects and Classes:</h2>
</a>
<a href="design-4.html">
<h2>III. Internal Objects and Classes:</h2>
</a>
<a href="design-5.html">
<h2>IV. Module Classes:</h2>
</a>
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@ -88,7 +88,7 @@
context. For example, most users of word-processors use "font" to
describe a font family (e.g. "Courier", "Palatino", etc.); however most
of these families are implemented through several data files depending
on the file format: For TrueType, this is usually one per face (i.e.
on the file format: For TrueType, this is usually one per face (i.e.
<tt>arial.ttf</tt> for "Arial Regular", <tt>ariali.ttf</tt> for "Arial
Italic", etc.). The file is also called a "font" but really contains a
font face.</p>
@ -121,7 +121,7 @@
script, usage or context. Several characters can also take a single
glyph (good examples are Roman ligatures like "fi" and "fl" which can be
represented by a single glyph). The relationships between characters
and glyphs can be very complex, but won't be discussed in this document.
and glyphs can be very complex, but won't be discussed in this document.
Moreover, some formats use more or less awkward schemes to store and
access glyphs. For the sake of clarity, we only retain the following
notions when working with FreeType:</p>

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<p>The outline as stored in a font file is called the "master" outline,
as its points coordinates are expressed in font units. Before it can be
converted into a bitmap, it must be scaled to a given size/resolution.
converted into a bitmap, it must be scaled to a given size/resolution.
This is done through a very simple transformation, but always creates
undesirable artifacts, e.g. stems of different widths or heights in
letters like "E" or "H".</p>
@ -235,7 +235,7 @@
<p>The TrueType format defines a stack-based virtual machine, for
which programs can be written with the help of more than
200&nbsp;opcodes (most of these relating to geometrical operations).
200&nbsp;opcodes (most of these relating to geometrical operations).
Each glyph is thus made of both an outline and a control program to
perform the actual grid-fitting in the way defined by the font
designer.</p>
@ -293,7 +293,7 @@
</td>
<td valign=top>
<p><b>Quality.</b> Excellent results at small sizes are possible.
<p><b>Quality.</b> Excellent results at small sizes are possible.
This is very important for screen display.</p>
<p><b>Consistency.</b> All renderers produce the same glyph

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@ -82,7 +82,7 @@
<ul>
<li>
<p>With horizontal layout, glyphs simply "rest" on the baseline.
<p>With horizontal layout, glyphs simply "rest" on the baseline.
Text is rendered by incrementing the pen position, either to the
right or to the left.</p>

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4. Right-to-left layout
</h3>
<p>The process of laying out Arabic or Hebrew text is extremely similar.
<p>The process of laying out Arabic or Hebrew text is extremely similar.
The only difference is that the pen position must be decremented before
the glyph rendering (remember: the advance width is always positive,
even for Arabic glyphs).</p>
@ -412,7 +412,7 @@
text size).</p>
<p>These distinct resolutions explain some differences when displaying
text at the same character size on a Mac and a Windows machine.
text at the same character size on a Mac and a Windows machine.
Moreover, it is not unusual to find some TrueType fonts with enhanced
hinting (technical note: through delta-hinting) for the sizes of 10, 12,
14 and 16&nbsp;points at 96&nbsp;dpi.</p>

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@ -84,7 +84,7 @@
plane. Each contour is made of a series of line segments and
B&eacute;zier arcs. Depending on the file format, these can be
second-order or third-order polynomials. The former are also called
quadratic or conic arcs, and they are used in the TrueType format.
quadratic or conic arcs, and they are used in the TrueType format.
The latter are called cubic arcs and are mostly used in the
Type&nbsp;1 format.</p>

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@ -98,7 +98,7 @@
center being at location (0.5,0.5).</p>
<p>This introduces some differences when computing distances. For
example, the <em>length</em> in pixels of the line [0,0]-[10,0] is 11.
example, the <em>length</em> in pixels of the line [0,0]-[10,0] is 11.
However, the vectorial distance between (0,0)-(10,0) covers exactly
10&nbsp;pixel centers, hence its length is&nbsp;10.</p>